We're In This Together: Part Two In A New Series...Today, Let's Celebrate Warren Schein!

Lucius Annaeus Seneca

Life's like a play: it's not the length, but the excellence of the acting that matters.
Lucius Annaeus Seneca

Happy Wednesday, March 26th, 2020!
Today is Legal Assistants Day. It recognizes the many contributions made to the legal profession by legal assistants. Legal assistants do work to support lawyers in areas such as

Happy 80th Birthdayto Nancy Pelosi today

corporate law, criminal law, immigration, and litigation. Their duties may vary depending on the type and size of the law firm they work at, but their contributions are vast. 

March 26 is the 84th day of the year . 282 days remain until the end

of the year.

• 222 Days till Election Day! November 3rd! VOTE!!!!!!! (God willing)
• 16th of #SelfIsolation!
• Singer/actor Al Jolson born (1886?)
• Actor/singer Martin Short born (1950)
• Funny Girl starring Barbra Streisand opened on Broadway (1964)
• Minnie's Boys opened on Broadway (1970)
• Annie revived (1st time) on Broadway (1997)
A 20th anniversary Broadway revival, which played at the Martin Beck Theatre (now called the Al Hirschfeld

Theatre) in 1997, entitled Annie, the 20th Anniversary, starred Nell Carter as Miss Hannigan, but controversy surrounded the casting of the titular character. The original actress cast in the role, Joanna Pacitti, was fired and replaced by her fellow orphan, Brittny Kissinger (who usually played orphan July) just two weeks before her Broadway debut, while battling bronchitis in Boston. 
The Pre-Broadway Tour was playing the Colonial Theatre. 'Annie' Understudy and Swing Orphan Alexandra Keisman performed the role the first

Alexandra Keisman

night Pacitti was absent. The producers then gave Kissinger the next performance. The show then moved on to the Oakdale in Connecticut where an insert was placed in the Playbill claiming "The Role of Annie is now being played by Brittny Kissinger". 
Public sentiment seemed to side with Pacitti as she was the winner of a highly publicized contest to find a new Annie sponsored by the department store Macy's. 

Joanna Pacitti as a young woman

This incident, coupled with the mixed reviews the new staging garnered, doomed it to a short run, although it was followed by a successful national tour. Kissinger, then 8, became the youngest actress to ever play Annie on Broadway. 
More controversy surrounding the show involved Nell Carter. Carter reportedly was very upset when commercials promoting the show used a different actress, Marcia Lewis, a white actress, as Miss Hannigan. The producers claimed that the commercials, which were made during an earlier production, were too costly to reshoot. 

Marcia Lewis

Carter felt that racism played a part in the decision. "Maybe they do not want audiences to know Nell Carter is black", she told the New York Post. However, the ads did mention that Carter was in the show. "It hurts a lot", Carter told the Post, "I've asked them nicely to stop it — it's insulting to me as a black woman." 
Her statement, released by the Associated Press, read: " 'Yes, it is true that I and my

representatives have gone to management on more than one occasion about the commercial and were told that there was nothing they could do about it,' Carter said in a statement Thursday. 
'Therefore, I have resigned myself to the fact that this is the way it

Miss Hannigan-Annie Dorothy Loudon, Nell Carter, Katie Finneran

is.' 
The statement also addressed the alleged charges of racism, first published in the New York Post. Carter is black. 'I, Nell Carter, never, ever, ever accused my producers or anyone in the show of racism,' she said. Producers have said it is too expensive to film a new commercial."

Carter was later replaced by another white actress, Sally Struthers. The revival closed on October 19, 1997 after 14 previews and 239 performances.
Joanna Pacitti has become more famous for not playing Annie

than for playing her. 
Although pint-sized Kissinger went on to open the show on Broadway, America rallied around Pacitti, whose family sued the show's producers and settled out of court. Barbara Walters did a special about the scandal, and Pacitti made

Joanna Pacitti

appearances on "Good Morning America," "The Rosie O'Donnell Show" and "Sally Jessy Raphael." (Sources: Playbill.com and Wikipedia)

I celebrate everyone's art. Today's social media engagement: Comment on something mentioned in this

blog and let's keep the next 24 hours upbeat! Have something to promote? Email me at Richard@RichardSkipper.com! Now, go out and so something nice for someone without expecting anything in return! Celebrate the gifts you have to offer the world! Did you do your Morning Pages? 

