I Love the Illusion: The Life and Career of Agnes Moorehead (60 page)

Agnes’ audition report, dated August 14, 1926, courtesy of Betty
Lawson and staff of The American Academy of Dramatic Arts (AADA).
Quotes attributed to Lawrence Langner, regarding the AADA and
Charles Jehlinger, came from a piece Langner wrote,
Mean More Than You
Say
(
Theatre Arts
, July 1953).
Quotes attributed to Rosalind Russell, in the entire chapter, regarding
the AADA, came from her autobiography,
Life is a Banquet
(with Chris
Chase, Random House, 1977).
“I was more mature and I had the valid experiences of University to help
me . . . ,”
Hollywood Speaks: An Oral History
(Mike Steen, G.P. Putnam’s
Sons, New York, 1974).
Recollections of Agnes’ roommate/classmate Elizabeth Council Craft
came from Warren Sherk’s
A Very Private Person.
Quotes on lectures delivered by Charles Jehlinger; Agnes’ paper “Analysis
of a Character; and notes on plays Agnes attended and observations she
made as part of a class project came from her AADA notebooks found in
Box 60 folder 1-2 at the Wisconsin State Historical Society Archives, The
Papers of Agnes Moorehead.
Quote, “The Straightest Back I’ve Ever Seen,” attributed to John Griffith
Lee, regarding Agnes, came from the article,
She Doesn’t Need Glamour
(Gloria Brent,
Hollywood Magazine
, October 1942). Quote regarding John
Griffith Lee, “ . . . A handsome man who dressed well in pinstripe suits . . . ,”
by Elliott Reid, interview with the author, 10/3/04.
John Griffith Lee’s audition report was sent to the author, courtesy of
Betty Lawson and staff at the American Academy of Dramatic Arts (AADA)
Jack Lee’s recollection that the AADA “didn’t favor young love,” as well
as Agnes’ follow up comments, came from
Screen Guide
(
Alias Agnes
Moorehead
, April 1946).
Information and reviews of plays that Agnes and Jack Lee appeared in
while at the AADA come from a scrapbook Agnes kept during that period
of her life found in Box 143 at the Wisconsin State Historical Society
Archives, The Papers of Agnes Moorehead, as well as from the indispensable
Agnes Moorehead: A Bio-Bibliography
(Lynn Kear, Greenwood Press, 1992).
Letter from Mollie Moorehead to Agnes regarding Margaret’s condition,
as well as Agnes’ letter to Margaret following Margaret’s death, are found in
Agnes’ black AADA notebook located in Box 60, folder 1, at the Wisconsin
State Historical Society Archives, The Papers of Agnes Moorehead.
Articles and profiles of Jack Lee’s appearance in
Subway Express
are found
in a scrapbook Agnes kept from this period of her life, located in Box 143
at the Wisconsin State Historical Society Archives, The Papers of Agnes
Moorehead.
Agnes’ recollections of her “salad days” in New York, following her
graduation from the AADA, came from the article
My Favorite Script
(
Guideposts
, August 1965).
Information on Phillips H. Lord and the
Seth Parker
radio show came
from the excellent
The Encyclopedia of Old Time Radio
(John Dunning,
Oxford University Press, 1998). Information on the nationwide tour that
Agnes participated in with the
Seth Parker
cast, playing Lizzie Peters, came
from a scrapbook that Agnes kept of articles and other memorabilia, located
in Box 143 at the Wisconsin State Historical Society Archives, The Papers
of Agnes Moorehead.
Quotes attributed to Himan Brown regarding his casting of Agnes in
The Gumps,
as well as other quotations directly attributed to Brown, are
derived from an interview with Himan Brown by the author by phone on
6/5/03.
James MacArthur’s comments regarding the relationship between his
mother, Helen Hayes, and Agnes were derived from an e-mail from Mr.
MacArthur to the author, 8/23/03.

