Threaded Order Chronological Order
| When did they stop billing the Mary Sunshine actor with only an initial? (nm) | |
| Posted by: writerkev 09:47 am EDT 08/24/21 | |
| In reply to: CHICAGO Welcomes Ana Villafañe as Roxie Hart for Broadway Return on September 14th - Official_Press_Release 09:15 am EDT 08/24/21 | |
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| I do think some of the "Razzle Dazzle" of hoodwinking the audience is lost if they already know it is a male playing the role | |
| Posted by: WayneM 05:19 pm EDT 08/24/21 | |
| In reply to: When did they stop billing the Mary Sunshine actor with only an initial? (nm) - writerkev 09:47 am EDT 08/24/21 | |
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| Although 'Ryan' isn't that uncommon as a female name, either (nm) | |
| Posted by: MockingbirdGirl 10:34 am EDT 08/24/21 | |
| In reply to: When did they stop billing the Mary Sunshine actor with only an initial? (nm) - writerkev 09:47 am EDT 08/24/21 | |
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| re: Although 'Ryan' isn't that uncommon as a female name, either | |
| Last Edit: PlayWiz 06:17 pm EDT 08/26/21 | |
| Posted by: PlayWiz 06:17 pm EDT 08/26/21 | |
| In reply to: Although 'Ryan' isn't that uncommon as a female name, either (nm) - MockingbirdGirl 10:34 am EDT 08/24/21 | |
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| One would never mistake R. Lowe for a lady in his prior to "Chicago" revealing appearance in" Naked Boys Singing". Oh, never! :) | |
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| In this day and age does it feel like something of a dated "gag"? | |
| Posted by: portenopete 10:27 am EDT 08/24/21 | |
| In reply to: When did they stop billing the Mary Sunshine actor with only an initial? (nm) - writerkev 09:47 am EDT 08/24/21 | |
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| It's been awhile since I've seen Chicago, so I can't remember what the revelation about Mary Sunshine is? Is she revealed to be a man in drag as a way of undermining her reputation? It feels to me like the wink-wink nature of the traditional billing is something from another era. Mind you, so does the whole conception of the character. I imagine the average Chicago attendee is on the older side and probably will still get a kick out of it, but I'd expect the thought police might be out in force complaining that Mary Sunshine is an offensive, anti-trans stereotype. |
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| 1975: "Chicago – A Musical Vaudeville" | |
| Posted by: reed23 10:45 pm EDT 08/24/21 | |
| In reply to: In this day and age does it feel like something of a dated "gag"? - portenopete 10:27 am EDT 08/24/21 | |
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| I regard this discussion as evidence of the many ramifications of the 1996 Encores decision to strip CHICAGO of its original concept, which was to present the story as a series of 1920s vaudeville acts. It was titled and billed CHICAGO – A Musical Vaudeville. The show was packed with allusions and recreations of famous vaudeville traditions and specific personalities and styles. It was the controlling principle of the bookwriting, the songwriting, the staging and the casting. To cite a few: Gwen Verdon performed her opening number "Funny Honey" perched on an upright piano, drinking booze from a flask and getting sloppier throughout, to the point of pouring some of it on the hapless pianist's head (a big laugh in the original.) The staging and style of the song were conceived as references to Helen Morgan, famous for singing hymns to her man (such as "Bill" in SHOW BOAT), and also for being an unfortunate alcoholic. This also set up Roxie's drunkenness in the following scene with the cop and Amos. The inhabitants of the Cook County Jail are presented as an act called "The Merry Murderesses," doing a tango-inflected song. "Mama" Morton, a plus-sized older character, singing a song called "When You're Good To Mama," evoked Sophie Tucker, whose nickname was "The Last of the Red Hot Mamas." Billy Flynn was written as a slick song-and-dance man in the style of Ted Lewis; Fosse staged his song, "All I Care About Is Love," as a striptease in the style of Sally Rand, infamous for her strategic use of feathered fans; while the girls alternately hid Orbach with their fans, he removed his entire expensive suit and ended the number in his underwear – a set-up for the brief scene with a tailor measuring him for a new suit. The eternally optimistic "pushover" Mary Sunshine was given an operetta soprano song in the style of Marilyn Miller (and M. O'Haughey was both screamingly funny and utterly indistinguishable from a superior "real" soprano). Helen