Matthew Sipress (Thirtieth Anniversary Tour and Broadway Revival of Hello, Dolly! 1994/95)
Matthew Sipress |
Matthew Sipress grew up in Wilmington, Delaware. It was
awesome because of its close proximity to Baltimore, Philadelphia, DC, and New
York City. He grew up very cultured. He started dancing when he was ten. As
much of a cliché as it is, he started because his sister was dancing.
He danced
in local dinner theaters throughout high school. He then went on to Oklahoma
City University in 1989 as a dance major.
Michael’s family had a cassette tape of Hello, Dolly and they
listened to it in the car all the time.
Florence Lacy in Paris, Standby for Nicole Croisille |
They also listened to The Wiz and A
Chorus Line, but those were on eight track. When his parents grew tired of
Annie, they treated him to Hello, Dolly!
Back in the day when the movie of the week started at ten PM, his parents woke him up to watch the film of Hello, Dolly one night even though it was a school night. They did that with several films, but Hello, Dolly, he specifically remembers. Michael ALWAYS knew he desired to be a dancer, therefore, his parents wanted him to have a well rounded education in musical theater since he was expressing that interest. His thoughts at the time was that it was gorgeous and beautiful. He didn’t have anything to compare it to.
Back in the day when the movie of the week started at ten PM, his parents woke him up to watch the film of Hello, Dolly one night even though it was a school night. They did that with several films, but Hello, Dolly, he specifically remembers. Michael ALWAYS knew he desired to be a dancer, therefore, his parents wanted him to have a well rounded education in musical theater since he was expressing that interest. His thoughts at the time was that it was gorgeous and beautiful. He didn’t have anything to compare it to.
It was absolute perfection. Gene Kelly was a huge hero of Matthew’s and he
was thrilled to see that it was directed by Kelly.
After appearing in Hello, Dolly on stage and seeing what it is supposed to be, he now sees the "flaws" in the movie but he also sees some of the really terrific things they were able to do with the film.
Jo Anne Worley and Company, Lyric Theater 1992 |
Matthew’s first
experience with Hello, Dolly was with Lyric Theater of Oklahoma in summer of
1992 with Jo Anne Worley.
It was directed by Connie Schaeffer and they did the full original Gower Champion choreography. Matthew doesn’t remember who did the staging. Steve Pudenz, who would go on to appear with Michael in the 1995 Broadway revival, was Horace Vandergelder. Jo Anne was flown in and it was typical summer stock. They learned the original version with a two week rehearsal period. Matthew was also the train conductor in Sunday Clothes.
It was directed by Connie Schaeffer and they did the full original Gower Champion choreography. Matthew doesn’t remember who did the staging. Steve Pudenz, who would go on to appear with Michael in the 1995 Broadway revival, was Horace Vandergelder. Jo Anne was flown in and it was typical summer stock. They learned the original version with a two week rehearsal period. Matthew was also the train conductor in Sunday Clothes.
Florence Lacy in Paris |
Matthew thought Jo Anne Worley was terrific. She would punch
up the rubber chicken jokes. Heunderstands why. He understood why she did
many of her Jo Anne Worley-isms. That’s what the audience came to see. She
believes so. She is so unbelievably talented that she doesn’t need to.
She also
comes from a different time. Matthew would go on to do another production with
Jo Anne which we will get to soon.
At the same time that this production was taking place, the
Madeline Kahn production was taking place. (Check out my chapter on Madeline
Kahn). The same production team of Madeline’s company was mounting a Parisian
Company to star Parisian star, Nicole Croisile. Even though the star would be
different, they were basically taking THAT show to Paris. Michael auditioned
and was offered $250.00 a week salary/$400.00 per diem. He had a studio
apartment which was paid for. They also flew him in.
His Metrocard was also
paid to get him back and forth from the theater. He ate mostly in and was able
to save a little money. The exchange rate was very good then. When he first
auditioned, he got cut from the audition. He saw in the paper that some of the
original people who had auditioned were not going. He went back and got cast.
