MUSIC at MANY GLACIER

Voice of the Glacier Park Foundation ☐ Summer 2008 ☐ Volume XXII, No. 2 Special Issue: MUSIC at MANY GLACIER

Inside: • HOOTENNANIES by Sean Williams

• SERENADES by John Hagen Mr. Tippet personally introducted each per- • BROADWAY MUSICALS by Ian Tippet formance on the Many Glacier summer calen- • TALES OF THE COMBO by Don Day dar. (photo by Paul Meierding) • THE DIXIELAND BAND by Joe Miller (Insert photos courtesy of Paul Meierding and Rolf Larson) • REHEARSALS by Tessie Bundick

The Inside Trail � Winter 2005 � 1 MUSIC AND COMMUNITY: 25 years since the Tippet Era Ian Tippet, a legendary figure in the his- the hotel on most evenings during the ing. The friendships endured. And tory of Glacier National Park, will turn Tippet Era. for hotel guests, the memory of being 78 this July. He spends his summers in involved in a happy, close-knit commu- The remarkable thing is that those per- theoretical semi-retirement at Glacier nity endured. formances were purely a volunteer ef- Park Lodge. In fact, he remains remark- fort. Nobody was paid to put them on Such community spirit, of course, has ably active, running the mail room for (except that the assistant manager dou- been present in many other locations and Glacier Park, Inc., supervising banquet bled as a musical director). Employees eras during Glacier Park’s 98 years. The preparations, working predawn hours whose energy already was being poured other lodges, the transport company, and with the lobby porters, and fostering into hotel jobs and hikes put thousands other entities all have bonded enduring community spirit among the staff. of hours into performing, rehearsing, friendships. But Ian Tippet deserves spe- 25 years have now elapsed since the end setting up and breaking down the lobby, cial praise for showing how one person’s of Mr. Tippet’s storied career as manager covering work shifts for performers, and vision and energy can foster a community of Many Glacier Hotel. From 1961 supporting roles of all sorts. The whole spirit embracing thousands of people. (the end of the Great Northern Railway era) to 1983, he served in that capacity. In 1983, he was transferred to adminis- Mr. Tippet led by example. Others were trative work at East Glacier, and a grand motivated to work hard by his enthusiasm and era came to an end. penchant for working harder than anyone else. Mr. Tippet did not invent the musical tradition at Many Glacier. Bands staff strove together to bring the ambi- Mr. Tippet led by example. Others played there during the early decades, tious productions (especially the annual were motivated to work hard by his and the staff staged occasional shows. Broadway Musicals) about. enthusiasm and penchant for working But Mr. Tippet took those nascent, spo- harder than anyone else. Those qualities radic performances and brought them Ultimately, the Tippet Era was more are evident in his personal recollections to extraordinary heights. An amazing about community than about music. of the music program, published in variety of fine music was presented in The music was often sublime but fleet- these pages. As the revival of the music at Many Glacier Hotel proceeds this Glacier Park Foundation Officers: summer, we dedicate this issue of The P.O. Box 15641 John Hagen, President Inside Trail in his honor. Minneapolis, MN 55415 Einar Hanson, First Vice President www.glacierparkfoundation.org Carol Dahle, Vice President - Membership [email protected] Mac Willemssen, Secretary Tessie Bundick, Historian The Inside Trail takes its name Board of Directors: Jim Lees, Treasurer from the famous old trail Tessie Bundick Rolf Larson, Inside Trail Editor which connected Glacier Laura Chihara Janet Eisner Cornish Park Lodge with the vanished Carol Repulski Dahle The Glacier Park Foundation was chalets at Two Medicine, Joyce Daugaard formed by Glacier Park employees Cut Bank, and St. Mary. The Ray Djuff and visitors who have a deep love for this special place. The Foundation is name thus emphasizes the Glenn Elvig commited both to the importance publication’s focus on the Lee Flath of wilderness preservation and to David Gilbertson the importance of places like Glacier lore and history of Glacier John Hagen as classrooms where people can National Park. We invite Einar Hanson experience wilderness in intense submission of historical, meaningful ways, learning not only a Paul Hoff love for the land, but also a respect scientific, or anecdotal ar- Mark Hufstetler that nurtures the skills necessary to ticles, commentary, poetry, Jeff Kuhn preserve that land. The Foundation Linda Young Kuhn has a special interest in Glacier Park’s or artwork for publication in Rolf Larson history, traditions and visitor facilities. future issues. Don Loeffler Leroy Lott Greg Notess

2 ☐ Summer 2008 ☐ The Inside Trail HOOTENANNIES and other Memories

The Host Band for weekly Hootennanies in 1980 included Cary Black, Milt Crotts, Rick Taylor and Sean Williams. Many others also took part as were needed (photos courtesy of Rick Taylor).

