Who's Who in Musicals: T to Wa
by John Kenrick
b. Oct. 5, 1921 (Chicago, IL) - d. Oct. 19, 1974 (New York, NY)
This handsome baritone won fame on Broadway playing young military men in
several World War II musicals, including What's Up? (1943) and
Follow the Girls (1944). After a civilian stint as "Rocky" in
Billion Dollar Baby (1945), he originated the role of "Lt. Joe Cable"
in South Pacific (1949), introducing
Richard Rodgers and
Oscar Hammerstein II's
"Younger Than Springtime" and "You've Got to Be Taught."
As the original "Marius" in Fanny (1954), he introduced
Harold Rome's soaring title tune. Tabbert
then withdrew from performing for more than a decade. He died of a heart attack at age
53 while rehearsing for a nightclub comeback.
(b. Richard Lansdale Munkittrick)
b. Mar. 9, 1865 (New York City) - d. Sept. 12, 1928 (Reigate, UK)
American-born but raised in London, Talbot composed eighteen West End musical
comedies, three of which had extraordinary runs in the early 20th
Century A Chinese Honeymoon (1901 - 1000 perfs),
The Arcadians (1909 - 809) and The Boy (1917 - 801). His
melodies ranged from the sweet to the lively, somewhat in the tradition of
Arthur Sullivan. Talbot's best works
also succeeded on Broadway, but The Arcadians is the only one still
Singer, comedienne, vaudevillian
b. Aug. 1, 1878 (Marbleton, Canda) - d. Feb. 11, 1947 (Hollywood, CA)
By her own admission, this dynamic vaudeville star was not particularly gifted or
beautiful, but her exuberant personality fascinated audiences for more than three
decades. Describing Tanguay, critics often resorted to words like
"whirlwind," which fits her fiery reputation both on and off stage.
Appearances in amateur contests led to small roles with touring companies. She made
her New York vaudeville debut at Hammerstein's Victoria in 1904. Tanguay eventually
commanded the highest salary in vaudeville, earning as much as $3,500 a week by 1910.
During World War I, when a so-called "decency craze" forced every other
act in the business to clean up its material, Tanguay merely stopped using
posters of herself in action. Her act frequently exploited her own outrageous
reputation, with songs like "Its All Been Done
Before But Not the Way I Do It" and "I Don't Care."
When a smart-mouthed stagehand once asked Tanguay how she would react if someone
flirted with her, she picked him up and threw him against a backstage wall, leaving
him unconscious. When he threatened to sue, Eva settled the issue by pulling a wad
of cash out of her purse and peeling off a
$1000 bill. Tanguay often publicized her seemingly unlikely devotion
to Christian Science, adding the slogan "Naught can disturb - God is
Peace" to her ads in Variety. She was a master of publicity,
earning nationwide headlines when she was allegedly kidnapped or the
victim of a robbery. Popular through vaudeville's final
years, she lost her fortune in the stock market crash
of 1929 and spent her final years impoverished.
When Tanguay was blinded by cataracts, fellow vaudevillian
Sophie Tucker paid for surgery that
restored her sight.
b. Dec. 25, 1865 (Little Rock, AK) - d. Oct. 3, 1939 (San Francisco, CA)
Although Yankee Doodle Dandy (1942) has kept Templeton's name
alive, she was nothing like the statuesque soprano depicted in that film.
Short, feisty, and throaty-voiced, the real Templeton was one of Broadway's
most beloved comediennes from the 1880s onwards. She began performing as a
child in her family's touring theatrical troupe, and made her New York debut
at age 20 in a revival of Evangeline (1885). Templeton first achieved
stardom in Edward Rice's
burlesque extravaganza Excelsior Jr. (1895). Audiences adored her
strong contralto voice and comic timing. She appeared in several popular
Weber and Fields extravaganzas, introducing the hit song "Ma Blushin'
Rosie" in Fiddle-dee-dee (1900).
