Mae West: Life Story

It was on Wednesday, 18 March 1953 that people were reading about a new motion picture based on the life of MAE WEST.
• • Hollywood gossip columns announced this: Her name is Pat Morrissey. She has platinum blonde hair, and big dark eyes. She expects soon to star in a film of the life of Mae West. She was photographed shortly after her arrival in London for a cabaret engagement. The Mae West film will be shot after Pat returns to America. "The casting people think I am just the right size for the part," she said. Her height is only 5 feet 2 inches.
• • Source: Article: "New Film Star" published on page 14 in The Mercury (Hobart, Tasmania) on Wednesday, 18 March 1953.
• • Obviously, this project fizzled out and so did the screen career of five-foot-two cabaret singer Pat Morrissey, sad to say.
• • Louis Bromfield [27 December 1896 — 18 March 1956] • •
• • Club Napoleon’s escapades inspired a sly short story — — "Single Night" by Louis Bromfield — — a narrative that Mae West, Kathryn Scola, and Vincent Lawrence would fine-tune and finesse into a screenplay about a speak with the working title of Number 55.
• • Though he made his name writing about rural life, Louis Bromfield was intrigued by the downward mobility of West 56th Street, once the preserve of bluebloods but now in the hands of gangsters who ran the speakeasy Mona Lisa [36 West 56th] or Larry Fay, who opened his parlor floors to drinkers.
• • Born Lewis Brumfield in Ohio on 27 December 1896, the 6' 2" inch journalist won the Pulitzer Prize for his novel Early Autumn [1926], and then turned to writing fulltime. His short story "Single Night" became the backbone of the Paramount film "Night After Night" [released on 30 October 1932]. Two months after the film was distributed to moviehouses across the country, bootlegger Larry Fay met a spectacularly crimson-soaked death inside 33 West 56th Street on 1 January 1933.
• • Author and farmer Louis Bromfield had a more serene death, at age 60, on 18 March 1956.
• • In the 18 March 1936 issue of Variety • •
• • Variety reviewed "Klondike Annie," calling the motion picture "chic" and starting the critique on the front page. But the man-on-the-aisle objected to several elements therein. "Miss West is handicapped by having to wear rather dowdy dresses in about half the footage. In other portions she struts fine feathers and wears a set of furs that will make the women gasp," he commented on page 17. Variety Magazine's issue was dated for 18 March 1936.
• • In the March 2000 issue of The New Criterion • •
• • The New Criterion published the article "Mae Days" by Mark Steyn (Vol. 18, March 2000). Mark Steyn wrote: "But quite a lot of Mae West is going quite a long way on the New York stage these days. It’s been twenty years since her death, almost seventy since her career peaked, and, on a random sample, I find most people today have no very clear idea who she was. Yet she’s out there . . . ."
• • On 18 March 2007 in NYC • •
• • Mae West was featured at the South Street Seaport on 18 March and 24 March 2007 when a salute to old-time variety artists was onstage.
• • Organized by Montauk Theatre Productions/ Shooting Star Theatre and the show's creators NY Artists Unlimited, both shows were matinees and geared towards all ages.
• • "Voices of the Town — — A Vaudeville Salute!" featured a line-up that included Mae West, The Marx Brothers, Sophie Tucker, Bert Williams, Florence Mills, Eva Tanguay, Marie Dressler, and more.
• • In Her Own Words • •
• • Mae West said: "Gentlemen, pet your women. They love it like a tabby cat. Occasionally suggest that they buy a new dress, even if they have enough to clothe an 1890 chorus."
• • Quote, Unquote • •
• • An article about well-known quotes mentioned Mae West.
• • L.M. Boyd wrote: It was Mae West who revitalized the old bird-in-the-hand line. Except what she said was: ''A man in the house is worth two in the street.''. . .
