Mary Jo Catlett: Bridging The Gap With Dolly!

David Burns and Mary Jo Catlett Hello, Dolly! 1964

Mary Jo Catlett is notable for her role as housekeeper Pearl Gallagher on the television sitcom Diff'rent Strokes, and currently for her role as Mrs. Puff in SpongeBob SquarePants, which she has held since the show's debut.
She was also in the original Broadway production of Hello, Dolly! starring Carol Channing as Ernestina Money.

Mary Jo and I sat down to talk after the opening night of Bette Midler's Hello, Dolly!
Prior to this production opening, Mary Jo was talking with a friend of hers and she said, "Oh, they're going to do Dolly with Bette Midler and she's perfect for it. She truly is the most perfect Dolly since Carol, in my opinion." Then in came off the top of Mary Jo's head, "Wouldn't it be fun if they invited some of the original cast members." Mary Jo's friend said, "That's a perfect idea!

You should talk to somebody." Well, that planted a seed and the wheels started turning.
Mary Jo's dear friend, theatrical attorney Mark Sendroff, who is a great guy, after speaking with Mary Jo, said, "Let me forward this on to Scott Rudin and see what he thinks." Shortly thereafter, Mary Jo received an email from Scott Rudin saying, "I wish I had this idea! I think it's a terrific idea and we;re going to make it happen." Then the waiting game began. Mary Jo didn't hear and she began to think, 'It's not going to happen.' She resolved herself to the fact that that opening night ticket was next to impossible to obtain.

Charles Nelson Reilly, Eileen Brennon, Jerry Dodge, Sondra Lee Original company

She kind of wrote it off.

Just about three weeks prior to opening night, the email came in that she would have a ticket. She received a follow up email telling her that she would have a ticket plus one. She got excited that she would be able to bring a best friend with her.

She followed up with very appreciative e-mails. Mary Jo credits Sendroff for really getting things in motion.

Mary Jo from Different Strokes

 In addition to Mary Jo, David Hartman (Rudolph), Sondra Lee (Minnie Fay), and Ron Young (ensemble) also attended.  It was a great reunion.

Mary Jo knew going in that she would probably start to tear up seeing the dancing once again from Before The Parade. What really got her, however, was Put on Your Sunday Clothes (choreography, by the way, for this production is by Warren Carlyle with a huge homage to Gower's original choreography).

Out of all of the choreography for this current revival, Mary Jo feels, repectfully, that Sunday Clothes came the closest to Gower's original concept and you just can't go wrong with that.

Mary Jo missed the original choreography from Parade. When Gower choreographed the original, there was a wonderful musical interlude in which Dolly sings "Look at that crowd over there' and the curtain rises to reveal one fireman,

David Hartman and Mary Jo Catlett opening night

'Buttons' Leonard in the original, starts prouncing out as the leader of the parade and little by little the rest of the parade emerges with a big build.

As much as she loved Carlyle's choreography and Jerry Zaks direction in that number, there were aspects from the original that she missed.  Sunday Clothes was the 'take you away' number!  She turned to her date, Rodney, and said, "I keep seeing ghosts up there". It was reminiscent of Follies for her!

Eileen Brennon and Sondra Lee Original production

"It was thrilling, exciting, and a bit scary." As of this writing, it has been 53 years since the original production of Dolly opened on Broadway.  Since the original production, Mary has seen subsequent productions with Channing and she also caught Pearl Bailey and Ethel Merman during the original run. She also worked with Ginger Rogers and Dorothy Lamour in their productions.

When Mary Jo originally auditioned for Dolly, she auditioned to be in the chorus. She was required to audition with '8 bars'. She wracked her brain trying to figure out what she should do. She chose Everything's Coming Up Roses. She started with, "Goodbye to blueberry pie..." and went on from there. Carnival! He came to a club where Mary Jo was performing at the time.

Mary Jo celebrating the 50th Anniversary of Dolly at Sardi's

They said, "Thank you", and she left. She felt satisfied because she got to meet Gower Champion whom she had long admired.  She had met him once. Mary Jo is from Denver and he came to Denver with 

After her audition, she went about her business as most actors/actresses do, reading Back Stage, and auditioning for other shows.  One such audition that she wanted to go after was Jerry Herman's Milk and Honey. She was able to tell this story to Jerry Herman later. She got the audition and then got scared. She felt she was too young. They were casting older actresses.

with Jeanne (Lehman) French

She got called back for Dolly...FOUR TIMES!  One day she was walking down the street and an actor came up to her and said, "I heard you got Dolly!" She said, "I did?" That's how she found out! She was surprised. That's how news traveled in those days.

She ran home and to her answering machine. Indeed there was a call from the Merrick office. Lucia Victor, who was the stage manager, had left a message. She was cast as a chorus member. In the original concept, during I Put My Hand In, there was a crossover of four ladies, called the four biddies, very a la the Pick a Little women from Music Man. It never made it beyond the rehearsal stage. It was just a cross over bit in which they would talk to Dolly.

Mary Jo heard years later that Merrick said to Champion, "We have to fire that heavy set girl." It's not easy to acclimate her into the other chorus numbers. Gower, thank God, said "Let's not be too hasty.Maybe I can figure something out for her." Lucia came over to Mary Jo one day when she was still being a biddie and said, "Gower would like you to read for Ernestina. That role had already been cast so Mary Jo thought it would be to understudy her. Lucia asked Mary Jo to keep it under her hat and not tell anyone.

The original concept of Ernestina had her more glamorous. Gower felt that it should go in a different direction and be more comical. He wanted more of a sight gag. He also wanted someone who could sing.

Renee Taylor came in to audition for the role and Mary Jo found herself in the hallway with her. Renee said to Mary Jo in that inimitable style of hers, "I think you're perfect for this."  Mary Jo went in, read for it, and she got the part!

