Vee Rae (Virginia Rae Kane) was an actor friend of my mother's at the Gate Playhouse Theatre in Sausalito during the late 1950s- early 1960s. I was young, still in the single digits, so my memory was sparse. But my first blog pieces in 2007 were on Gate 5, Tiki Junction, and also Juanita, which led to this post.
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The photo that started it all. My
mother, Kellé Reilly (later it was Kellé Green—
her stage name as there
was already an actress, Maureen Hurley in SAG),
Richard Knablin, Skip
Rognlien and Vee Rae, Christmas, 1960.
(Photo by Chris Gracida, courtesy of Richard Knablin.)
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Somehow my mom's friend, Richard "Dik" Knablin stumbled across my blog post in 2009, and contacted me which led me to an email from Vee Rae. He sent me a photo of my mother with him and Vee Rae, and the memories came flooding back. Wow!
So this interview is a decade, or more like a lifetime in the making. Also, my drama teacher from College of Marin, James Dunn just passed away, he was also part of the lively and vibrant theatre scene in Marin. Come what come may, time and the hour run through the roughest day.
I was able to glean information on Skip Rognlien and Les Abbot, thanks to Google. I found a few reviews that mention Vee and other actors in the ensemble (Bill Edwards, Jim Holiday, Vickie Frazer, Sharleen Lambert, Diane Santich, John Rose, Jack Brennan and J. W. Cheetham, see newspaper archives at bottom), but nothing in print on my mother who worked so tirelessly behind the scenes with costuming, and she was also in most of the plays as well. I only have a few stills of her.
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| Skip Rognlien (1934-2018) was a ballet dancer |
D. GORDON "SKIP" ROGNLIEN
When the Gate Playhouse director, stage manager, technical director, lighting and set designer, Skip Rognlien was killed in a head-on car accident in March, in Oregon, I realized that very few people held the oral history of that era were still among the living.
I had the idea of going up to Oregon to visit Richard Knablin and Skip Rognlien to collect their oral history. But life got in the way. I was laid up with a bum knee that wouldn't heal after surgery. I was goin' nowhere as they say. I couldn't even get across the room, let alone, drive to Oregon.
From what I can piece together, shows at the Gate Playhouse began in the fall of 1958 or 59. By 1962, or 1963, the Gate Five Players had folded, Les Abbott had gone off to Hollywood, as did Vee Rae.
Skip had returned to his home town, Kalispell, MT, to produce a few plays for Playhouse Actors in 1963. Then by 1965, he moved to New York and was producing plays for (another) Gate Theatre, and the Cricket Theatre. (Vee says he spent time in LA too. Need do get that story.) My mother would occasionally hear from Skip and tell me of his successes and escapades. I always loved Skip. He was kind to kids.
Skip, who was a lithe 6 foot 4 inches, was hand-picked by Mr. Balanchine, to attend the Balanchine School of American Ballet in Manhattan, but theatre was always his first love.
In the mid-50's, Marnie Cooper, a former Balanchine dancer, arrived at the University of Montana to teach ballet to football players. The theater department asked that she also teach a class for theater majors. The wife of the dean of music took home movies of our single performance, and a copy of the film was sent to Mr. B to show him what Ms. Cooper was doing out West. Evidently Mr. Balanchine took a look, for soon a letter arrived asking Ms. Cooper to ''send the tall boy,'' indicating me, to New York as a scholarship student. —Skip RognlienMy earliest memory of Skip is during a rehearsal, him lounging on a tall wooden stool, wearing striped a sailor's shirt, telling everyone to "Take Five." And me asking my mother what it meant, as I conflated that with Dave Brubeck's album. She laughed and said it meant a smoke break. We stood on the ledge outside the back of the Gate as she smoked her Parliament, and flicked the butt into the dark bay.
While in New York, Skip also taught American square dance, and was founding president of the first gay square dance club, the Times Squares in New York.
Skip's obit mentions that he was involved with the theater for 50 years in New York City, San Francisco, and Sacramento. I wonder if that Sacramento nod is how my mother also wound up at the Music Circus theatre in the round, with Lloyd Bridges, in Guys and Dolls? My mom also costumed The Student Prince there. Vee Rae said that Les Abbot and Skip Rogniein worked several shows at the Sacramento Music Circus.
Skip also worked with IBM’s Media Gallery, as the principal of Staging Techniques, LLC, which staged trade shows for major corporations. He retired to Oregon to run a B&B in Sullivan's Gulch, Portland. He retired from being an innkeeper, and built a home on the Oregon coast near Tillamook, and was active in the arts until his death at 83.
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| Les Abbott (1925-2012) DVC instructor IMDb |
Another member of the Gate Playhouse ensemble, director and producer, and later, Diablo Valley College instructor, Les Abbott, had died in 2012. Richard Knablin told me that Les had Alzheimer's for years. So it would be difficult to interview him. At the time I began to realize that all the principal actors were taking that final curtain call.
I don't know when the Gate Playhouse came into existence, but from a Sausalito Historical Society article on the Sausalito Art Festival review, I found this: "in 1959...Entertainment included folk and jazz singers, poets, dancers and performances by the Sausalito Little Theatre summer program and Les Abbott’s Gate Theatre Players."
