Ray Bolger

Ray Bolger (1904 – 1987)

The Rubber-Legged Dancer

Ray Bolger: A Life in Motion

Raymond Wallace Bulcao, better known by his stage name Ray Bolger, was born on January 10, 1904, in the Dorchester neighborhood of Boston, Massachusetts. The son of Portuguese-American Roman Catholics, he was raised in a working-class family, far removed from the bright lights of Broadway or Hollywood. His father, James Edward Bulcao, was a house painter, and Ray's early life was one of modest means. Despite the family's financial limitations, Bolger would later reflect that his youth was rich in imagination—a gift that would serve him well in the decades to come.

The Roots of Rhythm

Bolger attended Boston College High School, a Jesuit institution that stressed discipline and education, but his true education came from the stage. He was captivated by vaudeville performances in Boston theaters and began imitating the eccentric, fluid dance styles he saw. His long limbs and natural agility made him a natural for what came to be known as "eccentric dancing"—a style that combined tap, ballet, and comedic movement into something wholly unique.

Bolger's first job out of school was as a bank clerk, but his heart wasn’t in numbers. He soon joined a vaudeville troupe and began touring the country. By the mid-1920s, he was performing on the vaudeville circuit with notable success, developing a reputation as a comic dancer with remarkable physical control. It wasn’t long before Broadway took notice.

Broadway and the Big Break

By the early 1930s, Bolger had made his Broadway debut in the Ziegfeld Follies, the lavish theatrical revues that launched many American entertainers. His limber dancing and comedic instincts made him a crowd favorite. His success on Broadway led to a contract with Metro-Goldwyn-Mayer (MGM), where he transitioned into film.

Bolger’s film debut came in the mid-1930s, with roles in musicals such as The Great Ziegfeld (1936), where he essentially played himself as a stage performer. Though he had a few supporting roles in Hollywood, his major break came in 1939, with the film that would define his legacy forever.

The Wizard of Oz: Immortality in Straw

When casting began for The Wizard of Oz, Bolger was initially considered for the Tin Man role. However, he lobbied for the part of the Scarecrow, believing it better suited his body language and movement. MGM agreed, and Bolger went on to give one of the most beloved performances in cinematic history.

As the Scarecrow, Bolger brought not just physical brilliance but emotional depth. His performance combined slapstick humor with a yearning sincerity that made his character unforgettable. The film’s famous song, If I Only Had a Brain, became synonymous with Bolger himself—whimsical, heartfelt, and full of charm. The movie was not an immediate box office success, but it became a classic over time, and Bolger’s Scarecrow became a cultural icon.

A Versatile Performer

Although The Wizard of Oz was his most famous role, Bolger had a long and varied career afterward. He appeared in musicals like Rosalie (1937), The Harvey Girls (1946, opposite Judy Garland again), and Look for the Silver Lining (1949). He also returned frequently to Broadway and the stage, where he felt most at home. He starred in the successful musical Where’s Charley? in 1948, and later in All American (1962).

In the 1950s, Bolger ventured into television with Where’s Raymond?—later retitled The Ray Bolger Show—which ran for two seasons. His versatility as a singer, dancer, and comedian allowed him to stay relevant through changing entertainment landscapes.

He made appearances in various films and TV shows into the 1970s and even guest-starred on The Love Boat and The Partridge Family. In 1985, he was honored by the Kennedy Center for his contributions to the performing arts.

Private Life and Passions

Despite his public persona, Ray Bolger was a private and grounded man. In 1929, he married Gwendolyn Rickard, a showgirl and fellow performer. Their marriage endured nearly six decades, a rarity in show business, and by all accounts was a deeply devoted partnership. They had no children, and Bolger often stated that his work was his child, his legacy.

Bolger’s greatest passion was always dance. He once said, “I'm primarily a dancer, and I think all actors should be dancers.” His love for movement was evident not just in performance but in the way he approached life—fluid, joyful, and with a sense of improvisation.

He also had a passion for live performance. While he enjoyed film work, he never abandoned the stage, which he considered the purest form of entertainment. He would often return to Broadway or embark on national tours well into his later years.