Her most memorable role was in George M. Cohan's
Forty-Five Minutes From Broadway (1906), where she played New Rochelle
housemaid Mary Jane Jenkins, who gives up a fortune to marry the impoverished man
she loves. In that show, she introduced both "Mary's A Grand Old Name"
and "So Long Mary." Templeton was married three times, and her final union
in 1906 (to industrialist William Patterson) made her one of the wealthiest women
in America. She withdrew from performing for several years, then made selective
vaudeville appearances and co-starred in the final Weber and Fields musical,
Hokey Pokey (1912). She headlined an all-star bill of old-timers at the
Palace in 1925. After her husband's death in 1931, Templeton made a final trip
to Broadway as Aunt Minnie in Roberta (1933), introducing the sentimental
Otto Harbach ballad "Yesterdays."
Beset by financial problems and arthritis, she retired to the Actors Fund
Home in Englewood, New Jersey. Soon after moving in with a cousin in
San Francisco, she died at the age of 73.
(b. Sonia Kalish)
Singer, actress, vaudevillian
b. Jan. 13, 1884 (Poland) - d. Feb. 9, 1966 (New York City)
Born in Poland as her Russian-Jewish mother was fleeing religious persecution
in Tsarist Russia, this powerhouse singer was belting songs for tips at age 10 in
her family's working class New Haven restaurant. She toured in burlesque as a
blackface "coon shouter," and Tucker's talents eventually took her out
of burnt cork and into Florenz Ziegfeld's 1909
Follies. She quickly became one of the top stars in vaudeville,
billing herself alternately as "The Queen of Ragtime" and
"The Last of The Red-Hot Mommas." Tucker popularized many songs,
with "Some of These Days" and "My Yiddishe Momme"
Although Tucker is primarily remembered as warm hearted and generous, she had a
tough side an essential for anyone who wanted to survive in the hard nosed
world of show business. Tucker could silence managers or hecklers with streams of
unprintable language, or burst into vulnerable tears -- opting for whichever tactic
seemed most likely to win a particular argument. At one point, she refused to talk
to longtime friend Harry Richman for several years because he had walked out of
a nightclub during one of her solos. When Richman explained that he was just trying
to settle his bill, Tucker responded, "Listen to me, kid, and never forget what
I'm telling you. Not even Jesus Christ himself walks out on Tucker." She was
so obviously sincere that Richman apologized, and their friendship resumed.
Tucker's Broadway appearances included the 1924
Earl Carroll Vanities and playing
the politically ambitious "Mrs. Goodhue" in Leave It to Me
(1938) introducing Cole Porter's
"Most Gentlemen Don't Like Love." Because studios were hemmed
in by restrictive decency codes, her films appearances were sanitized
After vaudeville faded, Tucker remained popular in nightclubs, radio
and television. Her club act was famous for its risqué humor, with songs
like "You've Got to Be Loved to Be Healthy (and I'm the Healthiest Gal in
Town)." She specialized in bawdy humor, but the outrageous "Sophie
Tucker jokes" Bette Midler tells are often apocryphal. Tucker continued
performing into the 1960s, and saw her life depicted in the unsuccessful
(and heavily fictionalized) Broadway
musical Sophie (1963). She personally maintained a file of seven thousand
friends and fans she remained in touch with until her death due to lung
cancer at age 82.
Actor, dancer, singer, director, choreographer
b. Feb. 28, 1939 (Wichita Falls, Texas)
To date, this gifted man has won nine Tonys, including awards for acting,
direction and choreography. A brilliant dancer, his lean frame and
six-foot-six height made him an unusual casting choice. After making his Broadway
debut in the ensemble of Baker Street (1964), then danced in A Joyful
Noise (1966) and How Now Dow Jones (1967). On screen,
he was "Ambrose Kemper" in Hello Dolly (1969) and a
lead dancer in Ken Baker's quirky adaptation of The Boy Friend
(1971). Tune won his first Tony for Best Featured Actor playing dancer-choreographer
"David" in the Cy Coleman-
Dorothy Fields Broadway musical Seesaw
(1973) -- and introducing the showstopper "It's Not Where You Start (It's
Where You Finish)." Moving behind the scenes, he choreographed and co-directed
The Best Little Whorehouse in Texas (1978), the first in a
string of long-running Broadway hits. His witty staging of A Day In Hollywood/A
Night In The Ukraine (1980) was followed by the staging of
Maury Yeston's innovative Nine
(1982), which brought Tune a Tony for Best Director. He shared a Tony
for Best Choreography with Thommie Walsh for the
Gershwin pastiche My One And Only (1983),
which Tune (as "Captain Billy Buck Chandler") co-starred in with Twiggy.
