Beth Fowler: Irene Molloy in Molly Picon’s Hello, Dolly, Summer Tours of 71 and 72
Beth Fowler: Courtesy: Beth Fowler and The Gage Group |
Beth Fowler, a two- time Tony nominee, was born in Jersey City, New Jersey. She trained
as a vocal teacher and as a music major in a small Catholic college. She really
just trained to teach, which she did for eight years before coming into the
theater.
She got right out of the class and did a little bit of summer stock. She then got her Equity card in one of those theaters where you do eight shows in nine weeks.
She got right out of the class and did a little bit of summer stock. She then got her Equity card in one of those theaters where you do eight shows in nine weeks.
She auditioned for Gantry
in 1969 starring Robert Shaw and Rita Moreno. That was her very first audition
in New York. She auditioned to be in the ensemble and got into the ensemble AND
was also asked to understudy Rita Moreno. In previews, she was put on opposite
Robert Shaw for two performances with no rehearsal.
The nuns taught her well. She never saw Rita do the performance on stage because she was always working on her ensemble work.
The nuns taught her well. She never saw Rita do the performance on stage because she was always working on her ensemble work.
She found herself in the theater preparing with the stage
manager at nine AM the day that she first went on. At Eleven thirty AM, she was
rehearsing her regular chorus part.
The show unfortunately closed on opening night. She had
better luck with her next outing, Stephen Sondheim's A Little Night Music.
Additional Broadway credits include 1600 Pennsylvania Avenue, Peter Pan, Baby,
Teddy and Alice, the 1989 revival of Sweeney Todd, in which she portrayed Mrs.
Lovett, Beauty and the Beast, in which she originated the role of Mrs. Potts,
Bells Are Ringing, and The Boy from Oz where she portrayed Peter Allen's mother
Marion.
Beth had never seen the original production of Hello, Dolly with Carol Channing when
she auditioned to play Mrs. Molloy in a summer stock touring company in the
summer of 1971.
She did see the 1995 Broadway production later on directed by
Lee Roy Reams at the Lunt-Fontaine Theater.
All she really knew of Dolly in 1971 was the music of Dolly. Nobody could get away from it!
The title song was always on the radio. Beth also saw Carol appearing on
numerous TV specials of the day, sometimes performing songs from the show. She
also was familiar with her due to Thoroughly
Modern Millie. Everybody knew that song. Beth doesn’t have any vivid
memories beyond that.
Beth ended up in the Molly Picon production the usual way,
she auditioned. Her agent at the time got her an audition as Mrs. Molloy. She
had only been in the business two years at this point. She auditioned for it
and got it. It was first done at North Shore Music Circus in the summer of
1971.
They also did it in the summer of ’72. Peter Lombard produced it at North
Shore Art Kassul and David Christmas played Horace and Cornelius the second year.Beth’s Minnie
Fay was Isabelle Farrell, Vandergelder was Mickey Deems,
Wayne
Cilento and Rick Atwell were DANCERS in the North Shore production.
Wayne and Rick were electrifying.
Wayne was
in his early twenties and was in love. Everyone went to his wedding in ’72.
Wayne and Rick were magnetic together on stage. They were fantastic dancers.
They glowed on stage and Molly rode on that. She loved them.
Molly Picon |
Beth knew Molly Picon from Come Blow Your Horn and her reputation in New York.
Diminutive
superstar of Yiddish stage and screen Molly Picon over her course of eighty
years as an entertainer had an enormous impact on Jewish culture in Europe and
Israel as well as in America.
Until she was well into her forties, her typical
persona was an adorable but streetwise waif of twelve, often dressed as a boy,
capable of executing headstands, somersaults, cartwheels, and flying stunts
while singing, dancing, and playing all sorts of musical instruments. Most of
Picon's vehicles were written, produced, and directed by her husband, Jacob
Kalich, who sometimes performed as well. Beth thought at first that it was an
odd choice. Molly was so little. How was she going to do this? She would get
lost in the middle of this production. She was dynamite! She was feisty. She
was cute. She was adorable. She was incredibly energetic and she was always a
crowd pleaser.
The audiences adored her which just pumped the show up so much.
Beth hasn’t seen many other actresses play Dolly, but she can’t imagine anyone
doing the Ephraim speeches as poignantly and as touchingly as she did. She went
right from this dynamic rolling through character getting things done, smacking
her hands together and moving on the next task to and then she would give her
Ephraim speeches. She would become transformed and speak to him as if he was
sitting on a ladder just above her, not in heaven.
