Pub Date : 2019-04-25DOI: 10.1093/OSO/9780190639044.003.0002
H. V. Leuven
Ray Bolger was descended from Irish Catholic Republicans. Chapter 1 explores his origins in Boston, including details of his nuclear family. Also discussed is Bolger’s pre-entertainment career of being an office clerk for New England Mutual Life insurance. He learned to dance informally on the streets of Boston in a style called “eccentric dance,” a tradition of stylized physical comedy that exploded in America in the late nineteenth and early twentieth centuries. Its origins could be traced all the way back to pantomime performed in Ancient Greece. Even so, Bolger most definitely “came up the hard way”—attaining success and notoriety only by overcoming difficult circumstances. The events that led to his beginnings as a dancer are explored, as well as his first professional opportunities as a comic and a dancer in repertory theater and vaudeville.
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Pub Date : 2019-04-25DOI: 10.1093/OSO/9780190639044.003.0006
H. V. Leuven
This chapter chronicles Bolger’s assignments as an employee of MGM. Of primary note is The Great Ziegfeld, the acclaimed Oscar-winning picture that earned Bolger a longer contract. Bolger’s next Broadway collaboration with Rodgers and Hart, On Your Toes, is explored. This was the first Broadway show to incorporate ballet and included “Slaughter on Tenth Avenue” choreographed by George Balanchine and introduced by Bolger. Bolger then returns to MGM to film the Nelson Eddy/Eleanor Powell movie Rosalie, and the Nelson Eddy/Jeanette MacDonald pictures Sweethearts and The Girl of the Golden West. Bolger’s assignment to, and the production of, The Wizard of Oz, figure prominently into the second half of the chapter.
本章记录了博尔格作为米高梅雇员的任务。最值得注意的是《伟大的齐格菲尔德》，这部广受好评的奥斯卡获奖影片为博尔格赢得了一份更长的合同。博尔格的下一个百老汇合作与罗杰斯和哈特，在你的脚趾，探索。这是百老汇首次加入芭蕾舞，其中包括乔治·巴兰钦(George Balanchine)编舞和博尔格(Bolger)介绍的“第十大道屠杀”(Slaughter on 10th Avenue)。随后，博尔格回到米高梅，拍摄纳尔逊·艾迪/埃莉诺·鲍威尔的电影《罗莎莉》，纳尔逊·艾迪/珍妮特·麦克唐纳的电影《甜心》和《黄金西部女孩》。博尔格在《绿野仙踪》中的任务和制作，在本章的后半部分占据了突出的位置。
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Pub Date : 2019-04-25DOI: 10.1093/OSO/9780190639044.003.0008
H. V. Leuven
Chapter 7 retraces Bolger’s four-month stint in the South Pacific with pianist Little Jack Little. The two were the first entertainers to interact with Americans in the South Pacific. The USO sent just Bolger and Little to the South Pacific because many of the territories they would tour were still considered unfit for women, even for female nurses; Japanese militants were still on some of the islands. The logistics of battle in these islands and the impacts on Bolger and Little, as well as their audiences, are discussed. Simultaneously, the author traces Gwen Bolger’s attempts to secure Bolger a contract for a film with Rita Hayworth while Bolger was abroad. British director Victor Saville wanted Bolger for a supporting role in his forthcoming adaptation of the play Heart of the City. The film would be a Technicolor musical, telling the story of a London variety theater that refused to close for even a single performance during the Blitz.
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Pub Date : 2019-04-25DOI: 10.1093/OSO/9780190639044.003.0009
Holly Van Leuven
Chapter 8 chronicles the inception and creation of Where’s Charley?, Bolger’s most important Broadway show. The estate that held rights to the show agreed to let Feuer and Martin produce it if three conditions were met: Bolger needed to be the star, the show had to play in a first-class Broadway theater, and Feuer’s edits to the original Samuel French edition of the play had to be the basis of the finished musical. The chapter includes accounts of director George Abbott, composer and lyricist Frank Loesser, choreographer George Balanchine, and new producers Cy Feuer and Ernest Martin, who received assistance from Bolger’s wife, Gwen Rickard. In particular, Bolger’s “Once in Love with Amy” number is discussed for its importance and for the role it played in securing him a Tony Award for his performance as Charley Wykeham.