• • Source: Item: "Names and Faces" written by L.M. Boyd for Orlando Sentinel; published on 18 March 1992
• • By the Numbers • •
• • The Mae West Blog was started seven years ago in July 2004. You are reading the 2242nd blog post. Unlike many blogs, which draw upon reprinted content from a newspaper or a magazine and/ or summaries, links, or photos, the mainstay of this blog is its fresh material focused on the life and career of Mae West, herself an American original.
• • Come up and see Mae every day online: http://MaeWest.blogspot.com/
________
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• • Photo: • • Mae West • • 1934 • •
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Mae West: Oscar Levant

Oscar Levant's scatological comments and controversial wisecracks about MAE WEST's sex life got his talk show cancelled for good in 1960. Unrestrained witticisms had gotten him in trouble before on the air, therefore, the network decided to add a safety net by taping the syndicated "Oscar Levant Show," to enable the engineers to weed out the outrageous. Probably aware that his shocking off-the-cuff opinions were the very reason viewers tuned in from 1958 — 1960 to his 10 PM program, Oscar continued to riff on Mae's enema habits or speculate on her lovers and her bi-racial open-door policy.
• • One individual claimed to recall a few of Oscar's offensive one-liners: "Now that Marilyn Monroe has converted to Judaism, Arthur Miller can eat her!"; "Zsa Zsa Gabor is busy again, doing social work among the rich!"; and "Mae West, of course, is a pro's pro. Mae would never give it away!" — — and one final crack about Mae's bed partners got the TV executives to pull the plug.
• • Born into a musical and Orthodox Jewish Russian family in Pittsburgh, Pennsylvania in the month of December — — on 27 December 1906 — — Oscar Levant moved to New York with his mother, Annie, in 1922 after the death of his father, Max. Oscar Levant gained fame as an American pianist, composer, author, humorist, and actor. He was equally known for his mordant character, off-color observations, and unpredictable digs on the air as for his music. Frequently institutionalized by his wife June, Levant had the knack of making an audience laugh and feel very uncomfortable at the same time.
• • A fatal heart attack stilled the voice of Oscar Levant. He died in Beverly Hills, California on 14 August 1972, and was interred in the Westwood Village Memorial Park Cemetery in Los Angeles, California. He was 65.
• • In December, Let's Remember Louis Bromfield [1896 — 1956] • •
• • Born Lewis Brumfield in Ohio in the month of December — — on 27 December 1896 — — the 6' 2" inch journalist won the Pulitzer Prize for his novel Early Autumn [1926], and then turned to writing fulltime. His short story "Single Night" (set in Larry Fay's Napoleon Club) became the backbone of the Paramount film "Night After Night" [released on 30 October 1932]. Two months after the film was distributed to moviehouses across the country, bootlegger Larry Fay met a spectacularly crimson-soaked death inside the Napoleon Club, 33 West 56th Street, on 1 January 1933.
• • Author and farmer Louis Bromfield had a more serene death, at age 60, on 18 March 1956.
• • In December, Let's Remember Sam Coslow [1902 — 1982] • •
• • Born in Mae's hometown, New York City, Sam Coslow was born in December — — on 27 December 1902. He attended Erasmus Hall High School and he was still in his teens when he began writing songs. For instance, "My Old Flame" was written in 1934, with Arthur Johnston, for the Mae West film "Belle of the Nineties." His music made it into many Hollywood movies.
• • The composer died in New York, NY on 2 April 1982.
• • In December, Let's Remember Marlene Dietrich [1901 — 1992] • •
• • When Mae West was starring in "My Little Chickadee," a comedy set in the old West, Universal Pictures was also producing a Western-themed musical comedy "Destry Rides Again" [which debuted in New York on 30 November 1939]. Though the title would seem to be weighted in the direction of two actors — — James Stewart in the title role as Tom Destry, Jr. and Charles Winninger as his deputy Washington Dimsdale — — Dietrich owns the movie. This vehicle became a career reviving performance for the fishnet stockinged bar singer Frenchie, sexy and memorable despite wearing a truly hideous wig.
