Theatres, Plays, Parts pg. 2

SHOWBOAT DINNER THEATRE                                  Tampa, FL  1969-1970

  • Black Comedy  (MISS FURNIVAL)

ALHAMBRA DINNER THEATRE                             Jacksonville, FL  1970

  • Black Comedy                               (MISS FURNIVAL)
  • Blithe Spirit                                   (MADAME ARCATI))
  • Boeing, Boeing                              (BERTHA)

WINDMILL DINNER THEATRES                                     Ft. Worth & Houston, TX. 1971

  • See How They Run  (MISS SKILLON) 

WALNUT STREET THEATRE                           Philadelphia, PA. 1972

  • Born Yesterday  (MRS. HEDGES)                                              w/ Chita Rivera (BILLIE DAWN)

SHADY LANE PLAYHOUSE                                               Marengo, Ill  1974

  • Kiss Or Make Up                                              (MORGIANA KENDRICK)
  • Once Over Nightly                                                            (ERICA MARCH)

Ahmanson Theatre, Los Angeles

AHMANSON THEATRE                                                       Los Angeles, CA  1974

  • Fiddler on the Roof  (SHAINDEL)                                             w/ Robert Merrill (TEVYE)

This was my 1st (of 6) Fiddler productions &, because of it,           
I enjoyed 2 bonuses (beside being an employed actor with a good salary). In doing my research, I was thrilled to discover a short 
story by Sholem Aleichem  called The Railroad Station at Baranovich. My father was born in 
Baranovich but it had no reality for me until I saw the name in that title & read the story. The 2nd 
bonus was major. Since, I've never been been married & have no children, I've always felt shabbos 
to be a lonely time. Now, rehearsing for Fiddler, it occurred to me that the Shabbos Prayer scene 
would have more signifigance for the other actors (mostly not Jewish) if they could actually 
experience shabbos and it would give me joy to be able to celebrate with my "family". So I made 
shabbos, backstage, every week & continued doing it during my subsequent productions of Fiddler.

SUMMER TOUR                                                                 1975

  • Fiddler on the Roof  (SHAINDEL, Asst. Stage Manager).              w/ Zero Mostel (TEVYE)

McCARTER THEATRE                                                                                          Annenberg Center, Philadelphia, PA  

  • Awake and Sing w/ MORRIS CARNOVSKY  (u/s JOAN LORING)  March,  1976   
  • The Confirmation w/ HERSCHEL BERNARDI  (u/s MARILYN CHRIS)

NATIONAL TOUR                                                             1976 - '77

  • A Matter of Gravity  (u/s KATHARINE HEPBURN,             CHARLOTTE JONES, &  PADDY CROFT)                                                              

COACHLIGHT DINNER THEATRE                                    E. Windsor, CT   1978

  • Fiddler on the Roof   (GOLDE)

SUMMER TOUR                                                                  1979

  • The Impossible Years (MISS HAMMER)                                   w/ Ted Knight (JACK KINGSLEY)

Pocono Playhouse, 

Lakes Region Playhouse, 

Cherry County Playhouse, 


North Shore Music Theatre,

Corning Summer Theatre, Cape Playhouse



  • Love of Llfe  (MRS. O'ROURKE

Like most New York actors, I augmented my income by doing Extra work in film & on TV.  In November 1979, I had a stroke of good luck. The day before Thanksgiving, I was cast as an "under 5" on Love of Life then a popular, long-running CBS soap opera. I played  Mrs. O’Rourke, the companion to a woman (played by Tuddi Wiggins) who was trying to get the attention of the doctor she was secretly in love with by having "hysterical paralysis" of both legs! It was the central story line &, after my 1st episode, I was signed to contract as a Principal Actor. WOW! This soap had been on the air forever!!!  In fact, in 8th Grade, I used to watch when I came home from school for lunch. And now, I was actually under contract! Just before Christmas, I was issued my official CBS photo ID and I was sure it was evidence that I’d be financially secure for, at least, the rest of the season. Alas, shortly after the 1st of the year, the entire soap was cancelled. After 28 years! I felt like an albatross!!!


AMERICAN SHAKESPEARE THEATRE                                       Stratford, CT. 1980

  • Fiddler on the Roof                      (YENTE)                                              w/ Theodore Bikel                     (TEVYE)


New York City  1980

  • The Winslow Boy   (VIOLET)  

This show was one of the most painful chapters in my entire pro-

fessional life. I had read for a part but was never called back for a 2nd audition. I was, therefor, 

pleasantly surprised & delighted when Gene Feist, the producer, called & offered me the role of 

Violet. Gene had a somewhat shady reputation & a long history of union problems. When he called 

a second time to ask me to intercede on his behalf & persuade Equity to give him more time to 

comply with certain rules relating to "Safe & Sanitary Place of Employment", I began to suspect he 

had offered me the part in a clumsy, & totally misguided, attempt to curry favor with Equity. I told 

him, if he had cast me with the expectation that Equity would, therefor, give him some kind of 

special consideration he had made a big mistake. And I assured him that I could not, & would not, 

be his advocate. I still marvel, all these years later, that I had the courage to set the record straight, 

without delay, because I had not yet signed my contract & knew he could easily withdraw the offer 

without any obligation. However, he accepted my statement without any hassle & I began re-

hearsing 2 days later. 

On the other hand Douglas Seale, who was the director, immediately made it very clear to me that 

I had been cast against his express wishes. He was a meticulous & exciting director as he worked 

with the other actors but he studiously ignored me, continually running through my scenes, non-

stop without comment: never giving any notes, never saying anything. I was devastated, & as re-

hearsals progressed, I was increasingly frustrated & finally pleaded with him for some direction. 

He grudgingly made the singular comment that my pace was "too fast for Violet". When I asked 

him for clarification, his  response shocked me, "Why are you worried? Nobody’s going to fire 

you.״ I was in shock! I’d never had such an unprofessional relationship with anyone, let alone my 

director who simply refused to work with me. His attitude confirmed my earlier suspicion about 

why I’d been hired in the 1st place &, when the show opened, my growing fear throughout the 

rehearsal period was also confirmed. Although the show & the rest of the company got brilliant 

& totally justified notices, I was (for the only time in my career) completely & unanimously vil-

ified by the critics. 


Muskegon, MI  1994

  • Fiddler on the Roof                    (YENTE)                                            w/ Theodore Bikel  (TEVYE)

Created by Barbara Colton