The casting of The Sound of Music became infinitely more challenging when Julie Andrews stepped into the role of Maria for the film. It’s interesting to ponder that Mary Martin was cast in the role in the original Broadway production after playing parts like Peter Pan and Annie Oakley. Those aren’t roles you would ever imagine Julie Andrews taking on.
Since the movie, what stage production will ever be able to live down the memory of Julie Andrews in one of the most beloved movies ever made? In the last revival, Rebecca Luker and Laura Benanti were consecutively cast as everyone’s favorite postulant, casting choices that followed the film’s lead (and both are tremendously talented women). But look at the choice—you could never imagine casting either Luker or Benanti as Peter Pan or Annie Oakley.
Casting a movie can be a very different exercise from casting a stage production. Often the integrity of the role is sacrificed for celebrity by casting someone who can’t sing too well, can’t sing the role the way it was written, or is too old for the part. Casting Julie Andrews as Maria was inspired, though it fits a film’s style more than it would probably fit a stage production (particularly in the way that The Sound of Music was reconceived for film). What the film captures in a close-up with Andrews may have been difficult for the stage to have successful communicated. I never saw Mary Martin on stage, but my understanding is that her performances were full of pluck, energy, and charm. I have a feeling her Maria didn’t abandon those traits (and the show was written to play to those strengths as well).
Yet, stage productions of The Sound of Music are always caught chasing after the beauty and charm of Julie Andrews, rather than going for someone with the plucky cow-town charms of a Mary Martin.
It’s interesting to compare this to the casting of Millie Dillmount in Thoroughly Modern Millie. The original Broadway Millie was going to be Erin Dilly, a very talented and versatile actress in the Julie Andrews vein (who played Millie in the original movie), but the show’s creators realized that they needed something different. It seems to me that their final choice—Sutton Foster—has more in common with Mary Martin than she would ever have with Julie Andrews. But then again, the needs of casting for the stage are something altogether different.
So, if I were to cast a stage production of The Sound of Music, I think it would be interesting to expand my horizons in casting Maria. A great role is open to many different interpretations, but I would love to see what a Sutton Foster type would do with the role . . . if I could only escape the movie.
the Broadway Mouth
May 3, 2008
Showing posts with label Mary Martin. Show all posts
Showing posts with label Mary Martin. Show all posts
Saturday, May 3, 2008
Monday, April 7, 2008
From the Mouth of Jerome Kern (via Mary Martin): Don’t Be a Dime a Dozen
Here’s another tidbit from Mary Martin’s autobiography My Heart Belongs:
Then we visit another mouth:
That was Ralph Waldo Emerson in his oft-assigned essay Self-Reliance, his anthem of individuality.
Success breeds imitation, but imitation rarely breeds success. There are those with vision, then there are those who feed off the vision of others. Yes, no vision is entirely independent—we are all shaped by that which we encounter because, as Richard Rodgers once said, nothing comes from nothing. However, there is a monumental difference between chasing the trends and being authentic to whom you are as an artist.
For example, look at Mamma Mia, a show which has been phenomenally popular. How many investors dolled out money for Good Vibrations, All Shook Up, and Ring of Fire thinking that it was a new trend, the jukebox musical? How many of those shows were being developed before Mamma Mia hit it big—not many, likely.
Hollywood is a good example of this. In My Heart Belongs, Mary Martin writes about how she was, at different times in Hollywood, fashioned to look like many of the big mega-stars of the day—Rosalind Russell, Claudette Colbert, Jean Arthur—a practice which was popular at the time.
Hollywood is no different today. After Gladiator, we got Troy, Alexander, and others I don’t remember (and which, in twenty years, no one else will either). After The Lord of the Rings, we got The Chronicles of Narnia, The Golden Compass, and a myriad of other similar movies. How many of them have been successful? The two based on classic novels that remained fully true to their original sources.
Even among Hollywood actresses today, the people who thrive are those who are unique. The dime-a-dozen generic blondes might get to be some muscle-bound action hero’s wife in a movie or two, then get relegated to bimbo parts on television, but it’s Julia Styles, Renee Zellweger, Amy Adams, Glenn Close, Christina Ricci, and Rachel Weisz who hit the big time.
