George S. Kaufman

• Name — George S. Kaufman • Birth Name — George Simon Kaufman • Born — 16 November 1889 • Birthplace — Pittsburgh, Pennsylvania, US • Died — 2 June 1961 • Place of death — New York City, US • Occupation — * Playwright • theatre director • theatre producer/manager • theatre performer • humorist • drama critic • Genre — Comedy, political satire • Notable Works — Of Thee I Sing You Can't Take It with You • Awards — * Pulitzer Prize for Drama (1932 and 1937) • Tony Award Best Director (1951)

George S. Kaufman was born to Joseph S. Kaufman, a hatband manufacturer,[1] and Nettie Meyers in Pittsburgh, Pennsylvania. He had a younger sister, Ruth. His other sister was Helen, nicknamed "Helse". Kaufman's family was Jewish. He graduated from high school in 1907 and studied law for three months. He grew disenchanted and took on a series of odd jobs,[3] selling silk and working in wholesale ribbon sales.

Kaufman began contributing humorous material to the column that Franklin P. Adams wrote for the New York Mail. He became close friends with Adams, who helped him get his first newspaper job—humor columnist for The Washington Times—in 1912. By 1915 he was a drama reporter on The New York Tribune, working under Heywood Broun. In 1917 Kaufman joined The New York Times, becoming drama editor and staying with the newspaper until 1930. Kaufman took his editorial responsibilities seriously. According to legend, on one occasion a press agent asked: "How do I get our leading lady's name in the Times?" Kaufman: "Shoot her."[4]

• Illustration — George S. Kaufman and Moss Hart in 1937 Kaufman's Broadway debut was September 4, 1918, at the Knickerbocker Theatre, with the premiere of the melodrama Someone in the House.[5] He coauthored the play with Walter C. Percival, based on a magazine story written by Larry Evans.[6] The play opened on Broadway (running for only 32 performances) during that year's serious flu epidemic, when people were being advised to avoid crowds. With "dour glee", Kaufman suggested that the best way to avoid crowds in New York City was to attend his play.[7] Every Broadway season from 1921 through 1958 had a play written or directed by Kaufman. Since Kaufman's death in 1961, revivals of his work on Broadway were produced in the 1960s, the 1970s, the 1980s, the 2000s, and the 2010s.[8] Kaufman wrote only one play alone, The Butter and Egg Man in 1925.[9] With Marc Connelly, he wrote Merton of the Movies, Dulcy, and Beggar on Horseback; with Ring Lardner, he wrote June Moon; with Edna Ferber, he wrote The Royal Family, Dinner at Eight, and Stage Door; with John P. Marquand, he wrote a stage adaptation of Marquand's novel The Late George Apley; and with Howard Teichmann, he wrote The Solid Gold Cadillac. According to his biography on PBS, "he wrote some of the American theater's most enduring comedies" with Moss Hart.[10] Their work includes Once in a Lifetime (in which he also performed), Merrily We Roll Along, The Man Who Came to Dinner, and You Can't Take It with You, which won the Pulitzer Prize in 1937. For a period, Kaufman lived at 158 West 58th Street in New York City. The building later was the setting for Stage Door.[12] It is now the Park Savoy Hotel, and for many years was considered a single room occupancy hotel.[13]

