Grant Dale began his career as a cast member in the original production of 'Evita'. He has the rare honour of receiving the Australian Gypsy Cloak twice - for 'A Chorus Line' in 1996, then again for his most recent engagement - in 2009 in 'Billy Elliot - the Musical'.
Firstly, what is the history of the Gypsy Cloak?
Australian producers Malcolm Cook and Bill May came up with the idea of following the Broadway tradition (that started with Gentlemen Prefer Blondes in 1950) of awarding a Gypsy Robe to the most experienced ensemble member of a musical. In the 1980s the first Australian Gypsy Cloak was presented by Dame Edna Edgley to a member of the cast of Nunsense 2. That same cloak now has been passed from show to show for three decades. Tradition asks each new recipient to parade the cloak three times around both casts assembled – to bring good fortune to the show’s season -- and then visit each dressing room (to cheers, laughter and lots of regal nonsense).
Is it always awarded to the most experienced ensemble member?
I can’t really say. On Broadway it goes to the cast member who has appeared in the most shows. However, I know it has been given to some of our industry’s most seasoned performers over the years who have well and truly paid their dues. Chorus performers are the backbone of a show and, whilst the main stars receive the major industry accolades, it’s great to have the cloak represent our hard working and extremely talented Australian gypsies.
What is on your cloak?
Embroidered, beaded and jewelled logos of 30 major productions adorn it, such as Phantom, Rent, Priscilla and Mamma Mia. Each logo is created by the head of wardrobe on the particular show. Many hours of work go into constructing each logo so that it is a work of art in itself and will endure over the years. The cloak itself is made of thick black velvet material, with swirled stitching and lavender coloured satin lining.
What happens when the cloak is completely covered?
I believe the cloak will retire to one of our performing arts museums. Broadway is currently passing along the eighth (or maybe 10th) in its history. The others are now part of the collection of New York museums. I hope a new cloak is made and we keep the Aussie tradition alive.
You have sustained a freelance career in music theatre for 30 years. Were there periods when you were out of work and, if so, how did you survive?
In the 80s and 90s I worked many shows back to back, fortunate to be the right person for the right show. Things slowed for a few years, which was good in that it gives you perspective and allows you to re-assess your interests. I’ve always taught dance and worked extensively as an adjudicator around Australia. I’ve choreographed and produced shows. I also worked on large scale corporate events and enjoyed 10 years on the production team for AFL entertainment.
What have been your career highlights?
Playing Her Majesty’s Theatre in Melbourne feels like going home. I was trained and mentored there by the legendary Betty Pounder. I’ve done six shows at that theatre. Actually every musical I have appeared in has been a highlight. They’ve been so diverse. Working with Sammy Davis Jnr, as his support act, was a dream come true. Watching him from the wings every night was a personal master class, one of which I’ll never forget. Being acknowledged with a nomination for a Green Room Award for my choreography on The Sign of the Seahorse was a proud moment.
Any lowlights?
Heaps. Not being the right type for certain shows was always disappointing. I remember turning up to perform one night, only to be told by the stage manager that the show’s star had decided to close the show without telling the cast. Not only had the set disappeared over the weekend but they had high-tailed it back overseas, taking with them my treasured worn-in tap shoes. I was young and devastated. When I think about it now I laugh – but I do wonder what happened to those shoes!
What advice do you give other performers hoping for along career?
Be passionate about your skills and talents. Persevere. Never stop believing in yourself. Rejection is only a word – don’t take it to heart. Keep moving, in your career and in yourself as an individual -- there is only one you. Keep focused mentally and physically. Be audition ready – Broadway and West End directors and choreographers are always astounded by the talent and energy we bring to their shows when produced in Australia. I’ve seen shows overseas and the vitality we exude is equal, if not better.
What are your current plans?
At the moment I’m working on an innovative new project through the Australia Council and Ausdance to move forward with projects I am passionate about. With the knowledge I gain, I so look forward to passing it on to others who pursue a life in the theatre – and thereon!
