biography . . .
Tommy next had a large role in composer Jerry Herman�s first Broadway musical, the Israel-themed �Milk and Honey� in 1961. Co-stars were Metropolitan Opera veterans Robert Weede and Mimi Benzell, Israeli dancer/mime Juki Arkin and the great Yiddish actress/comedienne Molly Picon. While his David was a supporting role, Tommy again had a long solo dance, choreographed by Donald Saddler, which masterfully conveyed Israeli David�s love for his American wife and his fear and uncertainty about their departure from Israel. Tommy�s operatic singing voice was used to brilliant effect on the show�s title song and the haunting �I Will Follow You.� Again, his solos were reportedly showstoppers. (The cast recording for �Milk and Honey� had been released on CD but is now out of print.)
Prior to the opening of �Milk and Honey,� 1961 also saw a new phase of Tommy�s career, the opera. He had been studying opera for several years and by this time, his singing voice had developed into a rich tenor. He auditioned for opera impresario Boris Goldovsky, who offered him the role of Jean in Massenet�s "Le Jongleur de Notre Dame" in Boston. This was a satisfyingly demanding part, requiring strong acrobatic and juggling skills in addition to an operatic tenor voice. Over the ensuing decade, Tommy (as Thomas Rall) continued his operatic work in performances with the New York City Opera and American National Opera Company in �Lulu� (Alwa), �Tosca� (Cavarodossi), �Carmen,� �Louise� and �Salome.�
Unfortunately, Tommy�s final two Broadway shows were not successful. "Caf� Crown" opened and closed after three performances in April 1964. The score, written by Albert Hague (music teacher, Mr. Shorofsky, in Fame and composer of �You�re a Mean One, Mr. Grinch�), and lyrics by popular songwriter, Marty Brill were not strong enough to attract a consistent audience.
�Cry For Us All,� which was based on the play, �Hogan�s Goat,� by William Alfred did not fare much better. Its composer, Mitch Leigh, who previously saw great success with �Man of La Mancha,� was unable to repeat the magic with this show; it lasted about two weeks in April 1970. Again however, Tommy�s performance attracted notice. A New Yorker magazine review stated that �Tommy Rall was exceptionally good as a toady of Mayor Quinn�s (he danced an astonishing jig at Agnes Hogan�s wake).� (The cast recording for this show was released as an LP and contains two songs in which Tommy was included.)
to...Chapter 6: Beyond Broadway
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Milk and Honey