Holland Elana: How did your initial analysis of Eleanor’s filmography in 1974 and your subsequent friendship with her in 1975 intersect and influence each other? Could you describe how the personal connection you developed through your friendship contributed to your decision to transition from analyzing her work to undertaking a comprehensive biography of her life?
Lisa Royère: When we “discovered” Eleanor Powell in 1974 through That’s Entertainment, there were very few of her films available to the public. After we had met Eleanor and we slowly got to see more of her films, we had the idea of compiling a “films of” book. These types of books, with a relatively short overview of her life and career and big on images, were popular at the time, and about as far as our skill set at the ages of eighteen and nineteen would allow. The maturity acquired in the years between our initial project and the present gave us an understanding of certain events in her life that we couldn’t have fully grasped back then. We saw a bigger picture. An in-depth biography now seemed not only doable, but essential to honor her legacy.
Paula Broussard: As Lisa stated, our initial idea was a very modest one that entailed a book of still photos from her films and a light treatment of each film. But, bit by bit, Eleanor did share some special tidbits in her further conversations with Lisa that acknowledged an acceptance that someday something larger in scope might be written. Truly, the entire idea never fully resurfaced until August 2020. While unpacking, I found the old packet of research, called Lisa, and after an hour or two of conversation, the decision was made to revive the project as a full biography.
HE: Could you walk us through your research methodology for this biography? How did you identify and access primary sources that provided valuable insights into Eleanor’s life?
PB: Our goal was to give a complete chronological presentation of Eleanor’s life and work, with supporting detail, background, and insight. We began our research by starting with a timeline of the information we had, and then added to this timeline as the research progressed. Our research included newspapers, entertainment trade publications (like Variety and Hollywood Reporter), regional archives from her hometown and cities of residence, a thorough search through university and private archives for collections related to her Broadway career, films, television, and nightclub performances, and any personnel associated with any of her projects. It was a very intense search and sometimes one tiny bit of information would open up an entirely new lead that we could follow. As we accumulated the information, the timeline was fleshed out and we began our writing. The research never fully stopped, however, and we continued to find information over the months of writing.
LR: Our methods of research evolved over the years. For example, we accessed the collections at the Academy of Motion Picture Arts & Sciences and University of Southern California (USC) in the late 1970s, and we went through everything that we could find at the local libraries. In 1984, when Paula was working at MGM, we were granted access to the legal files. That was amazing! We also, of course, had the privilege of knowing Eleanor personally, and she shared a lot with me. When we took up our project again in 2020, we found so much information now accessible online – newspapers from all over the world and digitized movie magazines that were previously hard to find. We also discovered new and expanded collections at the Academy, USC, New York Public Library, and more. We started from scratch, put everything together in the context of the timeline of Eleanor’s life.
HE: With such a significant time gap between the initial research and the resumption of the project, did writing during the COVID-19 pandemic feel more challenging or easier compared to the earlier years? How did you navigate the process of re-engaging with the subject matter and capturing the essence of Eleanor Powell’s life and legacy?
LR: In the early days, we had to flip through big bound volumes (no electronic searching!), copy information by hand, and, finally, type everything out for future reference. It was slow and grueling work! It is a lot easier to work with the equipment we have today and much less time-consuming to research with so many resources available online. This was a game-changer and made it easy to re-immerse ourselves in the project.
PB: Unfortunately, many archives were closed or backlogged during our first months of work during the pandemic, and we had to deal with the challenge of putting some areas on hold until we were finally able to access them. In relation to the resumption of research after the large gap of time, there are now many publications that are available digitally, many more personal archives and collections from studios and film personnel, many ways to search for public records and other details about people, and the treasure trove of vintage films that can be found on YouTube. All these things greatly enhanced our recent research. As far as re-engaging with Eleanor, the enthusiasm for her and her talent never faded over the decades. You have only to watch her again to experience that joy she projects from the screen.
