Christine DeVito: Ermengarde, 1994 National Tour and ’95 Broadway Revival of Hello, Dolly starring Carol Channing
Christine DeVito, Opening Night ((photo courtesy: Christine) |
As it is with many of the generation of the end of the
sixties/early seventies, Christine DeVito’s earliest memories of Hello, Dolly are of the movie starring
Barbra Streisand. She was not aware of any live production of Dolly prior to that.
She doesn’t remember how old she was at the time but she
does recall being attracted to the dancing and the big production numbers. Christine
was three when the film first came out so she is assuming that she was probably
in middle or high school by the first time she saw it on television. Years
later, Christine would go on to appear as Ermengarde on stage in the thirtieth
anniversary tour and Broadway revival starring Carol Channing in 1994 and 1995.
Christine performed in her high school musicals and attended
the School of Performing Arts in New Milford Conn., studying dance, voice and
acting. She went on to attend the Boston
Conservatory of Music and built up her resume performing in summer productions
and dinner theatre. Her first big break was with Jerome Robbins’ Broadway. She was a replacement in the Broadway
Company and did the last three months of the Broadway run.
They were going to
take the original company on the road so she wasn’t originally asked. Fate
intervened, someone dropped out, and she did the tour with Karen Mason. She was
told she had two weeks to get ready. Jerome Robbins was coming in to work with
the company. She didn’t get recast to do what she was doing on Broadway. This
time, she would be doing a different track. She also had to cover. She did the
entire national tour of that production which was a fabulous experience. It was
also stressful whenever Jerome Robbins showed up wondering how he was going to
be when he arrived.
Will Mead who worked closely with Gower Champion AND Jerome
Robbins said that when Gower arrived at the theater, everyone upped their ante
because they genuinely desired to please him.
When Jerome Robbins arrived at the theater, everyone upped
their ante because they were afraid they were going to be fired!
Christine
never worked with Gower but she agrees with that assessment of Robbins.
Christine relationship with “Mr. Robbins” was that she was the short girl who
was brought in to replace someone. She proved herself. If you weren’t fired,
you were approved. It was a REAL National tour, not like the ones of today’s
world. She was in LA for six months; they went to Japan for three months.
They traveled all over and were treated very well. It was a
big tour and, once again, a great experience. There was a lot of pressure to
live up to the quality of what was expected on stage. She was thrilled to get
to do that.
When that ended, she came home for a short while before departing
again for a European tour of West Side
Story. That was where she met her husband and that was great because of all
of the traveling they were doing together all over Europe and getting paid to
do so!
George Abbott visits the cast |
Although it was a European tour, they traveled with an American
orchestra, Wolfgang Bocksch produced.
They did a lot of West
Side Story tours. This tour had already been up and running when Christine
joined the company in Paris and traveled Europe for about six months. She has
such love for Jerome Robbins’ chorography so it was great to continue with
that. When that tour ended, she came back home and auditioned again for Cats as
she had done many times previously. This time was a charm. She got cast! She
was with the Broadway Company of Cats
a little over a year. THEN, Hello, Dolly
came up.
Christine went to an EPA (Equity Principal Audition). She
auditioned for the late Mark Reiner, who was the casting director. She went in,
sang her song, and he asked her to cry. She did her “Wah wah wah” and she got a
couple of call backs. She had originally auditioned for the Paris company of
Dolly when they were looking for replacement dancers.
(Lee Roy Reams directed
this production starring Nicole Croisille). She auditioned and wasn’t right for
it but Lee Roy saw her dance at that audition. Several of the people who ended
up in the Channing Company were a part of this company.
When Christine had her call back for the Channing company,
he remembered her.
When she got cast, he
often commented that it was a shame that Ermengarde didn’t really get to dance
that much because he appreciated her technical skills as a dancer. The fact
that she had auditioned for the Parisian company was probably helpful in terms
of her auditioning once again for Lee Roy. She sang her song for Lee Roy, read,
and met Carol.
She still remembers the way Carol pronounced her name,
“Christine DeeVVViiiitttttooooo…”
Christine shook her hand and then a group of them were taken
into another room with different gentlemen who were being considered for
Ambrose. There was a lot of mixing and matching with the different Ambrose’s
and Ermengardes.
