Laurents ultimately regretted recommending Pollack.

Laurents decided to develop a story with a similar character at its center, but was unsure what other elements to add.

Following a performance of Arthur Laurents ' The Time of the Cuckoo, a local review by the Los Angeles Times wrote that " roguish-looking, eight-year-old Keith Green gave a winning portrayal " as " the little Italian street urchin, Mauro "; another review commented that he " stole the show ".

The show was first announced in The New York Times on October 5, 1961: " For the winter of 1962, Laurents is nurturing another musical project, The Natives Are Restless.

A meager description was furnished by Mr. Laurents, who refused to elaborate.

In 1955, theatrical producer Martin Gabel was working on a stage adaptation of the James M. Cain novel Serenade, about an opera singer who comes to the realization he is homosexual, and he invited Laurents to write the book.

Laurents, however, was committed to Gabel, who introduced him to the young composer / lyricist Stephen Sondheim.

Laurents liked the lyrics but was not impressed with the music.

Laurents was soon hired to write the screenplay for a remake of the 1934 Greta Garbo film The Painted Veil for Ava Gardner.

Bernstein suggested they rework East Side Story and set it in Los Angeles, but Laurents felt he was more familiar with Puerto Ricans and Harlem than he was with Mexican Americans and Olvera Street.

In New York, Laurents went to the opening night party for a new play by Ugo Betti, and there he met Sondheim, who had heard that East Side Story, now retitled West Side Story, was back on track.

Meanwhile, Laurents had written a new draft of the book changing the characters ' backgrounds: Anton, once an Irish American, was now of Polish and Irish descent, and the formerly Jewish Maria had become a Puerto Rican.

With the help of Oscar Hammerstein, Laurents convinced Bernstein and Sondheim to move " One Hand, One Heart ", which he considered too pristine for the balcony scene, to the scene set in the bridal shop, and as a result " Tonight " was written to replace it.

Laurents felt that the building tension needed to be alleviated in order to increase the impact of the play's tragic outcome, so comic relief in the form of Officer Krupke was added to the second act.

Another song, " Kid Stuff ", was added and quickly removed during the Washington, D. C. tryout when Laurents convinced the others it was helping tip the balance of the show into typical musical comedy.

Robbins was involved with Bells Are Ringing, then Bernstein with Candide, and in January 1957 A Clearing in the Woods, Laurents ' latest play, opened and quickly closed.

The film was adapted by Millen Brand, Arthur Laurents ( uncredited ) and Frank Partos from the novel by Mary Jane Ward.

1876 The first rice mill was built by Gustave Laurents and D. Derouen.

* Stage ( Musical ): In 1991, a Broadway musical, Nick & Nora with a book by Arthur Laurents, lyrics by Richard Maltby, Jr., and music by Charles Strouse was based on the characters.

Gypsy's memoir, titled Gypsy, was published in 1957 and was taken as inspirational material for the Jule Styne, Stephen Sondheim, and Arthur Laurents Broadway musical Gypsy: A Musical Fable.

It later was reported she was negotiating with Daniel Mann instead, and Laurents would be adapting his play for the screen.

Laurents ' screenplay allegedly was unsatisfactory, and newly hired director David Lean tried to improve it with associate producer Norman Spencer and writers Donald Ogden Stewart and S. N.

The movie was adapted by Guy Bolton and Arthur Laurents from the play by Bolton and Marcelle Maurette.

Laurents was horrified when he saw the first rough cut of the film.

They described the project as " lyric theatre ", and Laurents wrote a first draft he called East Side Story.

She received praise from Walter Goodman in a New York Times review of one of her many off-Broadway performances: as June Yeager, a young wife who feels she is never " loved enough ", in the 1986 York Theater Company production of Arthur Laurents ' dramatic play The Time of the Cuckoo staged at the Church of the Heavenly Rest in New York's Upper East Side neighborhood ( Manhattan ).

" This behavior is considered unusual for Laurents, which runs contrary to his current reputation.

Laurents had wanted Barbra Streisand for the role of Fay, but she turned it down to star in Funny Girl.

Sondheim did not care for Laurents ' opinion.

He arrived in Hollywood to choreograph the dance sequences for The King and I, and he and Laurents began developing the musical while working on their respective projects, keeping in touch with Bernstein, who had returned to New York.

Originally, when considering the cast, Laurents wanted James Dean for the lead role of Tony, but the actor had died before hearing of it.

Laurents stated, " The musical theatre and cultural conventions of 1957 made it next to impossible for the characters to have authenticity.

Remick appeared in the 1964 Broadway musical Anyone Can Whistle, written by Stephen Sondheim and Arthur Laurents, which ran for only a week.

Arthur Laurents had written The Time of the Cuckoo specifically for Shirley Booth, who starred in the 1952 Broadway production and won the Tony Award for Best Performance by a Leading Actress in a Play for her performance.

Bosley Crowther of the New York Times observed, " In adapting for the screen Arthur Laurents ' stage play The Time of the Cuckoo, Mr. Lean and H. E. Bates discarded most of the individual shadings and psychological subtleties of that romance.

In 1937, while an undergraduate at Cornell, Arthur Laurents was introduced to political activism in a student who became the model for Katie Morosky, a member of the Young Communist League and an outspoken opponent of Francisco Franco and his effort to take control of Spain via the Spanish Civil War.

Because of his own background, Laurents felt it was important for his heroine to be Jewish and share his outrage at injustice.

Laurents had already known Streisand for some time, having cast her in his 1963 Broadway musical I Can Get it For You Wholesale.

Laurents wrote a lengthy treatment for Ray Stark, who read it on a transcontinental flight and called the screenwriter the moment he arrived in Los Angeles to greenlight the project.

Stark was less enthused, but agreed because Pollack assured him he could deliver Robert Redford for the role of Hubbell, which Laurents had written with Ryan O ' Neal in mind.

The director demanded the role of Hubbell be made equal to that of Katie, and throughout filming, for unexplained reasons, he kept Laurents away from Redford.

Other locations included the village of Ballston Spa in upstate New York, Central Park, the beach in Malibu, and Union Station in Los Angeles, the latter for a scene Laurents felt was absurd and fought to have deleted, without success.