A BROADWAY BACALLBACK FROM LEE ROY REAMS

Few performers embody the golden age of Broadway quite like Lee Roy Reams—a Tony-nominated actor, singer, dancer, director, and choreographer whose career has spanned decades and stages around the world. From originating iconic roles to working alongside legends like Jerry Herman, Lauren Bacall, and Richard Rodgers, Reams has lived a life steeped in showbiz history and heartfelt connection.

In this exclusive interview, he reflects on his extraordinary journey, his deep friendship with “Betty” Bacall, the evolution of the American musical, and what it means to carry the torch as a true song-and-dance man. With wit, warmth, and wisdom, Reams offers a rare glimpse behind the curtain of a life in the theater.

Lauren Bacall and Lee Roy Reams in Applause

How do you approach curating material for a cabaret when you’ve got such an expansive and iconic career to pull from?

The cabaret is really all about Betty. I sing some of her favorite songs like “Here’s That Rainy Day” and “Witchcraft,” which was her love song with Sinatra. I had an extremely loving friendship with Lauren Bacall that began when I did Applause in 1970. I thought it would be interesting to share a side of her I knew personally, alongside her public persona. She was discovered at 19 on the cover of Harper’s Bazaar, came out to California, and took her mother’s maiden name—Bacall. Her real name was Betty Joan Perske, and she was from the Bronx.

The show is about her beginnings, her marriage to Humphrey Bogart, her affairs with Sinatra and Jason Robards, and how she eventually came to New York theater. By then she was 57 and no longer the fresh young face in Hollywood, so she moved to NY and did two plays. Comden and Green then wrote Applause for her. That’s when I came into the picture, playing the gay hairdresser Duane—supposedly the first openly gay male character in a Broadway musical.

Lee Roy Reams and Lauren Bacall in Applause

It was a big deal to play an openly gay character at that time. I never thought much about it myself—I was just acting. There was a line in the show where Carrington says to me, “How would you like to take two lowly ladies out on the town tonight?” and I reply, “I can’t, I have a date,” and she says, “Bring him along.” Out of town in Baltimore one reviewer called it “a lot of homo ho-hum.” But when we opened in New York, it was a hit.

Betty and I hit it off on the very first day of rehearsal and remained dear friends through the out-of-town tryouts and Broadway run. Our friendship lasted until she passed at 89.

We had lifelong friendships from Applause—Len Cariou, Penny Fuller (who replaced the original Eve Harrington out of town and transformed the show). I love reliving that part of my life and sharing backstage stories—it’s like telling family stories to a group of friends.

Reams as Lumiere in Beauty and the Beast

The New York Times called you “Broadway’s song & dance man nonpareil.” What has that title meant to you personally and professionally?

It has meant a lot to me. Over the years I got several titles—Liz Smith used to call me “Broadway’s darling.” When I came to New York, I was what they called a triple threat. I had a B.A. from CCM [University of Cincinnati College-Conservatory of Music], danced with the Cincinnati Opera Ballet, did summer stock, got my Equity card, and even performed with the Cincinnati Symphony.

My first job in New York was in a nightclub in 1965 that paid $400 a week. I was very lucky! Then I danced on TV shows with Danny Kaye, Dean Martin and so many others. That wasn’t really what I wanted to do. But then Richard Rodgers tapped me to play Will Parker in the Lincoln Center revival of Oklahoma! (Margaret Hamilton played Aunt Eller); imagine being in a room with Richard Rodgers—and he chose me to play Will! That led to Applause. Then came Lorelei, Hello, Dolly!, 42nd Street, La Cage, and Beauty and the Beast.

Carol Channing shows off Reams' caricature in Sardi's
with, from the left, Ann Miller, Ethel Merman and Carole Cook

I also became very close with Jerry Herman. He said I was his favorite singer; I performed with him in concerts like An Evening with Jerry Herman. I was also the first replacement as Lumiere in Beauty and the Beast. Throughout my Broadway career, I’ve been lucky to work with people like Charles Strouse, Lee Adams, Jule Styne, and Gower Champion.

What I love most now is sharing my personal stories, showing photographs, and reminding people that these icons were real people. Betty and I would ride home together every night in her limo and we would eat Chinese food in bed while watching movies at her Dakota apartment. I directed so many stars in Dolly!—JoAnne Worley, Leslie Uggams—and because of my friendship with Jerry Herman, I finally got to play Dolly myself!

Sadly, song and dance men went out of fashion—they stopped writing those parts. That’s why I started directing and choreographing.

