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Bert Lahr
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Bert Lahr
Bert Lahr, early in his career around 1936
Born
Irving Lahrheim
(1895-08-13)August 13, 1895
New York City, New York, U.S.
Died
December 4, 1967(1967-12-04) (aged 72)
New York City, New York, U.S.
Cause of death
Cancer
Occupation
Actor, comedian
Years active
1925–1967
Spouse(s)
Mercedes Delpino (m. 1929; div. 1939)
Mildred Schroeder (m. 1940; his death 1967)
Children
Herbert Lahr (1929-2002)
John Lahr (b. 1941)
Jane Lahr (b. 1943)
Signature
Bert Lahr (August 13, 1895 – December 4, 1967) was an American actor, particularly of stage and film, and comedian. Lahr is known for his role as the Cowardly Lion, as well as his counterpart Kansas farmworker Zeke, in The Wizard of Oz (1939). He was well known for his explosive humor, but also adapted well to dramatic roles and his work in burlesque, vaudeville, and on Broadway.
Contents
[hide]
1 Early life
2 Career
2.1 Cowardly Lion in The Wizard of Oz
2.2 Waiting for Godot
2.3 Television
2.4 Other work
3 Personal life
4 Death
5 Filmography
6 Stage productions
7 References
8 External links
Early life[edit]
Lahr was born as Irving Lahrheim, in New York City, the son of Augusta (1871-1932) and Jacob Lahrheim (1870-1947).[1] His parents were German Jewish immigrants. Lahr grew up in the Yorkville section of Manhattan.[2] Dropping out of school at 15 to join a juvenile vaudeville act, Lahr worked up to top billing on the Columbia Burlesque Circuit. In 1927 he debuted on Broadway in Delmar's Revels. He played to packed houses, performing classic routines such as "The Song of the Woodman" (which he reprised in the film Merry-Go-Round of 1938). Lahr had his first major success in a stage musical playing the prize fighter hero of Hold Everything! (1928–29). Other musicals followed, notably Flying High (1930), Florenz Ziegfeld's Hot-Cha! (1932) and The Show is On (1936) in which he co-starred with Beatrice Lillie. In 1939, he co-starred as Louis Blore alongside Ethel Merman in the Broadway production of DuBarry Was a Lady.
Career[edit]
Lahr as the Cowardly Lion in the MGM feature film The Wizard of Oz, 1939
Lahr made his feature film debut in 1931's Flying High, playing the oddball aviator he had played on stage. He signed with New York-based Educational Pictures for a series of two-reel comedies. When that series ended, he went to Hollywood to work in feature films. Aside from The Wizard of Oz (1939), his movie career was limited. In the 1944 patriotic film Meet the People, Lahr uttered the phrase "Heavens to Murgatroyd!" later popularized by cartoon character Snagglepuss.
Cowardly Lion in The Wizard of Oz[edit]
Lahr's most famous role was that of the Cowardly Lion in Metro-Goldwyn-Mayer's 1939 adaptation of The Wizard of Oz. Lahr was signed to play the role on July 25, 1938. He starred opposite Judy Garland, Ray Bolger, Jack Haley, Frank Morgan, and Margaret Hamilton. Lahr's lion costume was composed of lion fur and, under the high-intensity lighting required for Oz's Technicolor scenes, the costume was unbearably hot. Lahr contributed ad-lib comedic lines for his character. Many of Lahr's scenes took several takes because other cast members, especially Garland, couldn't complete the scenes without laughing. The Cowardly Lion is the only character who sings two solo song numbers-"If I Only Had the Nerve", performed after the initial meeting with Dorothy, The Scarecrow, and The Tin Man in the forest, and "If I Were King of the Forest", performed while he and the others are awaiting their audience with the Wizard.
"The Wizard of Oz" was Lahr's 17th movie. When warned that Hollywood had a habit of typecasting actors, Lahr replied, "Yeah, but how many parts are there for lions?"
