Dial 'M' for Marlene: One More Ballyhoo

Gussie Berger & Ariane Bellamar
as Marlene Dietrich & Marilyn Monroe

Tell me where this story originated: after Marlene Dietrich had rejected the role of Nazi floozy Erika von Schlütow in A Foreign Affair, Billy Wilder showed her June Havoc's screen test, which presumably convinced Dietrich that only she could handle the part. I can only trace it as far back as Homer Dickens' book, The Films of Marlene Dietrich, first published in 1968.

Whatever this tale's roots may be, it came to mind (as did Barbra Streisand and the multiple hats she wore for the productions of Yentl, The Prince of Tides, and The Mirror Has Two Faces) when I learned of Dial 'M' for Marlene's recent casting change.

Although Gussie Berger has assured me that the play's former Dietrich, Victoria Valentino, left by her own volition, I can't help but credit kismet because Berger herself has now stepped into Dietrich's foundation. This second recasting will undoubtedly augment the play's comedic appeal, and I hope to catch it before it ends its run on Sunday, July 15, 2012 at The Flight Theater. Make your reservations before you miss this incredible revamp! Visit its Facebook page for more info!

News About This Blog

On the subject of recasting, you may have noticed the banner in the sidebar for the blogathon, The Great Recasting, co-hosted by Frankly, My Dear and In The Mood. Click it to learn more. I'll be imagining Marlene Dietrich and Jane Wyman in The Devil Wears Prada. When I first watched this movie, the way that Miranda Priestly (Meryl Streep) treated Andi Sachs (Anne Hathaway) immediately reminded me of Charlotte Inwood and Eve Gill in Stage Fright. Now, I have an excuse to fashion my fancy into a blog entry! If you have any suggestions for who should play Stanley Tucci and Adrian Grenier's roles, I welcome them.

Aside from that, I look forward to others contributing entries. If you'd like be an author on this blog, let me know! Of course, I've got my own list of entries in mind, but I never manage to get to them as quickly as I intend: a third part in my horse-related series (see the first and second parts; by the way, I've been agonizing about my omission of Blonde Venus, which features a brief horse scene), more Maria Riva blind items, a series comparing Marlene's films with Greta Garbo's, an entry about Dietrich's influence on Marilyn Manson, a look at how Marlene was promoted to Latino audiences in the United States, a transcription of Thom Nickels' profile on Marlene's friend John Banks (which Nickels very kindly mailed me), etc. If you'd like me to get to any of those topics first, tell me what interests you most.

Meanwhile, I'll continue adding locations to Mapping Marlene Dietrich and listing online resources for Dietrich's concert-era photographers, both of which would benefit vastly from your contributions. I would like to especially thank missladiva and Paul for their help in both those endeavors.

EDIT: Thanks to Google Alerts, I saw a somber example of Dietrich's cultural salience--a girl named Marlene Dietrich who was born in 1931 and passed away in 1934. Also, I watched a Russian newsreel of Dietrich's 1964 Moscow appearance on YouTube that seems to categorize Marlene Dietrich's work as art and Marlene as a poet (Russian-speakers, correct me if I'm wrong; I speak Bulgarian, and these words appear to be cognates).

Last Night, I Dialed 'M' For Marlene

Last night, I dialed 'M' for Marlene. There was a bit of static, but our operator-cum-playwright/director/stagehand Gary LeGault made the connection. In Dial 'M' for Marlene, the story begins at Marilyn Monroe's January 7, 1955 press conference where she announces the launch of Marilyn Monroe Productions with her business partner, Milton H. Greene. Never one to miss a publicity opportunity, Marlene Dietrich attends the event. Herein lies my first and only quibble. Why wasn't there a moment when Monroe, Greene, and Dietrich pose together, in reference to this photograph? Oh, one more gripe, which would come later. A dusty mirror initially assaulted my senses because Dietrich would have never tolerated such filth in her apartment. Because this play later kicks open the door to the spirit world, Dietrich's Prussian geist undoubtedly possessed LeGault, who Windexed (Or Fabuloso-ed? Who knows what's available at this end of Hollywood?) the soiled looking glass.

