Broadway Tails (2 page)

One of the great gifts the animals have given me over the years is the opportunity to work with some wonderful people. First, are the people who work at shelters and rescue groups. Without their efforts, many of my animal companions wouldn’t have survived. And my show business family, the handlers, actors, crews, directors, producers, and support staff who went out of their way to give our animal actors a little love and understanding.

In particular, I want to thank the photographers whose pictures appear in this book: Martha Swope, Joan Marcus, and Paul Kolnick. Not only did they open their files so we could find show photos from decades ago, they are also donating their fees to The Sandy Fund, which supports the work of the Humane Society of New York. I am honored to be in your company.

Readers who would like to donate to The Sandy Fund can send checks to:

I was having the time of my life. I was nineteen years old and had just completed my first year at Central Connecticut State College as an acting major. In the fall, I would transfer to NYU and begin studying with Stella Adler, the legendary acting teacher. And I was returning to the Goodspeed Opera House for my second year.

Goodspeed is a beautiful Victorian theater built in 1876 on the banks of the Connecticut River. It is dedicated to the American musical and is one of the country’s best regional theaters. I had been there the year before as a technical apprentice—which means I had the privilege of working seventy hours a week for no money, but with the opportunity to be around professional actors, designers, directors, and stagehands. I had done community theater, I had done high school theater, I had even done a little college theater my first year, but nothing is the same as being around professionals. Shortly after I returned in the spring of 1976, I was promoted to a paid position, the first time anyone had gone from apprentice to staff member in the same season. I was proud of that.

Pride turned to concern when Michael Price, the executive producer, called me to his office. I had seen Michael around and he had always been friendly, but if I was being called to his office, I assumed I was in big trouble for something—and I couldn’t figure out what. When I got there, he looked me in the eye and said, “How would you like your Equity card?” The Actors’ Equity Association is the union that represents professional actors, but there’s a catch-22 about joining: You can’t be a professional actor in an Equity production unless you have your card—but you can’t get your card until you do an Equity show. You have to have someone high up to sponsor you, and now Michael was offering to be my sponsor. Clearly he had recognized my acting ability from a few walk-ons and the way I moved scenery. All I had to do, he said, was find and train a dog for a new show without spending any money. I had never trained a dog before. I didn’t know anything about training a performing dog. But in true show-business fashion, I immediately agreed.

I left his office, went outside the building, and started jumping up and down with joy. I ran over to the shop and told everybody that I was going to be an actor. I went to the pay phone and called my mom and dad, I called my best friends, I called everybody I knew, telling them that I finally had my big break. But as I calmed down, I asked myself why I’d been given this important job. The answer was simple—no one else wanted it. The show we were going to do was called
Annie
, based on the classic comic strip,
Little Orphan Annie
. The dog, Sandy, was a major character, and no one thought you could train a dog to play a major character onstage. At the time, however, I was too naive to know that. After all, I had seen dogs play major parts in movies and on TV, so I didn’t see why it couldn’t be done for this show. What I didn’t understand at that point was that what we see on screen is often the result of days of work, with multiple takes. Onstage, there would only be one chance to get it right—every night and in front of a live audience. It had never been done before.

Then there was the problem of the budget—or lack of one. No one would lend us a pet for the production, and buying a dog was out of the question. One of the crew suggested the best bet was to try the local dog pounds. So on Monday, my day off, I took the props department’s Polaroid camera and beat-up green travel van and I went dog shopping.

If you remember the comic strip, Sandy didn’t look like a real dog. He was a big red mutt with blank eyes, pointy ears, a white muzzle, and a big fluffy tail. The creators of the show knew we’d never find a real dog that looked like that, so I was told to get a medium-sized dog of sandy color and no distinguishable breed. Back in 1976, there weren’t many animal shelters like the ones we know today, staffed by wonderful volunteers. In Connecticut at that time, most towns had dog pounds—generally a few pens or cages behind the town garage—where the local animal control officers kept strays. I went from town to town, walking out to look at two or three dogs at a time: skinny, shivering, huddling in the corner, or attacking the bars. I had never seen animals in conditions like these before. Sometimes I would show up and there would be nobody there, and I’d find the dogs with no food or water. As the day progressed and I didn’t find any dogs that met our description, I became more and more disheartened. I made myself a promise—if I ever got a dog, I would rescue it from a shelter.

