It was a wonderful experience running my own acting school, “The Actors’ Showcase”, in the years 1990 to about 2015.
I love training actors, but I admit that dance and movement were not areas in which I was particularly strong. At the Centre for Adult Education (CAE) in Melbourne they often ran a Summer School, and I loved team-teaching with some superb movement and dance teachers. Some of these teachers included Alex Pinder, Flora Curran, and the remarkable Calvin Von Rhinehold.
At the Actors’ Showcase I had wonderful teachers who took the dance classes so that I could focus on teaching acting. These teachers included Flora Curran, Jodie Greenwood, Maureen Andrew, Tony Yapp and many more. I had a long association with Calvin Von Rhinehold. One night Calvin was not well so I called on Grant Dale to teach. I had known Grant and his partner Kevin for several years.
Grant was magic. His love of dance was infectious. The students loved his teaching style and his obvious skill as a dancer. I especially loved the way he instilled enthusiasm and encouragement in students not blessed with the same skills as others. Of course, his skill as a teacher comes in handy for those times when there is not much work around. Actors and dancers never say they are out of work, we prefer to say that we are “resting between engagements”. All things considered; Grant has had a remarkable career.
Grant, like so many dancers, started his dance training at the May Downs School of Dance. He was only five years of age! May Downs was a true legend, and her school is now over one hundred years old. If ever you watched the Australian children’s television programs of the late 1950s and the 1960s, “The Happy Show” with Happy Hammond, or the “Tarax Show” (a leading Australian owned soft drink company), you would see the May Downs dancers. They also did pantos (often at the Tivoli or the Tiv,) during the holiday season. They were a group of perennially smiling kids singing and tapping their way through such songs as “Let the sun be your umbrella on this hap-hap-happy day”. Grant, like hundreds of kids, started with this wonderful school. I have lovely images in my mind of this young boy dancing in May’s classes with a whole life of dance ahead of him. Dancing Boys were not a common commodity in those days: it was brave for a boy to choose to dance.
When I started researching Grant’s extraordinary career I must say, as I looked at the teachers he studied under it reads like a roll call of Australian dance. He has an impressive history and I have waited a long time to tell it. His talents in dance are diverse. A masterful tap dancer as well as jazz, classical (he lists the fabulous Lynne Golding as one of his teachers), contemporary and national dance.
Some of his many teachers included David Atkins, Tony Bartuccio, Ronne Arnold, Michael O’Connor, and many others. On this list of teachers was the famous Australian J.C. Williamson (JCW) theatre company choreographer Betty Pounder.
Grant has so many wonderful stories of theatre people.
It’s funny that you can look at a singer or an actor and never really know what they do, but you can always tell a dancer. I remember once at the CAE they asked me to compere one of their concerts. These concerts were demonstrations by tutors of their top students. They were a showcase of talent. They had dance, mime, singing and instrumental performances. I had my acting students doing a few scenes too. I confess my compering was very naughty. There were a few complaints. Others loved it because those things were often quite boring.
Cover of Edith Pillsbury’s biography of Lynne Golding
Betty Pounder
National Library of Australia, Canberra
One person loved my earthy humour and, that was Lynne Golding. Lynne and I became great chums. She always curtseyed to me when we ran into one another, and I would bow to her. She was glorious. Yes, later after doing some research I discovered that Lynne was a legend, a great star. More impressive to me was that she had worked with the greats of vaudeville! Edith Pillsbury has written a superb biography about Lynne which I acknowledge at the end of this article. It was clear from the way Lynne moved that she was a dancer and even in her later years she never lost that charm and elegance. It came as no surprise when Grant told me he not only knew her but studied under her.
