By Kelly Dearmore
By Jim Schutze
By Rachel Watts
By Lauren Drewes Daniels
By Anna Merlan
By Lee Escobedo
By Alice Laussade
Post-war Broadway was running rich: Richard Rodgers and Oscar Hammerstein's Carousel opened across the street from their smash hit Oklahoma! in April of 1945. It would enjoy the fifth-longest run of the decade and become a Broadway classic, spawning several standards, including "You'll Never Walk Alone." Raitt, then 28 years old, was making his Broadway debut as the 1870s New England carnival barker, Billy Bigelow. His onstage swagger, booming baritone, and sometimes-macho, sometimes-vulnerable characterization established him as a national heartthrob and brought him both a Donaldson award (the era's Tony) and an award from the New York Drama Critics for best actor in a musical.
In 1965 Raitt again played Bigelow, this time in a revival presented by the Music Theater of Lincoln Center in New York. The album from that production--with Raitt's name given top billing--is still in print. Carousel has seen thousands of performances all over the world. Raitt became one of Broadway's legendary leading men, scoring later as the lead in The Pajama Game (and in the movie version with Doris Day), Annie Get Your Gun, and many others.
John Raitt is in Dallas now, starring as Emile de Becque, the plantation owner, in the Garland Summer Musicals' production of another Rodgers and Hammerstein hit, South Pacific. Across town, the touring company of the controversial Tony award-winning production of Carousel by the Royal National Theatre of Great Britain is starting this year's Dallas Summer Musicals season. The musical that Raitt helped make into a classic is at the Music Hall with Patrick Wilson, basically an unknown kid, playing the role Raitt created, while he's relegated to the boonies, doing summer stock, albeit in a respected venue. Ironic? At least it's better than Raitt's last visit, playing Granny's Dinner Theater.
Don't weep for John Raitt, though. His guest appearances with his daughter on the Late Show have created a whole new generation of fans, and Bonnie inducted him into the Theater Hall of Fame last year. She also conceived his best-selling 1995 Broadway Legend album and sang three duets with him: "They Say It's Wonderful" and "Anything You Can Do (I Can Do Better)" from Annie Get Your Gun and "Hey, There" from The Pajama Game.
"I hadn't recorded in 25 years," John Raitt explains backstage prior to a South Pacific rehearsal. "Bonnie was coming back from touring in Europe and sat next to Angel Records president Steve Murphy. She said, 'Dad's singing pretty good, and if you record him, I'll do three songs with him.'"
John Raitt also appears on a new album, Leading Man, a collection of Broadway show-stoppers sung by the American opera hunk, baritone Thomas Hampson; Raitt teams up with Hampson for "Hey, There," and Raitt was not above giving the opera star a few pointers on how to sing Broadway. "There is a difference," he explains. "It was quite an interesting experience, because most opera singers approach music a lot differently than I do. Hampson started out, 'Hey, there,'" Raitt sings operatically, "and I said, 'No, no, you're supposed to be singing this song to yourself. You're not singing out there to somebody else. Sing like you talk.' He was very receptive. It came off pretty well, but it was like two bears scratching at the end on the high notes!"
Opera stars may cross over, but it is rare that they do the eight shows a week that Broadway demands. "With most leading-man roles, you're on stage pretty much all the time." Not so with South Pacific's Emil de Becque: Rodgers and Hammerstein wanted prominent Metropolitan Opera bass-baritone Ezio Pinza to star, so they wrote the role so that de Becque is on stage for only 25 minutes and sings only two big songs, "Some Enchanted Evening" and "This Nearly Was Mine."
That suits Raitt, pushing 80, just fine: His pipes are still intact, but he had hip surgery last December, the latest of several operations.
In addition to his stage work he also does pops concerts and gives master classes at universities.
Raitt's favorite role, though, is still the one written for him by Rodgers and Hammerstein, Carousel's Billy Bigelow. Raitt speaks possessively--almost like a doting father--about the show across town, and he has strong words about its current production, which he saw on Broadway.
"I said to (director) Nicholas Hytner, 'You know, I'm sure you feel as I do, that this is a classic musical-theater piece, and with all classics you have many options...It really doesn't matter what options you choose, the end result is the most important thing.' So I'm really saying to him very nicely, 'I don't like some of your options.'"