If It’s Tuesday, This Must Be Belgium Part 1

A Norwegian Transatlantic Cruise to Europe from New York City

This transatlantic cruise sailed late April 2019. This is part one which involves the ship and the crossing. In light of the ongoing Corona Virus Pandemic, obviously all ships are forbidden to sail. When it's safe to cruise, I wouldn't hesitate to do a trip like this again. In fact, I was booked on a transatlantic trip from New York City to Barcelona with stops in Portugal and Spain which was canceled due to the virus. So travel with me across the Atlantic and on to Europe, from the safety of our homes. And here's hoping we can travel again, soon.

The Norwegian Pearl

I love cruising, so when I saw that Norwegian was offering a 13-day sailing, leaving from my home port of New York City and ending up in Amsterdam with prices starting under $500 per person, I leapt at the chance and booked the trip. Ports of call included: Ireland, France, England, Belgium, and finally disembarking in Amsterdam. As many meals per day as you desired, entertainment every night, free gym and a plethora of activities to take part in, it was cheaper per day to sail to Europe than stay home!

Having traveled with Norwegian previously, I was part of their “Latitudes Rewards” program and with that privilege come perks: room upgrades, free dining in specialty restaurants, deals on WiFi, discounts in the ship’s spa and in my case, even open bar for the entire trip. Trust me, that saves you a wine bucket full of money.

So, I asked my travel mate, Bud, if he was game and we jumped into a cab and headed to the cruise port in New York City located at 55^th Street and the Hudson River. Now, how convenient is that?

THE SHIP

The Norwegian Pearl was built in 2005 but completely refurbished in 2017 which made the ship feel brand new. All 1,179 staterooms had an upgrade which included new carpeting, new televisions, new furniture, new beds, and USB outlets where guests can charge their electronic devices.

Throughout the ship, over 2,220 pieces of artwork were installed, including a stunning Chihuly sculpture sitting proudly in the main atrium. 

Chihuly Glass Sculpture on the Pearl

When it comes to food, there are so many venues to choose from; 8 complementary restaurants plus room service, 6 specialty restaurants with additional fees plus 15 bars and lounges.

What makes Norwegian stand out from the other cruise lines?

Their biggest claim to fame is their “Free-Style” cruising. On many other lines you must sign up for a certain time to dine and you are given a specific table to sit at in the evening and on designated nights you must dress up in formal attire. On Norwegian, dress is casual, you can dine any time you like and sit anywhere you prefer. The last thing I wanted to lug around on this long trip was a business suit and a tuxedo. But if one desires, you’re more than welcome to dress up.

Balcony Cabin - Norwegian Pearl

Bathroom - The Pearl

Is Norwegian Gay Friendly?

Absolutely! Every night, a Freestyle Daily pamphlet appears in your cabin with a list of everything available to do on the ship for the next day. For years, Friends of Dorothy, was listed and indicated where and when people could meet. But this trip something simple but very powerful happened. Friends of Dorothy was gone and LGBTQ+ Informal Get Together showed up instead. In my mind, this is a true indicator that we, as gay travelers, have been welcomed openly and with respect. This was my 6^th cruise with Norwegian and not once have I felt slighted or experienced any sort of homophobia from either the staff or other cruisers. In fact, on this trip, a 72-year-old gay couple appeared onboard holding hands and dressed in matching baby doll sailor suits with full make-up and wigs. Now, even my jaw dropped but with a smile. And they maintained baby doll characters for the entire trip, changing costumes every day. Many befriended the couple and even the Captain requested a photo with them. As one straight traveler shared with me, “I observed people treating them with respect rather than ridicule. Totally refreshing.”

The Baby Dolls

The Activities and Entertainment

They have bingo, slot machine and black jack tournaments. There are art classes, you can learn bridge, or take dance lessons. Audience participation games are numerous including a Deal Or No Deal show based on the television version where you could win $5,000.00 or a cruise for two. There were cooking classes and lectures about upcoming ports of call. And for those who love their libations, there were wine tastings, martini tastings, beer tastings, scotch tastings, and tequila tastings. 

