Last week, ES Updates reported on a Daily Mail story concerning a group of candid photos taken by Monroe Sixer Frieda Hull, showing Marilyn during test shots for The Misfits, and the rather spurious claim by Las Vegas croupier Tony Michaels, a former acquaintance of the late Ms Hull who purchased the photos at Julien’s Auctions last November, that Marilyn was carrying Yves Montand’s child.
As I explained last week, no pregnancy at this time has ever been noted, and there are numerous similar photos of Marilyn with a slightly prominent tummy over the years. Therefore, there is no reason to believe she was pregnant. At the time, I wondered whether this would qualify as the silliest Marilyn-related story of the year – but only days later, the US-based National Enquirer went one step further, claiming John F. Kennedy was the father, and that Marilyn had an abortion (presumably at his behest.)
Many moons ago, I would buy the Enquirer for a cheap laugh, fully aware that most of their stories were probably untrue. In this age of viral news, however, the damage done by unfounded gossip cannot be so easily dismissed.
The front cover image depicting Marilyn with Kennedy appears to be a digital manipulation. There is only one verified image showing them together, after his birthday gala in May 1962. There is no evidence of the pair having met before late 1961 or early ’62, and Frieda Hull’s photos of Marilyn were taken in July 1960.
Could it be possible that the Enquirer‘seditors decided that Montand was not quite famous enough for their readership, and reverted to the more familiar rumours about Marilyn and the former president instead? Their rather crude red circling of Marilyn’s tummy shows how innocuous her alleged ‘baby bump’ really was.
Whatever the truth of Marilyn’s relationship with John F. Kennedy, this story is plainly absurd. While both ‘victims’ are long dead, their reputations are still being sullied today. What makes this all the more sad, for those who care, is the knowledge that Marilyn desperately wanted children but, after several miscarriages and failed operations to relieve her chronic endometriosis, would never have a baby of her own.
A series of gorgeous colour photos taken by Monroe Sixer Frieda Hull, whose incredible archive of candid snapshots were auctioned at Julien’s in November 2016, were published in yesterday’s Daily Mail. The images show Marilyn arriving for test shots for The Misfits in New York in July 1960.
Unfortunately – and all too predictably – the pictures are accompanied by a salacious and frankly unbelievable story. Marilyn’s belly is rather prominent in the photos, and Tony Michaels – a Las Vegas casino croupier who befriended the late Frieda Hull, and purchased the images at auction – claims that Marilyn was secretly pregnant at the time, by her Let’s Make Love co-star Yves Montand.
That Marilyn and Yves had an affair is not in doubt, and of course they were both married to other people. However, a pregnancy at this time has never been mentioned, and Marilyn’s daily routine is extremely well-documented. To casual observers her protruding tummy may look like a baby bump, but seasoned fans have noticed many similar images of her over the years.
Furthermore, Marilyn was a very private person and it would be out of character for her to have confided in a teenage fan. Frieda Hull never sought publicity and it seems all too convenient that such a story would emerge only after her death. It has also been debunked by Scott Fortner, who helped to catalogue the recent Julien’s sale in which these photos were featured, on his MM Collection blog; and by Immortal Marilyn.
Could this be an early frontrunner for the most ridiculous Marilyn headline of 2017? It is interesting to note that the Daily Mail was recently blacklisted by Wikipedia for ‘poor fact checking, sensationalism and flat-out fabrication.’
That iconic scene from The Seven Year Itch – and the dress worn by Marilyn as she stood over the subway grate – is constantly being referenced in popular culture. One recent example is this magazine ad for the Marilyn-themed Sexy Hair brand.
On Immortal Marilyn this week, Marijane Gray unravels the mystery of what happened to that dress, designed by Marilyn’s regular costumer, Travilla.
“The white pleated halter dress that Marilyn Monroe wore in The Seven Year Itch is always described in superlatives: most iconic, most recognized, most recreated, most expensive. It can also be called the most mysterious: how many copies of the dress were there? Is there another one in existence, hidden away all these years? Did Marilyn herself own a copy of the dress, and if so, where did it end up? And perhaps most intriguing: was a copy of the dress really stolen back in 1993?”
Also this week, Keena Al-Wahaidi reviews the movie that started it all for The Medium, the student magazine for the University of Toronto. (Incidentally, the campus is based at Mississauga, which is also home to a skyscraper complex whose curvaceous design has earned the nickname The Marilyn Monroe Towers.)
