Last update: August 15th, 2008

 

August 15th, 2008 - HELLO, DOLLY! at the White Plains Performing Arts Center - The White Plains Performing Arts Center will be presenting HELLO, DOLLY! Spring 2009, to be directed by Jack W. Batman.

At the time, no cast has been announced.

The show will play from April 30 to May 17 2009. For more information check out the link www.wppac.com

by Jorge

 

August 9th, 2008 - BEN FRANKLIN IN PARIS at 42nd Street Moon - The 2008-2009 season at 42nd Street Moon — the San Francisco theatre company that "celebrates and preserves the art and spirit of the American Musical Theatre" — has been announced.

The upcoming season will include BEN FRANKLIN IN PARIS (Nov. 28–Dec. 14), the 1964 musical that starred Robert Preston. The score of that musical was written by Mark Sandrich Jr. and Sidney Michaels, but Jerry Herman wrote two songs for it: “To Be Alone With You” and “Too Charming”.

42nd Street Moon productions play the Eureka Theatre, located at 215 Jackson Street in San Francisco, CA. For tickets call (415) 255-8207 or visit www.42ndstmoon.org

by Jorge

 

August 9th, 2008 - JERRY HERMAN'S Musicals Make Digital Debut - "Masterworks Broadway has just released never-before-available digital recording of Tony Award-winning composer Jerry Herman's musicals, including HELLO, DOLLY! (two different productions, one headed by Mary Martin and the other by Pearl Bailey), LA CAGE AUX FOLLES and MILK AND HONEY.

The digital-only collection comprises nine titles from Herman's award-winning catalogue. In addition to the new releases, Masterworks will offer a podcast series highlighting Herman's musicals, with special guests including Tony winners Angela Lansbury, Harvey Fierstein and composer Herman himself.

All titles are currently available for download via iTunes, Amazon.com and other digital music download hubs. Each album includes a digital booklet. The physical recordings, available solely through ArkivMusic, will include the original liner notes and artwork.

One of the collection's most noteworthy offerings is the original London cast recording of HELLO, DOLLY! featuring Mary Martin. Available only on LP since its 1966 U.S. release, the Mary Martin version of HELLO, DOLLY! now makes its long-awaited debut in both digital and CD form.

The original cast recording of LA CAGE AUX FOLLES has been supplemented with Herman recounting the creation of "I Am What I Am" as a bonus track. MILK AND HONEY and THE GRAND TOUR make their digital debuts, as does the 1967 Pearl Bailey cast recording of HELLO, DOLLY! boasting an all- African American cast that also includes Cab Calloway.

Don Pippin, Herman's longtime musical director and vocal arranger, leads "Jerry Herman's Broadway," an orchestral celebration of the composers work.

In addition, the previously available recordings of HELLO, DOLLY! (with Carol Channing), Mame (with Angela Lansbury) and DEAR WORLD (featuring a new bonus track of Herman performing "And I Was Beautiful") have all received brand-new digital booklets."

in Playbill On-Line by Adam Hetric

 

July 27th, 2008 - JERRY HERMAN'S BROADWAY at the Kennedy Center - "JERRY HERMAN’S BROADWAY — concerts featuring the songs of the Tony Award-winning composer and lyricist — will be presented at the Kennedy Center in March 2009.

Featuring the National Symphony Orchestra, the March 12-14, 2009, concerts will play the Kennedy Center's Concert Hall. Donald Pippin (in the picture with Jerry) will conduct the orchestra. Soloists will be announced at a later date.

Concertgoers can expect to hear tunes from Herman's HELLO, DOLLY!, LA CAGE AUX FOLLES, MAME, MACK AND MABEL, and MILK AND HONEY, among others.

Tickets, priced $20-$85, will go on sale to Kennedy Center members Aug. 1 and to the general public Aug. 11. For more information visit www.kennedy-center.org."

in Playbill On-Line by Andrew Gans

 

July 20th, 2008 - HELLO, DOLLY! at White Plans, NY - White Plains Performing Arts Center, the professional, not-for-profit theatre located in White Plains, NY, which tends to draw its leads from the Broadway acting pool, has announced its 2008-2009 season.

Four classic Broadway musicals will comprise the upcoming season, including CAMELOT, OLIVER!, A LITTLE NIGHT MUSIC and HELLO, DOLLY!

