Forbidden Broadway: Behind the Mylar Curtain (11 page)

Early on, we also received a lot of wonderful guidance from Becky Flora, our original
press agent. Liz Hermann, a keen person with a fantastic sense of humor, became our
general manager for the early years. Sella, Becky, and Liz all helped build Forbidden
Broadway into the "institution" it became.

We eventually did post our own Equity bond, but it wasn't till August that we finally
signed the union contract. It was a new cabaret contract designed specifically for
Forbidden Broadway. People told me that we should move the show, but I thought, "Where? If we do it at a bigger theatre, maybe it will run a year. If we stay at Palsson's,
it could run a lot longer, and I can update the material whenever I want."

I honestly think Forbidden Broadway was successful largely because it was the right
show at the right time. The early '80s were the end of what I think of as the golden era
of Broadway; the industry was running out of gas, and the city had gotten very seedy
during the '70s. It was a time when you could make jokes about the fact that a lot of
the new shows were creaky, there were starting to be lots of revivals, and the greatest
musical theatre leading lady on the boards was Lauren Bacall. Before that, I think
Broadway was too much of a sacred cow for anyone to have gotten away with a show
like ours. And five years later, there was almost no Broadway left, so there was very
little to make fun of. We came along just when we were needed.

Carol Channing:
"Dolly Is a Girl's Best Friend"

BOYS

GERARD

Tell us, Miss Channing, what's in all
this for you?

CAROL

Well, it's a living, Mr. Carmichael and
Mr. Alessandrini. Some people sing,
some people dance, some people
act ... I do Hello, Dolly!

[GERARD and BILL enter dressed as waiters with long
white aprons.]

GERARD and BILL

CAROL

GERARD and BILL