“The most notable aspect of The Girl is her obliviousness towards her own allure …. The most dubious fixture of this film is the lack of identity in Monroe’s character. The reason for her ambiguity is because she’s nameless … However, Monroe’s lack of identity contributes to the mystery of the film’s plot. Regardless of the immorality of the situation, we find ourselves rooting for Richard and The Girl. Despite the futility of their relationship, or perhaps owing to it, their fling is undeniably enthralling.”
Debbie Reynolds, star of Singin’ in the Rain and other classic Hollywood musicals, has died after suffering a stroke, aged 84 – just one day after her famous daughter, Carrie Fisher, also passed away.
She was born Mary Frances Reynolds in El Paso, Texas in 1932. As a child she moved with her family to Los Angeles, and was crowned Miss Burbank in 1948. She began her career at Warner Brothers, where she was renamed Debbie.
In Three Little Words (1950), a nostalgic musical about the heyday of Tin Pan Alley, she played Helen Kane, the singer famed for her 1928 hit, ‘I Wanna Be Loved By You‘ (later revived by Marilyn Monroe in Some Like It Hot.)
After moving to MGM, Debbie’s big break came when she was cast in her first dancing role, as chorus girl Kathy Selden in Singin’ in the Rain (1952), recently named as the all-time Greatest Movie Musical (and fifth-greatest movie overall) by the AFI. She went on to star in Frank Tashlin’s Susan Slept Here (1954), and with Frank Sinatra in The Tender Trap (1955.)
In 1956, she played a bride-to-be in The Catered Affair. That year, her marriage to singer Eddie Fisher was feted by Hollywood’s fan magazines as the dawn of a new, all-American golden couple. They were swiftly paired in Bundle of Joy, with Debbie playing a shopgirl who takes in an abandoned baby.
Their daughter Carrie was born in 1956, followed by son Todd in 1958. He was named after Eddie’s mentor, theatrical impresario Mike Todd, who died in a plane crash soon after. The Fishers’ seemingly idyllic life was shattered in 1959, when Eddie left Debbie for Mike Todd’s widow, Elizabeth Taylor. The scandal rocked Hollywood, although the two women resumed their friendship after Taylor divorced Fisher a few years later. Debbie married the millionaire businessman, Harry Karl, in 1960.
Debbie was the best-selling female singer of 1957, thanks to her hugely popular theme from Tammy. She later released an album, and went on to appear in Henry Hathaway’s How the West Was Won (1962), and opposite Tony Curtis in Goodbye Charlie (1964), in a role first offered to Marilyn Monroe.
In later years, Debbie would claim that evangelist Billy Graham approached her in 1962, after experiencing a premonition that Marilyn’s life was in danger. As Debbie did not know Marilyn well, she instead contacted a mutual friend, hairdresser Sydney Guilaroff, who allegedly spoke with Marilyn by telephone just hours before her death.
“She was a gentle, childlike girl who was always looking for that white knight on the white horse,” Debbie said of Marilyn, adding, “And why not? What sex symbol is happy?” Debbie also claimed that they attended the same church, although no further details have been uncovered.
Throughout the 1960s, Debbie played a three-month residency in Las Vegas each year. Her performance in The Unsinkable Molly Brown (1964) earned her an Oscar nomination. Her second marriage ended in 1973. Four years later, her daughter Carrie Fisher found fame In her own right as Princess Leia in Star Wars.
Carrie would later become an acclaimed author. Postcards From the Edge, a novel about her close, if occasionally fractious relationship with her celebrated mother, was filmed by Mike Nichols in 1990, with Meryl Streep and Shirley MacLaine in the leading roles. Todd Fisher has also worked extensively in film, as well as assisting his mother with her business ventures.
The Debbie Reynolds Dance Studio opened in Los Angeles in 1979, and is still thriving. Her third marriage, to real estate developer Richard Hamlett, ended in 1996. She starred in several Broadway musicals and appeared in numerous television shows, including The Love Boat, Hotel, The Golden Girls, Roseanne, and Will & Grace. A former Girl Scout leader, she has also worked tirelessly for AIDS and mental health charities.
