Tag Archives: Carol Channing

Wednesday, January 16, 2019

Bette Midler on Carol Channing

Showbiz 411
Bette Midler on Carol Channing: “I flat out adored her…as far as I am concerned, she will live forever”
By Roger Friedman
January 15, 2019

Bette Midler Carol Channing

Bette Midler, the most recent Dolly Levi, has sent out a statement about the original Dolly. Carol Channing, who passed away today at age 97. Carol, by the way, was famed for not missing a performance in the four years she starred in “Hello, Dolly!” from 1964 to 1968.

Bette Midler On Carol Channing

“There was only one Carol Channing, and there will never be another. She was that rarest of stage creatures, an absolute original. From her instantly recognizable voice to her stature, which was close to 6 feet, with her wide-eyed take on the world she crept into theater-goers hearts and took up permanent residence there. Read More

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Thursday, January 10, 2019

BetteBack August 19, 1975: Bette Midler Says Lawrence Welk Dissed Her

Wichita Falls Times
August 19, 1975

famous-for-her-turn-in-Beaches-403146

Bette Midler said in Playgirl magazine that Lawrence Welk was once supposed to dance with her on the Mike Douglas show, but he wouldn’t – he thought I was a dirty little girl” . . . Pearl Bailey’s daughter, Dee, 16, is traveling with Pearl’s “Hello, Dolly!” company, so Bill Daniel’s daughter Dominique, 16, came along to keep her company.

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Saturday, August 4, 2018

Curtain Call: Bette Midler Will Soon Call It Quits With Hello Dolly

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Thursday, July 19, 2018

Betty Buckley-Led HELLO, DOLLY! Tour Will Makes Stops in LA, Chicago & More; Full Itinerary Announced

Broadway World
Betty Buckley-Led HELLO, DOLLY! Tour Will Makes Stops in LA, Chicago & More; Full Itinerary Announced
by BWW News Desk Jul. 16, 2018

Betty Buckely

As BroadwayWorld previously reported, the Tony Award-winning Broadway legend Betty Buckley will star in the first national tour of Hello, Dolly!, the Tony Award-winning Best Musical Revival, beginning September 30, 2018 in the Connor Palace at Cleveland’s Playhouse Square. The full tour itinerary is as follows:

Cleveland, OH USA
Sept 30 – Oct 21
Connor Palace

Chicago, IL USA
Oct 23 – Nov 17
Oriental Theatre

Miami, FL USA
Nov 20 – Nov 25
Adrienne Arsht Center for the Performing Arts of Miami-Dade County

Orlando, FL USA
Nov 27 – Dec 2
Dr. Phillips Center for the Performing Arts

Tampa, FL USA
Dec 4 – Dec 9
David A. Straz, Jr. Center for the Performing Arts

West Palm Beach, FL USA
Dec 11 – Dec 16
Raymond F. Kravis Center For The Performing Arts

Tempe, AZ USA
Jan 8, 2019 – Jan 13, 2019
ASU Gammage

San Diego, CA USA
Jan 15, 2019 – Jan 20, 2019
San Diego Civic Theatre

Costa Mesa, CA USA
Jan 22, 2019 – Jan 27, 2019
Segerstrom Center for the Arts

Los Angeles, CA USA
Jan 29, 2019 – Feb 17, 2019
Pantages Theatre – Los Angeles

San Francisco, CA USA
Feb 19, 2019 – Mar 17, 2019
Golden Gate Theatre

Las Vegas, NV USA
Mar 19, 2019 – Mar 24, 2019
The Smith Center

Denver, CO USA
Mar 27, 2019 – Apr 7, 2019
Buell Theatre

Des Moines, IA USA
Apr 9, 2019 – Apr 14, 2019
Des Moines Civic Center

Minneapolis, MN USA
Apr 16, 2019 – Apr 28, 2019
Orpheum Theatre – Minneapolis

Nashville, TN USA
Apr 30, 2019 – May 5, 2019
Andrew Jackson Hall At Tennessee Performing Arts Center

Columbus, OH USA
May 7, 2019 – May 12, 2019
Ohio Theatre

Louisville, KY USA
May 14, 2019 – May 19, 2019
Kentucky Center For The Performing Arts

