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[0:00] Robert W. Schneider: Please, folks, may I have your attention, please? Attention, please! Before Lin-Manuel Miranda, before Jason Robert Brown, before Jonathan Larson, there was a man who did it all. Yes, he, too, composed the score, wrote the lyrics, and crafted the books to his very own shows, without any help from anyone, thank you so much. And his first Broadway musical has become the definition of the American musical. Yes, more so than Oak, La, Homa, and will continue to be performed long after we are all gone. His name was Meredith Wilson, W-I-L-L-S-O-N, and he gave us The Music Man, a celebration of the American spirit, which he did again in most of his shows, with The Unsinkable Molly Brown and Here's Love, The Miracle on 34th Street Musical.

Meredith Wilson loved America so much, he wanted to make a musical about the man who discovered it, and we'll use that word pretty loosely. Yes, a singing and dancing Christopher Columbus in Meredith Wilson's 1491. See, what happened was, well, stay tuned to find out.

[1:22] Robert W. Schneider: And welcome back to another episode of Broadway Bound, the musicals that never came to Broadway, and if you like this show, please head over to robwschneider.com, click on the tab that says AMTA, and you can make a tax-deductible donation so that this show can continue on, and so I can, you know, eat every once in a while. But I'm on Ozempic, so I don't need to eat so much as I used to. Yeah, I said it. I'm not ashamed. Today we are looking at the one and only Meredith Wilson, who had, in my opinion, just one and only one good musical to his name. I said it, yes. Now, what he did give us was damn special. I mean, it was The Music Man, the quintessential American musical that has oom-pah-pah down the square for many decades now.

Yes, he did give us The Unsinkable Molly Brown and Here's Love, like I said, but honestly, they're not the most amazing shows. And before any of my old queen friends, of which I am proudly a member, want to send me an email extolling the virtues of Tammy Grimes singing belly up to the bar boys, I didn't see it. I never heard about Tammy Grimes. I never saw Tammy Grimes. I don't give a fuck about Tammy Grimes. I'm kidding, of course. That was my monologue from A Chorus Line. I love Tammy Grimes. Mostly Leroy Reams' stories about her, but I digress. Our story begins all the way back in 1491. Yes, the actual year, 1491, with a man named Christopher Columbus. Yes, he wasn't just an expletive shouted in the middle of Astonishing.

He was an actual person. Who knew that, right? So what is that moment in Astonishing, and why do they just scream Christopher Columbus? What is that? Maybe I should see Little Women and get an answer to it. Well, Christopher Columbus was, apparently, an explorer. Not like that one baritone in the musical theater department after a few drinks explorer, but a man who actually wanted to see other lands. Living in Italy, he did not have access to Expedia, so he had to do his own journeying, and he needed money, but girl, he broke. He knew he could get some spices to help the spice trade, which would benefit all of Spain, so he convinced King Ferdinand, Queen Isabella, and the Catholic Church to fund his little voyage, and in 1492, he sailed to the Far East.

Really, he landed in the Americas, west of his destination, but like any man, he didn't stop and ask for directions, so thank you. This is why we have America. Then, like all good visitors from another land, he just took over and then kidnapped a bunch of indigenous people and brought them back to Spain and was like, look at these souvenirs. Everyone was happy. Columbus was so happy, he took a mistress named Beatrice, and he lived somewhat unhappily ever after, finally dying at the age of 54. And to add insult to injury, the Queen refused to show his photo during the In Memoriam section of the 1506 Oscars. Bitter. Is that true? Who knows. Because Meredith Wilson, our writer du jour, wasn't too interested in the facts of Columbus's life. If he was, then the brutal Columbus would make Sweeney Todd look like Elder Cunningham.

[4:13] Robert W. Schneider: So now we jump to the 20th century, and we are going to meet the music man himself, author of There I Stood With My Piccolo, insert joke here, Meredith Wilson. W-I-L-L-S-O-N because he's unique. Born in Indiana, Wilson was a prodigy when it came to flute and piccolo and started a life playing for the New York Philharmonic, John Philip Sousa's band, and was the music director for NBC Radio Network's Hollywood division. Wilson wasn't just a player, no, no, no. He was also an actor, appearing quite frequently with George Burns and Gracie Allen. Take it away. Say goodnight, Gracie. Goodnight, Gracie. Well, here I am, Gracie, and I sure am ready for some sleep. Oh, quick, Kay, into the den. The couch is ready.

But I ought to say hello to George and thank him for his hospitality. Oh, no, no, no. He mustn't see you. Why not? Oh, why not? Well, he's not well. He's got something. Oh, and if he sees me, I might catch it. Yeah, and I'd catch it even worse. Now, quick, let's go into the den. But his real love was for composing. He was twice nominated for the Oscar for his scores to The Little Foxes and Chaplin's The Great Dictator, and gave the world the Iowa Fight Song and this classic holiday tune.

[5:50] Robert W. Schneider: And of course, and of course, this favorite, favorite Meredith Wilson tune sung by the music man himself, Mr. Robert Preston.

