A staged reading of Marilyn, Mom & Me – Luke Yankee’s new play about Marilyn’s “intense but short-lived” friendship with his mother, actress Eileen Heckart, during filming of Bus Stop (1956) – will be held at the Stella Adler Theatre in Los Angeles on October 16th. Another reading will follow at the Manhattan Theatre Club rehearsal space in New York on January 19th, 2020. Alisha Soper, briefly glimpsed in Feud: Bette and Joan (2017), will play Marilyn. A seasoned playwright, director and teacher of acting, Luke Yankee is also the author of Just Outside the Spotlight: Growing Up With Eileen Heckart(2006), now available in paperback and via Kindle.
“Like two strangers linked by fate on a Greyhound bus, the unlikely personal and professional friendship that developed between vulnerable, lost and emotionally needy Marilyn Monroe and crusty, maternal, no-nonsense Eileen Heckart on the western rodeo set of Bus Stop has now been preserved in amber by Luke Yankee as a stirring footnote to movie history you won’t want to miss. It’s a funny, dark, heartbreaking and unforgettable new play that wraps you in cashmere. Marilyn, Mom & Me is devastating!”
This green lace blouse and black pencil skirt ensemble, created by Travilla for Marilyn’s role as down-at-heel showgirl Cherie in Bus Stop (and topped with a black fedora she wore in the Arizona sun), is among many iconic movie costumes on display in Designing Hollywood, an exhibit showcasing the extensive collection of Gene London, opening on September 29 until December 22 at the Allentown Museum of Art in Pennsylvania, as WFMZ reports. Previous exhibits from London’s archive have also included costumes from Gentlemen Prefer Blondes, The Seven Year Itch and The Prince and the Showgirl.
Blogger Robert Horvat has listed his top 10 Marilyn movies on the Rearview Mirror site. With Some Like It Hot, Gentlemen Prefer Blondes and How to Marry a Millionaire heading the list, it’s a great selection – and Robert has also reviewed Niagara, Blondes and Bus Stop separately. (Personally, though, I would choose Clash By Night, Don’t Bother to Knock and The Prince and the Showgirl over The Asphalt Jungle, River Of No Return and There’s No Business Like Show Business.)
The Palm Springs Cultural Centre is hosting a summer season of Marilyn’s movies each Wednesday at 7 pm, with Niagara on July 10; followed by Gentlemen Prefer Blondes on July 17, How to Marry a Millionaire on July 24, and Some Like It Hot on July 31. On Wednesdays at 7 through August, catch The Seven Year Itch, Bus Stop, Let’s Make Love and Monkey Business. And finally, the retrospective winds up in September with Don’t Bother to Knock and The Misfits.
Marilyn is featured twice in the latest issue of UK nostalgia magazine Yours Retro (with Elizabeth Taylor gracing the cover.) Firstly, a portrait of the young Norma Jeane (signed ‘to my dear sister,’ Berniece Miracle), in a feature about autograph hunters; this article also mentions the sale of a baseball signed by Marilyn and Joe DiMaggio for almost $60,000 in 2011 (see here.) Secondly, Marilyn’s so-called ‘snake costume’, designed by Travilla for Bus Stop and seen again on Leslie Caron in The Man Who Understood Women (1959), in the regular Film Buff column.
All About Eve features in a spread about ‘Oscar’s First Ladies.’ And the rise to fame of Diana Dors, labelled ‘Britain’s answer to MM’, is also profiled in this issue – but the comparison is unfair to both women, whose talents were on a par yet very different.
While the original play has some differences from the movie, William Inge’s Bus Stop is often revived in American regional theatre. The latest production comes from the Terrific New Theatre in South Birmingham, Alabama, playing until June 29 with Laura Elton Towns reprising Marilyn’s role as Cherie.
These candid photos of Marilyn, taken circa 1961, will go under the hammer at RR Auctions on June 12, as part of their latest Fine Autographs and Artifacts sale.
Although usually credited to Inge Morath, these photos (taken in 1960, during filming of The Misfits) are stamped with the name of Henri Cartier-Bresson, her colleague at the Magnum Photos agency (they visited the set in tandem.)
This wire photo was taken during Marilyn’s visit to the 1952 Miss America pageant in Atlantic City. Another photo taken with these young servicewomen caused a minor scandal, as mentioned in the caption. Some more information from the shoot is posted below (although the quote attributed to Marilyn was later refuted by her own publicist in a 1955 interview with the Saturday Evening Post‘s Pete Martin.)
“The low-cut summer dress she was wearing caught the attention of a photographer, who stood on a chair to better capture the outfit’s full effect. Upon seeing the photo, an Army information officer ordered it killed because he did not want to give the parents of potential recruits the ‘wrong impression’ about Army life. Information about the suppression of the photo was leaked to the press and then turned into frontpage news.
‘Leg art’ photo sessions were a never-ending part of Marilyn’s career, and one that she worked at with enthusiasm and good humor.