HE: Can you describe the collaborative process between the two of you as co-authors? How did you divide the workload, particularly in terms of research and writing, and ensure a cohesive and unified voice throughout the book?
PB: We live in different cities, and it’s amazing that we completed the entire project without ever seeing each other in person! It’s great that we were able to utilize shared programs like Google Docs and OneDrive that allowed us to create a virtual workspace with our documents and files. Another plus is that it was easy to use each of our best skills to divide up tasks and then split up the writing into chunks. Eventually, it all came together, and we both traded off with the editing process. There was a lot of review, review, review, until any noticeable differences were blended smoothly.
LR: We started with the good foundation of research that we had begun many years ago. As Paula said, we divided our tasks according to our natural strengths – I did a lot of organizational work to provide a structure for our shared workspace. Creating and maintaining the timeline was crucial, allowing us to keep her life in focus within the context of current events. We both researched and explored our individual sections before writing the text. When that was finished, we shared our insights. Sometimes this led to additional and more in-depth research. Paula is an amazing researcher, and she traveled down many rabbit holes to uncover some little-known facts or information about Ellie or the people who played a part in her life. We felt like detectives or reporters, digging deep until a story emerged.
HE: You note that the challenge was to present the world with “Ellie Powell”; could you describe the process of researching Ellie’s life and capturing her private moments with such respect and care in the book? How did you navigate the challenge of making these personal aspects public while ensuring the language used was sensitive and considerate toward her experiences?
PB: We discussed our mutual experiences with her in great detail in order to understand her as best we could. But at the same time, we wanted to preserve some objectivity in the writing because it’s a biography, not a memoir. After gathering additional details from key sources, we were able to address tough moments in her life with greater clarity. We merged that info with the person we knew. It was a balancing act.
LR: Honestly, we agonized a little over whether to include some of the difficult situations she experienced and how to treat them. Those we decided to include were an important part of her story, and while they did not define her, they certainly shaped her. We feel that, in the end, we were able to achieve our goal of presenting both her private and public persona.
HE: In what ways have your personal and professional experiences as researchers and writers been transformed and enriched by the process of working on this biography? How do you envision incorporating the insights and knowledge gained from this project into your future work?
PB: For myself, it has been an invaluable research experience, and one that has shaped how I approach future projects. I have years of writing background, but this is the first long form project that I have taken on. It has shown me that it’s not only possible, but really rewarding. I’m in the final stages of a solo book right now on the tap-dancing Nicholas Brothers, and it helped me tremendously in the organizational process as well as the management of covering the scope of a life. Personally, it also proved to me that no matter how daunting a project appears, it is possible with patience and organization.
LR: Even if a project seems overwhelming in the beginning, this one has taught me that it can be broken down into manageable pieces. Now that the groundwork has been laid by completing this book, I feel better equipped to undertake future projects. It’s so helpful to have an idea of what resources are already out there, and it’s exciting to discover new ones. I’m toying with various ideas for a solo project as well, and we both are looking at some ideas for another book together.
HE: Eleanor Powell’s life and career have often been overlooked in discussions of film and dance history. As authors of this biography, how does her story resonate with broader issues of representation and recognition for women in various fields? In what ways do you believe her story can empower and encourage others to explore and celebrate women who have been overlooked in history?
LR: It’s hard to understand exactly why her contribution to dance and film history has been overlooked, considering the magnitude of her stardom in the 1930s. Perhaps it is because her career was relatively short. After having made six successful films for MGM, she didn’t work for about a year due to health reasons. By the time she came back, musical film styles had already begun to change, and there was no longer a place for a solo female tap-dancing lead pushing thirty. Her male counterparts, Fred Astaire and Gene Kelly, definitely had an easier time of it. An older man can more easily be paired with a young female partner than the other way around. She could have transitioned to a creative role behind the camera, but that was a difficult area for a woman to tackle at the time. In fact, women of today still struggle with this. But we can still be inspired by her attempts to move forward in her field, despite the obstacles.