In the early stages, a lot of actors came and went. Several Barnabys were fired before they settled on Jerry Dodge. In was in Washington DC when Mary Jo felt that they were in a hit. This was, of course, after Detroit. In Detroit, there was a show that preceded Dolly called Bravo, Giovanni.

with Patricia Morrison

For some reason, it didn't capture an audience and there was a sort of hatred for this musical that surrounded it.

One review in Detroit began it's review of Hello, Dolly, with, "Not since Don Giovanni have I seen a worse show!" The entire company was crest fallen because they truly felt they had something. Gower decided to take chunks of the show and redo them.  There were approximately thirteen people replaced at that time, maybe even more. It was a sad time. Working with a company like this, it is very much a family and close bonds do form. For some, it was the best thing that could have happened because they went on to better things. Always at the center, however, was Carol Channing who was a comedic genius. 

When they got to Washington, Richard Coe, who was THE top critic with The Washington Post, raved about the show. There was a swing in Dolly, Alvin Beam, he said, "We can get a new refrigerator! We can get anything on time payments. We are a hit." 

Opening week was a tragic week. The first performance was on November 18th, 1963 at The Fisher Theater in Detroit. On November 22nd, President Kennedy was assassinated.  Trying to be excited for a show against the backdrop of a worldwide tragedy was horrible and forever burned into Mary Jo's memory. She shared a dressing room with three other women and they were just sitting around talking when Charles Nelson Reilly came in to break the news. Now, please take into account, that every few days he would come into the dressing room with something hilarious and they would be screaming with laughter.

Carol Channing was always a trouper!

On this particular day, he came in and said, "They shot Kennedy."  The women responded with, "That's not funny." They could not believe this could be real. He said, "No. It's real." These little black and white TVs were brought in. They were placed in the dressing rooms. Everything came to a complete stop and they gathered around these TVs and couldn't stop watching everything as it was unfolding. Everyone from Gower on down were so terribly down. Of course, the show was cancelled that night. This was a huge deal. That just didn't happen.  It was a good thing because the entire company was awash. Even Carol, who was a trooper, couldn't go on. It was unbelievable that something like that could happen.
The next day was dark as well. They did go to rehearsal that second day. Gower sat down and addressed the entire company. Everyone consoled each other and they all knew they had to go on. Because of the shape the show was in, they also knew they had to keep working to ensure the show's success. "It is amazing that theater folk are such heroes. There are many times that we have to go on when tragedy strikes."

The biggest change Mary Jo saw, which is still no longer a part of the show is the Come and Be My Butterfly number. That was in place of the polka contest. Jerry Herman says that it is one of his biggest regrets that it was cut. Mary Jo says it was a beautiful number. There are a few pictures around. There were women scantily clad with these extensions like gossamer butterfly wings. Look at Tessie Tura in Gypsy. This was popular in that day. It was artistic. Unfortunately, critic Walter Kerr told Gower Champion after a smashingly successful opening that he didn't think Come and Be My Butterfly was on the same par as the rest of the show. 
In the number Horace is chasing Barnaby and Cornelius and they are getting caught up in the wings.
David Burns warns the women, Watch those feelers, Miss!" 
He was brilliantly funny in this number. This number was cut after Carol Channing left the company and Ginger Rogers stepped in. It went into the Mary Martin company and has been there since. This was probably at a loss of $30,000 which was a lot of money then. It probably cost $100,000 for all of the costumes of Dolly. 
These numbers cost a lot of money and time.   
When Before The Parade Passes By was added in Washington DC, it went in even before costumes were constructed!  It was a mishmash and the audience was on their feet.  It really is Dolly's show. It's called Hello, Dolly! Audiences were so in love with that character as they are now with Bette as Dolly.

The first time Mary Jo heard Louis Armstrong's version of Hello, Dolly! was New Year's eve 1963.  In December 1963, at the behest of his manager, Louis Armstrong made a demonstration recording of "Hello, Dolly!" Gower got an advance and played it for the company. The company was a little modest about it. How wonderful of him to sing that song. He's well known! Then that recording exploded! 

It was good for Louis Armstrong and it was good for the show as well. Everybody was singing that song. Jerry Herman was over the moon. 
Next stop, St. James Theater on Broadway! One preview and then opening night, January 16th, 1964! Compare that to the current production, five weeks of previews with no out of town try out. 
The music started at the top of the show for Call on Dolly and the audience is roaring. Gower, who was very cinematic in his staging, had the back drop moving from stage right to left which gave the illusion of the cast moving. The company was standing in place but moving their feet. It was an incredibly brilliant way of staging it. Carol then made her entrance on the horse cart with the 'twins'. The moment she said, "Dolly! Levi...Born Gallagher", there was pandemonium in the theater. The same thing happens nightly with Bette. As Mary Jo, watched the opening with Bette, it immediately took her back to her own opening night. 

Alice Playten

Working with Carol Channing was a terrific experience for Mary Jo. "She's such a wonderful person. She was always so nice to me and Alice Playten. She was a brilliant Ermengarde. She found a wail that was uniquely her own. What an actress." Carol, Alice, and Mary Jo became buddies. Alice and Mary Jo used to go to Carol's apartment which was in an upscale hotel. 
Carol and Charles (Lowe) would say, "Come over! We'll have a slumber party." The three of them would do each other's hair and other similar things that young girls do on slumber parties. They had so much fun and Carol was great with all of this. 
They laughed a lot. Mary Jo also recalls the strange diets Carol was always on. Carol mostly ate chicken and turkey at that time. She would bring her silver containers with her to dinner parties.

Igors Gavon and Alice Playten

The cast were always being invited to these fabulous parties and Carol would always bring her own food. 
She would say to Mary Jo, "Now, Mary Jo, taste that and tell me how it is." It was just a beautiful time!
Mary Jo was very star struck and it was her first Broadway show. All the greats came to see the show. Mary Jo met Jackie Kennedy, Audrey Hepburn, all these people that you just dream about.  She would be looking down the stairs as they came back stage. From time to time she would meet them but she was too shy to approach on her own. Carol got on to this and she would always let Mary Jo who would be attending that night.