Florence Lacy |
Nicole was completely fluent in English. The rest of the
cast was American. This production would be spoken in English with subtitles
translated above and below the stage. It is such an American show and certain
things got lost in translation. (See my chapter on Cory English). A lot of the
jokes had to be explained to her by Lee Roy Reams who directed. She was
terrific in the role because she is a very eclectic outgoing person anyway.
When Florence Lacy went through Nicole’s put in, Nicole was sitting up in the balcony in dark glasses and her dog on her arm hanging on to everything. Matthew got along with her very well and says she was a joy and fun to go to work with. She was a big deal and audiences came out to see her. Ticket sales began to taper off, however, and the show closed three weeks earlier than scheduled. After the production, he did not maintain a relationship with her.
He says he was “young and stupid”. He was twenty one in Paris and didn’t know any better. From Paris, Lee Roy hired Matthew to restage the show with Bill Bateman in Houston at TUTS (Theater Under The Stars) starring Jo Anne Worley immediately after they were done. They closed in January of ’93. He flew back to New York and the next day was on a flight to Houston. There were tiny differences because Michael had learned it in Paris from Ronnie Crowfoot and there were subtle differences from what Bill remembered from previous productions he had appeared in.
When Florence Lacy went through Nicole’s put in, Nicole was sitting up in the balcony in dark glasses and her dog on her arm hanging on to everything. Matthew got along with her very well and says she was a joy and fun to go to work with. She was a big deal and audiences came out to see her. Ticket sales began to taper off, however, and the show closed three weeks earlier than scheduled. After the production, he did not maintain a relationship with her.
He says he was “young and stupid”. He was twenty one in Paris and didn’t know any better. From Paris, Lee Roy hired Matthew to restage the show with Bill Bateman in Houston at TUTS (Theater Under The Stars) starring Jo Anne Worley immediately after they were done. They closed in January of ’93. He flew back to New York and the next day was on a flight to Houston. There were tiny differences because Michael had learned it in Paris from Ronnie Crowfoot and there were subtle differences from what Bill remembered from previous productions he had appeared in.
Bill and Matthew worked very well together to
make it work. They had a two week rehearsal time and a three week run.
Later that year, he heard through the grapevine that a
thirtieth anniversary tour of Dolly starring Carol Channing might be happening
with Broadway being in the cards.
Matthew sent Lee Roy a Christmas card in ’93
with a note, “I hear there’s going to be a tour and a revival and I would love
to be involved.” Lee Roy reciprocated with a Christmas card that said, “Of
course, darling.” This was the best Christmas present ever. This would be
Matthew’s first Broadway show. It could not have been a more auspicious debut,
as the associate choreographer. In the program, he is listed as assistant to
the choreographer. He was twenty-two and didn’t work out the details of how he
was credited in the program.
Nicole Croisille as Dolly |
James Darrah said that he had had so many misses to Broadway
prior to Dolly that he was not going to get excited until he was finishing his
first glass of wine at the opening night cast party. Matthew didn’t think about
it that deeply. He was young and knew that he was going on a national tour with
Carol Channing in Hello, Dolly! They
kept saying Broadway and Matthew is sure that at the time, he believed it was
going to happen. He had no reason not to.
They started rehearsals in June of 1994 at 890 Studios and
opened at the Denver Center for the Performing Arts in July. They rehearsed in
New York and then they went to Denver where they did all of their tech work at
the Buhl Center. They ran in Denver July 12th through 24th. The first couple of
rehearsals, it was just Carol and the “boys”. They worked on the Gallop and the
title number to get those out of the way before the rest of the cast showed up.
Nicole Croisille |
The boys had rehearsed the number prior to her coming in to go into the number.
They were doing the walk around with her on the passarelle, the duck walk exit.