Durham, NC USA
May 21, 2019 – May 26, 2019
Durham Performing Arts Center

Greenville, SC USA
May 28, 2019 – Jun 2, 2019
Peace Center For The Performing Arts

Washington, DC USA
Jun 4, 2019 – Jul 7, 2019
Opera House (DC)

Charlotte, NC USA
Jul 9, 2019 – Jul 14, 2019
Belk Theater

Dallas, TX USA
Jul 17, 2019 – Jul 28, 2019
Music Hall At Fair Park

Boston, MA USA
Aug 6, 2019 – Aug 18, 2019
Opera House (MA)

Ms. Buckley, dubbed “The Voice of Broadway,” joins the astonishing list of show business luminaries who have inhabited the role, including Carol Channing, Pearl Bailey, Phyllis Diller, Betty Grable, Martha Raye, Ginger Rogers, Ethel Merman, in her last appearance on Broadway, Mary Martin, who led the West End company, and most recently in this celebrated new production, Bette Midler, Donna Murphy, and Bernadette Peters.

Led by four-time Tony Award-winning director Jerry Zaks and choreographed by Tony Award winner Warren Carlyle, the entire creative team of the Broadway production will reprise their roles for the national tour of Hello, Dolly!, including four-time Tony Award winner Santo Loquasto (Scenic & Costume Design), six-time Tony Award winner Natasha Katz (Lighting Design), Tony Award winner Scott Lehrer (Sound Design), Andy Einhorn (Music Direction), Tony Award winner Larry Hochman (Orchestrations), Tony Award winner Don Pippin (Vocal Arrangements), David Chase (Dance Arrangements), and Telsey + Company (Casting).

This Hello, Dolly!, the first new production of the classic musical (based on Thornton Wilder’s The Matchmaker) to appear on Broadway since it opened more than fifty years ago, pays tribute to the work of its original director/choreographer Gower Champion, which has been hailed both then and now as one of the greatest stagings in musical theater history.

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Wednesday, July 11, 2018

Which ‘Dolly’ Are You?

Playbill
Which ‘Dolly’ Are You?
BY LOGAN CULWELL-BLOCK
JUL 11, 2018

Bette Midler, Bernadette Peters, Barbra Streisand, Carol Channing

Of all the women who have played Hello, Dolly!’s leading lady, are you Carol Channing or Bette Midler, Donna Murphy or Barbra Streisand or Bernadette Peters?

There’s a bit of Hello, Dolly!’s Dolly Gallagher Levi in all of us. But of the illustrious actors who have spun their own take on the famous Matchmaker on stage and screen, which one are you most like? Whether Tony winner Carol Channing or Oscar winner Barbra Streisand, Tony winner Bette Midler or Tony winner Bernadette Peters, take our personality quiz to find out.

To Take The Quiz: Click Here

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Thursday, April 12, 2018

Sophie Tucker Book Giveaway (via Twitter in April)

Classic Movie Hub
Sophie Tucker Book Giveaway (via Twitter in April)
Posted on April 1, 2018
by Annmarie Gatti

It’s time for our next book giveaway! CMH is happy to say that we will be giving away FIVE COPIES of  “Red Hot Mama: The Life of Sophie Tucker” by Lauren Rebecca Sklaroff, courtesy of University of Texas Press, from now through May 5, 2018. (plus ONE more copy via Facebook and this Blog, details to follow in a few days).

red hot mama: the life of sophie tucker

In order to qualify to win one of these prizes via this contest giveaway, you must complete the below entry task by Saturday, May 5 at 10PM EST. However, the sooner you enter, the better chance you have of winning, because we will pick a winner on five different days within the contest period, via random drawings, as listed below… So if you don’t win the first week that you enter, you will still be eligible to win during the following weeks until the contest is over.

  • April 7: One Winner
  • April 14: One Winner
  • April 21: One Winner
  • April 28: One Winner
  • May 5: One Winner
  • Read More

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    Friday, February 23, 2018

    Bette Midler vs Bernadette Peters With The Critics: In The End It Just Boils Down To Personal Preference – Stop Comparing!

