Broadway: "Gypsy Of The Year 2016" Raises Over $4.4 Million

Broadway Cares shares the good news:

Broadway’s best spread messages of unity, hope and resilience through satire, song and dance December 5 and 6, 2016, at the 28th annual Gypsy of the Year competition.

Gypsy of the Year , which celebrated six weeks of dedicated fundraising from 55 Broadway, Off-Broadway and national touring companies, raised $4,492,636 for Broadway Cares. The grand total was announced Tuesday by Tony Award winners Cynthia Erivo and Jessie Mueller and Hamilton star Javier Muñoz following two incredible days of performances. Erivo, Mueller and Muñoz also presented the awards to the top fundraisers and best performances across the two afternoons.

The company of Hamilton took top honors for best onstage presentation. In “America,” the cast mashed up the music and lyrics of Bob Marley and Lin-Manuel Miranda and the poetry of Langston Hughes into a call for peace and equality in our country. Javier Muñoz and Syndee Winters led the integration of song and word, with the cast channeling the duo’s sentiments into a powerful, striking dance.

The company of The Lion King was runner-up with a moving spoken-word piece giving voice to those marginalized by the current political climate. The piece, written by cast member L. Steven Taylor and choreographed by Ray Mercer, found four isolated actors, and a dancer expressing their words through movement, finding common ground in fighting for each other’s plight. The piece concluded with the performers declaring in unison, “I will never leave you alone.”

This year’s edition of Gypsy of the Year opened with a energetic dance featuring the return of Broadway legends Baayork Lee, Donna McKechnie and Margo Sappington. The dynamic trio recreated their unforgettable “Turkey Lurkey Time,” which they originated in 1968’s Promises, Promises.

"Finding Neverland" At The 2015 Gypsy Of The Year Event

The Broadway cast of FINDING NEVERLAND

The creativity at the annual Gypsy of the Year competition is always off the hook, and this past year was no exception.

Check out this segment from the Broadway cast of FINDING NEVERLAND teasing their own show about a boy who never grows up while skewering critics who welcomed the now-hit musical with less than glowing reviews.

The Gypsy of the Year event benefits Broadway Cares (my personal favorite charity).

Broadway Cares/Equity Fights AIDS is one of the nation’s leading industry-based, nonprofit AIDS fundraising and grant-making organizations.

By drawing upon the talents, resources and generosity of the American theatre community, since 1988 BC/EFA has raised more than $250 million for essential services for people with AIDS and other critical illnesses across the United States.

(tipped by TRR anonymous reader)

Broadway: Gypsy Of The Year 2014 Raises Over $5.2 Million

Via Broadway Cares: The 26th annual edition of Gypsy of the Year raised a record-breaking $5,229,611 for Broadway Cares/Equity Fights AIDS thanks to six weeks of fundraising by 64 Broadway, Off-Broadway and national touring companies.

The grand total was announced Tuesday, December 9, 2014, by special guests Hugh Jackman, Nathan Lane and Judith Light after two stellar performances of original dances, songs and skits by more than 200 “gypsies” from Broadway and Off-Broadway shows.

Since 1989, the 26 editions of Gypsy of the Year (#gypsyoftheyear) have raised $62.4 million to benefit Broadway Cares/Equity Fights AIDS. The previous record high for Gypsy of the Year fundraising was $4,895,253 set in 2011.

This year’s top overall fundraiser was The River, which stars Jackman and raised $549,725. During the fund-raising period, Jackman literally sold the sweat-stained shirt off his back for charity.

Broadway Cares/Equity Fights AIDS is one of the nation’s leading industry-based, nonprofit AIDS fundraising and grant-making organizations. By drawing upon the talents, resources and generosity of the American theatre community, since 1988 BC/EFA has raised more than $250 million for essential services for people with AIDS and other critical illnesses across the United States.

Gypsy of the Year 2014 Highlights from Broadway Cares on Vimeo.

Broadway: Gypsy of the Year 2011

Called "the season's most dazzling talent show," Gypsy of the Year is easily the biggest party in town with appearances by dozens of Broadway and Off-Broadway's most popular shows and performers.