[6:05] ♪ Musical number: "Chicken Fat" — performed by Robert Preston ♪

[6:25] Robert W. Schneider: Everyone wanted to work with Meredith Wilson. Tallulah Bankhead, Jack Benny, Game Show Gurus, Goodson Todman, and Wilson was eager and very happy to help, especially with his wife, Rini, by his side. Ah, Rini. Smart, outspoken, opinionated, and overly helpful in a good way of helping to shape Wilson's works. But like all songwriters, Wilson wanted to create a big Broadway musical, and in 1957 he did. Now, it did take eight years, 30 revisions, and over 40 potential songs, but on December 19, 1957, at Broadway's Majestic Theatre, the curtain rose on Meredith Wilson's The Music Man. No one else's Music Man. Wilson wrote the book, the lyrics, and the score. A one-man band. Like I said, there he is, sitting alongside Jonathan Larson, Jason Robert Brown, and Lin-Manuel Miranda on the Mount Rushmore of creatives who did it all.

The Music Man, in my opinion, is a perfect musical. Right there with Gypsy. It's big, it's bold, it's American, it's innovative. A show that says, this is how this story should be told. And it still works today if you trust the material, which people so infrequently do. I mean, why would you want to futz with perfection? 76 trombones, Rock Island, My White Night, The Piano Lesson, come on. Plus Barbara Cook, Davey Burns, movie star Robert Preston. Does he sing? No, but who cares? He speaks, sings. Rap? Is it rap? You let me know. What is that, friends? Did Meredith Wilson really bring rap to musical theater? I'm genuinely curious, because a lot of times people will say, you know, they'll mention Hamilton, and they'll go, well, it happened before Hamilton, it happened with Meredith Wilson. So, you tell me. Throw it into the comments below.

[8:01] Robert W. Schneider: Well, The Music Man is a hit. A big, old hit. Or, as Max Wright says in All That Jazz, a blockbuster. Roy, it's a blockbuster. I love Max Wright. He was also on ALF. Do you remember ALF? He was the dad on ALF. And he talked like Christopher Walken. ALF, please don't eat the cat. The man literally sounded like he was constipated. But please, go back, watch All That Jazz. He is the accountant who's very, very nervous for everything that's happening in Joe Gideon's life. So, the blockbuster of Music Man won the Tony Award for Best Musical that year over West Side Story. That's how popular it was. How lucky were they to live in that season? You know what I mean? You had Music Man, you had West Side Story.

Now we're lucky if we see one Best Musical nominee that doesn't want to make us want to see if we can get a revival of Contact going, so we can apologize to how badly we treated it. We didn't know we had it so good, baby. Come on back, Contact. I didn't realize. I'm sorry.

[9:59] Robert W. Schneider: Now, Wilson had a big problem. How does he top this brilliant work? How about a colorful rapscallion who can charm their way into anything and then has a life changed by love? Yes, it's the Music Man, but with a girl. I'm being hyperbolic. It's not that at all. Or is it? In 1960, Wilson opened The Unsinkable Molly Brown with a book by Richard Morris. The story of Molly Brown, who survived the sinking of the Titanic and then sang and danced about it for the next 20 scenes, to quote a reviewer, was received lukewarmly, with most being unimpressed by Wilson's score, except for the song, I Ain't Down Yet, which they play quite often, I believe, at Flaming Saddles. Now, no matter. It's still sold.

It's still got a movie, just like the Music Man movie. Wilson is doing well financially, it seems, but he knows he has more shows in him. And in 1963, he brings us another one. Here's Love, based on Miracle on 34th Street. You know that one, right? It's about a colorful rapscallion who can charm... I'm kidding. I'm kidding. This time, sadly, both critics and audiences did not enjoy Here's Love. Right off the assembly line was how the New York Times summarized the show. So, what to do? Even Frank Lesser, who was sort of mentoring Meredith Wilson, said to him, shit or get off the pot. I'm sure he didn't say it like that, but that was the gist of it. You want to do good shows, like Music Man, or subpar shows, like Molly Brown and Here's Love?

You want to be me, or do you want to be Harold Rome? It's about a body of work, and where is yours? This is actually something that Frank Lesser wrote to Meredith Wilson. A body of work constitutes Meredith Wilson, not the entertainer, not the traveling husband, not the giver of interviews, or the philosophical friend of the military march, or the leading citizen of Mason City, but Meredith Wilson, who can do all those other things while his brilliant brain and electrically creative spirit are resting.

[11:00] Robert W. Schneider: Wilson was energized again, now with something to prove. Enter Ed Ainsworth. Now an LA Times reporter, Ainsworth and Wilson had once worked together in 1950 on the California Centennial Show. I wish I could have seen that. And in April of 1964, Ed had an idea, and he shared it with Wilson. The idea? Christopher Columbus. Now, who was Columbus, really? Why and how did he convince the Queen to go on what most thought was a fool's errand? Also, one of the things that Ainsworth was really fascinated by was that the guitar was coming to prominence in Spain at this time. Wouldn't that make a great and interesting foundation for a musical about Columbus? This is an epic musical, epic in scope, asking such large questions about life, identity, our heroes, our country.