第八章记述了《查理在哪儿?》这是博尔格最重要的百老汇演出。拥有该剧版权的遗产管理公司同意，如果满足三个条件，就允许费尔尔和马丁制作这部剧:博尔格必须是主演，这部剧必须在一流的百老汇剧院上演，费尔尔对塞缪尔·弗伦奇原版戏剧的编辑必须是最终音乐剧的基础。这一章包括导演乔治·阿伯特、作曲家兼作词人弗兰克·洛瑟、编舞家乔治·巴兰钦、新制片人塞·费尔和欧内斯特·马丁的叙述，他们得到了博尔格的妻子格温·里卡德的帮助。特别是，Bolger的“Once In Love with Amy”这首歌的重要性，以及它在为他获得托尼奖(charlie Wykeham)的表演中所起的作用。
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Pub Date : 2019-04-25DOI: 10.1093/OSO/9780190639044.003.0010
H. V. Leuven
Chapter 9 explores the creation of the Warner Brothers film Where’s Charley? based on the Broadway show. Bolger and the cast traveled to the campus of Oxford University; Where’s Charley? was the first movie filmed on the campus. Interior scenes were shot at Elstree Studios in Borehamwood, but St. John’s College at Oxford was used for exteriors. Bolger’s first television appearances and his lucrative contract opening the Sahara Resort in Las Vegas are discussed. There is also an extended description of the creation of Bolger’s sitcom, Where’s Raymond? later renamed The Ray Bolger Show, one of the first sitcoms on network television, which was filmed at Desilu Studios.
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Pub Date : 2019-04-25DOI: 10.1093/OSO/9780190639044.003.0003
H. V. Leuven
Chapter 2 chronicles Bolger’s entrance into New York show business. The 1920s were a transitional decade for American entertainers and entertainment, as film grew in popularity and as show business became increasingly complicated to navigate. The business structure of vaudeville in the 1920s and the demands it placed upon performers are discussed in depth. This chapter details Bolger’s work for vaudeville impresario Gus Edwards and Bolger’s debut, as part of Edwards’s act, at the Palace Theatre—the pinnacle of vaudeville theaters. Bolger’s early film work for Red Seal Pictures, his work in the “movie palaces” conceived by Roxy Rothafel, and his Broadway debut are discussed. This chapter also includes information on Bolger’s courtship of his would-be wife, Gwendolyn Rickard.
第二章记载了博尔格进入纽约演艺圈的经历。20世纪20年代是美国艺人和娱乐界的过渡十年，因为电影越来越受欢迎，娱乐业变得越来越复杂。深入探讨了20世纪20年代杂耍的商业结构及其对表演者的要求。本章详细介绍了博尔格的工作，为歌舞杂耍经理格斯·爱德华兹和博尔格的首次亮相，作为爱德华兹的行为的一部分，在宫殿剧院-歌舞杂耍剧院的顶峰。讨论了Bolger早期为Red Seal Pictures工作的电影作品，他在Roxy Rothafel构想的“电影宫殿”中的作品，以及他的百老汇首演。这一章还包括了博尔格向他未来的妻子格温多林·里卡德求爱的信息。
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Pub Date : 2019-04-25DOI: 10.1093/OSO/9780190639044.003.0004
H. V. Leuven
Chapter 3 begins with Bolger’s first work abroad, as he appeared in London while honeymooning with his wife, Gwen Rickar Bolger, the summer before the stock market crash of 1929. The Brits enjoyed American entertainers. Bolger’s act was new to them, but his style resonated with the British, who were no strangers to pantomime or dry humor. Bolger’s eccentric steps and faux British accent were well received at the Kit Kat Club. The chapter then chronicles Bolger’s first major Broadway book musical, Rodgers and Hart’s Me for You, which became Heads Up!, and his first critically acclaimed Broadway show, George White’s Scandals of 1931.
