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WILLIAM FOSTER HAYES IV (1949)
The final show of this series occurred
on October 27, 1949. Mary, having become toxic during this pregnancy,
was scheduled to have her labor induced the next day. Aware of this
impending nativity, Chic Johnson—onstage, during the show—gave me a wild
grin and said, “Hope it’s a boy!” Of course, that was before prospective
parents were capable of knowing what gender their babies were going to
be. Immediately following the show Mary and I rushed up to Women’s
Hospital in Manhattan, she drank her glass of cod-liver oil and the next
day—Friday, October 28th, 1949---gave birth to our first son. Oh,
what excitement!
Not only was I intent on continuing the
line of William Foster Hayeses, but you’ve got to remember all those times
I stood at the side of the stage in Carousel and thrilled to those
words Billy Bigelow sings in his “Soliloquy:”
“My boy Bill, I will see
that he’s named after me, I will!
My boy Bill, he’ll be tall and as
tough as a tree, will Bill!”
Billy was another of my dreams come true.
Though we really named him after the three previous William Foster Hayeses,
Carousel
just added a little gold dust to his star.
Now having two children to care for, Mary
and I looked for a small house we could buy. We found one in Jackson
Heights, Queens, on Long Island (price: $9,500), and moved from our furnished
“railroad apartment” on Washington Square in Manhattan. As a “new
baby” gift, Chic Johnson presented us with a prop from Hellzapoppin,
an oversized white wicker perambulator/crib which had been used in a sketch
where a bratty baby was played by Andy Ratousheff, one of the little people.
So at least Billy had a place to sleep.
JACKSON HEIGHTS (1949-1951)
Having borrowed the down-payment from
my dad and Mary’s dad (Harley Hobbs), we now were the proud owners of a
six-room two-story attached house. But our furniture, collected in
Indiana and Illinois over the past two and a half years was sparse.
When it arrived we spread it around the house: sofa, easy chair and upright
piano in the living room, dining table and four chairs in the dining room,
the one chest of drawers in our bedroom, and the baby-bed in Carrie’s room.
For weeks Mary and I slept on the floor.
We scrounged the neighborhood for orange
crates. Those things saved our hides. All the rest of our furniture
was orange crates. We used them for book cases, music cases, kitchen
pantry, shelves for dishes, diaper-holders, night (bedside) tables, dressers
for Carrie and Billy, writing table, etc.
To get to work I walked six blocks, took
a bus and then rode the subway into Manhattan. That commuting time
may have been a drag for most people, but it was really when I memorized
my songs and lines. Mary, of course, had all the challenges of being
a new parent and housewife. We were several blocks from the grocery
store, so she wrestled the HUGE crib down the front steps, put Billy and
Carrie both in the crib and push-pulled it downhill to the store.
After making her few purchases, she put the groceries in the crib along
with the babies and grunted her way back up to the house. Wedge the
wheels, carry the babies up one at a time, then the groceries, and finally
muscle that HUGE prop/crib back up the steps.
Our next-door neighbor was a man who made
fir coats. At home. And he worked hard! All day and much
of the night you could hear his sewing machine chugging away: arrrrrrrrrrrarrrrrrrrrrarrrrrrr,
arrrrrrrarrrrrrrrrarrrrrrrrr. But the area was a bedroom community
for working people, not much of a neighborhood. In the year and a
half we lived there we didn’t get to know people. Outside of the
two infants, Mary was alone all day all week. I at least came in
contact with the other Olsen and Johnson cast members.
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