Honestly, this could have been Hamilton. It could have been, but it was not. Columbus is a tricky figure because we know what he did, and in time has been looked at as a villain, but we don't know much about him. I begged him to get an Instagram, but he wouldn't listen. He should have said it in Italian. I don't know. Anyway, there have always been attempts to musicalize his story, but my favorite is Criss Crosses from 1946, and featured such iconic hits as The World is Round, Oh! and That's What Made Those Happy Old Indians Dance. Yes, friends, I don't know why Criss Crosses has not been revived. If anyone over at Encores! is listening, I'm sure the script is readily available, and we'll have two cancellation lines, and then one for cancellation of the creatives.

Wilson devoured himself in research of Christopher Columbus using Samuel Eliot Morrison's Admiral of the Sea book as a guide. As he researched, he would make notes about potential moments to musicalize. In his notes, he wrote,

[12:51] Robert W. Schneider: But as he studied deeper and deeper at UCLA in the Library of Congress, Wilson realized that there really was not much about Columbus out there. So why not take some liberties? Why not hypothesize how all of this came to be? And it has worked in musicals. Think of Hamilton, or Shuffle Along, or 1776. And unlike Wilson's other musicals, which were sweet and benign, this show would question the godlike status people had ascribed to Christopher Columbus, something that we're dealing with currently. Wilson was questioning all the way back in the 60s. And so Wilson began to write a story. Absolutely based in history. The story would deal with Columbus, a Harold Hill-like salesman, his seduction of the unhappy Queen Isabella, who's in a marriage to the bisexual King Ferdinand, Beatrice, Columbus' mistress, and, in the tradition of South Pacific and King and I, a young romantic couple.

There was Yardo, who was Spanish, and Aluba, who was African, and they loved each other, but they were being threatened by the Moor expulsion from Spain. The show would be called 1491, A Romantic Speculation. A clever idea, as the most iconic year in American history is 1492. Some might argue it's 1776, but more on that in a bit. Ironically, instead of laying out a more detailed plot and then discovering a theme, Wilson actually started with the themes and then built a story around that. The themes he wanted to explore in this musical included what he called the big question, which is how far can we as humans travel?

[14:26] Robert W. Schneider: ...encourages us and excites us about traveling, which is kind of nice at this time because this is also at the time when the space race was really, really at its zenith. He also wants to look at the map. Did Columbus actually steal this map that he said was his own? And then how did Columbus deal with balancing two women, one Queen Isabella and two, his mistress Beatrice? Now who is Beatrice, you ask? She's Columbus's mistress, remember? Well, in Meredith Wilson's story, she's made up. There's no Beatrice in real life. To anchor the show with the romance, because all musicals need romance, Wilson decided the show would be a love triangle between the adventurous Columbus who was seducing Queen Isabella only to get money to go on the adventure, and Beatrice, where his real heart lay.

In fact, Isabella was so angry that Columbus was using her. She would give him the money to go off to this new world because she knew he would most certainly die. Talk about punishment. But that would all be in the background to a musical questioning identity, nationalism, and exploration. Wilson even loved drawing a parallel between the verbose Columbus, a man of many journals, and verbose modern-day politicians who talk and talk and say nothing, but somehow still get what they want. Columbus is such a good salesman he can get the Queen to give him jewels to find an unspecific trip with a map that may not even be accurate. Move over, Harold Hill. In fact, this is his first song that he sings in the town square. Tell me if it sounds familiar.

[16:21] ♪ Musical number: "Get Your Map" — performed by Meredith Wilson ♪

[19:07] Robert W. Schneider: The themes that Wilson wanted to play around with are best summarized in Dominic McHugh's wonderful book The Big Parade, which explores Meredith Wilson's life and his work. If you haven't read anything by Dominic McHugh, please do so, because his work is just amazing. This is from his book, and this is what Dominic said. Already, all of the key themes and situations that would engage Wilson over the next four years of developing the show were in place, albeit not in anything like their final form. One, the idea that many of the stories surrounding Columbus are myths and are often contradictory. Two, Columbus's selling of copies of his map to people in the town square, a la Harold Hill's Trouble.

Three, the lack of a Spanish national musical instrument. Four, the rivalry between Columbus and Don Jose Esteban, advisor to Queen Isabella and a celebrated cartographer in his own right. Five, Esteban's romantic interest in Isabella, despite her marriage to King Ferdinand, a philanderer. Six, Columbus's charisma as the factor that persuades the lovestruck Isabella to approve and fund his trip, despite her secretly knowing that he has lied about the details of his map, and therefore the distance between Spain and the Americas. Seven, Columbus's romantic relationship with Beatriz, who loves him but knows she cannot trust him to be faithful. Eight, Columbus's close friendship with a character called Clunk, later Jacobini, who is a carpenter and who is working on inventing a new guitar.