    Mister D: I know some of you don’t want to see any comparison reviews because it pits two beloved stars and friends against one another, but you knew it was going to happen. So I picked out some that said the same thing as the others, and what it really boils down to is personal tastes and fandom. The Peter’s fans are going to pick her and the Midler fans will pick Midler. Midler will win of course because she is an international star where Bernadette is basically a favorite of the Broadway crowd. It’s just a fact. So I see no reason to even argue with one another. Neither side is going to listen. And don’t feel sorry for these ladies. They are both at the top of their game, they have made it in an industry that is callous and cruel. Believe me both women can handle what is thrown at them. Yes, I’m sure they still get hurt feelings, but by now they have learned to say “fuck it, I’m a star!!!”

    Daily Beast
    Bette Midler Is a Better ‘Dolly’ Than Bernadette Peters: Review of ‘Hello, Dolly!’

    As Bernadette Peters officially opens in ‘Hello, Dolly!,’ the question is, who played it best: Peters or predecessor Bette Midler? Our critic prepares to have his gay card revoked.

    Tim Teeman
    02.22.18 7:30 PM ET

    It’s a gay Sophie’s Choice, and it’s happening on Broadway right now.

    Prepare for friendships to be torn asunder, loud street arguments in Hell’s Kitchen (“At least Bernadette Peters knows how to walk down a staircase”), and vodka sodas being flung in anger.

    Are you ‘Bette’ or ‘Bernadette’? (Or, kind, warm soul, do you love them both equally? They are both different performers, and shouldn’t be compared etc.)

    Sadly, if you saw Midler and are also seeing Peters, comparisons are inevitable. On Thursday night, Peters officially takes over the mantle–or giant, deep pink, feathery fascinator—of Dolly Gallagher Levi from Midler, in Jerry Zaks’ handsomely mounted Broadway production of Hello, Dolly!

    The Midler production of Jerry Herman’s musical (with book by Michael Stewart) which opened last April was, as I wrote at the time, a barnstorming, all-cylinders-rocketing joy, for which Midler won a Tony. It would be tough for any actor to follow her.

    Peters obviously has the stage stature, but she is a very different Dolly. Midler exuded a flirty, knowing, audience-winking warmth in her Dolly. Peters, the night this reviewer attended at least, seemed more distant and (even if this means my gay card being immediately revoked) more nervous and tentative in the role.

    Some in the audience would disagree with this—loudly. They whooped and applauded Peters as they had with Midler. Your preference, if you see both actors in the role, will come down to personal taste. Peters’ first appearance in Act One still brings the show to a hollering halt in its infancy. For Broadway devotees, Peters equals, even outstrips Midler in the icon stakes.

    But in this role, Peters’ Dolly feels more skittish and scattered, and less focused than Midler’s eccentric mistress of all that she surveys and seeks to benevolently manipulate. We do not, for a moment, believe that Peters’ Dolly has a crush on, and desires to have a relationship with, Victor Garber’s Horace Vandergelder, the gruff Yonkers store-owner.

    Both performers have no chemistry whatsoever, and do not even attempt to magic some up. Peters’ Dolly seems a little too outside the universe of the musical around her, and Garber’s performance compares poorly to David Hyde Pierce’s engaging incarnation—he was both a match and foil for Midler—in the earlier production.

    Hyde Pierce captured Vandergelder as a grouchy eccentric, whose perfect mugging when singing “Penny In My Pocket” burrowed into the song’s ridiculous schematics. Garber singing the same looks puzzled, and makes us feel puzzled watching him.

    Garber’s Vandergelder is more loopy eccentric—he reminded me of Charlie Bucket’s Grandpa from Charlie and The Chocolate Factory—than scowling, world-rejecting widower awaiting reawakening. His first song, “It Takes a Woman,” sung with the men of the company about women’s roles in domestic patriarchy, suddenly sounds creepily sexist rather than just charmingly hokey as it did before.

    In evoking Dolly’s own widowhood, and her occasional soliloquies to her dear departed Ephraim, Peters locates some scratchily profound emotional notes that Midler did not, and this seemed to me to reflect her Dolly as less assured and less commanding. Others may think it is simply a more restrained performance, and good on her, but is Dolly Levi best played as restrained?

    There is no sense why Peters’ Dolly and Garber’s Horace would get together, and no sense of them operating together when sharing a stage. Everything is said and played by both actors directly to us rather than between them. At the end, their coupling is purely ceremonial.

