The Leonard Bernstein Letters

by Leonard Bernstein

  Anyway I'm waiting to hear from Pan American – your “new found” success gave me courage and we should be off in style a week from tomorrow. Rosalia will follow later by Cinta. My plan is to go straight to Washington (the plane stops there anyway). The children can stay overnight so you can see them and then take a train to New York with Julia. I will have Helen send a suitcase on to Wash[ington] with summer clothes so that I won't need to go to New York at all. How's that for peanuts?

  Of course, this last week I've been having a very good time – dinner parties galore, lunches in terraces, trips to the country and the mountains – the moment one leaves Santiago it is breathtakingly beautiful! And spring really is here, the trees are abloom, the sun is warm and it is nice – actually very nice. I am glad to have stayed on, it would have been too sad to leave with such a memory of misery!

  Since there is nothing to buy, there will be an enormous lack of regalitos.56 I've been wracking my brain and everybody else's thinking of an adequate and fun birthday present for you – as yet notensüdü! I almost got you a race-horse cause it was named after me – but then, we lost Alfred Vanderbilt who could have kept it for you. Then, of course, there are copper mines, cattle farms, vineyards etc. and that's no[t] any good.

  Darling, next time you hear from me t'will be in my own Flora Robson tones. I'll wire arrival time etc. Please remember not to mention my hair which no doubt will look “desperate” after the trip! At the moment Zorina57 would die of envy, it is so silky and straight. I do look awfully well and my beauty is toasted to in the chicest circles, my dear!

  Listen, please love me still when I get back. I may not be such a raving beauty there but I love you.

  F

  392. Felicia Bernstein to Helen Coates

  [Santiago, Chile]

  “Tuesday” [27 August 1957]

  Dearest Helen,

  Bless you for sending me the Washington reviews – I'm still groggy from the impact! Overwhelmingly wonderful. I can only imagine how blissfully happy Lenny must be, bless his heart!

  Anyway, the time has come to pack up and leave. I hope to get a Pan American flight the 3rd of Sept which leaves me directly in Washington. I will take the children and Julie with me and Rosalia will take Chita back alone from here. Lenny can then see the children and they can take a train later to New York. Now, if you can send my summer clothes to Washington in a suitcase I can simply stay on with Lenny for a while and dispense with New York entirely. […]

  All this would need to be sent at once though, cause as you know I have nothing but winter clothes with me! I only hope it won't be difficult and a bore for you. I'm sure Ofra would be happy to help – she knows my clothes rather well.

  We've been having a very nice time this last week – the weather is heavenly! We took the children to the mountains and they had a marvelous time! They are looking beautiful!

  Every one sends love to you and Marie Grace. See you soon.

  Love & Kisses,

  Felicia

  393. Goddard Lieberson58 to Leonard Bernstein

  headed paper of CBS Television, New York, NY

  30 August 1957

  Len,

  I know you're up to ears in unsolicited praise at this point, but I've found myself so full of this project of yours all this week that I need to let you know what I think of it – if only as a sort of palliative which will allow me to get back into the heart of hackwork, which is my domain right now.

  We've glutted the language with so many all-words and non-words that by now a term like “fine” has little meaning. But it has meaning for me, and it's that word which I now find myself stuck with when I think about the way your talent has combined with your material this time.

  I mistrust my initial impression a little – I really can't believe that any one thing can be the best thing of its sort in my memory – all I know is the way I felt on Saturday afternoon was very like the experience of Anne Frank a couple of seasons ago59 – I kept telling myself afterwards that there must have been something wrong with me for those three hours – something wrong that enabled the play to work on me the way it did.

  I must have been something like a perfect piece of audience on Saturday because I've never known anything in musical theater to do me in the way West Side Story did. I'm usually a pain in the neck about those things – thinking all the while, officiously, how it ought to be better done and what I'd see thrown out. But Saturday it just threw me around and that's about the end of it.