Final Years and Death

In his final years, Bolger remained active in the entertainment community, frequently attending events, award shows, and benefits. Though he slowed down physically, his mind and spirit remained as vibrant as ever.

Ray Bolger died on January 15, 1987, just five days after his 83rd birthday, in Los Angeles, California. The cause was bladder cancer, which he had been battling privately. His passing marked the end of an era in American entertainment.

He was buried at Holy Cross Cemetery in Culver City, California, a resting place for many film legends.

Legacy

Ray Bolger left behind more than a filmography—he left a legacy of joy, movement, and character. Though he played the Scarecrow who longed for a brain, Bolger’s performances were full of heart and soul. Generations of audiences continue to fall in love with his performances, especially his turn in The Wizard of Oz, which remains a staple of American childhood.

A master of motion, a humble star, and a tireless performer, Ray Bolger danced his way into history—and never left.

Ray Bolger – Body Features & Measurements

• Height: 5 feet 10 inches (178 cm)
• Weight: Approximately 160 lbs (73 kg) during his performing years
• Build: Slender, wiry, with exceptionally long limbs
• Hair Color: Dark brown (often seen with reddish-brown tint in early Technicolor films)
• Eye Color: Brown

 

Distinctive Features:

• Extremely flexible joints and elongated limbs, which allowed for his signature "rubber-legged" dance style
• Expressive face with a warm, wide smile
• Prominent, angular facial features—especially his high cheekbones and long nose
• Often had a slightly hunched or loose-shouldered posture, especially in comedic roles, emphasizing his physical comedy

 

His Net Worth

Ray Bolger’s exact net worth at the time of his death in 1987 isn’t publicly documented. Unlike modern stars, he did not make headlines for personal wealth.

However, a few details offer insight:

• During The Wizard of Oz (1939), he earned $3,000 per week—roughly six times what Judy Garland made
• He continued to earn from Broadway, MGM films, RKO projects, and his own TV series (Where’s Raymond?) in the 1950s
• Like many actors of his era, he reportedly received no residuals from television reruns of The Wizard of Oz and famously quipped he received "just immortality"

 

Considering these factors, Bolger likely accumulated modest wealth through consistent work but didn't amass large residual income posthumously.

Ray Bolger's Elastic Legs

 

Ray Bolger’s Acting Style: A Dance Between Comedy, Pathos, and Elastic Grace

Ray Bolger’s acting was inseparable from his physicality. Tall and wiry with a rubbery looseness in his limbs, he moved not merely across a stage or screen—he seemed to float, twist, stretch, and melt into his surroundings. His performance style was dance-infused at its core, even in non-musical scenes. Acting, for Bolger, was a form of choreography.

The Eccentric Body as Language

Bolger’s style was born from the world of vaudeville and eccentric dance, and that legacy never left him. His body was an expressive tool—he conveyed anxiety with flailing limbs, joy with bouncing steps, and confusion with exaggerated contortions. But his movements were never clumsy; they were calculated, masterful, and always in service of character.

Take his performance as the Scarecrow in The Wizard of Oz: his bent-kneed walk, flapping arms, and tumble-prone stance created the illusion of a body stuffed with straw. Yet through that physicality, he also conveyed warmth, curiosity, and heartfelt longing. His Scarecrow was more than comic relief; he was an innocent philosopher in loose stitches.

A Blend of Comic and Earnest

Bolger had a naturally comic presence, but unlike many comedic actors of his era, he rarely went for punchlines or mugging. Instead, he excelled at creating characters who were earnest in their absurdity. He played the fool, yes—but always the lovable, self-aware fool. His comedic energy was more about rhythm, timing, and contrast: quick movements followed by stillness, or a sudden pivot from confusion to clarity.

There was also a melancholic undertone in his performances. Even in upbeat roles, Bolger’s eyes often conveyed something softer—wistfulness, perhaps, or a reflective kindness. This emotional range made him a compelling presence even in ensemble roles.

Voice and Delivery

Vocally, Bolger had a light, sing-song cadence—ideal for musical theater. His voice lacked the baritone gravitas of some contemporaries, but it suited his characters perfectly: it was playful, agile, and had an old-world charm. When he spoke or sang, it felt like a continuation of his movement—flowing and lyrical.

