Steadstyle Chicago July 2010 Theatre History by Joe Stead Chicago Theatre in the 1960's A sampling of the big musicals one could see during the 1960's in Chicago (Left to Right) Florence Henderson in "The Sound of Music," Ethel Merman in "Gypsy," Joel Grey and Julie Newmar in "Stop the World.." and Marilyn Michaels in "Funny Girl". With over 200 theatres in constant operation, it seems implausible to remember a time when Chicago was not a veritable smorgasbord of theatrical treats.  And yet, step back in time about five decades to a time in Windy City lore that Claudia Cassidy, the legendary drama critic of the Chicago Tribune, described as "upside down, backwards and BACK-WARDS!"  Cassidy lamented the state of Chicago theatre in a pretty grim entry in The Burns Mantle Yearbook, The Best Plays of 1960-1961.  And from the looks of it, those numbers revealing a total of fifteen shows playing downtown theatres that season looked pretty paltry in comparison to data provided by The League of Chicago Theatres these days. Remember that these were the days long before regional companies like Steppenwolf turned Chicago into the world-class theatrical city it is today.  Add in the long-established Goodman (which made its debut as a community theatre in the 1920's), Victory Gardens, Chicago Shakespeare, Lookingglass, as well as a bees hive of outstanding Off Loop troupes and suburban thespians and we have a great deal to celebrate and be proud of.  The artistic accomplishments of this city have always stood on their own, and they speak louder today than ever before.  Still, the historian in me has always been fascinated with where we have been and how we got to where we are.  Looking back over my expansive collection of theatre memorabilia is more to me than a way to fill time.  What was it like to be a theatre-goer in Chicago during the 1960's, when Broadway was still experiencing the rosy glow of what we now call its "Golden Age"?  Since most of the dramatic fare to play the Loop in those days was a reflection of what was happening in New York City, let's take a look.  Long before there was an official Broadway in Chicago organization, producers of the hottest tickets on Broadway understandably wanted to spread their jewels out for the country to enjoy.  Stars such as Alfred Lunt, Lynn Fontanne, Maurice Evans, Carol Channing and Julie Harris all knew the benefits of touring.  Take the act on the road and when people visit New York they will remember the stars that visited them.  That philosophy may be old-fashioned to today's thinking, but it succeeded in making household names out of performers who often did without the benefits of film, television and radio.  Today it takes celebrities from TV, screen, sports and pop culture to even get the annual Tony Awards a place on the airwaves, even as its ratings and overall quality seem to plummet to all time lows.  During the 1960's, the legitimate touring houses in the Loop included the Shubert (now Bank of America), Blackstone (now DePaul University's Merle Reskin), the Selwyn and Harris (both razed to make room for the Goodman), the Erlanger and Civic Theatres (long ago victims to the wrecking ball).  Tickets to a major musical like "Bye, Bye, Birdie" ranged from $2.50 for a Wednesday or Saturday matinee to a whopping $7.00 for a primo weekend orchestra seat.  Talk about inflation! In 1961, the great Ethel Merman could be found feet planted firmly on the stage of the Shubert Theatre, tonsils blaring away to the incomparable Jule Styne and Stephen Sondheim score of "Gypsy".  Nearly a decade before she became everyone's favorite "mom" on TV's "The Brady Bunch," Florence Henderson traded her wimple and guitar to become the mother of another famous family singing group in "The Sound of Music".  Henderson was the quintessential Rodgers and Hammerstein leading lady, having toured in "Oklahoma!" in the 1950's and starred in a Lincoln Center revival of "South Pacific".  She was more than up to the challenge of succeeding Broadway's Mary Martin, prompting praise from critics who were less than wowed with the last of the Rodgers and Hammerstein classics.  Claudia Cassidy, noted for her candid and stinging observations, wrote that "Miss Henderson is something more than a pretty girl who can sing.  She is a patrician girl with a lovely neck and hands, and there isn't a phony bone in her slender body.  When she lures the children she does it honestly, for keeps.  When she sings Do-Re-Mi with them she lights up the theatre.  And when she dances the Laendler with the Captain not even a bad book can disguise a true love story."  Glenna Syse, Cassidy's counterpart at the Chicago Sun-Times concurred, after pummeling the show itself.  "The remarkable thing is that (Henderson) has somehow managed to be a la mode on this torte without getting her fingers too sticky." Carol Channing never had to worry about being too sticky, indeed she was the perfect caricature of herself in a career that lasted over six decades and counted only two real signature roles.  The biggest of those was, of course, the title role in "Hello, Dolly!," which Channing brought to Chicago while the original was still racking up dollar signs on the Great White Way.  In fact, it was probably Producer David Merrick's succession of star replacements that kept this lighthearted Jerry Herman tuner running the greater part of the decade.  Since Channing had other touring obligations with the show, the big news in Chicago was who would be her replacement.  That chore fell first to television's "Our Miss Brooks" Eve Arden and then to World War II pin-up and movie bombshell Betty Grable.  Channing continued to tour the role off and on well into the mid 90's, while various companies and a lavish movie deal kept Merrick's accountants smiling happily. Not all stars toured in their original vehicles.  An unknown named Marilyn Michaels assumed Barbra Streisand's star-making role of Fanny Brice in the Chicago run of "Funny Girl," while "Oklahoma"'s original Ado Annie, Celeste Holm coaxed those blues right out of the horn as "Mame".  In Chicago, you could also catch young up-and-coming names such as Dyan Cannon in the touring "How to Succeed in Business Without Really Trying" and Donna McKechnie as the virginal ingénue in "A Funny Thing Happened on the Way to the Forum".  There were the occasional rarities like the rollicking "Fiorello" and the beguiling "110 in the Shade," as well as the hits we all know and love.  And you could still find a good drama, such as "A Raisin in the Sun," "Beckett" and "The Miracle Worker" lighting up the stage as well.  It was during the 1960's that Chicago gave birth to a little phenomenon known as The Second City.  A charming new cabaret venue called The Happy Medium made a splash in 1960.  And there were more stars than you could shake a stick at in summer tents throughout the Chicago area suburbs.  Stars like Hugh O'Brien, Bert Lahr, Vivien Leigh, Steve Allen were prominent and plentiful in Chicago.  All available live on stage for less than we pay today for a movie ticket.  All in all, not too shabby for a decade that may not be remembered fondly for its quantity, but in comparison to what often passes for Broadway fare these days should be unforgettable for what it achieved in entertainment quality.   (Left to Right) Celeste Holm in "Mame," Carol Channing in "Hello Dollly!," Maureen Arthur, Dick Kallman and Dyan Cannon in "How to Succeed...," Jeannie Carson and Biff McGuire in "110 in the Shade".     About Joe Stead Joe Stead has enjoyed a lifelong passion for the theatre, which has involved acting, directing, producing, designing and reviewing for the past twenty-five years.  He served as founder, producer and Artistic Director of Curtain Up Productions in Baltimore, Maryland and Four Star Players in Tampa, Florida.  Favorite productions have included "Life With Father," "Deathtrap," "The Odd Couple," "The Miracle Worker," "Brighton Beach Memoirs," "You're A Good Man, Charlie Brown" and "Godspell".  He has also performed leading roles in "Fiddler on the Roof," "Pippin," "The Phantom of the Opera," "The Front Page," and most recently as Hucklebee in "The Fantasticks" for Waukegan Community Players.  Joe holds a degree in Commercial Art from Tampa Technical Institute.  As a critic, he has reviewed everything from Broadway to community theatre and major regional theatres throughout the United States including the Kennedy Center in Washington, D.C., Paper Mill Playhouse in New Jersey, Goodspeed Opera House in Connecticut, and the Asolo Theatre in Sarasota, Florida.  Since 1998, he has been a proud resident of Chicago, the greatest theatre city in America.  He served for two years as Theatre Editor for College News and Central Newspapers.  He created the website Steadstyle Chicago in 2000 to showcase the city's outstanding and diverse theatre scene.  Joe was proud to serve alongside a distinguished panel of theatre professionals as a judge for two seasons of Speaking Ring Theatre's "Vitality" Festival of original short plays.  His most fulfilling role, in addition to reviewer and all-around theatre fanatic, was as director of the 2007 production of Peter Shaffer's "Equus" at Actors Workshop (now Redtwist) Theatre, which was nominated for five Joseph Jefferson Award Citations and won for Best Actor (Peter Oyloe).