While working at the Met, Dickey became the headline night club singer at the Wedgewood Room of the prestigious Waldorf-Astoria Hotel from 1943 to 1946, singing a mix of popular songs and classical works. She also had engagements singing at the Terrace Room in The Statler Hilton in Boston and the Empress Club in London. After leaving the Met, her work shifted predominantly towards musical theatre, becoming a leading lady on Broadway from 1944 to 1954. She created roles in the original productions of Kreisler's Rhapsody (1944, as Empress Maria Theresa), George S. Kaufman's Hollywood Pinafore (1945, Brenda Blossom), and Rodgers and Hammerstein's Allegro (1947, Marjorie Taylor); the latter of which was the pinnacle of her career. She also portrayed Marjorie Taylor in the work's first national tour in the late 1940s.
Dickey's association with Rodgers and Hammerstein continued to grow after Allegro ended. She starred in annual summer concerts of the duo's music with the New York Philharmonic at Lewisohn Stadium from 1948 to 1957. She also portrayed Anna Leonowens in the original Broadway run of The King and I, initially serving as the standby actress for Constance Carpenter. She stepped in on several occasions for Carpenter, including two weeks while the actress was visiting family in England. She later took over the role after Carpenter left the show in January 1954, and was succeeded by Patricia Morison in March 1954.
In addition to her performances on stage, Dickey was a regular presence on radio in the 1930s and 1940s. She was co-host of the Texaco Star Theater with James Melton from 1945 to 1947. She also made numerous appearances on variety programs on American television. After her husband died in 1966, she took a position as head of the opera program at the University of South Florida in Tampa. Upon her retirement from the faculty of USF in 1988 she was honored with the title of professor emeritus. She died in 1999 at the age of 88.
Early life and education
Born in Decatur, Illinois, Dickey was the daughter of Dr. James Harvey Dickey, a dentist, and his wife, Rebecca McAdams.[3] She graduated from Stephen Decatur High School in 1928, after which she pursued music studies at Millikin University from which she graduated in 1932.[4] While at Millikin, she won third place in the Chicagoland Music Festival's singing competition in 1930, which was held at Soldier Field.[5] This led to a short-term contract performing on radio programs in Chicago.[5] From 1933 to 1937 she studied opera at the Juilliard School with Florence Kimball.[6][7] She gave her graduate studies recital in the recital hall at the Barbizon Hotel on January 12, 1936.[8]
In 1937 Dickey became a contracted member of the St. Louis Municipal Opera (SLMO); beginning her professional career performing in operas, operettas, and musicals with the company.[20] She made her professional debut in July 1937 with the SLMO in the world premiere of Frederick Loewe and Earle Crooker's 1937 musical, Salute to Spring, at The MUNY in the supporting role of Splaster with Bernice Claire starring.[21][22] The following summer she appeared in the world premiere of Jerome Kern and Oscar Hammerstein II's operetta Gentleman Unafraid.[23] Other works she performed in with the SLMO included De Koven's Robin Hood (1937);[24] the world premiere of Bruno Hardt-Warden's Wild Violets (1937, as Mitzi[25]); Bedřich Smetana's The Bartered Bride (1939, as Esmerelda[26]); and Victor Herbert's Babette (1939, as Vinetta[27]). In 1937 she also was a regular singer on the 'Evening Serenade' program for KMOX radio in Saint Louis.[28]
In 1938 Dickey starred in Glendon Allvine's Knights of Song, a stage work which told the story of Gilbert and Sullivan.[29] The work included several scenes and excerpts from the operettas of the famous pair and Dickey was featured heavily in those scenes. Among the parts she portrayed in the show were, Edith from The Pirates of Penzance and Pitti-Sing from The Mikado among others.[29] She performed in the world premiere of the work at the SLMO in August 1938, and then continued with the production when it transferred to Broadway on October 17, 1938; an occasion which marked her Broadway debut.[30][31] The production was produced by Laurence Schwab and directed by Hammerstein.[31] In 1939 she returned to Broadway in the role of the Nurse in Arnold Sundgaard's Everywhere I Roam.[32]
As part of her work for the Metropolitan Opera, Dickey was often utilized for publicity or charity events on radio, television, and in the community. A strikingly beautiful woman with a taste for fashionable clothes, she earned the moniker the "Glamour Girl of the Met".[46] This public image earned her a contract leading a fashion sales campaign at Saks 5th Avenue in 1945.[47] She made several appearances on television including a featured role in the variety broadcast "Milestone in Television" for NBC in 1940 singing opera with Leonard Warren.[48] In 1943–1944 she performed in several "camp shows" for the United Service Organizations (USO) with the Met during World War II. These camp shows brought opera performances to the military camps of the United States Armed Forces on United States soil as a means of entertaining troops on active duty.[49] She also traveled with the USO to Australia in 1943 to perform for US and Australian troops serving in the Pacific front of the war.[50] In the summer of 1944 she was committed to performing on cruise ships with Helen Hayes and Bert Lytell for the United States government, as means of encouraging the sale of War bonds to raise capital for the military.[51]