Have no clue what I am referring to? Today, celebrate your crazy ideas and surround yourself with those who will support those ideas! Make it a great week! Recommended Reading
Hello, Gorgeous: Becoming Barbra Streisand
By William J. Mann

Now, Go to the 8th person in your friend’s list and do something for them without expecting anything in return and let me know what happens! 
Warren Schein, Today I celebrate YOU! 
The world has changed. I find myself reminding people that we’re

experiencing a once-in-a-century pandemic event. Right now, a little kindness and a little humanity, goes a long way. That’s why I’m writing you an email, personally.


Richard Skipper Celebrates Warren Schein! 
“the voice is true and beautiful, the phrasing elegant and he never crosses that fine line between emulation and imitation.”

WARREN SCHEIN, has been entertaining audiences on stages throughout the US and Europe. He has played leading roles Off-Bdwy, Regional Theater and in Summer stock productions which include Mickey in Sugar Babies, Max Bialystock in The Producers and Nathan Detroit in Guys and Dolls, just to mention a few. He has been performing his one-man shows, Remembering Mel: A Musical Tribute To Mel Torme and Spend An Evening With Mr. Saturday Night, a medley of timeless music and comedy to sold out audiences throughout the country. 

with Marty Allen

Warren also garnered glowing reviews from his show “From the Borscht Belt to Broadway which included a tribute to the entertainer extraordinaire, Al Jolson (whose birthday we celebrate today). 

For many years Mr. Schein has been participating as one of the major headliners performing in the famous Provincetown Cabaret Fest in Massachusetts. 

Warren has been the voice of the Pillsbury Doughboy, the Rice Krispy MandMs, and the leprechaun for Lucky Charms. TV appearances include ads for The History Channel, A and E and Nick at Night . He appeared on Saturday Night Live, Boardwalk Empire, Law and Order and in the films, The Stepford Wives, Dark Room and Spector. 

as part of Richard Skipper Celebrates

Warren and his musicians enjoyed a jazzy evening, Rhythm, Reeds and Brass, a nineteen-piece big band that offered selections from the Great American Songbook. The impressive list of performers he has opened for and performed with includes: Marty Allen and Steve Rossi, Jerry Stiller and Anne Meara,  Milton Berle, Red Buttons, Totie Fields, Buddy Hackett, Steve Lawrence and Eydie Gorme, Danny Kaye, and Tony Martin.

Steve and Eydie

 
Warren is especially known for his classic jokes from the Golden Era of Comedy and of today’s lifestyles. Warrens interaction with his audience makes him one of the foremost improvisational comedic performers in the business. Mr. Schein has played in every NY City premiere night club such as the Metropolitan Room, and The Copa. 
Warren is currently in rehearsals with his Music Director, Tom LaMark, for his up-coming debut performance of “Dream Along

Perry Como

With Me”: A Tribute To Perry Como.

Do you recall your first stage appearance? What did you do?
I was in the sixth grade at P.S.18. They had a talent show and I got up and sang a song from "Guys And Dolls".
I wasn't even nervous, I just got up on stage and wowed them.
The principal came over to me after the show and asked why I picked such a song. 

with Jeff Harnar and Patricia Fitzpatrick

I told him all I've ever wanted to do is to perform on stage so I thought a Broadway tune would be the thing to do. (By the way, I won the contest.)

Do you have a structured routine during this time (of the Coronavirus Pandemic)?
I'm not good at having too much time on my hands. I like to keep busy. I'm up early, have my coffee, read the paper and usually look at what needs to be done for the day.

with Dana Lorge

How do you prepare for a performance?
Over the years I've learned that I need to prepare each performance differently. And, of course this depends what venue I'm playing at. If I'm booked to perform my Mel Torme` Show and it's all music, I ease up on the comedy and keep it very structured. I keep to the script of the show almost line by line, word for word, song by song.

If I'm doing "standup and music" now that's a different story. I improvise and "work" the audience throughout the show. Obviously, my band members are aware of this and they know I'm going to go off "script" and I'm going to ad-lib. However, I still keep to my structured show for that performance but, stay in tune so to speak

so as to keep focused.
When I'm only booked for comedy, I keep it very structured except when I'm working an audience member.
I perform at many condo's, assisted living facilities, libraries, civic centers etc, it's important to bring the audience into your show. 

They need to like you, love you. And that's true of any performance. Dana Lorge taught me that you've only got the first ten minutes of your show to get into the hearts of your audience. If you can do that, you"ll kill. She was right, and I think of her as I walk on stage to this day. Whatever little bit of success I've had is because what Dana taught me. She was a "present" that was given to me and will always remain in my heart. Both Richard and I had a real privilege to share her friendship and love. And performing on stage with her, was a dream come true.

