Photographic print: Mona Crawford, headshot, New York, NY, c. 1950s/1960s. Courtesy Mona Crawford. Image is subject to copyright laws. Please do not appropriate.
The 1943 Miss Delaware, who received her pageant title at age 14 after entering the competition on a dare, would go to dance and sing in many nightclubs around the country, appear on television, as well as The Great White Way.
Mona Crawford, a native of Wilmington, Delaware, remembers an inspiration to perform at the early age of 7. Later, as a working model in New York City, Mona was first approached by choreographer Boots McKenna outside the Brill Building while waiting for a lunch date. McKenna was looking for dancers for a production at The Clover Club on Biscayane Boulevard in Miami, Florida.
Jack Goldman was owner. The Clover Club was one of the top supper clubs in the US and also one of the first major nightclubs to employ and showcase Black performers, including Cab Calloway. Stars such as Patti Page and Johnny Ray also performed. Goldman who became a famous impresario, brought the act The Vagabonds to the club. They became a major attraction and enjoyed a long stint.
Paper cover photo souvenir: The Clover Club, Miami, Florida, c. 1940s. Courtesy John Hemmer Archive.
Before a modeling and dance career took off, at age 14, Mona entered the Miss Delaware contest on a dare and won the title. Reportedly, “While the Miss America people were not happy with their underage contestant, they allowed her to compete—with the understanding she wouldn’t be able to win anything.”
After arriving in New York City, Mona studied dance with June Taylor and acting with Stella Adler. Mona recalls June Taylor always wearing fanciful hats. She would rarely dance but gave instruction from her chair. “We rehearsed for June Taylor in a nightclub – I’m not sure where or which one – but she loved hats. She was always wearing a different hat. Jackie Gleason would come and watch. The June Taylor Dancers performed on his show. June Taylor was Jackie’s sister-in-law. He was married to Marilyn Taylor Gleason. “
As a dancer, her career would take Mona to Boston, New York and Palm Island, Miami Beach, Florida. “My sister Beverly Crawford was a showgirl, and I was a dancer. We performed in one production together at the Boston Latin Quarter nightclub location. I went on to perform at the Latin Quarter in New York City [in the production Folies Parisiennes] and Miami. Beverly went to New York also but got into modeling. She invented the practice of modeling for lunchtime cafe goers. Mainly women who would lunch together at upscale restaurants in Manhattan. The models would walk around the tables, displaying the latest fashions while patrons ate their lunch.” One place was the well known The Sign of the Dove, a fine dining restaurant on the Upper East Side along 3rd Avenue. Later Beverly moved to Israel where she brought cafe modeling to the famous King David Hotel in Jerusalem, Israel, which has hosted many royalty and other public figures over the decades.
Paper program: Mona Crawford and other performers featured, Beaumont Petroleum Club, c. 1960s, Beaumont, Texas. Courtesy Mona Crawford. Image subject to copyright laws. Please do not appropriate.
“I performed at many nightclubs. Iceland and La Martinique in New York City come to mind, and others across the country. Grossingers in the Catskills, Golden Door in Rochester, New York, Petroleum Club, Beaumont, Texas, Balinese Room in Galveston, Texas, Le Bistro in Atlantic City, New Jersey. There was also Fontainebleau and El Patio in Miami Beach, Florida, and Chez Paree in Montreal, Canada. Others along with way.”
Photographic print: Publicity portrait, Mona Crawford, New York, NY, c. 1950s/1950s. Courtesy Mona Crawford. Image subject to copyright laws. Please do not appropriate.
Iceland was popular in the 1940s. It was located at 1680 Broadway, between 52nd and 53rd Street. The restaurant-theatre staged regular entertainment and its menu offered Scandinavian dishes by way of “Our Famous Smorgasbord Dinner” priced at $1.49 in 1946.
Postcard: Exterior Golden Key Club, New York, NY, 1940s. Courtesy John Hemmer Archive.
La Martinique was a small club that was part of Hotel Martinique which that operated from the 1940s through the early 1950s before the restaurant was replaced by another establishment. It was located in the basement of 57 West 57th Street. The nightclub was owned by Dario Goldfarb and Jim Vernon. There were stand-up comics, a lead, and a chorus line. The club brought in many famous names to perform including Danny Kaye and Zero Mostel.
Mona remembers, “There was a place called Gold Key Club. It wasn’t a nightclub. It was in a 3 or 4 story townhouse at 26 West 56 Street. You had to have a gold key to get in. One night Judy Garland and Frank Sinatra were there. I used to visit a friend at the Gold Key Club. He was a gangster. His name was Tony Bender {birth name, Anthony C. Strollo [1899 – disappeared 1962]. I’d sit and have coffee with him. His wife was Jewish and so am I, so he was kind of protective of me. Tony once he told me he was going to turn state evidence to protect his children, but he disappeared before that happened. I guess someone found him out.
When I danced at The Quarter, Lou Walters wanted me to go to join one of his productions in Vegas, but I would have had to be topless, and I decided that wasn’t for me.”
As a dancer, singer and actress, Mona toured with comedian’s Ben Blue and Sid (Syd) Slate.
Singer, Musician, Actor, Ben Blue (1901-1975) began his career in vaudeville. By the 1940s he was making his way into Hollywood films in different comedic roles. Blue grew to be a top attraction at nightclubs around the country. Known as the “sad-faced comedian”, Blue was a pantomime in the early years of his career. Later he performed on many television shows.
“I did a lot of skits – singing – that sort of thing. Ben let everyone think we were having an affair! I didn’t care. I knew he loved his wife and he never touched me.” Sid [sometimes credited as Syd] was a Broadway, film and television performer from the 1930s through the 1960s.
Mona’s television work includes appearances on the variety and talk shows of the 1940s and ‘50s such as The Celeste Holmes Show, The Milton Berle Show, and The Jimmy Durante Show.
Photographic print: Vikki LaMotta, Jimmy Durante, Mona Crawford, backstage, Fontainebleau, Miami Beach, Florida, c. 1950s. Courtesy Mona Crawford. Image subject to copyright laws. Please do not appropriate.
“The choreographer, Doug Coudy, from the Copa also choreographed some of these shows. I can’t recall which, it could have been The Jimmy Durante Show too. Doug was a Broadway dancer and choreographer.”
Behind the camera, Mona acted as Associate Producer on the Emmy award-winning Ladies of the Press Eleanor Roosevelt episode. “Rhoda Diamond and I were producers on the show which was aired on Channel 13. It was an interview conducted by Faye Emmerson who won the Emmy for this interview with Eleanor Roosevelt. It was something”, Mona recounts.
When asked about her fondest memory of her career in entertainment, Mona says, “Being on stage in New York City with Robert Preston. He was the lead in Ben Franklin in Paris, a Broadway show that wasn’t around for long, but a great cast. I was thrilled to be part of it. Robert Preston was a gentleman and very nice person and so was his wife.” The show opened at the Lunt-Fontanne Theatre and was directed and choreographed by Michael Kidd.
“Throughout my career I met some wonderful people. I have been fortunate.”
Today Mona enjoys her life in Florida. This story is based on a phone interview between the John Hemmer Archive and Mona Crawford in late 2023 and early 2024.
Photograph: Portrait, Teak Lewis, Circa 1950s. Courtesy Teak Lewis. Image subject to copyright laws. Please do not appropriate.
I met Larry in 1999, the year that I retired. I knew who he was all along since he was the guy who always got the jobs that I wanted. He was tall, he had a good singing voice, and he was a hell of a dancer. More you couldn’t ask for.
After twenty-five years or so I had retired. I had time on my hands and started looking for a group called Dancers Over 40. I found them and went to their very next meeting. It was the first meeting of the year for Dancer’s Over 40 and there we were sitting in a circle. Chris Nelson, the president of the organization had asked the question, why were we there. The answer was always almost the same and that was that we were looking for family, people that we had worked with, people that had been part of our lives.
Across from me was a very attractive gentleman, totally gray hair, tall and with a slight limp. He was introduced to me as Lawrence Merritt. He later explained that he was now working as an actor and he felt that “Lawrence” gave a little more dignity to the name, but that I could call him “Larry.”
Scrapbook page: Collage of actors Lawrence Merritt and Melissa Brown, Little Foxes production, Albany Civic Theatre, Albany, NY, 1997-1998. Courtesy the Lawrence Merritt Estate. Image subject to copyright laws. Please do not appropriate.
Larry’s answer [during the DO40 meet up] had been almost the same as mine, so when the meeting was over he came to me and we started talking. Talking about our careers and we found that there were lots of similarities. We agreed to meet again and perhaps take in a movie and a bite to eat. That weekend we took in a James Bond movie and went across the street for a meal. It turned out that we both had gone into the food business after we stopped dancing. We both criticized the movie and when we were tired of that, we criticized the food. It was such fun, and in talking more, I found out we had both worked in Europe. We both knew the same contact in Paris, and both knew the same joints there. We had such a great time that we agreed to meet again and that was the start of a wonderful and long friendship.
Photograph: Portrait, Lawrence Merritt circa 1950s. Courtesy the Lawrence Merritt Estate. Image subject to copyright laws. Please do not appropriate.
The occasion came that Larry knew someone who was going out to The Lillian Booth Actors Home [The Actors Fund Home] in Englewood New Jersey. He asked if I was interested in making the trip. I said, “Yes”, and we went out. We liked it so much that the following year we went again, but this time we each picked up applications. I filled out and gathered all the paperwork required and called up to make an appointment with the Director of Admissions. Nine months later I got a call saying that a room was available, and was I interested.
Lawrence was a good actor and was getting a lot of little gigs. I took the available room at The Actors Home, but Larry held out. Every time he came to see me, and that was quite often, we would discuss his joining me at the Home. He always had an excuse as to why he wasn’t ready, and over time I began to notice his legs were beginning to give him problems. Eventually I greeted him at the door with a wheelchair and wheeled him around. Then came a repeated period of time when I would not hear from Larry, only to find out from someone else that he had been in the hospital for one thing or another. That started to happen more and more and my heart began to sink, not knowing sometimes where he was, and with the feeling that this was the beginning of something worse.
I felt bad that there was nothing that I could do to help him. Then the last time that we spoke his voice was weak. And so it came to pass that when I got the phone call, and heard a friend say, “I have bad news“, I said, “I know, I know.”
I will always remember Lawrence, and besides my own memories, there are several videos of him on YouTube that I can always watch. Him dancing with Anne Bancroft or Ann-Margret, among others, and see the marvel that was my friend, Larry Merritt.
Photograph: Dancer Lawrence Merritt performs along with fellow casemates in Casino De Paris, Paris, France, 1963. Courtesy the Lawrence Merritt Estate. Image subject to copyright laws. Please do not appropriate.
Photograph: Portrait/Headshot, Carla Meyer Arndt, Latin Quarter showgirls, c. 1960s. Image provided by Darlene Larson. Courtesy Carla Meyer Arndt. Special thanks to Paul Hartis. Image subject to copyright laws. Please do not appropriate.
Carla Meyer Arndt was born in Elizabeth, New Jersey to a Marge and Carl Meyer. Marge worked for Prudential Insurance in Newark, while Carla’s father was employed in the Garment District of Manhattan. As an adolescent, Carla assisted a dance instructor in the instructor’s basement of their local housing development. She would continue to help the dance teacher while babysitting for families in her neighborhood. Upon graduating from high school she worked at Prudential. It was in Newark where Carla began entering beauty pageants. Her first contest won her 5th place. The next moved her to 2nd place out of 54 contestants. Soon she would take the title of “Miss Tall Doll” at Rockaway Beach, New York.
During this time Carla studied dance at the June Taylor Dance Studio in New York City. While there, she learned of a June Taylor Dancers audition, but when too few dancers turned out for the call, Carla found through a trade paper a listing for Lou Walters’ Latin Quarter. Carla auditioned at the nightclub for Donn Arden. She was asked back twice before telling Arden, “I’m taking time off from my job to come to these auditions”. He took a liking to her and said to come back tomorrow. At 6 feet in height, and 19 years of age, Carla became a Latin Quarter showgirl.
Magazine page: Carla Meyer Arndt, performing at the Latin Quarter nightclub, printed in periodical as a Kodak Kodachrome promotion, New York, NY, c. mid-1960s.
In 1962, Carla performed at the Latin Quarter and stayed through 1965 before leaving to get married and start a family. Venus Touch (1962) was her first production, produced and directed by Donn Arden, costumed by Bill Campbell. “This was a wonderful time in my life. We were like family. There was no competition.“
“The band was up high on stage and there were stairs on either side. The dancers and showgirls entered by descending the stairs. Then the stairs were pulled back when the audience would take over the stage for dancing after the show. When I performed there on New Years Eve in 1963 and ’64, I stood on the top tier of the stage holding the “6” [of “1963” and “1964”] when the clock struck midnight.”
Photograph photocopy: Carla Meyer Arndt, Wonder Woman Costume, Kmart, Point Pleasant, NJ, c. 1990s. Image provided by Darlene Larson. Courtesy Carla Meyer Arndt. Special thanks to Paul Hartis. Image subject to copyright laws. Please do not appropriate.