Reams as Dolly at the Wick Theatre in Boca Raton, 2015 (photo by Amy Pasquantonio)

You were Tony-nominated for 42nd Street and created unforgettable performances in La Cage, Beauty and the Beast, Sweet Charity, and more. Which role lingers in your heart the most, and why?

That’s like picking your favorite child. You love them all differently. La Cage allowed me to really tap into my acting. Cornelius Hackl in Hello, Dolly! is a delicious part. 42nd Street really put me in the spotlight [see this YouTube clip of Lee Roy tapping during “We’re in the Money.”] Gower Champion, sadly, died on opening night. The show became a huge hit. I stayed with it for eight years, performing in LA and Hong Kong. It brought me TV work, and a long steady paycheck.

Playing Roger DeBris in The Producers, and working with Mel Brooks and Susan Stroman, was another highlight.

Reams as Roger DeBris in The Producers

I’ve been blessed to work with so many geniuses. Gene Kelly was my idol, and he came to see 42nd Street. Gwen Verdon, Marilyn Maye—they all shaped my life.

One of the best moments was when I turned 40. I had an evening in my honor, and they asked what I wanted. I said, “To sit at the piano with Herman, Strouse, and Styne and sing one of their songs with them.” It happened—and it was magic. Sometimes I’d do concerts with Jerry Herman, and when we’d sing “It’s Today.” I’d look over at him at the piano and think, “My God, I’m on stage singing with Jerry Herman!”

Reams with long-time friends Carol Channing and Jerry Herman

Are there younger composers you’d love to work with?

I’m a melody and lyric person. These days, I often can’t understand the lyrics because of how much choreography and staging there is. It can feel overwhelming. Dorothy Fields used to say, “Don’t choreograph until the lyrics are introduced so people understand the song.” I miss that clarity.

That said, I recently saw Buena Vista Social Club—and Justin Peck’s choreography was spectacular and truly matched the music. I wish younger composers had more opportunities to do their work—and that they’d write more actual songs. So much of what you hear today is much more recitative. When I see Gypsy, every song is a masterpiece.

I’m 82, so my taste leans toward the Great American Songbook. In the 1950s, I should’ve been into Elvis and rock ’n’ roll, but I was listening to Ella Fitzgerald.

There’s room for everything in theater—we don’t all have to like the same things. But it’s so expensive now. When I first came to New York, we saw every show because it was affordable.

Lee Roy Reams recording 42nd Street with Wanda Richert, Jerry Orbach and Joseph Bova

You’ve performed for four U.S. Presidents—Carter, Reagan, Bush Sr., and Clinton. What was the most surreal moment? Would you perform for Trump?

I did In Performance at the White House for Reagan with Marvin Hamlisch and Shirley Jones. Reagan pulled me aside afterward and said, “I couldn’t say this in front of the others—but your number was my favorite.” Nancy Reagan was also absolutely charming.

At the time I was doing La Cage at Paper Mill Playhouse and a week later I got a call from the White House. Reagan remembered my number and was showing Yankee Doodle Dandy—he wanted me to come watch it with them! I couldn’t get out of La Cage performances, so I had to decline—but I was deeply flattered.

Reams performs "I Am What I Am" in An Evening with Jerry Herman

At Clinton’s inaugural, I sang “I Am What I Am.” Barbara Cook was there, and when I got a standing ovation, she had tears in her eyes and said, “Do you realize what just happened? You sang a gay anthem at a presidential inaugural. You made history!”

I still get letters about playing a gay character in Applause—young men telling me it helped them come out. And when I did La Cage, a woman wrote to say she and her husband called their estranged gay son after seeing the show. That means so much. We’re all human; we have more in common than not.

What advice would you give to young performers wanting a long career—especially song-and-dance people?

The first thing my professor told me at CCM: “If you can do anything else, do it. If not, do this.” You need that level of commitment. But even if it isn’t your fulltime career, theater feeds the soul.”

If you want to do it, study and be good. I was lucky—I knew I wanted to do this since I was six. My mother sent me to dance school, and my teacher said, “He’s a natural.” She gave me private lessons and put me in advanced classes.

Reams in 42nd Street, 1981

Training matters. But so does staying focused—don’t get sidetracked by drugs, alcohol, or ego. My “drug” was the work itself. Be yourself. I’ve never hidden my sexuality; I had my partner for 50 years and we finally married when it became legal. And don’t label. People are people. Respect, kindness, education, healthcare—those are basics everyone deserves

Do unto others as you would have them do unto you.

Lee Roy Reams at CV Rep
July 29, 2025, at 7 p.m.
Get your tickets here