This has been a part of my own personal journey. I am learning to embrace the fact that my writing is never going to be as witty as Michael Frayn or that my dialogue will never be as snappy as Tom Stoppard’s, but what my writing does have is much heart, much middle-America appeal, and brains. If I write plays and fiction that is true to myself, then I will do what no one else can do better—write like myself.
So, just as Mary Martin had to learn to stop trying to be other people in order to hit it big—and hit it big she did—we have to do the same. By her own account, her cheek bones were wrong, her neck was too long, and her nose was too rounded. She even says she lost her high soprano after touring in Annie Get Your Gun, but what she had was something different, something that couldn’t be hired in anyone else. She had Mary Martin.
the Broadway Mouth
April 7, 2008
Mr. Kern didn’t comment [on my audition] for a moment. Then he gave me some of the best advice I ever received—and I have had enough advice to fill this book and another besides. He said, "Miss Martin, why do you want to be a prima donna? They are a dime a dozen, and most of them have better voices than yours. Why don’t you find your own métier, your own style, and perfect it? Learn to be you.”
Then we visit another mouth:
There is a time in every man’s education when he arrives at the conviction that envy is ignorance; that imitation is suicide; that he must take himself for better, for worse, as his portion . . .
That was Ralph Waldo Emerson in his oft-assigned essay Self-Reliance, his anthem of individuality.
Success breeds imitation, but imitation rarely breeds success. There are those with vision, then there are those who feed off the vision of others. Yes, no vision is entirely independent—we are all shaped by that which we encounter because, as Richard Rodgers once said, nothing comes from nothing. However, there is a monumental difference between chasing the trends and being authentic to whom you are as an artist.
For example, look at Mamma Mia, a show which has been phenomenally popular. How many investors dolled out money for Good Vibrations, All Shook Up, and Ring of Fire thinking that it was a new trend, the jukebox musical? How many of those shows were being developed before Mamma Mia hit it big—not many, likely.
Hollywood is a good example of this. In My Heart Belongs, Mary Martin writes about how she was, at different times in Hollywood, fashioned to look like many of the big mega-stars of the day—Rosalind Russell, Claudette Colbert, Jean Arthur—a practice which was popular at the time.
Hollywood is no different today. After Gladiator, we got Troy, Alexander, and others I don’t remember (and which, in twenty years, no one else will either). After The Lord of the Rings, we got The Chronicles of Narnia, The Golden Compass, and a myriad of other similar movies. How many of them have been successful? The two based on classic novels that remained fully true to their original sources.
Even among Hollywood actresses today, the people who thrive are those who are unique. The dime-a-dozen generic blondes might get to be some muscle-bound action hero’s wife in a movie or two, then get relegated to bimbo parts on television, but it’s Julia Styles, Renee Zellweger, Amy Adams, Glenn Close, Christina Ricci, and Rachel Weisz who hit the big time.
This has been a part of my own personal journey. I am learning to embrace the fact that my writing is never going to be as witty as Michael Frayn or that my dialogue will never be as snappy as Tom Stoppard’s, but what my writing does have is much heart, much middle-America appeal, and brains. If I write plays and fiction that is true to myself, then I will do what no one else can do better—write like myself.
So, just as Mary Martin had to learn to stop trying to be other people in order to hit it big—and hit it big she did—we have to do the same. By her own account, her cheek bones were wrong, her neck was too long, and her nose was too rounded. She even says she lost her high soprano after touring in Annie Get Your Gun, but what she had was something different, something that couldn’t be hired in anyone else. She had Mary Martin.
the Broadway Mouth
April 7, 2008
Wednesday, April 2, 2008
From the Mouth of Mary Martin: On the Writing and Selecting of Roles
In her autobiography My Heart Belongs, Mary Martin writes:
Some examples:
Mama Rose: Ethel Merman, Angela Lansbury, Tyne Daly, Bernadette Peters, Patti LuPone (not to mention the many great regional Roses)
Dolly Levi: Carol Channing, Ethel Merman, Mary Martin, Pearl Bailey, Ginger Rogers, Martha Raye (and that’s the short list)
Charity Hope Valentine: Gwen Verdon, Shirley MacLaine, Debbie Allen, Donna McKechnie, Charlotte d’Amboise, Christina Applegate
Perhaps Martin’s statement rings true because the basis of any production of a show that is either new or used is interpretation. The interpretation is derived from the libretto, which means that a great role can survive many different interpretations, provided they are rooted in the text and supported by the playwright’s intentions. If someone is writing a show for a specific personality, that means that they could be using that actor’s natural charisma, acting style, or personality as a crutch, to cover any gaps in characterization.