Sidney J. Burgoyne will direct Lerner and Loewe's CAMELOT, which runs Sept. 26-28 and Oct. 3-5. James Bassi is musical director.

Lionel Bart's OLIVER!, directed by Luke Yankee, will follow, playing Nov. 20-Dec. 14. The classic score features such tunes as "Food, Glorious Food," "I'd Do Anything," "Consider Yourself" and "As Long As He Needs Me."

Stephen Sondheim and Hugh Wheeler's Tony-winning A LITTLE NIGHT MUSIC will play the WPPAC March 5-22, 2009. Burgoyne will again direct.

The season will conclude with the Jerry Herman charmer, HELLO, DOLLY!, running April 30-May 17, 2009. Jack W. Batman will direct the classic musical that concerns the adventures of matchmaker Dolly Gallagher Levi.

Casting will be announced at a later date.

White Plains Performing Arts Center is located on the third level of City Center at the corner of Main and Mamaroneck in downtown White Plains. Tickets and subscriptions are available by calling (914) 328-1600 or by visiting www.wppac.com."

in Playbill On-Line by Andrew Gans

 

July 14th, 2008 - Hello WALL.E - After reading this article by Chris Willam at Entertainment Weekly.com I couldn’t resist the urge to put it here, on my Jerry Herman site. I hope the guys at EW.com will forgive me.

"Thanks to WALL-E, we now know two things that will survive the apocalypse: cockroaches...and HELLO, DOLLY! In the Pixar hit, a videocassette of the 1969 movie musical survives centuries of decay and trash compacting to become the title robot's introduction to human emotion, if not a guide for living. Two fairly obscure songs from Jerry Herman's DOLLY score, ''Put On Your Sunday Clothes'' and ''It Only Takes a Moment,'' not only bookend the animated blockbuster but reoccur at key thematic intervals throughout.

We can understand why WALL-E director Andrew Stanton might have felt that the success of his movie depended on bringing in the all-important show-tunes demographic. But why that movie and those songs, of all the seemingly arbitrary things? EW.com spoke with Stanton to get the real story behind this unlikely revival...and we also talked, separately, with Jerry Herman, to get the original composer's thoughts on how HELLO, DOLLY! has weathered the years. Here are our conversations with both maestros.

ENTERTAINMENT WEEKLY: How many years ago was it that the idea to use those songs or that footage got stuck in your head?

ANDREW STANTON: I got the idea in early 2003, as I was finishing [directing] “Finding Nemo”. It's actually written into the very first draft of the WALL-E script. It came about because was I intrigued by the notion of opening the movie with old-fashioned music playing over the image of space — the past versus the future. At first I had French, '30s swing music, but then “Triplets of Belleville” came out, which was a pantomime film with French '30s swing music in it! I loved Belleville and didn't want to look like a copycat, so I nixed that idea.

But that turned out to be a blessing in disguise, because it forced me to broaden my search. I had done some musical theater in high school, so I auditioned songs from plays I was familiar with, one of them being HELLO, DOLLY! The instant I heard the opening of ''Put On Your Sunday Clothes,'' with the opening phrase ''Out there...'' I was hooked. I knew it was the weirdest idea I'd ever had, so I kept it to myself for a while until I felt I could better justify its use. Then I realized the song is about these two naïve guys, who've never left their small town, and just want to venture to the big city for one night and kiss a girl. That's my main character!

Was there anything about the imagery as well as the music that made the HELLO, DOLLY! footage a must-have for you?

After discovering ''Put On Your Sunday Clothes,'' I started exploring the other songs in the play, and when I found ''It Only Takes a Moment,'' it just became this godsend because I was always looking for ways to tell the story without the need to use conventional dialogue. This song became a great device for showing WALL-E's interest in what love is, and it gave him a way to convey his love for EVE. I happened to have read somewhere that holding hands is the most intimate public display of affection, which led to the idea of WALL-E learning that action by watching the movie. Suddenly I was desperate: ''I've gotta get a copy of HELLO, DOLLY! Please, please, please let them show these two lovers holding hands!'' And they were! I took that as a sign that it was meant to be to have these songs in the film because HELLO, DOLLY! was suddenly helping me tell the story.