Tune tempered traditional show business razzmatazz with an array of fresh staging
ideas, earning a reputation for providing visual surprises and showstoppers. The
long-running Grand Hotel (1989) brought Tune Tonys for direction
and choreography. He triumphed with Will Rogers Follies (1991)
winning still more awards. Tune's nightclub appearances culminated in a limited
solo run at Broadway's Gershwin Theatre in 1992. He was "Production
Supervisor" for the long-running revival of Grease (1994)
the same season that he directed the disastrous sequel The Best
Little Whorehouse Goes Public. Tune starred in the pre-Broadway tour
of Busker Alley
(1995) until his fractured toe forced the show to close on the road. Since
then, he has performed in Las Vegas, and his club act had a brief run Off-Broadway.
Set designer, architect
b. May 26, 1872 (Vienna, Austria-Hungary) - d. July 10, 1933 (New York)
This ingenious designer's work embodied the art deco style at its best.
An architect who was also responsible the design of several acclaimed
children's books, he is best remembered for designing the sets for
Follies from 1915 to 1931, giving them a definitive period elegance.
While the Follies had always been lavish, Urban elevated
them to a new level of visual art deco artistry. He designed other productions for
Ziegfeld, including Show Boat (1927), The Three Musketeers
(1928) and Whoopee (1928). He was architect for the spectacular
Ziegfeld Theatre, designing a unique egg-shaped auditorium noted for its
extraordinary acoustics and a sweeping art deco mural that covered its
Urban was artistic director of the Metropolitan Opera from 1917 to 1931,
contributed set designs for various plays and films, and designed select
private homes. He also designed the interiors of several art deco restaurants,
including the posh St. Regis Roof in New York. He died at age 61, barely a year after
Flo Ziegfeld. The Ziegfeld Theater was demolished in 1966 to make way for a
skyscraper and a movie house. All that survives of Urban's
work today are his eye-filling set sketches for the Follies, and
the imposing art deco lower floors of the Heart Organization's office building
at Broadway and 57th Street.
(b. Vera Ellen Wesmeyr Rohe)
b. Feb. 16, 1921 (Norwood, OH) - d. Aug. 30, 1981 (Los Angeles, CA)
After getting her start on the Major Bowes Talent Show, this petite blonde
danced with the Radio City Rockettes. She made her Broadway debut in the chorus of
Very Warm For May (1939), and then danced in such hits as Panama Hattie
(1940) and the revival of A Connecticut Yankee (1943). Film producer Sam
Goldwyn brought her to Hollywood, where she was featured with
Danny Kaye in Wonder Man (1945) and
The Kid From Brooklyn (1946).
Vera-Ellen signed with MGM in the late 1940s, opening the way to her most
memorable screen performances. She danced with Gene Kelly
in both Words and Music (1948) and On The Town (1949), and shared
memorable dance duets with Fred Astaire in
Three Little Words (1950) and The Belle of New York (1952).
Few knew that all of her screen singing was dubbed -- a common practice at the
During Vera-Ellen's post-MGM career, she partnered
Donald O'Connor in Call Me Madam
(1953), and was reunited with Danny Kaye in White Christmas
(1954). After the disappointing Let's Be Happy (1957), she realized that
big screen musicals were passing out of vogue. Vera-Ellen did some nightclub work,
but there was limited demand for a non-singing dancer. She soon retired from
show business. Long plagued by obsessive eating disorders and arthritis,
she continued to dance in private, staying out of the public eye until
cancer ended her life at age 60. For more, see David Soren's
Vera-Ellen: The Magic and the Mystery (Baltimore: Limelight Press, 2003).