Some of the headliners who made appearances the during her time the Quarter include Sophie Tucker, Eddie Albert, Van Johnson, Norm Crosby, Rip Taylor, Jack Durant, Francois Szony and Nancy Claire, the Barry Sisters, and others.“New York City was incredible”, Carla remembers. “All show people. Those of us who worked at night in showbiz – we owned the city then.”
Carla left the Quarter to marry in 1965, became a homemaker and shortly thereafter a mother to son, Carl. Her second marriage came in 1991, after meeting future her husband Rudy. For 38 years, Rudy worked as a Guidance Director for the Toms River High School, as well as Chair for the First Financial Credit Union in Tom River, New Jersey. “Rudy passed in 2018. A lovely man. He was the light at the end of the tunnel for me.”
Eventually Carla worked at their local Kmart where she enjoyed dressing up as Wonder Woman for Halloween, greeting customers who still remember her as the superhero’s doppelgänger. Years after her work at Kmart, Carla recalls an older gentleman approaching her at a grocery store. “I remember you,” he said. Carla replied, “I am the Kmart lady.” “No,” the man responded, “you’re Wonder Woman.”
This story is based on a phone interview between the John Hemmer Archive and Carla Meyer Arndt in February of 2023.
It is with deep sadness that while finalizing this article and working with Lawrence to document his story and memorabilia, we lost a great dancer. A wonderful friend and storyteller with a quick sense of timing and incredible experiences, Lawrence entertained as many while off stage as he did on. The John Hemmer Archive, and other organizations, such as Dancers Over 40, will ensure his legacy continues. Please keep reading for Part III of this article series on a gifted performer who will be greatly missed.
If you missed earlier installments, please visit these link to read the full story in chronological order:
To read Part I, https://www.johnhemmerarchive.org/a-dancers-life-meet-lawrence-merritt-part-i/
To read Part II, https://www.johnhemmerarchive.org/a-dancers-life-meet-lawrence-merritt-part-ii/
Part III:
Scrapbook Page: Walton Hall postcard, newspaper clipping, Lawrence Merritt partnering Ginger Rogers, London Palladium, UK. Courtesy Lawrence Merritt Estate. Images subject to copyright laws. Please do not appropriate.
JHA: At this time you meet Larry Fuller in London after partnering Ginger Rogers at the Palladium. Take me to this point in time. What happens now?
LM: Okay. Larry Fuller – Into the Woods, Sweeney Todd, that’s our [Harold] Prince. I said, “What the hell are you doing? You’re in London?” He said, “Well I worked in New York with this chap and now I have his flat and his sports car. And I’m here doing research on a new show I’m going to be doing with Harold Prince. Based on the life story of Eva Peron. Beginning of a journey, okay. And you’re closing tomorrow, and I’ve been invited this weekend to go up to a place called Walton Hall.” Walton Hall at the time was owned and run by Danny La Rue.
Postcard: Photograph, Walton Hall, Warwickshire, United Kingdom, unknown date. Courtesy John Hemmer Archive. Image subject to copyright law. Please do not appropriate.
Danny La Rue was the most famous female impersonator in England. He had his own club at one point, Noel Coward, Marlon Dietrich, among others used to go there. Okay, so we get in a sports car Larry has, we join up with a friend of mine that I met, who was one of the writers on Dames at Sea with Ann-Margret – television special. Don’t ask. So, we’re going up the highway – the super-highway, we make a right turn where all of a sudden we’re in fields, with the stones and forests and sheep. We took a corner and there’s this place Walton Hall. It was like Downtown Abbey, a little smaller. With its own chapel, a stone bridge, cattails, swans, okay. I said, “This is like we’re in some technicolor musical.” So, here’s Larry Merritt staying for the weekend. First night, we go to Stratford. Thank you, Harold Prince. Center seats in the mezzanine for the very famous Peter Brook production of Midsummer Night’s Dream. I didn’t know. I wasn’t that into acting then, as an actor. We see that at the interval, very lah-di-dah. We have drinks with the theatre manager in his office. Back to Walton Hall. The next night we go to Coventry, to see Danny La Rue’s show.
It’s fabulous. He’s amazing. He’s got a chorus and his boyfriend played the piano. Amazing. For the last number he says, “Ladies and gentlemen…lights up, please.” Larry Fuller and I are dressed to the teeth. I buy a velvety new jacket on bow tie, whatever. We’re like five rows back from the stage on the right. He goes, “Ladies and gentlemen, a very well-known famous American dancer is here who just closed at the Palladium with Ginger Rogers. Please stand up.” So, up I go.
Paper note: List of notable Evita reception guests at Chasen’s, Los Angeles, CA, written by Lawrence Merritt. Courtesy Lawrence Merritt Estate. Image subject to copyright laws. Please do not appropriate.
Danny goes on, “And we have a famous American choreographer, Larry Fuller. Please stand up.” Okay. “And ladies and gentlemen, I’m sure you’ll know the next person. Liberace.” And there’s Liberace up in the balcony. He was staying at the Walton Hall too. We had no idea. We get into the cars, all of us go back… Danny and his boyfriend who played the piano says, ” We’re hungry.” It’s after a show. It’s late. So, they called one of the chefs, and a waitress and there weren’t any issues. They wouldn’t have anything huge, but there were like twelve of us including Liberace, and Larry, and me, and Danny, and a few other people we went to the dining room and had food. It was wonderful.
And then I had been to LA and Evita opens. I had seen the Dorothy Chandler Pavilion production. Patti [LuPone] was out that night, but I saw it. And a few months later Larry Fuller calls, he says, “Hi, I want you to be the lead dancer at Evita. We’re doing the first national company. We’re going to rehearse out in LA and we’re going to open the Shubert Theater in Century City. Do you want to do it?” I was like, yeah. He said, “Well, come on so-and-so day. You don’t have to audition dear. You’ll be lead dancer, just come dressed up cute. You’ll meet the musical director.” I asked, “Who’s that?” He replied, “Rene Wiegert“ who had done Dear World or Pivot, one of those.
And so, I show up and the boys had auditioned that morning and they’d gone to lunch, and they’re sweaty and nasty and I’m standing there. A voice said, “Lawrence could you stand up? Boys line up according to height next to Lawrence.” So, I was 43 and I was the lead dancer in Evita. And I just studied the role of Magaldi. And that would be my last Off-Broadway show, whatever. I got hurt on stage, however. Anyway, opening night was at Chasen’s. You went through the restaurant to this special room and there’s Harold Prince dancing with Lauren Bacall. In the restaurant was Michael York, Rita Hayworth, Charles Bronson and Jean Simmons. It was incredible.
You were injured in Evita. What happened?
Evita. Yes, the understudy girl, we did the Tango, and I did a big overhead lift, and my regular partner was out, and the understudy girl had done it several times. So, I went to lift her over my head, and she took a wrong preparation, and she was coming down as I was struggling and it tore my back out and it was like, “Okay bye.” I’ll just take my workman’s comp settlement. Luckily at that point, I had already started catering, another successful reincarnation, or whatever. Because for the life of a dancer, being the lead dancer at 43-
That’s a long run
Yep. That was a long career. That’s 22 years.
Scrapbook page: Invitation to Evita, Patti LuPone, Shubert Theatre, Los Angeles, CA, 1980. Courtesy Lawrence Merritt Estate. Image subject to copyright laws. Please do not appropriate.
What was that transition like for you? Your whole life and most of your relations were the world of dance. I imagine it as such a unique and immersive lifestyle that a dancer can’t just turn off like a switch.
I never thought of the future. Dancers do “now”. They don’t do “tomorrow”. [Some performers] go well, “Let’s put some money away for a house and we’re going to be in the play for the next ten years, or can I do the opera for twenty and that’ll pay for our retirement”. We didn’t think that way. And I’m sure people would get tired of hearing, “Well it was the golden age in musicals, and it was because you didn’t have Disney, you didn’t have to make sure you made your millions back with 40 producers.” People took chances on ideas though.
I’m stating the obvious here, but live entertainment has changed dramatically between then and now. It will never be what it was.
No, it never will. I mean, I go to see shows and I would see dancing. By then I was out of that loop, so I didn’t know all those names, but I would see things. It’s like my God they’re just extraordinary the things that they do now. The tricks, but everybody has a trick. I was limber. I could do the Can-can. Somebody else could spin. Somebody else could sing a higher note or whatever. And so, you look at those few and oh my God, your technique’s just amazing, but you are boring as hell.
Back then, we got jobs and we worked all the time because we were performers. I worked all the time because people like Michael Bennett and Bob Fosse knew my work and I didn’t have to audition for them. Eventually they called me and asked if I would be free to do a special or… and that felt wonderful. And I never took it for granted. Ever.
Scrapbook page: Invitation to Evita and post reception at Chasen’s, Patti LuPone, Los Angeles, CA, 1980. Courtesy Lawrence Merritt Estate. Image subject to copyright laws. Please do not appropriate.
I knew that I was 6’1″. I had a pretty good face, the nose was straight, my eyes weren’t crossed, I was tall enough to make the leading lady look good and they paid me a lot of money for that. But the nature of the game is that there’s always somebody behind you biting at your ass, who kicks higher, has a better leg, who sings better, who’s cuter, so what do you do? When somebody asks you if you’re free, you say, “Yes.” And you keep putting one foot ahead of the other. That’s all. Try to keep learning, stay on top of your game, and I have had this blessed career that I could never ever have imagined. Places I’ve been, to people I’ve met, the things I did.
Things kept falling into place for you. You built a reputation based on your work and in the process, built relationships.
Exactly. That’s how it worked. A friend of mine was the Peter Gennaro of the Ed Sullivan Show. Fine. There were four men and four women who were contracted usually. Whenever they needed a fifth boy, I was one of the first boys they called. I did a lot of embarrassing numbers on the Ed Sullivan Show, but it was over at nine o’clock live. You’ll get your check next week, you have tonight and all day tomorrow off and then Tuesday we’ll see if we need you. Bobbie Gentry, Peggy Lee, Tiny Tim and Miss Vicki, and Roy Rogers. Dionne Warwick, Carol Lawrence. They were all there.
I have stories, you know. I’m doing my memoir. I adored Ann Bancroft. Same with Ann-Margret. We [Ann-Margret] did the act and then we did it at The Concord and we did it one day at Montreal Expo and flew back and in the middle of that, we were doing Dames at Sea. During the productions we left the Dames at Sea rehearsals because she was booked at The Concord. There were three of us, or two of us, or four of us, or whatever, that were going to just do backup. Roger [Roger Smith, Ann-Margret’s husband] and Allan Carr and Ann-Margaret, and the chauffeur got into a limo on Broadway and took off to the West Side Highway.
My partner and I were in another car. So we’re driving up the West Side Highway, there at the divider is the limousine with the hood up and there’s Roger, Allan and the limo driver standing on the Island. We stopped, and it’s like, “Okay, well, come on.”
Ann-Margaret and Roger Smith sat in the back of this Chevy Impala. Roger had white pants and white patent leather Guccis and this chartreuse lace Tom Jones shirt. The big open sleeves and the huge collar looking like a tablecloth at a Puerto Rican wedding. And Ann-Margaret’s in shorts, sunglasses, with her hair stringy because she didn’t have hair pieces then. We get to The Concord and it’s like a concentration camp in reverse. There’s a chain link fence all the way around the property and a guard house with the black and white thing. The toilets I’ve played.
Scrapbook page: Publication clippings and photographs, Dames at Sea, NBC-TV special, Lawrence Merritt (Center) with production dancers, Ann-Margret, Los Angeles, CA, 1971. Courtesy Lawrence Merritt Estate. Images subject to copyright laws. Please do not appropriate.
What’s the title of your memoir?
Paris on the G-string.
And I have pictures of my entire career. From the time I was 17 at Kennebunkport [theatre community in Maine] to the last play I did.
When you transitioned out of dancing, you got into –
Catering with my partner at the time. “God, you guys you always cook well when we come to your house. You should cater.” I was like, “Okay, we’re catering.” First party we did was for 125 people, I had worked in a flower shop, so, “Okay. We’ll do flowers.” We waited until the day before, shopped and started cooking. And we did twelve appetizers in this big house with waterlilies in the hot tub pool. And it’s like, “That’s pretty stupid. We’ll never do that again.” But we used to rent chairs and tables and, “Oh, you’re the bride, you want pink tablecloths with pink flowers, and you’re going to have ten tables for ten people, and we’ll rent that. And I’ll do a $40 arrangement on each table in pinks and lavenders and whatever. And then I’ll do like a $250, $300 floral piece for the buffet.” We ended up getting quite big. We made the LA Times, Sunday magazine, front cover layout. We did the food styling and got the credit. We did all the food on the front cover picture and all the stuff on the inside.
The car accident happened two years later. I ended up with a spinal cord injury, which is why I walk with a cane now. Spinal cord injury, ended up in the spinal cord injury ward and this young girl said, “There’s this place down here in Anaheim, near Disneyland where they treat spinal cord injuries.” I was like, “Okay.” The ambulance took me down there and it ended up being the best spinal cord injury facility in the state of California. Many therapists in the East, also know the place for spinal cord injury, head injury and children’s arthritis.
Do you want to say anything else about the accident? You were out West.
