Marge Champion’s Memories of Gower Champion and Hello, Dolly!
From 1964-1970, Marge Champion was special assistant on
Hello Dolly!, directed and choreographed by her then husband Gower Champion. She
was also taking care of two young sons at this time that this project began. She
was constantly shushing them so Gower could get some sleep. They wanted to see
their daddy, of course. He was divided between his family and another baby.
That baby was Dolly. When Gower came
on board, he worked around the clock on the show to make it the success it
ultimately became.
Gower Champion had a solid success in 1960 with Bye Bye Birdie, which was originally called Let’s Go Steady, produced by Ed Padula. It was a totally different script from the one
we know today after Gower got a hold of it. That led to Carnival which was produced by David Merrick with a book by Michael
Stewart.
The day after Carnival
opened on Broadway, Merrick assembled Gower, Stewart, and composer and lyricist
Bob Merrill to tell them that he had optioned The Matchmaker, which he had produced to become a musical. It was
an ingenious idea as John Anthony Gilvey says in his insightful and highly
recommended book on Gower’s career and life, Before the Parade Passes By: Gower Champion and the Glorious American
Musical.
“Even the story’s playful comedy and whimsical mood speak dance.” Stewart
very excitedly started the first of several drafts. Merrill turned it down when
he realized that Gower might be directing. He didn’t like the fact that he was
barred from rehearsals until Gower was ready during Carnival! They would work
together later on both Prettybelle
and Sugar.
Gower was reluctant to
take on this project due to past experiences with Merrick.
Gower was actually
not Merrick’s first choice for Dolly. He wanted Jerome Robbins. Robbins turned Merrick
down but said that IF he was to take the job; the FIRST thing to go would be
the Hello, Dolly number!
Jerry Herman had originally been suggested by Michael Stewart.
Jerry contacted Merrick who did not know whether or not Jerry could capture the
essence needed for The Matchmaker. Pretty much all that Merrick had to go on
was the Eastern European sound of Milk
and Honey. Herman used to joke that Merrick thought he was too “ethnic” for
the task at hand. Jerry got a copy of the script and went home and in three
days, wrote Hello, Dolly, Put On Your Sunday Clothes, I Put My Hand In with the Call on Dolly lead in, and I Still Love The Love that I Loved which
was replaced by Ribbons Down My Back.
Jerry was determined to get Dolly and arranged an audition for Merrick to hear
what he had to offer.
As we know, Jerry got the job. Merrick almost destroyed him
with the way he was treated. He was twenty six years old at the time. Merrick
was just a sociopath. There were songs that came and went on the road to
Broadway.
Jerry Herman had come
on board and Gower heard the score, he agreed to choreograph and direct Dolly, an Exasperating Woman as Hello, Dolly was originally called.
Gower met with Herman and decided to do it AFTER hearing the score and coming
up with the idea of the passarelle.
The passarelle idea was not at the script
at all when Gower came up with that idea.
When he got that idea, he really wanted to do the show. Gower
always kept copious notes on every aspect of the production from the look and
design to the costumes to the casting, etc. He chose Freddy Wittop to design
the costumes. Gower had worked with
Freddy on Carnival and they had a great working relationship that would
continue over the next year until Freddy retired. Anytime Gower could get
Wittop, he would. Wittop started out as a dancer. He was a wonderful costume
designer.
He began making his cast list. He originally desired Nanette
Fabray to play Dolly Levi. When Nanette was approached by Gower, she was on
vacation in West Hampton, New York with her husband and their small child.
Nanette and her husband were very good friends with The Champions. Marge knew
her from high school. Gower wanted Nanette to come into New York City and spend
a day with him working on the part in a rehearsal studio to see how she would
fit in.
She told Gower that he knew her work backwards and forwards
and that she wasn’t coming in. She was on vacation. He would have had an
entirely different cast if she had said yes. He wouldn’t have had Eileen
Brennan and Charles Nelson Reilly.