She would look up and talk
to him as if he was right there.
The show remained true to the script. Molly had her own
moments in the curtain speech.
These performances were performed both in the round and proscenium.
They did transfer to a proscenium when they were in Kennebunkport and Corning. North
Shore and Philadelphia were in the round. There were re staging issues.
Beth got to know Molly those two summers. It was the first
time since marrying Jacob Kalich “Yonkel”. Molly had auditioned and was hired by Yonkel and the
two married in 1919 when she was twenty one. Their honeymoon was spent
traveling through Eastern Europe collecting scripts of the Yiddish theater.
They came back to the lower East Side in New York and produced Yiddish theater
here and he produced all these shows for her. That’s when she became a star of
the Yiddish Theater.
When they were doing Dolly, he was recovering from very
serious surgery and couldn’t travel. He still wasn’t able to travel the second
summer. He was recuperating at home and she was so homesick. Beth’s apartment
was right next to hers and she would sit and hear her through the wall and hear
her have her morning meeting with Yonkel over the phone. She spoke to him as if
they had just fallen in love and they were going to get married. Beth had her car and often asked Molly if she would like to
join her for lunch.
She was always happy to get out. She often felt trapped in
the hotel. They would go shopping. They would go to lunch. Molly would present
Beth with her credit card at the end of lunch. She would tell Beth, “You’ve
treated me and traipsed me all around. Now, I’m treating you. But I have to
tell you a little secret. I’ve never signed a credit card receipt in my life.
I’m always with Yonkel at my elbow.” She did not know how to take care of
herself. All she knew what to do is what she did. He was so attentive to her
and took care of her. Those Ephraim speeches were reflective of what was going
on in her personal life.
Beth Fowler in '71 |
She would come to tears when she spoke of Yonkel. She
was afraid she was going to lose him. She didn’t know what she was going to do.
When she did those Ephraim speeches, you could hear a pin drop in the house. Then
she would pick herself up, and GO!
Beth’s favorite recollection is standing at the top of the
aisle each night at the end of the curtain calls with several cast members at
the end of the show while their dressers waited for them. Molly would do the
requisite Dolly curtain speech. The second year, they also played Playhouse in
the Park in Philadelphia and Corning and Kennebunkport as part of that little
tour. She would give a curtain speech. Philadelphia was also a home to her. She
was very famous there. Part of the reason for watching this curtain speech is
that they were learning how to charm an audience. She had them in the palm of
her hand. She nailed it every time with little stories she shared with the audience.
She wore these beautiful gowns with huge hats. She had a beautiful figure for a
woman of her age, trim and dainty and cute as a button.
Molly Picon at Nine Months |
She carried around this
huge purse of satin and beads. She had tremendous physical vitality. She would
say to the audience, “I know what you’re all waiting for and you’re all
wondering if I can still do it.” She would then take her hat off with great
stage aplomb, starting with the removal of her hat pin with great stage
business. She would set this on the side. Remember, they were performing the
round.
She would roll up the sleeves of her gown and she would do a one hand cartwheel
holding the train with the other hand!
Beth remembers Molly as vividly as being so dear.
She would
go out for a beer with the cast after a show.
Molly Picon with her sister Helen, 1978 |
She didn’t want to be alone, she
hated that. When she first started doing shows in Yiddish theater and have an
opening night, Yonkel would take her home after the party and read aloud to her
from The Rise and Fall of Western
Civilization to put in context what the evening in the world, that it’s
just a little something, that in the scheme of things, it’s not ALL that
important. It’s not the end of the world if it doesn’t go well. Beth will never
forget that Molly told her this. He was quite a guy.
The second summer, these costumes were going to have to be
worn by Julie Wilson who was going to take over for the last week of the tour
when they were in Corning. Molly had another commitment at the end of that
summer. She was carrying around that Julie Wilson, who was about eight inches
taller, would be taking on. This was not a happy time for Julie. Due to
personal issues, Julie was not prepared for this show. She was in the thick of
a very nasty divorce which involved a child custody battle. Julie was also
offered the Australian Company of Dolly prior to Carole Cook taking over
several years earlier. Her husband told her she would have no marriage if she
went off to do it. It is one of her biggest career regrets. Beth first met
Julie in the dressing room in Corning. She was absolutely beside herself
emotionally. She could barely put together a whole sentence, she was so
flustered and so nervous and so terrified. She was literally in the thick of a
terrible mess at home with lawyers and the like and was constantly on the phone
dealing with this at the time and had been in the midst of this for some time.
