Spider Duncan Christopher: Dancer, Carol Channing’s First National Company
Spider- Duncan Christopher is the name that many people have
known him for many years. In 1965, Christopher Calkins, as he was called then,
joined Carol Channing’s first national tour of Hello, Dolly!. When Christopher
moved to New York, there was another Christopher Calkins and there were always
crossed wires and confusion, so THIS Christopher changed his name. The OTHER
Christopher Calkins was in Richard Burton’s Hamlet.
Christopher is still legally Spider’s last name.
Christopher left Seattle, Channing’s home town as well, on a
Ford Grant. He went to San Francisco and joined the San Francisco Ballet
Company. His dance partner was Ann Reinking! This was a summer stint.
At the
end of the summer, Ann went back to Seattle and school. Christopher was already
graduated, having graduated at seventeen. In San Francisco, they lived in this
big house and there were many dancers and lawyers staying there. Christopher
grew up with his parents being avid newspaper readers. Christopher, on the
other hand, was interested primarily in theater and read only those articles
pertaining to the theater. Christopher feels that it was divine intervention
that someone in this house happened to be reading The San Francisco Chronicle.
Gower Champion would be holding auditions for
dancers for the national company starring Carol Channing. The auditions were at
the Curran Theater. Channing, in her
memoirs states the first time she stepped foot on a stage, it was the Curran
and she knew she was standing on hallowed ground. Christopher cut class to go to
this audition. He was already familiar with the music. Having the cast album,
he knew every song by heart.
He considered himself a total “musical theater
geek.” He went to the library every Sunday to read the Arts and Leisure section
of the New York Times.
He started choreographing professionally at sixteen. He
started getting work. He did Bye Bye
Birdie with Tom Poston and Patte Findlay right out of high school so he
really was already in the game.
He was
also doing a little producing with his younger brother in high school.
When every musical would come through town,
Christopher would get them to perform for his class. At five, he was having his
friends dress up and “let’s put on a show!” in their back yard. By the time he
was seven, all his family and friends knew about this passion. His mother was a
costume designer, so there was always lots of material. This was all he ever
wanted to do.
When he saw the audition for Dolly, his goal was to just
meet Gower Champion.
He thought that was worth cutting a class to do.
Approximately eighty-five dancers showed up for that call. He was one of five chosen. They were flown to
Los Angeles for a big audition there. He had never been on a plane before and
here was a free plane ride! At that audition, there were about eight hundred
people being flown in from all over the country. He was one of eight chosen
from that audition. There were a group of them, Blake Brown, Andy Bew, among
others that were selected.
He had just graduated from high school! He gave up
his Ford grant; they were nurturing him to be part of the San Francisco Ballet
Company.
San Francisco was getting
pretty crazy at that time anyway.
Lew Christensen |
Lew Christensen and his brother, Mormons from
Utah, ran the ballet company…and were very homophobic!
They were always trying
to get the dancers to marry. Christopher didn’t really want to hang out in that
environment much longer.
When Gower chose Christopher, he was thrilled! Gower took
Christopher under his wing and he was very fond of Gower. He was the only tall Barnaby
Tucker ever. Christopher understudied Harvey Evans, who played Barnaby. It was
actually between Blake and Christopher, but Blake could not sing as well as
Christopher. Blake also had dark hair. Most of the Barnabys were blonde and
short. Christopher was a tall Barnaby but he could act, sing, and dance. He had
many auditions before he got that role.
This was in August of 1965.He had brown hair
then, when he had hair! It was a very important time for Christopher in terms
of shaping his future. It meant a lot that Gower took him seriously as a actor,
dancer, singer. It was a life changing experience. Gower became Christopher’s
mentor, and he basically fashioned his whole director/choreographer career
after him.
Christopher was an enthusiastic disciple of Gower’s. Christopher
is a high spirited, positive person. As a kid, he had a big smile on his face.
That was appreciated by everybody he worked with.
He gave it all every performance. One night, after
eighteen months, he came on stage and realized that his heart was no longer in
it. He gave his two weeks’ notice that night and he was no longer in Dolly two
weeks later. He was trained that if your heart was not totally committed, to
move on.Carol was very inspiration in instilling in Christopher that you never miss a performance. He also continued to work on improving his performance. That was another reason why Gower thought so much of him.
Every time Gower came back to visit the show, he would pull Christopher aside and say how much he appreciated that Christopher was the most improved and that he could see new things and how much he appreciated how much he appreciated the improvement in Christopher’s dancing.
