John Head: Arranger/Conductor of productions of Hello, Dolly! starring Mary Ellen Ashley and Betty Grable
“John Head may well be the best thing that has ever happened
to the symphonic ‘pops’ field in a long time... a fine instrumental soloist, an
expert arranger, a seasoned conductor, a superb program builder and promoter
and an engaging, witty platform personality... all this sells a lot of tickets
to a lot of happy people - who come back.”
-the late Robert Shaw
John Head was the musical director of Theater of The Stars
in Atlanta. It used to be Theater Under the Stars but Daylight Saving killed
them and they had to go indoors.
John
was also the MD at Artpark in Lewiston/Niagara Falls, New York. He was at
Artpark for twenty years. Betty Grable starred in Dolly at Theater of the Stars
under John’s musical direction and Mary Ellen Ashley had the same experience at
Artpark. He is now retired. Thank God, both theaters are still very much in
existence.
Betty Grable from her Broadway run |
John was a fan of the musical before getting involved with
the show. He likes all of Jerry Herman’s shows, especially this one. He told
his wife that if there is any such thing as reincarnation, that he would love
to come back as a female musical star and have Jerry Herman write all of “her”
musicals! Can you imagine any greater scene in musical comedy than the one in
the Harmonia Gardens where the frenzy builds to reveal Dolly Levi standing at
the top of those stairs?
John was very impressed that Betty was very different from
the stars they were used to getting in Summer Stock. Producers were coming up
with some pretty outlandish casting choices.
Some of them are impossible
because they don’t want any direction. They want to play themselves in a role. Betty
Grable came in raring to go. She never played Betty Grable. She played Dolly
Levi. John was very impressed with her. They didn’t have many personal
conversations, but one does stand out. It had to do with Betty’s famous pin-up
photo demurely looking back over her shoulder. John asked her about the circumstances surrounding that. She told
him that they didn’t want the G-I troops to know that she was pregnant. Betty
Grable was the most popular pinup girl of World War II and was particularly
noted for her beautifully proportioned legs. She typified the girl-next-door,
and honest, home-grown beauty and she became one of the most successful movie
actresses of the 1940's becoming, at one time, the highest paid woman in the
United States.
Mary Ellen Ashley |
He also has had the pleasure of conducting Mary Ellen
Ashley, who he says is a hands down better Dolly. He thinks she is the best
Dolly he has ever seen.
He also saw Pearl Bailey as Dolly. Pearl Bailey played
Pearl Bailey. It was a good production. He enjoyed it. He doesn’t feel that it
captured the essence of Yonkers, New York in the early 1900s.
When Mary Ellen
does a show, she BECOMES that character. When she plays Mrs. Lovitt, she
becomes Mrs. Lovitt.
Richard Skipper and Mary Ellen Ashley |
John met Mary Ellen when he was casting a production of George M in New York. John and his
casting team had had a long day of cattle calls. The Equity deputy came in and
said there was a lady outside the door who was not on the list but saw the call
on the bulletin board downstairs and she wanted to come in and sing for them.
There was a lull in the proceedings so John asked for her to be brought in.
They were handed her resume. She came in with a perfect smile. He looked over
her resume, she got up to sing I Get a Kick Out of You. She got into about four
bars of music and he stopped her. The look on her face was as if she was going
to charge the table.
It looked as if she thought, “You didn’t give me a chance
to sing.” He could see that she was angry. He said, “I want to check these
dates with you.” She said, “What dates?” He said, “The dates of George M. Are you available? I would
like you to play the mother.”
Mary Ellen Ashley |
She said, “I sang four bars.” He said, “They were
terrific and you look the part.” She said, “How do you know I can tap dance?”
Her resume said she studied with Henry LeTang for seven years!
She had to be a
great dancer! John actually read the resume and knew what he was reading! She
often tells the story of the southern gentleman from Georgia with the thick southern
accent that hired her in a way that she had never been hired before or since.
She is one of the few people that John has worked with in theater that he has
kept in personal touch with for thirty years. Thanks now to the internet that
is even easier.
Several years after George M. John signed Mary Ellen to play
Dolly at Artpark. John was particularly excited about that production. That had
an offer out to Dennis Grimaldi to direct the show. John had wanted to work
with Dennis for years, having heard so many wonderful things about him.
