Tag Archives: Bill Lewis

HAIR shone in on Robinson Auditorium starting on January 18, 1972

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Ad for the original production of HAIR in Little Rock. Note the ticket prices. And that they could be purchased at Moses Music Shops.

Forty-eight years ago today, on January 18, 1972, the musical Hair settled in for a week-long run at Robinson Auditorium.  The saga to bring the national tour to Little Rock had actually begun eleven months earlier.

In February 1971, a young Little Rock attorney named Phil Kaplan petitioned the Little Rock Board of Censors to see if it would allow a production of Hair to play in the city. He was asking on behalf of a client who was interested in bringing a national tour to Arkansas’ capital city. The show, which had opened on Broadway to great acclaim in April 1968 after an Off Broadway run in 1967, was known for containing a nude scene as well for a script which was fairly liberally sprinkled with four-letter words. The Censors stated they could not offer an opinion without having seen a production.

By July 1971, Kaplan and his client (who by then had been identified as Southwest Productions) were seeking permission for a January 1972 booking of Hair from the City’s Auditorium Commission which was charged with overseeing operations at Robinson Auditorium. At its July meeting, the Commissioners voted against allowing Hair because of its “brief nude scene” and “bawdy language.”

Kaplan decried the decision. He stated that the body couldn’t “sit in censorship of legitimate theatrical productions.” He noted courts had held that Hair  could be produced and that the Auditorium Commission, as an agent for the State, “clearly can’t exercise prior censorship.” He proffered that if the production was obscene it would be a matter for law enforcement not the Auditorium Commission.

The Commission countered that they had an opinion from City Attorney Joseph Kemp stating they had the authority. One of the Commissioners, Mrs. Grady Miller (sister-in-law of the building’s namesake the late Senator Robinson, she had served on the Commission since 1940), expressed her concern that allowing Hair would open the door to other productions such as Oh! Calcutta!

On July 26, 1971, Southwest Productions filed suit against the Auditorium Commission. Four days later there was a hearing before federal Judge G. Thomas Eisele. Judge Eisele offered a ruling on August 11 which compelled the Auditorium Commission to allow Hair to be performed. Prior to the ruling, some of the Auditorium Commissioners had publicly stated that if they had to allow Hair, they would close it after the first performance on the grounds of obscenity. To combat this, Judge Eisele stated that the Commission had to allow Hair to perform the entire six day engagement it sought.

Upon hearing of the Judge’s ruling, Commissioner Emily Miller offered a succinct, two word response. “Oh, Dear!”

In the end, the production of Hair at Robinson would not be the first performance of that musical in the state.  The tour came through Fayetteville for two performances in October 1971 at Barnhill Arena.

On January 18, 1972, Hair played the first of its 8 performances over 6 days at Robinson Auditorium.  In his review the next day, the Arkansas Gazette’s Bill Lewis noted that Hair “threw out all it had to offer” and that Little Rock had survived.

The ads promoting the production carried the tagline “Arkansas will never be the same.”  Tickets (from $2 all the way up to $8.50–the equivalent of $12.23 to $51.99 in 2020 dollars) could be purchased at Moses Melody Shops both downtown and in “The Mall” (meaning Park Plaza). That business is gone from downtown, but the scion of that family, Jimmy Moses, is actively involved in building downtown through countless projects. His sons are carrying on the family tradition too.

Little Rock was by no means unique in trying to stop productions of Hair.  St. Louis, Birmingham, Los Angeles, Tallahassee, Boston, Atlanta, Charlotte NC, West Palm Beach, Oklahoma City, Mobile and Chattanooga all tried unsuccessfully to stop performances in their public auditoriums.  Despite Judge Eisele’s ruling against the City of Little Rock, members of the Fort Smith City Council also tried to stop a production later in 1972 in that city. This was despite warnings from City staff that there was not legal standing.

Within a few years, the Board of Censors of the City of Little Rock would be dissolved (as similar bodies also were disappearing across the US). Likewise, the Auditorium Commission was discontinued before Hair even opened, with its duties being taken over by the Advertising and Promotion Commission and the Convention & Visitors Bureau staff.  This was not connected to the Hair decision; it was, instead, related to expanding convention facilities in Robinson and the new adjacent hotel.  Regardless of the reasons for their demise, both bygone bodies were vestiges of earlier and differently focused days in Little Rock.