第三章从博尔格在国外的第一部作品开始，1929年股市崩盘前的那个夏天，他和妻子格温·里克·博尔格(Gwen Rickar Bolger)在伦敦度蜜月。英国人喜欢美国艺人。博尔格的表演对他们来说是新鲜的，但他的风格与英国人产生了共鸣，他们对哑剧和冷幽默并不陌生。博尔格古怪的舞步和做作的英国口音在奇巧俱乐部(Kit Kat Club)很受欢迎。这一章记录了博尔格的第一部百老汇音乐剧《罗杰斯和哈特的我为你》，后来成为《Heads Up!》他的第一部广受好评的百老汇剧目是1931年乔治·怀特的《丑闻》。
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Pub Date : 2019-02-21DOI: 10.1093/oso/9780190639044.003.0007
Holly Van Leuven
This chapter details Bolger’s return to New York after exiting his MGM contract at the conclusion of filming The Wizard of Oz. His Broadway show Keep Off the Grass with Jimmy Durante, a revue, is discussed as is his last collaboration with Rodgers and Hart: the long-running Broadway hit By Jupiter. This chapter also remarks on the outbreak of World War II and United States involvement in it. The chapter concludes with Bolger quitting By Jupiter to join the United Service Organization’s (USO) Camp Show tour. Ray had promised his agent he would go overseas again with the USO after a year’s work on By Jupiter. He informed Rodgers privately of the decision, but he could not publicly share his true reason for leaving the show due to the USO’s efforts to keep the camp show trip under wraps for security.
这一章详细介绍了博尔格在拍摄完《绿野仙踪》后退出米高梅公司的合同后回到纽约的情况。他与吉米·杜兰特合作的百老汇戏剧《远离草地》(Keep Off the Grass)，以及他与罗杰斯和哈特的最后一次合作:长期上演的百老汇热门剧目《木星》(By Jupiter)。本章还讨论了第二次世界大战的爆发和美国的参与。这一章的结尾，Bolger离开了木星，加入了美国联合服务组织(USO)的营地表演巡演。雷曾向他的经纪人承诺，在完成《木星》一年后，他将再次随USO出国。他私下告诉罗杰斯这个决定，但他不能公开分享他离开演出的真正原因，因为USO努力将这次露营表演之旅保密。
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Pub Date : 2019-02-21DOI: 10.1093/oso/9780190639044.003.0005
Holly Van Leuven
Chapter 4 focuses on the societal and cultural impetus for the creation of Radio City Music Hall, which would resurrect vaudeville by hosting two eight-act shows daily; it was part of Rockefeller Center, a fifteen-building campus enshrining media, big business, and modern architecture in the heart of Manhattan. Bolger served as the master of ceremonies for Radio City Music Hall’s opening performances. The chapter also examines Bolger’s brief stint in Earl Carroll’s Vanities as well as his career development thanks to his agent, Abe Lastfogel, of the William Morris Agency. Included is information on Bolger’s Broadway show Life Begins at 8:40 and the importance of his signing his first film contract for a major studio, Metro-Goldwyn-Mayer (MGM).
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Pub Date : 2019-02-21DOI: 10.1093/oso/9780190639044.003.0011
Holly Van Leuven
Chapter 10 describes the sunset of Bolger’s career. Particular focus is given to the creation of All American, Mel Brooks’s first musical, starring Bolger. The show hearkened back to the era that shaped Bolger’s core values. But, like so much of the art reflecting the culture of the 1960s, All American was actually out to lampoon these values. This story offers insight into the culture wars of the 1960s and Bolger’s changing attitude toward stardom. His increasing interest in political activities is explored. The Republican Party encouraged his participation in their activities. He performed for President Dwight Eisenhower and Richard Nixon at the 1957 inauguration. He would go on to work on three presidential campaigns for Nixon. Bolger’s final Broadway show, Agnes de Mille’s Come Summer, also features prominently in this chapter.
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