Little Rock Look Back: Ben Piazza

Ben compositeActor-director-playwright-author Ben Piazza was born on July 30, 1933, in Little Rock.  Piazza graduated from Little Rock High School in 1951 as valedictorian. He also had starred in the senior play that year (The Man Who Came to Dinner) and edited the literary magazine.

Keeping the Tiger as his mascot, Piazza attended college at Princeton University.  While there he continued acting, including an appearance in a Theatre Intime production of Othello.  Following his 1955 graduation, he moved to New York City and studied at the Actor’s Studio.

Piazza was an understudy in the 1956 play, Too Late the Phalarope at the Belasco Theatre.  In February 1958, he starred in Winesburg, Ohio sharing the National (now Nederlander) Theatre stage with James Whitmore, Dorothy McGuire, and Leon Ames. Other cast members included Claudia McNeil (who originated the part of Lena in A Raisin in the Sun) and Sandra Church (who originated the part of Gypsy Rose Lee in Gypsy).

In April 1959, Piazza starred in Kataki at the Ambassador Theatre. This two actor play also featured Sessue Hayakawa, who played a Japanese soldier who spoke only his native language.  Therefore, Piazza’s part was largely a very lengthy monologue.  For his performance, Piazza received one of the 1959 Theatre World Awards.

As the 1960s dawned, Piazza joined a small cadre of actors who had achieved status on Broadway who then also returned to acting Off Broadway.  Colleen Dewhurst, George C. Scott, and James Earl Jones were others in this select group who helped establish Off Broadway as an entity in itself, instead of being just a farm team for Broadway.

piazzaPiazza started the 1960s on Broadway starring at the Eugene O’Neill Theatre in A Second String with Shirley Booth, Jean-Pierre Aumont, Nina Foch, Cathleen Nesbitt, and Carrie Nye.   Following that, he started his association with Edward Albee by appearing as the title character in The American Dream.  That play opened at the York Playhouse in January 1961.  Later that year, he appeared in Albee’s The Zoo Story opposite original cast member William Daniels at the East End Theatre.

 

Also in 1961 Piazza starred in several plays during a South American tour sponsored by the American Repertory Company.  He played Christopher Isherwood in I Am a Cameraand Chance Wayne in Sweet Bird of Youth.  In 1962, he starred in a series of plays at the Cherry Lane Theatre.  Piazza returned to Broadway to star along with Jane Fonda and Dyan Cannon in The Fun Couple at the Lyceum Theatre. This play had a troubled rehearsal period, which was documented in a short film about Jane Fonda.

Ben Piazza stayed on Broadway and returned to Albee in February 1963.  He took over the role of Nick in the original run of Who’s Afraid of Virginia Woolf? when original actor George Grizzard left to play Hamlet at the Guthrie Theatre.  (He had participated in earlier readings of the play prior to it being mounted on Broadway.)

This play was at the Billy Rose Theatre, which marked a return for Piazza. He had acted at this theatre when it was the National while appearing in Winesburg. Piazza played Nick for the remainder of the run and acted with Uta Hagen, Arthur Hill, fellow Arkansan Melinda Dillon, Eileen Fulton, Nancy Kelly, Mercedes McCambridge, Rochelle Oliver and Sheppard Strudwick.

Exact and Very Strange cover

During the run of this show, Piazza’s novel The Exact and Very Strange Truth was published.  It is a fictionalized account of his growing up in Little Rock during the 1930s and 1940s.  The book is filled with references to Centennial Elementary, Westside Junior High, Central High School, Immanuel Baptist Church and various stores and shops in Little Rock during that era.  The Piazza Shoe Store, located on Main Street, was called Gallanti’s.

Following Virginia Woolf, he starred in The Zoo Story at the Cherry Lane Theatre in 1965.  In August of 1967, his play The Sunday Agreement premiered at LaMaMa.  This was Piazza’s first playwright output to be professionally staged.

As Sunday Agreement was opening, Piazza was in rehearsal for his next Broadway opening. He appeared with Alfred Drake in The Song of the Grasshopper in September 1967.  In 1968, he returned to Albee and starred in The Death of Bessie Smith and The Zoo Story in repertory on Broadway at the Billy Rose Theatre.

Later that season, in March 1969, a double bill of his one-acts: Lime Green/Khaki Blue opened at the Provincetown Playhouse.  It was directed by future Tony nominee Peter Masterson and starred Louise Lasser, Robert Walden (who starred in the 2013 production of Death of a Salesman at Arkansas Repertory Theatre), Clinton Allmon and Dolores Dorn-Heft, to whom Piazza was married at the time.

