Arthur Laurents
Laurents in 1983
Born	Arthur Levine (1917-07-14)July 14, 1917 New York City, U.S.
Died	May 5, 2011(2011-05-05) (aged 93) New York City, U.S.
Resting place	Quogue, New York[1]
Occupation	Playwright theatre director film producer screenwriter
Language	English
Alma mater	Cornell University
Period	1945–2011
Notable awards	1968Tony Award for Best Musical –Hallelujah, Baby! 1975Drama Desk Award for Outstanding Director of a Musical –Gypsy 1977Writers Guild of America Award for Best Original Screenplay –The Turning Point 1984Tony Award for Best Direction of a Musical –La Cage aux Folles
Partner	Tom Hatcher (co. 1954;d. 2006)

Arthur Laurents (July 14, 1917 – May 5, 2011) was an American playwright, theatre director, film producer and screenwriter.^[2] With a career spanning seven decades he received numerous accolades including twoTony Awards, aDrama Desk Award, and nominations for twoAcademy Awards, twoBAFTA Awards, and aGolden Globe Award.

After writing scripts for radio shows after college and thentraining films for theU.S. Army duringWorld War II, Laurents turned to writing forBroadway, producing a body of work that includesWest Side Story (1957),Gypsy (1959), andHallelujah, Baby! (1967), winning theTony Award for Best Musical for the latter. He directed the musicalLa Cage aux Folles in 1983 and received theTony Award for Best Direction of a Musical.

Laurents also worked as a screenwriter onHollywood films such asAlfred Hitchcock's thrillerRope (1948),Anastasia (1956),Bonjour Tristesse (1958) andSydney Pollack's romanceThe Way We Were (1973). He received twoAcademy Award nominations forBest Picture andBest Original Screenplay for theHerbert Ross drama filmThe Turning Point (1977).

BornArthur Levine, Laurents was the son of middle-class Jewish parents, his father a lawyer and his mother a schoolteacher, who gave up her career when she married.^[3][4] He was born and raised in theFlatbush section ofBrooklyn, aborough of New York City, New York, the elder of two children, and attendedErasmus Hall High School.^[5][6] His sister Edith suffered fromchorea as a child.^[7]

His paternal grandparents wereOrthodox Jews, and his mother's parents, although born Jewish, wereatheists. His mother kept akosher home for her husband's sake, but was lax about attending synagogue and observing theJewish holidays. Hisbar mitzvah marked the end of Laurents' religious education and the beginning of his rejection of all fundamentalist religions,^[8] although he continued to identify himself as Jewish.^[9] However, late in life he admitted to having changed his last name from Levine to the less Jewish-sounding Laurents, "to get a job."^[3]

After graduating fromCornell University, Laurents took an evening class in radio writing atNew York University.William N. Robson, his instructor, aCBS Radio director/producer, submitted his scriptNow Playing Tomorrow, a comedic fantasy aboutclairvoyance, to the network, and it was produced in theColumbia Workshop series on January 30, 1939, withShirley Booth in the lead role. It was Laurents' first professional credit. The show's success led to him being hired to write scripts for various radio shows, among themLux Radio Theater.^[10] Laurents' career was interrupted when he was drafted into the U.S. Army in the middle of World War II. Through a series of clerical errors, he never saw battle, but instead was assigned to the U.S. Army Pictorial Service located in afilm studio inAstoria, Queens, where he wrotetraining films and met, among others,George Cukor andWilliam Holden. He later was reassigned to write plays forArmed Service Force Presents, a radio show that dramatized the contributions of all branches of the armed forces.^[11]

According to John Clum, "Laurents was always a mirror of his times. Through his best work, one sees a staged history of leftist, gender, and gay politics in the decades after World War II."^[12] After graduating fromCornell University in 1937, Laurents, who was gay, went to work as a writer for radio drama atCBS in New York. His military duties during World War II, which consisted of writing training films and radio scripts forArmed Service Force Presents, brought him into contact with some of the best film directors—distinguished director George Cukor directed his first script. Laurents's work in radio and film during World War II was an excellent apprenticeship for a budding playwright and screenwriter. He also had the good fortune to be based in New York City. His first stage play,Home of the Brave, was produced in 1945. The sale of the play to a film studio gave Laurents the entrée he needed to become aHollywood screenwriter though he continued, with mixed success, to write plays. The most important of his early screenplays is his adaptation ofRope forAlfred Hitchcock.^[13]

