Word: penn
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Dates: during 1950-1959
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...read it." Happily she maintains, if not the innocence, at least the ingenuousness of the grown-up little girl who never stood on a Broadway stage until two years ago. "She'll be a grande dame of the theater by the time she's 40," says Director Penn, "but today she's marvelously uncivilized. Just about the only thing she couldn't do is a comedy of manners-and that's because she doesn't have them...
GITTEL LIVES, wired Coe to Director Arthur Penn in Hollywood. Next day Playwright William Gibson was equally convinced. Anne was Gittel for him too. "So how was the Coast?" she greeted him. "Lousy, huh?" The Seesaw team, which had already signed Henry Fonda for the male lead, had found its real star...
...first," recalls Director Penn of the Seesaw rehearsal, "she could hardly find the stage. She couldn't stand. She couldn't turn. She'd play with her back to the audience. She was too broad and too vulgar. Even the lawyers and agents connected with the show said, 'She's no good; dump her.' " But Penn had already recognized something Anne's critics had not: she took direction admirably. "I even had to tell her where the jokes were, but once was enough." On the road Gibson would "write a funny line...
...mother (a checker at Schrafft's) were separated; before Patty got her first TV roles, the family teetered on the edge of poverty. In Miracle Worker, it was Anne to whom Patty looked for approval; it was Anne who became her particular pal. Soon, says Arthur Penn, "Patty and Anne were carrying on conversations in the manual alphabet behind our backs, cracking jokes and having themselves a time...
...next). Twice a week she still goes to Manhattan's Institute for Physical Medicine and Rehabilitation to work with blind disturbed children. It seems almost by design that she has little time left for dates, except for her platonic friendship with the Three Bears-the fatherly trio of Penn, Coe and Gibson-and with a couple of boys from the Actors' Studio...