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the blog
recommendations, news & notes from the trenches
 

Tony Award Winner (Best Performance by a Lead Actor)
Drama Desk Award Winner (Outstanding Lead Actor)
Outer Critics Circle Award Winner (Outstanding Lead Actor)
Theatre World Award Winner (Outstanding Broadway Debut)
Drama League Award Nominee (Performer of the Year)

...for "Frankie Valli" in the Original Broadway Cast of JERSEY BOYS

ARCHIVES JULY 28, 2004 - NOVEMBER 6, 2005

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June 13, 2006 onward
November 14, 2005 - June 11, 2006

Sunday, November 6, 2005

Sunday, October 16, 2005

Today the Virginia Theatre, where JERSEY BOYS is playing, was officially re-named the August Wilson Theatre, for the late playwright.

JERSEY BOYS previews are well underway -- two weeks under the belt with the official press opening steadily approaching, November 6th.  Thank you to all the fans who have been e-mailing and sending letters and to the great audiences for their overwhelmingly warm and enthusiastic reception.  It's a very busy time with performances at night and rehearsals and publicity appearances during the day, but I wanted to write just briefly to share some exciting news:

On October 25th, the JERSEY BOYS Original Broadway Cast Album will have its exclusive premiere on XM Satellite Radio's Broadway Channel (channel 28).  An interview with the four of us actors who play the Four Seasons and the real Bob Gaudio (of the original Four Seasons) will air at 12 noon and again at 9 p.m. EST along with never-before-heard tracks from the album.  The cast album of JERSEY BOYS has its official release on the Rhino record label November 1st.

Thursday, September 15, 2005

JERSEY BOYS had a surprise visitor at rehearsals, yesterday.  Click for more photos from Broadway.com.

Frankie Valli and John Lloyd Young photo: Bruce Glikas, Broadway.com

Monday, September 12, 2005

Video from JERSEY BOYS' invited press rehearsal on 9/8/05 appeared today on Broadway.com.

The signage for JERSEY BOYS is popping up all over Manhattan.  Here's a snapshot of the Times Square billboard.  The official JERSEY BOYS website has launched, too: www.jerseyboysbroadway.com.  Enjoying my first day off in two weeks, today.  Saw THE 40 YEAR OLD VIRGIN this afternoon and had some laughs...

Friday, July 15, 2005

Thank you to all the Frankie Valli and the Four Seasons fans who have already begun to e-mail their best wishes.  It's overwhelming to see so much enthusiasm for JERSEY BOYS, already, before we've even begun rehearsals!  For information on the show, which opens on Broadway this Fall, please visit the official website for JERSEY BOYS.  Some early information is there now, more will follow.

Monday, July 11, 2005

Tuesday, June 7, 2005

I was excited to see the winners of this year's Tony Awards on Sunday.  I'm especially interested in seeing THE LIGHT IN THE PIAZZA, now.  (Congratulations to Jess Goldstein for winning a Tony in Costume Design for THE RIVALS).  As fun as the Tonys are to watch, it's always disappointing to see the plays take second stage to the musicals, every year, especially in a year like this, where the plays, like DOUBT, THE PILLOWMAN, GLENGARRY GLEN ROSS, TWELVE ANGRY MEN, ...VIRGINIA WOOLF, etc., were so strong.

Lots of hopping around the country, over the past month.  Got back from Los Angeles a week and a half ago, and a week or so before that my cousin and I went to Las Vegas to see Frankie Valli and the Four Seasons live at the Flamingo.  He was excellent.

Friday, May 6, 2005

Saturday, April 30, 2005

This past Monday went to Kevin Covert's birthday party at Park with Alison Franck.  Kevin's in Broadway's SPAMALOT, so a good deal of the cast was there.  Ran into Steve Rosen, Sarah Gurfield and Scott Schwartz and others.  Park is a great place for a party; had never been there before.  And Thursday night was another birthday party in Chelsea for friend Tiffani Gavin.

One of the Festival highlights was the new play Lincoln Center has commissioned Tina Howe to write, currently titled LUNCHEON ON THE GRASS.  On the first night of the Festival we heard a reading of the not-yet-completed play, directed by NY's Carl Forsman of the Keen Company, and featuring a cast led by Elizabeth Wilson and the absolutely riveting Lynn Cohen.  Howe got up on stage afterward to share with us how she planned to end the play.  The Festival's Hannah Joyce-Hoven promises to send pictures once they're ready, and I'll post them when they arrive.  Pictures from last year's Festival honoring Arthur Laurents are on the photos page.

Next year is the 25th anniversary of the William Inge Festival, and the plan is to reunite all the past living playwright honorees.  So far it looks like 6 or so have already confirmed.  Hope I can make it back...