Yes, the injury happened when out West. Drunk, stoned, hit a parked car, passenger seat, car folded, I folded. But I was too drunk and stoned to know what was going on. I ended up in the hospital for two months, instead of three. Four months with full body brace. And then I had a shorter one, and then I had the rubber collar. I got rid of it a couple of months later and started with the crutches and leg braces. Those are really a pain in the butt. I was doing therapy at the hospital.
Anyway, we were catering a cookout at a ranch a week after I came home from the hospital. I had the body brace for four months because they took a piece out of my hip and fused four vertebrae in my neck. My injury’s like Christopher Reeve’s, but his was a complete spinal cord injury and mine was incomplete.
Photographic prints: (Left) Lawrence Merritt personal portraits, c. 1950s. (Right) Lawrence Merritt headshot. c. 1980s. Courtesy Lawrence Merritt Estate. Images subject to copyright laws. Please do not appropriate.
After your recovery, which only a dancer’s determination could get through, you also began acting.
I had done a couple of local musicals, whatever. I didn’t really start acting immediately. I mean, you act when you dance but… it’s still different.
At that time, I was thinking about getting out of LA, freeways are like parking lots, drive-by shootings, smog. I had stopped smoking by then. My partner and I decided to find a place. We were both working as chefs. I had gone to cooking school for two years. We went near Burlington [Vermont] where I knew we could both get jobs and he’s like, “You’re drinking an awful lot.” It’s like, “Screw you I’ll stop drinking.” January 10th, 1990.
Scrapbook page: Photographs, Gypsy production, unknown venue, unknown location, 1992. Courtesy Lawrence Merritt Estate. Images subject to copyright laws. Please do not appropriate.
You stopped.
I stopped drinking. I have my coin over there. I still go to AA meetings. I’ve been sober for 25 years. I don’t smoke. I don’t drink. I was still working as a chef, relationship ended, Upstate New York, moved down near Poughkeepsie, then I started acting. It’s like, “maybe I’ll retire from cooking and maybe I’ll help somebody make costumes for a tap dance show for something.” I got a part in a play at Skidmore College. This Jacobean Drama was like, “What the hell is that? Oh, like Shakespeare, somebody’s doing Gypsy down there.” Sprayed my hair, applied mascara. “We’ll give you the part of Herbie” No – I did Herbie, but I’m not Herbie, I’m King or John Barrymore or… “. And, it was like, “This is wild. I like this.” And then somebody in AA said, “Wouldn’t it be funny if you ended up back in New York City.” Down the line, around the year 2000 I moved into this place where I live now. I thought, “Can I go back to New York City and see if I can get arrested with the big guys as an actor?”
I’m always positive. I don’t know how I got that. I never had any great sort of burning ambition for this. Like I said, I kept saying yes when, “Could you be in LA for this TV special for three days?” I’d say, “Sure. I’m free. I can be there.”
More recently, I’ve work with a theatre called TBTB, which used to stand for Theatre By The Blind. Years ago, they opened it up to other disabilities, of which I have one, and retitled it Theater Breaking Through Barriers. We did a couple of weeks of five short of one act plays. The play I was in was written by David Henry Hwang, Neil LaBute was a writer, John Guare, Bruce Graham. Tonya Pinkins was in the play, who was then in I think Rasheeda Speaking with Dianne Wiest. And it was very successful.
Photograph: Lawrence Merritt, during On the Town production, Boston, MA, 1971. Courtesy Lawrence Merritt Estate. Image subject to copyright laws. Please do not appropriate.
I’d been working with this company doing readings and this and that, and whatever for years now. I was sort of part of their repertory company. There are able-bodied people and disabled people, people with prosthetics, people like me who have a spinal cord injury, or walk with a cane now, people in wheelchairs with MS. All kinds of things.
And because of this reading of this Agatha Christie play, which is called The Unexpected Guest, we did a full production. I got paid a couple of pennies, at The Clurman Theatre on Theatre Row. I played Inspector Thomas, so I whipped out yet again, my English accent, since I’m a big Anglophile and then I’ll go on vacation or something like that.
I’m on the board of Dancers Over 40. I keep as active as I can. I stay involved.
What can I say, despite some unexpected obstacles, life has been a cabaret.
End of Part III
To read Part I, https://www.johnhemmerarchive.org/a-dancers-life-meet-lawrence-merritt-part-i/
To read Part II, https://www.johnhemmerarchive.org/a-dancers-life-meet-lawrence-merritt-part-ii/
The above interview with Lawrence Merritt was conducted in 2015 with the John Hemmer Archive. It was edited with Merritt in 2022 and 2023. Part III of A Dancer’s Life: Meet Lawrence Merritt is the final installment. This article series is dedicated in loving memory of Lawrence Maranville Merritt (1939-2023).
Watch Latin Quarter performers Jean Preece, Juanita Boyle, Teak Lewis, Francine M. Storey, Lawrence Merritt & Darlene Larson reflections, John Hemmer & the Showgirls documentary screening & panel event, Edie Windsor SAGE Center, New York, NY, 2019.
The John Hemmer Archive’s The History of An Era, documents lived experiences of the nightclub era. This is the third installment of a three-part series on performer Sal Angelica.
To read part I, please visit https://www.johnhemmerarchive.org/a-dancers-life-meet-sal-angelica-part-i/
To reference part II, visit https://www.johnhemmerarchive.org/a-dancers-life-meet-sal-angelica-part-ii/
Paper Program: Guys and Dolls production, The Meadows Playhouse, Las Vegas, NV, 1981. Courtesy Sal Angelica. Image subject to copyright laws. Please do not appropriate.
SA: I am happy to say the 1980s had quieted down for me a bit. I danced in the production, Celebration for Ron Ruge in Guatemala in ’80. Ron was the choreographer on The Frank Rosenthal Show that I worked on a few years earlier.
There was Guys and Dolls in Las Vegas at The Meadows Playhouse. I choreographed and danced in it. That was in ’81. Then Paul Shrier backed out and I stepped in as Harry (all the way from Brooklyn) the Horse. I did Sweet Charity and Oklahoma for the Theatre Arts Association (TASI) at Nevada Theater Guild of Las Vegas. Mary and John Knight were the co-founders of TASI. They were the money and the nicest people that you could ever meet.
I was also involved with the Comprehensive Employment Training Act (CETA) program, choreographing and giving classes. I taught dance and theatre. As I mentioned in part II of this article series, CETA was a government run program that paid artists to take dance classes to help maintain and further their careers.
So, students were actually getting paid to attend the classes and learn a trade. One incident that made me feel bad was that one of the gals, a real smart-ass, showed up for class in shorts, flip flops and her hair in curlers. She was certainly not prepared properly to take a dance class. I asked her if she had other clothes and shoes to dance in. She said, “No”. She only had what she was wearing. I excused her and told her that because of the situation, she would not be paid for the day. Of course, she didn’t like that. I felt bad about the missing out on the money, but it was a good lesson for her to learn. Always be prepared and respect what you are doing, and also the instructor and CETA program that is paying you to do it.
JHA: And following those productions you were in Hot Hawaiian Nights as Assistant Choreographer and Company Manager.
In 1984, my friend Al Gossan asked me to assist him with putting together a show. I stayed with him in Hawaii as we set Hot Hawaiian Nights with a local cast. We then took the show to the Wildcoast Theatre in South Africa, which was actually just south of Margate and over a bridge into the Transkei. The government had given the land back to the black people there and gambling was allowed. We had the best time. The food (briaa) and the people were terrific. The show went over well.
Photographic print: Performers, Hot Hawaiian Nights, 1984, Las Vegas, NV, Transkei, South Africa. Courtesy Sal Angelica. Image subject to copyright laws. Please do not appropriate.
The manager from The Rennies (comparable to The Deere Co. here) had asked if we would do a show for them at their convention. I negotiated a good salary for the cast and myself. Al had hit a wall and ask me to take over the rest of the choreography and rehearsals. No problem! Unfortunately, the producer was such a jerk and made big problems that he was literally put on a plane and sent back to Hawaii.
Paper Program: Credit page, Hot Hawaiian Nights production, Wildcoast Theatre, Transkei, South Africa, 1984. Courtesy Sal Angelica. Image subject to copyright laws. Please do not appropriate.
Another incident occurred when we had all Black stagehands. One day I witnessed the stage manager kick one of them as he was trying to climb the ladder to the overhead fly. Yes, I had him fired. Little did I know that when we had to leave, he was the person from the main office that we all had to deal with. It turned out that he wasn’t a big problem. The big problem was getting the money out of the country. No one knew that you could not take their money when you leave. What?!?!
Being the company manager, I had thousands of dollars that belonged to the production company. This happened on a Sunday when the banks were closed. I thought, “Who do I get in touch with and how?” I asked a security guard (with rifle in his hands) if he would contact the bank’s manager. He did and the manager showed up with his little 6-year-old son to help me. He cut me a cashier’s check, and all went well until we got back to the states. We had all the costumes with us, but had no paperwork to prove to customs that we had originally brought them with us to South Africa. After explaining everything, the custom official thought that our story was so absurd that it must be true and let us by. Whew.
What was the impetus for Paper Moon Greeting Card & Gift Shop?
Business card: Paper Moon, A Unique and Gift Shop. Courtesy Sal Angelica. Image subject to copyright laws. Please do not appropriate.
When [my partner] Max and I returned home from South Africa in 1984, he went back to work as an elementary school teacher, and I had nothing to do. No show biz jobs available.
{We purchased what would become the] Paper Moon, A Unique Card and Gift Shop in 1984. It closed in 1989. We may have initially come across the information in the newspaper. It was in a very yuppie area of Green Valley. A very nice location. The realtor met us there and it looked good. It was full of old English type merchandise and cards, and lots of tea sets. We made an offer to get it going and negotiated a year’s free rent to help get us started. After selling off most of the stock at a big discount, most everything was emptied out but the fixtures and card racks. We used the huge sales as leaders. Afterwards we brought in some new merchandise and cards. We had the only XXX rated cards available in Las Vegas.
Going to the LA Mart gift shows in Los Angeles was terrific and it opened-up a whole new world to us. We were happy to know and see that our clientele liked the merchandise that we picked and chose to sell.
There was a pizza shop on one side of us and a cooking shop on the other, a beauty salon a few doors away. All of this resulted in some very heavy traffic and business for us, I’m happy to say. We built up a nice clientele and had a good rapport with them to the point that they would call up and let me know that their kids were coming in to buy gifts and had “X” amount of money to spend and that they will stop in after they get off work to pay me. Nice! And the house wrap was free with whatever you purchased. We used very obvious gift wrap – clear cellophane with colored balloons that read, “For Your Special Day”.
We soon found out that the signature wrap became a “must” for the kids to want to use and the party person was disappointed if they didn’t see our wrap on their gift. Wow.
Between all the show biz contacts I had the and roster of schoolteachers that Max worked with, we were very busy. The teachers all appreciated the discounts that we offered to them.
Business card: Bernard Brothers A Musical Comedy Act. Courtesy Sal Angelica. Image subject to copyright laws. Please do not appropriate.
When I decided to go back to do The Bernard Brother’s Act, Max thought that the shop would not be the same without me running it, so we decided to sell. What a shame. The Act was staged in both Las Vegas and Atlantic City.
So, we sold Paper Moon because I was getting back into shows. Unfortunately, we [the number within the The Bernard Brother’s Act] did not go over well in Atlantic City.
The people who hired us knew what the act was all about and still offered us the job. They put us in the show just after the opening number, which was a bad choice. The show started off in the 1940s and progressed through modern times. Our act was very ‘40s/’50s – Nelson Eddy, Jeanette McDonald, The King and I, etc. We just didn’t fit after seeing all the modern stuff and then going back to the ‘40s. C’est La Vie! That’s showbiz. In reality they should have known better.
While running Paper Moon you continued to perform and choreograph. What are some examples of your entertainment work during the remainder of the decade?
The choreographer, Rene De Haven, whose claim to fame was that he danced in the Elvis movie, Jail House Rock, was the choreographer for the Saloon Sweethearts breast cancer shows. The numbers were performed by the ladies who were bartenders. They were used as props and fill-ins.
I donated a Bob Mackie evening purse to be auctioned off. A man bought it for $500.00 and then gave it back. A woman bought it for $550.00, equaling $1050.00. Not bad.
During this time I also worked with students for the University of Las Vegas production of West Side Story. They weren’t professional dancers, but were all terrific, especially performing the Pas de Sies ballet (Somewhere dream ballet). I was so pleased and very proud of them.
And what about the AIDS Benefit shows?
Newspaper Clipping: AIDS benefit Ribbon of Life show article, Breck Wall, Las Vegas Review Journal, 2003. Courtesy Sal Angelica. Image subject to copyright laws. Please do not appropriate.
Thanks to Breck Wall, Bottoms Up producer and star, [obit] I had the privilege to perform in 13 or more of the AIDS benefit shows beginning in 1989 until 2016. Breck had organized all of us and we were a hit every time we performed. No one could ever say no to Breck. He did a lot for our industry and Las Vegas entertainment.
Most of us knew each other from working together but some were new. The red, white and blue costumes were for the Elephant Walk number from The Will Rogers Follies. It was the slap number that we had the best time with learning and knowing. We would get a standing ovation all the time. Made all the practicing worth it. I’m happy to say we made a lot of money for the AIDS benefit cause.