By Sean Williams (Many Glacier 1978-81) I packed up my banjo and guitar and got In front of transient hotel audiences myself out to Montana from California night after night, I completely lost any When I first spotted the ad – a half-page to begin what was unquestionably the sense of stage fright that I’d brought to photo of Mt. Gould – with its invita- most important developmental experi- Glacier. I learned about timing, cover- tion to spend a summer playing music ence as a musician and performer that I ing up mistakes, polishing an act, and (and working) at Many Glacier Hotel could have hoped for. Yes, I had a job interacting with other performers. I in the Rockies, I was enchanted. I was (“relief maid,” which meant the 5 am learned what to do when the sound sys- in my first year of college as a music to 2 pm shift, no tips, and virtually no tem failed. I had the chance to expose major at UC Berkeley. I rushed back to contact with the rest of the housekeep- audiences to a wide variety of musical my dorm and asked a friend for a letter ing staff). But the really extraordinary styles and to gauge their reactions. of recommendation. He kindly wrote “work” at Many Glacier was the combi- one and had the entire dorm sign it as a Best of all were those glorious moments nation of musical rehearsals, performanc- petition! According to Mr. Tippet’s offer of musical collaboration – performing es, and opportunities to learn stagecraft. of employment, it won me the job (and Faure’s Pavane on cello, guitar and flute thanks, Dwight, wherever you are). And for four summers I found my “voice,” matured as a human being, and met both The really extraordinary “work” at Many my dear husband (Cary Black, bass play- Glacier was the combination of musical er in the house band) and my best friend forever, Gloria Hatch (then known as rehearsals, performances, and opportunities to Tib, who worked first as a maid like me, learn stagecraft. then as Mr. Tippet’s secretary).

The Inside Trail ☐ Summer 2008 ☐ 3 (Continued from previous page) because it was the instrumentation we audiences who probably expected little stage. Surprise! Out came the iconic had on hand, for example. Watching more than “Irene, Goodnight.” And first notes of… “Tennessee Stud.” Gasp. a talented singer-songwriter perform yet, I learned from those experiences the We rushed down the hall and in about “Dust in the Wind” with a full comple- hazards inherent in trying to put out a a minute and a half prepared something ment of chamber players was transcen- message when the message isn’t entirely else in hushed voices without even giving dent. And playing “Stayin’ Alive,” one clear. At the same time, I had my first it a try out loud. “Can you sing lead on of the great disco anthems, as a bluegrass attempts at performing world music in this?” “Sure. Could you do a solo before tune complete with hot dancers Ellen public by 1980, and before long found the bridge?” “Got it.” Whew. Luckily Rockne, Tib Hatch, and Bonnie Brown myself heading into my chosen career we pulled it off; otherwise it could have in overalls, was a highlight of my first path as a professor of ethnomusicology. been “Another One Bites the Dust.” summer. Being able to call on the col- Coincidence? Maybe not. In 1980 four of us got together to create lective musicianship of each summer’s I can’t be the only one harboring funny The Magnettes, a “girl group” in the old hotel workers was an experience that I memories of specific performances, or style: Alex Sokolov, Tammy Kohn, Tib have not been able to replicate since. of rehearsals after midnight – often the Hatch, and myself. Alex had brought I was in the host band for the Hoote- only time that all of us were finally fin- loads of sheet music from the Boswell nannies each year, with various members ished with our “day jobs.” Rick Taylor Sisters to the girl groups of the early 60s including John Galyean, Rick Taylor, had the most uncanny way of keeping to the Manhattan Transfer. We all took Milt Crotts, Cary Black, and many us “on task”: if our attention began to turns singing lead and close harmonies others. From the beginning I never did flag in rehearsal, he would immediately on songs like “Java Jive,” “Hold Tight,” understand why we closed each perfor- launch into yet another Dan Fogelberg “Operator,” and “Birdland.” With the mance with “California cannot hold tune. I learned to recognize every Fo- exceptional professional assistance of the me, though I love her timbered mountains, worked her fields and worked her orchards, up and down the Central In front of transient hotel audiences night after Valley…” Huh? California? Aren’t we night, I completely lost any sense of stage fright in Montana? John Galyean patiently explained that we were evoking the “folk that I’d brought to Glacier. I learned about timing, scare” of the late 50s and early 60s with covering up mistakes, polishing an act, and the likes of the Kingston Trio and oth- interacting with other performers. ers. I finally got it. We were part of a larger tradition that hotel guests would instantly recognize. Imagine my delight gelberg tune that Rick knew, and would John Damberg Trio (John Damberg on when my husband Cary eventually got snap to attention even as I was stagger- drums, Nick Moore on keyboards, and the call to be a member of the Kingston ing on my feet from lack of sleep. We Cary Black on bass), we actually sounded Trio’s backup band in the 1980s! He cer- often rehearsed in the Many Mingle, a okay! Even in the cold light of 28 years tainly knew the repertoire by that point! bit of a euphemistic term for the laundry gone by, I can look back on those perfor- room. We also rehearsed on the stage mances with some genuine satisfaction. Looking back on those performances downstairs after hours. But we never, It was all something of a revelation to now, I can see the flaws in my earnest ever, rehearsed in the dorm. Dorm me: I, a Berkeley girl, had never even passion. I suspect that our “Concert matron Thelma’s ultra-strict policy of worn makeup or heels before and didn’t for the Earth” in 1982 (in which Cary no music (no instruments, no singing, know the first thing about them. and I performed Gordon Lightfoot’s no humming) now seems like a strange My parents, who happened to be visit- “Ode to Big Blue” with Cary playing policy to keep in a place where music ing on the night of The Magnettes’ big whale sounds on his bass, and in which was flowing from everyone’s hearts. Alan Philips sang multiple songs by Pete concert, were shocked. In a good way, Seeger) was more of a set of dirges than At one point we were backstage, waiting I hope. At that point, my mother had a call to action. I cheerfully sang IRA to be “on” for a hootenanny performance learned by heart every word of “Coming ballads in honor of the Catholic hunger of “Tennessee Stud.” Jack Gladstone, to the Rockies Again” from my battered striker Bobby Sands, then imprisoned in the fine singer-songwriter who was living cassettes of previous years’ concerts, and Northern Ireland. At the time I had no in Babb at the time, went on ahead of I’m pretty sure she was expecting a rous- idea of the complexity of the issues that us. We were ready to go, and we liked ing chorus of “Rocky Top,” not Elling- I and others were trying to present to Jack and were eager to hear what he ton’s gorgeous “Sunday Kind of Love.” would perform so we clustered near the 4 ☐ Summer 2008 ☐ The Inside Trail ABOVE: Mark Brinkman and Jeff Clark (1975) (photo by Paul Meierding). LEFT: Serenade Singers (1980) (photo by Laura Chihara).

