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The Rest of the Story: A Life Completed, by Arthur Laurents
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(Applause Books). Best known for the hit musicals West Side Story and Gypsy , Arthur Laurents began his career writing socially minded plays such as Home of the Brave and Time of the Cuckoo . He also garnered impressive credits as a screenwriter ( The Way We Were ) and stage director ( La Cage aux Folles ). Such a varied professional life makes for absorbing reading, as unleashed in his lively 2000 autobiography, Original Story By . Laurents passed away early in 2011 but not before writing The Rest of the Story , in which he revealed all that had happened in his life since Original Story By , filled with the wisdom he gained in growing older and a new perspective brought on by Laurents' experience of deep personal loss, including the death of his longtime companion, Tom Hatcher. Laurents' style remains engrossing and brutally honest. His voice is still highly intelligent, loving, generous, and gracious. He remained committed to his artistic vision to the very end, as captured in the epilogue, which he completed only days before his death. The book ends with a loving and insightful coda by Laurent's good friend and the editor of this book, David Saint.
- Sales Rank: #1214008 in eBooks
- Published on: 2012-09-01
- Released on: 2012-09-01
- Format: Kindle eBook
About the Author
Arthur Laurents (1917-2011) was a playwright, screenwriter, and director. He was nominated for six Tony Awards and won two. He is the author of The Way We Were, Mainly on Directing, and Original Story By. David Saint collaborated with Arthur Laurents at the George Street Playhouse, where he is artistic director.
Most helpful customer reviews
11 of 12 people found the following review helpful.
A Life Completed--And What a Life!
By Pageturner in NYC
This follow-up to his original memoir, 2000's ORIGINAL STORY BY, is framed around the idea of change. He updates his memoir but he also looks back and sees how he's changed during the decade since he published his epic biography. He wrote the last page of this volume several days before he died in 2011 at the age of 93.
Looking back, he regrets putting so much sex in the first book, feeling that it seemed to overshadow everything else (although, I, as a reader of the original book, have no complaint about all the sex in it!); he is sorry that he outed longtime boyfriend/actor Farley Granger (they weren't friendly win 2000, but renewed their friendship after the book was published). He's sorry that in his second book ("Mainly on Directing: Gypsy, West Side Story, and Other Musicals"), he focused so much of the blame on director Sam Mendes for most of what was wrong with the 2003 revival of GYPSY with Bernadette Peters.
But, don't think that he lost his fight. He may have regretted outing Granger, but that doesn't stop his from outing director Herbert Ross in this volume. (Ross was also the director/producer of THE TURNING POINT--screenplay by Laurents--of which Ross cut almost all gay content from the film.)
Laurents is a wonderful writer: his portraits of working with and/or friendships with Alfred Hitchcock and Charles Chaplin are illuminating even after countless of full-length bios have gotten to them first. He's also affectionate to Barbra Streisand (saying she'd make a great Mama Rose if she cuts her nails and doesn't play the role for sympathy).
But, primarily, this book is a love letter to Tom Hatcher, his partner of 52 years. Hatcher died in 2006, and never let Laurents know how ill he was with cancer. Prior to his death, he set in motion two projects (revivals of GYPSY and WEST SIDE STORY, under the helm of Laurents), knowing that the only way his partner would be able to cope with his death is by burying himself in work. Even after five years, everything still reminds Laurents of Hatcher and the life they shared. It's a beautiful love story and tale of grief.
If you're a fan of the theatre, you won't want to miss this valuable piece of history.
10 of 11 people found the following review helpful.