Unfortunately, they were not able to get him. They still had the Harmonia
Gardens, the duck walk…AND Mary Ellen Ashley. It was a rare moment afterward
that Mary Ellen didn’t have another booking to go to, so they kept her for the
next show. They were doing Carousel
and she played the owner of the Carousel. She was only in the opening scene.
She played it as if it was a huge role and she became THAT character.
John doesn’t think that it will be easy to find younger
audiences for Dolly. IF you are able
to get them in to see it, they will love it. Today’s time period is not
conducive to pulling in a younger audience. Everybody knows the title song.
That’s for sure. Even when they were at ArtPark, they were not attracting a
younger audience. He thinks Loretta Switt, who has played Mame, would be a
great Dolly. He thinks she still has a big enough name to sell tickets.
John absolutely believes that Dolly is among the top five shows he has conducted. John believes that the title number always succeeds
because of the way that scene is constructed. The scene starts out very
innocently. Then it starts to build and build and build with those chorus guys
and by the time they get to the point where they point up to reveal Dolly,
there is a frenzy on stage that is contagious to the audience. It is heaven for
a leading lady. Carole Cooke said an ape can make it work! Any actress who can’t
make it work should get out of the business.
They played around with the music on occasion. Most of the
producers that John has worked with want the show to go up at eight PM and go down
at ten fifteen. They don’t want it to go past two and a half hours. Some shows,
it’s absolutely impossible.
What do you cut out? He has had directors come to
him and tell him that the show is running too long and that he has to cut
something out. The choreographers don’t want to have anything cut that will
affect the choreography. The singers don’t want any of their songs to be cut.
A friend of mine has written that Hello, Dolly! is interesting from a feminist’s point of view. The
women from Thornton Wilder’s world believe that getting married will solve
their futures. Irene Molloy states that she doesn’t desire to work any longer
in the millinery business. Dolly believes that pairing off with Horace will be
the end of her financial situation. It is interesting that the musical
transcended the women’s lib movement of the day. Does John think of this when
they see it? Do men pick up on this as well or is everyone just out to see
light hearted fare? John feels that audiences just sit back and enjoy it. This is not a sociological piece of theater! The
same could be said of The Sound of Music.
People try to read too much into some shows. Go with an open mind. Listen to
the singing. Watch the choreography. Watch the scenery and the set changes and
the colored lights and all the magic of the theater. THAT’S what people should
look for. John is scared to death of what is now happening with pit orchestra.
They are turning into electronic synthesized sound.
John is totally disgusted with this idea of “virtual”
philharmonics. He is surprised that the musician’s union hasn’t done anything
about this. Obviously, there are musicians who go out and record these tracks
which put other musicians out of work. It is another aspect that musicians have
to come to grips with. In the forties, musicians were fighting for live gigs
when most venues were turning over to recordings. Now, electronics have become
so sophisticated that one guy can sit in a pit and run the entire show with
pre-recorded music.
Vamps can be created, tempos can be sped up or slowed down,
it’s very frightening how sophisticated electronics have become. John is not
certain of the future of musicians in the theater.
What John has tried to do with every production that he has
ever done, starting in 1969, is to be totally in the background and not draw
attention to the orchestra at all and to give the person entertaining on stage,
the complete ability to feel free to do what they desire to do musically. John’s
job is to keep the orchestra with them and have the show run smoothly. He did
the same thing when he conducted the ballet.
John continued to tweak after a show opened.
John has a memory that stands out above all others. That was
the night that the train almost chugged its way into the pit. That was in
Atlanta. The train started in the wrong
directions and the guys that were trying to veer it off stage on a raked stage and
it was rolling very vicariously before they caught it.
John believes that Hello, Dolly! is one of the top five
shows of the twentieth century. I don’t think anything in the twenty first
century yet has come close to topping it. John considers it an absolute privilege
to do this show not once, but twice. He loves the show and was blessed with
great entertainers. Egos never got in the way of either production.
Thank you John Head for the gifts you have given to the world and will 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!
Please do what YOU can to be more aware that words and actions DO HURT...but they can also heal and help!
Thank you, to all the mentioned in this blog!
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!
Thank you John Head for the gifts you have given to the world and will 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!
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... Edd Clark and Sue Matsuki: It’s Them Again!
Thank you, to all the mentioned in this blog!
Here's to an INCREDIBLE tomorrow for ALL...with NO challenges!
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!
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