Soon after being discharged from the Army, Laurents met ballerinaNora Kaye, and the two became involved in an on-again, off-again romantic relationship. While Kaye was on tour withFancy Free, Laurents continued to write for the radio but was becoming discontented with the medium. In 1962, Laurents directedI Can Get It for You Wholesale, which helped to turn then-unknownBarbra Streisand into a star. His next project was the stage musicalAnyone Can Whistle, which he directed and for which he wrote the book, but it proved to be an infamous flop. He later had success with the musicalsHallelujah, Baby! (written forLena Horne^[14] but ultimately starringLeslie Uggams) andLa Cage Aux Folles (1983), which he directed, howeverNick & Nora was not successful.

In 2008, Laurents directed a Broadway revival ofGypsy starringPatti LuPone, and in 2009, he tackled a bilingual revival ofWest Side Story, with Spanish translations of some dialogue and lyrics byLin-Manuel Miranda. While preparingWest Side Story, he noted, "The musical theatre and cultural conventions of 1957 made it next to impossible for the characters to have authenticity."^[15] Following the production's March 19 opening at thePalace Theatre,Ben Brantley ofThe New York Times called the translations "an only partly successful experiment" and added, "Mr. Laurents has exchanged insolence for innocence and, as with most such bargains, there are dividends and losses."^[16] The national tour (2011–2012) was directed byDavid Saint, who was Laurents' assistant director on the Broadway production. The Spanish lyrics and dialog were reduced from about 18% of the total to about 10%.^[17]

Laurents' first Hollywood experience proved to be a frustrating disappointment. DirectorAnatole Litvak, unhappy with the script submitted byFrank Partos andMillen Brand forThe Snake Pit (1948), hired Laurents to rewrite it. Partos and Brand later insisted the bulk of the shooting script was theirs, and produced carbon copies of many of the pages Laurents actually had written to bolster their claim. Having destroyed the original script and all his notes and rewritten pages after completing the project, Laurents had no way to prove most of the work was his, and theWriters Guild of America denied him screen credit. Brand later confessed he and Partos had copied scenes written by Laurents and apologized for his role in the deception. Four decades later, Laurents learned he was ineligible for WGA health benefits because he had failed to accumulate enough credits to qualify. He was short by one, the one he failed to get forThe Snake Pit.^[18]

Upon hearing20th Century Fox executives were pleased with Laurents' work onThe Snake Pit,Alfred Hitchcock hired him for his next project, the filmRope starringJames Stewart. Hitchcock wanted Laurents to Americanize the British playRope (1929) byPatrick Hamilton for the screen. With his then-loverFarley Granger set to star, Laurents was happy to accept the assignment. His dilemma was how to make the audience aware of the fact the three main characters were homosexual without blatantly saying so.The Hays Office kept close tabs on his work, and the final script was so discreet that Laurents was unsure whether co-star James Stewart ever realized that his character was gay.^[19] In later years, Hitchcock asked him to script bothTorn Curtain (1966) andTopaz (1969), However, Laurents, in both cases unenthused by the material, declined the offers.^[20]

Laurents also scriptedAnastasia (1956) andBonjour Tristesse (1958).The Way We Were (1973), in which he incorporated many of his own experiences, particularly those with the HUAC, reunited him with Barbra Streisand, andThe Turning Point (1977), inspired in part by his love for Nora Kaye, was directed by her husbandHerbert Ross. The Fox animated feature filmAnastasia (1997) was based in part on his screenplay of the live-action 1956 film of the same title.^[21]

Because of a casual remark made byRussel Crouse, Laurents was called to Washington, D.C., to account for his political views.^[22] He explained himself to theHouse Un-American Activities Committee, and his appearance had no obvious impact on his career, which at the time was primarily in the theatre. When theMcCarran Internal Security Act, which prohibited individuals suspected of engaging in subversive activities from obtaining a passport, was passed in 1950, Laurents and Granger immediately applied for and received passports and departed for Paris withHarold Clurman and his wifeStella Adler. Laurents and Granger remained abroad, traveling throughout Europe and northern Africa, for about 18 months.^[23]

Years earlier, Laurents andJerome Robbins had developedLook Ma, I'm Dancin'! (1948), a stage musical about the world of ballet that ran for 188 performances on Broadway, and starredNancy Walker andHarold Lang. Laurents left the project, however, and the musical was ultimately produced with a book byJerome Lawrence andRobert E. Lee.^[24][25] When Robbins approachedParamount Pictures about directing a screen version, the studio agreed as long as Laurents was not part of the package.

