BROADWAY: THE AMERICAN MUSICAL airs on PBS Tuesday, Oct. 19 to Thursday, Oct. 21. Check your local listings.
At age 14, Eaton was the youngest performer in the Ziegfeld Follies, appearing with such legends as Eddie Cantor, Fanny Brice, Will Rogers, and Marilyn Miller. With two sisters and two brothers also appearing in the Follies in the years between 1918 and 1923, the Eatons became a well-known Broadway family. Today, she lives in Norman, Okla. and at age 100. After three years with the Ziegfeld Follies, she owned and operated the nation's largest chain of Arthur Murray dance studios.
Kantor is a director, producer and writer. He is co-author of "Broadway: The American Musical," the companion book to the PBS series, which will be released this fall by Bulfinch Press. His most recent film, "Quincy Jones: In the Pocket," aired in November 2001 as part of Thirteen's award-winning PBS series American Masters. Kantor has also created profiles of Arthur Miller and David Mamet for Thirteen's series EGG the arts show, and co-directed (with Stephen Ives) "Cornerstone: An Interstate Adventure" for HBO. He produced "The West" (Ken Burns, executive producer) and worked on programs as diverse as Lindbergh, Coney Island, Margaret Sanger, The Donner Party, and Ric Burns' New York series. In the recording studio, he has directed talents such as John Lithgow, Gwyneth Paltrow, Edward Norton, and Hector Elizondo, among others. Kantor is also president of Almo, Inc., which owns and distributes the catalog of American Film Theatre titles, currently available through Kino International.
Editor's Note: Washingtonpost.com moderators retain editorial control over Live Online discussions and choose the most relevant questions for guests and hosts; guests and hosts can decline to answer questions.
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Michael Kantor: Welcome to the online discussion. I am Michael Kantor, the documentary filmmaker who spent the better part of ten years creating "Broadway: The American Musical," the 6-part series for Public television, which is broadcast tonight and tomorrow night (check local listings). Doris Eaton Travis was my favorite interview of all the 70 talents I filmed, and it is my great pleasure to join her here online. Doris was seen on Broadway in the 1919 Ziegfeld Follies... Lets all hope we live our lives with her zest!
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Doris Eaton Travis: You ask me the questions and I'll answer the best I can!
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Dupont Circle, Washington, D.C.:
Will this come out on DVD any time soon--or be rebroadcast on PBS. I don't have the opportunity to see it this week.
Michael Kantor: The DVD is incredible -- its the entire series plus another 5 hours of extras, including Fred Ebb singing "Razzle Dazzle" along with Stephen Sondheim rehearsing with the original cast of Pacific Overtures, etc. etc. Paramount is distributing, and it is available online and in fine bookstores and videoshops everywhere....
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Fairfax, Va.:
Ms. Eaton,
Are you in touch with many of the stars that you started theater with? Can you name a few and how long they had been on Broadway? What are they doing now? How often do you stay in touch?
Doris Eaton Travis: I am not in touch with any of the folks I used to know...It's been a long time, I went into the social dancing business for 30 years and I've been on the ranch in Oklahoma for 20 years, so I've sort of lost touch with the show people.
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Herndon, Va.:
The first show was great! One minor quibble, why several movie clips of Cagney as George M. Cohan and only one quick "newsreel" shot of Cohan singing? Nothing else available showing George M?
Michael Kantor: We found as many clips as possible of Cohan performing, but he really didn't do much on film. This was one of the rare instances where we needed to substitute a performance that was done by another performer, albeit coached by Cohan. My goal was to be faithful, as much as possible, to the original Broadway performers, so you won't see Liza Minelli playing Sally Bowles in Cabaret, you'll see Jill Haworth, the original Bway performer
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Washington, D.C.:
Ms. Travis,
It's great to have you online!; What are you doing these days? Have you ever performed in the D.C. area?