Would it be correct to think that HELLO, DOLLY! worked for your purposes because no one thinks of it as a truly great movie, and therefore there's a certain kind of amusing randomness to WALL-E having it as his eternal video, versus something that is a certified classic... and yet the songs are rich or emotionally resonant in a way that maybe the complete movie isn't?

Honestly, it was the songs themselves, which pre-date the movie, that interested me. After I decided to use ''Put On Your Sunday Clothes'' as the opening cue, my cowriter, Jim Reardon, suggested that WALL-E could have discovered the song on a videotape, found in the trash.

So that led us to incorporating the movie into the story. I do, however, think it was an asset to WALL-E that HELLO, DOLLY! is not as well known as other musicals. It became more of an everyman's musical — almost more representative of the overall naïve joy that musicals can exude.


Would it be correct to think that HELLO, DOLLY! worked for your purposes because no one thinks of it as a truly great movie, and therefore there's a certain kind of amusing randomness to WALL-E having it as his eternal video, versus something that is a certified classic... and yet the songs are rich or emotionally resonant in a way that maybe the complete movie isn't?

Honestly, it was the songs themselves, which pre-date the movie, that interested me. After I decided to use ''Put On Your Sunday Clothes'' as the opening cue, my cowriter, Jim Reardon, suggested that WALL-E could have discovered the song on a videotape, found in the trash. So that led us to incorporating the movie into the story. I do, however, think it was an asset to WALL-E that HELLO, DOLLY! is not as well known as other musicals. It became more of an everyman's musical — almost more representative of the overall naïve joy that musicals can exude.

You didn't try and fail to get any footage with Barbra Streisand in it, did you? It actually works better, not to have any ''star'' footage in the movie, but I was just curious if you'd ever intended to use any clips that included her.

No offense to Ms. Streisand, but that's exactly why I wasn't inclined to use any footage of her. She's so universally well known that it would have distracted the viewer, and potentially pulled the audience out of the story. Besides, the bits of the songs that I needed didn't include her anyway, so it kind of answered itself. The fact that I used elements of the film that were just ''under the radar'' of the public consciousness was very helpful for the story.

In a separate conversation, EW.com caught up with composer Jerry Herman, 77, who wrote the HELLO, DOLLY! songs for the beloved Broadway stage show in the early '60s, before they were adapted for the somewhat lesser-regarded movie adaptation in 1969. It turns out that this show, much like the polluted Earth of WALL-E, still has a future in it.

ENTERTAINMENT WEEKLY: I understand that you thought your songs were just going to be used as background music, and you were in shock when you went to the premiere and saw how prominent a part they had in the movie.

JERRY HERMAN: That's right. I had immediately said yes because it was Disney asking for the usage, but I had no idea that it was going be that instrumental in the message of the film. So I'm absolutely thrilled.

It's funny to think that, for the last four decades, HELLO, DOLLY! has been the one standard to come out of that show. But now, because of the future life this movie will have on video, there may be future generations who know these two songs — which until now have been comparatively obscure — much better than they know even the song ''Hello, Dolly.''

That's a very interesting and very apt statement. To have two songs that are not the title song suddenly step out of it is certainly satisfying. What really thrills me is that I wrote these songs 45 years ago. My God! It's hard for me to say that, but it's true, and here they are. I was in a theater the other night. I wanted to see it with a normal audience, and I went with my goddaughter and two friends. We sat there with at least 75 kids surrounding us, and I thought, Oh my God, they're not gonna know what's happening because there'll be such a racket. But they were held absolutely rapt by the film. It was the quietest audience of kids I've ever seen. It amazes me that this has happened. It's been almost 50 years since these songs were written, and they're gonna have new lives. You don't ever expect that in a lifetime. You're very blessed if you have one HELLO, DOLLY! but to have ''Hello, WALL-E'' now is more than you dare to dream about.

I know you haven't talked with director Andrew Stanton yet, but what's your sense of why he used your songs?

 
photo © Pixar/Disney

What he has really used are the lyrics. Forget about melodies. When the film started and I heard ''Out there, there's a world outside of Yonkers'' and we saw the sky, and then they very cleverly had the words ''full of shine and full of sparkle'' right over the first glimpse of a dead planet, I said, this is a brilliant writer and director. Who would have ever thought of such a thing, to use songs from maybe an iconic show but such an old one, to tell this story? Then to use ''It Only Takes a Moment'' as [the robots'] love song is such a clever and moving idea that I think this guy is some kind of genius.