Throughout the 1960s and early 1970s, Piazza toured in many plays nationally and internationally. He also appeared in major regional theatres as an actor and a director.  During this time period he was in productions of Bus Stop, Who’s Afraid of Virginia Woolf?, You Know I Can’t Hear You when the Water’s Running  and Savages.  In 1970, he starred as Stanley Kowalski in a production of A Streetcar Named Desire in New Orleans.  As the 1970s progressed, he turned his focus to television and movies.

BDP early

Piazza’s film debut was in a 1959 Canadian film called The Dangerous Age. That same year, his Hollywood film debut came opposite Gary Cooper, Karl Malden, Maria Schell and George C. Scott in The Hanging Tree.  Though he received positive reviews for his performances, Piazza chose to return to New York and perform in stage and TV productions.

Throughout the 1950s and 1960s, he appeared in a number of TV shows including Studio One, Kraft Theatre, Zane Grey Theatre, The Naked City and Dick Powell Theatre.  He had a recurring role during one season of Ben Casey and appeared on the soap opera Love of Life.

In the 1970s, he starred in the films Tell Me That You Love Me, Junie Moon; The Candy Snatchers and I Never Promised You a Rose Garden.  He also starred as the City Councilman who recruits Walter Matthau to coach a baseball team inThe Bad News Bears.

Among his numerous TV appearances in the 1970s were The Waltons, Mannix, Switch, Barnaby Jones, Gunsmoke, Mod Squad and Lou Grant (where he was reunited with Walden).

BDP final

In the 1980s, he appeared in The Blues Brothers, The Rockford Files, Barney Miller, Hart to Hart, Family Ties, The Winds of War, Dallas, Dynasty, Too Close for Comfort, The A Team, Saint Elsewhere, Santa Barbara, The Facts of Life, Mr. Belvedere, Moonlighting and Matlock.

Piazza’s final big screen appearance was in the 1991 film Guilty by Suspicion.  He played studio head Darryl Zanuck in this Robert DeNiro-Annette Bening tale of Hollywood during the Red scare.

Ben Piazza died on September 7, 1991.

Arkansas Heritage Month – LR Mayor Satterfield oversees opening of Robinson Auditorium

Satterfield AuditUpon taking office as mayor in April 1939, J. V. Satterfield felt he was getting a handle on Little Rock’s precarious financial situation. He would soon discover that it was more unstable than he had imagined.  Included in this was Robinson Auditorium, currently under construction across the street from his office in City Hall.  Mayor Satterfield disclosed that he had voted against the auditorium in 1937 because he felt the finances were not sufficient. But as the mayor, he promised to open the building.

By the summer of 1939, it was becoming apparent that there would not sufficient money to finish the construction.  Even with the issuance of the final round of approved bonds (which had been held back as a reserve), there would not be enough money.  The Mayor and Harvey Couch made plans to go to Washington DC to try to get more money from the federal government.  Mr. Couch was a personal friend of President Roosevelt as well as head of Arkansas Power & Light.  The pair made the trip but returned with no additional money.

At the same time, the Auditorium Commission, which had been appointed by Mayor Overman to oversee the governance of the building, resigned as a group. They said they had been appointed to administer a building, not a construction site. Since it was uncertain as to when the building would open, they stepped down.

Mayor Satterfield was able to negotiate a series of deals to get the necessary work completed for construction of the building to be completed. Part of it involved issuing another round of bonds after the building had been officially opened to finish furnishing the building as well as complete the landscaping.  In January 1940, with a new opening date becoming a stronger possibility, the mayor appointed a new Auditorium Commission.

At the same time, regular events started to take place in the lower level exhibition hall.  There had been a few in November and December, but with a lack of utilities and ongoing construction upstairs in the music hall, those were curtailed.

On February 16, 1940, Joseph Taylor Robinson Memorial Auditorium officially opened. Mayor Satterfield was joined onstage for the ribbon cutting with Senator Robinson’s widow and her sister-in-law, who was a member of the Auditorium Commission.

In April 1940, Little Rock voters approved the final round of bonds which allowed for the building to be finished.

After only two years in office, Mayor Satterfield chose not to seek another term. He left City Hall in April 1941 with finances in order and a new municipal auditorium across the street.

Arkansas Heritage Month – Robert Hupp

HuppRobert Hupp is in his final months of his seventeenth and final season as producing artistic director of Arkansas Rep.  In recognition of all of his service and artistic excellence, in 2013 he was the Individual Artists recipient of the Governor’s Arts Awards.

During his tenure in Little Rock, Hupp has overseen continued growth and development at The Rep. Since he assumed the producing artistic director’s position in 1999, the theatre has tripled its budget (currently at $4 million annually), increased contributed income by 100%, completed a successful capital campaign, and broadened the company’s artistic and economic base through co-productions with other nonprofit theatres and partnerships with institutions of higher education and community organizations. Under Hupp’s leadership, the theatre and actor housing apartments underwent a complete renovation in 2011. The Rep also renovated a new downtown scenic construction facility and recently opened The Annex, a black box theatre and education space, in Main Street’s Creative Corridor.

