When I began writing this journal journey, my intent was to take the future readers into the production offices, out to the locations (local and distant), onto the soundstages where the films were created — to in essence provide a fly-on-the wall view of what went into the productions. Now as I am entering the final 6 months of this so far 9-year trek, I am aware of unexpected changes that have occurred — to me and around me!
For one: as I subjectively roamed through the past, reliving it, I was objectively, many times dispassionately, assessing it, and I have to tell you, that can give one the feeling of being a split personality: Younger/Older: Learner/Veteran; Neophyte/Old Warhorse.
But even more importantly our society and culture has changed drastically and dramatically. In the not too distant past we saw the emergence of the #MeToo movement with its roots in Hollywood via Harvey Weinstein. No, I’m not going there – but I could! I remember a day filming when I had to work without our leading man. He was in court defending himself against charges of spousal abuse. I have a different issue to pursue.
In 1963 I directed THE BULL ROARER, an episode of the psychiatric series, BREAKING POINT. The protagonist of the film was Paul, a sensitive young man dominated by his older brother, Murray. Murray was a brawling, construction worker womanizer, who constantly and consistently prodded his younger brother to be more aggressive in his pursuit of women. For Murray that was what proved his masculinity! But Paul’s personality was less predatory. His inability to live up to his brother’s goading caused him to have doubts about himself. He sought psychiatric help. Was he a man – or a homosexual?
That was a verboten explosive subject for 1963 television. Writer-producer George Lefferts, when approached by ABC to develop and produce BREAKING POINT, had insisted he would, but only if homosexuality was included in his personal list of other network unacceptable topics. Amazingly ABC agreed, and George signed on, but he realized that there was no way ABC in 1963 would air a story of a homosexual relationship. It was a major breakthrough that the subject was even discussed.
The psychiatrist, with superb assistance from George Lefferts and teleplay writer Ernest Kinoy, helped Paul. George and Kinoy used the homosexual theme as a means of shining a bright light on an even more universal problem – one that is very manifest, blatant and glaring in our country today! Here are Lou Antonio as Paul and Paul Richards as the psychiatrist in that bright light.
Great stuff.
Glad to see you’re still kicking.
Dear Mr. Senensky, I just found a playbill for “Engaged”, for the Playbox theater, listing you as the director. My mother-in-law, Yseulte James, was in the play. Do you remember her? Was the show in L.A.? What theater was it at? Are there any photos? Please let me know, thank you!
Ms. Schirrmer: WOW! The Playbox theatre was Gilmor Brown’s personal project. He was the founder of the Pasadena Playhouse. As the theatre became more successful, he was not able to do experimental plays on the Main Stage and sometime in the 1920s he enlarged and converted his garage into his own endeavor. It seated only 50 people and the audiences were made up of subscribers. I was a graduate of the Playhouse School of the Theatre in 1948. I directed Engaged I believe in 1956. My guess is that your mother-in-law was a student at that time. Unfortunately I don’t remember much about that production. It was my 2nd Playbox project. I did one more there and Mr. Brown then after all those years moved to a larger site. Again I say, “WOW”.
Thanks so much for your reply….I’m afraid I’m a bit late in seeing it though! I’m putting together a scrapbook and will include your comments in it, much appreciated! The Pasadena Playhouse was a wonderful place, my mother was always talking about the theater school and its great reputation….if you like I can send you a copy of the playbill…if you give me your email address. So nice to have found you out there!
Again I say WOW! Liane, my e-mail address is :
ralph@senensky.com. When I get it I’m going to scan it and include it right here. Thank you.
Ralph Meeker was very good (as usual) as the merciless, twisted brother. The beginning of the story was sick as he gloats over the man he’s beaten up. Without spelling it out for the viewer, this was a gay bashing after the man had invited the brothers to his place for a drink. Breaking Point was an excellent show and the kind of human drama that’s disappeared from contemporary TV. Then and now, the viewers can’t handle melancholy shows that bust their comfort bubbles. I didn’t know what a bull roarer was until I saw this show. A unique instrument spanning many cultures.