After the Gate Playhouse Theatre folded in the early 1960s, Les Abbott, who was a member of the Actors Studio, moved to LA where he directed and acted at the Pasadena Playhouse. He also coached acting at NBC and Desilu Studio. Vee's interview fills in some of Les's backstory from the San Francisco days.
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| Neil & I ushered for that Dame Edna show, Theatre in the Square. |
Les's obit history goes from NY direct to LA without stopping off in SF, which was a very important time. He formed two theatre companies Abbott-Abrams Productions and
TheaterFest. He received his MA in psychology at Stanford, and taught at Foothill College, And of course, at Diablo Valley College, from 1973 to 2008, he mentored hundreds of young actors including my ex-partner, actor-singer Neil O'Neill.
VIRGINIA "VEE" RAE KANE
When I contacted Vee in 2009, she was in the process of moving and didn't have access to her memorabilia, but we kept in touch over the years via Facebook. Of course I was curious as to what happened to Vee after the Gate Playhouse dissolved. The talented Vee was cast in the leading role of Annie Get Your Gun, and was going places. Did she make it, how did she get to Hollywood?
Last month, Vee sent me some photos of the Gate Playhouse which spurred me on to finally write this piece. I had originally planned on going to LA to collect her oral history, or folklore, but the timing wasn't right. So I made up a series of questions for Vee to answer at her leisure. This is what follows:
Newspaper References from the Daily Independent Journal from San Rafael, California provide a sort of timeline for the Gate Playhouse.
These image clippings were from the Sausalito News, Skip Rognlein, Les Abbot (a busy man),Virginia Rae, and Les Abbot were mentioned. Apparently my mom’s stage name was Kellé Hurley, as there was already a Maureen Hurley in Hollywood. I had no idea that my mother had directed Rapunzel. She was a startlingly memorable witch in Hansel and Gretel, because it was still running through January of 1961. My story of her as the witch was from November, 1960. Other children’s plays I must’ve seen were Pinocchio, and I want to say Peter Pan, but I haven’t found a clipping. Yet.
Some of my Blogpost links:
Les directed over one hundred and fifty plays, including the West Coast premieres of Blues of Mister Charlie, All the King's Men, The Immoralist, Man with a Golden Arm, A Clearing in the Woods, besides numerous other plays including his final production, Angels in America, before retiring from directing. He also directed seven original plays and musicals with his production companies.
Leslie also authored 2 published books, Active Acting and Acting for Films and TV, that became part of the curriculum in some theater schools. —from A Retrospective of Les Abbott's Life
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| Wonder what play they're reading? (Chris Gracida photo, Richard Knablin) |
When I contacted Vee in 2009, she was in the process of moving and didn't have access to her memorabilia, but we kept in touch over the years via Facebook. Of course I was curious as to what happened to Vee after the Gate Playhouse dissolved. The talented Vee was cast in the leading role of Annie Get Your Gun, and was going places. Did she make it, how did she get to Hollywood?
Last month, Vee sent me some photos of the Gate Playhouse which spurred me on to finally write this piece. I had originally planned on going to LA to collect her oral history, or folklore, but the timing wasn't right. So I made up a series of questions for Vee to answer at her leisure. This is what follows:
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| Gate Playhouse Theatre, ca. 1961. (Photo courtesy of Richard Knablin) |
Hi Mo! Aug 29
I wrote a long answer to you about an hour ago but somehow the internet connection failed and I couldn't get it sent or even save a copy or have a draft copy! I can't tell you how frustrated I am (not the first time this has happened). Anyway -- I'll start again tomorrow. (Seems like I had to quit out but had no way to save the email I wrote). So... looking forward to answering some of your queries and will try to start again tomorrow. More to follow (hopefully)!!!
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| Gate Playhouse, Sausalito. Richard Knablin photos 1961 |
OK, Mo—
I'm taking this a bit at a time, not in the order you wrote:
The Gate Playhouse: I got involved there approx summer 1958-59? when Les Abbott (having seen me in a theatre production at City College of SF) asked me to come audition for a musical he was mounting in Sausalito. I did audition and got the role of "Hildy" in the production of "On the Town".
I'm not sure Kelle was there at that time. After this show, Les directed "Annie". Your mom was very involved with the costumes and probably more at that time. She worked day and nite on the costumes.
Les Abbott and the Marquee. Richard Knablin photos 1961
Richard Knablin photos 1961
Skip Rognlien, I believe, did the sets and more. Kelle and Skip were close buddies. I believe that (as you may know), the theatre was formally a small movie theatre. I think it was Les who revived it. I don't know how long it lasted as I moved from Northern California in the fall of 1961. It was still going strong then, I believe.
My mom fitting a costume. Annie Get Your Gun? Or Guys & Dolls, Music Circus
Remembrances of Kelle are her endless patience and stamina. I'm serious when I tell you she worked thru the nite on the costumes and I believe had very little help. This was a huge costume show with tons of performers. I know we went to cast parties with the others and we were all one big happy group. She was very popular with us all.
