THE FORTUNE CHRONICLES PART TWO.

Los Angeles January to August 1969

by Joe Bonelli (Copyright 2000 by Joseph H. Bonelli)

Fortune and Men's Eyes had opened at the Coronet Theatre on La Cieniga Boulevard in West Hollywood, in December of 1968 after a period of previews

The original script called for only five characters-- the four prisoners and the guard.

In the original rehearsals (which, unfortunately for both me and this chronicle, were over before I joined the company), Sal had added filler business with a stage full of people, re-enacting the check-in processes of the new prisoner Smitty.  Subsequently, in previews, these things were honed down and simplified until they disappeared altogether.

Smitty is in jail for several months on a relatively minor offense-- stealing a car for a joyride. During the course of his sentence, he is brutalized, raped, fights back, emerges victorious AND a criminal!!

The play is an indictment of the prison system, implying that it creates rather than rehabilitates criminals.

By the time the play is over, Smitty is sneering at the world: "I'll pay you all back!" (This original ending was modified somewhat by Sal).

Smitty was played by 19 year old Hollywood newcomer Don Johnson. Don was appearing in a musical called Your Own Thing , in San Francisco. One of Sal's friends saw him and knew Sal was looking for a Smitty for Fortune. On this recommendation, Sal flew to San Francisco, saw and met with Don, and hired him to come to L.A. and play the role. Don was very handsome and an excellent actor, his star quality evident at this early stage in his career.

He remained in the role for most of the run and returned for the last two weeks in July of '69 when the show closed.

When Smitty is incarcerated, he must share the cell of three other prisoners.

One is Queenie, a ballsy street-wise drag-queen con-man, played brilliantly by already known actor and nightclub entertainer, Michael Greer. A good deal of Michael's drop-dead funny routine complete with Davis and Crawford imitations, et. al., was worked into the last act "Drag Scene," which is supposed to be a rehearsal for the Christmas show which is performed offstage. An imposing 6'4", Michael fould Queenie a wonderful outlet for his versitle talent. Greer's Queenie was indeed that, but watch out!!!

Another is Rocky, the small time punk that coddles Smitty and rapes and rules him, only to be overcome when Queenie reminds Smitty that he is indeed "a man." I apologize to the actor who originated the role in the L.A. production, but I never knew him and cannot name him. I DO know that he was replaced at the producer's (Moe Weiss's) insistance. It was because Moe needed box office and box office was spelled SAL MINEO. So this actor was dismissed by the needs of the show and NOT because he was not good.

But Mineo was perfectly at home in this sleazebag role and, besides, it allowed him to play with the rape scene and hone it. (This probably sounds callous, but a scene MUST be worked out and played in order to work and have the desired effect. At its most effective, the scene was thirty seconds of the most powerful theatre you could ever imagine seeing and being affected by.---more later.)

The other character in the cell is Jan, or Mona, as he is called. He is a defenceless little bookworm who was persecuted by some toughs who said he made a pass so he is in the place for several months (this REALLY "cures" people of their demons, doesn't it?). It is Mona who watches Smitty's mind and spirit be turned to the "dark side" of its day. Roger Garrett was the actor who played this role. He was excellent and left a couple of months into the run to do a film---The Grasshopper, with Jacqueline Bissett and Jim Brown. Roger plays her hairdresser/confidante.

The fifth character is The Guard. He was played throughout the run by a true Hollywood character actor heavy-- Tom Reese. This amazing guy has been seen by you, no matter your age, IF you watch television westerns and detective shows and movies from about 1960 to the late 70's.   You would instantly recognize Tom's big, beefy, large nosed mug that looks like he just came out of a fight. Tom is one of those faces I promise you, you know. More of this wonderful guy and his brilliant  on-stage control, later.

Fortune and Men's Eyes ran from late December 1968 to mid or late July in 1969. During our last two weeks, Neil Armstrong walked on the moon. We watched in the bar connected to the Coronet Theatre by a courtyard. I remember going and getting Don Johnson and bringing him in right offstage to see the first man walking on the moon and the awe which we all felt. But that was late in the run.