Little Rock bids “HELLO” to Carol Channing in November 1966

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53 years ago tonight, on November 15, 1966, Carol Channing opened a six day stint in HELLO, DOLLY! at Robinson Auditorium.  She would play 8 sold out shows over those six days.

Channing, who had won the 1964 Tony Award for Best Actress in a Musical for her role in this show, had recently returned to the national tour.  She had just wrapped filming THOROUGHLY MODERN MILLIE (for which she would receive an Oscar nomination). She had specifically requested that Little Rock be added to the tour.

Her breakout role was in 1949’s GENTLEMEN PREFER BLONDS. In that show she introduced the song “Little Girl from Little Rock.”  Since it had helped make her a star, she had long felt an affinity for the Arkansas capital.  Therefore when she rejoined the tour, she required that LR be one of her stops before she left the tour.

While in Little Rock, Channing was entertained at the Arkansas Governor’s Mansion and feted at parties.  She was made an honorary citizen of Little Rock, as well.

But she was here to perform. And perform she did. She was rarely known to miss a performance and always gave her utmost.  Bill Lewis, in his review in the ARKANSAS GAZETTE, stated “To hear Channing sing ‘Hello, Dolly!’ Is one of the great experiences of all musical theater to date…”

In assessing the show’s run in Little Rock (which would be seen by more than 20,000 people), Lewis summed up what many felt at the time — and to hear the reminiscences from a half century later, it still is a heartfelt sentiment — “A week’s too little.”

Rock the Oscars 2019: Carol Channing

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On January 31, 1921, future “Little Girl from Little Rock” and Oscar nominee Carol Channing was born. Alas it was in Seattle.

After gaining the notice of New York critics and audiences in the musical revue, Lend an Ear, Channing achieved Broadway stardom playing fictional Little Rock native Lorelei Lee (the creation of Anita Loos) in Gentlemen Prefer Blondes.  In this show, which opened in December 1949, she introduced the Leo Robin-Jule Styne songs “Little Girl from Little Rock” and “Diamonds Are a Girl’s Best Friend.”

In 1964, she won the Actress in a Musical Tony for her second signature role playing the title character in Hello, Dolly!  Channing also earned a special Tony in 1968 for Dolly when it became the longest-running Broadway musical.

On November 15, 1966, Carol Channing opened a six day stint in HELLO, DOLLY! at Robinson Auditorium.  She would play 8 sold out shows over those six days.  She had just wrapped filming THOROUGHLY MODERN MILLIE (for which she would receive an Oscar nomination). She had specifically requested that Little Rock be added to the tour.

While in Little Rock, Channing was entertained at the Arkansas Governor’s Mansion and feted at parties.  She was made an honorary citizen of Little Rock, as well.  But she was here to perform. And perform she did. She was rarely known to miss a performance and always gave her utmost.  Bill Lewis, in his review in the ARKANSAS GAZETTE, stated “To hear Channing sing ‘Hello, Dolly!’ Is one of the great experiences of all musical theater to date…”

In 1993, she spent her birthday in Washington DC at a White House dinner for the National Governors’ Association.  This was the Clintons’ first official White House dinner after moving in to the residence eleven days prior.  President Bill Clinton led the crowd in singing “Happy Birthday” to her.  She remarked to the President that she was Christian Scientist and didn’t celebrate birthdays, which meant she didn’t get any older.  He replied that it meant the night was her first birthday (it was her 72nd in actuality).

She died earlier this month just two weeks shy of her 98th birthday.

Little Rock Look Back: HAIR brings Age of Aquarius to Robinson Center

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Ad for the original production of HAIR in Little Rock. Note the ticket prices. And that they could be purchased at Moses Music Shops.

Forty-seven years ago today, on January 18, 1972, the musical Hair settled in for a week-long run at Robinson Auditorium.  The saga to bring the national tour to Little Rock had actually begun eleven months earlier.