Christine was not the first choice. Susan Bernstein who played
Minnie Fay in the Paris production was first offered Ermengarde. They were
offering Minnie Fay to someone else so Susan declined. Christine is not sure
whether or not anyone else was offered the part but she was thrilled.
Christine was somewhat torn because her vocal coach asked
her why she was leaving a Broadway show to go on the road. Christine’s response
was its Carol Channing.
It’s Hello,
Dolly! It was a big “international” tour. The plan also was that the show
was going to Broadway. Christine had auditioned so many years to get into Cats and head only been in the show a
year. She could have stayed in that show for a decade and danced all that time.
Her partner, Roger Kachel, who has since passed on, had finally gotten adjusted
to her and vice versa and she had settled into the show.
According to Dance Magazine, Mr. Kachel learned every male
role in Cats over the course of 11
years, having performed in four different "Cats" companies as a swing
member. On the other hand, Cats was a
very grueling show physically. That aspect also entered into Christine’s
decision. Christine knew that this was an amazing opportunity AND it was a
white contract, a Principal contract.
As a chorus dancer, you never know how
many of those will come your way, even thought it was a small role. She also
got to understudy Minnie Fay.
She did get to go on a couple of times. There was one
memorable time that she did go on which we will come back to. She made the
decision to leave Cats and she never
regretted that decision. She is so happy about what transpired.
She was still performing Cats
at night when she was in rehearsal for Dolly.
She overlapped the two as much as she physically could. They rehearsed in New
York with their first scheduled stop being Denver.
This was all leading up to Broadway with a last stop at The
Kennedy Center before Broadway.
Going into this show with a star of Carol Channing’s
magnitude, Christine did not know what to expect. Would she speak to the cast?
Would she speak to them? Would they interact? As has been reported with
previous companies, Christine does not recall being given instructions on how
to interact with Carol. Everybody just wanted to take her in. She had a little
tent set up in the rehearsal studios for her changes.
Cory English, Christine, Lori Ann Mahl |
Lee Roy Reams and Company Members |
She would go in to have a snack or change her clothes or
whatever. She changed her skirt a lot to get the feel of different costumes.
Christine just threw herself into the proceedings.
The thing that was different
for her was, although her part was small, in the beginning of the show, she had
a lot of physical contact with Carol. She was a stranger obviously at first.
They didn’t know each other. She had to physically be with her and holding her
hand and remaining in close proximity. Over time, they got a sense of
togetherness…in the timing of the music and the timing of where they were
coming and going in the scene. Certainly in the first couple of months in the
tour, there was a definite feeling of pressure to really be there for her.
There had already been so many companies and so many people who had played
these roles. Were they living up to the expectations of what she desired when
she looked at you?
Christine felt like it was left up to her to do what she
wanted with Ermengarde.
She was never told what she must or must not do. She
played around with and tried different things with her voice and mannerisms.
She felt that if the stage manager didn’t like something she was doing, they
would tell her.
There was definitely a sense of “I hope I’m doing a good job. I
hope this is what she is expecting." Christine also felt like if she was not
“doing it wrong”, she was OK. There were staging issues early on in the
rehearsal process but never characterization issues, making sure she was ‘here’
instead of ‘there’ which caused traffic issues that they had to get past.
When they opened, that sense of another opening night was
intensified by the fact that they were opening with this iconic person.
with Jerry Herman |
It was
definitely a tingly feeling. Everyone knew that they were in a special
production. This was someone recreating THEIR role.
This was THE Dolly.
Everyone wanted to make sure that they rose up to the occasion…that the laughs
and timing should hit exactly where they should be. The reviews were great in
every city. Once that “whew” feeling passes, you get on a roll. You begin to
relax more and more. That took a couple of months to take over. It takes time
for everyone to get to know each other.
Jumping ahead, the Broadway opening for Christine was
particularly exciting.
She had done two Broadway shows before, but as a
replacement.
Christine's leg warmers are actually Monica Wemitt's gloves! |
You rehearse alone in a room, you have a put in, and you are
thrown on.
You don’t have that sense of “I’m starting this with this group of
people.” Because they did such a long tour before they got to Broadway, it was
also very difficult to keep that energy, that freshness for that length of
time. Having Broadway on the horizon, that wonderful thing that everyone was
working towards. So many people were making their Broadway debut with this
show. They all knew they were going to be together as a unit; working up to
that goal…but it was still a long time away.
