Darlings, "I KNow It's A Rotten Business.....But I LOVE It!!!!"

Now, I know none of my girls will ever forget that line, spoken by Patty Duke as Neely O'Hara (again, MY role, loves!!!!!!!!) in the iconic gay (or maybe gay iconic) classic film, "Valley Of The Dolls." Honey, Patty/Neely is right; show biz is rough; as the adage goes, there is a broken heart for every light on Broadway. And, as Eli Wallach once added, "But what about all the broken lights?"

There are, indeed, rotten people in the biz. But there are also some wonderful individuals with amazing talent, poise, and graciousness. And with my girls, I want to talk about one of these--someone who I am sure theater mavens, Queens, call us what you will, of a Certain Age, will know.

The great Josie De Guzman.

Josie's name came up in conversation out of the blue, about a year ago. I was discussing theater with my friend Rob, a wonderful choreographer. He had trained, in dance, at the Boston Conservatory of Music, and he mentioned having gone to school with Josie. I nearly fell off my chair, so impressed was I by Rob's association with this theatrical great. And Rob was astounded that I knew who she was. Darlings, of course!!!!!!! He also went on to explain, while he was in the Dance program, Josie was in Musical Theater, was adored by all both for her talent and graciousness, and people knew she would be going places. Which she did.

But this is how it began, with me. Back in 1978, at the tender age of 23, (though my PROFESSIONAL age now is STILL 24!!!!!!) two shows were causing a sensation on the theater scene--the Fats Waller musical, "Ain't Misbehavin'," which moved to Broadway from its original venue at the Manhattan Theater Club, and Elizabeth Swados' "Runaways," which, like the highly successful "A Chorus Line" before it, was an ensemble piece which began at the Public Theater and moved to the (I still remember) Plymouth Theatre (now renamed either the Jacobs or Schoenfield) on Broadway. "Runaways" interested me greatly, primarily because its cast and creators were, like moi at the time, so young. I saw the show at a Saturday matinee in late May, 1978, which was memorable for several reasons. Concerning the show, it still remains a highlight of my theatergoing career. Utilizing a confessional/conceptual format clearly influenced the success of "A Chorus Line," an ethnically diverse (which even then was rather daring for its time) of young Runaways, stepped forward to tell their stories in song and dance. The entire thing was all the more remarkable for the fact that Swados, then 27, had put together the entire project herself--- --concept, score, direction, choreography--and she was only 27, plus a woman, to boot, in the still male dominated world of New York Theater. She was truly a pioneer. And that cast--some of whom went on, some of whom have vanished--Trini Alvarado (whose "Lullaby From Baby To Baby" was a highlight), Diane Lane ( we know where she is now, don't we, girls???), Evan Miranda ("I am the Undiscovered Son of Judy Garland," which you know a lot of us Queens wanted to be!!!! Or thought we were!!!!!!!!), Carlo (then A.J.) Imperato, whose breathy rendition of "Ev'ry Now and Then," still takes my breath away today when I listen to it on CD, David Schecther, Bruce Hilibok (who, being deaf, signed for those people requiring such watching the show), who unfortunately died of AIDS, Bernie Allison and his skateboard, David Schechter (where is he today, I wonder???), Karen Evans', whose recitation of "To The Dead Of Family Wars" was show stopping, and Rachel Kelly, who eventually replaced Diane Lane.

The cast was both raw and professional, and to incorporate a more professional sound, Swados weaved through the cast a group of professionally trained actors, who, one person connected to the production when young told me, were known as "the Ringers." One of these was David Schecter, and another was Josie De Guzman, who, the now older cast member told me, everyone adored, and helped keep the company going much of the time.

I will never forget when Josie suddenly stepped out of the Ensemble in the show. Playing a young girl named Lidia, she began to sing a song about trying to keep her junkie boyfriend awake until help comes, rather than pass out and O.D. The song was the haunting "No Lullabies For Luis," it had an almost salsa beat which Josie sang and danced to, superbly, with a voice that I thought at the time was the most compelling in musical theater I had ever heard, and thirty some years later, remains such. It was truly one of those heartstopping, throat catching theater moments we Queens yearn for, and, God Bless Josie, she went for the gold with this one. It was a revelatory moment in my theatergoing experience. And I resolved to keep my eyes open for the next appearance of this compelling talent.

Josie continued to trod the boards, in the ill-fated "Carmelina," which, sadly, I missed, as it did not run long enough for me to get to see it. But she triumphed in 1980 as Maria in the revival of "West Side Story," with both she and Debbie Allen (as Anita) being the shining beacons here, earning for both a Tony nomination.

And then, much to our consternation, Josie disappeared. "Where is she?", we cried. She emerged in 1992, as Sarah Brown in the Nathan Lane revival of "Guys and Dolls," where she singlehandedly took owenership of this role away from its originator, Isabel Bigley, because Josie nailed "If I Were A Bell," like it was nobody's business, and her hitting that final note sent chills throughout the house!!!!! Josie was back, and we wanted more from her!!!!!!!!!!!

Again, she seemed to vanish. After my conversation with Rob, I did a search, where it was apparent Josie was still plying her craft--but less in New York, and more in the regions. When she visited us at the workplace, she made clear a salient fact of today's theater life--more than ever, one has to go where the work is. Unfortunately, when one does not work in New York, many think one is not working at all. Which is certainly not the case with Josie, who, by the way, looks FABULOUS, with that lovely presence, skin tones, and hair we all admired and wanted to have back in the 70s. Not to mention that compelling voice. Darlings, we ALL wanted to be Josie, but there can be only one.

Shortly after she paid a visit, I mentioned her to my ex-matinee idol coworker, Victor. Not only did he know who she was; he had worked with her in stock prior to her arrival in New York. Once again the consensus was--everyone loved Josie, knew she was headed for great things.

We always look forward to a visit from Josie. And I am eternally grateful to her for sending me her lovely Cd's of Lullabies and Spanish songs. With that extraordinary voice and musical arrangements, they are treasures in my collection.

But the real treasure is Josie. She truly personifies talent AND graciousness in the biz.

If you pursue that path, girls, make sure you follow her example!!!!!!!!