A Conversation with Brad Kenney and Jayme McDaniel (Ogunquit Playhouse) on Hello, Dolly!
John Lane's Ogunquit Playhouse |
The Ogunquit Playhouse is one of Maine’s cultural jewels and
a cornerstone of America’s theatrical heritage. It has earned the title of
“America’s Foremost Summer Theatre” and is one of the last of the great Summer
Theatres from the Straw Hat Circuit still producing traditional live musical
theatre.
Brad Kenney is in the midst of his seventh season as the
artistic director of this historic theater. This also happens to be the
theater’s 80th season. I sat down to discuss the Playhouse’s history with
Hello, Dolly! with Brad Kenney and associate artistic director, Jayme McDaniel, who has his own
history with Dolly! At the Playhouse, there have been three productions of
Dolly! over the years. Two of those starred Anne Russell. She first of all did
it for John Lane, previous owner of the Ogunquit Playhouse in 1972. He brought
her back in 1985 to do it once again.
Brad brought in comedy legend Sally Struthers to do it in 2006, his
first year at the theater. It was the ONE show the Playhouse wanted to do when
he arrived. Sally had a history with the theatre having appeared there two
previous seasons.
When Brad arrived at the Playhouse, it was in a bit of a
transition. It was once under the leadership of John Lane. John became General
Manager and eventually took ownership of
the Ogunquit Playhouse bringing in business partner Henry Weller to
oversee the operations in 1950.
Artistic Director Brad Kenney |
Through their dedicated direction, professional
integrity and impeccable taste, the Ogunquit Playhouse legacy of excellence
continued through the twentieth century.
John Lane retired in 1997 after transferring ownership to the
not-for-profit foundation that oversees the Ogunquit Playhouse today. John Lane
passed away in 2000.
Sally Struthers had been introduced to the Playhouse about a
year or so before that. So when Brad
arrived, he was asked if he would consider doing Hello, Dolly! Starring Sally
Struthers. John Sheridan, formerly John
Beecher when he played Barnaby Tucker in Mary Martin’s international company,
directed.
Previous to Brad, the Playhouse was a
summer stock house…the shows were part of a stock tour. It had shared productions with other
theaters. Depending upon the year, the
shows would range from six to seven per season. The Playhouse would only
produce two of those. Usually, it would be one musical.
With Brad at the helm,
the theater transitioned from a stock theater to a regional theater. The shows
are now produced individually at the Playhouse. The Board of Directors wanted a
season of all musicals. Since that was Brad’s background, that was fine by him.
Dolly was a perfect fit with John Sheridan as director. He
matched the designs that Brad had on what he desired the production to look and
feel like. It would be the third
production of Brad’s first year. That
production had long term effects that are still reflected on their stage seven
years later.
Sally Struthers |
Brad has great affection for Dolly and Jerry Herman’s
magnificent score. It was already an
early highlight for Brad at the Playhouse. He feels that the show is perfectly
constructed. He considers it a valentine to musical theater. It is a wonderful
story with excellent themes about empowerment and moving on on different levels
for different age groups. It’s about taking charge of your life. He considers
the score one of Jerry Herman’s best.
With the Playhouse green lighting this production, Brad wanted to
revisit Gower’s original choreography. He also wanted to acquire Oliver Smith’s
gorgeous designs and Freddy Wittop’s costumes. They were really fortunate to be
able to do that. They were able to even do some restoration work on some of
those costumes and flats. Brad considers that production one of the benchmarks
in his career and in the history of the Playhouse.
What did Sally bring to the role? Brad will put it in Carol
Channing’s words. In 2007, Carol and her now late husband, Harry Kullijian,
were in the vicinity of the Playhouse. She came by the theater. She had heard
about the production and asked Brad who played Dolly. When he said Sally
Struthers, she clapped her hands together and said, “ Oh, thank God. She’s a
funny person.” Brad says it was great to
hear her immediate approval and sheer joy in hearing that it had been Sally
Struthers. She was glad that a comedienne was playing the road.
I asked Brad if he thinks Hello, Dolly! would succeed in the
twenty-first show if it was a brand new show without its history. He responds
immediately, “Certainly.” The story is timeless. The music is wonderful. Brad
loves Broadway revivals…especially musicals. He also loves the retelling of
them when they become contemporary. He also has a bit of a reaction to my
question. He is in his late forties as of this writing. He thinks the original
production is really wonderful AS IS.
Also, as of this writing, their current production is South
Pacific. He has such respect for the recent Lincoln Center revival. The
Ogunquit Playhouse is the first theater to re-assemble that. This is the
Bartlett Sher production that is on their stage right now. Brad says it is
glorious to do that production. Again, he enjoys revivals and enjoys updating
them. The King and I revival that the Dodgers did in 1996 was superb.
