In October, (when the holiday season now begins and CVS puts out their Christmas stuff) I was surfing through a myriad of happy movies and specials that seemed to be unending. I came upon "The Christmas that Almost Wasn't" . It reminded me of one of the shows I am most proud to have directed. The Idea of Edison starring Paul Tripp.
Mr. Tripp wrote and performed in that Christmas classic but I didn't know that until after I had cast him for a short TV drama about a New Jerseyian, Thomas Edison. This project was an Atlantic City Electric Company's contribution to The Centennial of Light; celebrating the anniversary of the great inventor's crowning invention. The drama had been written by the utility’s V.P. of Public Relations, Dr. Fred Abbate. The script was sent to Doug NJN program director who received a daily stream of program proposals that mostly ended up in the circular file but this one interested him and he assigned me to check out a community theater premiere of the play - it was interesting but very "community theater". However, I reported back that with a little help I thought it had potential. Doug recommended that I would continue to investigate the possibilities to produce it for TV. I met Fred, the author, in AC and he read me the play. After he finished I told him candidly that it had to be longer to fill at least a half hour and in my opinion it needed a dramatic conclusion. At lunch I learned that Fred and his wife were devoted community theater actors but this was his first time as a playwright - he admitted he had limited experience but agreed with great enthusiasm to work with me on to adapt the script for television. At the end of our meeting he uttered the magic words that all public TV stations love to hear -"My company would of course underwrite all of the costs to produce the project"! BINGO - as for many greater and lesser projects this simple phrase sealed the deal.
After several rewrite sessions with him I broached a delicate subject. Who would portray Edison in this one man show? Fred said he assumed his community theater actor who played the part on stage . I countered, "To go beyond one local play of this show we had to have at least some “star value” to make it to any network broadcast." His reply, "How much?" (Fred was a fast learner) I pulled a figure out of the air, “At least $5000 for a New York name”. He replied without hesitation, "Done!" I thought I should then reply - “Will have my people meet your people” - but I refrained from this Hollywood cliche. Instead I said, "Great”!
(Fred worked for a public company that made more money in a week than NJPTV's yearly budget and this added expense was like pocket change.. (I told myself to stop thinking small and go for it - for a change) So, I booked a high level casting agent Stallmaster,who has gone on to much bigger projects since my little show. This was the procedure . After sending her the play she got back to me in a few days and we set a casting session date. (This would nr a small session according to Lynn because it was for only one role to and was fairly simple to cast a right "we need an older actor who could become the essence of Tommy E. in his twilight years.") She a more complex script would lead to many vying for roles and it could take days with literally hundreds of actors showing up for the cast-call. I also was amazed to learn that some actors read in casting sessions three times in one day.
I arrived at her office early in the morning after fighting the traffic into the city and we set up in a rehearsal room and the outer office started to fill up with a steady stream of actors who had been called at different times during the morning. Each came in and handed me a headshot with their credits listed on the back and quickly read a few lines; we asked about availability; and if they had any questions. Then just like in the movies I said, "Thank you we will be making a decision soon and be in touch." That day in her office we saw approximately 40 actors and some big names while others I remembered from their work in commercials. One of the most memorable to read was Marc Connelly who was famous for playing the original "stage manager” in the 1944 Broadway production of Our Town by Thronton Wilder. He had to be near 90 and still going but a bit too old for our Edison. All that morning a steady stream of really good actors - many I remembered from the Golden Age of live TV. Then to my surprise an actor entered who I immediately recognized from watching his weekly show of the same name on our new 10-inch Admiral TV on Saturdays in the 50’s. It was Mr. I. Magination who hosted one of the earliest live network television shows for children. It ran live as a half-hour weekly show on CBS from 1949 to 1952 and was broadcast from Manhattan. Paul Tripp played Mr. I dressed as a train engineer who took children on a magical train ride each week. Several kids in the studio audience would be invited to board a small train and travel to Imagination Land and be a part of an event out their history books. Paul Tripp! I couldn’t believe that one of my child-hood TV heroes had applied. (I admit I was biased and overlooked the obvious fact that he didn't exactly remind me of Edison - but after a brief discussion we picked for him at the end of a long morning - Paul was our Thomas Alva Edison.
Working for a month with him was a delight. He memorized the hour script almost overnight with the help of his wife, actress Ruth Enders, cueing lines. Our NJN scenic designer Paul Hoffman who previously was a theater designer, produced a great set (with a nice budget thanks to Fred). We had decided to shoot the show as a “live” theatrical performance with editing only if we needed it.. Paul and Ruth came to Trenton early in a limo I ordered for him which was one of his few personal requests (not demands as many actors have done that I have worked with). We hired a NYC makeup pro and she applied some custom hair pieces and aged Paul (who was much younger than Edison who was portrayed to be in his late 70’s ).
AT 1:PM after a quick camera rehearsal and final lighting check we were ready to rehearse the play – Paul recommended that I taped the rehearsal and said, “Cal I might not be able to do this twice.” I could see he was nervous – like most “real” pros I met he took his work seriously. I didn’t tell him but I always tape my rehearsals because sometimes adrenalin doesn’t always flow the second time. As a performer myself I knew that there is only one Opening Night for every show. I rolled tape and in one hour the show was in the can in one take – as they say. Paul was perfect and I had called the camera shots exactly as I had story-boarded it. Fred’s loved it (even though I insisted that he rewrite the last line – in the original as Edison marvels at his light bulb glowing on his workbench he closes with, “…now what do I do that the thing works and stays working…(brushing his shoulder)…maybe I work on a cure for dandruff". I just could not end a beautiful show with dandruff flake prevention as the next idea of the great inventor. Fred pondered and pondered during our meetings in Manhattan. After some urging the last line changed to: "…I had an idea this one would working and stay working…this is just the beginning and there's so much more to come and I’m just sorry I’m going to miss it!”
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