Վիքիպեդիա:Նախագիծ:Թարգմանչի անկյուն/Անգլերեն/43
Ջեյմս Կեգնի
Անգլերեն
Վաղ կարիերա (1919-1930)
While working at Wanamaker's Department Store in 1919, Cagney learned, from a colleague who had seen him dance, of a role in the upcoming production Every Sailor. A wartime play in which the chorus was made up of servicemen dressed as women, it was originally titled Every Woman. Cagney auditioned for the role of a chorus girl, despite considering it a waste of time; he only knew one dance step, the complicated Peabody, but he knew it perfectly. This was enough to convince the producers that he could dance, and he copied the other dancers' moves while waiting to go on. He did not find it odd to play a woman, nor was he embarrassed. He later recalled how he was able to shed his own natural shy persona when he stepped onto the stage։ "For there I am not myself. I am not that fellow, Jim Cagney, at all. I certainly lost all consciousness of him when I put on skirts, wig, paint, powder, feathers and spangles."
Had Cagney's mother had her way, his stage career would have ended when he quit Every Sailor after two months; proud as she was of his performance, she preferred that he get an education. Cagney appreciated the $35 a week he was paid, which he called "a mountain of money for me in those worrisome days." In deference to his mother's worries, he got employment as a brokerage house runner. This did not stop him looking for more stage work, however, and he went on to successfully audition for a chorus part in the William B. Friedlander musical Pitter Patter, for which he earned $55 a week—he sent $40 to his mother each week.[28] So strong was his habit of holding down more than one job at a time, he also worked as a dresser for one of the leads, portered the casts' luggage, and understudied for the lead. Among the chorus line performers was sixteen-year-old Frances Willard "Billie" Vernon, whom he married in 1922.
The show began Cagney's ten-year association with vaudeville and Broadway. Cagney and his wife were among the early resident of Free Acres, a social experiment established by Bolton Hall in Berkeley Heights, New Jersey.
Pitter Patter was not hugely successful, but it did well enough to run for 32 weeks, enabling Cagney to join the vaudeville circuit. He and Vernon toured separately with a number of different troupes, reuniting as "Vernon and Nye" to do simple comedy routines and musical numbers. "Nye" was a rearrangement of the last syllable of Cagney's surname. One of the troupes Cagney joined was Parker, Rand and Leach, taking over the spot vacated when Archie Leach—who later changed his name to Cary Grant—left.
After years of touring and struggling to make money, Cagney and Vernon moved to Hawthorne, California in 1924, partly for Cagney to meet his new mother-in-law, who had just moved there from Chicago, and partly to investigate breaking into the movies. Their train fares were paid for by a friend, the press officer of Pitter Patter, who was also desperate to act. They were not successful at first; the dance studio Cagney set up had few clients and folded, and he and Vernon toured the studios, but garnered no interest. Eventually, they borrowed some money and headed back to New York via Chicago and Milwaukee, enduring failure along the way when they attempted to make money on the stage.
Cagney secured his first significant non-dancing role in 1925. He played a young tough guy in the three-act play Outside Looking In by Maxwell Anderson, earning $200 a week. As with Pitter Patter, Cagney went to the audition with little confidence he would get the part. He had no experience with drama at this point. Cagney felt that he only got the role because his hair was redder than that of Alan Bunce, the only other red-headed performer in New York.[35][36] Both the play and Cagney received good reviews; Life magazine wrote, "Mr. Cagney, in a less spectacular role [than his co-star] makes a few minutes silence during his mock-trial scene something that many a more established actor might watch with profit." Burns Mantle wrote that it "...contained the most honest acting now to be seen in New York."
Following the show's four-month run, Cagney went back to vaudeville for the next couple of years. He achieved varied success, but after appearing in Outside Looking In,[clarification needed] the Cagneys were more financially secure. During this period, he met George M. Cohan, whom he later portrayed in Yankee Doodle Dandy, though they never spoke.[38]
Cagney secured the lead role in the 1926–1927 season West End production of Broadway by George Abbott. The show's management insisted that he copy Broadway lead Lee Tracy's performance, despite Cagney's discomfort in doing so, but the day before the show sailed for England, they decided to replace him. This was a devastating turn of events for Cagney; apart from the logistical difficulties this presented—the couple's luggage was in the hold of the ship and they had given up their apartment. He almost quit show business. As Vernon recalled, "Jimmy said that it was all over. He made up his mind that he would get a job doing something else."
The Cagneys had run-of-the-play contracts, which lasted as long as the play did. Vernon was in the chorus line of the show, and with help from the Actors’ Equity Association, Cagney understudied Tracy on the Broadway show, providing them with a desperately needed steady income. Cagney also established a dance school for professionals, then landed a part in the play Women Go On Forever, directed by John Cromwell, which ran for four months. By the end of the run, Cagney was exhausted from acting and running the dance school.
He had built a reputation as an innovative teacher, so when he was cast as the lead in Grand Street Follies of 1928, he was also appointed the choreographer. The show received rave reviews[41] and was followed by Grand Street Follies of 1929. These roles led to a part in George Kelly's Maggie the Magnificent, a play the critics disliked, though they like Cagney's performance. Cagney saw this role (and Women Go on Forever) as significant because of the talented directors he met. He learned "...what a director was for and what a director could do. They were directors who could play all the parts in the play better than the actors cast for them."
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