Debbie played herself in The Bodyguard (1992), and was reunited with Elizabeth Taylor for a 2001 TV movie, These Old Broads. One of her final roles was as Liberace’s mother in Behind the Candelabra (2013.) Her memoir, the aptly-titled Unsinkable, was published in 2015; and a new documentary, Bright Lights: Starring Carrie Fisher and Debbie Reynolds, premiered at Cannes in 2016, and has since been acquired by HBO.
Debbie Reynolds will also be remembered fondly for her efforts to preserve the legacy of Hollywood’s golden age, which began when she purchased costumes from classic films (including many made for Marilyn) at an MGM auction in 1970. Her dream of opening a movie museum was sadly never realised, and in 2011, she relinquished her collection.
Among the many Marilyn-related items sold in a two-part event at Profiles in History was the cream silk halter-dress designed by Travilla, and worn by Marilyn as she stood over a subway grate in an iconic scene from The Seven Year Itch. The dress sold for $4.6 million, a sum surpassed only by the sale of Marilyn’s ‘Happy Birthday Mr President’ dress at Julien’s last month for $4.8 million.
Although the buyer was not named, the Seven Year Itch dress is rumoured to have been purchased by Authentic Brands Group (ABG), the Canadian company which is the licensing arm of Marilyn’s estate.
Zsa Zsa Gabor, whose flamboyant lifestyle and many husbands made headlines for nearly eighty years, has died of a heart attack at her home in Bel Air, aged 99.
The second of three daughters, Sári Gábor was born in Budapest on February 6, 1917 (although she later claimed the year was 1928.) She made her theatrical debut in a Viennese operetta at seventeen, and was crowned ‘Miss Hungary’ two years later. Her first marriage, at twenty, was to politician Burhan Asaf Belge.
In 1942 she married the American hotelier, Conrad Hilton. During their five-year marriage she gave birth to a daughter, Francesca, and co-wrote an autobiographical novel, Every Man For Himself. In 1949 she rejected the lead role in a film adaptation of Lady Chatterley’s Lover, and married the British actor, George Sanders.
In 1950, Sanders was cast as the acerbic theatre critic Addison DeWitt in Joseph L. Mankiewicz’s classic Broadway satire, All About Eve. Among his illustrious co-stars was Marilyn Monroe, as a beautiful young starlet who accompanies DeWitt to a party hosted by ageing star Margo Channing (played by Bette Davis.)
In her 1954 memoir, My Story, Marilyn remembered being seated next to Sanders during lunch at the studio, when a waiter called him to the telephone. On his return, a pale, nervous Sanders quickly paid for his meal and left. That afternoon, his stand-in asked Marilyn to keep her distance.
“I turned red at being insulted like this but I suddenly realised what had happened,” she wrote. “Mr Sanders’ wife, Zsa Zsa Gabor, obviously had a spy on the set, and this spy had flashed the news to her that he was sitting at a table with me, and Miss Gabor had telephoned him immediately and given him a full list of instructions.”
But Zsa Zsa’s jealousy was soon reignited at a Hollywood party. “George went straight over to say hello to Marilyn, but Zsa Zsa got no farther than the door,” photographer Anthony Beauchamp recalled in his autobiography, Focus on Fame. “She too had spotted Miss Monroe, and she turned on me like an infuriated Persian kitten. In a voice that echoed across the room, and with the well-known Gabor intonations, she exploded in indignation: ‘How can you ‘ave this woman in your ‘ouse, I will not stay in the room wis her!’ Nor did she. Zsa Zsa when she gets going is quite powerful – in lungs, accent and gesture.”
“Poor Marilyn was sitting quietly in a corner, making trouble for no one except perhaps for half a dozen men and their wives,” Beauchamp added wryly. “Zsa Zsa swept into a bedroom closely followed by her mother where they sat it out until George was ready to go home.”
Zsa Zsa made her movie debut in the 1952 musical, Lovely To Look At. Her next film, We’re Not Married!, was an anthology about a justice of the peace who accidentally marries several couples on Christmas Eve, two days before his license becomes valid. Marilyn starred as a beauty queen in one episode, and Zsa Zsa played the gold-digging bride of Louis Calhern in another. (Back in 1950, Marilyn had played Calhern’s mistress in The Asphalt Jungle.)
In November 1952, Look magazine further exposed what Marilyn called “the one-sided Gabor feud” by publishing ‘What’s Wrong With American Men?’, an article penned by Zsa Zsa, with marginal notes by Marilyn highlighting their very different attitudes towards the opposite sex (click on the photos below to enlarge.)