On the Fourth of July each year, we held I have to do a shout-out to the John and I am sure every one of the people a parade in which various sets of musi- Damberg Trio, especially to Nick Moore, they supported was grateful. cians would gather in the park’s jammer whose keyboard skills in virtually every In the thirty (gulp!) years since I started busses and make the rounds between the genre supported countless young musi- that first summer at Many Glacier, I hotel and Swiftcurrent Lodge. One sum- cians. They played in the lounge every have held it in my heart as the perfect mer I found myself in a jammer bus with evening from 5 to 8, then downstairs – perfect! – model for how to support a bunch of other people playing blue- for dancing until midnight. What I saw, young musicians. To this day, the skills grass. It was a gorgeous day and spirits again and again, was this: patient guid- I use in my daily life as a professor (for were high; the top of the bus was rolled ance with fledgling singers or instrumen- every lecture is, in fact, a kind of perfor- back. Our jammer bus was gaily deco- talists preparing for the Thursday Night mance), and in my other moments as a rated with posters representing the girls Serenades, first-rate support for people performer, stem from the experiences I who worked in the employee cafeteria who wanted to sing a rock, blues or pop gained in those four short summers. If (my “day job” for my last three years). song for the dances, congenial hosting of Mr. Tippet had not had the profound performances of all kinds, and endless, There was a young woman named Betsy wisdom, generosity, and willingness professional contributions to everyone’s Dimick, whom I have never met because to generate a staff of performers and musicianship, stagecraft, and friendship. she had worked at Many Glacier prior to nurture them year after year, I strongly 1978. According to all reports, she was The band’s humor was delightful. When believe that all of our lives would be dra- an excellent fiddle player. She must have I asked them if they would please stop matically different. We all learned from looked something like me, because for playing “Put On a Happy Face” dur- his gentle, dry humor, from his gracious years people would compliment me on ing their lounge time, they responded kindness to both guests and employees, my fiddle playing! This continued even by playing it in 5/4 whenever I stopped and from his acceptance of a certain level after I moved to Seattle in 1982. “Didn’t by. And during the dances at the end of of background chaos in the name of ef- you perform at Glacier National Park?” one of the summers, “Too Fat Polka” was fective musical entertainment. I would “Why, yes, I did.” “You’re a great fiddle changed into “Too Weird Polka” (“she’s not be the person I am now without Mr. player!” “Um, thank you, I think.” As too weird, she’s too weird, she’s too weird Tippet’s willingness to take on someone it turned out, I did eventually become a for me”). Of course, many of us learned who knew little more of the adult world fiddle player, but not until 2001! to dance like grownups under the be- than how to play music well. To Mr. mused eye of those three. Sorry, guys. Tippet and all the musicians of Many The three were a model of generosity, Glacier, I offer my sincerest thanks.

The Inside Trail ☐ Summer 2008 ☐ 5 If Mr. Tippet had not had the profound wisdom, generosity, and willingness to generate a staff of performers and nurture them year after year, I strongly believe that all of our lives would be dramatically different.

There was never a shortage of guitars at Hootennanies. (photos by Paul Meierding and Laura Chihara)

We all learned from his gentle, dry humor, from his gracious kindness to both guests and employees, and from his acceptance of a certain level of background chaos in the name of effective musical entertainment.

6 ☐ Summer 2008 ☐ The Inside Trail SERENADES and other Memories

Barb Kaiser performs for a Serenade. Sheila Wilson is the acco- panist with the help of John Sauer (photo by Rolf Larson).

By John Hagen (Many Glacier 1970-80) roofs, weathered siding, the sagging up in the spotlights and causing whoops hall known as “Stagger Alley.” It wasn’t and bobbing of heads among the crowd. I once heard a story about a concert of the sort of venue where travelers would Lobby shows were ringed around with classical music in a ranch town in rural expect to find classical music. distractions – doors banging, pedestri- Montana. A symphony orchestra had ans trooping and talking, old-fashioned traveled there as part of a cultural tour. What fanciful sights and sounds ac- cash registers ringing and clanging, As the crowd applauded politely after companied the nightly entertainment bellmen’s carts rumbling over the tile. the final number, a raucous cowboy that was performed at the “old barn!” In harsh weather, lightning would flash climbed on a chair and shouted, “Clap Bats periodically would flit through the through the skylights, thunder would real hard, and they’ll play some more!” darkened performance areas, looming echo off the mountains, and wind This episode did not occur at Many Glacier Hotel, but it easily might have. It captures the whimsical incongruity Lobby shows were ringed around with that often surrounded our efforts to distractions – doors banging, pedestrians perform fine music in rustic surround- trooping and talking, old-fashioned cash ings during the Ian Tippet era. In those days (prior to the recent renovations), registers ringing and clanging, bellmen’s carts Many Glacier had a distinctly tumble- rumbling over the tile. down air – missing balconies, leaking