Doris Eaton Travis: I did perform there when I was a child, way, way, way back when! During the days of Woodrow WIlson, in fact my sister and I performed for him playing stock theater, children's parts in Washington, DC. After about 7 years we moved to NYC and became part of show business there and gradually grew into it through the years. Now, I have a 400 acre ranch in Norman, OK and I have opened the ranch to people who have old horses and old performance horses and so we have 30 to 35 people here with their horses where they can exercise their horses and feed them on green grass. I call it a Travis Ranch Nursing Home for Horses!
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Washington, D.C.:
How did the idea for the program come about?
Michael Kantor: I was riding in a cab through Times Square back in the early 1990s, when the area was seedy. I looked up at some marquees and the idea of a long-form documentary on the history of Broadway seemed like a great idea -- one that could use music, biography, and show biz to offer insight into American history and culture.
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Arlington, Va.:
What's your take on recent ''star-powered'' musicals (e.g., Lane and Broderick in ''The Producers'' and Jackman in ''The Boy from Oz'') that dip in popularity -- or close altogether -- once the stars depart? Yes, Merman was a star who owned ''Gypsy,'' but ''Gypsy'' was a great show that still succeeds on the merits of book, score, and lyrics.
Michael Kantor: I saw the Producers with the original cast, and with a replacement cast. The shows were very different (as one would hope) but equally satisfying...
MK
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Harrisburg, Pa.:
Doris,
Will Rogers was one of our country's greatest humorists. I recently watched some of his movies, and his humor remains timeless. Do you have any rembrances of Will Rogers you'd like to share?
Doris Eaton Travis: Well, he was in the 1918 Follis, my first, I was only 14. I never had a close association with him, but it happened that his act preceded one of my chorus numbers, so I was always in the wings when he'd come off, he was always very kind and say, How are you today, Doris? The audience is pretty tough today! He was a very warm person, but I didn't have a very close association with him, but he was a very pleasant person when we'd chance to meet. Later on he and my sister Mary became quite nice friends.
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Alexandria, Va:
I've heard it said that "Oklahoma!;" is considered the first modern Broadway musical in that every song had a direct relation to the plot. But some claim that the original 1927 production of "Show Boat" is actually the first modern Broadway musical.
Which in your opinion is true? Or is there another?
Michael Kantor: I agree with our expert Miles Kreuger, who cites Show Boat as the first landmark. Oklahoma! was an important show in terms of cementing the collaboration between RR and OHII, but Show Boat is the first milestone.
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Lawrence, Kan.:
This is a question for Doris: did you get to know any of the Ziegfeld headliners and if so who was your favorite? BTW you look wonderful!
Doris Eaton Travis: Thank you very much! LOL! The people I worked with in the 18, 19 and 20 Follies were Will Rogers in 18, then Fanny Brice who was delightful and became friends with my sister Mary, she was a co star with Eddie Kantor in Kid Boots on Broadway for over a year. SHe was a beautiful ballet dancer, that was her speciality. Marilyn Miller and my sister Mary became very good friends, I understudied her role in 19, she and her mother used to come to my house and we were very good friends.
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Reston, Va.:
Any advice to a gifted 13 year old girl from Fairfax County who loves Broadway on how to prepare for a career in theater? Schools and other activities in the local area.
Michael Kantor: WE can't help with local listings, but first, watch the series this week. Then read the book. Then see as much live theater as you can and learn from others while perfecting your skills...
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Arlington, Va.:
Well all know that Broadway in New York is THE place in America for musical theater. Or is it? What other places in America or the world can one find excellent "Broadway" style shows?
Michael Kantor: I'm very fond of La Jolla, CA, and Chicago, IL as spots to see amazing theater -- musical and otherwise... Not to denigrate other places, but these are my favorite theater towns outside of NYC
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Bethesda, Md.:
Hi Doris,
I'm interested in what life was like for the Ziegfeld girls when the shows opened in summer in Atlantic City. Did Flo put the cast up in good hotels, or did you stay in rooming houses? Also, last night I heard a narrator say "all the girls were over six feet tall." But Marcelle Earle, our beloved Olive Thomas were small, and photos of the period show lines of shorter women. What would you say was the ideal physical size of a Ziegfeld chorine?