This year, a rollicking opening number will feature a reunion of the original cast of Grease in a special 40-year anniversary tribute. Among the stars returning to the stage from one of the most popular musicals in Broadway history are Barry Bostwick (Danny), Carole Demas (Sandy), Adrienne Barbeau (Betty Rizzo), Alan Paul (Teen Angel/Johnny Casino) and Walter Bobbie (Roger).

Also joining the opening number reunion are original cast members Don Billett (Vince Fontaine), James Canning (Doody), Daniel Douglas (Burger Palace Boy), Katie Hanley (Marty), Tom Harris (Eugene Florczyk), Ilene Kristen (Patty Simcox), Joy Rinaldi (Pink Lady) and Mews Small (Frenchy).

Gypsy of the Year is the culmination of six weeks of intensive fundraising by Broadway, Off-Broadway and national touring companies. It's also a sensational display of the most talented singers and dancers in the chorus of shows (known as "gypsies"). Awards are presented to the top fundraisers and for the best presentation during the two shows.

Last year, Gypsy of the Year raised $3,776,720, pushing the competition's 22-year total to $44,136,720.  I was thrilled to be a part of the opening number last year that honored Carol Channing.

If you are in NYC on December 5 or 6, go see this amazing theatrical experience.

Monday, December 5, 4:30 pm
Tuesday, December 6, 2 pm
New Amsterdam Theatre
214 West 42nd Street, NYC

Click here for more info.

"Carol Channing: Larger Than Life"

In late May 1994, I was an unemployed actor - again - in NYC. Upon checking the mail on a Wednesday morning, my last unemployment check had arrived and I had no acting job in sight. For years I had worked steadily and supported myself as an actor. It looked like that career was about to take a break.

It seemed clear I was headed back to "table-waiting" land. I had spoken to friends who owned a successful candle store on the upper west side of manhattan who offered a part time job.  Thankful but not thrilled.

I opened the trade papers and saw a casting call for a last minute replacement for the upcoming Broadway revival of "Hello, Dolly!" starring Carol Channing. The show would tour for several months but would come into Broadway. I was avoiding touring at that time as I was becoming the 'National Tour King' with six National tours under my belt but no Broadway debut yet at that time.

But finances are finances. Mr. American Express wrote me every month and always expected me to write back.

I headed to the audition because, well,  that's what unemployed actors do.

Over 125 dancer/actors showed up for that one position. We danced one combination and the creative team quickly cut to 30.

We danced another combination, and another cut - to 15.

We were asked to sing next. It was about this time I heard people saying plans had been made for this slot already and so they were looking for someone the same size as the guy originally cast - who was six feet tall. (p.s. I'm 5'8").

Great.

I headed in to sing for the director, Lee Roy Reams, and the choreographer, Bill Bateman. I have a fairly big voice and with nothing to lose I sang with abandon and no fear knowing I was soon to be 'candle shop bound.'

Upon finishing my song, I started walking towards my dance bag near the door. Lee Roy said "wow - where were you in February?" and out of nowhere I replied, "well, I was working then but my last unemployment check is in that bag on the way to the bank and 'baby needs a new pair of shoes.'"

Lee Roy screamed with laughter.

I smiled and exited the room. Least I got a laugh.

A quick subway ride home and I was soon laying on my couch thinking about candles and looking for a table waiting job.

The phone rang - on the other end of the phone I heard "are you sitting down?"

I paused and said "I'm sorry?"

"Are you sitting down?"

I looked out my living room windows thinking I was being watched as in Hitchcock's "Rear Window."

"Are you sitting down? - You got it!"

It took about four seconds and I suddenly thought "Dolly?"

"You got it - rehearsals start in five days!"

And so began a surprise journey that Cornelius from "Hello, Dolly!" would have said "it's an adventure, Barnaby!" - an adventure that introduced me to Carol Channing, Lee Roy Reams,  Jerry Herman, a new theatrical family,  "Hello, Dolly!" and my future husband.

Over the next 22 months not one member of the show left - we were all a very happy company. The show was beautiful, audiences loved it and Carol Channing was every inch the great Broadway star you wanted her to be.  And warm.  And very funny.

