BREAKS THE YOM KIPPUR EAST
WITH A ROSE GUTTMAN TRAY!
DAIRY TRAY
but the expenses — salaries, royalties,
rentals — became too high. Most of
the shows we play now are not born,
raised and produced here first. We
like our Broadway series to consist of
hit New York shows.
JN: What have been your favorite
shows at the Fisher?
HN: Fiddler on the Roof No Strings.
La Cage aux Folles. I could go on and
on because of the
nature of the attrac-
tions that play the
Fisher. We're devoted
to bringing the best
in the American stage
to wherever we have
theaters. Without
that kind of motiva-
tion, I don't think we
would have stayed in
the business.
night the way the stars describe that
they do?
HN: If I didn't, there'd be something
wrong with me. I don't care who you
are or what your background is, you
have no way of knowing whether a
show is going to be a hit until the
curtain goes up. David Merrick
threatened to close down Hello Dolly!
before it ever reached Broadway
because he didn't think it would suc-
ceed. There's no
such thing as a
mini-flop. A show
is a flop or a hit.
JN: Have people
you've known come
to you with a script
or asking for a
part?
HN: It happened a
lot, [and I turned
them over to our]
professionals who
read scripts and lis-
ten to music. This is
not the kind of a
business where
somebody knows
the boss and gets a
job. In show busi-
ness, you either have
the ability to per-
form or you don't.
JN: What's the best
seat in the house?
HN: My father u s ed
to say it's a matter of
opinion. He used to
sit in the last row. He
said the illusion was
better, and he was
right. I don't think
Harry Nederlander, circa 1988:
there's actually a bad
"It feels good to select and open
seat at the Fisher. If
an attraction that becomes a
you make theaters too national hit. It automatically
big, the customer is
makes you think you know a little JN: Are Detroit
too far away, and the
audiences good
more than you really do."
angles are bad. It just
audiences?
does not give you the
HN: Very good, but
performance the way you want the
being a hit in one market doesn't
customer to see it.
mean you're going to be a hit in
another market. There's no formula.
JN: Is it true that your mother, who
was active with Temple Beth El,
JN: What's toughest about the the-
Hadassah and Sinai Hospital
ater business?
Women's Guild, used to cook Jewish
-HN: The supply is less than demand.
meals for a lot of the Jewish actors
There's not enough product to fill
and actresses appearing at the
the numbers of theaters. We go on
Fisher?
the assumption that whatever we run
HN: It didn't make any difference
is top quality even though sometimes
whether they were Jewish or not. She
it doesn't turn out that way.
cooked for them, and she was a great
cook. She had help in the house, but
JN: Have you seen any of the new
my dad didn't eat a dinner that she
shows that are coming this season?
didn't make. He could tell the differ-
HN: Our kids who are in the busi-
ence, but I could never figure out
ness saw them, and the shows come
how. [Before the Fisher], she cooked
well recommended. I plan on seeing
for Al Jolson, who used to come out
them here.
after a show and sit where the foot-
lights are with his feet hanging down
JN: When you walk into a theater
into the orchestra pit. He'd, [have
now — whether one of yours or
food in his hand] and say, "This is
another — how do you feel?
Sarah Nederlander's homemade
HN: I think walking into a theater is
chicken," and then take a bite.
exhilarating, especially if it has a hit
— and not necessarily something I
JN: Do you get nervous on opening
haven't seen before. L.
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