Casino - The Pearl

The first couple of days, most people explore the ship and all it has to offer. I hit the gym at least once a day. They had scores of physical programs you could participate in from Pilates and body sculpting to classes in nutritional education and weight loss. One of my favorite onboard activities was the bowling alley. Not having played since a teenager, it was a bit daunting to lace up the shoes and pick up the ball while others were watching and the ship swayed side to side but I did pretty well. It was like riding a bike, it all came back to me.

The Pearl's Bowling Alley

Every night a different movie is viewed on the main atrium’s ginormous screen and simultaneously on your cabin’s television. We also explored the many different bars and lounges to pick the one or two that we would probably frequent the most. For me, I like the less crowded, more secluded spots. Plus, you often get to know your bartender and they you, for the trip.

They also have multiple cabaret performers as well as bands that rotate from one lounge to another throughout the day and into the evening. And there’s the Mandara Spa where you can receive just about any type of pampering you can imagine.

There’s a very quiet library to escape the crowds. Around the 5^th day at sea I had a hankering to write and with an article due while I was traveling, the library was the perfect spot to create while occasionally looking out to sea and spotting a humpback whale or two.

The Stardust - Main Stage Theatre

The Casino opens once you are one mile out at sea. Previously I’ve won up to $700 with slots but not this trip. And every evening there was a complementary show in the theatre. The specialty acts were superb on this crossing. There was a magician, a husband and wife adagio act who defied gravity but my favorite was Izabella Zebrowska, a Polish violinist. Her first show was totally classical and breathtaking. But Bud turned to me and said, “Wouldn’t it be great if she also included some pop and showtunes?” Well, her second show later in the week was geared around the West End’s hit musicals and famous movie scores.

Dining

I’ve never been disappointed with the food on Norwegian cruises. I do have to admit, I’m not a huge fan of buffets...buffets anywhere. I end up piling on too much of too many different types of food and the stomach isn’t crazy about that. Besides, I love to be served when I dine out. And because there are so many sit-down restaurants onboard, you have plenty of options to choose from. But the food the buffets displayed were always well presented and looked delicious.

On warm days it was wonderful to have breakfast in The Great Outdoors which is a bar and restaurant area at the back of the ship. 

The Great Outdoors eating area in the back of the ship

The two main dining rooms are Indigo and the Summer Palace. Indigo is the smaller of the two and offers a more intimate dining experience. The Summer Palace is very large and its décor is inspired by the great summer palaces of Russia. I found it fascinating that the Summer Palace has scores of life-size paintings of the Royal family, clearly done just before they were executed. An odd choice in my mind for a restaurant, but most were beautifully done. Both restaurants are open for breakfast, lunch and dinner and they share the same menu for each particular day. A typical evening meal may consist of a starter of bouillabaisse soup, followed by garlic roasted leg of lamb and for dessert, a warm peach tartlet. The menus change every day and if you’re really hungry, you can order as much of anything as you like.

Staircase down to Summer Palace Main Restaurant

Of the 6 specialty restaurants, we ate at Cagney’s Steakhouse and the French café, Le Bistro. For an entré at Cagney’s I ordered the grilled ribeye with their green peppercorn sauce. The steak was superior, as good as some that I’ve had at renowned steak houses in NYC.

Cagney's - The Pearl

And in Le Bistro, I ordered the pan-seared jumbo bay scallops with a sherry vinegar glaze and cauliflower mousseline, which was perfectly cooked, and Bud ordered a glorious Napoleon of Portobello mushrooms and vegetable puff pastry with goat cheese, red pepper, sweet potato, and a beurre blanc. It was almost too pretty to eat.

Le Bistro's Vegetarian Napoleon

Often, we would see the earlier of two shows in the theatre which was at 7:00 pm. Traditionally they last one hour, so from there we’d go to our favorite bar, have some martinis and then head on down to the Summer Palace for a late-ish dinner. Very civilized.