    ‘Dolly’ fans will not be disappointed by the key scene of our diva descending the Harmonia Gardens restaurant stairs, and the show’s title number striking up. The visuals of Dolly in her deep pink dress and crowning fascinator and the queenly acceptance of the waiters’ “Hello, Dolly, it’s so nice to have you back where you belong,” are as richly sung and visually satisfying as ever. (This is even more impressive when you consider that the ‘waiters’ have, for the previous few minutes, been performing the demented “Waiters’ Gallop,” choreographed by Warren Carlyle, with wobbling mountains of plates.)

    Just as memorable as Peters’ Dolly, center stage and sparkling right in front of us, are the men’s wonderful voices, singing their devotion to Dolly in perfect unison.

    Midler offset this goosebump-raising, bracing men’s chorus with her own perfectly judged campy theatrics and soft, lilting voice; Peters’ Dolly seems a little overwhelmed by the attention and unsure of who’s who. In its Midler iteration, the show was a smooth, big-voiced, big-colored joy; now it feels workmanlike. It is not terrible, but you can see the joins and hear a little creaking.

    If this sounds harsh, there are other joys left intact. Peters, like Midler, makes the best kind of meal out of eating a meal. The orchestra, led by conductor Justin Hornback, is so lushly controlled you dream that one day you could march down a New York street with them playing “Before The Parade Passes By” beside you.

    The chorus is glorious, from their first collective sortie singing “Put On Your Sunday Clothes,” dressed in Santo Loquasto’s suits and dresses in maxed-up sherbet colors, through to the men’s dazzling serenade of Dolly herself.

    Remaining from the original are the formidable presences of Kate Baldwin as hat-shop owner Irene Molloy, who is not only very funny but whose honeyed meticulousness when singing “Ribbons Down My Back” underscores so perfectly the longing of that song.

    Like her, a stay-on from the Midler production, Gavin Creel (now out of the show, recovering from back surgery; Santino Fontana will replace him) provides strong and charming support as store clerk Cornelius Hackl. Charlie Stemp as his sidekick Barnaby is appositely goofy, and as delightfully light on his feet as he needs to be as the pair search New York’s streets for a woman to kiss.

    Molly Griggs as Minnie Fay, Irene’s assistant, is a zingily hilarious scene-stealer, and—some things never change—the worst parts are for young lovers Ambrose Kemper (Will Burton) and Ermengarde (Melanie Moore), whose desired union is the impetus for the musical’s plot and who are soon forgotten, reappearing only occasionally for her to wail in misery.

    Peters fans will not be disappointed (their devotion would mean that would take a lot anyway). Hello, Dolly! is still a pleasure to watch. You will hum the songs for days. If you didn’t see Midler, Peters won’t suffer by comparison. If you did see Midler, it will come down to taste. Peters doesn’t perform the role badly, but, for this critic at least, the sense of fun and mischief that should orbit Dolly is missing from her. It was the heady perfume of the 2017 Midler production.

    Suddenly, Hello, Dolly! feels like a company of individual performers working hard, rather than a company of performers in smooth, collective command of the material. Before the parade passes by, Hello, Dolly! would benefit from a reset.

    Hello, Dolly! is at the Schubert Theatre, 225 West 44th Street, NYC. Booking through July 30.

    The Hollywood Reporter
    ‘Hello, Dolly!’: Theater Review
    2/22/2018 by Frank Scheck

    You experience many things while watching the Broadway revival of Hello, Dolly! at the Sam S. Shubert Theatre. Laughter at the broad, hysterical comedy. Joy upon hearing Jerry Herman’s gorgeous score. Wonderment at the eye-popping costumes on constant display. But now that Bernadette Peters has taken over the title role, for the first time you’ll also shed tears.

    That’s because the veteran, two-time Tony Award-winning performer has brought a poignancy to the production that wasn’t quite in evidence with her predecessor, Bette Midler. Midler was a powerhouse presence to be sure, bringing to the part all of her star wattage and formidable comic chops. Her starring turn, which resulted in sell-out performances and huge box-office grosses, became instantly iconic. But you never felt as much concern and tenderness toward her Dolly as you do for this one.

