Actors...Ever have that dream where you're on stage and you don't know you're lines, you blocking or even what the show is that you're doing? Of course you have. We all have.
Well this weekend, I nearly lived it for real. That's right! I went into a new musical that I had never seen, read nor even heard about with 24 hours notice and no rehearsal. And I survived.
Friday night art 5:00 I received a message from an old colleague at Acme Comedy Theatre whose wife is in a new musical opening that evening in about 3 hours. One of the lead actors was in the emergency room and they knew nothing about his condition, ailment, when or if he would be back in the show. He had been asked to do it but he's not a singer (although I think he could have handled this character's one song). His wife asked if he knew anyone that could sing and act and jump in on a moment's notice. And that's how I ended up in a new musical.
I was up for the challenge. It's been a while since I've done something like this, gone on as a replacement with little to non rehearsal. And I felt my mind needed it to prove that my mind was still agile enough at my age,
I was told that the show's composer was prepared to go on in the role that evening. I could simply come and watch the show and then jump in to Saturday night's show. I arrived at the theater an hour and a half later. It was very deja vu for me. I did two shows at the at theater 14 and 15 years ago and had only been back on a couple of occasions since both over a decade ago. So weird to be there again after all these years and to walk in the theater and see a signed poster if one of those shows with my autograph hanging on the wall house right. My very first show in Los Angeles was in that space.
So, I arrived and watched as they ran the composer through what would be my scenes. I was handed a copy of the stage manager's script and went in search of a FedEx Office to make a copy. As I went through the script I noticed that my character was named Cindy, not Sidney as was I had been told. I was confused. Turns out this was an older version of the script before my character's gender was changed. (Not the only one either, a formerly male character had been changed to a female so it evened out in the end). Why the stage manager had an old version of the script was beyond me, but who am I to question.
So I went up to the booth to watch the show. I still knew nothing about this show called Mary of the Avenue. When Sidney came on stage I turned on the recorder on my phone so I could have a recording of the song I had to learn. I watched the show, and after made arrangements with my scene partners to meet at 5 on Saturday before the show.
I went out with friends and stayed out way too late (that's a story for another time). Cancelled my work hours on Saturday and stayed in so I could focus on my lines. Now the good news is that I play a reporter so I could use a clipboard in certain scenes when I was on the scene reporting to my TV audience. That way I was able to put the pages of the script for that scene on the clipboard and use it as a crutch when I was on stage. I showed up at 5 and we ran my scenes a few times and then I went to the booth to learn my song. I definitely needed to have my script in my hand for that!
I did the show. The announcement that I was going on as a replacement was not made until intermission. The producer thought that if he made the announcement prior to the start of the show that the audience would be conscious of me looking down at my script periodically, but if he said nothing they wouldn't be as aware of it and it would be even more impressive when they found out that I was a last minute sub with no rehearsal time nor no knowledge of the show whatsoever until approximately 24 hours before going on. It worked! They totally fell for it.
Although I was never told about the curtain call. Well, no worries, I thought. I'll just ask who I follow and where I go. Great. No problem. Worked out fine. And then when we all took our group bow...the music started playing and the cast started singing one of the songs from the show...and not my song! What?! After all that? I get through the show without incident and then that gets thrown at me. What is this song. Do I stand here like an idiot and just grin at the audience? Do I move my lips and make it look like a bad ventriloquist act or bad dubbing on a foreign film? No! I'm going to try and sing a long. A song I don't know. A song I've only heard once. And so I opened my mouth and sang. I followed along. The melody was pretty easy to pick up and as for the words I just a split millisecond behind the cast. Seriously. I was basically echoing them but only barely.
When I walked off stage, I went into the dressing room and said I wish someone had told me that I had to sing in the bows! The composer /producer came backstage and apologized for thinking to tell me and teach me the song. But then also noted how I just dove in and sang along and he couldn't believe how I appeared to know the song, Only his trained eye could tell that I was actually about a split second behind the cast.
So I did it. I went on again today and it was better. Next weekend I'll be onstage without a crutch, totally off book. But for now...Phew! I've still got it!
Showing posts with label theatre. Show all posts
Showing posts with label theatre. Show all posts
Sunday, August 19, 2018
Monday, January 1, 2018
A Look Back at 2017
On New Years, people make lists. They look back at the last year and list their top 10s or just reflect on the highs and lows of the past year and make resolutions or perhaps set goals for the next year.
I am not one for making New Years' resolutions. Why use the first of a new year as a reason to make changes or improvement in my life? It should be ongoing. Right? However, the end of the year can't help but make you reflect on the past year. And so much has changed in my life this past year, I do want to take stock of where I was and where I am.
I spent all of 2017 working in the theater. And I got to play a variety of roles in various genres. I started the year playing (don't laugh!) Cornelius Hackl in Hello Dolly. The reason you may be hearing about for the first time here is because it was for a one-weekend only church benefit cast mostly with church regulars and I was one of the pros brought into the production. You may scoff at me playing Cornelius at my age but based on the age of the other actors, it worked and I got to check off a dream role from my bucket list. Cornelius is the heart and sole of this show and I got sing a beautiful, ballad, dance and show off my comedy skills.
I went straight from Hello Dolly to 42nd Street at the Candlelight Pavilion Dinner Theatre in Claremont. I had a great time working there and may some new friendships that have lasted beyond the run of that show. I played Pat Denning and while not a huge role and once again I was back in a musical in an almost non-singing role, Pat Denning sings about 16 bars of one song. But he does play a pivotal part in the plot as Dorothy Brock's love. I played opposite the wonderful Sarah Meals as Dorothy and I know I'll be back to Candlelight in the future.
While performing in 42nd Street, I began rehearsals for Hello Again, the musical which I directed at Chromolume Theatre in the spring. It was a big challenge. Not only is it rarely produced but it is the compete opposite of a Broadway blockbuster like the previous two shows. And as is typical of me, I had some pretty serious doubts that I could pull it off. But I did.
While in rehearsals for Hello Again, I heard from two other theaters in town asking if I would be interested in auditioning for their upcoming shows. Crown City Theatre in North Hollywood was producing an original play written by one of their Co-Artistic Directors. Somewhere in the Middle was a comedy-drama about a Jewish-Catholic family whose college-age daughter brings home a black, Palestinian, Muslim fiancé to meet the family on Passover. Think Norman Lear 1970s sitcom. I played the father and I loved being able to play a straight role as the patriarch of a family. We got great reviews and extended for a couple weekends.
And finally, I was asked to audition for the part of the Old Man in a stage adaptation of A Christmas Story, not the musical recently seen on FOX, but a straight play based on Jean Shepherd's stories. We opened in mid-November and closed on New Years Eve. The show was amazing. We sold out almost the entire run. The set, props and costumes were all top notch and the reviews were all raves. And best of all I had a role that was a real showcase for my talents. It was probably the most physically demanding role I have ever had. I was constantly out of breath backstage early in the run but as the run progressed, I noticed I wasn't as out of breath. And I lost some weight. Like seriously, my pants are hanging off of me.
And next, to start 2018, I return to one of my favorite roles of all time, Harold in The Full Monty, opening January 26 at San Diego Music Theatre and running through February 25. I start rehearsals tomorrow. Its a great to start the new year.
As I look back at last year, one word comes to mind...GRATEFUL. Look at the parts I played this year. All very different. Big budget musicals, small family dramas and comedies. I got to stretch my acting muscles and play so many different roles.
But the biggest step I took this year was quitting my job of 11 years so I could focus on my acting. Scary. Risky. Some might say Bold, maybe even crazy. Time will tell. I am scared but I also know that if I want to make a living as an actor, I need to focus on that and nothing else.
My goal this year is to book some co-stars on TV. I'm already off to a decent start with some auditions in the last couple of months. Based on the words listed at the top of this blog, what shows would you cast me in? Let me know in the comments section of this blog.
Thanks and HAPPY NEW YEAR!
Thursday, October 5, 2017
Women Directors in Commercials
So last week, I worked on a commercial. A big achievement in my career on its own. However, as I stood in the room waiting for my callback to begin, and was introduced to the director it struck me the director was unlike any commercial director I had worked with before. This director was a woman.
Now you're probably asking yourself, "What's the big deal about that?" And seriously, I wish I could say nothing. But the truth is I've only ever worked with men directors on commercials. As I stood there, I had to think about it. "Yes! This is the first time, the director was a woman."
And I thought some more, "Has this been true for the movies and TV shows I've worked on too?" I had to think back. My God! It's true, I could only think of one woman director I've worked with on a film. And that was just last month. There have been plenty of woman assistant directors, but no directors.
Then my next thought was. "Why should I be having this reaction? This shouldn't be a big deal." But when I thought about it more, I realized it was true. Then I questioned why haven't I ever worked with a female commercial director, especially in this day and age. Is it really that unusual? It's 2017. And I thought more, have I ever worked with a black commercial director? Nope. Again, worked with some black male directors on film projects. But not commercials. Why is that? Latino males? Yes. One. Because it was a commercial for Spanish language markets. On Films. Yes. Asian? Films. Yes. Commercials. No.
Again, on stage, I've worked with plenty of directors of all colors and genders. But then the theater world is much more progressive in that way. Still not perfect, but ahead of the curve in relation to TV and film. We've all been reading and hearing about the struggle from pretty much any groups that aren't made up of white men in the media in the last couple of years. And it's real. Of course, I'm a white male so do these words mean anything coming from me?
Yes, the mere fact that I thought to myself, "A woman director? I don't think I've ever worked with one on a commercial." But my next thought was, "Wow! Sad. It's 2017. I thought we'd come further than this." There's a reason women are being more and more vocal these days in their right to get equal pay and opportunities. Despite the progress made by the previous couple of generations of women and blacks and Latinos and Asians and LGBTQs, there is still along way to go.
The point that struck me the most standing in that room waiting for my callback to start was how sad it was that I had that thought at all. I shouldn't have those thoughts because there should be more women directors making commercials and TV shows and films, etc. I look forward to the day that I don't have those thoughts because it won't be the least bit unusual.
Now you're probably asking yourself, "What's the big deal about that?" And seriously, I wish I could say nothing. But the truth is I've only ever worked with men directors on commercials. As I stood there, I had to think about it. "Yes! This is the first time, the director was a woman."