Stage Sensibility in Film

Though he made a name in Hollywood, Bolger never fully abandoned the stage performer’s mindset. He played to the audience, with a subtle awareness of being watched—even in film close-ups. There was a theatrical intimacy in his acting: his expressions were large but nuanced, and he often punctuated scenes with a dancer’s flair, even if he wasn’t dancing.

His performances had a built-in “live” feeling, as though he were reacting fresh in every moment. That stage sensibility gave his characters a spark of spontaneity, even in tightly scripted settings.

Legacy of Style

In many ways, Bolger’s style was a bridge between vaudeville-era physical comedy and Golden Age Hollywood musicality. He was not as flamboyant as Donald O’Connor, nor as suave as Fred Astaire, but his distinct blend of elastic comedy, heartfelt sincerity, and precision movement made him entirely unique.

More than just a dancer, Bolger was a character actor in constant motion, a performer who turned physical oddity into emotional accessibility. He didn’t just play roles—he embodied them, often from the toes up.

Personal Quotes

On Performance and Dance

"I'm primarily a dancer, and I think all actors should be dancers. A dancer's training gives the body control and grace which can be used even in drama."

This quote reflects Bolger’s deep belief that movement was central to expression, whether comedic or dramatic.

"You can't be happy when you're standing still. That's why I keep moving."

A playful yet profound statement, this summed up his life philosophy—one of motion, rhythm, and vitality.

On His Role as the Scarecrow

"As long as I can remember, I've wanted to be in show business. And I got to be the Scarecrow. Not a bad payoff."

This quote shows his humble gratitude for being part of such an iconic film—and recognition of its lasting importance.

"I guess I’ll go on being the Scarecrow forever. But what a wonderful character to be remembered by."

Rather than resist typecasting, Bolger embraced the legacy of The Wizard of Oz, understanding its cultural power.

On Style and Life

"There’s nothing quite so unpredictable as a man with a flexible body and a fixed idea."

A tongue-in-cheek quip that exemplified his clever comedic style, blurring physical comedy with philosophical musing.

"I don’t have a great voice, but I know how to sell a song. That’s half the battle."

This quote reveals Bolger’s self-awareness as a performer—not resting on technical perfection, but on delivery and charm.

On Gratitude and Legacy

"I was lucky enough to have made people laugh. That, to me, is the greatest thing an actor can do."

A perfect reflection of what motivated him: bringing joy through his craft.

Awards and Recognition

Major Awards & Honors

• Tony Awards
  • 1949: Best Performance by an Actor in a Leading Role in a Musical for Where’s Charley?
  • 1962: Best Performance by an Actor in a Leading Role in a Musical for All American
• Golden Palm Star
  • 1998: Posthumously honored with a star on the Palm Springs Walk of Stars
• Hollywood Walk of Fame
  • 1960: Star for Motion Pictures at 6788 Hollywood Boulevard
  • 1960: Star for Television at 6834 Hollywood Boulevard
• Theatre Hall of Fame
  • 1980: Inducted for his outstanding contributions to Broadway

 

Nominations

• Primetime Emmy Awards
  • 1976: Outstanding Single Performance by a Supporting Actor in a Comedy or Drama Special for The Entertainer (NBC)

 

Other Recognitions

• Photoplay Magazine Awards
  • August 1941: Best Performance of the Month
  • July 1949: Best Performance of the Month
• PBS Spotlight & Broadcast Appearances
  • Featured by PBS’s “Broadway: The American Musical” for his celebrated Broadway career
  • Performed opening number at the 48th Academy Awards (1976)
  • Co-presented at the 51st Academy Awards (1979)

 

Sustained Recognition

• Honored in 2016 with a commissioned mural in Boston’s Codman Square, commemorating his local legacy
• Consistently remembered as one of Hollywood’s most beloved screen icons, especially for his performance in The Wizard of Oz—the Scarecrow endures as a cultural classic

 

Ray Bolger Movies

1936 – The Great Ziegfeld

Role: Himself
Synopsis: This lavish MGM musical celebrates the legendary Broadway impresario Florenz Ziegfeld. Bolger appears in spectacular revue scenes, showcasing his vaudeville dance talents, playing a vibrant member of the ensemble.