For Christine, when you talk about Denver and all the other
exciting cities they played, nothing compares to that Broadway opening. Sitting
there on the settee with Carol, she would say one thing or move her eyes one
way and that New York audience would go insane. They sat there for what seemed
like minutes for the audience to stop laughing and/or applauding so they could
go on. Also, for Christine it was a REAL opening night.
There were also issues prior to the opening that I hope to
address in another chapter.
On tour the conductor was Tim Stella, who was also Florence
Lacy’s husband. Lee Roy Reams and others in the company have already expressed
how wonderful he was. Christine, as well, felt that he did an amazing job. Several
reviews, on more than one occasion, even cited how amazing this ensemble
sounded. For whatever reason, however, Carol was unhappy with him. She had him
replaced with Jack Everly. Jack Everly is an American conductor and music
arranger who serves, as of this writing, as Principal Pops Conductor with the
Baltimore Symphony Orchestra, Indianapolis Symphony Orchestra, Naples
Philharmonic Orchestra and National Arts Centre Orchestra (Ottawa, Canada) as
well as Music Director for the Symphonic Pops Consortium.
For the cast, it was
a difficult transition. It was a bit traumatic. There was a feeling on Carol’s
part that tempos weren’t what she desired. The rest of the cast, it must be
stated, did not feel that. It was something in Carol’s head that she needed to
do something about.
It was doubly difficult because Florence Lacy was married to
the conductor that was being replaced. Florence was a major player in the
company and this was very personal for her.
The Broadway run closed earlier than everyone hoped (after
118 performances). Carol and Company was surprised as to why they were not
getting a longer Broadway run. Out of all that hard work and all of those great
reviews and such a tight company and Carol being so fabulous and so well received,
why? Christine remembers Carol saying, “Well Manny [Kladitis, producer] knows
best.”
Manny says there were other commitments with the theater.
Christine remembers auditioning for casting director Jay Binder around this
time and him asking her, “What are you doing here? You’re going to run
forever.” They ran three months and were back out on the road. It was so sad,
especially for those who just made their Broadway debuts.
with James Darrah |
They just got there
and they had to go. That was really hard. That was hard for Carol, too.
It would continue on for six more months after the Broadway
run. Christine continued on for the extended tour but, very sadly, had to leave
the company ten days before the tour ended. That was heart breaking for her.
Many of the original company did not continue with the extended tour.
There was
also an influx of new players which Carol had to adjust to, as well.
It was
also a bus and truck when they went back out. They were doing shorter stays
which was more taxing on Carol and everybody. When Charles Lowe started to be
in not such good health, Carol wanted to be with the cast on the bus.
Instead
of being in her private car, she was right there with the cast on the bus. The
cast was concerned about Charles, who had been at every single show since day
one.
Lori Ann Mahl with Florence Lacy |
It was something very special for those who had shared in this journey
from the very beginning. They had been a solid production for over a year with
practically no changes in the company.
The plan from the very beginning was that this was going to
be an international tour. (See Carol’s curtain speech in my chapter on Matthew
Sipress). Everyone thought they were signing on for that. From time to time,
various “investors” from around the world would show up to see the show and the
cast were made aware when they showed up. For certain people, it was a
disappointment that THAT would not be happening. Christine had already traveled
to Europe and Japan in previous tours so she wasn’t heartbroken about that not
happening. Being on an international tour means you are farther away from
family and friends.
Looking back on this entire experience, Christine feels that
she probably took everything way too seriously at that time. She practiced her
“whaas” all the time in her dressing room and was asked on one occasion to shut up! She shared a dressing
room with Monica Wemitt but Monica never told her to shut up.
They not only shared
a dressing room throughout the tour, they also shared hotel rooms as roommates.
They haven’t seen each other in a while as of this writing but share many
special memories and a long distance affection for those times.
Monica was Carol’s standby and actually went on for her one
night. That was a tough day! She was told from the beginning that she would
never go on. It was a frightening day when she found out that she would,
indeed, be going on THAT AFTERNOON!
They didn’t really have a proper costume
for her, which was a shame.
They were piecemealing everything together for her.
