Word: azenberg
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...They are spending a lot of money on a serious work and doing it during tough economic times, so it's a crapshoot," says Manny Azenberg, who produced Brighton Beach Memoirs for $500,000 in 1983.(See 10 big recession surprises...
...idea of a scene between Eugene and his mother. I liked the idea of him reaching into his family's past to find out where he came from." The crucial scene of the best play of Simon's career took three days to write. But Producer Azenberg knew things would be all right as soon as Simon passed him a scrawled note, now framed in Azenberg's office. In its unassuming way the note summed up Neil Simon, the resilient man, the sober craftsman and the confident artist. It read, "Don't worry. I know...
...will reply, 'Not good enough.' He still has a wonderful humility about his work and has about 150 first acts in his trunk." Simon's motivation seems not to be glory either. He is intensely private, says one of his best friends, Broadway Bound Producer Emanuel Azenberg: "Although he is very diligent during the rehearsing and rewriting, when we open the shows to the public, his interest diminishes precipitously." Simon himself says, "I like the work, I like the opportunity for control over my life, but I don't like being Neil Simon the public figure. Now that this show...
...When we were casting the mother in Lost in Yonkers,Gene Saks, our director, wanted to make sure that IRENE WORTH had the right German accent to play the part. Problem was, she was living in England and would not come over to audition. Instead, producer Manny Azenberg, Saks and myself flew to London to meet with her. We invited her to lunch and she was amiable and charming, while Saks tried to coax her into doing the German accent for us. With a fiery look in her eyes, she shouted angrily: "I will not audition!" Defeated, we continued...
...half-empty part to Broadway's current cocktail. Some of the Old Guard fear that the rich corporate players are making it harder for independent producers and smaller musicals (not to mention straight plays--remember them?) to compete. "The danger with $20 million musicals," says veteran producer Emanuel Azenberg, "is that you have to run for 28 years, have five companies around the world and play to the lowest common denominator." Azenberg's Side Show was one of two decent little musicals (the other was Triumph of Love) that recently closed, unable to keep pace with the fast crowd. (Azenberg...