Photograph: AIDS benefit Ribbon of Life show, cast with Breck Wall (center foreground), 2004. Courtesy Sal Angelica. Image subject to copyright laws. Please do not appropriate.
My scrapbooks indicate the following productions for Golden Rainbow, Ribbon of Life AIDS benefit shows
Paper poster: AIDS benefit True Colors show, Luxor Hotel and Casino, Las Vegas, NV, 1998. Courtesy Sal Angelica. Image subject to copyright laws. Please do not appropriate.
1998 Luxor Hotel, 12th anniversary show, True Colors
1999 13th anniversary
2001 Mandalay Bay, 15th anniversary show, Our Show of Shows
2003 Paris Hotel, 17th anniversary show, The Ultimate Raffle Ticket
2004, Bally’s Hotel, 18th anniversary show, Ribbon of Life
2006, Paris Hotel, 20th anniversary show
2007, Bally’s Hotel, 21st anniversary show, A Red Carpet Affair
2008, Paris Hotel, 22nd anniversary show
2009, 23rd anniversary show
2011 Paris Hotel, 25th anniversary show
2012 The Smith Center, 26th anniversary show, Ovations
2015 Rio Hotel, 28th anniversary show
2016 Tropicana Hotel, 30th anniversary show
There were lots of different choreographers on these shows, who I worked with such as Ronnie Lewis, Jerry Jackson, Cary La Spina, Rene de Haven, among others.
You got involved in senior performers groups. the Encore Follies, Las Vegas Follies, and the Branson Follies are well known revues.
Photograph: Promotional postcard, The Encore Dancers cast, 2010. Courtesy Sal Angelica. Image subject to copyright laws. Please do not appropriate.
I started with the Rich Rizzo senior group the Las Vegas Follies in 1990. By mid-2000s it was Walter Painter’s Branson Follies. I had heard that he [Painter] was doing a show (from who I heard, I don’t remember). I called and asked when and where the auditions would be. He said, “You don’t have to audition for me. You have the job if you want it.” Yeow, Great!
Photographic print on paper: Sal Angelica in Marine costume & Carol Channing, Branson Follies, Branson, MO, 2005. Courtesy Sal Angelica. Image subject to copyright laws. Please do not appropriate.
I had worked with Painter’s wife on Broadway with Carol Burnett in Fade Out – Fade In. I knew only one other singer/dancer – Jerry Antes. He worked at the Dunes in Vive Les Girls. It was a lounge show, and I was in the big room with Casino De Paris at the time.
Lois Mazgaj is a dancer who got me connected with Mary Ann [Arcadipane] who produced, choreographed, and danced for the Encore Dancers. Their production, Broadway, Our Way, again, I knew none of the ladies except for Lois. She lives about 10 minutes from me here in Las Vegas, but I had to go all the way to Branson to meet and work with her. We became great friends. We performed at libraries, any openings and senior retirement facilities. It was a nice feeling being able to give back to the community and see the smiling faces of the retirement crowd. They loved us. It’s too bad that these wonderful days are gone, and Las Vegas is no longer what it was.
Photograph: Promotional postcards, The Encore Dancers, (left to right) MaryAnn Arcadipane, Sal Angelica, Lois Mazgaj, Las Vegas, NV, 2012. Courtesy Sal Angelica, please do not appropriate.
You also became a Dance Host for cruise ships.
I was a dance host for Holland America Line cruises starting in 2004. I was able to travel the world again doing this. Ports we harbored at on their Prinsendam cruise ships were many. My first cruise was New World Adventure. It sailed to Lisbon, Funchal and Ft. Lauderdale. In 2006, on the Grand Amazon Experience World Voyage 2006, Circle of the Sun, we sailed to Antarctica, the Amazon, Ushuaia Argentina, Rio, and Brazil. 2010, on the Ms Rotterdam the 30-day circle included Hawaii, Tahiti, Marquesas, San Diego, and Bora Bora. The next two were also on a Ms Rotterdam. One was a 30-day cruise to the Incan Empires, which stopped at Ft. Lauderale, Lima, Peru and San Diego. The last was in 2012, which went to The Netherlands, São Miguel, Portugal, Trinidad and Croatia.
Photograph: Sal Angelica, Dance Host for Holland America Line cruise ships, c2000s. Courtesy Sal Angelica. Image subject to copyright laws. Please do not appropriate.
Most of the cruise guests were under the impression that we were being paid for our services. That this was our job on the ship. Wrong. The dance hosts paid To Sea With Z to get placed on the ship. It was a nominal fee (approx. $150.00). It was certainly worth it.
Photographs: Dance host, Sal Angelica and passenger, Holland America Line cruise ships, 2012. Courtesy Sal Angelica. Image subject to copyright laws. Please do not appropriate.
How could I ever be able to go to all those exotic places and have room and board for that price? Some cruises were for 30-days. The food was terrific and the buffet was open almost 24-hours a day. What a treat. I met lots of wonderful people from all over the world. Then Holland American Line (HAL) decided that the male staff that was being paid and who were just sitting around doing nothing would learn to dance and would partner the ladies. That knocked us out of our positions. Such is life. We had a great time while it lasted.
Publication page: Head Custodian voting appeal, Clark County School District, Las Vegas, NV, 1995. Courtesy Sal Angelica. Image may be subject to copyright laws. Please do not appropriate.
Can you give some examples of professional positions you held in more recent decades that were outside your dance and choreography career?
In 1993/94 I had been working as a limo driver for Bell Limo. I started with the night shift and a year later they put me on days. I gave my notice when I went to work for the Clark County School District as a custodian at Las Vegas High School.
A year after that I interviewed for the head custodian position at Mendoza Elementary School and stayed there for 4 years. On rainy days when the kids were kept in, I taught them line dancing in the auditorium. They loved it and so did their teachers and the parents. We had a lot of fun. I met a lot of nice people that way. One of the third-grade teachers was a Hollywood movie dancer in her younger years. Her SAG card was #2! I’m sure that Shirley Temple’s card was #1.
From 1996 through 1998, other hats I’ve worn were for Harrah’s Casino Entertainment as a Slot Clerk, Retail Warehouse Associate, and
Housekeeping Floor Supervisor. There are many more hats in the closet. You have to pay the rent.
Paper Certificate: Performance Management completion certificate, Harrah’s Casino Entertainment, 1998. Courtesy Sal Angelica. Image subject to copyright laws. Please do not appropriate.
Chronologically my extracurricular jobs look something like this – and often doing to 2 to 3 jobs while performing nightly.
Airport Meet & Greet for several Destination Management Companies.
Bartender at The Still on Boulevard Mall, and Tivoli Gardens which was owned by Liberace.
Bell Transportation as a limo driver (lots of stories there).
Black Mask in the show, Geish’erella.
Captain at Jubilation, owned by Paul Anka.
Company Manager for Hot Hawaiian Nights in the Transkei, South Africa.
Around this time is when I held the Custodian positions at Valley High School and Head Custodian at Mendoza Elementary.
Docent at Spring Mountain Ranch.
Caesars Palace and Bally’s Hotel, I was an Account Executive for Encore Productions.
At Harrah’s Hotel I was a slot clerk, retail associate, housekeeper, and floor manager.
I oversaw projects, pick-ups, and deliveries of everything at Kazar Interior. I was a long-distance semi driver, moving from New York to Las Vegas, and Las Vegas to the Midwest, and from the Midwest back to Las Vegas. After that was the Paper Moon Greeting Card and Gift Shop that we owned and operated from 1984 through 1989. Then I was a financial backer for Regency Pool Service. At the Thalians, I handled the raffle tickets and guardian of the cash. I was employed by several destination management companies as a tour guide. From about 2016 to 2019 I worked the Consumer Electronic Show (CES) for Canon camera company. As a model for people interested in trying and buying the latest, up-to-date equipment. We were filmed while tracing and cutting patterns. It was a very cushy job. There were three of us and we worked 20 minutes on and 40 minutes off. The money was terrific as well. That just about sums up all of it.
Photograph: Headshot print, Sal Angelica, New York, NY, 1960. Courtesy Sal Angelica. Image subject to copyright laws. Please do not appropriate.
Turning back to your dance career, have you seen significant change in the performing arts community over time?
Las Vegas, “Home of the Showgirls and Showboys” – with all of the big shows closed. This town has laid off not only the performers but put all the musicians, stagehands and wardrobe people out of work, as well as costume designers, choreographers, dance teachers, vocal coaches, hotel staff, valet service etc.
I doubt very much if anything in the future will bring back the excitement, the stars and the entertainment that Las Vegas had once offered in the 60s and 70s. Especially the headliners. Nothing will ever compare to those glorious days.
Paper program: Page from Casino de Paris program, the Dunes Hotel & Country Club, Las Vegas, NV, 1965. Courtesy Sal Angelica. Image subject to copyright laws. Please do not appropriate.
As I’ve said, I’ve been in Las Vegas for the past 57 years. I am not up on what’s happening in New York City anymore. I do know that the industry’s show ticket prices are way out of line, even in Las Vegas.
If the public refused to pay those outrageous prices it would make sense to lower the cost and have more people enjoying the entertainment and having a nice night out. I can remember seeing a show in New York City, sitting in the first few rows for $3.50 a ticket. Not $3000.00 – Thank you, Hamilton. Just ridiculous.
With the changes in the shows in Las Vegas there is a big void in patronage. No more topless showgirls, no more oglers and money spent. All the other employees involved hurting as well. I hope that live entertainment – shows, not just headliners, makes a comeback. However, even the prices have gone way out of line here [in Las Vegas]. Why would someone pay those prices when you can put a CD or DVD on or get on the Internet and enjoy them in the comfort of your own home? You don’t have to worry about traveling or getting into an accident or paying garage fees – another bummer. You’re paying to see a show and have to pay to park your car as well. Needless to say, I have lots of CDs and DVDs.
Do you perceive the 1960s and ‘70s as a special time for performing arts? Will you describe this era further?
I can’t imagine getting the same kind of entertainment that the ’60s and ’70s gave us, and then there were also the lounge acts, which were very popular and the show biz performers and staff were able to see them between or even after they finished their second or third show.
I am so happy that I was part of all of that and do hope that some of it returns one day. Don’t get me wrong, I still do love the business and everything about it, including the memoirs.
Photographic print: Sal Angelica partnering fellow dancer, Susan, Summer Stock, Finian’s Rainbow, 1963. Courtesy Sal Angelica. Image subject to copyright laws. Please do not appropriate.
You enjoy a prolific dancer’s life, both in terms of quality and quantity of work. What wisdom from your life and profession would you offer to those just beginning their dance career?
What would I say to someone just starting? Be dedicated. If you are going after a show biz career, do and learn as much as you can from everyone. Take class from various teachers to learn different dance styles. Remember the choreographer wants you to emulate his work. Copy their style and you will get the job. Claude Thompson was very big on doing his choreography your way, not like a Tiller Rockette Line.
Also, have enough confidence in yourself to be the first to audition. I recall someone saying by the time the first 10 dancers are seen, they know who they want. Be aggressive with your talent. Remember that not all shows make it and some even close during the out-of-town tryouts, so have a back-up plan. Have another way to earn money to pay for the classes and your rent. Figure out what else you are good at and like to do to subsidize your dance career.
Photograph: Portrait, Choreographer, Claude Thompson, circa 1970s. Courtesy Sal Angelica. Image subject to copyright laws. Please do not appropriate.
Try to get scholarships or the like. If a choreographer sees that you are good enough and trying hard but can’t afford classes, they will offer them. I know from experience. Thank you, Claude!
I can’t tell you how many performers I know also double as restaurant servers. Another thing is, don’t be a “know it all”, even if you are better. Remember there is always someone not as good as you or even better than you. Even if you do know more than the others, or more than the person auditioning you. They need dancers, you need the job. Do and be your best to awe them. If you are asked to the call back, wear the same clothes that you had originally auditioned in. They will remember you better by doing that.
Who and what are/were the biggest influences in your creative life?
The biggest influences where the choreographers and their work. Seeing and watching the dancers performing on stage and wanting to be one of them was my goal.
What about your life so far are you most grateful for?
I am grateful to all the people, coworkers, friends, and family, that believed in me and always supported me. My family didn’t support me financially. I usually worked two jobs while still going to school to earn money to pay for my [dance] classes, but I had their love behind me.
Photograph: Sal Angelica and partner, Max with terrier dogs, circa 1980s. Courtesy Sal Angelica. Image subject to copyright laws. Please do not appropriate.
I have my partner Max and Father, Jim Story (an ordained minister) at TASI to thank for convincing me to go back to school and get my high school GED diploma. He was the backbone of TASI and put everything together. I was in my 40s at the time. That helped when I was looking at another career. My advise to everyone is, “Get that piece of paper”. You may be a jerk or even an educated idiot, but they will hire you if you have the credentials.
Photograph: Headshot print, Sal Angelica, New York, NY, 1960. Courtesy Sal Angelica. Image subject to copyright laws. Please do not appropriate.
