By Seth Rudetsky
01 Oct 2007

She made her Broadway debut in a revue of Billie Barnes novelty songs, and Walter Kerr of New York Times went crazy for her. He spent two paragraphs describing the mouth contortions she did while parodying an opera singer. Unfortunately, the show lasted a weekend. But then she got to be the standby for Carol Channing when Hello, Dolly! was doing it's out-of-town tryout. I wonder if Carol knew it was JoAnne standing by for her or did she think it was Rosie. Regardless, JoAnne/Rosie never went on.

Her big break came when she got an audition for a TV show in L.A. but didn't have a way to get there because she didn't drive. Her friend also had an audition and said, "Why don't we go together? I'll drive!" Yes, the show was "Laugh-In," and JoAnne got it and her friend didn't. How many times do I have to warn my readers that the whole "come along with me to my audition" always leads to the "Fame" LeRoy opening scene?!

JoAnne then talked about her foray back onto Broadway in the late eighties. She said the producer of Prince of Central Park called her and said that they wanted to replace the leading lady and was she available? Was she?! Yes! Of course, at the time she was doing Mame in Los Angeles, but this was Broadway calling! They'd have to let her go.

N-O.

The producer said she signed a contract and had to finish out the run. JoAnne said that she was friends with Angela Lansbury, and she'd ask her to do it. The producer said, "I advertised JoAnne Worley, and that's who will be playing Mame."

She finished out her run in L.A., rushed to N.Y., learned the part in four days and went on. However, the show didn't. Essentially, the length of time it took for her to learn the part is the same amount of days it ran. It's that old equation we had in freshman year algebra: Length of rehearsal = Run of show = Flop.

I mentioned the fact that I heard she wasn't available for the Encores! production of 70, Girls, 70. She said she wasn't available and would never be available. "Don't ever ask me to be in a show called 70, Girls, 70!" Sassy! Right now she's doing Drowsy Chaperone, which she got after doing the Encores! Follies with director Casey Nicholaw. He totally re-did the role for her, and she's loving the show. I can't wait to go see it again!

The highlight of my week was doing a photo shoot with the other Ritz patrons for the gay magazine called Genre. First, we did a group shot, and then four of us did a shot on one of the beds. Click, click click. Pout, stare, glare. I totally felt like Naima from "America's Next Top Model." However, whenever my bathrobe slightly opened up near my gut, the art director frantically ran onstage and tightly closed it asap. That was the part where I felt less Naima, more Shamu.

And, finally, the old-school Broadway sasstress Alice Playten came to see The Ritz this week. She is so cool. She was literally a replacement Baby Louise in Gypsy opposite the Merm as well as the original Bet in Oliver! and Ermengarde in Hello, Dolly! Get thee to bluegobo.com asap, and check out her Ed Sullivan clip from Henry, Sweet, Henry. Watch the part where she asks the audience to donate money into her hat. She checks inside the hat, sees that there's nothing and gives the most amazing face ever! Also, check out the ensemble. Baayork Lee, Pia Zadora (!) and coming in for the last section of the song and standing in the back row, Priscilla Lopez!

Okay, one more week before opening! If you buy tickets, don't forget my awkward discount code, RISETH. Peace out!

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(Seth Rudetsky is the host of "Seth's Big Fat Broadway" on SIRIUS Satellite Radio and the author of "The Q Guide to Broadway." He has played piano in the orchestras of 15 Broadway musicals, and he can be contacted by visiting www.sethsbroadwaychatterbox.com. His first novel, "Broadway Nights," is due in the fall.)