No matter how Carol felt, she was a trouper and went on. In this instance,
however, Carol got a stomach bug and it was virtually impossible for her to
perform. She had to stay in the hospital because of dehydration. She was FORCED
to stay in the hospital for twenty-four hours. Christine remembers
scrambleness, nervousness, shock, and a lot of nerves.
Costumes were not ready.
Monica was not ready. Everybody was there for her. Everybody knew she could do
it. She is a fabulous actress, comedienne, and singer. Christine ran lines with
her and told her not to worry about the lines but to just get the gist of the
scenes. Everybody was there for her. Just keep moving forward. Unfortunately,
it could not be something for Monica to enjoy. The feeling was “Oh my God! I
have to do this.” Obviously, the audience was disappointed that they were not
going to see Carol Channing but Monica Wemitt rose to the occasion and the
production values were very strong. When you go on as an understudy, and
Christine has had previous experience as an understudy, the goal is to try and
not disrupt the other players show. She never got to go on many times in a row;
she only got to go on here and there. You know that as meticulous as you can
be, you’re never the same person you are filling in for. The way you hold
someone’s hand, the way you look at them is going to be a little different.
Being a perfectionist personality that she is, when Christine covered for
someone, her goal was not to disrupt someone’s show. She loved when she went on
for Minnie Fay and had fun with it.
During the first part of the tour, she went
on as “an ugly blonde”. When they were on Broadway, Tommy Tune was supposed to
be in the audience one night.
For Christine, this was a big deal. Lori Ann
Mahl, Minnie Fay, of course did not desire to be out that night. Lori Ann,
unfortunately was not feeling well but wanted to go on. Christine was told she
probably would not find out till half hour. It had been six months since
Christine last went on in the role.
Her parent’s also happened to be in the Bronx
visiting her grandma. Christine called her parents and told them not to leave
the Bronx that she might be going on for Minnie Fay that night and that better
get their butts to the theater, that this might be her only chance to play this
part on Broadway. She got the call that she was going to go on. It went very
well. She read one of the “Cherries and Feathers” lines and heard Tommy Tune
laugh out loud in the audience and she was thrilled.
Her parents got to see it.
It was her only time on Broadway as Minnie Fay and it was memorable. It was
meant to be.
Being with Carol Channing was a two and a half year
experience. Her relationship with Carol definitely evolved. With all of the
comedic women in the show, the beginning with her was a little tense. She tested
them a little bit on how they were going to fit with her in the show.
Christine’s wildest moment on stage with Carol took place
one night on Broadway on the Settee. Christine had to help her out with a line.
One thing that everyone realized that was helpful to Carol was not to
paraphrase and not to improvise within the scene. To help her, the best way was
to give her the line as if your character was saying it. She would hear the
actual line and know exactly where they were. Christine was able to do that. It
worked out very very well. Christine knew they were in trouble and thank God
the right words came out of her mouth at the right time and the right way.
Carol very much appreciated it. All of their relationships with Carol evolved,
as she realized that everyone was there for her. They were not there to compete
with her. They were ALL there to make sure that she could have the best show in
any way.
Once that happened, she was able to relax and she loved everyone.
Some of the funniest moments that Christine shared with
Carol usually took place on the cart leading into the middle part of Sunday Clothes.
James Darrah was always
at the front of the cart getting ready to push them out.
Carol and James always
had wonderful conversations during those moments. They got along great.
Christine always felt that she had nothing to contribute and would just sit
there with a grin on her face. She had her little Ermengarde hankie. When it
was about ready, she would start beating out the time as they were heading out
on stage: One, two, three, four, five, six, seven eight, “Ermengarde, stop
sniveling. Don’t cry on those valises…” Christine would do this so that Carol
and James would get a sense that they were all going out. They were embroiled
in these great discussions JUST before going out.
Carol realized what Christine
was doing and just before saying her lines, she would always say something
funny to Christine, things like, “I just ate a raw onion”, OR “I know what you
should be. You should be a jockey. You would do it so much better than anybody
else.” She knew Christine’s husband was a musician.
One time she said, “What
does he play again?” Christine said, “He plays the oboe.” Carol said,
“Everybody knows the oboe makes you go insane.” She would say these crazy things
to Christine seconds before going on stage! Christine never knew what was going
to happen on that cart. She and James would be conversing, she would say
something quirky to Christine, and off they would go.