HELLO, DOLLY! as a movie has not had the greatest reputation over the years, even among lovers of movie musicals, or maybe especially among lovers of movie musicals. There was criticism over Streisand being way too young for the part, the bloated budget, the tone of the stage show having gotten lost — all kinds of things. How do you feel about the film now that you have 40 years of distance on it?

Every time I see it, I like it better. It's the strangest phenomenon, because I really didn't like it when I first saw it. I'm the wrong one to ask, because I am so into [original Broadway director] Gower Champion's HELLO, DOLLY! — the outrageous farce that his version of the show is and will always be, when it's done properly. But all of a sudden, with repeated viewings, I like Barbra in it. And of course I'm so used to a woman of a certain age, because that's what it was [supposed to be] about, and she was young and looked sensational in the film. But I like her performance better every time I see it. I think she did a hell of a job, and a lot of us didn't realize it at the time. The movie wears well, and all I can say is: Time has been kind to HELLO, DOLLY!, the film. I don't know why, but it has.

There has been talk of another Broadway revival of HELLO, DOLLY! I was thinking it was too soon — didn't I just see the last revival, with Carol Channing, not that long ago? But then I realized, wow, that's been 13 or 14 years.

No, I don't think Carol's gonna do it again [Laughs], but we're constantly looking for the right 2010 Dolly Levi. They're hard to find because we're not creating leading ladies for the musical stage anymore, so the pickings are poor and the crop is lean. But we will find the right one and we will do a really elegant revival of the Gower Champion show.... Of course, it's done everywhere. There's not a night in the world where somebody's not coming down a red staircase."

in EW.com by Chris Willman

 

June 21st, 2008 - A Look at Richard Skipper's HELLO, DOLLY! - Here is a look at the runthru and one-night-only benefit performance of Jerry Herman’s HELLO, DOLLY! at the Paramount Theatre in Asbury Park, NJ., starring the one and only Richard Skipper as Carol Channing as Dolly Levi.

The cast also included Charles Karel as Horace Vandergelder, Kristy Cates as Irene Malloy, Jim Weitzer as Cornelius Hackl, Chris Gunn as Barnaby Tucker and Jenna Coker-Jones as Minnie Fay.
About Richard Skipper impersonation of herself, Carol Channing said:

"... the first time EVER I have been shown with such love, respect and polish. Richard Skipper is a TRUE MUSICAL COMEDY STAR! He is FABULOUS AS ME!!"

Visit Richard Skipper site at www.richardskipper.com

by Jorge / all photos © Cagney Cain

 

June 21st, 2008 - MILK AND HONEY Back on CD - The Original Broadway Cast recording of Jerry Herman’s first musical, MILK AND HONEY,was reissue on CD by DGR. The show opened on Broadway in 1961 and it run for 543 performances and it starred Robert Weede, Mimi Benzell, Molly Picon, Tommy Rall, Juki Arkin, Lanna Saunders, Ellen Madison, Thelma Pelish, Diana Goldberg, Ellen Berse, Addi Negri, Dorothy Richardson, Rose Lischner, Celi Delli, Ronald Holgate. The show was nominated for 5 Tonys including Best Musical and Best Composer.

The score includes songs like “Shalom”, “There's No Reason in the World”, “Chin Up, Ladies”, “That Was Yesterday”, “Let's Not Waste a Moment”, “Like a Young Man”, “I Will Follow You”, “Hymn to Hymie” and the title song.

This new CD Includes full color photographs from the show for the first time and a bonus track of Robert Goulet singing "Shalom"."

by Jorge

 

June 21st, 2008 - JERRY HERMAN'S BROADWAY at San Diego's Old Globe- "The Old Globe in San Diego will present JERRY HERMAN’S BROADWAY — a one-night special event featuring a conversation with the Tony Award-winning songwriter, with special musical guests Jason Graae, Tony Award winner Debbie Gravitte and Ron Raines — Aug. 23.

Acclaimed conductor Don Pippin will be at the piano at the 7:30 performance.