(b. Gweneth Evelyn Verdon)
b. Jan. 13, 1926 (Culver City, CA) - d. Oct. 17, 2000 (Woodstock, VT)
The child if British immigrants, Verdon's legs were misshaped in
childhood due to rickets. Placed in ballet classes to strengthen her
legs, she discovered a passion for multiple forms of dance, making her
screen debut at age 10 in The King Steps Out (1936). After a
brief marriage to alcoholic gossip columnist James Henaghan (and the
birth of a son that she left in the care of her parents), Verdon
went to work as assistant to choreographer Jack Cole,
and appeared as a chorus dancer in such films as MGM color remake of
The Merry Widow (1952).
After winning a Tony for her show-stealing performance as the sexy
"Claudine" in Broadway's Can-Can (1953), Verdon starred in a triumphant
series of musicals choreographed by Bob Fosse. Her
combination of vulnerability and sleek sexuality made her the prototypical Fosse
dancer. Verdon starred as the demonic "Lola" in Damn Yankees (1955)
(the only one of her stage roles she would repeat on film), the prostitute
"Anna" in New Girl In Town (1957), and the warmhearted
"Essie Whimple" in Redhead (1959), winning additional Tonys for
each of these performances. She became Fosse's third wife in 1960. After taking time
off to raise their daughter Nicole, Verdon returned to Broadway in two
more Fosse productions. She played the title role in Sweet Charity (1966),
introducing "If They Could See Me Now." Librettist Neil Simon
wrote that Verdon "was a beautiful woman but never used her sex
onstage except in a humorous way, which only made her more sexy."
As the original murderous housewife "Roxie Hart"
in Chicago (1975), Verdon sang
"Me and My Baby" and shared "Nowadays" with co-star
Chita Rivera. When arthritis curtailed Verdon's
ability to dance, she continued to act in various non-musical films, including
Cocoon (1985). She assisted Fosse in staging new shows and revivals.
Although many assumed that Verdon had divorced the promiscuous Fosse, the couple
remained married and close she was at Fosse's side when he collapsed
from a fatal heart attack in 1987. Verdon's determination to preserve her late husband's
artistic legacy culminated in Fosse (1999), a Tony-winning compendium of his
most memorable dances. While visiting her daughter in Vermont, Verdon
suffered a fatal heart attack at age 74.
Actor, dancer, choreographer,
b. Nov. 17, 1911 (Pasadena, CA) - d. Aug. 13, 1982 (Malibu, CA)
Although this versatile talent is rarely discussed, he helped shape some of Hollywood's most
popular musical films. He made his Broadway debut dancing in New Faces
(1934), and won attention dancing to "Begin the Beguine" and
singing "Just One of Those Things" in
Cole Porter's Jubilee
(1935). After featured roles in I Married and Angel (1938) and
DuBarry Was a Lady (1939), Walters choreographed Let's Face It
(1941), Banjo Eyes (1941) and St. Louis Woman (1946).
He combined tap, ballet and specialty dances in his shows, a novel
approach that became an industry standard.
Gene Kelly encouraged MGM to sign up
Walters, who made his mark in Hollywood staging dances for Girl Crazy
(1943), Meet Me in St. Louis (1944) and The Harvey Girls
(1945). He proved a capable and efficient director, helming a series of musicals for MGM,
including Good News (1947), Easter Parade (1948) and Lili
(1953). Judy Garland,
Fred Astaire, and
other top stars found Walters' steady, professional approach reassuring. His
best remembered dance routine is probably Garland's "Get Happy"
in Summer Stock (1950), the last great number of her long MGM career.
Walters also directed many musicals starring Esther Williams, for which he created
innovative water ballets and underwater routines.
