THE FORTUNE CHRONICLES PART THREE c.

New York Page Four

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

At another holiday gathering during the run of Fortune, producer Ken Waissman showed a 16-mm. print (no vcrs then, folks!!) of the MGM musical The Band Wagon starring Fred Astaire and Cyd Charisse.  There is a magical rendering of "Dancing in the Dark" in Central Park. I remember Sal vocally admired the class displayed by the duo, in particular Mr. Astaire and, when the film was over, he persuaded Ken to rewind the reel
that the dance number was on so we could watch it again, which he did and WE did!

The New York production of Fortune was performed at Stage 73, a medium-sized "off-Broadway" theatre in a large brownstone-type building on East 73rd Street between Second and Third Avenues.  There was a  lobby on the main floor and rehearsal halls on the couple of floors upstairs.  Other shows rehearsed there.

While we were doing Fortune, a production  for Broadway of the 20's musical The Boy Friend was in rehearsal.  The lead  was TV's Laugh-in star Judy Carne.  But amongst those who came and went at Stage 73 for rehearsals was the pert performer Sandy Duncan who would steal the show in the role of Maisie.  We got preview comps and enjoyed the show, Sandy in particular.   The large lobby which serviced the auditorium was used on a number of Wednesday afternoons as a preliminary meeting and rehearsal hall for a big network television show-- I believe it was the Kraft Music Hall, a regular variety series or maybe specials by that time. I'd go in the lobby for a coke.  There would be stars of every nature there.  I saw Peggy Lee and Eddy Arnold and a very young Bernadette Peters.  

As the show entered its run I began to take more of a part in the backstage work during the show.  I worked with the assistant stage manager whose name was George Ryland. He was a New York Italian who'd adopted an easier-to-pronounce last name. He was a terrific actor and great to work with backstage.  The Stage Manager was Gigi Cascio, another New York Italian.  We became a good behind-the-scenes team. George and I began to hold weekly casting calls as I had done in Los Angeles.  No matter what the type, they came.  We tried to give each actor five minutes... and be encouraging when we said thanks, but no, thanks!  After all, we had both been on the other side in the not too distant past.

After Gigi left late in the run of the play, George became Equity Stage Manager, a position just under the Deity.  I became his assistant (I didn't have to be "union" to do it) and later, took over the show for real when George stepped into a leading role to "save the show" for several weeks.    After a few months in the role of Queenie in New York, Michael Greer began to desire to get back to the West.  He had done well in Manhattan but, I think, had had enough of Queenie as a character to inhabit  every day.  Michael continued work in films and television and in clubs, and does so to this day.  A wonderfully talented entertainer and a real friend!!