Morgan, tango acts, Sophie Tucker, Ted Lewis, Sally Rand, Marilyn Miller – all the stuff of vaudeville and 20s entertainment. Ventriloquist acts were vaudeville staples ("The Press Conference Rag"). Roxie and Velma's description of their respective vaudeville acts (imagined and recalled in "Roxie" and "I Can't Do It Alone") speak for themselves – and, of course, sister acts like the one Velma describes were vaudeville regulars of the day. "Me And My Baby" was originally conceived in both writing and staging as a double-entendre buddy song ("sticking together" and all the lyrics were funny considering that she was singing about her ersatz pregnancy) - staged as an Eddie Cantor trouser number for Verdon. (Fosse cut most of it before opening, replacing it with "The Strut," a more standard showcase for Verdon's unique dancing style.) Before launching "Mr. Cellophane," an Amazonian dancer handed Barney Martin (as Amos) various costume pieces which left him dressed for the song as Emil Jannings in the final scene of "The Blue Angel," an obvious plot parallel, while the song itself referred to Bert Williams' "Nobody." The number "When Velma Takes The Stand" honors contortion dance acts – accompanied by a group of men in 20s collegiate-wear, singing into megaphones à la Rudy Vallee. Rope tricks? Another vaudeville tradition: "The Hunyak and her Famous Hungarian Rope Trick!" – the moment in the 1975 original when the audience, tricked into applauding a hanging, suddenly realized they were being had. "Razzle Dazzle" was staged as a circus act, while Jerry Orbach completely changed his look, tousled his hair, put on glasses, and slumped, transforming before the audience into a Clarence-Darrow-inspired rumpled country lawyer, in which character he performed the entire courtroom defense presentation. A male ensemble member played all 12 jurors in sequence with an assortment of costume pieces and props – a vaudeville trick act (introduced in the curtain call as "The Man of Many Faces!" And finally, all of this led to Clarence-Darrow-Billy-Flynn's final move in Roxie's defense, to demonstrate to the jurors that she might be completely different from their assumptions – unmasking Mary Sunshine as a female impersonator (Julian Eltinge was the highest-paid entertainer of his day, with a major Broadway theatre named after him – in recent decades literally rolled down 42nd St. to its current location as the AMC Empire.) I wonder if the 1996 CHICAGO team, for purposes of their concert at Encores, decided to strip the entire show of all its vaudeville framing and period references to adhere to a budget and put everyone in black clothes, using noncommittal period-free sort-of-costumes to mask the budget problem; and perhaps they thought no one in the 1990s would remember or know anything about any entertainment history or traditions before 1950 (many of the 1975 audience knew exactly what the authors and concept were doing.) But a lot was lost in the stripping of the concept. Why are all the songs being "announced?" Why are the songs "acts" and where and why? ("Velma Kelly, in an Act of Desperation.") What's the place and time (established in brilliant neon during the 1975 overture)? What's the framework, what's the new concept, what's going on and why? Stripping the vaudeville from CHICAGO makes a whole lot of it make no sense – why is Roxie singing a Helen Morgan song hanging from a PIPPIN ladder? Why is "Mama" Morton a trim, beautiful young-ish woman, singing a Sophie Tucker song? And – as this whole thread makes clear – one question looms large – why is a chirpy optimistic reporter played by a man singing operetta soprano in sort-of-drag? |
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| Did the original London production keep the original staging concept ? nm | |
| Posted by: young-walsingham 01:37 pm EDT 08/25/21 | |
| In reply to: 1975: "Chicago – A Musical Vaudeville" - reed23 10:45 pm EDT 08/24/21 | |
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| re: 1975: "Chicago – A Musical Vaudeville" | |
| Posted by: BroadwayTonyJ 10:38 am EDT 08/25/21 | |
| In reply to: 1975: "Chicago – A Musical Vaudeville" - reed23 10:45 pm EDT 08/24/21 | |
