Sally Struthers-Hello Dolly! Cover -Arts Section-Virginian Pilot

Sally Struthers once got naked in front of Jack Nicholson.

It was for a sex scene in the 1970 film “Five Easy Pieces”; she still feels bad that her mom watched it.

Then there was the time when each of her fellow actors from the ’70s sitcom “All in the Family” won an Emmy award, but she did not.

Try going back to work the next day or week and not feeling a little strange about your absence of hardware.

If you think those were difficult career spells for the blond actress who’s gone from being a prime time TV star to being the spokeswoman for charitable organizations, Struthers has some news for you: Nothing, it seems, is quite as daunting as making your living on stage.

“Theater is not for sissies,” Struthers said by phone during a recent stop on the 50th anniversary tour of the classic American musical “Hello, Dolly!”

“I know a lot of actors who would never step a foot on the stage because it’s too hard. It’s really tough to learn an entire play, memorize all of the dialogue, all of songs and the blocking and choreography and then do it beginning to end without stopping. When you’re making a movie, you may only need to know two to five pages of dialogue a day. If you mess up, you can do retakes. With live theater, there is none of that; you are on your own. It’s exhilarating but it’s not for the faint of heart.”

Struthers should know.

Though she’s still best recognized for her role as Gloria Stivic, a liberal foil to her conservative pops Archie Bunker on “All in the Family,” Struthers has spent the better part of the past two decades on stage.

She’s done “Grease” and “Annie” on Broadway, played Mother Superior in a national tour of “Nunsense” and portrayed Mama Morton in a regional production of “Chicago.”

Her latest role comes as the lead in “Hello, Dolly!,” which will be performed tonight and Saturday at the Ferguson Center for the Arts in Newport News. It’s the first touring production of this iconic Broadway show in more than two decades, and it’s all because of the actress who’s still a little embarrassed about baring it all for Jack Nicholson.

“Hello, Dolly!” follows the exploits of Dolly Levi, a brassy turn-of-the-previous-century widowed matchmaker.

Despite several revivals on Broadway and countless regional productions, “Hello, Dolly!” has not been on a national tour since Carol Channing originated the lead role on Broadway nearly 50 years ago. That’s because Jerry Herman, the show’s lyricist and composer, didn’t think anyone other than Channing was up to the task of bringing Dolly back to a national audience.

Then he saw Struthers performing in a Los Angeles production of the musical “Mame.”

“He apparently liked my work, and we’ve since become good friends,” Struthers said. “‘Hello, Dolly!’ is classic American musical theater, and our producer, Dan Sher, felt a certain obligation to make this a really sterling production because of the 50th anniversary. You just can’t go out there with shoddy costumes and used sets. You build everything new and make it over-the-top so it’s extra delicious for the audience, and I think that’s what we’ve done.”

In recent years, Struthers has divided her frequent stage work with television roles, notably as Babette Dell, the raspy-voiced, cat-loving neighbor on “The Gilmore Girls.”

She’s also provided her distinct voice to animated shows like “American Dad.”

Even though she’s moved well past it, Struthers can’t shake the connection to that role as Archie Bunker’s little girl.

The actress may not have won that Emmy in the same year as her co-stars, but she did win two Emmy trophies for her portrayal of Gloria.

And while critics and historians laud the show for its groundbreaking depiction of racism, homosexuality and women’s rights, Struthers’ recollection of the show is more personal.

“It’s the laughter that has stuck with me more than anything else,” she said. “In rehearsal we would laugh as loud as the audience would later. The script girl actually had to time our laughter so the writers would know how much dialogue they had to cut when we taped the show. It was just constant laughter in my life for eight solid years. That’s my lasting impression of ‘All in the Family.’ ”
The live studio audience also proved to be an effective training ground for Struthers’ future theater work.

“I don’t know that there are too many shows that do that anymore, but ‘All in the Family’ was done in front of not one, but two live audiences a week,” Struthers said. “We would tape at 5:30 for one audience, break for dinner, and then tape in front of another audience at 8. Then the best moments were edited together. If you watch an episode of ‘All in the Family,’ you can tell it’s in front of a live audience, because you can see the actors hold for the laughter. When the laughter is piped in later, you can tell because the actors keep talking, there’s no natural pause.”

She has a hard time in scenarios without an audience, or one that has been instructed to exist in silence.

“I don’t know how someone like Jim Carrey can do it,” she said of the actor’s film work. “He has to work in a comedy vacuum. He could be hilarious and the crew isn’t allowed to make a noise, let alone laugh. That’s really hard. I can’t think of anything more uncomfortable. Live theater is a blessing for those of us that make our living being funny, because we get immediate reaction. That feels so good, like you’re floating about four inches above the stage floor.”

If that’s true, then Struthers must be levitating these days.