THE CROSSING

I’ll admit, a week to cross the Atlantic had me a bit concerned. Would I get bored or restless? Ships can make the journey faster but that eats up much more fuel hence it’s worse on the environment and the cruise fares would increase. Plus traveling across the pond, your body very gradually adjusts to time changes therefore, no jet lag. And honestly, the 7 days at sea went by like a breeze - no pun intended. We were traveling late April and into May so the weather was extremely mild.

Often people were in the outdoor pools and hot tubs or playing human chess, basketball, shuffleboard, or scampering up the rock-climbing wall. There was even a driving range where you can work on your swing or you could just grab a deck chair, a smart cocktail and people watch.

Outdoor area - Norwegian Pearl

After the 7 days to cross the Atlantic we would be making ports of call in Ireland, France, England, Belgium and finally, the Netherlands. Each excursion gave us about one day to explore. The ship offered a multitude of excursions but do your homework, sometimes a third-party company offers a better price and a more interesting itinerary. The major bonus with booking a ship’s excursion is you’ll never miss the boat. If you’re not back in time from a private excursion the boat will leave without you. 

Part two of this journey will cover all of the shore excursions in Ireland, France, England, Belgium and then 3 nights in Amsterdam.

Bon Voyage!

Production of Cloud 9 by The Seeing Place Theater

CLOUD 9
The Seeing Place Theater
Performed at the Access Theater

380 Broadway

New York, NY

www.TheSeeingPlace.com

Through July 16, 2017

If you liked last season's Sense and Sensibility you'll love The Seeing Place Theater's production of Cloud 9.

Gender, race, and age-bending are just the tip of the iceberg when speaking of Caryl Churchill's groundbreaking play, Cloud 9. 

To quote managing director and actress Erin Cronican, “We’re very proud to announce that four of seven plays we're presenting this season are written by female playwrights starting with Ms Churchill’s seminal work which explores power and perception. We see our societal assumptions turned on their head by watching one family in two distinct eras – one that celebrates the patriarchy and one that smashes it. And we’re delighted to be telling this story using the same Brechtian techniques championed by Churchill herself.” 

The full ensemble in Act I

Co-directed by Cronican and Brandon Walker, Cloud 9 stars an extraordinary ensemble cast consisting of Ms. Cronican, Jane Kahler, Bill McAndrews, Sabrina Schlegel-Mejia, Robin Friend Stift, Ari Veach, and Mr. Walker. The play allows the actors to create multiple roles within dueling time-settings while important stage directions and descriptions are narrated on stage by Clinton Powell. 

Robin Friend Stift and Ari Veach as Edward and Gerry in Act II

In Act I, which takes place in a British Colony in Africa in 1880, the Victorian Era's attempt to squash sexuality explodes with delight on stage as unexpected couplings occur and testing of roles in society and power struggles play out. And then in Act II, which takes place in London, England in 1980 we see the same characters played by different actors in 1980 (but it's just 25 years later). It's sounds bizarre, but it works! 

Brandon Walker and Erin Cronican as Cathy and Lin in Act II

I had the pleasure of enjoying the original New York City production of Cloud 9 at the Lucille Lortel Theatre in 1981 - thirty-six years ago! So it was an interesting revisiting of this unique play. I hesitate to call the material dated, instead maybe it's because 3 decades have passed but the play created less of a jolt to my sensibilities than it did back then. But The Seeing Place's production, with the destruction of societal roles one had to play and the exploration of countless sexual couplings or triplings (is that a word), still allowed for an exciting night at the theater. 

The ensemble's acting was terrific all around. Each time, as I write this, I've attempted to highlight one or two of them, and then just realize, everyone was magical. 

The Seeing Place Theater's production of Cloud 9 is short lived so if you're in New York City for the next week, check it out at the Access Theater located at 380 Broadway. 

Creative Team: Directed by Brandon Walker. Co-Direction by Erin Cronican. Lighting Design by Duane Pagano. Sound Design by Brandon Walker. Set/Costume Design by Erin Cronican. Assistant Direction by Candice Oden. Assistant Production Design by Robin Friend Stift. Dialect Coaching: Jane Kahler.

