By William C. Davis
A twin biography and a clean method of the constantly compelling topic of those iconic leaders—how they shaped a pretty American struggle, and an enduring peace, that essentially replaced our nation
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Additional resources for Crucible of Command: Ulysses S. Grant and Robert E. Lee—The War They Fought, the Peace They Forged
He didn’t have to worry. He was to eventually get more lines without half trying. 35 36 PA U L N E W M A N Newman did need the work, however. He and his wife, with a second child coming, had only about two hundred and fifty dollars left in the bank (although to some actors in 1952 that would have been a small fortune). His salary in Picnic started at $150 a week (this included understudying the lead role) and went up to $200 when he got a bigger part. Appearing in Picnic provided Newman’s career with the impetus it needed.
Manhattan represented freedom and hope; Staten Island represented conventionality and restriction. Jackie, whose modeling plans and ambitions had come to nothing, was not thrilled at the number of hours Paul spent away from her and their child. She didn’t suspect that before too long the situation would get much, much worse. For late in 1952 Newman would be cast in the role that would forever take him out of the supporting cast and head him on the road to stardom. And he was to meet a certain young lady who would have much more of an impact on his life—and Jackie’s—than any of them could ever have anticipated.
Newman did not have to be talked into it. However, there were problems. Newman was not and never would be comfortable in period pieces, and Beethoven was no exception. Karl was “a very formal guy,” in Paul’s opinion, just the thing Newman was not. McMullan helped Paul smooth over the rough stretches, but Newman got by essentially on that “magnetic presence” McMullan had noticed. On opening night this presence wasn’t lost on the audience, which included the husband-and-wife agenting team, Audrey Wood and William Liebling.