As you can imagine, I’m always casting shows as I write them, organizing my dream cast as I go along; however, it’s equally delighting to think of the many different actors who could also play the part. I feel like I’ve done my job if I can imagine people with different appearances, voices, or personas taking on the roles.
the Broadway Mouth
April 2, 2008
A fine libretto, wonderful music, a role full of vitality can make milestones in the careers of entirely different personalities in the theater. Annie [Oakley] was one of those roles. It was one of Ethel Merman’s unforgettable ones; it gave Delores [Gray] her first big break; it afforded me many of my happiest hours onstage.
And that brings up one more thing I have learned: beware of any role which somebody says is "written especially for you." If the role isn’t written so well, so strongly, that any professional can play it, don’t get involved. That, too, is what theater is all about.
Some examples:
Mama Rose: Ethel Merman, Angela Lansbury, Tyne Daly, Bernadette Peters, Patti LuPone (not to mention the many great regional Roses)
Dolly Levi: Carol Channing, Ethel Merman, Mary Martin, Pearl Bailey, Ginger Rogers, Martha Raye (and that’s the short list)
Charity Hope Valentine: Gwen Verdon, Shirley MacLaine, Debbie Allen, Donna McKechnie, Charlotte d’Amboise, Christina Applegate
Perhaps Martin’s statement rings true because the basis of any production of a show that is either new or used is interpretation. The interpretation is derived from the libretto, which means that a great role can survive many different interpretations, provided they are rooted in the text and supported by the playwright’s intentions. If someone is writing a show for a specific personality, that means that they could be using that actor’s natural charisma, acting style, or personality as a crutch, to cover any gaps in characterization.
As you can imagine, I’m always casting shows as I write them, organizing my dream cast as I go along; however, it’s equally delighting to think of the many different actors who could also play the part. I feel like I’ve done my job if I can imagine people with different appearances, voices, or personas taking on the roles.
the Broadway Mouth
April 2, 2008
Tuesday, March 25, 2008
The Mary Martin Quiz: The Answers
(To first read the original multiple choice quiz questions, click here.)
1. Which of the following shows were NOT offered to Mary Martin to originate a role?
Mary Martin was NEVER offered a role in Guys and Dolls; however, she did turn down offers to do Oklahoma!; Kiss Me, Kate; My Fair Lady; and Mame.
She doesn’t address all of them in her book, but she opted to take on an out-of-town closer called Dancing in the Streets instead of Oklahoma!, for which Rodgers and Hammerstein were extremely grateful, realizing that turning Green Grow the Lilacs into a traditional star vehicle would have ruined the show and would have ruined what they did that ended up revolutionizing the Broadway musical. For months after their show opened, they sent Martin flowers in thanks for turning the role down.
She originally thought Cole Porter wanted her for Lois Lane in Kiss Me, Kate, but he wanted her for Lilli Vanessi. The problem for Martin was, however, that all of her touring with Annie Get Your Gun had taken a toll on her soprano. She literally couldn’t sing the part and knew it. Porter, she later learned, was devastated by her turning him down.
She doesn’t say much about My Fair Lady or Mame, though I’ve read in Richard Tyler Jordan’s But Darling, I’m Your Auntie Mame that the reason she gave for turning down Mame was the music. She signed a preliminary agreement to do the show with the exit clause being approval of the score. When Jerry Herman flew to Brazil to share his fabulous score, she reportedly claimed not to like it, which has been said was her way of backing out. She had spent so much time touring and living in dressing rooms that she simply wanted to enjoy life on her farm.
