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Barrie Chase
Barrie Chase
Barrie Chase
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Barrie Chase (born October 20, 1933) is an American actress and dancer.

Key Information

Early life

[edit]

Born in Kings Point, New York on October 20, 1933,[1] Chase began formal dance lessons at age three, studying with the New York City Opera's ballet mistress.[2] She studied ballet, first with Adolph Bolm and later with Maria Bekefi.[2] She abandoned her intention to become a ballerina in New York to stay in Los Angeles and help support her mother, pianist Lee Keith, after her parents' divorce. She is the daughter of writer Borden Chase (Red River) and sister of screenwriter/actor Frank Chase.[3]

Career

[edit]

During the early 1950s, Chase danced on live television programs such as The Colgate Comedy Hour and The Chrysler Shower of Stars. While working as Jack Cole's assistant choreographer at Metro-Goldwyn-Mayer, she was asked by Fred Astaire to be his dancing partner on An Evening with Fred Astaire. She made four appearances as Astaire's partner in his television specials between 1958 and 1968. The two danced on Hollywood Palace in 1966. During this period, Chase dated Astaire, a widower 34 years her senior.[4]

Chase appeared on the syndicated talk show version of The Donald O'Connor Show. Chase worked in the chorus of many Hollywood musicals, including Hans Christian Andersen (1952), Call Me Madam (1953), Deep in My Heart (1954), Brigadoon (1954), Kismet (1955), Pal Joey (1957), Les Girls (1957), and two Fred Astaire films, Daddy Long Legs (1955) and Silk Stockings (1957). She appeared in White Christmas (1954) as the chorus girl who speaks the line "Mutual, I'm sure."[5] She appeared in a television episode of Have Gun – Will Travel (1958).

Chase's other film roles included The George Raft Story (1961); the beating victim of a sadistic Robert Mitchum in the thriller Cape Fear (1962); and the dancing, bikini-clad paramour (restored footage revealed her character was in reality married) of Dick Shawn's dimwitted character Sylvester Marcus in the 1963 comedy It's a Mad, Mad, Mad, Mad World. (Chase is the last surviving member of the film's large cast.) Subsequently, she played Farida in the film The Flight of the Phoenix (1965), starring James Stewart and Richard Attenborough, in a dream sequence. In 1965, she appeared in the episode "The Ballerina" on the TV series Bonanza, playing saloon dancer Kellie Conrad, who longed to be a ballerina. In 1967, she appeared as a Soviet ballerina in the episode "Fly, Ballerina, Fly" on the television series Mr. Terrific.[6]

Personal life

[edit]

Barrie became widowed in 2010 after her husband, James Kaufman, died of Alzheimer's disease. According to the website Glamour Girls of the Silver Screen, she lives in Marina Del Rey, California.[7]

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Barrie Chase

View on Grokipedia
from Grokipedia
Barrie Chase (born October 20, 1933) is an American dancer and actress renowned for her athletic and graceful partnership with in four acclaimed television specials from 1958 to 1968. Born in , Chase grew up in , where she began studying at age three while also excelling as a competitive swimmer and equestrian. Her early training laid the foundation for a career in Hollywood, where she was discovered around age 20 and started performing in nightclub acts before transitioning to film. By the mid-1950s, she had assisted choreographer Jack Cole on the musical (1957) and appeared on the cover of Focus magazine in May 1954, marking her rising profile in the entertainment industry. Chase's breakthrough came in 1957 with a small role in Astaire's film Silk Stockings, but her true stardom emerged on television through their collaborations, beginning with the groundbreaking special An Evening with Fred Astaire (1958), which earned nine Emmy Awards, including one for Astaire as outstanding performance by an actor. The duo's chemistry—blending classical ballet with innovative, high-energy routines—captivated audiences in subsequent specials like Another Evening with Fred Astaire (1959), Astaire Time (1960), and their final joint project, an NBC special in 1968. These performances, often choreographed to jazz and swing music, showcased Chase's versatility and earned critical praise for revitalizing Astaire's career in the television era. Throughout the 1950s and 1960s, Chase amassed nearly 40 film credits, primarily as a chorus dancer in major musicals such as Brigadoon (1954), Deep in My Heart (1954), and Call Me Madam (1953), before taking on more prominent specialty roles. Notable appearances include the seductive nightclub dancer in Cape Fear (1962), a memorable dance sequence with Dick Shawn in It's a Mad, Mad, Mad, Mad World (1963), and the mirage dancer in The Flight of the Phoenix (1965). She also guest-starred on television programs like Bonanza and Bob Hope's Chrysler Theater (1964), further demonstrating her range beyond dance. After her final collaboration with Astaire, Chase largely withdrew from the spotlight, pursuing a private life; she is married to Richard Kaufman and has one child. Her legacy endures as Astaire's final major dance partner and one of the last dancers to achieve prominence in Hollywood musicals before the genre's decline, inspiring generations with her blend of technical precision and expressive flair.

