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return true;" onmouseover="changeImages('audio', '../images/nav/audio-over.jpg'); return true;" onmouseup="changeImages('audio', '../images/nav/audio-over.jpg'); return true;"> <img alt="" border="0" height="33" name="audio" src="../images/nav/audio.jpg" width="154" /></a></td> </tr> <tr> <td colspan="11"> <img alt="" height="18" src="../images/nav/sal_without2_09.jpg" width="775" /></td> </tr> <tr> <td colspan="10"> <img alt="" height="1" src="../images/nav/sal_without2_10.jpg" width="697" /></td> <td bgcolor="#121836" rowspan="2" width="78"> </td> </tr> <tr> <td bgcolor="#121836" rowspan="2" width="94"> </td> <td bgcolor="#607da6" colspan="9" height="600" valign="top" width="603"> <div class="text10" style="padding: 5px"> <strong><span style="color: #ff9966">THE FORTUNE CHRONICLES &nbsp;&nbsp; &nbsp;NEW YORK</span> Page Two</strong> <br /> by Joe Bonelli &nbsp; (Copywright 2001 by Joseph H. Bonelli) <p> The role of  <b>Smitty</b> was taken by a young actor and dancer named Mark Shannon. He was quite good in the role, but again, couldn t muster the intensity of Don Johnson in L.A. (Don was, I believe, approached to do the role in N.Y., but had embarked on the movie career that would lead him on a checkered path toward stardom that would explode a dozen years later on the tube in MIAMI VICE &nbsp;and, later through such films as TIN CUP, to longevity as tv s NASH BRIDGES.) </p> <p>  <b>Mona</b> was taken over by a young actor from Texas named Jeremy Stockwell. &nbsp;He brought a sensitivity to Mona that was wonderful. &nbsp;We became great friends, though Jeremy could have done without my southern accent which just brought his own back&quot;on. &nbsp; </p> <p>  <b>The Guard</b> was portrayed beautifully by a fine actor named Joe Dorsey. &nbsp; This guy would step in the shoes of his L.A.predecessor Tom Reese, as a character actor of note-- going on to play prominent supporting roles in such films as THE GREAT SANTINI (he was the basketball coach who clashed with his player s father, Robert Duvall) and BRAINSTORM (Natalie Wood s last film, in which Joe played a guy who almost orgasm d himself to death with a virtual reality machine). &nbsp; </p> <p> And  <b>Queenie</b> was again the irrepressable, ultra-talented Michael Greer. &nbsp; Michael opened in the role and was replaced several months later by, once again, Robert Redding. &nbsp;How wonderful it was to be re-united with my old room-mate in New York. &nbsp;But that was several months down the line. </p> <p> FORTUNE was doing well in previews. &nbsp;Word of mouth was generally good. &nbsp;But opening night and the New York critics lay in wait. Opening night was just the kind of staid, un-fun theatrical evening I had always heard about. &nbsp;The audience &nbsp;(dressed to the nines!!) sat in stony silence and filed out quietly. &nbsp;We all dressed and went to that most traditional of opening-night party places, SARDI S. &nbsp;A lovely spread was laid out on the second floor. &nbsp;It was great. I don t remember whether seating was by name or not, but I wound up eating with a couple of people including the delightful and REALLY beautiful Jill Haworth. </p> <p> She was as lovely to chat with as to look at and it made my evening to be seated with her. &nbsp;When the Clive Barnes review was brought in (following a not-so-great one on television), we all held our breaths. Clive Barnes was (and IS) a theatre critic whose greatest expertise is ballet. Why this overblown pencil-pusher was EVER given the power over the American Theatre he was in the 60 s, is beyond me!!! &nbsp;Mr. Barnes has proven himself over the last 40 years to be one of the most destructive journalists ever to attack the theatre. &nbsp;I didn t like his posturings BEFORE the Fortune review, and nothing he has written in the last thirty years has made me think any differently of him. &nbsp;He DOES know a bit about ballet, though!!! None of this would have mattered if his  bad review of Fortune was based on a true feeling for the show and the production of it. &nbsp;But Clive Barnes is a destroyer, and he revelled in attacking Sal Mineo personally, as though he was some kind of interloper in the world of New York theatre that the young Sal had been a part of since he was SIX YEARS OLD!!! &nbsp;Barnes took pleasure in calling Sal  the Hollywood whiz-kid and implying that Sal was a relative unknown!!! &nbsp;&nbsp;The entire article (I can t call it a  review anymore) was in that tone. &nbsp;The play was barely mentioned and the cast and production totally ignored. &nbsp;It was one of the most irresponsible pieces of destructive writing I have ever seen. </p> <p> Clive Barnes did NOT review  Fortune and Men s Eyes. &nbsp;He reviewed  Sal Mineo and the (admittedly questionable) methods of marketing the play. &nbsp;Even though the show did not star Sal, the producers had chosen to display a poster with Sal s face and to prominently call the show  Sal Mineo s Fortune and Men s Eyes. &nbsp;&nbsp;As the original New York production had been a critical and commercial success, there was some resentment at the Waissman/Fox promotional tactics. &nbsp;So many of the critics lay in wait. &nbsp;Including, and especially, Clive Barnes. Reviews notwithstanding, SAL MINEO S FORTUNE AND MEN S EYES settled into a run that would last into mid-1970. &nbsp; </p> <a href="fortune3b.html">Read the next installment of the Fortune Chronicles</a> </div> </td> </tr> <tr> <td background="../images/nav/sal_without2_14.jpg" class="text10" colspan="6" height="72" width="413"> <div style="text-align: center; font-weight: bold"> </div> </td> <td colspan="3"> <img alt="" height="72" src="../images/nav/sal_without2_15.jpg" width="190" /></td> <td> <img alt="" height="72" src="../images/nav/sal_pic.jpg" width="78" /></td> </tr> <tr> <td background="../images/nav/sal_without2_17.jpg" colspan="6" height="91" width="506"> <div class="footer"> <script language="JavaScript" src="../jslinks.js"></script> © Sal Mineo 2010 &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; Web Design by Karen Hardcastle </div> </td> <td colspan="5"> <img alt="" height="91" src="../images/nav/sal_without2_18.jpg" width="269" /></td> </tr> <tr> <td> <img alt="" height="1" src="../images/nav/spacer.gif" width="94" /></td> <td> <img alt="" height="1" src="../images/nav/spacer.gif" width="69" /></td> <td> <img alt="" height="1" src="../images/nav/spacer.gif" width="36" /></td> <td> <img alt="" height="1" src="../images/nav/spacer.gif" width="119" /></td> <td> <img alt="" height="1" src="../images/nav/spacer.gif" width="107" /></td> <td> <img alt="" height="1" src="../images/nav/spacer.gif" width="81" /></td> <td> <img alt="" height="1" src="../images/nav/spacer.gif" width="1" /></td> <td> <img alt="" height="1" src="../images/nav/spacer.gif" width="25" /></td> <td> <img alt="" height="1" src="../images/nav/spacer.gif" width="89" /></td> <td> <img alt="" height="1" src="../images/nav/spacer.gif" width="76" /></td> <td> <img alt="" height="1" src="../images/nav/spacer.gif" width="78" /></td> </tr> </table> </div> </body> </html>