Anne and Shubert met in Los Angeles, where she'd
grown up and he was attending business school. After their marriage in
1950 the Fendrichs moved to Shubert's hometown of Portland, Oregon, where
he went to work in the family furniture store--which, almost immediately,
wasn't interesting enough for Shubert. He found the brand-new subject of
gerontology much more intriguing. "He got a Social Security Administration
job in Billings, Montana," Anne recalls. "We moved. Six months later there
was a reduction in force, and that was the end of that job. For a while,
he started an insurance company."
When that paled, Shubert contacted an employment agency, where an
astute job counselor asked him which courses he'd liked best in
college.
"Sociology, theater, English," Anne remembers. "What he liked least, it
turned out, was business. So she found him a job as a radio-station copy
writer in Cody, Wyoming. It was a small town, but not lacking in
culture."
The Fendrichs quickly became enmeshed in what there was of it. Shubert
joined the Cody community theater, where he found success as a melodrama
villain. Soon he was writing his own melodramas, and he directed Anne in
her first (and only) stage appearance, as "a French maid with a phony
French accent" in a one-act farce. Anne hated the stage fright.
But her husband loved the theater. Often Anne would find herself
sitting in the audience of yet another melodrama, written by and starring
Shubert and featuring the amateur actors of Cody. "Being the straight man
in the family, I never could see how the actors would ever pull it off,"
she says. "Rehearsals drove me crazy. I stopped going. Then I'd go to
opening night, and everything would be fine in front of an audience."
Shubert was hooked. "Soon," Anne says, "he decided that what the world
needed was a publisher of non-royalty, one-act plays." More specifically,
the world needed non-royalty, one-act plays that community theaters in
small towns such as Cody could put on cheaply and easily. But appropriate
one-acts--affordable and with just the right, light touch--were hard to
find. So in 1960 Shubert placed a "writers wanted" ad in a playwriting
magazine, picked the best ones he received, bought a mailing list and
started Pioneer Drama Service.
For the first fifteen years, Pioneer was strictly not-for-profit. Steve
and his sister, Karen, would come home from school to find stacks of
catalogues piled around the living room and know that they'd be spending
the evening pasting on mailing labels. When Shubert left the radio station
to take over publication of the Cody Rustler, a local shopper, he
gained access to a printing press, and the family started printing
Pioneer's catalogues, too.
"Which plays were successful? Very often, not the kind of plays I like
to read," Anne remembers. "I would find plays I thought were just
beautiful, and no one would buy them." A Pioneer catalogue from the
mid-Sixties, however, makes the Cody theater scene sound quite impressive:
"If your travels lead you to Yellowstone Park, we hope you'll stop by and
pay us a visit," it reads. "Many prominent painters and writers make their
home here...and the community is justly proud of its reputation as the
world center of Western Art and Western Americana...We also extend a
personal invitation for an evening at our own Pioneer Playhouse, where we
have the opportunity to try out many of the new plays you will find in our
catalogue each season."
The 1966 catalogue had something for everyone--with a vengeance. About
one-third of its offerings were melodramas, including no fewer than five
one-acts written by Shubert himself and featuring villains with names like
Snipe Vermin. "Melodrama is great fun for both actors and audience,
because everybody takes part," the catalogue explained. "Add a community
sing plus olio numbers and you have the grandest evening of entertainment
possible."
For those with less predictable tastes, several avant-garde selections
were available, including The Denouement, a thirty-minute piece of
"unusual theater" that "takes place in an institution of some type, in
which two visitors examine three inmates. Much of it revolves around a
white-haired man who sits with his arm in the air because dropping his arm
will mean the end of the world. The play ends rather abruptly," the
catalogue confessed, "when his arm falls." It was just the right selection
for "shock-proof audiences"--or that's how Shubert Fendrich assessed the
situation thirty years ago.
But 1966 seems to have had more than its share of shocking drama. In
The Cry of Crows, a lovely young girl's life is ruined "by vicious
gossip which grows from a chance encounter with an old acquaintance who
makes a 'pass' at her in public. The very nature of this type of play
makes it somewhat difficult for some audiences to accept," the catalogue
warned.
No problem. Pioneer also had children's plays, with the usual
complement of talking bunnies and adorable trolls; farces, including
The Four-Cornered Triangle, advertised as "an operetta without
music for people who can't sing"; and the winner of Shubert's own Best
Play of 1965 contest: Not Far From the Giaconda Tree, written by
Tim Kelly, who had already written a half-dozen plays for Pioneer and
would go on to write more than a hundred more.
In Giaconda Tree, Kelly dealt with the arguably obscure theme of
seven Russian princesses living in exile in Israel. It was impressive, but
not as impressive as another Kelly skill: He could write with the voice
and soul of an eighth-grader--never mind which decade the eighth-grader
lived in.
"I don't even know how old Tim Kelly is," Steve Fendrich says. "Maybe
mid-fifties? But he's still cranking this stuff out. He thinks like a kid.
He even has their sense of humor. Dad recognized his talent right
away."
In 1970, when Pioneer was ten years old, Shubert recognized something
else: He was bored, a feeling that always acted as a catalyst for change.
No longer challenged by the Cody Rustler, he sold the paper to his
employees and moved his family to Laramie, where he threw himself into
pursuing a master's degree in theater. That was fine with Anne--she
decided to get her own master's, in education.
Once they'd earned their degrees, though, the Fendrichs decided to move
on. "Sometimes I pushed things and had my way," Anne recalls. "After
Laramie, I decided we should have an address that would be more conducive
to a publisher of plays."
Albuquerque or Denver, she told Shubert. Either town would be big
enough and Western enough--and both had the Jewish communities she'd
longed for during the Wyoming years. Shubert picked Denver, and Anne
picked a house within walking distance of the Jewish Community Center.
With the exception of Steve, who walked into race riots on his first day
of junior high, the Fendrichs were excited about their new hometown.
Shubert went to work as an adman. Anne tried teaching, hated it, and
decided to put her considerable energies--and her education degree--into
Pioneer Drama Service.
"That's when we found our focus," Steve recalls. "It turns out
junior-high and high-school kids love farces. We began to find plays with
lots of cameo roles instead of starring roles, so that everyone can be
someone special. Kids don't like to play serious roles. They like to be
goofy. Either Tim figured that out or Mom or Dad did, or they all did it
together."
Anne remembers strategy sessions during which they picked apart the
standard school productions. "Historical plays," she says. "They don't
work. The characters are primarily male--and who shows up for auditions?
Girls. Shubert knew that. He was also the first to say that we have to
have plays that are actor-proof and director-proof. One light, one set, no
curtain, and costumes that are incredibly easy."
Thinking they were on to something, Shubert decided to begin charging
royalties for Pioneer's product. Playwright and publisher could both make
more money that way, and the total amount a small theater or school would
have to pay would still be much, much less than the freight for putting on
a successful behemoth such as Fiddler on the Roof or Hello,
Dolly. Besides, Shubert liked to think he had some properties that the
big New York publishers might never have heard of.
Pioneer's biggest hits, however, might strike them as strangely
familiar.
"It started with the Fifties phenomenon," Steve says. "We were sitting
around the office one day--me and my dad and an editor named Chris Mohr.
Grease was really big, and my dad said he wished we could publish
something like that, only moral. The whole point should not be that some
girl gets laid. And that's how we wrote Ducktails and Bobbysox. I
wrote the lyrics myself."
xxxxx |
|
The King: Shubert Fendrich had Pioneer Drama Service
humming smoothly. Now, it's Steve Fendrich who has the publishing house
whistling a happy tune.
"Life with Shubert was
never, never dull."
|