"Oh, Mary Jo, tomorrow night, Richard Burton and Elizabeth Taylor are going to be here!" Mary Jo was so excited and she came in early to get ready for the show in case she got to get a glimpse of this god and goddess. Then she heard, "Mary Jo Catlett to Miss Channing's dressing room." She went down and Carol said, "Oh, Mary Jo, I'm so sorry. Richard and Elizabeth are not going to be here tonight." Mary Jo said, "Oh no! What happened?" Carol responded, "Elizabeth is under the weather." Mary Jo responded, "I'm so sorry. " Carol answered, When Elizabeth called, I told her Mary Jo Catlett is going to be disappointed."

Mary Jo asked, "What did she say?" Carol responded, "She said,'who'?" 
Mary sayed with the Broadway company for eighteen months. She then went on the road with Ginger Rogers and Dorothy Lamour. All told, Mary Jo was with Hello, Dolly! for three years. 
Ginger had a wonderful hair dresser named Kathy Engel. She had wonderful kids and Mary Jo bonded with her family. Ginger wanted Mary Jo on the road with Kathy and it was all negotiated and they had a great time. Looking back, Mary Jo doesn't think it was one of the best career moves she ever made.

Looking back, she would not have done it. 
She feels that she should have stayed in New York and kept auditioning. When you're in a Broadway show, it gives you a little entree into having a little advantage to go to another Broadway show. Being on the road for as long as she was, she came back to New York,for lack of a better word, 'cold'. She did get into other Broadway shows but it did take a while. She feels that if she had stayed that it would not have taken as long which would have been better for her career. 
There were no negatives, otherwise, working with Ginger. Her Dolly was very different from Carol's. She was an adorable Dolly. So Long, Dearie was the max. She did a little tap break and the audiences went wild! She was always great to work with. When Mary Jo first worked with her, she looked into Ginger's eyes and could not get over the fact that they appeared turquoise with gold flecks. 

She doesn't feel that film did those eyes justice. They were so beautiful. Nice lady AND the best she had ever seen with fans. She would sign every autograph. She would wait till the very last person and this would be, sometimes, a hundred people waiting! She would stick around and sign every single one after matinee AND evening. She was so wonderful to her fans. 
When she was doing Dolly on Broadway, a white stretch limousine would pull up to the stage door, and she would come out and stand on top of the stretch limousine and sign autographs for everyone. Marlene Dietrich used to do the same thing when she did her one woman show. This was a very clever idea. It gave fans a chance to see them. However, she wasn't the same with autographs. At least fans got a chance to see their movie goddesses. 

Dorothy Lamour

One of Dorothy Lamour's regrets was that she didn't do it on Broadway. Dorothy Lamour brought Dorothy Lamour to Dolly. People just came to see HER. They had loved her in all the 'Road' movies. She was a 'sweet' Dolly. She delivered the humor but there was an underlying kindness in her performance.    
Great to work with. Mary Jo only worked with her in Vegas. When Mary Jo went to Vegas with Ginger, they were scheduled to do twelve shows a week. This was a tab version of the show which emphasized the songs more so than the dialogue. They would do two shows a night. Mary Jo doesn't believe they had a day off. Not positive about that. Ginger, as is Carol, is a Christian Scientist. She could not do Sundays. She told them they would have to get someone else and that's how they got Dorothy Lamour. It was decided that Dorothy would do four shows a week and that Ginger would do eight. It wasn't as difficult a schedule for the two stars. They did not lose audiences. As a matter of fact, some people came to see both. 

The major names of the world came to see Carol Channing in Dolly

The biggest change that Mary Jo noticed years later when seeing Carol in later revivals and tours was that her tempos had slowed down. 
It was slower, but in a way, it was more meaningful. She really looked at the people she was talking to in the Dolly number. A lot of her performance was also now played out front to the audience, which is what they came to see. It didn't hurt the show at all. She was such a good actress that within each stage of her aging, she was true to herself. 

Mary Jo's memories of seeing Pearl Bailey's Dolly was that she was 'real fun'. She was Pearl Bailey first and Dolly Levi second casting asides to the audience.
When Mary Jo saw Bailey's production, Cornelius' understudy went on that day. After all the bows, Bailey called him center stage and said, "I think this young man deserves extra applause." He had done a brilliant job and she gave him a star bow at the end. Mary Jo thought, "Now, that's a giving star. Very nice." 
Bette Midler..."What can you say? She's fabulous and I hope everyone will see it and tell their friends to see it as well. Please do everything you can to go see her while you can. She's awesome! Awesome! Awesome!!! And so Beautiful as Dolly!" 
There's an adage. Always leave them laughing. On opening night, during the curtain calls, she got two huge bouquets of white roses. There must have been four dozen white roses. She was laden with these bouquets. She mocked surprise at receiving the roses and then staggers off! GO GO GO SEE Bette Midler! You have only until January 14th, 2018!

The secret of change is to focus all your energy not on fighting the old but on building the new. -Socrates

I'm throwing back the curtain and showing my followers the little man behind the Wizard who is always trying to put forth a positive image of a man. 

Let's Be Friends! I promise you a great experience!


You have the power to change anything, because you are the one who chooses your thoughts and feels your feelings.

Here are a Few Testimonials for Richard Skipper Celebrates: Next One September 10th 1PM Laurie Beechman Theater: Reserve HERE:

w/Ann Dawson, Emily McNamara, Ben Rimalower... AND a Beloved Cabaret Mystery Guest

What a wonderful afternoon at "Richard Skipper Celebrates" at the Laurie Beechman Theatre on June 18th. Do you remember Johnny Carson and the Tonight Show or WNEW AM from years ago.This show brought me back to those days. Besides being a wonderful entertainer, Richard is an fascinating interviewer. His guests in this show included Sarah Rice and Mark Watson, David Sabella, Warren Schein and special guest Sharon McNight.

