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Best remembered for his role as the Scarecrow in the 1939 MGM musical The Wizard of Oz, Ray Bolger led a rich and extraordinary career in the decade before and more than four decades after the creation of the film. Ray Bolger: More Than a Scarecrow is the first biography of this classic American entertainer, covering the luminous and forgotten career of the eccentric dancer outside of his burlap mask.

The product of a fragmented, working-class Boston Irish family, Bolger learned tap and eccentric dance steps as solace for a difficult life before

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Book ID Asin: 0190639040
Book Title: Ray Bolger: More than a Scarecrow
Book Author: Holly Van Leuven
Book Format and Price:
Book Format Name: Kindle
Book Format Price: $13.19
Book Format Name: Hardcover
Book Format Price: $23.74-$32.82
Book Price: $32.82
Book Category: Books, Arts & Photography, Performing Arts and unknown
Book Rating: 32 ratings

Ray Bolger: More than a Scarecrow by Holly Van Leuven Book Review

Name: Michael Canestraro
Rating: 2.0 out of 5 stars
Title: A Missed Opportunity.
Date: Reviewed in the United States 🇺🇸 on July 20, 2019
Review: Sadly, this book is neither particularly well written nor accurate. It is filled with errors. The 1925 Musical SUNNY (1925) was produced by Charles Dillingham, not Florenz Ziegfeld. Marilyn Miller was offered the role of Vera Baronova in ON YOUR TOES (1936) and not the role of Frankie Frayne. Ronald Graham had a leading role in THE BOYS FROM SYRACUSE (1938) and not a small supporting role. Benay Venuta replaced Ethel Merman in ANYTHING GOES (1934) not ANNIE GET YOUR GUN (1946) which had not even opened at the time of BY JUPITER (1942) . Venuta did not sing "Nobody's Heart" in Act One of that show. Constance Moore did. Mark Platt played the role intended for Bolger in TONIGHT AND EVERY NIGHT (1945), not Jack Cole. Balanchine had not formed New York City Ballet prior to his work on WHERE'S CHARLEY? (1948). It was then known as Ballet Society. Eileen Herile could sing and did so splendidly in TAKE ME ALONG prior to ALL AMERICAN. Joshua Logan did not direct the Broadway CAMELOT, he directed the dreadful movie version. COME SUMMER was not Agnes de Mille's first experience as a director. She had both choreographed and directed ALLEGRO (1947) and was replaced by George Abbott on OUT OF THIS WORLD (1950) a decade or so prior. After Jack Haley' death, Bolger was not the last remaining principal cast member of THE WIZARD OF OZ, Margaret Hamilton was still living at that time. Bolger was the last surviving principal cast member of that film. These are really sloppy errors. In the end we don't get to know all that much about the principal subject except he went here and performed there or that his wife was more of a hindrance than a help much of the time. His father and sister are mentioned briefly and then discarded early one and we never find out what happened to them or Gwen Bolger's family. There are even mistakes in the NOTES section. A lyric of Lorenz Hart's is quoted as being from "Nobody's Heart" in BY JUPITER when it is in fact from "Why Can't I? written for SPRING IS HERE (1929).

Name: Roxanne
Rating: 5.0 out of 5 stars
Title: He WAS more than a Scarecrow!
Date: Reviewed in the United States 🇺🇸 on August 21, 2019
Review: I LOVED reading about Ray Bolger's entire career (although of course loved him best as the Scarecrow). If you are interested in vaudeville, Broadway, great dancers in NY and Hollywood before and after the Golden Age, you will love this book. Although there are not many contemporaries around for the author to interview, you'll still get a sense of who the man was as a person, in addition to a detailed chronicle of all of his work through the decades he spent in show business. A fascinating read! Highly recommended!

Name: Webstercat
Rating: 4.0 out of 5 stars
Title: Thorough and insightful
Date: Reviewed in the United States 🇺🇸 on January 24, 2020
Review: A wonderfully detailed record of Ray Bolger's extraordinary career. Well researched and thorough, this book covers the twists and turns of a career in show business. Mrs Bolger is a key character, who provided support and influence to one of the greatest dancers. Recommended.

Name: Barbara Mackey
Rating: 4.0 out of 5 stars
Title: The only biography of this artist
Date: Reviewed in the United States 🇺🇸 on January 22, 2020
Review: I was glad to read this biography of one of my favorite artists. I wish the writer had added more description and evaluation of his few movies, since these are the only way we can see him now.

Name: John W. Gearan
Rating: 4.0 out of 5 stars
Title: Excellent bio
Date: Reviewed in the United States 🇺🇸 on October 6, 2020
Review: Excellent review of the golden era of stage and film...a star-studded recounting of Bolger's amazing life!

Name: Christine J. Campbell
Rating: 5.0 out of 5 stars
Title: I read it three times because it was so well written!
Date: Reviewed in the United States 🇺🇸 on June 18, 2019
Review: Wonderful. It makes the reader feel totally immersed in the time period the author is describing. The title fits the book well. It describes in great detail the time period in which Ray Bolger lived and the other great endeavors he took part in.

Name: linda
Rating: 5.0 out of 5 stars
Title: We are distant cousins
Date: Reviewed in the United States 🇺🇸 on May 26, 2020
Review: I really e oyed learning more about RayBolger

Name: RickBoston
Rating: 5.0 out of 5 stars
Title: A pioneering biography of a man who touched America's heart
Date: Reviewed in the United States 🇺🇸 on February 24, 2020
Review: Holly van Leuven has written a remarkable biography of Ray Bolger, a dancer who achieved immortality through his magical portrayal of the Scarecrow in "The Wizard of Oz." In telling Bolger's story, van Leuven also traces the history of the entertainment business in the 20th century America. Bolger began his dancing career at the time vaudeville was reaching its pinnacle at NY's Palace Theater. As times changed, he worked hard to find success in movies, then book musicals, and eventually television. All of this is related against the backdrop of seismic changes in the social, economic and political order.

Most extraordinary about van Leuven's book is the care she takes to provide the context for readers to understand the arc of Bolger's story. Rather than simply take you from one Bolger project to the next, she paints a vivid portrait of the forces that shaped the changing Broadway landscape, the early years of Hollywood, and the birth of television. Likewise, beyond just reciting the facts and figures of Bolger's U.S.O. tours, we learn about the improvisational nature of its early organization and what it meant to the troops he entertained.

Van Leuven has done a yeoman's job of researching and writing an eminently readable account of Bolger's career and life. If there are minor factual errors that a small-minded nitpicker might harp on, none of these are central to Bolger's story, nor do they detract from the overall excellence of this book.

Highly recommended!