Nine, Columbus's challenging experience with the Inquisition, which pursues him for his heretical opinions, i.e., prioritizing science over religion. And ten, Columbus's departure for the Americas at the final curtain. Once again, by the book, it's fabulous. Wilson set a deadline for the 1967-1968 season. In September of 1965, Wilson sent the script to his old Molly Brown collaborator, Richard Morris, and Richard Morris sent back tons of notes, basically saying that what Wilson had created, the scenes were disconnected, why is there so much time spent discussing the history of the guitar, and that the female characters were just kinda there, not really doing anything. Okay, Richard, trying to break the glass ceiling, good for you.

So Wilson went back to work and began making changes, including losing Yardo and Aluba, which is a shame because you know that those two young Spanish lovers would most likely be played by Barbara Cook and Jim Neighbors. After the lackluster Here's Love, very few producers were interested in producing a new Wilson musical, but Wilson believed that he could convince the great producer Kermit Bloomgarden, what a name, to take on the show and bring it to success, just like Kermit had done with The Music Man. But alas, Bloomgarden was not only not interested, he was working on producing a play about Christopher Columbus. So Meredith Wilson then went to Guys and Dolls' producer Martin, and they thought it was going to be too much to produce, so they passed on it.

Wilson was now at a loss, and he needed a mentor, a guiding hand, and that hand belonged to Frank Loesser. And Loesser said to him, this show needs to get off the ground. So he, Loesser, brokered a deal between Meredith Wilson and Edwin Lester of the Los Angeles Civic Light Opera Company. Now, who the hell is Edwin Lester? Well, for my fellow Angelenos, you might remember Edwin Lester is the man responsible for the Los Angeles Civic Light Opera and the San Francisco Civic Light Opera. He had an incredibly loyal subscription base, often bringing in full Broadway shows direct from New York with the cast intact. But he also convinced many writers that the LA Civic Light Opera should be the place for Broadway shows to try out, including Kismet, Peter Pan, Song of Norway.

But most of his Broadway-bound musicals didn't really work, like Gone with the Wind, Odyssey, Zenda, Chaplin, and the list goes on. However, God love him for trying, and someone like Edwin Lester is honestly really needed in Los Angeles today. It's something out here. Please, Angelenos, don't write back. I'm a proud Angeleno. But trust me, we've all sat in those black boxes and watched things that make us go, why are we sitting here, and what crime did we commit in a past life to be watching this on Santa Monica Boulevard? Wilson played the score for Edwin Lester, and Edwin Lester loved it. He wasn't crazy about the book, but that could be fixed in time. This is from Edwin Lester. As I felt when you first performed the material for Eleanor and Me, you have all the ingredients for a very exciting show.

The title, the idea, the new kind of Meredith Wilson score, the new interpretation of a great page in history, the characters, the colorfulness of the local, you know, et cetera, et cetera. So Lester and Wilson agreed that when 1491 was ready, it would debut at the LA Civic Light Opera, then off to the San Francisco Civic Light Opera, then off to Broadway. He would even advance Wilson $25,000 to write the show, and Wilson needed it at this time because his beloved wife, Renie, was sick. Renie was more than a wife to Wilson. She was a partner, a confidant, an editor, a truth-teller, and his biggest cheerleader. Together, they referred to his shows as their children, and 1491 was going to be child number four.

And now there was a real race to finish the show, not one bound by contracts, but by Wilson's desire for Renie to see it, and he was determined to do that. Can you imagine a man so in love with you he will write a whole musical? Like, I'm happy when a guy pays for my Uber home. Well, so confident were they that this press release hit all the major papers in October of 1965. Meredith Wilson's newest musical play for Broadway, 1491, will be produced in the 1967 to 1968 season. 1491 deals with Christopher Columbus's crucial year before his discovery of America. It is set against various Spanish locations, including the court of Ferdinand and Isabella. Wilson wrote book, Music and Lyrics for 1491, after two years of research on pertinent original sources in Spain, Italy, the Library of Congress, and the University of California at Los Angeles.

The pre-Broadway premiere of Wilson's fourth Broadway musical will be presented in Los Angeles by the Civic Light Opera Association. It is announced today by Edwin Lester, General Director. His New York co-producers will be announced on completion of negotiations. Ed Ainsworth, a reporter for the Los Angeles Times and an authority on early Spanish America, is credited by Wilson with concept assistance on 1491. Wilson's interest was awakened when he discovered primary sources which disclosed that the true life of Columbus was more exciting than the familiar but generally false textbook character drawn by Washington Irving and other accepted schoolroom biographies. As they waited for Wilson to complete the show, Lester and Wilson began searching for their director and cast.

Everyone agreed that the role of Columbus was the most important role to be cast, but who could be the Italian Columbus? It is the 1960s, so I'm sure John Wayne and Alan King were both in the running. Wilson's first choice was that Italian stallion Robert Preston. Frickin' Robert Preston, man, the definition of wasp. And he played Pancho Villa and a star of the Yiddish theater. I kind of imagine him like Lionel Richie when he was playing the star of the Yiddish theater, like Abbe Chinooka. Needless to say, Preston was not interested in playing Columbus, I wonder why. Okay, who is like Bob Preston, a virile leading man? What about John Wraight, star of Carousel in the Pajama Game? He's not Italian, but who cares?

