David Wylie (Director: Patrice Munsel in Hello, Dolly! 1984)
David Wylie |
“The artist’s task is to save the soul of
mankind; and anything less is fiddling while Rome burns. If artists cannot find
the way, then the way cannot be found.”
-Terence McKenna
-Terence McKenna
Back in 1994, just
as Carol Channing was about to open in Denver for what would be her last
national tour of Hello, Dolly!, famed critic Richard L. Coe wrote in the
now defunct Theater Week Magazine, “Every couple of decades or so comes a rich,
vivid role so suited to its creator that theatrical history is made.
Yul
Brynner so audaciously captured The King and I that in the billing for
several of the revivals, the I of Gertrude Lawrence’s original portrait
was obliterated into strikingly small type indeed.”
Richard Livingston
Coe (1914–1995), born in New York City, was a theatre and cinema critic for The
Washington Post for more than fifty years. Coe was renowned for the astute
advice he gave to many pre-Broadway try-out companies. The above comments are referring,
for the most part, to Carol’s indelible performance as Dolly Gallagher
Levi.
The International Dolly, Mary Martin |
Over the past fifty years, Hello, Dolly!
has given audiences around the world a sense of pure joy! As far as the
Carol Channing Hello, Dolly!, David Wylie doesn’t think there
is anyone who has ever seen the stage show or Carol on television as Dolly who
will ever forget that experience or her....he cannot even think about it and
her without smiling. He thinks that anyone who has only seen Barbra Streisand
in the movie, still relates the role of Dolly to Channing. It’s just a “given.”
Many actresses have
made Dolly Levi their own. It may take a woman to make Dolly Levi a living,
breathing person, but it takes a director to get her there.
One such actress
who took on the persona of Dolly Levi was Patrice Munsel, at Louisiana Tech
University in 1984. The young director who assisted her in getting there was
David Wylie.
David first fell
in love with Hello, Dolly! when he
had the opportunity to see it on Broadway in 1964, and has continued to love it
to this day. The show, the characters and the music are timeless.
David has an
intense passion for this iconic show. He directed the production that starred
Patrice Munsel, the American coloratura soprano, and the youngest singer to ever
star at the Metropolitan Opera. She was given the nickname…"Princess
Pat".
David’s Hello,Dolly!
story begins a few years ago. He received his Bachelors and Masters
degrees in voice and opera. After
singing in the United States and Europe for a number of years, he accepted,
while continuing to perform for another 10 years, a teaching position at his
undergraduate alma mater, Louisiana Tech University. In addition to teaching studio voice and
related courses, one of David’s many responsibilities was Director of Opera and
Musical Stage Productions. He would select, cast, produce and direct the spring
musical. Their productions were
cast primarily from the student body and community, and used university
resources, with the occasional rented drops and costumes.
As a novice
director, David was determined to bring the best of traditional musicals to his
audiences and make use of all the local talent. No, No, Nanette, South
Pacific, and Annie Get Your Gun
were among them.
As for the Louisiana Tech production in 1984, it was really
a turning point for their university musicals. The performing arts facility,
which included two theatres and the music and theater departments went into
massive renovation in the Fall of 1982, and was scheduled to reopen in the
Spring of 1984. The main theater would seat 1125 people. The university
President asked David to look into bringing a major star to campus in a musical
that would open their new performing arts center, and basically gave him a
“blank check” for the production of his choice.
The Dallas Summer Musicals provided wonderful shows, many of
which were national tours, and was not a very long drive from Ruston. David
went to see the 1982 touring production of Hello,
Dolly! with Carol Channing and knew
that this had to be high on his list of priorities, but on a much smaller scale
for them. The search for the perfect show began. Shortly into 1983, David found
that the physical touring production he had seen in Dallas was available to rent
and was actually being stored in Dallas. The costumes from that tour were
available through Eaves Brooks, so the next step was to find his Dolly
Levi.
David did a lot of research into the ladies who had played
Dolly on and off Broadway and in regional productions. David spoke with a
number of them and they were either not interested or the time frame didn’t
work with their schedule. A colleague of David’s at a nearby university
suggested that he consider Patrice Munsel.
He had seen her perform the role and knew that she had done several
productions across the country.
Patrice Munsel |
He gave David her contact information and David
made the call.
He was surprised when she answered the phone herself. He introduced
himself and gave her all the details and she couldn’t have been more gracious.