Otherwise, this play is rife with fun Dietrich (and Monroe, which doesn't interest me much here) trivia. Dietrich (Victoria Valentino) invites Monroe (Ariane Bellamar) and Greene (Jeremy Ebenstein) to her apartment at 993 Park Avenue (by the way, I racked my brain trying to remember whether Dietrich lived at this address during the first half of the '50s and am now inclined to believe that she actually lived at 410 Park Avenue at this time, which is why your knowledge is integral in augmenting and correcting the markers in the now-dormant Mapping Marlene Dietrich project), name-drops Ernest Hemingway and Noel Coward, and pretends to be a Spanish maid when she answers her phone, which happens to rest upon a trunk stickered with depictions of Cap d'Antibes and Le Grand Hotel, possibly inadvertent nods to Dietrich and Greta Garbo respectively. Speaking of trunks, Dietrich and Monroe chit-chat about the circus, in reference to Dietrich's ringmaster stint (on March 31, 1954 and also back in 1952) and Monroe's later elephant ride. Before I forget Garbo, I should add that there are a few jokes at her expense, which always wins my applause. I wish I could recall all of them, but I can only cite one at the moment--about Garbo in a floppy hat and a trench coat, shopping at a flea market and stalking poor Monroe.

So what about the performances? Well, it's nearly impossible to play Dietrich without her souffle foundation and skin-firming braids, but Valentino began to find Dietrich's trademark accent after the first scene. With some false lashes glued to the outer edges of her eyelids, she'd also have Dietrich's bedroom eyes. Maybe Bellamar could snip hers in half and share? As for Bellamar, she cooed her lines as sultrily as Monroe would have, and her Louboutins were a contemporary touch that I'm sure Monroe would sport if she were among today's stars. Given that Valentino and Bellamar had replaced the previous lead actresses with short notice, I was impressed by their efforts, although these beautiful women ought to give their scenes with a Sapphic touch a firm squeeze. Regardless, these two played their parts to meta-theatrical perfection. When Dietrich hands the torch--or, in this case, the confetti horn--to Monroe, I couldn't help but see the act transpiring between the actresses themselves, a 1963 Playboy Playmate graciously giving her blessing to a 21st-century Playboy Bunny.

The supporting cast gave Peter Sellars a run for his money by taking on multiple roles and accents, but my favorites were Bruce Culpepper, who (naturally?) evoked Dr. Phil in his role as 1st Psychologist, and Peter Cluff, whose lisping 2nd Psychologist may have been a reference that flew over my head. Dietrich fans will also chuckle upon seeing Sophie Brabenec's Mawia Wiva interpretation and her Gertrude Lawrence/Gertrude Stein possession at Dietrich's seance, where spaghetti--not spaetzle--is served. Bill Riva would have felt at home!

If I can, I'll gladly redial Dial 'M' for Marlene. As I've told you before, visit its Facebook page for more information and see it before it ends its run on July 15.

Dial 'M' for Marlene Premieres Tonight!

The (soon-to-be) legendary, lovely Victoria Valentino & Ariane Bellamar

You read that right! Dial 'M' for Marlene premieres tonight at The Flight Theater, which means you should dial (310) 360-7064 for reservations. Check the Facebook page for all the latest updates. Gussie sent me this lovely pre-production photo of Victoria Valentino and Ariane Bellamar, who will be playing Marlene Dietrich and Marilyn Monroe respectively. Of course, I'll let you know later whether they play the two respectfully. Gussie also gave me lots of insider gossip that's a day (or eight) late and a dollar short, but you'll enjoy it nonetheless:


With two new actresses taking over both leading roles, we are working hard to get everything ready for next Thursday's opening night.  Holly Woodlawn has promised to attend, as well as the play's inspiration, Alexis Del Lago.  There may be more colorful costumes in the audience than there are on stage.


Marilyn's wig is being created as we speak.  It will be made of human hair, which has been dipped in natural spring water and left to dry in the southern California sun (for a more natural look).  Authenticity is our goal.  Marlene will have a wood-cutting saw nearby, in case she feels inclined to entertain her guests.


Victoria Valentino is training for this part much as Mary Martin prepared for the role of Maria von Trapp.  We've strapped weights to her feet so that she may lift them alternately, as she yodels, thereby increasing lung power.  Never has an actress in Hollywood been more determined to practice her scales (and it's not even a musical).

Dial 'M' for Marlene Reminder

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Dial 'M' for Marlene

As I told you all before, a Greta Garbo alter-ego has been planting stories about Marlene Dietrich and Marilyn Monroe. Well, I'm glad to play along now that I know Miss Gussie Berger isn't here to pat our pockets and catch the culprit who stole her sugar cubes. Straight from the original Swedish horse's mouth, I'd like to share with you the news about . . .