And it's interesting that the greatest success in the New York Theatre that Josh Logan made happened to be a musical.
But I would like to think that it's the actor that makes the difference in these cases. Not the director, not the guy that wrote the book, not the guy that adapted it for the screen, but the actor.
But Of Mice And Men, if looked at as a piece of Americana, then there's great joy in it, despite the story line.
I can't talk too much about Broadway, because I haven't seen a play on Broadway lately, and I don't keep up with it anymore.
I didn't study acting.
I don't see all the movies that come out.
I don't watch television.
I feel that the thing that probably aided me the most in that scene with the dog was the utilization and using an actual recreation, affective memory, if you want to call it, of pain.
I have worked with some very great directors.
I love going on location, and the location was nice.
I should have been trying to build a career, rather than leaving it in the hands of somebody else.
I suppose when I was a kid, and I went to movies, and later went to some plays on my own when I got a little older, in New Orleans, where I was living then, I zeroed in on the actor.
I was very conscious of the actor; watched what he did.
I've often wondered, when they've done Of Mice And Men on stage, and I've seen it, how they did that gun thing. I've watched it on stage, but I don't remember it.
I've worked with Josh Logan, who was the only director in New York City who went to Moscow, and for nine months worked and studied with Stanislavski.
If it's not in New York, let's say it's in St. Louis, then they've got to find a place or get with someone who knows about the work... they've got to find a place like that and do scenes, and then try to get in plays.
If they're in New York, they of course are there because they know that's where it is, and they're going to be working at Shraft's or wherever in order to keep themselves going until they find a part in a play.
If they're working in a workshop somewhere, where there is, let's say, uh... only twenty people, or something like that, that's still, when they work and do a scene, that's still working in front of somebody.
One thing that came up, that I haven't gotten over yet, was the fact that when I began working on the role, I went and had my hair bleached white.
Something's gotta be learned, when you get out on the stage in front of people and start talkin' and tryin' to be a character.
Talent will come out.
The only thing I know about Broadway at the moment is that the box-office prices are absolutely unbelievable in terms of high they are.
Well, I never really studied acting.
Well, I would think that, uh... yeah, I would think that Of Mice And Men would heighten people's awareness of other people's problems.
You could walk the streets, no matter how hungry people were, not matter how long they'd been out of jobs, you could walk the streets, you could ride the subways in New York, and you would not get knocked in the head.
Ray Walston won a Tony Award in 1956 as Best Actor In A Musical for his role in Damn Yankees. He recreated the role for the 1958 film version of the musical.
In 1993 he appeared in an AT&T commercial as a customer inquiring about long distance rates to Mars, an indirect reference to his famous role in "My Favorite Martian".
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