When asked her opinion of the situation for a story titled ‘Marilyn Wounded by Army Blushoff,’ Marilyn replied in her tongue-in-cheek manner, ‘I am very surprised and very hurt. I wasn’t aware of any objectionable décolletage on my part. I’d noticed people looking at me all day, but I thought they were admiring my Grand Marshal’s badge!'”
One of the distinctive photo manipulations of Arthur ‘Weegee’ Fellig, based on his image of Marilyn at the Racquet Club, Palm Springs in 1949.
This photo of Marilyn with fellow celebrity usher Marlon Brando at the 1955 premiere of The Rose Tattoo comes from the collection of George Zeno, who has contributed to books including James Spada’s Monroe: A Life in Pictures (1982), and Christopher Nickens’ Marilyn in Fashion (2012.)
This photo shows Marilyn arriving at Phoenix Airport to film the rodeo scenes for Bus Stop in 1956.
This classic glamour shot (taken by Frank Powolny in 1953) is inscribed, ‘To Cheryl, Love & kisses, Marilyn Monroe.’
This shot of Marilyn singing alongside pianist Hal Schaefer, taken by John Florea in 1954, is part of a complete first series set of ‘Marilyn Monroe Trade Cards’ in their original packaging, entitled ‘Marilyn and Her Music,’ containing cards #1-20.
“An original clipping from a Mexican newspaper detailing Marilyn’s visit to the National Institute for the Protection of Children on March 1, 1962, and her donation of $1,000.00 to the institute. Also included is a document translating the article, reading in part, ‘The American actress Marilyn Monroe yesterday visited the National Institute for the Protection of Children where she greeted the president of that organization, Mrs. Eva Samano de Lopez Mateos, to whom she gave 12,500 pesos – one thousand dollars – for the needy children.'” (SOLD for $768)
“An unsigned carbon-copy of a letter, likely from May Reis, Marilyn Monroe’s secretary, to hairdresser Kenneth, dated July 16, 1958. The letter reads in part, ‘Thank you for sending on Miss Monroe’s chignon but I am sorry it has not turned out as she had ordered it so it is being returned to you under separate cover.'” (SOLD for $192)
“A one-page handwritten letter from press agent Patricia Newcomb to Marilyn, dated June 2, 1956. The letter reads in part, ‘Enclosed is a copy of your eye perscription (sic) which I got this morning from Lee Seigel. I am also sending you another bottle, in case you might be running short.’ Also, ‘I mailed your records and hair dryer today, so they should arrive by the end of the week.'” (SOLD for $1,125)
“A one-page typed letter to Marilyn from Nunnally Johnson, dated February 1, no year specified (but probably sent after their 1962 meeting at the Beverly Hills Hotel, to discuss Something’s Got to Give.) The letter reads in part, ‘This is to put it on paper that I’ve rarely had a merrier evening. There’s no question about it, the only way to discuss business is over a bottle or two of champagne, with occasional reflections on sex to keep everything in balance. And if ever the occasion rises you may cite me as a bloke who also likes to sit and talk with you.’ The letter is hand-signed. A well-known screenwriter, Johnson worked on a number of projects related to Monroe, including We’re Not Married, and How to Marry a Millionaire.” (SOLD for $2,240)
“Two letters from the Actors’ Studio, dated January 10 and 12, 1961, regarding the Actors’ Studio Benefit scheduled for March 13, 1961. The January 10 letter announces, ‘Marilyn Monroe will be one of the stars who will draw the lucky tickets for our door prizes and for the Dance Contests.’ The letter is signed by Lee Strasberg, Cheryl Crawford and Elia Kazan (facsimile signatures). The second letter, sent by the benefit’s coordinator, asks Marilyn if it would be possible to take a photo of her wearing a fur coat that will be raffled as a door prize. The letter further requests that Marilyn write to executives at United Artists asking them to reserve tables at the event.” (SOLD for $768)
“Three letters, all dated in January of 1961, referencing possible film projects for Marilyn’s consideration. The January 3 letter from George Chasin is on MCA letterhead and references Touch of Mink, written by Stanley Shapiro (later filmed with Doris Day.) The January 26 letter, also on MCA letterhead, references a screenplay entitled The Notorious Lady, and is signed by Marvin Birdt with a copy to Chasin (later filmed with Kim Novak as The Notorious Landlady.) The January 31 letter is on Twentieth Century-Fox Film Corporation letterhead and references A Lost Lady, and is signed by Frank McCarthy, Director of Public Relations at the studio. (Based on one of Marilyn’s favourite novels (according to her friend and masseur, Ralph Roberts), and previously filmed as Courageous with Barbara Stanwyck in 1934, but dissatisfied with the result, author Willa Cather had banned all movies based on her work.) In this same letter McCarthy writes, ‘Congratulations again on The Misfits and I hope it will achieve the great success it deserves.'” (SOLD for $512)
“A small notecard to Marilyn from producer Buddy Adler. The notecard reads, ‘Darling, It’s wonderful having you home again. Best wishes, Buddy Adler.’ Adler was the producer of Bus Stop, released in 1956. This card is likely in reference to Marilyn’s return to Hollywood in 1956 after having spent the entirety of 1955 in New York City.” (SOLD for $640)