She asked him some additional questions and said that she loved the South,
their food, their warm hospitality, and of course, Hello, Dolly! She had her
secretary check her schedule while they talked about the production. Moments later
she agreed to his offer. And so their Hello,
Dolly! adventure was about to begin!
David had read The
Matchmaker, and after reading the musical script and searching through the
score for ideas, he realized that it was wonderful the way it was. The way it
was written, it practically ran itself from beginning to end. He knew that
things would need to be adjusted in the way of choreography, and to accommodate
a guest artist who had done the role before. It was an “amateur” production, so
the strengths and weaknesses of the cast members would have to be taken into
consideration as he cast the show.
1984 was David’s
fifth year of college teaching and directing, so Dolly and its success would have a tremendous effect on him. This was a university production made up of
university students and community people. They were in class or at work all day
and came to rehearsals in the evenings, so yes, there were a lot of “pep
talks.” Every director gives them. There
was never a lack of excitement or enthusiasm for what the cast was doing, it
was just something else to add to their already full day of activities, and
they needed to change their focus. They never stopped having fun from the
minute the rehearsal period began, but they were also very serious about the job
at hand. Of course, rehearsals were staggered with blocking, music and
choreography so they were full evenings and weekends. He feels that the cast
remained completely positive from the beginning to the end for so many of the reasons
we have discussed previously. When Pat arrived, the “pep” was always present.
He gave “notes” after rehearsals as they got further along in the process and
began to run full scenes and acts and the entire show.
After the dress
rehearsals, things were pretty well set, and aside for something unforeseen
happening, it was “kudos” to all for a job well done. This was a serious, fun
loving group of people, but very professional in their attitudes. David has always
been a firm believer that every cast member of a show know the story and who
they are and what they are doing on stage, where they are coming from when they
enter, and where they are going when they exit.
Staying in character is so
important at any level. He and his production staff watched the movie and after
reading the script, etc., discussed what they felt they could do to make their
production a success. After the show was cast, there were several full cast
meetings where they all watched the movie, talked about the story, each
character and what they thought they should do, and how they wanted to approach
their parts. David laid out the ideas that he had for the show. He liked to
give some creative expression and freedom to actors at any level of competence,
but eventually all those thoughts would have to be put together into one idea.
The physical
production and the music were gorgeous and just fell into place with guidance
from the vocal director, the choreographer and perhaps some assistance from him.
The actors emerged as their characters and related to each other and the
audiences so much more than David could have expected from college age students
of all academic disciplines and townspeople. They had a great time at every
rehearsal and worked very hard. When Pat arrived, the entire atmosphere became
even more electric and just accelerated until opening night and throughout
their brief run.
There was also
the knowledge that Pat Munsel had done the role and would have her own ideas to
contribute to her character, her stage movement and everything that she would
be a part of. Nothing could be cemented until she arrived. The complete show
was blocked and choreographed around his ideas, the general outline of the
productions he had seen, and the directions in the script and score prior to
her arrival.
They, of course, had
an advantage from the outset with the gorgeous physical production and Pat
Munsel as Dolly Levi. They only played three performances, but it really helped
that the audiences came out in full force and continued to want to be a part of
their musicals every spring. They had “sold out” houses for the Dolly
performances.
From the moment
Pat arrived, David knew they had a hit on their hands and a perfect Dolly Levi
in their midst.
They began by running the show for her to get a feel for
everything that had been done prior to her arrival. They had an understudy for
Pat throughout the entire rehearsal process who sat in on rehearsals after Pat
arrived and did one dress rehearsal and the matinee performance as Dolly for
the area schools the day before they officially opened. Having done the role,
Pat had a few changes and ideas that really only affected her interpretation,
but immediately established a wonderful chemistry with the entire cast.
She
drew them in like a magnet. She asked for his directorial thoughts about many
things. She laughingly
said, “If it is alright, I am accustomed to making my entrance or exit from the
other side of the stage so I don’t confuse the cast.” She became Dolly Levi the
moment she took the stage, which made his job easier and such a pleasure. The
cast reacted to her like they all had been doing this together for months. It
was a huge production and undertaking. He
proved to himself that he was up to the challenge. It gave him more confidence and belief in
his ability to be a good director of opera and/or the musical theater. There
was always something new to be learned and assimilated in directing and working
with people on stage, but this really was a “shot in the arm” for a young
director to chalk up to some valuable experience..
