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[0:00] Kevin David Thomas: Headed over to Patreon to throw a little money our way. We thank you so much from the bottom of our hearts.

[0:04] Robert W. Schneider: Your contributions are the only budget we have for this show and it provided us a new soundboard and better studio space. So a thank you. Thank you. And as you know, nothing is more fulfilling than talking to the legends of Broadway and hearing them share their thoughts, wisdom, and talents with all of us. However, it does cost money. And if you want to help us keep the show going, please head over to Patreon.com. That's P-A-T-R-E-O-N.com. Search for BEHIND THE CURTAIN and you can give as little as a dollar a month. And trust me, that dollar will help us more than you will ever know. Plus, for certain monetary donations, you will get to pick your favorite thing and have advanced knowledge of our future guests so you can ask the legends your own questions.

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[1:02] Robert W. Schneider: Hi, I'm Rob Schneider.

[1:05] Kevin David Thomas: And I'm Kevin David Thomas. And this is BEHIND THE CURTAIN, Broadway's Living Legends. Don't forget to follow us on Twitter at Broadway Curtain and make sure to join our Facebook page at BEHIND THE CURTAIN, Broadway's Living Legends. And follow us on Instagram at Broadway Curtain Podcast. Plus, you can always listen to our podcasts on Broadway World and Stitcher. Two Tony Awards, three Emmy Awards, and over 60 years in front of audiences. Today's guest is one of the most respected and most beloved artists in this business. Her appearances on Broadway include, here we go, Billion Dollar Baby, Brigadoon, High Button Shoes, Make-A-Wish, Hazel Flagg, Pal Joey, for which she won a Tony Award. But we're not done yet because there is Portofino and the City Center Productions of, she just laughed at that one, Guys and Dolls, Finian's Rainbow, a Tony nomination for creating the cynical dance hall hostess Nikki in Sweet Charity, a Tony win for cutting up the stage with Bobby Vann in the revival of No No Nanette, and then she became a familiar face all across America as the matriarch of the Ryan family in the soap opera, Ryan's Hope, for which she received three Daytime Emmy Awards.

Today, you can find her teaching at HB Studios in New York City. To tell us what it was like to work with such artists as Jerome Robbins, Bob Fosse, Bobby Vann, Gwen Verdon, Julie Stein, Lerner and Lowe, and just about everyone who created the American musical theater as we know it, here is the wonderful Helen Gallagher.

[2:18] Robert W. Schneider: Hi.

[2:19] Kevin David Thomas: Hi, Helen.

[2:20] Helen Gallagher: Hello, Helen.

[2:21] Robert W. Schneider: We're so happy to have you.

[2:23] Kevin David Thomas: Yeah, so appreciative. Okay, so before we went on the air, we noticed that there's a carousel playbill next to Helen, and Kevin asked, had she done the original, and you did not audition for the original. How come?

[2:37] Helen Gallagher: I was in a show called Seven Lives of the Arts at the time.

[2:43] Kevin David Thomas: Which was by Cole Porter.

[2:44] Helen Gallagher: Yeah, Cole Porter. Yeah, well, actually, Billy Rose.

[2:49] Robert W. Schneider: Right, right.

[2:50] Helen Gallagher: So I was embedded in the show, and I hesitated always to leave shows. I stayed with them usually until the end.

[2:57] Kevin David Thomas: How come?

[2:58] Helen Gallagher: I guess it's just my training. Yeah. That I liked. I liked what I was doing. I had been promoted from a chorus girl to one of the Seven Lively Arts, because Dolores Gray quit, because she couldn't get... There was a song called Every Time We Say Goodbye, and she had a version of it in the second act, and Nan Wynn had the version of it in the first act, and she wanted that one. So she quit. She was young and fresh.

[3:39] Robert W. Schneider: A different work ethic.

[3:40] Helen Gallagher: A different work ethic. Okay, so now we're going to jump to the beginning. Where'd you grow up?

[3:43] Helen Gallagher: I grew up in the Bronx, but I was born in Brooklyn.

[3:50] Kevin David Thomas: A Brooklyn girl?

[3:51] Helen Gallagher: Yes, I'm a New York girl. Born in Brooklyn, raised in the Bronx.

[3:55] Kevin David Thomas: Where in Brooklyn did you grow up?

[3:57] Helen Gallagher: I didn't grow up in Brooklyn. I mean, I'm so sorry. Where in Brooklyn were you born?

[4:01] Helen Gallagher: Flatbush.

[4:02] Kevin David Thomas: Flatbush. And then whereabouts in the Bronx did you actually grow up?

[4:05] Helen Gallagher: The upper Bronx, called the Wakefield area.

[4:09] Kevin David Thomas: Oh, yeah, yeah, yeah, yeah. Most of my memories are with that area. And why the move up there? I had to ask.

[4:14] Helen Gallagher: First of all, my mother... I lived in about 28 places before I moved by myself. My mother moved at the drop of a hat, but that wasn't really true. It was just that, you know, we had money. My father was a banker. And the crash came. And we lost our money. We lost our house. We were living in Scarsdale at the time. And then we moved to the Bronx. Then the family broke up because my mother believed man should support a woman. And my father was no longer able to. So the family broke. And they sent us off to boarding school for one year, my brother and I, which I hated. And they sent me home saying I had St. Vitus dance, which is interesting that I had dance in the title of my disease.

[5:05] Kevin David Thomas: And what is that? What is that?

[5:06] Helen Gallagher: I don't know. I was a nervous wreck because I was taken from my home in the country to this place in Newburgh where the nuns were very strict and they didn't much like me because I didn't cotton to it very well. And then they sent me home. And I came home to my aunt, my uncle, who was in bed, and my father. My mother lived someplace else. I had a strange childhood, to say the least. And she lived on 34th Street, 234th Street, and we lived at 237th Street.

[5:41] Kevin David Thomas: Oh, that's so strange.

[5:42] Helen Gallagher: It was really strange. Well, I saw her once every week, you know, on Sundays we'd meet. But it wasn't a very comfortable arrangement.

[5:49] Robert W. Schneider: No, no, no.

[5:50] Helen Gallagher: Well, they stayed away from each other, my aunt, my uncle, my father, until I was 10. Then they all moved back together again and that didn't work. So then they split up and my mother moved down to 33rd Street, down near the park. And they lived in the same building a floor up.

[6:21] Kevin David Thomas: So you can see it's a really mixed up, crazy family.

[6:24] Helen Gallagher: This is a play.

[6:25] Kevin David Thomas: Yeah. This is its own play.

[6:26] Helen Gallagher: No, it's not a play. Nobody would want to watch it. I at least not.

[6:30] Kevin David Thomas: When did you fall in love with dance? How did you get into dance?

[6:34] Helen Gallagher: Well, my father used to dance around the house, you know, and I just always wanted to dance. I don't remember where it came from or what, except that my mother used to sing. She had a very pretty voice and she whistled. She had the most beautiful whistle. She whistled like a bird, I swear. And my father would sing. So there was always music in the house that way, not playing the piano or anything like that. But there was always music and my brother could sing. He was in the choir. And so it just came natural to me. And I just begged for dancing lessons. Well, the problem was no money. My mother was working for like $30 a week at Chase National. It wasn't Chase. I forget what the name of it was. Chase evolved out of several banks. And she worked at one down Wall Street.

[7:35] Kevin David Thomas: So she managed to scrape up the money and give me a dancing lesson.

[7:39] Robert W. Schneider: And was ballet the first?

[7:40] Helen Gallagher: No, I did tap first of all. With friends of mine, the Slineys, they lived across the street. And they quit. And so I quit because I was very shy. And you would never guess it today, but I was then. And so I quit when they quit. And then I begged my mother to give me toe lessons. I wanted to be on point. And believe me, what a mistake. But anyway, my feet have suffered from it ever since. But so she managed and I took. But the teacher, Viola Cruz, was an ex-chorus girl from show business. And she was considered a pony because she was only five foot, like five foot five. And in those days, they wanted taller girls. So I took the lessons from her. And she wasn't a ballet dancer, really. She was a tap dancer. And then eventually, she took me downtown to the American School of Ballet when I was... Well, that's when we came back from California. So I was about 14 and a half.