2. Of all her roles, which does Mary Martin proclaim to be her favorite?
Her strongest statement of such is related to Peter Pan. This is not surprising considering the effect that show had on children around the country. She details the fanatic response the show earned from kids in the audience, as well as how people responded to her after each of the three televised airings of the show. In one touching story, Martin and friends travel through the jungles of Brazil to an acquaintance’s house, barely making it before nightfall, when it would have been dangerous to drive through the jungle. Upon arrival, the house appears to be closed, but then one of the shutters opens, and it is an elderly, senile woman who recognizes Peter Pan, saying Wendy’s line, “Peter! You’ve come to my window.”
It doesn’t get much more magical than that.
3. Which of the following statements are true of I Do! I Do!, the two-person musical which she starred in with Robert Preston.
Figuring that people were coming to I Do! I Do! for Martin and Preston, it was agreed that it would be better to cancel shows rather than to send on an understudy, so none were used. The run began with matinee performances but, as it continued to run, those were scaled back to give the stars a rest in a strenuous show where one of them always had to be on stage while the other was furiously changing.
When the Broadway run was followed by a tour, the show began to wear on Preston and Martin, and it eventually had to end because of Martin’s health.
4. According to Mary Martin, what melody cut from South Pacific was she responsible for getting used in The King and I?
The melody of “Getting to Know You” was originally written as a soft-shoe piece for Martin, and when it was cut, Rodgers and Hammerstein promised it to her. Upon seeing the dress rehearsal of The King and I in New Haven, she recommended that it would be a great melody to use as a song to help develop Anna’s character. In all the talk of “character-specific” music used to criticize shows like Hairspray, it’s interesting to see how the masters responded to character-specific music—by handing one song to another character! Cross reference this with “Losing My Mind” from Follies, which jumped characters within the show.
5. According to Mary Martin, how did she and Richard Halliday save William Talbert’s job out of town as the original Lieutenant Cable?
According to Martin, Talbert was great in the role of Lieutenant Cable, but he simply wasn’t “sexy enough.” Martin and her husband Richard Halliday had become experts on home hair coloring and permanents after all of her different roles, so they took Talbert and shook up his look a bit, giving him soft blond curls that made him look “taller, handsomer, [and] a perfect foil for dark-skinned Liat.” To complete the transformation, director Josh Logan gave Talbert tight-fitting pants, and when he next appeared in New Haven, half the cast thought he was a replacement.
6. With which of the following men did Mary Martin not star?
Mary Martin never starred with Alfred Drake. She did star with John Raitt in a later two-stop tour of Annie Get Your Gun (and he was her Frank Butler on a television production as well).
She starred with Yul Brynner in Lute Song, and even claims to have discovered him (with husband Halliday) when they invited him over to see about using him in Lute Song.
Charles Boyer was with her in the mess Kind Sir. She had always wanted to perform with Boyer, so being able to do so helped her overcome the frustrating experience of being in the show. It was directed by Josh Logan, whom she had last worked with on South Pacific. The problem was, however, that Logan was “in the throes of a breakdown.” His mis-guided psychologist said it would be okay for him to take on the project, but the cast was warned not to challenge him on anything. There are several hilarious stories related to this, but in short, you can quickly imagine what comes of a show where everyone “Yes, sir”s the director who isn’t in a right frame of mind.
7. How did Mary Martin get most of her formal dance training?
As a teenager, Mary Martin often got compliments on her dancing, so when she needed a venue to exert herself after being married at sixteen, she opened a dance school. In the summers, she traveled to California to learn new steps to teach her growing student population.
8. To which controversial location did Mary Martin take Hello, Dolly!, going so far as to persuade the cast to do it.
She took the Hello, Dolly! to Vietnam, even though most of the cast originally voted against the idea. She told them that, while she too didn’t support the war, performing for the troops would be a show of support for the men. It was a tough time for her to be in a war zone, but once all is said and done, the cast agreed that it was an amazing experience.
9. During a busy Easter shopping season, Mary Martin stopped by Saks to buy a pair of gloves. It was so busy that there were no salespeople to help her. Who ended up playing salesperson for her, even going so far as to make up a sales slip and accept her payment?
This was Beatrice Lillie. She pops up throughout the book, and what a marvelous, zany woman she appears to have been. I had always known her as Mrs. Meers in the movie Thoroughly Modern Millie, but how I wish I could have seen her on stage.