Of course, like so many young dancers Grant worked with a lady known and loved by all, a lady who told so many dancers and performers to “sparkle darlings”. Betty Pounder choreographed so many musicals in Australia. These were the days when overseas stars were brought to Australia. Betty, I believe, was the main force behind JCW finally using an entire Australian cast in The Pajama Game. I recommend theatre lovers read Betty Pounder: The centenary of a remarkable life by Kevin Coxhead. Kevin was a “Pounder-boy” and has written an affectionate, engaging and historically brilliant portrait on the great Betty Pounder.
Betty Pounder was the force behind Damn Yankees, Carnival, Hello, Dolly!, How to Succeed in Business Without Really Trying, Funny Girl, Mame, Sweet Charity, Irene, My Fair Lady, Camelot and as they say, “many more”.
Grant speaks of his friendship and his admiration of Pounder for her art and professionalism. Grant said: “Betty Pounder was the magic behind a lot of J.C. Williamson shows. Her choreography was the star in all her shows. I recall Tuesday and Thursday mornings as a teenager climbing the staircase behind Her Majesty’s Theatre in Melbourne, above the JCW costume hire department, to do Pounder’s Luigi-jazz dance class, a style she learnt from the master himself in New York City. A ballet / jazz infused technique which was a great strengthening technique for all us dancers.”
“When Pounder took me under her wing l knew I had to prove my mettle and work hard to gain her care and guidance. When I was off and running in musicals, I could tell she was proud. When I did Guys and Dolls, she gave me the most beautiful letter, which I cherish to this day. One Morning Melodies was produced by Pounder at the Melbourne Town Hall, where I performed yearly in The May Downs Dance concerts. I arrived early that day entering from the back of the cavernous Town Hall to see Pounder looking a bit miffed as to how to open those huge red 100 or so foot velvet curtains. l jumped up on the stage, slipped under the curtain, turned left and there it still was, the old Open / Close button. When it opened, I couldn’t help but do a double pirouette and a big ‘Da-Da’ to my knee. She was completely gob-smacked. She said, ‘come here’, and she gave me a hug. I said to her ‘Now I can say I’m a Pounder-boy’. As I picked up my dance bag, I’m sure I saw her shed a tear. Betty Pounder is the Greatest National Treasure in Australian Theatre.”
I love writing about imported artists who came to Australia. Pounder kept in touch with all of them. Sadly, one of my most valuable references is no longer with us.
Program cover for Evita, Melbourne, 1980
Frank Van Straten collection
Program cover for Billy Elliott, Sydney, 2007
Frank Van Straten collection
Grant started his professional career in the original production of Evita. He has the rare honour of being one of the very few performers to win the coveted Gypsy Cloak twice! Once for A Chorus Line in 1995 and also for Billy Elliot the musical in 2009.
The Gypsy Cloak has a fascinating history. Grant was asked about the history of the Gypsy Cloak in an interview in Dance Australia in 2010.
“Australian producers Malcolm Cook and Bill May came up with the idea of following the Broadway tradition (that started with Gentlemen Prefer Blondes in 1950) of awarding a Gypsy Robe to the most experienced ensemble member of a musical. In the 1980s the first Australian Gypsy Cloak was presented by Dame Edna Edgley to a member of the cast of Nunsense 2. That same cloak now has been passed from show to show for three decades. Tradition asks each new recipient to parade the cloak three times around both casts assembled—to bring good fortune to the show’s season—and then visit each dressing room (to cheers, laughter, and lots of regal nonsense).”
The cloak is adorned with the embroidered, beaded, and jewelled logos of 30 major productions, such as Phantom, Rent, Priscilla, and Mamma Mia. Each logo is created by the head of wardrobe on the particular show. Many hours of work go into constructing each logo so that it is a work of art in itself and will endure over the years. The cloak itself is made of thick black velvet material, with swirled stitching and lavender-coloured satin lining.
Grant is a gypsy. So, what, in theatre parlance, is a gypsy? A gypsy is a chorus member or dancer who moves from show to show. A gypsy is the life blood of theatre. They work with remarkable energy bringing a show to life. They will often make the star shine and sometimes I believe they will make the star look better than they really were! Gypsies move from show to show and this comes at a cost. They spend many months away from their husbands, wives, partners, and families.