Congratulations on your wonderful career, and even more wonderful life.
Doris Eaton Travis: The openings in AC, we lived in small inexpensive hotels of course, but it was a time of working on the show, we worked in afternoons and evenings. Mr. Zigfield was there and was very meticulous, especially with the show girls, he wanted the costumes to be just show, and to have the girls move in a very elegant, particular way. There were two groups, the show girls were the beautiful tall girls that wore these beautiful costumes and just walked around the stage. the chorus girls were the dancers, were smaller, and did all the dancing, my first year in 1918 I did eight numbers with the chorus. The second year, in 1919, I was promoted to a group called The Special Dancers, there were four of us. we were given special dance numbers, and I also did part of a sketch. And I was Marilyn Miller understudy. IN 1920 Mr. Zigfield hired Mary my sister as a star dancer, and I had a solo on the stage, and did 3 or 4 numbers with a male dancer, that was my third year with the FOllies and I was a full principal that year.
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Arlington, Va.:
''Showboat,'' ''Oklahoma,'' and ''Company'' were all revolutionary in their own way. Can you name any recent shows that forever changed the Broadway landscape?
Michael Kantor: Really good question. I think that most of the musical theater forms have been perfected, and for the next few years we'll be in transition (revisiting musical comedy, as in the Producers) I think Sondheim might have a few more cards up his sleeve, and my pal Adam Guettel certainly has the chops to change the world of Broadway... George C. Wolfe's work (Bring in Da Noise.. Funk & Angels in America) was revolutionary, but impossible to replicate, no?
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Washington, DC:
Mr. Kantor, Congratulations on a masterful production. Could you please tell us the highlights that stand out in your mind as you did your research? Thanks so much.
Michael Kantor: Thank you for your kind words. I was awestruck by the color footage of the Ziegfeld Follies that dated to 1929, and am thrilled we found Vivian Blaine and Sam Levene performing Guys and Dolls in LONDON in the early 1950s (found at the BBC archive). you can see that on TV tonight. The companion book has lots of special photos, never seen in many years....
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Atlantic City, NJ:
The series seems pretty comprehensive...but are there any subjects you weren't able to cover that you would have liked to?
Michael Kantor: My favorite show of all is "Pins and Needles" from the 1930s, and we couldnt squeeze another labor oriented show into the series. This was the second longest running show of the 1930s -- check out our book for more info...
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Arlington, Va.:
Miss Travis -- you have seen the evolution of Broadway throughout the years. Do you have a particular era or musical style that you enjoy most?
Doris Eaton Travis: A different era back then, than any we ever had. I was too young really to realize what was occurring regarding making history. But as I look back it was a delightful experience and I learned much from it. And I wish we had more like it today. I was in three follies, then I did several musical comedies on Broadway, then I went to Hollywood and was in the HOllywood Music Box Review there, I was the star dancer. I did that for two years. And one of the songs written for my dance numbers was Singin' in the Rain. So I was the one to introduce that really. Another one was the Doll Dance. But I seemed to go back and forth from Hollywood to NYC those years. Then after the crash, it was difficult to find a job doing musical comedy on Broadway. No shows were being produced. That's when I changed careers to the social dancing business. THen after 2 years my partner and I opened the first Arthur Murray studio outside NYC in Detroit. It became a model for Mr. Murray to open branch studios all ov er the country. It was a marvelous experience to create balls and dances for pupils all over the country. Then I developed a TV show for seven shows just from my Arthur Murray students and teachers. Then I began developing some of the old social dances here in American and began looking into their history. I then met Mr. Henry Ford I, out in Deerborn, MI, and performed for his people there. Benjamin Lovett who was his dance ballroom master, and he taught me some of the old dances, Mr. Ford didn't like any of the newer dances. Then I began to dig into those old dances and reconstruct them, and on my TV show periodically I would give little histories of social dancing in the U.S. When the present Queen had her crowning, a couple in NYC who had studied the Pavanne and another dance, from the 1500's, during the week of her crowning I had both those dances on my TV show. So I did both the modern dances and the older social dances on my television show.