And I thought some more, "Has this been true for the movies and TV shows I've worked on too?" I had to think back. My God! It's true, I could only think of one woman director I've worked with on a film. And that was just last month. There have been plenty of woman assistant directors, but no directors.
Then my next thought was. "Why should I be having this reaction? This shouldn't be a big deal." But when I thought about it more, I realized it was true. Then I questioned why haven't I ever worked with a female commercial director, especially in this day and age. Is it really that unusual? It's 2017. And I thought more, have I ever worked with a black commercial director? Nope. Again, worked with some black male directors on film projects. But not commercials. Why is that? Latino males? Yes. One. Because it was a commercial for Spanish language markets. On Films. Yes. Asian? Films. Yes. Commercials. No.
Again, on stage, I've worked with plenty of directors of all colors and genders. But then the theater world is much more progressive in that way. Still not perfect, but ahead of the curve in relation to TV and film. We've all been reading and hearing about the struggle from pretty much any groups that aren't made up of white men in the media in the last couple of years. And it's real. Of course, I'm a white male so do these words mean anything coming from me?
Yes, the mere fact that I thought to myself, "A woman director? I don't think I've ever worked with one on a commercial." But my next thought was, "Wow! Sad. It's 2017. I thought we'd come further than this." There's a reason women are being more and more vocal these days in their right to get equal pay and opportunities. Despite the progress made by the previous couple of generations of women and blacks and Latinos and Asians and LGBTQs, there is still along way to go.
The point that struck me the most standing in that room waiting for my callback to start was how sad it was that I had that thought at all. I shouldn't have those thoughts because there should be more women directors making commercials and TV shows and films, etc. I look forward to the day that I don't have those thoughts because it won't be the least bit unusual.
Friday, August 25, 2017
Show Opening and New Works
For the past two months I have been rehearsing a new play. An original piece called Somewhere in the Middle or Guess Who's Coming to Passover? Tonight we have our first preview performance at Crown City Theatre in North Hollywood. Official opening is next Saturday September 2. For more info, click here:
Crown City Theatre
Its been a challenging experience for me, having the opportunity to create a role in an original piece. Typically, I am in a well known play or musical that most everyone is familiar with. In the last two years I've been in productions of Hello Dolly, 42nd Street, How to Succeed, Putnam County Spelling Bee and The Odd Couple. You get the picture.
Not only am I working on a new piece, but the director is also the playwright so its especially daunting knowing that you are bringing his vision, his creation to life. Unlike an already published or well known piece, and depending on the author/director, you have some input on the development of the character. Its been a very nice experience. If any lines don't make sense coming out of my mouth, I can bring it up. If I have trouble with a line it will get cut or re-written as we fine tune the piece.
It's also a small ensemble piece, meaning there are only 6 in the cast and there are no lead roles. We are all equal. Its the story of a family: mother, father (me), college age daughter, teenage son and grandmother (my mother) and the daughter's new boyfriend who she brings home to meet the family. They are a white, Jewish-Christian family. The bf is Black, Muslim and Palestinian. Wacky chaos ensues. Just kidding. Chaos does ensue as the various family members argue the various sides of several issues including race, religion and the middle east. But its not wacky. Its thoughtful and intelligent with a great deal of humor thrown in. If you're in LA over the next 6 weeks, come see us. Tickets are only $20.
In other news, I've done some writing and I have ideas for sketches and short films I want to film. I have also thought about doing a vlog on youtube. But I'm having trouble deciding what it should be about. I have followed several on youtube. They always seem to be made by young people under 35. And their vlogs are not about anything in particular. They just show their lives. Every day they release a new video to youtube or maybe once a week. Its just their day. Nothing special. But hey are always well put together, nice editing, photography, music etc. But, again, nothing special. Just their lives.
And they get thousands of hits per video. Thousands! They get sponsors and merchandise. Just from posting videos of their days. Why is that? What makes them go viral? And why don't I see any made by people of my generation? Is there a market or need for that? Is this a generational thing just for the young whippersnappers out there?
If I were to do a vlog, what would you want to see on there? Something geared towards my generation? Something like education on how to use youtube? or the many apps and new technology that are out there? Advice? Ask Richard?
Write in and tell me what you would like to see on my vlogs. Seriously, write me and let me know what you'd like to see. And check out my updated website when you get chance:
RichardVanSlyke.com
Crown City Theatre
Its been a challenging experience for me, having the opportunity to create a role in an original piece. Typically, I am in a well known play or musical that most everyone is familiar with. In the last two years I've been in productions of Hello Dolly, 42nd Street, How to Succeed, Putnam County Spelling Bee and The Odd Couple. You get the picture.
Not only am I working on a new piece, but the director is also the playwright so its especially daunting knowing that you are bringing his vision, his creation to life. Unlike an already published or well known piece, and depending on the author/director, you have some input on the development of the character. Its been a very nice experience. If any lines don't make sense coming out of my mouth, I can bring it up. If I have trouble with a line it will get cut or re-written as we fine tune the piece.
It's also a small ensemble piece, meaning there are only 6 in the cast and there are no lead roles. We are all equal. Its the story of a family: mother, father (me), college age daughter, teenage son and grandmother (my mother) and the daughter's new boyfriend who she brings home to meet the family. They are a white, Jewish-Christian family. The bf is Black, Muslim and Palestinian. Wacky chaos ensues. Just kidding. Chaos does ensue as the various family members argue the various sides of several issues including race, religion and the middle east. But its not wacky. Its thoughtful and intelligent with a great deal of humor thrown in. If you're in LA over the next 6 weeks, come see us. Tickets are only $20.
In other news, I've done some writing and I have ideas for sketches and short films I want to film. I have also thought about doing a vlog on youtube. But I'm having trouble deciding what it should be about. I have followed several on youtube. They always seem to be made by young people under 35. And their vlogs are not about anything in particular. They just show their lives. Every day they release a new video to youtube or maybe once a week. Its just their day. Nothing special. But hey are always well put together, nice editing, photography, music etc. But, again, nothing special. Just their lives.
And they get thousands of hits per video. Thousands! They get sponsors and merchandise. Just from posting videos of their days. Why is that? What makes them go viral? And why don't I see any made by people of my generation? Is there a market or need for that? Is this a generational thing just for the young whippersnappers out there?
If I were to do a vlog, what would you want to see on there? Something geared towards my generation? Something like education on how to use youtube? or the many apps and new technology that are out there? Advice? Ask Richard?
Write in and tell me what you would like to see on my vlogs. Seriously, write me and let me know what you'd like to see. And check out my updated website when you get chance:
RichardVanSlyke.com
Sunday, July 2, 2017
The Next Chapter
I've been keeping this one to myself...mostly. As of two days ago, it became official. I am no longer employed full-time. Now this news is likely to concern some people. But the simple truth of the matter is I was miserable. Absolutely, 100%, out of my mind, trapped like a rat in a maze I couldn't get out of and afraid if I didn't do something soon I would crack and lose it miserable. There were some very, VERY low times in the last few years. I had to get out of there. And after years of contemplating, debating, discussing, threatening, ruminating, I finally took the step and gave my notice about two and half months ago.
Friday, I left my job of nearly 11 years. That's the longest I've worked anywhere and its been great for me financially. I've put some money away. I've got a nice retirement plan/401(k). I have a nice car. I live in a nice place and typically don't have to worry about my expenses. For all of that, I am extremely grateful. But my mental state was not good.
I moved here from NYC to further pursue my acting career on TV and in film. And when I came here I told myself, if I didn't succeed as an actor then come hell or high water I would work in the entertainment industry no matter what. So, how did I end up working in Legal Compliance for a large finance firm in downtown LA? First off, I wasn't aware that anyone moved to LA for anything other than TV or film. I mean why move here. That's all that's here, right?
So I came. I started temping almost immediately and was placed at one of the big studios. I got an agent. I went out on commercial auditions. I did theater. I did some really (And I mean REALLY) low budget movies. I temped at that studio for well over two years. And then it came to an end, but I was immediately called by another temp agency that saw my resume online and was placed within days of leaving my last temp assignment at the studio at a finance firm in Pasadena for two weeks. It lasted over three months. And then the day after that assignment ended, another agency called that also found my resume online. The next day I went to their office and registered and the following day interviewed at the finance firm downtown and two days later started as a temp. And here I am 11 years and three promotions later....burnt out.
You see at the same time, I was working in the theater...almost constantly. In two or three shows a year. And also going out on commercial and TV auditions. In recent years, its been tough to juggle. I'll go out on an audition during the work day and usually I'm back within an hour and a half. But every once in a while, I'm gone two hours, two and half hours. And every once in a while, my boss would notice and call me in wanting to know where I was. Stress. Anxiety. Anyone who knows me knows I can't handle a) stress, b) people not liking me and c) not being a perfect worker/employee/son/student/brother etc. I have to be perfect always, the good boy, the one who follows the rules and never does anything wrong. I cannot make mistakes, ever! It's a lot of pressure.
So take all this into an audition and well, you get the picture. As I sit there in the waiting room, I'm checking the clock. Why is this taking so long? NO! Don't take a bathroom break. I have to get back to work! What if I get stuck in bad traffic? How will I explain myself?
I don't need that energy at an audition. Now, I'll be honest, once I'm in the audition room, I leave all that outside. But as soon as I am out that door, I am OUT that door. The stress of trying to juggle the full-time job and the auditions was too much. Now, I may go weeks without an issue but then I'll go through a stretch where I may have a couple of weeks with multiple auditions and me coming and going from work. Not so great. And lastly, I'm not 22 anymore! I'm exhausted all the time.
I need some rest. I need to relax and I need to give myself some time to prepare for each audition.
I'm not independently wealthy and I will need to find another way to support myself. But at this point, I'm looking for something part-time so I can have some flexibility. I don't know what it will be just yet. I may open a store, or a franchise, or maybe work as a professional organizer. I'd like to teach acting to kids. Or maybe I'll just work as a barista at Starbucks. Who knows?
So if any of you know of a job or want to hire someone for some work around the house, let me know. I'm available.
Friday, I left my job of nearly 11 years. That's the longest I've worked anywhere and its been great for me financially. I've put some money away. I've got a nice retirement plan/401(k). I have a nice car. I live in a nice place and typically don't have to worry about my expenses. For all of that, I am extremely grateful. But my mental state was not good.