Since opening last month, “Hello, Dolly!” has earned rave reviews, and critics have been particularly effusive about her performance in the lead role.

“I am just delighted,” she said. “You know, Hollywood tells us females that at age 40 we ought to hang it up, so to be out here leading a company at 66 years old and getting these glowing reviews feels like I’ve died and gone to heaven.”

Caroline Bowman Evita Feature-Baltimore Sun

Growing up in Howard County, Caroline Bowman often fantasized about what it would be like to star in a Broadway musical.

On an October afternoon in Manhattan in 2011, she came one step closer to finding out.

“My cellphone rang and it was the casting director of “Wicked,” recalls the 2006 Glenelg High School graduate.  “He said Caroline; I’d like to offer you your Broadway debut.”

To make the moment that much sweeter, Bowman’s mother was by was by her side when it happened.

“I had just moved to New York City three weeks before and my mom was visiting,” Bowman says.  “She was standing right next to me when I got the news.  I mean, how special is that? Nothing will ever top that.”

Perhaps not, but landing the starring role in the hit musical, “Evita,” probably ranks a close second. 

On Sunday, Caroline Bowman will star as Eva Peron when the Tony Award nominated Best Revival of a Musical kicks off its national tour in Providence, RI.  The Andrew Lloyd Webber-Tim Rice production had a successful revival on Broadway in 2012 and was nominated for three Tony awards.  The bio-operetta chronicles the life of Argentina’s charismatic former First Lady and her rise from poverty to power.  The show enjoys a spot in the pop culture lexicon thanks in part to its iconic number, “Don’t Cry for me Argentina.” 

What teenage girl with musical theater aspirations hasn’t sung that song into a hairbrush in front of her bedroom mirror?

“I certainly did,” says Bowman with a laugh during a recent phone conversation from her home in New York City.  “I just recently sang it in rehearsal for the first time from the balcony,” she says of the pivotal scene in “Evita” when Peron addresses an adoring crowd with a melody of regret and defiance.

“When I finished singing, I just started crying,” the actress admits. “It wasn’t until that moment that I fully realized the power of that song.  I just felt it in my whole body.  I don’t think I’ll ever forget it.”

Bowman’s Broadway career may have begun with a phone call but her knack for performing was apparently evident from a very young age.

“Even as a bald headed two-year - old Caroline had perfect pitch,” says Fullerton resident Connie Bowman of her daughter’s singing ability.  “She had such bravado and would always end with a really big finish which was hilarious.”

Connie Bowman, an actor herself, was active in community theater when Caroline was growing up and it didn’t take long for her to follow in those footsteps.   By the time she was 12, the performer landed her first lead role in a production of “The Secret Garden,” staged by The Heritage Players in Catonsville.

From then on, it was full steam ahead.

“I noticed her talent immediately,” says Susan Miller, Glenelg High School’s theater arts teacher for the past 15 years.  Even more impressive, she notes, was Bowman’s work ethic.  “Caroline was the student who had the leading roles and yet was also the last one in the dressing room helping me clean at the end of the night.”

“I was a total theater geek in high school,” Bowman acknowledges.

In her freshman year, the actress won ensemble roles in Glenelg’s Fall and Spring productions and by the following year, she was landing lead roles.

As a sophomore, she played Rizzo in “Grease” and in a unique casting decision; she also won the role of “Leading Player” in the musical “Pippin,” a character normally played by a man.

“It’s an emotional role and I thought Caroline could pull it off,” says Miller.

Evidently, she was right.  That year, Bowman’s performance in “Pippin” won her the award for “Best Leading Actress in a Musical” at the Cappies, a program that honors the best in high School theater.  She took home a golden trophy again the following year for her turn as Marian, in “The Music Man.”  At Glenelg, the actress also starred in productions of “Fame” and “Once Upon a Mattress” and would occasionally cross paths in the hallways with her father Rob Bowman, the school’s wrestling coach.

“Both of my parents were always super supportive.”

That entailed toting their daughter to rehearsals for the Howard County Chorus and classes at the Columbia Center for Theatrical Arts founded by Toby Orenstein, co-owner and artistic director of Toby’s Dinner Theatre.  

“I got my first professional acting job from Toby Orenstein,” says Bowman of performing at the venerable Columbia theatre.

By the time it came for Bowman to head off to college, it was clear she would pursue an acting career. In 2010, she graduated from Penn State with a Bachelor of Fine Arts degree in Musical Theatre.  During her senior year at the university, the actress traveled to China to perform the lead in “Fame,” and in Turkey she once again played Rizzo in “Grease.”  With the ink barely dry on her diploma, she then landed the role of The Lady of the Lake in a national touring production of the musical, “Spamalot.” The part calls for a big-voiced belter and offered Bowman the chance to sing several show-stopping numbers. 