Name one thing you’ve learned about yourself during this

pandemic?
This is a tough question. I'm a free spirit. I spend many hours working and rehearsing all the time. But I always didn't think that way. I need to be rehearsed, especially musically. I've learned that you can't feel comfortable on stage in front of an audience it you're not prepared. 

I've found very honestly, that as you get older it takes a little more time to prepare. 
So, I've learned that now I need to start rehearsing and planning well in advance of all of my material so that I'm ready to give every audience all that I've got. It's on thing to "wing" it when you have to but remember, you need the "chutzpah" to make it work. (I learned that from both Marty Allen and Totie Fields).

What song(s) are you currently listening to during this time?
I'm always in tune with Broadway melodies and looking for songs I've never sung that will now fit my voice and age. My favorite songs now of course are those sung by Sinatra, Dean Martin, Sammy Davis Jr., Matt Monro, Steve Lawrence, Perry Como to name a few. Especially the "Vegas Sound".
They make me feel good and when I perform them, I get this wonderful feeling throughout my body and I realize how happy I am on stage.

Do you believe our spirit lives on after we pass on?

Absolutely. I only hope that when my time comes to leave this precious world, (and I hope it doesn't happen for a very long time) that I come back somehow and be able to watch whomever is lucky to have a little of me in them so I watch them perform. 

Dana and I used to talk about that happening together. We would come back and take over their show and do them and they'd never even know. But no question that I do believe that our spirits live on, or at least I hope so.

What do you wish to be remembered for?

That I made people happy. Not only my audiences, but my friends and family. For example, whenever I've had the good fortune of be in some of your  shows. I'd always give it all that I've I got. And why not, when you produce such terrific shows along with Russ Woolley, you and your audience deserve that. 

And of course all of the many other Variety Shows that I've been in, I want them to know how much I've appreciated my stage time. Working with Patricia Fitzpatrick is a pleasure. Especially writing material for her shows. And of course after a show, especially in Florida, when it's over you've got to do the "meet and greet". Some performers complain about it, I love it. Thanking your audience is so important. I want them to know how much I appreciate them. I truly do. 

Without them, what would we do? To this day, and I've been performing for over four decades, whenever I'm in the audience I always say to myself "I wish I was up stage". I guess it all comes down to this. I try to be humble and when I perform, I hope the audience says, "he really made me forget all the problems of the world, my aches and pains and I'd just love him". I have a huge ego, but I'm really very nice and humble...

Lighting round! Describe each of the following in one word: Who you are, what you value the most, and what you’d be if you were a food item.
Who are you-Friend
What I value the most- Family
Food item-Jelly Donut, alright it's two words

What do you like least? Leg of lamb. Hate the taste and the aroma destroys me. Besides, how

could eat "Bambi".

What do you wish to be remembered for? A loyal friend and someone you can depend on. Always willing to do something nice for someone else!

How do you create a strategy to continue the drive and ambition

to continue to perform?
Because it's what we are made of.
Some people are meant to be doctors, teachers, train engineers and some are born to entertain. It's in our DNA.
Some people can try to be funny but, no matter how hard they try they can't because they just don't have it in them. That goes for singing as well.
My strategy is my inner drive that keeps me going to want more. It's this constant feeling that I have deep in my soul that powers my ambition to keep on working at what I love to

do the most, perform. It doesn't stop and never goes away.
What would happen today if all the scientists who are trying to come up with a medication to stop this virus stopped working because they didn't have the drive and ambition to continue to do what they've been trained to do all their life?
So, as long as I have a breath in my soul, my strategy is to always keep my motor running and put it into drive, which will allow me the privilege to continue to perform.

Thank you, Warren Schein!, for the gifts you have given to the world and will continue to give.

Now, everyone, please go and and do something nice for someone without expecting anything in return! Go to the 8th friend in your friend's list and call them! We're ALL in this together! Till tomorrow...

Jeffrey B. Moss: Revisiting Dolly

Sally Struthers and Company (Alhambra Theater's production of Hello Dolly!