I moved here from NYC to further pursue my acting career on TV and in film. And when I came here I told myself, if I didn't succeed as an actor then come hell or high water I would work in the entertainment industry no matter what. So, how did I end up working in Legal Compliance for a large finance firm in downtown LA? First off, I wasn't aware that anyone moved to LA for anything other than TV or film. I mean why move here. That's all that's here, right?
So I came. I started temping almost immediately and was placed at one of the big studios. I got an agent. I went out on commercial auditions. I did theater. I did some really (And I mean REALLY) low budget movies. I temped at that studio for well over two years. And then it came to an end, but I was immediately called by another temp agency that saw my resume online and was placed within days of leaving my last temp assignment at the studio at a finance firm in Pasadena for two weeks. It lasted over three months. And then the day after that assignment ended, another agency called that also found my resume online. The next day I went to their office and registered and the following day interviewed at the finance firm downtown and two days later started as a temp. And here I am 11 years and three promotions later....burnt out.
You see at the same time, I was working in the theater...almost constantly. In two or three shows a year. And also going out on commercial and TV auditions. In recent years, its been tough to juggle. I'll go out on an audition during the work day and usually I'm back within an hour and a half. But every once in a while, I'm gone two hours, two and half hours. And every once in a while, my boss would notice and call me in wanting to know where I was. Stress. Anxiety. Anyone who knows me knows I can't handle a) stress, b) people not liking me and c) not being a perfect worker/employee/son/student/brother etc. I have to be perfect always, the good boy, the one who follows the rules and never does anything wrong. I cannot make mistakes, ever! It's a lot of pressure.
So take all this into an audition and well, you get the picture. As I sit there in the waiting room, I'm checking the clock. Why is this taking so long? NO! Don't take a bathroom break. I have to get back to work! What if I get stuck in bad traffic? How will I explain myself?
I don't need that energy at an audition. Now, I'll be honest, once I'm in the audition room, I leave all that outside. But as soon as I am out that door, I am OUT that door. The stress of trying to juggle the full-time job and the auditions was too much. Now, I may go weeks without an issue but then I'll go through a stretch where I may have a couple of weeks with multiple auditions and me coming and going from work. Not so great. And lastly, I'm not 22 anymore! I'm exhausted all the time.
I need some rest. I need to relax and I need to give myself some time to prepare for each audition.
I'm not independently wealthy and I will need to find another way to support myself. But at this point, I'm looking for something part-time so I can have some flexibility. I don't know what it will be just yet. I may open a store, or a franchise, or maybe work as a professional organizer. I'd like to teach acting to kids. Or maybe I'll just work as a barista at Starbucks. Who knows?
So if any of you know of a job or want to hire someone for some work around the house, let me know. I'm available.
Tuesday, May 30, 2017
Post thoughts on Hello Again (the show I directed)
I directed a production of the musical Hello Again by Michael John LaChiusa that closed this past weekend, after a four week run.
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| The cast and crew of Hello Again at Chromolume Theatre |
Now that a couple of days have gone by, I have time to reflect on the experience. For those of you who don't know unlike TV or film, once a show opens, a director's job is done. Typically. He or she might be called in to put in a new actor or actress after the show has been running for a while. But usually, the show is turned over to the stage manager once the show has opened. It is the stage manager's job to maintain the integrity of the director's vision from that point on. The stage manager will give notes if an actor has changed their blocking or the intent of a line or scene, etc.
So the last four weeks have been rather uneventful and not so stressful for me because, basically, my job was done. But this theater's policy is to guarantee all of its understudies two performances which meant we had to rehearse and put in all of them. But other than that, I had little to do.
The four weeks of rehearsal leading up to opening night was very stressful though.
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| Me "Directing" |
We had an amazing turn out for auditions back in March. The talent was outstanding and it was very difficult to cast this show because there were so many great performers there. But we came up with our ten actors and five understudies. Rehearsals went smoothly for the most part. We had difficulty sometimes with scheduling as the theater rents out its studios and stage to paying customers. Makes sense. So we might sometimes have to relocate to a different space from where we were originally schedule to rehearse.
The music for this show is very difficult. It styles span all 10 decades of the 20th century and the composers music is often dissonant which can make it hard for performers to learn. And its not an easy piece to play either. In addition, we performed on a very low budget. We could only afford one musician, the piano player also our Music Director. I have to give a major shout out to here to Brenda Varda my partner in all of this. She was in fact a last minute replacement for someone else. And we really lucked out. She worked so hard. I literally could not have done it without her. She blew me away. She played that score solo every single night. And she worked with the actors and whipped them into shape. There are some difficult harmonies. And there were a couple of harmonies that were not coming together. Two nights before we opened, there were still some harmony issues with a couple moments in the show. And I told her, if the actors involved cannot fix it by final dress, then those harmonies will need to be cut. They came together and never faltered from that day on. I love this woman!
I stress over everything. I stressed that I wouldn't have a music director. I stressed that I wasn't casting any friends that auditioned and they would hold a grudge. I stressed that the actors who were cast would quit out of frustration since this was such a low budget show and they might not like the circumstances. I stressed that there was no way we could afford to costume the show. I stressed that understudies might feel short changed. I stressed that one or more of the actors might refuse to let their understudy go on. I stressed the set wouldn't look good. I stressed we would run out of money and have no sets or no costumes. I stressed that I didn't have what it takes to direct this piece.
I was really scared I was over my head. And then I remembered something. I felt exactly this way the last time I directed. And the time before that. And the time before that. In fact every time I've directed, I have felt that way. Exactly that way. And the shows always turned out great.
And you know what else was pointed out to me? Most those things I was stressing about are out of my control. That's right. I can control what's on the stage. The look, the performances, the staging.
But that's it. All I can do is make sure my cast is well rehearsed and that they are comfortable doing what I have asked of them and doing what they bring to their roles. I provide a place for them to experiment and play and develop their performances. Its a collaboration between us. We work together to find their performances.
My cast was excellent through and through. They all brought their unique talents to their roles. The show looked good. It was very low budget. The set was minimal but it worked for us. The cast looked and sounded great. Again, thank you Brenda! The costumes were wonderful. They helped us in setting the time and place for each scene. We didn't need the sets to do that. We got three excellent reviews. This is an unusual piece and not for everyone so that's something.
Now that its over I breathe a sigh of relief and I move on to the next project. Well two projects actually, both as actor. I'm currently rehearsing Chaturbate the Musical for the Hollywood Fringe Festival as part of the NMI programs. The week before that opens I start rehearsals for an original play called Somewhere in the Middle at Crown City Theatre in North Hollywood, opening September 1.
So when is my next directing project? I don't know yet. Chromolume has asked me about a show for 2019. For now, I'm happy to act and write my next project. Another web series maybe? Or some shorts for youtube? We'll see.
Friday, February 10, 2017
The Career that Giveth and Taketh Away - Acting: It's not for the faint of heart
So far 2017, has been a mixed bag. I was excited coming into 2017 having booked roles in two films. A small but fun a part in a low budget parody film and a significant role in a USC film school student film.
I was especially looking forward to the student film because it would give me an opportunity to play against type. I typically play ineffective middle management or authority figures or goofy dads/neighbors, etc. In this, I was to play a sympathetic single dad to a gay teen son who is being bullied into a sexual relationship with another teen who threatens to out him. I was really looking forward to it. A week before Christmas, I was sent the shoot dates and I told them I was fine but I had a day job and would not be available during the week. A couple weeks later, I received emails confirming the shoot dates and times, transportation information and costume measurements. I made arrangements to take a day off for one day of filming. I worked on my lines.
And then the day before I was due to shoot, I received an email telling me that due to my last minute notification to them of my limited schedule, they could not use me. What?! Exactly, what was last minute? I told them as soon as they notified me of the shoot dates. They never said word one that there was a problem. They sent me a shoot schedule for Friday Saturday and Sunday. I took Friday off form work. They were in constant contact with me, adding me to the contact list, asking about dietary restrictions, talking with the wardrobe supervisor about wardrobe. No clue.
I wasn't sure how to react. I mean I was really looking forward to this. It was a great opportunity for me to show something I haven't on film yet. I sent an email asking if they had the right person. Or wondering what had happened. I was too impatient to wait for a response, so I called the student the email came from. I asked her what was going on. She said because I had conflicts they couldn't use me. ME: But you never said anything to me. I've been responding to all the emails you've sent regarding wardrobe, transportation, dietary restrictions, etc. You sent me a filming schedule on December 18 and I emailed back that I had a day job, so weekdays could be a conflict,. You then sent me a shoot schedule with shoot days of Friday Saturday and Sunday. I took Friday off from work to shoot. Not once did anyone say, three was a scheduling issue. You lead me to believe those were my shoot dates. If you had called me, I could have changed my schedule to fit your shoot schedule. And now the day before the shoot you tell me to my late notice of conflicts. What late notice? I told you three weeks ago as soon as you sent the shooting dates. HER: Well, we really loved your audition. We thought you were great. But we can only have the location for certain days and can't change it and our lead actor is only available certain times and couldn't change his schedule. ME: But you didn't tell me any of this. You've been communicating with me as if I had the part. HER: Well, we have someone else. ME: I thanked them for their time and wished them good luck with the project.
Frustrating! Did I mention I really wanted to play that part?
Film number two was also supposed to shoot in January. So far, I've heard nothing since I accepted the part and they sent me a copy of the script. It's now February. I'm beginning to feel like that might not happen. So a few days ago I sent an email asking if there were any updates on the filming. I've gotten no response back. Its been four days.
Oh Acting Career, you giveth and you taketh away.
These are the joys of being an actor. You feel good one day and then down the next,. You're only as good as your most recent work. And your self-esteem is so low that if you're not working, you feel pretty low. It's been a slow commercial audition period for me as well. So of course, my esteem is low presently.
Now on to the positive!
Tonight, I am opening a show on stage that I am very excited to be a part of. And it's going to be a really good one! 42nd Street at the Candlelight Pavilion Dinner Theatre in Claremont, CA. If you're in the neighborhood, come and see those dancing feet. It's going to be so good.
I was especially looking forward to the student film because it would give me an opportunity to play against type. I typically play ineffective middle management or authority figures or goofy dads/neighbors, etc. In this, I was to play a sympathetic single dad to a gay teen son who is being bullied into a sexual relationship with another teen who threatens to out him. I was really looking forward to it. A week before Christmas, I was sent the shoot dates and I told them I was fine but I had a day job and would not be available during the week. A couple weeks later, I received emails confirming the shoot dates and times, transportation information and costume measurements. I made arrangements to take a day off for one day of filming. I worked on my lines.