Zsa Zsa went on to play roles in Moulin Rouge, The Story of Three Loves and Lilli. After she divorced Sanders in 1954, he went on to marry her sister, Eva. Nonetheless, Zsa Zsa would often describe him as the love of her life.
In the late 1950s, she starred in two cult B-films (The Girl in the Kremlin and Queen of Outer Space), as well as taking in a cameo role in Orson Welles’ masterpiece, Touch of Evil. She continued working in the theatre and was regularly seen on television.
Her sixth marriage was to Barbie doll designer Jack Ryan, and her eighth (to a Mexican actor) was annulled after just one day. In 1986, she joined the ranks of royalty by marrying Frédéric Prinz von Anhalt, a German-American entrepreneur who had paid Princess Marie Auguste of Anhalt to adopt him six years earlier.
In 1989, Zsa Zsa was arrested for slapping a Beverly Hills policeman after he stopped her in her car for a traffic violation. She later recreated the incident in one of her last films, The Naked Gun 2½: The Smell of Fear (1991.)
“Marilyn was a very dull girl,” Zsa Zsa told Playboy (asquotedin The Unabridged Marilyn, 1987.) “She thought that if a man who takes her out for dinner doesn’t sleep with her that night – something’s wrong with her.” She went on to claim that she and Sanders had once counted four men visiting Marilyn’s hotel room in one evening during filming of All About Eve, a tale that is probably apocryphal. “That’s a terrible thing to say about somebody whom the whole country admires,” she admitted.
By 2011, Zsa Zsa had mellowed considerably. “In the beginning I didn’t like her because she was flirting with my husband,” she said, while opening a trunk owned by Marilyn during a fan contest at Planet Hollywood. “We had lunch and we talked it over, and she was very nice and she never flirted with him again.”
Zsa Zsa’s final years were marred by ill-health, and legal and financial problems. When her estranged daughter Francesca died in 2015, Zsa Zsa was too frail to hear the news. She is survived by her last husband, with whom she lived for thirty years.
A vintage room-key from the Homestead Inn in New Milford, Connecticut, where Marilyn is said to have stayed during her courtship with Arthur Miller, was sold for $131 on Ebay last week, as Barry Lytton reports for the Danbury News-Times.
“‘We just bought all the keys because people like old hotel keys,”’ said Loretta Kretchko, who co-runs Bob Kretchko Antiques with her husband, Bob. ‘We weren’t thinking Marilyn.’
In 1956, Monroe stayed in the inn while she was dating playwright Arthur Miller, who lived in Roxbury at the time. The two later married.
The Kretchkos purchased the keys two years ago, right before a new owner renovated the inn, Loretta said, and they planned on selling them. Many of the rooms had several sets, which was great for the Kretchkos — more old keys to sell, she said.
‘But this was the only No. 22 key,’ Loretta said. ‘(Monroe) always stayed in 22.’
The Homestead Inn has had its share of famous guests over the years, including Joseph and Rose Kennedy, who stayed in New Milford while their future-president son, John, was an eighth-grader at the Canterbury School.”
Neil Sean is a British entertainment and royalty pundit for broadcast media in the UK And USA. He is also the author of three books: How to Live Like a Celebrity For Free (2012); Live at the London Palladium (2014); and The Downing Street Cats (2016.)
Co-authored with Michael Dias, he has now published I Met Marilyn, a collection of interviews with stars who knew and worked with MM. These include Mickey Rooney, Bette Davis, Celeste Holm, Jane Russell, Lauren Bacall, Johnnie Ray, Ethel Merman, Jack Cardiff, Sir Laurence Olivier, Jack Lemmon, Tony Curtis, George Cukor and Cyd Charisse; and other celebrity acquaintances, such as Jerry Lewis, Eartha Kitt, Andy Williams, Sandra Howard, Debbie Reynolds, Eddie Fisher, James Garner, Rock Hudson, Charlton Heston, Ricci Martin (Dean’s son), Buddy Greco, and Frank Sinatra Jr.
Mr Sean clearly has lengthy experience in the show-business world, with some interviews dating back to the late 1970s (and of course, most of his interviewees are now deceased.) His media profile has garnered coverage for I Met Marilyn in Scotland’s Weekly News and Sunday Post. He explains that the transcripts were made from his own notes and tape recordings. Unfortunately, the book is filled with run-on sentences, and punctuation so erratic that it’s often hard to distinguish between his own observations, and quotations from others. There are no pictures of Marilyn inside, but the interviews are accompanied by photos of Sean with various stars.