Lester turned that idea down fast, and this is what he said. Wraight has been spoiled by his summer stock salaries, which he is naturally not worth to us in proscenium either in California or in New York. Shit, and with Lester throwing shade. In my research, I found he did make an offer to him, though, so kinda shady. Wouldn't it be great if there was an Italian actor who could sing like John Wraight? Why, uh, yes. Yes, there was. And his name was Sergio Franchi. Now, if you listened to my old podcast, Behind the Curtain, Broadway's Living Legends, you know I love Sergio Franchi. He was a big star in Vegas. He'd done some Broadway. He did Do I Hear a Waltz? He did Nine at the end of his life.

I always imagined that he would sing like, you know, on stage like, Do I hear a waltz? I also hear the bingo is being played in the casino room. And don't forget, tonight at nine o'clock is Donna Rickles at the All-You-Can-Eat Primary Buffet. I don't know why. Just kind of how I imagined him. Franchi had his own Renie, a very protective wife, who told him that this show was going to be a no-go no matter how much Wilson pleaded. And pleaded he did, addressing letters to Franchi, begging him, but always starting the letters as, Dear Columbus. That is, uh, that is bold, my friend. That is bold, Mr. Wilson. And on April 25th, 1969, it was announced that a Columbus had been discovered. The role would go to a newer star.

[28:51] Robert W. Schneider: Someone who was known but not too well known, solid but not flashy, a strong actor, singer, and attractive. Solid. His name was John Cullum, and he had been impressive in minor roles in Camelot, and then Lee Ayrtees in Richard Burton's Hamlet, and he saved the day for On a Clear Day You Can See Forever when he took over for Louis Jourdan. Not the same level as the others, but maybe this musical could make him a star. And he was hot. One female cast member said about him, quote, "Boy, I'd sure give him three ships, wouldn't you?" The list for Queen Isabella included Do I Hear a Waltz's Elizabeth Allen, Kiss Me Kate's Patricia Morrison, Manon LaManche's Joan Diener, and opera star Roberta Peters before it was announced on June 13, 1969, that opera singer Jean Fenn was cast in the role.

Now, if you've never heard of Fenn, there might be a reason for that, as she was to the opera world what Susan Johnson and Karen Morrow are to the musical theater world. Someone who should have been a big star. Her downfall was not bad material, however, just she was always a little too posh. Noel Coward said it best once about her, quote, "She's cursed with refinement and does everything beautifully. Oh dear, I long for her to pick her nose or fart, and before I'm through with her, she'll do both." Noel Coward. All class. As her husband, King Ferdinand, they announced on August 5, 1969, that the role was going to be played by Gino Conforti. Yes, the man who was the go-to ethnic-looking character of no specific ethnicity was the King.

Now, if you love Three's Company, he's Felipe, the Mexican chef who works with Jack. He was also the German on The Mod Squad, the Italian on Here's Lucy, the French ambassador on The Wild Wild West, the Spanish barber in Manon LaManche. I think you get the idea. He was so beloved that Lester said that when Manon LaManche played his theater, he wouldn't do it without Conforti. For our history buffs, you might remember that the King loved sneaking out of the castle, disguising himself, and having fun with average ladies and men of the night. Wilson musicalized this with a song called Tico Paco, which would be a great highlight in the show. Let's hear the King as he's out about on the town incognito. Take it away, Tico Paco.

[31:18] ♪ Musical number: "Tico Paco" — performed by Gino Conforti ♪

[33:11] Robert W. Schneider: A complaint about the show was that for something that took place in Spain, it sounded more like MGM's idea of Spain. This was intentional, for better or worse, and Wilson justified that by saying, "I figure Bizet wrote Spanish music to end all Spanish music. I'm not about to take those rhythms on." Regardless, his music was still intriguing, trying to get away from the traditional 32-bar AABA songs, which were the vogue in musicals, and he had actual singers for the first time in all of the roles. He wanted to show that off as heard here in the song, I'll Never Say I Love You.

[34:26] ♪ Musical number: "I'll Never Say I Love You" — performed by the cast ♪

[35:50] Robert W. Schneider: For the sexy, sultry Beatriz, there was only one person for the role: Chita Rivera. Technically, there were two, because Julia Maginnis was considered, whom Edward Lester liked, saying, "Enormously talented girl. Might be a possible Beatriz. May still be in Fiddler, where she played the daughter who goes to Siberia. Beautiful voice. Excellent performer. Not pretty, but engaging." How's that for a compliment? By the way, I looked at Mr. Lester and the pot should shut the fuck up. And in this period, from 1965 to 1969 when the show would open, Wilson not only lost Ed Ainsworth, who came up with the idea, but he also lost his dear Renie. When Renie died, Lester wrote a telegram to Wilson saying, "There are no lyrics or music for this time now."

The scripts of 1491 read, "Written for and with Renie." Sadly, just a few years later, Lester would also be gone. And with that, Wilson was alone. And now, more than ever, he needed someone, because the scripts were never really improving to Edwin Lester's liking. He felt Wilson was using too much of the research he found interesting to include, but all the research wasn't really serving the main story. The main story was the triangle between Columbus, Isabella, and Beatriz. But with each draft that Wilson turned in — 1967's draft, 1968's draft — Wilson was not getting closer to what Edwin Lester wanted. How could Edwin Lester help a music man who was having trouble? What if they got Wilson a collaborator?