I have been very fortunate and happy with the way my professional dance career has gone, and where it took me. I am not only proud of myself for being able to do so, but I am in awe of the people (celebrities) that I have worked with and the places that my dance career has taken me. Most of them I would have never met or visited if it wasn’t for the fact that I was in a show or act that not only paid me a salary but paid to take me to places (on their dime) that I would have never dreamed of going to on my own. Getting paid to do what I was extremely happy to do was a win-win scenario.
Photograph: Family members with Sal Angelica, 1944. Courtesy Sal Angelica. Image subject to copyright laws. Please do not appropriate.
Growing up in the slums of Manhattan I had never dreamed that I would have left Broadway to live in Las Vegas, Nevada for the past 56 years. Las Vegas has been very good to me. I kept my two-bedroom apartment on 50th Street and Broadway for over 2 years sublet and got burned many times, but with the rent only being $72.00 a month, I could live here and still afford to maintain it.
What do you think is the biggest sacrifice a dancer makes for their profession?
As far as I’m concerned there was never any sacrifice – only pluses adding to my life. Once again, be diligent, work hard at what you do and be kind. You will then succeed.
Is there anything you would like to relay in this conversation that we haven’t yet covered?
I have been around and have worn many different hats. It is definitely a bore being retired and having lots of free time, but being a homeowner, there is always something around that needs to be done. Between taking care of all the plants, the hummingbirds (who stay year around), it keeps me pretty busy. That and all the doctor visits.
Watch Sal Angelica and Lili Belle Lopez in conversation with Head of Special Collections, UNLV, Su Kim Chung at Clark County Library District. Lou Walters’ World Famous Latin Quarter, Donn Arden, Las Vegas, and more.
I do participate in a lot of the University of Las Vegas Special Collections Department’s events. Su Kim Chung asks me to speak about working The Strip and sharing experiences. I am her go to person. Of course, I love every minute of it.
This is the final installment in this three-part article series which was edited in collaboration with Sal Angelica and the John Hemmer Archive in 2022. It is based on Sal’s lived memories and memorabilia from his career spanning many decades.
To read the first installment of this series, please visit: https://www.johnhemmerarchive.org/a-dancers-life-meet-sal-angelica-part-i/
To read the second installment of this series, please visit: https://www.johnhemmerarchive.org/a-dancers-life-meet-sal-angelica-part-ii/
The John Hemmer Archive’s The History of An Era, documents single and multipart articles to bring lived experiences of the nightclub era to light. This is the second installment of a three-part series on performer Sal Angelica, who began his life and career in New York City before traveling abroad and eventually landing in Vegas. To read part I, please visit https://www.johnhemmerarchive.org/a-dancers-life-meet-sal-angelica-part-i/
Paper program: Casino de Paris production, program cover, Dunes Hotel, Las Vegas, NV, 1965. Courtesy Sal Angelica. Image subject to copyright laws. Please do not appropriate.
JHA: In 1965 you travel to Las Vegas where you joined Casino de Paris at the Dunes Hotel. This was your move from the east coast to Vegas.
SA: A good friend of mine, Candy Raye, was working in Las Vegas and kept trying to persuade me to come out here to find work. I was always employed in New York City and couldn’t see why I would go there without having a job or prospect of one.
Another friend, Jimmy Weiss, who I worked with in Fade Out – Fade In on Broadway in ‘64, had just signed a contract with Donn Arden for a show at the Desert Inn. He was also coaxing me to try Las Vegas. Once again, I thought, “Why?”. Then Jimmy called and said that Ronnie Lewis was in New York City looking for dancers for the Dunes Hotel’s Casino de Paris. I had worked with Ronnie at the Latin Quarter in New York back in ’59. Jimmy suggested I give him a call, so I did and mentioned that I was not 6 feet tall, just 5’10”. Ronnie said I was a good dancer (what every dancer wants to hear) and to come to the audition. I was offered the job with the condition that I make just a six-month commitment. Ronnie agreed. Two years later I went back to New York City to close-up my apartment that I had been subletting for $72.00 a month. 57 years later I’m still here [in Las Vegas] and love it.
Candy Raye and Jimmy Weiss changed my life for the better, forever, by convincing me to try out Las Vegas.
Photographic slideshow of the Casino de Paris production from the Sal Angelica Collection.
You’ve mentioned differences between working in New York versus Las Vegas. One of those differences being union support.
Paper poster: Juliet Browse as Mame, Las Vegas, NV, circa mid-1960s. Courtesy Sal Angelica. Image subject to copyright laws. Please do not appropriate.
All of the unions in New York City were there to help and benefit the actor, as well as management, whether It was AEA, AGVA, SAG, SEG or AGMA. They had everything under control and if you had to do anything out of the ordinary you were paid extra for it. In Las Vegas – nothing. Later on, the stagehands and musicians were represented by unions. If an Equity (AEA) show came into town, they were covered by them.
For example, When the book show Mame, starring Juliet Prowse, came to Vegas, John Bowab, the producer, realized the show would be performed seven days a week and that was against AEA rules. To remedy this, it was decided to hire additional dancers from New York City.
My good friend, Candy Raye, was invited to see the opening night performance by the gal that put the show together and quickly said that it was not necessary [to go to New York for dancers] because there are many good dancers in Vegas with Broadway credits. That’s where I came in. Candy, who I affectionately call “Miss Mouth”, gave them my name and John called and offered me the job on her recommendation. That’s also how I got to do Juliet’s [Prowse] act for many years.
Casino de Paris was produced and directed by Frederic Apcar and opened around 1963. It was the first Casino de Paris production to get licensed outside of France and mounted in a newly constructed showroom at the Dunes. How did you come into it?
In 1965 I was flown to Milan, Italy to join the cast. The new show was rehearsed and set there. We all stayed at the same hotel and rehearsed in the ballroom. We were all on call in case Ronnie got frustrated or tired of working with a group that wasn’t coming through for him. The only thing we couldn’t work on was the octuramic stage. It was in Las Vegas. An eight-armed disc stage that moved all over the place. It was a terrific piece of artwork and wowed the audience.
Photographic print: Production still, dancer Sal Angelica foreground, third in from right, Casino de Paris production, Dunes Hotel, Las Vegas, NV, 1965. Courtesy Sal Angelica. Image subject to copyright laws. Please do not appropriate.
This was the first time you reunited with Ron Lewis since the Latin Quarter. There were other performers on this from the Latin Quarter as well.
Francois Szony and Nancy Claire were the featured act in the show [also performed many times at the Latin Quarter]. There were several headliners, but none that anyone would call “stars”. Larry (Lawrence) Merritt was also front and center all the time. He didn’t stay. I think he thought that Ronnie should have featured him more and so he just moved on. That opened up the door to have Ronnie use me as his lead dancer in the following jazz production, which would have been Larry’s if he had stayed. My gain this time. Thanks.
Photographic print: Publicity image, dancer Sal Angelica & Virginia Justus pose for the Folies Bergère production at the Tropicana Hotel, Las Vegas, NV, 1967. Courtesy Sal Angelica. Image subject to copyright laws. Please do not appropriate.
1968 and ’69 kept you busy. An Ed Sullivan CBS special telecast live from Circus, Circus, directed and choreographed by Michael Bennett, Jerry Jackson’s Folies Bergère at The Tropicana Hotel and Barry Ashton’s Wonderful World of Burlesque at the Silver Slipper.
We rehearsed for one week and for one live performance on January 1st, 1969, for the CBS special. I partnered Gina Lollobrigida singing Walking Happy. Our billing was “Gina Lollobrigida and dancers.”
At the end of 1967 I joined Folies Bergère for a brief stay. Dave Johnson was the company manager, Ruth Christensen, the show captain, and the choreographer was Jerry Jackson.
They asked to see me after watching the Dunes’ Casino de Paris show. I had never met any of them before and I was asked if I would consider being Jerry’s lead adagio dancer in a new number that they were putting into the show. It was a French Quarter, New Orleans themed number. I partnered Virginia Justus and Billi Buche’ on a 5-foot table-top and she had never done adage work before. I also had to be filtered into the existing show.
There was a comedy routine that was very slapstick at the end of the number. I was captured and shot out of a canon. I was on a tether and flew out over the audience and back. All went well until the guy who was my counterweight had his night off and the person replacing him weighed less than I did. I hit the deck going out, which caused me to spin and hit it again when I returned. That was very scary and I complained. As I mentioned before, there were no unions here back then. I called Penny Singleton (from the television show, Blondie) who was the AGVA president in New York City at the Time. She came out and saw what I was complaining about but could do absolutely nothing about it. Then they fired me. My standby refused to go on as well. They chose someone else to do it. As for me, no big deal. I went straight into Barry Ashton’s show at the Silver Slipper and was never unemployed.
Photographic prints: Publicity images, dancers Sal Angelica & Mikki Sharait, Wonderful World of Burlesque production, Silver Slipper, Las Vegas, NV, 1967/68. Courtesy Sal Angelica. Image subject to copyright laws. Please do not appropriate.
This is where I was lead dancer and partnered Mikki Sharait in Wonderful World of Burlesque at the Silver Slipper’s Gaiety Theatre. Mikki had never done adage work before, but she was a trooper and would do anything to be the star. Barry loved her and was a great help, even giving us a couple of lift pointers. He was a very nice man to work with and we all loved him.
Photographic print: Wonderful World of Burlesque producer, Barry Ashton with dancers Mako Ohta, Sal Angelica, Candy Raye, Silver Slipper Casino restaurant, Las Vegas, NV, 1968. Courtesy Sal Angelica. Image subject to copyright laws. Please do not appropriate.
During this time and into 1969, you went to Los Angeles where you danced in several variety shows of the day.
For The Smothers Brothers, I commuted each week. If we didn’t have a number in an episode, we didn’t have to be at rehearsals until Wednesdays. We’d tape on Fridays. The credits were always “live action”. If we did have a number that week, we had a 10a.m. rehearsal call on Mondays. I always stayed with friend and choreographer, Claude Thompson while I was in LA.
Even though the show had earned many, many, awards for new and creative stuff, CBS felt that the context of the show was too political, which it was. Very much so. They made fun and mockery out of lots of rules, and it was not appreciated by most.
The guests were terrific, and the choreography was brilliant. Ron Poindexter even received awards and lots of fun times were had by all of us. Tom and Dick were not overly friendly, but nice to us and easy to work with.
Our closing number for the last Smothers Brothers was a big to-do. The costumes were very basic, but elegant. Black jumpsuits with white ruffled shirts and red bolero jackets with black jet studded accessories. One of the girl dancers (Sam) asked if we could keep them. I think Tom and Dick were so angry [from getting] fired, they said, “Yes!”. I still have mine.
One thing that amazed me was when I received residuals for the show from being aired again. That was a shock and a nice surprise.
Photographic prints: Carol Burnett signed headshot, Hollywood, CA, circa late 1960s/early 1970s. Carol Burnett & Sal Angelica, The Carol Burnett Show reunion, Hollywood, CA, circa 1990s. Courtesy Sal Angelica. Images subject to copyright laws. Please do not appropriate.
When we were cancelled, I went directly to The Carol Burnett Show on the Monday after our last shoot of the Smothers Brothers that Friday. There were only two more episodes to shoot for The Carol Burnett Show for that season.
Decades later, I attended a get together for the show’s 33rd year reunion on stage 33 at CBS. Stan Mazin (another regular on the show) called to let me know that there was just one ticket left. He asked if I wanted it. of course, I did. it was terrific seeing all those people after all that time.
The variety shows included a couple stints on The Dean Martin Show where you partnered Juliet Prowse and Ginger Rogers.
While doing Juliet Prowse’s act, I found out that she was going to be on The Dean Martin Show – her business manager Mark Mordoh never mentioned it, or ever got us (her dancers) any work. Jaime Rogers, who I knew, was the choreographer. I called him and he hired Michael Darrin (also in her act) and myself to help with partnering her. I’m sure that made Juliet feel more comfortable with two of her guys being there. Jaime asked us if we would stay for the next episode to partner Ginger Rogers. I stayed on, but Michael didn’t. I can say that Fred is not the only one that has partnered Ginger. I am lucky to have it taped for posterity on a DVD.
Photographic prints: Scrapbook page, backstage photographs, Jonathan Wynn, Connie Stevens, Sal Angelica, Connie Stevens’ act, touring/various venues, circa early 1970s. Courtesy Sal Angelica. Images subject to copyright laws. Please do not appropriate.
Around this time, you joined Connie Stevens’ act.
Claude Thompson asked me to do Connie Stevens’ act. Joe Layton directed, and Hugh Lambert choreographed. I had previously worked with Hugh on The Ed Sullivan Show in New York City. Connie and I were the token whites (she even made a joke of that). Jerry Grimes, Cheryl Weinberg, Frances Davis (aka “Elizabeth Taylor/her real name, later married Miles Davis) and I had the best times together. Connie who is also from Brooklyn, New York, was a dream to work with.
We played at the Flamingo Hotel here [in Vegas] and the Crystal Room at the Desert Inn, the John Asquagas’ Nugget in Reno; the Palmer House in Chicago; The Persian Room in the Plaza Hotel in New York City. [The show] had several very funny opening comedic acts. When working at the Flamingo at night, I was also doing two afternoon shows of Geisha’rella, [a topless revue of Japanese women] at the Thunderbird hotel in black mask.