An original Cowardly Lion costume worn by Lahr in The Wizard of Oz is in the holdings of The Comisar Collection, which is also the largest collection of television artifacts and memorabilia in the world.[3]
In June 2013, Lahr's original reading script for The Wizard of Oz, bequeathed to his great-grandson, was appraised with an insurance value of $150,000 on PBS's Antiques Roadshow in an episode filmed in Detroit, Michigan.[4][5]
Waiting for Godot[edit]
He made the transition to straight theater. He got a script of Waiting for Godot, and was greatly impressed but unsure of how the revolutionary play would be received in the United States. It was performed in Europe to great acclaim, but was somewhat obscure and intellectual. He co-starred in the US premiere of Waiting for Godot in 1956 at the Coconut Grove Playhouse in Miami, Florida, playing Estragon to Tom Ewell's Vladimir. The performance bombed, with audience members walking out in large numbers, and the critics did not treat it kindly. In his book Notes on a Cowardly Lion, John Lahr (Bert's son) states that the problems were caused partly by the choices of the director, including the decision to limit Bert's movement on stage; filling the stage with platforms; and a misguided description of the play as a light comedy, along with other difficulties.[6]
Lahr reprised his role in a short-lived Broadway run, co-starring with E. G. Marshall as Vladimir. This time, it was with a new director, Herbert Berghof, who had met with Beckett in Europe and discussed the play. The set was cleared and Bert was allowed more freedom in his performance. Advertisements were taken out urging intellectuals to support the play. It was a success and received enthusiastic ovations from the audience. Bert was praised and though he claimed he did not understand the play, others would disagree and say he understood it a great deal.[6]
Television[edit]
Lahr occasionally appeared on television, including NBC's live version of the Cole Porter musical Let's Face It (1954), the 1964 Hallmark Hall of Fame production of The Fantasticks, and occasional appearances as the mystery guest on What's My Line? (e.g. December 30, 1956).[7] He performed in commercials, including a memorable series for Lay's potato chips during its long-running "Betcha can't eat just one" campaign with Lahr appearing in multiple costumes. He was not afraid to take on the classics in television performances of Androcles and the Lion and the School for Wives (1956). He performed as Moonface Martin in a television version of Anything Goes, with Ethel Merman reprising her role as Reno Sweeney and Frank Sinatra as Billy Crocker. In 1959, he played Mr. O'Malley in an adaptation of Barnaby for General Electric Theater. In 1963, he appeared as Go-Go Garrity in the episode "Is Mr. Martian Coming Back" on NBC's medical drama The Eleventh Hour.
Other work[edit]
Lahr as Skid in the Broadway revival of Burlesque, 1946
Among his numerous Broadway roles, Lahr starred as Skid in the Broadway revival of Burlesque from 1946 to 1948 and played multiple roles, including Queen Victoria, in the original Broadway musical Two on the Aisle from 1951 to 1952. In late 1955 his name was mentioned by Larry Fine as a possible replacement for Shemp Howard, who had died suddenly, to be a part of the Three Stooges. Nothing came of it.[citation needed] In the late 1950s, he supplied the voice of a bloodhound in "Old Whiff," a short cartoon produced by Mike Todd which featured the olfactory Smell-O-Vision process developed for Todd's feature film Scent of Mystery (1960).
In 1964 he won the Tony Award for Best Leading Actor in a Musical for his role in the musical Foxy. At the American Shakespeare Festival he played Bottom in A Midsummer Night's Dream (1960), for which he received the Best Shakespearean Actor of the Year Award.
"Laughter is never too far away from tears," he reflected on his comedy. "You will cry at a pedlar much easier than you would cry at a woman dressed in ermine who had just lost her whole family."[2]
Personal life[edit]
Lahr's first wife, Mercedes Delpino, developed mental health problems that left her hospitalized. This complicated his relationship with his second wife, Mildred Schroeder, as he had legal problems with getting a divorce in New York State. She grew tired of waiting and became involved with another man and married him. Lahr was heartbroken but eventually won her back.[8] Lahr had three children, a son, Herbert, with Delpino, and a son and daughter with Schroeder. His younger son, John is a London-based drama critic and married to the actress and comedian Connie Booth (Fawlty Towers). His daughter Jane is an author and literary editor.
