Backstage Pass To Broadway

by Susan L. Schulman

  Sometimes, after a shoot, we will get our photo taken with the star, just for fun. As Director of Public Relations at A&E (the Arts & Entertainment TV network), I set up a publicity photo shoot for world-renowned cellist YoYo Ma, who was appearing on the cable network. He arrived late, flustered, embarrassed and adorable.

  He said, “I bet you’d like me in a tie, right?”

  “Yes,” I said, utterly charmed.

  He said, “Well, I’ve got ’em.”

  He opened his cello case and I saw he had at least 20 bow ties wedged around his Stradivarius. He took his priceless instrument out of the case and thrust it at me.

  “Here, can you hold this for me?”

  He started pulling out various colored ties, holding them up to his neck, asking which I preferred.

  In my head I screamed, “Pleeeease don’t let me drop your zillion dollar cello.”

  I said calmly, “The blue one will be fine.”

  He put it on, took back his fabulous cello and posed for our photographer. At the end of the photo shoot, he graciously posed for a picture with me. I am the happy one not holding the irreplaceable cello.

  YoYo Ma, Susan, and the priceless cello

  (From the author’s photo collection)

  In 1971, I was working as one of producer Alexander H. Cohen’s unpaid, formally-clad, backstage go-fers at the 25th Anniversary Tony Awards. I was part of the team tending to the needs of the Broadway stars re-creating their Tony Award-winning moment for this special TV broadcast. I was to assist Yul Brynner who was charming and funny and borrowed my eye-liner to look, once again, like the King of Siam. He seemed relaxed and happy to be part of this elite theatre community and did not make any special demands or call attention to himself, except on stage. This was years before he began touring the world in a revival of THE KING AND I, so the anticipation of seeing him perform ‘Shall We Dance’ on stage for the first time since the 1950s was high. During the Sunday afternoon dress rehearsal, one legendary Broadway star after another was called to the stage to perform his or her personal show-stopper. Richard Kiley sang ‘The Impossible Dream,’ Alfred Drake told of ‘The Life that Late He Led,’ Gwen Verdon and her Lola got what she wanted, Zero Mostel recreated both his poor Jew and wily Roman slave personas, Nanette Fabray coerced her Papa to dance with her; Tom Bosley campaigned again as Fiorello, Vivian Blaine bemoaned how ‘A Person Could Develop A Cold,’ and Robert Preston warned of ‘Trouble Right Here in River City’ — each performance dynamic, energetic and full-blown, vividly reminding us why each had earned his or her Tony Award®. (Many of these musical performances from the 25th Anniversary Tony broadcast are available on the video series Broadway’s Lost Treasures. You can tell it is from that broadcast if the performer is backed by a large illuminated year number.)

  Then Yul Brynner and Patricia Morrison were called onstage. The familiar Richard Rodgers music began as Morrison’s Mrs. Anna slowly taught The King how to do the polka. “Teach...teach...teach,” he demanded. “One, two, three, AND,” they sang. When he impatiently pointed out to Mrs. Anna that her previous partner had not held hands when dancing, but that he had grasped her firmly around the waist, the star-filled audience went dead silent. Brynner said firmly “No, it was like THIS” as he slid his hand slowly towards her tiny, corseted waist above the swinging satin hoop skirt. It was electrifying, heart-stopping and very sexy. Then they began to dance and, as the music built and they whirled faster and faster, everyone in that theatre started to cry. This was theatrical magic and the response from the starry audience of peers was palpable.

  Several years later, Brynner began touring the country playing The King once again. As the tour was enormously profitable, Brynner was calling the shots. He had a rider in his contract with very specific demands including the exact shade of brown his dressing room walls must be painted, the maximum number of feet his dressing room could be from the stage, on what floor his hotel room had to be located, etc. Someone in the company was so fed up with his ego, he leaked the list to the trade newspaper Variety which gleefully printed it.