But getting back to the original Dolly, the wardrobe design,
how everything was handled in an olio fashion. Again, it’s a valentine, a box
of chocolates, or at the very least, chocolate covered peanuts un-shelled!
It
doesn’t need to be redesigned. Brad can’t wait to do it again with the original
designs.
Alhambra Theater Production |
Brad also had the opportunity in his earlier career to play
Cornelius Hackl. He thinks it was in the eighties. He tells me that he sat in
the Lunt-Fontaine in 1995 and had a full on emotional reaction to Put On Your
Sunday Clothes. He had to pull himself together. There he sat sobbing at its
brilliance. To be able to see Carol on stage and then Sunday Clothes, all of
the pieces were falling in place. He doesn’t know why he is a fan of this so
much. He does feel that it is one of the greatest moments from one of the
greatest decades in American musical theater history. To see it in 1995
recreated so faithfully in musical Technicolor fashion. THAT’S what Brad wants
to re-create yet again.
Something important happened in Brad’s journey with Sally
Struthers. When he was sitting in a rehearsal studio watching his third show as
artistic director of the Playhouse, watching the show in its raw form with no
costumes and/or props, just the actors in their theater barn colony, in the
rehearsal space at the Ogunquit theater campus, he sat in awe of Sally
Struthers who he remembered for her television work, most notably Gloria Stivic in All in The
Family.
He had no history with her
personally. She was very polite and professional. He said that as he watched
her, he saw nothing less than masterful comedic work going on. Certainly in the
Harmonia Gardens in the dumplings scene as well as other scenes. Watching her,
he knew why she has had such a career in television and musical theater. There is a reason why she has a couple of
Emmy Awards. To be able to do Dolly with such a theater technician of that
caliber who can mine this material to that degree and heartbreaking and a
sincere fashion was wonderful. That is why Sally has had so much success
playing this role. One of Brad’s greatest regrets is that it only ran for two
weeks. When shows were part of the stock tours, prior to this, they ran one
week. It was decided when Brad came onboard for the shows to run two weeks.
Alhambra Theater Company |
He
says it could have run forever, you just couldn’t get a ticket to it. He would
love to re-create that experience. He feels that the dumpling scene was her
best moment but that she also has a phenomenal vocal talent that most people
don’t know about. A truly powerful voice. There are things that are in the
script, but it’s great when a great actress makes it her own. A real comedic actress does not need to be
told what to do. That’s why Carol Channing had such a quick positive reaction
to hearing that Sally had done the role.
Because of Brad’s passion for the way the original
production looked and felt, it had a major impact on this production. The
Playhouse had never collaborated with major producers.
They wanted to find a
way to not only make it easier on them but to also create the best theatrical
experience for their audiences. Again, they wanted to recreate and replicate
the intent and vision of the original artists that had created this
masterpiece. This time they did! They reached out to Oliver Smith’s widow and
with her involvement, they were able to get some items from the 1995 tour and
revival. Those sets were housed in New Orleans.
Thankfully, they had skirted Katrina. Unfortunately, the costumes did
not. They were able to take some costumes and props and refurbish them at the Playhouse.
They were also helped tremendously from Costume World in Florida who acquired
Eaves-Brooks and Dodger Costumes collection many years ago. They were able to
get their hands on the original Freddy Wittop costumes and restore them.
Courtesy: Doug Lucas: Costume World |
Doug Michael Lucas of Costume World gave me the following
statement: "When the Ogunquit Playhouse collaborated with us for Hello,
Dolly!, we were delighted to work with them and to build a brand-new wardrobe
for Sally Struthers. Our Freddy Wittop wardrobe for the show is quite stunning
and it was a fascinating process to study the detailing and construction of
Dolly Levi's costumes and to replicate them for such a marvelous star.
"Dolly!" remains one of our most popular productions and it is our
honor to help keep the beauty and magic of the original production alive."
Brad remembers audience members being aghast at intermission
at how beautiful this production was. Being able to recreate the way the scenes
led into and out of the hat shop scene, for example, as it was originally
choreographed to do on the Playhouse stage. Prior to Dolly, the sets were built
not to push the boundaries of the theater, but to work within it. Right now,
they have a restructured South Pacific.
They are using Lincoln Center’s sets
and costumes from the tour. They built the passerelle for Dolly and it has
remained up for all other productions. Coming out of regional theater, Brad
loves the thrust stage. It puts the show in the audience’s lap. The passerelle
brings the shows further out into the audience. That has really changed the way
they stage their productions.