In February 1971, a young Little Rock attorney named Phil Kaplan petitioned the Little Rock Board of Censors to see if it would allow a production of Hair to play in the city. He was asking on behalf of a client who was interested in bringing a national tour to Arkansas’ capital city. The show, which had opened on Broadway to great acclaim in April 1968 after an Off Broadway run in 1967, was known for containing a nude scene as well for a script which was fairly liberally sprinkled with four-letter words. The Censors stated they could not offer an opinion without having seen a production.

By July 1971, Kaplan and his client (who by then had been identified as Southwest Productions) were seeking permission for a January 1972 booking of Hair from the City’s Auditorium Commission which was charged with overseeing operations at Robinson Auditorium. At its July meeting, the Commissioners voted against allowing Hair because of its “brief nude scene” and “bawdy language.”

Kaplan decried the decision. He stated that the body couldn’t “sit in censorship of legitimate theatrical productions.” He noted courts had held that Hair  could be produced and that the Auditorium Commission, as an agent for the State, “clearly can’t exercise prior censorship.” He proffered that if the production was obscene it would be a matter for law enforcement not the Auditorium Commission.

The Commission countered that they had an opinion from City Attorney Joseph Kemp stating they had the authority. One of the Commissioners, Mrs. Grady Miller (sister-in-law of the building’s namesake the late Senator Robinson, she had served on the Commission since 1940), expressed her concern that allowing Hair would open the door to other productions such as Oh! Calcutta!

On July 26, 1971, Southwest Productions filed suit against the Auditorium Commission. Four days later there was a hearing before federal Judge G. Thomas Eisele. Judge Eisele offered a ruling on August 11 which compelled the Auditorium Commission to allow Hair to be performed. Prior to the ruling, some of the Auditorium Commissioners had publicly stated that if they had to allow Hair, they would close it after the first performance on the grounds of obscenity. To combat this, Judge Eisele stated that the Commission had to allow Hair to perform the entire six day engagement it sought.

Upon hearing of the Judge’s ruling, Commissioner Emily Miller offered a succinct, two word response. “Oh, Dear!”

In the end, the production of Hair at Robinson would not be the first performance in the state.  The tour came through Fayetteville for two performances in October 1971 at Barnhill Arena.

On January 18, 1972, Hair played the first of its 8 performances over 6 days at Robinson Auditorium.  In his review the next day, the Arkansas Gazette’s Bill Lewis noted that Hair “threw out all it had to offer” and that Little Rock had survived.

The ads promoting the production carried the tagline “Arkansas will never be the same.”  Tickets (from $2 all the way up to $8.50–the equivalent of $12 to $51 in 2019 dollars) could be purchased at Moses Melody Shops both downtown and in “The Mall” (meaning Park Plaza). That business is gone from downtown, but the scion of that family, Jimmy Moses, is actively involved in building downtown through countless projects. His sons are carrying on the family tradition too.

Little Rock was by no means unique in trying to stop productions of Hair.  St. Louis, Birmingham, Los Angeles, Tallahassee, Boston, Atlanta, Charlotte NC, West Palm Beach, Oklahoma City, Mobile and Chattanooga all tried unsuccessfully to stop performances in their public auditoriums.  Despite Judge Eisele’s ruling against the City of Little Rock, members of the Fort Smith City Council also tried to stop a production later in 1972 in that city. This was despite warnings from City staff that there was not legal standing.

Within a few years, the Board of Censors of the City of Little Rock would be dissolved (as similar bodies also were disappearing across the US). Likewise, the Auditorium Commission was discontinued before Hair even opened with its duties being taken over by the Advertising and Promotion Commission and the Convention & Visitors Bureau staff.  This was not connected to the Hair decision; it was, instead, related to expanding convention facilities in Robinson and the new adjacent hotel.  Regardless of the reasons for their demise, both bygone bodies were vestiges of earlier, simpler and differently focused days in Little Rock.

Little Rock Look Back: The City says HELLO, DOLLY! to Carol Channing

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52 years ago tonight, on November 15, 1966, Carol Channing opened a six day stint in HELLO, DOLLY! at Robinson Auditorium.  She would play 8 sold out shows over those six days.