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Vienna, Va.:
What is the acting life span of a typical actor/actress playing on Broadway? After production, is it difficult to get involved in another show or do they decide to take on other projects such as film or tv or even other careers?
Michael Kantor: It all depends on the talent...All I can say is that a life in the theater ain't easy.
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Denver, Colo.:
For Doris Eaton Travis: Is there one night or one particular performance (maybe someone special was in the audience) that you would like to tell us about?
Doris Eaton Travis: Each night was different, you had different partners in each musical comedy, and I did dramatic work too. Excess Baggage with Frank McCue, who became quite a successful Hollywood actor.
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Laurel, Md.:
How do you think that Broadway has changed over the years? In terms of bringing diverse cultures, genders and themes?
Michael Kantor: Hopefully watching the series can answer your question. Its incredibly complicated, always changing, and always surprising. Thats the history of Broadway -- one surprise after another. As for blending diverse cultures, etc., I think Broadway reflects American culture, and we certainly have a long way to go to achieve equality and more important, some kind of unity. I think Broadway is as fractious and divisive as our country is right now....
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Philadelphia, Pa.:
Mrs. Travis, you're stunning in the production and what a treat to have you online to answer questions today. Do you still dance? What other activities keep you so young?
Doris Eaton Travis: I still dance, not professionally! I still dance, because I'm still able to dance. We have a club with a live band on Fridays, and I have a lovely group of friends, many whom I have taught to dance, and we get together and enjoy our dancing.
I don't know if any of you are acquainted with the Easter Bonnet Parade in NYC, put on by Broadway Cares and Fights Aids, and I have had the privilege of being in one of their dance numbers for the last six years. I did the first year, I recreated the routine I did as an understudy for Marilyn Miller in the 1919 Follies, Mandy. That was the first thing I did there. Then they invited me back each year. This year in April I did a Conga with the chorus. So these last six years I've had a bit of renaissance performing on the New Amsterdam Stage which is where I started in the 1918 Follies.
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Doris Eaton Travis: This past April they celebrated my 100th Birthday. It was a great affair, I had a big cake with 100 candles on it. They were very kind to me.
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Washington, D.C.:
Michael,
In your research, what were some key factors that attributed to the success of Broadway? How did it survive financial problems and the strikes?
Michael Kantor: Again, Broadway is about unlikely surprises. As Mr. Sondheim wrote, "Something's coming, something good, if I can wait" There is no anticipating the next big hit (or everyone would be producing it), so SURPRISE is key. I think the economics of Broadway is now too important to NYC and the country for it ever to get totally waylaid by financial problems/strikes...
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Virginia:
Ms. Eaton what are some of the recent shows that you have seen and what are your all time favorites?
Doris Eaton Travis: Lately, I saw the revival of 42nd Street and I loved that because it was my era. They recreated it beautiful. One of the things in the Easter Bonnet I enjoyed, two years ago, I did the Black Bottom with Sutton Foster, the leading lady in Thoroughly Modern Millie, I taught it to her and she and I did it together in the show. It was a lovely delightful moment for me. I don't have any great favorites, I enjoyed all the things I did, each one had a different flair, feeling and people you worked with. I look back on it with great pleasure.
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Nashville, Tenn.:
Michael, are there any shows on Broadway that you haven't seen yet?
Michael Kantor: I really would like to see Dracula, and the new Billy Crystal show, but I've been too crazy busy making sure people know about the six-hour series. Thanks to Capitol One sponsorship, and the help of groups like the National Endowment for the Arts and the National Endowment for the Humanities, we finally made it happen, with the companion book, the DVD extras, the 5 CD box set and so on, so I haven't had much time recently. (plus I have three kids I like to see occasionally!)
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Atlanta, Ga.:
Ms. Travis, have you seen any recent Broadway productions such as The Lion King and The Producers?