The Inside Trail ☐ Summer 2008 ☐ 7 (Continued from previous page) would howl through cracks in the doors. Often the Serenades were bedeviled by the chest and arms. They dragged (I remember Chip Smith, now a music with unseemly clamor. Boisterous him off bodily through the crowd, with professor, morosely commenting that people would come tramping into the one of his legs spasmodically twitching. the howling wind was incessantly B-flat, lobby and be shushed by indignant em- As he was carried away, he was shouting, and complaining: “It could at least ployees. Sometimes Mr. Tippet himself “My foot won’t stop tapping! My foot change pitch!”) Yet amid all this chaos would take to the microphones and won’t stop tapping!” and hubbub, the programs were utterly admonish the rowdies: “We pray that Lively Memories of the Hoots charming and incorporated high levels we might have some pleasant silence!” The second cornerstone of the weekly of talent and skill. But much of the time there was pleas- lobby programs was the Monday Night ant silence, with hundreds of people The Thursday Serenades Hootenanny. The Hoots were informal hushed and focused on a talented Ian Tippet poured great energy into the and were focused on folk music, broadly performance. The second and third Thursday Serenades. Amid the de- defined. In the 1960s, there was a lot floor balconies typically were crowded mands of running the creaky old hotel, of Kingston Trio music, Peter, Paul and with people leaning attentively over the he always found time personally to orga- Mary, and the like. In the ‘70s and rough wooden railings, amid the Swiss nize this ambitious variety show, which ‘80s, bluegrass was dominant. But there canton shields and the lanterns – young involved about ten acts each week. He was a wonderful variety of music from campers, elderly tourists, families with would write an elaborate script, full of other genres – British Isles, Dixieland, children – all enthralled by Mr. Tippet’s detail about each of the performers. country and western, folk rock, black marvelous show. Then he would emcee the show, assisted spirituals, ballads, and what have you. by an employee as co-host. “My Foot Won’t Stop Tapping!” In the early ‘70s, the Hootenannies fre- Among other memorable Serenade The Serenades were wonderfully diverse. quently featured “Lieutenant Marsupial acts, I recall a fine Dixieland band A string quartet playing Bach might be and the Freddy Bear.” The Freddy Bear that performed in 1976. There were followed by a duet from “The Sound was Fred DiGiovanni, tall and roly- seven musicians, dressed in oversized of Music,” Scott Joplin ragtimes on the poly, with dense black curly hair and an straw hats, vests, and white shirts with piano, a pantomime, a trumpet solo, impish smile. Lieutenant Marsupial was rolled-up sleeves. They played the clari- an aria from an Italian opera, modern Rex Richardson, quiet and whimsical, net, drums, piano, banjo, trombone, dance, and a reading from Shakespeare. ordinarily attired in an Australian bush saxophone, and trumpet. There was no Romantic duets from “Porgy and Bess” hat, and much given to puns. piano music, so the pianist transposed or “West Side Story” might involve one from a tuba part. Fred and Rex sat side by side on tall singer on the lobby floor and another stools, and Rex accompanied on guitar. on an upstairs balcony. Once a violinist The most challenging task, however, Rex sang in a deadpan manner, while climbed onto the beams above the gift fell to the trombonist, Bruce (“Goose”) Fred would roll his eyes and leer at the shop to play the theme from “Fiddler Emerson. Bruce was nearsighted and audience while singing a gruesome lyric. on the Roof.” unfortunately had lost his glasses that They liked to sing songs which were afternoon when he capsized a canoe. A hustle and bustle of rough stagecraft good-naturedly macabre, such as “Hang He was very tall and lanky, and had to accompanied the Serenade. Employees on the Bell, Nellie” (wherein a young do a deep knee bend and crouch to read would trundle an ancient upright piano woman lashes herself to the townhall the music on his stand. It was droll to from the cocktail lounge to the lobby bell to keep it from ringing at midnight see him squatting and squinting might- and back again after the performance and triggering her father’s execution) ily under his straw hat, while pumping (wreaking havoc upon the painstak- and “Rickety-Tickety-Tin” (a sort of the long slide of his trombone. ing adjustments done by an aged piano Lizzie Borden lampoon involving the tuner from Kalispell). Coffee tables The sextet improvised for several min- demise of numerous relatives). were stacked up in front of the gift shop utes, then took a bow and walked off to Later in the ‘70s, a memorable act on as tiers for the Many Glacier Singers. enthusiastic applause. One of the trum- the Hoots was Jim Singleton (now a Scores of folding chairs were passed up peters, however, seemed strangely agitat- Presbyterian pastor) manipulating the the stairs hand to hand from the St. ed, and lagged behind in the spotlight, “Limber Jack.” Jim was from Tennes- Moritz Room and then passed down shuffling around as if he were stamp- see, and the Limber Jack was an Ap- again after the program. ing out a fire. His cohorts, looking alarmed, turned back and grabbed him

