BY Jeremy Kinser
November 05 2010 1:20 PM ET
It’s New Year’s Eve, 1977, and “Little Edie” Beale has decided to pursue a long-postponed career in show business. Heady on the attention she garnered following the release of Grey Gardens, the spellbinding documentary about her symbiotic relationship with her late mother, “Big Edie,” and their notoriously dilapidated East Hampton home, Beale decided to resurrect her abandoned dreams of stardom. At 60, Beale, the impoverished first cousin of Jacqueline Kennedy Onassis, created something resembling a cabaret act, which she performed eight times during January of 1978. To put it mildly, the show wasn’t well received and The New York Times described the evening as “a public display of ineptitude.”
Now, more than three decades later, fans can experience what went down on that stage for themselves as Jeffrey Johnson brings Beale back to glorious life with his production of Edie Beale Live at Reno Sweeney. Johnson collaborated with Gerald Duval, Beale’s original producer, to mount an authentic replication of the act. The new show, produced by Ganymede, his Washington, D.C.–based LGBT performing arts company, will be performed November 5-6 in San Francisco at Rrazz Room and November 8-9 in Los Angeles at Show at Barre. Johnson speaks with The Advocate about the production, his interpretation of “Little Edie,” and the enduring appeal of the tragic socialite.
The Advocate: When did you first become aware of “Little Edie” and Grey Gardens?
Jeffrey Johnson: It was probably around 2001. I watched a videotape of Grey Gardens that someone had given me, telling me I had to watch. I kept it in the VCR the entire weekend. I couldn’t stop watching it.
How did your show come about?
When I found she’d done the Reno Sweeney show, I thought it was something I’d want to write. But it sat on the back burner because I ended up with the theater company, which took up all my free time. But in the summer of 2008, an older gentleman [Gerald Duval] gave me a script to read. It was this show, but it was a huge monologue. I said, “Oh, God, this is something I wanted to write.”
Did he know her personally?
He told me that back in the ’70s he managed a lot of people and had connections to clubs. When Edie auditioned at Reno Sweeney, the owners called him and asked what they should do. They said she was a train wreck. He said, “She’s hot right now, and you’ll get a lot of people coming in.” They hired her under the condition that he’d take her under his wing and put a show together and make sure she was rehearsed. He was basically the guy who created the show with her. He had written down all the things she said over the original nights.
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