  People muttered at times about [Gian Carlo] Menotti – in a good way – saying that it's the most moving thing since The Consul – all that lobby crap – for me Menotti's always been somewhere over the fence because I don't like his use of language and I don't think the whole thing is comfortable – I never have learned to believe it – I don't know The Consul, but the rest of it falls the way I've described – which is a failing in me, I guess, but nonetheless a fact. If it doesn't just happen, then it isn't right.

  I haven't ever seen a production which held together the way yours does – in which the units of work produced by different people fitted so well into a whole – I don't know how it really was. I know you must have had your problems – but none of them show up as scars.

  For me, it has terrific power – terrific unity – excellent individual work, though I think the women are by and large better than the men – I can't say enough for Carol Lawrence this time – I've always liked her – and [Chita] Rivera is beautifully inside the work – which I didn't think she'd really be – she doesn't splash out of the production as I figured she might. This probably isn't going to make her, but it's great for the show. I think the men are at least good and will improve for sure – [Larry] Kert particularly. He seemed a little nervous still – but that's like a headcold and can be got rid of.

  The amazing thing to me is that everything seems to work so well – with the possible exception of the 2d Act ballet, you never get the half-vision of what was attempted against the way it comes off – I know if you tried to tell somebody why the Balcony Scene works, it'd sound wrong – yet it's the most moving single musical sequence I've seen since the park bench scene in Carousel – which I think is a great, great moment.

  The Anita–Maria duet is almost on a level with the Balcony Scene for me – just amazing.

  I hope Kert gets his first two songs into shape – because they're terrific – “Maria” particularly – and it isn't quite happening – or anyhow, didn't on Saturday.

  There's such a fabric there – and such a flow – I wouldn't have believed that it'd be possible on this earth at the end of the first week out of town. I still find it a little tough to be sure about – and yet I know how it was.

  For God's sake, change the last five minutes – you don't need to say all that crap, because everything you've been saying since 8:40 has been saying it for you. And much better than any single invention could do, I think.

  Lynn, that sponge, cried for ten minutes afterwards and the glue and mascara ran all over the National lobby.

  I won't go on – there's nothing duller than praise, when you've had a surfeit of it, I imagine – and you're the last person in the world I'd be caught writing fan mail to – I only had to say, you really did it, man.

  Do you know that when you do a work like this you give a boost to everyone who spades around in the same field? It's kind of like knowing that those productive currents and vibrations are still in the air, if you'll only work and reach and not forget.

  So, thanks for it.

  G

  394. William Schuman to Leonard Bernstein

  Martha's Vineyard Island, MA

  1 September 1957

  Dear Lenny,

  It's just wonderful news that we hear of the show, and Frankie and I are so happy for you and with you. We send love and all the best for the NY opening where we hope to be present. Excuse this fast note but the sun is out on this beautiful island and I can't afford to miss a minute of these last precious days. We
missed you up here and you'll have to arrange next year sans summer rehearsals.

  Love from the 4

  Schumans

  I'm delighted you're doing the 6th [Symphony] – just heard.

  395. Albert Sirmay60 to Leonard Bernstein

  Chappell & Co., Inc., New York, NY

  11 September 1957

  Dear Lenny,

  I'm afraid that I'm too repetitious and maybe annoying in expressing so many times my admiration for your score of West Side Story. However I do not want to miss to say that it gives me immense satisfaction to read in the article of the Evening Bulletin the same words that I used to you on the opening night in Washington and last night in Philadelphia. It was quite a thrill to see my own words “theatrical history” and “milepost” repeated by a professional critic.

  Well, my dear Lenny, I didn't need any printed words to make me aware of the greatness of your score. So bear with me and accept again from me my warmest and most enthusiastic congratulations.

  Love,

  Sirmay

  396. Leonard Bernstein to David Diamond

  Warwick Hotel, Philadelphia, PA

  12 September 1957

  Dear David,

  It seems impossible that I haven't written you in all this time – and yet it's true. Six months or so have elapsed since you left – six months of one straight monochromatic labor on this show, which is now thankfully open, and provisionally a smash hit.61 The three weeks in Washington were phenomenal – sell-outs, raving press & public. Now simile in Philly. It really does my heart good – because this show is my baby, my tragic musical comedy, whatever that is; and if it goes in New York as it has been on the road we will have proved something very big indeed, & maybe changed the face of the American musical theatre.