And then the day before I was due to shoot, I received an email telling me that due to my last minute notification to them of my limited schedule, they could not use me. What?! Exactly, what was last minute? I told them as soon as they notified me of the shoot dates. They never said word one that there was a problem. They sent me a shoot schedule for Friday Saturday and Sunday. I took Friday off form work. They were in constant contact with me, adding me to the contact list, asking about dietary restrictions, talking with the wardrobe supervisor about wardrobe. No clue.
I wasn't sure how to react. I mean I was really looking forward to this. It was a great opportunity for me to show something I haven't on film yet. I sent an email asking if they had the right person. Or wondering what had happened. I was too impatient to wait for a response, so I called the student the email came from. I asked her what was going on. She said because I had conflicts they couldn't use me. ME: But you never said anything to me. I've been responding to all the emails you've sent regarding wardrobe, transportation, dietary restrictions, etc. You sent me a filming schedule on December 18 and I emailed back that I had a day job, so weekdays could be a conflict,. You then sent me a shoot schedule with shoot days of Friday Saturday and Sunday. I took Friday off from work to shoot. Not once did anyone say, three was a scheduling issue. You lead me to believe those were my shoot dates. If you had called me, I could have changed my schedule to fit your shoot schedule. And now the day before the shoot you tell me to my late notice of conflicts. What late notice? I told you three weeks ago as soon as you sent the shooting dates. HER: Well, we really loved your audition. We thought you were great. But we can only have the location for certain days and can't change it and our lead actor is only available certain times and couldn't change his schedule. ME: But you didn't tell me any of this. You've been communicating with me as if I had the part. HER: Well, we have someone else. ME: I thanked them for their time and wished them good luck with the project.
Frustrating! Did I mention I really wanted to play that part?
Film number two was also supposed to shoot in January. So far, I've heard nothing since I accepted the part and they sent me a copy of the script. It's now February. I'm beginning to feel like that might not happen. So a few days ago I sent an email asking if there were any updates on the filming. I've gotten no response back. Its been four days.
Oh Acting Career, you giveth and you taketh away.
These are the joys of being an actor. You feel good one day and then down the next,. You're only as good as your most recent work. And your self-esteem is so low that if you're not working, you feel pretty low. It's been a slow commercial audition period for me as well. So of course, my esteem is low presently.
Now on to the positive!
Tonight, I am opening a show on stage that I am very excited to be a part of. And it's going to be a really good one! 42nd Street at the Candlelight Pavilion Dinner Theatre in Claremont, CA. If you're in the neighborhood, come and see those dancing feet. It's going to be so good.
Monday, June 20, 2016
The Show Must Go On - Backstage Stories or That Time I Threw Up Onstage and more
I am currently in a production of How to Succeed in Business Without Really Trying. We close this weekend. Check link below for How to Succeed in buying tickets without really trying. (See what I did there?)
Glendale Centre Theatre How to Succeed Tickets
This past weekend, our leading lady lost her voice. She went on Thursday and got through the show just fine. But Friday, we cancelled due to the loss of her voice and no understudy. Saturday she was back onstage and her old self as well. What a joy! She is an amazing performer and all around fun sweet person. But that's not the subject of this blog.
Today, I discuss some of my most memorable onstage mishaps. And I will save the best for last (my all-time number one most memorable/most embarrassing onstage moment). This weekend, in addition to the above cancelled performance we had not one, but two performances where light and sound cues went awry. At one performance, the first act went smoothly, as did half of the second act. Then suddenly, in the middle of the lead's big 11:00 number, I Believe In You, the sound went out. Then it jumped to the next cue, which was the entrance into the next scene. Only half of us were in place for that entrance. We went in,. Started the scene with half the men onstage. The others joined the scene in progress. But the lights were dimmed for some reason. Then the phone didn't ring. So the actor speaking said I'm expecting a call any minute at which point the phone rang.
In summer stock, the power went out on us due to a thunder storm about 10 minutes before the start of the show so a bunch of entertained the audience waiting for the power to come back on by performing improv and singing a capella in the generator lights. Years ago, I worked out at outdoor theater where shows might be called due to rain. Once it happened in the middle of Joseph and the Amazing Technicolor Dreamcoat. It started raining in the first act. By the time intermission came, the stage had puddles. We never did the second act that night.
Another time, I was in a production of Babes In Arms. I played Lee Calhoun the arrogant playwright who is performing his play at the theater and the kids plot to sabotage his show so they can put on their own show. During the course of the scene things go wrong. Fake props are given to me, an actress walks off in the middle of the scene. Well one night, said actress decided to try slamming the door on her exit from the scene. This was on the advice of someone on the crew, not the director! Well when she slammed that door, the flat next to started to fall over with a small table and lamp right in front of it. I casually walked over caught the lamp with one had as it started to fall over and stopped the flat from falling with my other had and propped it up. It all looked like a part of the scene. She never slammed that door again!
During a production of Kiss Me Kate, our Fred Graham was out on stage singing Where Is The Life That Late I Led?, when a drop came crashing down behind him in the middle of the song. He continued on. After all Lilli Vanessi was out to destroy him and his show at that point so it would make sense that a piece of scenery should come crashing down on him. Thank God it was not literally! In the same production, the gangsters made an exit though one door that went into a three-sided set piece that swiveled around. and had an exit door on the other side. Unfortunately, at the moment they went in, it was turned in such a way that they couldn't get out the other side. They got our eventually. I don't remember how.
Another production of How to Succeed, our leading man got poked in the eye towards the end of Act One. Act Two was delayed about 20 - 30 minutes. When we cam back, he was wearing an eye patch. In Damn Yankees, there was a fire in the fly space above during Two Lost Souls. In college, our production of Orpheus Descending had a blackout just before the climax of the play. I went out onstage and spoke to the audience, (I was the A.D. and the director was across campus at a faculty dinner dance), we performed the last 10 minutes of the show by candlelight. The cause of the blackout was an April blizzard! Got to love upstate NY.
The 25th Annual Putnam County Spelling Bee provides all sorts of opportunities for mishaps because there are audience members on the stage worked into the show. At one show, some audience members were talking. So in character as V.P. Panch, I reminded the audience that no talking was allowed at the bee as the spellers needed quiet for concentration.
Then there was the night, where I called up a young man in his 20s to spell Mexican. He spelled it Mexcian. Now mind you this is an intentionally easy word that the speller is supposed to get right. When I rang the bell to eliminate him, he looked at me very confused. The next audience member is given the word Cow to spell. It sets up a joke and leads into a number in the show. The gentleman at the mike was very confused by this and thought (I guess) that it was some sort of joke or trick. He just kept looking at me not saying anything. I kept looking at him and saying Cow. Please spell Cow. Its a Cow. And since this is a cue into a song and this theater used tracks as opposed to live musicians, we went right into the song and escorted off the stage. Suddenly, I had only one audience volunteer on stage when I typically had three. It made for a shorter show that night.
I worked once with a man who was getting on in years and would sometimes forget his lines. In one scene, he is supposed to start barking orders at my character (his goofy lazy son-in-law) to pick up a bathtub that is lying in the living room and bring it upstairs. He said nothing. And I stood there thinking why would I say anything, I'm lazy. So I sat down on the couch and picked up a newspaper. After a couple of seconds, I looked at him and said, "Well I suppose you want me to take that thing upstairs and get it out of sight?" He fumbled a bit and got back on track.
Once, in Plain and Fancy, I started to fall asleep on stage in the middle of the scene...while standing up facing upstage with my back to the audience. One of the guys facing me saw me start to go, and took a step forward which got me out of it. The next night, I decided to have some fun with him and played like I was going to go again and faked him out. He was not happy!
And now the best of all time...Stop me if I've shared this one before.
You're A Good Man Charlie Brown in New York City 1994. I was playing Charlie Brown, At our last performance I got sick in my dressing room about an hour before the show. I felt better. Thought maybe I go it all out of my system and then went on to do the show. It was going fine until The Kite Song. I started getting sick again. I got through the number but the urge to vomit was getting stronger. I continued on thinking to myself "When do I get a break? Oh Damn! I don't leave until intermission." I did a quick bit with Patty about the valentines cards and on my reaction, instead of saying I can't stand it, I ran behind Snoopy's dog house, got down on all fours, and threw up.
I then got up and walked off stage. The piano player continued to play. The cast gathered around me. (No one is on stage at this point.) What do we do? I was leaning against the wall stage right prepping myself. I took a deep breath, stood up straight and said, "Let's go on." The Doctor Is In is next . Lets just go out there and go on. I walked out on stage, saw that the set was not in place for that scene, walked off the other side of the stage and looked at everyone and said OK, here's what we're going to do, we're going to go out there and change the blocks around for the Doctor Is In, hopefully the light booth will see what we are doing and go into the light cue for that scene. And that's exactly what happened. I managed to finish the first act.
But Act Two, not so good. I got weaker as the show went on. By The Glee Club, I couldn't even stand without feeling sick, so I sat on a block next to the rest of the cast for that number. As soon as the show ended, I got in a cab and went straight home to bed where I stayed for the next two days. Here's the thing...no one in the audience had a clue that I had thrown up on stage. It was all hidden behind the doghouse and it was clear, odorless and there wasn't much of it since I had gotten most of it out of my system prior to the show.
And that is my most embarrassing moment on stage. What are yours?
Glendale Centre Theatre How to Succeed Tickets
This past weekend, our leading lady lost her voice. She went on Thursday and got through the show just fine. But Friday, we cancelled due to the loss of her voice and no understudy. Saturday she was back onstage and her old self as well. What a joy! She is an amazing performer and all around fun sweet person. But that's not the subject of this blog.
Today, I discuss some of my most memorable onstage mishaps. And I will save the best for last (my all-time number one most memorable/most embarrassing onstage moment). This weekend, in addition to the above cancelled performance we had not one, but two performances where light and sound cues went awry. At one performance, the first act went smoothly, as did half of the second act. Then suddenly, in the middle of the lead's big 11:00 number, I Believe In You, the sound went out. Then it jumped to the next cue, which was the entrance into the next scene. Only half of us were in place for that entrance. We went in,. Started the scene with half the men onstage. The others joined the scene in progress. But the lights were dimmed for some reason. Then the phone didn't ring. So the actor speaking said I'm expecting a call any minute at which point the phone rang.