Despite his claim that he knew nothing about music and hated it in the theater, Kaufman collaborated on many musical theater projects. His most successful of such efforts include two Broadway shows crafted for the Marx Brothers, The Cocoanuts, written with Irving Berlin, and Animal Crackers, written with Morrie Ryskind, Bert Kalmar, and Harry Ruby. According to Charlotte Chandler, "By the time Animal Crackers opened... the Marx Brothers were becoming famous enough to interest Hollywood. Paramount signed them to a contract".[14] Kaufman was one of the writers who excelled in writing intelligent nonsense for Groucho Marx, a process that was collaborative, given Groucho's skills at expanding upon the scripted material. Though the Marx Brothers were notoriously critical of their writers, Groucho and Harpo Marx expressed admiration and gratitude towards Kaufman. Dick Cavett, introducing Groucho onstage at Carnegie Hall in 1972, told the audience that Groucho considered Kaufman to be "his god". While The Cocoanuts was being developed in Atlantic City, Irving Berlin was hugely enthusiastic about including the song "Always", which he had written as a wedding present for his bride. Kaufman was less enthusiastic, and refused to rework the libretto to include this number. The song ultimately became a huge hit for Berlin, recorded by many popular performers. According to Laurence Bergreen, "Kaufman's lack of enthusiasm caused Irving to lose confidence in the song, and 'Always' was deleted from the score of The Cocoanuts – though not from its creator's memory.... Kaufman, a confirmed misogynist, had had no use for the song in The Cocoanuts, but his disapproval did not deter Berlin from saving it for a more important occasion."[18] The Cocoanuts would remain Irving Berlin's only Broadway musical – until his last one, Mr. President – that did not include at least one eventual hit song. Kaufman recalled the matter differently. In an article in Stage magazine, he recalled that Berlin woke him up at 5 am one morning to play a new song he had just written. "Even my deficient musical sense recognized that here was a song that was going to be popular. I listened to it two or three times, then took a stab at it myself, and as dawn came up over the Atlantic, Irving and I were happily singing 'Always' together—its first performance on any stage. I went back to bed a happy man, and stayed happy until rehearsals started, when it turned out that 'Always' had not been written for our show at all, but purely for Irving's music-publishing house. In its place in The Cocoanuts was a song called 'A Little Bungalow,' which we never could reprise in Act Two because the actors couldn't remember it that long."[19] Humor derived from political situations was of particular interest to Kaufman. He collaborated on the hit musical Of Thee I Sing, which won the 1932 Pulitzer Prize, the first musical so honored, and its sequel Let 'Em Eat Cake, as well as one troubled, but eventually successful, satire that had several incarnations, Strike Up the Band. Working with Kaufman on these ventures were Ryskind, George Gershwin, and Ira Gershwin. Also, Kaufman, with Moss Hart, wrote the book to I'd Rather Be Right, a musical starring George M. Cohan as Franklin Delano Roosevelt (the U.S. president at the time), with songs by Richard Rodgers and Lorenz Hart. He also co-wrote the 1935 comedy-drama First Lady. In 1945, Kaufman adapted H.M.S. Pinafore into Hollywood Pinafore. Kaufman also contributed to major New York revues, including The Band Wagon (which shared songs but not plot with the 1953 film version) with Arthur Schwartz and Howard Dietz. His often-anthologized sketch "The Still Alarm" from the revue The Little Show lasted long after the show closed. Another well-known sketch of his is "If Men Played Cards as Women Do". Also, musicals have been based on Kaufman properties, such as the 1981 musical version of Merrily We Roll Along, adapted by George Furth and Stephen Sondheim.[20] The musical Sherry! (1967) was based on his play The Man Who Came to Dinner.[21]

• Illustration — The Front Page (1928) • Illustration — Of Mice and Men (1937), with Wallace Ford and Broderick Crawford Kaufman directed the original or revival stage productions of many plays and musicals, including The Front Page by Charles MacArthur and Ben Hecht (1928), Of Thee I Sing (1931 and 1952), Of Mice and Men by John Steinbeck (1937), My Sister Eileen by Joseph Fields and Jerome Chodorov (1940), Hollywood Pinafore (1945), The Next Half Hour (1945), Park Avenue (1946, also co-wrote the book), Town House (1948), Bravo! (1948, also co-wrote the script), Metropole (1949), the Frank Loesser musical Guys and Dolls, for which he won the 1951 Best Director Tony Award, The Enchanted (1950), The Small Hours (1951, also co-wrote the script), Fancy Meeting You Again (1952, also co-wrote the script), The Solid Gold Cadillac (1953, also co-wrote the script), and Romanoff and Juliet by Peter Ustinov (1957). Kaufman produced many of his own plays, as well as those of other writers. For a short time, from circa 1940 to 1946, Kaufman, with Moss Hart and Max Gordon, owned and operated the Lyceum Theatre.[22]