Emmy Award-winning actress Sally Struthers will star in a 50th anniversary tour of the Tony Award-winning Jerry Herman musical Hello, Dolly!,which will launch at the Edward Nash Theatre in Somerville, NJ, in October. This will be the first time the show has toured the country since Carol Channing last took her “to the provinces” in 1996, also her last tour. This is not the first time that Struthers has played Dolly. She has made the part her own in various regional theaters over the past ten years. Jeffrey B. Moss is also no stranger to Dolly. He directed Mimi Hines and Phil Ford in a production that toured the country before taking it to Asia.

Jeffrey and I sat down a few months ago to discuss Dolly. I wanted to wait till a closer time to write in order to bring more attention to the production I, for one, am anxious to see.

Jeffrey’s aunt Laurette Moss was Ethel Merman’s first manager. She used to regale him with stories about

Hello, Ethel Merman!

her. This was before Merman was famous, so Jeffrey grew up on these show business stories.

The first Broadway show that Jeffrey Moss saw was Ethel Merman in Happy Hunting. His Aunt Laurette took him.  Later on, Jeffrey would also see Merman in Dolly!

Jeffrey’s foray into the theater was as a scenic designer. He also designed Dolly, early on in his career, in the round. He also did a couple of productions, as a designer in stock. His first directing job on Dolly was Mimi Hine’s National and Asian tours.

When Jeffrey first did the scenic design for Dolly in the round, the director was Richard Barstow. The producer was Lee Guber. Richard was the director of the Ringling Brothers Circus. He used to work for Lee Guber in the summer. Richard was a little “crazy”. He told Jeffrey that he wanted all of these “cake platforms” for the production. Jeffrey had no idea what he was talking about. Cake Platforms are what elephants stand on in the circus! Although Jeffrey tried, he could not make it work. Richard was eventually replaced. He had a nervous breakdown in the pre production. Neal Kenyon, who directed Dames at Sea, was brought in and together, he and Jeffrey, salvaged the production.

Years later, Jeffrey got the rights to produce a tour of Dolly! He was looking for a star and Mimi Hines happened to be a friend. He had seen her years later in Funny Girl.
Mimi played Funny Girl longer than any other actress.

Hines replaced Streisand and toured the show. She was a legend to Jeffrey and he thought that was a great idea. She had two major elements needed for Streisand, she was a great comedienne and a great singer. It was a love affair and a wonderful experience. This tour played all over the country before embarking for an Asian tour. In the States, the tour consisted of split weeks, one nights, and a few full weeks. The tour went from October till May.

Prior to Dolly, Jeffrey had produced 30 Broadway shows in Asia of all kinds. That include Broadway, rock and roll concerts, and even classical concerts. The Asian bookers came to see Mimi in Dolly, liked her, and they moved forward on this.

Of course, with Mimi came Mimi’s husband and frequent co-star, Phil Ford. That was exactly as Jeffrey desired it. They both were at their prime at the time of this production. There was very little negotiation, as far as money was concerned. They both desired to do it.

Mimi was a STAR. When she appeared on stage, audiences could not keep their eyes off of her. In an era of knowing what Mary Martin and Carol Channing, for example, was like on stage, Jeffrey KNEW a star when he saw one. He had seen various actresses play Dolly; some were stars, some were not. Mimi had a magnetic quality about her. Looking at the overall production, Jeffrey feels it is primarily Cornelius’ story, in a way. He is taking on this adventure and Dolly, in a way, is following him. She is the magnet. When the production team began to form Dolly, as we now know it, the focus began to lean towards Dolly. It is, of course, The Matchmaker.

Jeffrey has never done a production of The Matchmaker. When Jeffrey was in college at Penn State, there was a tour that the Phoenix Theater did of The Matchmaker. Jeffrey distinctly remembers saying to a friend of his at the time, “This would make a great musical!” He still has the program for that production. His premonition was right, it became a wonderful musical. It is very different but it is very much the same. The plots are a little different.

Shirley MacLaine and Anthony Perkins in the film version of The Matchmaker

Playing Dolly in Asia, the audiences got laughs that were not always there with not always there with audiences. There were no translation issues. They are people. They get it. It is a well written story with well written comedy. Joe Styne used to tell Jeffrey the story of when they took Fiddler on the Roof to Japan in Japanese. When it opened, Joe Styne was asked how he, a Jew from New York, could write a story about them! Both Hello, Dolly and Fiddler have universal messages.

There have been no other Dollys in the interim since Mimi Hines. 

It has been at least twenty years. All the elements are coming together to make this national tour, the first since Channing did it in ’96, with Sally Struthers succeed on all counts.