• • Born in Germany in the month of December — — on 27 December 1901 — — Marlene Dietrich was an actress and a singer who knew Mae West when they were both stars at Paramount Pictures.
• • The screen queens were photographed on the set of "My Little Chickadee" in 1939. Dietrich was posing in her Frenchie costume and Mae was made up as Flower Belle Lee.
• • Marlene Dietrich died in Paris of natural causes on 6 May 1992.
• • On 27 December 2002 in Chicago Tribune • •
• • Chicago Tribune readers spotted "The Party Continues" written by Nancy Maes as they ploughed through the newspaper on 27 December 2002.
• • Nancy Maes wrote: The theme of the next round classic Hollywood films in the Lunchtime Matinee series is "The Party Continues." It includes "Top Hat," (1935) starring Fred Astaire and Ginger Rogers (Monday); "Holiday" (1938) with Katharine Hepburn (the name as published has been corrected in this text), Thursday; and "My Little Chickadee," (1940) featuring Mae West and W.C. Fields. The series complements the "Matinee Idols and Movie Queens," exhibition at the Chicago Tourism Center. Lunchtime Matinee, all films at noon, Chicago Tourism Center, 72 E. Randolph St., free.
• • In Her Own Words • •
• • Mae West said: "You're never too old to become younger."
• • Quote, Unquote • •
• • An article on John Kobal and "Made in Hollywood" mentioned Mae West.
• • Philippa Hawker wrote: While John Kobal was an avid collector, he was scrupulous about standards: he had a critical eye, Crocker says, and the images he amassed were of the best quality. The collection soon became an important resource and archive for historians, scholars and filmmakers. Andy Warhol — — always an ardent admirer of the old Hollywood — — was among those who drew on Kobal's images.
• • Philippa Hawker continued: John Kobal's interest was first in the photographs, then in the photographers themselves. He was on the set of "Myra Breckenridge," the notorious 1970 vehicle for an older Mae West. A photographer named George Hurrell, who first worked for MGM in 1930, was on set to take pictures of Mae West. Kobal was amazed to discover that the man whose images he admired was there, in front of him, still at work. ...
• • "Made in Hollywood" is at the Bendigo Art Gallery (Australia) from 3 December 2011 to 12 February 2012 . . .
• • Source: Article: "Made in Hollywood" written by Philippa Hawker for the Sydney Morning Herald; posted on 19 November 2011
• • By the Numbers • •
• • The Mae West Blog was started seven years ago in July 2004. You are reading the 2158th blog post. Unlike many blogs, which draw upon reprinted content from a newspaper or a magazine and/ or summaries, links, or photos, the mainstay of this blog is its fresh material focused on the life and career of Mae West, herself an American original.
• • Come up and see Mae every day online: http://MaeWest.blogspot.com/
________
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Mae West
• • Photo: • • Mae West • • in 1932 • •
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Mae West: Larry in January

A short story "Single Night" by Louis Bromfield became the backbone of the Paramount film "Night After Night" [released on 30 October 1932] — — which was a triumphant screen debut for MAE WEST. Here she is, as Maudie Triplett, poised in the doorway of Joe Anton's speakeasy on West 56th Street, about to tell the doorman it's "the fairy princess, ya mug!"
• • January 1st • •
• • Two months after the film was distributed to movie houses across the country, bootlegger Larry Fay met a spectacularly crimson-soaked death inside 33 West 56th Street on 1 January 1933.
• • Janus, the Roman god of gates and doorways, looks both ways. And the house on West 56th Street certainly looked different from the perspective of George Raft, Mae West, Louis Bromfield, and Larry Fay.
• • January 2nd • •
• • A more pleasant January memory for Mae West took place a year later. On 2 January 1934, when her sister Beverly applied for a marriage license in Chicago, it was hoped that her second Russian husband would be a better companion than her ex-husband Sergei Treshatny. The groom Vladimir Baikoff made Beverly's acquaintance when both were booked on a radio program. Beverly was doing her famous Mae West impersonation for a broadcast — — and Vlad was eager to conjugate some sultry Slavic verbs with her in private, after the show.