8 ☐ Summer 2008 ☐ The Inside Trail palachian folk-toy. It was a marionette, of staging a full-scale Broadway musical in outrageous plaids and bouncing up about ten inches high, with its arms and in August. It was community theater at and down to simulate riding rough rails. legs articulated on strings. Jim held a its most impressive -- actors, stagehands, Most memorable, though, were the thin wand which was attached to the musicians, set-builders, costumers, ad libs. During a performance of “I Limber Jack’s head, and its feet rested prop-crafters, sound-and-light people, Do, I Do,” a packrat came out of the on a strip of wood perched on his knee. program designers, ticket-takers, all woodwork and went brazenly parading working as volunteers in their off-hours. Jim would sit on a stool amid a blue- across the stage. Roger Stephens (the grass band at the Hoots. He would The St. Moritz Room stage was rustic, male lead as well as the director) walked cause the Limber Jack to dance by with its rough battens and tree-trunk to the front of the stage and called to twitching the wand and making its pillars. The sound and light controls the orchestra conductor, “Hey, Mister feet bounce on the wood. As the band had the look of something that Boy Leader! You got any D-Con [rat poi- would crank up the tempo on “Foggy Scouts might cobble together in a base- son] down there?!” Mountain Breakdown” or “Turkey in ment -- rough fiberboard, jottings in Life at Many Glacier was a grand adven- the Straw,” Jim would make the Limber Magic Marker, mysterious levers and ture, full of merriment and color and Jack leap and caper, swing its arms, and cables and dials. human interest. The music program run in place. Jim always wore a look The musicals always involved superb was a vital part of it, even for those of of rapt fascination, as if the puppet had acting and choreography. I recall the us who had no talent. It was a well- come alive and was rollicking along chorus of Forest Rangers (costumed in spring of community spirit, bonding without any guidance on his part. old band uniforms that looked vaguely us together as we labored on ennobling Broadway Musicals like Canadian Mountie outfits) march- and generous projects. It broadened our Dozens of people poured time and en- ing to and fro in “Little Mary Sun- musical tastes, and it gave us the bless- ergy into each weekly Hootenanny and shine,” the pathos and grandeur and ing of scores of lifelong friends. May Serenade. But virtually the whole staff intricate Russian dancing of “Fiddler on the musical traditions of Glacier Park was involved in the tremendous project the Roof,” the train car full of travelling continue to enrich the lives of genera- salesmen in “The Music Man” dressed tions to come!

Jacque Hjelmseth and Barb Kaiser perform (photo by Laura Chihara).

The use of space was always creative. All corners of the lobby and the balconies were used at one time or another to achieve creative effects (photo by Paul Meierding).

The Inside Trail ☐ Summer 2008 ☐ 9 BROADWAY MUSICALS and other Memories

“110 in the Shade” was the featured musical for 1975 (photo by Paul Meierding).

By Ian B. Tippet (1955-2008) the Ptarmigan Room dining room themselves voluntarily to the various dinner service, and musicals/plays and musical programs. We also sought out To offset the many physical deficiencies skits on stage in the St. Moritz Room talented accounting majors, hotel/res- of the Many Glacier Hotel and the lack downstairs. taurant majors, and culinary arts majors, of some “comforts” due to old build- who wanted to help us in the musical ings, weather conditions, droughts, I did not take this lightly, and to start program too: building sets for Broadway wind, noises, no elevators, half the things off in the winter months noti- plays, manning the light boards, the rooms not on lake-side where all guests fied every single college and university sound systems, the box office, and all the wanted lake-side, and similar matters in the USA (and Canada for our Prince facets of a first class production. The that we could not change anyway, I felt of Wales Hotel in Waterton, Alberta) employment applications came in by as General Manager at Many Glacier of our need at Many Glacier for mu- the thousands literally, along with their Hotel and as company Personnel Direc- sic/drama majors as employees, to fill theatrical or musical resumes and 8”x10” tor that it would help to offset guest all the hotel positions. Employees were portraits, and we had to make certain complaints and to enhance enjoyment paid for their hotel jobs and gave of that the right instrumentalists were hired of their stay, to employ college and university students for Many Glacier who were majoring in music/drama Employees were paid for their hotel jobs and and the fine arts, or to make sure they gave of themselves voluntarily to the various possessed a real talent, for our nightly programming, including lobby shows, musical programs.

10 ☐ Summer 2008 ☐ The Inside Trail For year after year, students and others gave up thousands of hours of their free, off-duty time to the entertainment music program at Many Glacier in all its countless forms. Rehearsals would go on often into the early morning hours. for the hotel orchestra, the Broadway The calendar reflected non-musical pet, what are running up there, a hotel Musical Orchestra, lots of guitarists and events too such as the Many Glacier or a music camp?” I gulped and said, banjoists for the Monday night Hoote- Olympics, flag football contests against “Well, both really; we’re in the hospital- nannies, super voices in the dining room Glacier Park Lodge teams and all kinds ity business which includes both!” He wait staff, all the theatrical tech talents, of other events such as employee birth- laughed and replied, “Send a large truck conductors, directors, and the like. days and the annual Miss Glacier Park up here, there are three massive harps Pageant, a massive formal production at awaiting pick up!” We put on twenty-seven Broadway each lodge with the final at Many Gla- musicals in twenty seasons. We selected For year after year, students and oth- cier. I drew in all kinds of “outsiders” to dates on the calendar for major producers gave up thousands of hours of their help us out: the former governor of the tions/concerts such as Brahms Requiem free, off-duty time to the entertainment state of Montana, Mr. Tom Judge, who and “Carnival of the Animals” for full music program at Many Glacier in all its often adjudicated events, and his moth- choir and orchestra. countless forms. Rehearsals would go on er Mrs. Blanche Judge who “coached” often into the early morning hours. The The Monday Night Hootenannies the girls for the pageants. Countless carpenters’ shop was busy with set build- became a sensation. outsiders got involved, the superin- ing and a kind hotel engineer would give tendents of Glacier National Park and Tuesday night was movie night of his free time, too, to make certain Waterton National Park, many of the there was proper guidance over the ma- and needed projectionists, local NPS rangers, etc. The Broadway chines. There were rehearsals going on Wednesday night was Community musical needed a director, a conductor, all the time for the many calendar events, Sing singers, dancers, actors, an orchestra, which needed song sheets made up in all parts of the building, and on nice program producers and assemblers, box and produced and great pianists. weather days, even on the lake shore! office, publicity experts and many other Thursday Serenade The areas such as set builders, lighting and We were always being featured in vari- was often a massive production with sound technicians, and make-up artists. ous newspapers. One season The Min- contrasting talents and in a more formal neapolis Star Tribune sent out journalists One specifically challenging thing was atmosphere in the lobby, with scripts, to take pictures of what was going on: making sure I had all the various musi- lights, sound, etc. shots such as four French horn players cal instruments that were needed for the with their music and music stands in Friday Night is Skit Night orchestration of the Broadway musical: a canoe in the middle of Swiftcurrent was a chance for all departments in the violins, violas, cellos, double bass, oboes, Lake, rehearsing for their upcoming hotel to write and produce their own bassoons, trumpets, French horns, Sunday night concert night. Over the amusing skit, and book out their date harpists, clarinets, etc. etc. and all the years I built up a massive support from on the calendar. percussion stuff that was needed. One countless professors at many of the season we had decided to do two smaller Saturday night was Big Dance Night well-known music/drama schools who musicals in one summer -- “You’re a in the St. Moritz Room featuring our sent me obviously some of their best Good Man, Charlie Brown” and “The resident combo, and they also played talented students. On some occasions Fantasticks.” “The Fantasticks” requires the nightly cocktail period in the Inter- the student was able to earn credit hours harpists in the orchestra and I worried laken Swiss Room. for participation in the Many Glacier all winter if and how I was even go- Singers, the Many Glacier Orchestra, Sunday night was Concert Night ing to find college student employees and the like. which gave students the opportunity to majoring in harp. After many sleepless prepare their own evening in concert/re- nights, I won over my worrying prob- Dining room wait/bus people had to cital in the lobby formally, in evening lem. I received a call at Many Glacier have great singing voices. We enter- gown, with printed programs and the from the bemused agent at the Great tained our diners twice during the din- like. Falls Airport who said to me, “Mr. Tip- ner menus, four-part stuff which raised