It's been such a long time since I have seen such a wonderful show.

Richard has this event as a Sunday Brunch once a month. He is taking the summer off but will return with a blockbuster show on Sunday September 10th. If you are in the New York area please join me to witness talent that is rare seen any more. (September 10th, brunch at the Laurie Beechman Theater on West 42nd Street)

Elaine Marlowe Mitchell, NYC

Anyone who has an opportunity to see Richard Skipper's cabaret shows should BY ALL MEANS do so! They're sensational! Great entertainers, wonderful music, lots of laughs, just the best way to spend an afternoon! I just cannot wait for the next show because I will DEFINITELY be in the audience (quietly singing along)!
Arlene Jacks, New York, NY

Today again, Richard Skipper brought together an eclectic array of exceptional talents in his Father's Day Show.  Richard's upbeat personality and his superb showmanship always put a smile on my face and uplift my spirits.  Thank you, Richard, and bravo! 
Eileen Lacy,  New York, NY

Sit Back! A New News Cycle Is About to Begin!

Thank you, to ALL who are mentioned in this blog for showing me that it is up to ME to lead by example!

With grateful XOXOXs ,

 

CallonDolly.com

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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!  
  Keeping America great through Art!     

Here's to an INCREDIBLE tomorrow for ALL...with NO challenges!

Please leave a comment and share on Twitter and Facebook
Keeping Entertainment LIVE!

 

TILL TOMORROW...HERE'S TO AN ARTS FILLED DAY

Richard Skipper, Richard@RichardSkipper.com      

West Coast Premiere of 3 time TONY winner, Dori Berinstein's, GOTTA DANCE hosted by 3 time TONY winner, Carol Channing.

West Coast Premiere of 3 time TONY winner, Dori Berinstein's, GOTTA DANCE
hosted by 3 time TONY winner, Carol Channing.


"Bravo! A complete and total home run!!! Dori topped herself,” says Joan Van Ark.
Dori Three-time Tony-winning Broadway producer Dori Berinstein has added another hit to her already extensive film and television producing and directing career with “GOTTA DANCE.”


“The title says it all, as you watch you have an almost uncontrollable urge to get up and dance.
I guarantee you'll be hip hopping up the aisle and wishing it were just beginning.” -Mary Jo Catlett

“GOTTA DANCE is incredible! It proves that you can enjoy life at any age. This was the first time I recall seeing an audience give a movie a standing ovation.” - Roland Kickinger

Included among the star studded evening at the The Academy's Pickford Center for Motion Picture Study's Linwood Dunn Theatre for the West Coast Premiere of “GOTTA DANCE” were Jack Carter, Mary Jo Catlett, Romi Dames, Ilene Graff, Tippi Hedren, Roland Kickinger, Sally Kirkland, Kate Linder, Ruta Lee, Julie Newmar, Joan Van Ark, Dee Wallace, Lesley Ann Warren, and the evenings host Carol Channing.
If you morphed the movies “Fame” and “Cocoon,” you would have “GOTTA DANCE.” The movie chronicles the debut of the New Jersey Nets' first-ever senior hip-hop dance team, 12 women and 1 man - all dance team newbies, from auditions through to center court stardom.
The movie absolutely destroys aging myths and misperceptions.

“If you feel like you haven't got "it" anymore, go see "Gotta Dance"!! After you see, "Gotta Dance" I think you will agree with me, those senior citizens ROCK!....and HIP HOP!!!! Bravo!” - Tippi Hedren

"This movie is inspirational, life affirming and ultimately just plain joy filled! I was smiling and cheering the whole time!" - Lesley Ann Warren



Three time TONY winner, Ms. Berinstein, is also a co-founder of Camp Broadway, a behind-the-scenes theater camp aimed at giving kids a life-long love for the arts, which may be why she asked three time TONY winner and children's advocate for Arts in public schools, Carol Channing, to introduce the evenings premiere screening in Los Angeles. Miss Channing explained how she herself began dancing as a young girl, when she met her now husband Harry Kullijian, exclaiming, “Ohhhh, Dori!

She is so wonderful! “GOTTA DANCE” is just so much fun.
I got to Rap with LL Cool Jay on the TONY Awards, so watching these talented seniors Hip Hop was no real surprise to me. After all it is the first 80 years that are the hardest.
YEAH!” And as the movie points out, Miss Channing is absolutely correct.
Who says you can't hip-hop if you're 80-years-old? Who says your days as a performer are long gone? Just because you're a card-carrying member of AARP, do you have to give up on your dreams?

“An evening with Carol Channing is always special. The film, "Gotta Dance," by Dori Bernstein depicts the role of dance in the lives of The Young and The Rest-of-Us in a very entertaining manner.
Don't miss this! It will make you cry, laugh and most of all, smile.” - Kate Linder

“How exciting it was to hang out with Carol Channing, Tippi Hedren, and Mr. Universe!

That was definitely the most fun I've ever had at an event. And I absolutely loved the movie, I thought it was so fun and very inspiring--it made me want to jump out of my seat and dance! My agent and I want to go take hip-hop classes now.” - Romi Dames

A highlight of the evening included a selection of GOTTA DANCE cast members (Audrey Eteng-Stevens, Edie Ollewerther, Joe Bianco, Claire Gaines, Betty/Betsy Walkup and Deanna Schwartz.) performing live for the audience - a routine that was rewarded with a standing ovation from the patrons.

Dori Berinstein has executive-produced and/or supervised over 15 feature productions including Isaac Mizrahi's award winning documentary “Unzipped” (co-executive producer) and “Dirty Dancing.”
It was only a year ago that Ms Berinstein offered moviegoers her debut as a feature film director with the hit “ShowBusiness: The Road to Broadway.” Currently her 11th Broadway show, “Legally Blonde: The Musical,” based on the MGM movie, is touring the country.
Dori's previous theatrical productions include: Best Musical winner “Thoroughly Modern Millie,” “The Crucible” with Liam Neeson and Laura Linney, “Fool Moon” with Bill Irwin and David Shiner, “One Flew Over The Cuckoo's Nest” starring Gary Sinise and David Henry Hwang's “Golden Child.”
For more information about "GOTTA DANCE" visit http://www.gottadancethemovie.com/


Photo Credits: BILL DOW

Thank you Harlan Boll for this article.