Death[edit]
Lahr was filming The Night They Raided Minsky's when he died on December 4, 1967 at the age of 72. The official cause of death was listed as pneumonia. Lahr had been hospitalized on November 21 for what was reported as a back ailment. In Notes on a Cowardly Lion: The Biography of Bert Lahr, John Lahr wrote: "Bert Lahr died in the early morning of December 4, 1967. Two weeks before, he had returned home at 2 a.m., chilled and feverish, from the damp studio where The Night They Raided Minsky's was being filmed. Ordinarily, a man of his age and reputation would not have had to perform that late into the night, but he had waived that proviso in his contract because of his trust in the producer and his need to work. The newspapers reported the cause of death as pneumonia; but he succumbed to cancer, a disease he feared but never knew he had." Most of Lahr's scenes had already been shot. Norman Lear told the New York Times that "through judicious editing we will be able to shoot the rest of the film so that his wonderful performance will remain intact." The producers used test footage of Lahr, plus an uncredited voice double and a body double, burlesque actor Joey Faye, to complete Lahr's role.[9]
Filmography[edit]
Faint Heart (1929)
Flying High (1931)
Hizzoner (1933)
Mr. Broadway (1933)
Henry the Ache (1934)
No More West (1934)
Gold Bricks (1936)
Boy, Oh Boy (1936)
Whose Baby Are You? (1936)
Off the Horses (1937)
Montague the Magnificent (1937)
Merry Go Round of 1938 (1937)
Love and Hisses (1937)
Josette (1938)
Just Around the Corner (1938)
Zaza (1939)
The Wizard of Oz (1939)
Sing Your Worries Away (1942)
Ship Ahoy (1942)
Meet the People (1944)
Always Leave Them Laughing (1949)
Mister Universe (1951)
Rose Marie (1954)
The Second Greatest Sex (1955)
The Night They Raided Minsky's (1968)
Stage productions[edit]
Lahr as Louis Blore in the Broadway production of DuBarry Was a Lady, 1939
Harry Delmar's Revels (1927)
Hold Everything! (1928)
Flying High (1930)
George White's Music Hall Varieties (1932)
Life Begins at 8:40 (1934)
George White's Scandals of 1936 (1936)
The Show is On (1936)
DuBarry Was a Lady (1939)
Seven Lively Arts (1944)
Burlesque (1946)
Two on the Aisle (1951)
Waiting for Godot (1956)
Hotel Paradiso (1957)
The Girls Against the Boys (1959)
The Beauty Part (1962)
Foxy (1964)
Never Too Late (1965)
The Birds (1966)
References[edit]
Jump up ^ American National Biography: Kurtzman-Lovecraft - John Arthur Garraty, Mark Christopher Carnes, American Council of Learned Societies - Google Books. Books.google.ca. Retrieved September 18, 2012.
^ Jump up to: a b Jacob Appel. St. James Encyclopedia of Popular Culture, 2002. http://findarticles.com/p/articles/mi_g1epc/is_bio/ai_2419200675/pg_1
Jump up ^ The Today Show, Ann Curry onterview with James Comisar - http://www.tvtour.org/today.html
Jump up ^ PBS.org, "Bert Lahr's "Wizard of Oz" Script" (accessed 7 October 2017).
Jump up ^ Youtube.com, "Bert Lahr's "Wizard of Oz" Script | Owner Interview | Detroit", video uploaded by Antiques Roadshow PBS on 18 February 2014 (accessed 7 October 2017)
^ Jump up to: a b Notes on a Cowardly Lion, by John Lahr
Jump up ^ What's My Line? - The Harlem Globetrotters; Bert Lahr; Stubby Kaye (panel) (Dec 30, 1956)
Jump up ^ Notes on a Cowardly Lion by John Lahr.
Jump up ^ John Lahr; Notes on a Cowardly Lion
External links[edit]
Biography portal
Wikimedia Commons has media related to Bert Lahr.
