Karen Morrow on Hello, Dolly!
Karen Morrow was raised by operatic parents in Des Moines,
Iowa and turned to "the theatre" in Milwaukee, Wisconsin. The next
stop was every major musical theatre, cabaret and concert hall from New York to
Honolulu! In New York, she starred on Broadway in I Had A Ball; Joyful Noise;
I'm Solomon; Music, Music; The Selling of the President; The Grass Harp and the
Tony Award winning The Mystery of Edwin Drood.
Off Broadway, her starring roles included Sing Muse; The Boys From Syracuse; five seasons with the New York City Center during it's golden years of musical revivals and she starred in the National tour of Show Boat. On Television, Karen starred as a regular on "The Jim Nabor's Hour" "Friends," "Tabitha" "Ladies' Man," "Goodnight Beantown," "Song by Song," and "Great Performances" for PBS; "Singing" for CBS; and has been a guest star on "Sabrina, the Teenage Witch," "The Tonight Show," "The Today Show," "Alice," "Too Close For Comfort," "Loveboat," "Falconcrest," "Murder She Wrote," "Night Court," to mention just a few; and radio's Garrison Keillors' "A Prarie Home Companion." Karen has sung with the Los Angeles Philharmonic, the Honolulu, Pacific, Minnesota, Milwaukee, and Metropolitan Symphony Orchestras and can be heard on eleven albums. She is the recipient of an Emmy, the coveted Theatre World Award, and five Dramalogue Awards. Visit her website at www.karenmorrow.com.
Off Broadway, her starring roles included Sing Muse; The Boys From Syracuse; five seasons with the New York City Center during it's golden years of musical revivals and she starred in the National tour of Show Boat. On Television, Karen starred as a regular on "The Jim Nabor's Hour" "Friends," "Tabitha" "Ladies' Man," "Goodnight Beantown," "Song by Song," and "Great Performances" for PBS; "Singing" for CBS; and has been a guest star on "Sabrina, the Teenage Witch," "The Tonight Show," "The Today Show," "Alice," "Too Close For Comfort," "Loveboat," "Falconcrest," "Murder She Wrote," "Night Court," to mention just a few; and radio's Garrison Keillors' "A Prarie Home Companion." Karen has sung with the Los Angeles Philharmonic, the Honolulu, Pacific, Minnesota, Milwaukee, and Metropolitan Symphony Orchestras and can be heard on eleven albums. She is the recipient of an Emmy, the coveted Theatre World Award, and five Dramalogue Awards. Visit her website at www.karenmorrow.com.
She also has the distinction of playing Dolly Levi in not
one, but two productions. The first time Karen played Dolly was in the LA area,
Redondo Beach. It was a theater that did big productions. Sadly, that is no
longer the case. She had done Anything
Goes there and they asked her to do Hello,
Dolly! She said she would and Jerry Herman was invited to the opening
night.
Jerry was living in Beverly Hills at the time. He said yes, yes, yes. When
Jerry found out that Karen was going to be doing it, he desired to coach Karen
in the role. He wanted to make sure she hit all the points. That is the type of
guy he is. He has to absolutely be the “go to” guy. He wants to be in control
to preserve the quality of his work. This was around 1988 or ’89.
Some of the many actresses who have played Dolly |
Jerry asked
her if she would be interested in doing a song that is rarely done in Dolly.
Of course, it was one of the
songs written for Ethel Merman, Love,
Look in My Window. She said, “Are you kidding? That would be wonderful.” It
is not always done. Going out on the passarelle and singing that song was a
real highlight for Karen. It is so heartfelt and so simple. It is not
contrived.
Karen is not saying that the show is contrived but it was built for
Carol Channing and her style which is down in one. It is about being the most
outstanding and the most wonderful person on stage. Karen doesn’t have that
kind of an ego. She prefers to sing a really beautiful ballad.
Singing that
beautiful song was the highlight for her. The part she hated the most was that
dinner scene! Remembering all of the business and the dialogue was tough AND
she wasn’t old when she did it. It was not a conversation. It was a monologue.
There is no lead in to anything.
with Jack Ritchel at The Sacramento Music Circus |
The second time that Karen played Dolly was at The
Sacramento Music Circus. Tom Ewell from The Seven Year Itch was her Horace
Vandergelder. She had been doing a lot of shows there.