In summer stock, the power went out on us due to a thunder storm about 10 minutes before the start of the show so a bunch of entertained the audience waiting for the power to come back on by performing improv and singing a capella in the generator lights. Years ago, I worked out at outdoor theater where shows might be called due to rain. Once it happened in the middle of Joseph and the Amazing Technicolor Dreamcoat. It started raining in the first act. By the time intermission came, the stage had puddles. We never did the second act that night.
Another time, I was in a production of Babes In Arms. I played Lee Calhoun the arrogant playwright who is performing his play at the theater and the kids plot to sabotage his show so they can put on their own show. During the course of the scene things go wrong. Fake props are given to me, an actress walks off in the middle of the scene. Well one night, said actress decided to try slamming the door on her exit from the scene. This was on the advice of someone on the crew, not the director! Well when she slammed that door, the flat next to started to fall over with a small table and lamp right in front of it. I casually walked over caught the lamp with one had as it started to fall over and stopped the flat from falling with my other had and propped it up. It all looked like a part of the scene. She never slammed that door again!
During a production of Kiss Me Kate, our Fred Graham was out on stage singing Where Is The Life That Late I Led?, when a drop came crashing down behind him in the middle of the song. He continued on. After all Lilli Vanessi was out to destroy him and his show at that point so it would make sense that a piece of scenery should come crashing down on him. Thank God it was not literally! In the same production, the gangsters made an exit though one door that went into a three-sided set piece that swiveled around. and had an exit door on the other side. Unfortunately, at the moment they went in, it was turned in such a way that they couldn't get out the other side. They got our eventually. I don't remember how.
Another production of How to Succeed, our leading man got poked in the eye towards the end of Act One. Act Two was delayed about 20 - 30 minutes. When we cam back, he was wearing an eye patch. In Damn Yankees, there was a fire in the fly space above during Two Lost Souls. In college, our production of Orpheus Descending had a blackout just before the climax of the play. I went out onstage and spoke to the audience, (I was the A.D. and the director was across campus at a faculty dinner dance), we performed the last 10 minutes of the show by candlelight. The cause of the blackout was an April blizzard! Got to love upstate NY.
The 25th Annual Putnam County Spelling Bee provides all sorts of opportunities for mishaps because there are audience members on the stage worked into the show. At one show, some audience members were talking. So in character as V.P. Panch, I reminded the audience that no talking was allowed at the bee as the spellers needed quiet for concentration.
Then there was the night, where I called up a young man in his 20s to spell Mexican. He spelled it Mexcian. Now mind you this is an intentionally easy word that the speller is supposed to get right. When I rang the bell to eliminate him, he looked at me very confused. The next audience member is given the word Cow to spell. It sets up a joke and leads into a number in the show. The gentleman at the mike was very confused by this and thought (I guess) that it was some sort of joke or trick. He just kept looking at me not saying anything. I kept looking at him and saying Cow. Please spell Cow. Its a Cow. And since this is a cue into a song and this theater used tracks as opposed to live musicians, we went right into the song and escorted off the stage. Suddenly, I had only one audience volunteer on stage when I typically had three. It made for a shorter show that night.
I worked once with a man who was getting on in years and would sometimes forget his lines. In one scene, he is supposed to start barking orders at my character (his goofy lazy son-in-law) to pick up a bathtub that is lying in the living room and bring it upstairs. He said nothing. And I stood there thinking why would I say anything, I'm lazy. So I sat down on the couch and picked up a newspaper. After a couple of seconds, I looked at him and said, "Well I suppose you want me to take that thing upstairs and get it out of sight?" He fumbled a bit and got back on track.
Once, in Plain and Fancy, I started to fall asleep on stage in the middle of the scene...while standing up facing upstage with my back to the audience. One of the guys facing me saw me start to go, and took a step forward which got me out of it. The next night, I decided to have some fun with him and played like I was going to go again and faked him out. He was not happy!
And now the best of all time...Stop me if I've shared this one before.
You're A Good Man Charlie Brown in New York City 1994. I was playing Charlie Brown, At our last performance I got sick in my dressing room about an hour before the show. I felt better. Thought maybe I go it all out of my system and then went on to do the show. It was going fine until The Kite Song. I started getting sick again. I got through the number but the urge to vomit was getting stronger. I continued on thinking to myself "When do I get a break? Oh Damn! I don't leave until intermission." I did a quick bit with Patty about the valentines cards and on my reaction, instead of saying I can't stand it, I ran behind Snoopy's dog house, got down on all fours, and threw up.
I then got up and walked off stage. The piano player continued to play. The cast gathered around me. (No one is on stage at this point.) What do we do? I was leaning against the wall stage right prepping myself. I took a deep breath, stood up straight and said, "Let's go on." The Doctor Is In is next . Lets just go out there and go on. I walked out on stage, saw that the set was not in place for that scene, walked off the other side of the stage and looked at everyone and said OK, here's what we're going to do, we're going to go out there and change the blocks around for the Doctor Is In, hopefully the light booth will see what we are doing and go into the light cue for that scene. And that's exactly what happened. I managed to finish the first act.
But Act Two, not so good. I got weaker as the show went on. By The Glee Club, I couldn't even stand without feeling sick, so I sat on a block next to the rest of the cast for that number. As soon as the show ended, I got in a cab and went straight home to bed where I stayed for the next two days. Here's the thing...no one in the audience had a clue that I had thrown up on stage. It was all hidden behind the doghouse and it was clear, odorless and there wasn't much of it since I had gotten most of it out of my system prior to the show.
And that is my most embarrassing moment on stage. What are yours?
Saturday, March 12, 2016
Why is London's West End so much cheaper and easier to access then Broadway?
Last week, I was in London for six days. Before I went on my trip, I bought tickets online to three West End shows. I got very good seats to all shows. I did not get discount tickets. I paid full price online just days in advance of my trip and had no trouble with sold out performances (except for one show which it turns out was just opening and in fact had tickets available for nights later in my trip when I had other plans). I did not pay more than $65 for a single ticket.
One of the shows I saw was The Curious Incident of the Dog in Night Time. I saw the Saturday evening show and sat in the balcony. I paid $62...full price. If I had bought those tickets for the Broadway production of the same show on a Saturday night, the price would $121. Orchestra seats for $134 to $197.
Why is Broadway so much more expensive? Even at half price, I would spend more for the Broadway production than the West End production. What? And on Broadway the big shows sell out. Oh! And I forgot to mention that this is a play and not a musical. They are even more expensive.
How is it that in London theater is so much more affordable? Think about it, for a family of four to go see a Broadway show like Matilda or Wicked on a Saturday night, it would cost them anywhere from $149 to $232 a seat depending on where the seats are. And there's also premium seating which is over $300 a seat. So that is a potential $728 for four orchestra seats. The of course there is the cost of driving into Manhattan from New Jersey or Long Island and parking. That's another $25 - $45. And then dinner for four. That can vary widely. So let's go on the assumption that the average cost with meal, drinks, dessert and tip is about $30 each (and that's conservative). You're talking another $120. Let's add that all up: $883. $883 for a family of four to go see a Broadway musical. And that's not counting drinks or snacks, souvenirs.
You'd need to take out a loan! What the hell? So, I'll say it again. Why is it so much more affordable to see shows on London's West End? Is it cheaper to produce there? Its a lot of the same shows. Bigger stars. Maybe its the unions her in the US and higher salaries to pay. I don't know. But something isn't right.
It used to be, over 100 years ago, that theater was the main form of entertainment. So it was much more affordable. Pre-radio, pre-movies, pre-television. Theater was the popular entertainment form.
Hell. Even when I started going to theater in the early 1980s, I remember buying two tickets to a big Broadway musical in the mezzanine of the Palace Theatre and only paying $32 to $35. When I lived in NYC in the 1990s, tickets were upwards of $60 - $75, but I could get half price tickets at TKTS. Or I could do standing room for sold out shows at $20 to $25. It was still affordable. Now a half price ticket can be over $100. WHAT!?
Again, why is London so much cheaper? DO they care more about theater there? Is it more common and not considered a special event like Broadway? Top price for Matilda and Wicked on the West End in 125 GBP which is $170. A lot but still less than Broadway and there are plenty of seats for way less than that.
C'mon Broadway, what gives?
One of the shows I saw was The Curious Incident of the Dog in Night Time. I saw the Saturday evening show and sat in the balcony. I paid $62...full price. If I had bought those tickets for the Broadway production of the same show on a Saturday night, the price would $121. Orchestra seats for $134 to $197.
Why is Broadway so much more expensive? Even at half price, I would spend more for the Broadway production than the West End production. What? And on Broadway the big shows sell out. Oh! And I forgot to mention that this is a play and not a musical. They are even more expensive.
How is it that in London theater is so much more affordable? Think about it, for a family of four to go see a Broadway show like Matilda or Wicked on a Saturday night, it would cost them anywhere from $149 to $232 a seat depending on where the seats are. And there's also premium seating which is over $300 a seat. So that is a potential $728 for four orchestra seats. The of course there is the cost of driving into Manhattan from New Jersey or Long Island and parking. That's another $25 - $45. And then dinner for four. That can vary widely. So let's go on the assumption that the average cost with meal, drinks, dessert and tip is about $30 each (and that's conservative). You're talking another $120. Let's add that all up: $883. $883 for a family of four to go see a Broadway musical. And that's not counting drinks or snacks, souvenirs.
You'd need to take out a loan! What the hell? So, I'll say it again. Why is it so much more affordable to see shows on London's West End? Is it cheaper to produce there? Its a lot of the same shows. Bigger stars. Maybe its the unions her in the US and higher salaries to pay. I don't know. But something isn't right.
It used to be, over 100 years ago, that theater was the main form of entertainment. So it was much more affordable. Pre-radio, pre-movies, pre-television. Theater was the popular entertainment form.
Hell. Even when I started going to theater in the early 1980s, I remember buying two tickets to a big Broadway musical in the mezzanine of the Palace Theatre and only paying $32 to $35. When I lived in NYC in the 1990s, tickets were upwards of $60 - $75, but I could get half price tickets at TKTS. Or I could do standing room for sold out shows at $20 to $25. It was still affordable. Now a half price ticket can be over $100. WHAT!?