According to The Old Globe, "Herman will be center-stage for an evening of unforgettable music and memories, with some of Broadway's best singer/actors, including performances of Herman's most beloved songs…"

Michael A. Kerker, head of musical theatre for the American Society of Composers, Authors and Publishers (ASCAP), will also be on hand as emcee, as he chats with Herman about his life and career.

"We are truly honored to be able to present this special evening with Broadway legend Jerry Herman," stated Old Globe executive producer Louis Spisto. "The opportunity to have Jerry join us this summer is really a coup for San Diego audiences. The venues that usually feature tributes to Jerry's work include the likes of The Kennedy Center, the Hollywood Bowl and the Orange County Performing Arts Center. With only 600 seats, the Old Globe Theatre will offer patrons a unique and intimate evening that is truly up close and personal with the legendary composer and showstopping performances of his work by this well-known Broadway cast."

Tickets are $49 to $79. The Globe is also offering 50 special tickets at $139 each, which includes admission to the show and an exclusive "meet and greet" event with Jerry Herman after the show on the Old Globe Theatre's Donald and Darlene Shiley Stage.

Tickets are currently available for Globe subscribers and will go on sale to the general public on July 7 at noon at (619) 23-GLOBE or online at www.TheOldGlobe.org."

in Playbill On-Line by Kenneth Jones

 

May 22th, 2008 - American Theatre Wing Honored JERRY HERMAN - ”The American Theatre Wing held its Annual Spring Gala May 19 at Cipriani on 42nd Street.

The evening — which included a cocktail reception followed by dinner and a performance — honored both Tony-winning composer Jerry Herman (Mame, Hello Dolly!, La Cage aux Folles) and the Wing's corporate partner, Visa Inc.

The 7:30 performance featured tunes from Herman's extensive, award-winning repertoire performed by an impressive lineup of musical theatre talent. Jon Wilner served as producer for the entertainment.

In a statement Wing chairman Sondra Gilman said, "Jerry Herman has brought joy to theatergoers around the world with his inspired songs and shows. It is impossible to think of the American musical without thinking of Jerry Herman. He is deserving of every possible accolade, which is why we are so proud to be recognizing his lifetime of work as part of our work at the Wing."

"Visa is equally deserving of praise and recognition by the Wing and indeed the entire Broadway community," Gilman added. "They are the model of a corporate partner for the arts and have been instrumental not only in enhancing the profile of the Tony Awards, but in supporting the Wing's educational and informational efforts across the country."

The American Theatre Wing is best known as the creator of the Antoinette Perry "Tony" Awards®, which it presents annually with the Broadway League. For more information visit www.americantheatrewing.org. “

in Playbill On-Line by Matthew Blank
photo © Aubrey Reuben

 

April 13th, 2008 - WORDS AND MUSIC BY JERRY HERMAN: A Review - While I was watching this great documentary I couldn’t stop thinking that I wish there were more Jerry Herman musicals. For someone who began his career in the late 50s, we should have more shows by him; I’m sure the musical theatre would be a richer place.

But that doesn’t matter, what brings me here is the PBS television special WORDS AND MUSIC BY JERRY HERMAN. Created by Amber Edwards this is a Valentine to the great Jerry and a special treat for musical lovers all over the world.

A closer look at Jerry’s life and career, it has in Jerry himself the perfect storyteller. He simply loves his work and his enthusiasm and joy of living are contagious. A host of stars (Carol Channing, Angela Lansbury, Charles Nelson Reilly, Michael Feinstein, Fred Ebb, George Hearn and many others) talk about him and his shows, and they do it with affection and respect.

A special treat for us musical fans, are the excerpts from MACK & MABEL, HELLO, DOLLY!, MAME, LA CAGE AUX FOLLES and specially DEAR WORLD; they are enough reason to buy this unique DVD, but better than that is the opportunity to get to know Jerry in a more personal way. Unfortunately I don’t know Jerry personally, but it looks like the nicest and the most optimist man in the world.

By the end of the documentary, we perfectly understand why his music is always so up-lifting and we hope that a new Jerry musical will soon be available. I can imagine a couple of movies (A POCKTEFUL OF MIRACLES, MRS. HENDERSON PRESENTS) that would be perfect for him to turn into musicals. I’m sure he must have a truck full of unreleased songs; I just hope that someday they will be available for al of us to enjoy.