One time Carol had a cold with a very runny nose. She wiped
her nose with her hand and it was full of “schmutz”. She looked at Christine
and also knew that Christine had to take her hand. Christine took her hand and
off they went in the number. She just looked at Christine with this expression
of, “I’m sorry!”
with Carol and Charles Lowe |
Christine brought a person who was always there ONE HUNDRED
PERCENT to the production.
She was constantly working on her character. She
doesn’t know if that was necessary, but for Christine, it made her feel like it
wasn’t just a slapstick moment and that she the character came from somewhere
more meaningful.
The Harmonia Gardens costume that Jonathan Bixby designed
for Christine for the Harmonia Gardens scene in Act Two was a work of art. It
was very heavy. Both of her costumes including the crazy Ermengarde hat at the
top of Act One were not exactly like the original Freddy Wittop designs. They
initially put her in a synthetic wig. Being a tiny person, Christine remembers
saying to the costume department that she needed to be in a human hair wig.
The
wigs were designed by Paul Huntley. Eventually, Christine was able to have her
wig switched to a human hair wig that looked more natural on her. She had a big
bow in her hair and she purchased little hankies to go with her dresses and the
costume department was cool with that. That was a bit that Christine brought to
her character. She always felt that Ermengarde should always have a hankie
because of her emotional state. Again, she was being very method about
Ermengarde.
Some of the wonderful things about Carol, this wonderful
star, affected Christine very deeply. She has tried to carry on and treat
others in a similar way.
She did wonderful things for the cast. As has been
reported previously, she bought out movie theaters for the cast.
She rented
gondolas in San Antonio, Texas and took the entire company out on gondolas
rides. She met with cast member’s families on stage when she was tired and her
feet hurt. She would meet with someone’s grandpa and say something nice about
YOU, not about her. She didn’t play the star. She talked about YOU.
She did
these wonderful gracious things. Yes, there were times when she was tired and
not feeling well, but she was there. That’s the type of entertainer Christine
aspires to be. Christine was not one for joking around backstage and she is
sure sometimes she was labeled as a “stick in the mud” with that.
Christine would look at someone like Carol and think, “Wow!
This is someone who steps out on stage and gives one hundred and ten percent
for this production and to please the audience.”
That’s what keeps entertainers fresh and the
show fresh. It is not about the star, it is about the new audience every time.
The show succeeded in every city they played. That can be
attributed to the themes of the musical that the Dolly Levi character brings
up. It is a joyous show about love. It is about relationships. It’s fun. It
makes people laugh. There is Dolly’s relationship to her late husband. She has
experienced this loss but still communicates with him. He is always with her.
These are all profound elements, themes, and images throughout the musical that
are still light and fun and slapstick that resonate with audiences. It is more
than just that because of those themes.
The worst thing about being on a tour of this length is
being separated from family. It was mentioned earlier that Christine left the
show ten days prior to the last performance. The reason for that was that her
grandfather was dying. It was so hard to go to Charles and Carol and say that
she had to leave. They totally understood.
Christine wanted to finish the show but did not regret her decision. She
got two visits with her grandfather prior to his passing.
If she had stayed,
she probably would have seen him for a minute. It was the right thing to do.
All of the touring Christine did was before 9-11. It was a different time to
tour. She is so glad she had that experience because she traveled and saw the
world. She saw many of the different states in the United States and different
countries. It just broadened her horizons to see different cultures. The last tour Christine did was Disney’s Beauty and the Beast in 2000. She also
did that tour with Monica Wemitt, once again being roommates! Christine had
left the company prior to 9-11. The company was in Boston on that date.
Christine recalls calling the company to make sure they were all ok and
thinking that she could have been out there with them, traveling on that day. They
used to travel with cutlery and coffee makers and irons and other sundry items
that you can no longer travel with. That is a thing of the past and security
and the hassles are now part of the experience.
Unfortunately, because Actor’s’ Equity is trying so hard to
hold on to jobs for its Union members, the sizes of the companies AND the size
of salaries have also been cut down. In the twenty years since Christine first
got involved, actors are making less money out on the road!