Again, why is London so much cheaper? DO they care more about theater there? Is it more common and not considered a special event like Broadway? Top price for Matilda and Wicked on the West End in 125 GBP which is $170. A lot but still less than Broadway and there are plenty of seats for way less than that.
C'mon Broadway, what gives?
Wednesday, January 6, 2016
Let's Put On A Show! The Full Monty
Today, I was surfing the internet and came across some publicity photos from a show I did eight years ago. (Really? Eight years? It can't be) And don't ask me how I "happened" to find pictures of myself online! Alright! You caught me! I was googling myself. But, it was for research. Honestly. I wanted to see if my website came up in the searches. And guess what? It didn't! So there?
So, anyway! I found these pictures from a production of the musical, The Full Monty, that I did eight years ago. (Still can't believe it's been eight years!)
This has to be one of my all-time favorite times I ever had on stage. We were with this show for close to six months. We auditioned just before Labor Day 2007. The show opened a week after Thanksgiving and played four weeks. Closed for the holidays and re-opened in mid-January and closed in mid-February.
The best cast ever and to be perfectly frank a perfect role for me. I loved it and I never wanted it to end. And there's also a great back story. An underdog story for the ages!
I was a member of a theater company and The Full Monty was on their schedule. We had auditions, callbacks and were cast. And then a week went by. No communication from the production team. A little over a week after being cast, we received an email saying there will be a cast meeting at the theater on Saturday morning. So, I got my script ready, highlighted all my lines and stage directions in yellow. Got my Ticonderoga yellow number 2 pencil and an eraser, packed my backpack and headed to the theater. But in the back of my mind, I wondered, "Why did it say cast meeting and not read through or rehearsal?"
So, we arrive at the theater only to be informed by the production team that unfortunately the theater company did not have the finances to pay for the production. They were behind in the rent and had to pay the bills of the last two shows. So because the production team had worked so hard to assemble this great cast, (and it was great cast), they had been meeting all and had finally come up with a way to do the shows with the cast. They negotiated with the owner of the theater, found a producer to pay for the show.
We were assured that this would not affect our membership in the theater company. We would still be members in good standing with our theater company and this would also give the theater an opportunity to focus on paying the bills and not go further into debt. Were we all on board?
Hell yes we were! And on we went. We lost one actress a couple weeks into rehearsals. She just was not a good match. I knew immediately at the read through. We all sat in a big circle. She sat in a corner outside the circle. Now, granted, she had a bad cold. So I gave her the benefit of the doubt. But then she started acting surly. She was having none of our goofing around and having fun. I chalked it up to her sickness. But in the weeks to come, she missed rehearsals or showed up late. And after a couple weeks, one of the producers called her and gave her an out. She clearly didn't want to be there. So she left and one of my dearest friends (who was also part of the production team) came in. Yes!
Normally, shows in Los Angeles run six weekends. Our original plan, was to open the last weekend in October and close in six weeks mid-December. But because of the late start, we opened a week after Thanksgiving and closed the weekend before Christmas. And then a last minute extension for four weeks after the holidays.
I played Harold Nichols, the laid-off, uptight middle manager of the steel mill in Buffalo, NY. He thinks he's better than all the others because he's management and lives a better lifestyle than them. And they blackmail him into helping them. I loved the show, loved the part, loved the cast. I am still good friends with most everyone from that show.
The show was performed in a 99-seat theatre space in Los Angeles. The sets reflected a scrappy industrial look. It really was an underdog production. And the reviews were amazing!
I've been lucky an had many, many wonderful experiences in the theater. But this one holds a very special place and always will. I feel like we could do it again tomorrow if we wanted.
I miss this one. Anyone out there want to produce it again for me? I'll be your friend forever!
So, anyway! I found these pictures from a production of the musical, The Full Monty, that I did eight years ago. (Still can't believe it's been eight years!)
 |
| That's me as Harold dipping my wife, Vicki played by Ellen Caranasos-Sharp |
This has to be one of my all-time favorite times I ever had on stage. We were with this show for close to six months. We auditioned just before Labor Day 2007. The show opened a week after Thanksgiving and played four weeks. Closed for the holidays and re-opened in mid-January and closed in mid-February.
The best cast ever and to be perfectly frank a perfect role for me. I loved it and I never wanted it to end. And there's also a great back story. An underdog story for the ages!
I was a member of a theater company and The Full Monty was on their schedule. We had auditions, callbacks and were cast. And then a week went by. No communication from the production team. A little over a week after being cast, we received an email saying there will be a cast meeting at the theater on Saturday morning. So, I got my script ready, highlighted all my lines and stage directions in yellow. Got my Ticonderoga yellow number 2 pencil and an eraser, packed my backpack and headed to the theater. But in the back of my mind, I wondered, "Why did it say cast meeting and not read through or rehearsal?"
So, we arrive at the theater only to be informed by the production team that unfortunately the theater company did not have the finances to pay for the production. They were behind in the rent and had to pay the bills of the last two shows. So because the production team had worked so hard to assemble this great cast, (and it was great cast), they had been meeting all and had finally come up with a way to do the shows with the cast. They negotiated with the owner of the theater, found a producer to pay for the show.
 |
| That's Not he Goods (that's me furthest right crouching behind the couch) |
We were assured that this would not affect our membership in the theater company. We would still be members in good standing with our theater company and this would also give the theater an opportunity to focus on paying the bills and not go further into debt. Were we all on board?
Hell yes we were! And on we went. We lost one actress a couple weeks into rehearsals. She just was not a good match. I knew immediately at the read through. We all sat in a big circle. She sat in a corner outside the circle. Now, granted, she had a bad cold. So I gave her the benefit of the doubt. But then she started acting surly. She was having none of our goofing around and having fun. I chalked it up to her sickness. But in the weeks to come, she missed rehearsals or showed up late. And after a couple weeks, one of the producers called her and gave her an out. She clearly didn't want to be there. So she left and one of my dearest friends (who was also part of the production team) came in. Yes!
Normally, shows in Los Angeles run six weekends. Our original plan, was to open the last weekend in October and close in six weeks mid-December. But because of the late start, we opened a week after Thanksgiving and closed the weekend before Christmas. And then a last minute extension for four weeks after the holidays.
 |
| On the left, Me with Ellen as Harold and Vicki. On the right, Aileen-Marie Scott and Ed McBride as Georgie and Dave. |
I played Harold Nichols, the laid-off, uptight middle manager of the steel mill in Buffalo, NY. He thinks he's better than all the others because he's management and lives a better lifestyle than them. And they blackmail him into helping them. I loved the show, loved the part, loved the cast. I am still good friends with most everyone from that show.
The show was performed in a 99-seat theatre space in Los Angeles. The sets reflected a scrappy industrial look. It really was an underdog production. And the reviews were amazing!
I've been lucky an had many, many wonderful experiences in the theater. But this one holds a very special place and always will. I feel like we could do it again tomorrow if we wanted.
I miss this one. Anyone out there want to produce it again for me? I'll be your friend forever!
 |
| The men of The Full Monty about to take it all off. (L-R Tim Hearl, Ben Euphrat, Ed McBride, Me, Keith Wright) |
Monday, December 21, 2015
My Website is Up and Running
I just created my own website. Its a little bare bones right now but i plan on upgrading and adding on to it as I go along.
Right now, you can see a couple of my videos as well and photos and links to my resumes and credits on other sites. There's even a link to this blog. So I guess if you click on the link below, you can then click on the link back to this site on that site. Its kind of full circle. It will get you into a continuous loop that you won't be able to get out of!
Here is the link:
Richard Van Slyke Online
Check it out!
And please let me know what you think of it. Send me suggestions. What do you think I should do to improve it.
Thanks!
Right now, you can see a couple of my videos as well and photos and links to my resumes and credits on other sites. There's even a link to this blog. So I guess if you click on the link below, you can then click on the link back to this site on that site. Its kind of full circle. It will get you into a continuous loop that you won't be able to get out of!
Here is the link:
Richard Van Slyke Online
Check it out!
And please let me know what you think of it. Send me suggestions. What do you think I should do to improve it.
Thanks!
Thursday, December 10, 2015
Theater Etiquette (i.e. cell phone and other distractions)
So today I read yet another article about a Broadway performance interrupted by an audience member on their cell phone. Earlier this year, Patti Lupone stepped off stage and grabbed a cell phone from an audience member's cell phone because they were distracting her with her texting. Within weeks there was someone at the play Hand to God who walked up on stage and plugged his phone into a fake outlet on the set just before the play was about to start. He didn't know and was escorted out by the ushers. Ignorance is bliss in this case, I guess.
This week, during a performance of the play Sylvia on Broadway, a cellphone rang right at the climax of the play. The scene involved Matthew Broderick and Annaleigh Ashford. She spoke with playbill.com about the incident. In the play, she plays a dog. The phone rang, twice. They kept on with the scene. After the second ring, the woman answered the phone and start talking. The audience members started shushing her. Annaleigh's initial thought was concern rather than rage. She thought there must be some emergency she needs to take the call.
The woman left her seat but then stood in the hallway and continued her conversation where she was clearly heard. So Annaleigh did what she does whenever they have a cellphone ring in the house. In character as a dog, she barked at the audience and then said, "I think somebody is having a conversation in another room." It got a laugh and they continued. After two pages of dialogue, they couldn't go on any longer because the audience became really distracted by this woman. A man in the front row shouted, "Throw her out!"
Finally someone helped her get off the phone. So Broderick and Annaleigh told the audience we're going to go back in the play and pick it up if its alright with you and they did. Annaleigh has taken it well. No outrage like Patti Lupone, (who I don't blame for her response). Annaleigh has expressed concern that she hopes that nothing serious came up for the woman on the phone and that everything is okay. Also, that she won't do that again.
Being an actor, this hits home for me. I've never personally experienced this when I've been on stage. What are some of the things I have experienced with an audience? Audience members putting their feet up on the stage like a foot rest. As Lily von Schtupp says in Blazing Saddles, "Tell me Tex ma'am, are you in show business?" "No." Then get your friggin feet off the stage!"