[8:56] Kevin David Thomas: Oh, my. I tell you, my mother moved at the drop of a hat. Well, I didn't think West Coast was included in that.

[9:00] Helen Gallagher: Oh, yes, because my grandmother lived there.

[9:02] Kevin David Thomas: So goodness, you moved all over the place.

[9:04] Helen Gallagher: We did. We did. Absolutely. And I didn't like it because I would have to make new friends.

[9:10] Kevin David Thomas: Right. Exactly. At least you're. Was the dance pretty much a consistent part of your upbringing then? I mean, your childhood?

[9:15] Helen Gallagher: No, not really. I mean, I took those tap lessons. Right. Then a little ballet. And then when I was, well, almost 15, I guess, I started at the American School of Ballet. And that must have been much more serious.

[9:26] Kevin David Thomas: Oh, yes, that was serious. They're very serious. At what point did you become serious about being a dancer? When did it go from an after school?

[9:34] Helen Gallagher: It was always serious. Always? I always wanted to be on Broadway. I don't know how I got the idea.

[9:39] Kevin David Thomas: Wow. Do you remember the first Broadway show you ever saw?

[9:44] Helen Gallagher: Yes, but it was a play.

[9:45] Kevin David Thomas: Oh, what was it?

[9:46] Helen Gallagher: I don't know. Something that George Abbott directed, I remember.

[9:50] Kevin David Thomas: Oh, and then so interesting to be directed by him.

[9:54] Helen Gallagher: Yeah. Years later. So it comes full circle. So how did you make the rounds then?

[10:01] Helen Gallagher: There were no rounds then.

[10:02] Kevin David Thomas: So what was this like back then?

[10:06] Helen Gallagher: Well, you would hear about from your friends that there was an audition and you'd go and there'd be maybe 20 people there. Now there's 200.

[10:14] Kevin David Thomas: At least. Yeah. It's incredible. I don't know how the kids do it. I just said, if I came along now, I would never have gotten out of anything. I didn't have that kind of push.

[10:24] Helen Gallagher: But I did when I got on stage, strangely enough. But that happened very early on when I started the point work. She was having a recital at the Bronx Winter Garden.

[10:40] Kevin David Thomas: Oh, who knew there was a winter garden in the Bronx?

[10:41] Helen Gallagher: Oh, sure there was. My. A big one. Yeah. And she put me in it. And I remember getting on stage. I had this little costume that my mother had made me because the costume that they had decided was mine was ridiculous. And so my mother may have quickly pieced together something that looked cute. And I had a balloon. And I remember I put the balloon up and the whole audience went, oh, and I went, oh, this is what I've been looking for. Approval. And I've been hooked ever since.

[11:15] Kevin David Thomas: When did you realize that you could sing as well as dance?

[11:21] Helen Gallagher: We sang and danced. You know, it was that one, that kind of a studio, you know, it was a song that went first before you did the tap dance.

[11:30] Kevin David Thomas: Now, we ask all of our guests, and so we'll ask you as well. What was your go-to audition song when you were asked to audition?

[11:41] Helen Gallagher: I can't think of the name of it, but I know that there was one. I studied with David Craig.

[11:45] Kevin David Thomas: Oh, oh, yes.

[11:46] Helen Gallagher: And I studied with Susan Seaton, her name was, my teacher. And I got her name from Billy Worth, who was in Seven Lively Arts. That's when I thought, oh, well, if I have to sing, I better learn how. I have very, very logical kind of thinking.

[12:05] Kevin David Thomas: Yeah. Well, in Seven Lively Arts, that was your first Broadway credit.

[12:09] Helen Gallagher: Yeah. And you were in the ballet corps.

[12:11] Helen Gallagher: I was in the corps, but then Dolores Gray quit.

[12:13] Kevin David Thomas: Right.

[12:14] Helen Gallagher: So they only had six Lively Arts, and they needed a seventh. So they auditioned the kids in the chorus to be the understudies for some of them. And I auditioned and I got it. I was a stand by for Billy Worth. And then when they heard me sing, I remember Marisa Bravanel was our conductor. Oh, geez. You believe that? And I started to sing and he came out from underneath the stage where he was conducting the piano. And he said, who's that girl with a big voice? And that was me. And they hired me. That's how it got. And not only Marisa Bravanel, I mean, this was a score by Cole Porter.

[13:04] Helen Gallagher: I was born in Brooklyn, New York, and I grew up in a very musical family. My mother was a singer, and my father was a musician. I started singing and dancing at a very young age, and I knew that I wanted to be in the theater. I was fortunate enough to get my first break in a show called "Billion Dollar Baby," which was a big hit.

[13:34] Helen Gallagher: After that, I went on to do "Brigadoon," which was another wonderful experience. I remember the excitement of being part of such a classic show. The choreography was incredible, and I had the chance to work with some amazing people.

[14:04] Helen Gallagher: One of the highlights of my career was definitely winning my first Tony Award for "Pal Joey." It was such an honor, and I was thrilled to be recognized for my work. The show was a fantastic experience, and I loved every moment of it.

[14:14] Helen Gallagher: I also had the opportunity to work with Agnes DeMille, who was a legendary choreographer. She was tough but fair, and I learned so much from her. I remember one time she pulled me aside and told me that I had to dig deeper into my character. That advice has stuck with me throughout my career.

[14:24] Helen Gallagher: Sharing a dressing room with Elaine Stritch was another unforgettable experience. She was larger than life, and her stories were always entertaining. We had a lot of fun together, and I learned a lot from her about being a performer.

[14:34] Helen Gallagher: I was initially hesitant to take on the role in "Sweet Charity." I didn't think it was the right fit for me, but after some convincing, I decided to give it a shot. It turned out to be a great decision, and I ended up receiving a Tony nomination for my performance.

[14:44] Helen Gallagher: Throughout my career, I've had the pleasure of working with incredible talents like Cole Porter and Benny Goodman. Their music has had a lasting impact on the theater, and I feel lucky to have been a part of that world.

[14:54] Helen Gallagher: I also had the chance to work with Nanette Fabray, Gwen Verdon, and Bobby Van. Each of them brought something unique to the stage, and I cherished the moments we shared.

[15:04] Helen Gallagher: Looking back on my journey, I feel grateful for all the experiences I've had. The theater has given me so much joy, and I hope to continue sharing my passion with audiences for years to come.

[15:14] Helen Gallagher: I think it's important for young performers to stay true to themselves and to always be open to learning. The theater is a constantly evolving art form, and there's always something new to discover.

[15:24] Helen Gallagher: As I reflect on my career, I realize that the relationships I've built with my fellow performers have been just as important as the roles I've played. The camaraderie in the theater is something truly special.

[15:34] Helen Gallagher: I'm excited to see what the future holds for musical theater. There are so many talented individuals out there, and I believe the art form will continue to thrive.

[15:44] Helen Gallagher: Thank you for allowing me to share my story. It's been a pleasure to look back on my journey and to celebrate the incredible world of Broadway.

[15:54] Helen Gallagher: I hope that my experiences can inspire others to pursue their dreams in the theater. It's a challenging but rewarding path, and I wouldn't trade it for anything.

[16:04] Helen Gallagher: Remember, the magic of theater lies in its ability to connect people and to tell stories that resonate with audiences. That's what makes it so powerful.

[16:14] Helen Gallagher: I look forward to seeing the next generation of performers take the stage and continue the legacy of musical theater.

[16:24] Helen Gallagher: Thank you again for this opportunity to share my journey. It's been a joy to reflect on my life in the theater.

[16:34] Helen Gallagher: I encourage everyone to support live theater and to keep the magic alive.

[16:44] Helen Gallagher: The stories we tell and the music we share are what make Broadway so special.

[16:54] Helen Gallagher: I can't wait to see what the future holds for all of us in this incredible world of theater.

[17:04] Jerome Robbins: When I was working on "Pal Joey," I had a vision for how the choreography should flow with the music. It was important to me that the dance told a story just as much as the lyrics did.

[17:34] Jerome Robbins: I remember working closely with Helen and the rest of the cast to create something truly unique. We spent countless hours perfecting the movements and ensuring that everything was in sync.