With Carol Channing, he HAD to have larger
than life characters to play opposite HER Dolly. It should also be noted that Marge
discovered Carol Channing for Gower years earlier for Lend An Ear.
Then, there was David Burns as Horace Vandergelder, one of
the funniest men ever, according to Marge.
He had great instincts. He knew how
to play an angry man and make him funny. That is a big undertaking. You can’t
play it just mean.
He got laughs out of nowhere.
There are many versions as to how it happened that Carol got
the part but the outcomes are always the same…Carol Channing will ALWAYS be the
original Dolly Levi in Hello, Dolly!
Even in her book, Just Lucky I Guess,
when Carol says that Marge asked her to impersonate Uta Hahen when they first met, it is a fabricated version of their
first meeting. Marge didn’t even know who Uta Hagen was.
Gower and Marge had worked fifteen years earlier with Carol
Channing in Lend an Ear, a musical
revue with a book, music, and lyrics by Charles Gaynor and additional sketches
by Joseph Stein and Will Glickman. Marge “found” Carol for that revue. She was
hired as the third comedienne and emerged the star of that show. Gower
contacted her once again for Dolly.
Merrick
was not initially sold on the idea of having Carol play Dolly. As a matter of
fact, he originally desired Ethel Merman. Of course, she was the last one to
play in the original Broadway run.
Gower worked with Ginger Rogers, Martha Raye, and Betty
Grable as each of them took over the role of Dolly.
He directed and
choreographed the international company with Mary Martin. He directed Eve Arden
(at the Shubert in Chicago) in Carol Channing’s national company when Channing
left the show to film Thoroughly Modern
Millie. Lucia Victor, originally Gower’s stage manager directed the Pearl
Bailey/Cab Calloway Company and prepared Phyllis Diller for her stint.
When Ethel Merman came into the show in March of 1970, Gower
was too ill to work with Merman and Marge was summoned at Gower’s request. Marge
loved Ethel Merman in the part. At first, she was very slow.
Ethel Merman's Dolly |
She always pronounced
every word so perfectly that it would slow her down.
In I Put My Hand In, for example, that song has to clip along.
Marge
saw it many times in rehearsal and kept nodding her head in tempo. Marge
finally had to speak to her. Marge just wanted to support Lucia in terms of
keeping the show where it needed to be since Gower was not there.
Marge knew that Merman was controlling the speed of the
number. Marge was able to get her to quicken it.
Carol Channing was doing The
Millionaress at the Mineola Playhouse July 22-August 3, 1963. Marge and
Gower and David Merrick went out to see her. She met with The Champions after
the show.
Carol and Gower worked until
five AM. He realized that he would have to get rid of the flapper persona that
she had adopted from Lend an Ear and Gentlemen Prefer Blondes. Gower had to
convince Merrick to hire her. There was a lot of goings on. Channing was a star,
but she had always played the flapper, and Merrick was cheap.
Merrick never
wanted to pay anybody. Once they all agreed on Carol, Gower put her in Marge’s
hands for a few months before they went into rehearsal. Marge gave her all
kinds of exercises to help her get rid of that flapper’s slouch that she had
developed. That’s was all wrong for Dolly. Dolly had to have a commanding
presence and she wore those large hats and gorgeous costumes.
She had to have a different physicality from Lorelei. Dolly
is a matchmaker, a go-getter. There have been rumors for years that Ruth
Gordon, who originated the role of Dolly in The Matchmaker, was considered for Hello, Dolly! Marge is not aware of her
ever being considered. Her name is Dolly Levi…by marriage. She was born
Gallagher. Marge believes that THAT is precisely why Streisand did NOT work in
the film. She IS a Jewish girl AND a famous one. Something else that didn’t
work for Marge in the film are those moments where Dolly is asking permission
from her departed husband Ephraim to rejoin the human race again. Those moments
were handled so beautifully by Carol.
Marge worked with Carol on the physicality of the role and
cued her on her lines over and over again.Marge gave her some pretty heavy duty exercises that included both dance and yoga. Marge had taught both dance and yoga by that time.
