21 November 2008

Madeline Kahn: Progress Report 1


The young Madeline goes for Baroque
Photo Courtesy of Jeffrey Kahn


It’s not my intention to pre-publish Madeline Kahn’s biography in this space — you will have to wait to read it, and you will, I hope, pay willingly for the privilege of doing so. But I’ve just spent several weeks in the United States, beginning my research and interviews for what promises to be a great story, and I’d like to share a few initial impressions. She was, from what I can tell, precisely the kind of girl I’d have fallen for when I was younger.

If I’d known her when she was in college, I’d have worshiped her. She was wonderfully smart — the Dean’s List at Hofstra, I discovered — with a questing mind and an enduring desire to explore. Many of the subjects that interested her are ones that interest me, and in going through her appointment books (on which I pounced), I see that she meticulously recorded every movie, opera, concert, and art exhibition she attended. Sure, a lot of actresses go to the movies because they think it will be good for their careers: they hope to work with a particular director some day, or they want to be seen at a premiere. But Madeline’s interests seem sincere, personal. She preferred ordinary, everyday screenings at New York’s movie houses, and as for professional aspirations, she can’t seriously have hoped to be cast in an Ingmar Bergman movie: yet she assiduously caught every picture as it came out. Again and again, I found myself wanting to speak to her, to ask not about dates and places but about what she thought of a picture or a piece of music.

Those appointment books are kept with a graceful handwriting, and you can go months without finding a misspelled word or fault in punctuation. I like that about her, too. (I wish she’d kept a journal — but a biographer can’t have everything.)

I don’t mean to suggest that her appeal is exclusively intellectual. She was beautiful, as you can see. And a Jewish girl who loves music and who acts — well, that’s a well-known recipe for stealing my heart.

I’m much interested in Madeline Kahn’s development as a performer, and so it was almost distressing to discover recordings she made around 1965 — when she was 23 and freshly graduated from Hofstra. On two albums of revue shows at Upstairs at the Downstairs, a Manhattan nightclub, I hear the singing voice already mature, and the speaking voice already imbued with that strange musicality that so distinguishes her work on film and television. However her performing persona evolved, the process was nearly complete by the time she made her New York debut.*


Singing for her supper: At the Bavarian Manor
Photo Courtesy of Jeffrey Kahn


You can see her poise in photographs from one early job, singing Friml and Romberg numbers at a Long Island restaurant called the Bavarian Manor. (The gemütlich surroundings inspired her to use a stage name for the only time in her career: “Madeline Kahn” being perhaps a bit too Jewish, she adapted her middle name, Gail, to become “Madeline Gale.”) A few, fascinating pictures show her in — of all things — the madrigal opera L’Amfiparnaso by the Baroque composer Orazio Vecchi. If these pictures were taken yesterday, you’d say some college kid was imitating Madeline Kahn — but she’s the original article, at merely 21 years of age. The trademark verve is already in place, as you can see.

L’Amfirparnaso isn’t an easy sing, either, and I understand better that she really might have had a career in opera. In 1970, she sang Musetta in Puccini’s La Bohème for what would become the Washington National Opera, opposite the Marcello of Alan Titus, later one of the great Wotans of our time. I’m told that James Levine, maestro of the Metropolitan, is an enthusiastic admirer, and I know that she met sometimes with Julius Rudel, then the director of New York City Opera; it’s easy to imagine her being engaged for Die Fledermaus, say, singing to great acclaim, whenever and wherever she chose. Instead, she confined her singing to other stages and the screen, but both Teresa Stratas and Marilyn Horne tell me she came backstage after every performance at the Met, to pay her compliments.

Very often, then, I wonder what other directions her career might have taken, especially during the 1980s, when she weathered a number of weak films and short-lived television series. I wonder, too, what roles she might be playing now, had she lived. She yearned for meatier parts, and the thought of her as Amanda Wingfield, in The Glass Menagerie, thrills me, to cite just one example that might exploit her gifts for humor and pathos. (As well as her musicality — since the text of Glass Menagerie is very much a score for the English language.) Maybe you can think of other parts you’d have liked to see her in.

As I talk with people who knew Madeline Kahn, I’m getting a sense of her personality, too — but I’ll save that for another time. The effect of all this research, though, is something very like a crush, on a woman I never met.

That may be a danger, a setup for disillusionment, although I’m prepared for Madeline Kahn — indeed, for anybody I admire — to possess a few foibles and faults. I’ve been lucky enough to work very closely with two people whom I admired extravagantly before I ever met them: Teresa Stratas and Dan Rather. Neither turned out, on close inspection, to be a saint. That doesn’t detract from their achievements, however; each remains the best in the field. And if my association with them meant knocking them off of pedestals, it compensated with better understanding. Idolatry was replaced with deeper, more substantial feeling. (My trip to New York entailed remarkably happy reunions with Teresa and Dan, neither of whom had I seen in a long while.) So, too, I expect will be my experience of Madeline Kahn.