He would enroll in a dance class in every town they were in. Christopher took it very seriously. Again, he was seventeen when he got the job. He was one of the youngest in the cast. Gower was so encouraging that it spurned Christopher to always do his homework, to always give it all he had/ .
Christopher loves
Harvey Evans. He was so sweet to Christopher. Harvey let Christopher go on
once. He worked it all out when he knew Christopher was ready and gave up a
matinee for him. Carol was thrilled, Harvey was thrilled, everyone was
thrilled, and Harvey’s fan club was there that day and they started a fan club
for Christopher, which was very flattering. It was a very exciting time. The
tour started in San Diego the first week in September for a tryout before going to the Dorothy
Chandler Pavilion in LA in mid September 1965.
Christopher had just turned
eighteen. They were in LA at the Dorothy Chandler Pavilion during the Watts
Riots. They could see the hotel where a lot of this was happening from the
rehearsal studios. It was a very scary time.
Businesses tried to roll in the
sidewalks by six pm. They were at the Dorothy Chandler for five weeks. While at
the Dorothy Chandler, they did an Actor’s Equity benefit with the biggest names
in Hollywood in attendance including Jimmy Stewart and the royalty of
Hollywood, every famous person was that audience. They went crazy. Everyone
that was alive in Hollywood that was a big name was in that audience.
It was
the hottest Actors’ Equity benefit ever and they raised a fortune. That was a
real highlight so early in the run. They were sold out for their entire run six
months before opening! It was such a big deal that the joke of the day was that
even God couldn’t get in to see Hello,
Dolly! A big highlight of this tour included entertaining at the
White House, a command performance for Lyndon Johnson, whom Carol had
campaigned for. “Be our guide, Lyndon! Ladybird, at your side, Lyndon!” to the
tune of Hello, Dolly!
This was January
16th, 1967. It is documented in the documentary, Jerry Herman: Words and Music produced,
directed, and written by Amber Edwards for PBS.
From there, they went to the Geary Theater in San Francisco.
Georgia Brown had become a friend of Christopher’s and she was doing Oliver! in
town.
Georgia Brown |
They would go each night to a very favorite watering hole across from the
theater.
They used to have brunch every Sunday with Charles Pierce. A guy by the name of Jody Burke LOVED to
cook. His sister, Sandy, was a wardrobe mistress in Hollywood. He unfortunately
got some disease which distorted his neck. He was very close with Carol
Channing. He was an outrageous “queen” even in the sixties. He had a long cigarette holder and had
outrageous clothes and was quite the spectacle.
Christopher said there were lots
of parties and Sunday brunches. Channing and Lowe were not always at these
parties, but she threw her own parties from time to time.
She was very generous
to the company. I have written about this before, and Christopher remembers
fondly the midnight movie showings that Carol sponsored.
They would get on a
bus with boxed dinners and see screenings before the films were released.
One
night they saw Who’s Afraid of Virginia
Woolf before it had opened. Every city they played, there would be an
opening night party thrown for them. Carol would ALWAYS make an appearance at
those.
The entire tour took two years. Christopher did eighteen months of that
tour.
On the Chicago leg of that tour, Channing left the company
for three months to do Thoroughly Modern
Millie.
Eve Arden filled in during that time. Those are Christopher’s two
Dollys. Carol was iconic. Christopher began a very special bond with Carol on
opening night in San Diego. Harriet Beal was her own dresser and personal
assistant who took very good care of Carol, a very sweet woman. She also loved
Christopher. Since he was from Seattle, he wanted Carol to know that since
she’s from Seattle. Seattle place is a really cool place to come from. Carol
and her parents moved to San Francisco when she was just two and a half weeks
old.
Seattle is a creative artistic town to come from.
Christopher wrote a note
for Carol and gave it to Harriet. This was just before half hour in San Diego
in September 1965. It began a lovely connection right from the beginning. It was
very, very sacred. She was very specific about everything she did and Christopher
respected that.
Between working with Carol in Dolly and Chita Rivera in Sweet
Charity, Christopher has worked with two masters. They are masters who can act,
sing, and dance. They both had the Meisner approach to acting. When Chita did
Sweet Charity, Christopher was her Charlie Dark Glasses.
That was where he
bonded with her. He was also assistant stage manager on that production, took
very good care of her, and they are friends to this date. Carol had these
specific moments, whether it was in the title number, or whatever. There were
always moments of contact with Carol. He
got to play Barnaby Tucker a number of times. Eventually Harvey Evans left the
company. He was replaced by Doug Slater, who was Harvey’s partner. Harvey
wanted to leave the company to go back to his partner.