Dickey had the biggest success of her career when she originated the role of Marjorie Taylor in Rodgers and Hammerstein's Allegro at the Majestic Theatre on October 10, 1947.[70] She had performed the role the September prior in out-of-town try-outs in New Hampshire.[71] She remained with the production until it closed after 315 performances on July 10, 1948, and then continued to perform the role in the first national tour of the musical in 1948–1949.[72] She recorded the role for the original Broadway cast album in 1947.[73][74]
Dickey left the National tour of Allegro following the production's stay in Los Angeles in February 1949; citing the desire to return home to her family.[46][72] She had married the New York businessman Arthur E. Laue in Richmond, Virginia, on April 6, 1940;[75] and they had recently had a daughter in June 1947, just three months before Allegro had opened on Broadway.[76][77] After this decision, Dickey continued her association with Rodgers and Hammerstein through appearing in their annual summer concerts with the New York Philharmonic at Lewisohn Stadium from 1948 to 1957 singing works from the shows Carousel, Oklahoma!, South Pacific, Allegro, and The King and I with crowds as large as 20,000 in attendance.[78][79][80][81][82][83][84] She also performed in a special concert of Rodgers and Hammerstein's music at Drury University in 1949, when the two men were honored with honorary doctorates in music from that institution;[85] and starred in a concert of their music at Carnegie Hall with the New York Philharmonic in 1954.[86] She also was a soloist in a concert of their music with the Los Angeles Philharmonic at the Hollywood Bowl in July 1954 with Richard Rodgers conducting.[87]
In September 1952 Dickey was engaged as the standby actress for Constance Carpenter as Anna Leonowens in the original Broadway production of Rodgers and Hammerstein's The King and I after the death of Gertrude Lawrence.[96] She performed the role for two weeks in August 1953 while Carpenter was on vacation in England.[97] She took over the role when Carpenter left the show in January 1954, and continued in the part until Patricia Morison succeeded her in March 1954.[98][99] She continued to portray the role of Leonowens frequently in regional theatres, starring in productions in Atlanta (1956[100]), Louisville (1956[101]), Chicago (1956[102]), and the Berkshire Theatre Festival (1962).[103]
In 1966 Dickey's husband, Arthur E. Laue, who was president of a furnishings company in New York, died suddenly of heart failure.[106] After this she devoted her time to teaching singing.[107] She took a position as head of the opera program at the University of South Florida in Tampa in 1967.[107] Upon her retirement from the faculty of USF in 1988 she was honored with the title of professor emeritus.[108] She died in 1999 at the age of 88 in Tampa, Florida.[2]
References
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^"Bravo for Julie McClarey". Herald & Review. September 3, 2014.
^ abMoore, Edward (August 23, 1930). "Radio Audience Hears Victors in Music Contest: Singers Are Selected in Theater Tests". Chicago Daily Tribune. p. 5.
^N.S. (April 23, 1936). "Juilliard Pupils in 'Merry Wives': English Libretto Used in Opera of Otto Nicolai – School's Final Offering of Season". The New York Times. p. 26.
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^Downes, Olin (April 22, 1937). "Juilliard School Gives New Opera: Premiere of 'Poisoned Kiss' by Vaughan Williams Is Offered by Students". The New York Times. p. 19.
^"Standalone Photo: Marcella Sembrich at Lake George with Annamary Dickey". The New York Times. September 30, 1934. p. RP8.
^"Bizet Opera at Stadium: 'Carmen' on Thursday and Friday – Ricci to Be Soloist Tonight". The New York Times. August 11, 1935. p. X4.
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^"Legitimate: 'Pink Lady' $35,000, Fine, in St. Louis". Variety. Vol. 127, no. 9. August 11, 1937. p. 57.
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^"Legitimate: Name Cast Ups 'Bride' B. O. In St. L. Opening". Variety. Vol. 135, no. 7. July 26, 1939. p. 48.
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^ ab"Legitimate: Plays on Broadway – Knights of Song". Variety. Vol. 132, no. 6. October 19, 1938. p. 48.
^Ackerman, Paul (January 14, 1939). "Legitimate: New Plays on Broadway – National". Billboard. Vol. 51, no. 2. pp. 17, 27.
^"2 Win Contracts in Opera Contest: Soprano From Illinois and Baritone From Texas Get Metropolitan Prizes". The New York Times. April 3, 1939. p. 10.
^"5,000 in Mall Mark 'New Citizens Day': Message From President Says Ceremony Is 'Reflection of Ideals' of Democracy". The New York Times. June 3, 1939. p. 7.
^"Annamary Dickey to Tell of Her Operatic Debut". Chicago Daily Tribune. December 3, 1939. p. sw6.
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^Taubman, Howard (December 14, 1939). "Four Americans in 'Manon' Leads: Grace Moore Is Heard in Title Role in First Appearance of Season". The New York Times. p. 34.
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^C.H. (August 8, 1948). "20,000 at Stadium for the Season's Finale; Rodgers and Hammerstein Music Featured". The New York Times. p. 56.
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^Goldberg, Albert (July 19, 1954). "The Sounding Board: Own Works Conducted by Richard Rodgers". p. B7.