Brad is hoping that it will return over the next few years,
perhaps in 2014 to celebrate Dolly’s 50th anniversary. He’s keeping his eyes on
those sets and costumes and making sure they are preserved.
At this point, Brad introduced me to Jayme McDaniel. Jayme
is the associate artistic director now in his second year. Jayme has his own
history with Dolly. He was part of the 1996 tour after the Broadway revival
with Carol Channing. On the first day of rehearsals for My Fair Lady at the
MUNY in St. Louis, in which he was the dance captain, Lee Roy Reams was playing
Doolittle, he was having lunch with Lee Roy. Lee Roy said, “Dolly’s going back
on the road. Do you want to do it?” Jayme said, “Hello, yes!” That was it.
That’s how he got the job.
John Kenley (Kenley Players) Jay Garner (Horace Vandergelder) and Carol |
The first performance was outside of Detroit, not far from
where it all began. Opening night was a magical experience. To be doing the
title number, where the audience was on its feet cheering, was incredible.
Every single time doing it was a magical experience. You felt as if you were
part of theater history and the legend. Watching how Carol almost seemed to
levitate and how the audience responded to her was very special.
Lee Roy Reams |
He had seen
the show on Broadway prior to joining the tour. It was the first time he had
seen the dancers jump the pit in the Dolly number. He thought, “Oh, God! I
don’t want to do that.” When he ended up in the production, he was the person
right next to Carol. She would do her step, ball, change around the passerelle
and just as she got to almost center, he had to do his jump across the pit. The
choreographer, Randy Slovacek, pulled him aside and said, “Whatever you do,
don’t cheat the ‘paycheck’.”
Prior to this, Jayme had done the show three separate times.
He played Ambrose Kemper at Jupiter Theater with Mary Ellen Ashley. He was also
the dance captain for that production and learned the Gower Champion
choreography. Watching Gower’s masterwork and how he pulled people in is what
first attracted Jayme. Just the fact of the “blade hand” of all the waiters,
you never see hands or thumbs, they are always like blades. How they would
“slice” like a cutter. Getting to do the show with Carol not only onstage but
off stage, she could be so funny and throw the best parties.
One of his favorite things was Carol renting
out a movie theater after a show, standing behind the snack bar giving everyone
whatever they wanted. She also threw a wonderful Christmas party on a boat when
they were appearing in Naples, Florida. Still sitting on Jayme’s desk is a
favorite picture with Carol with her arms wrapped around his neck with her
Christmas outfit on. It is still one of his favorite photos of all time.
Jayme says he found himself growing in the show as he went
on. He learned so much from observing and knowing what other people’s tracks
were. Lee Roy would say to Jayme, “You should learn EVERYTHING about this show
because we will do it again, darling.”
Jayme refers to Lee Roy as the treasure keeper of all the Dolly stories.
He loves Lee Roy’s rendition of It Only Takes a Moment. “He still hits that
high note like he was twenty years old.”
A favorite memory for Jayme took place in Jackson,
Mississippi. Carol was having vocal problems and during the curtain speech, she
said, “ I’m having vocal problems and when that happens, I’m usually compared
to Keri Te Kanawa or Beverly Sills. If
there is any part of the show you did not understand, I want you to write it
down and I will come back to Jackson, Mississippi and perform it for you in
your home.” The audience went nuts. The entire company was laughing
hysterically. The best part was one of the women in the chartreuse Sunday
Clothes dress flipped her head back and laughed so wholeheartedly that her wig
and hat, which were not pinned on, fell off. There she was in a wig cap
laughing as much as everyone else. Carol would just speak and whatever came out
of her mouth was naturally funny.
Jayme says working with Carol was where he learned comic
timing. Watching her say a line the same way ever performance, you learned when
to drop your voice and pacing and how to use a vocal pitch to make something
funny.
The Ephraim soliloquy at the end of act one is Jayme’s
favorite moment in the show. This, of course, leads into Before The Parade
Passes By. The Mrs. Rose moment that comes through this moment is so sweet. You
can take a show that is so sweet and simple and funny, bit with such a big
heart. That moment is the heart of the show. Carol refers to it as the spine of
Dolly.
Michele Lee |
After Carol, Lee Roy had Jayme go and do it with Michele Lee
in Kansas City, Memphis, and Fort Worth in 2005. Michele brought something new to it as well.
She brought her own style and did not try and emulate Carol. Boy, did she sing
it! She still has a set of pipes on her! She found her own comedy that worked
for her. Walter Charles played Horace
Vandergelder. John Scherer, who is now
on Broadway in Book of Morman was Cornelius. Brian Sears was Barnaby. Susan
Powell was Irene Molloy. “It was great fun. You get caught up in the music and
that wonderful Michael Stewart book and you go along for the ride. “ Jayme’s
favorite moment from an actor’s point of view is Dancing. To have that open
stage and celebrate Gower Champion’s wonderful work with abandon. You’re just
out there dancing. You’re suddenly free to dance again. Dolly has brought
dancing back into Irene’s life.