As with Boze Hadleigh’s recent book, Marilyn Forever, the tone is often speculative and gossipy. Many of the interviewees seem to believe that Marilyn’s alleged affairs with President Kennedy and his brother Robert were common knowledge in Hollywood, and yet there is little direct evidence.
Jack Lemmon, who was a neighbour of Peter Lawford, claims to have seen Marilyn “frolicking” with Bobby in Lawford’s pool. This story has been told by his son Chris, who was a small child at the time. I have never before seen it attributed to his father, and this apparent indiscretion seems uncharacteristic of the gentlemanly Lemmon. There is also a question of plausibility: could he really have identified them from over the fence?
To his credit, Mr Sean shows some scepticism towards the more outlandish claims of Mickey Rooney, for example. Singer Eddie Fisher recalls that while married to Elizabeth Taylor, he performed a double-bill at The Sands in Las Vegas with Frank Sinatra. Fisher told Mr Sean that Marilyn flirted with him all evening, but photos from the event show her gazing at Sinatra.
Whereas Boze Hadleigh depicted Marilyn as ahead of her time in embracing the gay community, Neil Sean portrays her as being unable to understand why closeted actors like Rock Hudson weren’t attracted to her. Both authors seem to be imposing their own views upon the past, but the fact remains that whatever her personal inclinations, Marilyn was never discriminatory. She had several gay friends, and defended her Misfits co-star Montgomery Clift against homophobic bigotry during a private interview with W.J. Weatherby (published posthumously in his 1976 book, Conversations With Marilyn.)
Perhaps the most insightful comments come from other women. “I was so upset [by Marilyn’s death] because she could have reached out, but the thing is she always wanted you happy first – she was selfless in that way,” singer Eartha Kitt told Sean. “I remember receiving one of her old fur coats to wear at a premiere because she heard me saying I did not have one. What a kind gesture, and to someone just starting out in the business.”
Cyd Charisse, who co-starred with Marilyn in the unfinished Something’s Got to Give, also gives a sympathetic account. However, the interview includes several quotes attributed to Marilyn by Lawrence Schiller in his 2012 book, Marilyn & Me. (Cyd Charisse died in 2008.)
I Met Marilyn is certainly an interesting read, but should probably be digested with a large dose of salt. Marilyn was essentially a loner, and didn’t have many close friends in Hollywood – and besides, stars are as susceptible to wild rumours as everyone else, especially when asked to provide a fresh perspective on an actress who died over fifty years ago.
“I think it all goes so quickly so it’s better to live in the moment,” Lauren Bacall told Mr Sean. “And when people ask me about what, say, Marilyn Monroe was like, it’s not like we were the best of friends or anything. I mean, we made a movie together which was very successful, but it was a long time ago…”
Norman Brokaw, former head of the William Morris Agency, died on October 29, aged 89. His uncle, Johnny Hyde, co-founded the legendary Hollywood talent hub, and gave the teenager his first job in the mailroom in 1943.
By 1949, Hyde was infatuated with Marilyn Monroe, who at 23 was barely a year older than his nephew. During their two-year relationship, Hyde secured her important roles in The Asphalt Jungle and All About Eve, and a long-term contract at Twentieth Century Fox.
A copy of Marilyn’s original William Morris Agency contract, recently sold at Julien’s Auctions for $7,680, included a covering letter signed by Norman Brokaw. In an article for Huffington Post, Brokaw’s son Joel recalled, “There were lots of wonderful memories he shared with me about his family, his uncle Johnny Hyde and Marilyn Monroe (including the time that he got screamed at when he was about to sit on their sofa and crush the plaster model of her new chin.)” If true, this story may add some credence to the longstanding rumour that Marilyn underwent minor cosmetic surgery at this time.
When Hyde died of a heart attack in December 1950, Marilyn was bereft. According to J. Randy Taraborrelli, author of The Secret Life of Marilyn Monroe, Brokaw accompanied Marilyn to Cedars of Lebanon Hospital in Los Angeles, but his uncle passed away before their arrival. (However, there are several competing versions of this story.)