PB: Her story one hundred percent illustrates the challenges that women have faced in the industry. By elaborating on her efforts as a choreographer and her attempts to have a voice in the production aspect of her films, we sought to bring her frustration to light. It is an unknown side to her time at MGM. Her enthusiasm decades later about specific ideas she envisioned shows that her aspirations were a logical progression of her growing skill. The bottom line is, if she were a man, she would have had the opportunity to propose ideas and fight for them. And while she stood out from other female dancers and choreographers of the time and was allowed more creative input, she still never had equal say.
HE: As authors, do you personally have a desire to see Eleanor Powell’s story further explored and celebrated beyond the pages of this book? If so, in what ways do you envision her legacy being brought to life in other mediums, such as film, documentaries, stage productions, or even through the power of social media?
LR: Absolutely! I would love to see a good documentary done on her or anything that would perpetuate her legacy. As for social media, we already have an active presence on Facebook and Instagram as Eleanor Powell: Born to Dance, as well as our individual accounts on Twitter. We are consistently seeing more interest in her. You can watch many clips of Eleanor’s dances on YouTube, and it’s amazing to read so many comments from people who have recently discovered her work. They recognize her skill as a dancer and athlete, so I think there would be great interest in something beyond this book.
PB: I would love to see her story presented in other ways. Because I also have a screenwriting background, I’ve mentally outlined a great way to structure the presentation of her life. I especially feel her great comeback at forty-eight is one of the most inspiring stories in all of Hollywood history. We do hope production companies will see the unique and powerful story that her life holds for the screen.
HE: It is clear that this book is a love letter to Eleanor. How has the spirit of Eleanor, as portrayed in this book, influenced you since its completion? In what ways has her story and character left a lasting impact on your perspective or approach?
PB: I feel extremely blessed to have known her, even though it was for a limited time. She has never stopped inspiring me over the past decades, and that’s a powerful thing. Since completing the book, I feel her legacy now has a chance to stand up and take its place among her Hollywood contemporaries. She was left in the shadows for so long, and now her entire story is there for historians, for fans old and new, and also just for people who enjoy reading life stories. It’s also a great way just to experience how women navigated life in the past.
LR: Through our close friendship, her character had already left an indelible mark on my life, but every story, every new discovery we made while researching for this book only deepened my respect for her. Re-living her life through the journey of writing our book was very powerful and moving. Her story continues to inspire me and gives me courage to tackle hard things in life.
HE: As readers delve into the biography of Eleanor Powell, what are some key themes or messages that you hope they will take away from her life story? How do you envision her legacy being remembered through this book?
PB: I would hope that readers recognize the strength of acknowledging and nurturing your personal talents. Dance transformed this painfully shy little girl into someone who could confidently teach a class at age ten and eleven. I would also hope they discover that balance in life and work is key. Lastly, don’t underestimate your dreams, no matter how small their scale. Eleanor’s life illustrates that, but our story of completing this book after a forty-plus-year gap still amazes us. We hope others are also inspired to follow their dreams!
LR: I hope this book brings her back into the spotlight, so that she can take her rightful place in film and dance history. Aside from that, her personal story has so much to teach us. In a nutshell: work hard, stick to your principles and be true to yourself, be gracious, and never give up!
Website: https://eleanorpowell.dance/
Facebook: https://www.facebook.com/eleanorpowell.bio
Instagram: https://www.instagram.com/eleanorpowellborntodance/
Find the authors on Twitter (aka X):
Paula Broussard: @PMBroussard
Lisa Royère: @pamelisa
Eleanor Powell: Born to Dance is available for purchase via University Press of Kentucky.
Author Biography
Holland Elana is a student at the University of North Carolina Wilmington, double majoring in Film Studies and International Studies. Holland wants to combine her degrees to work in film industries internationally and enjoys filmmaking and film research centered around the horror genre and camp aesthetic.
