Jane Powell

Though Jane Powell only made one movie with Howard Keel, she would do several roadshows with him in later years, making her, overall, the most frequent leading lady of his career. Perhaps her most striking feature was her startling crystalline, clear grey eyes. Like so many of Howard Keel’s leading ladies, she was petite, which set off his size, and gifted with a high, clear voice that set off his baritone so well. Their only film, “Seven Brides for Seven Brothers,” one of the greatest musicals ever, was made late in her film career. Jane had worked steadily under the stereotype of her sobriquet of “America’s Little Sister,” playing teenagers or girls during much of her career. “Seven Brides” was one movie that finally allowed her to grow up and be the wife instead of the daughter. Jane could play drama, but it would comedies and, most of all, musicals that would make her an immortal American Sweetheart.

Jane was born Suzanne Burce in Portland, Oregon on April Fool’s Day, 1929. She was the only child of an unhappy couple who, like many other “stage parents” of the era, tried to make her another Shirley Temple. Singing and dancing lessons led to an abortive attempt to get into show business. After a few years, the “Temple Bug” struck again and Jane was able to get small jobs entertaining clubs and doing WWII. fundraisers as “The Victory Girl.” Eventually, she even had her own local radio show. Her childhood successes belied the unhappiness at home. Jane learned early how to try to please everyone, especially her embittered, hard drinking mother. She also endured sexual abuse at the hands of some children living in their apartment building which she could not reveal for years for fear of her parents thinking it was her own fault. It would set a pattern that would dominate her life. She would suffer and keep smiling, no matter what, rather than disappoint or seem to complain.

The family moved to Los Angles in the 1940’s where Jane won a talent contest. She appeared first on “Hollywood Showcase” and later on Charlie Mc Carthy’s radio program. She was heard here and signed to an MGM contract.

Jane was loaned out to United Artists for her first two pictures, debuting in “Song of the Open Road” in 1944. She would make movies for MGM from 1946 to 1955, mostly musicals or comedies. She was petite and fresh-faced and they kept her perpetually cast as the girl-next-door. She would not be allowed to grow up on film, in “Seven Brides for Seven Brothers,” until her movie career was almost over. Her first big break in films did not come until 1951 when she did “Royal Wedding” with Fred Astaire.

She married Geary Steffan, one of skating star Sonja Henie’s former partners, in 1949. They had a son, Geary, Jr. {called G.A.} in 1951 and Suzanne Ileen {called Sissy}in 1952. Her parents divorced and, in true Hollywood fashion, her mother, who had controlled all her MGM wages, kept all her prior earnings. Embittered and jealous of Jane’s picture-perfect marriage, she dropped out of her daughter’s life and the two would have a tumultuous, distant relationship the rest of their lives. She remained close to her father, who happily remarried.

Geary was ill prepared for the “white picket fence/happily ever after” life Jane had pictured. Their relationship soon faltered. Jane found herself attracted to some of her co-stars, including Ricardo Montelban and singer Vic Damone. It would be actor Gene Nelson, himself married, who would inspire Jane to end her marriage. At the last minute, however, despite his own divorce and the media maelstrom their affair caused, Nelson decided not to marry her and their relationship ended.

Jane feared being alone and married car dealer and friend Patrick Nerney the same year her divorce to Geary became final. They had Lindsey Averill in 1956. Though a charming boyfriend, Pat proved to be a strict husband and stepfather and, a failed writer, soon turned to alcohol. They finally divorced in 1963.

After her movie career at MGM ended, Jane made three B movies, but her career in film was over. She began making TV appearances- something the studio had forbidden- and doing stage work. She did a nightclub act, choreographed by Gower Champion. When he asked her to replace Debbie Reynolds in the Broadway hit “Irene,” she jumped at the chance. Little did she realize, he was setting her up. In financial trouble with the show’s producers and anxious to move on to another project, he claimed she was too difficult to work with- poison words to an actress’ career- and left the show. Wounded, she never spoke to him again. The show, however, was a resounding success.

Jane had been doing summer stock and road shows. After her divorce from Pat Nerney, she had been seeing Paul Clemens, but decided he reminded her too much of her own father. She impulsively married Jim Fitzgerald in 1965 and he became her manager. It was a poor match. Emotionally restricted, he was not the loving husband she craved. He was also a poor business manager and kept her perpetually working an exhausting schedule of endless roadshows yet, once told her “Nobody wants you.” He managed enough “emotion” to attempt to seduce her daughter and carried on a lengthy affair with another woman he represented while Jane supported him.

