By Alix Cohen
An amuse bouche of Irving Berlin’s “There’s No Business Like Show Business” is punctuated by observations from Sophie Tucker, Carol Channing and, in the audience, Marilyn Maye. “Tonight we’re going to talk about legends,” Richard Skipper tells the SRO house.
Among legends, the artist counts Florence Epps who ran a theater behind her house when he was growing up. She gave the boy confidence, elocution lessons (to exorcise a South Carolina accent), a reading list, and an apple. It seems the Barrymores gifted one another with baskets of apples on opening nights. If a show flopped, the recipient would at least have something to eat. Meredith Wilson’s “I Ain’t Down Yet” from The Unsinkable Molly Brown– plates determination with a side of gratitude.
If Broadway had a perpetual opening-night party, Richard Skipper would be at the center of the room, champagne in one hand microphone in the other. He’s the guy who knows everyone, remembers everything, and can connect Ethel Merman to André De Shields or an opening on Broadway to last night’s cabaret at Don’t Tell Mama—all before you’ve finished your drink.
A celebrated Carol Channing, indefatigable cabaret impresario, exuberant interviewer of everyone who matters—and plenty who should, the collector of lore has spent decades celebrating show biz icons, ghosts, and gossip, working the room with the gusto of a golden-age press agent. Long before “content creators” were a thing, Richard was fostering community, reminding a business chasing the next opening that its greatest currency has always been unforgettable people.
On screen, costumer Edith Head (played by Susan Chasson), actors Alison Arngrim (Little House on the Prairie), Liz Callaway and Linda Purl share affecting encounters with stars.
Skipper “introduces” his Wheel of Legends. Every colorful segment festures a celebrity and song. Round and round it goes, stopping at- Judy Garland. As a child, Skipper knew Garland only from The Wizard of Oz. Histrionic response to hearing of ‘Dorothy’s’ death is cinematic. Even in short pants, apple-cheeked Richard was a theatrical force with which to be reckoned.
“You Made Me Love You – I Didn’t Want to Do It” (James V. Monaco/Joseph McCarthy- additional lyrics Roger Edens) is suffused with wonderstruck devotion.The next spin lands on Jerry Herman, whose birthday is today (July 10.) “No matter what was going on in the world, he had a song of optimism.”
Julie Wilson serendipitously follows. Impresario David Merrick offered her the role of Dolly Levi in 1965’s Australian production of Hello, Dolly! The artist’s then husband threatened she’d never see her kids again if she accepted. (They divorced 4 years later.) Who else would tell us this? Skipper conjures Wilson on the subway going home from a glamorous gig, gown and gardenia in a shopping bag.
“So hold the front page/This boy was born to strut the stage” he effusively sings. (“When I Get My Name in Lights” – Peter Allen from Legs Diamond, in which Wilson played speakeasy canary, Flo) It’s a long way from a tobacco farm in South Carolina to The Laurie Beechman Theatre. Skipper took every bow he earned—and every chance to earn one.
Guest Barbara Minkus began to distinguish herself by singing Judy Garland arrangements. Discovered at 24 in Julius Monk’s Bits and Pieces, she was hired for 8 episodes of The Danny Kaye Show, but let go after a single appearance because the star sensed “bad vibes.” We watch a clip of “Get Happy” (Harold Arlen/Ted Koehler) from the show. Minkus was an intoxicating gamine.
Skipper and Minkus’s duet of Lionel Bart’s “Who Will Buy? (from Oliver) is brimming with mutual respect and affection. The performers key off one another, soaring with high beam vocals. Minkus’s version of “My Man” (Maurice Yvain/Channing Pollock) arrives understated; wounded, resigned, credible. Her own show Eighteen Minutes of Fame is coming to the Beechman this autumn.
More on- screen luminaries contribute as do several performers in the audience. (Skipper graciously promotes their upcoming shows.) One story involves Ethel Merman sharing Christmas Eve dinner with actress Georgia Engel
and her parents. “No one ever invites me,” she apparently said when accepting.
“Taking the Veil” showcases sage advice, wry warning and, at last, the character’s’ inevitable commitment: “They all want a photo/A handshake, a kiss/And what do you get?/Their flu!” Merman sings in Merman’s Apprentice by David Evans/Stephen Cole.
We can almost see Skipper’s chest expand. To such an evangelist, the lyric is gospel. ‘Apprentice made it as far as Birdland with a wonderful Klea Blackhurst as Merman.
“What’s it like working with a legend?” Skipper asks MD/Pianist, Dan Pardo. “It’s been great so far,” comes the quipped response. A counterpoint duet of “Baby Dream Your Dream” (Cy Coleman/Dorothy Fields from Sweet Charity) and “Nowadays” (John Kander/Fred Ebb from Chicago) is nifty. The two have an infectiously good time.
“I always end my show with the same message: Go out and do something nice for someone without expecting in return…Let me take you back to where it all began…”
Carol Channing performed Charles Gaynor’s “Showgirl” in a 1961 review. Skipper morphs from channeling her to a last verse with the diva’s expression, sass, even the lithsp. A fitting goodnight.
Applause may fade, but a great anecdote, a great song, and a great personality are forever. Richard Skipper reaches out both literally and emotionally drawing us in. He’s less a host/performer than a human standing ovation for the business we call show.
Photos by Jeff Harnar
Life Lessons from Legends will be repeated November 21, 2016
Richard Skipper Celebrates! Life Lessons from Legends
MD/Piano/Vocals- Dan Pardo
Director- James Beaman
The Laurie Beechman Theatre 407 West 42nd Street
https://www.wbcnyc.com/