The Inside Trail ☐ Summer 2008 ☐ 11 the roof and often included choreogra- put any profit back into more theatri- our biggest challenge ever due to the phy. We trained employees from other cal equipment such as lighting, sound, large numbers in the show and in the departments to also wait tables, as often music stands, make-up, etc. Even the orchestration. B. Lee Drew was another dining room employees had to leave grand piano that is still in the lobby at of our directors with his “Three Penny their station to get down for make-up Many Glacier was purchased through Opera” which was maybe controversial and costuming for the evening Broad- ticket sales for Broadway musicals. to some and a challenge to do also. way musical, so we needed two teams, Professor Roger L. Stephens was the We did many of the great shows from for first and second guest seating. director of many of the Broadway mu- the library of Tams-Witmark, the New We were very proud of our annual main sicals as well as being my hotel assistant York agents, and Music Theatre Inter- event, the Broadway Musical. I took a manager. Other directors included John national N.Y., under the huge capabili- loan from Glacier Park, Inc. in order to G. Galyean, who directed “Half a Six- ties of Professor Stephens, who was also secure the title, royalty and rental fees, pence” in 1979, “You’re a Good Man, busy with the Many Glacier Singers. and orchestration. As soon as the box Charlie Brown” in 1978, and “The The hotel became renowned for the office opened in June, I started to repay Fantasticks” in 1980. Derek Coleman quality of its productions and guests of- all of our debts, so in fact the employ- directed “Brigadoon” in 1981, and Wil- ten made their hotel reservations around ees at Many Glacier were self-sufficient liam M. Hamer directed “Kiss Me Kate” the dates of the musical as did the with all the expenses of the show. We in 1983, which I always thought was tour group companies. The Montana newspaper journalists were very kind to us. Most all of the Many Glacier Hotel, employees were involved in some aspects of the annual Broadway show. The whole idea started in 1961 with the smash hit “Oklahoma,” followed in 1962 with “The Boyfriend,” and on and on from there. Favorites of mine were “Little Mary Sunshine,” “How to Succeed in Business Without Really Trying,” “Fiorello!,” and “The Pajama Game.” All our works were super class productions, with the best college and university students that America had on its employment rosters. “The Fantasticks!” was performed on two occasions, 1972 and 1979. This picture is from the 1979 prodcution (photo by Rolf Larson) We have employed brilliant young student conductors from Eastman School of Music in New York, Julliard in New York, etc. to lead the orches- tras. Brilliant contributors, year after year, included Terri Saunders, Rolf Larson, William Hamer, Tessie Bundick, Carol Dahle, William Rollie, Greg Notess, Milton Crotts, and Rick Taylor, amongst the thousands of others. A dedicated effort was made to include minority students in our rosters, and we have heard fabulous singing voices amongst them and super instrumentalists. The fabulous tradition of music at Many Glacier subsided after 1983. However, it is good to know that cur- rently there is an effort to get some of “The Music Man” was performed during the summer of 1974. those old traditions back again. (Photo by Paul Meierding.)