Obviously, Jeffrey likes Dolly. As stated earlier, this show has not been on the road since Channing’s last tour. There is a market for it. It’s not like a “commercial” production in which Jeffrey decides that he likes something and therefore decides to find a way to get it produced. The road is about what twenty-five weeks of buyers in various cities put in their theaters. Will they pick THIS title or THAT title?

There is an agent that puts the cities in place.

As of this writing the tour is slated for twenty-two weeks. As with Mimi’s production and Carol’s last tour, there are one-nighters, split weeks, and full weeks. This is the first time that Jeffrey and Sally have worked together. Earlier this year, Jeffrey went to see Nancy Opel as Dolly at The Ford’s  Theater in Washington DC. At that time, Sally was appearing in The Full Monty in DC and he went to see that show as well. He and Sally have a few mutual friends. Charles Strouse, who also has a Dolly connection (check out my interview with him), is a mutual friend. He also wrote the theme for All in the Family and Sally has also played Miss Hannigan in Annie the last time the show was in New York.

The show itself always hits the mark as far as Jeffrey is concerned. It always rings true with an audience. There are things in the words and songs that are very powerful. There are aspects that touch people in terms of their desires. In It Only Takes a Moment, Cornelius says, “There I was cooped up and there were things out there that I didn’t know I desired.” There are little kernels of “Our Town-isms”. As far as the individual Dollys are concerned, have they all communicated to Jeffrey, as an audience member, everything that could be mined from the role? 

There have been Dollys who have not done that.

An actress is a person who reads a script and begins to discover what it is about and puts that on the stage. 

A performer is someone who does what they do all the time. Sally Struthers is an actress.
The first rehearsal is September 16^th. Sally has the added advantage of having played the role before in various productions regionally. They have a three week rehearsal before they go out and tech it. Those first few days in the process are very important to Jeffrey, especially with someone who has played the role. Even more importantly when they’ve played the role before to find out what they think of this character, to find out what discoveries they are going to make in this book that Jeffrey has never seen before. He just did My Fair Lady for the third time. In the tea scene in Mrs. Higgins’ house, when Henry comes in running after Eliza, Mrs. Higgins says, “Don’t run after him now, dear. Stay here. You’re a lady now.” Henry says to Eliza in the middle of that scene, ”Yes, I’ve heard that before…” This particular actor playing this scene and saying those lines delivered them in such a way that made Jeffrey realize for the very first time that Henry had been called awkward before and that made Jeffrey realize why he was the way he was. Higgins had never been able to complete a relationship before. It was just one sentence delivered in a way that an actor chose to say those words and what he was thinking. They stopped and talked about it. It began to influence other choices that they were going to make later. It influenced Jeffrey in his staging for I’ve Grown Accustomed to Her Face, not where he stood. For Jeffrey, it was all about putting the key in the door. He couldn’t. It was too hard. Now he had bravura around him to prevent those arrows that she had seen. That was a whole new discovery. There will be discoveries that Jeffrey and Sally will make together although they both have been involved in previous productions of Dolly. Having seen Sally on stage and being very familiar with her work, Jeffrey is very excited about this partnership. That presence is exciting. Jeffrey doesn’t have to make that happen. 

It is already there for him to harness.

Audiences of my generation know her as Gloria Stivic. Jeffrey has never seen her play Dolly. Sally bears the burden of Gloria. Most people who have had the luxury of owning such an iconic role also share in similar circumstances. That was a long time ago but it is seen on television every day still. The fact is that she is not that person. She can sing and audiences are going to fall in love with her. Audiences already realize that she is a comedienne. TV has the disadvantage of making people believe that that is who they are

as opposed to actors playing a role. The perspective is different from seeing someone play a role one night in the theater. Sally Struthers has a star quality about her that audiences will be happy to see. The aspect of a theatrical performance from her, from audiences who have never experienced her on stage, are in for a pleasant surprise.

There are twenty six members of this company. The music will also be LIVE. 

They are still deciding on the size. Speaking of the music, there are some interesting things in store. You’ll have to see! They are not taking anything away from the orchestrations. They are merely adding to it. Jeffrey is going back to what he believes is the original INTENT of Gower’s on the overall feel of the production. It was an entertainment. “You don’t do So Long, Dearie in “one” without knowing that Gower was going for a music hall feel. 

Riverside Theater in 2011

Jeffrey wants to get back to those feelings. The opening will reflect on that with the “vaudeville” drops.

They will be teching at a college campus theater just outside of New York. It is very user friendly and then they are off and running. This is being produced by Big League. 