To sum it up...”what
a joy it was to direct Pat Munsel in the role.” They have remained dear friends
to this day.
Hello, Dolly! is a great introductory
musical for those people not really familiar with the musical theater hits of
Kern, Rodgers and Hammerstein, Lerner and Lowe, Cole Porter and the like. The
word that comes to mind is “awareness” that this is a great art form.
David doesn’t
know that he would do anything differently today directing Hello,Dolly!
He would be a
more experienced director and that might loosen the reins a bit on the entire
production. David may have been a bit cautious in 1984 given the circumstances.
Since the
original cast recording had been issued before he saw the show in New York, it
was a “must have” before his trip. From the moment the “Prologue” began, he was
hooked. It was infectious and so happy and full of fun and anticipation of the
wonderful musical and theatrical experiences audiences were about to have.
It
is amazing how Jerry Herman develops the story line and introduces each
character with their individual musical number. Lilting melodies and harmonies
fill the score. The orchestration, not
to mention the lyrics themselves and how they make the characters and music come
to life throughout the show are wonderful.
Looking at the song list, each
number adds to the story and propels it right along to the next scene, and
introduces the next character and story line. Each one is a “gem” in itself.
Carol Channing
was unmatched in the role. All the ladies who followed her had their own
wonderful things to add, but she was “Dolly Gallagher Levi.” And, of course,
she became an institution and known for that role, and the greatest exponent of
it ever. She had a way of singing and acting on stage that made everything work
as only she could.
David had only
seen Carol in the role. He had seen clips and excerpts from Pearl Bailey’s
performances and feels that she and her cast really brought another wonderful
side to it, but one just a glorious and joyous as the Carol Channing
production. Pearl Bailey and Carol Channing are “cut from the same comedic
cloth!” The remaining leading and supporting roles in their productions were
artfully cast and couldn’t have been any better. There obviously have been
better singers and perhaps better actors in the role, but Carol Channing set
the standard for who and what Dolly Levi should be and that has never been
surpassed in David’s opinion.
From the day that
he picked Hello, Dolly! for the musical
in the spring of 1984, David knew that whatever path it took, it would be
great. And after casting the show, acquiring the sets and costumes, and most of
all, Pat Munsel.....it was great! There wasn’t any aspect of the production
that wasn’t great!
David grew up
surrounded by music of all kinds, but primarily classical music and opera. Pat
Munsel joined the Metropolitan Opera in 1943 at the age of 18, and remained
with the company almost 20 seasons. As a
young boy growing up, David’s Mom enjoyed listening to the Saturday afternoon
Met broadcasts on the radio. David would listen with her many afternoons after
a morning of playing outside and knew who Patrice Munsel was early on, and even
heard her sing a few times on the broadcasts. She was well known in the opera
world and went on to star in operettas, films, have her own variety show on
television in the 1950's and her own Las Vegas show. She also portrayed the
majority of the major Broadway leading ladies across the United States
throughout her career. He was a bit nervous, but very excited to have the
chance to work with her and wanted to make this experience as wonderful for Pat
and everyone involved as it could possibly be.
During his
academic career, he directed about 15 musicals, operas and operetta productions
over the years. Dolly is by far one
of David’s favorites. The other productions they did that included Broadway
sets and costumes were Fiddler on the
Roof (1985 with John Raitt as Tevye) and The King and I (1987 with Patricia Wells as Anna). One cannot go
wrong with any musical from that “golden age” of Broadway. David tried to
include as many shows and composers as possible in his repertoire for his
audiences, as well as introducing new composers and shows to them.
David had a good
concept of Dolly to begin with. How
could he not be excited about this show? The icing on the cake for David was
the fact that they acquired not only the Broadway sets and costumes, but a
major star in Patrice Munsel. If nothing
else, David brought a youthful enthusiasm and excitement to the production.
He was flexible
to a certain point in the direction he desired the production to go, and always
open to suggestions from his cast and creative team during the process. His creative
staff could not have been better and more enthusiastic and easy to work with.
That made for success. As an actor and singer, David was able to look for
physical as well as vocal characteristics to enhance the characters that would complement
what he thought Pat would bring to the show.