Bert Lahr at the Internet Broadway Database
Bert Lahr on IMDb
Bert Lahr at the TCM Movie Database
Bert Lahr at Find a Grave
Bert Lahr at Virtual History
[hide]
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Tony Award for Best Performance by a Leading Actor in a Musical
1948–1975
Paul Hartman (1948)
Ray Bolger (1949)
Ezio Pinza (1950)
Robert Alda (1951)
Phil Silvers (1952)
Thomas Mitchell (1953)
Alfred Drake (1954)
Walter Slezak (1955)
Ray Walston (1956)
Rex Harrison (1957)
Robert Preston (1958)
Richard Kiley (1959)
Jackie Gleason (1960)
Richard Burton (1961)
Robert Morse (1962)
Zero Mostel (1963)
Bert Lahr (1964)
Zero Mostel (1965)
Richard Kiley (1966)
Robert Preston (1967)
Robert Goulet (1968)
Jerry Orbach (1969)
Cleavon Little (1970)
Hal Linden (1971)
Phil Silvers (1972)
Ben Vereen (1973)
Christopher Plummer (1974)
John Cullum (1975)
1976–2000
George Rose (1976)
Barry Bostwick (1977)
John Cullum (1978)
Len Cariou (1979)
Jim Dale (1980)
Kevin Kline (1981)
Ben Harney (1982)
Tommy Tune (1983)
George Hearn (1984)
No award (1985)
George Rose (1986)
Robert Lindsay (1987)
Michael Crawford (1988)
Jason Alexander (1989)
James Naughton (1990)
Jonathan Pryce (1991)
Gregory Hines (1992)
Brent Carver (1993)
Boyd Gaines (1994)
Matthew Broderick (1995)
Nathan Lane (1996)
James Naughton (1997)
Alan Cumming (1998)
Martin Short (1999)
Brian Stokes Mitchell (2000)
2001–present
Nathan Lane (2001)
John Lithgow (2002)
Harvey Fierstein (2003)
Hugh Jackman (2004)
Norbert Leo Butz (2005)
John Lloyd Young (2006)
David Hyde Pierce (2007)
Paulo Szot (2008)
David Alvarez, Trent Kowalik and Kiril Kulish (2009)
Douglas Hodge (2010)
Norbert Leo Butz (2011)
Steve Kazee (2012)
Billy Porter (2013)
Neil Patrick Harris (2014)
Michael Cerveris (2015)
Leslie Odom Jr. (2016)
Ben Platt (2017)
Authority control
WorldCat Identities
VIAF: 37106579
LCCN: n82213991
ISNI: 0000 0003 6849 5612
GND: 134608119
BNF: cb13941605k (data)
MusicBrainz: de707a59-d914-4553-88e6-f09e1adf5690
IATH: w6b27xt6
Retrieved from "https://en.wikipedia.org/w/index.php?title=Bert_Lahr&oldid=804288987"
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Return on marketing investment
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Marketing
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Return on marketing investment (ROMI) is the contribution to profit attributable to marketing (net of marketing spending), divided by the marketing 'invested' or risked. ROMI is not like the other 'return-on-investment' (ROI) metrics because marketing is not the same kind of investment. Instead of money that is 'tied' up in plants and inventories (often considered capital expenditure or CAPEX), marketing funds are typically 'risked'. Marketing spending is typically expensed in the current period (operational expenditure or OPEX).
The idea of measuring the market's response in terms of sales and profits is not new, but terms such as marketing ROI and ROMI are used more frequently now than in past periods. Usually, marketing spending will be deemed as justified if the ROMI is positive. In a survey of nearly 200 senior marketing managers, nearly half responded that they found the ROMI metric very useful.[1]
The purpose of ROMI is to measure the degree to which spending on marketing contributes to profits.[1] Marketers are under more and more pressure to "show a return" on their activities.
Contents
[hide]
1 History
2 Construction
3 Methodologies
3.1 Short term
3.2 Long term
4 Cautions
5 ROMI across mediums
6 See also
7 References
History[edit]
The relatively young ROMI concept first came to prominence in the 1990s. The phrase "return on marketing investment" became more widespread in the next decade following the publication of two books Return on Marketing Investment by Guy Powell (2002) [2] and Marketing ROI by James Lenskold (2003).[3] In the book "What Sticks: Why Advertising Fails And How To Guarantee Yours Succeeds," Rex Briggs suggested the term "ROMO" for Return-On-Marketing-Objective, to reflect the idea that marketing campaigns may have a range of objectives, where the return is not immediate sales or profits. For example, a marketing campaign may aim to change the perception of a brand.[4]
Construction[edit]
Return on Marketing Investment (ROMI) =
[Incremental Revenue Attributable to Marketing ($) * Contribution Margin (%) - Marketing Spending ($)] /
Marketing Spending ($)
A necessary step in calculating ROMI is the measurement and eventual estimation of the incremental sales attributed to marketing. These incremental sales can be 'total' sales attributable to marketing or 'marginal.' [1]
Methodologies[edit]
There are two forms of the Return on Marketing Investment (ROMI) metric.