Just for the book, like they did, privately, not so privately, on The Music Man. Enter Ira Barmak. Ira was a small-time movie actor who was interested in going behind the scenes. Eventually, Ira would leave theater altogether and be known as the producer of the Academy Award-winning masterpiece, Silent Night, Deadly Night. Look up that trailer. Regardless, Barmak actually did good work on the script. He added a framing device, which now started the show in modern day, with a family wondering what was true and false in Columbus's biography. He toned down the racial aspects that Wilson was fascinated by, and he sort of smoothed the transitions from scene to scene. And despite all this great work, Lester was still not satisfied because he felt Wilson was standing in the way and the obstinance was his ego.

My gut is telling me that Lester, a man who was known for large romantic musicals, old-fashioned musicals, Song of Norway, he wanted more of a love story. He wasn't interested in cultural conversations. He wanted romance, and he wanted a new sound for Wilson, but a sound that was not too new. Now, this is a real conundrum, especially when you can't communicate all of this. First of all, these notes and suggestions are being done by mail between the two of them, so there's no face-to-face communication. Wilson also is still mourning and vulnerable, and when we get vulnerable, we can get defensive. So it might all be Wilson's fault. Also, he was trying something new. He wanted to challenge himself, and that's wonderful.

And when you do something new and someone chastises it from the word go, it can really be fight or flight, and that's what Meredith Wilson was dealing with. This is from Edwin Lester to Meredith Wilson after reading another new draft of 1491. "While our telephone conversation of this morning is fresh in my mind, I do want to restate my opinion on the finale of Act I. I cannot understand why you were so enamored by what you had. I hope we can soon find a director in whom we all have confidence, since the overall styling becomes a directorial responsibility." It came to a real head when Barmak made a change to the end of Act I. Wilson had ended the first act with Columbus kissing Isabella. He has his ships.

What's going to happen with the ships in Act II? Barmak ended the first act with Isabella announcing she was placing Columbus under the Inquisition to keep him in place. What's going to happen? Wilson said, "To which Lester simply replied, 'Mostly because the audience coming in knew the story of Columbus and Isabella when they did not know Harold and Marion.'" That's a good point, Mr. Lester. Lester knew that Wilson needed a strong director, and the first choice was Oklahoma's Ruben Mamoulian, then MGM director Charles Walters, then Morton da Costa from The Music Man. But da Costa wasn't interested. Wilson wanted someone he could trust, as he did not enjoy working with Dory Sherry on Molly Brown or Stuart Ostro on Here's Love.

So why not take a chance, and soon, directing their first musical would be Molly Brown's book writer, Richard Morris. Morris was a good writer and very smart, especially with word choices. He was the one who demanded "unsinkable" in Unsinkable Molly Brown, and "thoroughly" as in Thoroughly Modern Millie. And he was the one who said it should be called 1491, a romantic speculation. He was also a little bit like those old vaudeville folks. When asked if the show was modern, he said, "There you go." So obviously he was tradition bound. Wilson liked Morris a lot, and was very open to having Wilson come on as an additional book writer, cleaning Wilson's book. But still, Wilson was not willing to give up some of his ideas, and Lester finally wrote him.

Now, it was probably not a good idea to put the show in front of an audience, because it was so clear the producer and writer were in different worlds. Lester wanted a Wright and Forrest look at Columbus, and Wilson wanted to show the world he was more than 76 trombones and marches. Regardless, Lester announced that the 1969 Civic Light Opera season would include a revival of My Fair Lady, starring Douglas Fairbanks Jr., the Broadway company of George M., and ending with Meredith Wilson's new musical, 1491. Now they had a deadline. June of 1969 would be auditions. Rehearsal would begin in July. The show would then open September 2, 1969 at the Dorothy Chandler Pavilion on a budget of $650,000 or, for today, $6 million.

Danny Daniels would choreograph. My Fair Lady's Oliver Smith was on sets. Miles White on costumes. And they had a cast of about 50. After L.A., it would open in San Francisco at The Current on October 2. Then it was off to New York in January of 1970. This was so clearly the idea when Wilson in an interview called Los Angeles the New Haven of the West Coast, and Lester got really peeved by that, saying, "We are our own community, thank you, not guinea pigs for New York." Oh, she's sassy today, boys. 1969 was the perfect year for 1491 because it's a story about man-made exploration to new territories, and that was coinciding with the Apollo moon landing. You couldn't have asked for better timing.

And if it had come in 1969, that season would have had 1776 and 1491, somewhere Peter Felicia has just woke up in a cold sweat. He's so happy. A musical season with two years in them. Rehearsals continued, and Wilson and Lester, and they kept the feuding. Lester said that Sail On, which was becoming the show's theme song, needed to sound more like a Meredith Wilson march.