Hupp’s artistic stewardship at The Rep has been marked by seasons that reflect the great diversity of the theatrical canon. Shakespeare and American classics join new and contemporary works, and seasons always include musicals or plays with music. The current season contains the regional theatre premiere of The Bridges of Madison County, a new adaptation of The Little Mermaid, as well as a new comedy, Windfall, directed by Seinfeld’s Jason Alexander. The theatre also recently produced a new musical, Because of Winn Dixie, by Duncan Sheik and Nell Benjamin. Hupp has directed 28 productions while at The Rep, including The Grapes of Wrath, God’s Man in Texas, Les Miserables, August: Osage County, and all of The Rep’s recent Shakespearean productions.

In addition to his duties at The Rep, Hupp has shown a strong commitment to serving the central Arkansas community. He has served on numerous civic committees in Little Rock, including Little Rock’s Arts and Culture Commission, the Advisory Board of the ACANSA Arts Festival, and Vision Little Rock. He has collaborated with the Arkansas Symphony Orchestra, Wildwood Park for the Arts, and the Arkansas Arts Center.  In 2012, he was named “Nonprofit Executive of the Year” at the Arkansas Business of the Year Awards, and also received the Arkansas Public Relations Society of Arkansas (PRSA) Diamond Award. Hupp has also been a panelist and on-site evaluator for the National Endowment for the Arts and has served in various capacities for the Theatre Communications Group, including a term as vice president of the Board of Directors. Hupp has taught and directed at several Arkansas colleges and universities, including Hendrix College, University of Central Arkansas, and University of Arkansas at Little Rock where he also served as the Interim Chair of the Department of Theatre in 2005.

Arkansas Heritage Month – Cliff Baker

cliffCliff Fannin Baker is one of only two people to have been recognized with two Governor’s Arts Awards. He was honored at the first awards in 1991 with an Individual Artist Award and in 1999 with the Lifetime Achievement Award.

He has nearly a half-century of work in the professional theatre.   He was the Founder of Arkansas Repertory Theatre in 1976. He previously was associated with a professional theatre at the Arkansas Arts Center in the 1960s and the Arkansas Philharmonic Theatre in the 1970s prior to his founding the Rep.

Baker has directed over 200 productions of every genre in cities as far flung as Beijing (Peking University) to Portland Center Stage, from Houston’s Alley Theatre to the Theatre of the Open Eye in New York. He has a particular passion for new plays, having directed or produced over thirty world and regional premieres.

For five years, he served as Creative Director of Wildwood Park for the Arts. When not directing, he is a corporate leadership consultant for Goss-Reid Associates in New York. Baker is a member of the Society of Stage Directors and Choreographers and the Dramatists Guild.

Baker will return to the Arkansas Rep in July to be the Interim Artistic Director while a replacement for Bob Hupp is being selected.  He will also serve as the production director for Sister Act in the Rep’s 2016-2017 season.

Arkansas Heritage Month – Jim Dailey

cna_commissioner_daileyDuring his years of public service, Little Rock Mayor Jim Dailey was a dedicated supporter of the arts. He has been involved in support of the arts prior to and after leaving office, but he was a 2005 Governor’s Arts Awards recipient in recognition of his work while in office.

Mayor Dailey’s understanding of the importance of the arts was essential to the revitalization of downtown Little Rock and the development of the River Market district. Little Rock’s arts district has become home to several art galleries and the 2nd Friday Night Art Walk and provides venues for local and regional musicians.

Other examples of Mayor Dailey’s leadership in the arts include the City of Little Rock’s support of the expansion and renovation of the Arkansas Arts Center and support of the establishment of the Kramer School Artists Cooperative, which provides residential and studio space for artists.  He was also a key player in the location of the Clinton Presidential Center in Little Rock.

The City of Little Rock doubled the number of art institutions it helps fund under Mayor Dailey’s tenure and has developed an Arts & Culture Commission to continue to integrate the arts into the daily fabric of city life. Mayor Jim Dailey has demonstrated outstanding leadership and commitment to the development of the arts community in Little Rock.

While in office, most Tuesday nights he would be a City Hall presiding over a City Board meeting. But many Monday nights he would be found at the Arkansas Arts Center taking a class a the museum school.

Since leaving office, Mayor Dailey has continued to explore art galleries and museums as he travels throughout the United States.  He also served as one of the three co-chairs for the successful campaign to renovate Robinson Center Music Hall. The building is set to reopen in November 2016.