Short term[edit]
The first, short-term ROMI, is also used as a simple index measuring the dollars of revenue (or market share, contribution margin or other desired outputs) for every dollar of marketing spent.
For example, if a company spends $100,000 on a direct mail piece and it delivers $500,000 in incremental revenue, then the ROMI factor is 5.0. If the incremental contribution margin for that $500,000 in revenue is 60%, then the margin ROMI (the incremental margin for $100,000 of marketing spent) is $300,000 (= $500,000 x 60%). Of which, the $100,000 spent on direct mail advertising will be subtracted and the difference will be divided by the same $100,000. Every dollar expended in direct mail advertising translates to an additional $2 on the company's bottom line.
The value of the first ROMI is in its simplicity. In most cases a simple determination of revenue per dollar spent for each marketing activity can be sufficient to help make important decisions to improve the entire marketing mix.
The most common Short Term approach to measuring ROMI is by applying Marketing Mix Modeling techniques to separate out the incremental sales effects of marketing investment.
Long term[edit]
In a similar way the second ROMI concept, long-term ROMI can be used to determine other less tangible aspects of marketing effectiveness. For example, ROMI could be used to determine the incremental value of marketing as it pertains to increased brand awareness, consideration or purchase intent. In this way both the longer-term value of marketing activities (incremental brand awareness, etc.) and the shorter-term revenue and profit can be determined. This is a sophisticated metric that balances marketing and business analytics and is used increasingly by many of the world's leading organizations (Hewlett-Packard and Procter & Gamble to name two) to measure the economic (that is, cash-flow derived) benefits created by marketing investments. For many other organizations, this method offers a way to prioritize investments and allocate marketing and other resources on a formalized basis.
Long term ROMI models will often draw on Customer lifetime value models to demonstrate the long term value of incremental customer acquisition or reduced churn rate. Some more sophisticated Marketing Mix Modeling approaches include multi-year long term ROMI by including CLV type analysis.
Long term ROMI models have sometimes used Brand valuation techniques to measure how building a brand with marketing spend can create balance sheet value for brands (or at least for brands that have been transacted, and therefore under accounting rules can have a balance sheet value). The ISO 10668 standard sets out the appropriate process of valuing brands and sets out six key requirements, transparency, validity, reliability, sufficiency, objectivity and financial, behavioural and legal parameters. Brand valuation is distinguished from brand equity by placing a money value on a brand, and in this way a ROMI can be calculated.
Note: No return on marketing investment methodologies have been independently audited by the Marketing Accountability Standards Board (MASB) according to MMAP (Marketing Metric Audit Protocol) .
Cautions[edit]
Direct measures of the short-term variant of ROMI are often criticized as only including the direct impact of marketing activities without including the long-term brand building value of any communication inserted into the market.
Short-term ROMI is best employed as a tool to determine marketing effectiveness to help steer investments from less productive activities to those that are more productive. It is a simple tool to gauge the success of measurable marketing activities against various marketing objectives (e.g., incremental revenue, brand awareness or brand equity). With this knowledge, marketing investments can be redirected away from under-performing activities to better performing marketing media.
Long-term ROMI is often criticized as a "silo-in-the-making"—it is intensively data driven and creates a challenge for firms that are not used to working business analytics into the marketing analytics that typically determine resource allocation decisions. Long-term ROMI, however, is a sophisticated measure used by a number of firms interested in getting to the bottom of value for money challenges often posed by competing brand managers.