Just as she was embarking to begin the Hello Dolly tour, her
and her then boyfriend were doing a very grown up thing, they were buying a
house. He is now her husband (seventeen years as of this writing). When they
were in rehearsals, castmates were commenting on her very grown-up
conversations over the phone. She was trying to close a mortgage. The night
before she left for Denver at the beginning of the tour, he asked her to marry
him. She was planning her wedding the entire tour. Girls that were in the show helped
her pick out her wedding dress and Carol gave her an
entire set of champagne glasses for her china set. All of that was part of her Dolly year leading up to her wedding.
That made all of that tour even more special for her.
They saw a lot of Jerry Herman during this tour. He came out
a few times to see the show. He was also very pleasant to Christine. As
previously stated, they went to his home for a party in Bell-Air. It was a real
treat. Christine didn’t develop a personal relationship with him. She was
always respectful of “Mr. Herman.”
Hello, Dolly was definitely the most special show she did.
It had a lot to do with that “family unit” being together for a year, having a
company being together all the way through a tour and Broadway opening, having
that goal in common, supporting such an iconic star. There are so many
different elements. As mentioned earlier, add planning a wedding to that.
Once again, when they went back out on that bus and truck,
it wasn’t quite the same. However, they had the wonderful Lee Roy Reams playing
Cornelius Hackel! Christine, Lee Roy, and a few others became antiquing buddies
and that added to that part of the experience. That bus and truck had its own
special relationships as well. From start to finish, Christine definitely had a
sense of being part of something special. That was a really nice feeling.
at one of Carol's movie nights |
In
the past, as stated before, she had always been a replacement. She had a very
strong sense of this truly being one of those SPECIAL MOMENTS. Hello, Dolly is an
iconic show and one of the best musicals ever written and although she would
like on some level for their production to be the last production of Dolly on Broadway, it should definitely
come back. Christine’s dream Dolly would be Bette Midler.
She is a petite
actress but other petite actresses have also played the part.
As of this writing, The Signature Theater in Washington DC
is joining forces with The Ford’s Theater for a production that will be the
first production of Dolly to be presented in Washington for the first time
since Carol Channing’s production in 1995.
This production will star Nancy
Opal.
Rumor has it that they are removing iconic images such as the stairs at
The Harmonia Gardens AND Dolly’s famed red gown.
Christine’s immediate thought
is WHY!?!?! She guesses that as far as the dress is concerned, one could make
it their own if they desired to change it somewhat.
Dolly’s arrival at the top of the stairs is an applause
getter like no other. Why would anyone desire to take that away from the
actress playing Dolly? If Christine was the star, she would say, “Give me those
stairs!”
After leaving the Beauty
and the Beast tour in 2000, Christine began building a teaching career. It
was a very difficult decision for her to leave the performing aspect of her
career. As a younger person, she was meant to entertain.
That was her gift. She
is an all or nothing gal. IF she was going to be a teacher, she was going to
commit to that one hundred and twenty five percent to her students. She did not
like the uneasiness of not knowing what she was going to be doing. An
entertainer lives decades of asking the universe to just let them do what they
were meant to do. Being a tiny person, she was well aware that many jobs were
not going to be available to her. She had to be a relentless auditioner. Her
dream was to appear on Broadway and she accomplished that. Would she have liked
to do it more? Sure. But for her, she is satisfied.
When she first started teaching, she did everything acting,
musical theater performance, ballet, tap, jazz. That morphed into what the
dance studio really needed, that she be their main ballet teacher, she has been
at Broadway Bound Dance Center for twelve years. She is now Miss Christine. For
the past nine years, she also works at a skating rink (The Ice House) that houses
four rinks for aspiring competitive figure skaters and Olympic Athletes. She is
there as a ballet teacher, stretching coach and Pilates instructor. She helps
them with their programs if they need to be more graceful. She works on their
arms, their presentation, and performance skills. She really enjoys that,
because along with dance, she is very interested in physical fitness. Over the
years, she has expanded her studies and knowledge of Pilates. This has helped
her, as a dancer, not to have too many aches and pains.
Being married to a musician, her husband still plays on many
Broadway shows. She gets to go to those wonderful parties and still be part of
the scene. It is still so important for ALL of us to still support the arts and
funding for the arts. Everything is being slashed, dance companies, Broadway
companies, cutting down the sizes of orchestras. It is all really unfortunate.
