Jack Ritschel’s Memories of Hello, Dolly!
Jack Ritschel and Karen Morrow |
Veteran actor Jack Ritschel has the distinction of having
done eight different productions of Hello,
Dolly!
As Horace Vandergelder, he did three productions with Martha
Raye, one with Yvonne De Carlo, Lainie Kazan, Karen Gilley, Karen Morrow, and
Carol Swarbrick. They just don't make musicals like this anymore!
Originally, he wanted to be a radio actor.
Literally, as he was leaving college, they were bringing in
the television equipment.
Jack went into the army after college. Then he got married,
had a kid, and got a regular job in aircraft.
Also, he became involved with a local community theater, rehearsing and
performing at night. After he
divorced, his next girlfriend became his second wife. She taught voice, and she tutored Jack
enough so that he was able to compete on
a professional level.
Martha Raye |
She encouraged him to go into this full time and eventually
he did. In 1965, he got his first Equity
show. It was called What This Country
Needs, with Peter Marshall. The
author/producer/director gave a heart-rending speech to the company describing
the plot of the show; and they all knew it was autobiographical. It involved a boy- wonder who had a very
successful show the first time out of the gate, and then the heartache in
trying to duplicate that early success.
It turns out he had been giving that speech for many years. He didn’t really care if the show succeeded
or not, since he got paid as the author, producer, and director. Several years
after that, it resurfaced in Las Vegas with a different title, but still with
Peter Marshall.
After that, Jack found work in a couple ensembles. He
performed at a 3200-seat theater called Melodyland in shows starring Peter
Palmer and Georgia Brown.
Those shows also traveled to West Covina and Redwood City.
Martha Raye in Viet Nam |
In Redwood City, during Oliver, the producers said that the
show was doing good business and asked if anyone had a problem with them
extending.
The only person who couldn’t extend was the guy playing Bill
Sykes (Danny Sewell). Jack looked around
the room, and the only person who could physically play the part was
himself. Terrified, he went home that
night and started studying the role, just in case.
(For the next several shows, Jack always memorized at least
one extra role). It turned out that he
didn’t end up playing Sykes that time, but did play it a year later in Salt
Lake City opposite Bernice Massey. He
reprised the role a few years later in Oakland, with Ben Wrigley as Fagin. What a hoot!
Ben (“Mr. Rubber-Legs”) dated back to the old English Music Halls, and had a handful of hysterical pantomimed
“bits” which he inserted into each of his roles.
Martha Raye on Broadway |
When Carousel came along at Melodyland, with John Raitt,
Linda Michele, and Ned Romero, Jack got
his first chance at a real honest-to-God role (Mr. Bascombe). Then the roles became lengthier and more
often.
For years, a director friend (Gary Davis) had been wooing
Jack to do dinner theatre with him. Jack kept refusing because they were
reputed to pay very little.
Finally, Student Prince came along, and Jack couldn’t resist
playing Dr. Engel. Once he made that
leap, it was easy to do more dinner theatre….and he ended up that first year
grossing more than in a “regular” year.
Jack did Student Prince six times, from California to the
east coast, with the magnificent Jim Cutlip and David Eisler. Back in Anaheim, he also appeared in musical
repertory with Eileen Brennan and Bill Chapman, who was a fabulous singer and
Jack’s hero.
Another of Jack’s favorite gigs was being the first director
Long Beach Civic ever paid, for 110 in the Shade. Simultaneously, he appeared
in his first opera. Working night and
day, he had four dress rehearsals in two days, and broke his foot just to
complicate things. (Went on in the opera
with a black stocking disguising the cast on his leg).
In 1970, Long Beach Civic lost their leading man to a heart
attack right after the opening of Sound of Music. They called Jack early the
next morning to ask if he would do the show starting that night They had never hired an Equity actor before,
except in the emergency situation with Jack mentioned before. So he and management spent the entire day
talking with Equity, and trying to figure out how they would proceed. “Would be it be the understudy taking over,
or the general manager, or Jack?” It
turned out that they wanted Jack. So the
following night, he began his run as Von Trapp, with book in hand for that
night only. He had learned the music by
then, so he carried the script like it
was supposed to be there (like a pipe);
and he could put down the pipe quite naturally for the musical
interludes
He didn’t think it would go as well as it did, because a
half hour before curtain, he started trembling violently. But 15 minutes later, an icy calm descended
on him; and he did the entire show as if
watching from above, cataloging every move he made and every line reading. It made for a very interesting night, and one that patrons commented on for years
afterward.