Marilyn’s next serious romance, with baseball hero Joe DiMaggio, began in 1952. According to Taraborrelli, the couple first met two years earlier, when Brokaw arranged for her to play a walk-on part in Lights, Camera, Action, an NBC variety show. (If this was the case, the footage may not have survived as it is not documented elsewhere. But Marilyn did film a TV commercial during the same period, so she wasn’t entirely unaccustomed to the small screen.) After filming, she and Brokaw dined at the famous Brown Derby restaurant, where I Love Lucy star William Frawley if he could introduce her to his pal, Joe DiMaggio.
As they left the restaurant, Norman and Marilyn approached the ‘bashful’ sportsman. At the time, she was one of the few Americans who had never heard of DiMaggio. The next morning, Brokaw said, Joe called him and asked for Marilyn’s phone number – although whether he had the courage to follow through is unknown.
After a much-publicised courtship, Joe and Marilyn tied the knot in 1954. Taraborrelli writes that early on in their brief, tempestuous marriage, a worried Joe called Brokaw, and they met for drinks at the Polo Lounge of the Beverly Hills Hotel. When Joe explained that he wanted Marilyn to stop making films, Norman replied, “She’s not going to give up her career any more than you would have before you were ready to do it.” (Joe later sought advice from other Hollywood friends, including Sidney Skolsky, and would remain close to Marilyn long after their divorce.)
By then, Brokaw was building up the Morris Agency’s new TV division. He persuaded stars like Barbara Stanwyck to try the new medium, and negotiated a pioneering deal for Kim Novak, granting her a share in the profits of her films. In 1965, he secured a lead role for Bill Cosby in I Spy, making him the first black actor to achieve star status on a major television network.
During the 1970s, Brokaw added high-profile names in sport and politics to the agency’s roster. His career continued into the new century, and he was also a philanthropist, serving on the board of directors at Cedars-Sinai Medical Center (formerly Cedars of Lebanon), and St Jude Children’s Research Hospital.
Norman Brokaw died at his home in Beverly Hills. He is survived by his wife, Marguerite Longley, six children and four grandchildren.
Richard A. Schwartz, a Professor Emeritus at Florida International University and author of several books about the Cold War era, has published a new play, Collaborators: Elia Kazan, Arthur Miller and Marilyn Monroe. Beginning with the accidental death of a journalist on the eve of Marilyn’s 1956 wedding to Arthur, the action then looks back to their first meeting five years earlier, when he unsuccessfully pitched a movie to studio head Harry Cohn. Marilyn was casually dating Arthur’s friend and creative partner, Elia Kazan, at the time.
However, it was Arthur she fell for – it has often been rumoured that he continued corresponding with her after returning to his wife and children in New York. Using a split stage, Schwartz imagines what Arthur might have written to her, comparing his inner turmoil with her heady rise to fame (and ongoing association with Kazan.)
The other main strand of the drama is the very different responses of Miller and Kazan to the red-baiting era. Although it’s clear that both had long since left their youthful dabblings with communism far behind and posed no threat to national security, Kazan chose to inform on fellow travellers in the theatre, thereby saving his Hollywood career, while Miller – supported by Marilyn – refused to ‘name names’, and was ultimately vindicated as a liberal hero. Unsurprisingly, their alliance came under strain, and they didn’t work together again until after Marilyn’s death, on the controversial After the Fall.
The Millers’ marriage is portrayed in two scenes: the beginning is represented by Marilyn’s alleged discovery of unflattering comments in Arthur’s journal, during filming of The Prince and the Showgirl; while the end is marked by another heated argument during production of The Misfits. But that omits a long period of relative stability in Marilyn’s otherwise turbulent life. Perhaps Schwartz could have added a further scene to reveal Marilyn’s vulnerability, and show how painful experiences, like her multiple miscarriages, may have caused her depression.
As it is, Schwartz’s portrayal of a self-destructive Marilyn seems to echo Maggie, the suicidal star in Miller’s After the Fall. He is on safer ground with his male protagonists, and the trial scenes are compelling – perhaps because those events are a matter of public record, rather than private conjecture – and with careful revisions to his characterisation of Marilyn, Collaborators could be a genuinely provocative play.
For those interested in learning more about this topic, Barbara Leaming covered it in detail in her 2000 biography of Marilyn, andRonBriley’sThe Ambivalent Legacy of Elia Kazanwillbepublishednextmonth.