Channing, who had won the 1964 Tony Award for Best Actress in a Musical for her role in this show, had recently returned to the national tour.  She had just wrapped filming THOROUGHLY MODERN MILLIE (for which she would receive an Oscar nomination). She had specifically requested that Little Rock be added to the tour.

Her breakout role was in 1949’s GENTLEMEN PREFER BLONDS. In that show she introduced the song “Little Girl from Little Rock.”  Since it had helped make her a star, she had long felt an affinity for the Arkansas capital.  Therefore when she rejoined the tour, she required that LR be one of her stops before she left the tour.

While in Little Rock, Channing was entertained at the Arkansas Governor’s Mansion and feted at parties.  She was made an honorary citizen of Little Rock, as well.

But she was here to perform. And perform she did. She was rarely known to miss a performance and always gave her utmost.  Bill Lewis, in his review in the ARKANSAS GAZETTE, stated “To hear Channing sing ‘Hello, Dolly!’ Is one of the great experiences of all musical theater to date…”

In assessing the show’s run in Little Rock (which would be seen by more than 20,000 people), Lewis summed up what many felt at the time — and to hear the reminiscences from a half century later, it still is a heartfelt sentiment — “A week’s too little.”

31 Days of Arkansas Rep: KENNEDY’S CHILDREN in 1977

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Since October 3, 2018, marks the 55th anniversary of JFK speaking in Little Rock, it seems an appropriate day to feature the 1977 Arkansas Rep production of Robert Patrick’s KENNEDY’S CHILDREN.

The play takes place in a NYC bar on Valentine’s Day 1974 as its denizens speak in intertwining monologues about the 1960s and coping with the disillusions they feel from that earlier decade.  The title comes from the sense that the 1960s after November 1963 were a reaction to the loss of JFK and his idealism.

One of the characters, who was played by Jean Lind at Arkansas Rep, is obsessed with the Kennedy Administration. Others in the cast were Jean Hendrickson, Phyllis Blumenfeld, Scott Edmonds and Barry Carter.  Guy Couch played the important, but non-speaking, role of the bartender who plies the quintet with drinks throughout the play.

In the original production, there is a jukebox which plays musical interludes as transitions. In a nod to director Cliff Fannin Baker’s ingenuity, that role was played by Frank Gordon on jazz clarinet. It actually added a sense of humanity and added soulfulness to the production.

The bar in which the action took place was designed and lit by Byl Harriell.  The physical presence was described by Bill Lewis in the Arkansas Gazette review as a “masterful sleezy bar.”

The production ran from December 1 through 17 in 1977. Tickets were $5.00 a person. (This is the equivalent of $20.80 today.)

31 Day of Arkansas Rep: THE RUNNER STUMBLES in 1979

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Pat Brown, director of THE RUNNER STUMBLES

While he directed most shows at the Rep during the early years, Cliff Fannin Baker would bring in guest directors from time to time. One of these was Pat Brown who helmed the February 1979 production of The Runner Stumbles.

A co-founder of Houston’s Alley Theatre, Brown also had connections to Little Rock; she was a niece of Little Rock businesswoman Mae Horn (who dressed ALL the best-dressed men.)

Though Brown had worked all over the US, this was the first time she had directed The Runner Stumbles. This Milan Stitt play had run for 396 performances on Broadway from 1976 to 1978. The Arkansas Rep was one of the first regional theatres to produce the play.  (Side note: the original Broadway production was directed by Austin Pendleton who would later direct A Loss of Roses at Arkansas Rep.)

In his Arkansas Gazette review, Bill Lewis called the production “one of the strongest yet” for the Rep.  He described it as a “compelling, somber drama” that was “impeccably directed and acted with highest octane virtuosity.”  Lewis was not one to mince words, so when he gave praise it was deserved.

The cast for A Runner Stumbles included Craig Fuller, Jean Hendrickson, Scott Edmonds, Jean Lind, Ron Aulgur, Ken Klingenmeier, Jeannine Le May, Robert Boles, and Phyllis Blumenfeld. The show was designed by Byl Harriell.  Guy Couch assisted with set decoration and props.

The production ran from February 1 to 18 of 1979.