Walking the isolated grounds of Holyrood Castle in Edinburgh, Scotland was hauntingly…eerie. I could imagine Mary Queen of Scots walking alongside us, her heart heavy with thoughts of her impending death.
Snapped this photo in the Queen’s garden at the Palace of the Holy Rood in Scotland. When visiting, Queen Elizabeth resides here.
The simple majesty of this lone tree toward the back of the garden, alongside the castle was magical.
…grand need not be grandiose…simple can be just as grand…
With Halloween just around the corner, I’m reminded of something that raised the hairs on the back of my neck. I’m in the midst of reading “Orson Welles-A Biography” by Barbara Leaming. Written with his complete cooperation, it really is “a dazzling, intimate portrait of a legend.” Never one of my favorite actors, I must admit that I’ve altered my opinion after reading 396 pages of the 630 page book. Welles was really the genius he was touted to be! Unfortunately his diverse talents overextended him physically and mentally, so that his failures were as huge as his successes, both personally and professionally. But I’ll leave that for another post.
Through a series of fortuitous events, 20-year-old, recently married Orson Welles made his New York directorial debut in the midst of this country’s Great Depression. In 1935, Hallie Flanagan, head of Vassar College’s Experimental Theatre Workshop, was appointed as national director of the Federal Theatre project. As part of FDR’s Works Progress Administration, the FT was charged with providing work for the nation’s unemployed theatrical professionals. Because Flanagan “was not a member of the Broadway commercial establishment, but an academic with a taste for experimental and regional theater,” and because, by rule, 10% of actors, musicians, playwrights and technicians “could consist of theater people who had not been receiving relief, thereby ensuring the presence of expert professional talent to counterbalance the inevitable amateurs who found working in the theater more appealing than a government construction project,” Orson found himself among this elite class of professionals.
Charged with mounting a classical production, Welles, upon his wife Virginia’s suggestion, chose to stage “an all-black Macbeth by transposing its action from Scotland to Haiti, a startlingly new setting with important artistic advantages, not the least of them the rich possibilities for music and decor. … Preferring not to anchor the action too firmly in Haiti he had in mind a mythic island more like the fantasy setting of The Tempest than any actual place. But as Orson saw it, there was a significant gain in realism as well: by alluding to Haitian voodooism the production could make credible the role of the witches that modern audiences of Macbeth often have trouble accepting.”
At Harlem’s Lafayette Theatre, Orson’s Macbeth opened to a mixture of gang members, respectable black bourgeoisie, and Manhattan’s chic downtown crowd. When the curtain rose on “the intricate jungle settings, piquant costumes, and sensuous lighting,” the audience broke into “wild applause and gasps of pleasure.” And the critics’ reviews were just as ebullient. Brooks Atkinson of The New York Times wrote with enthusiasm ” ‘As an experiment in Afro-American showmanship the Macbeth fairly rocked the Lafayette Theatre, …If it is witches you want, Harlem knows how to overwhelm you with their fury and phantom splendor.’ ” The New York Daily News’ Burns Mantle hailed Macbeth as ” ‘a spectacular theatre experience. …the most colorful, certainly the most startling, of any performance that gory tragedy has ever been given on this continent.’ ”
In contrast, Percy Hammond of the Herald Tribune wrote ” ‘What surprised me last night was the inability of so melodious a race to sing the music of Shakespeare,…The actors sounded the notes with a muffled timidity that was often unintelligible. They seemed to be afraid of the Bard, though they were playing him on their home grounds.’ ” One of the African drummers, who accompanied the ranting of the three witches, made a voodoo doll in the critic’s likeness, hanging it in effigy and sticking it with pins. When told by the lighting director that Hammond was entitled to his opinion, the African replied ” ‘He’s bad man.’ ” Humoring the man over beer and pretzels at a local bar, Orson agreed to his drinking companion’s decision to put a curse on the critic.
“The African made one stipulation: the responsibility for Hammond’s death would be Orson’s alone. As a pretzel disappeared into his mouth, Orson nodded agreement. The rest of the company, Orson among them, watched with amusement as the voodoo practitioners blessed their drums before pounding on them backstage for several days. He barely gave it another thought until, shortly thereafter, he gasped to learn that Percy Hammond had just died.”
One of these times I’ll tell you about my “big-aunt,” who was a “Kahuna,” a Hawaiian witch doctor.
makes you wonder…hugmamma.
On a recent trip to California’s Orange County, to see our daughter perform as part of the National Choreographer’s Initiative, my husband granted my only wish for my 61st birthday, which occurred while we were there. We visited Forest Lawn Memorial Park in Glendale. I wanted to see Michael Jackson’s burial site, but also glimpse where stars of Hollywood’s “Golden Age” were buried. I’d picked up a thick paperback from Barnes and Noble, which was like an encyclopedic “map” of historical celebrity sites, hangouts, studios, homes. Hollywood: The Movie lover’s Guide – The Ultimate Insider Tour of Movie L.A. by Richard Alleman, even detailed the specific locations where the famous were entombed. Book in hand we went on our very own scavenger hunt, seeking out dead people.
