The only asset I had left was my production of Dracula. Through a friend in Boston, I was
introduced to Norman Stevens. Norman had run a dinner theatre in the Boston area, and now he
wanted to move into the Broadway arena. He said he was confident that he could get at least half of the capitalization from Sam Schwartz, the general manager of the Jujamcyn Theaters. Jujamcyn owned several theaters, among them the Wilbur Theatre in Boston and the Martin Beck in New York. The Martin Beck had not had a successful tenant for several years, and the neighborhood around it had grown run-down and seedy. Sam Schwartz hoped that Dracula would revive the fortunes of his theaterand the neighborhood. He insisted he had seen Dracula in Nantucket. I knew this wasn’t true. Sam Schwartz was lame, and I remembered the special arrangements we had to make to get him into the theatre for Marco Polo Sings a Solo. But nothing could convince him. In the Alice-in-Wonderland world of the theater, he was willing to commit a large sum of money to the production of a play he must have heard about but never seen. MORE...