MARILYN MONROE'S FINAL HOUR

What happens when two experienced psychoanalysts with interest in film analysis decide to speculate about what really happened in the final hours of one of the 20th century's ultimate movie stars? The answer is one of the latest plays on Bulgaria's theatre stage, Marilyn Monroe's Final Hour. Dr Vivian Pramataroff-Hamburger and Prof Dr Andreas Hamburger have applied both their professional experience, imagination and sense for the dramatic to give their idea of what happened to Marilyn Monroe on 4 August 1962, just hours before she was found dead in her bed.

With a figure like Monroe, it is easy to slip into what is both scandalous and salacious: just read how newspapers reported on her death. Yet, the story that Vivian and Andreas Hamburger have told is focused on the hidden Marilyn, exposed in her final session with her personal psychotherapist, the legendary Dr Ralph Greenson.

After years in development, this autunm the Bulgarian public saw for the first time Marilyn Monroe's Final Hour at the National Theatre in Sofia. It was staged by prominent actor Deyan Donkov, who also plays Dr Greenson. Anna Koshko plays Marilyn. The result is mesmerising, visceral, and immersive, a tragic story about an abandoned child "trapped" in the body of the world's sexiest woman and a man incapable of saving her because of his own demons. The play premiered to positive reviews, with performances being sold out months in advance.

When did you get the idea of "Marilyn Monroe's Final Hour"?

Vivian Pramataroff-Hamburger: It was a long time ago, at the beginning of our relationship. We were living in two different cities, about 500 kilometres apart. Every evening we would talk on the phone for about an hour, sharing the details of our day.

One evening, I told Andreas about a book I was reading, a biography of Marilyn Monroe. I had just reached the part about her last psychoanalysis, and I was struck by the fact that her analyst not only visited her at home, but even invited her into his family, where she became close to his wife and children. I shared this with Andreas, still very astonished myself.

Then he asked: 'And who was the psychoanalyst?'

'Dr Greenson,' I replied.

Andreas Hamburger: I was shocked. After all, Dr Greenson was the leading authority on psychoanalytic treatment technique. If anybody knew how not to conduct an analysis, it was Greenson.

VPH: That moment was the turning point for us – we were both deeply intrigued by the question of what really happened between Marilyn and Dr Greenson.

What surprised you most during the research and writing process?

VPH: My feelings were heavier as I read more and more about her life. In the photographs, she shines so brightly, emanating warmth and happiness. And yet, at the same time, she was broken, desperate and profoundly alone.

A young actress, Anna Koshko, plays Marilyn Monroe

AH: And of course, we were curious about how her hidden personality disorder had played out in this unconventional analytic relationship. But what struck me most was when we discovered something about Greenson's infancy. I won't divulge it now, let's keep a little suspense for your readers. But this fact explains the entanglement in this fatal liaison, which, to be clear, was not what people might think. Greenson was perfectly abstinent with regard to the sexual sphere. Unlike most other men in Marilyn's life.

Where do facts end and imagination begin in your play?

AH: Of course, the entire "last session" is fiction – imagined from a handful of well-known facts in her biography. No one can truly say what happened that afternoon, on August 4th.

Marilyn Monroe is the ultimate movie icon – everyone has an opinion of her, yet no one truly knew her. How did you manage to look beyond the icon and reach the person beneath?

VPH: There are countless biographical references – books, memoirs. It seems that every one of her casual lovers felt compelled to write about their nights with her. One even dedicated his book to his parents. What an achievement!

We undertook very extensive research, of course, and watched all of her films again and again – simply to grasp that powerful impression she was able to leave on her audience.

AH: And of course, we are trained psychoanalysts. We know what can happen in the relational field when an unconscious sore spot is touched. It is our profession to look behind the facade.

Deyan Donkov as Dr Greenson

What was it like to analyse someone who died long ago, and whom you never met personally?

VPH: It is, of course, impossible. We never analysed either Marilyn or Dr Greenson. We only tried to imagine what might have happened between them – and why.

AH: The play is not just about these historical figures. We took them as an example through which we could show how human relations can be interwoven to the point of a catastrophic entanglement.

How did you approach Dr Greenson – both as a character and as a real historical figure?

VPH: Actually, we were more interested in him. To me, he is a profoundly tragic figure. Losing a patient in the course of therapy is always a tragedy. But in the case of Marilyn, she was not only his patient. She was America's beloved icon. He must have borne immense accusations and pressure from all sides: from his professional institution, from the press, and, not least, from his own conscience.

And yet, he never said a word. He kept her secrets in silence.

How did the play evolve from your script to its staging at the National Theatre?

VPH: It was a process. Directors such as Kris Sharkov and Diana Dobreva showed great interest in staging the play, but then, due to various circumstances, it did not happen. Finally, it was Deyan Donkov who decided to bring it to the stage. He did a great job.

AH: The young actress Anna Koshko is also excellent in portraying such a complex character.

What's next for "Marilyn Monroe's Final Hour"?

AH: Marilyn is not over. An Italian producer will stage it in Rome with a famous director, and there is strong interest in Paris and Los Angeles.

VH: And we are already working on our next play. We will share only the title, "The Muse."