  But that night at the 25th Anniversary Tony Awards®, Brynner was, indeed, The King. After the broadcast ended, all the stars were called back onto the stage for a ‘class photo.’ It was to be the theatrical equivalent of the famous MGM photo of all the legendary film stars seated in tiers on a Hollywood sound stage.

  At the end of the photo shoot I asked a photographer friend if he would take a photo of me and my new best friend, Yul Brynner. When I eventually received that un-cropped photo it showed many of those big Broadway stars still seated on stage, quizzically watching this mini-shoot at the side of the stage with interest and amusement. I’m sure they were wondering who the hell I was.

  Yul Brynner with the author after the 25th Anniversary Tony Awards® broadcast. This photo subsequently appeared in Myrna and Harvey Frommer’s book It Happened on Broadway to illustrate their interview with Susan.

  (Photo credit: Ken Regan/Camera 5)

  A STAR’S RESPONSIBILITY, OR WHAT A STAR HAS TO DO OFF-STAGE

  When a star is cast in a Broadway show or a touring company, there is an implicit (and often contractual) agreement that he or she will help promote the show. This could involve doing publicity interviews, photo shoots, appearances or performances outside the traditional theatre setting. They might find themselves bundled up in many layers waving from a float in the Macy’s Thanksgiving Day parade, which is broadcast nationally and is an invaluable way to reach family audiences around the country. Or they might be asked to perform at a benefit attended by theatre insiders to generate favorable Tony buzz. The publicity opportunities are endless and it is the press agent’s job to sift through them and select the ones that best meet the show’s needs and/or those of an individual actor.

  We also need to balance those press needs with the star’s personal style, needs and preferences. Maybe she doesn’t like to get up early or stay out late. Perhaps he doesn’t like to share the spotlight off-stage with a co-star; there may be contractual issues (limo only) or hair and make-up requirements for publicity appearances. We not only need to get the stars’ contractual billing clauses from the general manager, we also need to know their likes and dislikes to make it all happen seamlessly.

  When I worked with the charming Broadway star Vincent Gardenia, I didn’t know he was claustrophobic. When I tried to schedule an appearance on a WOR radio show that was taped in a 10th floor studio, he simply said, “I can’t.”

  “Oh,” I said, “let me see if I can reschedule on another date.”

  “No, I really can’t. I can’t get into an elevator.”

  Knowing this, I was able to schedule the radio interview in his dressing room instead of at the radio studio.

  EMMY Award-winning actress Susan Hampshire is dyslexic and unable to read off a teleprompter where the copy moves more rapidly than her eyes and brain can process. She was sensitive about people knowing of her problem as she had often been labeled ‘stupid’ as a child for her poor reading skills.

  However, I knew about her dyslexia and was able to get the teleprompter copy for her in advance so she could memorize her lines. Susan went into the TV studio, recited the memorized lines while the teleprompter merrily rolled along and no one, except me, knew she had a problem. Press agents spend a lot of time with ‘their’ stars, often under stressful situations. We often see truly kind, and even noble, behavior when they rise to the occasion with grace and charm. And sometimes we witness stars behaving badly.

  IF ONLY IT WERE A DREAM

  In 1963, 17 year-old Lesley Ann Warren made her Broadway debut as the ingénue Snookie in the musical 110 IN THE SHADE. She sang and danced with girlish charm and much was made of her long, swan-like neck and baby doll voice. The following year she was cast as Cinderella in the remake of the Rodgers & Hammerstein TV musical (originally written for and performed by Julie Andrews.) Lesley went on to have an unremarkable career which peaked with an Oscar nomination for playing
the sexy, baby-talking chorine in the film Victor/Victoria, co-starring fellow Cinderella Julie Andrews.

  In 1996 I was hired to handle the publicity for a new Broadway musical called DREAM featuring Johnny Mercer’s songs. Produced by Louise Westergaard and Mark Schwartz among others, DREAM would mark Lesley Ann Warren’s return to Broadway after 33 years. It would also star legendary recording artist Margaret Whiting (who controlled the Mercer rights) and hot new singer/guitarist John Pizzarelli and his John Pizzarelli Trio.

