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Free for All is an irresistible behind-the-scenes look at one of America’s most beloved and important cultural institutions.
Under the inspired leadership of founder Joseph Papp, the Public Theater and the New York Shakespeare Festival brought revolutionary performances to the public for decades. This compulsively readable history of those years—much of it told in Papp’s own words—is fascinating, ranging from a dramatic early showdown with Robert Moses over keeping Shakespeare in the Park free to the launching of such landmark productions as Hair and A Chorus Line. To bring the story to life, film critic Kenneth Turan interviewed some 160 luminaries—including George C. Scott, Meryl Streep, Mike Nichols, Kevin Kline, James Earl Jones, David Rabe, Jerry Stiller, Tommy Lee Jones, and Wallace Shawn—and masterfully weaves their voices into a dizzyingly rich tale of creativity, conflict, and achievement.
- Sales Rank: #804317 in Books
- Published on: 2010-11-02
- Released on: 2010-11-02
- Original language: English
- Number of items: 1
- Dimensions: 8.00" h x 1.60" w x 5.30" l, 1.31 pounds
- Binding: Paperback
- 642 pages
Amazon.com Review
Kenneth Turan Introduces Free for All
More than twenty-three years ago, I signed a contract with producer Joseph Papp to work on a definitive oral history of the New York Shakespeare Festival/Public Theater, the most significant not-for-profit theater group in the country. Joe had made theater in America both accessible and essential. He'd produced landmark plays like "Hair," "A Chorus Line," "That Championship Season," "The Normal Heart," and "Short Eyes," plays that people had to pay attention to because they transcended their moment in time. Papp had been essential in starting the careers of actors like George C. Scott, Meryl Streep, Raul Julia, Kevin Kline, James Earl Jones, and Martin Sheen. He was larger than life just by being himself.
A story like this, filled with alive, articulate, not to say theatrical people, turned out to be especially suited to the oral history format and, over the course of the next 18 months, I interviewed close to 160 people and turned out what I still consider the most significant and compelling work I've done in more than 40 years of journalism. The story of why something with so much to recommend it would take so many years to appear is in some ways as dramatic and surprising as the book itself.
Working with Joe on a project of this scope was enormously exciting, but I also from time to time feared that, as had happened with others he'd worked closely with, a rift would develop between us. And once he read the manuscript, that is what happened, with a vengeance. Disturbed and troubled, Joe refused to allow the book to be published.
Needless to say, this was devastating. The blow was so severe I had difficulty talking about what transpired for weeks, months, even years after it happened. Finally, perhaps a dozen years after the fact, I wrote a letter to Gail Merrifield Papp, Joe's widow and collaborator and a woman whose clear vision and integrity I had always admired and respected. This project, I said, was too important to die. Was there not some way we could bring it back to life? Gail thought there was and we began to talk.
Eventually I went to the MacDowell Colony in New Hampshire where, as I worked on a new draft, I increasingly felt the powerful responsibility I had to the people who had talked to me at such length. All alone in the woods, I sometimes found myself literally in tears at the thought of the people, Joe first among them, who had been painfully honest about the most significant events of their lives and counted on me to relay their last testament to the world. For roughly 40 of the voices in this book, one out of every four, has died in the two decades since I did the interviewing. No one else will be hearing their stories from their lips, and to read this book is to reenter, as if by magic, a moment in history ripe for rediscovery and amazement. --Kenneth Turan
(Photo © Patricia Williams)
From Publishers Weekly
Starred Review. Turan, now the film critic for the Los Angeles Times, was approached by theatrical producer Joe Papp in the 1980s to develop an oral history of the New York Shakespeare Festival and the Public Theater, then blocked the book from publication after reading an early draft. Years later, we can understand some of Papp's reluctance: former colleagues speak frankly about his failure to share credit for success with others, and why the effort to move his radical style of theater into Lincoln Center met with failure. Papp's personality can be prickly, to say the least; one of his first reactions to a surprise birthday party thrown by his staff was to wonder what else they could be doing behind his back. But stories like this, or accounts of the backstage turbulence on plays like That Championship Season or True West, never overshadow Papp's creative legacy and his engagement with New York City's diverse society. As dozens of actors, from the late George C. Scott and Anthony Quinn to Meryl Streep and Kevin Kline, share their memories, it's easy to see how the constantly hustling Papp became larger than life just by being himself. (Nov. 3)
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.