Julie Wilson |
Beth remembers that everyone was working overtime to get Julie through that
run. She was being led around. She wasn’t terrible. Julie Wilson can’t be
terrible but she didn’t know her lines. She was mortified and was constantly
apologizing to everyone. She is very strong physically woman. Beth remembers her
grabbing on to her arms. She was thanking Beth for being there for her. The rest
of the cast had been together all summer.
Beth is a huge fan of Julie’s and
this was heartbreaking to her. That was the most nerve-wracking part of this tour.
That was a scary time.
It was an emotional time for everyone. They had had such
a wonderful time with Molly. It is such a fun show to play. The audience is
having so much fun. It is up to the actors to have fun. When you do a show like
Dolly, the casting is so much fun. Fun people are required. It was fun to be
with on AND off stage. It was summer stock and everyone got attached and
playing bridge at night and drinking wine and just having a great time. The way
the tour ended was not the way everyone wanted the tour to end. Molly wasn’t
there and the show was kind of shaky. Actually, the theater in Corning was also
kind of yucky. Dorothy Churnik was the producer there.
Beth Fowler |
Beth, being absolutely honest with me says she is not “in
love” with Hello, Dolly and or Dolly Levi, although she did fall in love with
the Dollys. She pictures Dolly’s success based on someone iconic playing her.
She thinks it’s a very difficult role. The audience has to love “Dolly” in
order for the show to be a success. You have to KNOW Dolly from her first
entrance. She does also love the love story between Cornelius and Irene.
It
also has to do with that woman of a certain age who realizes that life is
passing her by. The man she had is gone and she really hasn’t been looking for
anything else. Then this surprise arrives in the form of this young man. It
brings out the “ribbons down my back” girl in her.
It brings out her youth
again. Beth was thirty-one years old when she played Irene the first time and
she was single. She could relate to Irene on a certain level. The fun part that
first summer was that Beth also had a wonderful Minnie Fay, Isabelle Farrell.
She had played Minnie Fay before on tour in 67 with Channing. She was dynamite.
Isabelle Farrell |
She did national tours of Irma La Deuce
and Sweet Charity as well.
Beth brought her sense of humor and her voice to Irene
Molloy. Audiences loved it when she sang Ribbons
Down My Back. It sat beautifully in her voice and it was her moment. Beth
loved performing that as well as the hat shop scene.
Beth had a background in
comedy and that served her well.
The following summer, many in the cast had been replaced,
and therefore, everything had to be readdressed.
Professionally, there was nothing carried forward throughout
the rest of her career from this tour. Personally, great friendships were
formed. Rudolph was played by Douglas Marland who went on to become Emmy nominated
for writing soap operas in the late ‘70s and early ‘80s.
When Beth married her
husband, Jack, Richard Rossomme
who appeared in both productions was their best man. Isabelle Farrell and Beth remained friends for years. In fact, they did 42nd Street together years later in Elmsford, New York. Life happens and careers take actors in different directions and they have since lost touch with each other. After Dolly, Beth and Molly continued to stay in touch and correspond with each other for a few years.
who appeared in both productions was their best man. Isabelle Farrell and Beth remained friends for years. In fact, they did 42nd Street together years later in Elmsford, New York. Life happens and careers take actors in different directions and they have since lost touch with each other. After Dolly, Beth and Molly continued to stay in touch and correspond with each other for a few years.
Beth thinks Broadway is ready for a Dolly revival. She won’t
venture a guess as to who might do it.
One of the many Dollys, Yvonne De Carlo |
Hello, Dolly has
given audiences a sense of community as time has gone on.
When you go to see a
show that you know has seen virtually by everyone in the English speaking world
in one form or another, you feel part of that community. You love that feeling
of familiarity and universality in the music and the score.
That is what is
wonderful about this show.
When Beth did Hello, Dolly in ’71 and ’72, she was very new
in the business. She had had some experience. She had stood in for a Broadway
star in Gantry. She was not treated
as “new”, but she still felt like she was the new kid on the block. She was
thirty one years and only had been doing it a few years professionally. She was
still learning. She learned from Mickey Deems about timing. She picked up a lot
of tricks from him. She watched Molly all the time and learned comedy timing
from her, as well, to take your time and listen and use the audience. They are
a member of the cast.
