By Alix Cohen

Actor, singer, dancer, choreographer, director, and risqué Scheherazade, Lee Roy Reams is the Zelig of musical theater. He seems to have befriended everyone, laughed with most, tamed obstreperous leading ladies and extricated himself from sticky situations with the wily diplomacy of a more graceful Madeleine Albright. (My 2023 profile of Reams)

Film of “We’re in The Money” from a stage production of 42nd Street precedes Reams’ live “Lullaby of Broadway.” Ever the showman, he exudes expansive warmth. The artist would make an excellent Dimitri Weissmann (Follies.)

Reams was playing Cornelius Hackl opposite Carol Channing’s Dolly Levi when his agent telephoned about 42nd Street. He saw himself clearly as juvenile lead, Billy Lawyer (Dick Powell in the film.) When asked to audition for choreographer Andy Lee- “the casting director thought I was too old for Billy – I wasn’t going to go.”

“Get your ass down there and show them what you can do,” his husband Bob pressed. The thespian sang and tap danced. Director Gower Champion loped down the aisle. “You’re not right for Andy Lee,” he said. “I know,” Reams agreed. “You’re right for Billy Lawlor,” he continued. “I know,” grinned the actor.

We learn how Wanda Richert was cast as Peggy Sawyer and why the company nicknamed her “the breakfast of Champions.” Less than sterling reviews out of town provoked producer David Merrick to close the rehearsal/rewrite process in New York. In order to have an audience, the cast filled front rows with teddy bears and dolls.

Reams narrates film of The 42nd Street Ballet during which he, as a soldier, pursues ingenue Peggy. “We tapped into the floor, not on the floor.” It’s marvelous: “Here I’m flirting with her…we’re talking to each other with our feet…now we’re getting a little sexy…now comes the sex- look at our hips…now the climax…a thief grabs her purse, cops come in, Billy gets in the way. Very Slaughter on 10th Avenue,” the raconteur remarks.

Champion secretly had Waldenstrom’s Disease, cancer of the white blood cells. His doctors told him he shouldn’t do the show. “I don’t want to be remembered as a has-been,” he’d eventually confided in Reams. The men bonded over wanting to have been MGM stars.We’re told Champion wasn’t a tap dancer, but enlisting help from those who were, managed genius choreography.

Opening night, after 15 curtain calls, David Merrick came forward.“This is tragic. Gower Champion died this afternoon.” The audience gasped. “David was criticized for what he did but I don’t agree. He lived up to his legendary reputation and took advantage of the situation.”

Reams regales us with anecdotes about Tammy Grimes- replete with imitation and a jaunty rendition of “You’re Getting to Be a Habit with Me.” And Carole Cook- “Every sissy friend of mine said wait till you meet Lee Roy. I already hate your guts…” They had the same size feet so Reams would break in high heels for the actress.

Unable to face singing “The Star Spangled Banner” to The Boy Scouts early in the day, salt of the earth Jerry Orbach conscripted the young actor. The door was always open between their dressing rooms.

Reams dedicates “The Shadow Waltz” to the film’s original star, Ruby Keeler, who felt Broadway staging distracted from the lovely song. They became such good friends that in later years, he had Capezio make a pair of silver tap shoes to her last as a gift. (with elastic, so she could get them on) All of hers had been auctioned at charity events. They were treasured.

In Washington, DC for a Bob Hope Special, the company’s dressing room was shared by a wide-eyed cadet. A chorus boy exited the shower “wearing only his dance belt, did a relevé, wrapped a leg and arm around the young man and screamed, Oh what a night!” They never saw the traumatized cadet again.

Cheeky and upbeat, “Dames” was performed by Orbach, Reams and the male chorus. “What do you go for/Go see a show for?/Tell the truth/You go to see those beautiful dames…” It’s easy to imagine a stage full of long legged, satin-clad young women, Reams at ease among them.

Sets were on winches. “One day they stuck. I went out and told my audition story while they fixed it, then sang “I Only Have Eyes for You” (his audition song) – a capella because no one in the orchestra would admit to knowing it. Cook told Reams she was embarrassed for him. The next night she fell at her entrance. “I was waiting in the wings and very concerned,” he relates. “I would’ve done anything to keep you from singing that song again,” she quipped. Needless to say it’s tonight’s encore.

“42nd Street” sums up 8 ½ years of employment with valued memories and deep friendships. Some of the company’s original thespians are in the audience. “I was just so lucky” Reams says sincerely. The audience rises as one.

Opening: David Merrick & Lee Roy Reams; Gower Champion & Lee Roy Reams

Performance Photo- Maryann Lopinto


Lee Roy Reams – Behind the Scenes at 42nd Street
Music Director/Piano- Alex Rybeck
All songs from 42nd Street by Harry Warren & Al Dubin
54 Below 254 West 54th Street https://54below.org/