With 160 Backstage Babble podcasts under his belt and preternatural knowledge of musical theater, you can depend on young Charles Kirsch to offer an illuminating and entertaining evening, often featuring artists we haven’t seen in some time. With light informative patter and occasional stories by guests, tonight’s show manages to run smoothly despite a forgotten mike (quickly provided), a few long-winded narratives, and a last minute replacement.
The evening begins with non-Tony nominee Elena Bennett who struggles with “Left All Alone Again Blues” from Very Good Eddie (Jerome Kern/Schuyler Green). In a case of which came first, forgetting lyrics or not having focus, we catch passages of a good voice. Virginia Seidel, who was in the original Goodspeed revival affably tells us how the piece got moved to Broadway where it was nominated three times, one for her performance.
Elena Bennett; Virginia Seidel
Daisy Eagan, second youngest Tony winner for The Secret Garden (Marsha Norman/Lucy Simon) after Frankie Michael who also won it at 11 (for Mame), comes to us on video from Rhode Island where “it’s affordable and not loud.” When the stage manager reached for her dummy Tony (an original would later be delivered engraved), Eagan thought he was taking back the award. She refused to cross 42nd Street to get to the press conference assuming she’d have to walk alone in her good dress. The actress is delightful. Despite the fact she didn’t sing, her appearance is a show highlight.
Daisy Eagan
Lori Tan Chinn renders “Bali Ha’i” (South Pacific – Richard Rodgers/Oscar Hammerstein II – 10 Tony Awards). Tremulous vibrato and graceful gestures swell to Bloody Mary’s intensity. John Andrew Morrison, nominated for Michael R. Jackson’s Strange Loop, chronicles a story of stage manager mix-ups just prior to his category that almost put him upstairs instead of in his seat on awards night. Morrison sings “Stardust” (Hoagy Carmichael/ Mitchell Parish), “because I just love it.” Performance is cottony and tender.
Lori Tann Chinn
James Andrew Morrison
Martin Vidnovic tells us he got “a Tony nod” for the revival of Brigadoon (Frederick Loewe/Alan Jay Lerner) “which in show biz parlance means the Tony nods to me as they give it to Kevin Kline.” “From This Day On” arrives quavering and laser-focused on an invisible woman across the room. For Me and My Girl (Noel Gay/Douglas Furber & L. Arthur Rose) was nominated for 13 Tonys, winning three. Jane Summerhays came with the show from London. She amusingly regales us with the difference between West End and Broadway dancers and the company’s initially not being able to move in Anne Curtis’ otherwise terrific costumes. The thespian is charming. “Take It On the Chin” exudes personality.
Martin Vidnovic; Jane Summerhays
“Mr. Broadway” Lee Roy Reams appeared in both Mel Brook’s The Producers (15 nominations, 12 wins) and 42nd Street – Harry Warren/Al Dubin and Johnny Mercer (eight nominations, two wins). When Ruby Keeler (from the 1933 film) came backstage at the latter show, Reams revealed that he sang his audition ballad to her up in the balcony. They became friends. Keeler told him she’d given away all her tap shoes, so Reams had a silver pair made for her to former specifications. They both cried. “I Only Have Eyes for You” pours out, both hands clasping the microphone stand.
Lee Roy Reams
“So you probably all know this – Fiddler on the Roof (Jerry Bock/Sheldon Harnick) almost closed out of town. We got the worst review ever written in Variety…” begins actor/director Austin Pendleton who played Motel the Tailor. “What are you going to do?” he tremulously asked director Jerome Robbins. “Ten things a day,” came the answer. And he did. Fiddler was nominated for ten Tonys winning nine. “Wonder of Wonders” darts out buoyantly with Pendleton’s eyebrows in a point. “When David slew Goliath YES! (His fist punches air), That was a miracle…” It’s easy to imagine him back then. The audience stands.
Austin Pendleton
“Not a Tony nominee, but a host and presenter” introduces a video of Damon Evans resonantly singing “You’ll Never Walk Alone” on the Tony Awards broadcast (Richard Rodgers/Oscar Hammerstein II – Carousel). Having always wanted to be on the show, he sent a tape, then telephoned Hildy Parks’ office. Told she was out ill, he sent flowers. The office hadn’t even called. Evens also shares a story of violence suffered on stage during his portrayal of Sportin’ Life in Porgy and Bess. The room shudders.
Damon Evans and Charles Kirsch
From Miss Saigon (Claude-Michel Schonberg/Alain Boubill and Richard Maltby Jr. – ten nominations, three wins), Willy Falk reprises “Why God, Why?” which he performed for the original Broadway production. In an instant, the actor becomes a soldier. “Vietnam, hey look, I mean you no offense/But why does nothing here make sense…Why God, show your hand/Why can’t one guy understand…” It’s extremely powerful.
Willy Falk; Penny Fuller
Penny Fuller closes the program with “One Hallowe-en” (Charles Strouse/Lee Adams’ Applause – 11 nominations including Fuller, four wins). The song is a theatrical scene-in-one.
Photos by Maryann Lopinto
Backstage Babble Celebrates the Tony Awards History
Producer/Host- Charles Kirsch
Musical Director/Piano- Alex Rybeck
Catch Charles next as Co-Host with Rob Schneider of
Broadway Bound: Musicals That Never Came to Broadway
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