Carol joked and laughed with all of us.  She always made time to meet our husbands, wives, girlfriends, boyfriends and families.  When time permitted she would plan and pay for events for the whole company as we traveled all over the country.  She would buy out seatings of movies complete with all the treats you could eat; a cruise down the River Walk in San Antonio;  Thanksgiving and Christmas dinners; so many things she didn't have to do but would as the the star of the show and matriarch of the family.

Finally landing in NYC on Broadway, we had a dream opening night where New York audiences gave Carol and the show standing ovations, and Lee Roy stopped the band playing at the opening party to read the rave review from the NY Times declaring among other things "Celebrate her!" referring to Carol.  As an actor you dream of things like this.

After Broadway, I was asked to stage the choreography for the post-Broadway national tour. I supervised the tour and among my duties was giving notes to Carol - imagine that.  I have to say she welcomed any input I might have, although believe me, it was never more than small technical notes about spacing or some such thing.  She was always gracious and the picture of professionalism.  And funny.

"Hello, Dolly!" would remain a part of my life for all the years after.  In the past 14 years I've staged several companies of "Dolly" and a few months ago Jerry Herman - the gentle giant - called me to personally ask me to choreograph the upcoming Broadway revival. More on that when it happens.

This past December, I got the chance to dance again on Broadway in a tribute to Carol at the 'Gypsy of the Year' event with several former cast members from "Dolly."  During rehearsals, we were asked to share some memories of working with Carol for a documentary being made about Carol's life.  What I thought would be a few minutes turned into a three hour "love fest" about Carol.

Halden, Bobby, Bill, me and Julian at the first screening

I was emailed a few weeks ago by the director of the documentary that the film would make it's debut at the Tribeca Film Festival.  Back again to NYC to attend the world premiere. This past Saturday afternoon, I got to sit and watch the documentary with the very first audience - including my former "Dolly" cast mates Julian Brightman, Halden Michael, Bobby Randle, Bill Bateman and Kevin Burrows.  Over and over throughout the film we grabbed each other's knee or nudged one another when Carol would do something so "Carol";  when pictures or video of our "Dolly" company came on screen we all straightened up, so proud to have been a part of a great adventure.

"Carol Channing: Larger Than Life" is a fantastic love letter that beautifully captures not only Carol's amazing career, but her love of the theater, love of life and love for her husband. Dori Berinstein, the director, did a terrific job presenting the story that IS Carol Channing. I, and the audience, loved it. And yes, several parts of our "love fest in December" were used. I'm so glad we got to have our love for her captured forever.

After the screening, the "Dolly" boys were invited to come on stage and share in the love.  It was very, very cool.  And wonderful to celebrate Carol again.

"Hello, Dolly!" was my first Broadway experience and that cast was truly a family. We still are today.  Every Broadway cast doesn't find the connection we did.  I love how comfortable I am with my "Dolly" family.  I know these guys.  Theater just does that.  We worked hard together doing what we love to do.  "Hello, Dolly!" was a tough show to do - this wasn't a walk in the park.  But the people, personalities and talent inspired me every day.  Even when I stage the show today, it's their faces I see - that was Julian, that was Bobby, that was Kevin…  I see them the whole time.

I love to say "Hello, Dolly!" is the gift that keeps giving.  In addition to many gifts, like Carol finding the love of her life, I found mine through "Dolly." A great adventure that is still ongoing.

I love these folks.  I'm reminded of that every time I walk into a room and see them.  No matter how many years pass - I smile.

And no one more than Carol.  We love her.  We love being near her.  And so do the audiences.  Still.

(yeah, yeah, yeah - kinda sappy.  But it's my blog - my rules.  Your regularly scheduled sassy American blogger will return in the next post).

Check out the documentary "Carol Channing: Larger Than Life" on Amazon.

The men of "Hello, Dolly!" with Carol at Gypsy of the year

Rehearsals for Gypsy of the Year with Julian Brightman and Bill Bateman

Rehearsals for Gypsy of the Year with Bobby Randle

Dancing with Carol and the guys at Gypsy of the Year in Dec 2010.
This was used by the NY Times to promote the documentary.

The "Dolly Boys" - Me, Bill Bateman, Julian Brightman, Bobby Randle, Halden Michael and Kevin Burrows
at the party after the premiere of "Carol Channing: Larger Than Life"

Julian, Bill, Halden, Dori Berinstein (director of the film) me, Bobby and Kevin at premiere