[18:04] Gene Nelson: The energy in the room during rehearsals was electric. Everyone was passionate about the project, and it was inspiring to see how dedicated everyone was to bringing the show to life.

[18:34] Jerome Robbins: I always believed that dance should enhance the narrative, and with "Pal Joey," we aimed to do just that.

[18:44] Jerome Robbins: The collaboration between the actors and the dancers was crucial. We wanted to create a seamless experience for the audience.

[18:54] Jerome Robbins: I remember Helen's commitment to her role. She brought so much depth to her character, and it was a pleasure to work with her.

[19:04] Jerome Robbins: Each rehearsal was an opportunity to explore new ideas and push the boundaries of what we could achieve on stage.

[19:14] Jerome Robbins: I was fortunate to have such a talented cast, and I felt that we were all in it together, striving for excellence.

[19:24] Jerome Robbins: The process was challenging, but it was also incredibly rewarding.

[19:34] Jerome Robbins: I think that the success of "Pal Joey" was a testament to the hard work and dedication of everyone involved.

[19:44] Jerome Robbins: It was a true collaboration, and I believe that the audience could feel that energy when they watched the show.

[19:54] Jerome Robbins: Looking back, I am proud of what we accomplished and the impact it had on the world of musical theater.

[20:04] Jerome Robbins: The experience taught me a lot about the importance of teamwork and the power of storytelling through dance.

[20:14] Jerome Robbins: I hope that future generations of performers continue to embrace that spirit of collaboration.

[20:24] Jerome Robbins: It's what makes theater so special and allows us to create magic on stage.

[20:34] Jerome Robbins: Thank you for allowing me to share my thoughts on "Pal Joey" and the incredible journey we all took together.

[20:44] Jerome Robbins: I look forward to seeing how the art form continues to evolve and inspire.

[20:54] Jerome Robbins: The legacy of shows like "Pal Joey" will always be a part of Broadway's rich history.

[21:04] Jerome Robbins: I am grateful for the opportunity to have been a part of it.

[21:14] Jerome Robbins: Thank you for listening to my reflections on this incredible experience.

[21:24] Jerome Robbins: I hope that my insights can inspire others to pursue their passions in the world of theater.

[21:34] Jerome Robbins: The journey is just as important as the destination, and I encourage everyone to embrace every moment.

[21:44] Jerome Robbins: Thank you once again for this opportunity to share my story.

[21:54] Jerome Robbins: I look forward to the future of musical theater and the stories yet to be told.

[22:04] Jerome Robbins: The magic of Broadway will always hold a special place in my heart.

[22:14] Jerome Robbins: I hope that we can continue to create and inspire for many years to come.

[22:24] Jerome Robbins: Thank you for being a part of this journey with me.

[22:34] Jerome Robbins: I am excited to see what the future holds for all of us in this incredible world of theater.

[22:44] Jerome Robbins: The stories we tell and the music we share are what make Broadway so special.

[22:54] Jerome Robbins: I can't wait to see what the future holds for all of us in this incredible world of theater.

[23:04] Jerome Robbins: Thank you for allowing me to share my journey.

[23:14] Jerome Robbins: It's been a joy to reflect on my life in the theater.

[23:24] Jerome Robbins: I encourage everyone to support live theater and to keep the magic alive.

[23:34] Jerome Robbins: The stories we tell and the music we share are what make Broadway so special.

[23:44] Jerome Robbins: I can't wait to see what the future holds for all of us in this incredible world of theater.

[23:54] Jerome Robbins: Thank you for allowing me to share my journey.

[24:04] Jerome Robbins: It's been a joy to reflect on my life in the theater.

[24:14] Jerome Robbins: I encourage everyone to support live theater and to keep the magic alive.

[24:24] Jerome Robbins: The stories we tell and the music we share are what make Broadway so special.

[24:34] Jerome Robbins: I can't wait to see what the future holds for all of us in this incredible world of theater.

[24:44] Jerome Robbins: Thank you for allowing me to share my journey.

[24:54] Jerome Robbins: It's been a joy to reflect on my life in the theater.

[25:04] Jerome Robbins: I encourage everyone to support live theater and to keep the magic alive.

[25:14] Jerome Robbins: The stories we tell and the music we share are what make Broadway so special.

[25:24] Jerome Robbins: I can't wait to see what the future holds for all of us in this incredible world of theater.

[25:34] Jerome Robbins: Thank you for allowing me to share my journey.

[25:44] Jerome Robbins: It's been a joy to reflect on my life in the theater.

[25:54] Jerome Robbins: I encourage everyone to support live theater and to keep the magic alive.

[26:04] Jerome Robbins: The stories we tell and the music we share are what make Broadway so special.

[26:09] Helen Gallagher: You know you're not going to stop the show anymore. I said, why? She said, because I'm going to make my entrance a little bit later. She said, because it's very hard for me when you stop the show, I have to stand there. Oh my goodness. Yeah, it was hard for her. Yeah. You know, she was, she was the lead. Right. And she was held up by these two people that were doing this number. So she did, and she stopped. That was the end of the, though we stopped it one more time, two weeks before the show closed. Oh yeah? We stopped the show. That time I was with Donald Sadler. Paul Godkin had quit after three months. Oh. He wasn't happy with what he had to do. And so the next person that came in was Donald, everybody came from Ballet Theatre.

And Donald Sadler was in Ballet Theatre also. So I love that number. It was more fun, because we'd make up ways to get laughs. And then we'd cut another laugh. We'd say, we can't have too many laughs, we'll kill it. So we'd cut it. We'll take that one out. We'll put this one in. And this is you as the actors deciding this. Yeah. George Abbott wasn't a part of deciding all of this. He didn't have anything to do with it. He's moved on. My gosh. He's moved on. Yeah, he's moving people elsewhere. And then Nanette Fabray and you worked together again on Make-A-Wish. That's right. But this time the role for you is a little bigger. You keep getting... Yeah, actually... I'm speaking of Harold Lang. Yeah, Harold Lang, yeah.

Yep. I told you, I worked with him many times. Geez, yeah. So what was Make-A-Wish? It's not very good. It was a good score. It was a good score. I really liked Julie Stein, yeah. Julie. Julie knew how to write music. And I love the songs that I had to sing. Hugh Martin, yeah. Yeah. Oh, Hugh Martin. Did you get to interact a lot with Hugh Martin? Oh, yeah, sure. So what was he like? A doll. A doll. An absolute doll. Yeah. He really was. And he sang great. Oh, yeah. We did the backers auditions together and that was fun. We traveled to Philadelphia and sang for a lot of people with money. So you would like go to these private little parties... That's right. ...and present the material in the hopes that some person would... Would donate money.

Yeah, sure. And that's how the show got on. And you would travel to other cities to do this. Yeah, sure. Wow. Were you ever involved in any shows that closed out of town before they came to New York? I've been involved with a few that should have. Oh, talk to me, please, about that. I'm so interested. Well, Portofino, my God. Yeah. That was... That was a disaster. That was not... You're not a fan of... And did you know that right from the get-go? Absolutely. Oh, you could tell. Oh, it had no... Made no sense. No sense whatsoever. So what do you do in that situation? Do you just... You do your job and... You do your job. You put your head down and do your job. Absolutely. What was Portofino about?

It was... I couldn't tell you and I was in it. I really couldn't tell you. I mean, it's... Who was in it? I don't even remember. I don't remember. It was based on something I believe called Portofino PTA. That's all I remember of it. No. I just know they destroyed the theater after we left. Oh, that was the last show that played? That's right. Oh, good. Got on a high note. And then Cry For Us All? Aptly named. Not a fan. Not a fan. She's got these one-liners. What was going on with Cry For Us All? I'm so curious. Joan Diener and Albie Maher. That's what was going on. Okay. She was playing lace curtain Irish. Good luck. That's a little strange. It was more than a little strange. I know. And one night I had a number.