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| Back of the Gate Playhouse opened abruptly into the bay, a tiny ledge & nothing more than air. Richard Knablin photos 1961 |
I remember Athena—didn't know her last name (Note bene: Martin). She was legend there. She never did a show but was—apparently seriously with Les (tho he, of course, was gay).(Note bene: Athena, who was my mom's best friend, was living with Les at the Alta Mira, and had a baby. Was it Les's? I remember visiting them with my mother.)
I don't know what ever happened to Athena but my co-star, in "On the Town" who remained in Sausalito told me years later that she was "still around" (but this was many years ago). I "think" she may have had a son?? I may be confusing her with some of the other local characters??
On "breaking free from the mold of the 50's" —hell, I have no idea but it's a great question. Maybe Dik (Richard) Knablin could help a bit with this one? As for the political climate—Geez! I was (and still am) somewhat apolitical, and being a rather "lightweight" theatre person wasn't at all interested in the outside world! We were ACTORS/ PERFORMERS, ETC! This was all that really existed for many of us I'm sure. (Ya' know—not too unlike the celebs today)!
On working with Les & Skip: Les was a gas! One of the funniest I ever met, and I still rely on some of his famous quotes. He worked hard on that theatre and held down a job as a waiter at the Alta Mira to help make ends meet.
I loved the guy—he was a dynamo and also quite intelligent. He was great in the City as a director of dramas and I think he excelled at this. In the City, he was a partner of "Abbot Abrams Productions". They were an equity house and produced many excellent plays.
My understanding is that Abrams caused financial problems and the whole thing fell apart so it was a few years before Les got to Sausalito. Interesting that he went on to teach and direct at Mt. Diablo (Valley) College for many years, and I think you are aware of that part of his life.
Skip Rognlien was truly a gifted and lovable guy. He and I became very close. We were friends in SF, in Sausalito & in L.A. Everyone who ever met him adored him. He was highly intelligent and had so many incredible jobs in NYC, L.A., etc.
When he and a partner bought a B&B in Portland (his later years)—I visited about 3 times & always had a fab time. Very hard to accept that he died in a traffic accident earlier this year. He was 83 but a very young 83 at that!
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| Back of the Gate Playhouse. Richard Knablin photos 1961 |
Got off the track with the last bit but on that note: I don't remember us all doubling up on duties at the theatre. Les had lots of minions who hung around the place and I'm sure they did most of the work.I wrote back: Yes, please answer in any way you see fit. Hopefully it'll be fun too. Awesome, so far, and you're chronicling something that's never been done before! Feel free to expand...Another question: when you were a little girl, what did you want to be when you grew up?
Programs were always printed I believe and Herm Arrow who lived in Marin took all of our photos—gratis, I believe. Herm's son, David Arrow stayed a close friend of Skip's for many years. Not sure what the cost of tickets were—we played mostly on weekends and I remember no totally empty houses and Sat. nites, as expected, were packed! Not sure where the audience came from but you know many from the City and probably most from friends/relatives of the cast!
Hope this helps a bit, Mo -- I'll check off more on your list as time permits -- feel free to offer further questions or clarifications if you need them. Stay tuned!!!
Mo: It IS fun and a kind of "life review" for me as well. Hopefully some of it will be useful to you wherever it takes you.
Going back to your first question since you asked about childhood aspirations, etc. I first became interested in theater as a chum on our block in SF (Parkside district) had a mother who believed in a child becoming involved in ALL classes artistic!
Thru her mom, I heard about (get this): "Aunt Lolly's Children's Theatre"! It was a class this woman held in her home in the Sunset/ Parkside district. When I heard that this class was to be about "dramatics"—I had no idea what that meant. I thought maybe it had something to do with "Elocution" classes or?
Anyway—I went to the class and immediately "Miss Lolly" cast me in character roles (I had a deep voice for one so young). She was also doing a play "Little Women" at the local Orphanage. She cast me in the role of "Amy". I had no idea at all what I was doing. I must have been a pre-teen at that point.
Anyway—that was the first experience I had in theatre. I think it stuck but I didn't really get active again until I was in high school in SF and discovered the "Opera Ring" run by Irma Kay (sister of the illustrious Hershy Kay (google him). So it was set, I wanted to be an actress. I think I can actually say I became interested on becoming an actress at age 11.
In 1957 I think when I started City College—the director of the theatre, Dr. Michael Griffin—cast me as lead in many productions. That sealed the deal! And that is where Les Abbott came into the picture (I also did chorus & small roles in the Opera Ring (theatre in the round) in SF intermittently.
I also toyed with the idea of being a "detective" back in the day! (I know—errant gene I guess). Later, I became interested in being a psychologist (doesn't everyone)? AND an investigative reporter! (HUH)?
As a note about who inspired me in literature (if that was the case)—YES! It's interesting you mentioned it—I have always been a huge reader (gene from my mother) and in high school, I had a marvelous Eng. teacher but one book we were required to read was: "Pride and Predjudice". I hated that book!
