Broadway's super agent
4-14-79
"Pardon me — just one more call to make," said Milton Goldman, pushing the buttons on his nearest desk phone. "Go on, you can ask me questions at the same time," he added, holding the receiver to his ear.
"Are you the biggest theatrical1 agent in the world?" I said. He returned my gaze evenly.
"Others have said it. It would be immodest for me to say it — but I probably am," said Goldman, who by this time had reached his party and was inviting2 the young actress on the other end to a Broadway opening that night. He chatted with her for several minutes, his Jack3 Bennyish voice breaking occasionally into rich laughter.
Sitting upright behind a desk-sized table covered with papers, folders4, notebooks and play scripts, the ruddy-complexioned, jacketless Goldman looked far more relaxed that I had expected of a man who, in his 32 years as an agent, has handled the careers of close to 5,000 actors and actresses. Among those he has helped "discover" are Jack Lemmon, Walter Matthau, Grace Kelly, Lee Marvin, Charlton Heston and Faye Dunaway. And though Goldman has become a celebrity5 in his own right, he still exudes6 the low-keyed charm of a friendly neighbor talking over a fence.
The appearance is no deception7: he owes his success not to high-pressure tactics, but to an encyclopedic knowledge of the theatre on both sides of the Atlantic, a keen judgment8 of which shows are best for his clients, and a long-proven record for trustworthiness. By title, he is vice9 president in charge of the theatrical division of International Creative Management, which is matched in size only by the William Morris Agency. Unofficially, he serves as father confessor, rabbi, psychiatrist10, and best friend to many of the top stars he represents. Attending the theatre up to five times a week, he is always on the lookout11 for new clients. His weekends are devoted12 to reading and casting new plays.
"I can't resist talent, and when I see a talented young actor or actress, I want very much to help realize their potential by opening as many doors as I can for them," he explained, gripping the arms of his chair. "I don't think of my job as work. For me, it's fun. And I never know where the one begins and the other ends. Because I'm that lucky individual whose private life and public life are one and the same thing."
Every year he takes a vacation to Europe on the Queen Elizabeth II. "I'm in Paris for a week and London for about three weeks." In slow, carefully chosen sentences, he stated, "I represent many English clients because my knowledge of the English theatre is probably better than anyone else in the American theatre. Every year in London, I get the same suite13 in the Savoy Hotel and give great parties. I go to at least eight plays a week — sometimes as many as 10. So I get to see all the plays in London. And I know all the English actors and they know me." Among his British clients: Sir Laurence Olivier, Sir Ralph Richardson and Sir John Gielgud.
"American performers excel in the musical comedy theatre, where dancers and singers also very often are fine actors. This is not true in England. Dancers are especially hard to cast in London, though I think that is changing now. … It's sad that the American theatre can't support serious plays. They're either musicals or they're comedies. I think a healthy theatre should be able to support the works of serious playwrights14. This season, we happen to have on Broadway an important play by an American playwright15 — Arthur Kopit's Wings, which stars our client Constance Cummings, who is an American actress who went to England and made her reputation abroad, and has now returned here to great acclaim16."
A native of New Brunswick, New Jersey17, Goldman witnessed his first Broadway show in the summer of 1929, and from that day forward, the theatre was his passion. For 10 years he worked as a tire salesman at a family-owned business. Then, through his friend Arnold Weissberger, a noted18 lawyer, Goldman was offered a job as a theatrical agent at no base salary, but with a $25 weekly expense account and a 25 percent interest in any clients he signed up. Success came to him almost at once.
A lifelong bachelor, Goldman today shares an apartment with Weissberger on the Upper East Side. His favorite local restaurant is the Four Seasons. "I go there all the time for lunch; that's my main meal of the day. I think it's the best restaurant in the world."
The actor's life, he believes, "is a sad and a difficult one. Every time you get a good part, the next part has to be bigger — more money. As you reach the top, it becomes tougher and tougher to get those parts." Nevertheless, Goldman does not find his own job at all frustrating19.
"Pressures? Yes, there are many pressures. But I have said this before: there are so many rewards for me when I see a client in whom I believe get a great break in the theatre or films of television. It's a source of great satisfaction. And with the number of clients I represent, each day brings some rewards. That's why I've often said to clients: 'I have many lives to live.'"
点击收听单词发音
1 theatrical | |
adj.剧场的,演戏的;做戏似的,做作的 | |
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2 inviting | |
adj.诱人的,引人注目的 | |
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3 jack | |
n.插座,千斤顶,男人;v.抬起,提醒,扛举;n.(Jake)杰克 | |
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4 folders | |
n.文件夹( folder的名词复数 );纸夹;(某些计算机系统中的)文件夹;页面叠 | |
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5 celebrity | |
n.名人,名流;著名,名声,名望 | |
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6 exudes | |
v.缓慢流出,渗出,分泌出( exude的第三人称单数 );流露出对(某物)的神态或感情 | |
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7 deception | |
n.欺骗,欺诈;骗局,诡计 | |
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8 judgment | |
n.审判;判断力,识别力,看法,意见 | |
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9 vice | |
n.坏事;恶习;[pl.]台钳,老虎钳;adj.副的 | |
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10 psychiatrist | |
n.精神病专家;精神病医师 | |
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11 lookout | |
n.注意,前途,瞭望台 | |
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12 devoted | |
adj.忠诚的,忠实的,热心的,献身于...的 | |
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13 suite | |
n.一套(家具);套房;随从人员 | |
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14 playwrights | |
n.剧作家( playwright的名词复数 ) | |
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15 playwright | |
n.剧作家,编写剧本的人 | |
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16 acclaim | |
v.向…欢呼,公认;n.欢呼,喝彩,称赞 | |
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17 jersey | |
n.运动衫 | |
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18 noted | |
adj.著名的,知名的 | |
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19 frustrating | |
adj.产生挫折的,使人沮丧的,令人泄气的v.使不成功( frustrate的现在分词 );挫败;使受挫折;令人沮丧 | |
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