A year later (1971), the organization hired its first Star,
Martha Raye, to do Dolly. Martha had
been the third Dolly on Broadway, after Carol Channing and Ginger Rogers. It was the first time Long Beach paid big
money.
Jack knows, because they accidentally switched her paycheck with his one week (he almost had a heart
attack!). He was kind of a “shoo in”
for Vandergelder because he had worked there before and they liked him. But again he was terrified, having never worked this closely with a star before.
He had a difficult transition going from being just another
actor in the show to leading man. He could never think of anything to talk
about with Martha while alone. He definitely put her on a pedestal above him.
She also encouraged that!
The first time they did the show together, she had a little
difficulty with the eating scene.
The way it’s written, lines don’t always arise from what was
said before. Jack decided to learn both parts just to be on the safe side to
help her out! He couldn’t do it! And now he has even greater respect for all
Dollys.
Not only had Martha done the show on Broadway, she had also
taken it to Viet Nam.
She loved to ad lib,
and afforded Jack certain opportunities do it. If Maggie “forgot a line,” she would
run offstage and yell “What the hell is
my line?” It would get a big
laugh, and then she’d continue. Jack never found out if she actually forgot
her line, or if it was just a “bit.” He
believes, though, that she really forgot, and instantaneously invented this
clever way to cover it up.
After rehearsals and performances, Maggie and several cast
members became fixtures at the Ritschels’ house.....for rousing games of
Password. Maggie felt she was an expert
at the game, having done the TV show; and she got really pissed when
Jack’s stepdaughter and he turned out to
be invincible ('cause their minds worked on the same track). They would play until the wee hours of the
morning. When they had passed the point
of no return, Jan would announce that she had called Martha a cab, and that she
was off to bed. Jan was a voice teacher
who had to get up early; and Maggie
forgave “Murph” her abruptness because they were “good buds.”
Jack didn’t get brave enough to try ad libbing with her
until their second stint together. This
was a time when certain TV commercial “tag lines” were very popular, and well
known enough so that the general public was using them. Maggie would incorporate some of them into
the eating scene. Like “Who made the
salad?” Big laugh! And “Try it…you’ll like it.” One night, Jack waited until that laugh died
down, and replied “I tried it….thought I was gonna die!” (which was a tag line from yet another
commercial.) After that performance,
he asked her what she thought of the ad lib;
and she said “Great. Keep it
in.”
One night, a small fire started around one of the lights at
the proscenium. The smoke became visible to the audience and they started
getting antsy, so Martha took charge (ad libbing was not a problem for
her). She Five minutes later, they were going on with
the show.
told the audience everything
was going to be fine, and it would be taken care of.
After the 3-week run in Long Beach, director Jack Bunch hired Jack to co-star in
Dolly again with Martha, because they figured he knew all of Maggie's
"schtick," and could help them prepare, knowing what she wanted. This
was for San Bernardino Civic Light Opera, in an old ghost-ridden movie house
which dated back to vaudeville.
After a performance in San Bernardino, director Jack Bunch
hosted a poker party attended by Maggie, Jack & Jan Ritschel, and famous
singer Russell Arms. Jan warned
everybody that win or lose, at 2:00 she was leaving because she had an hour’s
drive home, and had to get up at 6:00 to teach voice. Well, when the Ritschels left at 2:00, Jan
had everybody’s money….and Jack Bunch was really steamed about it.
Ft. Worth’s Casa Manana hired Jack in 1975 to appear for the
third time opposite Martha Raye. Maggie
and Jack got along pretty well, with only a few bumps in the road. Maggie asked for Jack when she did Everybody
Loves Opal for Sebastian's West in San Clemente in 1976. It was an uneventful experience, but
provided some insights into Maggie's preferred way of doing a show….rehearsed
"break-ups." This was a show
she had been doing for years….2-week stints at various theaters. The entire
show was filled with things that were once “accidents” that she left in. And it was tough to make them appear
spontaneous.
