Alison Stewart (2:12)

Aside from the obvious that there's music involved, what's the difference between directing a musical and a play?

David Cromer (2:18)

Oh, there, there really isn't one. I don't think. There isn't for me and maybe that's the problem, but there isn't for me. It's just a process of. We have to get the people in the se. We need to be giving the right amount of aural and visual information from curtain time to closing. And so it's. The processes are similar. There's a Little more. You can say, oh, music's gonna rehearse now, or choreo's gonna rehearse and you can leave the room. You can do that in a musical. Yeah.

Alison Stewart (2:48)

Glenn, you've been on film, tv, of course, theater, as well for the stage. What's the first thing you do when you launch into creating a character?

Glenn Fleschler (2:58)

Well, it's similar to those other media. You do the research, you do the homework. And this one came with a whopping ton of it because these are all real people we're playing. So when you do that, you want to honor that person. You want to really be thorough in learning who that person is. You're never going to completely recreate that person, but you look for your own way and to the person so that it's unique to you, but it's also honoring the life, and this was an incredible life that Fred Friendly lived. One of the, you know, although most. Maybe he's not a household name, but one of the great journalistic careers of the 20th century. He had many different lives, so it was fascinating to dive into that.

Alison Stewart (3:41)

Yeah, he was a substantial person. Did you watch footage of him?

Glenn Fleschler (3:46)

There was a good amount of footage, mostly later in his life after the. The events of our show. There's even early radio broadcasts from the beginnings of his career. Very little bits, but. But, yeah, there's. There's all kinds of things. Plus, he wrote books, and there's books written about him. And I also dove into some of the Murrow material to kind of really understand that, and that was very useful.

Alison Stewart (4:14)

David, of your two shows that are playing now, you have one that started as a sort of an off Broadway upstart dead outlaw. And the other one has worldwide talent at the helm. George Clooney, Glenn Flashler and Glenn Flash.

David Cromer (4:25)

Thank you.

Alison Stewart (4:26)

Thank you. What were the pros and the cons of each?

David Cromer (4:29)

Oh, boy, almost no cons. You know, I'm not trying to be, you know, cute about it. They're both great pieces. They're great stories. They are useful to hear. You know, like, look, finally, we're wanting to give value to the heart in the mind when you go to the theater and, and, and, and, and to, to. To articulate something beautiful and useful to people when we don't always have the words. I find inspiration in the good luck story in that he, you know, the clip you played at the beginning, which is, you know, where he said, and whose fault is that? Not really his. He didn't, you know, he merely exploited it. You know, there's we and we have to find out why things are happening so we can take some action if action is required. So that was the pro of this. The pro of this was kind of. I'm going to sound like an idiot here, but I'll say it anyway. The mission of doing this play and because of the notoriety of the film, because of the scale of George's notoriety, his fame, we were able to, you know, get a big megaphone for it.

Alison Stewart (5:56)

We know the script is based on Moreau's taking on Senator Joseph McCarthy's anti communist crusade. That's what propels the action, David. But when you describe what the show is about, what do you say it's about?

David Cromer (6:10)

Oh, I'm. I'm so bad at that part of it. I say different things on different days and then sometimes I don't say anything. But the thing that comes to my mind when you say that is I think it is about managing fear. I think, I think that I find myself as things become increasingly dangerous in our world, not that anyone, not that anyone cares what I think or say, but when I hear that someone gets stopped at the airport because they complained about the President on Facebook, you know what I mean? It's not gonna happen to me. But I think about when I go to the airport and I find that. And so I can look at this play and think, oh, these people were. We spent a good amount of time talking about. You actually are scared. You're scared you're gonna lose your house. You're scared you're gonna lose your job. You're scared you're gonna get even. For these people who have it pretty good, they have this great cushy job at cbs. They're working very hard. They're at the Tiffany Network. They work for Murrow. You think you're gonna be protected. And there's a point where a CBS executive says, and if they come after you, no one could protect you. Not cbs, not Murrow, nobody. So I think it has to do with managing fear and how we get past that and, and that we have to get past that occasionally or, or I don't know what. Hide in the country.