His partner ends up
replacing him and they split. Christopher was also in the last scene as the
wallpaper hanger. Again, Christopher always had these little moments with Carol
that were always consistent. No matter
what, she never missed a performance. Her standby was Lisa Kirk on this tour. She
was pretty cool and used to hang out with Christopher a lot.
The experience of doing Dolly is very significant in
Christopher’s career. As stated earlier, he had done Bye, Bye Birdie with Tom Poston and Patte Findlay. He was also part
of Irma La Deuce, which was his first
professional choreography job at sixteen at a theater in Seattle. He
co-choreographed with a guy named Fred Clark. He became Lee Champion (there
already was a Fred Clark).
Christopher had done a few shows in Seattle, but Hello, Dolly is such a big name. Anytime
anyone asks what he’s done, and he says Hello,
Dolly with Carol Channing, they take it very seriously that he was/is a
professional. Everybody knows that show
even though he’s gone on to other things, including being the ORIGINAL
choreographer of The Best Little
Whorehouse in Texas before Tommy Tune took it to Broadway.
They did the
iconic performances at the Actors’ Studio. He has done things that have been
significant, but Dolly shaped his career in a beautiful way. When he came to
New York, he already had that credit.
One day, he met Alan Johnson,
choreographer for the upcoming revival of Sweet Charity starring Chita Rivera.
He
offered Christopher the part of Charlie Dark Glasses. He told Christopher that
he was familiar with his work and that all he needed to do was go sign a
contract.
Christopher absolutely believes there are future audiences
for Dolly. The music is great. When he thinks of the classics that he did in
high school, The King and I, The Music Man, South Pacific, for example, Hello,
Dolly! probably stands as one of the most done shows around the world.
He does consider Dolly one of the top five shows of his
career. He is still very proud that he was part of that experience. They were
constantly making theatrical history in its day. Box office records are higher today due to
high ticket prices.
They were totally sold out for the two years that
Christopher was with the show. There was never an empty seat. At one point that
played an arena with ten thousand seats in Tulsa, Oklahoma. They shattered box
office records at that time. It was a “horse
barn” of a place. It was very thrilling to be part of a company in which you
were sold out prior to arriving in any town. They were kind of theatrical
royalty at that time. Christopher has no idea what it’s like to do a tour now,
but they were always well received. They had amazing parties and everyone
wanted to meet and greet the cast. When they went to the bars, it was
overwhelming. This was going on in the 1960s with a lot of revolutionary change
between doing something like Hello, Dolly and Hair was right around the corner.
It was an amazing time to be in the theater. Christopher thinks of those years
of the golden age of classic American musicals.
Nov 2, 1965 - SF Curtain Call Program Magazine |
The one thing that Christopher carried throughout the rest
of his career as a result of Dolly is a sense of discipline and professionalism
which he thinks is sorely lacking in today’s theater.
He was part of a great
company, and a team, where you were always on time, you were always there
before half hour, you were always warmed up, you were part of a great family.
He knows that that still exists today, but nowadays, you see more and more
people missing performances. That didn’t exist as much in those days. He very
rarely remembers anyone being out of the show, certainly not him or Carol. You
just didn’t miss performances, same with Chita. It also helped in terms of
being a good stage manager. Christopher was always part of the understudy
rehearsals on Dolly.
He knew the full blocking of everything because he had a
photographic memory. He was part of the “bible” of Dolly with stage directions allowing Dolly to be put up anywhere.
The stage managers brought Christopher in on this because they knew he knew the
show.
Michael Bennett |
It is pretty iconic what Gower created in this changing
climate.
It seems like every time Christopher sees a variation on trying to
change this number, like Fosse, it’s hard to separate it. Look at Chicago, for example. It’s the same with Michael Bennett in A Chorus Line. It’s something you saw imprinted in your memory
that it is difficult to veer from it.
The tour was not without tragedy.
The youngest members of
the cast were Andy Bew and his
girlfriend, Blake Brown, and Christopher.
Andy and his girlfriend were younger
than Christopher and were being home schooled by Andy’s mother, Cleone. She traveled
with the company and also acted as chaperone for all of the kids in the show.
She was 43.
Andy and his girlfriend ended up breaking up.