In a national report card designed to assess specific areas of education, recent results in both music and visual arts reveal some interesting finds -- more than half of U.S. students don't enjoy a proper arts education.


In the first assessment since 1997, the National Assessment of Educational Progress (NAEP) has released an arts report card for 2008. Providing a detailed shot in regards to performance in the areas of music and the visual arts, the NAEP's 11-year gap in information reveals that "approximately half of American students don't get a credible arts education," according to a release on June 15.
On both report cards the average scale score was around 150.
Although the Elementary and Secondary Education Act (ESEA) of 1965 explicitly forbids the establishment of a national curriculum, the restructuring of the act now known as No Child Left Behind put in place as part of the requirements for certain funds received an arts in education.

The report assessed nearly 8,000 eighth grade students in both public and private schools within the United States in either visual arts or music based upon "benchmarks" used in the NCLB policy as well as input made by representatives across the board reflected in the National Standards for Arts Education. Despite dance and theater being part of the arts as a whole, they were not used in the assessment due to financial constraints and limited availability in some schools who do not have these programs (see how to interpret the scorecard here).

Although there is no statistical difference between the availability of music and visual arts instruction, the specific area of assessment provided unique results as well as some generalized disparities:

-Average responding scores were higher for White and Asian/Pacific Islander students than Black and Hispanic students. The pattern was the same for the visual arts creating task scores.
-Female students had a higher average responding score than male students. Female students had a higher average creating task score in visual arts.
-Students who were eligible for free/reduced price school lunch had a lower average responding score and a lower average creating task score in visual arts than those who were not eligible.
On average, private schools did better than public schools. Other factors affecting the scores were attributed to areas such as the type of school assessed, socioeconomic status, area where school is located, gender and ethnicity.
In the area of music, there was a decrease in the percentage of students who could correctly answer specific questions, according to the commissioner's summary results, this drop is "not a measure of what students know and can do in responding to music because it omits all the information from the constructed-response questions in the assessment."
This is mainly due to the different questions compared between the two assessments. Therefore, an average was used based upon 21 questions found on both assessments, with the total number of correct responses dropping from 53 per cent to 51 per cent.

In the visual arts, there were 12 common questions found on both assessments and a comparison of those revealed an unchanged number of correct answers at 47 per cent. Other areas assessed were the ability to draw a self-portrait where a mere 4 per cent received a rating of sufficient and 57 per cent rated minimal.
As a whole, the commissioner's summary explained disparities within socioeconomic and ethnic groups' results in art and music consistent with other areas assessed. The summary also stressed that the 2008 assessment itself was different than the previous one.
In a press release yesterday, it was stated by the chairman of the governing board that:
“The 2008 arts assessment shows students do not seem to be missing out on
opportunities for, and access to, arts education, as many have argued in recent years,”
said Darvin M. Winick, chairman of the National Assessment Governing Board, which
oversees and sets policy for NAEP. “But we do face consistent and wide racial/ethnic,
gender, and socioeconomic gaps across the subject areas.”

The National Association for Music Education and the National Art Education Association both expressed that the "arts" should be an essential and "non-negotiable" part of the core curriculum across the nation.

In general, arts in education provide certain benefits rather than being just "fun" things to do. They are shown to help improve overall testing scores in other areas, foster critical skills such as teamwork and communication, and teach children to be more tolerant and open-minded.



The Westport Arts Center (WAC) announces its 2009 Fall art programs for children ages five to twelve. More than 4,000 school-aged children participate in art education programs at the WAC each year through guided tours, after-school and weekend art classes, summer camps, and family-friendly workshops with experienced art educators.

Andie Levinson, a rising Senior at Staples High School and who just completed her Summer Education Internship at WAC, said, “This summer I’ve seen so many kids excited to attend Westport Arts Center programs because they are encouraged to learn new techniques, explore their creativity, and work with unique materials they’ve never experienced before.”

The Super Saturday Series offers a variety of materials-based workshops for children ages 5-12. Workshops are divided into 2 age groups (5-8 and 9-12), and meet at 9:00-10:15 am and 10:30am – 12noon, respectively.
The 2009 classes will be held on October 10, November 7, and December 5. The cost is $30/child, $25 for WAC members.
The Super Saturday Series will be taught by WAC Director of Education, Danielle Cavanna. Ms. Cavanna received her M.A. in Art History from Boston University and an Ed.M in Arts in Education from Harvard University. She has taught arts programs at museums including the British National Trust at Tytesfield, the Newport Restoration Foundation, and the Fogg Art Museum at Harvard.

The Center’s after-school programs include KinderCreate, a hands-on workshop specifically designed for Kindergarteners, and Art Factory, for children 6-10.
KinderCreate is a series of hands-on arts workshops for kindergartners who will sculpt, stack, layer, and paint against the backdrop of art history. Students work with an array of materials and explore a wide range of art movements.
KinderCreate will be held on 6 Mondays from 2-3pm, beginning on September 14. The program costs $145/child, $120 for WAC member.

Art Factory students will experiment with an exciting range of materials and techniques. The program will be held on 6 Tuesdays from 4:30-5:30pm, beginning September 15.

The program costs $145/child, $120 for WAC member.

Instructor Alyse Rosner has taught art to children and adults since 1991, including at the Westport Arts Center and Silvermine Guild Arts Center.
She has exhibited her art at the Aldrich Museum in Ridgefield, and is represented by Kathryn Markel Fine Arts in Chelsea.

Those looking to register for youth programs may call the Westport Arts Center at (203) 222-7070. All art programs will be held at the Westport Arts Center, 51 Riverside Avenue in Westport.