Marge knew the things that would give her strength. Marge spent two months with Carol before the rest of the cast started rehearsals. Casting and rehearsals were at The Mark Hellinger Theater. Marge worked with Carol in the basement. She also taught Charles Nelson Reilly to waltz. Marge thought it was a genius casting choice to cast Reilly as Cornelius Hackl, a romantic leading role.
No one but Gower would have made that choice. It was akin to the casting of Paul Lynde as the father in Bye Bye Birdie. There was no real part to the father. Gower saw something in Lynde that the show lacked. Otherwise, it would have been kind of “sweety sweety”.
Eileen Brennan was perfect opposite Reilly. Sondra Lee was
so cute and so funny. She also was a great dancer. She brought a great energy
to the part of Minnie Fay. It suddenly became an important part and not just a handmaiden.
Jerry Dodge was absolutely wonderful.
Gower knew how to cast and he knew how to surround each leading actor or
actress with the right people whether they were well known or not. Sondra had
done a couple of Jerry Robbins shows prior including High Button Shoes.
He tended to choreograph even in the acting. Marge was at
rehearsals almost every day as Dolly
took shape.
It was interesting because with Birdie, he did not want
Marge to come to rehearsals. He wanted her to have fresh eyes when she finally
saw the show. They did have a lot of “pillow talk” over Birdie.
Hello, Dolly would
solidify Gower’s Broadway career as a director/choreographer. Bye Bye Birdie really started it. He
really wanted that, always. That’s the reason it was always Marge and Gower
Champion, to keep the “Gower Champion” together.
Hugh Martin |
He was always trying to get a
show to direct. He did choreograph several shows prior to Birdie. In 1948, Champion
had begun to direct as well, and he won the first of eight Tony Awards for his
staging of Lend an Ear. During the
1950s, he only worked on two Broadway musicals — choreographing Make a Wish, which starred Nanette
Fabray, in 1951 and directing, staging and starring in 3 For Tonight in 1955. Make a
Wish had a book by Preston Sturges and Abe Burrows, who was not credited,
and music and lyrics by Hugh Martin. Gower always had a vision and introduced
quite a few things to Broadway that had not been seen before.
Most of his shows, for instance, began with no overture.
Gower desired to get right to the story. That was
particularly noticeable in Carnival.
Dolly didn’t have an overture until several years later.
He didn’t mind opening
the second act with an Entr'acte. He also didn’t like closing the curtain
between scenes. He worked it into the staging for the scenery to be carried
off.
Practically every show now operates that way. Check out One Man, Two Governors. They swing the
sets around practically to music. That’s Gower’s influence. He started all of
that. That device may have been used prior to Gower but not as part of the look
of the show.
Gower was proud of the work he did on Dolly. He was not a man who looked back. He always wanted to go
forward. He was not a man to rest on his laurels. He would discuss his past
work in interviews.
Just like the title song itself, it just built. It was the
way Gower built it so there were some softer moments and then some bigger
moments saving the biggest for the last. That passarelle also contributed to
the success of this number. It was a genius way of doing it and having it stage
the way it was with all those “waiters”.
It was an idea that harkened back to the Ziegfeld Follies and
shows of that ilk. People had pretty much forgotten that style.
Everyone was surprised that Dolly ran as long as it did. The last tour that Lee Roy Reams
directed was really first class. There were several tours prior to that that
looked tired and threadbare. It really bothered Marge.
Some of those tours
played Los Angeles a couple of times AND with Carol. Marge doesn’t even
remember who the supporting players were.
The first time Marge saw Dolly’s famed red gown, she was grateful
that she had given Carol some muscle to carry it. It was a heavy dress and she
had to move in it. She had to work with all the “waiters” and dance in that and
swish around and carry that huge dress across the stage AND the headdress.
She
had to do a lot of movement and the fact that she had some dance training was
very good. She had gone to Bennington, for only a year, but it was the only
college that had a dance course. Marge didn’t go to college. There was no place
to go in California, or anywhere else for that matter for the career path she
desired. Martha Hill was the head of Bennington. She was one of the most
influential American dance instructors in history.