Tuesday, April 19, 2005

Off to the William Inge Festival tomorrow.  Excited to meet the other artists, read some new plays, sit on some panels, and put together the final evening's multimedia tribute to Tina Howe.  The tribute to Arthur Laurents last year was impressive -- like a live documentary of his career.  Eager to participate in this year's.

Saw Broadway's DOUBT about a week ago.  The performances are exemplary, as I'd heard they would be.  Cherry Jones and Brian F. O'Byrne, and Adriane Lenox, are all terrific, and Heather Goldenhersh is intriguingly vulnerable and odd as "Sister James."  I became a fan of hers a few years ago when, researching for an audition, I saw her in the archival tape of Richard Nelson's GOODNIGHT, CHILDREN EVERYWHERE at the Lincoln Center Theatre on Film and Tape archives.  She gave an equally compelling performance as a young, semi-spoiled aspiring actress in post-World-War II England -- a far cry from the sheepish Bronx nun she's playing in DOUBT.

Also went to opening night of THE BAKER'S WIFE at Paper Mill on Sunday.  It's a charming production with a great cast, fantastic set and lighting by Anna Louizos and Jeff Croiter, respectively, directed by Gordon Greenberg.  The leads were excellent, and of the supporting cast Kevin del Aguila was hilarious as the town drunk and Gay Marshall's performance as "Denise" seemed to magically bathe the show in a warm, French nostalgia.  Friend Jesse Bush assistant directed.  I thank him for the pre-show drink.  I'm sure the warm, French nostalgia had something to do with that, too.

A good deal of friends are appearing in or helped to write The Transport Group's show, THE AUDIENCE (no surprise, since all-told, there are probably 40 to 50 actors in it, with equally as many contributing writers).  The show has been getting some great attention.  The real audience watches a fictional audience onstage who, in turn, is watching a new musical.  It's a fascinating concept, but, unfortunately, I dragged my heels on this one, and it's going to close before I get to see it.  But that doesn't mean YOU can't.

Saturday, April 9, 2005

Something big is brewing...

Tuesday, April 5, 2005

THE DRAWER BOY closed this past Sunday, but that's been barely perceptible since I've been catapulted right out into audition-land again.  Ran into an old buddy from Brown University, McCaleb Burnett, at a LAW & ORDER audition on Monday and caught up a little.  It's been a busy week, but lots of audition activity means the next booking could be sooner rather than later, so...great. 

Looking forward to going back to the William Inge Festival this year, honoring playwright Tina Howe.  I'll be playing "David" in a reading of a new play by Lynne Kaufman called MAGICIAN'S CHOICE, as well as sitting on panels in various symposia during the festival and performing a scene from Tina Howe's COASTAL DISTURBANCES in the multi-media tribute to the playwright of honor, which rounds out the festivities each year.  The festival takes place miles and miles away in William Inge's hometown of Independence, Kansas.  Last year I flagged down one of the scores of cabs flying down the Manhattan streets at 6 a.m., went to LaGuardia, and 11 hours later, there I was in a Kansas town so small they don't even have any cabs.   Each year entertainment professionals from NY and LA converge on Independence for a long weekend to honor William Inge and the year's playwright of honor.  Last year's Inge Festival honored playwright Arthur Laurents -- here are some pictures.  Past guest honorees have included Edward Albee, Arthur Miller, Stephen Sondheim, etc.  Here's a link to the William Inge Festival website.  

Saturday, March 26, 2005

Had a busy day yesterday.  Three auditions, a voice lesson and THE DRAWER BOY.  Got the news that I'd play "Miles" in last night's performance, opposite John Mahoney and Paul Vincent O'Connor, so I called my agent to reschedule my third audition, and rushed out to Paper Mill to review lines and run some scenes with Paul and the stage manager.  The show went really well.  THE DRAWER BOY is about a young actor who comes to study two old farmers -- a stranger coming to someone else's house.  So it worked really well that I was a new actor (a stranger) coming into this show the other two actors knew so well already.  Friend Julie Novacek was able to get out to see the show on short notice, and she, Alison Franck and the other understudy, Edwin C. Owens, and I, all went out for a late dinner at Joe Allen's Restaurant after we got back to Manhattan.  Ran into producer Hank Unger, whose production of WICKED is still going strong on Broadway, and now, too, on national tour.

Got some great news a few weeks ago from friend Kate Wetherhead.  She'll be making her Broadway debut, joining the cast of William Finn's THE 25TH ANNUAL PUTNAM COUNTY SPELLING BEE, when it transfers from its off-Broadway run to Broadway's Circle in the Square Theatre, in mid-April. 