Photographic prints: (Left) Dancer Sal Angelica, Connie Stevens, performer. (Right) Connie Stevens & cast, backstage, Connie Stevens’ act, tour, c. 1970s. Courtesy Sal Angelica. Images subject to copyright laws. Please do not appropriate.
You followed this with another Claude Thompson production, Flesh. This was in August of 1969 and first staged at the Bonanza Hotel. This was followed by a run at Caesars Palace and then to King’s Castle Hotel in Lake Tahoe.
Paper ad: Newspaper advertisement, Flesh and Flush productions, Bonanza Hotel, Las Vegas, NV, 1968. Courtesy Sal Angelica. Image subject to copyright laws. Please do not appropriate.
Flesh at the Bonanza Hotel was an XXX rated show. Claude had done some outrageous stuff with us. Line Renaud, who was from France and producing the show, loved all of it. During the photoshoot my only costume was an elastic g-string to cover myself and Claude stopped the shoot to have me take it off – saying that I can still see it, snickering all the time. He was ***bad*** but great. We were back-to-back with another production, Flush, at the Bonanza Hotel, which eventually became the MGM Grand. Then it was Bally’s. Now the Horseshoe Las Vegas.
Newspaper clippings: Photographic images, (top, left to right) dancers Sal Angelica, Tulsa, Don Stoms Vic, (bottom) Don Stoms Vic, Tulsa, Sal Angelica, Flesh production, Bonanza Hotel, Las Vegas, NV, 1968. Courtesy Sal Angelica. Images subject to copyright laws. Please do not appropriate.
After the Bonanza, Flesh moved over to Caesars Palace, but when it closed there, I was asked to go with the show to Lake Tahoe at King’s Castle in Incline Village. It was to open the hotel and there were celebrities there (including Lana Turner), but they were going to cut my salary. Of course, that did not set well with me. I went to the company manager. who was once a performer/dancer and complained. He said that he would then only use one lead dancer (there were two of us). I knew this was wrong so I called Claude knowing his contract stated that the show would have to stay as originated. They hired two others, but one of the dancers had an accident (drugs) and couldn’t open the show. By the time they had called me, I couldn’t make it. I was literally watching the last flight to Reno take off from Las Vegas. Wanting to keep Claude’s work exact, I offered to teach the guys the routines gratis. When I got there, the choreography had changed to the point that it was all messed up. I spent the next day learning all of the new stuff.
By the way, meeting Lana Turner was a trip. We met on the beach and she was just another grandma looking person. We had a few drinks, not too much. I had to work that night. I had met her assistant too and we organized a meeting between shows. Lana never showed up so we planned on meeting after my second show. still no Lana, but as we were having a drink, and suddenly this fabulous image passes by. She had pulled herself together and was the gorgeous star that she always was. She wanted to go to the Cal-Neva hotel, so off we went. Let me tell you, I was in heaven – jitter bugging with the one and only- Lana Turner. Yeow mama!
In this period, you worked with Lorna Luft’s act as well.
Once again, Claude Thompson hired me. In the Lorna Luft act he paired me with Harvey Cohen. It was very Do-Whop/Afro-Cuban style. Later on, choreographer Walter Painter added some of his stuff. That was sacrilegious to alter or change any of Claude’s work, but it happens. We never could figure out why Walter was ever brought into the picture. Lorna was lazy and had a Brat Pack attitude, but of the three of them [Judy Garland’s children], Lorna had the best voice. Not the charisma as Liza [Minnelli] did, or the charm of Judy, but talented. Lorna could not only sing well, but dance and was very comedic, thanks to her mother.
Gene Palumbo was our music director and conductor. He also worked with Judy Garland.
Photographic print: Production still, dancers Sal Angelica, Lorna Luft, performer, Lorna Luft act, tour, 1972. Courtesy Sal Angelica. Image subject to copyright laws. Please do not appropriate.
In 1972 we opened for Danny Thomas at the Sands Hotel in Las Vegas. Then we went on to the St. Regis hotel’s Maisonette [Russe] in New York City, The Palmer House in Chicago, The Fairmont Hotel in San Francisco in the Venetian Room and somewhere in Ft. Lauderdale.
While in Florida, we were invited to go out on a yacht Lorna called Sid Luft (her father) to ask if it was okay for her to go. She always called to consult with him about anything. We met Lorna’s Aunt Jimmy too and had a great after-hours night of singing around Gene as he played the piano. Jimmy, Judy’s sister sounded just like Judy. It was eerie.
Liza, who showed up occasionally never talked to anyone and never joined us. With Lorna, however, we spent a lot of time listening to “Mama stories” that were hilariously funny. Most of the family were already in the public eye and considered [to display] strange behavior. It was about a 3-to-4 month engagement, and a terrific time.
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Photographic print: Dancer Francine M. Storey, in costume, Age 10, Van Nuys, CA, circa 1950s. Courtesy Francine M. Storey. Image subject to copyright laws. Please do not appropriate.
I was a 14 year-old dancer living with my family in Long Beach, California when I was invited to join the Long Beach Civic Light Opera Company, which was a semi-professional organization at that time. I was thrilled. Not only did I get to dance, but as the youngest member of the company, I was lovingly taught by the older members how to build scenery, sew costumes, apply my own make-up and do my own hair. The beautiful older dancer who helped me with my hair styling had long blond hair down to her waistline and she was fond of saying, “Your Hair Is Your Crowning Glory!” How true it was and is.
Yes, all performers know that hair style is an important part of both our personal appearance and our professional Look. However, while a personal hair style may last years, our professional look changes for every show. At the highest professional level of the Performing Arts, namely Broadway, Opera, Nightclubs and Ballet, HAIR STYLISTS are responsible for the hair look of the production and they style the hair for stars and soloists. The chorus members are usually coached by the stylists on how to achieve the hair look themselves, and/or are helped by the wardrobe staff. Instructive drawings are often taped to dressing room walls.
Photographic prints: dancer Francine M. Storey, backstage, in costume, To Broadway With Love production, 1964 New York World’s Fair, Flushing Meadows Queens, New York, 1964. Courtesy Francine M. Storey. Images subject to copyright laws. Please do not appropriate.
Sometimes, performers are required to wear wigs. As a New York City dancer, I wore wigs both at the 1964 New York World’s Fair extravaganza, To Broadway With Love and at the World Famous Latin Quarter nightclub. But, generally, my hair, both personal and professional, was my responsibility. I was always armed with electric curlers, regular curlers, curling irons, rubber bands, hair spray, shampoos, combs, brushes, hair pins, bobby pins, styling gel, hair pieces and scissors. I was an expert at doing my own ballet buns, French rolls, pig tails, pony tails, pixie bangs, flips, spit curls, big curls and long sexy hair styles – à la Veronica Lake. At one point, I was ironing my hair on the ironing board trying to make it hang straight. Whatever worked at that moment. Whatever would get me the job. Whatever would help me keep the job.
Photographic print: Dancer Francine M. Storey, Headshot, New York, NY, circa 1960s. Courtesy Francine M. Storey. Photograph by Martin. Image subject to copyright laws. Please do not appropriate.
However, all of my personal hair tricks were not necessary when, in 1966, I became a Copa Girl at the legendary Copacabana nightclub. The Copa required that all Copa Girls wear The COPA HAIR do, which was hair swept up into large, round and firm curls on top of your head affectionately called a Beehive.
Scrapbook page: Photographic print & nightclub flyer; (top) Francine M. Storey (Standing, 2nd in from right) & performers, in costume, backstage, the Copacabana nightclub, New York, NY, circa 1966s. Image subject to copyright laws. Please do not appropriate.
To maintain this glamorous hair style, The Copa sent us everyday, all expenses paid, to the Larry Matthew’s Beauty Salon at the Great Northern Hotel on W. 57th Street. Larry Matthews was New York City’s famous chain of 24 hour a day beauty salons. In the city that never slept, they never closed and since they never closed, there was never any rush unless you were rushed.
Refreshments were served. No matter what time you arrived, the stylists embraced you. They looked at you. They discussed your hair color. Mine was a dark brunette. They discussed your eyebrows, but since Liz Taylor didn’t pluck her eyebrows, I didn’t pluck mine. They discussed your eye make-up and eyelashes. How can your eyes look bigger? By wearing double eye lashes and extending your black eyeliner out towards your temples. They discussed your lips. What could be done to enhance them? No Botox then. Try Revlon’s Fire and Ice lipstick outlined with a darker color and made more luscious by a provocative lip gloss. Stylists massaged your head, shoulders, back, arms and hands and they gossiped! “Where did you go in-between shows? Did you go to Danny’s Hideaway or the Playboy Club or Jilly’s? Where are you taking Dance Classes now? June Taylor, Richard Thomas, Ballet Arts, Luigi’s or Matt Mattox. Who are you dating? Anyone new? Is he attractive in all the right places? Is he married or single and, most importantly, is he rich? Does he pick you up in a limo? Does he give you cab fare? Or is he your high-school sweetheart?”
Photographic print: Dancers (from foreground) Susan Sigrist; unknown; Juanita Boyle; Francine M. Storey; unknown, dressing room, Minsky’s Follies, Marine Dining Room, Edgewater Beach Hotel, Chicago, IL, circa 1960s. Courtesy Francine M. Storey. Image subject to copyright laws. Please do not appropriate.
My own personal stylist was an extremely handsome blonde guy named Sergai. He lavished enormous amounts of time on my curls. He slowly wound each curl on his magical fingers and placed it carefully on top of my head. It took me years to realize that he was probably stoned. Sometimes, after a wash, I sat under the big metal helmet hair dryers and closed my eyes while having my fingernails and toenails manicured. Notice I said, “under the dryers” because blow drying hair in salons was still a novelty. One Copa Girl thought it was a dirty joke. “Hey,” she said, “did you hear that they’re ‘blow drying’ your hair in the Village!” Anyway, the whole experience at Larry Matthews was heavenly. I relaxed. I stopped worrying about my future and when I would meet Mr. Right, I became addicted. I was convinced that if I went to the beauty salon, everything would be ok.
After my stint at The Copa ended, I continued to go to Larry Matthews Beauty Salons for the rest of my theatrical career and beyond. Larry Matthews helped me to get jobs on Broadway, at Jones Beach, in Minsky’s, in TV Commercials, at Hair Shows and exercise studios and even at Bloomingdales spritzing perfume. True, it wasn’t free anymore, but it was always reasonable. And it was always relaxing. No therapists needed. At one point, I even sported a fashionable Afro but the perms took a toll on my hair. At another point, I cut my hair very short in the Gamine style inspired by the famous French Ballerina, Zizi Jeanmaire.
Photographic print: Dancer Francine M. Storey, backstage, costume, Lou Walters’ World Famous Latin Quarter nightclub, New York, NY, circa 1960s. Courtesy Francine M. Storey. Image subject to copyright laws. Please do not appropriate.
As the years went by, Larry Matthews salons began to close down as other trendy hairdressers and salons came onto the scene. I occasionally modeled for stylists at these new salons and got a reduced fee, or a free haircut. But one memorable day, I went to a salon which had advertised for models and I was rudely rejected. They said that I didn’t have the right type of hair for them, and it was then that I quietly realized that I was no longer a Copa Girl or a Latin Quarter showgirl or any kind of “Girl” at all. I was a middle aged woman. True, I was still getting my color done at the Revlon labs for free, but they always allowed for an age range. Other older show-biz types were going to beauty schools, which always needed customers. I went and they were fine, but it was hard to get an appointment when you needed one. Finally, after getting married and divorced, I got a very good job at the Metropolitan Opera where I worked long hours and I needed to find a Beauty Salon close to Lincoln Center. Enter SUPERCUTS! They were courteous, efficient and cheap. They weren’t relaxing, but then, I didn’t have time to relax anymore. However, because of intensive competition, they too began closing their doors.
Well, I’m retired now and entering my 8th decade and the Crowning Glory of my hair is, as the poet TS Eliot said, “growing thin.” It also grows very slowly. So slowly, in fact, that I only need go to the beauty salon three times a year. And, because of the Covid lockdown, my old salon closed down, but my stylist, Jolie, moved to a great new salon on Columbus Avenue that has an astounding decor of white marble floors, mirrored walls and a diamond disco ball hanging from the ceiling. Pure glitz! But, in spite of its disco atmosphere, most of the cliental are over 40. Jolie is a lovely woman with children, but I rarely discuss my past with her because I’d have to explain too much. And it’s not relaxing. You must arrive exactly on time and leave exactly on time. That means only one hour for shampoo, cut, and blow dry. Thank god, there’s always some kind of gossip! Last visit, Jolie told me that the shiny long black hair of the younger woman sitting next to me was all hair implants and had cost a fortune. I was stunned. Of course, my appointment isn’t free either. The salon’s prices are average by today’s standards but still, with tips, it comes to almost $100.00. And, if I decide to change my color to platinum grey, it will be another $100 or more!
Digital photograph: Dancer, Writer, Francine M. Storey, Greenwich Village Film Festival, New York, NY, 2018. Courtesy John Hemmer Archive. Image subject to copyright laws. Please do not appropriate.