Review
"A heady stew of gossip and tumult. . . . A rowdy oral history." —The New York Times
"[An] important, colorful, capacious book . . . rich, rewarding . . . immensely pleasurable." —The New York Times Book Review
“Eminently readable . . . [with] a highly theatrical momentum.” —The New Yorker
“Free for All is a powerful, in-depth, and deeply moving oral history of a man (Joseph Papp) who created an extraordinary place (the Public Theatre) during an unforgettable era in American theatrical history. It was truly the best of times, and the book returned me with awe to a period when a passionate mentor made all the difference in my life and career.” —Martin Sheen
“Anyone interested in Joe Papp, who played a legendary role in New York theater, or in his remarkable productions at the Public Theater, in Central Park, at Lincoln Center, or on Broadway, must read this long-suppressed, almost lost book. And if you have no interest in any of these things, the personalities that leap from its pages, their vividness and (usually) unstoppable charm, make it a must-read all by themselves!” —John Rockwell, former critic for the New York Times
"The theater book of the season ... a juicy, exciting read. It's history as intimate storytelling, and a must-have for any theater lover." —Charles Isherwood, The New York Times
Most helpful customer reviews
0 of 0 people found the following review helpful.
What a great read!
By Ellen L.
What an amazing man! What an amazing book! Everything I hoped it would be and more.
6 of 6 people found the following review helpful.
Truly, The Greatest (Theater) Story Ever Told
By Timothy Childs
"Free for ALL, Joe Papp, the Public, and the Greatest Theater Story Ever Told," by Kenneth Turan & Joseph Papp, is my favorite of the hundred or so theater books I've read over the past twenty years. This book is the best primer I've seen on how theater truly is created, and how it truly works, both backstage and in the producer's office.
The theatrical process doesn't always work smoothly or happily, but somehow Papp held his productions together, and the stories of how he did that are wonderful indeed. In fact, my biggest problem in writing this review was that every time I'd pick up the book again to find a quote or check a fact, I'd start rereading the stories I'd read a couple of days before.
I'm not sure I've ever read a book that was entirely composed of quotes, but the format really works, giving immediacy to each event. Often the reader has a Rashomon experience, as two or more people recount the same meeting or moment in entirely different ways. And the deeply personal feelings expressed by those interviewed make for wonderful insights into them, and into Joe Papp.
When producing, Papp wanted his audiences to see and experience parts of American life they might otherwise avoid: the heartlessness of the Vietnam War (Pavlo Hummel; Sticks and Bones); child molesters in prison (Short Eyes); mastectomies (Mert & Phil); street kids (Runaways); the outbreak of AIDS (The Normal Heart); and the basic hypocrisy and blindness of society (Aunt Dan and Lemon).
He was passionate, infuriating, shrewd, relentless, soft-hearted (at times), ruthless (at times), mercurial, unstoppable, idealistic, pragmatic, often impossible, and brilliant. He left an undeniable mark on the face of American theater that, I hope, will not soon fade away.
If you love the theater, you must read "Free For All". I guarantee you won't regret it.
[...].
3 of 3 people found the following review helpful.
The Greatest (Theater) Story Ever Told
By Timothy Childs
The Greatest (Theater) Story Ever Told
Joe [Papp] has been the entrepreneur par excellence, the voodoo man, the magic man, the medicine man who went and found all the people, who played the drum and brought all the folks in from the wilderness and gave them a fire to gather around.....LINDA HUNT (actress, Aunt Dan and Lemon).
If a man can love a man as a brother, I love Joe. But he has complications on top of complications in him; he has the same dark sides we all have....[and] he's experimenting all the time. Just when you think he's going in one direction, he's ready to change horses. And that can hurt people....CHARLES DURNING (actor, That Championship Season).
"Free for ALL, Joe Papp, the Public, and the Greatest Theater Story Ever Told," by Kenneth Turan & Joseph Papp, is my favorite of the hundred or so theater books - I'm a Broadway producer, and blog at [...] - I've read over the past twenty years. This book is the best primer I've seen on how theater truly is created, and how it truly works, both backstage and in the producer's office.
The theatrical process doesn't always work smoothly or happily, as many of us know, but somehow Papp held his productions together, and the stories of how he did that are wonderful indeed.
In fact, my biggest problem in writing this blog was that every time I'd pick up the book again to find a quote or check a fact, I'd start rereading the stories I'd read a couple of days before.
"Free For All" has a curious history: 23 years ago, Turan and Papp contracted to make an oral biography from interviews with Papp and nearly 200 of the people who had been important in his theatrical life.