The two characters that Karen played more than any other are
Reno Sweeney in Anything Goes and Molly Brown in The Unsinkable Molly Brown. She was Tammy Grimes’ standby and took
over in the National Company. Ron Young was one of her brothers in "Unsinkable Molly Brown" in his
first summer of stock at Kansas City Starlight in 1962. Unfortunately,
Karen had to take second billing to the New Christy Minstrels (who did
part of their club act in the party scenes in Act One and Act Two). That
was the doing of Dick Burger, the producer, to bring in the current
audience.
Karen has been offered Dolly many times and has turned it down. She thinks it is a wonderful show but “Dolly doesn’t have any conversations.”
Karen has been offered Dolly many times and has turned it down. She thinks it is a wonderful show but “Dolly doesn’t have any conversations.”
She just walks out
on stage and talks. She goes out on the passarelle and talks. She goes
throughout the show and talks. She never answers a question. She is always the
first to initiate in a scene. Karen found that very unsatisfying.
Christine Ebersole as Mame, Papermill Playhouse |
She does feel the show should return to Broadway. She thinks
that Christine Ebersole would make a great Dolly. Jerry has expressed over the
years a revival of Dolly. He thinks now in terms of television stars.
Karen remembers those costume changes! For her last entrance she wore this huge hat and a tasteful wig that she was never happy with; she wanted something “messy” like Carol wore. They would have to secure the hat with a couple of large hat pins. She would start to sing and her mic would always crack. They couldn’t figure out the problem and it was so annoying. It drove the audience, cast, and crew crazy. This went on about one week. The sound man finally took all the wires home with him to try and get to the bottom of all of this. He discovered that Karen had been putting the hatpins through the wires of her mic! The battery pack was in her wig and so, of course, were the wires. Her first Horace, Jack Ritschel, was as nice as was the entire company. She found the entire experience kind of scary just trying to remember her lines. It was not an age issue, it was just that she wasn’t used to that kind of work. She prefers the give and take that she is so used to from other shows.
Two of Jerry Herman's girls, Ginger Rogers and Angela Lansbury |
Karen saw Carol Channing play Dolly several times. There was never anyone like her before or
sense. She occupies the entire stage and space. She was incredibly “odd” in a
wonderful way. Karen just thought she was magnificent. Karen also saw Ginger
Rogers in the role. At that time, Karen was dating David Hartman. David was a
stage manager and portrayed Rudolph in the original Company. Karen says she
couldn’t find Ginger on stage! Karen’s original thought was that Channing
really left her mark on the show. Physically, Channing was so present and so
enormous. Then Karen saw a review that essentially said “Channing is bigger
than life; unfortunately, Ginger Rogers is true to life.” That is the challenge
for some actresses taking on this role.
Karen has also seen Jo Anne Worley play Dolly who was charming and
wonderful. She didn’t do Jo Anne
“shtick” which was interesting. On stage with really a really good property,
she is respectful of the material. She wishes she had seen Pearl Bailey. Having
done it and seen it, she doesn’t think that she would see it again unless a
friend is in it.
Charles Nelson Reilly, Jerry Dodge, Eileen Brennan, Sondra Lee (Original Company) |
In the original production, Karen was crazy about Jerry
Dodge and Charles Nelson Reilly and Eileen Brennan and Sondra Lee. She thought
they were extraordinary. When they took stage, they were so complete and
interesting and traditional. It paid homage to the music and the script. Karen
was enamored by all of them that she named her dog Barnaby. She had a blonde
dog that reminded her of Jerry Dodge. Charles Nelson Reilly had a very
dangerous cat named Cornelius. Charles was staying in an apartment owned by a
famous opera star and his cat used to love to walk on the railing of the
terrace defying the world. Charles was always going crazy as this cat hovered
over the city.
Karen says she is such a mid-Westerner that her Dolly was
definitely a “corn-fed” Dolly! John Engstrom directed her first Dolly. She was
experimenting with various ways of playing Dolly. He said, “Just be you.” She
hated that phrase! Karen has always thought of hers type as the kooky next door
neighbor with a sense of humor. She knows she has a big personality and a big
face.
Instead of trying to hide that, she just went with it. That was it. She
brought her own personality to the role. She doesn’t know how others see her. She
was down to earth and bigger and warm. She says everyone will have to ask those
who saw it what it was that she brought to the role!
With both of these productions, they were not long runs. She
never really settled into the role. With both productions, it was uncomfortable
for her.
She was constantly alert and could not just “go with it.” That doesn’t
say anything about the show. That is Karen. She is always the first to say,
“Oh, God, I didn’t get that.” Settling in is something she only did once and
she regretted it. She was doing Drood
and settled in after three months and the words went right out of her head one
night.