Not only did Maggie bring comedy to the role, but Jack
thought that Maggie’s speeches to Ephraim were standouts….honestly tender and
nicely done.
Jack then did the show with Yvonne De Carlo - at the Grand
Dinner Theatre in Anaheim, California.
Her understudy for that production was Australian cabaret
star, Toni Lamond. Working with De Carlo
was strictly professional. They did not “pal around.” She stuck strictly to
herself, and the artistic director of the theater went to her hotel each day to
see if she was “ok.”
Onstage, she got all the laughs that Dolly should get. Audiences loved her. She was a true
television and movie star. Jack has a
strong memory of seeing her do Follies, and thought she was dynamite. But Jack was kind of spoiled by his 3 shots
with Martha Raye, and didn’t feel that same dynamism on stage with De Carlo.
Toni Lamond eventually took over De Carlo’s part, but that
was after Jack had departed the company to do his first Production Contract: a
touring company of Seven Brides starring Debbie Boone, David James Carrol, Lara
Teeter, and Sha Newman. Two weeks in
San Diego….three weeks hiatus…. seven months on the road…..then opened on
Broadway.
This was not a bus and truck company! They'd plunk down in a town for four to six
weeks…and actually got to unpack.
The next evening, the audience pretty much sat there with
their arms folded, saying “show me!”
It took half an act to get them up to "hootin and
hollerin"; then it was just the same reaction as in the previous five
cities. But they had to close; and even the elevator operator was crying.
Jack stayed on in NYC after Brides closed….got his 2nd
Production Contract, as Drake and understudy of Warbucks in a touring company
of Annie. He was in seventh heaven! Jack
never got to go on as Warbucks, but Rhodes Reason was very kind in helping him
learn all the “bits” involved. They played a month in DC (when a “big-weenie”
from NY came to say they were not going to close) and a month in Boston (where the weenie came
back to say “Never mind….you’re closing.”)
Looking ahead to 1994, Jack was auditioning for Wichita's
Dolly. He also wanted to play Honore in
Gigi and Warbucks for them. So he sang and read for the first two; it went
well; they were very interested; and started to thank him for coming. He said "Hey, what about
Warbucks?" They were taken aback, but said "Uh...ok."
He sang and read for Warbucks. In awe , they said "Gee, those were
three totally different characters." His mind went "Well, duh! They
are three different characters!" They hired him for all three in a single
season, which must have been a first for them.
The Wichita Dolly was Karen Gilley, who subsequently was on Broadway in
Cats.
Lainie Kazan |
A long time had passed since his last Dolly; but in 1981 he auditioned for and got the
co-star role with Lainie Kazan in a three-month stand at the Claridge Hotel in
Atlantic City.
It was a really great
experience! Lainie was a Hot-Mamma
lounge singer who was popular at Playboy Clubs.
However, at that time, she had never seen or read the show.
This experience enhanced Jack's ad-libbing skills, "cause she came into
our two-week rehearsal not knowing word one, or any lyric.” Fortunately, Jack had learned a lot from
Martha. He often had to ad lib with
Lainie, and actually looked forward to something going wrong. This went on for
the first two weeks, but she eased into the role and she was wonderful!
It was a hoot working with Lainie. She wanted to know things
like why there was a dinner table in the middle of a courtroom. Plus, she was great personally; and they “hung out” together several
times. She was ensconced in Film and TV
(My Favorite Year opposite Peter O'Toole among many others). That role
propelled her into almost specializing in "Jewish mothers." Lainie is still very active and thriving in
film/TV.
One night in Atlantic City, Lainie, Lainie’s hair dresser,
and Jack were walking along the boardwalk.
A Pushcart vendor offered to push them.
All three were rather large and asked the guy with the pushcart if he
was really up to this! The guy said
yes, so they squeezed themselves into
his “chariot.” But Jack is convinced
this guy must have felt he earned his rather large tip!
