Abbey Theatre, Dublin, 196, 205, 209, 210, 214, 248
Abbott, George, 296
Abe Lincoln in Illinois (film), 679
Abraham Lincoln (stage play), 482, 485
Academy Awards (Oscars), 517, 531, 590, 619, 671, 731, 736
Actors Equity, 232, 293, 310, 373, 389, 392, 402, 417, 448, 462, 481
Adams, Maude, 294
Addams, Jane, 52–53
Adding Machine, The (stage play), 180
Ade, George, 22, 24, 27, 30, 63, 64, 75–76, 123, 188
Adrian, Gilbert, 560
(AFI) American Film Institute, 743, 744–45
AFL (American Federation of Labor), 389, 392
Aherne, Brian, 297–98, 300, 345, 550
Alexander, Rita, 631, 632
“Algiers” (radio play and film), 581
Algonquin Hotel, New York, 255, 293, 294, 298, 414
Algonquin Round Table, 571, 619
Alice in Wonderland (stage adaptation), 210–11
All-Alone, The (stage play), 214
Alland, William, 419, 492
and Citizen Kane, 382, 667–68, 682, 695, 704
in Hollywood, 565, 574, 581, 610
and HUAC, 727
and Mercury Theatre, 418, 434, 502, 521, 547, 667
and Orson’s “slaves,” 382, 418, 434, 479, 502, 547
and The Second Hurricane, 382, 418
as “Vakhtangov,” 418, 479, 549, 565, 574
Allen, Evelyn, 416
Allen, Gracie, 161
American Lyric Theatre, 530
American Mercury, 409
American School of the Air (radio series), 324–26, 330, 413
Anderson, Arthur, 417, 434, 443, 480
Anderson, John, 428, 453
Anderson, Mary, 262
Anderson, Maxwell, 305, 380, 648
Anderson, Sherwood, 485
Anderson, Thomas, 334
Anger, Kenneth, Hollywood Babylon, 737
Anisfeld, Boris, 86, 185, 186
Ankrum, Morris, 521, 548
Appleby, Stephen, 549
Aquitania (ship), 553
Archdupe, The (stage play), 208, 209
Archer, William, The Green Goddess, 546 Arlen, Michael, 115
Arliss, George, 197
Around the World in Eighty Days (Jules Verne story, radio play), 358, 497, 499
Around the World in Eighty Days (musical), 739
“Arrowsmith” (radio play), 531
Art Institute of Chicago, The, 10, 86, 103, 110, 127, 149, 185, 279, 280, 281
Ash, Walter, 417, 473, 536
Atkinson, Brooks, 311, 342, 348, 366, 376, 428, 430, 436, 514
Auden, W. H., 380
Backus, Georgia, 616, 727
Badger Brass Company, 24–26, 29, 31–32, 34–38, 39, 40, 45, 52, 55, 73–74
Baer, Richard (Richard Barr), 549, 565
in Hollywood, 554, 558, 610
and Mercury Theatre, 492, 502, 521, 547, 554
and money matters, 605–6, 616, 629–30, 656–57, 701
and Orson’s “slaves,” 492, 502, 526, 547, 554
Bain, Harriet, 49, 50, 52, 53, 56–57, 59–60, 64, 69, 71, 73, 75, 77
Bain Wagon Works, 17, 18, 23, 35, 74
Baird, Bil, 357, 363, 364, 373, 417
Balanchine, George, 439, 455–56, 489, 542, 567
Ball, Lucille, 576–77, 616–17, 642–43n
Bankhead, Tallulah, 258–59, 405, 428, 520, 535–36
Barnet, Charlie, 680
Barrett, Edith, 446
Barretts of Wimpole Street, The (stage play), 259, 262–67, 268, 275, 298, 363, 520
Barrier, Edgar, 473, 475, 476, 480, 492, 521, 587, 644
Barrymore, Ethel, 153, 321, 543–44
Barrymore, John, 102, 131–32, 199, 224, 261, 543–45, 547, 549, 551, 588, 620
Barrymore, Lionel, 519, 543–44, 616