  But the fact remains that I haven't written a letter in all this time – hardly to anyone – and what makes it worse, I have had this news for you for at least two months now that I will be doing the 4th Symph – with the Philharmonic next year. I should have let you know long ago – but it's just been impossible to do anything but work on the show. Now I breathe a little – it's on, & going; & it's not all I want, nor will it ever be; but it's good, & I'm proud, & I can write a letter again. I forget the exact date fixed for your Mercury Symph., but it will be in January – with, I am almost positive, a Columbia recording (I've almost talked the Kouss Foundation into it). And Mischa Elman playing Mendelssohn on the same program will insure the public. Only hitch: it won't fit into the Sunday broadcast. What an impossible business, making programs in terms of split minutes! But that's a small sacrifice, especially if we get the recording. I'll be happy to renew acquaintance with it again. 10 years!

  The family is home again after a long summer in Chile (I don't know what happened to the summer!) and it's such a joy to be with them again. F & I leave for Israel the 27th (the day after the N.Y. opening of West Side Story) & will be there through the month of October. Then home again. Can you make it?

  You were marvelous in New York, in spite of all the tragic train of events, & I was proud of you. Give my love & Felicia's to Ciro [Cuomo], & many congratulations. Let me hear what you're doing.

  Love,

  Lenny

  397. Margot Fonteyn62 to Leonard Bernstein

  Hampshire House, New York, NY

  24 September 1957

  Dear Mr. Bernstein,

  Thank you more than I can say for arranging seats for us for West Side Story on 3rd October. We are longing to see it and would never have got in without your help. It is so kind of you & I am sure you are overwhelmed with requests.

  The Met. Opera House are holding 4 seats should you wish them for tomorrow night. I wish I were dancing, but we are so lazy in the ballet, we only dance now and then!

  Yours sincerely,

  Margot Arias

  398. Renée Longy Miquelle to Leonard Bernstein

  24 September 1957

  Dearest Spookietchka,

  I have been meaning to write you long since but now I can't delay any further since I have

  1) to tell you how very much I like West Side Story

  2) how marvelous it was to see you, talk and reminisce, and

  Lastly to wish you the very best Broadway opening and a splendid journey to Israel.

  Thank you for being you – for your friendship – you enjoy a very large place in my heart as you know. God speed to both you & Felicia, and all my love.

  Relami [Renée]

  If you have a recent picture of yourself (not a snapshot) please send it me – sort of a delayed birthday present! The last picture (and only one) I have dates back to Xmas 1945.

  Are you giving any exciting new works in Israel? Where can you be addressed there? Till when?

  399. Lauren Bacall63 to Leonard Bernstein

  Los Angeles, CA

  25 September 1957

  [Telegram]

  It was worth all the Dexamyl. It's a smash, you're a smash and I'm thrilled for you.

  Blessings and love,

  Betty

  400. Betty Comden, Steven Kyle, and Adolph Green to Leonard Bernstein

  New York, NY

  26 September 1957

  [Telegram]

  Dear Lenny,

  We can but echo the deathless words of Samuel Hochman: So what's wrong with the hair business? But seriously folks we know tonight will be everything you hoped it to be.

  Much love,

  Betty, Steve and Adolph

  401. Albert Sirmay to Leonard Bernstein

  New York, NY

  26 September 1957

  [Telegram]

  Dear Lenny,

  For the masterwork which you have created in your score for West Side Story my unlimited admiration and my heartfelt wishes for a long-lasting success which you so well deserve with your immense talent.

  Albert Sirmay

  402. Stephen Sondheim to Leonard Bernstein

  11 East 80th Street, New York, NY

  26 September 195764

  Dear Lenny,

  You know – only too well – how hard it is for me to show gratitude and affection, much less to commit them to writing. But tonight I feel I must. West Side Story means much more to me than a first show, more even than the privilege of collaborating with you and Arthur and Jerry. It marks the beginning of what I hope will be a long and enduring friendship. Friendship is a thing I give and receive rarely, but for what it's worth I want you to know you have it from me always.