Late in the afternoon, I ended up at the Connecticut Humane Society, which was a shelter rather than a pound. If you found a stray or couldn’t keep a pet, you could bring it there voluntarily. It looked like a jail—an old brick building with two long extensions that had twenty-five cement-and-chain-link runs on each side of a long hallway. Most of the pounds had no more than three or four dogs. The Connecticut Humane Society had a hundred. As I started walking past the cages, most dogs were jumping and
barking, while some just cowered in the corner. The sound was deafening and the smell, overwhelming. I didn’t see any dogs that matched our description, and I was getting more and more depressed. I almost left after going through the first wing, but something said, go down the other side.

The first time I saw him, he was sitting in the shadows, not barking or jumping. As I looked closer, I could see he was medium-sized, of no particular breed, and although his coat was wet and dirty, it was definitely a sandy color. When I stopped and knelt down, he slowly turned his head over his shoulder and looked at me with the biggest, saddest brown eyes I had ever seen. The card on the front of the cage said simply: 1½
YEARS OLD, MALE, STRAY, NO NAME
. I got the attention of the attendant, and I asked him if I could bring the dog out. Over the racket, he yelled: “He’s been pretty badly abused. He doesn’t like people. I’ve got to get a rope to get him out.”

He walked away, but I couldn’t wait. I knelt again and opened the cage. I stuck out my hand and called, “It’s okay, boy. Come here … come here.” He looked at me with those sad eyes for what seemed like the longest time. Then he crept over to me, lay down on the floor, and let me pet him. I smiled and told him everything was going to be okay. I’m not sure when I
realized the attendant was standing behind me, his mouth hanging open. The dog looked at him and ran to the back of the cage.

“He’s never done that with any of us. I can’t believe that he would come up to you. Do you still want me to take him out?”

I said no. The dog had come to me and wouldn’t come to anyone else. That was all I needed to know. At the front desk, I explained the situation to a disbelieving staff and told them I would be back to pick up the dog as soon as I got approval from the director or producer. They laughed at me. One of the staff said, “Sorry, you’ve got to take him today or we’re going to put him down tomorrow.” That was probably the worst moment of a terrible day. I couldn’t believe what I was hearing. It had never occurred to me that the Humane Society would kill dogs. I was sure it was a mistake. They must have misunderstood me. They didn’t have to put him down, I told them. I would be back for him if they could only wait. I pleaded with them to give me a little more time.

“We keep them for seven days and that’s it.”

I had been upset before; now I was getting frantic. I wanted to save this dog. Something was telling me I
had
to save this dog. “How much does he cost?” I asked.

“Seven dollars.”

I pulled out all the money I had on me: three dollars. I asked them to take it as a deposit. I begged them to lend me four dollars, promising I would be back in the morning. Nothing I said made any difference. Maybe working in that place had hardened them. Maybe they had heard too many people promise to come back and then not show up. Maybe they thought I was crazy. But they weren’t about to bend the rules, even if it meant the dog had to die.

I was miserable. They were closing in fifteen minutes; there was no way I could get the money and get back in time. I felt like I was condemning the dog to death. I asked if I could go say good-bye. He was still cowering in his cage, but he turned to look at me. All I could say through my tears was,
“Don’t worry, it’ll be okay,” hoping that however they put him to sleep, it would be painless and merciful.

Driving back to the Goodspeed, I decided there was one more chance to save him. If I could get someone to give the approval, we could call the Humane Society that night and get a stay of execution—but when I got to the theater, there was no one around who could give me permission to get the dog.

My roommate that summer was a guy by the name of John Camp, a fun, upbeat guy who was training a golden retriever puppy. That night as we were lying in our room, John said to me, “What are you so upset about? Just go back in the morning before they open the doors and adopt this dog.”

“But nobody’s approved him.”

“So what? If they don’t like him, get him a home, give him away. What’s the big deal?”

I borrowed four dollars from the other apprentices and crew. The next morning I called up my best friend from high school, Dave Capodeice, and we drove to the Humane Society. We got there at 6:30
A.M.
and waited by the back door. The staff was surprised to see us when they arrived half an hour later. We led the dog to the truck and loaded him in. Even though he immediately cowered in the back, I was happy. Dave had his doubts. “This dog isn’t going to work, Bill. He’s terrified, he looks awful, and he’s probably starving.”

I said, “Well, then, the first thing we should do is get him something to eat.” We stopped at a McDonald’s and I used the last few coins I had in my pocket to buy him a hamburger. When I unwrapped it and tried to offer it to him, he avoided me. Finally, I put the hamburger down and went to the front seat. While Dave and I watched, the dog looked at us, looked at the hamburger, crept up to it, and ate it in one gulp. I said, “Good boy—there you go.” He looked at me and then ran back to his hiding place. Things didn’t get any better when we returned to the Opera House. As the crew members gathered around, the dog kept hiding behind my legs. He wouldn’t let anybody touch him. Everyone thought I had made a big mistake.