Someone must have wanted her. Among the roadshows Jane would appear in was “The Jane Powell Show,” “My Fair Lady,” “Peter Pan,” “The Unsinkable Molly Brown,” “Carousel,” “The Boy Friend,” “Brigadoon,” “Sound of Music,” and “South Pacific” and “I Do! I Do!” -both with Howard Keel. They appeared together in a 1981 episode of “The Love Boat” on television. She also made several TV movies.

It was also during this time- the 60’s and 70’s- that her relationships with her children began to fall apart. Her son became a violent drug and alcohol addict and dropped out of her life for several years. Her elder daughter, a lesbian, remained emotionally distant, running her own successful stable for many years, then inexplicably giving it up to move to New York with her lover and try to become a showbusiness agent. Jane’s youngest daughter remained close, but struggled to find a career she could stick with and spent most of her time working as a waitress.

In 1974, physically exhausted from constant touring, emotionally burned out by her loveless marriage, struggling with her failing singing voice, and strained with worry about her kids, Jane fell apart and attempted suicide. Husband Jim stopped her and checked her into a hospital to rest. She was never treated for her emotional breakdown. She just got up- as she always did- and got back on stage. She did, however, finally divorce Jim in 1975.

By 1978, Jane was again involved in yet another bad relationship. Looking for someone capable of discussing emotional issues, Jane fell for writer David Parlour. He convinced her to see his psychiatrist and she found that helpful. He was, however, increasingly paranoid and frightening. He collected secret survaillance equipment and was constantly suspicious of Jane. Her friends warned her about him and her kids feared him. So did Jane and they divorced in 1981.

In the 1980’s, Jane appeared on TV shows like “Murder She Wrote,” “Growing Pains,” “Marie,” and in a long running part, where she got to play against type, in the daytime serial “Loving.” She also was seen in the musical documentary “That’s Dancing!” She even made a work-out video for arthritis sufferers. Jane appeared along with many of the great stars of the 50’s musicals in a special number at the 1986 Academy Awards show.

Jane had finally learned how to be alone and enjoy her own company. She had ceased to look for “Mr. Right” and was living contentedly when her dear friend Roddy McDowell asked her to meet with his friend Dick Moore, a former child star-turned-public relations man who was writing a book about what it was like to be a child star in Hollywood’s Golden Age. They immediately hit it off and were soon living together. They eventually married in May 1988 and have remained together ever since. Unlike her other husbands, who patronized, manipulated, and belittled her, Dick treated her with mutual respect and genuine affection. The couple moved to New York, then to a rustic area in Connecticut where Jane and Dick love to garden.

Also during this happy phase in Jane’s life came another gift- son G.A. resurfaced, joined AA, and took charge of his life. He renewed their relationship, got married, and settled down. She and her mother {her father died in the early 70’s} came to a truce.

In 1988, Jane wrote her revealing, thoughtful autobiography “The Girl Next Door and How She Grew.” The 1990’s found Jane hosting “Nelson and Jeanette,” a documentary about the singing legends, in 1992 and was also seen in the Keel hosted documentary “The Making of Seven Brides for Seven Brothers.” Most recently she appeared in “Picture This,” a 1999 movie.

Jane finally found the elusive happiness she had so long sought. She has had a career of enormous breadth and longevity. Lively and beautiful, this consummate trooper still delights with her particular brand of talent and charisma.

As is the case with some of Howard Keel’s other leading ladies, there is little on-line about Jane Powell. Try these sources:

The Girl Most Lovely- This site is fan Tony Makara's tribute to his favorite star. A site most lovely!

Jane Powell: Sweet Little Songbird- Jane's page at the Reeljewels musical fansite. Includes bio, pictures, etc.

Internet Movie Database- Get a short bio and filmography for this star

TVNow- Get a listing for this actress’ movie and TV appearances this month

Amazon Books- Get a listing of Jane Powell merchandise available

Barnes and Noble Booksellers- Order Jane’s autobiography from their out-of-print- books section

E-Bay- Look for Jane merchandise for auction