Now, darlings, I know, I should have (and, indeed could have) substituted "Theater Queens" for "Faggots," but there is a method to my madness, so let me explain!!!!!!
When William Goldman published "The Season," which chronicled the 1967-68 Mew York theatrical season, one chapter was dedicated to a show that was not only the first big musical to open that season, but came into town expecting to be THE hit of that season.
I am talking, of course, about "Henry, Sweet Henry."
Like "Mame," it had been a book that had become a movie, that was now redecorated as a Broadway musical. "Mame" proved to be a classic . Unfortunately, 'Henry' did not.
The source was Nora Johnson's novel, "The World of Henry Orient." Nora was the daughter of screenwriter Nunnally Johnson, which, undoubtedly helped to get her book published, as this is her only claim to fame. The book chronicles two wealthy New York private school girls, Valerie Boyd and Marianne Gilbert ('Gil'). Val, who comes from an unstable home and an emotionally abusive mother, develops a crush on a hack pianist of the day, Henry Orient, and with her pal Gil, she follows him all over the city of New York in a series of adventures that culminate, at the close, with some positive life changes for Val.
There was an autobiographical component; while a young girl, Nora Johnson herself had had a crush on Oscar Levant, and her remembrances of it got transformed into the story. The novel had a modest success, enough for Warner Bros. to purchase the film rights, and turn out a movie in 1964, directed by George Roy Hill, and starring Peter Sellers as Henry Orient, Angela Lansbury as Mrs. Boyd and Paula Prentiss as one of Henry's conquests. The girls, who ran off with the film, were played by two newly discovered actresses, Tippy Walker (Val) and Merrie Spaeth (Gil). Unfortunately, their careers never went anywhere. Today, Walker lives in New Haven, Connecticut and has dabbled in art, from creating to gallery owning; while Spaeth has done an almost about face, disavowing any association with the movie, while residing in Texas and working as a Right Wing (ugh!!!!!!) public relations and political consultant. As Bette Davis said, in 'Hush......Hush, Sweet Charlotte": "Sounds PRETTY DIRTY to me!!!!!!!"
The success of the film inspired its transition into a musical. George Roy Hill again directed, with Nunnally Johnson writing the book (he had also penned the film). Fresh from his recent triumphs with Jule Styne in "Funny Girl" and "Mister Magoo's Christmas Carol", Bob Merrill (who wrote one of Patti Page's biggest hits, the classic "How Much Is That Doggie In The Window"), came on board as a composer, which worked for good and bad, because one of the problems with the show were that Merrill crafted superb songs for the children, and inferior ones for the adults. His career, while steady and successful, took a dark turn, when, in 1998, on February 17, due to poor health and depression, he committed suicide.
When it came time for casting, NO ONE seemed to want to play the title character. As Tony Randall, who had been approached for the part, said in the Goldman book, "I would LOVE to play it....if I were a fifteen-year-old school girl."
What he means, darlings, is, he was smart enough to know, like others who turned down the part, that the girls, no matter who played them, would walk off with the show! Which is why this show has had such a life among Theater Queens, because we all want to play the school girls!!!! I am prepared to right this minute, lambs; believe me!!!!! I can sing every single word of the score!!!!!!!!!!
"Henry, Sweet Henry' proved to have what turned out to be a legendary cast.
An obliging Don Ameche took the title role, and gave an obliging performance. Veteran character actress Carol Bruce played the Heavy, as the emotionally abusive Mrs. Boyd. An up and coming actress named Louise Lasser played the Paula Prentiss role as one of Henry's conquests.
The show was brimming with up and comers. Michael Bennett, in his first BIG job, did the choreography, and two of his future "Chorus Line"-ers--Baayork Lee and Priscilla Lopez--appeared in the production, and a young Pia Zadora! Yes, girls, I kid you not! From "Santa Claus Conquers The Martians" to the Palace Theatre on Broadway!!!!!! I should be so lucky. Not only that, she was the understudy to the child actress playing Marianne Gilbert.
