remembering
by Douglas Messerli
Betty Garrett: Closet Songwriter, with Betty Garrett, Debra Armani, Daniel Keough, Jack
Kutcher, Robert W. Laur, Barbara Mallory, Lee Meriwether, and Andy Taylor, Los
Angeles/Theatre West [the performance I attended was on Sunday, November 18,
2007]
.
My companion Howard and I saw Garrett on November 18 at what was to have
been Los Angeles’s Theatre West’s last performance of Betty Garrett: Closet Songwriter, although the show was later
extended for another week.
Garrett’s is a story of amazing fortune and darkly sinister events.
Beginning on Broadway as an understudy to Ethel Merman, Garrett’s career
quickly rocketed as she performed in several plays and the musical revue Call Me Mister, where she famously sang
“South America, Take It Away,” winning her the Donaldson Award. In 1944 she
married actor Larry Parks (star of The
Jolson Story and Jolson Sings Again)
and moved to California, where she acted in a string of successful films,
including Words and Music (1948), Take Me Out to the Ball Game, Neptune’s Daughter, On the Town (all
three 1949), and My Sister Eileen
(1955).
A few years ago, at a memorial dedicated to the Hollywood Ten and an
unstated apologia for the Writers and Directors Guilds’ complicities with the
HUAC and McCarthy hearings, Howard and I saw Billy Crystal enacting Parks’
tormented testimony as he attempted to allay the questions of committee
members. “I would prefer, if you would allow me, not to mention other people’s
names. Don’t present me with the choice of either being in contempt of the
Committee and going to jail or forcing me to really crawl through the mud to be
an informer.” Later: “I don't think this is American justice...So I beg of you
not to force me to do this." Reminding the committee that he had two small
children, Parks confronted his questioners:
"Is this the kind of heritage
that I must hand down to them? Is this the kind of heritage that you would like
to hand down to your children?" The committee insisted, however, that he
name names. Although Parks was, accordingly, not added to the blacklist, his
contract with Columbia Pictures nonetheless was soon cancelled and he made only
three more films.
So too had Garrett’s film career ended, and the two of them had no
choice but to form a musical team appearing in nightclubs and theatres across
the United States, later, like Stritch, performing in England.
Betty is anything but bitter, and her lyrics, if at times satirically
biting, are never cynical. While a large number of her song lyrics are mere
rhymed ditties and “patter” songs, a few of these pieces, in particular
“Remember Me” (a song written for her granddaughter), “Lack-a-Daisy Day” (a
number she performed with her husband on tour), and a song written for her
close friend Lloyd Bridges and his family, “Bridges of Love” are charming
songs, the first and last moving, if somewhat sentimental ballads. I believe
the entire audience left Garrett’s show with even more admiration for her
musical and acting contributions and her lifetime of sustained energy.
Garrett died almost three years from the day I wrote this in 2011.
Los Angeles,
February 14, 2008
Reprinted from Green
Integer Blog (February 2008).