Early life

Family background

Barrie Chase was born on October 20, 1933, in . She was the daughter of , a prominent best known for his work on the Western film Red River (1948), and Lee Keith, a concert pianist whose career influenced aspects of her father's writing, including the story for I've Always Loved You (1946). Chase also had an older brother, Frank Chase, who pursued a career as a and actor, contributing episodes to television series such as . The family relocated from New York to when Chase was young, following her father's entry into . Their marriage ended in in 1949, after which Chase, then 16, moved with her mother to a smaller apartment in Hollywood and helped support the household financially. This period marked a significant shift in her early environment, as she took on responsibilities amid her parents' separation.

Dance training and early influences

Barrie Chase began her formal dance training at the age of three in , studying under the ballet mistress of the New York City Opera. This early immersion in laid the groundwork for her technical proficiency and passion for the art form. Her mother's background as a concert pianist, Lee Keith, further nurtured Chase's artistic sensibilities, exposing her to music and performance from a young age and encouraging her creative development. When Chase was six and a half, her family relocated to , which opened new avenues for her training. At nine years old, she resumed studies with the renowned choreographer Adolph Bolm, a key figure in American who had trained with luminaries of the . She studied with Bolm for several years. Following Bolm's death in 1951, Chase continued her advanced instruction with Maria Bekefi at the Marie Bekefi School, refining her skills in classical technique and preparing for potential professional pursuits. Alongside her dance education, Chase pursued other physical activities during her childhood, becoming a serious swimmer and equestrian. These pursuits, including daily horseback riding taught by her father, complemented her ballet regimen by building strength, discipline, and coordination, while her affinity for horses would later influence personal connections in her career.

Performing career

Early television and stage appearances

Barrie Chase entered the professional performing world in 1952 as a dancer, marking the start of her career amid the vibrant but waning era of Hollywood musicals. In the early 1950s, she gained initial visibility through ensemble dancing on variety programs, where she performed in chorus lines and specialty segments that echoed stage revue traditions. Her appearances included , notably in a 1954 episode featuring a comedic musical number with , in which Chase portrayed a Parisian streetwalker in an outdoor café scene. She also danced on The Shower of Stars, contributing to the show's glamorous production numbers as a featured ensemble member. As one of the last studio contract players during the decline of the Hollywood musical genre in the mid-1950s, Chase signed a long-term deal with 20th Century Fox, where she undertook chorus duties in multiple productions while navigating the industry's shift away from lavish dance spectacles. This period of her career emphasized reliable, behind-the-scenes contributions to , building her skills in fast-paced live formats before more individualized opportunities emerged.