Barrymore, Maurice, 543, 544
Bartzen, Peter, 47–48
Bass Rocks Theatre, Gloucester, MA, 530, 546, 547
Bates, Ernest Sutherland, 652
Batista, Miriam, 318
Beaton, Cecil, 428, 430
“Beau Geste” (radio play, 531
Beau Geste (film), 557
Beery, Wallace, 531
Belasco, David, 324, 615
Benét, Stephen Vincent, 380
The Devil and Daniel Webster, 530, 536, 538
Benny, Jack, 379, 560, 643, 645–46
Bergman, Ingrid, 587
Bergner, Elisabeth, 160
Berle, Milton, 198
Bernhardt, Sarah, 79–80
Bernstein, Mrs. Mina (Elman), 65, 74, 82
Bernstein, Hazel Moore, 65, 74, 82 573–74, 682, 723, 724, 726, 727, 729; see also Moore, Hazel
Bernstein, Maurice A.:
death of, 723, 728–29
and Edith Mason, 162–63, 167–68
and Hazel, 163, 226, 299, 321; see also Bernstein, Hazel Moore
and Hollywood, 554, 573–74, 580, 594, 603–5, 723–29
in Kenosha, 46–47, 82–83, 85
letters to and from Orson, 188, 191, 192, 193, 195, 198, 201, 203, 204, 207, 244, 260, 298
medical practice of, 47–48, 65, 724–25, 726, 728
and Mina Elman, 65, 74, 82
myths perpetuated by, 6, 9, 85, 107, 614, 617
and Orson’s birth and childhood, 5–6, 87, 90, 109, 110, 111–15, 127, 131, 132, 149
and Orson’s health, 101, 112
and Orson’s performances, 264, 349, 535, 549, 682, 706
and Orson’s teen years, 152, 153, 157–58, 159, 162, 168, 181, 184–87, 220, 226–27, 232, 234, 239, 241, 245, 261, 272
and Orson’s trust fund/finances, 48, 177, 181–83, 194, 199, 225, 231, 232, 240, 245, 293, 297, 319, 323, 337, 449, 515, 539, 541, 573, 605, 657, 729
and Orson-Virginia marriage, 301, 600
personal traits of, 46–47, 48
and Richard “Dick” Welles’s death, 176–77
stories told by, 21, 60, 110–11, 112, 122, 168, 261, 525
travels of, 106, 169, 329
as Welles family friend, 49, 64–65, 83, 85, 87, 93, 99, 100
Welles keepsakes in possession of, 8, 106, 182–83, 658, 729
and Woodstock summer theater, 281, 282
and young Richard Ives Welles’s financial affairs, 183, 228
and young Richard Ives Welles’s health, 48–49, 75, 82–83, 91–92, 93, 101, 140
Berry, John, 417, 476, 479, 494, 521, 727
Besier, Rudolf, 259
Bessy, Maurice, 418–19
Bierce, Ambrose, 654
Big Brass Ring, The (film), 607, 712, 746
Big Sister (radio series), 359, 362, 365, 368
Billingsley, Sherman, 536
Birth of a Nation, The (film), 102–3, 615
Biskind, Peter, My Lunches with Orson (ed.), 206
Blackstone, Harry Jr., 714
Blaine, James G., 148
Blake, Nicholas (Cecil Day-Lewis), The Smiler with the Knife, 595–97
Blankfort, Michael, 297
Blitzstein, Marc, 409, 419, 433, 448
and The Columbia Workshop, 415
and Cradle revival, 415, 429–30
and The Cradle will Rock, 384–86, 391, 392, 393, 395–98, 401–2, 406
and Danton’s Death, 492, 495
and Mercury Theatre, 415, 422, 429, 515, 521
and The Spanish Earth, 382, 384
and Too Much Johnson, 477, 482
Blondell, Joan, 643
Bodenheim, Maxwell, 425
Bogdanovich, Peter, 620, 743, 746
The Cat’s Meow, 663n