Newpaper clipping
Courtesy Grant Dale
Grant in A Chorus Line
Courtesy Grant Dale
In the musical Applause by Charles Strouse and Lee Adams (which starred Lauren Bacall on Broadway), there is a lovely reference to gypsies. The lead character Tess Harding defines a gypsy as a dancer who moves from camp to camp. Most people in theatre know what this gloriously cheeky reference really means.
There is a refreshing depth to Grant and when I asked him about his own theory of dance, it was, to say, the least illuminating.
So, Grant what is your theory of dance?
“My theory on dance is that it just keeps evolving. I am quite sad to see the slow demise of pure jazz dance over the past few decades. Rap-dancing came in and crept in on the commerciality of jazz dance, and then evolved into funk and now a more contemporary choreographic style is evident in commercial dance. Robert Sturrock, I feel is the man in Australia Choreographically who produces amazingly fresh ahead of the curve work.
“I love all the different Tap styles. My favourites are the old school. The Nicholas Brothers, Gene, Fred, Donald O’Connor, and Eleanor Powell could spin on a dime alongside Ann Miller, and Gregory Hines. Look up old footage of Sammy Davis Jr. He was an incredible tapper at such a young age. I pinch myself that I was his support act when I was 21. l would stand in the wings watching his command as his feet swept the stage with pure rhythm—a very generous man who is sadly missed.
“We have some wonderful Tappers in Australia. A fave of mine is Nathan Sheens. His choreography, ideas, and rhythms are out of this world. I loved performing both Jazz and Tap dance: my fortés.”
Program cover for Sammy Davis Jr at the Sydney Hilton, 1981
SB&W Foundation, Sydney
Program cover for Guys and Dolls, Melbourne, 1986
Frank Van Straten collection
One had to be strong in all styles to attain work in Australian musicals. Plus, regular voice and singing classes to stay audition-ready. And, add to that, drama. Over his long career Grant has worked with top international stars. One he remembers with great respect was Mr. Showmanship himself, Sammy Davis Jr. Anyone who saw Davis live on stage, never forgot him.
Sammy had a few of tours of Australia and was always a huge hit. He loved Australia and it was clear that we loved him. Shows sold out!
He often appeared on The Don Lane show, and they became great friends. Sammy was a guest on a “roast” for Don. Sammy once stayed well past his appearance slot to raise money for families affected by devastating bush fires.
The Sammy Davis Jr Hilton circuit support act was headlined by Jackie Love.
Grant was asked by Leigh Chambers to join the Sammy Davis Jr at the Hilton Hotel circuit and Grant says, “Talking about stars, Sammy was the shiniest of all. He was class personified. He took great care of us. And, when in Melbourne, he asked me when my family were coming in to see the show. l told him at $100 a ticket it was a bit expensive. The next night my mother and sisters were at a front centre table at the Melbourne Hilton. With a single stem rose each for them.”
Sammy had found out Grant’s mother’s name, Jean. During the performance Sammy struck up the famous Mr. Bojangles pose and looked directly at Grant’s mum, “This one’s for you, Jean”.
Six years later Sammy hosted a party for the Guys and Dolls cast.
Program cover for Anything Goes, Australian tour, 1989–90
SB&W Foundation, Sydney
Program cover for HMS Pinafore, Sydney, 1987
SB&W Foundation, Sydney
In 1990 Sammy came to see Anything Goes with his friend Liza Minelli. Grant reflects how Sammy was able to remember so many names. Grant still owns the Vegas cigarette lighter complete with the classic Bojangles pose, that Sammy gave him.
Anything Goes had a stellar cast. I love the show. I had seen it at the Phillip Street Theatre with Toni Lamond and also with her stand-by Robina Beard. Moon was played by Ron Fraser from the Mavis Bramston Show. It was great but this 1989 production pulled out all the stops. Lavish, refreshing and glorious.