Kaufman was a prominent player of bridge, probably both auction bridge and contract bridge. The New Yorker published many of his humorous items about the card game; at least some have been reprinted more than once, including: • "Kibitzers' Revolt" and the suggestion that bridge clubs should post notice whether the North–South or the East–West pairs are holding good cards.[27] • Kaufman was notoriously impatient with poor players. One such partner asked permission to use the men's room, according to legend, and Kaufman replied: "Gladly. For the first time today I'll know what you have in your hand."[28] • On sitting South: (1) "No matter who writes the books or articles, South holds the most terrific cards I ever saw. There is a lucky fellow if ever I saw one."[29] (2) Oswald Jacoby reported a deal that Kaufman played marvelously in 1952, after which he cracked, "I'd rather sit South than be the President." • On coffeehousing, "I'd like a review of the bidding with all the original inflections."[30] His first wife Beatrice Bakrow Kaufman was also an avid bridge player, and an occasional poker player with Algonquin men, who wrote at least one New Yorker article on bridge herself, in 1928.[31]

• Illustration — Beatrice Kaufman in 1934 In the 1920s, Kaufman was a member of the Algonquin Round Table, a circle of writers and show business people. From the 1920s through the 1950s, Kaufman was as well known for his personality as he was for his writing. In the Moss Hart autobiography Act One, Hart portrayed Kaufman as a morose and intimidating figure, uncomfortable with any expressions of affection between human beings—in life or on the page. Hart writes that Max Siegel said: "Maybe I should have warned you. Mr Kaufman hates any kind of sentimentality—can't stand it[32]!" This perspective, along with a number of taciturn observations made by Kaufman himself, led to a simplistic but commonly held belief that Hart was the emotional soul of the creative team while Kaufman was a misanthropic writer of punchlines. Kaufman preferred never to leave Manhattan. He once said: "I never want to go any place where I can't get back to Broadway and 44th by midnight."[33] Kaufman was married to his first wife Beatrice from 1917 until her death in 1945.[34] They had one daughter, Anne Kaufman (Booth). The Kaufmans had an open marriage, in which each was free to see other people discreetly.[35] Known as "Public Lover Number One," Kaufman had affairs with several prominent Broadway actresses.[36] In 1936, he found himself in the center of a notorious scandal when, in the midst of a child custody suit, the former husband of screen actress Mary Astor threatened to publish her diary which contained extremely explicit details of sexual encounters between Kaufman and the actress. In 1952, the court ordered the unread diary to be burned but several excerpts were leaked to the press.[37] Some of the sexually explicit portions of Mary Astor's writing about Kaufman were reprinted in New York magazine in 2012 and Vanity Fair magazine in 2016.[38][39] Kaufman had an affair with actress Natalie Schafer during the 1940s.[40] Kaufman joined the theater club The Lambs in 1944.[41] On May 26, 1949, four years after Beatrice's death, he married actress Leueen MacGrath,[42] with whom he collaborated on a number of plays before their divorce in August 1957. Kaufman died in New York City on June 2, 1961, at the age of 71.[43] His granddaughter, Beatrice Colen, was an actress who had recurring appearances on both Happy Days and Wonder Woman.[44] In 1979, Donald Oliver compiled and edited a collection of Kaufman's humorous pieces, with a foreword by Dick Cavett.[45]

Kaufman was portrayed by the actor David Thornton in the 1994 film Mrs. Parker and the Vicious Circle[46] and by Jason Robards in the 1963 film Act One. In the 2014 Broadway adaptation of the latter by James Lapine, he was played by Tony Shalhoub. The title character of the 1991 Coen brothers film Barton Fink, who is a playwright, bears a strong physical resemblance to Kaufman.[47] Kaufman is portrayed in the film Mank by actor Adam Shapiro.[48]