Doris Eaton Travis: I saw the Lion King. It was magnficent really. What delighted me was that the Walt Disney people reconditioned the New Amsterdam theater with its original atmosphere. They reclaimed some aspects of it, particularly thd boxes, that were typical of theaters of that time. It was a beautiful moment to step on the stage and see the same atmosphere that I had seen when I first stepped on that stage in 1918.
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Alexandria, Va:
Ms. Eaton
I believe you would have had an outstanding career in motion pictures. Why didn't Hollywood beckon you?
Doris Eaton Travis: Well, show business is a funny thing! FOr some reason, if I wasn't getting a part right away on Broadway I'd go out to Hollywood and try there. Since my family was in New York, then I'd go back to NYC and start there again. I just didn't pursue trying to build a career anywhere. I don't why I went back and forth but that's what I did. I had good success in everything I did, but I think going back and forth is not say conducive to building a big career in one place. But I'm glad I did that because I became acquainted with both places and was successful in both places -- until the crash of course, when you couldn't get a job. Too bad!!
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New York:
Michael,
I can't wait to watch and read the book but I was wondering what you thought were major changes that Broadway has endured? Also what do you see as future challenges and struggles in terms of Broadway surviving and also for the actors?
Michael Kantor: Sheldon Harnick once pointed out to me that the new influence of corporations on Broadway may affect the writing of shows. Some corporations (and Hollywood in particular) can consider the writer expendable -- if the show is not perfect, they want to get a new one. Traditionally, Bway has honored the sanctity of the written word, and given the writer (and the song-writer) pre-eminence. As for actors, its only getting tougher, as Al Hirschfeld told me -- back then dancers only needed to do a little time step to be in a show -- now a performer needs to be a triple threat, singing acting dancing.
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Silver Spring, Md.:
Ms. Eaton,
Have you spoken to any recent actresses and has Broadway changed in terms of how women are treated in theater or any similarity in concerns of issues regarding women?
Doris Eaton Travis: Yes, I would say the appearance of women has certainly changed. I don't think it's always for the better. I feel like the, we used to be very careful of our appearance, and I don't feel that many women do that now, or else their opinion of what their appearance should be is different than what ours was. I don't feel Broadway has the beauty or elegance that we had. It has wonderful vibrancy. These young people are just as ambititious and when I started out. And they are much more educated dancers than the choruses I worked with. But I don't like the way the principal women present themselves. I feel like a lot of beauty and elegance has gone out of the female population of Broadway that I've seen.
Women have more freedom now to move around than they used to have. But as regards, I don't know quite how to say this, they are treated with more respect than they used to have. And they have more freedom. But personal relationships will always remain as they have been, between men and women. That is individual relationships.
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Doris Eaton Travis: I want to thank all of these wonderful people who have asked questions, and I hope I've answered satisfactorily. I appreciate having the opportunity to be on this website. It was very enjoyable!!
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Anonymous:
When is the series airing and will you show part one again?
Michael Kantor: The series will be rebroadcast here in New York on Saturday, October 23rd, from 4pm -11pm, and then again from 11 pm - 6 am. Check your local listings for your area....
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Washington, D.C.:
What is your reaction of Tom Shales' review today?
washingtonpost.com:
'Broadway': The Show Of Shows (Post, Oct. 19)
Michael Kantor: Mr. Shales is a very notable critic, and I thought he did an excellent job in fairly presenting our work to the public. Occasionally his own tastes colored the review (such as his contempt for THE PRODUCERS -- "the score stinks"), but he was fair to our program, and certainly encouraged viewers to listen to the lullaby of Broadway and draw their own conclusions.
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Michael Kantor: Thank you all for your questions and comments about BROADWAY: THE AMERICAN MUSICAL. Our discussion could continue for another hundred years, but we'll pick up again tomorrow. Again, many thanks....
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washingtonpost.com:
Tomorrow at 11:30 a.m. ET: Composer Marvin Hamlisch and director and producer Michael Kantor discuss the 100-year history of musical theater.
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