• • Come up and see Mae every day online: http://MaeWest.blogspot.com/
________
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• • Photo: • • Mae West • • 1932 • •
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Mae West: Lou's Big Night

MAE WEST and George Raft knew the address well — — well before Louis Bromfield was drinking there one afternoon with his newsman buddy Lucius Beebe, a Herald-Times columnist. Club Napoleon, a speakeasy on the grand scale, was located at 33 West 56th Street, then a fancy block of Beaux Arts mansions. Years before it became an illegal ginmill, 33 West 56th had been the childhood home of Woolworth heiress Barbara Hutton. The gracious townhouse next door had been designed by Bruce Price for a prominent physician.
• • Both Mae West and her character Maudie Triplett were used to standing in the shouting place and breathing in a strong dose of masculinity — — booze, beer, cigars, sweat, and spit — — as evening comes down in the shape of a boxing arena or a speakeasy, a zone a man wants to own. A mob-controlled place only the tough girls are seen in.
• • Though he made his name writing about rural life, Louis Bromfield was intrigued by the downward mobility of West 56th Street, once the preserve of bluebloods but now in the hands of gangsters who ran the speakeasy Mona Lisa [36 West 56th] or Larry Fay, who opened his parlor floors to drinkers.
• • December 27th — — a good beginning at the end of the year
• • Born Lewis Brumfield in Ohio in the month of December — — on 27 December 1896 — — the 6' 2" inch journalist won the Pulitzer Prize for his novel Early Autumn [1926], and then turned to writing fulltime. His short story "Single Night" became the backbone of the Paramount film "Night After Night" [released on 30 October 1932]. Two months after the film was distributed to moviehouses across the country, bootlegger Larry Fay met a spectacularly crimson-soaked death inside 33 West 56th Street on 1 January 1933.
• • Author and farmer Louis Bromfield had a more serene death, at age 60, on 18 March 1956.
• • Come up and see Mae every day online: http://MaeWest.blogspot.com/
________
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• • Photo: • • Mae West • • 1932 • •
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Mae West: B for Bromfield

Right after MAE WEST stole the show — — with her sassy cameo in "Night After Night" — — the reviews came in, banging the drum loudly from coast to coast for the Brooklyn blonde. This motion picture comes to mind because production kicked off in Hollywood during August 1932 [specifically on August 22nd] and was in progress through September.
• • Featuring Mae West and Wynne Gibson and starring George Raft, the film would be released on 31 October 1932 at the Paramount Theatre. "Bige" attended a screening for critics, perhaps right inside 1501 Broadway, Paramount's new building in Times Square. Here is what Variety had to say in their generously glazed assessment, printed on 1 November 1932.
• • • • • • • • • • • • • • • • • • • • • • • • • •

Story was adapted from Louis Bromfield's "Single Night," but the dialog that was added by Mae West made the story and the picture.

• • Judicious casting, pacing that inspires excitement and dialog that sparkles are three forms of flattery for this cut-and-dry scenario. The cast is interesting, the pace commands attention, and the dialog is exceptionally entertaining, so here is one instance where a story's shortcomings can be overlooked. The points in its favor make "Night After Night" an entertaining — — and probably profitable — — talker.
• • Further than that, it's another advancement for George Raft and an auspicious start for Mae West in her first talker.
• • Raft as a mugg proprietor of a class speakeasy with a Park Avenue yen is the central figure from start to finish, but it's the quartet of varied femininity surrounding him that gives the picture its real character nourishment.
• • Miss West is last but not least of the femme foursome which includes Constance Cummings, Wynne Gibson, and Alison Skipworth. That each fits perfectly in her role, in appearance and performance, and that each is a distinct type without a conflict attests to an expert casting job. Bootlegger stuff and some gangster atmosphere climaxed by and off screen shooting finish are played down to run secondary to the feminine interest. Raft is mixed up in both.
