Chapter Eight

LEE PATON

 

 

In 1958, the Off-Broadway movement was at its height.  There were one or two theatre organizations like Circle in the Square or The Living Theatre with more-or-less permanent staffs and buildings of their own, but for the most part, every Off-Broadway production was a fly-by-night operation.  Each new show represented an altogether new and separate theatrical venture.  Someone, usually a young man with a rich father or wealthy connections, would decide he wanted to be a producer.  He would find a script, raise some money, rent a theatre, hire a director, actors, set and costume designers, press agent, box office staff, and anyone else necessary to get a show on.  Then, after three or four weeks of intensive rehearsal, the play opened for the critics from the daily newspapers.  In a few rare instances the reviews were favorable and the show went on to a long and profitable run, but more often the reviews ranged from bad to awful and the play closed on Saturday night.  After this some other young man with a rich father or wealthy connections would come along and the whole process would be repeated all over again.  MORE...