    Peters, of course, is no slouch when it comes to being an iconic presence herself, considering that her career as a theater star has lasted a half-century since her breakout performances in 1968’s George M! and off-Broadway’s Dames at Sea. Since then she’s delivered acclaimed turns in such musicals as On the Town, Mack & Mabel, Sunday in the Park with George, Song and Dance, Into the Woods, Annie Get Your Gun, A Little Night Music and Follies. If anyone could be considered musical theater royalty, it’s her.

    She pulls off another triumph here, infusing her Dolly Gallagher Levi with a pathos that, while making the character less a force of nature, makes her far more relatable. When her Dolly speaks to her dead husband Ephraim, such as when she implores him to let her go so she can get on with her life and be happy, it’s not just a prelude to the big, first-act closing number “Before the Parade Passes By” but also a tearful plea from the heart.

    Which is not to say that she falls short of the role’s comedic demands. Her performance is less vivacious than Midler’s, but no less hilarious. With her deadpan comic line readings and subtle bits of physical business — the latter especially shown off in the riotously farcical hat shop scene in which she does not just a double, but a triple, take — she gets all the necessary laughs and more without lapsing into excessive shtick. Her vocals are equally stellar, and she looks sensational slinking down those Harmonia Gardens Restaurant stairs in that fabulous red dress and feathered headdress.

    Victor Garber, another Broadway veteran whose musical theater credits include Sweeney Todd and Damn Yankees, has taken over for David Hyde Pierce as Dolly’s comic foil Horace Vandergelder. Garber doesn’t get nearly as many laughs as his predecessor, but few actors could, since Hyde Pierce is a finely tuned comedy machine. But if Garber’s more restrained performance is less gut-busting, it’s also less of a caricature. His Horace is more emotionally vulnerable, making us care more deeply about him and Dolly getting together.

    The other significant cast changes (Gavin Creel and Kate Baldwin continue in their Tony winning and nominated roles respectively, and have only gotten better with time) are Charlie Stemp as Barnaby Tucker and Molly Griggs as Minnie Fay. Stemp, a 24-year-old British actor who won raves for his London performances in Half a Sixpence and Dick Whittington and here makes his Broadway debut, is a revelation. Effortlessly charming and displaying pitch-perfect comic timing, the charismatic performer is also one hell of a dancer. So much so, in fact, that he’s been given a dazzling solo in the “Dancing” number that wasn’t there before. Catch him now, and you’ll be able to say that you saw a star in the making. Griggs, who’s replaced Beanie Feldstein, proves no less an adorable laugh-getter than her predecessor and has excellent chemistry with Stemp. You’ll be seeing a lot more of her in the future as well.

    Jerry Zaks’ perfectly tooled staging hasn’t lost a step, dancing or otherwise, since the show opened 10 months ago. Gower Champion’s original 1964 Broadway production — starring Carol Channing followed by a host of luminaries including Ginger Rogers, Martha Raye, Betty Grable, Pearl Bailey, Phyllis Diller and Ethel Merman — played 2,844 performances. Assuming that it can keep up this level of star casting, there’s no reason not to think that this revival can’t match it.

    Newsday
    ‘‘Hello, Dolly!’ review: Well, hello, Bernadette Peters!
    By Barbara Schuler
    Updated February 22, 2018 9:00 PM

    It’s been just a month since the “Hello, Dolly!” hats (and magnificent hats, they are) were passed from the Tony-winning, seriously adored Bette Midler to Broadway legend Bernadette Peters.

    Time to invite the critics, who for the most part will be inclined to compare the two performances. But you won’t get that here. For a variety of reasons, I never saw Midler in the role. We’re starting fresh.

    “Bette, who?” is all I have to say. Peters electrifies the Shubert Theatre stage with her warm, finely nuanced take on matchmaker Dolly Gallagher Levi, the multitasking widow who decides to rejoin the human race, with a perfect mix of heartfelt vocals and impeccable comic timing. True, her voice is on the raspy side (she is playing eight shows a week, where Midler got most Tuesday nights off with Donna Murphy stepping in) but it takes nothing away from the many magical moments — among them the renowned title song, of course, but also the life-affirming “Before the Parade Passes By” — that this lavish confection offers up. And never have I seen an audience so primed to love a show, with the applause starting the minute the lights went down and crescendoing at Dolly’s famed strut down the Harmonia Gardens staircase.