Collaboration with Fred Astaire

Barrie Chase's professional partnership with Fred Astaire began in 1958 and lasted until 1968, during which Astaire personally selected her as his dance partner for several high-profile television specials. While working as an assistant to choreographer Jack Cole on the 1957 film Les Girls, Chase caught Astaire's attention through a dance studio window; he subsequently requested that Cole release her from her contract so she could join him. This handpicked collaboration marked a pivotal shift for Chase, elevating her from background roles to a central figure in Astaire's televised performances. The duo's key projects included An Evening with (1958), Another Evening with (1959), Astaire Time (1960), and The Fred Astaire Show (1968). These specials showcased their chemistry through a series of innovative numbers, such as the "Change Partners" sequence in the 1958 program, which highlighted synchronized elegance and playful improvisation. The 1958 special alone garnered nine , underscoring the production's technical and artistic excellence in early . Chase and Astaire's choreography emphasized athleticism, precision, and mutual adaptability, with Chase's fluid, energetic style complementing Astaire's trademark sophistication and timing. Rehearsals were rigorous, driven by Astaire's perfectionism, yet Chase later described them as the most rewarding of her career, allowing for creative sequences that blended influences with classical tap and elements. Astaire himself praised Chase as one of his favorite partners, noting her grace and versatility in adapting to his vision. This collaboration dramatically boosted Chase's visibility, transforming her from a chorus dancer in early television and work into a featured performer and Astaire's ideal on-screen counterpart. Their specials not only revitalized Astaire's career in the medium but also established Chase as a television dance icon, leading to nearly 40 and TV credits in the ensuing years.

Film roles

Barrie Chase began her film career in 1952 and continued appearing in motion pictures through 1965, frequently in uncredited or supporting capacities that capitalized on her expertise as a dancer. Her roles often blended physical performance with brief dramatic moments, contributing to the visual energy of ensemble musicals and thrillers alike. Chase made her screen debut in (1952), appearing as an uncredited extra in the role of the seductive Berber dancing girl during the film's mirage sequence. This early appearance showcased her dance abilities in a swashbuckling adventure directed by , marking the start of her integration into Hollywood productions. Two years later, in the holiday musical White Christmas (1954), Chase performed as a chorus dancer, delivering the film's first speaking line as the character Doris Lenz with the quip "Mutual, I'm sure." Directed by and starring and , the film highlighted her in ensemble numbers, emphasizing her graceful contributions to the production's lavish dance routines. Chase's film work evolved to include more prominent acting opportunities, such as her role as Diane Taylor in Cape Fear (1962), where she portrayed a vulnerable woman subjected to a brutal assault by the antagonist , played by . In this thriller directed by , her performance added intensity to a key sequence, demonstrating her range beyond dance. One of her most memorable film appearances was in It's a Mad, Mad, Mad, Mad World (1963), Stanley Kramer's epic comedy, where she played the bikini-clad girlfriend of Dick Shawn's character, Marcus, in a surreal and frenetic dance cameo. The sequence, featuring high-energy amid the film's chaotic pursuit narrative, underscored Chase's athleticism and timing, making it a standout visual highlight in the all-star ensemble. Chase's final film role came in The Flight of the Phoenix (1965), a survival thriller directed by and starring , in which she appeared as the hallucinatory mirage dancer, adding a surreal element to the story of plane crash survivors. Across these films, Chase's background in and informed her contributions, allowing her to infuse roles with fluid movement and expressive physicality, even in non-musical contexts.