on Citizen Kane, 3, 638, 640, 651, 661, 662, 664, 672, 673, 674, 682, 688, 689–90, 700, 704–5, 734
interviews with Orson, 86, 88, 102, 108, 117, 128, 130, 159, 210, 296, 350, 362–63, 367, 369, 372, 408, 433, 442, 471, 492, 509, 518, 532, 544–45, 564, 583, 585, 587–88, 590, 593, 616, 618, 621, 623, 644, 710, 711, 715, 718, 732
an
d Sight and Sound poll, 744
This Is Orson Welles, 287
Bohnen, Roman, 233, 297, 308
Bolm, Adolph, 724
Bonanova, Fortunio, 116–17
Bond, Ward, 585
Booth, Edwin, 30, 94, 203, 302, 429
Borowoski, Felix, 94
Bosch, Hieronymous, 620
Bourbon, Diana, 569, 581, 582, 584
Bow, Clara, 571
Bowles, Paul, 356, 373, 474, 482n
Boy Meets Girl (stage play), 338
Boyar, Ben A., 229, 232, 235
Boyer, Charles, 581
Bradford, Mary D., 30, 44, 51, 52, 53, 55, 57–58, 59, 62, 63–64, 71, 77, 78
Brady, Frank:
Citizen Welles, 206, 215, 217, 378, 387n, 398, 439, 443, 449, 455, 476, 477, 478, 482, 516–17, 536, 548, 562n, 563, 589, 592, 593, 594, 596, 679
watching filmed Twelfth Night rehearsals, 218, 374
Brassler, Muriel, 416
Brecht, Bertolt, 385
Bright, John, 619
“Bright Lucifer” (stage play), 294, 295, 302, 306, 313–17
Bronte, Charlotte, 497, 498
Brown, John, 148, 152, 219, 220, 222–26, 229–32, 237, 239, 240, 252, 253, 621
See also “Marching Song”
Brown, John Mason, 348, 426, 427, 428, 514
Bryan, William Jennings, 622
Buchan, John, The Thirty-Nine Steps, 485
Büchner, Georg, Dantons Tod (Danton’s Death), 483, 490, 492
Buck, Rev. Florence, 33–34, 39, 40, 41, 43, 52, 62, 98
Buñuel, Luis, 286
Burckhardt, Rudy, 406–7
Burgess, Grover, 416
Burke, Billie, 642
Burns, George, 161, 560
Burnshaw, Stanley, 312
Burroughs, Eric, 336–37, 350, 386
“Business Before Pleasure” (radio play), 547
Butcher, Fanny, 186, 371
Cabinet of Dr. Caligari, The (film), 589
Calleia, Joseph, 296–97, 582
Callow, Simon, Orson Welles, 150, 155, 163, 174, 180, 194, 224, 245, 249, 300, 316, 344, 349, 352, 419, 436, 481, 504, 510, 517, 525–26, 534, 572, 595, 613, 619
Campbell, Mrs. Patrick, 442–43
Campbell Playhouse, The (radio series), 519, 523, 542, 568–70, 578, 584, 587, 599
the deal with, 516–18, 569
final broadcast of, 643–44
and finances, 605, 629
and John Houseman, 516, 518, 531, 546, 569, 570, 579–80, 611
launch of, 517–18
and Herman J. Mankiewicz, 572–73
and Mercury Theatre, 517, 518
and Orson in Hollywood, 568–69
programs of, 517–18, 531, 545, 547, 548, 570, 572, 581, 616, 642–44, 646
Camp Indianola, 118–21, 122, 124, 126, 143
Camp Tosebo, 184, 186, 220, 272
Cantril, Hadley, The Invasion from Mars: A Study in the Psychology of Panic, 506, 648–50
Capek, Karel, 165
Capital Times (Madison, WI), 123-25, 730
Capra, Frank, 57, 588, 643
Carle, Richard, 30, 71
Carlson, Oliver, 652
Carman, Bliss, “Envoy,” 158
Carpenter, Francis, 294, 296, 317, 319–20, 419, 434, 521
Carringer, Robert L., The Making of Citizen Kane, 368, 565, 594–95, 596, 629, 655, 656, 660, 661, 665, 669, 673, 675, 693, 702
Carrington, Margaret, 258, 261, 272
