In the Hollywood heyday of the 1930s, ‘40s and ‘50s, MGM Studios
was the crown jewel of Culver City. The publicity department cre- ated the slogan “More Stars Than There Are in the Heavens.” One of those brilliant stars who is still very much earthbound and twinkling is Debbie Reynolds. The Academy Award-nominated actress and Emmy-winning TV star of Will and Grace, Reynolds is bringing her own special talents to Welk Resort in Escondido from July 28 through August 1 with two evening performances on Wednesday, July 28 and Friday, July 30 at 8:00 p.m. and three 2:00 p.m. matinee performances on Thursday, July 29, Saturday, July 31 and Sunday, August 1.
There has always been an optimism and strength in
Debbie Reynolds. She has an overwhelming career in Hollywood and has had an overwhelming personal life at times. Debbie Reynolds describes her philoso- phy in getting through life, “Day by day…and I wonder what’s coming at me the next day. I always go by a five-year plan. I get through today and I’m not going to get upset for five years. I always picture a long tunnel and at the end of the tunnel, there’s a light. I know I can make it to that light and I’ll take five years to get there. Now…I’ve gone through many tunnels (laughter). So, I just keep trying. I never give up. That’s the philosophy of my family and that’s how my daddy and mother raised me to never give up.” Continuing she adds, “Each crisis seems to happen to me at the end of every unfortunate marriage. I have very poor taste in men. My first marriage [to Eddie Fisher] was a mistake but I have my two wonderful children [Carrie and Todd Fisher]. My second marriage was a mistake, you know. No one knew he was a complete alcoholic and crazy. That was very hurtful and harmful to all the children… then I made a third mistake. So you see…I have no taste in men! I have sworn off dating or going out.” At this point, I interject that I bet she still gets asked. Her reply? “Oh. I get asked and I just laugh and thank them very much and say, ‘How much money do you want?’” The prestigious MGM Studios signed Reynolds in
1949. Head of the studio, Louis B. Mayer made sure that she was the female lead in one of her most famous films called Singin’ in the Rain opposite Gene Kelly and Donald O’Conner. The studio known for it’s remark- able roster of stars was going through a shift in power as three days after Singin’ in the Rain began filming, Louis B. Mayer was ousted and Dory Schary took his place as head of MGM Studios. Reynolds remembers quite well and says, “It was shocking that they made that decision at that time. Mayer was so big and so great, so in charge of production and in charge of all of our lives. He made all of our careers. He chose all of us…Judy Garland, Donna Reed, myself, Janet Leigh, Lana Turner and Janie Powell. Politically, there was a big change then with the people in New York and the board of directors wanted him out of there.” As Dory
Schary took control, it has been noted that none of the stars were very happy with his role in the studio day-to-day operations. Laughing, Debbie says, “That’s to say the least! Nobody liked Mr. Schary. In respect to his family…he had a very nice family. But he was a cold potato. He took over that position. I don’t know how it happened…but it happened monetarily I’m sure. Certainly no one wanted Mr. Mayer gone in lieu of Mr. Schary.” Reynolds learned tap and dance in three months
preparing for Singin’ in the Rain. This is amazing for someone with no previous experience whatsoever. She elaborates on just how tough this was and how a special gentlemen offered her words of advice when she was at an emotional breaking point of trying to learn the difficult routines used in the film. “Well. We all rehearsed close together in A, B and C rehearsal halls. On a break, I was crying under a piano while out of ev- erybody’s sight, because it was so hard for me. I’d never danced before. I was 17 and it was all very overwhelm- ing. I didn’t know anybody. My mother didn’t come on the lot. She felt that that was my job and I could handle it. She had more courage in believing in me than I did. So, I heard a voice say, ‘Who is that under the piano
crying?’ I said, ‘It’s just Debbie. Who is that?’ He said, ‘Well. Give me your hand.’ This hand pulled me out and it was Fred Astaire. He said, ‘Why are you crying?’ I said, ‘It’s so hard. This is so difficult. I have to learn everything so fast. They’re so great and I’m just begin- ning.’ He said, ‘Well…now Debbie. Dancing is hard to learn. I’m going to do something I never do. I’m gonna break a rule and I’m gonna let you come in and watch me rehearse. You know who I am?’ I said, ‘Yes sir. I know who you are.’ He had a security guard always on the door. No one was ever allowed in to watch Fred Astaire rehearse. He had a drummer and that’s what he used and a cane. That’s how he created his dance steps. So he said, ‘You sit there by the door and don’t bother me now. Just watch. You’ll see it’s not easy and if I get too upset…you just crawl on back and go to work.’ I sat on the floor and watched him work. He threw his cane and was red in the face. He’d look over at me and say, ‘This is what it takes. No sweat, no gain. It’s really hard.
JULY 2010 | RAGE monthly 43
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