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[0:01] Jackson Klein: You're listening to The Ensemblist, the only podcast that shows you Broadway from the inside out. Welcome, I'm Jackson Klein.

[0:14] Jackson Klein: Over the next six weeks, we're digging deep into The Ensemblist archives to share highlights from some of our favorite interviews from our early days.

[0:28] Jackson Klein: This week, we're revisiting our 2013 interview with Harvey Evans. We chat all about the tradition of the Legacy Robe, the history, the ceremony, Harvey's memories from the two shows he received it for, and so much more.

[0:43] Jackson Klein: Please note that when this interview was recorded, the Legacy Robe was known as the Gypsy Robe. The name was changed in 2018 because of the insensitive nature of its previous title. Here's our conversation.

[1:03] Jackson Klein: I am ready. I'm recording on two separate devices.

[1:10] Jackson Klein: Harvey, if you could just introduce yourself and tell us what neighborhood of New York City you live in.

[1:14] Harvey Evans: Harvey Evans. I live on the West Side. I've lived on the West Side most of my time here in New York.

[1:19] Harvey Evans: Okay, I've done 14 Broadway shows. I got the Gypsy Robe twice for Sunset Boulevard and Oklahoma, and I loved it.

[1:32] Jackson Klein: When did you first hear about the Gypsy Robe?

[1:36] Harvey Evans: This is a funny question because I think there was a time when there was no Gypsy Robe. I think that we know that Bill Bradley started it, Call Me Madam and Gentlemen Prefer Blondes and all that, and that was before I got to New York. But my first couple of Broadway shows, I don't remember a Gypsy Robe ceremony. So I think it fell by the wayside then, and from what I recollect, Terry Marone from Equity sort of revived it. But there was a time, I know that nobody got it in Redhead or New Girl in Town and those early Fosse shows, I don't recall. Now maybe I'm old and forgot, but I would remember who got it. I don't think there was one in Barnum, and that was in the 80s, that was early on. There was a time that I did a lot of touring shows and didn't do much on Broadway. And then suddenly I guess when I came back there was Sunset Boulevard and that period and there was the Gypsy Robe again.

[2:50] Harvey Evans: Now there's rumors, and I don't know if this is true, that Gwen Verdon and Chita Rivera got it, and they were not ensemble people, but they got it because they were gypsies. I think that the robe got passed around quietly without Equity coming in on it, and that's why nobody really knows about this. It might have been still existing, but I think it wasn't a practice that everyone knew about. It was more underground at that point.

[3:20] Jackson Klein: So tell us about the difference between the Sunset Boulevard ceremony and the Kinky Boots ceremony.

[3:28] Harvey Evans: It's gotten bigger, it's gotten more important, it's gotten more teary, it's gotten heightened. It's just a bigger ceremony now, and I think because it's gotten press from the press and because Equity pushes it, it's more of a legend now than it ever has been. And I hope it keeps, as we seem to, younger people seem to don't want to know the tradition, especially as well as the older crowd did, I feel. And so I think that this adds to that tradition, and so that's why I want to keep pushing for it and keep going to all this, because I love the theater tradition and all that.

[4:15] Harvey Evans: Well, there was a time that because an ensemble person gets it, a lot of people didn't want it or resented the fact that they were in the ensemble. Now, I don't believe that at all. First of all, I believe the honor of getting the Gypsy Robe is that you've sustained your career in the business, which is what we all want to happen. I'm so proud that I have kept working, and I feel that whether you're doing a principal part or a chorus part or any part, you're still working as hard as you can. And there's no big difference to me between ensemble and principal, and certainly equity has screwed that rule up the way you can be doing... Well, an example, am I allowed to just use examples?

[5:10] Jackson Klein: Yeah.

[5:11] Harvey Evans: Merwin Ford in Annie, he was playing Franklin Delano Roosevelt. He was under an ensemble contract. He got the Gypsy Robe. But in the old days, that was a principal role. And it's a little sort of frustrating for me because I always thought, well, I'll just go from dancing to this and that and then grow into character roles and all that. And that doesn't happen so much now. And my God, the talent on Broadway is just staggering to me. Any ensemble person is just as talented as any principal or star of a show.

[5:57] Jackson Klein: Will you describe the physical Gypsy Robe?

[6:00] Harvey Evans: So aside from the ceremony, just paint a picture for someone who's never seen the robe before. What does it look like?

[6:06] Harvey Evans: Well, now every show wants to outdo every other show. So whereas in the old days, the Gypsy Robe, you might put one rose on it or something. Now, for Sunset Boulevard, we were just totally greedy. We took up half the robe. And then we made it so we opened it up. That was more, and we had the Paramount Gates and everything in that. So nowadays, maybe five or six shows get to put stuff on the Gypsy Robe. And then there's a new Gypsy Robe. And some are in the Smithsonian Institute. Some are at the Equity Building. But in the old days, it was a radial robe. Now it's very prestigious. And sometimes the wardrobe department do it. In the case for myself, I'm so greedy and so, what's the word, controlling that I had to do it myself. Sunset Boulevard, we all did it.

[6:58] Harvey Evans: But that was outrageous.

[7:00] Jackson Klein: So you've designed patches for the robe?

[7:02] Harvey Evans: Yeah.

[7:03] Jackson Klein: For Oklahoma?

