claire

Fred Claire was an unorthodox choice for general manager, a former sportswriter and public relations man who didn’t play baseball beyond the junior varsity level in high school, and his 1987 promotion to head the Dodgers’ front office was met with skepticism around the game.

A year and a half later, after his shrewd moves helped turn the Dodgers into World Series champions in 1988, Claire was named Major League Baseball’s executive of the year by the Sporting News.

Claire, who spent 30 years in the Dodgers’ front office, died Monday on his 91st birthday. The news was shared on social media by former Dodger broadcaster Ross Porter.

An avid runner and golfer fit and trim enough to pass for a man a decade younger, the silver-haired Claire was diagnosed with squamous cell carcinoma in 2015 when what looked like a harmless spot on his lip turned out to be cancerous.

The growth was surgically removed, but the cancer returned in August 2016, and spread into the left side of his face. Claire underwent radiation and chemotherapy treatments to kill the malignant cells in his body, but the cancer returned again in 2017.

An immunotherapy clinical trial saved his life, according to a story in Pasadenanow.com, but then an infection forced him to undergo even more extensive facial reconstruction surgery at City of Hope in Duarte, replacing his jawbone with a bone from his leg.

Claire was so impressed with his treatment at City of Hope that he teamed with author Tim Madigan in 2021 to publish a book chronicling his career and capturing the hospital’s history as well the stories of patients and doctors. The book, “Extra Innings,” can be purchased at Amazon, with all net proceeds donated to City of Hope.

“The main thing that I liked and appreciated about the book was people buying it because of their interest in baseball,” Claire told the Desert Sun in 2021, “then to discover what a great place [City of Hope] is after reading it.”

Claire was also active in helping fund research — he and his wife, Sheryl, set up a scholarship fund with the USC Keck School of Medicine for research in head and neck cancer.

Claire was born Oct. 5, 1935, in Jamestown, Ohio. His parents moved the family — Claire had a brother and a sister — to Torrance when Claire was a teenager. After graduating from Torrance High, Claire earned a degree in journalism from San José State in 1957 before taking his first newspaper job.

“I graduated on a Sunday afternoon,” Claire told The Times in 1997, “and by Monday morning, I had a job at the Whittier Daily News.”

For 30 years, Dodger Stadium was Fred Claire’s home. “Honestly, in my heart and soul, it was a thrill and honor to have the opportunity to walk into Dodger Stadium every day and go to work,” Claire told the Times in 2017.

(Jack Harris / Los Angeles Times)

Claire spent 11 years as a sportswriter and was covering the Dodgers for the Long Beach Press-Telegram in the spring of 1969 when a position opened in the team’s public relations department.

Claire, who always longed to be involved in baseball, expressed interest in the job and was hired as a public relations assistant, remaining in the position until 1975, when he was promoted to vice president of public relations.

He was instrumental in creating the branding that came to be known as “Dodger Blue” and was directing the team’s marketing efforts when the Dodgers passed the 3-million mark in attendance for the first time. He also hired Ross Porter, a Dodgers broadcaster from 1977 to 2004.

In April 1987, then-Dodgers general manager Al Campanis was fired after making controversial and what many said were racist remarks about Black Americans on “Nightline,” during which he told the show’s host, Ted Koppel, that Black people may lack “some of the necessities” to be the field manager or GM of a major league baseball team.

Claire was then-Dodgers President Peter O’Malley’s surprise choice to replace Campanis, and his hiring raised the eyebrows of his new peers, who saw Claire as an outsider with no background as a player, coach, manager or scout.

“I knew some people might say, what does this guy know about baseball, he covered it from behind a typewriter?” O’Malley said in 2017. “But I knew Fred could do it. And he did it. He deserves a lot of credit for stepping in quickly, without advance notice, and doing a great job.”

The Dodgers suffered their second straight losing season in 1987, but Claire made several off-season moves — acquiring outfielders Kirk Gibson and Mike Davis, shortstop Alfredo Griffin and pitchers Jay Howell and Jesse Orosco — that fortified the club.

The Dodgers, led by National League Cy Young Award-winning pitcher Orel Hershiser and most valuable player Gibson, won the National League West in 1988 and upset the 100-win New York Mets in the NL championship series.

The gimpy Gibson hit his memorable pinch-hit, walk-off homer off Oakland closer Dennis Eckersley in Game 1 of the World Series to push the Dodgers toward their fifth championship since moving from Brooklyn to Los Angeles in 1958.

Kirk Gibson reacts to his game-winning two-run homer in Game 1 of the 1988 World Series.

(John Swart / Associated Press)

Claire dealt a smallish and seemingly fragile pitcher named Pedro Martínez to Montreal for second baseman Delino DeShields in what turned out to be one of the game’s most-lopsided trades. DeShields hit .241 in three years in Los Angeles, while Martinez went on to have a dominant 17-year career that earned him a 2015 Hall of Fame induction.