• • The women are: a past flame (West), recently discarded sweetheart (Gibson), present head woman and "nice" girl (Cummings), and a middle-aged school teacher employed to give the mugg English lessons. When the Misses Skipworth and West are on view, together or separately, the laughs come often, and in the brief period assigned them as a team the comedy pace is even speedier. They do a virtual cross-fire two-act when doubling.
• • Miss West's dialog is always unmistakably her own. It is doubtful if anyone else could write it just that way. The way the West — Skipworth moments stand out suggests the picture could have stood more of them, but the obvious intent is to nurse Miss West along. She's tossed into this one rather abruptly and without bearing on the plot, much in the manner that Jimmy Durante has been handled by Metro. That's okay if they don't do it too often. As long as this film proves the former legit name has something for pictures, it wouldn't be taking a chance to shoot the works on her from now on.
• • Miss Skipworth's intelligent painting of a cultured lady having her first taste of hootch is a gem.
• • Misses Cummings and Gibson are more restricted than their elders, holding down ingenue-like roles that call for looks mostly. But they deliver in every way. No leading man has been more ably supported.
• • Story is merely that of a mugg who yearns to toss off the mugg staff after falling in love at a distance with a Lady. That he winds up with his goal attained doesn't matter much, although the happy ending changes the tone that runs through the story up to then. He's told midway by one of the girls he is more likable when he's himself.
• • Roscoe Karns is the only other male player of story importance, being active in most of Raft's scenes as the speakeasy owner's combination pal and handy man. He grabs laughs, too.
• • Louis Calhern is in for one scene. Except for minor footage in the Park Avenue lady's apartment, the action doesn't leave the speakeasy.
• • The place is one of those brownstones in the 50's and the twist is that, before becoming a ginmill, it was the "nice" girl's birthplace and home.
• • Story was adapted from Louis Bromfield's "Single Night," but the dialog that was added by Mae West made the story and the picture.
• • By: Bige — — Variety
• • Originally published: 1 November 1932
• • • • • • • • • • • • • • • • • • • • • • • • • •
• • Paramount production and release.
• • Directed by Archie Mayo.
• • Adapted by Vincent Lawrence from Louis Bromfield's "Single Night."
• • Continuity by Kathryn Scola.
• • Ernest Haller, photog.
• • At the Paramount, New York, week of October 28.
• • Running time, 76 minutes.
• • Joe Anton . . . . . George Raft
• • Jerry Healy . . . . . Constance Cummings
• • Iris Dawn . . . . . Wynne Gibson
• • Maudie Triplett . . . . . Mae West
• • Mrs. Mabel Jellyman . . . . . Alison Skipworth
• • Leo . . . . . Roscoe Karns
• • Blainey . . . . . Al Hill
• • Dick Bolton . . . . . Louis Calhern
• • Jerky . . . . . Harry Wallace
• • Patsy . . . . . Dink Templeton
• • Frankie Guard . . . . . Bradley Page
• • Malloy . . . . . Marty Martyn
• • • • • • • • • • • • • • • • • • • • • • • • • •
• • Come up and see Mae every day online: http://MaeWest.blogspot.com/
________
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Mae West: Janus

A short story "Single Night" by Louis Bromfield became the backbone of the Paramount film "Night After Night" [released on 30 October 1932] — — which was a triumphant screen debut for MAE WEST.
• • January 1st • •
• • Two months after the film was distributed to movie houses across the country, bootlegger Larry Fay met a spectacularly crimson-soaked death inside 33 West 56th Street on 1 January 1933.
• • Janus, the Roman god of gates and doorways, looks both ways. And the house on West 56th Street certainly looked different from the perspective of George Raft, Mae West, Louis Bromfield, and Larry Fay.
