ItÕs
tempting to assume that Edna Ferber, lifelong spinster and author of such ripe
Americana as Showboat, Cimarron and Giant, was the one who supplied the sentiment, while it was George S.
Kaufman, screwball comic craftsman par excellence, who provided the crackling
repartee to the duoÕs series of Broadway hits (Dinner at Eight, Stage Door, and The Royal Family). She brought the warmth, in other
words, he the wit.
As
critic Robert Garland wrote in a review of their last collaboration, a minor
comedy called Bravo!, which closed after 44 performances: ÒMiss Ferber, a romantic
sentimentalist, and Mr. Kaufman, BroadwayÕs brightest wise guy, are continually
at oddsÉ She dearly loves to play with unhomed... unhappy paper dolls of two
dimensions. He, on the other hand, dearly loves to knock them down.Ó
But
that shorthand sketch isnÕt entirely fair. Indeed, it wasnÕt just FerberÕs
success as a popular novelist and short story writer that first attracted
Broadway hit-maker Kaufman to her as a potential collaborator in 1923.
What
piqued his interest, as much as anything, were reports that reached him of
FerberÕs barbed wit. Especially endearing to Kaufman, apparently, were a pair
of her priceless retorts. The first was addressed to no less a personage than
Noel Coward, who had the poor judgment to disparage a tailored suit she wore by
saying, ÒYou look almost like a man.Ó FerberÕs unperturbed reply: ÒSo do you.Ó
The other cherished
Ferberism was a letter to New Yorker editor Harold Ross, whose film critic had implied that Ferber was to
blame for a mediocre screen adaptation of one of her books. ÒWill you kindly inform the moron who runs your motion
picture department," she wrote coolly, "that I did not write the
movie entitled Classified? Also inform
him that Moses did not write the motion picture entitled The Ten
Commandments."
Ferber described the
ÒmechanicsÓ of their collaboration in her autobiography, A Peculiar Treasure: ÒShaved, brushed, pressed, shined, Kaufman
appears at eleven sharp, wearing (among other things) one of his inexhaustible
collection of quiet rich ties. I sit at the typewriter; George stalksÉ George
jiggles the curtain cord; plays tunes with a pencil on his cheek which he
maddeningly stretches taut into a drum by poking it out with his tongue; he
does a few eccentric dance steps; wanders into the next room; ties and unties
his shoestringsÉ If there is a couch in the room--any room--he stretches out on
it.Ó
Kaufman also had the
habit, in the midst of his restless wanderings around her apartment, of
absent-mindedly examining every piece of paper on her desk, script page or not,
as if trolling randomly for inspiration. The practice drove Ferber to such distraction
that she once sent herself a telegram and left it out on her desk, knowing heÕd
come across it. When he turned it over and read its message--ÒGeorgie Kaufman
is an old snooperÓ--he was momentarily amused but blissfully unshaken from his
habit.
The two writers had much
in common. Separated by just five years--Ferber was the elder--both were smart,
secular Jews from industrious families who had turned their talents first to
journalism. But while Ferber found her greatest success, and lifelong career,
in her work as a novelist of the American landscape, Kaufman was a consummate
man of the New York theatre, and a serial collaborator whose only solo play was
The Butter and the Egg Man.
He wrote hits with Marc Connelly (Merton of the Movies), Morrie Ryskind (the Marx Brothers vehicles The
Cocoanuts and Animal Crackers), Ring Lardner (June Moon), and most famously with fellow all-around
theatrical giant Moss Hart (Once in a Lifetime, Merrily We Roll Along, You CanÕt Take It With You and The Man Who Came to Dinner).
A notoriously gloomy,
self-deprecating man who went through marriages and affairs as prolifically as
co-writers, Kaufman was never short of ideas or of confidence, though he
appears to have been the sort of social creature who thrived as much on the
validation of othersÕ confidence in him as on the competitive drive of fighting
for his point of view with like-minded peers.
In Ferber he found a
particularly lively and stubborn sparring partner. A perpetually upbeat and
self-admittedly stage-struck bon vivant who privately nursed her own
insecurities (she had a nose job long before they were common practice--and Al
Hirschfeld, in his caricature of the Algonquin Round Table wits, wickedly drew
her without a nose), Ferber provided the original germ for all their
collaborations.
Still, it was Kaufman
who initiated the partnership by suggesting there was a play in her short story
ÒOld Man Minick.Ó She was skeptical and had to be wooed into working on it.
Their next collaboration, The Royal Family, was a thinly veiled portrait of the Barrymore acting dynasty--an
idea suggested by Ferber, who had been impressed by the regal Ethel Barrymore
when the star appeared in FerberÕs first play, an adaptation of her popular Mrs.
McChesney stories, in 1915.
Kaufman and Ferber would later insist that the play wasnÕt really about the
Barrymores, apart from the character of Tony Cavendish, who was clearly modeled
on the roguish John Barrymore. But no one bought this disclaimer, least of all
Ethel Barrymore, who explored the possibility of a lawsuit to stop production,
and whose relationship with both authors was thereafter consistently chilly.
The hard feelings
apparently werenÕt shared by all the Barrymores, since both John and Lionel
appeared in Kaufman and FerberÕs next hit, Dinner at Eight (1932). A satire of the social aspirations and
machinations that attend a typical New York dinner party, the play was a pet
idea of FerberÕs for years. Though Kaufman shared her distaste for senseless
social gatherings, in this case it was he who had to be won over; he couldnÕt
see how all the dinner guestsÕ stories could successfully be crammed into a
workable play. But Ferber eventually wore him down, pointing to the success of
the similarly constructed Grand Hotel. The play was a
huge success for them both. So was the catty 1936 backstager Stage Door, about a boarding house for actresses. None of
their later collaborations reached the heights of these three theatrical
jewels. And all their work together--apart from an ill-conceived 1941 drama, The
Land Is Bright--shared a
fascination with larger-than-life theatrical and social figures.
If there is some justice
in the shorthand critical impression of what Ferber and Kaufman each brought to
their joint efforts, it may be here, in their differing perspectives on glittering
backstage world that was their perennial subject. Ferber was incurably smitten
with this world, which had treated her so well: The musical Show Boat, which was based on her novel and on which she
consulted closely, and The
Royal Family opened the same
week in 1927, to unanimously ecstatic reviews. For Kaufman, who divided his
time between the boisterous trenches of the theatre trade and the lonely craft
of the writer, the fascination with show business as a comic subject had as
much compulsion as affection in it.
Indeed, itÕs been well
reported that Ferber was in love with Kaufman, possibly for the rest of her
unmarried life, and that Kaufman, though he had his share of extramarital
dalliances, didnÕt return the feeling. Is it this bittersweet tension that
infuses their work, and sets it apart from the Swiss-watch comic perfection of
KaufmanÕs plays with Hart?
A good way to imagine
the yin and yang of their collaboration is to counterpose a pair of
self-revealing quotes. Ferber once wrote: ÒI think
that in order to write really well and convincingly, one must be somewhat
poisoned by emotion.Ó For his part, Kaufman handily dismissed his own talent
thus: ÒWhen I come to write that book on playwriting--which I never will--the
first twenty-six chapters will be concerned with How to Pick a Collaborator.
Because I donÕt mind telling you thatÕs where I excel.Ó