I had two good things in that show. I had one that was... I talked about the canary bird. The play was beautiful. It was done by some man up in Boston. Hogan's Goat? Is that what the play was? That was it. Hogan's Goat. Okay. And I had this speech about my canary bird. And I was like a little waif that, you know, a hoyden. And they cut it after she was out one Saturday night. And I thought, she's sitting in the audience looking at this show. And she was. And that's when everything was changed. Oh, wow. And she said, you have the best part in the show. And I thought, here it goes. That's the end. Wow. Geez. That's. Oh, wow. But she was married to the director. Well, yeah. That sort of helps you a little bit, I think.

Built in. All right. So now we're going to jump back 1952. Ah, yes. Pal Joey. Pal Joey. That's right. Pal Joey. So how does this come into your orbit? Just an audition? Julie Stein. Julie Stein. Tell us, tell us. Well, it was Make-A-Wish that Julie did. And he was doing Pal Joey next. And so that was for me and Harold. And so you knew that Julie Stein enjoyed, liked your work. Oh, yeah. You could tell. He loved the way I sang. Who wouldn't? Right. And you must have. Did you meet him at High Button Shoes when you were in that? Or were you sort of. No, not really. Not yet. Okay. No. Make-A-Wish was where I really. That was like the word solidified it. Right. And who were you in Pal Joey? I can't remember my name.

Gladys. Gladys. Yeah, I played two parts named Gladys. Yeah. Oh yeah. That's right. In Pajama Game. Pajama Game was Gladys also. Gladys Bumps. Gladys Bumps. Who, what a name. I like those names back. Gladys Bumps. And you also had, in addition to Harold Lang, Elaine Stritch was in the show and Vivian Siegel. Oh, Elaine was my. We shared a dressing room together. So that was, that must be an experience. I loved her. We were great friends. Well, Kevin worked with her on A Little Night Music. You liked her. I did a show with her for about eight months at the end of her life, when A Little Night Music on Broadway. Yeah. We would, I would get to know her many years after you did, but I truly, I feel the same way as you did.

I really liked her. I did too. She's very special. She's a pistol. Oh, yeah. She's, I mean, like. She was a riot. I mean, I can't imagine what she was like when she was in her 30s, but I would, she must have been fun to share a dressing room with. She gave great parties. Oh, yeah, I can imagine. And I bet fun people were there. Yeah, they were. Vivian Siegel? Well, I didn't get to know her much. Yeah. But I loved what she did. So were you like a sponge just absorbing all of this stuff around you or? Oh, I'm sure. Yeah, yeah, yeah. But I wasn't aware of it. When did, did you ever get starstruck back then? Did anyone ever come backstage and meet you and you go, oh, my God, it's. No, I never was.

No. You know, I never wrote fan letters or I never did that. I didn't like looking up at people. I liked looking across. Oh, what a good way of putting it. Smart. What a great way of putting that. I'm going to steal that if that's OK. I guess Pal Joey's when you first, did you, had you met Richard Rogers before you did Pal Joey? No. Did you meet him at all during Pal Joey? Was he around? Around. Yeah. But, you know, just occasionally to give critique. But no, I didn't get to know him. So your performance in Pal Joey, you're rewarded with a Tony Award. What is that experience? What was that experience like? Well, there were two experiences that are linked. Because there's one when I got that Tony and the other one when I got it for Nanette.

The thing is, I was scared to death. And they, I didn't know what to wear. And Julie took me to a place and we got a new dress. And, you know, I didn't have that kind of money. And it was just, it was awe, it was just frightening. I got, I went, I remember getting on stage and saying, thank you. That's it. That's all I said. And then when I won from Nanette, it was just a totally different experience. I mean, I could look up in the audience and see all the kids from my show. And it was just, and they were just hooting and hollering and so pleased that I won. And it was just, it was a very different experience. Your Tony speech when you won for Nona Nanette is a favorite amongst many people. Because the whole theme that you brought up was this idea of sticking to it.

That's right. Tell me a little bit more about that. Well, that was my theme. I told you, I never quit. Yeah. I stayed with shows until they're finished. But I think I can remember something of what I said. The fact that, I don't know. Well, we'll post the link for our listeners. But the thing that you did that was so beautiful, I thought was, you dedicated the award to everyone who was in this business. Who stuck. Who stuck. That's right. Everybody who stuck. That's it. Wow. To the actors. Because that's the way I felt. We're all of a group. We start little and we get up there and we stay. You love the community aspect of this. Yeah, I do. Well, I teach too. Yeah. And so now you're passing it on to the next generation.

Hopefully. But I'm not sure I am. You never know. The theater has so changed. The world has so changed. I don't know that it's being passed on at all. But I try to give them what little information I have. You know, so that they gain inside themselves. And you've had some incredible teachers, though. You yourself have had incredible teachers. So, OK, this is fantastic. So then Uta Hagen, what was it? What made her so special in terms of the actor-student relationship? For those of us who were never able to take a class with her, what were those classes like? Well, she believed in being truthful. And you have to search yourself for the part. And she would give critiques like in two seconds. I was doing Blind Spirit one time and she said, why are you wearing those high heels?

I said, because anybody I've ever seen play this part wore high heels. She said, take them off. I came back in and I had the part. I mean, because then I could float. Oh. And I was a spirit, right? That's interesting. That's the kind of critique she gave. And I remember I was doing The Graduate with a boy that was terrified of it. Particularly because he was a man and a woman. He didn't know from that. And what was I going to say? Oh, yes. No, it's gone. That's okay. In 91, a lot leaves. A lot's there, are you kidding me? Ten times. Yeah, you're fine. Okay, so but the ability for her just to be able to summarize a life-changing critique. That's right. She said about The Graduate, she said, well, you know, I said, well, this is a seduction role.

You know, it's that scene. Yeah. And she said, yes. I said, well, that's how I act with, because I was all over this guy. That's how I act with him, like my godson. She says, do you want to go to bed with him? Light bulb. Fixed it, just right then and there. Oh, amazing. Yeah, that's the kind of critique she gave. So fabulous. To the point. So fabulous. Yeah. Um, after Pal Joey, you then, uh, in 1953, get to star in your own musical. Yes. Hazel Flag. Yes. Written by Julie Stein. Written by Julie Stein. Right. Yeah. And directed by the guy that did Pal Joey. I can't think of his name. He went to the West Coast. Not Robert Hall. David Alexander? David, that I don't know. Sorry, that, that I don't know.

I think that's. But your same director, though, from Pal Joey. Is now working with you on Hazel Flag. So did they tailor the vehicle for you? Did they come to you and say, hey, Helen, we're working on a musical for you specifically? No, Julie always told me that his next show would be for me.

[39:14] Helen Gallagher: Oh, really? Oh, wow. So, what was Hazel Flagg?

[39:21] Robert W. Schneider: A mistake.

[39:22] Helen Gallagher: Okay. So, what was the misstep?

[39:24] Robert W. Schneider: What went wrong?

[39:26] Helen Gallagher: Well, first place, they hired a man named John...

[39:29] Robert W. Schneider: Howard?

[39:30] Helen Gallagher: Howard. You know what he used to do in rehearsal? Mathematical crossword puzzles.

[39:38] Robert W. Schneider: That's about the way he acted.

[39:41] Helen Gallagher: Good. This is exactly who we want leading the ship.

[39:43] Robert W. Schneider: Good. It's going great. Comedy.

[39:45] Helen Gallagher: Yeah, exactly. He had a nice voice, but he was just El Stifo. And, in fact, Tony Brevard came in when we took a six-week hiatus in the summer, and we came back, and Tony Brevard was then...

[40:01] Robert W. Schneider: And he was just magic. And Tommy Mitchell actually closed that show.

[40:08] Helen Gallagher: And I love Tommy, and I wouldn't say anything against him, but the man who owned the Mark Helens Theater...

[40:15] Robert W. Schneider: Right.

[40:16] Helen Gallagher: You know his name?

[40:17] Robert W. Schneider: Oh, no, I don't. I'm sorry.

[40:17] Helen Gallagher: I don't.

[40:18] Robert W. Schneider: Famous. Asked Tommy, should we keep this running? And Tommy said no. That's because it had shifted.

[40:27] Helen Gallagher: Because when John Howard was the leading man, Tommy was my leading man. And the focus was on that relationship. And when Tony Brevard came in, he became the leading man.

[40:42] Robert W. Schneider: Of course.

[40:42] Helen Gallagher: And I think Tommy was a little...