She was the first Director
of Dance at the Juilliard School, and held that position for almost 35 years.
She was the one who brought dance to Bennington. Greg Vander Veer is a documentary filmmaker
and video contributor for IndexMagazine.com.
Recently, he directed and photographed the documentary film “Keep
Dancing”, about the legendary dancers Marge Champion and Donald Saddler. As of
this writing, he is working on a documentary on Martha Hill. She really changed
the look of dance as an academic in colleges.
After a short rehearsal period, the cast was off to Detroit
with Marge and Gower, and their two children, their second child Blake was only
a year old.
Hello, Dolly opened on November 18th, 1963. President Kennedy
was assassinated on November 22nd.
That event cast a terrible pall over the
entire company as well as the entire nation and the world.
There were additional problems with the show. Lee, Adams,
Bob Merrill, and Charles Strouse were brought in to “doctor” the show by
Merrick when he began to doubt Herman’s score.
Things were very rough in
Detroit because Gower had devoted much of his energies to Act Two which
included The Waiter’s Gallop, the title number, and the famed eating scene. As
a result of so much emphasis being placed on Act Two, Act One had been neglected.
It was only through the kindness of one of the Detroit critics that a glimmer
of hope was elicited towards this show.
Variety's critic was there and she
knew he was going to pan the show. She convinced him not to be too tough on the
show and to try and come see it again. She saw the potential of what the show
could be. Charles Strouse encouraged Jerry and maintains that he did not write
ANY of the songs for Dolly. He did suggest the IDEA and title of Before The Parade Passes By. He did not
rewrite anything. Bob Merrill also maintained that he did not write ANY of the
Dolly score. EVERY SONG in HELLO, DOLLY was written by Jerry Herman, even in
spite of Jerome Robbins saying the title song would be the first to go.
When Merrill was flown in without Gower’s prior knowledge,
Gower left for Ypsilanti and told Lucia to tell “Mr. Mustache” that when he
left, he would return to the show. That was the worst time for Gower on this
show.
David Merrick had a very serious disease, which has a name.
He got his jollies by stirring up trouble.
There was no question about it. When
Gower passed away in 1980, the day that 42nd
Street, opened on Broadway, even though Merrick knew about it, he didn’t
tell anyone in the cast so he could have his moment on stage that night. In early 1979 Champion had received from his
doctors at the Scripps Institute a diagnosis of Waldenström macroglobulinemia,
a rare form of blood cancer.
He began treatment at Cedars of Lebanon Hospital
in Los Angeles and was advised not to take on work. The cast was aghast at the
way in which Merrick announced Gower’s passing. Gower had died in New York City
that morning at Memorial Sloan-Kettering Cancer Center.
There were also several cast changes. Jimmy Dybus was
replaced by Glenn Walken as Barnaby Tucker on the third day of rehearsals. Glenn
would be replaced by Jerry Dodge who would continue on to Broadway.
Joel Craig
said that Glenn Walken was the best Barnaby Tucker of all. The challenge was
that he couldn’t act, dance, and/or sing all at the same time! Another cast
change involved Gloria LeRoy who is probably
best remembered for having first played Bobbi Jo Loomis, the wife of Archie's
old war buddy Duke, and later the voluptuous Mildred "Boom-Boom"
Turner in the 1970s sitcom All in the
Family. She was originally cast as Ernestina Money only to be replaced by
Mary Jo Catlett.
After opening to mostly negative reviews, the show next
played The National Theater in Washington DC where the show began to take on
more of the look that audiences know today.
They would all celebrate Christmas
in DC. Before The Parade Passes By was written in DC and went into the show…even
though the costumes would not be ready until they arrived at the St. James
Theater in January 1964.
January 16th, 1964 was the official opening night
on Broadway. Gower was very tired. The curtain came down on that night’s
performance to incredible applause. The opening night party was at Sardi’s
which is next door to the St. James practically.
