Woman Around Town’s Editor Charlene Giannetti and writers for the website talk with the women and men making news in New York, Washington, D.C., and other cities around the world. Thanks to Ian Herman for his wonderful piano introduction.

Cassandra Palacio

Legacy On The Line -The Road to Becoming a Rockette


Most of us grew up with Showplace of the Nation, Radio City Music Hall and The Rockettes. As locals, we’d be taken to the awe-inspiring Art Deco entertainment palace, generally on holidays, where bang for your buck included both a film and live stage show. (Duality ended in 1979.) My grandmother humiliated us by packing sandwiches in waxed paper, so we wouldn’t eat junk. The place seemed unfathomably big and eye-catching.


“New York, New York”- The Legacy Dancers – Photo by Milan Miskos

First memories recall its two, resonant, “Mighty Wurlitzer” organs sliding out as if from nowhere, the entire orchestra rising up and sometimes back as if magically propelled, Christmas carolers filling every balcony, and, inevitably, the show’s centerpiece number, “The Parade of the Wooden Soldiers.” Originally choreographed by The Rockettes founder Russell Markett with costumes designed by Vincent Minnelli, the number remains pretty much as conceived some 84 years ago, a wide variation of formations in military precision, ending with a cannon shot knocking the dancers over like a line of dominoes.

The dance troop, inspired by the John Tiller Girls of The Ziegfeld Follies, was inaugurated in St. Louis as the Missouri Rockets. Renamed the Roxyettes, it was brought to New York City by Samuel Roxy Rothafel to perform first at his Roxy Theatre and then, beginning with the first Christmas Spectacular December 1932, at Radio City Music Hall where the company became what we now know as The Rockettes.


“Another Openin’ Another Show”- The Legacy Dancers -Photo by Milan Miskos

Each and every Rockette must be proficient in ballet, tap, modern, and jazz dance. Height requirements are 5’ 6” to 5’ 10”. (Taller dancers are placed at the center to give the illusion of like height across the line.) Some 400 women audition annually. Often a dancer ‘gets in’ but is not actually hired until someone leaves, which can occur months or years later- such was the case when today’s speakers were company members. Rehearsal and performance schedules are daunting.

Once offered only at Christmas and Easter, the troop was gradually booked for outside events, television, and national tours. Every November, America gets a glimpse of them at The Macy’s Thanksgiving Day Parade. A current production, New York Spectacular Starring The Radio City RockettesTM , brings employment almost year round.

Make no mistake, this extraordinarily hard-working collection of leggy ladies is a family. Warmth and gratitude inform every personal story. Who else but a Rockette would understand the unique demands and rewards involved in this iconic sisterhood?


“Boogie Woogie Bugle Boy”- The Legacy Dancers – Photo by Milan Miskos

Hosted, Produced, Directed, and Choreographed by former Rockette, Mary Six Rupert, this afternoon’s event offers firsthand histories by alumna as well as intermittent musical numbers spotlighting The Legacy Dancers inaugurated in 2013. Ranging in age from 22 through 60, the ladies don’t all still have ‘perfect’ bodies, but extensions, synchronization and infectious ebullience abound. There are no weak links. These women can tap! Choreography is terrific fun. Alan Smith’s Costumes flattering delight.

Each ingenuous background tale, clearly written by its speaker, is accompanied by projected photos. These usually start with images of a widely grinning, two or three year-old girl in a tutu and end with photos of performance as a Rockette.

Madeleine Jay, who overcame an after-college injury that might have derailed her chosen vocation, was down with the flu when telephoned for a callback. Determined, she showed up fever and all securing a place in the “big, shiny, glossy unit.” Being a Rockette “was the hardest thing I’d ever done.” Jay remembers once “kicking out” (out of sync), anticipating serious repercussions. Instead the girl at her side was kind. Jay has performed and taught since then.

Mary & Bruce

Mary Six Rupert; Bruce Michael-Photos by Richard Williams

Alina Silver, with 11 seasons under her now rather extended belt (she’s pregnant), was “hooked” from her first ballet recital. When a friend suggested going to Chicago for Rockette auditions on something of a lark, neither made the cut. Years later, however, Silver risked losing at a Celebrity Cruise job by flying to LA when the ship hit a glacier (no kidding) to once again audition for The Rockettes. She got in only to discover her friend Katie had as well. “As hard as it was, I appreciated the precision and perfectionism.”

Mary Six Rupert, the founder of Legacy on the Line, started performing as “the Littlest Raindrop” at age 2 ½. During a 15 year tenure with The Rockettes, Rupert danced with the touring Great Radio City Christmas Spectacular and was promoted to dance captain. She spent years in musical theater and now teaches as well as choreographs.

Rupert and student Tomlee L. Abraham offer a jaunty “My One and Only,” a number she restaged for and taught the great Harold Nicholas for the stage show. Her Wagner College students Brittany Cattaruzza and Tommy Joscelyn execute an utterly charming version of “I Won’t Dance” followed by “Ding” with game, older students from Bridge Dance.