SPOTLIGHT INTERVIEW: With Broadway Actress and Singer Dee Etta Rowe Ferraro

Dee Etta, I’m not quite sure where to begin with your interview because so many experiences and images pop into my mind. I guess the natural thing to do is start at the beginning.

Dee Etta Rowe Ferraro

We met when we were both cast in the bus & truck tour of The Sound Of Music starring Sally Ann Howes in the fall of 1978. She's probably best known for her film Chitty Chitty Bang Bang with Dick Van Dyke.

Dick Van Dyke and Sally Ann Howes

You and I became fast friends and seatmates on the bus. The tour was quite amazing – roughly 9 months long covering 97 cities. Some were one nighters, others were what we called split weeks - 3 nights in this city, 4 in another. And occasionally we spent a week at one theatre. Personally, I loved the experience and opportunity to see so much of the country and Canada too.

ARTHUR:  Dee Etta what are your memories of that tour? Good or bad, easy or frustrating?

DEE ETTA:  I was thrilled to be touring as well. And to see the country. And of course, making many new friends, especially you and Joyce Hall. I was cast as the understudy to Terry Saunders as the Mother Abbess. I remember we were doing several one nighters and Terry was ill, but really did not want me to go on for her. She kept hanging in there right up to the last minute and finally gave in because she was too sick to go on. I went on for her, opposite Sally Ann Howes. And although, I was much younger than Terry, to be playing the Mother Abbess, Sally Ann was so gracious and said that she loved my performance and never felt that I was younger than her. I was so happy that she felt that way and thrilled to have had the opportunity to play opposite her. I always admired her as an actress from the first time I saw her in the film, Chitty Chitty Bang Bang. And I must mention that working with Jim Coleman, our conductor, it was simply a joy and I have more stories about Jim Coleman later. 

Dee Etta and Arthur in Sound Of Music (What is on my upper lip???)

ARTHUR:  We've both done a lot of productions of The Sound Of Music. Before meeting you, I had been in one starring Farley Granger and prior to that, another one with Bob Gunton both with Adrienne Doucette. You did a national tour with Ann Blyth and I remember some great stories from that production. Care to share? And can you explain to readers who don't know, the difference between a bus and truck and a national tour?  

DEE ETTA:  I did summer stock with Ann Blyth and Jean-Pierre Aumont. With all due respect, and with nothing regarding their talents, they were both too old to play those roles. Regardless, the cast had a lot of fun with this production and I remember that Ann was absolutely lovely, and very professional to work with. Now don't laugh, but she was knocked-kneed and pigeon toed. I found out some time later, that in her celebrated movie career, they never filmed her below the waist. Now watch some of her movies and you'll see exactly what I'm saying. We did travel by bus with this tour and the sets were delivered by trucks. On national tours, which I've done several, the cast and crew travel by plane to each city with a longer runs at each venue.

ARTHUR:  What was your first Broadway show?  

DEE ETTA:  My first Broadway show, in 1979, was the revival of Frank Loesser's The Most Happy Fella, starring Metropolitan Opera star, Giorgio Tozzi. The purpose of this revival, was to mount it for a PBS production, so we only did an out of town performance in Detroit at the Fisher Theater and then it went directly to Broadway at the Majestic Theater. The PBS version is still aired occasionally. Look for it! I was one of the neighbor ladies and understudy for the role of Cleo, but I never had the opportunity to go on in my understudy role. Richard Muenz played Joey, Sharon Daniels, from the New York City Opera, played Rosabella and Louisa Flannigan played Cleo. I hate to say this, but she (Louisa) was not nice to me at all, because during our first run through of the show, just singing through it, she did not show up. She was having issues with her contract, and so I got to sing the role of Cleo in front of everyone in the cast, including the producers and directors. Louisa found out that I knew the entire roll perfectly and sang it to perfection. So, she made certain that I never had the opportunity to go on for her. Every other understudy in the production got the opportunity to at least go on once. Well, everyone except Dee Etta Rowe.