But when Papp read the first draft, he refused to allow the book to be published. By then his son had been diagnosed with AIDS, and he, himself, with prostate cancer. Turan felt Papp was also upset over some of the comments about him that had come out of the interviews. Turan was stuck with a long manuscript in a box, until years later he was finally able to strike a deal with Papp's widow.
I'm not sure I've ever read a book that was entirely composed of quotes, but the format really works, giving immediacy to each event. Often the reader has a Rashomon experience, as two or more people recount the same meeting or moment in entirely different ways. And the deeply personal feelings expressed by those interviewed make for wonderful insights into them, and into Joe Papp.
My ancestral roots are in Eastern Europe, and I'm very conscious of that, conscious that I'm in the tradition of the Holocaust....I came from a certain kind of poverty level, which was really below that of most of New York's Jews. I always felt that distinction. I've always felt slightly removed from, for instance, the world of Broadway and the Shuberts. I can talk to them, I'll walk with them, but, as Shylock would say, I won't eat with them....JOSEPH PAPP
Briefly stated: Joseph Papp was born in 1921 in Brooklyn, had no money, started producing plays in the Navy, then in basements, toured minimal Shakespearian productions throughout the five boroughs of Manhattan, established Shakespeare in the Park, established the Public Theater, took over and failed at running Lincoln Center Theater, and died in 1991, at the age of 70.
At one point, he was producing for a total of ten New York stages.
Papp sent many productions to Broadway, including Hair, That Championship Season, A Chorus Line, and The Pirates of Penzance. He gave first big breaks to many actors - Colleen Dewhurst, George C. Scott, James Earl Jones, and Meryl Streep included; and to many playwrights - David Rabe, Jason Miller, and Wallace Shawn included; and though Papp didn't give William Shakespeare his first big break, he sure did give him one hell of a boost.
Joseph Papp produced some huge hits that were fun to watch, and many more plays that were difficult to watch.
He wanted his audiences to see and experience parts of American life they might otherwise avoid: the heartlessness of the Vietnam War (Pavlo Hummel; Sticks and Bones); child molesters in prison (Short Eyes); mastectomies (Mert & Phil); street kids (Runaways); the outbreak of AIDS (The Normal Heart); and the basic hypocrisy and blindness of society (Aunt Dan and Lemon).
I told the cast, "Once in every ten years or so, a play comes along that fulfills my original idea of what role theater must play in society,"....JOSEPH PAPP [on The Normal Heart].
I was enjoying myself watching "Aunt Dan and Lemon" and at some point somebody got up and stalked out, hitting his heels, and afterwards I asked Joe "God, what was that about?" And he said, "I always like it better if it gets them mad....LINDA RONSTADT (singer/actress, The Pirates of Penzance).
He was passionate, infuriating, shrewd, relentless, soft-hearted (at times), ruthless (at times), mercurial, unstoppable, idealistic, pragmatic, often impossible, brilliant.
"Free For All" contains too many great stories from which to choose, so I'll close with only two, perhaps my favorites:
In 1956, a totally broke Papp was producing THE TAMING OF THE SHREW, for no money, at the East River Park Amphitheater. His Company was so broke that if he didn't get the Chief Drama Critic for the Times, Brooks Atkinson, to come to this unlikely theater and review the show, he`d have to close down his operation.
So he went to the Times' offices, plopped himself down in the lobby, and waited hours for Atkinson to turn up. Determination. Perseverance. Finally, Atkinson arrived, and Papp insisted on their having a meeting. Cojones.
Somehow he convinced Atkinson - Persuasiveness - to come to the show that night, but Atkinson insisted Papp had to drive him there. So Papp picked up the immaculately-dressed critic at the Harvard Club in the only vehicle he had, an old, dirty two-ton truck, and took his chosen reviewer to his Off-Off-Off-Broadway play in its flea-bitten Lower East Side theater.
Atkinson gave the show a rave, and Joe Papp could go on producing.
And, three years later, the immensely powerful Robert Moses, who counted Parks Commissioner among his four City positions, decided the audiences for Papp's Shakespeare in the Park should have to pay admissions, some of which would go to the City. This was against everything Papp stood for, so he took the immensely powerful Robert Moses to court, and - against all odds - won the battle.
There was a moment when I picked up the New York Times and saw that Joe had literally beat the government. He had no name, no political push, nothing. I know a lot of people who have power, but he's probably the only person I know who has real power, because he had it before he had the trimmings....COLLEEN DEWHURST (actress, The Taming of the Shrew).
If you've read this far, you must love the theater, and if you love the theater, you must read "Free For All".
I guarantee you won't regret it.
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