    Some of that applause was saved for Victor Garber, another newcomer to the production, replacing David Hyde Pierce as the penny-pinching half-a-millionaire Horace Vandergelder, the man Dolly has her sights on. Lacking the musical chops of Peters (or the rest of the cast for that matter), Garber, all rumpled hair and grating New York accent, sells his wonderful material, especially the song “Penny in My Pocket” that’s often cut from the show, with a heavy dose of curmudgeonly charm.

    A word, too, for Charlie Stemp as Barnaby Tucker, taking over for Taylor Trensch, now breaking hearts over at “Dear Evan Hansen.” A wonderful dancer, Stemp is delightful as the befuddled sidekick to Gavin Creel’s Tony-winning Cornelius Hackl.

    Broadway statistics have noted a marked revenue drop following Midler’s departure, attributed both to the stratospheric prices she was commanding and the typical post-holiday slump. But this production has good bones — Santo Loquasto’s gorgeous costumes and artistic scenery and Jerry Herman’s well-loved score. When the time comes, a way off we hope, for Peters to move on, director Jerry Zaks will surely find another Dolly (one survey says fans want to see Dolly Parton in the part), and in all likelihood, my next question will be, “Bernadette, who?”

    The New York Times
    Review: The ‘Dolly’ Parade Marches On, Now With a New Star
    HELLO, DOLLY! NYT Critic’s Pick Broadway, Musical, Musical 2 hrs. and 35 min. Open Run Shubert Theater, 225 W. 44th St. 212-239-6200
    By JESSE GREENFEB. 22, 2018 Read More

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    Tuesday, February 13, 2018

    Betty Buckley to lead US national tour of ‘Hello, Dolly!’

    Washington Post
    Betty Buckley to lead US national tour of ‘Hello, Dolly!’
    By Mark Kennedy
    February 12, 2018

    NEW YORK — Tony Award-winning actress Betty Buckley has been tapped to lead the national tour of the latest exuberant Broadway production of “Hello, Dolly!” a gig she calls “such a gift.”

    “I’m just so happy to take such a happy show all around America. It’s like ‘Make America Happy Again,’” Buckley told The Associated Press on Monday. “It’s like an antidote.”

    Buckley will star as matchmaker and schemer Dolly Levi in the production that won four Tony Awards last year, including best revival on Broadway and best actress in a musical for Bette Midler, who also played Levi.

    Buckley saw the show with Midler this winter and “was in rapture,” sitting in the second row and weeping. The production was “one of the most joyous pieces of musical theater I have ever experienced.”

    “Bette Midler was absolutely like an ice cream sundae. You just wanted to scoop her up,” Buckley said. Producer Scott Rudin reached out and she didn’t need much persuading, citing the cast, production values and costume designs. “I’m such a fan of this production and I’m such a fan of Bette’s that it never occurred to me that it was something I would be invited to do.”

    The tour kicks off Oct. 2 at Cleveland’s Playhouse Square. It will have lengthy stops in Chicago, San Francisco, Los Angeles and Washington, D.C. Full tour dates and cities will be announced shortly, as will the rest of the cast. Bernadette Peters has inherited the Broadway role of Levi.

    The show is a musical version of Thornton Wilder’s play “The Matchmaker” with the songs “Put On Your Sunday Clothes,” ‘’Before the Parade Passes By” and “So Long Dearie.”

    She spoke while on the way to New Orleans to shoot the third season of the AMC series “Preacher,” playing Dominic Cooper’s grandmother.

    Buckley won a Tony as Grizabella, the Glamour Cat, in Andrew Lloyd Webber’s “Cats” in the 1982 original Broadway production and received her second Tony nomination for best actress in a musical for her performance as Hesione in “Triumph of Love.” She also starred in “Eight Is Enough” on TV.

    Buckley won an Olivier Award nomination in the London production of Andrew Lloyd Webber’s “Sunset Boulevard.” Her other Broadway credits include “1776,” ‘’Pippin,” ‘’Song and Dance” and “The Mystery of Edwin Drood,” in which she died onstage eight times a week.