The Westport Arts Center is a visual and performing arts organization dedicated to creating arts experiences that enrich the lives of area residents and the entire community. The Westport Arts Center is supported with funds from the Artur and Heida Hermanns Holde Foundation, Inc., Connecticut Commission on Culture and Tourism, Fairfield County Bank, Gault, Inc., U.S. Trust, Bank of America Private Wealth Management, Westport Sunrise Rotary Young Voices Program, and Xerox Foundation.

For information contact Westport Arts Center at 203-222-7070 or go to the website at www.westportartscenter.org.
Gallery hours are M-F, 10 a.m. to 4 p.m., Sat. and Sun. from noon to 4 p.m., at 51 Riverside Avenue, Westport. Bay Street Theatre in Sag Harbor has added a two-week Performing Arts Camp to its summer educational programming lineup. Taught by Bay Street professionals, camp participants age 8 to 12 will learn to write and star in their own mini-musical.

Camp will begin Monday, August 24, and continue weekdays through September 4, from 9:30 a.m. to 12:30 p.m. at Hampton Country Day Camp on Daniels Hole Road in Wainscott.


Taught by Broadway professional Debra Barsha and dance instructor Eric Jacobson, the program will be overseen by Bay Street artistic director Murphy Davis.

Students will practice many dramatic crafts, including writing, singing, dancing, acting, improvisation and performance.

The cost for the two-week long Performing Arts Camp is $900, or $750 for returning campers, and space is limited. For more information, or to obtain enrollment forms, call Bay Street 631-725-0818, ext. 109. Forms can also be printed from the theater’s website at www.baystreet.org.

GO SEE A LIVE SHOW THIS WEEK!


Ilene Graff is appearing at Cabaret at the Castle on Sept 14th and 15th. Others clients with upcoming engagements include Rip Taylor, JoAnne Worley and Florence Henderson

Cabaret at the Castle has chosen Grammy-nominated recording artist, television and Broadway star, Ilene Graff, to appear in celebration of 100th anniversary of the structure known today as the Magic Castle. Accompanied by her Musical Director-husband Ben Lanzarone, Graff performs songs from Broadway, the movies and the pop world with completely unique interpretations and arrangements. From Harold Arlen to the Beatles, the Bergmans to Sondheim, you've never heard these songs sung the way Ilene does.
Graff's career started on Broadway, performing in PROMISES, PROMISES, the original production of GREASE (Sandy), and in the original cast of Cy Coleman and Michael Stewart's I LOVE MY WIFE, creating the role of Cleo.
Feeling honored that he tailored it to her specific talents, Ilene reprises “her very own Cy Coleman song,” LOVE REVOLUTION in her show, as well as pieces from GREASE, PORGY AND BESS, GYPSY and many others.


WHEN: Monday, Sept. 14th, 2009 and Tuesday, Sept. 15th, 2009 - Doors 7pm - Show 8pm
WHERE: The Inner Circle at the Magic Castle, 7001 Franklin Ave., Hollywood, CA 90028

TICKETS: $25 for non-members, Call 323-851-3313 x434 for more information.

(From Harlan Boll): Ilene Graff is best known to audiences as Marsha Owens, the mom on the long running ABC comedy Mr. Belvedere. She made her professional Broadway debut years earlier on the musical stage in Promises Promises, the Neil Simon, Bacharach/David hit, where she understudied the leading lady and sang backups from the orchestra pit. She performed the role of Fran Kubelik in New York before starring in the National Tour.

One of her biggest Broadway triumphs was creating the role of Cleo in the Cy Coleman, Michael Stewart musical comedy hit I Love My Wife, directed by Tony Award winner Gene Saks. She can be heard on the show's Original Cast Album. Other theatre credits include: Charley's Aunt with Charles Grodin, Cabaret as Sally Bowles, Annie Get Your Gun as Annie Oakley, and Over Here directed by Mr. Belvedere himself, Christopher Hewett.
Ilene created the role of Donna in the world premiere of composer/arranger/producer husband Ben Lanzarone's musical, You and Me, with book and lyrics by Lloyd J. Schwartz; she won the Artistic Directors' Award of the Valley Theatre League for her performance. She had the thrill of performing the role of Mama Rose in a Los Angeles revival of Gypsy as well as entertaining Jerry Herman himself at a performance of Jerry's Girls and is very proud to have co-starred in ABC/Disney's film version of South Pacific, working with Glenn Close and Harry Connick, Jr.



ICONS: The Lesbian and Gay History of the World, Vol. 3



Comedy Central star Jade Esteban Estrada performs his solo musical comedy "ICONS: The Lesbian and Gay History of the World, Vol. 3" at Metropolitan Community Church of the Palm Beaches at 8:00 p.m. Friday, August 21, 2009 in Palm Beach Gardens, Florida.
Jade Esteban Estrada plays Mary Cheney and other history-making leaders in the award-winning solo musical ICONS: The Lesbian and Gay History of the World, Vol. 3 at MCC Palm Beaches on August 21.


What do Biblical Naomi, King James, Bessie Smith, Greg Louganis and Mary Cheney all have in common? They're all coming to Palm Beach Gardens - at the same time!
Vicarious Productions is proud to announce the performance of the award-winning solo comedy ICONS: The Lesbian and Gay History of the World, Vol. 3, written and performed by the nationally acclaimed solo theatre artist Jade Esteban Estrada (2005 Performance Artist of the Year) at 8:00 p.m. Friday, August 21, 2009. The performance will be held at Metropolitan Community Church of the Palm Beaches located at 4857 Northlake Blvd in Palm Beach Gardens, Florida.
The event is wheelchairaccessible and appropriate for all ages. Show duration is 65 minutes with no intermission.
The celebrated actor will sign autographs immediately after the show. Admission by love offering. For information call 561-775-5900 or log onto www.getjaded.com.