Alison Stewart (7:37)

What do you say good night and good luck is about?

Glenn Fleschler (7:41)

Well, we have talked a lot about fear, but, you know, it manifests in these very sub ways. It's about people who are very good at their job trying to do the right thing, trying to muddle through while they're also taking this big leap to speak truth to power at a time when that is very scary. And you know, one of the things When David first started talking to us about the fear that I remember talking to George's playwriting partner and producing partner, Grant Heslov, about the fact that we don't see the people who drank the Kool Aid in our play. You know, we think like, oh, yeah, these are the good guys. They're fighting the good fight. We don't see the rest of the country that is buying all of this, that McCarthy is having such sway that people are just practically being disappeared. I mean, your career could end in a heartbeat. And particularly people in the media and people in show business. We know what happened in Hollywood during that era. That's just one of those things that you just kind of have to keep alive for yourself all the time. That even though sometimes we're being brave or sometimes we're getting stressed out, what's going on outside of this little bubble of the CBS studio we're in is terrifying, and it's very real. So that's kind of our job. I didn't answer your question about what it's about, but really I think it is about speaking truth to power in dangerous times.

Alison Stewart (9:13)

We're talking to director David Cromer and actor Glenn Fleischler. We're talking about Good night and good luck at the Winter Garden Theater. So we have a clip of Fred Friendly from the WNYC archives. He before he was president. After he was president of CBS News, I should say. Let's hear how radio host Lloyd Mose Mose introduces his guest.

Edward R. Murrow (9:34)

Fred W. Friendly has always been smack in the thick of things, a name known and respected in the world at large, but especially via broadcasting and journalism. He was a partner of the late Edward R. Murrow, the two of them reaping prize after prize for their distinguished work. Professor Friendly, I suppose your name is inextricably interwoven with that of Murrow's, isn't it? I like to think that.

Glenn Fleschler (9:56)

We were a great partnership.

Edward R. Murrow (9:58)

I was the junior partner.

Glenn Fleschler (10:00)

I'll live in the afterglow of his spirit for the rest of my life.

Alison Stewart (10:05)

Glenn, what does Fred Friendly. What is the role between him and Murrow at this moment in this play?

Glenn Fleschler (10:12)

I mean, they're opposite sides of a coin even at this point. And by this point, they had. They got together collaborating on some record albums called I Can Hear it Now, Recreating Some Great Moments in History.

Alison Stewart (10:27)

That's what that show is all about. They're making those records.

Glenn Fleschler (10:30)

Yeah, well, they make those records and then they end up transforming that into a radio show. And then the radio show becomes, See It Now, a television show. And so they're on the cutting edge of the technology of the changing of the times, what they're doing. And that's. I tried to bring that up a lot when we were sitting around the table getting, you know, preparing to remember that this is all brand new, this medium is brand new. And they were the first ones to do documentary on television. By the end of the events of our play, every network would have a documentary series. The way we come to know them today, everyone does news magazine shows, but it did not exist before this. So that's an interesting thing to remember. As far as Morrow and Friendly, they completely depended on each other and. And built a pretty extreme trust. I don't think the personal relationship spilled over into their personal lives. I think there were a lot of Morrow's boys From World War II, these other journalists that he maintained a closer relationship with. And I think there was. You know, there's an interesting tension there between the professional and the personal. But they completely depended on each other. They trusted each other, and they were tested over and over again.

David Cromer (11:50)

The physical production and the text tie them together constantly. I mean, this was clearly George and Grant's position. I mean, it's the historical record, it's George and Grant's position about it that he is almost never doing anything in the show without you. You are by his side every moment. You get him onto the air, you take him off the air. You know what I mean?