TZS-18 Tommy Joscelyn Brittany Cattaruzza Photo-Richard William

Brittany Cattaruzza and Tommy Jocelyn – Photo by Richard Williams

Ann Cooley “was always a bit of a jazzerina.” Having secured her first paid gig as a dancer at age 16, she moved to New York at 18, auditioned for the Rockettes, and was accepted several months later. Unfortunately, no spot opened up for 3 years. Cooley became a musical theater gypsy, then joined the first touring Christmas Spectacular. She has since acted as director/choreographer of her own projects which include a stint teaching Korean artists musical theater tapping.

Former Vice President and Creative Producer of The Rockettes, (at present Executive Director of The Space at Westbury) Bruce Michael got the bug at age 7 when taken to the Music Hall to see Seven Brides for Seven Brothers. He was “completely captured” by film, show, and venue. “All through school I kept planning production numbers.” Immediately upon leaving college, Michael moved to New York and opened a bank account directly across from Radio City where he was sure he’d work. Singlemindedly hanging out at the stage door, he was eventually, rather cinematically, invited in, later becoming a stage manager. He left to start a production company, but returned in far greater capacity in 1989. Michael’s affection for the work and The Rockettes is palpable.


Katherine Corp and Kimberly Corp -Photos by Richard Williams

Twins Katherine and Kimberly Corp dreamed of being Mouseketeers. Encouraged to academic excellence, terpsichorean training rode tandem with impressive cum laude degrees in International Economic Policy. The ladies danced, toured internationally “with a famous magician,” and held substantial corporate banking positions in Japan. They currently own Pilates on Fifth and are in obviously tiptop shape. Duet performance of “The Typewriter Song” replete with eyeglasses, neckties, and briefcases on which they tap, is effervescent.

Dottie Belle spent 25 years with The Rockettes! A convention performance with a precision dance group lead to an audition for the New York company. She ‘passed,’ but there were no places for a year. Called suddenly, she found herself on a cot at The Rehearsal Club dancing four shows a day at Radio City. Belle weathered “four corporate takeovers” dancing as a Rockette at The Royal Albert Hall and with Peter Allen. She went back to school, became a corporate specialist in Health Education and Promotion and now brings fitness into private homes.


“Favorite Son”-The Legacy Dancers -Photo by Milan Miskos

Legacy numbers include “Another Opn’in, Another Show,” Boogie Woogie Bugle Boy,” and a finale of “New York, New York” with toppers and tails. A highlight is “Our Favorite Son” (The Will Rogers Follies) which features a vocal and is performed sitting on a long bench with Tommy Tune’s intricate, imaginative arm/hand choreography and Ann Cooley’s staging.  Straw hats are cleverly affixed with bells which sound when tapped. Focus is consummate.

The smoothly run afternoon was both illuminating and entertaining.

Check The Ziegfeld Society web site for next season’s events.

Visit The Legacy Dancers website for more information.

Legacy 36,LLC is an organization founded to celebrate the art of precision dance and the women that have, and continue to, perform this dance style.  The mission of this organization is furthered through fully produced productions, lecture demonstrations, precision dance workshops and camps and so much more.

Opening Photo by Giff Braun

The Ziegfeld Society of New York City and Legacy 36 LLC presents for the Fourth Year
Legacy On The Line-The Road to Becoming a Rocket
A Multi-Autobiographical Musical Revue
Produced, Directed and Choreographed by Mary Six Rupert
Will Rogers Follies and My One and Only
Choreography by Tommy Tune
The Legacy Dancers: Linda Bloom, Brittany Cattaruzza, Ann Cooley, Katherine Corp, Kimberly Corp, Nicole Davey, Ashlee Fife, Madeline Jaye, Cassandra Palacio, Adrienne Weidert
Lang Recital Hall, Hunter College
June 25, 2016

On Kentucky Avenue – A Celebration of Atlantic City’s Historic Club Harlem


Club Harlem existed on “the wrong side of the tracks” on Kentucky Avenue, in north Atlantic City, New Jersey from the mid 1930s to the early 1990s. Taken over by Pops and Cliff Williams, its name changed to Clifton’s going into the 1940s. The hot spot was a premier nightclub on “the Chittlin’ Circuit,” hosting such as Ella Fitzgerald, Sammy Davis Jr., Nancy Wilson, Moms Mabley, Duke Ellington, Sarah Vaughan, and The Temptations. When artists like Frank Sinatra and Milton Berle finished at ‘white venues’, they’d stop by for Club Harlem’s 5 a.m. show.

On Kentucky Avenue originated with actress/singer/producer Jeree Wade who was raised in Atlantic City by her grandmother, commuting to her parents in Manhattan’s Harlem on weekends. It’s a fictional salute to a real place and time inspired by some of the original denizens – and a revelation to most of us.

Evoking period, place, and attitude, the entertainment presents a long forgotten variety format: parading/posing showgirls, spot-lit vocalists with back-up boys or girls, a comedian, a tap dancer, and a performing host. The audience is ostensibly present at a dress rehearsal of the iconic club. This allows for the tiny bit of book, a triangle involving the club’s host, Ivan (Ty Stephens), his past love, Betty Jo (Renee Ternier) who left for Las Vegas, but has now returned, and his new squeeze, Pauline (Andricka Hall). Story line is so thinly sketched, it appears an afterthought.

