Holly Van Leuven - Ray Bolger: More Than a Scarecrow

This book would never have been possible without the extreme tenacity of my parents, Jan and Bill Van Leuven, who organized their entire lives around the goal of making my sister and me first-generation college graduates. My eternal thanks to you both. And thanks, Dad, for your persistent refrain throughout my writing: illegitimi non carborundum. I am grateful to all of my family members and friends who encouraged me as I embarked on something different and new.

Sylvia Lewis, Ray Bolgers dance partner and choreographer, first believed in me and gave me unfailing support as I took on this life-changing task. I am humbled and gratified to carry on the More than a Scarecrow mantle from her.

Ann Rickard, niece of Ray Bolger and Gwen Rickard Bolger, helped the book along extensively by connecting me to the surviving figures from her uncles life. I could not have completed this endeavor without her kindness, generosity, and intercessions. Revitalizing visits spent with Ann and her dear husband, Richard Thompson, powered me through years of writing. They have made this book possible.

Several figures key to my work have passed away before seeing this book in print: Wells K. Wohlwend, attorney and close friend of the Bolgers, who shared his stories with me and enabled me to become the first researcher to access the Ray Bolger papers; Katharine Kappy Reeve Rickard, chorus girl of Wheres Charley? and later sister-in-law to Bolger; Fritz Weaver, Bolgers co-star in All American and brother of my esteemed mentor, Dan Weaver; and Allyn Ann McLerie, co-star of Wheres Charley?all granted me interviews with graciousness and patience as I first embarked on this project.

Christianna Rickard shared many happy hours of fruitful conversation and generously provided family correspondence and photos. Her contributions have added something truly special to these pages. Reeve Rickard also shared family history and excitement for this book and championed my efforts.

Many subject experts and colleagues of Ray Bolger shared crucial insights, especially those who helped me when I was just beginning. Betsy Baytos, eccentric dance historian, opened her home, collection, and rich knowledge of dance history. Gregory Maguire, Marge Champion, Kathleen Quinlan, and Anita Gillette also granted me early and important interviews. I extend special thanks to William Stillman and Jay Scarfone, who provided me with their expertise, assistance, and big-heartedness as I traversed the Land of Oz. They helped me improve my manuscript by sharing photos from their collection and offering insights and corrections for my text.

Archivists gave crucial support, especially Julie Graham and her team at the University of California, Los Angeles (UCLA) Special Collections Library. I was able to complete the most important research for this book because of their hard work during a difficult time. Sandra Joy Lee Aguilar and Jonathon Auxier of the USC Warner Brother Archives, Jenny Romero of the Margaret Herrick Library, Mark Swartz and Sylvia Wang of the Shubert Archive, Miles Kreuger of the Institute of the American Musical, and Christina Zamon, formerly of the Emerson College Archives, also offered crucial guidance. Ned Comstock of the USC Cinematic Arts Library was the very first archivist I ever conversed with, and, with great thoughtfulness, he provided many good ideas for this project over the years.

I am deeply grateful to the Hazel Rowley Prize Committee of the Biographers International Organization for awarding me the inaugural North American Rowley Prize for First-time Biographers in 2014. I offer special thanks to Gayle Feldman, the committee chair, who has been my advocate and confidante. I hope Hazel would be pleased. I am grateful to the hosts and instructors of the 2015 CUNY Biography Clinic, including Michael Gately, Gary Giddins, and Amanda Vaill, for creating an excellent forum that deepened my knowledge of the craft of biography. Thanks to my compatriots of the Boston Biographers Group, especially Ray Shepard and Nigel Hamilton, who made this process much less isolating. Thanks also to Kathleen Di Scenna and Michael Siewart, who invited me to share some early work at the 2014 Wizard of Oz Spectacular in Syracuse that spurred on my writing of the book. I extend special and sincere thanks to the members of Dan Weavers Book Editing classes at Emerson College in the Fall 2013, 2016, and 2017 semesters: your close reading and encouragement guided three drafts of this book.

John Taylor Ike Williams and Katherine Flynn of the Kneerim and Williams Agency took a chance on me as a first-time author, and I will always appreciate them as well as Norm Hirschy, my thoughtful and caring editor, for understanding the great importance of securing Bolgers place in entertainment history with this biography. Joellyn Ausanka, Senior Production Editor at Oxford University Press, helped me navigate copyediting and proofreading with great skill and kindness. I also wish to thank copy editor Patterson Lamb for her work on the book. In addition, OUPs Marketing Manager, Alyssa Russell, and Publicist Amanda Dissinger assisted me with generosity and skill to send this book out into the world. Neil Giordano served ably as my photographic rights and permissions assistant.

Megan Marshall gave me insight, guidance, straight talk, and smart feedback. The Writing, Literature and Publishing Department of Emerson College and my additional professors there, including Bill Beuttler, Brian Cronin, David Emblidge, Ethan Gilsdorf, Mike Heppner, Richard Hoffman, Robin Riley Fast, Cecily Parks, and Murray Schwartz, helped me develop my writing, reading, and researching skills. I extend special thanks to the department chair, Maria Koundoura, and former department chair Jerald Walker, for their assistance and guidance. I also thank my colleagues at the Harvard Education Publishing Group for freely sharing their knowledge and enthusiasm with me over the years we worked together. Additionally, Blake Campbell and Kristine Fuangtharnthip supported me with their abiding friendship and keen editorial guidance. Heather L. Long, Emily Legutko, Abbas Jamali, and Mindy Johnson offered help and support in the early days of this project. Nicole Clark and Farris Ajalat kept me healthy while I balanced many demands to produce this book. Chris Brown sat up with me until three in the morning, hearing multiple versions of passages and weighing in on which to use, and encouraged me through the end of a very long process.