I did show in the round last year. The stage was not on a lift. Same level as the floor. So audience members in the first row have to keep their feet tucked in to avoid tripping actors. One day, a special needs young man was seated point the front row. He kept blurting out periodically. It was off-putting to some of the actors who were getting riled. I could tell quickly that this was a special needs person and was not something he could help. At one point, he got up to go to the bathroom, and walked across the stage..while the entire company was on stage. Cast, not happy. I was thrown, but as I said, I could see who I was dealing with.
Another performance, we had a woman in the front row and get up to go to the bathroom in the middle of one of my scenes. Saw her out of the corner of my eye and it threw me for a second. My timing was a bit off, but I recovered. Later in the scene, she returned down one of the staircases from the lobby. Being a theater in the round, actors make entrances and entrances through the house. At this particular moment, several of the girls join the ensemble were on the stairs observing the scene between myself and my daughter. Rather than wait for them to clear, she pushed her way through the girls to get to her seat. She could have sat in an empty seat in the back and waited for a better moment to go all the way down front. She could have stood in the back and waited. I don't know what was so important that she just had to get all the way down to that seat at hat moment. But she did. And she took us all out of the moment.
It seems to be growing concern, and as Annaleigh said we need to educate audiences. Cell phones are way of life now and are not going away. I can understand younger people not having the courtesy to turn them off. They were practically raised in a society where they are a part of their lives. But older folks, really? You are old enough to remember when they didn't exist and you had no choice but to sit and be quiet.
Parents went out and left their kids with sitters and they didn't have to be connected for those two hours. They were fine. But now because the technology is there, they have to be in constant contact.
Can't it wait until intermission? What's an hour or two? And if you're really concerned about your kids that much, maybe you shouldn't go out and leave them alone.
I guess now, its about educating the audiences.
This week, during a performance of the play Sylvia on Broadway, a cellphone rang right at the climax of the play. The scene involved Matthew Broderick and Annaleigh Ashford. She spoke with playbill.com about the incident. In the play, she plays a dog. The phone rang, twice. They kept on with the scene. After the second ring, the woman answered the phone and start talking. The audience members started shushing her. Annaleigh's initial thought was concern rather than rage. She thought there must be some emergency she needs to take the call.
The woman left her seat but then stood in the hallway and continued her conversation where she was clearly heard. So Annaleigh did what she does whenever they have a cellphone ring in the house. In character as a dog, she barked at the audience and then said, "I think somebody is having a conversation in another room." It got a laugh and they continued. After two pages of dialogue, they couldn't go on any longer because the audience became really distracted by this woman. A man in the front row shouted, "Throw her out!"
Finally someone helped her get off the phone. So Broderick and Annaleigh told the audience we're going to go back in the play and pick it up if its alright with you and they did. Annaleigh has taken it well. No outrage like Patti Lupone, (who I don't blame for her response). Annaleigh has expressed concern that she hopes that nothing serious came up for the woman on the phone and that everything is okay. Also, that she won't do that again.
Being an actor, this hits home for me. I've never personally experienced this when I've been on stage. What are some of the things I have experienced with an audience? Audience members putting their feet up on the stage like a foot rest. As Lily von Schtupp says in Blazing Saddles, "Tell me Tex ma'am, are you in show business?" "No." Then get your friggin feet off the stage!"
I did show in the round last year. The stage was not on a lift. Same level as the floor. So audience members in the first row have to keep their feet tucked in to avoid tripping actors. One day, a special needs young man was seated point the front row. He kept blurting out periodically. It was off-putting to some of the actors who were getting riled. I could tell quickly that this was a special needs person and was not something he could help. At one point, he got up to go to the bathroom, and walked across the stage..while the entire company was on stage. Cast, not happy. I was thrown, but as I said, I could see who I was dealing with.
Another performance, we had a woman in the front row and get up to go to the bathroom in the middle of one of my scenes. Saw her out of the corner of my eye and it threw me for a second. My timing was a bit off, but I recovered. Later in the scene, she returned down one of the staircases from the lobby. Being a theater in the round, actors make entrances and entrances through the house. At this particular moment, several of the girls join the ensemble were on the stairs observing the scene between myself and my daughter. Rather than wait for them to clear, she pushed her way through the girls to get to her seat. She could have sat in an empty seat in the back and waited for a better moment to go all the way down front. She could have stood in the back and waited. I don't know what was so important that she just had to get all the way down to that seat at hat moment. But she did. And she took us all out of the moment.
It seems to be growing concern, and as Annaleigh said we need to educate audiences. Cell phones are way of life now and are not going away. I can understand younger people not having the courtesy to turn them off. They were practically raised in a society where they are a part of their lives. But older folks, really? You are old enough to remember when they didn't exist and you had no choice but to sit and be quiet.
Parents went out and left their kids with sitters and they didn't have to be connected for those two hours. They were fine. But now because the technology is there, they have to be in constant contact.
Can't it wait until intermission? What's an hour or two? And if you're really concerned about your kids that much, maybe you shouldn't go out and leave them alone.
I guess now, its about educating the audiences.
Friday, December 4, 2015
The Wiz Live!
My thoughts on The Wiz Live!
I enjoyed it. It was much better than Peter Pan Live! and Sound of Music Live! I thought it was an excellent choice. The Wiz is not as well known as the other two. People know of it, maybe know the songs but have most likely never seen the show. I am one of those. I had the Original Broadway Cast Recording and loved it. In fact, I got it when I joined the Columbia House record club when I was in the 9th grade.
So that is reason one why I think it was a smart choice. It exposed the mainstream audience to a little performed classic Broadway show as opposed to another production of one of the most produced shows ever (like Sound of Music and Peter Pan).
The second reason, they cast an unknown in the lead role of Dorothy and surrounded her with a cast of names. And she was wonderful, like the wizard! (Get it ? Because the original book is called The Wonderful World of Oz). Great choice. Smart choice. And it paid off. Oh! And brining back Stephanie Mills to play Aunt Em? Yes! My musical theatre geek heart nearly exploded.
Reason number three, diversity, diversity, diversity. An all black cast in an all black musical! Yes. Smart NBC. Very smart. And in this day and age...necessary.
Now, most of what I have read online has been positive. It was an improvement from the last two years but of course not flawless. Personally, I thought that Queen Latifah's songs should have been taken up into a more comfortable area in her vocal range. They were too low for her. Yes, the songs were written for a man, but c'mon. This is a major network show. Change the keys for her.
Some of the negative comments I've read are that its still not as good as a live stage production. Well yes. It is a stage show and its being performed without a live audience so it does lack that aspect. However, its for a television audience. It's sort of a hybrid of a musical theater production and a television show. It was staged and designed for a TV audience, not a live audience. It's been staged on a huge sound stage in a movie studio and staged for the cameras as opposed to a live audience.
There were complaints that there were too many commercial breaks. Agreed. But perhaps necessary so that actors could change costumes or run from one set to another for the next scene. Because while it is a TV production, its live and its of a stage show which means you keep going. No stopping. It has to flow. Unlike a movie where you cut and shoot multiple takes. Its live TV. All the editing is done in the booth as we are watching it. And that lends to the excitement of a live TV show. So we lose the energy and the heightened performance you would get in front of a live audience. But being live, things can still go wrong.
While nothing went wrong here, there were some camera shots that were questionable. But I think that was more on the TV director and the cutting. Some of those shots in the big numbers should have been wider. But that's being picky.
The costumes, set design, choreography, makeup all so awesome.
And bottom line for those negative Nancies out there who think the show was bastardized or dumbed down or just plain didn't like it because it was not an exact duplicate of the stage production...think about all the people who were exposed to a musical theatre piece that might not otherwise ever go see a show in the theater. Think of all the young kids out there, who will see this and be inspired to pursue acting or singing or dancing.
As I said with Carrie Underwood in The Sound of Music two years ago. Yes, there are far better stage actresses who could have played Maria in that. However, bringing in a name like Carrie Underwood brought in an audience that might not otherwise want to see a musical. Carrie Underwood fans, Country Western and Pop music fans. Bottom line, NBC is a major broadcast network and they are in the business of making money. You cast a name in the lead role, you're going to get a bigger audience. It's smart business.
However, this year. They took chances and those chances paid off. The Wiz Live on NBC. Did I like it as much as listening to the Original Broadway Cast album I grew up with? No. But did I like it as TV? Yes.
Two thumbs up to The Wiz Live! Can't wait to hear what they do next year. Let's hope they stick with this formula and not the Peter Pan, Sound of Music formula.
I enjoyed it. It was much better than Peter Pan Live! and Sound of Music Live! I thought it was an excellent choice. The Wiz is not as well known as the other two. People know of it, maybe know the songs but have most likely never seen the show. I am one of those. I had the Original Broadway Cast Recording and loved it. In fact, I got it when I joined the Columbia House record club when I was in the 9th grade.
So that is reason one why I think it was a smart choice. It exposed the mainstream audience to a little performed classic Broadway show as opposed to another production of one of the most produced shows ever (like Sound of Music and Peter Pan).
The second reason, they cast an unknown in the lead role of Dorothy and surrounded her with a cast of names. And she was wonderful, like the wizard! (Get it ? Because the original book is called The Wonderful World of Oz). Great choice. Smart choice. And it paid off. Oh! And brining back Stephanie Mills to play Aunt Em? Yes! My musical theatre geek heart nearly exploded.
Reason number three, diversity, diversity, diversity. An all black cast in an all black musical! Yes. Smart NBC. Very smart. And in this day and age...necessary.
Now, most of what I have read online has been positive. It was an improvement from the last two years but of course not flawless. Personally, I thought that Queen Latifah's songs should have been taken up into a more comfortable area in her vocal range. They were too low for her. Yes, the songs were written for a man, but c'mon. This is a major network show. Change the keys for her.
Some of the negative comments I've read are that its still not as good as a live stage production. Well yes. It is a stage show and its being performed without a live audience so it does lack that aspect. However, its for a television audience. It's sort of a hybrid of a musical theater production and a television show. It was staged and designed for a TV audience, not a live audience. It's been staged on a huge sound stage in a movie studio and staged for the cameras as opposed to a live audience.
There were complaints that there were too many commercial breaks. Agreed. But perhaps necessary so that actors could change costumes or run from one set to another for the next scene. Because while it is a TV production, its live and its of a stage show which means you keep going. No stopping. It has to flow. Unlike a movie where you cut and shoot multiple takes. Its live TV. All the editing is done in the booth as we are watching it. And that lends to the excitement of a live TV show. So we lose the energy and the heightened performance you would get in front of a live audience. But being live, things can still go wrong.