Agnes spoke many times in interviews of her belief that she first met
Orson Welles when he was a child at the Waldorf Astoria in the early 20’s.
This particular account is taken from an article titled
Agnes Moorehead
(
Radio Life
, May 12, 1946).

Filmmakers: The Encyclopedia of Orson Welles
(Chuck Berg & Tom Erskine,
Checkmark Books, 2003),
Famous Wisconsin Film Stars
(Kristin Gilpatrick,
Badger Books, 2002),
Citizen Welles
(Frank Brady, Anchor Books, 1989),
Orson Welles: The Road to Xanadu
(Simon Callow, Vintage, 1996),
Rosebud
(David Thomson, Vintage Books, 1997). Jane Wyatt was interviewed by
the author on 9/27/02.

Elliott Reid was interviewed by the author on 10/3/04.
Information on
The Shadow
came from two primary sources:
The
Encyclopedia of Old Time Radio
(John Dunning, Oxford University Press,
1998) and
The Shadow: An In-Depth Look at Radio’s Foremost Man of
Mystery
(Anthony Tolin, Radio Spirits Inc., 2002).
Simon Callow’s comments on
Les Miserables
come from his book
Orson
Welles: The Road to Xanadu
(Vintage Books, 1996).
Arthur Anderson was interviewed by the author on 9/26/04.
Orson Welles’ comments that
First Person Singular
was “experimental . . .
It may prove a failure” come from the
New York Times,
August 14, 1938, in
the article,
The Shadow Talks
by Richard O’Brien.
Frank Brady’s
Citizen Welles
(Anchor Books, 1989) is the primary source
of information regarding the radio adaptation of “Dracula.”
Elliott Reid provided wonderful thumbnail sketches of other Mercury
alumni: Joseph Cotten, Ray Collins, Everett Sloane, Karl Swenson and
Martin Gabel, 10/3/04.
Primary information on “The War of The Worlds” came from these
sources:
The Encyclopedia of Old Time Radio
(John Dunning, Oxford
University Press, 1998),
Citizen Welles
(Frank Brady, Anchor Books, 1989)
and
This is Orson Welles
(Orson Welles & Peter Bogdanovich, edited by
Jonathan Rosenberg, Da Capo Press, 1998).
Infighting with the sponsors of
The Campbell Playhouse
over using Irene
Dunne and “blue-penciling” scripts came from
The Encyclopedia of Orson
Welles
(Chuck Berg & Tom Erskine, Checkmark Books, 2003) and also
Frank Brady’s
Citizen Welles.
“Welles could produce, direct, write and star in his projects . . . ,”
Orson
Welles Citizen Kane: The Fiftieth Anniversary Album
(Harlan Lebo,
DoubleDay, 1990).
“Mercury had a group of bungalows . . . ,”
Rosebud
(David Thomson,
Vintage Books, 1997).
The argument between Welles and Houseman at Chasen’s over Mercury
players being cut off monertarily by RKO until Welles had submitted a
completed script is repeated in several books on Welles but this account
came from
Rosebud
(David Thomson, pg. 134-135).
Welles’ account that he and Herman Mankiewicz “started searching for
the man it was going to be about . . . ,” came from
This is Orson Welles
(Orson Welles & Peter Bogdanovich, Edited by Jonathan Rosenberg, Da
Capo Press, 1998).
David Thomson’s quote that Mrs. Kane was “among the most mysterious
mothers in film” appears in
Rosebud
(pg. 185).
Thomson’s quote that Agnes appears in “two of the most indelibly
humane” moments in
Citizen Kane
appears in his profile of Moorehead in
his essential reference book
A Biographical Dictionary of Film
(Alfred A.
Knopf, New York, 1996). Thompson’s description of Agnes appearing to
look “like a Madonna . . . ” appears in
Rosebud
(pg. 184).
Frank Brady’s quote, “Although Agnes Moorehead had appeared on the
screen for only a few moments . . . , ” came from
Citizen Welles
(pg. 316).
The charming story of Agnes at a cocktail party in the 1970’s “cackling”
over the teenager who asserted, “It’s not like she was in
Citizen Kane!”
was
related to me by Francine McAsey as told to her by a friend who was
present at that encounter.