After going backstage to
congratulate everybody, Marge went on over to Sardi’s where everybody was
waiting for The New York Times review to come out. In those days, the reviews
actually were written on opening nights. That’s why those parties lasted so
long. Everyone was anxiously awaiting the reviews. The press agent would get a
telephone call.
In this instance, it was Harvey Sabinson. Opening night reviews were generally positive,
and Carol Channing's performance as Dolly Levi was greatly acclaimed; however,
some reviewers criticized the score and the libretto, implying that Channing's
performance was responsible for the efficacy of the show. In his review of the
opening night performance, The New York Times theatre critic Howard Taubman
wrote "Hello, Dolly! ... has qualities of freshness and imagination that
are rare in the run of our machine-made musicals. It transmutes the broadly
stylized mood of a mettlesome farce into the gusto and colors of the musical
stage. ... Mr. Herman's songs are brisk and pointed and always tuneful ... a
shrewdly mischievous performance by Carol Channing. ... Making the necessary
reservations for the unnecessary vulgar and frenzied touches, one is glad to
welcome Hello, Dolly! for its warmth, color and high spirits."
Gower didn’t show up at the party. Finally, when they got from
The Times, Marge went over to the theater to retrieve him. She found him
backstage in a little cubby hole.
He was sitting there with his face in his
hands. She told him he better get over to Sardi’s because The Times was a rave.
He was exhausted. It had been a long trek to this moment.
As previously stated, David Merrick was not
an easy man to work with.
In fact, Marge believes Merrick is what finished
Gower off.
He was not well when he was doing 42nd Street. Merrick put Gower through the wringer again.
Gower figured out ways of dealing with Merrick when he was around.
When Gower walked into Sardi’s, the cast went wild. He
finally accepted the fact that it was a hit that mood carried all the way
through the Tony Awards almost culminating in a complete sweep. Charles Nelson
Reilly was the only one to lose in their nominated categories. He lost Best
Performance by a Featured Actor in a Musical to Jack Cassidy for She Loves Me.
The 18th Annual Tony
Awards took place on May 24, 1964 in the New York Hilton in New York City. The
ceremony was broadcast on local television station WWOR-TV (Channel 9) in New
York City. The host was Sidney Blackmer and the Masters of Ceremonies were
Steve Lawrence and Robert Preston. It was an absolutely ecstatic evening. The
show ran no matter who was in it or how it was mangled.
Several of them did.
Marge admits that she did not see ALL the Broadway Dollys. Gower was not happy
about Ginger Rogers’ portrayal. She didn’t have the stature that it needed. She
rehearsed for two months before she even came to New York to work with Gower.
She was a very slow study. She raced through it. Every time Carol did her
speeches to Ephraim, people were crying. Rogers didn’t have that. She was fine
in the funny parts. That was what was so unusual about Carol. As funny as she
was, she could carry off those scenes involving Ephraim. Marge doesn’t feel
that Ginger ever got it. Marge did think that Betty Grable was quite good in
it.
Lee Roy directed this production of Dolly |
Gower was never happy with So Long, Dearie. Marge acknowledges that Lee Roy Reams finally got
it right in the 1995 Broadway revival.
He finally got Dolly to be down and
dirty. That’s the way it should have always been. A lot of Gower’s “restrictions”
with the number had to do with the times in which the show was originally
produced.
He also didn’t want to get Carol into that. When Lee Roy did it, he
did it almost exactly the same in many places. There was also another place in
the show that drove him up the wall, Come
and Be my Butterfly. He was never happy with that and tried all sorts of
ways of trying to make it work.
When Ginger Rogers took over for Carol, it was
replaced with the Polka Contest. Starting with Channing and Martin’s tours, that
change was always permanent. Gower got Martin to do the international tour in
order to give Tom Jones and Harvey Schmidt more time to work on I Do, I Do which they were already
slated to work on.
Marge saw Martin play Dolly in London. Her take is that Martin
was more Lady Bountiful than Dolly Levi. She was not a success in it in London.
