Fynsworth Alley: 10 Questions with Stephen Schwartz

Originally published on Fynsworth Alley.

10 Questions with Stephen Schwartz

 

In addition to being a writer, you’re also a director and occasionally a performer. How do you think these roles affect each other in your work?

I think it’s extremely useful for writers (for theatre) to have some knowledge of what a performer has to go through in order to make material work. Long before I was doing my little singing gig, I had said that the most single useful course that I took at Carnegie Mellon, where I went to school, was an acting class. And even though I’m quite a poor actor, I thought that learning about what actors had to do and what that was about was extremely useful in writing material that was meant to be acted. Similarly, I think it’s obvious to say that having experience as a director is useful in writing material that’s meant to be staged. It’s good if you can actually write something that’s stageable.

What is the last Broadway CD you’ve listened to?

I’ve listened to one recently that I loved and I’m happy to endorse: Andrew Lippa’s The Wild Party, which I loved and recommended highly. Continue reading

Fynsworth Alley: Dorothy Loudon: She’s Still Here

Originally published on Fynsworth Alley.

dorothy loudonWe often hear stars referred to in hyperbolic terms, but Dorothy Loudon is the real thing: a Broadway legend. Best known for her Tony-award winning performance as Miss Hannigan in the original cast of Annie, Dorothy’s career has spanned radio, television, cabaret, theatre, and film. Recently, Dorothy shared with me some of her showbiz memories and discussed her track on THE STEPHEN SONDHEIM ALBUM, “I’m Still Here.”

David: How did you get your start in show business?

Dorothy: After my sophomore year at Syracuse University, I left – on the advice of my drama coach – and came directly to New York City. I lived in a girls’ club and auditioned for anyone who would listen. My first job was in a tiny club called “Jimmy Ryan’s,” where I sang and accompanied myself on the piano. One night, Jackie Gleason came in with his musical conductor, Ray Bloch. I guess they were impressed, because Mr. Bloch put me on CBS radio, where I was heard nationally every Friday night. From that time on I never stopped working. That was before television. That was fifty years ago. I was a very lucky girl.

David: You were a fixture of the 1950s cabaret scene in NY. Has the cabaret scene changed much? How? What was it like back then, doing shows in the boites?

Dorothy: The cabaret scene has changed tremendously since the fifties and sixties when I was there. People “dressed up” for the occasion. Tuxedos, gowns, “the works”.

On a typical night at “The Blue Angel,” I would appear on a bill with Johnny Mathis (opening act), Jonathan Winters, Phyllis Diller, Mike (Nichols) and Elaine (May) – and Bobby Short was playing in the lounge!

Television came along and literally wiped out the supper clubs. Now, people could sit at home, turn on their sets and see all those people in their own living rooms. What’s more, they could watch in their pajamas, and there was no cover charge.

David: How did your role on the Garry Moore show come about?

Dorothy: One day I got a call from the Garry Moore Show – Gwen Verdon was to have been their guest star, but she had the flu and couldn’t make it. It was two days before the show and they were desperate. I had auditioned twice for the show — and was turned down. I jumped at the chance. In two days I learned the sketches, songs, choreography… and went on for Gwen. That night, after the show, Garry offered me a three year contract.

David: Was that your “big break”?

Dorothy: It turned out to be the biggest break of my career.  Continue reading