Suffice to say—I've realized I'm ignorant when it comes to Jane Austen and wanted to figure out what all the hoopla was about. AND SO—I just finished reading the book and I was surprised that I actually enjoyed some of it. It was a struggle for me in some parts but I was happy to say I got thru it and was rooting for Mr. Darcy from the get-go!
That said, I think I'll leave it to the Brits movie versions of more of Austen in the future. One last thought: I wondered how sophisticated was my English teacher to think a 15 or 16 year old girl would be able to relate to that book? Wishful thinking I'll bet, or bets on a very advanced young teen?
So that's it for now, Mo! thanks for your interest and the "stirring up of my much-needed dusting off—gray matter! More to follow after a day or so...hope you have a relaxing and peaceful and PLEASANT weekend and hopefully cooler!!
Hey Mo: Aug 30
Sorry for the stop and start. I'm overloaded with stuff to do but will try to knock out more answers to your questions as often as I can (and at the risk of boring you to tears).
Did I live in Sausalito or commute: Lived with my parents in the foggy Parkside district of SF and an actor friend used to drive me to Sausalito. I also often took a bus or my dad, if available, would drive me there. I lived in Larkspur much later in my life— from 1999 to 2003.
BTW: used to enjoy shows at the little theatre there (name escapes me [Lark Theatre?] ). This group was in the heart of Larkspur and a talented group of actors as well. I "think" I may have heard of or seen James Dunn at that venue (or maybe not).
As for Kelle's house in Sausalito? I never knew where she lived actually. One of the actors rented a cool abode in the hills above Sausalito and I think that is where we attended some cast parties, get-togethers, etc.
As for the cast from the shows at the Gate: I know Skip, after hanging around L.A. for awhile, finally ended up in NYC —he had a couple of great jobs there and even partnered with 4 other guys and formed a company called: "Staging Techniques" (rented video/movie equipment).
They were based as I recall in NY but also here in Hollywood. After that and a gig with IBM in NY, Skip and another guy bought a charming old house in Portland, ORE. and ran a B&B there for a number of years—much later—he moved to the northern coast of [Wheeler] Oregon—built a cool house there with another partner, and was there until he died in March, this year.
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| Dik (Richard) Knablin, one of my funnymen babysitters |
Richard (Dik) Knablin also lives in Northern Oregon now—he went to work for a school in Palo Alto I believe (after the Gate). He retired to North Bend. Dik, as you probably know wasn't in any of the shows but hung out with us all—he wanted to be a writer.
Other cast members: Ronnie De Benedictis moved to NYC and then years later moved back to Sausalito with his partner and they bought a gift shop in town that they ran for a number of years.
Stan Church had several jobs over the years and I lost touch with him along the way.
If there are others I've forgotten— I'll send you an update—trouble is I've been involved with so many shows, theatre peeps, etc. Hard to remember, let alone keep track of them all.
Where did I go after: OMG! This would take forever to explain. Directly after the Gate, however, I wound up in Hollywood. A quickie explanation: I was having fun being in the chorus and taking small parts in Les' production of "Of Thee I Sing" (not sure if Kelle did the costumes for this one but think she may have)? (Note bene: she did.)
I got a phone call while actually at the theatre from Jack Pierce (a director friend from SF). He was in Hollywood directing "The Boyfriend" and wanted me to come down for a part in the show. Since I thought this was probably a good opportunity, I packed up and moved. Unfortunately, Jack had been fired and the new director was keeping the gal who originally had been cast!
Here's an interesting note for you: Remember Litchfield's Bermuda Palms in San Rafael? Jack signed on to direct an original musical there titled: "It's Great to be Alive". Thru my buddy who was in the chorus, I got to join in as well. When that was over, Jack staged a musical review on the premises and I was one of the principals.
Next door to Litchfield's was a club called: "The Wye Club". It was sorta tacky but I signed on with another actor pal to do their melodramas on the weekends. It wasn't very exciting BUT we got PAID!!!
Signing off now, Mo, for part 3 (we're almost done). bye for now....v
I just finished reading this, Mo and I loved it all! It's neat that this piece filled in some blanks for me and I picked up a few names I can elaborate on later, tho not sure I'll have much to report. I was a friend of Bill Edwards aka Guy Edwards aka Guy Williams (I think)! He was such a talented guy and very handsome. I wonder what ever happened to him.
I also knew Vicki Frazier —I just loved her. She had a terrific Jazz voice and I heard she gave up singing to marry an airline pilot.
John Rose was one of my closest and bestest of friends. He was a brilliant actor but could do anything necessary in the theatre—editing music, running lights, doing photography, etc. He got some fantastic reviews in the LA Times on his acting performances. Unfortunately, he died of AIDS very early on.To be continued....
I was surprised to read that Les Abbott actually lived at the Alta Mira. My understanding was he lived in a room above the theatre (Skip also used a room there as well for awhile). But since Les worked as a waiter at the Alta Mira—maybe they gave him a room before he wound up living in the theatre?
Re: Athena's son—intriguing that Les might have been the father but somehow I doubt it. I knew Les very well over the years and I think he would have let something slip about this child. Also, Athena was "very" popular with many guys—she may have even married somewhere along the line. I do remember, now, my chum in Sausalito telling me
she got very involved in political events there.