Glenn Fleschler (12:10)

Every time George says, as Morrow says sometimes in the broadcast, he says, friendly and I have made this decision, or friendly and I wanted to say this, and I think, is that a blessing or a curse? You know, is he, like, tying me to him and that could be like, an anchor around my neck, or is he elevating my status? And I think it's both things, and I think they're always, as you read the history of it and you hear different people's opinion on it, who was propping up, whom, you know, changed over the course of time. But the nice thing is that my feelings for George filter into our relationship on stage because I have such great admiration for him and depend on him. And that's how Friendly felt about Morrow. Morrow was the big star. He was the face of this whole thing. And Friendly, Friendly completely knew it, depended on it, thrived on it. It made his career, you know. And then an interesting thing sort of happens where Morrow starts to become Persona non grata, you know, his career, as we start to see the beginnings of that at the end of Our show, the cost that this takes on everyone's career. And so then things kind of switch around a little in their relationship as it goes forward.

Alison Stewart (13:27)

You have the relationship between these two men, but you also have this incredible set. David, the set is by Scott Pask. It's beautiful. It's got the sort of the tenor of a newsroom, all that's going on. You have this relationship between these two, but you also have the newsroom for people to experience. Tell us about how to balance those two. What's happening in the play and then what's happening in the newsroom.

David Cromer (13:53)

Right, right. Well, the big picture and little picture. There's actually a term that Murrow and Friendly used that the reporters would say at various times, you're looking for the little picture. We need the little picture. We're going to look at Milo Radulovich. And Milo Radulovich is a little picture of one person who these things happen to. It's one of the early broadcasts where he starts to poke the bear, he starts to poke McCarthy and people can look up Mila Radulovich and that's the little picture. And it's going to lead us to the big picture. So we had a lot of that very obvious big picture, little picture. A television screen is an intimate thing. Jess Murrow's face in the camera is an intimate thing. We also have this giant theater with 1600 seats and we have this enormous aperture of a stage. So we were literally dealing with the concept of big picture and little picture. That had to be manifested both in the writing, in the story of these people and in the physical production. So that was nice because those things all sort of rhymed and spoke to each other. So it was a matter of not. People say, oh, how are you gonna fill that theater? I'm like, well, that's actually the great part. The first piece of research is their studio was this enormous cavern above the Grand Central Terminal, which was looks to be in the photographs I've seen comparable in scale to at least our stage, if not the whole, whole space. So then it just became a system of big picture, medium picture, little picture. So the whole story is that, which is that we have. They've written these enormous scenes of things going on everywhere and then we've got to be pulling down. So then the job is just figuring out where George and Grant where their script is asking us to look at various times. So we go from, you know, the show works. This was self congratulatory beyond reason. I was shocked to find out that the physical production works very well from extreme seats, works very well from the back of the house in a way that is not. In a way that you hope you're doing when you're charging a lot of money for a Broadway ticket.

Alison Stewart (16:11)

Because there's TVs everywhere.

David Cromer (16:12)

There are TVs everywhere. Yeah. And also. But then also, there's times when you get to the big picture is sort of worth it, because you get a lot of information from the big picture and you can choose to look a lot of different places. Yes. Ideally, design and conceiving of a production is as closely linked to the themes of the thing as possible or to some kind of guiding principle, which is that we're going to take all of these people and all of their energy is going to. When you're asking about the newsroom, it is, you know, there's 25 people on stage and there are scenes where almost all of them are completely physically focused, are completing tasks that get smaller and smaller and smaller. And then it comes down to Glenn and George and Joe Forbrick, who plays the cameraman. And the three of them kind of hunkered down and. And Will Dagger, who plays some, who plays Don Hewitt. And it goes on the air, and then the last thing that happens is Ed. Edward R. Murrow's face goes into the camera and out into people's homes. So that was the idea of the newsroom, the idea of the physical production, the idea that we're gonna see how the sausage was made. We were going to look at all the people behind. Obviously, you know, we were saying what the partnership between Murrow and Friendly is. Yeah, he always said Fred Friendly and myself, you know. Yeah. So that was the idea is like, how to make the newsroom into the theater, how to make the rehearsal into the broadcast.

Alison Stewart (17:43)

You know, we're talking about Good night and good luck with director David Cromer and actor Glenn Fleshler. He plays Fred Friendly. You're playing the role that George Clooney played in the movie.

Glenn Fleschler (17:54)

Oh, is that right?

Alison Stewart (17:55)

Yeah, yeah.