    Now she’ll step into the role previously performed by Ethel Merman, Ginger Rogers, Carol Channing, Pearl Bailey, Phyllis Diller, Betty Grable, Mary Martin, Midler, Donna Murphy and Bernadette Peters.

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    Wednesday, January 17, 2018

    Press Release: BETTE MIDLER’S HISTORIC RUN IN “HELLO DOLLY!” COMES TO A TRIUMPHANT End!

    Official Press Release

     

    BETTE MIDLER’S HISTORIC RUN IN “HELLO DOLLY!” COMES TO A TRIUMPHANT CONCLUSION WITH A FINAL GROSS OF $2,436,207.84 OVER JUST SEVEN PERFORMANCES AND AN ASTOUNDING $598,200 RAISED DURING
    HER FINAL PERFORMANCE, A SPECIAL BENEFIT FOR THE ACTORS FUND

    TWO-TIME TONY AWARD® WINNER BERNADETTE PETERS
    BEGINS PERFORMANCES ON SATURDAY EVENING, JANUARY 20

    Bette Midler’s critically acclaimed and award-winning run in Hello, Dolly! came to a triumphant close on Sunday with a staggering reported gross of $2,436,207.84 over seven regular performances at the Shubert Theatre (225 West 44th Street). In addition, the eighth performance of the week and the final one of Ms. Midler’s run was a special benefit for The Actors Fund, raising an astonishing $598,203.

    Over the eight performances, the show grossed a total of $3,034,410.84.

    Starting Saturday evening, January 20, two-time Tony Award winner Bernadette Peters, capping a 60-years-long career of triumph after triumph as “the most accomplished musical comedy star of her generation” (The Washington Post), will take on the title role in the most successful and beloved Broadway production of the year: Hello, Dolly!, winner of the Tony Award® for Best Revival of a Musical. Ms. Peters joins the astonishing list of Broadway and Hollywood luminaries who have inhabited the role, which, in addition to Ms. Midler, includes Carol Channing, Pearl Bailey, Phyllis Diller, Betty Grable, Martha Raye, Ginger Rogers, Ethel Merman, in her last appearance on Broadway, and Mary Martin, who led the West End company.

    Joining Ms. Peters on January 20, will be four-time Tony Award nominee and six-time Emmy Award nominee Victor Garber as Horace Vendergelder, Olivier Award nominee Charlie Stemp making his Broadway debut in the role of Barnaby Tucker, and Molly Griggs as Minnie Fay.

    www.hellodollyonbroadway.com  

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    A Divine Exit: Bette Departs HELLO DOLLY! with a Bang at the Box Office

    Broadway World
    A Divine Exit: Bette Departs HELLO DOLLY! with a Bang at the Box Office
    by BWW News Desk Jan. 16, 2018

    Bette Midler’s critically acclaimed and award-winning run in Hello, Dolly! came to a triumphant close on Sunday with a staggering reported gross of $2,436,207.84 over seven regular performances at the Shubert Theatre.

    In addition, the eighth performance of the week and the final one of Ms. Midler’s run was a special benefit for The Actors Fund, raising an astonishing $598,203. Over the eight performances, the show grossed a total of $3,034,410.84.

    Starting Saturday evening, January 20, two-time Tony Award winner Bernadette Peters, capping a 60-years-long career of triumph after triumph as “the most accomplished musical comedy star of her generation” (The Washington Post), will take on the title role in the most successful and beloved Broadway production of the year: Hello, Dolly!, winner of the Tony Award® for Best Revival of a Musical.

    Ms. Peters joins the astonishing list of Broadway and Hollywood luminaries who have inhabited the role, which, in addition to Ms. Midler, includes Carol Channing, Pearl Bailey, Phyllis Diller, Betty Grable, Martha Raye, Ginger Rogers, Ethel Merman, in her last appearance on Broadway, and Mary Martin, who led the West End company.

    Joining Ms. Peters on January 20, will be four-time Tony Award nominee and six-time Emmy Award nominee Victor Garber as Horace Vendergelder, Olivier Award nominee Charlie Stemp making his Broadway debut in the role of Barnaby Tucker, and Molly Griggs as Minnie Fay.

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