Thank you Mr. Herman for all the joy and pleasure you have given us.

by Jorge

 

March 8th, 2008 - MAME Down Under - “FOLLIES, The Stephen Sondheim-James Goldman musical, will be one of three musicals presented by The Production Company during its 2008 season. FOLLIES will kick off the season at Australia's State Theatre of the Arts Centre, running July 16-20; DAMN YANKEES will follow, playing Aug. 20-24; and the season will conclude with MAME, Oct. 1-5.

Jerry Herman's MAME will feature direction by Gary Young, choreography by Andrew Hallsworth, musical direction by Anthony Gabriele, costume design by Kim Bishop and scenic design by Richard Jeziorny. Rhonda Burchmore will head the cast in the title role with Nicki Wendt as Vera Charles and Alan Fletcher as Beauregard.

“MAME launched The Production Company in 1999 with Rhonda Burchmore in the title role. Rhonda and Alan Fletcher return to re-create the roles of Mame and Beauregard in this new staging which will be our 30th Musical.” The production will run for 6 performances only."

For more information visit www.theproductioncompany.com.au.

in Playbill On-Line by Andrew Gans

 

June 23rd, 2007 - MAME on DVD: A Review - When I was 14 years old I went to the movies to see MAME. By that time I didn’t knew anything about it, only that it was a musical. That was reason enough for me to see it. From the fantastic opening credits by Wayne Fitzgerald to the last scene I was completely fascinated. I loved the score and I loved the story; I still do.

Later, much later, I discovered that Angela Lansbury had create the role on stage and that many people, Jerry Herman included (according to several sources), hated the movie adaptation of this big Broadway musical. Personally, I never understood why.

I have been waiting for years to have MAME on DVD and finally here it is, in a gorgeous cover! I just saw it again and it didn’t loose any of its charms. It’s one of those movies that dated well, in fact I think it’s timeless, and deserves to be rediscovered by all musical fans.

To all of those people who say terrible things about this movie adaptation, I would like to ask a question. Where else will you see the unforgettable performances of Beatrice Arthur and Jane Connell as, respectively, Vera Charles and Gooch? Both recreated her stage roles for this movie, with terrific results. Also from the original stage show there’s director Gene Saks and choreographer Onna White. In a nice touch of casting, Robert Preston plays Beauregard, Mame’s love interest, and sings a new Jerry Herman song, “Loving You”.

The big problem seems to be Lucille Ball. Maybe she was too old for the role (she was 63 against Angela’s 41), but she looked the part. She’s sweet, funny, loving and motherly.

What she didn’t have was a strong singing voice, so her deliver of songs like “”If He Walked Into My Life” or “It’s Today” (my all time favorite song) is poor. I believe that’s the only reason I don’t give five stars to this highly enjoyable movie, otherwise I still love it as much as I did when I was 14 years old (I’ll be 43 next month). This MAME still has the power to make me laugh, cry and feel happy and that’s more than I can say for hundreds of movies.

So, forget the terrible word of mouth surrounding it, put all your prejudices aside and buy it! You’ll be pleasantly surprise.

To visit my MAME webpage, just click here.

by Jorge

 

May 27th, 2007 - An Email from JERRY - When you’re passionate about something and willing to build a tribute to that, you do it out of love and not to, like they say in THE DROWSY CHAPERONE, “show off”.
I always loved Jerry Herman’s work and, when I decided to built a website about it, he didn’t have an official one. I thought he really deserved to have one and I did it for my enjoyment and because I thought there should be a place where people could find plenty of information about his work.
Imagine my surprise when, a few days ago, I received an email from Jerry Herman himself. I couldn’t believe my eyes and I was overwhelmed by his words. You don’t know how much it meant to me. Life is full of surprises and his email was one of the best I ever had.

With his permission, here is Jerry’s email:

“Dear Jorge,

I am absolutely knocked out by your tribute to me.

How can I thank you for the stunning visuals, the detailed and correct information, and your flattering and heart-warming words?

Just know that I am most grateful and honored to have a fan like you.

All my best,

Jerry Herman”

by Jorge

 

email me: jorge@jorgeplace.com