When the 10-month long tour came to an end, Bowman returned to Howard County for a few regional acting gigs before following her dream to make it on Broadway.  Her move to New York City two years ago was partially funded with money earned in 2007 as the second place winner of the Rising Star Award at the Howard County Arts Council’s annual Celebration of the Arts.

Within just a few weeks of moving to the Big Apple, Bowman got that phone call to join the Tony Award winning musical, “Wicked.”  She was cast in the ensemble and as the understudy for the lead role of the green-skinned witch, “Elphaba.”

“Being an understudy is very challenging,” says Bowman.  “After each performance, I would go home and practice Elphaba’s lines just in case I got the call that I needed to go on.  I wanted the lines to be the last thing on my mind so I wouldn’t panic if I had to step in.”

As it turned out, Bowman got to perform the lead role on three separate occasions and friends and family were there to see it happen.

“Watching Caroline on Broadway for the first time was the most exciting night of my professional career,” says her former drama teacher Susan Miller. “I was holding her Grandma’s hand when she walked on stage.  It was truly a magical moment.”

Bowman was still part of the “Wicked” troupe when she auditioned for a new musical based on a 2005 film about a struggling shoe maker and his drag queen business partner.  The show eventually got the green light and Bowman was part of the original cast when it opened in Chicago in October of 2012. Six months later “Kinky Boots,” with music by pop star Cyndi Lauper, debuted on Broadway.  In June, the show won six Tony Awards including “Best Musical.”

During the award ceremony, Bowman made her national television debut when the cast of “Kinky Boots” performed live near the end of the program.

“That whole day I felt like I was having an out of body experience,” the actress recalls.  “We had to wake up really early for a dress rehearsal at Radio City Music Hall and then we got get bussed back across town to our own theater to do a matinee show.”

After taking their final bow at the end of that afternoon performance, the “Kinky Boots” cast got back on the bus to close out the Tony Awards show.  It was a long day, so what happened next isn’t all that surprising.

“After we came off the stage, I literally passed out,” Bowman reveals with a laugh. “I don’t know what happened but I fell to the ground.  It was crazy how excited I was.  I probably just freaked out.  It was actually kind of hilarious, I was fine right after.” 

Given what was happening in Bowman’s life at the time, it’s understandable how she may have felt a bit overwhelmed.  Just a month before her TV debut, the actress learned she had won the leading role in the national tour of “Evita.”

“I found out on I got the part on May 7^th which is Eva Peron’s birthday,” says Bowman.

The ironically good news came after a long and strenuous tryout process. 

“My first audition was in February of this year and then I went through eight or nine callbacks,” she says.

It can’t be easy to navigate the ups and downs inherent with Bowman’s profession but the actress says her training makes steadying her emotions a lot easier.

“Yes, I use all I’ve learned when I’m creating a role or performing, but I was also taught that it’s a skill to audition,” she notes.  “Sometimes you only have three or four minutes in a room with somebody to convince them that you’re the right person for the part.  Auditioning is my job.  Getting to perform in a show is the prize.”

Even so, it’s a reward that requires a lot of work. 

“I’ve done as much research as I can about Eva Peron,” says Bowman. “I’m trying to learn as much as I can about her and use what I know about her life to help me develop my character.”

On top of that, for the weeks leading up to the tour’s opening weekend, Bowman has been rehearsing eight hours a day, six days a week.

“There is a lot of singing and dancing in “Evita,” she says.  “It’s very physically demanding but I love every minute of it.” 

Playing an iconic role in a hit musical is no small task, but it’s one that Bowman embraces.

“I feel like every part of my journey to this point has prepared me for the next job,” she offers.  “With “Kinky Boots” I got to open a show on Broadway and feel what it’s like to be part of a company which is completely different than being a replacement which I was in “Wicked.”  Every single job I’ve had has added a new skill.  I can’t wait to go on the road with this show.  I’m totally up for the challenge.”

Bethlehem Walk-Virginian Pilot

Several years ago Jack Jennings and his young granddaughter were driving in Virginia Beach's Little Neck neighborhood, taking a peek at holiday decorations.

Many of the homes were glowing with colorful lights, and a few of the yards were even plots for kitschy inflatable Santas.

But as they drove, Jennings couldn't help but wonder why there weren't any manger scenes of the Nativity, like when he was a boy.

He shared the comment with his granddaughter, who asked what a manger was.
The reply surprised Jennings and friend
Dan Duquette, a fellow congregant at King's Grant Presbyterian Church in Virginia Beach.
"It struck him that there was a big generational gap of experience about the meaning of Christmas," Jennings said.

Their chat on the steps of the church was the inspiration behind the church's annual Bethlehem Walk, which takes place tonight through Sunday.

"We convert our church building into the 2,000-year-old town of Bethlehem," said Duquette, the event's coordinator. "It takes a construction crew about four hours to erect the walls and another three days to decorate."