As the number of screen musicals declined, Walters remained in demand, directing
High Society (1956), Jumbo (1962) and the underrated screen version
of The Unsinkable Molly Brown (1964). He also directed numerous non-musical
films. His final assignment was directing Cary Grant's last picture,
Walk, Don't Run (1966), the only
screen project Walters worked on outside of MGM. He lived a relatively
open homosexual life through Hollywood's most closeted decades. He died
from lung cancer at age 71.
(b. Salvatore Guaragna)
b. Dec. 24, 1893 (Brooklyn, NY) - d. Sept. 22, 1981 (Los Angeles, CA)
Possibly the most prolific composer Hollywood would ever know (his songs
were featrured in more than 300 films), this son
of Italian immigrants played piano in silent movie houses and worked
briefly for Vitagraph studios, where he even played occasional bit
parts. World War I led to his enlisting in the Navy, where he
began composing. After the war, he found early success writing for in
New York's Tin Pan Alley publishing houses, then headed West soon after
Hollywood discovered sound. He provided numbers for the forgettable
Spring is Here (1930), he
teamed up with lyricist Al Dubin
to provide the score for the film hit 42nd Street
(1933). "Shuffle Off to Buffalo" and the sardonic title tune
became tremendous hits.
Warren & Dubin went on to compose a
series of classic screen scores for Warner Brothers, many directed by the
innovative Busby Berkeley, including
Gold Diggers of 1933, Footlight Parade (1933), Dames
(1934) and Go Into Your Dance (1935). These songs made no
attempt to develop plot or character -- they were stand-alone numbers
Berkeley could build into eye-popping production numbers.
When Dubin's dependence on alcohol and illegal drugs made him unreliable,
Warren worked for every major studio, collaborating with a succession of top
lyricists, including Johnny Mercer, Arthur Freed,
Samy Cahn and
Ira Gershwin. As popular tastes
changed, Warren's versatility kept his melodies fresh, extending his career
over three decades and more than sixty film scores. He composed three
Academy Award winning songs "Lullaby of Broadway,"
"You'll Never Know" and "On the Atchison Topeka and the
Santa Fe." His one stab at composing for Broadway was Shangri-La
(1956), an unsuccessful adaptation of Lost Horizon. Just
weeks before Warren's death, his music finally conquered Broadway in
Gower Champion's wildly successful stage
version of 42nd Street (1981).
b. Oct. 31, 1896 (Chester, PA) - d. Sept. 1, 1977 (Chatsworth, CA)
Waters was the daughter of Louise Anderson, an unmarried 13 year old who
claimed she had been raped by pianist John Wesley Walters. Anderson
forced Ethel to marry at age 13, but she divorced him a year later and
went to work as a maid. Ethel got
her start in black vaudeville in 1915 billed as "Sweet Mamma
Stringbean." Her magnetic interpretations of jazz and blues songs soon
brought her to the big time vaudeville circuits, and she made her Broadway
debut in the revue Africana (1927). She married again at this
time, but it soon ended in another divorce.
After Blackbirds (1930) and
Rhapsody in Black (1931), Waters appeared in the stellar revue
As Thousands Cheer (1933), where she introduced the
Irving Berlin classics
"Heat Wave" and "Suppertime." She had the distinction
of being the first black star to headline a mixed cast on Broadway in the revue
At Home Abroad (1935). Waters enjoyed her greatest musical role as
housewife Petunia Jackson in Cabin in the Sky (1940), introducing
"Taking a Chance on Love." She repeated the role in the 1943 screen
version, the best of her few musical screen appearances.
Aside from frequent nightclub performances,
Waters was a powerful dramatic actress, getting an Academy Award
nomination for Pinky (1949). In the stage and screen hit
Member of the Wedding, she sang a moving rendition of "His Eye
Is on the Sparrow." A heavy drinker and active bisexual throughout
much of her career, Waters became a devout born-again Christian in her later
years, living abstemiously and making appearances with preacher Billy Graham.
She died of heart disease at age 80.
