Julian Brightman: 1995 Broadway Revival of Hello, Dolly!
It's great when people think of you for a
role. So much of the business is who you know and it breeds a lot of work. Julian
Brightman got a couple of WEST SIDE STORIES from Dolly connections, a
show every performer should get to do in their career . People often ask about
working with Carol at auditions which is a good ice breaker and he even got an
agent from Dolly, too.
Never underestimate the power of what you think is a
small role!
Julian had done Peter Pan with Bill
Bateman and he hired him for HELLO, DOLLY! with Madeline Kahn. Lee Roy
directed with Bill as dance captain on Carol's revival so he was very fortunate
to be invited to that cast. Connections, connections, connections!
Julian Brightman’s first “Dolly” was with Madeline Kahn,
a three week summer tour in '93 that played Atlanta FOX Theater, the MUNY and
the Starlight theaters. The MUNY and Starlight were huge outdoor arenas so it
was a challenge to play to the back row and exciting to play to all those
people. One of the two was especially huge, the stage flanked by two giant oak
trees. To fill the stage they added some local folk to flesh out the parade
scene, including some kids under a Chinese dragon, a marching band, etc. For
Dolly's entrance in the opening she usually rides in on a small cart pulled by
two poor actors in a horse suit. For Ms Kahn's production she arrived on a huge
double decker bus/carriage pulled by two even larger Clydesdales! It was really
impressive according to Julian. At one point one of them relieved himself in
the wing and Ms. Kahn's reaction was a priceless, prim, "oh my!" as
only she could say it. She was a very warm person, quiet and sweet. He
remembers rehearsing the Dolly number on one of those huge out door stages, and
during a pause with the band, Ms Kahn gave them her "Are you in show
business...? Then get your feet off the stage!" ( from Blazing Saddles) to
the orchestra below the passerelle. Needless to say they all cracked up. She
threw everyone a closing night party which was so kind.
She wanted to see everyone
dance but was bit of a wall flower herself. “When she passed away, we really
lost a brilliant comedienne. Her "bone structure" scene in Paper Moon
is one I like to watch if I need to cackle. Be sure to talk to Bill Bateman
about her, I know he was very fond of her.
Jay Garner, Carol, Florence Lacy |
He would go on to do on to do the Carol Channing '94 tour through
January of ’96 playing Stanley. “Lose some weight, Stanley?”
In Carol's revival, they
opened in Colorado. The audience response when she came down the steps was
something he doesn't think anyone could have anticipated. From then on, they
knew they were in for an exciting run. When they hit Broadway and she came down
opening night, it was just one of those truly happy moments, being a part of a
slice of theatre history with lots of happy tears.
It is really difficult for
Julian to think of someone on stage now equally as unique
as Channing. He knows people didn't know what to do with her when she
started in the business, and he wonders if today she might seem just too
odd to be put in a show. There is a sense now that casting is about packaging a
group of actors , that there is a feeling of some repetitiveness of type and a
feeling of pedestrian casting. Granted, It is harder now to take a risk
on a new unusual actor in lead roles especially on Broadway. We do have our
current "little monsters"… like Bernadette, Pattie, Nathan Lane,
Liza. But are we still creating these wonderful oddities by taking chances on
casting? On the flip side, how many times does a Channing walk in the
door?
His experience with Carol and Dolly was really a
result of the Kahn tour. Bill Bateman and Lee Roy Reams brought him into the
production without auditioning, so that was really an honor. He thought Carol
was a bit wary of him at first, giving him the eye, as she should cause she is
no fool. The blonde jazz baby thing belies a wicked sense of humor and
intelligence. He thinks he gained her trust and she was ALWAYS kind to him.
They had a month of rehearsal
and they ran for about a year and a half. The tour continued after Broadway but
Julian got cast as The Boy in The
Fantasticks at the Fords Theater in DC with Joe Sears and Jaston
Williams of GREATER TUNA so he did
not continue with the tour.