Jerry Herman: “So sweet, such a lovely man. He is one of the
true voices of American
Jerry Herman |
musical theater. He is in the likes of Sheldon and
Harnick and George M. Cohan. The success of the last revival of La Cage Aux
Folles and the recent production of Mame at the Goodspeed Opera House proves to
us that Jerry is not going anywhere anytime soon.” Obviously he had done Milk
and Honey, but Hello, Dolly! was his first BIG show.
Penny in My Pocket, which was Horace’s song originally
closed Act One. Before the Parade Passes By brought in to replace that really
set the tone and shape and future of Dolly.
Because Lee Roy knows the show so well, he is great at
casting. He knows the way it was intended and he sets out to honor Gower’s
work. Once Marge came to see the show and she was so happy to see that Gower’s
work was being honored.
The first time that Jayme heard the score was from watching
the movie. The first time hearing it live with an orchestra was with Carol.
“When those trumpets start in Hello, Dolly!, it’s fantastic.” It’s classic old fashioned and yet you can’t
help loving every single note of it.
The Carol Dolly tour was created for the artists involved.
They had a quick remount rehearsal period but it was done to maximize
everyone’s potential. So many tours now look and feel as if there is no heart
in them. Sometimes the stage manager just puts people in and no one is
discussing what their intentions are or their connection with the material or
each other. Because of Carol, on the Dolly tour, they ALL had their common
connection of the love for what they were doing. Everyone had such deep
admiration for her. Nowadays, Jayme finds most tours to be two-dimensional. They
don’t seem to have a lot of life to them. Their goal is to just make money.
Being on tour, they went to a lot of great places. Lee Roy
sort of adopted Jayme as his “antique buddy”. So on their off days, they would
rent a car and go antique shopping.
Lady Bird Johnson and Carol |
The final city of this tour took place in Austin, Texas. On
their opening night in Austin, Lady Bird Johnson and Ann Richards were in
attendance. After the show, they were in the LBJ Library for the opening night
party. Ann got up to introduce Carol. They had a great rapport together. It was
if they were Martin and Lewis. It was a bitter sweet moment. Jayme thought, “We
will never have a moment like this again.” There were all these dignitaries
that came to see the show throughout the run. At this moment, it felt as if it
was time to check out now.
That last night that Carol took that last walk around the
passerelle when she took the train of her dress in her hand and tosses it back
with a kick, ball, change and never ever looks down. She always knew where it was.
She never questioned it. It was wonderful to see her standing there with her
arms outstretched and accepting the audience’s love.
Thank
you to Brad Kenney and Jayme McDaniel for the gifts you have given to the world and continue
to give!
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!
July 6
8pm
PARAMOUNT THEATRE, 1300 Ocean Avenue Asbury Park, NJ
FIFTH ANNIVERSARY CONCERT AND FUNDRAISER
ReVision's three-production season kicks
off with the Fifth Anniversary Retrospective Concert/Fundraiser,
followed by Pippin, and for the first time in ReVision's Asbury Park
history, a drama, Red, both at The Theatre at St. George.Bob Angelini, ReVision's Artistic Director, will lead the Fifth Anniversary Season.
"We are very excited to be back in Asbury Park this summer" said Angelini. "Since we announced our new venue, the outpouring of good wishes by our loyal members and supporters has been overwhelming. We look forward to a great season of theatre and being a part of the New Jersey arts community for years to come."
Please do what YOU can to be more aware that words and actions DO HURT...but they can also heal and help!
My next blog will be...Joey Patton's Memories of Hello, Dolly: A Director's Perspective!
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!
Beautiful story about a landmark theatre which continues to bring magic to the Maine coast after more than 80 years. Sally has dazzled the locals and vacationers with her charm and talent and her "Dolly" was a memorable evening of entertainment. Kudos to Brad and his team for all of their efforts. When Carol visited the theatre in April, 2008 it was a very cold early spring day but she brought her warmth and radiance and wrapped us in her loving cocoon.
ReplyDeletePaul Brogan
Excellent blog, Richard about Brad Kenney and Jayme McDaniel. I would love to see the Ogunquit Playhouse. I have heard so many wonderful things about it and have gone past it going through Maine. Hopefully Dolly will return there in 2014 or perhaps sooner. Thanks for giving us this beautiful blog!
ReplyDeleteLeanne DeHope