(b. Elizabeth Watson)
b. Dec. 17, 1938 (Tulsa, OK)
One of the most popular stage ingénues of the late 20th Century, Watson originated
several key roles in the musical comedy repertoire. After appearing as Velma
in the London cast of West Side Story (1958), she charmed Broadway as
the original Kim MacAfee in Bye, Bye Birdie (1960) introducing
"One Boy." She took over the lead in the original production
of Carnival (1962), and appeared as the French maiden Janine
Nicolete in the unsuccessful Ben Franklin in Paris (1964) and A Joyful Noise
(1966). Her delightful performance as "The Girl" in an all-star TV
production of The Fantasticks led its composers to cast her in their
experimental musical Celebration (1969). Watson ended her long reign as Broadway's
top ingénue playing the title role in the revival of No, No Nanette
(1971), in which she sang the title tune and shared "I Want to
Be Happy" with Jack Gilford. She
has made numerous television appearances, including roles on St.
Elsewhere (1984), Wings (1993) and the soap opera General
Hospital (1987). Married to producer Norton Wright, she lives in Sherman
Oaks, California, and is returning to Broadway as Emily Whitman in a
revival of Sondheim's Follies (2011).
(b. Edward Claudius Weyburn)
Director, dance director
b. Mar. 30, 1874 (Pittsburgh, PA) - d. Sept. 2, 1942 (New York City)
Wayburn dabbled in architecture and real estate and worked as a vaudeville performer
& stage manager before becoming a dance director for the top theatre managers of
the early 1900s. The first person to take musical comedy dance routines seriously,
he founded the Studio of Stage Dancing in 1905 and developed the first crude form of
dance notation. Wayburn coached hundreds of vaudevillians, including
Eddie Cantor, Al Jolson
and even Fred Astaire. An early proponent of
precision chorus dancing, he developed the kick lines and geometric formations that
are still familiar in musical staging today. Not one for pretentious
theories, he claimed that stage choreography could be broken down into
five basic categories: musical comedy, tapping and stepping, acrobatic
work, toe specialties, and exhibition ballroom.
In a 41 year career, Wayburn (who took his stage name spelling from a program
typo) staged hundreds of stage productions. He worked frequently for producer
Florenz Ziegfeld, doing much to define the look
of the classic Broadway show girl by dividing chorus girls according to height and
inventing the trademark "Ziegfeld Walk." Balancing the forward thrust of
each hip with a thrust from the opposite shoulder, this walk made it possible for
chorus girls to descend stairs while wearing huge headpieces. Wayburn remained active
after Ziegfeld's death, staging traveling movie house revues.
(b. Wayne McMeekan)
b. Jan. 30, 1914 (Traverse, MI) - d. Feb. 9, 1995 (Santa Monica, CA)
This gifted comic actor was working as a statistician when he joined a Shakespearean
repertory troupe in Cleveland. Wayne worked his way to New York,
where he made his musical debut as the diplomatic aide Nish in
a long-running Broadway revival of The Merry Widow (1943). His inspired
performance as "Og," the transplanted leprechaun in
Burton Lane and
Yip Harburg's Finian's Rainbow (1947)
made him the first actor to win a Tony Award for a performance in a musical.
Wayne cemented his reputation with a series of superb character performances,
including "Ensign Pulver" in Broadway's Mister Roberts
and Kate Hepburn's effeminate yet amorous songwriting neighbor
"Kip Lurie" in the film Adam's Rib (1949). From 1941 onwards,
he was married to Jane Gordon, with whom he had twin daughters.
Wayne remained a familiar face on stage, screen and television for
the rest of his life. His musical stage roles included "Jack Jordan"
in Say, Darling (1958), "Ezra" in
The Yearling (1965) and "Granpere" in John Kander
and Fred Ebb's The Happy Time (1968).
He appeared as the recurring comic villain "The Mad Hatter" on
television's Batman, and on the big screen played "Dr.
Charles Dutton" in The Andromeda Strain (1971). He
relocated to California in 1977, where his television roles
included "Digger Barnes" on Dallas (1978), and
a memorable appearance as Blanche's
"Big Daddy Hollingworth" on The Golden Girls (1986). Wayne died of lung cancer
at age 81.
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