Ty Stephens

Ty Stephens

The show’s title number, “On Kentucky Avenue,” has sassy, scene-setting lyrics and tight, tableau vivant (pose) direction. “Please Sign In,” the stage manager’s entreaty, adds jazz shading to the proceedings. (Musical Director Frank Owens does a bang-up job throughout.) The company interacts just enough for us to get the feel of backstage relations.

“The World Is Mine,” performed by Ivan, is also a successful number. Stephens delivers a smooth, appealing vocal with deep throat vibrato, sympathetic expression, and graceful gestures. The actor’s musical turns are consistently good. At this point, for no discernible reason other than, perhaps, costume change, we get an instrumental by the band which stops narrative momentum cold.


Mindy Haywood, Donna Clark, Renee Ternier, Ty Stephens, Cassandra Palacio 

“The Prettiest Girl in the World” (performed by posturing Sepia Sweethearts) is a generic showgirl turn with Ivan at the center. It works. Ivan then announces the return of Betty Jo Stanton who sings, not something from the show they’re rehearsing, but “Am I The Same Girl?” meant to further the plot. (This happens more than once.) Ternier has a bright pop voice. A high spirited, chorus jitterbug is fun, but disappointing, reflecting little of the athleticism familiar to the dance craze.

Comedian Slappy Black is next, delivering vaudeville ba-dump-dump jokes. Lee Summers is very good in the role. Timing, obvious stage ease in the line of fire (all comedians face this), and wry resilience when something falls flat are skillfully manifest. (There are some laughs.) Slappy is, however, over used. A second appearance is believable, but the third, in tandem with Clifton’s singer Damita Jo (Jeree Wade), feels excessive. Damita also sings “You’re Nobody Till Somebody Loves You” with even-handed pith. (The show incorporates some songs not original to it.)

the women

Andricka Hall;  Renee Ternier

Odell Craft (Wilber Bascomb) wrote and performs the coolest number of the evening, “The Hat,” with insouciant style and great phrasing. Success with women, it seems, is all in the fedora. Guest Tap Dancer DeWitt Fleming Jr. (as Jimmy Cole) moves with agility, precision, and energy.

Ivan’s “current” sweetheart, Pauline (Andricka Hall), doesn’t get to strut her stuff till a medley of recognizable 1960s songs including such as “It’s In His Kiss (The Shoop Shoop Song)” “Rescue Me,” and “Respect” with ‘the girls.’ Hall has the original tone down. Glimpses of the mashed potato, the twist, the frug, and the pony (dances) are nostalgic. By the time the medley gets to a lengthy rendition of “The Name Game,” however, attention wavers.


Andricka Hall, Tiffany Webb, Donna Clark, Cassandra Palacio

Pauline understands that Ivan and Betty Jo will get back together. After a solo, she takes off the necklace he gave her and lays it on the stage. In a trio with Ivan and Betty Jo, she then declares she’s not giving him up only to to pack and leave. None of these emotional shifts are explained by anything we, or more importantly, she, sees. (Nor do the three leads relate to one another in any visually credible way.)

As the show goes on, songs become increasingly generic. While this is ok on Clifton’s stage in context, more is expected of those furthering the musical. Just when we think everything will fall into place, Ivan sings “That Old Black Magic” which relates to-what? A cute Rio Samba number which would fare better earlier also follows. We’re chafing at the bit for resolution.


Garrett Turner, Robert Fowler, Gregory Hanks

The idea for On Kentucky Avenue strikes me as an opportunity not just for entertainment, but illumination. Though its heart and mind are in the right place, execution unfortunately clouds this. Some of the piece is great fun, some seems like padding. Songs, authored by a great many different people, range in quality from really good to bland. As a co-op effort this may be valid, with an aspiring musical, it cries for better cohesion.


Jeree Wade

The Company: Donna Clark, Cassandra Palacio, Mindy Haywood, Tiffany Webb, Gregory J. Hanks, Garrett Turner, Robert H. Fowler.

In its latter days, both creator Jeree Wade and her husband performed at Club Harlem, though ten years apart. The venue was to have been integrated into a casino building, but got caught in crosshairs and was, instead, demolished. Jeree told me that these days the neighborhood “looks like a war zone.”

Performance Photos 1 & 2 Mojo Visuals; all others  by Kenya Lamonte Smith- Universal Concepts Photography

Opening: The Company

City College Center for The Arts and Byron & Sylvia Lewis present
On Kentucky Avenue-A Celebration of Atlantic City’s Historic Club Harlem
Coinciding with Black History Month.
Created by Jeree Wade
Directed by Adam Wade
Musical Director- Frank Owens
Original Music & Lyrics by Ty Stephens, Frank Owens, Wilbur Bascomb, Branice McKenzie, Adam Wade, Jeree Wade
City College’s Aaron Davis Hall
February 19, 2016