She was in danger of being run over. Matthew was a swing and was not always on
stage. Lee Roy told Matthew that he had to tell Carol that she had to move
faster. Matthew’s first thought was that he couldn’t do that! His mind quickly
shifted to the role of assistant choreographer and he immediately thought of
course he could. He went up to tell her that she had to move faster or she
would be run over. She said OK and did as she was asked. She was a pro. She
took notes like any other pro. She was seventy three at the time. He was in a
rehearsal room giving Carol Channing notes! He didn’t really feel that level of
amazement until that first time when you are standing at the bottom of the
stairs and you look up and through the curtains and those two white gloves push
through and there is Carol Channing at the top of the stairs in a red dress! It
was an unbelievable moment. It was the most incredible feeling that Matthew has
ever felt as an entertainer. As a swing, he went on for all sixteen of the guys
at one time or another.
Christine Devito (Ermengarde), Carol and Company in rehearsal |
The first performance in Denver found Matthew in the
audience. His memories of that night are more from an audience perspective. It
was an electric night. Everybody was waiting for this.
Part of that
anticipation was coming from her age. Would she be able to pull this off? From
the moment the curtain went up it was one terrific moment after another
culminating with the title number.
The show would play twenty-six cities prior to Broadway. The
Broadway opening night was October 19th, 1995. Broadway was a little weird for
Matthew. On opening night, he was standing in the back of the theater. When
they were on tour, their last stop before The Lunt-Fontaine Theater was The
Kennedy Center in Washington DC. They had a month off prior to that. They went
to DC for four weeks and then they went to Broadway like it was any other city
on the tour. That level of “We’re going to Broadway!” truly felt like it was
just another theater.
Christine DeVito, Carol, James Darrah (Courtesy: Christine) |
They closed in DC on a Sunday like normal and opened in
New York on Thursday night like normal.
The show would play 118 performances. It was an open ended
run and many in that company have expressed their disappointment on what they
all felt was a premature closing. Michael took another job when he heard the
show was closing and was not there for closing night. He had taken the European
tour of A Chorus Line and consequently was let go after one week of rehearsal.
He was let go the same night that Dolly closed. Talk about karma! He was let go
for reasons that had nothing to do with him. When he went to rehearse A Chorus
Line in Paris, he stayed in the same hotel that he had stayed in when he did
Dolly years prior. Matthew says he did between twenty five to thirty actual
performances on Broadway. At that time, cast members weren’t taking vacation
weeks like they did on tour.
The Dolly company had really terrific stage managers. If
they knew that someone was going to be out, he would get a call. This was
before cell phones. If he was home, he would usually get the message there.
Sometimes, he would find out when he arrived at the theater. He confesses that
he was a terrible swing.
As a swing, most in the cast would probably say he was
fine. As a swing, you can never be one hundred percent perfect. For someone who
staged the show, he has no excuse. At one performance, he went on in the middle
of the show. This was in Vancouver, BC.
Dan LoBuono hurt his leg on his last exit of the Gallop.
Courtesy Christine DeVito |
It was a Sunday
so all of Matthew's clothes were already packed up. He was watching the show
from the stage manager's podium and watching the monitor in the wings. He saw
Dan come off and he heard a thud and turned around. Matthew kept asking Dan if
he was OK with no response. Matthew asked him if he needed to change. He was
Danny in the title song! Somebody had to get out there. He was told to go
change. Matthew had the last part of the Gallop and Dan’s track in the title
number.
He had just a few moments before Rudy announced Dolly’s arrival and
Matthew’s costumes were already packed away. He basically threw his clothes off
running up the stairs. Three dressers got him dressed and he was one flight up
when he heard, “She’s here!” He made it!
As of this writing, it has been seventeen years since that
production. Looking back, Matthew says he would be a better swing now. He also
doesn’t feel that he has the brain for what it takes to be a great swing.
Lee Roy and Company Members (Courtesy Christine DeVito) |
Some
are, some are not good at it. He doesn’t think he is and he’s ok with that.
The character that he most identifies in Dolly would be
neither Barnaby nor Cornelius. He had a great upbringing and got to experience
and see a lot of what life has to offer. He identifies with Dolly. She has a
well-rounded life. He doesn’t feel that he takes life by the horns to the
extent that she does. Every character in that show learns how to live. She is the
only one who starts out knowing that.