Conquest. Religion. Sacrifice. Sweat. Politics. Fate. ICONS: The Lesbian and Gay History of
the World, Vol. 3 debuted at the Columbus National Gay and Lesbian Theatre Festival in Columbus, Ohio in 2006 winning the award for Best Solo Performance. In the third edition, Estrada portrays bibical Naomi, King James, Bessie Smith, Greg Louganis and Mary Cheney.
Lavender Magazine in Minneapolis, Minnesota named him the Best Touring Performance of 2008.

The man the Advocate and Out Magazine call "the first gay Latin star" celebrated the world premiere of ICONS: The Lesbian and Gay History of the World, Vol. 1 at the 2002 CNGLTF. In the show, Estrada portrays Sappho, Michelangelo, OscarWilde, Gertrude Stein, Sylvia Rivera and Ellen DeGeneres.
"'ICONS' is part history lesson, part musical, part politics and ALL entertainment," states Jennifer Chung of the San Diego Daily Transcript. Tom Sime of the Dallas Morning News calls it, "funny and irreverent…a feel-good session for gay people.

"ICONS: The Lesbian and Gay History of the World, Vol. 3 debuted at the CNGLTF in 2006 and won the Best Solo Performance and Best Original Music awards. In the last segment of the trilogy, Estrada took on the roles of biblical Naomi, King James, Bessie Smith, Greg Louganis and Mary Cheney, the lesbian daughter of U.S. Vice-President Dick Cheney.

"Jade Esteban Estrada is a brilliant young writer and performer. It was an honor to experience the ministry of this modern pioneer of the gay movement," states Rev. Troy Perry, Founder of the Worldwide Metropolitan Community Church.


"I've seen Jade Esteban on stage four times before, but when I saw him portraying Mary Cheney, I realized he wasn't only celebrating gay icons. He was using irony to tell us that not all of our gay icons are people that we love or respect. It was incredibly clever," stated Thaddius Novack, Creative Director of Jersey City Lesbian and Gay Outreach.

"What he is doing is important for our LGBTQ youth to experience. I was certainly educated tonight," stated Doreen DeJesus, Communications Director for Brooklyn Pride.
Formally the choreographer to television personality Charo and a scratch vocalist for the Back Street Boys, Estrada came to international attention when Out Magazine christened him, "the first gay Latin star" in 2000. Estrada released his debut CD"Angel" (Vicarious) in 2001 and in 2002 took part in the "Being Out Rocks" (Centaur) CD compilation in honor of National Coming Out Day for the Human Rights Campaign. In October 2006, Kentucky Governor Ernie Fletcher paid tribute to Estrada by commissioning him the title of "Kentucky Colonel," the highest honor awarded by the Commonwealth of Kentucky that acknowledges outstanding ambassadors of goodwill and fellowship around the world.
The Texas native joined other honorary colonels which include Winston Churchill, Ronald Reagan, Bob Hope, Joan Crawford, Johnny Depp, Muhammad Ali and Pope John Paul II.

Estrada's television credits include appearances on the Emmy-nominated "In the Life TV" on PBS, "Friday Night Lights" on NBC and "The Graham Norton Effect" on Comedy Central. His popular Latin dance music can be=2
0heard on the Golden Globe and Emmy award-winning police drama, "The Shield" on the FX Network.
"Most performers would be happy to have a fraction of Jade Esteban Estrada's career," states Marty Rosen of the Louisville Courier-Journal. Hector Saldana of the San Antonio Express-News calls him "a show biz messiah." Roy Proctor of the Richmond Times-Dispatch calls him "a master entertainer."

Estrada has toured the U.S. with his five other solo shows which include "It's Too Late...It's Already In Me," "Tortilla Heaven," "Pico de Gallo" and "Gay Christian, Gay Muslim, Gay Jew."

"Long before Estrada wraps himself with a rainbow-colored flag at the show's end, he's proven that he's a master entertainer with a message to convey."
RICHMOND TIMES-DISPATCH

"Without a doubt, the best entertainment dollars I spent this year went to ICONS: The Lesbian and Gay History of theWorld, Vol. 1 with Jade Esteban Estrada."
TAMPA BAY GAZETTE

"Catch ICONS as soon as you can, or you will surely live to regret it."
CURVE MAGAZINE

"Estrada is a drama queen with a lesson plan.
"KNOXVILLE METRO PULSE

"Estrada's bug-eyed portrayal of Gertrude Stein is brilliant."
STYLE WEEKLY

www.GetJaded.com

VICKILYN REYNOLDS In HATTIE & ME - The life of Academy-Award winning actress Hattie McDaniel
Saturday, Aug 22nd, 2009
7:00 PM - 8:30 PM


NEW YORK, NEW YORK, August 3, 2009 – Vickilyn Reynolds, playwright, composer, lyricist and star of the acclaimed musical “Hattie…What I Need You To Know!” based on the life of Academy-Award winning actress Hattie McDaniel of “Gone With the Wind” fame, presents “Hattie & Me” one night only on Saturday, August 22 at the Triad Theater in New York. Tyrone Patrick will accompany Reynolds on piano. Reynolds will perform a selection of songs and present the making of the music from “Hattie…What I Need You To Know!” that was originally written, developed and massaged out of a vision to recreate the often-overlooked McDaniel.



“Hattie…What I Need You To Know!” which played sold-out performances last year at the National Black Theater, takes the audience on a dramatic musical journey through Hattie’s life from her early childhood and her relationship with her family to her difficult decision to leave her family and move to Los Angeles to pursue her artistic dreams during a time filled with racism and segregation. For her performance in “Hattie…What I Need You To Know!” Reynolds was honored with the Audoco Award for Outstanding Female Performance in a Musical. Theatermania praised Reynolds as a “vocal powerhouse.” The New York Times said Reynolds “makes McDaniel such a likable presence that it’s a pleasure to spend some time in her company.” Blessed with robust vocals, Reynolds has traveled the world performing solos for dignitaries and royalty upon their request. She has also studied with Marlon Brando for an intensive documentary “Lying for a Living.”



