Long before she became a household name as Ellen Griswold in the beloved National Lampoon’s Vacation series, Beverly D'Angelo was carving out her own path in the world of music and theater. Born and raised in Columbus, Ohio, Beverly’s journey took her from singing backup for rock legend Ronnie Hawkins to starring in the iconic musical Hair. Along the way, she earned a Golden Globe nomination for her portrayal of country legend Patsy Cline in Coal Miner’s Daughter. Now, at 73, Beverly reflects on her storied career and shares why her passion for music has never waned. "I always wanted to sing," Beverly tells Closer in an exclusive interview. "But I never thought it could be something I could do for a living."
Recently, Beverly returned to her roots with "Patsy Cline: Walkin’ After Midnight," a star-studded tribute concert honoring the life and legacy of the legendary country singer. In the PBS Passport special, Beverly performs a heartfelt rendition of "Too Many Secrets," showcasing the vocal prowess that first brought her to the spotlight. The episode also features archival interviews that shed light on Patsy’s remarkable career and enduring influence on country music.
Early Beginnings: From Ohio to California
Let’s start at the beginning. Tell us about your early life.
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It all began in Columbus, Ohio, where I grew up. But I didn’t stay there for long. At just 17 years old, I packed my bags and headed west to California. I’d studied art in high school, so I landed a job at Hanna-Barbera Cartoon Studios. My parents probably thought it was just a summer gig, but 1969 was a transformative year. Everything was changing, and I wanted to be a part of it. The choices in Ohio were pretty limited—get married or go to college and teach—but I had bigger dreams. I wanted to break free and find my own path.
Breaking Free: Discovering Her Voice
That’s quite the leap! What was it like leaving Ohio behind?
It was a world of difference. In Columbus, the options were pretty traditional—marriage, school, and family. But out in California, the possibilities felt endless. I was on the cusp of a new era of liberation, and singing was a secret dream I’d always carried with me. It wasn’t something I talked about openly, but it was always there, waiting for the right moment to come to life.
Discovering Patsy Cline: A Musical Revelation
How did you first encounter Patsy Cline?
When I moved to Canada as a studio vocalist, I had the incredible opportunity to work with Ronnie Hawkins. He introduced me to Patsy Cline’s music, and it was a game-changer. At the time, I knew who she was, but her music wasn’t widely available. She hadn’t been on the radio in years, and she’d passed away long before I discovered her. But when I heard her voice, I realized she was more than just a country singer. She had a universal appeal that transcended genres. She wasn’t afraid to be herself, and that’s what made her so special.
From Stage to Screen: A Career in Acting
How did you transition into acting?
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It was kind of a natural progression. I was singing my way through life, performing in small repertory companies, when I landed a role in Rockabye Hamlet. When that Broadway show ended, the opportunities that came knocking weren’t from record labels—they were from filmmakers. It was a new world, but I embraced it with open arms. Acting wasn’t something I planned for, but it opened doors I never imagined possible.
What was it like working with Woody Allen on Annie Hall?
I was completely naive about the filmmaking process back then. I didn’t even own a TV, and I rarely went to the movies. So, when I was cast in Annie Hall, I wasn’t the least bit intimidated. I didn’t realize how revered Woody Allen was at the time. He was incredibly kind and welcoming, but the experience was over in a day. My character was a small part, but it was a stepping stone that led to bigger things.
Starring in Hair: A Turning Point
Tell us about your role in the movie version of Hair.
Meeting director Miloš Forman during the audition process for Hair was a turning point in my career. He was a brilliant man with a passion for storytelling, and he saw something in me that I didn’t see in myself. Working on Hair introduced me to the world of filmmaking in a way that was both challenging and rewarding. It was an entry into a world I hadn’t fully appreciated before. I became an actor because it was an opportunity, but I’ve never been someone who plans her career. I’ve always followed my instincts and let the chips fall where they may.
What was it like working alongside Treat Williams?
Treat and I connected instantly when we first met in 1977. We went through so much together—our first big exposure to the public with Hair and the fame that followed. We both earned Emmy nominations for A Streetcar Named Desire in 1984, and we stayed in touch over the years. Our friendship deepened after Treat organized a cast reunion for Hair just before the pandemic hit. Losing him was devastating, and I’m still processing that loss.
Working with Clint Eastwood and Chevy Chase
What was it like collaborating with Clint Eastwood on Every Which Way But Loose?
Clint was fantastic to work with. He surrounded himself with the same trusted crew, and the set felt like a tight-knit family. We’d shoot all day, then go out to dinner together, staying at the same hotel. It was a transitional period for Clint—he was moving away from his Dirty Harry persona and embracing a more relatable, everyman kind of role. It was an honor to be part of that evolution.
And what about Chevy Chase? What stands out from your time working on the Vacation series?
Working with Chevy was