The cast was a virtual Who’s Who of Australian theatre at the time: Simon Burke (Billy), Peter Whitford (Moonface), Marina Prior (Hope), Grant Dodwell (Lord Evelyn) and Maggie Kirkpatrick (Mrs. Harcourt). Tony Geappen, Jacqui Rae, James Wright, Tom Blair, had featured roles.
Heading the show was the remarkable Geraldine Turner. Her performance was a knockout.
Of course, the dance scenes were spectacular and in the cast was Grant Dale with his engaging smile dancing up a storm. He has never forgotten to “sparkle darlings” as Betty Pounder always said.
Grant worked with Geraldine in La Belle Hélène and HMS Pinafore as well as Anything Goes. Geraldine is loved by performers not just because she is a classy performer, but in the days when she was head of Equity, she fought hard leading the union in our fight for superannuation. Some claim without her strong campaigning actors would not have many of the benefits we have today.
Program cover for The Tommy Steel Show, Sydney, 1982
SB&W Foundation, Sydney
Program cover for The Wizard of Oz, 1997
Frank Van Straten collection
Grant was twenty-three when he auditioned for the Tommy Steele Show. Tommy was a huge star back then. Like many performers the song did not go quite as planned. Tommy Steele was sitting in the stalls and asked Grant “Are you alright?” Grant replied that he was trying to do a Farnham, but it didn’t work out. Tommy Steele then asked, “What’s a Farnham?” Grant replied “He’s like you. A big star but Australian.” Grant got the job.
The Wizard of Oz has long been a popular choice in Australia. I have memories of seeing it done at the Tivoli Theatre many years ago. I can still recall a young television star Patti McGrath (later Patti Newton) as Dorothy. Bob Hornery played the wicked-witch brilliantly and I have never forgotten him flying around the Tivoli stage on a Hoover vacuum cleaner.
There have been a few revivals of The Wizard of Oz. Grant played in a spectacular version with Tamsin West and the great Bert Newton. Bert Newton was the biggest and busiest star of Australian television and in later years he played the stage with great success, The Wizard of Oz being one of his most loved roles.
I asked Grant about Bert.
“Never a better man than Bert Newton with whom I did The Wizard of Oz. Always there for everyone. It was Christmas on the Brisbane leg of the tour when Bert enquired whether I was flying home to Melbourne for Christmas, to which I answered that the air fare was a bit steep. On Christmas eve after the show there was an envelope with two tickets in it for a Christmas luncheon at the Hilton. How generous and classy was that!
“Years later when I was awarded the Theatre Gypsy Cloak for A Chorus Line, Bert must have seen the article and photo in the newspaper. That night a lovely Moonface telegram arrived from him at the Stage Door.
“Dancers and the chorus are often the best thing in a show and although many shows feature a great star performance such as Carole Cook in the Australian production of Hello, Dolly! and Jill Perryman in Funny Girl, it is often the chorus and the dancing that really makes a musical so magical.
“There is one show where the chorus is the show. That show was A Chorus Line and it is certainly a show that Grant recalls with both pride and affection.
A Chorus Line is a 1975 musical with music by Marvin Hamlisch, lyrics by Edward Kleban, from a book by James Kirkwood Jr and Nicholas Dante. Set on the bare stage of a Broadway theatre, the musical is centered on seventeen Broadway dancers auditioning for spots on a chorus line.
The show is loved by dancers because more often than not it is their story.
I saw the show in the West End but by the time I saw it I have to say it was looking rather tired. The Australian production was much, much better. It was brilliant.
Program cover for the 1994 revival of A Chorus Line
Frank Van Straten collection
Cast list for the 1994 revival of A Chorus Line
Frank Van Straten collection
I asked Grant about A Chorus Line in which he played 1994 and he tells a lovely story.