Contrition, Malediction and Valediction
By AndrewCF
Arthur Laurents' bio, Original Story By, was acerbic, funny, insightful and honestly told, although there is no doubt as to the subjectivity of the author. Laurents had a legendary career in the theater, and certainly a more successful one than in the movies. At times he was star-struck, but his awe never got the better of him; there isn't a mote of worship to be found in these pages (he is rather nonchalant about his relationships with George Cukor, Katherine Hepburn, Alfred Hitchcock and Charlie Chaplin). He often painted idols with the tortured strokes of an Expressionist artist. Whether or not there was a certain "glee" that comes with knocking a celebrity off his or her high horse no doubt accounts for the outrage some idol worshippers have shown in the press and otherwise. It is undeniable that he was betrayed by Hollywood, regardless of the quality of his writing (which could be wildly variable), never receiving the credit due him by the Writer's Guild because of their inflexible rules and the futility of appeals issued on his behalf by his associates. He bravely talked about his sexuality and encounters, but never in a prurient or clinically detailed manner; he also talked about the difficulty of coming to terms with being gay at a time when such matters were not accepted or spoken of. The best thing I can say is that the book was extremely entertaining.
But there were problematic issues. Laurents barely touched on the estrangement of himself and Lena Horne, a longtime friend; he wrote the Tony Award-winning musical, Hallelujah, Baby, for Horne only to have her walk out on the show before it opened. He did not want to deal openly with the pain this caused him. He only mentions the failure of The Turning Point in context of the betrayal of Herbert Ross (who eliminated the gay subtext but claimed it was producer's doing) and its panning by Pauline Kael (which he attributes to refusing to fraternize with her, not the atrocious quality of the film). The love/hate, friendship/friendliness relationships with Jerome Robbins and Stephen Sondheim were not conveyed with any convincing perspective. The long term relationship with Farley Granger seemed to be based on lust and nothing else. After describing in great detail the devotion and heartbreak of working with Anatole Litvak on The Snake Pit, Laurents virtually omitted any stories about Anastasia. The failure of Nick and Nora seemed too difficult to talk about. And certainly, his devotion to Nora Kaye, clearly a solipsistic prima donna, was puzzling.
I do not ascribe the problems of Arthur Laurent's valediction, The Rest of the Story, to advanced age. The author was as sharp as he was when he wrote the first volume. The most serious fault is repetition, to the point of redundancy, of stories that are told identically in Original Story By. For example, an important exchange with Irene Selznick is quoted verbatim. The chapter "Changing Changes" (such a childish title) is replete with stories from the first volume. The book teeters on the edge of becoming an apologia, despite the author's claim of "no regrets." And in no small part there is a great deal of untoward anger (especially in the chapter "Reputation"): against the political administration, against critics who have done him wrong, against the secrecy of Tom Hatcher's illness and the hospital in which Tom was treated and died. It seems to me that it is unfathomable that Laurents does not acknowledge the role of an interviewer as a provocateur; but he bashes Michael Riedel and Jesse Green nonetheless.
Laurents seems to be on the verge of explaining the reason for Lena Horne's betrayal, actually publishing three letters: a friendly and a disappointed letter from him, and a cryptic handwritten response from her. But he has sworn his editor and friend, David Saint, to secrecy. To his credit, he talks a bit more about Nick and Nora and The Turning Point; in the latter, his anger toward director Herbert Ross results in his outing him. He talks about Anne Bancroft, but none of the other cast members. He expands on the warmth of his relationship with Barbra Streisand. Valuable information is given on the concept of his rethinking of West Side Story. So there is some provocative material in this slim volume.
But in essence, this book is a love letter to his partner of fifty years, Tom Hatcher. Frankly, I was overwhelmed with the self-abnegation and over-the-top attribution to Tom's influence. Arthur's wit, his survival, his flourishing, needed no help from Tom. One clearly gets the impression that denial has grown rampant in the years after Tom's death. He never got over it - it is eminently clear. But your acceptance of the extremes of this work will depend on your tolerance for overstatement and redundancy. There interesting material here, but there is a lot of unappealing and unresolved rumination. This book is not quite the fitting swansong for an important author who passed in 2011 that one would hope for.
3 of 3 people found the following review helpful.
Well Done!
By Digby
I downloaded this book the same day as I finished the hard cover version of AL's first memoir. Both books are well written and a must for all show biz fans. The 2nd book is VERY moving as much of it deals with the loss of his partner Tom after 52 years.
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