Dee Etta in Nine (eighth from the left)

ARTHUR:  I was so excited when you were cast in the original Broadway production of Nine starring Raul Julia and a bevy of Broadway beauties, including yourself. I came to your show no less than 4 times, including a last minute alert that you were going on as Mama Maddelena, a character whom you were understudying.

DEE ETTA:  It was absolutely thrilling for me to be creating an original character in a brand-new Broadway musical. I originally did the role of Olga Von Sturm, one of the four Germans in the show. Nine was first produced as a workshop, developed at the New Amsterdam Theatre, in the upstairs ballroom that originally was host to Florenz Ziegfeld's private parties.

I knew the moment I first heard the music, by Maury Yeston, that Nine was going to be a huge hit. In addition to the role I created as a German, I was also given the understudy to Camille Saviola, who was playing Mama Maddelena. However, I was not the original choice. My long time friend, Lulu Downs, also a German, was the original understudy, but she could not stand the pressure of not knowing when she might have to go on. She was physically built like Camille, I was not. The stage manager came to me and asked if I would take over the understudy of Mama Maddelena and of course, I said, "Yes." With costumes by William Ivy Long, they quickly built me a brand-new costume that had foam rubber padding in the bust, that allowed my breasts to sit on top like a shelf. Camille, was naturally big busted, and I was not. However, no one knew that when I got into that costume with a black updo wig. No one would ever know that I customarily played a fair skin, blonde German, in my new Italian Mama get up. My first understudy rehearsal, was to be the following Thursday after I received the role. But when I came into work on Tuesday, I was told, "You are going on tonight as Mama Maddalena." The stage manager asked, "Can you do it?" And I replied, "Of course, I know the part!"

Dee Etta in a stunning NY Times ad for Nine

And so I went on the Broadway stage of the 46th St. Theater, in a role that I never had a rehearsal for. From the "German in a Turban", to a "Buxom Italian Mama!" And I went on in that role about three times a week, thereafter. I would come to the theater and ask, "Am I flying to Germany or Italy tonight?" And going on in either roll just became second nature and I loved it.

ARTHUR:  And was it in 1980, not long after we returned from our bus & truck, that you landed the national tour of Sweeney Todd starring Angela Lansbury and George Hearn?
 

DEE ETTA:  Actually, first I got the Broadway national tour of Showboat, starring Lanie Kazan and Eddie Bracken. We were performing at the National Theater in Washington, D.C. when I received a phone call from musical director, Jim Coleman, our conductor from Sound Of Music. He was conducting the first Broadway national tour of Sweeney Todd and said, "Dee Etta, you must come to NYC, to the final callbacks for this production, because we are looking for your voice and you are perfect for the show. Please come!" So that Monday, on our day off, I flew to New York City, to the Uris Theater. This was the final call back and they needed a mezzo soprano voice. 

Now at the time of this call back, I had a broken arm and was in a cast. I had fallen teaching a class at AMDA (The American Musical and Dramatic Academy) just before I got Showboat. I had to call the producers at Showboat and tell them I definitely wanted to do the show, but I had a cast on my arm. The producers were so nice and understanding, and said, "Can you twirl an umbrella in your cast?" And of course, I said, "Yes!" They said we'll make all your costumes with long sleeves. I was not only in the ensemble of Showboat and played the role of Mrs. O'Brien, but I was also understudy to Lainie Kazan as Julie. I was so fortunate.

When I arrived in New York City, for the audition for Sweeney Todd, I was greeted with stares and daggers, from the girls that had already auditioned. I was at the final callbacks and never auditioned prior. "Who was this new person?" they whispered,  i.e. me…in a cast up to my elbow! I went into the call back, and sang my operatic area, "Morro Ma Prima Grazia." They dismissed everyone but me, the mezzo and two sopranos. And then we heard what we all were waiting for, "You got the job!" I flew back to Washington, D.C. with the good news that I was now in the Broadway national tour of Sweeney Todd, with Angela Lansbury and George Hearn. And in addition to that, Hal Prince (the director) asked me to understudy Angela as Mrs. Lovett. Wow!