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| Great analysis and commentary! I enjoyed reading it. One question: I only know the original from its cast album and from musical numbers I've seen on TV. Caught the revival when the tour came to Chicago. To me the number which really evokes Ted Lewis is Amos Hart's "Mr. Cellophane" which is sort of reminiscent of his rendition of "Me and My Shadow", but I also get the Emil Jannings/Immanuel Rath connection -- very astute observation -- I never noticed it until you pointed it out. The original '75 Chicago was a fairly elaborate production that ran 2-1/3 years, 24 previews, and 936 perfs. Although it closed in the red, its national tour enabled it to recoup. It was a hit, but a small one. The '96 Encores Chicago was indeed a stripped down concert version as are all Encores show. They are done on a tight budget with minimal rehearsal time as non-profit shows in order to keep expenses as low as possible. Since it was such a success at City Center, the Weisslers moved it to Broadway, keeping the concert format because it made economic sense. Its low weekly running cost has allowed it to become the longest running musical revival in Broadway history, thus providing Kander & Ebb with a well deserved financial success. |
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| Oh, get a blog! | |
| Posted by: DistantDrumming 04:03 am EDT 08/25/21 | |
| In reply to: 1975: "Chicago – A Musical Vaudeville" - reed23 10:45 pm EDT 08/24/21 | |
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| No, really! Start one! I'd read it. Thank you for this fascinating post. It was so informative and interesting. | |
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| Yes, incredible nmi | |
| Posted by: Ann 08:34 am EDT 08/25/21 | |
| In reply to: Oh, get a blog! - DistantDrumming 04:03 am EDT 08/25/21 | |
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| One of the best breakdowns of the show I've ever read! Thanks and bravo! nm | |
| Posted by: PlayWiz 01:40 am EDT 08/25/21 | |
| In reply to: 1975: "Chicago – A Musical Vaudeville" - reed23 10:45 pm EDT 08/24/21 | |
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| re: 1975: "Chicago – A Musical Vaudeville" | |
| Posted by: LynnB 11:45 pm EDT 08/24/21 | |
| In reply to: 1975: "Chicago – A Musical Vaudeville" - reed23 10:45 pm EDT 08/24/21 | |
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| Thank you, reed23. That was an extremely interesting and informative post! | |
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| "Musical Vaudeville" and the man who spread the Sunshine | |
| Last Edit: WaymanWong 12:52 am EDT 08/25/21 | |
| Posted by: WaymanWong 12:36 am EDT 08/25/21 | |
| In reply to: re: 1975: "Chicago – A Musical Vaudeville" - LynnB 11:45 pm EDT 08/24/21 | |
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| Reed23, I'll add my thanks, too, for your fascinating and informative post about ''Chicago.'' I love the show, and I agree: It's not called ''A Musical Vaudeville'' for nothing, and Fred Ebb has said that why he wrote it the way he did: as a series of vaudeville routines. It's disappointing to see the framing of these references to Ted Lewis, Helen Morgan, Sophie Tucker, Sally Rand, etc., stripped from the show. But i guess it's a testament to the story and the songs that audiences can still enjoy ''Chicago'' without knowing any of the original backstory or staging. Speaking of Mary Sunshine, who got to see M. O'Haughey play her in the original 1975 Broadway cast? Was the reveal a genuine surprise? Did the audience gasp? (Even today, I wonder how much of the audience does or doesn't see it coming.) Also, whatever happened to Michael O'Haughey? A Google search reveals he was born in 1947 in South Africa, and in 1977, he got a N.Y. Times rave for his cabaret act in NYC. But ''Chicago'' was his one and only Broadway credit. What did he do after that? Sean Patrick Doyle played him in the ''Fosse/Verdon'' TV series. Hope he's doing well! P.S. I just found this clip of Gwen Verdon on ''To Tell the Truth'' with the real Mary Sunshine. Michael's amazing! |
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| Link | Michael O'Haughey, 'Chicago's' original Mary Sunshine: 'A Little Bit of Good' (1975) |
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| re: "Musical Vaudeville" and the man who spread the Sunshine | |
| Posted by: reed23 05:45 am EDT 08/25/21 | |
| In reply to: "Musical Vaudeville" and the man who spread the Sunshine - WaymanWong 12:36 am EDT 08/25/21 | |