As the new age gurus teach us, I do have choices. I occasionally use some of my old personal hair tricks and cut my hair myself. It doesn’t look too bad, but I’ve lost my knack. Or I could bus it over to the last SUPERCUTS in town where the senior rate is $26.46 plus tip, or I could join another retired friend who goes to a salon in Chinatown where the whole process of wash, cut and blow dry, which was $28.00 plus tip has now inflated to $36.00 plus tip. Very cheap, but cheap doesn’t work for me anymore. Too much running around wears me out and I still need a little touch of glamor. What I need is to find an inexpensive fashionista beauty salon where I can hang out, and just for a while, relax and get lost in a dazzling reverie of handsome beauticians, big curls, dance classes, singing classes, dressing rooms, double eye-lashes, French-cut leotards, g-strings, pouty lips, sequined costumes, body paint, rhinestone jewelry, live music and dancing in the bright lights for happy audiences. Because, in spite of being a senior citizen, I’m still a Copa Girl at heart.
This article was written by dancer, writer, Francine M. Storey. Copyright June 28, 2022. To learn more about Francine’s life and career, watch her oral history video here.
Having enjoyed an illustrious and long career in musical theatre, dancer Sal Angelica’s list of credits are lessons in performing arts history. His story began at a time and place of artistic fervor in America, and in particular in New York City.
Sal, you’re currently living in Las Vegas where you have worked many shows, but you began life on the east coast.
Photographic print: Sal Angelica portrait, 1942, New York, New York. Courtesy Sal Angelica. Image subject to copyright laws. Please do not appropriate.
I was born March 22nd, 1940, at Kings County hospital in Brooklyn, New York. My family first lived on the lower east side of Manhattan. I grew up at 42 Eldridge Street. We were in the heart of a very Jewish area, which was also just walking distance from Chinatown at Canal Street and Little Italy’s Mott and Mulberry Streets (lots of Italian feasts!). I recall hearing Connie Francis singing on a tenement building fire escape. There were also lots of Polish people living in the area – a real melting pot.
My mother, Jennie, was a single working parent. She and my Aunt Sadie both worked in the Garment District making belts for dresses. Grandpa owned and ran a tailor shop on Flushing Avenue in Brooklyn where my mother and aunt learned how to use a sewing machine. My Aunt Sadie could sew anything from chiffon to burlap and even made hats. My mother, aunt, and cousin, Jenny (same first name as my mother’s), always had the latest styles for themselves through my grandfather’s shop. The three were knock outs. They’d get dressed up on weekends to go out dancing. Watching them getting ready was the closest I had ever been to the dance world! At least up until that time.
At twelve years of age, I wanted a gold cross. Knowing the only way that I could get one was to work and make enough money to pay for it myself. I swept and mopped five flights of tenement stairs and halls.
Photographic print: Sal Angelica with mother and God Father, Paul Fabian, Confirmation Day, Brooklyn, New York, 1948. Courtesy Sal Angelica. Image subject to copyright laws. Please do not appropriate.
When I was sixteen, my mother’s girlfriend Helen, and her family had moved to Flatbush Avenue in Brooklyn. Helen was mom’s friend since the Eldridge Street days. She and her husband were super intendants and needed supers for the adjoining twin building. We took the job which included free rent, as long as I was willing to do all the work needed such as collect the garbage, whitewash the basement walls, sweep and wash the halls, change out the screens and more. I did all of it.
As far as dance classes, my mom was all in favor of it if all my chores were done. She never paid for any classes or instructions. I took two jobs to be able to afford it. This schedule required a lot of juggling because I was still going back to Manhattan every day to finish out my school year. Erasmus Hall High was a very prestigious school, and I didn’t want to start at a new one in the middle of the year.
One morning as I was heading to the subway, I ran into a woman named Judy Filingeri, who lived in my building. She was very- pregnant and asked me if I would make sure she got to the train on time since we took the same one. That was the beginning of a very nice relationship. While doing my daily chores, Judy and her husband would invite me to dinner as a “thank you”. Her husband, Sal, was a butcher, so I was in heaven. Judy also corrected my very bad English, which I am extremely grateful for to this day. We would always joke about who was “Big Sal” – Judy’s husband, or me. He was older, but I was taller!
Who were your early influences that steered you toward a career as a performer?
Most dancers say they were inspired by Gene Kelly or Fred Astaire, but for me it was Gene Nelson and Gower Champion. I loved the way they partnered and danced with the ladies, making themselves and their partners look so good. Don’t get me wrong, Gene and Fred were terrific – FYI, Fred is not the only one who partnered Ginger Rogers {See Ginger Rogers on The Dean Martin Show). My real early influences, however, are watching my mother, Aunt Sadie and cousin get gussied up on the weekends to go out. Their excitement and glamour intrigued me about the nightlife world.
Photographic print: Sal Angelica, his Aunt Sadie, Cousin Jenny, and her daughter Jenny. Ben Maksik’s Town & Country Club, Brooklyn, New York, 1959. Courtesy Sal Angelica. Image subject to copyright laws. Please do not appropriate.
When I was sixteen years old though, it was 1956 and I began to emulate what I was seeing in the movies. On the way home from seeing a musical, I would jump over puddles, not ever realizing that I was doing jetes. I didn’t know the word yet, or even “pirouette”, but I was soon to learn.
Photographic print: First dance partner, Rosemary with Sal Angelica, the Little Theatre School, Brooklyn, New York, 1957. Courtesy Sal Angelica. Image subject to copyright laws. Please do not appropriate.
You studied at the Little Theater School with Allan Byrnes. What prompted that?
I was always dancing the Jitterbug and the Lindy with the girl next door, Geraldine Chalupa on Eldridge Street. On 21st Street in Brooklyn it was with Sheila Katz. Sheila had two girlfriends and the four of us would walk home from Erasmus Hall High School together, which was just two short blocks from our house when we were on East 21st. One day one of the gals asked if we could stop at the Little Theater School. It was directly across the street from our Erasmus. She wanted to see what it was all about. There we met Allan Byrns who sold us all on taking classes. I was the only one that continued there, however. To this day we are still very close friends. I am happy to say that Allan Byrnes’ claim to fame is that he taught me as a performer. He’s very proud of what I’ve accomplished and that it started with his teachings. I studied for two years with Allan. Then when he left to do a show, I realized that the gal that replaced him was teaching what she had learned earlier in the day from Manhattan choreographers. I didn’t particularly care for her and wanted to learn firsthand, so I went to the June Taylor School. There I learned from terrific dancers and choreographers one-on-one.
Photographic print: Sal Angelica and companion, Naomi, New York, NY, 1957. Courtesy Sal Angelica. Image subject to copyright laws. Please do not appropriate.
What was your first taste of performing before an audience? Was this at Kiamesha Lake in the Catskills, or was there something before that?
I had met Rosemary Gabrielle in Allan’s class and he partnered us up. I was hooked. I loved it. On June 18th, 1958, I did a show at Temple Beth Emeth in Flatbush, Brooklyn. Dancing with her was my debut. On December 14th, 1958, we did the Tango and a modern jazz number for the Bensonhurst Jewish Community Center audience in Bay Parkway, Brooklyn. There were other local performances but Kiamesha Lake was my first paid job.
If you’re curious as to how I remember all this stuff, it’s because I have scrapbooks of everything that I’ve ever been involved in. 50+ would be a rough guess. From all the opening night congratulations telegrams (thanks to family and friends) to productions stills, programs, and my own personal photographs of life on and off stage.
Paper program: Center page detail, Sky High production, Lou Walters’ World Famous Latin Quarter Nightclub, New York, New York, 1959. Courtesy John Hemmer Archive. Image subject to copyright laws.
Moving chronologically, we’re now in 1959. You’ve been cast in Donn Arden’s production of Sky High at the Latin Quarter in New York City. Will you describe how that came about? Do you remember what your audition was like?
Copy of photographic print: Dancers Rudy Menchacka and Sal Angelica backstage in costume, Sky High production, Lou Walters’ World Famous Latin Quarter, New York, NY, 1959. Courtesy Sal Angelica. Image subject to copyright laws. Please do not appropriate.
Auditioning for Donn Arden‘s Sky High at the Latin Quarter nightclub was an experience I will never forget. I had auditioned but was not chosen. He was looking for only one male dancer to add to who he had already cast, Don (Stefan) Zema and Tony Mack, Rudy Menchacka. Donn also asked if I had any hair on my chest. I was very proud to point out the three hairs that I did have. Little did I know he was looking for hairless. Hawaii had just become part of the U.S.A. and the show was a tribute to it the new state. One number included shirtless male dancers wearing Paleos, men’s sarongs.
I not only remember my audition but the first callback as well. I had heard that one should always wear the same outfit when going to a callback, so that they would remember you. While getting ready to go to the Latin Quarter callback, I was ironing my short-sleeved shirt and scorched the arm – not to panic, I just cut off both sleeves – (I may have started a trend), but I was still wearing the same burgundy shirt. I thought that was pretty fast thinking for a beginner.
Donn ended up asking me to come to watch rehearsals just in case he decided to add another dancer. I watched the rehearsals from the overhead catwalk. I not only learned all the routines, but I had a bird’s eye view of the guest magician, Channing Pollock. This gave me the unique vantage of seeing all his tricks! And, as strange as things turn out, Don Zema hurt his knee and was out, and just like that, I was in. It sounds like an old MGM musical story, “Star Injured, Understudy Goes On!”
There are a few dancers I worked with at the Latin Quarter, I would go on to work with again and again. In fact, Latin Quarter dancers Don Zema and Lynne Londergan now live in Las Vegas. We still see each other often.
What were Donn Arden and Ron Lewis like to work with at this stage in their careers?
Copy of photographic print: Sal Angelica backstage in costume, Lou Walters’ World Famous Latin Quarter nightclub’s Sky High production, New York, NY, 1959. Courtesy Sal Angelica. Image subject to copyright laws. Please do not appropriate.
Back in 1959 Donn Arden was fine to work with. We had daytime rehearsals and his assistant Bonnie [Bonnie Hunt] was the person we dealt with, and of course Ronnie Lewis. Since we had no dinner breaks, there were no aftermaths of Donn’s “two martini” ranting and ravings he was later known for. He was ok to work with on Sky High. He must have gotten more ornery as the years went by working with different people and situations because my experience with him in Vegas was something else.
Ronnie [Ron Lewis] did all of the choreography and was brilliant as usual and his gimmick at the time was having us use split bamboo reeds in setting the number. It was very Hawaiian, slapping our bodies and the floor in rhythms, while wearing only Hawaiian pareo’s. During rehearsals everything was fine, but when we took off our shirts for the performance, the split bamboo would cut razor slices into our bodies. He didn’t change the choreography, we had to just learn not to hit ourselves as hard.
Ronnie was never a dancer in our show, even though he’s listed as one in the program. When Don [Don Zema] got hurt Ronnie filled in for him for a few performances.
The opening number was Sky High, and we were supposed to be aviators. The second was a gypsy number. It was a very Russian type number performed to Ochi Chornya. The finale was the tribute to Hawaii with no specific music.
There were headliners and special guests for every Latin Quarter production. The Sky High program lists the acrobatic troupe, the Gimma Brothers, the illusionist Channing Pollock, and well known comedian Shecky Greene.
I don’t think that Shecky Greene ever said hello to any of us, maybe the girls, but he was a good comic. Channing Pollock was very warm and open. His wife was his assistant in the act. She was a beautiful blonde that wore a dark brown bubble wig during the performance so as not to take away from him. The Gimma Brothers were really brothers and worked a lot in Vegas.
Copy of newspaper clipping: Review of Lou Walters’ Latin Quarter nightclub’s Sky High production by Lee Mortimer, New York Mirror, New York, NY, October 11th, 1959. Courtesy Sal Angelica. Image subject to copyright laws.
What were the audiences like at the Latin Quarter? Reviews hint that Sky High, was a hit. The Latin Quarter was still a big draw and productions were continuing to be more lavish.
The Latin Quarter audiences were very receptive, especially the males seeing girls on stage for the first time wearing pasties – a real- eye opener! In Donn’s productions there was always water involved – either waterfalls, boats sinking, or floods with dams breaking. At the Latin Quarter there was a rain trough around the front of the stage. Sometimes female patrons sitting at tables around the stage would put their fur stoles and coats across the trough. Most times the performers would tell them about it and at other times, just to be ornery, they would laugh as the furs got wet.
Copy of photographic print: Dancer Sal Angelica backstage in costume, Lou Walters’ World Famous Latin Quarter nightclub’s Sky High production, New York, NY, 1959. Courtesy Sal Angelica. Image subject to copyright laws. Please do not appropriate.
You were pretty green to the business in ‘59. Was this your first nightclub gig? What was the working environment like?
Most of the cast was from the previous show and they all knew each other. Being a newcomer, I was left out a lot. For example, when Tony, Lynne and Barbara would come back from their lunch beak they would (as a trio) be wearing the matching t-shirts that they had just purchased, leaving Rudy and I out. We didn’t let it bother us though, or our performance. We took it as them just being buddies.
If you were to describe the Latin Quarter shows, how would you paint a picture?