On Sunday afternoon, August 28th, 1966, Andy’s
girlfriend had snuck off to marry an older singer also in the company. Rather
than having a wedding, they decided to just sneak off and surprise everybody. Andy
and Blake had become good buddies. Andy, and his mother, Cleone, and Blake went
out on a boating trip on Wonder Lake in Illinois. A speed boat came barreling in their direction
creating a huge wave that capsized their boat knocking them all out of the
boat. The boat ended up hitting the wave of the speedboat, and and killed Cleone
instantly. In the original tapes for A
Chorus Line, Andy’s story was there. It was depicted that he was part of a
burlesque show and that Tessie Latour had picked him up in a cab. This tragic
event was originally in the script. They couldn’t find an actor who could
fulfill it emotionally. It was cut out of the original show when it was
downtown at the Public. Going back to work the next night was the roughest time
this company had. The funeral was on the 31st. It was a very difficult
time to get through. Christopher and Cleone were very close and it was like
losing his own mother. Christopher ended up being like a big brother to these
kids. Cleone could always tell Christopher what she wanted the other kids to
hear. They could hear it from him a lot easier than an “Ah, mom” type of
scenario.
Eve Arden |
Other than Carol and Eve Arden, Christopher has only seen
two other actresses play Dolly, Pearl Bailey, and his favorite, Martha Raye. Pearl
Bailey leading an all black cast in 1967 was a unique thing at that time. It
was revolutionary for Mr. Merrick to do this. Nothing like that had never been
done before. Pearl Bailey is Pearl Bailey and made it her own. She was great
fun. The emotional depth, however, came from Martha Raye. He can close his eyes
and still see her presenting her speeches to Ephraim. He was moved to tears. It
was very powerfully acted he thought. She brought something very unique to the
role.
Why does Christopher think the title number always stops the
show? It is built in to the character of being so loved by the Harmonia
Gardens. The Waiter’s Gallop with singing and dancing waiters preceding the
title song sets it up.
It is the genius of Gower Champion. No one had seen
choreography quite like that before. Even the sets were dancing. It was so imaginative.
Christopher had never seen anything like that prior.
Horace McMahon started
the tour as Horace Vandergelder. However, Carol wasn’t happy with him. He was
replaced by Milo Boulton. Milo did it for quite a while. Christopher loved
Horace McMahon because he was such a fan of his on Naked City. Milo Boulton was nice and okay. Originally, of course,
David Burns was a brilliant Horace Vandergelder opposite Carol on Broadway.
He died on stage, of a heart attack, in
Philadelphia during the out-of-town tryout of Kander and Ebb's musical 70, Girls, 70.
Christopher just loves Jerry Herman, one of the great
composers of Broadway, ever.
Christopher has met him a few times.
Christopher
had a crush on him even before meeting him. “He’s such an adorable person.” Carol’s
first national company was his favorite. Everyone got along so well. Everyone
was proud of what they created. It was such a huge success. The first time
Christopher heard the score, he was in high school. He used to buy all of the
Broadway show albums.
He used to take songs from the albums and rewrite the
songs to reflect things that were going on in his high school. He was the
student body president. That position
prior to Christopher had mostly been held by football players, one of the jocks,
usually. He was the first “theatrical” president. He brought a lot of live
musical theater experiences to the student body.
Christopher remembers back to when he first came to New York
and you would see marquees like Carol Channing in Hello, Dolly!, Barbra Streisand in Funny Girl , where you saw NAMES over the title. In more recent
years we’ve seen Rent, where stars
came out of productions, which seem to be a new kind of a thing. He likes
seeing that more and more people are seeing how talented so many people are. It
looks like it is shifting back somewhat, although we are seeing more and more
TV and movie star names. There was a time where it seemed like fifty-seven new
musicals were opening on Broadway and at least sixteen new plays in a season.
There were really so many productions to choose from. There were more Broadway
stars as opposed to TV and movie stars. It seems like now you have to go to
Hollywood and become a star before getting to Broadway.
They come to Broadway,
which they love, but they don’t make as much money. That is the biggest change
Christopher has seen over the wave of his career.
Christopher still recalls his closing night fondly. Joanne
Horne, was playing Irene Molloy. She wrote a nice poem for him.
He is very proud to be part of that chapter of theater
history. It really did shape his whole career from the very beginning. He felt
such love and respect from the cast and crew, particularly the stage management
team. Lee Murray, Henry Sutton, Mary Porter Hall were amazing taking care of a
company that included over fifty people that were on and off stage. Christopher
learned how important a theater family is. That has shaped everything he tries
to create. Putting a show together from the very first day of creating that
possibility, this will be a family that you can have friends for the rest of
your life. He has these wonderful people still in his life forty-six years
later.
Thank you Spider-Duncan Christopher aka Christopher Calkins 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!
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 Spider-Duncan Christopher aka Christopher Calkins 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... Revisiting Patty Farmer: The Persian Room Presents
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!
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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