[40:44] Robert W. Schneider: Oh, wow.

[40:45] Helen Gallagher: His nose was out of kilter. He was my drinking buddy, too. We used to go to Toot Shores and drink.

[40:52] Robert W. Schneider: Oh, wow.

[40:53] Helen Gallagher: Wait, where would you go?

[40:53] Robert W. Schneider: Toot Shores.

[40:54] Helen Gallagher: Oh, my gosh. I love it.

[40:56] Robert W. Schneider: Very famous bar, yeah.

[40:58] Helen Gallagher: Yeah, on 52nd Street.

[40:59] Robert W. Schneider: Oh, wow. And then the rest of the 50s, it feels like it's dominated by all of your city center work. It feels like there's a lot of city center work.

[41:07] Helen Gallagher: I couldn't get any other work.

[41:09] Robert W. Schneider: How come? Or why do you feel?

[41:12] Helen Gallagher: Well, Hazel Flaggs killed it all. Yeah, because it wasn't a hit.

[41:18] Robert W. Schneider: And so people associated that with you?

[41:21] Helen Gallagher: Of course. I was the star.

[41:23] Robert W. Schneider: Interesting. That's very interesting.

[41:26] Helen Gallagher: Yeah, it wasn't to me.

[41:28] Robert W. Schneider: Well, no, no, of course not. No, no, no.

[41:30] Helen Gallagher: So you went to city center and you did a lot of the great roles in the musical theater canon.

[41:36] Robert W. Schneider: Yes, absolutely.

[41:38] Helen Gallagher: I have to ask you, though, because I find this so fascinating. In 1955, you did Guys and Dolls.

[41:43] Robert W. Schneider: Right.

[41:44] Helen Gallagher: You were.

[41:44] Robert W. Schneider: With Walter.

[41:46] Helen Gallagher: You were Miss Adelaide, right?

[41:47] Robert W. Schneider: Yes.

[41:47] Helen Gallagher: And Walter...

[41:48] Robert W. Schneider: Matthau.

[41:49] Helen Gallagher: Walter Matthau was your Nathan Detroit.

[41:51] Robert W. Schneider: Right.

[41:51] Helen Gallagher: Wow. He was great.

[41:54] Robert W. Schneider: I could imagine. I could imagine.

[41:57] Helen Gallagher: And you also did at city center. So you did Guys and Dolls. You did Oklahoma.

[42:03] Robert W. Schneider: Right.

[42:04] Helen Gallagher: What else was always on that roster, if you remember?

[42:08] Robert W. Schneider: Brigadoon? Was that? No.

[42:09] Helen Gallagher: Brigadoon was there.

[42:10] Robert W. Schneider: You did Brigadoon again.

[42:11] Helen Gallagher: Oklahoma.

[42:12] Robert W. Schneider: I was going to ask if you had a favorite.

[42:16] Helen Gallagher: Ado Annie.

[42:16] Robert W. Schneider: Oh, Finian's Rainbow.

[42:18] Helen Gallagher: Ado Annie is my favorite.

[42:19] Robert W. Schneider: What do you love so much about Ado Annie?

[42:21] Helen Gallagher: Oh, what a delicious role. I'll show you one of the things that I loved. I remember Ali Hakim took my arm and kissed me in the elbow.

[42:32] Robert W. Schneider: Oh, yeah.

[42:32] Helen Gallagher: Right? And I went... Puts the other arm out. Got a big laugh. Put the other arm. I kissed that one, too. That's the kind of thing you could do in that part.

[42:41] Robert W. Schneider: That's fantastic.

[42:42] Helen Gallagher: You know, this might be a hard question to answer, but I'm going to ask it anyway. You know, you've gotten to sing so many of the great composers' works from the American Songbook.

[42:49] Robert W. Schneider: Right.

[42:50] Helen Gallagher: Rogers and Hart, Rogers and Hammerstein, Cole Porter. Is there a favorite of yours? Is there a particular composer whose work you just love singing?

[42:54] Robert W. Schneider: I loved singing everything.

[43:02] Helen Gallagher: Yeah, I was going to say, it's a kind of a hard one.

[43:04] Robert W. Schneider: Yeah. No, I can't think.

[43:05] Helen Gallagher: But so lucky, though, to be in that experience.

[43:08] Robert W. Schneider: Yes.

[43:08] Helen Gallagher: Were there any shows that you were auditioning for that you turned down and then afterwards said, oh, I shouldn't have turned that one down?

[43:13] Robert W. Schneider: No, I never turned anything down.

[43:16] Helen Gallagher: You took whatever you got.

[43:19] Robert W. Schneider: I took what came to me.

[43:21] Helen Gallagher: You're a worker.

[43:22] Robert W. Schneider: Yeah.

[43:22] Helen Gallagher: You're a worker. I wanted to be on the stage.

[43:26] Robert W. Schneider: So there's a little bit of a gap between The End of the City Center and then Sweet Charity in 1966.

[43:32] Helen Gallagher: Yeah, that was a big gap.

[43:35] Robert W. Schneider: So what were you doing during that time?

[43:37] Helen Gallagher: Taking dance classes, taking acting lessons.

[43:40] Robert W. Schneider: So keeping yourself still in the classroom, still keeping yourself busy.

[43:43] Helen Gallagher: I always wanted to get a job.

[43:45] Robert W. Schneider: Yeah.

[43:45] Helen Gallagher: So I had to be ready.

[43:49] Robert W. Schneider: It's so different now, I'm assuming, which is...

[43:51] Helen Gallagher: Very different.

[43:53] Robert W. Schneider: Who was your agent back then? Was your agent...

[43:55] Helen Gallagher: I had a man named Howard Hoyt.

[43:57] Robert W. Schneider: Howard Hoyt. Okay.

[43:58] Helen Gallagher: Yeah. Who... He was very good when things were rolling.

[44:04] Robert W. Schneider: But when things weren't rolling, he didn't know how to stir them up.

[44:07] Helen Gallagher: Interesting.

[44:08] Robert W. Schneider: And then I had a manager who did nothing but collect money. And, you know, there were hard times.

[44:14] Helen Gallagher: Right.

[44:15] Robert W. Schneider: How do you keep yourself motivated in hard times?

[44:18] Helen Gallagher: There's no asking it. It's there. You just do.

[44:21] Robert W. Schneider: You just do.

[44:21] Helen Gallagher: You want to do it.

[44:22] Robert W. Schneider: So you're taking the acting classes, the singing dances...

[44:25] Helen Gallagher: Right.

[44:25] Robert W. Schneider: I started with Frank Casara.

[44:27] Helen Gallagher: Oh, okay.

[44:28] Robert W. Schneider: And then he went on to the opera.

[44:30] Helen Gallagher: Yeah.

[44:31] Robert W. Schneider: And then moved into the operatic world.

[44:33] Helen Gallagher: So then how does Sweet Charity come into your world?

[44:37] Robert W. Schneider: An audition, an offer?

[44:38] Helen Gallagher: I said to my agent... I read in the spring, in the Times, that she was going to do Sweet Charity.

[44:48] Robert W. Schneider: And I said to him, look, I've done everything she's ever done. So, you know, all the parts in summer stuff. I said, I could be her standby. I had turned down her standby in Redhead. I didn't want to be a standby because I was working.

[45:04] Helen Gallagher: Right. Now that I'm not working, I was ready to do a standby. I said, but I don't want to play that part, Nikki. Just don't tell me that because I'll just be your standby.

[45:18] Robert W. Schneider: And I get to the audition, and I have an audience, and I'm getting laughter.

[45:22] Helen Gallagher: And I say, you want me to read Nikki?

[45:27] Robert W. Schneider: Brilliant.

[45:28] Helen Gallagher: My agent was sitting in a blanche. I rang, you know, you're a stupid broad. I remember that. That was the line.

[45:36] Robert W. Schneider: Oh.

[45:39] Helen Gallagher: And so you get to play Nikki.

[45:41] Robert W. Schneider: Yeah.

[45:42] Helen Gallagher: In addition to standing by for Gwen Verdon.

[45:47] Robert W. Schneider: A lot of work.