  I don't think I've ever said to you how fine I think the score is, since I prefer kidding you about the few moments I don't like to praising you for the many I do. West Side Story is as big a step forward for you as it is for Jerry or Arthur or even me and, in an odd way, I feel proud of you.

  Much as I want to write music, I'm not sure I like the idea of doing another show without you.

  I will, of course, and I'll play it for you, and you'll criticize it, and I'll be hostile and sarcastic about your criticism. But I look forward to that criticism and I hope you'll give it freely.

  My gratitude and affection, then (in token of which I offer the enclosed unusual portrait of L. Bernstein in a moment away from J. Robbins), and also my best wishes for good luck to our little divertissement. May West Side Story mean as much to the theater and to people who see it as it has to us.

  Steve

  403. Roger L. Stevens65 to Leonard Bernstein

  New York, NY

  26 September 1957

  [Telegram]

  Dear Lenny,

  Thanks for your graciousness in remembering the dim dark days when it looked like everything was off. My faith was simple because with so many remarkable tunes the production just had to work.

  Roger

  404. Stephen Sondheim to Leonard Bernstein

  [New York, NY]

  23 October 1957

  Dear Lenny or Lennie,

  I have one of the most unusual and authentic excuses ever proffered for not writing you before this: my e
lectric typewriter blew a fuse. Started to print words like thhhisss, and made interpretation even more difficult than blotted longhand. But I hope this reaches you before you leave for London. Helen tells me that you've been receiving almost none of the mail she's sent you. In a way, I hope it's true, because otherwise my news may be redundant to you.66

  First of all, your questions about the show67 could not have arrived at a more opportune time. Ten minutes ago, the phone rang – it was Martin Charnin, informing me that Stephanie Augustine suddenly had to go on for Carol [Lawrence]. This was at four-thirty, so my guess is that something happened to her during the Kaleidoscope (the ballet starts around four-fifteen – by the way, today is matinee day, in case you're hopelessly confused by my incoherence). Charnin couldn't fill me in on the details, since he had to go on for Krupke (the number, not the actor), but I'm going to the show to see how Mrs. Hyman68 does. […]

  On the whole, the cast has been healthier than I expected – a few cases of flu (Al De Sio, who had refused the shot, and whose name outside the theater has been spaced so as to read Aldesio; Charnin, who had received the shot, and one other, whose name escapes me at the moment), a few broken ankles, torn ligaments and sprained wrists (Calin, Roll, Grover Dale, Lynn Ross) […] But there have been no serious crises until today.

  I don't know if Helen sent you all the notices, but knowing her maternal instincts, I suspect she omitted Harold Clurman's in The Nation. I'm afraid it's the end of Frank Lewis and his ground rules69 for us, friend, since I'm cancelling my subscription immediately and trust you will do the same. Clurman's was a nasty, personally antagonistic (why? that's the question on a hundred lips; what did you do to him?) piece accusing us of base motives in writing the show. He called it a “phoney” and said we were “intellectuals slumming” for the purpose of making money. The review was framed by statements to the effect that the show would run a year, but no longer. The only personal pan in the review was directed at me, but he obviously was offended by the whole thing.70 His, however, is the only real blast we got (Time and The New Yorker weren't great, but they weren't more than ordinarily unkind) […]

  From all indications, however, the show is a smash. We're sold out through February, even though tickets haven't yet been placed on sale beyond December 21st (the extra months are the result of mail orders). The License Commissioner has demanded an investigation of the box office; this, Hal [Prince] assures me, is the sign of a genuine blockbuster – it happened on My Fair Lady and South Pacific. The question is how long will the situation last. Part of the cause for the unavailability of seats, even at the brokers', is the continual flow of theater parties – every matinee and evening for the next six weeks except for six performances or so. There will be an Actors' Benefit performance November 24th, so jot it down – it should be very exciting. Anyway, Art or no, we'll be making money for a while.