10. Mary Martin and her husband Richard Halliday found peace and relaxation in what foreign country?
Martin and Halliday had a farm in Brazil for many years, which they loved dearly. Once her husband died, however, she says in the book (copyrighted in 1976) that she could never return to it.
the Broadway Mouth
March 25, 2008
1. Which of the following shows were NOT offered to Mary Martin to originate a role?
Mary Martin was NEVER offered a role in Guys and Dolls; however, she did turn down offers to do Oklahoma!; Kiss Me, Kate; My Fair Lady; and Mame.
She doesn’t address all of them in her book, but she opted to take on an out-of-town closer called Dancing in the Streets instead of Oklahoma!, for which Rodgers and Hammerstein were extremely grateful, realizing that turning Green Grow the Lilacs into a traditional star vehicle would have ruined the show and would have ruined what they did that ended up revolutionizing the Broadway musical. For months after their show opened, they sent Martin flowers in thanks for turning the role down.
She originally thought Cole Porter wanted her for Lois Lane in Kiss Me, Kate, but he wanted her for Lilli Vanessi. The problem for Martin was, however, that all of her touring with Annie Get Your Gun had taken a toll on her soprano. She literally couldn’t sing the part and knew it. Porter, she later learned, was devastated by her turning him down.
She doesn’t say much about My Fair Lady or Mame, though I’ve read in Richard Tyler Jordan’s But Darling, I’m Your Auntie Mame that the reason she gave for turning down Mame was the music. She signed a preliminary agreement to do the show with the exit clause being approval of the score. When Jerry Herman flew to Brazil to share his fabulous score, she reportedly claimed not to like it, which has been said was her way of backing out. She had spent so much time touring and living in dressing rooms that she simply wanted to enjoy life on her farm.
2. Of all her roles, which does Mary Martin proclaim to be her favorite?
Her strongest statement of such is related to Peter Pan. This is not surprising considering the effect that show had on children around the country. She details the fanatic response the show earned from kids in the audience, as well as how people responded to her after each of the three televised airings of the show. In one touching story, Martin and friends travel through the jungles of Brazil to an acquaintance’s house, barely making it before nightfall, when it would have been dangerous to drive through the jungle. Upon arrival, the house appears to be closed, but then one of the shutters opens, and it is an elderly, senile woman who recognizes Peter Pan, saying Wendy’s line, “Peter! You’ve come to my window.”
It doesn’t get much more magical than that.
3. Which of the following statements are true of I Do! I Do!, the two-person musical which she starred in with Robert Preston.
Figuring that people were coming to I Do! I Do! for Martin and Preston, it was agreed that it would be better to cancel shows rather than to send on an understudy, so none were used. The run began with matinee performances but, as it continued to run, those were scaled back to give the stars a rest in a strenuous show where one of them always had to be on stage while the other was furiously changing.
When the Broadway run was followed by a tour, the show began to wear on Preston and Martin, and it eventually had to end because of Martin’s health.
4. According to Mary Martin, what melody cut from South Pacific was she responsible for getting used in The King and I?
The melody of “Getting to Know You” was originally written as a soft-shoe piece for Martin, and when it was cut, Rodgers and Hammerstein promised it to her. Upon seeing the dress rehearsal of The King and I in New Haven, she recommended that it would be a great melody to use as a song to help develop Anna’s character. In all the talk of “character-specific” music used to criticize shows like Hairspray, it’s interesting to see how the masters responded to character-specific music—by handing one song to another character! Cross reference this with “Losing My Mind” from Follies, which jumped characters within the show.
5. According to Mary Martin, how did she and Richard Halliday save William Talbert’s job out of town as the original Lieutenant Cable?
According to Martin, Talbert was great in the role of Lieutenant Cable, but he simply wasn’t “sexy enough.” Martin and her husband Richard Halliday had become experts on home hair coloring and permanents after all of her different roles, so they took Talbert and shook up his look a bit, giving him soft blond curls that made him look “taller, handsomer, [and] a perfect foil for dark-skinned Liat.” To complete the transformation, director Josh Logan gave Talbert tight-fitting pants, and when he next appeared in New Haven, half the cast thought he was a replacement.