David Cromer (17:57)

Did that ever.

Alison Stewart (17:58)

You play the role differently? I think.

Glenn Fleschler (18:01)

I think. Yeah. Didn't have to work hard to be different from George. It's not like we play all the same parts.

Alison Stewart (18:08)

What conversations did you have with George, what did you have with David about your version of Fred Friendly?

Glenn Fleschler (18:13)

Well, interestingly, George, you know, I always wondered why George did not play Morrow in the movie. And he had done something, some reading with Grant and some people of it, and felt when he was 40 or so that he didn't have the Gravitas yet or the sadness. You know, Morrow had reported during the. The bombings in London and been through World War II and the camps. He opened the concentration camps. And so George played the other part. And. And, you know, for me, the weird thing is, you know, I. Because I, you know, you go through this thing when you play a real person, and I am somewhat of a mimic, so sometimes I like to work with my voice and alter it and do, you know, or do accents or. But the thing was, when I. You could hear Fred, you know, a little bit ago, sort of talked like this later in his life, and I said, well, you know, he's close enough. He's close enough to me that I don't have to make some transformation. I think it's just going to be me as Fred. So I think the difference between George and I, we're just very different people. Although we get along very well, sort of takes care of that. I also did not watch the film. I saw it when it came out, and I remember loving it, but I haven't seen it. And, you know, that's what, 21 years ago or so. So I did not want to have, you know, that as a reference. I just wanted to kind of delve into the history.

David Cromer (19:39)

There's such a beautiful bridge between you and Fred. I just wanted to say, listening to his voice again, listening. That you do sound like you. You sound like. And you also sound like Fred. And that there's just. And it's not that they're already similar. You know, it's that great thing where an actor of enormous personality like Glenn has is then playing a famous person. And there's just a real sweet spot in there, like Hopkins is Nixon or somebody like that.

Alison Stewart (20:05)

You know, there's a certain gallows of humor that takes place in a newsroom that you're. Fred Friendly has.

Glenn Fleschler (20:10)

Yes, well, George loves that kind of humor, and I think that's very human, that when times get worse, particularly very. These are very intelligent people. All the people who are depicted on our stage, for the most part, very, very bright people. And so the idea that that sort of humor would emerge in these times of incredible pressure and Even beyond the McCarthy of it all, just doing live television, we were talking months ago, you know, they did a thing on the Saturday Night Live 50th anniversary about how everyone who's ever been on the show has anxiety, you know, and it was like a musical number they did. And we were talking about, what does it take to do this live? Because we don't have that very much in our television landscape anymore. And it is intense pressure. And of course it's not dissimilar to doing a play live, but you know, you're going out to millions of people.

Alison Stewart (21:01)

So this is live radio, by the way.

Glenn Fleschler (21:02)

Exactly, exactly. So, you know, what's this now of where I.

David Cromer (21:05)

This is what now?

Glenn Fleschler (21:06)

This is what now? We're not going to edit this. Anyway, that's just also been a good thing for us to keep in mind. And it's fun to play the kind of. And David has intentionally left us with these silent moments before the broadcasts begin, you know, where they're counting down and we're just all getting ready and Murrow's there with his thoughts and I'm getting my equipment together or whatever, and it's fun to try to approximate that. Also, I remember reading Fred talking about the day Murrow did the first McCarthy broadcast and how he would, he would always time the episodes and how his stopwatch was shaking that day. So that's something I worked in. And it sort of, you know, made, I don't know, it was an interesting portal into what that life is because suddenly I'm like, oh, well, this stopwatch is going to be an important prop for me. And I wouldn't maybe have come up with that ahead of time, but once I read that, that was his main memory of that night was that he noticed his hand shaking while he was starting the stopwatch.

Alison Stewart (22:12)

So good night and good luck. At the Winter Garden Theatre. My guests have been director David Cromer and Glenn Fleschler. He's playing Fred Friendly. Thanks for coming by the studio.

Glenn Fleschler (22:24)

Great pleasure. Thank you.

David Cromer (22:25)

Thank you for having us.

Progressive Insurance (22:27)

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