But during Claire’s 11-year tenure as GM, the Dodgers won a World Series, two division titles, a wild-card berth and a first-place finish in the strike-shortened 1994 season.

Claire also changed the culture in the front office, hiring an analytics expert, holding regular conference calls with coaches and scouts and canvassing the clubhouse to talk with players about everything from their families to their on-field performance.

“Fred gave us that first edge of being progressive and aggressive,” Hershiser told the Times in 2017. Added former Dodgers utility man Mickey Hatcher: “Fred Claire was amazing. For a guy who was suddenly put into the limelight, he asked all the right questions, listened to everyone and believed in all of us.”

Claire was fired along with then-Manager Bill Russell on June 21, 1998, five weeks after executives from Fox News Corp., which purchased the Dodgers earlier that year, engineered a blockbuster trade — deflating to many fans — of All-Star catcher Mike Piazza to the Florida Marlins without Claire’s involvement.

Claire, a man of “integrity and dignity,” as former Times baseball columnist Ross Newhan wrote, walked away with no harsh words or public regrets.

“Honestly, in my heart and soul, it was a thrill and honor to have the opportunity to walk into Dodger Stadium every day and go to work,” Claire told the Times in 2017. “This is truly enough for me.”

After his departure from the Dodgers, Claire worked as a columnist and analyst for MLB.com, a radio show host, an instructor at USC and a consultant to companies involved with sports. He co-authored an autobiography, released in 2004, titled “Fred Claire: My 30 Years in Dodger Blue.”

His response during an interview with Business Renaissance Quarterly in 2007 shed some light on Claire’s philosophy. The question: What do you want to be remembered for?

“I was once in the presence of the late Dodgers owner Walter O’Malley when he was asked this question by a reporter from United Press International,” Claire said. “Mr. O’Malley spun his ever-present cigar, paused for just a second and replied, ‘I want to be remembered for planting a tree.’

“Walter O’Malley’s answer, in my mind, overshadowed the great question. He wanted to be remembered for helping things grow, and in my mind, that meant his family, his friendships, the good causes he was involved in.

“I have seldom planted a tree, but I would proudly borrow Mr. O’Malley’s answer to this question.”

Claire is survived by his wife, Sheryl, and their three children, Jen, Jeff and Kim.

What do you do when a creative team mounts an acclaimed production of a beloved play, breaking box office records as one of the most successful shows in your theater’s more than 100-year history? For the Pasadena Playhouse, the answer was clear. You get them back on the boards as soon as possible — say, six months later.

Which is how it came to pass that more than a dozen creatives behind Peter Shaffer’s “Amadeus,” including director Darko Tresnjak and actor Jefferson Mays, have returned to the historic theater for a new production of Swiss dramatist Fredrich Dürrenmatt’s revenge tragicomedy “The Visit,” running through Oct. 4.

“It feels like we just cleaned out our dressing rooms and we’re moving back in,” notes Mays.

The cast and crew of the adaptation of Friedrich Durrenmatt’s “The Visit,” at the Pasadena Playhouse. Many have returned to the venue after helping stage the hit production of “Amadeus” there in April.

(Carlin Stiehl / For The Times)

“Amadeus,” which ended its run in April, was a critical and box office hit, so popular that after tickets were gone, additional shows were added — which also quickly sold out. Danny Feldman, producing artistic director of the Pasadena Playhouse, puts it simply: “Theater is a team sport, and when you’ve got a winning team, you want to keep playing together.”

It was during tech for “Amadeus” that Tresnjak told Feldman of his love for “The Visit,” which he first directed in college. “I quite literally found my calling in life because of it,” says Tresnjak.

Feldman was also a fan — of both the play and working with Tresnjak — and quickly scheduled the show for the new season.

“Our job is to give artists a home where they can stretch and take risks,” says Feldman. “Audiences got to experience this artistic synchronicity during ‘Amadeus,’ and we’re so excited they get to deepen their relationship with these artists as they watch ‘The Visit.’ ”

The respect is mutual. Mays, who has won almost every major theater award in existence including a Tony and an Obie, says the Playhouse is one of the best he’s ever worked at. “It’s certainly the most healthy,” he notes. “They are unabashed theater fans and lovely people.”

Only days earlier, Mays had given what could be perceived as a backhanded compliment. “I said, ‘You don’t run a theater at all, you run a high school drama club,’ ” Mays recalls. “I meant that in the way it’s infused with joy and a sense of play and support and that we can do anything with impunity and embarrass ourselves and they will be there to pick us up and dust us off. It’s just a gorgeous feeling.”

While Mays brought Tresnjak to “Amadeus,” this time the director asked the actor to join “The Visit.” Mays admits he wasn’t very familiar with the text. Tresnjak’s production, which utilizes the 1956 adaptation by Maurice Valency, centers on the small town of Güllen, which is facing financial ruin.