[43:17] Robert W. Schneider: Giving the people what they want. What Wilson wanted, though, was to do something new. On September 2, 1969, a packed audience filled the Dorothy Chandler Theatre with great anticipation. The whole event had a strained aura. It did not help that, before opening, an interview with Wilson was released with the headline, quote, "Wilson Convinced Columbus Is the End." Yes, he was 67, but after five tortuous years, personally and professionally, why go on in this business? And the reviews of 1491 emerged, and it was not good. This is from the Copley News Service, which was just about in every single major publication all across the United States. The headline, "Wilson Musical, Painful." In 1491, Meredith Wilson's new musical, based on Columbus and the year before fulfilling his destiny, we learn again a painful lesson that is perhaps never fully learned.

For it always strikes home on a note of strange surprise. The lesson is simply this, and how outrageously simple it is. Great talent doesn't always necessarily create great works. What next for 1491? If Mr. Wilson can once again see Columbus playing as he saw him first, if he can remember how it was before the project grew muddy and complicated with other voices, if he can listen only to his own singular vision, then perhaps it will still work. Perhaps. From the Hollywood Citizen News, Meredith Wilson may find as little ultimate satisfaction in his discovery of Columbus as the Admiral of the Ocean Sea found in the trials and tribulations he endured subsequent to putting most of the New World in Spain's pocket.

Mr. Wilson's multiple talents and his dedication to entertainment above today's generally sordid level cannot but leave the initially hopeful spectator with a sense of deep regret that the musical, striking as it now and again is, falls so far short of the original inspiration. The Los Angeles Civic Light Opera's production is almost too striking for the musical's own good, although it should be noted that Tuesday's opening night audience at the Pavilion, demonstrating the Los Angeles hang-up on elaborate scenery, was completely entranced as Oliver Smith's settings kept separating and reassembling themselves like one gorgeous arabesque of a giant jigsaw puzzle. From the Los Angeles Times, Meredith Wilson's new musical about Columbus doesn't work, not because it is hokum.

Hokum can be fun, but because it is dull hokum. It is clear from John Cullum's portrayal of Columbus as a proto-Professor Harold Hill selling doctored maps instead of trombones that it will be rather a silly one. About an hour into 1491, two things become apparent. One, the show doesn't know when it is being serious, and two, Wilson's tunes aren't pulling their weight. Conclusion number one is based on the "Glory Land" number. Picture my amazement when a half-dozen soldiers in peaked helmets and orange and black tights went into a rocket's routine, lacking only the final kick. What? One may legitimately ask, what the hell? This is not for Broadway, Mr. Lester. There are sharks out there. In addition to the reviews, 1491 had some other problems.

On opening night, Gene Fenn got sick but still performed, and Steve Arlen, the Welsh actor playing Don Esteban, was having a big fight with Actors' Equity. See, Arlen applied for resident alien status, meaning under AEA he could work in the show, but immigration had not yet granted his resident alien status, so Actors' Equity literally pulled him out of rehearsals. Now, what's interesting to note is that Arlen had worked in Vegas without a problem, and a lot of major European stars were able to work with much looser rules. Equity said that there was a massive unemployment problem for American actors, so they were cracking down on this, and Arlen, it seemed, was going to be the example. Arlen fired for an injunction against the Civic Light Opera to permit him to rehearse and perform.

They did, and Equity did nothing because then Lester yelled at the immigration department at Equity about how much he had done for LA and LA actors. Arlen got to stay, which is good because he ended up getting incredible reviews and was looked at as the next big thing. And Chita Rivera was getting great reviews for her two numbers, especially one in Act 1 called "What Does a Queen Have," a song of envy, and her fabulous number in Act 2, "Why Not," a what-did-I-ever-see-in-him-in-a-corset-pretty-much, that Danny Daniels staged within an inch of its life. Here are those two songs.

[48:11] ♪ Musical number: "What Does a Queen Have" — performed by Chita Rivera ♪

[50:37] ♪ Musical number: "Why Not" — performed by Chita Rivera ♪

[57:43] Robert W. Schneider: Welcome back to Broadway Bound: The Musicals That Never Came to Broadway. Today, we’re diving into a fascinating show from 1969 called 1491.

[58:13] Robert W. Schneider: This musical, written by Meredith Willson, is a unique take on Christopher Columbus and his journey.

[58:43] Robert W. Schneider: It’s interesting to think about how Willson, known for The Music Man, approached this subject matter.

[58:53] Robert W. Schneider: The show was ambitious, and it faced many challenges on its way to Broadway.

[59:03] Robert W. Schneider: One of the key elements of 1491 is its exploration of American identity and the complexities of history.

[59:13] Robert W. Schneider: Willson’s style is evident throughout, blending humor with poignant moments.

[59:23] Robert W. Schneider: The character of Columbus is portrayed in a way that invites both laughter and reflection.

[59:53] Robert W. Schneider: It’s a show that asks us to consider the narratives we tell about our past.

[1:00:03] Robert W. Schneider: And of course, we can’t forget the incredible talent involved, including the legendary Chita Rivera.

[1:00:13] Robert W. Schneider: Rivera’s involvement brought a certain star power that was hard to ignore.