Reynolds won the LA Ovation Award as “da Singer” on the first national tour of “Bring in da Noise, Bring in da Funk.” She also garnered nominations from the NAACP Image Award and the Drama Desk Awards; was a recipient of the 1998 Best Performance (Chicago), Black Theatre Alliances Award and won the 2005 Telly Award for Acting and Associate Producer. Reynolds has also starred in numerous feature films, television shows and commercials, most notable: In the CBS sitcom, “Sugar & Spice”; played Chris Tucker’s mom (Joanne) in Ice Cube’s hit film “Friday”; played a role in “The Colored Museum” by George C Wolfe; and appeared in the motion film, “Primary Colors.” Music from “Hattie…What I Need You To Know!” is also available for sale on CD with such songs as “Hollywood” and “Deez, Dat, Dis, Dem, and Dey” that Reynolds wrote with Kenny Long and Mableline Collins. Patrick brings to “Hattie & Me” over 40 years of experience in piano accompaniment for and recordings with many major artists including Andre Crouch, Dannibelle Hall, Jessie Dixon, Sweet Spirit, Keith Pringle, Kurk Whalum and Duke Ellington’s last Jazz Mass. He has been associated with many prominent church ministries and is also the founder of Tyrone Patrick and Co. Mass Choir of Toledo, Ohio.


Reynolds will perform “Hattie & Me” twice on August 22 at 7:00pm and 9:00pm at the Triad Theater, located at 158 W. 72nd Street.



Admission is $20 plus a two-drink minimum, cash only. For reservations, visit www.triadnyc.com or call 212-362-2590. For more information on Reynolds and “Hattie…What I Need You To Know!” visit www.vickilyn.com and www.HattieWhatINeedYouToKnow.com.



Broadway's BERNARD MARSH in "Tributes" Featuring the Lafayette Harris Trio
Sunday, Aug 23rd, 2009
7:00 PM - 8:30 PM

$15 + 2 Drink Minimum


I am going on the road tomorrow! I will be away till September 8th. I will send out my next blog on September 10th. Don't forget to contribute to the DR. CAROL CHANNING & HARRY KULLIJIAN FOUNDATION FOR THE ARTS: http://www.carolchanning.org/Foundation.htm

With grateful XOXOXs for your support!

Richard Skipper

Follow me on Twitter @RichardSkipper






HERE IS WHAT AUDIENCES ARE SAYING ABOUT WEDNESDAY NIGHT OF THE IGUANA:



What a ball it was to be among the wonderful entertainers last night (8/12/09).I had a ball singing with Barry Levitt on piano.
Richard, I think you and Dana are doing a grrreat job at the Iguana. Keep up the loving atmosphere of supporting the artists and providing entertainment to the consistent audiences. Congratulations dear friend. Love, Leslie Orofino


You are the best!! Passionate about everything that you do & always thinking of others.
You are an amazing entertainer - but, more importantly a sincerely generous person.

NEXT WEEK’S GUESTS!
August 26th Dana Lorge hosts! (Richard Skipper is out of town). Special Guest stars Helena Grenot, Jana Robbins, Adam Shapiro, Tanya Mobley, Bryn Holdsworh!


Had a great time last nite at the Iguana. That was a wonderful show with marvelous talent.
The most fun I have had in a long time. Thanks for your generosity and your great spirit.
I will come again soon! It was a great crowd.




PLEASE NOTE: THIS IS NOT AN OPEN MIC!




FOR IMMEDIATE RELEASE: NYC
Now a night out in NY to see a show at a VERY AFFORDABLE price! Joan Crowe
started this Wednesday night series. Dana Lorge and I have
now put their OWN spin on it and are now hosting this weekly variety show in
NYC at The Iguana VIP Lounge (http://www.iguananyc.com) in the heart of
NYC (240 West 54th Street 8-11PM/with an intermission). WEDNESDAY NIGHT OF
THE IGUANA!
What we are doing is NOT being done anywhere else! Each week
will showcase 5 entertainers. NEXT WEEK
Barry Levitt returns on keyboard and Saadi Zain returns!
on
bass. Each week will be different. Time: 8 - 11:00 p.m.
Cover: $10 - no food or drink minimums – but remember – the food is great!
CASH ONLY PAID AT THE DOOR! This is a nice night
out with the family! The show will also be done with class and elegance. A
"throw back" to the variety shows we grew up with.
For more info, please call 845-365-0720 or visit _www.RichardSkipper.com_

RESERVATIONS A MUST!!!!!!!!
212-765-5454. No one admitted before
7:30.






September 2nd: Dana Lorge hosts. Guests Scott Albertson (with Daryl Kojak on keyboard), Steve DePasse, Laura Hull, Anthony Santelmo, Jr.

SEPTEMBER 9th: Richard returns from Malibu! Special guest stars: John Demarco, Jackie Draper, Robin James, Sue Matsuki!

September 16th: Ann Dawson, Lou Iacovino, Sara Rice, Val Ryder, & Bill Zeffero


September 23rd: Risa Benson, Stewart Brodian, Jenna Esposito, The Kim Schultz Improv Group, Frank Torren,

September 30th: Wendy Lane Bailey, Bobby Belfry, Ben Rauch, Rick Younger, Josh Zuckerman

October 7th: Edd Clark, Marianne Meringolo, Wendy Russell, Marcus Simeone, Maureen Taylor

October 14th: Kelly Esposito- Broelmann, Barbara Gurskey, Jonathan Long, Andrea Mezvinsky-Kolb , Martin Vidnovic

October 21st: Esther Beckman & Stearns Matthews, Leslie Orofino, Susan Winter



October 28th: Hector Coris returns!, Laurie Krauz & Wicked’s very own Walter ONeil, Angela Schultz, Mauricio Villa-Lobos!


November 4th: Arianna & Moira Danis, Elaine St. George


December 30th: Ritt Henn, Annie Hughes


Keep checking http://www.richardskipper.com/schedule.html for updates