By Andrew Gans
25 Nov 2005

ETHEL MERMAN: THE BIGGEST STAR ON BROADWAY
A few weeks ago I received an advance copy of the new Ethel Merman biography, "Ethel Merman: The Biggest Star on Broadway." I had a great time reading Geoffrey Mark's tome for Barricade Legend Books; in fact, I devoured the text in two days. The 312-page book, which features a foreword by Merman's longtime friend Rosie Marie, details the many successes and failures — in and out of show business — of the late Merman, who the biographer asserts was Broadway's biggest star, having appeared in 15 hit musicals during her lifetime. The book is a fun, easy and sometimes moving read, chronicling Merman's many ill-fated personal relationships, including her notoriously short marriage to Ernest Borgnine, as well as her lifelong devotion to her parents. It paints a complex portrait of an extremely talented and dedicated woman who longed for the bliss of true love and a movie career to rival her Broadway successes, but was, unfortunately, never able to truly achieve either.

"Ethel Merman: The Biggest Star on Broadway" is divided into two parts. The first section is a 25-chapter account of Merman's life story — from her birth on Jan. 16, 1906, in Astoria, Queens, through her death, from brain cancer, on Feb. 15, 1984. Diehard Merman fans will especially enjoy the book's second half, which features in-depth accounts of Merman's radio and TV appearances as well as separate sections about her work on film, record and, of course, the Broadway stage. What follows are a few choice quotes from Geoffrey Mark's book, which will hit stores Nov. 29.

about Merman's Broadway debut in Girl Crazy:
"Ethel did not just sing loudly — the word 'belt' (too often applied to her) really didn't apply. Ethel Merman sang incisively, hitting her notes like a gong. The sound then reverberated all through the theater. Her voice and style were perfectly matched to the acoustics of nonmicrophoned Broadway theaters . . . It wasn't just Ethel's holding of that one note [in 'I Got Rhythm'] that made the number so extremely successful. It was her style and energy. While singing the words, Ethel was everywhere, moving about the stage, shaking her fingers, clenching her fists, rolling her eyes. As she started to hold the note, she opened her sparkling eyes as wide as they would go, and with both index fingers, she alternately pointed into the air to the rhythm of the orchestra. At the same time, she moved her eyes back and forth, looking at each pointed finger as if she was as surprised as the audience as to what was going on. The presentation was unique, electric, and stunning. The audience was spellbound!"

about Merman's decision to return to the stage in Annie Get Your Gun:
"On August 11, 1945, little Bobby was born by Cesarean section. Perhaps due to her age, Ethel was very uncomfortable after his birth. She experienced racking gas pains and postpartum depression. Her entire being had been focused on making sure that Bobby was born and healthy. Now that he was, it was almost as if she needed something to do. She didn't allow herself the chance to enjoy the afterglow of birth and having a new life to care for. So when Dorothy Fields called Ethel two days later with an idea for a new show, it was the tonic that Merman's depression needed. . . . Anyone could be a housewife, but only she could be Merman. This was the crucible for Ethel. Despite her love for her husband and children, regardless of the bliss she had enjoyed during her two pregnancies, Merman made a choice for show business. She had tasted the fruit of marriage and motherhood, had in fact longed for it, but found it not as sweet as that of her career. The die was cast. It was a new Ethel Merman."

about one of Merman's many "Tonight Show" appearances on July 26, 1979:
"It is here that Ethel tries to sing one of her disco cuts live with a band. She does 'Alexander's Ragtime Band,' and the effect is strange. She is trying so hard to sell the song and the arrangement, but it does not come off right. This was Merman's final appearance with Johnny Carson. He made a comment about her almost taking off on the last note, and she took this as a knock. At the commercial, they had words, and she was never invited back."

[Author Geoffrey Mark also penned "First Lady of Song: Ella Fitzgerald for the Record" and "The Lucy Book." "Ethel Merman: The Biggest Star on Broadway has a retail price of $24.95.]

DIVA TIDBITS
Luba Mason, who currently stars as Velma Kelly in the Broadway production of Chicago, will offer a concert to benefit Elmwood's Renovation Fund Nov. 30. The 8 PM concert will be held at the Rockland Community College Theatre and will also feature Dick Voigt's Big Apple Jazz Band. Mason is expected to perform tunes from her acclaimed solo recording, "Collage." The Rockland Community College Theatre is located at 145 College Road in Suffern, NY. Tickets for the concert, priced at $25, are available by calling (845) 353-1313. For more information visit www.lubamason.com.

Elaine Paige's upcoming concert at the Birmingham Symphony Hall will be broadcast on BBC Radio 2. As previously announced, Paige will be joined by former Sunset Boulevard co-star John Barrowman as well as Danny Seward for the Dec. 19 concert, which is titled Elaine Paige Sings the Musicals at Christmas. The evening will also feature the BBC Concert Orchestra. BBC Radio 2 will broadcast the concert on Dec. 23 at 7:30 PM as part of its "Friday Night Is Music Night" series. Visit www.bbc.co.uk/radio2 for more information. Tickets for Paige's concert are priced £22.50-£32.50. Call 0121 780 3333 for more information or visit www.symphonyhall.co.uk/boxoffice.

During her solo cabaret debut next month at Feinstein's at the Regency, Rebecca Luker will pay tribute to host of women songwriters, both past and present. Luker, who will play the posh club Dec. 12-15, will perform songs by Betty Comden, Dorothy Fields, Carolyn Leigh, Kay Swift and Lucy Simon as well as works by some of today's best young female songwriters. Concertgoers can expect to hear such tunes as "Lucky to Be Me," "The Way You Look Tonight," "Killing Time," "Can't We Be Friends" and "How Could I Know." Show time is 8:30 PM. Luker's evenings will feature musical director Joseph Thalken on piano with Dick Sarpola on bass. Mark Waldrop is the director of the singing actress' new show. Feinstein's at the Regency is located in Manhattan at 540 Park Avenue at 61st Street. There is a $60 cover and a $40 minimum for all shows. For reservations call (212) 339-4095 or visit www.feinsteinsattheregency.com.

Well, that's all for now. Happy diva-watching! E-mail questions or comments to agans@playbill.com.