Agnes going back to New York and doing “a lot of little things . . . ,”
came from The Papers of Agnes Moorehead, The Wisconsin State
Historical Society Archives, Box 60, folder 13.

Orson Welles “allowing himself ” to sign a new contract with RKO,
which allowed the studio to get the right of the final cut, and then writing
much of
The Magnificent Ambersons
on King Vidor’s yacht came from
Citizen Welles (Frank Brady, Anchor Books, 1989).

That there was “never any doubt” that Agnes would play Fanny Minafer
is from
This is Orson Welles
(Orson Welles & Peter Bogdanovich, edited by
Jonathan Rosenberg, Da Capo Press, 1998).

Agnes’ 12/3/45 lecture at the Actor’s Lab, which gives much detail about
the rehearsal process and Welles’ direction of
The Magnificent Ambersons,
is
found in Box 60, Folder 3 at the Wisconsin State Historical Society
Archives, The Papers of Agnes Moorehead.

The Magnificent Ambersons’
shooting comes from
Citizen Welles
(pg. 318-319).
Welles’ relationship with cinematographer Stanley Cortez is drawn from
Citizen Welles
(pg. 319-320).
Agnes’ comments on the famous boiler scene come from her lecture at
the Actor’s Lab, 12/3/45, found in Box 60, Folder 3 at the Wisconsin State
Historical Society Archives, The Papers of Agnes Moorehead and from
TV
Guide
(July 17, 1965, pg. 25).
Peter Bogdanovich’s question to Welles about rehearsing Agnes so much
that she became “hysterical,” and Welles’ response, came from
This is Orson
Welles
(pg. 129).
Welles’ belief that the original ending of
The Magnificent Ambersons
was
the best scene in the picture, and the description of that scene, is from
This
is Orson Welles
(pg. 130).
Frank Brady writes of Orson painting a mustache on Agnes in
Citizen
Welles
(pg. 320).
Telegram from George J. Schaefer to Orson Welles praising
The
Magnificent Ambersons
and specifically Agnes’ performance came from
Citizen Welles
(pg. 324). Follow up special-delivery letter to Welles from
Schaefer regarding the disastrous first preview also came from
Citizen Welles
(pg. 324-325). The “heartfelt” letter to Welles from Joseph Cotten appears
in
This Is Orson Welles
(pg. 121-122).
Welles’ suggestion for an alternate “upbeat ending” to
The Magnificent
Ambersons
came from
This Is Orson Welles
(pg. 123).
James Naremore’s comments on Agnes’ performance as Fanny comes
from his book,
The Magic World of Orson Welles
(Oxford University Press,
1978). Pauline Kael’s review of Agnes “as the nervous, bitter, hysterical old
maid aunt . . .” came from her book,
Kiss Kiss Bang Bang
(Bantam Books,
1968). Kenneth Tynan’s comments on Agnes’ performance being “the best
performance of its kind . . .” came from his book
Focus on Orson Welles
(Englewood Cliffs, New Jersey: Prentice-Hall, Inc. 1976).
Kenneth Tynan’s letter to his friend, dated 4/11/43, about Agnes’
performance, is from
Kenneth Tynan-Letters
(Edited by Kathleen Tynan,
Random House, 1994).
Background on the balloting for the NY Film Critics Award came from
Movie Awards, The Ultimate Unofficial Guide to the Oscars, Golden Globes,
Critics, Guild and Indie Honors
(Tom O’Neil, Berkley Publishing
Group, 2001).
Agnes’ acceptance speech before the NY Film Critics, The Papers of
Agnes Moorehead, Wisconsin State Historical Society Archives, Box 60.
David Selznick to Agnes (congratulations on NY film critics award),
12/30/42, The Papers of Agnes Moorehead, Wisconsin State Historical
Society Archives, Box 141.
Background on the 1942 Academy Award ceremony came from
Movie
Awards, The Ultimate Unofficial Guide to the Oscars, Golden Globes, Critics,
Guild and Indie Honors
(Tom O’Neil, Berkley Publishing Group, 2001),
Inside Oscar: The Unofficial History of the Academy Awards
(Mason Wiley &
Damien Bona, Ballantine Books, 1986) and
Behind the Oscar: The Secret
History of the Academy Awards
(Anthony Holden, Plume, 1994).
Agnes’ comments about Welles being her “Svengali,” The Papers of
Agnes Moorehead, The Wisconsin State Historical Society Archives, Box
60, folder 13.
“The only piece of advice . . .,”
LA Herald Examiner
, 8/10/70.