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| (Photo by Chris Gracida, Richard Knablin photos 1960) |
Newspaper References from the Daily Independent Journal from San Rafael, California provide a sort of timeline for the Gate Playhouse.
Daily Independent Journal, Saturday, Sept. 19, 1959 TONIGHT PLAY — ‘Time Remembered'’ at Sausalito Gate Playhouse, Bridgeway opposite Princess Street, 8:30 p.m.
SUNDAY, SEPT. 20 PLAY — ‘Time Remembered” at Sausalito Gate Playhouse, 8:30 p.m.
PLAY — “Time Remembered” at Sausalito Gate Playhouse, 8:30 p.m. SATURDAY, SEPT. 26 PLAY—“The Wizard of Oz” by Children’s Playhouse Company of Gate Theater at Sausalito Gate Playhouse, 2:30 p.m.
PLAY — ‘Time Remembered" at Sausalito Gate Playhouse. 8:30 p.m.
October 9, 1959 Gate Playhouse Musical Revue Proves Uneven By DON KEOWN “Sumpin’s Jumpin’,” the musical revue which opened this past weekend at the Gate Playhouse in Sausalito, is a most uneven show, with the acts ranging from very good to very amateurish. Certainly there is nothing amateurish about the featured act, the Travelers. This young, folk - singing threesome — two boys and one girl — showed, in addition to some fine voices and pleasing arrangements, a lot, of stage poise. The female member of the trio is a delightful comedienne. Also very good is the singing of two pretty twin sisters, Alice and Rhae, except for one unfortunate attempt at calypso for which their voices are not really suited. The gypsy number sung by Mike Denton is good enough, but the dancing which accompanies it adds nothing. The young ventriloquist started off well, with some excellent examples of voice-throwing, but his act lasted much too long and a good deal of his chatter with his dummy should be trimmed. Only the most dyed-in-the- wool fans of legerdemain will be entertained by magician Bob Fischer’s tricks. His stunts are the usual ones, and his patter even more shopworn. The “ghost handkerchief” trick, however, might be classified as an exception, as it was well performed. / Young Gary David, the crooner, has an effective voice. But he would do well to concentrate upon plain singing and omit some of his efforts to attain dramatic effect. Comic Yank Levine failed to get off the ground «with his act. The show opened on an unfortunate note with the instrumental combo blaring much too loudly for the small theater — and, what was worse, decidedly off-key. That was followed by some of the slower acts, and it was sometime before the s how could get back on the right foot. The “vaudeville” show, which will fill in on the Gate stage until the new musical comedy, “Annie, Get Your Gun,” is ready to take over, will be on again this weekend. There will be 8:15 and 10 p.m. performances Friday and Saturday nights and one 8 o’clock show on Sunday. And the Travelers are especially worth seeing and hearing.
November 13, 1959 (Time of your Life was also running at the Sausalito Little Theatre)
Draw a fine bead on the Sausalito Gate Theater’s current production of “Annie Get Your Gun” if you want to spend an evening surrounded by the marvelous music of Irving Berlin—well done—and at the same time see a little theater presentation seem to grow into big-time show business right before your eyes. Opening night, at a little past 8:30 p.m. last Friday, the houselights dimmed, a three-piece combo struck up the overture, flimsy gauze curtains pulled apart—and an entire audience was transported into the wonderful world of Buffalo Bill’s Wild West Show. Zesty Virginia Rae poured great gusto into her portrayal of Annie Oakley. Her large eyes glistened with brassy naivete as her powerful, throaty voice filled every corner of the theater. This pint- sized youngster is endowed with a giant-sized talent and when she belts out “Doin’ What Comes Naturally,” you have the feeling that is exactly what she is doing. Jim Holiday in the role of the sharpshooting Frank Butler contributed a fine, strong baritone to the show and his "I’m a Bad Bad Man” brought the house down. But his singing prowess far exceeds his acting abilities and as the supposedly hard-to-get Frank Butler, he was just a mite too easy for Annie to bag. Robert Atkinson played the shady but likable Charlie Davenport as if he were out to steal a few scenes—and he did just that. His was a striking performance put across by a fine stage presence that wallops an audience right over the footlights. Shelley Fernandez playing the shrill Dolly Tate and Stan Church in the role of Chief Sitting Bull turned in performances that were also notable in a generally outstanding cast. Les Abbott’s very capable direction soared over obstacles of limited costuming and simple sets to establish this evening with “Annie” as one of the glittering best you could spend in the company of the incomparable Miss Oakley. Mr. Berlin and friends. The choreography, however, was the Achilles heel of this production. Dance routines were too ponderous and overbearing for the small stage of the Gate Theater. But the electrifying presentation of the music, the outstanding collection of quality musical comedy voices, and the brassy, raucous tempo that vibrates through the theater during the two acts dwarfs this one weakness and makes this show a must. When you leave the theater you will find yourself singing, “There IS No Business Like Show Business.” “Annie Get Your Gun” will I be playing Friday, Saturday and Sunday evenings at the Gate Playhouse for the next several weekends including this one.
