Podcast appearances and mentions of mitch douglas

For Video Edition, Please Click and Subscribe Here: https://youtu.be/EZ-hf40zqlU During a thirty-year tenure at ICM, Douglas represented books, plays and musicals by Tennessee Williams,Arthur Miller, and many literary giants. He represented memoirs by Shelley Winters, Lana Turner, Maurice Evans, Eva Le Gallienne, Eartha Kitt, Lillian Gish, Peter Marshall, Hermione Gingold, Michael Crawford, Rose Marie, Judy Carne, the 21 original cast members of A Chorus Line (On the Line: The Making of A Chorus Line). and biographies by J. Randy Taraborrelli(including the current best seller, Elizabeth (Taylor), Anne Edwards, Hollis Alpert, Elaine Dundy, Jonny Whiteside, Charles Higham, Roy Moseley, Maurice Zolotow, Peter Brown, Al DiOrio and Robert and Jan Lowell on the lives of Vivien Leigh, Judy Garland, Cary Grant, Bette Davis, Barbara Stanwyck, Shirley Temple, Ronald Regan, Margaret Mitchell, Richard Burton, Marilyn Monroe, Howard Hughes, Elvis Presley, Jane Russell, Rose Maddox,Johnny Ray, Queen Elizabeth, Maria Callas, Barbra Streisand, and Maria Callas.Calvin Mitchell (Mitch) Douglas passed from metastatic brain cancer on November 5th, 2020 at Calvary Hospital, Bronx, NY. He was 78 years old. Virtually, many of his friends, family, and colleagues will join me to celebrate a rich life and legacy. Mitch was born on March 27, 1942 in Middlesboro, Kentucky. Beginning in an entry level mailroom job, Mitch Douglas quickly rose up the agency ladder and became a veteran literary agent, spending 30 years as a literary agent at International Creative Management (ICM).  Mitch also championed many Off-Broadway successes, including Nunsense, Boobs! The Musical, Bat Boy and Song Of Singapore.  Speaking: Stephen Currens, J Mary Wickliffe Bishop, John DiLeo, Donald Jackson, Lawrence Leritz, Bill McCauley

We’ll talk with Mitch Douglas about his experience as a literary agent for over thirty years, representing some of the world’s major writers, including Tennessee Williams, Graham Greene, and Arthur Miller. Also in this episode, you’ll hear about a writing team, known collectively as Jones Hope Wooten, who have collaborated to produce a catalog of 19 plays with over 5,700 productions and more than 40,000 performances worldwide.

Chances are you’ve never heard of Ruth Wallis, one of the greatest singers, comedians, and performers of sexually suggestive lyrics in the postwar United States. Most of her catalogue remains on vinyl and historians have forgotten her. But from the 1940s until the early 1970s, Ruth Wallis was a bestselling performer and a mainstay at supper clubs and hotels. At a time when it was legally risky for entertainers to sing about sexuality for profit and pleasure, Ruth sold millions of records that used innuendo to playfully hint at a variety of straight and queer sexual pleasures. https://www.sexinghistory.com/episode-8 Hosts and Creators: Gillian Frank and Lauren Gutterman. Producers: Rebecca Davis, Saniya Lee Ghanoui and Devin McGeehan Muchmore. Intern: Jayne Swift. Special thanks to Alan Pastman, Mitch Douglas and Rusty Warren for sharing their stories with us. Thank you to Jennifer Caplan and Lauren Sklaroff for sharing their historical expertise with us. Thank you to Alan Pastman for sharing his personal archive. If you enjoyed this episode, please review us on iTunes or Soundcloud and share us on social media. Please support our work and keep new episodes coming by making a small donation to Sexing History.

Tennessee Williams, perhaps best-known for his plays "Streetcar Named Desire," "The Glass Menagerie," and "Cat on a Hot Tin Roof," is the author of a "massive body of work," in the words of N.Y.U. drama professor Joe E. Jeffreys. On the occasion of the centennial of Williams' birth—the playwright was born March 26, 1911—Jeffreys hosted the first of a three-part series at Manhattan's Museum of Arts and Design entitled The Kindness of Strangeness. (Williams fans will recognize the title of the panel from an achingly memorable line delivered by Blanche DuBois in the playwright's "Streetcar Named Desire.") The memory-strewn afternoon included words from Williams' agent Mitch Douglas together with Williams' friends David Schweizer and Jeremiah Newton. Later in the day, the actress Charlotte Moore, who worked closely with Williams, also spoke. The author of 30 full-length plays, 70 one acts, as well as short stories, poetry, occasional pieces and novels, Tennessee Williams is a giant among American writers, and is equally celebrated for his complex, theatrical personality, including his wild cackle and large appetite. Agent Mitch Douglas called the playwright's work "really a roller-coaster ride." To hear the afternoon conversation, in which Douglas recalls Williams at the White House, Newton examines the writer's work with mutual friend Candy Darling and Schweizer gets found on a Key West beach (only to wind up at a grand Tennessee Williams party), click on the audio above. Bon Mots: David Schweizer on attending Williams' party in Florida: "I put on a suitable outfit from 1971."Joe Jeffreys responds: "What would have been a suitable outfit for a party at T.W.'s house in 1971?"David Schweizer: "Uh, kind of see-through lace."Joe Jeffreys: "There you go, that's what I was thinking." Mitch Douglas on Williams' appetite: "I.C.M. (International Creative Management) was owned and run by a gentleman by the name of Marvin Josephson and one day I had a call from Marvin saying 'I've had a rather distraught phone call from Tennessee and I want to ask you a question: What's he on?' and I said, 'Everything but roller skates.'" Jeremiah Newton on Williams' anger at disruptions in the theater: "He clutched a curtain and flung it back and went away, finally. I thought that was very brave of him, but not wise." Mitch Douglas on Williams' disrupting his own one-act play "Kirche, Kŭche und Kinder" in the theater: "I've had audience members ask him to shut up. I remember "Kirche, Kŭche und Kinder," he cackled through "Kirche, Kŭche und Kinder," and I remember some audience member turning around and saying 'Will you please quit laughing like that at Mr. Williams' work? He's a very important playwright.'" The Kindness of Strangeness was funded by the New York Council for the Humanities and took place this past January.

The business team for the play "Dancing In The End Zone" - literary agent Mitch Douglas, producers Dasha Epstein and Morton Gottlieb, publicist Milly Schoenbaum, and general manager Richard Seader - talk about the responsibilities of the producer, the benefits of a workshop versus going out-of-town, the role of a press agent, comparing large off-Broadway houses to Broadway, and the evolution of opening night events including critics now attending previews.

The business team for the play Dancing In The End Zone -- literary agent Mitch Douglas, producers Dasha Epstein and Morton Gottlieb, publicist Milly Schoenbaum, and general manager Richard Seader -- talk about the responsibilities of the producer, the benefits of a workshop versus going out-of-town, the role of a press agent, comparing large off-Broadway houses to Broadway, and the evolution of opening night events including critics now attending previews.