They never really cared for Mary as a major success in London. It was strange
because she had such an elegant way about her. Martin only did Dolly in London
for six months only to be replaced by Dora Bryan who was a bigger hit.
Marge
thought Dora was tremendous. She had all of the qualities that it needed. Mary
Martin was handicapped from the fact that she had played it on the backs of
trucks in Vietnam. Everybody in the show played it just way over the top
because of the size of the audiences and the enthusiasm that they were used to.
At the first rehearsal in London, Carleton Carpenter fell off the passarelle
and injured himself very badly. (Check out my interview with Carleton Carpenter).
He was replaced by Garrett Lewis. Gower was very upset. He really wanted
Carleton in the role. The late Marilyn Lovell was in that production and she
was very good.
She had a great sense of humor. That was the thing. Everyone in
the show had to have their moment. They needed to be a bit over the top but no
so that it would be unbelievable.
Marge really loves Hello,
Dolly! After President Kennedy’s assassination, Gower threw himself
wholeheartedly into this project. He reorganized, he restructured. When Before the Parade Passes By replaced
Vandergelder’s Penny in My Pocket at
the end of Act One, it became about Dolly.
That changed the course of this
show. Marge believes, with the right person, it would succeed again on
Broadway.
For a long time, Marge has thought it should be a real Dolly, Dolly
Parton!
Marge would love to see that happen but perhaps Dolly would not be
interested in doing eight shows a week, something she has never done. Marge
believes Debbie Reynolds should be doing Harold
and Maude. She also does not desire to do eight shows a week. She wants to
do a few casino and concert dates and get a hunk of money every so often.
Original program for Hello, Dolly 1963 |
The show was going through constant changes. Once Carol
Channing got something in her head, she was like automaton.
She did the same
show every night. She didn’t need Charles Lowe down there in the fourth row
leading the applause and laughter. Gower finally had him removed from the
theater and he was barred from being in the theater when Gower attended shows.
She was so accustomed to a certain rhythm and when there was an audience that
was not as responsive, it would throw her somewhat. He never wanted to change
HER rhythm of the audience acceptance. It drove Gower and everyone else
connected with the show crazy, most of the time she didn’t need it. She always
gave fully of herself. He absolutely made
her a star. He was up very early EVERY morning and he would be on the phone
with Production Supervisor Biff Liff about the extra things she should be doing,
appearances here and there on her day “off”. He never let up. Carol was always
overworked. She never had a day off. As of this writing, she is ninety-one and still
has that work ethic. She no longer has anyone pushing her.
Marge Champion believes that Hello, Dolly! IS the show that
solidified Gower Champion as a Broadway choreographer/director which is what
they had worked for all those years. Everybody else always had the male name
first like Mr. and Mrs. Marge always insisted her name come first so his name
was ALWAYS Gower Champion. Marge will also remember with great love what Carol
Channing means to Dolly and how she
helped shape it whether she knew it or not. She was willing to try things even
to the point of making herself sick during the eating scene due to all of the
experimentation to come up with the right solution to making it work. She was
the best Dolly and Marge can find nothing wrong with her performance. She
brought her own personality to every single role she ever played. She wasn’t successful
on screen beyond Thoroughly Modern Millie.
Screens were not big enough to hold her. She had enormous energy. She loved the
theater.
When Champion died at 1:00 on August 25, 1980, it was six
hours before the opening-night curtain of 42nd Street, the last Broadway
musical he directed. It would be his greatest success, running nine years, but Hello, Dolly will always be the first
show that people think of when it comes to Gower Champion.
Thank
you Marge Champion, Gower Champion, and Carol Channing 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 Matthew Sipress (various companies of Hello, Dolly!)
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 Matthew Sipress (various companies of Hello, Dolly!)
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!
So wonderful that Marge Champion was able to share all these memories and information. One thing is certain, Gower Champion was a genius! What a great story and great history.
ReplyDeleteGower Champion is one of the greatest dancer and choreographer ever,why he's not remembered as he deserves?
ReplyDelete