Grant said:
“A lesson in self-belief and perseverance. The Audition for the A Chorus Line revival took place, I felt I did well. As a triple threat I covered all my bases. Awaiting a call back over the Easter break, to receive the news I did not get a call back … hmmm? Not fair, I thought, as Baayork Lee the Broadway director had not seen me. Word was that the initial producer at the first audition had wanted to cast dancers that he had in mind. So, what's a boy to do when he feels he was overlooked? Crash the call back.
“I walked in and stood in the group of male dancers positioning myself front and centre. A few on the audition panel were pointing at me, heads in discussion. We male dancers danced the famous opening combination. I powered through it hitting every move sharp, clean and exact. Baayork took me into another studio and taught me the ballet combination which I flew through, to her delight. She told me to get my sheet music as she wanted to hear me sing.
“As I entered the studio, the panel from the original audition sat staring at me.
“I thought to myself listen to this! The pianist played the lilting introduction to my chosen song, Sondheim’s ‘Being Alive’ from the musical Company. A wordy piece, with fluctuating notes. l connected emotionally to every word enhancing the story. At the end, Baayork stood up from the panel table and applauded me telling me I had sung her favourite song so beautifully.
“A week later I was flown to Sydney for the last call back. And, a week later I was cast in the show. Believe in your gut feeling is the truth of the story.”
Grant told me that playing at Her Majesty’s Theatre in Melbourne feels like going home. “I was trained and mentored there by Betty Pounder, I’ll never forget.”
Grant also proudly tells me that being acknowledged with a nomination for a Green Room Award for his choreography on The Sign of the Seahorse was a proud moment too.
Grant has worked with Kerrie Hayes Productions as a production and choreographic assistant on the entertainment spectaculars staged by the company for the major sporting events in Australia. These have included the Australian Football League Grand Final Spectaculars at the Melbourne Cricket Ground, as well as being involved in the Australian Grand Prix at Albert Park, the World Cup Qualifier: Australia v. Iran at the MCG, the Australian Football League State of Origin at the MCG, as well as the Celebration of Australian Cinema, the AFL Centenary Celebration and the Year of Indigenous People for which he worked as repetiteur, teaching the especially commissioned choreography of Stephen Page (Bangarra Dance Company) to young performers from Melbourne schools, as well as Aboriginal communities throughout the country.
I have loved learning more about one of our most loved gypsies, Grant Dale.
Program cover for Joseph and the Amazing Technicolor Dreamcoat, Melbourne, 1982
Frank Van Straten collection
Brothers and Wives in Joseph and the Amazing Technicolor Dreamcoat, Melbourne, 1982
Frank Van Straten collection
List of shows Grant has performed in:
Evita (1980)
Broadway Connection (1981)
Sammy Davis tour (1981)
The Tommy Steele Show (1982)
Joseph and the Amazing Technicolour Dreamcoat (1982)
Jesus Christ Superstar (1984–85)
Guys and Dolls (1986)
HMS Pinafore (1987)
La Belle Hélène (1988)
My Fair Lady (1988)
Seven Little Australians (1988)
Anything Goes (1989-90)
The Wizard of Oz (1991–92)
The Pirates of Penzance (1992)
A Chorus Line (1994)
Me and My Girl (1995)
Peter Pan (1997)
Noddy Goes to Toyland (1998)
Billy Elliot (2007)
List of shows Grant has choreographed:
Beauty and the Beast
Eurobeat
Peter Pan
The Sign of the Seahorse
Insouciance
The Fat Boy
The International Spy Show
The Fabulous Singlets
Rocky Horror Show
References
Kevin Coxhead, Betty Pounder: The centenary of a remarkable life, Blurb, 2022 (also online via Theatre Heritage Australia)
Edith Pillsbury, Lynne Golding Australian Ballerina, Allegro Publishing, 2008
Thanks to
Chats with Grant himself