It’s in the nature of such projects that, for their authors, they take on the quality of a personal adventure. Mine has begun.

*Madeline Kahn’s female cohorts at Upstairs at the Downstairs are especially noteworthy, including Fannie Flagg, a certain Genna Carter (before she changed her name to Dixie), and the omnipotent Ms. Lily Tomlin. Another costar was one of my boyhood idols, Betty Aberlin, who turns out to have been a Manhattanite and college graduate, not a Pittsburgh high-school student, when she was cast in Mister Rogers’ Neighborhood. I’m confident that Fred Rogers never heard her imitation of a phone-sex operator before inviting her to the Land of Make-Believe.

15 comments:

Yankeediva said...

What a fabulous appetizer! I will happily and willingly be one of the first in line to purchase said book!!!!!! WOO HOOOOOOOOO!

mezzomag said...

And I joyfully second that previous WOOOO HOOOOOOO!!
I'm so delighted to have found you and discovered this project. MK has always been an inspiration and I cant wait to read more....(can't hide my curiousity about the "Lady Aberlin" phone-sex item, however...)

Zo Bells said...

THANK YOU THANK YOU for writing this book!! I have tears in my eyes I'm so excited! I've been hoping someone would write a book about her for years!! There is so little info about her and she was so facinating and talented and just brilliant! I'm so happy I could scream!

Zoe

Anonymous said...

Beeeelll!
This tasty little treat leaves me hungry for more. I see you are having fun with this project and wish you great success. SK

Anonymous said...

the photo - Kiss Me Kate?

William V. Madison said...

Granted, the photo looks as if it might be Kiss Me, Kate, and Madeline Kahn would have been brilliant either as Lilli/Kate or Lois/Bianca. But it’s a scene from the Baroque madrigal opera I referred to in the article, L’Amfiparnaso.

Mark said...

Happy New Year!!!! How is the book coming?
When can we expect it? I will buy the first copy!!!

Anonymous said...

Do you have a date as to when this may be released?

William V. Madison said...

We'll be circulating a proposal to a number of publishing houses in the spring, and hope for a release date toward the end of 2010.

Anonymous said...

Awsome, I can't wait. It's been a long time coming.

BookWorm said...

I grew up in Queens, NY in the 80s and went to the same high school that she graduated from in 1960. There are quite a few notable alumni from that high school. Would love to see some pics and learn more about her as a youth in Queens. Just obtained the school yearbook for her graduating class. The picture of Madeline is fantastic! You can see the Madeline Kahn signature facial features starting to develop. Does anyone know what happened to her remains or if there was even a funeral service? Really looking forward to her biography. Her life is inspirational. Is there any expected release date for the biography??

John said...

Did your book on Madeline Kahn every make it to press.

I worked with Madeline Kahn in 1992 when she toured as the lead in HELLO, DOLLY!...

She was a joy and I cannot add any negative comments about here but I do have wonderful stories and memories of the time I worked with her and a year later when she yelled my name across a crowded NYC restaurant... in her wonderful unique style... lilting and lovingly.

John Calder
Los Angeles, CA

William V. Madison said...

Wonderful to hear from you, John Calder. I've seen a video of that Hello, Dolly! production, and it is full of gems, really. From what I can tell, the tour was Madeline's happiest professional experience in musical comedy onstage -- a field perfectly suited to her abilities, though (surprisingly often) mined with misfortunes for her.

We don't have a publisher for the biography at the moment (more recent essays and updates on the subject can be found on this blog), but I'm committed to seeing the project to a successful conclusion and eager to speak with you and with anyone who knew and worked with Madeline. Please send me an e-mail -- or follow up with a comment (which I won't post) telling me how to get in touch with you.

CaseyMeeks said...

Is there an online or publicly available video of Madeline's Hello, Dolly tour? I've always wanted to see it because I imagine that Madeline would be absolutely PERFECT in that role and of course I love seeing any of Madeline's work, particularly her musical work (there simply are not enough recordings of her gorgeous voice). If you know of a way I could see a video, I would greatly appreciate it.

William V. Madison said...

Thanks for writing -- there is at least one video of Madeline in the touring production of Hello, Dolly! -- from Atlanta, I believe. However, the only way I know of seeing it is to make friends with someone in the company, or with Madeline's brother, at whose home I watched the tape. It's quite a document: Madeline appears to be having a terrific time onstage, and she sings with grace and style.