Matthew adores Carol Channing. They had fun on tour. For a
couple of years after the tour, they exchanged Christmas Cards. Regret is that
he let that friendship go. If she was to run into him on the street today, he doesn’t
feel that she would know who he is by this point. They were close and he was
her secret Santa their Christmas in New York. She was so generous with her time
in that when they did their tour during the midst of the AIDS crisis, there
were many benefits and fundraisers. She showed up at ALL of them. They were
raising money for Broadway Cares. Thanks to John Bantay who was in the ensemble
and produced Broadway Bares types of shows in every stop of their tour, the
dancers were stripping all over the country and raising money for BC/EFA. Carol
would show up and give a “diamond award” to the head of whatever AIDS
organization that they were splitting the door charge with in every city after
the show in whatever dance club they were at. These usually took place on a
Friday or Saturday night.
Courtesy: Christine DeVito |
It was EVERYTIME, not sometime, not occasionally in
every single city every time they did the show. Fifty percent of the time, she
even stayed to watch the show!
Matthew brought an open eyed freshness to Dolly. Yes, he was
restaging what he had been taught and knew but he wasn’t restaging something he
learned way back in 1978. He wasn’t just trying to pull the steps out. He
brought a nice energy to the show. Contrary to what some people may think about
that production, the chorus was not as old as has been reported in some
sources. Matthew brought a level of youth and energy to the show so that Carol
was able to match that energy. She HAD that energy even at seventy-four years
old. She was not working with a group of people who had been doing the show
since 1964.
In every city that they toured in, Carol talked about their
international tour.
CAROL CHANNING’S CURTAIN SPEECH:
CAROL CHANNING’S CURTAIN SPEECH:
Opening Night in Denver (Courtesy of Matthew) |
Carol and Matthew |
And too, I must tell
you that we have played 46 major American cities on this tour, and next we go
to Broadway. Oh, do come, yes! Then we go to China and Japan and Australia and
Holland now and Siam and London, England--and all those watering places! As we
say, join "Hello, Dolly!" and see the world!
Oh, you dear people,
you just stand there and listen to me! You don't seem to be going anywhere. I
can't shut up is my problem. So may God bless each and everyone of you, and may
I say on behalf of the entire Company, we love you dearly!"
--Carol Channing
Matthew and Jerry Herman |
As of this writing, Matthew Sipress now works for Lyric
Theater of Oklahoma and he loves his job. He has been the company manager for a
couple of years and was recently promoted to Associate Production Manager. In
2006, he decided to go back to school at Oklahoma City University since he was
now in good standing with them. The Ann Lacy School of American Dance and Arts
Management now has an entertainment business program which was a couple of
years old when Matthew went into it. At the time, he wasn’t enjoying in New
York anymore because he was only paying rent in New York. He wasn’t actually
LIVING in New York. He had no money to do anything BUT pay rent. In December
2009, Matthew got a Bachelor of Science in Entertainment Business. He still
gets to perform. He has done one show for them every year since 2006. He is
playing roles he didn’t think he was old enough to play EVER like Bert Barry in
42nd Street.
Hello, Dolly is on Matthew’s personal calendar again. He will
be direction a production at the Sooner Theater in Norman, Oklahoma in April
2013. The artistic director of that theater, Jennifer Baker, was approached by
her board of directors. It is their tenth anniversary in 2013 and they want her
to play Dolly. She told Matthew and he said, “Great! When do we start
rehearsals?” That’s how he got the job. When he was asked how he wanted to be
credited, he said directed and re-staging by Matthew Sipress. Gower’s
choreography is so brilliant; he is not changing a thing. He might adjust
something here and there when necessary. It is Gower’s design and ideas that
Matthew wishes to preserve.
Helen Hayes, Lee Roy Reams, Carol, Myrna Loy |
One thing that is a cherished memory for Michael from his
Dolly days with Carol was the amount of celebrities he met in high profile
cities. They ALL came out to see Carol Channing one last time as Dolly Levi.
When they were in Pasadena/LA, there was a long line of celebrities waiting
outside her dressing room waiting to see her after the show. He remembers one
night with Shelly Long and her kids. Matthew remembers her bending over to
clean her child’s face before going in to see Carol. He remembers Betty White
and Tony Curtis coming by everyone’s table when Carol took the company to lunch
as Spago. There was such reverence for her and what the show meant to so many
people.