The production
was pretty well set in place prior to Pat’s arrival. Once she came “on board,”
whatever “tweaking” that needed to be done happened in that time prior to dress
rehearsals. Most everything fell into place by then. Obviously, there were
things that might change before and during a run, but the general look and feel
of the show was in place. Pat was in Ruston for a week prior for
rehearsals and performed two of the three dress rehearsals and three
performances.
Their Irene
Molloy was a former Music Education major and a community member. David thought
she was perfect for the role. She looked the part and sang beautifully. She had
the strength and determination that Irene needed, but also that vulnerability
that made her such a wonderful character. Her comedic timing was perfectly
natural. She and the student cast as Minnie Fay were a perfect pairing of
comedic and physical characteristics and combined just the right chemistry on
stage.
The one thing
that David took from this production and continued to carry with him throughout
the rest of his career was the confidence in his ability to direct just about
anything, to meet any and all challenges “head on” and be successful. Here
again, we are talking about a university production with basically amateur
performers of college age. As for the management of the show, the music and
theater faculty assisted with each of their specialties. The orchestra was made
up of students and faculty musicians with a music faculty member as the
conductor. The choreographer was a student and herself a dancer. The stage crew
was overseen by the theatre technical director and was made up of students, as
were the costume and prop crews. The “front of house” and publicity crews were
made up of arts and business majors. Any student was given elective credit for
their participation in the production if they so desired. It all ran smoothly
after all the ground work was laid out and guidelines set for what needed to be
done and how important the success of each area was to the entire production.
As stated
earlier, Pat had done several productions around the country, so David knew
that she would have her own ideas about things that she would like to do. Those
things would not really affect any major staging of the show, but more with
those characters with whom she interacted.
He had already laid the general groundwork for the direction and
staging of the show when she arrived and she saw what he had done. David asked for her thoughts about what she
liked and what things he could adjust to make her feel more comfortable. They
were almost to dress rehearsals, so major changes would be difficult and she
knew that.
The overall
staging was perfect for her and she went about adding and subtracting things
about her character to fit their production and her Dolly with the characters
around her. She fell in love with the cast, and they with her. She had such a
great time and that meant they all did. She had a couple of arrangements for
songs in the show that had been done for her in more comfortable keys. That was
easy enough to fix, since she sent them ahead of her arrival for the orchestra
to work on. She was just lovely and gracious and so full of fun and “mischief”
as only a Dolly Levi could and should be.
Her comedic timing was flawless. Her
characterization was impeccable and truly her own creation, so that was a bonus
for everyone. She was already the consummate artist, singer and actor
with a world of experience to her credit. Her Dolly brought out the best in
everyone. She was a true professional in every sense of the word. How could her
Dolly Levi not be memorable?
Her Horace was
David Buice, a member of the Ruston community and the Louisiana Tech Department
of English. This was the first of David’s musicals he auditioned for. He went
on to portray Lazar Wolf in Fiddler on the Roof and the King in
The King and I. He was a fine actor, having done a number of plays over the
years prior to this time. He didn’t call himself a singer, but he was eager,
willing and ready to learn, and so he did. He became a very competent singer as
the time went on and did a great job with each of the musical characters he
portrayed. He was a joy to work
with and did his homework on his characters. His Horace was the perfect foil to
Pat’s Dolly Levi. They had a wonderful chemistry from the moment they met and
it just blossomed during the entire rehearsal and performance process. He was
just blustery enough, but also vulnerable as the aging bachelor from Yonkers
seeking love. David thinks Buice found another dimension to his acting skills
in the musicals that he didn’t know he had.
David cannot talk
about Cornelius without talking about Barnaby at the same time. To him, they
are inseparable. Cornelius and Barnaby were non music majors, but very fine
singers and actors. What made them so wonderful a pair was that they were
physically different body and voice types. Cornelius was a big guy, not fat,
just big, and a baritone. Barnaby was of a smaller frame and a tenor. That was
comedy ready to happen, and David really played to it as far as he could. They
were a perfect pair and had great chemistry and comedic timing. Their scenes
with Horace were hilarious. They were also a perfect fit for Irene and Minnie
Fay. In the hat shop scene, the laughter never stopped. When Dolly and Horace
were added, it just was a masterpiece of comedy and choreography. They both had
their ideas about who their characters were, and together they worked those out
to perfection, knowing they would be involved with the other four characters a
great deal. David loved them together. Cornelius led the way most of the time,
but out of nowhere Barnaby would come forth with something unexpected and
hilarious.