What really impressed him about their production was
Carol and what she brought to the character later in her career. He had heard
so many people say, “oh she's too old,blahblahblah” - but he thought that
because of her age it made the whole story that more poignant. She is a widow
looking to take her final chance and get back into life, to not let the
"parade pass by'. Dolly is no shrinking violet, but with her
husband's death you could see how she was now experiencing her own mortality.
And, as people did not live as long then, he thinks this was a real issue for lots of people in that period. Carol and Dolly
getting out there again was truly inspiring and the audiences realized it. He
thinks anyones doubts about her abilities were completely blown away. It was a
real melding of actor and character.
This production also
recreated the original sets, costumes and choreography so seeing all that was
petty cool. Julian thinks it will be really difficult to do a new production of
the show, so many parts of the original are really iconic. They will need a
powerful comedienne to make it her own and a director/choreographer with a
really specific vision to see it through. He enjoyed the film version (don't
tell Carol) but he thinks for film Gene Kelly had to open things up and make it
include all of NYC as a set. The parade really had to be a full on
parade.
Lee Roy Reams as director
Lee Roy is a hoot, but was also a no bullshit kind of guy in rehearsal.
We had a whole month of rehearsal, so we were really ready to go, but he would
let us know if things were lagging. Lee Roy is old school - a gypsy from
way back, so there is that work ethic. Lee Roy can be really bawdy and has a
million great show biz stories. In some city I was riding in the car with Lee Roy
and Bill Bateman on the way to the show. Lee Roy had been telling the usual
bawdy stories and jokes and we were cackling. He made some remark about how
sweet and innocent I looked and that he "couldn't imagine me having
sex!" From the back seat I dryly exclaimed, "Well, think again."
Lee Roy nearly drove off the road as he and Bill collapsed with laughter. I was
very proud to have broken up the “Sophie Tucker” of gypsies. It was great to
see Lee Roy in THE PRODUCERS. I
could tell he was really enjoying camping it
up as Roger DeBris/Hitler. I also saw him do the lead in LA CAGE AUX FOLLES, and he brought his wonderful Sophie Tucker
quips and attitude to Zsa Zsa's interaction with the audience. I never saw Lee Roy
"phone it in" on stage, rehearsal or in life. He was a great energy
behind our revival of DOLLY.
A lot of my approach to Stanley was just being thrilled
to be in the show! It was my second big tour/Broadway show and being with Carol
was a real honor. The cast were all fun and a friendly bunch. It was a show
when things really clicked. The show itself is a celebration, and audiences
were always very responsive so it was not hard to be energetic on stage.
Stanley is a fun part cause he has featured moments with Dolly, "lose some
weight, Stanley?" Also doing the original choreography and looking forward
to the DOLLY number each night was great, especially having gotten through the
"Waiters' Gallop" which
precedes it!
Closing in NYC was a calm and happy event for Julian. He already knew he was going to DC so he had something to look forward to.
He has seen everyone in the cast at least once since
closing and they had one reunion a few years ago. Sadly Donald Ives, Jay Garner
and more recently Elizabeth Green have all passed on. The faces of people
you work with eight shows a week for almost two years are indelible and he will
always remember them in their costumes and moments in the show. Don Ives as
Carol's handsome escort in "Dancing" and during the Dolly number, Jay
Garner and his dry delivery (Julian’s favorite being him walking past you as he
came off stage saying "just keep moving around out there, that way they
can't hit you") and Elizabeth Green as Mrs Rose (occasionally carting an
obscene object or two in her cart as she crossed the stage in the dimly-lit moment.)
The one thing that Julian learned from his involvement with Carol Channing and Dolly that moved him to the next level in his career was definitely Carol's work ethic. She knew they were there to see her, and not going on was really not a choice she would make. Also Carol's sense of comedic timing. Comedy is so much more technical than the audience might think. Her eating scene in The Harmonia Gardens was always a work in progress, she was always finding the right speed, the right amount of potato puffs, the right moment for the salt over the shoulder. Check out Chaplin's "dance of the rolls" and you will see how Carol is in the same tradition of getting these moments right to create a comedic "dance". Specific moments, takes, line delivery are essential for Dolly's humor.