Friday, March 4, 2005

THE DRAWER BOY opened last night.  Had a fun time hanging out at the party afterward with friend Jesse Bush, who's assistant directing the next show at Paper Mill, THE BAKER'S WIFE; and friends Joe Drymala and Ryan Davis, who were at the press opening representing their theatre website, StageSpace.

Monday, February 28, 2005

First day off from THE DRAWER BOY, after two weeks of tech and previews.  After the two shows on Saturday, stopped by Geoffrey Soffer and Rachel Hoffman's joint birthday party at Bar 9 with Alison Franck.  Ran into Jamie McGonnigal, Bridget Berger, Cindi Rush among others.  Paper Mill's weekend schedule has five shows, so overall, it's a weekend killer.  But we've got Mondays and Tuesdays off.  Perfect to kick back and get buried in this Nor'easter.

Two shows, again, yesterday -- but got back in time to catch the tail end of the 2005 Academy Awards.  I'm most excited about Morgan Freeman's Best Supporting Actor win for MILLION DOLLAR BABY.  His quiet dignity, clarity and unwavering honesty grounds every single film he appears in.  He's been nominated three times before; I'm glad he finally took a statue home.  And it was so great to see Freeman's wife, Myrna, celebrating there next to him.  Myrna is a costume designer, and she costumed my first professional show out of school at Rites and Reason Theatre in Providence; she told me she fell in love with Morgan when she saw him up on stage in a show and he was "incapable of telling a single lie."

Friday, February 25, 2005

Monday, February 15, 2005

Today, the makeup artist came in to rehearsals for THE DRAWER BOY to do the wounds and scratches (it's a show set on a farm -- s*** happens).  It's always so exciting when the special effects makeup people become involved in the process.  When I was a kid, I idolized the Hollywood makeup artists Dick Smith (The Exorcist, Amadeus) and Rick Baker (2001, Planet of the Apes), and I wanted to become a special effects makeup artist for the movies.  So in addition to being obsessed with Nintendo and Alyssa Milano on Who's the Boss, as kids, my friends and I also spent hours reading Fangoria, perfecting prosthetic gashes and wounds and trying to trump each other each Halloween.  One year, worked for a month or so on creating an ambitious facsimile for myself of Freddy Krueger. 

I've long since put the pursuit of that interest to rest, but I do get to re-experience it every once in awhile, doing a show (most recently, THE CHOSEN, transforming from real-life angstful young urban New Yorker into bearded, Hasidic Jew).  But every time the makeup people get involved when I'm doing a play, it's a brief trip down memory lane...  Talked to THE DRAWER BOY costume designer, Jess Goldstein, the other day, and found out he designed the padded hose that Tovah Feldshuh wore in GOLDA'S BALCONY, which helped along her physical transformation into an aged, vericose-veined Golda Meir.  Jess wasn't behind today's wound-creation, but gotta send some respect that way, too -- my girlfriend thought those legs were really Feldshuh's ("Her legs are so ugly!") -- sorry Tovah.

Monday, February 14, 2005

It's another day off from THE DRAWER BOY, and the last for two weeks.  Technical rehearsals will start late next week, and then the show will start its first performances.  Despite an eventful and arduous rehearsal week, still got out and had some fun.  Saw Becca Ayers in the play JOY, last night, directed by Ben Rimalower and cast by friend Michael Cassara.  The audience was packed and enthusiastic.  Kate Wetherhead came along with me, and we all got together for drinks afterward at Film Center.

Saw a preview of DIRTY ROTTEN SCOUNDRELS the other night with Alison Franck.  John Lithgow was as watchable as always, and Norbert Leo Butz is giving one of the most entertaining performances I've seen in a Broadway musical for a long time.  His character is really such a lovable jerk.  I'm probably not too far off the mark in guessing that this show has some of the most audacious lyrics ever to be heard from a Broadway stage.

Still religiously tuning in to UNSCRIPTED on HBO, every Sunday.  The show's format may have its critics, but I've accepted it, and the realistic depiction of struggling L.A. actors is often so spot on to the point that many of the people and projects mentioned by the actors in the show are people and projects my friends and I are auditioning for, too.  It's a guilty pleasure, and I don't have many, so...I'll own this one.

Monday, February 7, 2005

Had the day off, today, from THE DRAWER BOY.  Yesterday ended the first week of rehearsals with a stumble-through of the show.  Spent the day off lazing around Manhattan.  Stopped by the Actor's Equity Lounge/Audition Studio to read the bulletin board and see what was going on there.  Some big open calls for summer stock.  Ran into Mark Campbell, who I did a production of A Christmas Carol with, and caught up.  Then went to The Coffee Pot to write and do some script reviewing.  Called friend Becca Ayers whom I haven't seen for months, because she was out of town doing a show.  She was at an audition, nearby, for a production of THE LAST FIVE YEARS, so she came and visited for awhile with me.  Ran into friend Ryan Davis, there, too, and chatted for awhile.  Becca's in a play, JOY, directed by friend Ben Rimalower, (starring the "Dell dude," Ben Curtis) at the Producer's Club.  Going to go see it in a week with Kate Wetherhead.