“A two-page typed letter on Algonquin Hotel letterhead to Marilyn from photographer John Bryson, dated August 6, 1960, in reference to the August 15, 1960 issue of LIFE magazine, in which his photos of Marilyn on the set of Let’s Make Love were published. The letter reads in part, ‘I am very happy, however, to report that we close with a larger than full page of the picture of Arthur swabbing off your back after a hard day’s rehearsal. I think the little girl look in this is the best picture I ever took of you.’ The letter goes on to read, ‘Anyway, it is done and I hope you like it. If you do or do not I would like for you to remember that I think you are one of the best women I have ever known and if you ever need a friend for anything just call day or night. I do not say such things casually.'” (SOLD for $1,280)
“A Western Union telegram from Mary Leatherbee of LIFE magazine dated June 26, 1958, regarding photos of Marilyn taken by Richard Avedon in which she recreated images of famous actresses for a spread entitled ‘Fabled Enchantresses.'” (SOLD for $640)
“A one-page typed letter to Marilyn from Emmeline Snively, dated July 31, 1958. Snively was the owner and manager of the Bluebook Modeling Agency. Marilyn, still Norma Jean at the time, signed with the agency in 1945, and Snively is believed to have assisted her in transforming into Marilyn Monroe. The letter reads in part, ‘We have been following your steady progress over the years, and our students at Blue Book Models regard your success and constant development as an inspiration.’ Included with this letter is a torn portion of the original mailing envelope with Snively’s typed mailing address. Pencil scribbles are visible on the envelope fragment, possibly written in Marilyn’s own hand. It is interesting to note that Snively attempted to stay in contact with Marilyn throughout the star’s career. In fact, she was one of a very few guests from Marilyn’s inner circle who was invited to her funeral.” (SOLD for $640)
“Six documents referencing an agreement, and the dissolution thereof, between Marilyn Monroe and Ben Hecht regarding his authoring her life story. Included is a facsimile copy of the originally signed agreement between Monroe and Hecht, dated March 16, 1954, in which the terms of the agreement are exceedingly clear. Three unsigned carbon copies of this same agreement are included. Also included is a facsimile copy of a two-page letter sent to Hecht by Marilyn’s attorney Lloyd Wright, Jr., in which he demands that Hecht ‘surrender to us on behalf of our client, Miss Marilyn Monroe, all, and I repeat all, copies of any material concerning Miss Marilyn Monroe written by Mr. Ben Hecht, pursuant to his contract of March 16, 1954 with Marilyn Monroe, or otherwise.’ Marilyn partnered with Hecht to write her life story, stating specifically that the article could be published only in the Ladies’ Home Journal magazine.” (SOLD for $640)
“A two-page typed memo from Robert H. Montgomery, Jr. to John F. Wharton regarding ‘Proposed settlement of dispute between Milton H. Greene and Marilyn Monroe. The document clarifies that Monroe will pay Greene $50,000.00 for his stock in Marilyn Monroe Productions, Inc. in five equal annual installments, and also that she will sell to Greene her stock in Milton Greene Studios.’ The document further states, ‘all agreements existing between them are cancelled and of no further force and effect.’ A second two-page original document outlines the distribution of furniture and equipment, including paintings, rugs, a vacuum cleaner, a lamp, a chair and a sofa, typewriters, and other items.” (SOLD for $1,000)
For British readers who may have missed out on the Don Murray cover story for US magazine Closer (more about the interview here), the article is reprinted in the current UK edition of the National Enquirer (dated May 13, with Britney Spears on the cover.)
Don Murray, who made his movie debut in Bus Stop (1956), shares memories of his leading lady’s “uncontrollable anxiety, forbidden romances and secret acts of kindness” in a cover story for US magazine Closer.
Now 89, Don had a major role in the acclaimed 2017 revival of TV’s Twin Peaks, and is rumoured to be writing his memoirs. Out now in the US, the May 6 issue of Closer should reach British shores in a week or so (not to be confused with the UK magazine of the same name.)
“‘She was very, very nervous,’ Murray recalled to Closer Weekly in the magazine’s latest issue on newsstands. ‘She’d break out in a rash every time we’d shoot a scene.’
‘Paula would watch and listen and give Marilyn advice between takes,’ said Murray. ‘She was friendly and nice and a very good influence on Marilyn … [But] she would lose track of scenes very quickly, so they had to put her performance together out of small pieces. You never got the feeling of a complete scene or performance. I had to be at my best on every take — I couldn’t have a letdown.’
Despite the on-set struggles, Murray never regretted appearing in his first big film with Monroe.
‘I never really held it against her, because for her to agree to let me play this leading role was such a generous thing; she and I had never done a movie,’ said Murray. ‘I was always aware of that and grateful to her.'”