When asked if he
could think of other ladies he would like to see play the role, David said he
thinks that Pamela Myers (Company) would be a perfect Dolly Gallagher Levi, and
if he had the opportunity, and was a bit younger, would love to play the role
of Horace opposite her Dolly Levi! David and Pam have known each other since
the mid 1970’s when they did The Most
Happy Fella at Wolf Trap. She is a fabulous person, singer and wonderful actress.
David feels that
Jerry Herman is a giant among the composers of our time! From Milk and Honey
in 1961 to Jerry’s Girls in 1985, look at the stories, the different,
memorable characters and the music that fits so perfectly for each role and
into each score. David can name and probably sing parts of songs from each show
Herman has written. What a writer of melodies and memorable tunes he is. The
orchestral and vocal writing is superb. He always manages to set the characters
apart from the others in his other shows. They each have their own incarnations
and development in character and music....in a word...Fabulous! And the fact
that his shows are having so many revivals and being done all the time is a
testament to his staying power as a composer in the musical theater genre.
When David thinks
of a show stopping number, he thinks of something big, as in title number from Mame. The shows lead up to the introduction
of their leading ladies and musical numbers. What could be more exciting than
that? There are a couple of scenes leading up to the Harmonia Gardens and the anticipation
that Dolly Levi is going to return after quite an absence. The set, itself,
with the staircase is a show stopper waiting to happen. Throughout the minutes
leading up to her arrival, Rudolf is running around telling the waiters to get
ready. We have the meeting of Horace and Ernestina, the loss of Barnaby’s
wallet at dinner with Irene, Cornelius and Minnie Fay….and the famous “waiters
gallop!” The musical number is fabulous! Dolly’s descent down the stairs after she
appears in the doorway at the top cannot be beaten. She exudes such nostalgia
between herself and the waiters and it is obvious how much they adore her. If a
production is fortunate enough to have a “Dolly” ramp out around the orchestra
pit, this just adds to the excitement and to the show stopping moment. The
choreography with her and the waiters as they make their way around the ramp is
a moment all its own.
You could say
that there were three opening and closing nights given their situation at
Louisiana Tech. Of course, the last performance was very sentimental as Pat
would be leaving and all the cast and crew members would be returning to their
lives as students, teachers and working professionals. Each night, Pat was
given bouquets of roses at the curtain call and each night she recognized the
entire cast, orchestra, and crews, as well as the university, the university
president and the Music Department for asking her to be a part of the
production. She urged the administration, the audiences and community to
support what Tech was doing in the arts! There is a DVD and I believe it includes
Pat’s remarks following that performance. She was so very gracious and
surprised with all the things that had been done for her during her stay.
David would do
another production of Dolly in a “New
York” minute. Without a doubt, the 1984 Louisiana Tech University production of
Hello, Dolly! was without a doubt a wonderful
and joyous musical and theatrical experience, and one that he will never
forget!
Having read all of your blog entries over
these past months and who you were planning to interview or already had talked
with, I cannot imagine that you will miss anyone. CONGRATULATIONS!!!!!!!! What
an accomplishment this is for you and such a wonderful tribute to Carol
Channing, “Hello, Dolly!” and everyone that has been associated with so many
productions since its inception. And thank you, Richard, for asking me to be a
part of this adventure and letting me share my fond memories of my “Hello,
Dolly!” with Patrice Munsel at Louisiana Tech University in 1984!!!!!! It has
been an honor and my pleasure.
-David Wylie
Thank
you David Wylie for the gifts you have given to the world and will continue
to give!
With grateful XOXOXs ,
With grateful XOXOXs ,
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 Beth Fowler (Irene Molloy, Molly Picon's Production of Hello, Dolly! Summers of 71 and 72)
Thank you, to all the mentioned in this blog!
Here's to an INCREDIBLE tomorrow for ALL...with NO challenges!
Please
join our party Tomorrow night for another great artist: Mark Cotter at The
Metropolitan Room at 9:30PM! Here is a blog I recently did on him: http://richardskipper.blogspot.com/2012/10/welcome-back-mark-cotter.html
If you can make it Thursday night, let me know and I
will add you to our party!
Keeping Entertainment LIVE!
Richard Skipper Celebrates
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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