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| Thanks, Wayman. Obviously, I'm a CHICAGO freak. I saw the show just after it opened, in July, 1975, within days of seeing A CHORUS LINE, which had not opened on Broadway yet; it was in previews and being adjusted at the Shubert, and didn't officially open until much later because of the Local 802 strike that summer. Of course I loved A CHORUS LINE, which rocked my world. But the reviews had been so crazy-over-the-top for it, and the so middling-to-so-so for CHICAGO, I didn't expect what happened – CHICAGO became #1 for me, and changed my life – I was 16, and CHICAGO is what made me decide to move to New York someday and "be a part of it" – which I eventually did. I saw CHICAGO about nine times before its closing over two years later in 1977. And I have an encyclopedic memory of every second of it – aided by a large collection of production photos (one of the most poorly photographed shows I've ever seen), recordings of the Philadelphia try-out (astonishing changes before Broadway – there was a lot more riotously funny dialogue originally, but Fosse really cut it down so that the numbers told the story.).... I've spoken to a number of original cast members about the show (including Chita Rivera, and many others with extremely vivid memories of the original) – and I participated in the first stock production when the rights became available, restaged in every detail by a member of the original cast – and I still remember much of the choreography, and still have the dance captain's dance notes; and Tony Walton gave me some photos of his set, both as it appeared on stage and in the modeling phase (Fosse used one of the models of the CHICAGO set in ALL THAT JAZZ, which depicts the making of CHICAGO.) BTW, I used to have a blog indeed, and had a whole billion-word article on CHICAGO "Then and Now," defending the original production – which was largely disparaged when the revisal opened (which I felt was significantly the lesser of the two.) I ripped down the blog at some point, but maybe I'll reinstate some day. I discussed Broadway shows past and present in billion-word detail, and it took over my life.... Anyhow, to answer some questions: Yes, as I've indicated I saw Michael O'Haughey in the part many times. The thing that was truly extraordinary, which doesn't totally come through on the album, or that sensational TV clip you posted (THANK YOU!!!) – was the exact dimension and power of his voice (something you can only measure with any singer in person.) He was truly an exquisite, sensational soprano, capable of the most delicate pianissimos and the most volcanic powerful tones – and sometimes he switched between the two for comic effect and the audience was hysterical. Walter Kerr or one of the major critics commented on that long held note just before the end of the song, saying that O'Haughey magically sounded like a disembodied sonar tower or something, the perfect scientifically controlled sine wave – and he held the note far longer than he did on the album (or on TV.) And his comic flourishes, gently poking fun of the Marilyn Miller genre, were so hysterical, the audience truly had NO idea this was a man up there – they thought (as I did) that it was an ingenious, extremely virtuosic soprano parodist. The illusion was perfect and intense. And all of that made the Act II exit reveal absolutely, totally, hilariously shocking. I found an article about M. O'Haughey from September 1975 (unknown publication) – below are some excerpts, after which I'll tell you a bit of a significant punch line of sorts from my own experience. ------ “One of the things he also had to develop was the character, so that he didn’t simply become a female impersonator. “‘I’ve read a lot of psychology,’ he said. ‘You can get into a character because of your reading. I flew my sister and brother-in-law in from South Africa. They were pleased I played the role for real instead of as a campy character.’ “O’Haughey was born in Pretoria in 1947. Both sides of his family had migrated to South Africa from Counties Cork and Wicklow in Ireland. “He began studying for the priesthood and missionary work, but his father, an electrical engineer, was in an accident which caused massive crippling and years to recover. O’Haughey, to support his family, left the monastery and went into business, ultimately becoming manager of one of Pretoria’s largest department stores. “He also found time for soccer, and for seven years was center foreward on the Arcadia United team, playing all over South Africa. He lifts weights for fitness, and now has turned to tennis and swimming because they’re easier to play in the United States than soccer. “His introduction to the world of entertainment began when he sang a role from ‘Carmen’ in a pantomime as a favor for a friend. Those who heard his phenomenal voice – from deep bass to tenor and on up to soprano without going falsetto – urged him to go into show business and to the United States. “His voice is a ‘natural,’ say teachers and doctors who’ve examined his larynx, and he’s never had vocal lessons. “He and the girl he dates, singer Anne Ault, developed a nightclub act and were steadily at work until he went on Broadway. She is seen by millions in television commercials. “O’Haughey said he’s ‘done what I can’ with the one role ‘and now I have to advance more, eventually. Anne and I probably will work out some