ARTHUR:  You continued to consistently tour and work in regional theatres. Is it true that you’ve spent 8 years, off and on, doing productions of Menopause The Musical? 

Dee Etta in A Christmas Cabaret

DEE ETTA:  Oh yes! My husband Jimmy Ferraro and I were living in Florida and were owners of the Angel Cabaret Dinner Theater in Tampa Bay. Jimmy was producing and directing the productions and I was still performing. We were in our fifth year when we received a phone call from musical director and longtime friend of my husband's, Michael Larson. He asked if I could fly, the next day, to the East Coast of Florida for a emergency audition to replace the role of the Iowa housewife in Menopause The Musical in Denver, Colorado. It was an 18 month sit down contract at the Denver Civic Theater. I got the job and we closed the Angel Cabaret and moved to Denver Colorado. Jimmy was asked to be company manager and he ran everything for the Denver production. Menopause The Musical is now the longest running musical in the history of Colorado. In fact, six months after it closed, it was revived again in Denver to sold out audiences. I was asked to also learn the role of the Earth Mother and I ended up doing both roles for a total of eight years, traveling all over the country, performing to sold out productions.

Dee Etta as Earth Mother in Menopause The Musical

ARTHUR:  And I think it was around 1988 that you met and married your husband Jimmy Ferraro, yes? He’s also a well-established Broadway actor - did you meet while doing a show together? And what is the key to a successful relationship in an industry that traditionally doesn’t foster such longevity?
 
DEE ETTA:  It was in 1987 that Jimmy and I were married. In fact, we just celebrated our 29th wedding anniversary this past September. Jimmy is a fabulous singer, actor, director, and producer. This is how we met. I was in between shows and my parents asked me to visit them in their winter home in St. Petersburg, Florida for the holidays. I arrived just before Thanksgiving. My mother mentioned that there was a new dinner theater that opened in downtown St. Petersburg, that was having auditions for the Broadway musical Barnum. It was the newly opened, Encore Dinner Theater and she persuaded me to audition, with the idea of having a working vacation. I really was not interested, but my mother persisted and I reluctantly agreed to audition. I sang for the producers and director and I was hired on the spot for the Swedish opera singer, Jenny Lind. Jimmy had already moved to Florida from NYC, and was the most popular working actor in the area working at every regional theater in the state. He was currently playing Bert Healy in the Encore's opening production of "Annie."

The producer offered Jimmy various character roles to play in Barnum. (There were no leading roles for him in the show.) Jimmy politely turned them down, but when he was offered more money than his last contract with them, he said, "Yes!"

Jimmy and I met at the very first rehearsal and immediately, we felt like we knew each other. We were engaged three weeks later and married nine months after that.

Jimmy and Dee Etta

The reason for a longevity? We really respect each other as people and our talents and we work very well together. Love is the most important thing and Jimmy Ferraro is my soulmate.

ARTHUR:  You and Jimmy live in Florida. I know you are a New England girl. Was this a tough adjustment, the two climates and lifestyles being so different?
 
DEE ETTA:  Not for me! I was an Air Force brat and moved constantly as a child. In the first grade, I lived in Spain and in the second and third grades I lived in Germany and in the fourth Grade, West Hampton Beach, Long Island and ended up in fifth grade in Falmouth, Massachusetts on Cape Cod. I loved moving around as a child and being the new girl in town. And I do love living in Florida, we have a large beautiful home with a pool and lots of air conditioning. Perfect for me. 

ARTHUR:  And what’s also exciting is that you and Jimmy produce and often perform in your own theatre, JIMMY FERRARO’S STUDIO THEATRE – I understand you closed for the summer, while reorganizing and moving the theatre to a new location. Tell us more about this and the type of shows that you produce. And what’s the next show audiences can look forward to, once the Studio Theatre is settled in its new home?