6. With which of the following men did Mary Martin not star?
Mary Martin never starred with Alfred Drake. She did star with John Raitt in a later two-stop tour of Annie Get Your Gun (and he was her Frank Butler on a television production as well).
She starred with Yul Brynner in Lute Song, and even claims to have discovered him (with husband Halliday) when they invited him over to see about using him in Lute Song.
Charles Boyer was with her in the mess Kind Sir. She had always wanted to perform with Boyer, so being able to do so helped her overcome the frustrating experience of being in the show. It was directed by Josh Logan, whom she had last worked with on South Pacific. The problem was, however, that Logan was “in the throes of a breakdown.” His mis-guided psychologist said it would be okay for him to take on the project, but the cast was warned not to challenge him on anything. There are several hilarious stories related to this, but in short, you can quickly imagine what comes of a show where everyone “Yes, sir”s the director who isn’t in a right frame of mind.
7. How did Mary Martin get most of her formal dance training?
As a teenager, Mary Martin often got compliments on her dancing, so when she needed a venue to exert herself after being married at sixteen, she opened a dance school. In the summers, she traveled to California to learn new steps to teach her growing student population.
8. To which controversial location did Mary Martin take Hello, Dolly!, going so far as to persuade the cast to do it.
She took the Hello, Dolly! to Vietnam, even though most of the cast originally voted against the idea. She told them that, while she too didn’t support the war, performing for the troops would be a show of support for the men. It was a tough time for her to be in a war zone, but once all is said and done, the cast agreed that it was an amazing experience.
9. During a busy Easter shopping season, Mary Martin stopped by Saks to buy a pair of gloves. It was so busy that there were no salespeople to help her. Who ended up playing salesperson for her, even going so far as to make up a sales slip and accept her payment?
This was Beatrice Lillie. She pops up throughout the book, and what a marvelous, zany woman she appears to have been. I had always known her as Mrs. Meers in the movie Thoroughly Modern Millie, but how I wish I could have seen her on stage.
10. Mary Martin and her husband Richard Halliday found peace and relaxation in what foreign country?
Martin and Halliday had a farm in Brazil for many years, which they loved dearly. Once her husband died, however, she says in the book (copyrighted in 1976) that she could never return to it.
the Broadway Mouth
March 25, 2008
Monday, March 24, 2008
The Mary Martin Quiz
I just finished reading Mary Martin’s autobiography My Heart Belongs, which I picked up for a mere twenty-seven cents at a thrift store. Mary Martin is one of the greats of Broadway—having appeared in eleven shows on Broadway (including originating iconic roles in South Pacific, Peter Pan, and The Sound of Music) as well as headlining shows in London and American national tours.
It’s hard to fully appreciate the appeal of Mary Martin now since, being a stage star, most of her best work is no longer accessible, but there’s no questioning her star appeal, particularly considering the famous roles she was offered but turned down and the ecstatic response she often received after performances, humbly detailed in My Heart Belongs. The fact that she appeared in eleven shows on Broadway alone speaks volumes of her talent.
So . . . how well do you know Mary Martin as told in her autobiography? Take the quiz to find out. Answers will be posted tomorrow along with some engaging discussion.
1. Which of the following shows were NOT offered to Mary Martin to originate a role?
A) Oklahoma! B) Kiss Me, Kate
C) Guys and Dolls D) My Fair Lady
2. Of all her roles, which does Mary Martin proclaim to be her favorite?
A) Venus (from One Touch of Venus) B) Nellie Forbush
C) Peter Pan D) Dolly Levi
3. Which of the following statements are true of I Do! I Do!, the two-person musical which she starred in with Robert Preston.
A) She chose it over originating Dolly Levi.
B) Her husband Richard Halliday wrote the book.
C) Her husband Richard Halliday directed the show with Gower Champion.
D) There were no understudies or standbys hired.
4. According to Mary Martin, what melody cut from South Pacific was she responsible for getting used in The King and I?
A) “I Whistle a Happy Tune”
B) “Hello, Young Lovers”
C) “Getting to Know You”
D) “Shall We Dance”
5. According to Mary Martin, how did she and Richard Halliday save William Talbert’s job out of town as the original Lieutenant Cable?
A) They changed his hair color and style.