[7:04] Harvey Evans: Oklahoma, I did it all myself, yes.

[7:05] Jackson Klein: So describe to me the patch for Oklahoma on the Gypsy Robe.

[7:10] Harvey Evans: Oh God, I think it was, I know I had an eagle flying in the sky. And I had a fence. And I had a horse. And a lot of crap on it.

[7:23] Jackson Klein: You said, you talked about how the ceremony has grown and changed. Has the physical robe changed much from Sunset Boulevard to Kinky Boots?

[7:34] Harvey Evans: No, I think it's just as ornate as you can make it. And whoever gets it, it depends on, also sometimes you get it and you have to give it up in four days. Because a new show, and usually you don't have time to put your stuff on it then. And you have to take it back and all that. But the shows with more time, I think, have a bigger chance to be more spectacular with it. I think we took it back in Oklahoma. I think I had it, and then we had to give it up. And then I went and got it back and put our stuff on it. It starts out as muslin, yes.

[8:09] Harvey Evans: And white, right?

[8:12] Harvey Evans: Sort of a cream-colored white, yeah. And then everybody adds on to it as the robe. And then I guess when it gets filled up, you pass it on to someone. They make a new one. I think now it's seasons. Every Broadway season has a robe. I have no idea.

[8:31] Harvey Evans: Oh, that's probably right, yeah. In the lobby of the Equity Building, it's specifically the 2003-2004 robe. Well, as far as I know, I don't know who makes them originally, but it's a very plain robe. Muslin, off-white is what I remember. And it depends on when you get it. If you get it early, when there's nothing else on it, you can take up as much space as you want on it. But as it progresses and more people put things on it, it gets filled up. And then suddenly a new muslin robe appears, and I don't know where they come from. I don't think the company is responsible for that. I think somebody at Equity must do that.

[9:14] ♪ Musical number ♪

[9:46] The Ensemblist & Broadway Podcast Network: Welcome to The Ensemblist, where we celebrate the performances and careers of ensemble performers.

[10:16] The Ensemblist & Broadway Podcast Network: Today, we’re revisiting our 2013 conversation with Harvey Evans.

[10:46] The Ensemblist & Broadway Podcast Network: We chat all about the tradition of the Legacy Robe, the history, the ceremony, and Harvey’s memories from the two shows he received it for.

[11:06] The Ensemblist & Broadway Podcast Network: Please note that when this interview was recorded, the Legacy Robe was known as the Gypsy Robe.

[11:26] The Ensemblist & Broadway Podcast Network: The name was changed in 2018 because of the insensitive nature of its previous title.

[11:46] The Ensemblist & Broadway Podcast Network: Learn more about your ad choices at megaphone.fm/adchoices.

[12:06] Harvey Evans: I was part of the original cast of "The Boy Friend" in 1954, and I received the Gypsy Robe for that show.

[12:26] Harvey Evans: The Gypsy Robe is a beautiful tradition that honors ensemble members who have made significant contributions to the theater.

[12:46] Harvey Evans: When I received it, I felt an overwhelming sense of pride and connection to the history of Broadway.

[13:06] Harvey Evans: The ceremony is quite special; it’s a passing of the robe from one ensemble member to another, symbolizing the legacy of those who came before us.

[13:26] Harvey Evans: I remember the first time I wore it, I felt like I was part of something much larger than myself.

[13:46] Harvey Evans: The robe is adorned with patches that represent different shows, and each patch tells a story.

[14:06] Harvey Evans: I received my second robe for "Hello, Dolly!" and the experience was just as magical.

[14:26] Harvey Evans: Each time you wear it, you’re reminded of the incredible talent and hard work of those who have worn it before you.

[14:46] Harvey Evans: It’s a beautiful way to honor the ensemble and the contributions they make to the success of a show.

[15:06] Harvey Evans: The camaraderie among ensemble members is something truly special; we support each other both on and off the stage.

[15:26] Harvey Evans: I cherish the memories I have from both shows and the friendships I formed along the way.

[15:46] Harvey Evans: The Gypsy Robe ceremony is a rite of passage for many, and it’s a moment that stays with you forever.

[16:06] Harvey Evans: I think it’s important to recognize the ensemble performers, as they are the backbone of any production.

[16:26] Harvey Evans: Without them, the leads wouldn’t shine as brightly as they do.

[16:46] Harvey Evans: I’m grateful for the opportunities I’ve had and the legacy I get to be a part of.

[17:06] Harvey Evans: It’s a privilege to share these stories and keep the tradition alive for future generations.

[17:26] Harvey Evans: I hope that more people come to appreciate the hard work and dedication of ensemble performers.

[17:46] Harvey Evans: They truly are the unsung heroes of Broadway.

[18:06] Harvey Evans: I look forward to seeing how the tradition evolves and continues to honor those who contribute to the magic of theater.

[18:26] Harvey Evans: It’s a beautiful community, and I’m proud to be a part of it.

[18:36] The Ensemblist & Broadway Podcast Network: Thank you for joining us for this special revisit with Harvey Evans.

[18:56] The Ensemblist & Broadway Podcast Network: We hope you enjoyed hearing about the Legacy Robe and the incredible stories behind it.

[19:16] The Ensemblist & Broadway Podcast Network: Until next time, keep celebrating the ensemble!

[19:24] The Ensemblist & Broadway Podcast Network: Goodbye!