It was only then that Laurents learned he officially had beenblacklisted, primarily because a review ofHome of the Brave had been published in theDaily Worker. He decided to return to Paris, but theState Department refused to renew his passport. Laurents spent three months trying to clear his name, and after submitting a lengthy letter explaining his political beliefs in detail, it was determined they were so idiosyncratic he could not have been a member of any subversive groups. Within a week his passport was renewed, and the following day he sailed for Europe on theIle de France. While on board, he received a cable fromMetro-Goldwyn-Mayer offering him a screenwriting assignment. The blacklisting had ended.^[26]

Laurents wroteOriginal Story By Arthur Laurents: A Memoir of Broadway and Hollywood, published in 2000. In it, he discusses his lengthy career and his many gay affairs and long-term relationships, including those withFarley Granger and Tom Hatcher (August 24, 1929 – October 26, 2006). Hatcher was an aspiring actor whomGore Vidal suggested Laurents seek out at theBeverly Hills men's clothing store Hatcher was managing at the time. The couple remained together for 52 years until Hatcher's death on October 26, 2006.^[27]

Laurents wroteMainly on Directing: Gypsy, West Side Story and Other Musicals, published in 2009, in which he discussed musicals he directed and the work of other directors he admired.

His last memoir titledThe Rest of the Story was published posthumously in September 2012.

Laurents died from complications of pneumonia at his home in Manhattan on May 5, 2011, aged 93.^[28] Following a long tradition, Broadway theatre lights were dimmed at 8 p.m. on May 6, 2011, for one minute in his memory.^[29] His ashes were buried alongside those of Tom Hatcher in a memorial bench in Quogue, Long Island, New York.^[1]

Musicals

• West Side Story – 1957 –Tony Nomination forBest Musical
• Gypsy – 1959 –Tony Nomination forBest Musical
• Anyone Can Whistle – 1964
• Do I Hear a Waltz? – 1965
• Hallelujah, Baby! – 1967 –Tony Award for Best Musical
• The Madwoman of Central Park West – 1979
• Nick & Nora – 1991

Novels

• The Way We Were – 1972;Harper & Row (New York City)
• The Turning Point – 1977;New American Library (New York City);OCLC 11014907

Plays

• Home of the Brave – 1945
• The Bird Cage – 1950
• The Time of the Cuckoo – 1952
• A Clearing in the Woods – 1957
• Invitation to a March – 1960
• The Enclave – 1973

A new award was established in 2010, The Laurents/Hatcher Foundation Award. This is awarded annually "for an un-produced, full-length play of social relevance by an emerging American playwright." The Laurents/Hatcher Foundation will give $50,000 to the writer with a grant of $100,000 towards production costs at a nonprofit theatre. The first award will be given in 2011.^[41]

• List of Jewish American playwrights
• List of novelists from the United States
• List of people from Brooklyn, New York
• List of playwrights from the United States
• List of theatre directors

• Laurents, Arthur (2000).Original Story by Arthur Laurents: A Memoir of Broadway and Hollywood. New York: Knopf.ISBN 0-375-40055-9.
• Laurents, Arthur (2009).Mainly on Directing: Gypsy, West Side Story, and Other Musicals. New York: Knopf.ISBN 0-307-27088-2.
• Clum, John (2014).The Works of Arthur Laurents: Politics, Love, and Betrayal. Amherst, NY:Cambria Press.ISBN 978-1-60497-884-1.

• Arthur Laurents at theInternet Broadway Database
• Arthur Laurents at the Internet Off-Broadway Database
• Arthur Laurents atIMDb
• American Theatre Wing biography
• Works by Arthur Laurents atOpen Library

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