They was lavish, semi-nude shows with lots of music, costumes, good acts and a very interesting fast paced upbeat scenario. It was often compared to The Copacabana but, it was actually much better. There were beautiful showgirls and girl dancers, as well as handsome, talented male dancers. Yeah!!!
You have attended the Latin Quarter reunions. Who did you work with on Sky High that you kept in touch with over the years?
Tony Franco and Don Dellair were the lead singers at the Latin Quarter [for Sky High production]. All these years I have stayed with Tony when visiting New York City. He had a two-bedroom condo on 57th Street and Broadway and insisted that I stay with him. Of course, I was happy and honored about that, so I cooked for him every night, which he enjoyed. Don never came to any of the reunions, but Marti Hespen did. I believe you’ve met her. As well as Margo Mayor (Margo and I did the 1964 New York World’s Fair). I see Lynne Londergan and Stefan (Don) Zema a lot, since we all live in Las Vegas. Then there was Ronnie Lewis and Donn Arden. They came out here too, and we ended up working together again 15 years after Sky High.
Photographic prints: (Left) Sal Angelica in costume on rooftop of the Mark Hellinger Theatre; (Right) Three dancers including Sal Angelica (foreground) in spontaneous dance from Fade Out- Fade In, exterior Mark Hellinger Theatre, during production, New York, NY, 1964. Courtesy Sal Angelica. Image may be subject to copyright laws. Please do not appropriate.
New York City was a cultural mecca during the 1940’s, ‘50s and ‘60s. How was the performing arts scene in New York City when you were there?
During the late ‘50s and early ‘60s, New York City had a lot of musicals going on, West Side Story was one of the biggest and most enjoyed hit shows. Most of the dancers stuck together – except if you were both auditioning for the same job. You could be walking down the street (you’ve got to remember, I lived on 50th Street and Broadway, right in the heart of the showbiz area) and run into another male dancer. They would never tell you that they were going to a particular audition. You might get the job and not them. Of course, when they saw you at the audition, nothing was ever said. I had a roommate that I met while doing 110 in The Shade. He would always get angry when I was chosen rather than him. I explained to him that we were totally different types, if they were looking for the “all American type” they would choose him, being a blonde with blue eyes and pink skin. If they were looking for a Latin, Greek or Italian type, I would be chosen, because of my dark hair, brown eyes, and olive skin. He eventually did get the fact that it was not his dancing or singing that got in the way.
When I had auditioned for Fade Out – Fade In as a replacement there were three of us left, the other two were carbon copies of the guy being replaced and one of the guys and I even congratulated him. He had done such a good job, but I got the part instead (totally different look). I asked the dance captain who gave the audition, “Why me?” He said that one of the guys was always a troublemaker and he would never hire him (lesson learned). He said as far as the other one went, I was just the better dancer. That always stuck with me. When teaching or working with anyone, I advise to “Just do your job and don’t make problems. Your reputation (good or bad) will always follow you.”
Photographic print: Sal Angelica with dance partner on rooftop of Mark Hellinger Theatre, Fade Out-Fade In Broadway production, New York, NY, 1964. Courtesy Sal Angelica. Image subject to copyright laws. Please do not appropriate.
Other than some natural competitiveness, what was the community of performers like in the early 1960s in New York City? I’ve heard that in some ways there was a greater sense of support among dancers, actors, singers, etc.
Not all of the showbiz community got along. There were some (mostly singers) that were vicious. I was in a show where the dancers shared a dressing room with the singers. Our costumes were what was dividing us, so we could hear everything that went on (one could write a book). Being the newbie, and not really knowing anyone, I just kept my head down and my mouth closed for fear of being verbally attacked. I couldn’t believe the acid mouths I shared a dressing room with. I had the opportunity to work again with one of the same singers when I did Mame with Juliet Prowse. Once again, I stayed clear of him.
We were all striving very hard to find our niche and get jobs to pay the rent. I think that auditioning and getting the show was the feather in our cap and proof that we deserved it. Someone I know put it very well. He said, “Dancers are not judged by how much money we have or what kind of car we drive, but with what shows we’ve done and the people that we have worked with.” Amen. I’m proud to say that there are some people that I very much enjoyed working with and we are still friends and keep in touch.
Living on 50th Street and Broadway was right in the center of all that was showbiz. Not only the theatres, but all of the rehearsal studios and auditioning centers were all within walking distance. Some auditions were at the theatre themselves and others at the studios. Lots of us got jobs from choreographers just seeing us in a class. That’s why we always did our best and worked our hardest, gaining knowledge as we went along.
All the best (i.e Claude Thompson) choreographers taught at the June Taylor dance studios. After an audition (whoever was chosen or not) we would all meet at my apartment. We’d pick up some beer and a pizza – or maybe some sandwiches from Chock Full o’ Nuts, which was on the corner, and party. On the other corner was the Winter Garden Theatre and the drugstore where everyone bought their Max Factor, or Mehron makeup. The store was very busy after midnight when the show-folk would stop to buy make-up and hang out. (Trivia – Milton Berle would stand on the corner for hours joking to anyone who would listen).
Black and white photographic prints: Sal Angelica at Kiamesha Lake with dance partners. Courtesy Sal Angelica. Image subject to copyright laws.
Tell me about the productions at Kiamesha Lake.
Paper program cover: The Boy Friend at Monticello Playhouse, Kiamesha Lake, New York, 1959. Courtesy Sal Angelica. Image subject to copyright laws.
I saw the call in either Show Business or Variety. I auditioned at Variety Arts Studio on on West 46th Street, June 27th, 1959. I got the job, which was at Monticello Playhouse in Kiamesha Lake. We did The Boyfriend (7/20/1959) and Finian’s Rainbow (7/28/1959). I learned about showbiz at Kiamesha Lake. Afterwards, I went back to working my 9-to-5 job as a credit account checker in an office for Burlington Mills.
While at the lake I met the cast of The Jewel Box Revue (JBR). Later on, I would audition for Andre Tayir of the JBR and ended up joining the cast in Chicago in April of 1960. I got there by getting on an airplane. It was my first time flying.
What a terrific experience that was. I was met at the airport by a friend of a friend who drove me to the hotel. My friend was a customer I met while serving at a Pam-Pams restaurant in Brooklyn Heights. They knew this person from Chicago and asked them if they’d be willing to show me around the city when I got there. My tour guide was a radio announcer – he looked nothing like what he sounded – what a shame! Nevertheless, he was a very nice person and very helpful with showing me around the city of Chicago. I then met more of the cast. Ronnie Morales (aka Nicholas Dante of A Chorus Line) and I started an adage act together. He was no light weight either, but we had our own act and spot in the show.
I had a lot of fun and took lots of photos with my little Kodak Brownie Hawkeye box camera. I stayed with the JBR for a year and signed a new contract around the same time I auditioned and got the job for Jerome Robbins’ West Side Story European Company tour. I approached the JBR producers, Danny Brown and Doc Benner and explained the situation. They agreed to let me out of my contract, as long as I found a replacement they approved of and taught the replacement my spot in the show. I did, and we all lived happily ever after. And I flew off with West Side Story to Israel, Paris, Italy, Germany, and Holland!
Paper ephemera: Souvenir patron photograph cover, Ben Maksik’s Town & Country nightclub, Brooklyn, NY, circa 1950s. Courtesy John Hemmer Archive. Image subject to copyright laws.
Before we get into West Side Story, can you expand on the Jewel Box Revue? When you were with them, what venues did you perform at? How were the shows structured and who were some stand out performers?
04-11-1960 Robert’s Show Club (bar), Chicago, IL.
06-01-1960 Savoy Theatre, Asbury Park, N.J.
09-09-1960 Tivoli Theatre, Chicago, IL.
09-30-1960 Royal Theatre, Baltimore, MD.
10-13- 1960 Howard Theatre, Washington, D.C.
10-21-1960 Apollo Theatre, Harlem, New York City
11-11-1960 Ben Maksik’s Town & Country Club, Brooklyn, N.Y.
01-06-1960 Ben Maksik’s Town & Country Club, Brooklyn, N.Y.
My one-year salary at the JBR was $106.50 (it never changed). It was also my first AGVA contract. The show was performed as a revue, so there weren’t any sets or scenery – just one act after another. Everyone had their own “gimmick” – singing or dancing, with Lynne Carter as the star act doing comedy and Pearl Bailey impersonation skit material – and sang a bit too. Tai [James Tai ] did his bamboo rhythm stomping routine. Tai was very traditional with his ancestry and choreography, and we all participated in his act. Ronnie Morales (Nicholas Dante) and I danced to Belle of the Ball. We did lots of lifts – my poor back. And everyone was always involved with bettering themselves. No one ever lip synced. They used their own voices and were terrific – very talented.
Paper program cover: Jewel Box Revue, Savoy Theatre, Asbury Park, NJ, 1959. Courtesy Sal Angelica. Image subject to copyright laws. Please do not appropriate.
Bobby Lake was a trip. Not only was he a terrific dancer, but beautiful in drag, very Jane Russell. But when he left his dressing room with the make-up off, backstage he looked like a truck driver. Magic. Chunga [Chunga Ochoa] was a very mystical sort of performer, always trying something new.
The show was advertised as 25 Men and a Girl. Stormé [Stormé DeLarverie], the emcee/singer was the only female in the show. Everyone had their own spot. Jan Britton did his ballet act in point shoes – on toe. There were six male/male dancers in the show. One of the men has since had the operations and is now a woman. We still communicate, along with a another JBR alumni, after 61 years.
Stormé DeLarverie was a light skinned black lesbian singer who did her act and at the end revealed that she was the only girl in the show. She had a girlfriend that was always with her. I can remember, Storme was very quiet and just came and went doing her job. Nothing more.
(to see more Jewel Box Revue imagery from Sal Angelica’s scrapbook, visit: https://www.queermusicheritage.com/fem-cl82f2.html_)
Paper program pages: Excerpt performance photos, Jewel Box Revue, Courtesy Sal Angelica. Image subject to copyright laws. Please do not appropriate.
In 1960 you joined the European tour of West Side Story. You worked with Jerome Robbins, Alan Johnson, and other notables.
Photograph: German show poster, West Side Story, International Tour, 1961. Courtesy Sal Angelica. Image subject to copyright laws. Please do not appropriate.
I also auditioned for the movie of West Side Story in 1960, choreographed by Jerome Robbins and his assistant Howard Jeffrey (the inspiration behind the character Harold in Boys in the Band). Jerome (I never knew him well enough to call him Jerry) Robbins assisted after hours with auditioning lots of other dancers. I was not kept, however, but as I was leaving (already out in the street), Howard ran after me and said that Jerry wanted to see me again. Jerry put his hand around the back of my neck and said, “A Shark. Definitely a Shark.” At the call back there were hundreds of dancers there from the original production, and every touring and summer stock company cast member. I figured that they must need at least 20+ dancers so I had a shot.
Long story short, I did not get the movie. Acing the Shark choreography was a breeze, however, I guess that I was not strong enough to pass the Jet movements. Later on, I worked with a lot of the dancers that were in the movie who were also in the touring cast I ended up with, such as Yvonne Othon, Marilyn Cooper, Jay Norman, Jaime Rogers, Jerry Norman, Nick Navarro, Andre’ Tayir, and more.
One day the phone rings, and it was Howard asking me if I I would like to audition for the International Touring Company. “I will be there with bells on” was my answer. Again, lots of male dancers showed up at the rehearsal studio, but this time I got the job – handpicked by “JR”, who only showed up on the first day of rehearsal. Later it was Howard [Howard Jeffrey] and Alan Johnson that taught the choreography for the rehearsals, and Alan that had “cleaned us up” when we were in Israel, Paris, Italy, Germany, and Holland. What a terrific trip and on their dime no less.
JR had instilled the attitude that he always shared with the cast – The Sharks and the Jets are enemies. In our cast – The Jets lived that during our everyday lives. It was sad.
Photographic prints: Dance hall scene, West Side Story, International Tour, (left photo) Sal Angelica 3rd in from left clapping hands, (right photo) Sal Angelica in black, foreground, 1961. Courtesy Sal Angelica. Images subject to copyright laws. Please do not appropriate.
Being West Side Story cast members, we were invited everywhere. We were stars in tee-shirts and blue jeans. We (the Sharks) always had a great time. When we left an area and moved on to the next city, we always left a lot of broken hearts. The people we met were wonderful.
Newspaper Clipping: Italian publication highlights Italian American performers of the West Side Story European Tour ,(Left to Right) Caesar Tamborino, unknown, Michael Bennett (back), Marlene Dell, Sal Angelica, Milan, Italy, 1961. Courtesy Sal Angelica. Image subject to copyright laws. Please do not appropriate.
Somewhere in here you worked as a go-go dancer at the infamous Peppermint Lounge.
Being a go-go dancer was a trip – lots of “stage door Johnnies”’ and interesting offers.
I met someone who worked at the William Morris Agency. His name was Ed Limato, and he owned and drove a car in New York City. That was unheard of back then. We stayed friends for many years after I came to Las Vegas and he moved to Los Angeles. He was still with the William Morris Agency. He had a terrific, unfurnished house and a butler.
I had met a dancer, Sally Avena, who also wound up in Las Vegas as part of a lounge act. Fun memories.
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