Actors Jefferson Mays and Melinda Page Hamilton star in an adaptation of Friedrich Durrenmatt’s “The Visit,”at Pasadena Playhouse.

(Carlin Stiehl / For The Times)

The townspeople are preparing to welcome back former resident and potential patron Claire Zachanassian (Melinda Page Hamilton), who has become the richest woman in the world since leaving. It turns out, Claire is more than happy to help. But there is one condition: Someone must kill her former lover Anton Shill (Mays), who impregnated and abandoned Claire in their youth.

Audiences expecting an easy villain and a clear case of right and wrong will be surprised as the narrative unfolds with an examination of community, complicity and corruption within institutions of power.

Tresnjak says “The Visit” can’t be described as one thing. “I don’t want to call it a feminist revenge fantasy because that belittles it,” he says. “It’s also an inversion of a medieval mystery play where the Earth Mother is not benevolent. It’s also a fun, nifty stage thriller.”

And as relevant as the day it was written, Tresnjak adds. Dürrenmatt penned “The Visit” as a critique of Switzerland’s neutrality after World War II, which he saw as an abandonment of ethics driven by capitalism.

Tresnjak says he recently directed a scene where one townsperson urges the others to hold out against Claire’s proposition of murder, on the same day news broke that the U.S. Department of Education had pressured the American Bar Assn. to end Diversity, Equity and Inclusion efforts. “It made me think how in some ways, the citizens of Güllen are better off than we are,” Tresnjak says

“It really is more timely than ever,” agrees Mays, who wonders if that might keep audiences away. In 2007, he starred in the World War I drama “Journey’s End,” which went on to win a Tony Award for best revival. “It was a beautiful play, but nobody came,” he says. “We were at war with Afghanistan and Iraq, and people had enough of war. Sometimes you hold the mirror up to the world, and it reflects it too well.”

Mays jokes he said yes because “it was only fair after I hornswoggled Darko into ‘Amadeus.’ ” The actor is known not just for his versatility but for displaying it in rapid succession. He won the 2004 Tony Award for playing more than 40 characters in “I Am My Own Wife,” and his 2022 adaptation of “A Christmas Carol” saw him take on more than 50 characters.

Mays admits the role of Anton is “a strangely passive and reactive role that I’m still not sure I’m entirely right for,” even going so far as to say, “I can name 10 actor friends who would be better.” But he was bowled over by the director’s passion. “It’s so thrilling when someone approaches you with something they are burning about, and I couldn’t say no.”

Indeed, Anton has a lot to react to; Hamilton’s Claire is the proactive role, forcing the action at every turn. Hamilton is known to TV audiences for her roles on “Mad Men” and “Desperate Housewives,” but she previously worked with Tresjnak on “Bell, Book and Candle” and “Rear Window” and is a big admirer of his work.

Melinda Page Hamilton plays Claire in an adaptation of Friedrich Durrenmatt’s “The Visit.” She is one of a handful of cast and crew that didn’t appear in “Amadeus” this spring.

(Carlin Stiehl / For The Times)

“I also tried to see ‘Amadeus,’ but I couldn’t get tickets,” she says with a laugh. She was thrilled to get a call from Tresnjak, who felt it was important to cast L.A. actors and enjoys working with previous collaborators — to the point where he didn’t hold auditions.

“I think traditionally Claire has been portrayed as crazy and evil, and that didn’t interest Darko,” Hamilton says. “I also think post-Epstein, post-#MeToo, post sheer volume of terrible behavior that men get away with, it has a different resonance today.”

Tresnjak says the role of Claire has long been special to him. “This is a woman who owns everything she is, who never tells a single lie or tries to obscure what she wants,” he says. “She is simply making society look at itself.”

Tresnjak’s upbringing was largely influenced by his mother, Maria, an immigrant from Yugoslavia (now Serbia) who served as a military skydiver in World War II. “My mother was a very strong woman, a woman who fought for what she believed in,” he says. “I have no interest in doing something like ‘Streetcar,’ where a woman is being driven out of her mind. I enjoy characters with agency.”

Director Darko Tresnjak has long wanted to stage a production of Friedrich Durrenmatt’s “The Visit,” a play dear to his heart for many years.

(Carlin Stiehl / For The Times)

And he’s thrilled to have found a home that supports his vision, praising Feldman and associate artistic director Jenny Slattery, who was his student when he taught at UC San Diego. “They’re not afraid of big swings and of taking chances, and not only do people seem to appreciate that, they’re coming to see it,” he says.

With two productions in a year, is it too early to hope that this team has found a recurring home at the Pasadena Playhouse? Tresnjak demures, “I wouldn’t want to put that pressure on Danny and Jenny,” but admits he would be thrilled to return. “Of course, I’m very happy here.”

Mays is equally game. “It’s such a rare and wonderful thing in this country to have a sense of company,” he says. “To have so many actors and designers back from ‘Amadeus’ and to return to a place of such support; it feels like something that rarely exists anymore.”