[45:49] Helen Gallagher: In fact, they had to cancel many performances because I wasn't ready. Because the way the stage was built, you couldn't see it.

[45:58] Robert W. Schneider: So you couldn't learn from watching.

[46:02] Helen Gallagher: So Bobby Tucker was the assistant choreographer. He had to teach it to me, and he didn't do it. So Bobby, they finally said to him, look, the next time that Gwen's out, if she doesn't know the part, you're fired.

[46:20] Robert W. Schneider: So that week, we went into rehearsal. And morning, noon, and night, I learned the role.

[46:27] Helen Gallagher: Oh, my gosh. And she was out New Year's Eve.

[46:30] Robert W. Schneider: Oh, how exciting.

[46:33] Helen Gallagher: Well, I was very fond of her. Yes, I remember it very well. I was very fond of her. And she was really sick. You know, she had a little girl at that, Nicole. And she was doing a show and living with him. And he was fucking around. And you can cut that.

[46:52] Robert W. Schneider: No, yeah, certainly can.

[46:54] Helen Gallagher: Not the first time anyone's ever said that about him.

[46:56] Robert W. Schneider: No, no, he was very busy with the ladies.

[46:58] Helen Gallagher: And so I felt badly for her. And I remember she was going out of a dress. And I said, don't worry, it'll be OK. I know it now.

[47:10] Robert W. Schneider: Right.

[47:10] Helen Gallagher: And so she left. And I guess I must have done four or five performances.

[47:17] Robert W. Schneider: Wow.

[47:18] Helen Gallagher: And then before you got to that step, though, what was the rehearsal process like for the show? What was it like being led by Bob Fosse?

[47:26] Robert W. Schneider: He was never a fan of mine.

[47:29] Helen Gallagher: Really?

[47:29] Robert W. Schneider: No, no.

[47:30] Helen Gallagher: Why?

[47:31] Robert W. Schneider: I don't know why. I think I was too straightforward. You know what I mean? He used the girls, kind of towing to him. And I wasn't like that, you know? I came from the Bronx.

[47:46] Helen Gallagher: She says with the sweetest look on her face.

[47:49] Robert W. Schneider: It was like the sweetest look. You can't help it.

[47:50] Helen Gallagher: I come from the Bronx. You can't help it. Don't mess with me.

[47:54] Robert W. Schneider: Yeah, exactly.

[47:56] Helen Gallagher: Yeah, that makes sense, actually. It makes perfect sense. You said that you had played a lot of Gwen Verdon's roles in Summer Stock.

[48:02] Robert W. Schneider: Yeah, I did a lot of Stock.

[48:03] Helen Gallagher: So you did. Yeah, we don't really have that so much anymore. I'd love to hear about what Summer Stock was like.

[48:09] Robert W. Schneider: Oh, it was great. It really was great.

[48:12] Helen Gallagher: Ogunkwit, maybe, was one of the places.

[48:16] Robert W. Schneider: And there was another one further up.

[48:20] Helen Gallagher: I can't think of it now. There were about three or four of them that I did. And just, I did something that was originally going to be written for me.

[48:31] Robert W. Schneider: Oh.

[48:32] Helen Gallagher: The Oriental Show.

[48:36] Robert W. Schneider: Which one?

[48:38] Helen Gallagher: It might have been Flower Drum Song.

[48:40] Robert W. Schneider: Yeah, I'm trying to think. There was Flower Drum Song. There was Lovely Ladies, Kind Gentlemen.

[48:44] Helen Gallagher: No.

[48:45] Robert W. Schneider: That's, those are the only ones.

[48:46] Helen Gallagher: Yeah, it must have been Flower Drum Song.

[48:47] Robert W. Schneider: Okay.

[48:48] Helen Gallagher: And that part was originally written for me. They told me that.

[48:53] Robert W. Schneider: Hammerstein or.

[48:54] Helen Gallagher: Yeah.

[48:56] Robert W. Schneider: And then they got frightened because they wanted to do it authentically.

[49:03] Helen Gallagher: Yes, yes.

[49:04] Robert W. Schneider: Yeah, yeah, yeah, yeah, yeah.

[49:05] Helen Gallagher: And so I didn't get to do it, but I did it in Stock.

[49:08] Robert W. Schneider: Okay.

[49:10] Helen Gallagher: So you hit all the great roles. Do you have a favorite Stock company that you worked for?

[49:13] Robert W. Schneider: It was Algonquin.

[49:15] Helen Gallagher: Algonquin, yeah.

[49:16] Robert W. Schneider: Which is still in business.

[49:17] Helen Gallagher: Still working, yeah.

[49:18] Robert W. Schneider: Still in business.

[49:19] Helen Gallagher: It was great. And still going. We had such great times. And we had great days too, you know.

[49:25] Robert W. Schneider: Oh, yeah.

[49:25] Helen Gallagher: Yeah, it was like practically.

[49:26] Robert W. Schneider: Playing golf.

[49:26] Helen Gallagher: Yeah, yeah, hanging out, going to the beach.

[49:28] Robert W. Schneider: That's right. That's the best thing about Stock.

[49:30] Helen Gallagher: Oh, yeah. No, it's not the best thing. The best thing is the performance.

[49:34] Robert W. Schneider: That's right.

[49:35] Helen Gallagher: Because in those days, the companies were, had backers, you know. They had people that, it wasn't like a company thing. It was like a town thing.

[49:48] Robert W. Schneider: Right.

[49:48] Helen Gallagher: And they came and they loved it, you know.

[49:51] Robert W. Schneider: Yeah.

[49:51] Helen Gallagher: It was grand.

[49:53] Robert W. Schneider: Communities are so supportive of their summer Stocks in their towns.

[49:57] Helen Gallagher: That's right. They're so welcoming.

[49:59] Robert W. Schneider: But nowadays, it's not. It's, you know, they troop them in.

[50:03] Helen Gallagher: Yeah.

[50:03] Robert W. Schneider: So it's not the same.

[50:04] Helen Gallagher: No, it's a little different now.

[50:06] Robert W. Schneider: I prefer your way.

[50:08] Helen Gallagher: Yeah. All right. So here it comes. One of our favorites and one of our listeners' favorites. And that's the revival of No, No, Nanette.

[50:12] Robert W. Schneider: And your favorite, Ronald.

[50:15] Helen Gallagher: A huge favorite of mine.

[50:17] Robert W. Schneider: It's one of my favorites.

[50:19] Helen Gallagher: Ruby.

[50:20] Robert W. Schneider: Okay. So let's, we'll start there. Tell us about Ruby Keillor.

[50:23] Helen Gallagher: Oh, a gem. Yeah. An incredible lady. She was just, I can remember during rehearsals, they'd say, now, Ruby, you come down these stairs. She said, but what do I do? And they said, don't worry about that. The audience will take care of that.

[50:43] Robert W. Schneider: Oh, yes. That's what they tell me.

[50:46] Helen Gallagher: Well, we opened on the matinee in Boston. And she came down the stairs and the audience went wild. They lost it. And she started to cry. And I started to cry because I was so fond of her. She was just a grand lady.

[51:03] Robert W. Schneider: Did she think no one was going to remember her?

[51:05] Helen Gallagher: I think so.

[51:06] Robert W. Schneider: Oh, it had been many years.

[51:08] Helen Gallagher: Yeah. I mean, this was 51?

[51:10] Robert W. Schneider: No, 70.

[51:11] Helen Gallagher: 71.

[51:12] Robert W. Schneider: 71.

[51:13] Helen Gallagher: And she did movies in the 30s.

[51:16] Robert W. Schneider: How can you forget the great Ruby Keillor, though?

[51:18] Helen Gallagher: But that's so, but you two had a very close relationship.

[51:20] Robert W. Schneider: Oh, yeah.

[51:21] Helen Gallagher: Yeah. Yeah. She called me her little clown.

[51:27] Robert W. Schneider: What was that rehearsal process like?

[51:30] Helen Gallagher: We've heard, we've had a couple of people that were in that show talk to us a little bit about it, but I'd love to get your take on everything.

[51:36] Robert W. Schneider: I don't remember any of it.

[51:38] Helen Gallagher: We didn't have a script to begin with.