Jeffrey is onboard solely as the director and does not have the itinerary in his head! This Dolly is allowing Jeffrey to also revisit some of the scenic elements. It opens in October and plays through April 2014 coinciding with the 50^th anniversary of the show opening on Broadway.

Jeffrey would like to see a Broadway revival. He easily sees Sally in that position. A dream Dolly is also Bette Midler. He even imagines a wonderful jewel box production.

Jeffrey acknowledges that Gower was a genius in terms of the entire vision he had with this show. The pieces all come together. The choreographer for this production is Bob Richard. Jeffrey says that Gower’s influence cannot be denied. The Waiter’s Gallop cannot be denied nor certain visions within the Dolly number. Should there be women in the Dolly number? Jeffrey thinks not. The essence is that Dolly is singing to these guys. It’s not by accident that it is Manny, Harry, Louie, etc. 

“Clara” is not one of the waitresses in the number. Could they be chefs running in from the kitchen or running in from the back? Absolutely! The structure of certain things, Jeffrey believes, need to be in place. Does he believe the It Takes a Woman number should be done EXACTLY the way Gower did it? No, although that was a lot of fun. It should definitely be just men, however.

It is unfolding the way it is unfolding now. When they get to rehearsal, they don’t necessarily know how it will unfold at this point. He knows what the show is going to look like. He envisions a maypole of ribbons for Ribbons Down My Back leading into Dancing. It’s just a new idea having nothing to do with Gower

Champion.

The only missteps that Jeffrey has seen as far as Dolly is concerned over the years are in miscasting. Once again, one has to look back at the intent of the show. Why did the original collaborators come together on Dolly and what compelled them to move forward? Why was Charles Nelson Reilly cast as Cornelius. Why was Eileen Brennan cast as Mrs. Molloy? Were they Michael Stewart’s friends? Maybe. How much of the characters were built around them? What is the secret of Mrs. Molloy? “When a dull soprano or someone who doesn’t get it is cast in that role or some earthy dame who just wants to play the role, you’re in real trouble.” In It Only Takes a Moment, Cornelius Hackl goes from a thirty three year old boy to a thirty three year old man. 

This is a guy who hasn’t quite figured himself out yet at the top of the show nor has he found his confidence. What people forget about Charles Nelson Reilly is that there was innocence about him. The audience desired to take care of him. He was everyman and audiences wanted to follow him. He wants Mrs. Molloy. He wants to be in love. It all comes out in that wonderful speech at the end. If it is not cast with those elements in place, the show is in real trouble. If Minnie Fay is cast as just a “Minnie Mouse” with a funny squeaky voice and the casting doesn’t get who she is with all of her opinions, she’s a goner. One girl, who had played the role before, came in to audition and Jeffrey thought no way, she was obnoxious.

Jeffrey admits that he has made mistakes in casting and has lived to regret it! He could not wait for the closing!!

Sally Struthers is going to hit it out of the park every night! Jeffrey and Sally both will arrive at the first rehearsal already knowing what the show is about. All of the agendas and past histories of both will come together to make something really exciting.

Hello, Dolly speaks for itself. “You sit back and say ‘these boys knew how to write a show’” 

It is not over written. In the rehearsal process just listening to actors saying the lines sans costumes, it comes through loud and clear how solid this material is. The arc from the moment Dolly says to Cornelius, “Put your hand on her waist and stand…” straight through to the curtain falling at the end of Act One is a perfect piece of theater.

All of the emotions of the entire show are captured right there. There is a reason why each character is placed where they are on stage. The show asks all the right questions. When those questions are answered honestly and truthfully, you have a hit show no matter what the show looks like. Desire to set the entire show in a railroad station? IF it is honest, it WILL succeed!

For more info, please visit Big League Website

Thank you Jeffrey B. Moss for the gifts you have given to the world and will continue to give!
Can't wait to see this production!


 With grateful XOXOXs ,

 

Please check out our PSA for Carol Channing to receive a 2013 Kennedy Center Honor 

Check out my site celebrating my forthcoming book on 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!

“When it comes to the history of Jerry Herman’s brilliant production, beyond the 5000+ performances of my own, even I turn to Richard Skipper when I have questions about the remarkable ladies who followed me in the role that the world fell in love with over 50 years ago.”-Carol Channing

              

My next blog will be...Samantha Rehr: Hello, Dolly through the eyes of a fifteen year old High School Dolly!


Thank you, to all the mentioned in this blog!

  

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!