The very base of what Hello, Dolly means to Matthew Sipress
is that THIS was his Broadway debut AND it was with Carol Channing! There aren’t
many in this business who can say that. He has friends his age who have
plugging their entire lives to get to Broadway and that, unfortunately hasn’t
happened for them. He got to be on Broadway in Hello, Dolly with Carol Channing, for goodness sake! He considers
himself truly blessed. It is such a highpoint, not just in his career, but also
in his life.
The dates below are the dates they were IN the cities, not necessarily the dates they PLAYED each city.Denver July 5-24
Vancouver July 25-31
Chicago August 2-14
Atlanta August 15-21
Toronto August 22-28
Vienna, VA August 29- Sept 4
Memphis September 5-11
Pittsburgh September 12-18
Kansas City September 19-25
Cincinnati Sept 26-Oct 2
Detroit Oct 3-9
Minneapolis Oct 10-23
Buffalo Oct 25-31
Rochester Nov 1-6
Boston Nov 7-20
Ft. Lauderdale Nov 21-Dec 4
Tampa Dec 5-11
West Palm Beach Dec 12-19
Miami Beach Dec 20-26
Orlando Dec 27, 1994 – Jan 2, 1995
Dayton Jan 3-8
San Antonio Jan 9-15
Houston Jan 16-23
Louisville Jan 24-29
Columbus Jan 30-Feb 5
Baltimore Feb 6-13
Hartford Feb 14-20
Cleveland Feb 21-26
Philadelphia Feb 27-March 6
Providence March 7-12
Grand Rapids March 13-19
Dallas March 20-27
Charlotte March 28-April 3
St. Louis April 4-9
Jacksonville April 18-23
Nashville April 24-30
San Francisco May 1-28
San Diego May 29-June 5
Costa Mesa June 6-11
Salt Lake City June 12-18
Milwaukee June 19-25
Spokane July 3-9
Seattle July 10-23
Pasadena July 24-30
Portland July 31-August 6
Washington DC Sept 11-Oct 8
New York, NY Oct 11, 1995-Jan 28, 1996
Thank you Matthew Sipress 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 Christine DeVito (Ermengarde: 1994/1995 National Tour and Broadway Revival 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!
Carol, Matthew, Jay Garner (Horace) |
Vancouver July 25-31
Chicago August 2-14
Atlanta August 15-21
Toronto August 22-28
Vienna, VA August 29- Sept 4
Memphis September 5-11
Pittsburgh September 12-18
Kansas City September 19-25
Cincinnati Sept 26-Oct 2
Detroit Oct 3-9
Minneapolis Oct 10-23
Buffalo Oct 25-31
Rochester Nov 1-6
Boston Nov 7-20
Ft. Lauderdale Nov 21-Dec 4
Tampa Dec 5-11
West Palm Beach Dec 12-19
Miami Beach Dec 20-26
Orlando Dec 27, 1994 – Jan 2, 1995
Dayton Jan 3-8
San Antonio Jan 9-15
Houston Jan 16-23
Louisville Jan 24-29
Columbus Jan 30-Feb 5
Baltimore Feb 6-13
Hartford Feb 14-20
Cleveland Feb 21-26
Philadelphia Feb 27-March 6
Providence March 7-12
Grand Rapids March 13-19
Dallas March 20-27
Charlotte March 28-April 3
St. Louis April 4-9
Jacksonville April 18-23
Nashville April 24-30
San Francisco May 1-28
San Diego May 29-June 5
Costa Mesa June 6-11
Salt Lake City June 12-18
Milwaukee June 19-25
Spokane July 3-9
Seattle July 10-23
Pasadena July 24-30
Portland July 31-August 6
Washington DC Sept 11-Oct 8
New York, NY Oct 11, 1995-Jan 28, 1996
Thank you Matthew Sipress 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 Christine DeVito (Ermengarde: 1994/1995 National Tour and Broadway Revival 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!
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