Carole Shelley: My Dance to Billy Elliot
About the author:
Tony winner Carole Shelley, who is also a 2009 Tony nominee, has put together quite a resume since her first taste of Broadway as Gwendolyn Pigeon in the original 1965 production of The Odd Couple. After her debut, the London native made the Great White Way her home by appearing in over a dozen plays, includingLoot, Absurd Person Singular,the original Norman Conquests trilogy and The Elephant Man, which earned her a Tony (it was a win with a twist, but we’ll let her share the story herself). Despite a background in dance and music and a long list of credits, it wasn’t until she hit her late 50s that Shelley crossed over into musical theater. She then kicked off a whole new leg of her career (no pun intended) that has included playing her dream role in the acclaimed Cabaret revival and originating the part of Madame Morrible in mega-musical Wicked. Shelley is now appearing on Broadway as Billy Elliot’s delightful Grandma, an experience she dances through with relish. Here, the actress discusses the winding path that led her to musical success in new smash-hit Billy Elliot.
When I was a little girl, I wanted to be a ballet dancer—not unlike Billy. I studied very hard. My headmistress took me into her office one day and said, “I’m mesmerized looking at you. You have beautiful arms and a lovely head, then I get down to your feet and you’re dreadful.” I had tears rolling down my face as she told me, “You know what you’re doing? You’re acting being a dancer.” It didn’t mean anything to me at the time, because I assumed my life was over. Later I realized she was brilliant. Then I broke my foot, which was fortuitous, because it was God’s way of saying “Would you like a longer career?” And so here I am now: an actress.
My mother was an opera singer and my father was a composer, but I never really thought about doing musical theater. When I was training, things like singing, elocution and dance all seemed part and parcel with “learning the craft”—you’re never quite sure what you’ll end up doing with them. The point is, I don’t know quitehow I went from being mostly a play actress to one who does Broadway musicals, but I can say I came into musicals late in life.
It started when Hal Prince called me to ask if I’d take over the role of Parthy Ann Hawks in [the 1994 revival of]Show Boat, replacing Elaine Stritch. Of course, I said yes. Once I’d broken that little egg of musicals open and shown everyone I could do them, the chance to take over Fraulein Schneider in Cabaret followed. I was just thrilled, because that was a part I’d always wanted to play. In doing Cabaret, I solidified in other people’s minds that I really could do, and more importantly enjoyed doing, musicals. The rest fell into place naturally.
I loved the movie Billy Elliot; I think I saw it twice. When the musical first debuted I happened to be in London, and a friend of mine arranged for me to see the show. I came back to the States and told my agent, “When they come over to Broadway to do this—and they will—I’ve got to meet the director! I really want to be a part of this.”
After making sure I could actually sing and dance a bit, the Billy Elliot team arranged for me to meet with [director] Stephen Daldry. We hit it off immediately. He’s a wonderful director and someone who is very easy to talk to. That first meeting happened on Friday, and on Monday they offered me the part. I suppose they didn’t look very hard for another Grandma, and that’s a great compliment! That never happens normally. Usually the part you want is cast or an original cast member is coming over with the production; sometimes it simply goes to someone else. You seldom get what you want, so I’m quite aware of how lucky I am and really couldn’t be happier. The Tony Award nomination is just a bonus.
I’ve been nominated for a Tony Award four times in my career, including Billy,and won once [for Best Actress in The Elephant Man], which was a bit different than usual. Barnard Hughes, a wonderful actor, was presenting that year, and just before he went onstage to present he was told, “Now, read everything written on the card.” He didn’t know what that meant, but he went onstage, named the nominees, opened the envelope, and the first thing he said was: “Oh! It’s a tie.” I remember he read off Constance Cummings, who had won for Wings. There was a great hush as he paused. Then he read: “Carole Shelley, The Elephant Man,” and all hell broke loose! It was just amazing. Constance was in London doing that very show, so I went onstage alone to collect my award. I can tell you that standing on a stage at that moment is unreal. Everything flew right out of my head, and I couldn’t think of a thing to say. So I dedicated it to my mother, who had died one week before we opened the play.
It was 1979 when my mother died and when I won, so to come back to the Tonys now, exactly 30 years later, is quite reminiscent for me. I’m just thrilled to be acknowledged for this part. I love who Grandma is: She’s a tough old bird who must have been quite the gal in her youth.