  The director/choreographer was Wayne Cilento, a Tony-nominated Broadway dancer best known for singing and dancing ‘I Can Do That’ in the original cast of A CHORUS LINE. He had danced for legendary choreographers Bob Fosse and Michael Bennett and had recently won a Tony Award for choreographing the rock musical TOMMY. Wayne, who had never directed a musical before, was to shape DREAM into a new dance musical. But making DREAM into a dance show, while celebrating the LYRICS of songwriter Johnny Mercer, was a poor fit.

  Johnny Mercer was a southern poet with worldly charm and wit. His lyrics were inventive and clever and each song evoked a specific time and place. Margaret Whiting and John Pizzarelli gave these beloved Mercer chestnuts a youthful, jazzy spin, but the creators did not trust the material. Wayne Cilento began each musical number with extended dance sequences, followed by someone actually singing the lyrics. Because the director did not believe that Mercer’s lyrics would tell the story, he did what he knew best — movement. Lots and lots of movement.

  Most Broadway musicals stage a press preview during rehearsals, inviting photographers, theatre writers, and radio and TV crews to view a selection of musical numbers and interview the stars and creators. After clearing the date with the producers, director, Lesley, her press agent and manager, the cast, stage managers, etc., I scheduled our rehearsal presentation for invited members of the print and electronic media. In addition to clauses that she be housed in a $1,000-a -night suite at the elegant St. Regis Hotel, Lesley’s contract required that the producers pay for ‘hair and make-up’ whenever she made a press appearance. She wanted top film make-up artist Bryan Bantry who charged $2,500 per session. In the days leading up to the press event, memos detailing the schedule were circulated to the producers, director and cast, notices were posted for the musicians and stage managers per union regulations, and Bantry was booked for Lesley.

  The morning of the press event, Bantry and his staff descended on Lesley’s hotel room as scheduled and she arrived at the Raw Space rehearsal studio on West 42nd Street beautifully fluffed and buffed. I seated the theatre reporters, photographers and TV news crews in the main rehearsal room. I had also set up lights in a smaller room for one-on-one photos and TV interviews with the stars. I greeted Lesley and her personal press agent and began reviewing the morning’s schedule. Her press agent politely informed me that Lesley would neither perform nor give any interviews. She had agreed to everything the day before and had just sat through several hours of expensive hair and make-up. Why had she come to rehearsals in full movie star make-up if she didn’t plan to be photographed? I informed the producers of our problem but they didn’t want to confront their star. Wayne tried to cajole her while I lingered nearby, awaiting his solution.

  Lesley and Wayne, with Susan loitering in the background.

  (Photo credit: Gerry Goodstein)

  We had a problem. Lesley was prominently featured in all but one of the musical numbers scheduled to be presented to the media that morning. Wayne quickly decided to have Lesley’s dance assistant sub for her in the big dance numbers. Luckily we were also presenting John Pizzarelli, Margaret Whiting and the Pizzarelli Trio in Mercer’s infectious ‘In the Cool, Cool, Cool of the Evening’ — one of the few numbers in which Lesley did not appear.

  The song was upbeat and their rendition joyful and funny. The press loved it and gave it a big round of applause. Then Ms. Warren decided she would perform after all, but would not do any interviews. It was progress.

  She performed a song and dance number with the rest of the company, smiled sweetly at the press and agreed to a group photograph with the female cast members.

  Top left: Featured actress Darcie Roberts, top right Lesley, front 2nd from left Jessica Molaskey, front 3rd from left Deborah Yates (who later became the ‘The Girl in the Yellow Dress’ in CONTACT), far right is Susan Misner, DREAM’s show-stopping ‘Girl in the White Dress.’