new club acts.’” -------------- Almost twenty years later, in the early 1990s, I lived in LA and visited the apartment of a piano-bar-musical-theatre friend of mine. We were chatting away like the New York refugees we were about all things musical theatre and Broadway.....when there was a knock on the door. It was the super of the building, carrying a mop and bucket of water, and there was some issue my friend and he spoke about regarding the building's plumbing or something. Then my friend gestured to me and said, "Here's someone I think would love to meet you." (Huh, I thought? Why in the world would I want to meet his building's super?) "(Insert my name), meet Michael O'Haughey." I jumped up so hard I practically poked a hole in the ceiling – and also experienced one of those thunderous, significant Learning Moments – you can climb the heights and be the toast of Broadway, in the most glamorous, exciting, thrillingly contemporary, celebrated, legendary show in the world (and yes, CHICAGO was all that, even then, contrary to uneducated popular opinion) – and STILL end up the super of some run-down apartment building in Los Angeles. That encounter was almost thirty years ago, and I don't know if M. O'Haughey is still alive or where he is. |
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| re: "Musical Vaudeville" and the man who spread the Sunshine | |
| Last Edit: WaymanWong 01:27 pm EDT 08/25/21 | |
| Posted by: WaymanWong 01:20 pm EDT 08/25/21 | |
| In reply to: re: "Musical Vaudeville" and the man who spread the Sunshine - reed23 05:45 am EDT 08/25/21 | |
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| Thanks again for sharing your many memories of ''Chicago'' and that article about M. O'Haughey and your amazing anecdote about meeting him! I was so surprised to find that ''To Tell the Truth'' segment. I would've thought ''Chicago'' wanted to keep his identity a secret. The only comparison I can make is, Jaye Davidson and ''The Crying Game'' (1992). Among the comments for the ''To Tell the Truth'' video, ''Aurora Spiderwoman'' posts: ''He's never been equaled in this role. And when he did it again at Long Beach in 1992, he still sounded great.'' (And playing Roxie and Velma at that Long Beach Civic Light Opera revival were Juliet Prowse and Bebe Neuwirth, and Gary Sandy [from ''WKRP''] as Billy, directed by Rob Marshall.) I hope O'Haughey's still around, now 74, and realizes how fondly he's remembered for bringing his merry Sunshine into our lives. |
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| How does it work when a woman plays the role? | |
| Posted by: JAllenC3 02:55 pm EDT 08/24/21 | |
| In reply to: In this day and age does it feel like something of a dated "gag"? - portenopete 10:27 am EDT 08/24/21 | |
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| Obviously the movie cut that part, but what about stage productions? I ask because I know Ali Ewoldt is currently playing it at the MUNY | |
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| The movie didn't cut the part. | |
| Posted by: StanS 05:30 pm EDT 08/25/21 | |
| In reply to: How does it work when a woman plays the role? - JAllenC3 02:55 pm EDT 08/24/21 | |
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| It was played by Christine Baranski. | |
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| re: The movie didn't cut the part. | |
| Last Edit: MockingbirdGirl 06:27 pm EDT 08/25/21 | |
| Posted by: MockingbirdGirl 06:23 pm EDT 08/25/21 | |
| In reply to: The movie didn't cut the part. - StanS 05:30 pm EDT 08/25/21 | |
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| "That part" in reference to the above conversation refers to the gender reveal, not the role. Because Mary was played by a woman, that part of the script was cut. | |
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| re: How does it work when a woman plays the role? | |
| Posted by: JereNYC (JereNYC@aol.com) 03:39 pm EDT 08/24/21 | |
| In reply to: How does it work when a woman plays the role? - JAllenC3 02:55 pm EDT 08/24/21 | |
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| It's been a while since I've seen CHICAGO, but Billy Flynn has some lines about not everything being as it seems and then Mary starts trilling, is defrocked, and then the actor takes the trill down a couple of octives for a moment. I have no idea how this moment would work with a woman in the role. I imagine it would be cut since there'd be no point. |
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| re: How does it work when a woman plays the role? | |
| Posted by: BroadwayTonyJ 04:33 pm EDT 08/24/21 | |
| In reply to: re: How does it work when a woman plays the role? - JereNYC 03:39 pm EDT 08/24/21 | |