While nothing went wrong here, there were some camera shots that were questionable. But I think that was more on the TV director and the cutting. Some of those shots in the big numbers should have been wider. But that's being picky.
The costumes, set design, choreography, makeup all so awesome.
And bottom line for those negative Nancies out there who think the show was bastardized or dumbed down or just plain didn't like it because it was not an exact duplicate of the stage production...think about all the people who were exposed to a musical theatre piece that might not otherwise ever go see a show in the theater. Think of all the young kids out there, who will see this and be inspired to pursue acting or singing or dancing.
As I said with Carrie Underwood in The Sound of Music two years ago. Yes, there are far better stage actresses who could have played Maria in that. However, bringing in a name like Carrie Underwood brought in an audience that might not otherwise want to see a musical. Carrie Underwood fans, Country Western and Pop music fans. Bottom line, NBC is a major broadcast network and they are in the business of making money. You cast a name in the lead role, you're going to get a bigger audience. It's smart business.
However, this year. They took chances and those chances paid off. The Wiz Live on NBC. Did I like it as much as listening to the Original Broadway Cast album I grew up with? No. But did I like it as TV? Yes.
Two thumbs up to The Wiz Live! Can't wait to hear what they do next year. Let's hope they stick with this formula and not the Peter Pan, Sound of Music formula.
Wednesday, November 25, 2015
Dream Roles - My Bucket List
Ok. Been meaning to talk about this subject since I started this blog.
My dream roles. What are the parts I want to cross off my bucket list?
Here they are, in no particular order, just as they come to mind:
The Baker - Into the Woods
Applegate - Damn Yankees
Rooster - Annie
Roger De Bris - The Producers
Felix Unger - The Odd Couple
Kreton - A Visit to a Small Planet
Marvin - Falsettos
Alan - Baby
Jonathan Brewster - Arsenic and Old Lace
Henry Higgins - My Fair Lady
Charles Condomine - Blithe Spirit
Mason Marzac - Take Me Out
Mr. Macafee - Bye Bye Birdie
Hinesy - The Pajama Game
These aren't exactly dream roles, just ones I would like to play:
Harry in Company
Ensemble in Evita
Ensemble in Sweeney Todd
Twimble - How to Succeed in Business Without Really Trying
Benny Southstreet - Guys and Dolls
Dale Harding - One Flew Over the Cuckoo's Nest
Arnold Wiggins - The Boys Next Door
Ones I'm probably too old for but I really wish I'd had a chance:
Cornelius Hackl - Hello Dolly
Albert Peterson - Bye Bye Birdie
George - She Loves Me
Chuck - Promises Promises
Charlie - The Foreigner
Snoopy - You're A Good Man Charlie Brown
Whats' that you say? Are there any that I have already played? Why, yes:
Harold Nichols - The Full Monty (And I want to do it again and again!) THE perfect part for me.
Charlie Brown - You're A Good Man Charlie Brown
Prince Dauntless - Once Upon A Mattress
The Scarecrow - The Wizard Of Oz
Scrooge - A Christmas Carol
Reuben - Joseph and the Amazing Technicolor Dreamcoat
What are yours? Tell me in the Comments section below.
My dream roles. What are the parts I want to cross off my bucket list?
Here they are, in no particular order, just as they come to mind:
The Baker - Into the Woods
Applegate - Damn Yankees
Rooster - Annie
Roger De Bris - The Producers
Felix Unger - The Odd Couple
Kreton - A Visit to a Small Planet
Marvin - Falsettos
Alan - Baby
Jonathan Brewster - Arsenic and Old Lace
Henry Higgins - My Fair Lady
Charles Condomine - Blithe Spirit
Mason Marzac - Take Me Out
Mr. Macafee - Bye Bye Birdie
Hinesy - The Pajama Game
These aren't exactly dream roles, just ones I would like to play:
Harry in Company
Ensemble in Evita
Ensemble in Sweeney Todd
Twimble - How to Succeed in Business Without Really Trying
Benny Southstreet - Guys and Dolls
Dale Harding - One Flew Over the Cuckoo's Nest
Arnold Wiggins - The Boys Next Door
Ones I'm probably too old for but I really wish I'd had a chance:
Cornelius Hackl - Hello Dolly
Albert Peterson - Bye Bye Birdie
George - She Loves Me
Chuck - Promises Promises
Charlie - The Foreigner
Snoopy - You're A Good Man Charlie Brown
Whats' that you say? Are there any that I have already played? Why, yes:
Harold Nichols - The Full Monty (And I want to do it again and again!) THE perfect part for me.
Charlie Brown - You're A Good Man Charlie Brown
Prince Dauntless - Once Upon A Mattress
The Scarecrow - The Wizard Of Oz
Scrooge - A Christmas Carol
Reuben - Joseph and the Amazing Technicolor Dreamcoat
What are yours? Tell me in the Comments section below.
Tuesday, November 10, 2015
Award Season in LA
Last night the Ovation Awards were handed out in Los Angeles. The Ovation Awards are LA's version of the TONY Awards given to theaters in LA. The awards are broken down into two categories, Intimate Theatre and Large Theatre. And I love that they do that. Otherwise it would be like the big Broadway shows going up against the little Off-Off-Broadway houses. There are so many intimate theaters here in Los Angeles, that I couldn't possibly name them all and I shan't!
The Broadway World Award nominations were announced yesterday as well. And again, even more friends and colleagues were nominated for awards. I wasn't. :( Boo Hoo! But then neither were the couple of productions I was in. That's okay because last year I got some love. Now, unlike the Ovations, there are a lot of categories. Unfortunately, the Broadway World Awards does not separate by smaller and larger theaters. But then they do separate the touring productions from the local productions. And they have cabaret awards. Thems a lot of awards!
But imagine being with a small theater in the Valley (that's the San Fernando Valley, the other side of the hills from Hollywood and West Hollywood for those of you outside of LA) and you're in your theatre company's intimate production of Uncle Vanya and you're up against Annette Bening inThe Cherry Orchard at The Geffen or Dame Judi Dench in The Importance of Being Ernest at The Ahmanson. It's hardly fair. (BTW I made those up Judi Dench did not do Ernest at The Ahmanson. But can you imagine? Squee! Oh! But apparently Annette Bening did do The Cheery Orchard..at the Mark Taper...in 2006. I knew I didn't just pull that out of my ass) So yay to the Ovations for splitting up the categories.
So a handful of friends were nominated for Ovations and a couple even won! Yay! But most of the nominated shows, I've never seen or even heard of. I go to theater almost every weekend, yet I managed to miss so many great shows. Why is that? Poor taste in what I choose to see? I try to support my friends in their shows. My friends have poor taste in the project they choose to be in?
None of the above. It's simply this. There is a hell of a lot of theatre in Los Angeles. A ton of it! You can't possibly see all of it there is so much. That's right. Los Angeles. Big theater town. You didn't know that did you? Well, it's true. There are dozens and dozens of little theaters all over town. There are storefronts in almost every neighborhood of this city that have been converted into performance spaces. I have friends opening in shows every weekend. I wish I could see them all. And I want my friends to know right here and now that I really do have the best intentions and I really want to see them all but its tough. And obviously if I'm in a show, well then, it can't be done.
In the last few weeks alone I've one friend do standup, a group of friends and acquaintances from my acme Comedy Theatre days doing their improv show, Sondheim on Sondheim, Damn Yankees, Willy Wonka, Guys & Dolls, Broadway Bound and Spring Awakening. Coming up, I have Heathers, Cat on A Hot Tin Roof, Arsenic and Old Lace and Deathtrap. Lots of old stalwarts there. Plus a cabaret act. And I'll bet there are a couple of other shows that I will have to see coming up, some new pieces.
Well, I have to go. Lots of theater to see. Congrats to all the nominees and winners! Go. Support Theatre!
The Broadway World Award nominations were announced yesterday as well. And again, even more friends and colleagues were nominated for awards. I wasn't. :( Boo Hoo! But then neither were the couple of productions I was in. That's okay because last year I got some love. Now, unlike the Ovations, there are a lot of categories. Unfortunately, the Broadway World Awards does not separate by smaller and larger theaters. But then they do separate the touring productions from the local productions. And they have cabaret awards. Thems a lot of awards!
But imagine being with a small theater in the Valley (that's the San Fernando Valley, the other side of the hills from Hollywood and West Hollywood for those of you outside of LA) and you're in your theatre company's intimate production of Uncle Vanya and you're up against Annette Bening inThe Cherry Orchard at The Geffen or Dame Judi Dench in The Importance of Being Ernest at The Ahmanson. It's hardly fair. (BTW I made those up Judi Dench did not do Ernest at The Ahmanson. But can you imagine? Squee! Oh! But apparently Annette Bening did do The Cheery Orchard..at the Mark Taper...in 2006. I knew I didn't just pull that out of my ass) So yay to the Ovations for splitting up the categories.
So a handful of friends were nominated for Ovations and a couple even won! Yay! But most of the nominated shows, I've never seen or even heard of. I go to theater almost every weekend, yet I managed to miss so many great shows. Why is that? Poor taste in what I choose to see? I try to support my friends in their shows. My friends have poor taste in the project they choose to be in?
None of the above. It's simply this. There is a hell of a lot of theatre in Los Angeles. A ton of it! You can't possibly see all of it there is so much. That's right. Los Angeles. Big theater town. You didn't know that did you? Well, it's true. There are dozens and dozens of little theaters all over town. There are storefronts in almost every neighborhood of this city that have been converted into performance spaces. I have friends opening in shows every weekend. I wish I could see them all. And I want my friends to know right here and now that I really do have the best intentions and I really want to see them all but its tough. And obviously if I'm in a show, well then, it can't be done.
In the last few weeks alone I've one friend do standup, a group of friends and acquaintances from my acme Comedy Theatre days doing their improv show, Sondheim on Sondheim, Damn Yankees, Willy Wonka, Guys & Dolls, Broadway Bound and Spring Awakening. Coming up, I have Heathers, Cat on A Hot Tin Roof, Arsenic and Old Lace and Deathtrap. Lots of old stalwarts there. Plus a cabaret act. And I'll bet there are a couple of other shows that I will have to see coming up, some new pieces.
Well, I have to go. Lots of theater to see. Congrats to all the nominees and winners! Go. Support Theatre!
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