Carroll, Lewis, 211
Carroll, Madeleine, 531, 644
Carson, Johnny, 709, 714
Carter, Jack, 297, 340, 610
and Faustus, 372–73, 374, 376, 586
and Heart of Darkness, 586
in Voodoo Macbeth, 336, 344, 345, 346, 347, 350, 351, 586
Caruso, Enrico, 31, 90, 94
Caruthers, Julia Lois, 11–12, 83, 99, 103
Cavalcade of America (radio series), 368
CBS, 337, 338, 369, 370, 379
and American School of the Air, 324, 330
and The Campbell Playhouse, 516–18
and The Columbia Workshop, 369–70, 378, 380, 405, 415, 459
and “First Person Singular,” 458, 459–60
and Studio One, 459
and “War of the Worlds,” 498, 501, 508–10, 511, 513, 516
Celebrity, The (stage play), 210
Century of Progress Exposition, Chicago (1933), 251–52, 281
Chaliapin, Fyodor, 90
Chamlee, Mario, 94, 154, 186, 301, 574, 724
Chancellor, Betty, 204, 206–7, 213
Chaney, Lon, 88, 210, 539
Chang (film), 589
Chaplin, Charles “Charlie,” 474, 545, 577, 584, 663, 689, 702, 703
The Gold Rush, 118
The Great Dictator, 566, 582
The Kid, 473
Modern Times, 198
Monsieur Verdoux, 725
Chappell, Ernest, 569, 581, 582
Chase and Sanborn Hour, The (radio series), 498
Chesterton, G. K., The Man Who Was Thursday, 485–86
Chestnut Theater, Philadelphia, 534–35
Chicago Civic Opera, The, 152, 155, 162, 164–65, 232, 238, 301, 358
Chicago Conservatory, The, 10–12, 34
Chicago Daily News, 79, 236, 252, 288, 735
Chicago Herald (and) Examiner, 94, 97, 152, 165, 167, 168, 174, 177
Chicago (Daily) Tribune, 60, 79, 93, 94, 105, 152, 154, 186, 207, 210, 216, 220, 226, 237, 261, 265, 273, 274, 281, 282, 284, 285, 299, 302, 358, 371, 541, 570, 604, 625
Chimes at Midnight (film), 419, 519, 529, 710, 738, 745
Chimes at Midnight (stage play), 602, 603
Chirello, George “Shorty,” 553, 717, 734
Chopin, Frédéric, 10, 40, 74, 330
Christians, Mady, 451–52
Christie, Agatha, 572
“Christmas Carol, A” (radio play), 519–20, 616
Churchill, Sir Winston, 620
Cimber, Alphonse, 334
Cintrón, Conchita, 249
CIO (Committee for Industrial Organization), 389, 390, 448
Circle, The (stage play), 209
Citizen Kane, 590, 593, 607, 615n
and Academy Awards, 619, 736, 742
books and articles about, 3, 368, 565, 594–95, 596, 620, 632, 633, 656, 661, 686, 712
budget for, 693
casting of, 114, 116, 639–40, 663–68, 683–90, 703–4, 735
and censors, 677, 683, 702
characters in, 46, 107–8, 116, 155, 221, 366, 382, 452, 625–27, 634, 635–39, 653, 655, 664–65, 675–76, 678, 688, 689, 691–93, 694, 723, 737, 744
credits for, 546, 673, 695–97
critical reviews of, 735–36
filming of, 3, 681–83, 687–88, 703–6, 710, 723
Hearst media ban on, 735, 736–37
lighting for, 671–72
Lundberg lawsuit about, see Lundberg, Ferdinand
music for, 634, 692–93, 701, 724
Orson’s acting in, 678–79, 688
Orson’s scriptwriting contributions to, 631, 651, 655–56, 659, 660–63, 664–65, 669, 674–83, 693–96, 742
parallels to real life, 246, 454, 626, 634, 635, 638, 656, 659, 661, 663, 681, 744