Agnes’ “tongue in cheek” complaint about working with Welles, “I
think Orson is determined to make me the ugliest girl in pictures . . . ,”
Hollywood
magazine (
She Doesn’t Need Glamour,
October 1942).

Agnes’ account of Orson Welles talking her out of signing with 20th
Century-Fox for $650/week came from The Papers of Agnes Moorehead,
The Wisconsin State Historical Society Archives, Box 60, folder 13.

Background material on
The Mayor of the Town
came from
The
Encyclopedia of Old Time Radio
(John Dunning, Oxford University Press,
1998).

The author exchanged several e-mails with Conrad Binyon, who played
“Butch” on
The Mayor of the Town.
Mr. Binyon shared his memories of
working with Agnes and Lionel Barrymore and some background on the
show itself which appears in this chapter.

The
Radio Life
profile of Lionel Barrymore,
We Heard Lionel in His Den,
Shirley Gordon.
That Welles privately coached Agnes to pattern Mrs. Reed “along the
lines” of Aunt Fanny is found in
The Great Filmmakers: The Encyclopedia of
Orson Welles
(pg. 273). The relationship between Welles and Joan Fontaine
during the filming of
Jane Eyre
comes from Fontaine’s autobiography
No
Bed of Roses
(William Morrow & Company, 1978).
Welles wanted Agnes for the Edward G. Robinson role in
The Stranger,
from
This Is Orson Welles
(pg. 187).
Agnes’ campaign for the role of Aspaira Conti in
Mrs. Parkington
comes
largely from the article that Agnes clipped titled
The Role I Liked Best . . .
by Agnes Moorehead,
Saturday Evening Post,
May 7, 1949.
Letter from Leon Gordon, dated 7/2/45, regarding his decision not to
cast Agnes in
The Green Years,
is found in The Papers of Agnes Moorehead,
Wisconsin State Historical Society Archives, Madison, Wi, Box 143.
Background information on the classic radio series
Suspense
came
from
Suspense: Twenty Years of Thrills and Chills
(Martin Gram, Jr., Morris
Publishing, 1997), a very comprehensive history of that program which
includes logs of every episode. Additional information came from
The
Encyclopedia of Old Time Radio,
which discusses
Suspense
and “Sorry, Wrong
Number” at length.
Elliott Reid appeared several times on
Suspense
and generously offered
his considerable insight on the man behind the show, William Spier, to the
author in an interview, 10/3/04.
Lucille Fletcher’s recollections of how she came up with the idea of
“Sorry. Wrong Number” and Agnes’ comments regarding her initial reluctance
to the episode,
Suspense: Twenty Years of Thrills and Chills
(both on pg. 22).
Articles in
TV Radio-Life
(9/12/52) and
World of Yesterday,
Linda Downey
(12/79), also includes background on “Sorry, Wrong Number.”
Agnes’ comments about not being “bitter” about not getting the movie
version of
Sorry, Wrong Number
appear in
The New York Sun,
9/1/48, in an
article by Eileen Creelman.