Found some cool images of the 1957\/58 Broadway production of Compulsion<\/i>.<\/p>\n
Compulsion<\/i>, the novel, was written by Meyer Levin and became a bestseller. It’s based on the Leopold and Loeb case, although he changed all the names – morphed a couple characters together – and was primarily interested in the psychology of that relationship. He goes into great detail – the king\/slave sexual fantasies that Leopold and Loeb acted out and what they meant in terms of the power dynamic, what they signified – etc.<\/p>\n
Photo of Leopold and Loeb going off to prison<\/i><\/p>\n
Levin adapted his novel into a script, which then went into production for Broadway. It was a hot property, one of the bestsellers of the day. The script was very much true to the novel and did not shy away from some of the details that the eventual film would not be able to mention (the gay relationship, the S&M factor, etc.) However (and I said this before) – when you do see the film, the “gay” is being played so specifically – both actors are playing<\/i> the subtext, playing what was cut out … It’s amazing how overt they actually are<\/i> about it. Like when Loeb (Artie) cuts his hand in a rage after he hears about the glasses being found. Watch Stockwell’s hovering response to it, taking out his handkerchief, running to his side… We don’t even need language. They’re boyfriends. Plain and simple. But apparently it was much clearer in the Broadway script, much more overt (same thing happened with the film adaptation of Streetcar<\/i> where Blanche’s husband betrayed her in a way left unsaid … where it’s quite clear in the play that she found him with another man).<\/p>\n
Roddy McDowall played Artie Strauss (or “Loeb”) on Broadway – and Dean Stockwell played Judd Steiner (or “Leopold”) – the role he would eventually re-create in the film. Roddy McDowall did not do the film, which pissed Stockwell off. He loved working with McDowall and has been quite vocal about how brilliant he thought Roddy was in the part. The handsome Bradford Dillman played McDowall’s role in the film (and, oddly enough – Dillmann originated the role of Edmund in Long Day’s Journey Into Night<\/i> on Broadway – it made him a star – and it was the same role that Stockwell eventually would do in the film version in 1962). Ah, the tangled webs. From what I can gather – Dean Stockwell, child star, graduated from high school, went to college for one year, dropped out, changed his name and then drifted about the country, doing odd jobs. Cherishing the anonymity. He had hated his years as a child star. He yearned for pimples and awkwardness and gangliness – because that would mean he wouldn’t have to be the cute little dude anymore. But regular life didn’t suit him either, regular jobs were not for him. At age 20, 21, he went back to work in Hollywood. Did a couple movies. Then a girl he was dating, an actress, gave him the book Compulsion<\/i> and told him about the upcoming Broadway production. Stockwell had been looking for good roles, something he could really do<\/i> – Compulsion<\/i> was a hot property, everybody wanted to be in it. Stockwell didn’t have to campaign for it, though – Alex Segal (director) called him up and asked him to read for it, saying that he had in mind the role of Judd for him. Stockwell was not a big reader – not that he didn’t like books, I just mean that he didn’t like to ‘read’ for parts, he doesn’t feel that he can really show up and do his thing when he’s reading<\/i> – but Segal insisted, so Stockwell ‘read’ for the part. It went great, and Segal offered him the part.<\/p>\n
Stockwell, a California-born-and-bred guy, a person raised on movie lots – moved to New York for the rehearsals. He suffered in the city like a caged bird. He suffered so badly that he came down with the Asian flu – part of a huge epidemic at the time where people were dropping like flies. The show had to open without him and his stand-in did the previews. Stockwell recovered – and did the run of the show, getting great reviews. Walter Kerr wrote: “There are scenes that catch hold in their first few moments and seem to explore every nuance of disturbed and disturbing minds. Dean Stockwell, for instance, draws his mouth taut, freezes his shoulders, and – in gasp after fearful gasp – wrings from himself the truth of his relationship to a ‘master’ he has chosen to serve. The grinding arrival at self-knowledge is chillingly drawn.” Frank Aston wrote of McDowall and Stockwell, “They’re magnificent, these lads.” Stockwell had a tough time during the run of the show, despite the accolades. He wasn’t used to having to REPEAT things night after night after night – at least not in the way you have to on stage. He was a movie actor primarily, although he had been on Broadway before as a little boy. The stress of putting himself through the play every night wore away at him. He hated the city. He had a tiny apartment, and he hated the lack of space, the dirty air, the garbage – He would rent a car on his days off and drive out into Pennsylvania or whatever. He hung out at jazz clubs all night. He sat in on one acting class at the Actors Studio and walked out in disgust halfway through the class. He dated people. Tried to preserve his energy for the show each night (the script was way too long – most of the criticisms had to do with the bloated script) – and tried not to let the city get him down too much.<\/p>\n
I love the film (wrote about it here<\/a>) – but, of course, i would have loved to see the live production.<\/p>\n Found some stills from the show below. I love the thought of these two former child actors, who grew up in the studio system, getting educated in the studio classroom, having no childhood, no freedom … on Broadway together, starring as Leopold and Loeb. Pretty neat.<\/p>\n Clippings below (some other recognizable names in the cast. Joan Croydon, for one. Barbara Loden, as well – an actress who would go on to marry Elia Kazan).<\/p>\n Oh, and I know how obsessive I am but when you look at the last picture below – obviously of the trial scene – find Dean Stockwell sitting in the back, beside McDowall. And notice the gesture<\/a>. Ahhhh, continuity, humanity.<\/p>\n","protected":false},"excerpt":{"rendered":" Found some cool images of the 1957\/58 Broadway production of Compulsion. Compulsion, the novel, was written by Meyer Levin and became a bestseller. It’s based on the Leopold and Loeb case, although he changed all the names – morphed a … Continue reading