  (Photo credit Gerry Goodstein)

  After the press event, rehearsals continued and the stage managers were informed that Lesley required a lit scented candle to create the right creative vibes for her to rehearse. And she would only rehearse in a private rehearsal room, away from the rest of the cast. Her ‘dance assistant’ would rehearse with the cast, learn her moves and then teach them to Lesley privately. When Cilento changed a step, a gesture or a dance pattern, it was transmitted to Lesley rather than have her be part of the creative process. It was a unique rehearsal set-up but the producers and the director accepted it because they felt she was a Big Movie Star and would sell lots of theatre tickets. I had my doubts.

  Stories of Lesley’s quirky behavior began to spread. The New York Post’s crack theatre gossip writer Michael Riedel began calling me with tidbits he’d heard about the DREAM rehearsals. He always had his facts right. Who was the mole in the company? It could have been anyone. I spoke with the production stage manager, but the leaks continued.

  Margaret Whiting and John Pizzarelli with Ray Kennedy at the piano during the DREAM press event.

  (Photo credit: Gerry Goodstein)

  Lesley announced she could not, and would not, dance on the chaise lounge that was the centerpiece of one of her big dance numbers. She said the fabric made it impossible for her to swivel from one side of the couch to the other. Her dance assistant completed the move easily but Lesley could not do it, and blamed her failure on the fabric. Despite her complaints, the couch remained unchanged so Lesley took matters into her own hands — literally.

  In front of the stage managers and some of her cast mates, she worked her finger into a seam and ripped some of the fabric from the couch. “Now” she said, “you will have to change the couch.”

  Fifteen minutes later Michael Riedel called to say he had heard Lesley had attacked a couch. She had done it in front of 20 people. I couldn’t deny it. I said, “Oh Michael, it must be a very slow news day. Don’t you have anything else to write about?”

  He was giddy with delight, and ran the story in his column the next day.

  It got worse. On April 28, 1997 New York Magazine’s Intelligencer column ran an item headed Treating Lesley with Kid Shoes, stating Lesley had tried on and rejected more than 24 pairs of shoes before approving one to wear in DREAM. A show ‘insider’ was quoted saying, “Lesley’s not very popular around here.” New York Magazine also quoted ‘A DREAM spokesperson’ (me) responding, “She’s fine. The show is fine. Everything’s fine.” This did not help my credibility.

  DREAM featured a stunning young dancer, Susan Misner, who was highlighted in the musical number ‘Satin Doll.’ She wore a long, slinky white dress that showed off her perfect dancer’s body and very long legs. Suzie was a knockout, and the number stopped the show.

  The producers decided to use Suzie’s sleek, sexy image as the logo for the show but suspected that, if the face of the beautiful young chorus girl was identifiable in the DREAM ads and posters, Lesley might be upset. So the creative team at Serino/Coyne Advertising decided to blur the photo. At the producers’ direction, the image got fuzzier and darker until the photo was totally out of focus and a bit sinister. Suzie had become an anonymous, shadowy figure, in a white dress.

  DREAM logo in sales brochure

  (Courtesy of Serino/Coyne Advertising Agency and DREAM)

  The show’s sales brochure featured the fuzzy logo of the dancer on the front plus scene shots of the stars in costume. The color brochure was approved by the producers, creators, director and me, and was printed.

  DREAM Sa
les Brochure

  (Courtesy of Serino/Coyne Advertising Agency and DREAM)

  When Lesley saw it, she had her agent inform the producers that they were forbidden to use it, and that all copies had to be destroyed immediately. Evidently, Lesley had told people that SHE was the girl in the DREAM logo. The brochure, which also featured a clear photo of Susan Misner and her legs in the white dress, plus Lesley in a similar pose, made it clear that Lesley was not the show’s logo. Much discussion followed but it was ultimately determined that, contractually, Lesley did not control the overall image or marketing of the show. Despite Lesley’s displeasure, the brochure was distributed. At left is the page in the sales brochure that proved that Lesley, though quite beautiful, was not the girl in the white dress.

  Actors Equity Association guarantees that actors control the content of their Playbill bios. In fact, all Playbills include this disclaimer: Information in ‘Who’s Who in the Cast’ is provided by the production. Where opinions are expressed, they are those of the players, not necessarily those of Playbill Magazine.