Mary Jo Catlett: Bridging The Gap With Dolly!
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| David Burns and Mary Jo Catlett Hello, Dolly! 1964 |
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!
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.
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| Charles Nelson Reilly, Eileen Brennon, Jerry Dodge, Sondra Lee Original company |
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.
In addition to Mary Jo, David Hartman (Rudolph), Sondra Lee (Minnie Fay), and Ron Young (ensemble) also attended. It was a great reunion.
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| Mary Jo from Different Strokes |
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,
'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.
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| David Hartman and Mary Jo Catlett opening night |
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!
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| Eileen Brennon and Sondra Lee Original production |
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.
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
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| Mary Jo celebrating the 50th Anniversary of Dolly at Sardi's |
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.
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| with Jeanne (Lehman) French |
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.
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.
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.
For some reason, it didn't capture an audience and there was a sort of hatred for this musical that surrounded it.
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| with Patricia Morrison |
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.
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.
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.
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.
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.
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 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.
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 ,
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| Carol Channing was always a trouper! |
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."
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!
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 |
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 |
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.
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.
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.
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 |
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 |
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.
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
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
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 ,
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