As Sophie Tucker in Sophie, Totie, and Belle at the Studio Theater

DEE ETTA:  The beautiful and elegant Jimmy Ferraro's Studio Theater in historic downtown, New Port Richey produced and developed new musicals and plays as well as rarely seen productions. Truly a unique venue in this area.

While we closed for the summer, Jimmy received an offer to develop a brand-new musical that is headed for Broadway. So once again things have changed for us and thankfully in a very positive way. And so finding a new location is on hold for the moment. In the meantime, we are also busy producing and I am starring in a murder mystery production, as a fundraiser for some area schools. Jimmy and I like to give back to the community that supports us. We love doing charity work in our spare time. 

Dee Etta as the Mother Abyss in Sound Of Music

ARTHUR:  Of all your shows and performances, any standout as memorable and why?

DEE ETTA:  After all of our years of being married, Jimmy and I have been in many shows together, but we never played opposite each other until the 2012 national tour of Fiddler On The Roof, starring Jimmy as Tevye and me as Golde, his wife. In fact, we celebrated our 25th silver wedding anniversary during the tour and on that day we had two shows. After the matinee performance, the stage manager brought two dozen red roses to me at the curtain call in honor of our anniversary. When the curtain came down, The stage manager quickly snatched the roses away from me and said that he had to take them backstage and keep them cool because he was presenting them once again after the evening show that night. LOL! That's showbiz! 

Dee Etta as Golde and Jimmy as Tevye in Fiddler On The Roof

I must say, that one of the highlights was Jimmy and I singing to each other, "Do You Love Me?" on our 25th anniversary and Tevye and Golde have been married for 25 years also, which is revealed in the song as well. As they say, theater imitates life.

ARTHUR:  I also know that you are an activist and supporter of many causes. Any you’d like to highlight in this interview?

DEE ETTA:  Jimmy and I have supported many causes over the years and have raised over $100,000 for such charities as the Alzheimer's Family Organization, A Child's Wish Come True, the American Cancer Society, Ovarian Cancer Awareness, the National Alliance for Mental Illness, and many more.

We not only raised money for these charities, but we performed in benefits for them as well. We now have a nonprofit organization for our charity work called, Angels of Gratitude, Inc., which provides scholarships in the performing arts to students in financial need as well as helping the poor and homeless.

ARTHUR:  And last but certainly not least, tell our readers about your adorable Midgie!

Dee Etta, Midgie, and Jimmy

DEE ETTA:  There is so much to tell. My wonderful and talented and amazing mother, Elinor, well known as Midgie, is going to be 97 years old. She  was a major tap dancer for over 40 years and appeared all over the country with great stars of the Golden Age of cinema, in large variety shows. She appeared with Judy Garland, Martha Raye, Dean Martin, Ray Bolger, Buddy Epsen, Mickey Rooney, and all the big bands just to name a few. But our favorite story, is that she appeared with The 3 Stooges. In 1938, Midgie was traveling with an offshoot of the Rockettes, called the Rhythm Rockets. In the variety shows, they had all types of acts on the bill. After her dance routine she would run and change costumes and then run down to the stage wings to watch the Three Stooges perform, as they were on the same bill. Curly noticed her standing in the wings watching them and asked her to please hold his change from his pockets, as he had to stand on his head in his act and he didn't want his change to fall out on the stage floor. Midgie was happy to do it and she stood in the wings for each performance to hold Curley's change. She said all of the Stooges were very nice and brought their wives with them. Isn't that a great story?

ARTHUR:  Dee Etta, your talent and love of life is infectious and inspirational. Thanks to social media I still feel connected to you. (Sure wish we were closer, though.) Any final thoughts?

DEE ETTA:  I feel the same Arthur. We had so much fun on the road and have become lifelong friends and can you believe that we only did that one show together? You are so very talented and I value our friendship and I hope that we get to see each other in person in the near future. Let us know when you want to take a trip to our home in Weeki Wachee, "The only city of live mermaids."  And you have an open invitation to stay with us. Love you Arthur Wooten.

  

Dee Etta as Miss Hannigan in Annie