B) They helped boost his confidence.
C) They taught him how to relax.
D) They had the keys of his song lowered.
6. With which of the following men did Mary Martin not star?
A) John Raitt
B) Yul Brynner
C) Charles Boyer
D) Alfred Drake
7. How did Mary Martin get most of her formal dance training?
A) She took classes taught by Gene Kelly.
B) She opened a dance school and took the classes in the summer to teach her students.
C) She never actually had any formal dance training.
D) She was trained by her first husband Ben Hagman, who was a well-trained hoofer.
8. To which controversial location did Mary Martin take Hello, Dolly!, going so far as to persuade the cast to do it.
A) Birmingham, Alabama
B) Russia
C) Vietnam
D) China
9. During a busy Easter shopping season, Mary Martin stopped by Saks to buy a pair of gloves. It was so busy that there were no salespeople to help her. Who ended up playing salesperson for her, even going so far as to make up a sales slip and accept her payment?
A) Carol Burnett
B) Ethel Merman
C) Fanny Brice
D) Beatrice Lillie
10. Mary Martin and her husband Richard Halliday found peace and relaxation in what foreign country?
A) Brazil
B) Peru
C) Honduras
D) Colombia
And, in case you aren’t familiar with Mary Martin’s work, an overview:
the Broadway Mouth
March 24, 2008
It’s hard to fully appreciate the appeal of Mary Martin now since, being a stage star, most of her best work is no longer accessible, but there’s no questioning her star appeal, particularly considering the famous roles she was offered but turned down and the ecstatic response she often received after performances, humbly detailed in My Heart Belongs. The fact that she appeared in eleven shows on Broadway alone speaks volumes of her talent.
So . . . how well do you know Mary Martin as told in her autobiography? Take the quiz to find out. Answers will be posted tomorrow along with some engaging discussion.
1. Which of the following shows were NOT offered to Mary Martin to originate a role?
A) Oklahoma! B) Kiss Me, Kate
C) Guys and Dolls D) My Fair Lady
2. Of all her roles, which does Mary Martin proclaim to be her favorite?
A) Venus (from One Touch of Venus) B) Nellie Forbush
C) Peter Pan D) Dolly Levi
3. Which of the following statements are true of I Do! I Do!, the two-person musical which she starred in with Robert Preston.
A) She chose it over originating Dolly Levi.
B) Her husband Richard Halliday wrote the book.
C) Her husband Richard Halliday directed the show with Gower Champion.
D) There were no understudies or standbys hired.
4. According to Mary Martin, what melody cut from South Pacific was she responsible for getting used in The King and I?
A) “I Whistle a Happy Tune”
B) “Hello, Young Lovers”
C) “Getting to Know You”
D) “Shall We Dance”
5. According to Mary Martin, how did she and Richard Halliday save William Talbert’s job out of town as the original Lieutenant Cable?
A) They changed his hair color and style.
B) They helped boost his confidence.
C) They taught him how to relax.
D) They had the keys of his song lowered.
6. With which of the following men did Mary Martin not star?
A) John Raitt
B) Yul Brynner
C) Charles Boyer
D) Alfred Drake
7. How did Mary Martin get most of her formal dance training?
A) She took classes taught by Gene Kelly.
B) She opened a dance school and took the classes in the summer to teach her students.
C) She never actually had any formal dance training.
D) She was trained by her first husband Ben Hagman, who was a well-trained hoofer.
8. To which controversial location did Mary Martin take Hello, Dolly!, going so far as to persuade the cast to do it.
A) Birmingham, Alabama
B) Russia
C) Vietnam
D) China
9. During a busy Easter shopping season, Mary Martin stopped by Saks to buy a pair of gloves. It was so busy that there were no salespeople to help her. Who ended up playing salesperson for her, even going so far as to make up a sales slip and accept her payment?
A) Carol Burnett
B) Ethel Merman
C) Fanny Brice
D) Beatrice Lillie
10. Mary Martin and her husband Richard Halliday found peace and relaxation in what foreign country?
A) Brazil
B) Peru
C) Honduras
D) Colombia
And, in case you aren’t familiar with Mary Martin’s work, an overview:
the Broadway Mouth
March 24, 2008
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