Mill Valley Record, Volume 61, 21 January 1960 Abbott Begins Workshop at Tamalpais High. A course entitled “Drama Workshop" opened at Tamalpais High School a new offering of the Tamalpais District Adult Evening School, it has been announced by Principal Harry G, Russell. Leslie Abbott is director of the Gale Playhouse in Sausalito, will conduct the course. He is also director for the Comedia Theater in Palo Aldo and the San Jose Light Opera Company.
Abbott studied at the University of Southern California, College of Pacific and Stanford University, with professional training at the Dramatic Workshop and the Actors’ Studio of New York. He also worked in summer stock at Lake Tahoe and in Connecticut and has directed for the Ivar, the Players’ Ring, and the Ebony Theaters, all in Hollywood, and was employed for a year with NBC-TV.
In addition, he directed for Abbott-Abrams Productions and the Encore Theater in San Francisco. The workshop will include ten sessions on Wednesday evenings beginning at 7:30 in Room 1
Daily Independent Journal, SATURDAY, MARCH 19, 1960 MUSICAL PLAY — “Pipe Dream,” Gate Playhouse, Sausalito, 8:30 p.m.January 14, 1961 Hansel and Gretel
SUNDAY, MARCH 20 CHILDRENS PLAY “Pup's House,” Gate Playhouse, Sausalito. 2:30 p.m
MARC H 26 MUSICAL PLAY — “Pipe Dream.” Gate Playhouse, Sausalito. 8 30 p.m.
Thursday, March 31, 1960 Where’s Charley? 8:30 p.m.; Gate Playhouse Sausalito
Saturday, April 02, 1960 A champagne - sipping audience viewing a sneak preview at Sausalito’s Gate Playhouse last night was routed by the pungent odor of smoke and the arrival of two fire trucks and three police cars shortly after 11 o’clock. Fire Chief Matts Perry led a search of the theater and adjoining grounds and found a smoking incinerator outside a fire exit, but the show’s electrician David Arrow said his wiring had been tampered with. “One spotlight went out and then another, I knew something was wrong.” he said. The electrician said he glanced up at the light bank above the stage and saw two people starring back at him. Edward Williams, member of the acting troupe, said “Smoke began to fill the theater in the last minutes of the play. The audience became restless as the smoke became stronger—even the actors could smell it on stage. A search of the theater failed to turn up any suspicious persons. Perry ordered the theater closed, and the master switch pulled. Actor Ralph McGlothlen, appearing in the new production of “Where’s Charlie,” surveying the audience milling around on the sidewalk, champagne glasses in hand, quipped, “To think they closed us the night we opened.” But Producer Les Abbott reassured him that the show will go on as scheduled next Saturday. The caterer who served the champagne suffered the one casualty of the evening: A ticket for parking his truck in the red zone in front of the theater.
Wednesday, June 22, 1960 Gate Musical Opens July 1 The opening of the Gate; Playhouse musical. “Anything Goes!” originally scheduled for this coming weekend at the Sausalito theater, has been delayed until Friday. July 1, according to Les Abbott, director. Special “try out” performances will be staged this Saturday and Sunday, Abbott said but the public run will not begin until the following weekend. Reta Bowen will play the role, which catapulted Ethel Merman to Broadway fame, while, Gordon Wood has been assigned the part made famous by comedian Victor Moore. The script is by P. G Wodehouse. the music by Cole Porter. Working with Abbott in staging the Gate version of the Broadway hit of 23 years ago are Clif Bartlett, musical director. and Bill Edwards, dance director. Tickets can be reserved by calling Edgewater 2-9960
September 9, 1960 Of Thee I Sing Opens Next Thursday at Gate “Of Thee I Sing.” the new Jack Cheetham and Ricardo Gate Players musical, will open Thursday. Reservations may be made by calling the Gate Play-house.
Monday, October 31, 1960 Of Thee I Sing To Complete Run “Of Thee I Sing,” the political satire currently being staged by the Gate Players at their Gate Playhouse in Sausalito, will complete its run with presentations this coming Friday and Saturday. The Pulitizer Prize-winning musical by George and Ira Gershwin features Sharleen Lambert, Diane Santich, John Rose, Jack Brennan and J. W. Cheetham, and is directed by Skip Rognlien. Curtain time is 8:30 p.m. An original musical revue, “Whoops!,” will take over the Gate stage starting Nov. 18.
November 18, 1960 Gate Players present "Whoops!” 8:30 p.m., Gate Playhouse, Sausalito
Saturday, January 07, 1961 (A long interview on Bill Edwards, it mentions both Les Abbott and Vee Rae, about half way down: check it out)
Show Biz —A Long Hard Road. At the age of 5 his “show business'’ parents were already teaching Edward Williams singing and dancing, and the small boy had his sights set upon a career in the entertainment field. Today, two decades later, Ed Williams, or Bill Edwards as he is known on the stage, is just beginning to realize those ambitions. It has been a long and at times discouraging uphill struggle, the young Sausalito resident admits.