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| In the original Broadway production of Maurine Watkins' non-musical play Chicago, Mary Sunshine was played by the highly respected (and prolific) character actress Eda Heinemann. Heinemann actually had 40 Broadway credits from '08 to '63, including Ah, Wilderness! (as Lily Miller), Watch on the Rhine (as Anise), Goodbye, My Fancy (as Miss Shackleford), Arms and the Girl (as Prudence), Make a Wish (as Dr. Didier), Graham Greene's The Potting Shed (as Mrs. Potter), and Robert Anderson's Silent Night, Lonely Night (as Mae). In the '42 film version titled Roxie Hart, Mary Sunshine was played by Spring Byington. I've seen the film a few times. Byington's portrayal worked fine. |
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| re: In this day and age does it feel like something of a dated "gag"? | |
| Posted by: writerkev 01:40 pm EDT 08/24/21 | |
| In reply to: In this day and age does it feel like something of a dated "gag"? - portenopete 10:27 am EDT 08/24/21 | |
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| Funny how you refer to dissenters as “the thought police,” yet you are the person doing the policing. | |
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| re: In this day and age does it feel like something of a dated "gag"? | |
| Posted by: portenopete 02:02 pm EDT 08/24/21 | |
| In reply to: re: In this day and age does it feel like something of a dated "gag"? - writerkev 01:40 pm EDT 08/24/21 | |
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| I'm not policing, I'm discussing. I have no desire to tell producers, directors, writers, and actors what I think they should be doing. I don't ever say that "Broadway MUST change!"; I embrace change but I don't demand it from anyone. | |
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| re: In this day and age does it feel like something of a dated "gag"? | |
| Posted by: sirpupnyc 01:32 pm EDT 08/24/21 | |
| In reply to: In this day and age does it feel like something of a dated "gag"? - portenopete 10:27 am EDT 08/24/21 | |
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| It's just a self-reveal at the top of the finale. No longer anything to do with Mary, just the actor playing her unveiled. | |
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| re: In this day and age does it feel like something of a dated "gag"? | |
| Posted by: portenopete 02:00 pm EDT 08/24/21 | |
| In reply to: re: In this day and age does it feel like something of a dated "gag"? - sirpupnyc 01:32 pm EDT 08/24/21 | |
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| So Mary herself doesn't take off the wig? Whoever is playing the role does? To what end? | |
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| re: When did they stop billing the Mary Sunshine actor with only an initial? (nm) | |
| Posted by: IvyLeagueDropout 10:15 am EDT 08/24/21 | |
| In reply to: When did they stop billing the Mary Sunshine actor with only an initial? (nm) - writerkev 09:47 am EDT 08/24/21 | |
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| I don't know a specific answer to your question, but I think producers generally do (contract obligation, possibly) list actors in marketing and Playbill by the actor's chosen version of their name. That being said, it would be a real shame to have that fun surprise ruined the first time you see Chicago. It always brings down the house. I'm assuming that the actor wishes to be listed that way. | |
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| re: When did they stop billing the Mary Sunshine actor with only an initial? (nm) | |
| Posted by: sirpupnyc 10:25 am EDT 08/24/21 | |
| In reply to: re: When did they stop billing the Mary Sunshine actor with only an initial? (nm) - IvyLeagueDropout 10:15 am EDT 08/24/21 | |
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| The Playbill, to my knowledge, has always listed the Marys—including R. Lowe— with just an initial. About the only exception I can recall is when occasionally Amos is a Mary standby. I would think it's part of being contracted to play Mary that your first name isn't going to be listed. | |
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| re: When did they stop billing the Mary Sunshine actor with only an initial? (nm) | |
| Posted by: seeseveryshow 08:27 pm EDT 08/24/21 | |
| In reply to: re: When did they stop billing the Mary Sunshine actor with only an initial? (nm) - sirpupnyc 10:25 am EDT 08/24/21 | |
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| Will there still be printed Playbills? I hope so. I feared Covid would justify doing away with them. | |
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