12 ☐ Summer 2008 ☐ The Inside Trail Tales of the Combo By Don Day (Many Glacier 1964-65) 8 P.M. to midnight, we played for danc- suit coats, pants, shirts, and ties to wear. ing in the St. Moritz Room. Our day But one day (probably on the way back Arriving from Ohio, we stepped off off was Sunday. from a pleasant hike to Iceberg Lake) we the Great Northern Railway’s Empire decided to wear matching madras shorts Builder at East Glacier on the early, Because of our schedule, we were not with our coats and ties in the Interlaken sunny Sunday morning of June 14, able to participate in the musicals, Lounge. The bellmen wore lederhosen 1964. We were unaware that the big- Carousel and South Pacific. They were so we guessed this would be permissible. gest flood in the history of Glacier Park directed by Mike Durkee, featur- No one seemed to pay attention to the was in progress. We had been on the ing Dave Hague, Sharon Ronan, and outfits one way or the other. train since Friday morning and now Sharon Moody, and were accompanied were told that we would not be able to by the String Trio. During cocktails, we Predictably, that evening turned out reach Many Glacier for several days. performed light jazz versions of selec- to be one when Don Hummel, the tions from the shows, which were favor- president of Glacier Park, Inc., made an The road from Babb to Many Glacier ites of the employees and guests alike. infrequent visit to Many Glacier. While had been washed out at the point where Those waiting for dinner listened either playing in our madras shorts, we saw Boulder Creek enters Swiftcurrent Creek while waiting in line or while seated in Mr. Tippet and Mr. Hummel walk past from the south. After some creative dis- the strategically placed lounge. Mike on their way to dinner. Not knowing cussions, it was decided that they could would occasionally join us playing flute when they might walk past again with a send us up to the washout in a jammer. while he was tending bar. Dave, also a better view of us, we concealed our bare We would hike past the washout and be bartender, would sing “Serenade” from legs as best we could. Bob never stood picked up by another jammer which was up to play his sax and stayed behind the drums, I kept my legs beneath the piano Music and talent was everywhere. Nearly half the and never turned around, and Bert played his string bass standing behind it staff participated in the musical. . . . Throughout instead of alongside of it. This worked, the hotel you could hear guitar players, piano we thought. Mr. Tippet and Mr. Hum- mel left the Dining Room and walked players, and vocalists, or eight singers with bass past us side by side on their way to the and drums singing Bach in the laundry room, lobby. As their figures started to disap- or classical music during the day in the lobby, pear behind the wall of the hallway, Mr. Tippet’s height enabled him to lean or Peter Wernick’s 5-string banjo driving the back as he walked and give us a look numerous Hootenanny performers. that we knew said, “Nice going, guys!” Music and talent was everywhere. stranded at Many. What a beginning The Student Prince and melt the hearts Nearly half the staff participated in to our wonderful two summers as the of the ladies with his high G on the last the musical, and each department Combo at Many Glacier Hotel! three notes. presented a skit one night during the summer. Throughout the hotel you We will always be grateful for the op- For dancing in the St. Moritz Room, the could hear guitar players, piano players, portunity that Ian Tippet gave us, sur- guests sat on the lake side with the em- and vocalists, or eight singers with bass rounded by so many musically talented ployees on the other. The guests were our and drums singing Bach in the laundry people. Bert Moyer, Bob Barlow, and main concern and enjoyed dancing to room, or classical music during the day I, playing bass, alto sax / drums, and the standards, but we would also include in the lobby, or Peter Wernick’s 5-string piano, majored in Physics, Business, some songs for the employees, using gui- banjo driving the numerous Hootenan- and Geology -- but we were actually tar, bass, and drums. I can still see “Easy ny performers. employed to play music. We performed Ed” dancing the pony with his hands from 6 P.M. to 8 P.M. for cocktails in clasped in the small of his back to “Help Larry Burton was responsible for telling the Interlaken Lounge, at the entrance Me Rhonda” or “Eight Days a Week”. us of all the hiking and mountaineering to the Ptarmigan Dining Room. From opportunities available in Glacier. Since We had several matching combinations of we worked until midnight, we were

The Inside Trail ☐ Summer 2008 ☐ 13 given a nice box lunch for our third writing a letter. She looked out the the lounge and rush down the steps to meal, on the assumption that we would window and said out loud, “Would you the lake to cast for 10 minutes, knowing not be awake for breakfast. We would, look at the rats!” Fortunately, I was able we would not catch anything that would however, get up in time for breakfast to tell her that they were Columbian delay us in getting back to work. and would use the box lunch for hiking. ground squirrels. And how many times One day on a trip to Babb, we were Other employees often joined us on did people ask the information desk, given a ride by a gentleman who asked hikes to destinations like Cracker Lake, “What times do the glaciers move?” Grinnell Glacier, Highline Trial, Iceberg Lake, Ptarmigan Tunnel, Belly River, and Poia Lake. Dr. Gordon Edwards It was so good to be back, but even better to know would camp at Many Glacier for several that the music is back at Many Glacier. weeks and graciously share his enthusiasm with us. We were able to do multiple ascents of Mt. Gould, Grinnell (You know that they wanted to say if we knew Ray Kinley. “Do we know Point, and Mt. Henkel. “10:00 and 2:00, except on Sundays!”) Ray Kinley?” we replied. “We live in his dorm!” (Ray was always sharing his Like most other employees, we felt that We would hitchhike around the Park now-famous stories with us, punctu- we were ambassadors for the Park -- after with our Park Employee signs. In those ated with his favorite expression, “Don’t all, most guests held us responsible for days families would give us a ride so ‘cha know.”) The gentleman asked us everything. I once heard a woman ask they could ask us which hikes to take or about Redgap Pass, and I thought that a maid as she walked towards the hotel, where to fish. Everyone wanted to fish he said something like “I built it.” That head down and holding her hat, “Young Swiftcurrent Lake. We would suggest did not make any sense until we arrived lady, does the wind always blow this other places where they would have a at Babb and he said, “Please tell Ray way?” “No, ma’am,” replied the maid much better opportunity to catch one. that ‘Doc’ Ruhle said to say hello.” Dr. (but I suspect that she wanted to add, We actually kept three fishing rods behind George Ruhle was chief naturalist from “Sometimes it blows the other way!”). the drapes next to the piano in the Inter- 1929 to 1940 and wrote the Guide to Glacier National Park. That gentleman On another occasion, I passed a woman laken Lounge. During our 7 PM break, sure knew more than the three humbled in the hallway to the Annex as she was we could exit through the back door of hitchhikers did! My wife and I camped at Many Glacier campground this past summer and had the opportunity to meet Mena Reilly, manager of Many Glacier Hotel. She was enthusiastic about the return of music to the hotel, and said, “You must come to our first Hootenanny this Sunday.” We did come, and were en- tertained by Mark Stokstad, a bellman in 1967 who had returned with his wife to work another summer at Many, and Levi Webb, who was a current bellman. At the conclusion of the concert, Ms. Reilly asked all employees, both on and off duty, to come to the front and join in For two seasons - 1964 singing the Many Glacier Hotel Anthem. and 1965, from left to She added, “We also have one returning right: Bob Barlow, Bert employee, if he would please join us.” It Moyer, Don Day were was a pleasure to join these fine people in the Combo that played singing the words that Vera Daly wrote nightly in the St. Moritz years ago. It was so good to be back, but Room. (Photo by even better to know that the music is Robert Moyer). back at Many Glacier.