John Engstrom who directed Karen’s first Dolly is known
primarily as a choreographer and does very well in the LA area. He was a great
director who, as stated earler, encouraged her to be herself. He answered her
questions for her. The biggest problem she had in both places was “What do we
do about the dumplings?” Everybody had an idea and they tried them all. The
only thing that worked was cotton candy. She tried the light bulb Kleenex
trick. She hated the whole idea of the spitballs in her mouth. She couldn’t get
it quite coordinated and didn’t do that very well.
Karen’s thoughts on Jerry Herman
He is a perfectionist. He absolutely demands, and she means
this in a nice way, respect for what he has written and how he has written.
Karen has done Jerry Herman revues with both Lee Roy Reams and Jason Graae and
Paige O’Hara. They went to colleges and conferences with Jerry and did concerts
of his music.
On the college circuit, these would be followed with a Q and A
with the audience. They did many of these singing the same songs. So she is
very familiar with him and what he demands. Jerry would sit in the wings and
listen. If anyone ever did their own interpretations, Jerry would question
their choices.
He spoke to Karen about some phrasing that she had fallen in to
because she needed to breathe differently. He said, No, no, no.” He is, once
again, a perfectionist, but very kind. He is divine and VERY generous. He was
directing her for the hat shop scene and encouraged her to go crazy and be
funny when she is lifting her dress and saying lines such as “the room is
crawling with men.”
David Michael, Jerry Herman, Karen Morrow, and Keith McNutt from The Actors' Fund |
Karen, Bruce Vilanch, Jerry Herman |
She told him the
nuns told her not to do that! He knows what he desires. He knows what he wrote.
She has seen him be kind and flattering to others who maybe didn’t give him
what he wanted. She has never heard him criticize anyone. They have remained friends and she talks with
him a couple of times a year. They have made a point of staying in touch and
having dinner from time to time. She remembers a wonderful evening in which she
and Jerry went to see She Loves Me in
LA at Reprise. When it was over, he turned to Karen and said, “Isn’t that the
most divine musical? It’s the definitive musical.” Karen agreed. There is no
one like Sheldon Harnick and Jerry Bock. Karen and Jerry Herman couldn’t get
over what a perfect gem it is. Karen had seen it before but Jerry was so generous
in his praise, not only of Sheldon and Bock, but also of the performers.
Karen desires to be totally in her assessment of PLAYING
Dolly. There are wonderful moments of having that kind of attention on stage.
It has nothing to do with the show itself. It has to do with her as an actress.
Jerry Herman writes for the audience. There is no question. He NEEDS that
audience. People like Sondheim don’t need the audience. He needs to write for
the character. Jerry also writes for the character but he really makes it
palpable and accessible and he loves that. He loves to engage the audience and
to see them excited and know they’re humming the tunes when they exit the
theater and that to Karen is what she absolutely loves.
She loves doing that
and making sure she is reaching out to the audience. With Sondheim, she is not
as aware of the audience. She is more locked into the lyrics and the story and
the complete character analysis that Sondheim does within a character. There is
no room for “Now I’m going to present myself to the audience.”
Jerry leaves
much room for that. He leaves it entirely to the personality of the person
playing one of his characters and how they appeal to the audience. For Karen,
that is such a great gift. He has earned his place alongside Irving Berlin.
Hello, Dolly meant the world to her in Jerry Herman’s
approval, him trusting her with Ethel Merman’s Love, Look in My Window.
He has had her do it ever since when they’ve
done the Jerry Herman concerts. The fact that he thought she could do that and
bring something to it that he wanted brought to it. He desired somebody that he
could trust. He put his trust in Karen Morrow with that song and that show.
That means the world to her. When Karen mentions Jerry Herman to students now
and they don’t know who he is, she wants to throttle them.
They also don’t know
who Richard Rodgers is. Karen has such love and respect for Jerry Herman and
owes him a lot! We also owe a lot to Karen Morrow!
Thank
you Karen Morrow for the gifts you have given to the world and continue
to give!
Check out my site celebrating my forthcoming book on Hello, Dolly!
I want 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!
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!
TILL TOMORROW...HERE'S TO AN ARTS FILLED DAY
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 want 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!
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 actor Michael DeVries on the 1995 Broadway Revival of Hello, Dolly starring Carol Channing
Thank you, to all the mentioned in this blog!
Thank you, to all the mentioned in this blog!
Here's to an INCREDIBLE tomorrow for ALL...with NO challenges!
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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