Additional television work

In addition to her high-profile collaborations, Barrie Chase maintained an active presence on television through guest roles and appearances throughout the , showcasing her expertise in diverse formats. One notable dramatic guest spot came in 1965, when she portrayed Kellie Conrad, a saloon dancer aspiring to become a ballerina, in the episode "The Ballerina" of the Western series . This role highlighted her versatility, blending her dance background with character-driven performance amid the show's family-oriented narrative. Chase continued her television engagements with a comedic turn in 1967, appearing as Tanya, a Soviet ballerina, in the episode "Fly, Ballerina, Fly" of the short-lived superhero sitcom Mr. Terrific. The role played into her proficiency while fitting the series' lighthearted spy style. Beyond scripted roles, she made several variety and cameos during this decade, often featuring dance segments that emphasized her athletic and graceful style. For instance, in 1961, she appeared as a mystery guest on the What's My Line?, where her identity as a dancer was quickly guessed by the panel. Her variety work extended to prominent programs like The Tonight Show Starring in 1964, where she performed alongside guest , and the syndicated in 1968, teaming up with host for a celebrated routine—the first time the two dancers collaborated on screen. In 1969, Chase guested on with , contributing to a satirical musical sketch involving as part of a mock show-business family act. These appearances underscored her adaptability in , frequently incorporating that ranged from to tap. Chase's television career, spanning from her early chorus and stage entries in the 1950s to her final major performances in 1969, positioned TV as a key outlet for her talents following her breakthrough specials, allowing her to reach broad audiences through episodic and variety formats before retiring to focus on family.

Marriages and relationships

Barrie Chase has been married three times. Her first marriage, to hairstylist Gene Shacove, took place in 1951 and ended in divorce after approximately four months. In 1966, she married Swedish actor Jan Malmsjö on August 1 in ; the union lasted until their divorce in 1968. Chase's third marriage was to dentist James Kaufman in May 1972. The couple had one son, Jeb, born on December 8, 1973, in , and Chase has resided in with Kaufman since. During the and , Chase was romantically linked to several figures in the industry, including actor in 1955 and director Gunnar Hellström in 1961, though none resulted in long-term partnerships.

Family and residences

Chase has one son, Jeb D. Kaufman, born on December 8, 1973, in , from her marriage to dentist James Kaufman. The couple, who wed in 1972, welcomed their child shortly after Chase retired from performing to focus on family life. Following her early years in Los Angeles, Chase established a long-term residence in , where she has lived for decades, providing stability for her family. The dynamics of Chase's family support were shaped by her parents' divorce when she was a teenager; she contributed financially by working as a film extra at age 16 to help sustain her mother, Lee Keith, after her father refused court-ordered payments. This early responsibility influenced her commitment to family stability in adulthood, prioritizing her son's upbringing over career pursuits.

Later years and legacy

Retirement and post-career activities

Barrie Chase retired from performing after her final collaboration with in 1968, after approximately two decades in the entertainment industry, choosing to focus on her family life following her marriage to Richard Kaufman, DDS, a dentist. By mid-1973, she was described as happily married and no longer interested in pursuing her dance career. In her post-career years, Chase maintained a low public profile while residing in , where she and Kaufman welcomed their son, Jeb, in 1973. She continued to live in the state into her later decades, with her home in Marina del Rey as of 2020 and confirmed active there in early 2025. As of November 2025, at age 92, Chase remains the last surviving credited cast member of the 1963 ensemble film It's a Mad, Mad, Mad, Mad World.

Recognition and enduring impact

Barrie Chase is recognized as one of the last studio contract dancers in Hollywood during the decline of the musical genre in the late and early , when traditional studio systems were fading and opportunities for dancers diminished significantly. Her partnership with in four acclaimed television specials—three of which won —between 1958 and 1968 elevated the standard of on television, blending innovative with Astaire's signature elegance and showcasing Chase's athleticism and precision to a broad audience. In 2018, Chase received the Professional Dancers Society's Gypsy Award at their annual luncheon, honoring her enduring contributions to dance and entertainment, including her collaborations with Astaire and choreographers like Jack Cole, Hermes Pan, and Bob Fosse. Chase's work has been celebrated for preserving Astaire's television legacy, as her appearances in specials like An Evening with Fred Astaire captured his later career innovations and introduced his style to new generations through reruns and archival screenings. In a 2016 interview, Chase reflected on her experiences, emphasizing Astaire's influence and the challenges of the era, further cementing her role in dance history through personal remembrances that highlight the artistry of their collaborations. She participated in a 2012 panel at the Television Academy, where clips from the Astaire specials were screened, underscoring her impact on choreographic evolution in media.

References

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