14 ☐ Summer 2008 ☐ The Inside Trail Remembering Rehearsals By Tessie Bundick (Many Glacier 1972-82) down on the basement theatre of the So we were tired before we started and hotel. I participated in three shows we had to compete with a very loud Most of the employees at Many Glacier there under the direction of Roger Ste- band in the St. Moritz Room, next to in the 1970s were hired because they phens, who remains to this day one of our rehearsal venue, the Lucerne Room. were theatre or music majors. Mr. Ian the best directors I ever had. We had to shout our lines and really had Tippet, the mastermind behind these to learn to concentrate and focus. It entertainment programs, searched One of my most distinctive memories was a tough situation, but with the su- colleges throughout the nation to find concerning the entertainment program perb direction of Roger Stephens, goof these talented students. I was one of the at Many Glacier had to do with rehears- humor, youthful excitement and enthu- lucky ones hired to come to this beauti- als. In 1972, I was cast as the lead in siasm, we were able to pull it off and ful hotel on the Continental Divide to “Barefoot in the Park,” a full-length, present quite a good piece of theatre. work at a regular job and also to act and non-musical play. We could never be- put on shows during my off hours. gin play practice until after nine o’clock In 1973, we presented “Fiddler on the Roof,” and it was a wonderful experience. Our stage was tiny; we had no It is a good thing that we were young, wings or fly space. The conditions were because this schedule was very demanding, less than ideal, but the productions were full of energy and talent and the but most rewarding. These entertainment audiences were appreciative. Our shows programs at Many Glacier created a were full-scale, complete with rented marvelous bonding experience amongst the costumes and sets made on site. participants that lasts to this day, in the form It is a good thing that we were young, because this schedule was very demand- of lifelong friendships and very rich memories. ing, but most rewarding. These entertainment programs at Many Glacier created a marvelous bonding experience in the evening, because cast members There were many opportunities to hone amongst the participants that lasts to who worked in the dining room were one’s talents at Many Glacier. I person- this day, in the form of lifelong friend- not finished until then. ally put most of my energies into the ships and very rich memories. Broadway Musical presented in August The Dixieland Band By Joe Miller (Many Glacier 1963-4, 66) of the week had a set theme of enter- Our favorite song was “A Good Man tainment, so we always knew when to in Hard to Find,” and our greatest fan In the summer of 1963, my twin broth- prepare for a classical musical evening, was Chef Wilson. During our summers er Jack and I left Anchorage, Alaska to a hootenanny, or a talent show. Em- in Glacier, the Dixieland band toured work at Many Glacier Hotel. During ployees practiced for their approaching different locations within the Park for that first summer, Jack and I worked as performances all over the hotel – in the performances. Many times we received lobby porters, housemen, and bellmen. employees’ laundry room (the “Many standing ovations. We also worked the summers of 1964 Mingle”), in the St. Moritz Room and 1966 as bellmen. (which doubled as a coffee shop by day), If I had to choose a life career again, it would be playing the clarinet. I should In those years, Mr. Tippet always made and in the third floor Linen Room. have gone to New Orleans and lived sure that there was abundant tal- Jack and I had the opportunity to my music rather than having to live it ent among his summer workers. We form a Dixieland band from among through my son and daughter who are employees enjoyed providing entertain- the employees at Many. Jack played “living the dream.” They make their ment of one form or another every trombone and I played the clarinet. living in the music industry. I must say evening for the hotel guests. Each night I’m a little jealous. Oh, well!

The Inside Trail ☐ Summer 2008 ☐ 15 There has always been a special romance to evening programs at Many Glacier. Virtually every night for a quarter century, evening programs enchanted guests with energy and creativity. Areas that were not crowded with performers were filled by guests. The magic of a summer evening, a moon-lit night or raging storm was transformed to yet something else by the unexpected delights of performances, a gift from Many Glacier employees and management. (Photos by Paul Meierding.)

JOIN THE GLACIER PARK FOUNDATION All friends of Glacier Park are invited to join the Glacier Park Foundation. Membership includes a subscription to The Inside Trail and the right to vote for directors. Please download a membership form from our Web Site (www.glacierparkfoundation.org) or send your name, address, phone number, and park experience to Glacier Park Foundation, Box 15641, Minneapolis, MN 55415. An annual membership in the Foundation costs $10. A “Friend of the Park” membership costs $25 annually, cumulat- ing to a Lifetime membership in ﬁve installments. A Lifetime membership paid in one installment costs $100. The Glacier Park Foundation is a § 501(c)(3) nonproﬁt corporation. Contributions are tax deductible to the extent per- mitted by law.

(Panorama by Christine Baker)

16 ☐ Summer 2008 ☐ The Inside Trail