A scene from Milk and Honey in which Robert Weede milks a goat onstage while Mimi Benzell and Molly Picon look on |
She used them and they played their part.
Beth learned
from her as she would years later with Hermione Gingold.
They were old pros.
Beth did not do it with deliberation. It was an awareness she had.
“Don’t
forget this, Beth. Pay attention to what she is doing”, she would say to
herself.
Although she doesn’t know him very well, Beth loves Jerry
Herman.
The only time she had the privilege of performing for him was when a
tribute was done in his honor at Carnegie Hall with the Gay Men’s Chorus. Beth
sang If He Walked into My Life. Jerry
was sitting in a box seat house left stage right. David Krane played a special
arrangement that he had written for Beth. Piano was the only accompaniment that
she had. She was very nervous. Jerry was sitting on his feet. By the time she
got to the second verse, he was sitting with his hands on the edge of the box,
by the time she got to the last part; he was virtually hanging over the box. He
was crying and that is Beth’s quintessential recollection of Jerry Herman
responding to her singing one of his songs. She saw him at the party afterward
and he was very gracious.
Jerry Herman |
Beth has had and continues to have a rewarding career. When
something comes along that gets her juices going, she grabs it. She now says no
a lot. 2012 has been a busy year for her. She is very excited
about an upcoming production of Flashdance,
the musical.
She recently did a workshop production which is about to go on
tour. Several of the principals from the workshop will be going into the
production when it hits Broadway. Everything is crossed that everything is a go
in 2013. They did a brilliant workshop at the Baryshnikov Center. Sergio Trujillo was and is the director and choreographer of this NY based workshop and twenty six week tour of FLASHDANCE which is planned for Bway. He was the choreographer of both JERSEY BOYS and MEMPHIS! It
will then go into rehearsals in August for a Broadway opening. It’s a wonderful
part and a reworking of the Flashdance
that was done on the West End in London and toured in London.
Beth Fowler and Richard Kline Don’t Talk to the Actors |
They have totally restructured and reworked it. They are
approaching it in a whole new way and it Beth is looking forward to that. She
is also doing a series called Orange is
the New Black in which she plays a nun in jail. Beth is sorry to see Gossip Girl closing because she was
called in from time to time to play the mistress of ceremonies at the debutant
balls. She had a wonderful time playing opposite Richard Kline for the second
time up at Joe Brancato’s Penguin Rep up in Stony Point, New York. They chewed
up every stick of wood in that barn! They had entirely too much fun. It was hilarious.
Beth feels that she has a responsibility to share with the
next generation the theatrical tradition that she came out of. There is not a
feeling with tradition for most that are coming up in the business these days.
There is a sense of entitlement now. It’s not easy and you don’t just jump in
and become a star because that’s the way they’ve seen it done on TV. You have
to pay your dues. Beth had plenty of jobs that were a pain in the butt, but she
had a good time. When she got out there on that stage and she was with good
people, she was having a good time. She has been in shows that closed opening
night. She still gave her heart and soul. When they closed, it hurt her. It was
like a piece of heart was ripped out, but you do it. When Take Me Along closed, Beth said she was going back to teaching. She
just couldn’t do this anymore. A couple of years later, Baby came along.
In closing, Beth loved her experience with Dolly. She loved
Molly. Everybody did. Molly Picon was so funny and sang really well. She was
also a great dancer and really danced those numbers.
It was a special
heart-warming time for Beth. She found herself surrounded by wonderful and
talented people, all led by Molly. There was a lot of heart in that production.
Beth doesn’t know if it was as a result of the casting, but it was just a happy,
warm experience that she wishes she had also experienced with a lot of other
shows that she did. It truly was a happy time.
Thank you Beth Fowler 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 desire 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... My interview with Margaret Rose: Costumer and dress designer for Carole Cook
Thank you, to all the mentioned in this blog!
I'm celebrating
Pamela Luss on Thursday, November 15th, 2012 at 9:30 pm
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 Beth Fowler 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 desire 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... My interview with Margaret Rose: Costumer and dress designer for Carole Cook
Thank you, to all the mentioned in this blog!
Here's to an INCREDIBLE tomorrow for ALL...with NO challenges!
Pamela with Houston Person at The
Metropolitan Room in NYC
Just The Two Of Us and Friends
Hope you can make
it. It’s going to be a party!
Reserve today if
that date is available! Call me if any questions!
Richard Skipper 845-365-0720
Richard Skipper 845-365-0720
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!
Comments
Post a Comment