The Book of the Week is “Laughter’s Gentle Soul, The Life of Robert Benchley” by Billy Altman, published in 1997. This is the biography of Robert Benchley, literary humorist and Hollywood writer and actor in the first half of the 20th century.
Born in 1889, Benchley had to pass a three-day battery of exams to get accepted to Harvard in 1908. He was known for witty, wiseass writing, and playing pranks. In the late nineteen teens, when the editor of Vanity Fair magazine went on vacation, Benchley and his coworkers dispersed “…outlandish banners, streamers, signs, crepe paper, and assorted parade paraphernalia” around the editor’s office. The editor was not amused when he returned.
In Benchley’s generation, the American populace read columns and essays in newspapers and magazines– major sources of information and entertainment then. Benchley was a member of the “Algonquin Round Table,” also called the “Vicious Circle” formally named in spring 1919. The group consisted of writers of various genres, leading ladies, artists and women’s rights activists. Its members regularly met at the Algonquin Hotel in New York City for dinner and drinks, and some, through connections with the super-wealthy, went on jaunts to Great Neck, Manhasset and Syosset on Long Island in New York State, and overseas, into the mid 1930′s.
In October 1923, the Algonquinites acquired a permit to play croquet in Central Park in New York City. They were incurable hedonists. In 1926, Benchley was best man at a friend’s wedding in California, at which he appeared with a broken leg he’d gotten from a fall at a party. “That the [plaster] cast had been profusely autographed with lewd comments by most of the guests at the bridegroom’s bachelor party only added to Benchley’s embarrassing popularity at the ceremonies.”
In 1928, an acquaintance of Benchley chartered a private plane to fly them from London to Paris. At that time, such aircraft was extremely noisy, even for the passengers, and there was no heat in the cabin.
Benchley became a Broadway theater critic for The New Yorker magazine. “With hundreds of productions surfacing each season, the theater critics of Benchley’s era had the ill fortune to confront, over and over, shows with identical or nearly identical plots, character types and even dialogue.”
Read the book to learn other details of Benchley’s professional and personal life on both coasts.