Arkansas Heritage Month – “Little Rock” Songs

Monroe RussellThe Capital City has popped up in a variety of songs in different genres over the years.  Today we look at five notable instances.

Collin Raye’s 1994 song “Little Rock” peaked at Number 2 on the Billboard Country charts and was Number 14 for the entire year.  Found on Raye’s album Extremes, it was written by Tom Douglas.  The song centers on a man who is trying to rebuild his life after battles with alcohol have affected his marriage.

Notable lyric: “I think I’m on a roll here in Little Rock.”

 

Hayes Carll’s take on Arkansas’ capital is also known as “Little Rock.” It was his title track from the 2005 album.  It tells the tale of a man who has traveled all over the US and is excited to make it back to Little Rock. With a driving country-rock beat, it typifies Carll’s style of music which has one foot squarely in both camps as a singer-songwriter.

Notable lyric: “All of my life I’ve tried to find/ “a piece of this earth for my peace of mind.”

 

Leo Robin and Jule Styne wrote the 1949 song “Little Girl from Little Rock” for their Broadway musical Gentlemen Prefer Blondes.  Introduced by Carol Channing, it told of quintessential 1920s vamp Lorelei Lee’s rise from “the wrong side of the tracks” to Manhattan’s elite neighborhoods.  It has remained part of Channing’s repertoire in nightclubs and concerts.  In 1953, it was retooled with sanitized lyrics and made into a duet for Marilyn Monroe and Jane Russell in the film version of the musical.

Notable lyric: “Then someone broke my heart in Little Rock/and I up and left old Arkansas.”

 

Little Rock has also appeared in several “List songs” including “I’ve Been Everywhere.” Originally written with Australian place names in 1959, it was adapted to North American places in 1962 by Hank Snow. Arkansan Johnny Cash recorded it in 1996.

Little Rock appears in the second verse: “Glen Rock, Black Rock, Little Rock, Oskaloosa,”

 

Billy Joel’s 1989 “We Didn’t Start the Fire” contains three references to Little Rock. In the first section’s look at 1949, the Rodgers and Hammerstein musical South Pacific is mentioned.  With a heroine from Little Rock, this musical was the most popular show on Broadway during the 1948-1949 and 1949-1950 Broadway seasons.  The second comes in the 1953 portion with “Rockefeller” which referenced playboy Winthrop Rockefeller’s abandonment of New York City for Arkansas. He had residences in both Little Rock and on Petit Jean Mountain. The final entry came in 1957, when Joel references the Central High integration crisis with the lyric “Little Rock, Pasternak, Mickey Mantle, Kerouac, Sputnik, Chou En-Lai, Bridge on the River Kwai.”

 

Arkansas Heritage Month – SOUTH PACIFIC wins the Pulitzer Prize

SoPa Pul GazOn May 6, 1950, the Associated Press ran a story which would later be carried in the Arkansas Gazette about the Rodgers and Hammerstein musical South Pacific capturing the Pulitzer Prize in Drama.  The reason this carried such weight in Arkansas was that the musical had a connection to Little Rock.

The 1950 Pulitzer for Drama went to a musical, for only the second time in the history of the awards.  The recipient was South Pacific by Richard Rodgers, Oscar Hammerstein II and Joshua Logan.  The character was the leading lady of Nellie Forbush. She was an Navy ensign and a nurse stationed on an exotic island during World War II.  The musical was based on a Pulitzer Prize winning novel, James Michener’s Tales of the South Pacific.

In the Michener novel, Miss Forbush is not from Little Rock.  She is actually from a small town in Alabama.  The part was written for Mary Martin from Weatherford, Texas.  Rodgers, Hammerstein & Logan did not discuss why they relocated Nellie’s birthplace.

Originally the musical contained a song entitled “My Girl Back Home” in which Nellie sang of being from “Little Rock, A-R-K” while another character sang of being from “Philadelphia, P-A” and “Princeton, N-J.”  It is possible the change to Little Rock was made because it offered more lyrical possibilities, but that is only a supposition on the part of the Culture Vulture. That song did appear in the movie version in which Mitzi Gaynor played Nellie Forbush.  It was also featured in the 2008 Broadway revival, this time with Kelli O’Hara playing Nellie.

In the musical, Nellie struggles with her own prejudices. This issue of prejudice became an instance of fact meeting fiction. In 1957, a few weeks after Eisenhower sent troops into Little Rock to ensure that Central High would be desegregated, a production of South Pacific on Long Island was temporarily halted when the audience booed and yelled after Nellie mentioned she was from Little Rock.  Interestingly, the movie was released in 1958, but retained references to Little Rock. That was either a testament to the expense of re-editing it, or the fact that audience reaction had lessened.