[51:40] Robert W. Schneider: Yeah, so that's what I understand, that nothing had really been written, per se.

[51:45] Helen Gallagher: We went into rehearsal with dance steps for the first three weeks.

[51:51] Robert W. Schneider: Choreographed by Busby Berkeley?

[51:53] Helen Gallagher: No, Busby Berkeley was out to lunch by then.

[51:57] Robert W. Schneider: No, no, it was choreographed by Donald Sadler.

[52:03] Helen Gallagher: The tap was Ted Cappy.

[52:05] Robert W. Schneider: Oh, okay.

[52:07] Helen Gallagher: One of the highlights of that show was you and Bobby Vann doing You Can't...

[52:11] Robert W. Schneider: That was definitely Donald.

[52:15] Helen Gallagher: That was Donald. So how did that all come into play?

[52:18] Helen Gallagher: Well, it was a massive hit, and it was a little overwhelming at times. You know, when you’re in a show that’s that successful, you have to deal with the expectations that come with it.

[52:48] Helen Gallagher: I remember feeling a lot of pressure, but also a lot of joy. It was a wonderful experience, and I was grateful to be a part of it.

[53:18] Helen Gallagher: The audiences were so enthusiastic, and that energy really fueled us on stage. It was a unique time in my career, for sure.

[53:48] Kevin David Thomas: What was it like dealing with this massive hit?

[54:04] Helen Gallagher: It was exhilarating, but it also came with its challenges. You had to keep delivering the performance that everyone expected.

[54:15] Kevin David Thomas: How was it like dealing with this massive hit?

[54:21] Helen Gallagher: You know, you just have to stay focused on your work and not let the outside noise affect you.

[54:39] Kevin David Thomas: How was it like dealing with this massive hit?

[54:45] Helen Gallagher: It was a balancing act, really. You had to enjoy the success while also staying grounded.

[55:03] Kevin David Thomas: How was it like dealing with this massive hit?

[55:09] Helen Gallagher: There were moments of doubt, of course, but ultimately, it was a rewarding experience.

[55:15] Kevin David Thomas: How was it like dealing with this massive hit?

[55:21] Helen Gallagher: I think the key is to remember why you’re doing it in the first place.

[55:27] Kevin David Thomas: How was it like dealing with this massive hit?

[55:33] Helen Gallagher: It’s about the love of the craft and the connection with the audience.

[55:39] Kevin David Thomas: How was it like dealing with this massive hit?

[55:45] Helen Gallagher: Yes, and that’s what kept me going through the ups and downs.

[55:51] Kevin David Thomas: How was it like dealing with this massive hit?

[55:57] Helen Gallagher: It was a journey, and I learned so much from it.

[56:01] Kevin David Thomas: How was it like dealing with this massive hit?

[56:07] Helen Gallagher: I think every performer has to navigate that in their own way.

[56:13] Kevin David Thomas: How was it like dealing with this massive hit?

[56:19] Helen Gallagher: It’s all part of the experience, and I wouldn’t trade it for anything.

[56:25] Kevin David Thomas: How was it like dealing with this massive hit?

[56:31] Helen Gallagher: You just have to embrace it and keep moving forward.

[56:37] Kevin David Thomas: How was it like dealing with this massive hit?

[56:43] Helen Gallagher: Yes, and I think that’s what makes it all worthwhile.

[56:49] Kevin David Thomas: How was it like dealing with this massive hit?

[56:55] Helen Gallagher: It’s about the journey, not just the destination.

[57:01] Kevin David Thomas: How was it like dealing with this massive hit?

[57:07] Helen Gallagher: Exactly, and I’ve had a wonderful journey.

[57:14] Kevin David Thomas: People desire to approach a role. Do you have a process or do you just get a couple of ideas of inspiration and then jump in?

[57:22] Helen Gallagher: I usually get a couple of ideas and then jump in.

[57:29] Kevin David Thomas: Do you have a process or do you just get a couple of ideas of inspiration and then jump in?

[57:35] Helen Gallagher: I think it’s important to let the character speak to you.

[57:41] Kevin David Thomas: Which character have you played that you feel is the most like you?

[57:45] Helen Gallagher: I don't know. They're all like me because they are me.

[57:54] Kevin David Thomas: I'll flip it. What was the most challenging role you've ever had? One that maybe took you a while to get into the world of the character?

[58:01] Helen Gallagher: Well, they're all difficult because you're kind of squeezing yourself in.

[58:08] Helen Gallagher: But I can't think of anything that was terribly challenging that I continued to do.

[58:14] Kevin David Thomas: After you completed Ryan's Hope, then what was the next step in your journey?

[58:19] Helen Gallagher: Well, you know, around like New Brunswick I did a couple of things and someplace in New Jersey I did other things.

[58:26] Helen Gallagher: Nothing came my way that was first rate.

[58:29] Kevin David Thomas: I like that you revisited No, No, Nanette in the Ruby Keeler role at Paper Mill Playhouse, didn't you?

[58:38] Helen Gallagher: Yes, I did. And I wasn't happy with it.

[58:41] Kevin David Thomas: I imagine it's hard to have been a part of such a beautiful production, the original, and then go years later and compete with the nostalgia and also what the show could be.

[58:53] Helen Gallagher: I was not Ruby, let's face it. I didn't have a background for the audience, so I felt a little uncomfortable in that part.

[59:02] Helen Gallagher: But I did it.

[59:04] Kevin David Thomas: Was that Donald Sadler doing that one as well?

[59:06] Helen Gallagher: Yeah, sure. I used to stand in the wings and watch, what's the name of the song? I can't think.

[59:19] Helen Gallagher: The Soft Shoe.

[59:21] Kevin David Thomas: T for Two?

[59:22] Helen Gallagher: T for Two.

[59:23] Kevin David Thomas: Yeah.

[59:24] Helen Gallagher: I used to watch that every night. It was the most beautiful choreography. He was such a talented man.

[59:31] Helen Gallagher: Donald Sadler.

[59:32] Kevin David Thomas: Yeah.

[59:33] Helen Gallagher: And a little bit underrated, I feel.

[59:36] Kevin David Thomas: Well, maybe, but the thing is, did you see the choreography in that Jewish show? What was it?

[59:46] Helen Gallagher: Tommy Rowe was in it, sang brilliantly.

[59:49] Kevin David Thomas: Oh, not Milk and Honey.

[59:53] Helen Gallagher: Yes, Milk and Honey.

[59:54] Kevin David Thomas: Milk and Honey. Oh, wow. Okay. Good, Kevin. Milk and Honey.

[59:57] Helen Gallagher: Yeah.

[59:58] Kevin David Thomas: Oh, interesting.

[59:59] Helen Gallagher: Let the record show.

[1:00:00] Kevin David Thomas: Yeah, let the record show. Yeah. And then, you're still teaching now.

[1:00:04] Helen Gallagher: Yes.

[1:00:05] Kevin David Thomas: And so tell us about these classes that you teach. If a student wanted to be enrolled, how do they get involved?

[1:00:11] Helen Gallagher: They call me up.

[1:00:13] Kevin David Thomas: How big is your class?

[1:00:15] Helen Gallagher: Well, it depends. It depends upon the class that I have in my home every Wednesday night at 7:30 is ad hoc.

[1:00:25] Helen Gallagher: I mean, whoever shows up. I mean, people that I know, of course, naturally.

[1:00:29] Kevin David Thomas: But in the HP studio, they have ten people or they won't have a class. So that's the way it goes.

[1:00:39] Helen Gallagher: I had two classes down there one time, and then one got eliminated because I didn't have the ten people.

[1:00:46] Kevin David Thomas: Yeah. Okay. And then scene study, do you work on songs? What sort of?

[1:00:53] Helen Gallagher: No, no, no. It's just the song.

[1:00:55] Kevin David Thomas: Just song?

[1:00:56] Helen Gallagher: It's only music.

[1:00:57] Kevin David Thomas: Oh, interesting. I did not.

[1:01:00] Helen Gallagher: I don't teach acting.

[1:01:01] Kevin David Thomas: Oh, I did not know that.

[1:01:02] Helen Gallagher: No, no.

[1:01:03] Kevin David Thomas: Oh, okay.