premiere of, 588
production team for, 474, 669–73, 682–83, 691, 701, 703
published script of, 633–34, 638, 650, 653, 665, 705
RKO 281 telefilm about, 104
RKO planning for, 628–30, 645, 655, 656, 660, 669, 674
“Rosebud,” 632, 633, 634, 635, 636, 661, 666, 692, 697–701, 735, 737
scenes from, 3, 116–17, 367, 571, 585, 622, 623–24, 633–34, 635–38, 652–53, 655, 664–65, 666–67, 676–78, 680–85, 687–89, 691, 699–700, 701, 735
seeds of the story, 6, 19–20, 27, 30, 88, 90, 125, 134, 183, 223, 245, 287, 368–69, 564, 596, 619, 621–27, 703
shooting script of, 81, 504, 633, 661, 677, 682–83, 691, 697–701, 702
&nb
sp; special effects in, 673, 678
structure of, 621, 626, 634–40
success of, 734, 735, 744–45
title of, 674
UCLA course on, 714, 743
writing the script (with John Houseman, Herman Mankiewicz), 630–32, 639, 640, 646, 650–56, 659, 681
Xanadu (Florida) in, 625–26, 633, 634, 655, 670, 678, 680–81, 687, 698, 699
Civic Repertory, New York, 297
Civil War, U.S., 8, 14, 15, 17, 19, 22, 102, 117, 130, 133, 219, 222, 236, 252, 261, 358, 671
Clair, René, 354
Claire, Ina, 94
Clayton, John, 152, 155, 180, 201, 226, 232, 235, 236, 239, 251–52, 246, 253, 280, 285
Clouds over Europe (film), 558
Cocteau, Jean, 233, 286, 327
Cody, Buffalo Bill, 60
Cohan, George M., 30
Cohn, Harry, 567, 727n
Colbert, Claudette, 567
Colcord, Lincoln, 70
Cole, Nat “King,” 680
Coleridge, Samuel Taylor, 698
Collins, Charles, 94, 152, 220, 226, 227, 251, 261, 265
and Woodstock summer theater, 273, 274, 275, 281, 282, 284, 285–86
Collins, Ray:
background of, 326-27
in Citizen Kane, 666, 668
and Heart of Darkness, 586
in The Magnificent Ambersons, 107
radio roles of, 325–26, 404, 431, 469, 499, 502, 507, 582, 616
Collins, Richard, 690, 727
Colonial Theatre, Boston, 526–30
Colum, Padraic, 211–12
Columbia Artists, 646, 657
Columbia Workshop, The (radio series), 369–70, 378, 380, 405, 415, 459, 499
Comingore, Dorothy, 577, 689–93, 695, 727
Communist Party, U.S., 312, 346, 349, 364, 389, 390, 415, 448, 474, 495–96, 619
See also Daily Worker
Conan Doyle, Arthur, 487, 497, 498
Conjur’ Man Dies (stage play), 331–32, 337, 339, 342–43
Connelly, Marc, 364, 535–36
Conrad, Joseph, Heart of Darkness, 517, 563–65, 587, 591, 595
Conrad, Peter, Orson Welles: The Stories of His Life, 113, 355, 433, 607, 737
Cooper, Merian C., 589
Coote, Robert, 589, 593, 617, 644
Copland, Aaron, 356, 377, 381–82, 522
Corbett, James J., 31
Cornell, Katharine, 115, 116, 233, 301, 310, 408
in The Barretts of Wimpole Street, 262–67, 268, 275, 298, 520
in Candida, 262–63, 268
critical reviews of performances, 265, 267, 268–69, 300
in Romeo and Juliet, 262–65, 268, 271–72, 293, 298, 299–301, 304, 307, 366
Shakespeare debut of, 261–62
touring company of, 210, 253–54, 258–73, 274–75, 278, 280, 289, 293, 294, 308, 335, 416, 452, 480, 537, 539
Young Orson: The Years of Luck and Genius on the Path to Citizen Kane Page 94