In 1994, Jack had the good fortune to do the show with Karen
Morrow, who is something of a legend. It
was at South Bay CLO in Redondo Beach, and he can't remember if he had to
audition. It seems to Jack that with
Karen, it was a case of two actors connecting and having a ball. They earlier did Annie together (Hannigan and
Drake), with John Schuck, in Phoenix.
Again, Dolly was a strictly professional relationship. They didn’t go out to dinner together or do
drinks or “pal around.” But she was
very easy to talk to during breaks in rehearsal.
She is a terrific actress. To Jack, she captured the softer side of
Dolly, and didn’t really go after the slapstick.
In 1999, Musical Theatre West produced the show, with Carol
Swarbrick and Jack. Audiences loved her,
but she had a concept about the show and the role that was very different from
Jack’s. There was no real chemistry
between them, and they had different ideas about how to get a laugh. There was a connection between her and the
audience; and Jack believes it was a failing in him, that he couldn’t adapt to
what she was doing.
It was stimulating playing opposite all of these Dollys. It worked best with Martha and Lainie. They
both had a total charm that audiences could relate to. Everything seemed natural. The comedy just
flowed, and it
Jack loved working with Martha the most. They remained friends, sort
of. He and Jan visited her house once
after working together. About 8 months
before she died, she did call Jack out of the blue (when her illness was not
common knowledge). At the time, he
didn’t know the purpose of that call.
She didn’t mention anything about her illness, but he now thinks this
was her way of saying goodbye.
Karen Morrow |
It’s obvious that audiences love this show and Jerry
Herman’s music. Both are still very
popular, and everybody knows the name.
Like Oklahoma, It is still a
title and song that most people have heard all of their lives. Some haven’t seen the show, but when it is
mounted anywhere, audiences flock to it, based on name recognition alone.
Regrets? Jack wishes
he could go back and do a better job on Horace’s long speech at the beginning
of the show. He wishes that he had
studied dancing.
He thinks he would have
a somewhat different approach to Horace now…. perhaps less gruff, and a
kindlier curmudgeon.
Jack certainly wouldn’t be surprised to see Dolly revived on
Broadway.
They have brought back many shows that had not visited there for
ages. It would be interesting to see who
would play the title role. He thinks
Lainie Kazan and Karen Morrow would be likely candidates. And Jack regrets that his health won’t permit
him to do it again.
Yvonne De Carlo and Jack (Courtesy: Bruce Morgan: Yvonne De Carlo Private Collection) |
Other highlights in Jack's career include 1983’s Chaplin
(Anthony Newley) at the Chandler in LA.
Big money behind this. Seven weeks rehearsal, during which Newley, Jack, and several of the company
sweated bullets trying to improvise a funny scene representative of what
Chaplin might have actually done in his early years. Heavy-duty singing with Marsha Bagwell, and a
comedy gem with Newley, during which Jack slowly lost his costume, down to
kiss-shaped embossments on the undershorts.
Due to some friction between the Nederlanders and David
Susskind, the production could not raise the Coincidentally, Jack also did the
movie Chaplin (Robert Downey, Kevin Kline), in which he portrayed William
Randolph Hearst.
last-minute money to go to
NY.
1974 - Fiddler on the Roof at the Ahmanson in LA. In Jack’s mind, this was a definitive
production, with Robert Merrill, Peg Murray, Judy Kaye, Fyvish Finkel, and
other stellar performers.
1988 – Fiddler in Sacramento, with Theodore Bikel and other
leading players who had done the show upwards of 2000 times each. And the whole rehearsal period was a bedlam
of “No, dollink, the vay ve did it vas…”
“No, you say xxxxx, and then I do my bit.” “No, you cross ovuh dair, and den I counter
ovuh to here….” Absolute pandemonium.
The director (Glenn Casale) basically threw up his hands and just let things
happen. Jack's role was the Constable, a
relatively small part. But he remembers
the audition, in which he came on very strong at the beginning, and he could
see the director snap to attention.
Theodore Bikel |
Because of his 1982 exposure to Annie, Jack was able to star
as Warbucks 8 times, with performers such as Kathleen Freeman, Jack Denton, Rob
Barron, Tom Hatten, and Tim Smith.