[1:01:04] Helen Gallagher: No, no. I teach singing.

[1:01:05] Kevin David Thomas: It's musical theater based?

[1:01:06] Helen Gallagher: Yes.

[1:01:07] Kevin David Thomas: Amazing.

[1:01:08] Helen Gallagher: Absolutely.

[1:01:09] Kevin David Thomas: I love it.

[1:01:10] Helen Gallagher: Very cool to me.

[1:01:11] Kevin David Thomas: That's passing it on.

[1:01:12] Helen Gallagher: Yeah, you're passing it on.

[1:01:14] Kevin David Thomas: Yeah, I was taught by the best.

[1:01:15] Kevin David Thomas: I really was.

[1:01:16] Helen Gallagher: Oh, yeah.

[1:01:16] Helen Gallagher: Yeah, you've got a lot to teach. Have you ever thought about writing a book?

[1:01:19] Helen Gallagher: I've thought about it, but it's something inside me says, forget it.

[1:01:24] Kevin David Thomas: There's a student of mine that's a very dear friend, Valtrudis Bruck. She wants to write, and so we're going to...

[1:01:33] Helen Gallagher: I hope you do.

[1:01:34] Kevin David Thomas: Yeah, I hope you do as well.

[1:01:37] Helen Gallagher: I don't know.

[1:01:38] Kevin David Thomas: Are there any performers today that you go and you watch and you admire?

[1:01:42] Helen Gallagher: I love that guy that did Carousel.

[1:01:47] Kevin David Thomas: Yeah, Josh Henry. He was fantastic.

[1:01:50] Helen Gallagher: I never thought anybody would touch John Ray's performance of My Little Girl. He did it brilliantly.

[1:01:59] Kevin David Thomas: Yeah, he's pretty good.

[1:02:01] Helen Gallagher: You saw it, too.

[1:02:02] Kevin David Thomas: Pretty good.

[1:02:03] Helen Gallagher: If an acting opportunity came your way today, would you take it on?

[1:02:07] Helen Gallagher: I don't know. With one eye? It's difficult.

[1:02:10] Kevin David Thomas: But I'm assuming you still get offers.

[1:02:13] Helen Gallagher: No, I don't.

[1:02:14] Kevin David Thomas: Really?

[1:02:15] Helen Gallagher: My agent died, and I never got a new agent.

[1:02:17] Kevin David Thomas: Oh, okay. Who was your agent that passed?

[1:02:20] Helen Gallagher: Don't tell me. I can't remember.

[1:02:25] Kevin David Thomas: We can cut that out. Don't worry about it.

[1:02:26] Helen Gallagher: I'm totally fine.

[1:02:27] Kevin David Thomas: I'm surprised you've never done a Folly somewhere or one of those.

[1:02:32] Helen Gallagher: A classic 70 Girl 70 at the York Theatre.

[1:02:34] Helen Gallagher: I did that.

[1:02:35] Kevin David Thomas: Yeah, you did that. You got to do that. You enjoyed that.

[1:02:38] Helen Gallagher: Oh, yeah. It was a good group of people.

[1:02:41] Kevin David Thomas: Yeah. Anything else from you?

[1:02:44] Helen Gallagher: No, I'm so satisfied and so content and happy that we got to have this time with you today.

[1:02:48] Kevin David Thomas: Yeah, so special.

[1:02:49] Helen Gallagher: I'm pleased myself.

[1:02:50] Kevin David Thomas: So special.

[1:02:51] Helen Gallagher: A listener wanted me to pass this on to you.

[1:02:54] Helen Gallagher: You are so beloved by so many people that there's one listener who loves you so much that their passwords for their email addresses are only musicals that you've been in.

[1:03:05] Helen Gallagher: Oh, dear.

[1:03:08] Helen Gallagher: Seriously. Someone's password somewhere.

[1:03:11] Helen Gallagher: That nasal flag.

[1:03:12] Helen Gallagher: Seriously, that's how admired and revered you are.

[1:03:16] Helen Gallagher: And when we told our listeners that we were going to sit down with you, the outpouring of love was just incredible.

[1:03:21] Helen Gallagher: So on behalf of them and on behalf of us, thank you for everything that you've given us over the past few years.

[1:03:26] Helen Gallagher: Thank you.

[1:03:27] Helen Gallagher: Thank you.

[1:03:28] Kevin David Thomas: Until next time.

[1:03:29] Kevin David Thomas: Bye, everybody.

[1:03:30] Helen Gallagher: Bye.

[1:03:31] Kevin David Thomas: Good day, Mr. Thomas.

[1:03:33] Helen Gallagher: Good day, Mr. Schneider.

[1:03:35] Kevin David Thomas: Well, it has happened.

[1:03:36] Kevin David Thomas: We finally hit over 100 iTunes reviews and would like to thank each and every person who took the time to do so.

[1:03:42] Kevin David Thomas: Huzzah.

[1:03:44] Kevin David Thomas: Now we want to climb those charts even faster.

[1:03:48] Kevin David Thomas: And that is where you lovely folks who have not yet rated us come in.

[1:03:51] Kevin David Thomas: The process is very simple.

[1:03:53] Kevin David Thomas: On your podcast app, tap the search tab.

[1:03:56] Kevin David Thomas: Enter our name behind the curtain.

[1:03:58] Kevin David Thomas: Broadway's Living Legends.

[1:03:59] Kevin David Thomas: Tap the search key.

[1:04:00] Kevin David Thomas: Tap our beautiful logo.

[1:04:02] Kevin David Thomas: Tap the reviews.

[1:04:03] Kevin David Thomas: Tap.

[1:04:04] Kevin David Thomas: Write a review.

[1:04:05] Kevin David Thomas: Then tap your way into our hearts.

[1:04:07] Kevin David Thomas: Tap your troubles away.

[1:04:09] Helen Gallagher: It's nice, Rob.

[1:04:10] Kevin David Thomas: Once you are there, you can rate us from one star to five stars.

[1:04:13] Kevin David Thomas: Think of one star as Herve Villages.

[1:04:15] Helen Gallagher: Rob, how do you say this name?

[1:04:17] Kevin David Thomas: Herve Villages.

[1:04:18] Helen Gallagher: Oh, dear.

[1:04:19] Kevin David Thomas: I walked right into that one.

[1:04:21] Kevin David Thomas: Think of one star as Herve Villages.

[1:04:24] Kevin David Thomas: And Ima Sumac in Sideshow.

[1:04:26] Kevin David Thomas: And five stars as front row seats to the opening night of Gypsy.

[1:04:29] Helen Gallagher: Buddy, kiss me.

[1:04:31] Kevin David Thomas: Kiss me for the third time.

[1:04:33] Helen Gallagher: I thought that was pretty good.

[1:04:34] Kevin David Thomas: We want to get good reviews, Rob.

[1:04:36] Kevin David Thomas: We want to get good reviews.

[1:04:37] Kevin David Thomas: Excuse me, Arthur Lawrence.

[1:04:39] Kevin David Thomas: Excuse me for trying to liven up our commercial ads a little bit.

[1:04:43] Helen Gallagher: Eight-minute long commercial.

[1:04:45] Kevin David Thomas: It's an infomercial at this point.

[1:04:48] Kevin David Thomas: I'm going to be like that lady that sells you the copper pots.

[1:04:51] Kevin David Thomas: Look at this.

[1:04:52] Kevin David Thomas: You can put 400 pounds of manure in it, and it slides right out.

[1:04:56] Kevin David Thomas: Then you can make an omelet.

[1:04:58] Helen Gallagher: You got another line, Kevin.

[1:04:59] Kevin David Thomas: I'm waiting for you to say, plus you can leave a comment.

[1:05:01] Kevin David Thomas: Let us know if you like it.

[1:05:03] Kevin David Thomas: Plus, you can leave a comment.

[1:05:05] Kevin David Thomas: Let us know what you are liking, what you're not liking at this point, or what guests you'd like to hear next.

[1:05:10] Kevin David Thomas: So head on over to iTunes and let us know what you think of our little show.

[1:05:14] Kevin David Thomas: Speaking of little, I'll tell you a story about Charles Lawton later.

[1:05:17] Kevin David Thomas: Thanks, guys.