That, incidentally, was Neva Small, who most remember as Chava in the 1971 film version of "Fiddler On The Roof." Can you believe that was 40 years ago????? As the second lead, Neva defined adolescent yearning, and her plaintive rendition of "I Wonder How It Is' not only made her a Legend Of The Musical Stage, but compelled Bob Merrill to vow to make her a major star!!!!!! Which he tried to several years later, in 1978, with the show "The Prince Of Grand Street," co-starring Robert Preston. He wrote two solos for Neva, "My Place In The World," and "The Girl With Too Much Heart" which were said to be so showstopping that Neva was guaranteed to be the Toast Of Broadway. Alas, it never got there, closing on the road. But Neva is still with us and a legend.
Her costar, Robin Wilson, who was rumored to be the girlfriend of someone connected to the show (possibly George Roy Hill) was cast as Val. She was
20, and many thought her too mature for the part, but on the cast album she sings like a dream. One of MY role models, girls!!!!!! She was given "And Introducing" billing on the poster and Playbill, and album cover, promising the heralding of a luminous career. Alas, after the show's 80 performance run, and the release of a forgettable solo album (with the forgettable song that I love, called, "Meanwhile, Back In Real Life") left show biz, emerging in Hawaii as a clinical psychologist. Now, is that too much, or what?
Which brings me to the reason I am writing this. While Robin Wilson received what were called, at the time, "nice enough notices," and she did have a lovely, theatrical voice, which Merrill's songs skillfully brought out, she was not the one to benefit from the show, and be, historically, its most memorable performer.
That distinction went to Alice Playten.
Alice Playten had been born Alice Plotkin in Queens. Despite a lifetime battle with Juvenile Diabetes, she became a child star of the New York stage, beginning with an appearance, at 11 in the role of the Boy in "Wozzeck" at the Metroplolitan Opera. She found her foray in musical theater, succeeding Karen Moore as Baby Louise during the Original Run of "Gypsy." She worked her way up through that show, to the role of Agnes, one of Madame Rose's Toreadorables. From there whe was Bet in the Orginal Cast of "Oliver!" and Ermengarde in the same of "Hello, Dolly!" She can be conspicuously heard on both Cast Albums.
Whether it was a wise decision or not, the creators of "Henry,Sweet Henry" deciced to beef up the role of mischievous school girl Lillian Kafritz. They gave her two big numbers, "Nobody Steps On Kafritz" and "Poor Little Person", and when the spotlight shone on Alice Playten the opening night of October 23, 1967, at the Palace Theatre, it was she, and no one else, who was hailed as the Toast of Broadway, and who earned the show's only TONY nomination.
Now, pay attention, because this is where the subject bar gets explained. In the aforementioned "The Season," it was expressed that the emergence of Alice Playten was strictly a New York thing. The passage goes: "She never stopped anything out of town," someone with the show said. "Her numbers never went so well as they did on opening night. It needed a gathering of New York faggots to love her special brand of camp."
Theater Queens, not "faggots," you Roy Cohn reject! And from then on we continued to love Alice. Especially for her second most memorable turn, as the newlywed bride on the Alka Seltzer commercial, cooking "Marshmallow Meatballs," "Sweet and Sour Snails" and "Poached Oysters," while her hubby in the bathroom uses Alka Seltzer to ward off indigestion.
Alice had one of the most extraordinary theater careers, going from childhood through adulthood, a rarity in today's theater world. Though she did movies, voiceovers, the works, she was primarily a Creature Of The Theater. She was a role model for me, darlings!!!!!! I mean, I could belt, but once I heard Alice, the bar was raised higher. I would like to hold a tribute to her at the Actors Temple where I sing "Poor Little Person." Honey, I will stop the show for Alice!!!!!!!!!
As a matter of fact, I met Alice. (Who was also in "Seussical" and "Caroline, Or Change", which was the last show I saw her in.) Back in the Fall of 2004, one of my Gay Reading Group members, Bill, was involved with a project for GMHC called "Broadway Show Stoppers." It was heaven for show mavens; past orginators reprising their show stopping tunes. I recall it vividly, because Priscilla Lopez opened the evening with "Nothing" from "A Chorus Line," twenty nine years (October , 25, ) to the day I saw her perform it originally. And Alice was on hand to do "Nobody Steps On Kafritz,' and let me tell you, Time Stood Still!!!!!!! After the show, Bill introduced me to Alice, so charming, and I was on a pink cloud for days!!!!!!
We loved you all our lives, Alice, and will miss you!!!! Will the lights of Broadway be dimmed for her??????? If not, they should be!!!!!!!!!!!
And you know damn well, when it is MY time, they WILL!!!!!!!!!!!!!
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