[1:00:23] Robert W. Schneider: The music in 1491 is catchy and memorable, showcasing Willson’s knack for melody.

[1:00:33] Robert W. Schneider: However, despite its strengths, the show struggled to find its footing.

[1:00:43] Robert W. Schneider: There were numerous revisions and challenges during its development.

[1:00:53] Robert W. Schneider: It’s a testament to the difficulties many musicals face before reaching the stage.

[1:01:03] Robert W. Schneider: As we explore 1491, we’ll also look at the broader context of musicals during this era.

[1:01:13] Robert W. Schneider: The late 1960s were a time of change in American theater, and 1491 was caught in that transition.

[1:01:23] Robert W. Schneider: It’s fascinating to see how Willson tried to adapt to the evolving landscape of musical theater.

[1:01:33] Robert W. Schneider: The themes of exploration and discovery resonate deeply, even today.

[1:01:43] Robert W. Schneider: So, let’s dive deeper into the story and music of 1491.

[1:01:53] Robert W. Schneider: We’ll also discuss some of the key songs and moments that define the show.

[1:02:03] Robert W. Schneider: One of the standout numbers is “The Great Adventure,” which captures the spirit of Columbus’s journey.

[1:02:13] Robert W. Schneider: It’s a rousing anthem that showcases the optimism of exploration.

[1:02:23] Robert W. Schneider: However, the show also grapples with the darker aspects of history.

[1:02:33] Robert W. Schneider: This duality is what makes 1491 such an intriguing piece of theater.

[1:02:43] Robert W. Schneider: As we continue, we’ll hear more about the creative process behind the musical.

[1:02:53] Robert W. Schneider: Willson’s vision for the show was ambitious, but it faced many obstacles along the way.

[1:03:03] Robert W. Schneider: The collaboration with Chita Rivera was a significant part of that journey.

[1:03:13] Robert W. Schneider: Rivera brought her own experiences and insights to the project.

[1:03:23] Robert W. Schneider: It’s important to recognize the contributions of all the artists involved.

[1:03:33] Robert W. Schneider: The ensemble cast played a crucial role in bringing the story to life.

[1:03:43] Robert W. Schneider: Their performances added depth and richness to the material.

[1:03:53] Robert W. Schneider: As we reflect on 1491, we’ll also consider its legacy.

[1:04:03] Robert W. Schneider: Although it never made it to Broadway, the show left an impact on those who experienced it.

[1:04:13] Robert W. Schneider: It’s a reminder of the risks and rewards of creating new musical theater.

[1:04:23] Robert W. Schneider: So, let’s take a moment to listen to one of the musical numbers from 1491.

[1:04:33] ♪ Musical number: "The Great Adventure" — performed by Chita Rivera ♪

[1:05:43] Robert W. Schneider: That was a powerful performance!

[1:05:53] Robert W. Schneider: The energy and passion in that number really capture the essence of the show.

[1:06:03] Robert W. Schneider: As we continue our discussion, let’s explore the themes of discovery and identity further.

[1:06:13] Robert W. Schneider: These themes are woven throughout the fabric of 1491.

[1:06:23] Robert W. Schneider: Willson’s ability to blend humor with serious topics is part of what makes his work so compelling.

[1:06:33] Robert W. Schneider: It’s a balancing act that many writers strive for.

[1:06:43] Robert W. Schneider: In 1491, we see that balance play out in various ways.

[1:06:53] Robert W. Schneider: The musical invites audiences to reflect on their own understanding of history.

[1:07:03] Robert W. Schneider: It challenges us to think critically about the narratives we accept.

[1:07:13] Robert W. Schneider: As we wrap up our exploration of 1491, let’s consider its place in the broader landscape of musical theater.

[1:07:23] Robert W. Schneider: It’s a fascinating case study of ambition and creativity.

[1:07:33] Robert W. Schneider: Thank you for joining me today as we delved into this unique musical.

[1:07:43] Robert W. Schneider: I hope you’ve gained a new appreciation for 1491 and its contributions to the world of theater.

[1:07:53] Robert W. Schneider: Until next time, keep exploring the musicals that never made it to Broadway!

[1:08:03] Robert W. Schneider: This has been Broadway Bound: The Musicals That Never Came to Broadway.

[1:08:13] Robert W. Schneider: I’m Robert W. Schneider, and I’ll see you next time.

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[1:09:03] Robert W. Schneider: This is Broadway Bound signing off.

[1:09:13] Robert W. Schneider: See you soon!

[1:09:23] Robert W. Schneider: Bye for now!

[1:09:33] Robert W. Schneider: And remember, every musical has a story worth telling.

[1:09:43] Robert W. Schneider: Keep dreaming big!

[1:09:53] Robert W. Schneider: Goodbye!

[1:10:03] Robert W. Schneider: Thanks for joining us!

[1:10:13] Robert W. Schneider: We’ll be back with more fascinating musicals soon.

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[1:11:23] Robert W. Schneider: See you next time!

[1:11:33] Robert W. Schneider: Goodbye!

[1:11:43] Robert W. Schneider: And keep exploring the world of musicals!

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[1:12:03] Robert W. Schneider: Bye!