JOHN: Ray, how did music and piano playing become such a big part of your life?

RAY: My father played in the silent movie houses in the city. When I was very young he used to take me to the Metropole Jazz Café, on Broadway between 46th and 47th street. The music influence was always there.

JOHN: What about dance? You are also well known as a choreographer and Tapper.

RAY: When I was 3 my mother took a job as secretary in a dance studio in Ossining and she had to take me with her. I followed the teacher around and began to pick up the steps, so I got free lessons.

My first public appearance was at the Victoria Theater in Ossining, (it is no longer there) where I sang and danced in a black tux to the song “Oh, Johnnie!” as part of a stage show with the movie “Dumbo.”

JOHN: What brought you to Yonkers?

RAY: When I was 8 we moved to Yonkers because my grandmother had cancer and couldn’t be alone.
I didn’t go back to dancing until I was 13; this was when I was introduced to Joan Marlowe. I started taking lessons with her and when I turned 16 I decided I wanted to learn the piano.
Her studio had 3 rooms and each one had a piano, so I taught myself. The 1st song I learned was “Ain’t she Sweet” and I taught myself one chord at a time.

JOHN: When did you put yourself “out there” and begin playing for a living?

RAY: By the time I was 18, I had played for recital and directed and did the music for Holy Rosary Church in Yonkers. I don’t remember whether it was good or bad, but I got $100.00 for it. In 1955 that was good money!

I joined the navy and spent 3 of my next years in the Military life, 2 of which were spent in Japan.

I met Ellen and we got married in 1960 and I was back playing for Joan and doing a little teaching for her.

JOHN: Over the years you’ve been associated with so many Community Theater Groups. How did you get started?

RAY: In 1962 the guy that played the minstrel shows at St. Mary’s got sick and Joan asked if I could sub for him. I did this and spent the next 10 years with St. Mary’s doing two shows a year (One Variety and one Musical).

JOHN: What was your first musical?

RAY: The 1st Musical was “Lil’ Abner” and I had no idea what I was doing. My sight-reading wasn’t that great, but I faked it and no one was the wiser. I’m still faking and still here.
“Abner” was the 1st musical I musically directed and I loved it. It was easier than doing a variety show because everything was there in black and white.

JOHN: What is you favorite show?

RAY: My favorite has always been “Mame” followed closely by “42nd street.”

JOHN: I know you’ve worked with so many groups that’s going to be difficult to say which group you feel most associated with, but can you touch on some of these Theater Groups for us?

RAY: As far as groups: God! St. Mary’s, Annunciation in Crestwood, Blessed Sacrament in New Rochelle, Asbury Church in Bronxville, Transfiguration in Tarrytown, St. Joe’s In Bronxville, The Theater Place in Thornewood, the Westchester Premier Theater in Harrison. . . I’ve probably worked with at least 50 different groups over the years.

JOHN: You’ve been known to work on several projects at once. What is your work load like these days?

RAY: Currently I am semi-retired. I just finished West Side Story at Scared Heart in Yonkers and will loaf now until the fall.
I (may relocate) so I don’t want to commit to anything until I find out where I’ll be living.

JOHN: What’s the biggest production number you’ve ever worked on?

RAY: The biggest production number I did was for the 100th birthday for Irving Berlin at St. Eugenes (Yonkers). I created a 20 minute montage of all of his military music and it involved probably 70 people. It was great! Of course Joan (Marlowe) helped.

JOHN: We all like to gather around at cast parties and share our war stories and funny anecdotes. What are some of your funniest memories?

RAY: The Funniest memories would certainly have to include Joan Marlowe.
WE used to experiment in her dining room with pennies to make formations for the musical numbers. One number included my daughter, Stephanie, when she was about 16. Joan gave us a great number “go into your dance” for the recital.
During the show I did the first 2 steps and went blank!
I stood there and laughed while Stephanie did the dance and came back for the bow.
I also have that one on video.

JOHN: How do compare the Community Theater world of today to the way it was when you first started?

RAY: Community Theater has certainly changed over the years and the negatives are far greater than the positives.
Talent today is cutthroat; if you don’t get the part you want you go to another group.
You can’t find good chorus people anymore because no one wants to be in the chorus.

JOHN: How was it different in the “old days?”

RAY: When I first started in the early 60’s we had very large casts and everyone learned their trade as they went on. You did your chorus shows and earned the starring parts.

JOHN: Is there something that was done back then that today’s Community Theater Director’s and Producers might want to try in order to keep good people from leaving their group in search of a “leading role” somewhere else?

RAY: I remember one early show, “My Fair Lady” at St. Mary’s:
The Director, Bill Bastiansen, handled the auditions.
Everyone read, sang and danced for their audition. He then made an announcement that the parts were not to be given out until the sets were built.
60 people worked for a full week to completely construct the sets and then he gave out the parts.
No one complained, nor did anyone quit.
It turned out to be one of the most exquisite sets that we have done before or since.

JOHN: I’m sure they all felt a sense of pride having worked together on the set and made some new friends as well. What do you think has been forgotten along the way that has made our Community attitude change in such a way?

RAY: While Community Theater has done a lot for amateur performers over the years, people have forgotten their basic structure.
These days it’s “one show as Chorus” and the “next as Star” or they go on to a different theater group.

JOHN: Would you agree that the group suffers from lack of member loyalty and the audience seats, in turn, become more difficult to fill?

RAY: It is a bad thing, because the cost for a musical production has skyrocketed.
For example, Lil’ Abner, in 1964, cost $500.00 for all of the material, scripts, and orchestra parts for six performances. Check out the same for a performance today!

JOHN: There is no doubt that Community Theater has become more and more expensive. Before we let you go, can you share with us your idea of a “Dream Show?”

RAY: I have 2 “Dream Shows”: “Mame” and “42nd Street”. I’ve been fortunate to have done both as “musical director” and “director.”

JOHN: Have you ever worked on an original show with your own music?

RAY: A long time ago, Bill Bastiansen and myself started to do a musical adaptation of Ibsen’s “A LEAGUE OF YOUTH.” It took a lot of time and effort and so it got lost somewhere along the way.

JOHN: Which brings us to our final question: Any regrets? Anything you would have done differently?

RAY: I would not change one bit of my career in Community Theater. I have made many life time friends. I’ve gotten to direct shows, perform music and even do some choreography . . . a lot of people in professional theater cannot make that same statement.

JOHN: Thank you, Ray. We all appreciate your time, sharing these great memories and insights with us.

-John Murray