In 1949
Mel Ferrer hired jazz guitarist Dave Barbour for "The Secret Fury," a
film he was directing that involved a jazz band. The two became friends,
and Ferrer got to know Barbour's wife, famed vocalist Peggy Lee. The
couple divorced in 1951 but remained close, and it was Barbour who
approached Mel Ferrer about re-staging Peggy's nightclub act, which
seemed to have gone stale. Mel Ferrer was later interviewed by Downbeat
Magazine concerning his part in the process:
by Don Freeman
Downbeat Magazine, January 28 1952
La Jolla, California – It
seems that Peggy Lee, always a very capable singer, has developed into
an extraordinarily appealing entertainer. And an assist for the
transformation should go to a versatile fellow named Mel Ferrer, an
actor, also a director, a producer, guiding hand at La Jolla Playhouse
here and a jazz enthusiast.
It was Ferrer who staged
Peggy’s appearance at Ciro’s some time back, emphasizing dramatic as
well as musical values, showmanship as well as songs.
Ferrer is inclined to take
little credit for what appears to be a masterful stroke. He contends
that he merely offered slight aid at a point in Peggy’s career which she
had reached by her own devices. This is possible, but investigation
proves it an understatement based less on facts than on modesty.
For it is a fact that Peggy
was given an important movie role after her Ciro’s engagement, the role
of Danny Thomas’ wife in The Jazz Singer. The sense of drama
added to her singing could have been responsible. It seems likely.
What Peggy needed more than
anything, according to Ferrer, was discipline. "It seemed to me," said
Ferrer, "that Peggy was singing too long, talking too much between
songs, and not singing the right songs. Every musician liked her, but
not the general public.
Another thing, she was too
fat. Right away I put her on a high protein diet, slimmed her down. She
felt better, too. She had more stamina and she was able to put more into
her singing."
Thus, Ferrer provided a
combination of subtleties which completely altered her presentation. He
taught her how to project her personality in the manner of musical
comedy singers – but without losing any basic musicianship. In essence,
he showed Peggy how to widen her appeal.
"A lot of little tricks,"
said Ferrer. "One was bridging every song in her act, kind of a segue,
with Peggy talking to the audience very briefly – getting them to like
her personally – and with the music in the background, changing into the
key of her next song. And all in the split of second timing."
Mel, who used to produce
Hildegarde’s radio program and stage some of her other appearances,
recalled how lighting helped the Milwaukee chanteuse. So he brought in
an expert, Jimmy Neilson – a director at Columbia Studios – to handle
lighting. This offered more intense drama.
"A lot of little things,"
he said. "Like having the drummer stand at certain points in her act,
and having Pete Candoli – a great horn man – help out on the bongos, and
Peggy’s small but dramatic gestures with her hands.
"Frankly, it’s a commercial
move. Sure, but Peggy has a kid and she needs to make money, the big
money that she’s capable of earning. This’ll help her. Yes, I think this
will really help her."
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Left photo shows Dave Barbour and
Peggy Lee at home. Right photo caption: Acaption: At Ciro's, time-out between floor shows frees Peggy Lee for dance with Mel Ferrer. Versatile actor-director coached Peggy in gestures and routines for song stint at this night spot. |
For additional information see
Peggy Lee's Opening at Ciro's