1937 – Rosalie

Role: Bill Delroy
Synopsis: Set in high society during WWI, Bolger plays Bill Delroy, a charming Broadway performer involved in a romantic-comedic plot surrounding an heiress’s musical and her secret marriage.

1938 – Sweethearts

Role: Hans
Synopsis: A nostalgic Technicolor MGM musical reunion for Jeanette MacDonald and Nelson Eddy. Bolger, as Hans, performs the lively “wooden shoes” dance number, adding his signature style to the film.

1938 – The Girl of the Golden West

Role: Happy Moore (scenes deleted)
Synopsis: A musical adaptation of David Belasco’s play set in the California Gold Rush. Bolger was cast as Happy Moore, but his scenes were ultimately cut.

1939 – The Wizard of Oz

Role: Hunk / The Scarecrow
Synopsis: The iconic fantasy-adventure sees Dorothy journey to Oz. Bolger’s unforgettable performance as the Scarecrow—endearing, comical, and heartfelt—cemented his legacy. He famously sings “If I Only Had a Brain.”

1941 – Sunny

Role: Bunny Billings
Synopsis: In this RKO musical remake, Bolger stars as the carefree Bunny Billings opposite Anna Neagle, as they navigate romance and comedic mishaps in a circus setting.

1942 – Four Jacks and a Jill

Role: Nifty Sullivan
Synopsis: A wartime comedy in which Bolger’s character Nifty Sullivan becomes entangled in a lighthearted romantic-musical plot typical of RKO’s uplifting wartime productions.

1943 – Forever and a Day

Role: Sentry (scenes deleted)
Synopsis: A British-produced wartime anthology film depicting various Londoners’ experiences during WWII. Bolger’s scenes as a sentry were filmed but later removed.

1943 – Stage Door Canteen

Role: Himself
Synopsis: A star-studded morale-boosting film, featuring actors like Bolger performing for servicemen at the famous USO-run canteen in New York City.

1946 – The Harvey Girls

Role: Chris Maule
Synopsis: Set in the Old West, Bolger stars alongside Judy Garland as a charmingly roguish newspaperman who courts the Harvey Girls, waitresses serving cowboys.

1949 – Look for the Silver Lining

Role: Jack Donahue
Synopsis: A biopic of early musical star Marilyn Miller. Bolger plays Jack Donahue, a theatrical promoter and romantic interest, blending drama and song.

1952 – Where’s Charley?

Role: Charley Wykeham
Synopsis: Adapted from the Broadway hit, Bolger stars in this musical comedy about a bachelor who impersonates his aunt, leading to a series of farcical romantic entanglements.

1952 – April in Paris

Role: S. Winthrop “Sam” Putnam
Synopsis: A romantic musical comedy co-starring Doris Day and Bolger as a publicity man who attempts to boost his boss’s faltering opera company in France, with lighthearted results.

1961 – Babes in Toyland

Role: Barnaby (villain)
Synopsis: A Disney fantasy musical reinterpretation of Victor Herbert’s operetta. Bolger plays the scheming Barnaby, plotting against toyland’s innocent residents.

1966 – The Daydreamer

Role: The Pieman
Synopsis: A musical fantasy inspired by Hans Christian Andersen. Bolger appears as the Pieman in episodic fairy-tale vignettes, charmingly blending whimsy and song.

1979 – Just You and Me, Kid

Role: Tom
Synopsis: A heartwarming comedy featuring a runaway teenager and her unlikely companion—in Bolger’s case, a retired man named Tom who helps her navigate life’s challenges.

1979 – The Runner Stumbles

Role: Monsignor Nicholson
Synopsis: A dramatic adaptation of a play about a priest accused of murder. Bolger plays a Monsignor involved in the unfolding moral and legal drama.

1982 – Annie (Uncredited cameo)

Role: Sound Effects Man at radio station
Synopsis: In this big-screen musical adaptation, Bolger has a brief on-screen moment at a radio station, contributing sound effects—an affectionate nod to his long career.

1985 – That’s Dancing! (Documentary)

Role: Himself (Host)
Synopsis: A celebratory documentary of Hollywood’s musical dance traditions. Bolger hosts alongside Liza Minnelli, offering insights and reflections on the genre’s history.