• • January 2nd • •
• • A more pleasant January memory for Mae West took place a year later. On 2 January 1934, when her sister Beverly applied for a marriage license in Chicago, it was hoped that her second Russian husband would be a better companion than her ex-husband Sergei Treshatny. The groom Vladimir Baikoff made Beverly's acquaintance when both were booked on a radio program. Beverly was doing her famous Mae West impersonation for a broadcast — — and Vlad was eager to conjugate some sultry Slavic verbs with her in private, after the show.
• • Come up and see Mae every day online: http://MaeWest.blogspot.com/
________
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Mae West
• • Photo: • • Mae West • • none • •
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Mae West.

Mae West: Right After Night

Right after MAE WEST stole the show – – with her cameo in "Night After Night" – – the reviews came in, applauding the Brooklyn bombshell from coast to coast. Featuring Mae West and starring George Raft, the film opened at the Paramount Theatre on 31 October 1932. Here is what Variety had to say on 1 November 1932.
• • • • • • • • • • • • • • • • • • • • • • • • • •
• • Judicious casting, pacing that inspires excitement and dialog that sparkles are three forms of flattery for this cut-and-dry scenario. The cast is interesting, the pace commands attention, and the dialog is exceptionally entertaining, so here is one instance where a story's shortcomings can be overlooked. The points in its favor make "Night After Night" an entertaining – – and probably profitable – – talker.
• • Further than that, it's another advancement for George Raft and an auspicious start for Mae West in her first talker.
• • Raft as a mugg proprietor of a class speakeasy with a Park Avenue yen is the central figure from start to finish, but it's the quartet of varied femininity surrounding him that gives the picture its real character nourishment.
• • Miss West is last but not least of the femme foursome which includes Constance Cummings, Wynne Gibson, and Alison Skipworth. That each fits perfectly in her role, in appearance and performance, and that each is a distinct type without a conflict attests to an expert casting job. Bootlegger stuff and some gangster atmosphere climaxed by and off screen shooting finish are played down to run secondary to the feminine interest. Raft is mixed up in both.
• • The women are: a past flame (West), recently discarded sweetheart (Gibson), present head woman and "nice" girl (Cummings), and a middle-aged school teacher employed to give the mugg English lessons. When the Misses Skipworth and West are on view, together or separately, the laughs come often, and in the brief period assigned them as a team the comedy pace is even speedier. They do a virtual cross-fire two-act when doubling.
• • Miss West's dialog is always unmistakably her own. It is doubtful if anyone else could write it just that way. The way the West-Skipworth moments stand out suggests the picture could have stood more of them, but the obvious intent is to nurse Miss West along. She's tossed into this one rather abruptly and without bearing on the plot, much in the manner that Jimmy Durante has been handled by Metro. That's okay if they don't do it too often. As long as this film proves the former legit name has something for pictures, it wouldn't be taking a chance to shoot the works on her from now on.
• • Miss Skipworth's intelligent painting of a cultured lady having her first taste of hootch is a gem.
• • Misses Cummings and Gibson are more restricted than their elders, holding down ingenue-like roles that call for looks mostly. But they deliver in every way. No leading man has been more ably supported.
• • Story is merely that of a mugg who yearns to toss off the mugg staff after falling in love at a distance with a Lady. That he winds up with his goal attained doesn't matter much, although the happy ending changes the tone that runs through the story up to then. He's told midway by one of the girls he is more likable when he's himself.
• • Roscoe Karns is the only other male player of story importance, being active in most of Raft's scenes as the speakeasy owner's combination pal and handy man. He grabs laughs, too.
• • Louis Calhern is in for one scene. Except for minor footage in the Park Avenue lady's apartment, the action doesn't leave the speakeasy.
• • The place is one of those brownstones in the 50's and the twist is that, before becoming a ginmill, it was the "nice" girl's birthplace and home.
• • Story was adapted from Louis Bromfield's "Single Night," but the dialog that was added by Mae West made the story and the picture.
• • By: Bige, Variety
• • Originally published: 1 November 1932
• • • • • • • • • • • • • • • • • • • • • • • • • •
• • Paramount production and release.
• • Directed by Archie Mayo.