Yet Ed Williams has no regrets. If at times in the past he had occasion to wonder at the wisdom of his decision to follow in his parents’ footsteps, those doubts have today vanished. And he faces the future with confidence and with vigor. The story of Ed Williams is typical of many of the talented young people striving to make good in “show biz.’’ Some, of course, do make the grade much faster with less sacrifice. But they are few. Many more must, like Williams, spend long years in training and hard work and overcome many disappointments before realizing, even in part, their ambitions. Still others, of course, never make it.
WILLIAMS IS certain to-day that he will not be among that last group. He was born in Reno, Nev. His father, an ex-boxer, had turned to entertainment as a dancer and drummer for his livelihood. His mother was both a singer and a dancer. And thus it was natural that by the time little Ed was 5, be was being instructed in singing and dancing by his parents. The family came to San Frrancisco during World War II, and the father went to work in a defense plant. It was while young Edward was a student at Galileo High School that the drama teacher, Arthur B. Gleditsch, noticed his work in school musicals and plays, was impressed by his promise, and offered the son of show business parents, Edward Williams, or Bill Edwards as he is known on the stage, is himself dedicated to a career as a singer and dancer.
He began his preparation for that career as a 5-year-old, and, after 20 years of training, is just beginning to realize his ambitions. him a five-year scholarship in the Theater Arts Colony, a theatrical training program which Gleditsch operated in the old Washington Street Theater which is now the site of the Contemporary Dancers Studio, San Francisco In addition to his high school and theater school work, the busy teenager was earning money singing and dancing at private and organization parties, and studying classical and semi-classical music.
In 1954 the Abbott-Abrams organization took over the operation of the Washington Street theater from Theater Arts Colony. Les Abbott began producing shows in that playhouse. And Ed made his "professional debut’’ at 18 as a cadet in a production of ‘ Wonderful Town.”
THE ASSOCIATION with Abbott continues today as Williams has appeared in several of the former’s musical productions at his Gate Play-house in Sausalito. Further opportunities under the Abbott-Abrams banner followed, and Ed won the acclaim of San Francisco critics for his solo dancing in the revue, “Too Much for TV.”
Later he became a member of the Encore Theater group where he received additional training and experience in such technical fields as lighting, sound, costuming, make-up all subjects which continue to interest him today. But Ed will admit today that at that times some of the glow seemed to be fading from his dream of an entertainment career. He had spent long years in preparation. But the opening — the big chance — had not appeared. "And there seemed to be five or six others waiting just like me for every possible opening,” he adds.
Then in 1958 he was called into service and spent the next two years with an Army Nike Hercules unit. Good fortune along with Ed’s own drive and determination were to convert that period into an asset instead of lost time. After his basic training at Fort Ord in preparation for being sent to Germany, he was, instead, shipped to Formosa, the center of a Pacific crisis at the time there his unit assisted in instructing Taiwanese and Chinese in the manning of the missiles.
Williams enjoyed his contacts with the people of Formosa. But he enjoyed, even more, an opportunity to put his professional talents to use. Four nights a week on his off-duly hours he worked as an entertainer in an officers’ club. "Not only did it give me an opportunity to pick up some money, but it was wonderful experience for me,” he says. “The whole Formosa bit was great. We lived up in the tea fields with the snakes and what have you in the day, but at night we came down into town. And quite often we were able to spend our weekends in town.”
“The people of Formosa are terrific,” he adds. Their job of instructing Chiang’s troops in the operation of the missiles completed after six months, the members of Ed’s unit expected to be returned to the States. Instead they were shipped to Okinawa where they spent the next 11 months. And again Ed got a big break. On Okinawa in his off-duty hours he began working with Special Services, instructing in acting and directing plays.
While his own special talents lay largely in the song-and-dance field, Williams had always been fascinated by drama. On Okinawa he directed such productions as “Bell Book and Candle,” “A Hatful of Rain.” He co-directed the musical "Guys and Dolls” and was in charge of choreography and costumes. It was great.” he says. “We had a group of about 20. and at least half of them were very talented people. We did some good things.”
HIS SERVICE stint over, Williams flew home. Only days later he was appearing in Les Abbot's production of "Pipe Dream” at Sausalito’s Gate Playhouse. And later he sang and danced in “Where’s Charley?” on the same stage, then did the choreography for “Anything Goes!” But his major interest right now is a new act, the Cosmopolitans, in which he performs with two girls. At first Virginia Rae and Vickie Frazer were the other two members of tile trio. When Miss Rae moved to Los Angeles, Muffin Preston of the Great Plays Company of San Francisco replaced her.
Williams, who dances and sings under his stage name of Bill Edwards, describes the act as: “Something similar to the one in which Kay Thompson and the Step Brothers were featured, except we reverse the ratio and have two girls and one man.” For three and a half months the Cosmopolitans polished their act. Then came what Williams regards as the best break of his career to date. The Cosmopolitans were hired, on a week-to-week option basis, to make their first appearance at Ann’s 440 Club, a Broadway Street nightspot in San Francisco. “We were held over for five weeks, which was much better than we had expected ” Williams says. Now the Cosmopolitans have several prospective deals pending, the most likely one a run at the Hilo in Atherton.
