Oates - Meredith Willson, America’s music man : the whole Broadway-symphonic-radio-motion picture story

Meredith Willson Americas Music Man

The Whole Broadway-Symphonic-Radio-Motion Picture Story

By

Bill Oates

This book is a work of non-fiction. Unless otherwise noted, the author and the publisher make no explicit guarantees as to the accuracy of the information contained in this book and in some cases, names of people and places have been altered to protect their privacy.

2005 Bill Oates. All Rights Reserved.

No part of this book may be reproduced, stored in a retrieval system, or transmitted by any means without the written permission of the author.

First published by AuthorHouse 08/09/05

ISBN: 1-4208-3525-4 (e)

ISBN: 1-4208-3524-6 (sc)

ISBN: 1-4208-3523-8 (dj)

Library of Congress Control Number: 2005901640

Printed in the United States of America

Bloomington, Indiana

This book is printed on acid-free paper.

Table of Contents

Acknowledgements

Attempting to show gratitude to all of those who assisted in getting this book published makes me think of Meredith Willson on the radio when he tried to be remembered to all of his cousins back home in Mason City, Iowa. He would start mentioning them but stopped short opting to quit before he forgot some. Writing a book holds a similar fate for those unintentionally forgotten, but to all of those cousins (the nicest Willsonesque that title I can give them) I hereby submit my thanks.

The book started ten years ago when I decided to expand my study of Meredith Willson for a wonderful Chicago magazine, The Nostalgia Digest and Radio Guide. This publication, old time radio guru Chuck Schadens periodical preserving the good old days and especially the good old radio days, caused me to begin researching in Iowa after my 1993 teaching year was over. Thanks to Chuck for allowing me to use his bi-monthly platform as a writing outlet, for his undying devotion to old time radio, and most importantly for his friendship and support.

After calling a couple of 800 numbers that linked me with the Mason City Chamber of Commerce, I met my first Iowa cousin, a man who has opened numerous doors, shared his findings about Meredith Willson, and has become very good friend. Art Fischbeck loves to find new revelations about his beloved Mason City as much as Meredith Willson liked to share stories about the same hometown. Along with Terry Harrison at the Mason City library across from the Willson home, the three of us have bonded in the librarys back room for hours and acted like children anticipating Christmas mornings presents when we find and share yet another Mason City fact. Art also introduced me to Fran Tagesen of the Kinney Pioneer Museum where more Willson mementos were available for scrutiny and inclusion in this book. To long-time Mason City broadcaster Doug Sherwin, who had the foresight to save hours of his interviews with Meredith Willson, a tip of the plumed band hat. After meeting these Iowans, this author can see why Meredith Willson was eager to return home.

Because of Arts introduction, I met and fostered a friendship with another Willson lover, Jan Harshberger. What I have found and what she has discovered inevitably traversed the mail and the telephone lines from her home in Minnesota to mine in Indiana. We too have become Willson cousins, with her focus coming from a desire to perform songs written by Meredith Willson. Her contributions are priceless. In concert she shares her love for his music, and as friends we have swapped little known Meredith Willson numbers, a few of which need no further public display.

Among those who opened their memories of Meredith Willson and to whom I will be eternally grateful are Willson cousins Doris Blakesley, Ruth Scott, and the Reverend David Stone. Add to their lot so many other well-wishers from Mason City, and it is easy to see that theyd give you their shirt and their back to go with it in the time honored style that Meredith Willson so eloquently recalled as Iowa Stubborn.

Throughout the years of research, many opened their archives and gave of their time to see this project through. My thanks go to the Library of Congress motion picture and recording divisions, the New York Philharmonic Society archivists, the New York Public Library system, the Museum of Broadcasting, the San Francisco Public Library system, the Pacific Arts and Library Museum in San Francisco, the Indianapolis Public Library, the Elkhart Public Library, and the Saint Josephs College Library. Add to the list the support and devotion of hometown Marian the Librarians like those at the Kouts Public Library, whose workers Gladys Villars, Annette Hyndman, and Roxanne Shutske have always been eager to help in all of my projects.

Because of the emergence of the Internet and emailing another group of assistants emerged. Kudos for the information sent and invitations proffered to the following: Margaret Banks of The Shrine to Music Museum at the University of South Dakota; Joyce Slaubaugh of the United Musical Instruments Company of Elkhart, Indiana; Phyllis Danner of the University of Illinois John Philip Sousa Archives; Della McGrath of The Iowa Foundation; John Mead of the Oregon Historical Society; and the Walt Disney Archives.

Materials and encouragement came from all corners. Thanks to Rosemary Willson, Norma Zimmer, Rich Finegan, Annette DAgostino, Dick Winland, Pat Koval, Bob Lewis, John Cyr, Norman Cox, Richard Novak, Harry Brabec, Virginia Tulloch, Charles Kerlin, and Bob King. My gratitude likewise goes to Leonard Maltin for his encouraging words at Cinefest and tapes he shared with me. To my students and teaching colleagues like ex-band director Jim Earnest, who introduced me to Dr. Earle Melendy of Indiana State University, your help and support have moved me toward this completion. To Dr. Melendy who sent recordings and writings pertaining to Meredith Willsons 1970 visit, I truly appreciate both your contributions and the enthusiasm you exuded when talking about working with the music man. At this point a drum roll should be started for the all band directors who persevered with band members like me and tried to keep us marching and out of trouble. Likewise my thanks go to the members and contributors from SPERDVAC and the Radio Listeners Lyceum, who have the good sense to preserve radio shows like those on which Meredith Willson appeared. Thank you and keep up the good work.

Finally to my family, who supported me and goaded me into seeing this project finished, a big thank you. Your help means a great deal, from Bob Grahamslaws book store trips with me to Ellen Jane Troyans putting up with Bob and me, to my parents who patiently awaited this biography and to Aunt Jean Mitchell for housing me and spending time talking into the wee hours at her California home. Most importantly thanks and a big kiss for my wife who went along with this project, only complaining a little about the mountains of papers, books, and recordings that often cluttered the house and for reading along as the chapters neared completion. May you share with me the delight of those in Iowa who anticipate the publication of this labor.

May the good Lord bless and keep you all.

Introduction

House of Melody

On December 19, 1957, Meredith Willson, a rookie Broadway writer, composer, and lyricist, attended the premiere of his first musical. No stranger to the Manhattan theatre district, he had spent countless hours playing flute in the pit orchestras there and in the adjacent boroughs during the 1920s, when he was not touring with John Philip Sousas band. However, never before had he poured so much time and energy into any one project, a full-blown Broadway musical comedy.