Everything Was Possible: The Birth of the Musical Follies (Applause Books) (25 page)

Then came the black-and-white ghost Follies dresses, to be worn by the showgirls and a few of the taller dancers throughout. They were as fantastic and spectacular as anyone could have hoped, each one a near replica of showgirl costumes as seen in photographs in several books on the Ziegfeld Follies, some Erté-like in long, glamorous lines and totally fanciful. Although black and white was the rule, each of these was vastly different in look, in texture, even including variations of shades of gray. They were covered with beads, feathers, sequins of all sizes and shapes—shimmery, iridescent, and stunning. Ursula Maschmeyer, six feet two inches tall, walked out to create what would be the first living image seen by the audience at the very opening of the show—in a floor-length dress of white and black beaded fabric with two bold inverted “V” stripes of long black beaded fringe, patterns of black and white beads in circles and rectangles around the bottom, and a large headdress of black ostrich feathers rising from a beaded crown, cascading down her back. She was wearing platform heels, so she would top off at almost seven feet. Kathie Dalton, one of the taller dancers, came on in a white halter top, floor-length, flared-leg costume with an elaborately beaded neck and a fan headdress of white peacock feathers six feet long each, fanning out of a beaded brim framing her face and giving her somewhat the appearance of the show’s poster. Margot Travers was all in black—a tight fitting, floor-length beaded black halter-top dress, turban, long gloves, and feather boa draped around her shoulders, both ends falling to the floor. Linda Perkins had a huge fan attached to the rear of her waist rising up above her head. Suzanne Briggs had a black-and-white beaded dress with enormous butterfly wings and a headdress with butterfly antennae rising straight up. Everyone in the company was astounded and overwhelmed. The women who had to move in them, however, found them somewhat challenging.
This is where it all began, the famous shot of Gloria Swanson standing
in the rubble of the Roxy Theater, as published in Life with the caption:
“Swan Song for a Famous Theater ”
Both Time and Newsweek were planning to do cover stories of the show. However, they never liked to run the same “soft”-news covers, so when Time went forward with theirs, Newsweek canceled, but not before this cover was designed.
Here is the poster by David E. Byrd, this one from Boston and signed by the company. And here’s what Forbes did to it for an article on Hal Prince.
Color finally arrived when the show was transported back in time. Here are the ghost
counterparts to the four lead characters, singing of youthful love in Loveland. Kurt Peterson,
Virginia Sandifur Harvey Evans, Marti Rolph.
The showgirls from the past come fully
to life with their “love”-themed costumes, each one depicting a different type of love.
The cool Phyllis finally lets down her hair and struts her stuff:
Alexis Smith and the ensemble in “The Storry of Lucy and Jessie”—
red from one side of the stage to the other:
This was taken on the grand staircase of the Colonial Theatre, Boston, for the
Look article on Hal Prince, which ran with the title “A Prince and His Follies.”
Here Prince is surrounded by several of the ghost showgirls, dressed in
black-and-white, who haunted the stage throughout the evening .
The final moment of “Beautiful Girls, ” as the stars from yesterday
lined up downstage, with gold Miss America—style banners revealing
the year they were Follies girls: Mary McCarty, Fifi D’Orsay,
Alexis Smith, Yvonne De Carlo.
This was taken as the cover shot for Time. The editors decided to go with a solo shot of
Alexis Smith, and relegated this shot to the lead photograph of the story inside.
“Loveland—”three of the showgirls (Linda Perkins, “Spirit of Romantic Love”;
Suzanne Briggs, “Spirit of True Love”; Kathie Dalton, “Spirit of First Love”)
and behind them, Dorothy Collins, Victoria Malloiy,,7zilie Pars.

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