The holiday event, now in its eighth year, is sponsored by King's Grant Presbyterian Church along with nearby St. Nicholas Catholic Church. It's not a show or a play, but rather an interactive experience that attempts to "transport" visitors back to Bethlehem to witness the birth of Jesus.
Upon arrival, guests walk through the Bethlehem set-up, encountering costumed actors playing shopkeepers, tax collectors, Roman guards and, most notably, Mary, Joseph and baby Jesus. Along the way, they can sample fresh bread from the baker, sniff aromatic cedar wafting from the carpentry shop and pet small animals assembled near the manger.

"There's a lot to see, smell and taste," Duquette said. "We try to engage all the senses to bring the story more to life."

Before entering the gates of Bethlehem, visitors are given a card with information about their first-century "family," which allows them to interact with the characters they encounter.

"Many of our volunteers have grown up playing parts in Bethlehem," said Duquette. "Young boys who play shepherds when they're in middle school graduate to playing Roman guards when they become teenagers, and girls who work in the shops get to be angels when they get older."

But, of course, the starring role always goes to a newcomer.

"We are always on the lookout for young moms, so we can have a real live baby Jesus," Duquette said.

Or, several baby Jesuses.

This year's Bethlehem Walk will feature seven babies taking turns being swaddled in the manger.
Since its inception in 2006, the Bethlehem Walk has grown from hosting 600 visitors to more than 2,000.

For Duquette, the event's popularity is evidence of a growing frustration with the commercialization of Christmas.

"We are getting further and further away from its true meaning," Duquette said. "There are billions of dollars spent on marketing, and it's a challenge for parents to talk to their kids about why we celebrate Christmas, apart from all the talk of toys and Santa."

He said the message is getting through to the walk's participants.

"After the walk we have refreshments in our Fellowship Hall," Duquette said. "I've talked to dozens of kids over the years about what they thought happened during the walk, and almost every single time they say, 'The savior was born.'

"They get it. They understand the story."

Celtic Woman Christmas - Virginian Pilot

Since forming nearly a decade ago, the Irish musical ensemble Celtic Woman has become a cultural phenomenon with its Celine Dion-meets-"Riverdance" aesthetic.

Last year, the group's holiday album "Home for Christmas" debuted at No. 1 on Billboard's World Music chart - marking the eighth time the all-female juggernaut has done so. That feat broke a record and earned the ladies the distinction of being named World Music Artists of 2012 by the music industry trade group.

And that's despite shifting its lineup over the years. Vocalists have come and gone, but the group continues to be a popular attraction - particularly during the holidays.

So exactly what does it take to be a Celtic Woman?

"Well obviously you have to be a good singer," laughed Mairead Nesbitt, the group's violin player and sole original member.

An impressive set of pipes is a good start, but that trait alone won't be enough to get the gig the next time a slot opens for Celtic Woman.

"It's always a careful decision when choosing a new vocalist," Nesbitt explained by phone during a recent tour stop in Las Vegas. "We have a signature sound, so it's important to consider the blend of the voices as well. The singers have to enhance each other. Our fans have come to know and love that sound, so that can never go away."

As lead violinist, Nesbitt is integral to the group's winning formula of blending traditional Irish music with new age and adult contemporary pop music.

A former All-Ireland fiddle champion, Nesbitt has played with a list of luminaries from Van Morrison to Sinead O'Conner and was the original lead violinist in the Irish stage show "Lord of the Dance."

The 34-year-old musician joined Celtic Woman in 2004 for what she thought would be a one-time show. Originally, the group was created by the musical director of "Riverdance" for an Irish TV special. PBS began airing the show in America a year later, paving the way for a concert DVD that sold more than 1 million copies. The group then released its self-titled debut record, which topped the music charts for a record-setting 81 weeks.

"People have been so supportive, and that means we must be doing something right," Nesbitt said. "I think we've been able to touch people, and that is the most important thing an artist can do."
Celtic Woman, which performs Sunday at the Ferguson Center for the Arts in Newport News, is typically more of a Broadway production than traditional concert; but come holiday season, the group opts for a cozier affair.

"The shows we do in other parts of the year are massive productions," Nesbitt said. "The arena tours are fantastic, but our Christmas show is very different. The venues are smaller, so it allows for a more intimate connection with the audience. And, we get to sing and play Christmas music; what's not to like about that?"

Following on the heels of last year's sold-out holiday tour, Celtic Woman will perform songs from its "Home for Christmas" album, an offering of amiable yuletide pop tunes and traditional Christmas carols.

During Sunday's performance the group will be accompanied by the Hampton Roads-based Virginia Symphony Orchestra.

"Christmas is a very big deal for Irish families," Nesbitt said. "Playing these songs always brings back that childhood feeling."