Worst experience (if any with the show)
Meeting weird people who stalk
people in the show. Being on stage can cast some bizarre spells on audience
members, and flattery can also be seductive to those on stage.
I understand the
"glamour" of it seems enticing and have definitely been star struck
myself, but it is misleading and the person on stage is not who you may
have a crush on from the footlights. Of course most folks are polite,
harmless fans who are genuinely excited to see shows and thrilled to meet
cast members. But you have to be careful who you are friendly to, and know when
to draw the line. The moment you feel uncomfortable I say trust your instincts
and shut it down. Suffice it to say, I have learned my lesson on this and I think
it might be wise for it to be acknowledged in theatre programs for young
actors.
Julian’s mom said to him
recently when he was down about a lull in his career that he should never
forget how fortunate he has been and especially to remember the experience with
DOLLY. Channing is theatre royalty and history and the odds of being in
something like that are miniscule. He is so proud also that their DOLLY number
was filmed by the Smithsonian for their archives and appeared in a special
exhibit there about musical theatre. Now that IS something.
Jerry was so thrilled for us
all and was very hospitable to us when we played LA. He had us to lunch and
swimming at his place (he is an accomplished interior designer) and was very
generous at our opening.
Of course he is one of the
great composers of the golden age of theatre and is still such an enthusiastic
member of the community.
He knows how to write a
beautiful melody and the score of DOLLY is entirely hummable.
Julian had the score to Dolly
throughout his childhood, and he remembers seeing his high school's production.
Hearing the full orchestra play it at their first onstage dress rehearsal was
something he will always remember too.
Thoughts on Gower Champion
Of course we didn't get to
meet him, but Carol and Lee Roy were our connection to him and they never
fudged on what he would have wanted.
Marge Champion did see the
show a few times and I know she passed her thoughts on to Lee Roy and Carol. As
for the beauty of Champion's choreography, the show has a lovely cinematic and
constant flow of movement and I believe there is only one scene change behind a
curtain.
The choreography is also very
idiosyncratic and specific. It's not just kick step chorus line in the Dolly
number, there is never a repeated movement; it is all finely detailed and a
smooth economy of movement that really builds to a wonderful finale.
Who would they like to see
play Dolly? He would like to see Bette Midler play Dolly Levi. She has a great
sense of physical comedy, the comedic and sympathetic acting chops to handle it
and make it her own. It’s a very natural fit.
Thank you to Julian Brightman for the gifts you have given to the world and continue to give!
Sometimes Broadway dreams do come true. Fresh from the obscurity of living in the small farming community of Grove, Oklahoma, Ronald Young, at 22, is catapulted onto New York City's "Great White Way"... BROADWAY. After arriving in Manhattan on a Friday, he auditions for his first Broadway show on Monday. Bingo! After three call back auditions he snags his first dancing role in the soon to be mega hit "HELLO, DOLLY!" directed and choreographed by Gower Champion and starring Carol Channing. Armed with three music degrees and lots of enthusiasm he embarks on his career on Broadway.
His resume includes working with some of the legends of the theater: Ethel Merman, Shirley Booth, Angela Lansbury, Tommy Tune, Bernadette Peters, Joel Gray, Chita Rivera, Sandy Duncan, Georgia Engel and many others. He appeared in a host of shows: "MAME," "GEORGE M!" "THE BOY FRIEND," "MY ONE AND ONLY," "A CHORUS LINE" and the films "HAIR" and "ANNIE."
"THE ONLY BOY WHO DANCED" is a series of compelling, riveting stories about Ronald Young's personal quest to make it on Broadway. If you or a friend have hidden aspirations to make it on the New York theatrical scene, you will enjoy his tips and suggestions on how to break through this tough barrier.
Richard Skipper and Ronald Young are sitting down for an exploration of Ronald's incredible career in show business. Email Richard at Richard@RichardSkipper.com for more info
Please do what YOU can to be more aware that words and actions DO HURT...but they can also heal and help!
