A reblog of a reblog
In honor of the Man, Robert Zimmerman, aka Bob Dylan, being honored with the Nobel Prize for Literature, the first Singer/Songwriter be so recognized, I am bringing back this post. Oh, there’s also a memory of Prince there also. And now this Singer/Songwriter/ Nobel Prize winner has just sold his Songbook for umpteen millions.
And a memory of Prince whose estate was finally settled by his family.
And a memory of the lovely lady with the lovely voice, Judy Collins, has just struck a blow for the fight against COVID by refusing to allow Spotify play her music because of their allowing on COVID LIES to be broadcasted on their station.
To most people having an encounter with a ‘celebrity’ is an unusual event. But to stage hands, it is an every day occurrence. Except! Sometimes a ‘celebrity’ shows up by surprise.
It was a Leon Redbone concert at the Guthrie. Tom, the deck stage hand called me up in the booth to tell me about the guy who just wandered in backstage. Tom said he looked like some homeless guy, tee shirt, jeans with holes in them, sandals, a goofy looking hat, longish hair, a week’s growth of beard. I asked Tom if he had any trouble throwing him out.
‘Well’, Tom explained. ‘I told him he would have to leave. Grabbed his elbow and showed him the door. Then when the light came from the open door, I realized that I was about to kick Bob Dylan out. Apologized and he just laughed and he understood. I gave him a chair. Damn! Bob Dylan! And I almost kicked him out the door.’
We had just finished a matinee of The White Devil. Joey B, the deck stagehand called me up in the booth. ‘Don,’ he said, ‘You better come backstage. There’s a guy down here and I ain’t about to kick him out. You do it!’
‘Come on, Joe,’ I got a lot of gel changes to do. Just boot him out.’
‘I ain’t gonna,’ Joey argued. ‘He’s the meanest looking guy I ever saw.’
I went backstage. The man had his back turned to me, looking down the hallway to the dressing rooms. I explained to him that nobody was allowed backstage.
‘Sorry,’ he said in a very soft voice. ‘I was just waiting for my daughter.’ He turned and faced me.
I found myself looking into the face of one of my favorite actors, Jack Palance. His daughter Holly was playing the lead in The White Devil. I shook his hand and told him he was more than welcome to stay.
When I told Joe who Jack Palance was, Joe just shook his head. ‘Well,’ he said, ‘Holly must take after her mother. She sure don’t look like her dad. – Thank god!’
I was laying on the Guthrie stage, my shoulders and arms extended down a trap hole in the floor. Joey B was below the stage. We were trying to fine tune a schtick that didn’t work at tech rehearsal. Bill, the sound man, was behind me, as usual making wise cracks. I was losing my patience, and the bolt I was trying to take out was turning.
Without looking back, I extended my arm back and told Bill to give me your f—–g C-wrench.
A soft voice, which definitely wasn’t Bill, answered, ‘Sorry. I must have left my f—–g C-wrench in my other purse.’ And there was a lot of laughter behind me.
I rolled over and looked up. I didn’t recognize the face for a beat or two, and then it dawned on me, it was Judy Collins. Her talking voice had the same crystal quality as her singing voice.
Next to her stood Stacey Keach, the actor, and Jon, one of the Guthrie stage managers. Behind them was Bill. I was the only one on stage that wasn’t laughing.
‘Oh, he’s a smooth talker,’ Bill quipped. ‘And would you believe that’s only his second best pickup line.’
More laughing and from down below, Joey B, who had no idea what had happened, began to holler at me to quit screwing around and get back to helping him fix the god darn piece.
Jon told me that he and Stacy were classmates in college. Stacy and Judy were in town for something, and Jon was giving them a tour of the theater. I tried to apologize for my language, but Judy just laughed and said next time she would be sure and pack a C-wrench in her purse. But first I would have to explain to her what a C-wrench was.
One of my favorite piece of music is Judy Collins singing SEND IN THE CLOWNS, and every time I play it, I always think to myself, ‘but be sure and tell them to bring their C-wrenches’.
In ’82, the Metrodome’s opening was an extravaganza, Scandinavia Today, featuring the King and Queen of Sweden. The one special request the King asked for was that Swedish born Ann Margret bring her Las Vegas show to Minneapolis sometime during the week- long fest. The Minnesota Orchestra honored his request and booked it for two shows at Northrop Auditorium.
At the top of the first show, young Joey R and I were in the #2 wing, on warn for the mid-black to come in after for Ann Margret danced her way downstage. There was a quick reset once the curtain came in. We couldn’t see Ann Margret until she was even with us.
When she came into our view, young Joey bellowed out, ‘HOLY S–T!!!’
Now I don’t know if the King and Queen, sitting in the front row, heard his shout, but I do know Ann Margret did. She did a quick double take look into our wing and flashed us a quick smile.
The blackout curtain came in and the hands ran out to set the next portion, while Ann Margret was downstage, welcoming the King and Queen and singing a song in Swedish for them. As Joey and I went into the wings, I jumped on Joey for being so unprofessional. He stammered how sorry he was. It was just he had never seen her before, never even heard of her and….
‘She does have that effect on men,’ the man standing in the wing said, ‘Even me. And I have been married to her for fifteen years.’ It was her husband, Roger Smith. Outside of the fact he needed his two canes to stand steady, due to his having MG, he looked as dapper as he did when he use to walk out the door of 77 SUNSET STRIP.
Once in the stagehands’ room, the other hands teased young Joey. His comment had carried clear across the stage. I told him from now on he should find out a little something about the show he was going to work so as not to make a fool out of himself like he just did. And I advised him to go to a video store and rent BYE BYE BIRDIE and VIVA LAS VEGAS.
We’ve been lucky in the Twin Cities that she has come back here a number of times, including acting in the film, GRUMPY OLD MEN. Believe me, if you looked up the definition of a really sweet person, you would see a picture of Ann Margret.
I was on my knees in a downstage wing paging a mic for Patti LaBelle. Her concerts were always very fine, except her set belonged in an arena, not a theater. Very crowded on stage. And since wireless mics were still unreliable, a stagehand was needed to page the cable to keep it from tangling in a set piece. You have to concentrate. For that reason I didn’t realize that there were people in the wing with me until they had me surrounded.
I saw a short pair of legs clad in tight purple pants. I didn’t have to even look up to know it was Prince.
The second pair of legs were much more interesting. Much longer. Disappearing in a pair of short shorts. Tight blouse. It was Sheila E.
The third pair were longer still. The shorts, shorter still. The blouse, tighter still. It was Kim Basinger.
Prince might be short in stature, but he more than makes up for it in self-confidence. Not many men would dare attend a concert with both an ex-girlfriend and a current girlfriend. Or maybe it was a current girlfriend and an about-to-be ex-girlfriend.
But this was Prince, The Artist Formally Known as Prince, The Love Symbol. The two ladies were probably both current girlfriends. And for all I knew, Madonna, Carmen Electra, Vanity, etc., etc., etc., might all have been at Paisley Park waiting for the three of them to return so they could all ‘party like it it’s 1999‘.
Yup! The stage is indeed a strange land, and often you meet a stranger there. And often the stranger is stranger than most.
Please take the advice of Judy Collins
Listen to the Medical Scientists
Not the Anti Vaxxers