Mae West: Sister Honky Tonk
Prison only increased Mae's popularity. She wrote another play as Jane Mast, and this time she didn't write a role for herself. The Drag was about homosexuals, a taboo topic at the time. Her lawyer, Jim Timony, convinced her not to open it in New York. His advice undoubtedly helped her to avoid another raid. He would continue to be her devoted advisor throughout her career.
Mae continued to write and perform in her own plays. With titles such as The Wicked Age, Pleasure Man, and The Constant Sinner, it is no surprise that all were plagued by controversy. Audiences were not always interested either; if indecency didn't shut down a play, slow ticket sales would.
Mae eventually found the hit of her stage career in 1928 when she wrote and starred in Diamond Lil. Lil was the racy, easy-tempered lady in fancy gowns and diamonds that she would play for the rest of her career. The play enjoyed enduring popularity. She would revive it successfully many times throughout her career.
At this point, Hollywood noticed Mae and her well-publicized endeavors. She was recruited to appear in the new talkie films, where strong performers were desperately needed. Already well into her thirties, Mae moved to California to become a movie star.
At first, Mae didn't like her bit part in the George Raft vehicle Night After Night. She only agreed to appear when the producers gave her permission to rewrite her lines. Mae molded the part to her best qualities and she stole the film from Raft. When she sauntered into her first scene, a coat check girl exclaimed, "goodness, what lovely diamonds" Mae replied, "goodness had nothing to do with it dearie". Once again, she had created a sensation.
Coming up in part two: Mae saves a movie studio, shocks America with a ventriloquist's dummy, and cavorts in Vegas with muscle men.
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