Ticket holders are spending so much money on their tickets and there are now
fewer jobs for actors and musicians.
When she was on the road, a producer once
asked her if she wanted to be an actress or at home. She was always pulled
towards “I want to go home.” That also led towards her being a teacher and
leaving the business.
Christine once had a great teacher in Connecticut named
Arlene Begelman.
Paul Huntley who designed the wigs for this production of Dolly |
She headed a school of the performing arts (SOPA) for many
years. One thing that she did that Christine hopes to do for her students is to
be extremely honest with them. This is a tough business. It is a really
competitive tough environment.
You have to know where you fit in. You have to
be very prepared in your skills.
Most kids going into the profession nowadays have an
idealized version because of shows like American Idol. Unfortunately, so many kids today just feel they want to be
stars. They want to be famous and make money. Christine just wanted to dance
when she started out. IF she got paid, that was great. She did dinner theaters
all over where she made one hundred dollars a week before she got into the
union. They fed you, you were put in a house, and you were thrilled. With
computers and the internet, there is a sense of immediacy that young people
have now. They may be talented, but they don’t realize that there are thousands
of kids with the same skill level and how difficult it all is. Christine has
many students who, at the very least, desire to go on and be a dance major or a
minor. Christine feels that most don’t even realize how tough that is let alone
a professional career in dance or music. She tries to be honest with them and
share her experiences. She tells them how things have changed since her days on
Broadway and touring with less jobs and less pay nowadays.
Christine's husband, Dan Willis |
That is not the way
it goes in most professions. We may have seen the height in the nineties of
Broadway touring companies. We no longer see touring companies settling into
cities anymore for six months and paying Broadway pay.
That last night when Christine went in to say goodbye to
Carol and Charles to let them know that she had to leave the show because of
her ailing grandfather, and the cast creating a circle around her that last
night after the show, she stood there and just bawled.
No words could come out.
Life was now imitating art.
She WAS Ermengarde. She was overwhelmed that she
even felt that way after such a long run with this show. She remembers looking
over at Jimmy Darrah and how painful this was for her. The entire company was
sharing in this grief. She also knew that she was releasing her participation
in this production and that her understudy would finish what she began. Of
course, you desire them to succeed but there is a tinge of ownership. She
doesn’t remember the city but she remembers how tough it was AND she did get to
say goodbye to her grandfather. Her parents always supported her ambitions.
They knew nothing about show biz but they were behind her. They knew that she
kept getting shows! They thought it was working out OK.
Her grandfather always
asked if she loved what she did. He knew that was a special thing about her
job. Her grandfather was an Italian welder and when he saw her Broadway
paycheck, he had respect for what she was doing. That last time she saw her
grandfather, he told her it was time for her to stay home for a while.
Home
started out on Valentine Avenue in the Bronx but her family moved to New
Milford Connecticut when she was five.
Everyone has their own experience working on a production as
I am finding with this project. It was an unpredictable experience and that
made it exciting. They had a star that they didn’t know from city to city what
the reaction would be and how satisfying that would be for her.
Audiences did
come out because of their love of Carol Channing. Was she going to get enough
“volume” from them each night? Was she going to get what she needed to be
happy. There WERE times when there was a quieter audience. She wasn’t happy
about that. It didn’t mean the audience didn’t love the show. Bill Bateman said
she once said to him, “You can’t hear a smile!”
Being involved in
this production of Hello, Dolly gave
Christine DeVito a true sense of feeling a family in the theater. Not to be
corny, Christine felt this like she never did before or sense with a Company.
They WERE working together FOR Carol Channing. It was such a special thing.
Over the years, people in this profession lose touch with one another. This
company has remained in touch with one another. She feels like she can pick up
the phone and call anyone from this company and it will be like old times.
There was also drama between company members. There always is. But THIS was a
unit!
Thank
you Christine DeVito 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 Exclusive interview with Sarah Boone: Theatre Jax executive director Sarah Boone takes us behind the scenes of the theater company's 2009 Production of Hello, Dolly starring Harvey Evans and Pamela Myers
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!
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 Exclusive interview with Sarah Boone: Theatre Jax executive director Sarah Boone takes us behind the scenes of the theater company's 2009 Production of Hello, Dolly starring Harvey Evans and Pamela Myers
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!
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