Birth of Shylock & the Death of Zero Mostel

by Arnold Wesker

The tumultuous events surrounding the release of Shylock in 1977 reveals the workings of the New York Theater world, which torpedoed the promising play after its star, Zero Mostel, died soon after the premier.

Genres: Nonfiction, Theatre, Shakespeare

400 pages, Hardcover

First published January 1, 1997

About the author

Sir Arnold Wesker is a British dramatist known for his contributions to world drama. He is the author of 50 plays, 4 volumes of short stories, 2 volumes of essays, a book on journalism, a children's book, extensive journalism, poetry and other assorted writings. His plays have been translated into 17 languages and performed worldwide.

Reviews

[Nathan Sorseth · Rating 4 out of 5]

I'm a sucker for literature on theatre, but I'm a discriminating sucker. Wesker's backstage account of arduously composing the script for "Shylock", courting a director, assembling a consortium of financiers, collecting a cast and then (finally) putting the play through its paces in regional previews - only to have the star suddenly pass away as the play approaches its Broadway debut - is entertaining and heartbreaking. It's in journal form, so objectivity is traded for a palpable sense of immediacy. We only get Wesker's side of the story, but it's a fascinating facet.

[Daniel Damiano · Rating 4 out of 5]

As a theatre practicioner, the book certainly is not short on all the delicious elements that go into a play's inception, en route to its development in rehearsals and, one hopes, it's ultimate production. However, the journey of Arnold Wesker's "Shylock" (originally, "The Merchant") would certainly qualify as one of the lesser desired theatrical journeys, especially for a playwright, even if the route ultimately led to (and quickly died on) Broadway. It seemed that the ambitions for Wesker's wanting to right the Shylock wrong, an intended contrast to the Shylock depicted in Shakespeare's famous "The Merchant of Venice", were quite challenged from the get-go, yet it managed to garner enough interest based on his previous reputation to accrue a major star (Zero Mostel) and funding from the premier producers of the time (including Bernie Jacobs). Nevertheless, it quickly became apparent that the play had great problems, aided in no small part by the death of Mr. Mostel in previews, further challenged by an imbalanced and back-biting cast, and an absolutely brutish director. Consider this the ultimate "What Not To Do" manual for anyone who aspires to work in the Arts. Certainly fascinating.

[Paul Secor · Rating 4 out of 5]

If you've ever wondered what goes on behind the scenes of a Broadway production - a real play, not an overhyped production like Spiderman - read this book. Arnold Wesker was too involved with the production - he was the playwright - to be objective, but perhaps the book is more truthful because of that. Objectivity isn't always a virtue.
I won't spoil anyone's read by saying what happened to the production. I don't think that interested readers will be disappointed if they read the book and find out.

[Kim Martin · Rating 3 out of 5]

An intriguing and wonderful insight into the idiosyncrasies of theatre production, especially that elite professional arena of Broadway. Reading was a bit slow for the first half of the book, but became more engaging after the death of Mostel (no spoilers here; it's in the title, right?), when the success of the play was clearly more in the balance.

Best part was the tenuous relationship between the acknowledgedly biased playwright, who's journal this book is, and the petty, bullying genius director, John Dexter.

I recommend this book for any theatre artist who has ever been part of the premiere production of an original work.

[Jordan R. · Rating 5 out of 5]

Everything you ever wanted to know--and then some--about "The Merchant of Venice" and the great Mostel's untimely death.

[Elliot · Rating 4 out of 5]

A fantastically comprehensive book of how a play goes from pen to paper to stage (or not). Emotional and witty, Wesker's writing is superlative

One thing, however, troubles me. John Dexter is frequently referred to as having troubles with young boys. And yet, there seems to have been no effect on his work. Worrying.

[Stuart · Rating 4 out of 5]

Arnold Wesker's largely first person account of his notorious Broadway flop is a slow burn that pays off in spades, gaining dramatic momentum rather ironically once the titular Zero Mostel is dead and the production, bereft of its star, becomes the scene of a battle between the author and the director, John Dexter. Playing out much like the conflict between Shylock and Antonio in both Wesker and Shakespeare's version of the story, Arnold and John vacillate between being friends, frenemies, and ultimately rivals in a spiral that is as tragic as it seems inevitable. Along the way supporting characters (who are mostly in the supporting cast of the production) get caught up in the crossfire, including Roberta Maxwell, Gloria Gifford, Julie Murphy, and Everett McGill, and Wesker details (sometimes to exhuastion) the grueling and often humiliating process of trying to retain one's artistic integrity in the commercial theatre world, itself presented as fickle, materialist, and entirely too reliant on prestige over finding and connecting with audiences. Outliving Dexter by a decade at the time of writing (two by the time Wesker died) his final reflections are poignant, the confessions of a man able to see his own blindnesses and even apologize for them, but far too late to save the friendship with a collaborator and fellow genius. It's a story that is all too common in the world of artists of any medium, at once entirely familiar and utterly unique in its details, and a fascinating case study in how in our bid for Art, we often fall prey to the very behaviors our work seeks to critique or illuminate.