TILL TOMORROW...HERE'S TO AN ARTS FILLED DAY
This Blog is dedicated to ALL THE DOLLYS and ANYONE who has EVER had a connection with ANY of them on ANY Level!
Thank you to Julian Brightman for the gifts you have given to the world and continue to give!
With grateful XOXOXs ,
Check out my site celebrating my forthcoming book on Hello, Dolly!
I want this to be a definitive account of Hello, Dolly! If any of you reading this have appeared in any production of Dolly, I'm interested in speaking with you!
Do you have any pics? If you have anything to add or share, please contact me at Richard@RichardSkipper.com.
NO COPYRIGHT INFRINGEMENT INTENDED. FOR ENTERTAINMENT PURPOSES ONLY!
I want this to be a definitive account of Hello, Dolly! If any of you reading this have appeared in any production of Dolly, I'm interested in speaking with you!
Do you have any pics? If you have anything to add or share, please contact me at Richard@RichardSkipper.com.
NO COPYRIGHT INFRINGEMENT INTENDED. FOR ENTERTAINMENT PURPOSES ONLY!
June 29
7-9pm
7-9pm
BARNES AND NOBLE UPPER EAST SIDE, 150 East 86th Street
RICHARD SKIPPER CELEBRATES Ronald Young
In his new memoir, "The Only Boy Who Danced: A Journey
from Oklahoma to Broadway and Beyond", Ronald Young details an eventful
life in the theater. The Only Boy Who Danced: A Journey from Oklahoma to Broadway
and Beyond.
Sometimes Broadway dreams do come true. Fresh from the obscurity of living in the small farming community of Grove, Oklahoma, Ronald Young, at 22, is catapulted onto New York City's "Great White Way"... BROADWAY. After arriving in Manhattan on a Friday, he auditions for his first Broadway show on Monday. Bingo! After three call back auditions he snags his first dancing role in the soon to be mega hit "HELLO, DOLLY!" directed and choreographed by Gower Champion and starring Carol Channing. Armed with three music degrees and lots of enthusiasm he embarks on his career on Broadway.
His resume includes working with some of the legends of the theater: Ethel Merman, Shirley Booth, Angela Lansbury, Tommy Tune, Bernadette Peters, Joel Gray, Chita Rivera, Sandy Duncan, Georgia Engel and many others. He appeared in a host of shows: "MAME," "GEORGE M!" "THE BOY FRIEND," "MY ONE AND ONLY," "A CHORUS LINE" and the films "HAIR" and "ANNIE."
"THE ONLY BOY WHO DANCED" is a series of compelling, riveting stories about Ronald Young's personal quest to make it on Broadway. If you or a friend have hidden aspirations to make it on the New York theatrical scene, you will enjoy his tips and suggestions on how to break through this tough barrier.
Richard Skipper and Ronald Young are sitting down for an exploration of Ronald's incredible career in show business. Email Richard at Richard@RichardSkipper.com for more info
Please do what YOU can to be more aware that words and actions DO HURT...but they can also heal and help!
My blog tomorrow will be..YOU TELL ME! I'M OPEN TO SUGGESTIONS!!
Thank you, to all the mentioned in this blog!
Thank you, to all the mentioned in this blog!
Here's to an INCREDIBLE tomorrow for ALL...with NO challenges!
Please contribute to the DR. CAROL CHANNING and HARRY KULLIJIAN FOUNDATION FOR THE ARTS
TILL TOMORROW...HERE'S TO AN ARTS FILLED DAY
Richard Skipper, Richard@RichardSkipper.com
This Blog is dedicated to ALL THE DOLLYS and ANYONE who has EVER had a connection with ANY of them on ANY Level!
Another great read and it reminded me of my backstage visit with Lee Roy Reams when he was in SF doing The Producers. He gave me and my friend a tour of the stage and somewhere is a picture of me holding up the "Chrysler Building" dress that must have weighed at least 50 pounds.
ReplyDeleteCheers,
Stephan