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To his dying day Max Gordon lamented having turned down Neil Simon's first comedy.


and Cy Coleman - he could not find anyone who could arrive at a concept that worked for him. "I'm delighted," he says, "that Mr. Coleman and Mr. Stewart went on to do it successfully on their own. But I couldn't find Barnum revealing anything of himself and his personal story in his autobiography and his biographies and I couldn't lick this."

They say, of course, you should never look back. In the theatre this is particularly apt. Nevertheless, there are times when the pain of a miscalculation does prove a recurring ache. 

To his dying day, Max Gordon, one of the theatre's great producers (Born Yesterday, The Solid Gold Cadillac and The Late George Apley, among others) lamented having turned down Neil Simon's first comedy, Come Blow Your Horn. The comedy wasn't a smash, but it did make money. What gnawed at Gordon most, though, was the thought that, had he produced that play, he would have gotten first crack at Simon's next offering, Barefoot in the Park.

And Cheryl Crawford may never have stopped kicking herself a bit with feet that unfortunately once got too cold. There she sat, in 1956, with Leonard Bernstein, Stephen Sondheim, Arthur Laurents and Jerome Robbins all at work on a show for her. She liked the story - after all, it was based on Romeo and Juliet; the score, too, was developing with some great numbers. But then there was an audition for 20 prospective backers and, to her surprise, the reaction was so discouraging she wasn't sure anyone would invest. What was more, Richard Rodgers and Oscar Hammerstein II wondered aloud where so many youthful actors could be found who would be able to sing the score. As Crawford went back to look at the book, knowing that this would be her most expensive production ever, she wondered if it really wasn't too thin and too humorless after all. Finally, reluctantly, she decided the project was not for her. That missed hit, of course, turned out to be West Side Story.

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