Pulling through the enormous wrought iron gates of Forest Lawn Memorial Park, we were taken aback by the serenity that greeted us. Yes it’s a resting place for the deceased, but it looked like a park with acres of lush, green grass. It seemed like an oasis in the midst of Los Angeles, for right outside the gates were strip malls as far as the eye could see in all directions. Just inside the entrance was a Tudor style building which lodged a combination floral/gift shop, as well as an information desk and restrooms. From what little I saw during MJ’s private burial ceremony on TV, I expected more security and less warmth from staff members. To my amazement there were no security guards patrolling the compound, and the few workers with whom I spoke, were pleasant and forthcoming with answers to my questions.
Driving on in our rental car, we meandered along tree-lined roads that wound their way through the verdant landscape. I could not stop “oohing” and “aahing.” Along the way we saw a few cars and other tourists, but luckily nothing compared to the likes of Universal Studios and Disneyland, which we vowed not to go near. In his book, Alleman describes Forest Lawn where “there are no rows of ordinary tombstones. Instead, there are acres of gardens and courts, with names such as Slumberland, Lullabyland, Everlasting Love, Inspiration Slope, and Babyland, where flat stone markers scarcely alter the smooth contours of the green lawn. There is a swan lake. There are two mausoleums—one of which resembles a great sprawling Medieval abbey. There are churches that are full-sized reproductions of churches in England and Scotland. Not only used for funerals, these are sometimes the scenes of weddings. In 1940, for example, Ronald Reagan married Jane Wyman in Forest Lawn’s Wee Kirk of the Heather.”
After visiting a couple of the churches and a museum showing works by artist Paul Gauguin, we finally went on the hunt for movie stars, albeit dead ones. At the Court of Freedom, we viewed a 20-by-30 foot mosaic replicating John Trumbull’s famous painting, “The Signing of the Declaration of Independence.” In the nearby Freedom Mausoleum I spied my first celebrity crypts, those of Alan Ladd, Nat King Cole, Jeanette MacDonald and Clara Bow. On the lower level, Gummo and Chico Marx were laid to rest, as was Larry Fine, one of the Three Stooges. Back outside I went in search of Walt Disney’s resting place without success. According to Alleman, “Whether Disney is here or not (and it appears highly likely that he is at Forest Lawn), it seems fitting that he should be remembered in a place that has the same fantasy/reality quality of the great park that his own dreams created: Disneyland.”
The “piece de resistance,” Jackson’s burial site was off-limits to the viewing public. Set apart from the main section of the Great Mausoleum, his body rests in an annex with a guard posted outside the wrought-iron gate. Keeping watch with him the day of my visit, were 3 women in their late 30’s, early 40’s. They seemed contemporary counterparts of the women who watched and prayed on the ground outside Jesus’ tomb. Their eyes hid behind dark glasses. One had brought sunflowers, placing them against a column at the corner of the building where they would go undetected by the guard. I inadvertently drew attention to them when I asked if I could snap a picture, knowing they were MJ’s favorite flowers. Flummoxed, the guard nodded his assent, but added he would need to remove them to another area where well-wishers left keepsakes in memory of the entertainer. I think the woman who brought the flowers was upset that I had pointed them out. Turning on my heel, I heard her plead to have them remain put.
Inside the Mausoleum we were directed to a viewing of the gigantic stained-glass version of The Last Supper, “which is unveiled several times a day at regular intervals complete with special lighting effects, music, and ‘dramatic narration.’” In the same room are reproductions of Michelangelo’s Pieta, Madonna in Bruges, Medici Madonna and Child among others. With a handful or more in the audience, I listened to the beginning of the narration. Antsy to hunt down the stars, I quietly stepped away into the nearby Court of Honor. Unfortunately a metal link chain kept me from moving through the hall for a better view of the names inscribed on the bronze plaques, vertically lining the walls on either side.
Scared that someone would come along, particularly the woman standing at the entrance of the building, I paced the length of the chain struggling to make out names as far as I could, squinting my eyes. I made a preliminary attempt to go around the chain but thought better of it, and returned to where I’d stood. Extremely frustrated to be so close, and yet so far, I tiptoed back to peek at the audience still seated on the other side of the wall from where I was. Hurrying back I sucked in my breath, passed around the chain and raced with determination through the narrow hall, glancing furiously at all the bronze plaques. At the other end was a smaller, separate room where “Gone with the Wind’s” famous director David O’Selznick was buried. Slowly retracing my steps I almost leapt out of my skin with joy, for in front of me were the names of Clark Gable and his wife Carole Lombard. I was in Heaven, absolute Heaven! I raced back out to where I’d left my husband, heart pounding, grinning from ear to ear. He, of course, was not surprised at my antics, but playfully scolded me nonetheless.
As we all moved to leave the building I stopped at the nearby Sanctuary of Benediction where I could see, leaning over the chain this time, the crypts of Red Skelton and Sid Grauman (of Grauman’s Chinese Theatre). I was unable to see around a wall to the crypts of Jean Harlow and others, who were mentioned in Alleman’s book. During the few hours I was at Forest Lawn, I felt I’d made a special trip to Heaven to meet some of my favorite Hollywood movie stars.
Except for the traffic, I had a “maavalous” birthday,“daahhling”…hugmamma.