However, it is often unclear exactly what it means to 'show a return' on marketing investment. "Certainly, marketing spending is not an 'investment' in the usual sense of the word. There is usually no tangible asset and often not even a predictable (quantifiable) result to show for the spending, but marketers still want to emphasize that their activities contribute to financial health. Some might argue that marketing should be considered an expense and the focus should be on whether it is a necessary expense. Marketers believe that many of their activities generate lasting results and therefore should be considered 'investments' in the future of the business." [1][5]
ROMI across mediums[edit]
The difficulty of measuring ROMI varies across mediums. Results of a recent North American survey show the ROI associated with one-way, traditional media (e.g. television and radio) is more difficult to measure than interactive, web-based digital media such as permission-based email marketing or social media marketing.[6] In 2013, Black Ink introduced Eye On, the first SaaS designed to measure enterprise ROMI across all mediums. [7]
With the rise in Digital Marketing, the opportunity is available for marketers, or even business owners to run rough calculations of what their approximate ROI may be for their campaigns, before they even start investing.
Based from statistical research, and all things being equal, the business owner can calculate their current Digital Marketing ROI via their website and web analytics software to understand their :
Current Traffic
Conversion Rate and
Average Sale.
Add in readily available information on potential traffic from the Google Keyword Tool, and surveyed costs to acquire that traffic, the business owner or marketer can estimate the potential ROI if that traffic is acquired, and even measure it against other marketing methods. [8]
See also[edit]
Demand chain
Marketing
Marketing Strategy
Marketing Mix
Marketing Management
Marketing Mix Modeling
Marketing Plan
Strategic Management
Strategic Planning
Marketing Effectiveness
References[edit]
^ Jump up to: a b c d Farris, Paul W.; Neil T. Bendle; Phillip E. Pfeifer; David J. Reibstein (2010). Marketing Metrics: The Definitive Guide to Measuring Marketing Performance. Upper Saddle River, New Jersey: Pearson Education, Inc. ISBN 0-13-705829-2. The Marketing Accountability Standards Board (MASB) endorses the definitions, purposes, and constructs of classes of measures that appear in Marketing Metrics as part of its ongoing Common Language in Marketing Project.
Jump up ^ Powell, Guy R., Return on Marketing Investment: Demand More From Your Marketing And Sales Investments (2003) RPI Press. ISBN 0-9718598-1-7
Jump up ^ Lenskold, James, Marketing ROI: The Path to Campaign, Customer, and Corporate Profitability (2003) McGraw-Hill ISBN 0-07-141363-4
Jump up ^ 2006 What Sticks, Kaplan ISBN 1-4195-8433-2
Jump up ^ Hawkins, Del I., Roger J. Best, and Charles M. Lillis. (1987). “The Nature and Measurement of Marketing Productivity in Consumer Durables Industries: A Firm Level Analysis,” Journal of the Academy of Marketing Science, 1(4), 1–8.
Jump up ^ Marchionda, Michael. "Technologies for Measuring Return on Marketing Investment (ROMI)". Marketing Automation Nation. Ryerson University. Archived from the original on 29 March 2014. Retrieved 28 March 2014.
Jump up ^ http://blackinkroi.com/benefits/
Jump up ^ http://www.twotreesmarketing.com/digitalmarketingroi/
Schultz, Don E., Measuring Brand Communication ROI (1997) Assn of Natl Advertisers. ISBN 1-56318-053-7
Ambler, Tim., Marketing and the Bottom Line (2004) FT Press. ISBN 0-273-66194-9
Aspatore Books Staff, Improving Marketing ROI: Leading CMOs on Adding Value, Calculating Return on Investments, and Creating a Financial Impact (2006) Aspatore Books. ISBN 1-59622-434-7
Lilien, Gary L., Rangaswamy, Arvind, Marketing Engineering (2004) Trafford Publishing. ISBN 1-4120-2252-5
Briggs, Rex, Stuart, Greg, What Sticks: Why most advertising fails and how to guarantee yours succeeds (2006) Kaplan Publishing ISBN 1-4195-8433-2
Kotler, Philip.; Kevin Lane Keller (2006). Marketing Management, 12th ed.. Pearson Prentice Hall. ISBN 0-13-145757-8
Sexsmith, Joseph R. "A Fresh Start: Improving Marcom Effectiveness" (2006) New Paradigm Learning Corporation
Powell, Guy R., Marketing Calculator: Measure and manage your return on marketing investment (2008) John Wiley and Sons. ISBN 978-0-470-82395-8
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