• • Adapted by Vincent Lawrence from Louis Bromfield's "Single Night."
• • Continuity by Kathryn Scola.
• • Ernest Haller, photog.
• • At the Paramount, New York, week of October 28.
• • Running time, 76 minutes.
• • Joe Anton . . . George Raft
• • Miss Jerry Healy . . . Constance Cummings
• • Iris Dawn . . . . . Wynne Gibson
• • Maudie Triplett . . . . . Mae West
• • Mrs. Mabel Jellyman . . . . . Alison Skipworth
• • Leo . . . . . Roscoe Karns
• • Blainey . . . . . Al Hill
• • Dick Bolton . . . . . Louis Calhern
• • Jerky . . . . . Harry Wallace
• • Patsy . . . . . Dink Templeton
• • Frankie Guard . . . . . Bradley Page
• • Malloy . . . . . Marty Martyn
• • • • • • • • • • • • • • • • • • • • • • • • • •
• • Come up and see Mae every day online: http://MaeWest.blogspot.com/
________
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• • Photo: • • Mae West • • 1932 • •
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Mae West: May 1932

It was May 1932 and MAE WEST was hip-deep in negotiations with Paramount Pictures. They came to an agreement, confirmed the Los Angeles Record, and Mae was heading West.
• • On 13 June 1932, reporter Relman Morin gave readers this account:
• • According to Morin: We are about to be favored with visits from two more leading citizens of New York. Ely Culbertson, who talks the best game of contract bridge in the world is one. Mae West, the lady who composes dirty plays right out of her head, is the other. Each has signed a contract to grace the talking screen.
• • Of Ely, there is little left to be said. . . . .
• • Mae West, according to the dispatches, has signed a contract with Paramount to appear in the filmization of Louis Bromfield’s story, Number 35 [sic].
• • Mae has much, aside from her literary talent, to recommend her. She must be about 40 years old, but, to see her, you wouldn’t suspect that she is a day over 39. Mae began her professional career as a blues-warbler many years ago.
• • Her rendition of “Frankie and Johnny” is considered by many to be second in excellence only to Tibbett’s delivery of the “Toreador Song” from Carmen. Mae usually sings “Frankie and Johnny” to an accompaniment of what you might call muscle-dancing. The only parts of her that do not move when she is in the throes of song, are the soles of her feet. She plays the piano with unusual agility.
• • Mae is better known, however, as a playwright than a singer. Her creative works are called “Sex,” “Diamond Lil,” and “Pleasure Man.” Each of these enjoyed a long and happy life in the Capital of American Drama except “Pleasure Man.” It was closed, after a record-breaking week [sic], by the police.
• • It took New York’s Finest much longer to catch up with Miss West than it did for Capt. MacD. Jones to get wise to Aristophanes and his “Lysistrata.”
• • Now, in New York, the brain-children of playwrights are granted much more leniency than in Los Angeles.
• • A great many plays that would have our local crime-crushers on the stage after the first act, have gone on to Olympian heights in New York. So Miss West’s “Pleasure Man” must have been a monumental drama, indeed, to have drawn the fire of the easy-going Gaels of Gotham. It was natural, therefore, that the delectable Mae was eagerly sought out by newspaper reporters, Harvard psychology students, and less successful playcrafters.
• • “How,” they wanted to know, “do you do it? Why the oldest inhabitants of Manhattan can’t remember the last time a play was closed.”
• • Miss West blushed, blew her nose, and answered graciously.
• • “I don’t really write plays,” she says. “I just make them up out of my head.
• • “I have an idea, and I work it out from scene to scene as the players are rehearsing.
• • “You see, most of my characters are, well – – very human – – and I find it helps to have real people before my very eyes.”
• • Of Mae, it has, in all truth, been said that “When the curtain rolls up on one of her plays, you know you’re going to see a show.”
• • Source: The Los Angeles Record — 13 June 1932 [errors and all]
• • Come up and see Mae every day online: http://MaeWest.blogspot.com/
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