At the same time Williams’ agent is also pushing him as a single performer and he has just auditioned for the new San Francisco supper club, the Boule Noir, which he describes as “the prettiest club 1 have ever been in.” He is currently dancing and singing in a Les Abbott production of “Kiss Me Kate” in Palo Alto at the Camadia Theater (The Loft). And engagements are on the horizon at the Purple Onion, one of San Francisco's best-known night spots, and the Press Club in that city. Both will probably come off next month.
A RECORDING contract is also in the works. Fantasy is interested in recording Williams while at work in a club. “There are several things that could break very well for me in the next few days or weeks,” Williams says. “That is why I feel so good about everything.” But, he adds, the entertainment picture generally in the Bay Area is not so rosy from the young performer’s standpoint. “The trend in the San Francisco area is away from the type of nightclub or supper club that offers the proper.... Continued on page M-9 Years Of Preparation Are Just Starting to Pay Off For Young Marin Entertainer (I couldn't access the rest of the interview)
February 18, 1961 PLAY — ‘‘Between Two Thieves,” by Gate Players, Gate Playhouse, Sausalito, 8.30 p.m.May, 13, 1961 Rapunzel
Saturday, April 15, 1961 TONIGHT MUSICAL PLAY — “South Pacific,” by Gate Players, Gate Playhouse, Sausalito, 8:30 p.m.
FRIDAY, APRIL 21 MUSICAL PLAY — “South Pacific” by Gate Players, Gate Playhouse, Sausalito, 8:30 p.m.
SATURDAY, APRIL 22 PLAY —“View From the Bridge,” by Gate Players Gate Playhouse, Sausalito, 8.30 p.m.
November 10, 1961 Gate Five Productions presents "A Hatful of Rain,” 8.30 pm, Gate Playhouse, Bridgeway, Sausalito
February 9, 1962 TONIGHT DRAMA — “Glass Menagerie” by Gate Five Players, Gate Playhouse, Sausalito 8 30 p.m.
FRIDAY, FEB. 16 DRAMA — “Glass Menagerie,” by Gate Five Players, Gate Playhouse, Sausalito, 8:30 p.m
SATURDAY. FEB. 17 DRAMA — “Glass Menagerie,” by Gate Five Players, Gate Playhouse, Sausalito, 8:30 p.m.
Saturday. Feb. 24 , 1962 TONIGHT DRAMA — “Glass Menagerie” by Gate Five Players, Gate Playhouse, Sausalito 8.30 p.m.
MARCH 2 DRAMA — “Glass Menagerie,” by Gate Five Players, Gate Playhouse, Sausalito, 8:30 p.m.
SATURDAY, MARCH 3 DRAMA — “Glass Menagerie,” by Gate Five Players, Gate Playhouse, Sausalito, 8:30 p.m.
April 26, 1962 Gate Five Players present “Don Juan In Hell,” 8:30 p.m, Gate Playhouse, Sausalito.
So, sometime between April and October, the Gate Five Players must've disbanded...next group is the Pan Players.
October 27, 1962 DRAMA—“Tea and Sympathy” by Pan Players, Gate Playhouse, Sausalito, 8:30 p.m.
FRIDAY, NOV. 2 DRAMA—“Sweet Bird of Youth.” by the Pan Players. Gate Theater, Sausalito, 8 30 p.m.
DRAMA — “Sweet Bird of Youth,” by Pan Players, Gate Theater. Sausalito, 8:30 p.m.
Saturday, June 1, 1963 ....(part of a longer article, but there's a mention of Gate Playhouse) .....THE OTHER couples now involved in the Saturday night musical show (curtain time, 9 p.m.) at Sabella's include: Ray Miller, an electronics maintenance officer at the radar station atop Mount Tamalpais, and wife Pat. They worked together previously in little theater and musicals in Arizona, Alabama and Maryland, Pat as an actress, Ray as a backstage worker. Mrs. Miller has performed with Sausalito Little Theater. Their common interest in little theater, they say, continues their mutual preoccupation with such other hobbies as square dancing and sailing. Conway and Andra Enscoe, who met and fell in love while auditioning for “South Pacific” at Sausalito’s Gate Playhouse. Andra, a native of Boston, played leading roles in several musicals in the East before coming West, appearing first in “Whoops!” at the Gate and then as Nellie Fo- bush in “South Pacific.” Conway served in the merchant marine during World War II and, between ships, entertained at service clubs in Southern California with the Jimmy Webster Variety Show.
Mon., Nov. 7, 1966
These image clippings were from the Sausalito News, Skip Rognlein, Les Abbot (a busy man),Virginia Rae, and Les Abbot were mentioned. Apparently my mom’s stage name was Kellé Hurley, as there was already a Maureen Hurley in Hollywood. I had no idea that my mother had directed Rapunzel. She was a startlingly memorable witch in Hansel and Gretel, because it was still running through January of 1961. My story of her as the witch was from November, 1960. Other children’s plays I must’ve seen were Pinocchio, and I want to say Peter Pan, but I haven’t found a clipping. Yet.
Some of my Blogpost links:
- My Mother was a Bohemian
- Guys and Dolls
- You rarely got what you wanted at Juanita’s Galley...
- Tiki Junction, Sausalito
- Gate 5
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