La Cage Aux Folles
- Jack remembers seeing the show
for the first time (maybe 1984), and thinking “Hmm, well, it’s mildly amusing,
but I feel sorry for the poor guy who has to play Dindon.” Well, about 1988, he got the chance to
audition for Dindon….and had no real clue about how to play him….he just relied on
his gut instincts. Got the role, along
with Harvey Evans and Larry Kert. It was
at Sacramento Music Circus, reputed to be a “red-neck” community. And the cast was all anxious to see what
audience reaction would be to this “shocker” of a show.
So they hung around the rear of the tent for the first 20
minutes….until they could see that the audience was all "hootin,
hollerin’, and laffin’" uproariously.
Then they relaxed, and went about their usual routine. Jack was fortunate enough to do the show
again twice with Kurt/Evans, and again with Harvey a couple more times, plus a
few more.
Man of La Mancha
- In the 80s, Jack auditioned for
the first National company of La Mancha.
Having never seen it, he was very
confused about the concept of one person playing two characters. The
originators tried and tried to get him to understand…but it was no use, and he
bombed out. “Oh, what could have happened
if only…..” As it turned out (after
having seen La Mancha a few times), he then understood the concept, and was
able to do the Governor/Innkeeper with George Ball, John McCook, Ken Howard,
Robert Goulet, and two others.
George Ball |
42nd Street – One thing that amazed Jack was during his
first time as Julian, in San Jose. The
costume department went to a local Goodwill store, and came back with two
brand-new (price tags still on) 3-piece suits of the period…. which fit Jack
perfectly, with no alterations!
Phantom (Yeston/Kopit) - Jack saw the original in Elmsford
NY, fell in love with the show, and
couldn’t wait until it was available out west. He did nine of them as Carriere,
the Phantom’s father. The very first one, in San Jose, had a big-budget set,
which was still being welded together as their first audience came in for
preview. There was a neat effect at the end of Act One where the Phantom (Kim
Strauss) takes Christine in his arms for a descent into the catacombs.
In the first preview, the platform tipped,
and the two actors went tumbling below the stage. Kim’s cape got caught in the machinery, and
he was within a whisker of losing his life; and he ended up with a big dent in
one bicep. Christine had caught herself
by the elbows on the stage level; but now the elevator was rising, threatening
to chop her into two pieces. An actor who was waiting in the wings ran onstage
to help her get out of the trap door. They almost made it! Her ankles were severely cut and bruised, and
she was in the hospital and out of the show, which an Ensemble girl had
memorized.
Phantom, Fullerton, 1995, Vicria Strong & Robert Patteri (courtesy Jack Ritschel) |
Throw in a handful of other recordings, pageants, movies, TV
shows, commercials, and voice-overs…and there you have it!
Thank
you Jack Ritschel 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!
My next blog will be...Celebrating Jack Bannon as Horace Vandergelder (opposite Ellen Travolta) Couer D'Alene Summer Theater' 2000 and 2012 productions of Hello, Dolly!
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!
I saw Jack as Horace with Martha Raye in Hello, Dolly at the Long Beach Civic Light Opera. The two of them together were marvelous. He was gruff, lovable but always funny. I'll never forget it.
ReplyDeleteCheers,
Stephan
Richard, you never cease to amaze me with your compelling and intriguing blogs. Not only are you a prolific writer, it's apparent that you've done your homework with the colorful back stories. In fact I'll have my dear friend Peter Marshall read this article. His birthday is on Friday and I'll see him in Palm Springs this weekend. Bernie
ReplyDeleteRichard good job !
ReplyDeleteI sort of missed what should have been a few temper stories on my mom Yvonne De Carlo .
They are not fun moments at the time but Yvonne knew how to be "memorable"
Jack has certainly a long good history in live theater .I am glad to learn about the facts of who that man is in the color photo .And my thanks to Jack for the nice remarks about Yvonne .
Like Jack ,Yvonne De Carlo was a real trooper
.
Cheers and Best Wishes Bruce R Morgan