The Washington times., 1936-01-20

I want to visit this roof first.
started at the top" with Zieg-
field in the Midnight Frolics and
worked my way down" to the
Follies, which were an integral
part of the theater itself for so
many years. AS Fate-or- call it
what you want-would have it,
the roof. now radio studio. was
the scene of my first regular
broadcaSting efforts, five years
ago. But that's another story
in itself.
"ThiS Is Your Big Chance
Stop Ziegfeld Has Booked You
for Twenty Weeks On The
Amsterdam Roof In The Mid
night FrOlicS." That was the
good news Max Hart wired me
in California, where / had been
playing in "The Canary Cot
tage." 1t couldn't have come
at a more OppOrtune time. l
had quit good job because
was hOmeSick and wanted to
return to Manhattan and the
family. NOw-I was coming
back gay as a feather in the
breeze. The Midnight FrOlics!
Twenty weekS-a aSOn-
signed in advance. WhOOpee,
was Cantor happy!
I stand on the spot where I
did my first turn. was self
confident, though. Who wouldn't
be-With a 20week guarantee?
I didn't know until later that
Ziegfeld hadn't signed me at all
that he only agreed to give me
single trial. Ignorance was
bliss-I COULD" -'isS.
Inc Roof ,, gay place
that highland many more
nights to follow. Neither
theater nor cabaret, . but
happy combination of both. It
cost five bucks Just to sit on
a chair. Ermine and orchids
were as plentiful aS-well, as
girls now in the Cantor family.
The VanGerbiltS, the Harri-
mans, the AStOrS and other
members of the FOrty-FOur
Hundred. A glamOrOus gather
ing. had three Straight
men" drawn from the audi
ence for the opening. They
held high the deck of cards
for me while l sang ooh, How
She Could Yacki Hicki Wicki
Wacki Woo" Then they dis
covered the cards were just a
ruse-and not a part of the
act. They were grand sports
and returned the crowds
laughter with their own. My
turn scOreG-and for p con-
secutive weeks entertained
the customers. 1t was always
filled with glittering array
of people. Now, I stand in the
same rOOm-alOne.
Downstairs and backStage I go.
Only the stage door watchman
and a few others are about. 1
don't bother them-and they
don't bother me. But how those
stage door guardians in those
days were bothered by the hordes
of wealthy dandies who gathered
nightly to shower gifts upon the
M arilyn Millers, the olive
ThomaSes and the Mary Eatons.
Stage Door Johnnies-now the
Vanishing Americans! r.
1t was on this stage. in
"Whoopee," that Ziegfeld pro.
duced, in my opinion. his most
magnificent scene - the Indian
reservation, with dazzling beauties
who wore very little besides long
feather headdresses and rode
white horses down the mountain.
side. Next to gorgeous girls, he
liked elephants and white horses.
Those song hits of the FOllies
of 1919 still seem to echo
through the theater. They were
tuneful melOdies-''Mandy," "a
Pretty Girl Is Like a Melody"
and Tulip Time" Eddie Dowl-
ing, Ray and Johnny DOoIey
played the bullfight scene. John
Steele and Delysle Aida sang
the leading romantic numbers.
Bert Williams and George LIE.
Marie, in the sharp-ShOoting
scene; Marilyn Miller, Ann
Pennington and Mary Hay were
the featured dancers: Van and
SChenCk harmOnized. and the
young fellow with the banjo
eyes worked in the OSteOpath
scene and introduced the song
you'd Be Surprised"-when no
one was more surprised than he
was at the turn of affairs.
Here is my first dressing room.
1t is full of feminine costumes and
makeup boxes now-and its quiet
ness is strange contrast to the
noisy excitement that was a part
Of me one night. I remember.
Here it was I received word from
Rodman Wanamaker inviting me
to a party at his home after the
show to meet the Prince of Wales.
Here was thrill-the former Izzy
IskoWitz and England's royalty
munChing caviar together. 1 had
no time to notify Ida-and when