Later had drinks with Alison Franck, Patrick Parker and John O'Neill, who had all just gotten out of conducting some auditions for THE BAKER'S WIFE, which plays Paper Mill after THE DRAWER BOY. 

And now, back to the script.  These are not the easiest lines to learn, especially since the character tells the same story three times, but each time in different way.  And, man, it's hard to keep that straight...  Saw an interview with Judy Dench a while ago, where someone asked her how she learned her lines.  She said she draws a hot bath and does not get out until she's learned them all.  (Doesn't her script get wet?)

Friday, February 4, 2005

Well, now, after three days of table work on THE DRAWER BOY with playwright Michael Healey in the room, I have such a deeper understanding of and enthusiasm for this play.  Last night I went and had dinner at The Delta Grill to visit friend Jesse Bush who was bartending there.  I talked the play with him, since he has a special interest in it, having recently directed a production of it a few months ago at Ithaca's Kitchen Theatre.  Jesse was especially interested in hearing what playwright Michael Healey had to say about his own play; most never experience the luxury of having the playwright's point of view, firsthand, in rehearsals.  Paper Mill is pulling out all the stops to give this play a superior production; I'm really excited at how it's coming together...

Later went to see Trevor Oswalt's band, The Lost Tricks, at the Ars Nova space.  Great harmonies, cool instrumentation, and skinny white ties!

Tuesday, February 2, 2005

Last night I did a reading of a play, Pandora's Box, a mock Restoration comedy.  Played the insufferable fop.  Friend Isaac Robert Hurwitz directed it, and we read it to an enthusiastic crowd as a sendoff to its playwright, Sally Faraday, who's on her way home to Australia.

Thursday, January 20, 2005

Back from L.A., learning lines for THE DRAWER BOY, and trying to decide what to bring to Jeff Marx and Rena Strober's shabbat potluck dinner at Hurley's on Friday.  Something to complement kugel... decisions...

Tuesday, January 10, 2005

Just got around to watching the extras on the DVDs of two of my favorite movies, Milos Foreman's AMADEUS (the director's cut) and Mike Nichols' THE GRADUATE.  My favorite thing about DVDs are the extras (I'm disappointed with the DVD of TOOTSIE, though, another favorite film of mine, which has no commentary, featurette, interviews or anything).  Anyway, was watching the documentaries on the making of THE GRADUATE and the making of AMADEUS, and there is something endlessly fascinating to me to hear actors like Dustin Hoffman or F. Murray Abraham referring back to their time in the trenches, early on, before their first breakthrough roles.  The frustrations, confusions, struggles and neuroses they discuss in themselves as young actors are comfortingly familiar; not so comforting is how strikingly apparent it is that even after things take off, the frustrations, confusions, struggles and neuroses continue.  It's a good thing, then, that I'm such a glutton for frustrations, confusions, struggles and neuroses.

This morning had breakfast with my friend and former acting teacher from Brown, Mark Cohen.  Mark's a professor of acting, now, at Emerson College in Boston.  Was fun to catch up after not having seen each other for about three years.  Back in college, Mark introduced me to one of my favorite plays, Ibsen's LITTLE EYOLF, as well as stoking the fire under my complete intolerance for B.S. in acting.

Saw friends Kate Wetherhead and Jesse Bush, tonight, at the Delta Grill.  I wouldn't have felt compelled necessarily to say anything about that at all, except for the fact that Jesse asked if he'd be appearing on my blog.  I told him, "no."

Sunday, January 9, 2005

Attended a matinee yesterday of LONE STAR LOVE: The Merry Wives of Windsor, Texas, by friend John Haber.  The show was great with a fantastic cast led by Jay O. Sanders as "Falstaff."  Later attended Joanna Parson's HAPPY HOUR SALON, an open mike with six or so different acts that Joanna conceived and MC's, followed by a party at Richard Topol's, friend from THE CHOSEN at Paper Mill.

I know I'm like a broken record about this, but I find Joe Calarco's trip to Tokyo to direct the Japanese premier of SHAKESPEARE'S R&J to be fascinating.  Now in addition to his journal about the trip, there are photos from the trip, too, all on, or linked from, his website.

Tonight I'm attending the opening night of HAROLD & MAUDE at Paper Mill Playhouse where I'm excited to be returning myself in a month or so to understudy the role of "Miles" in THE DRAWER BOY.  Friend Eric Millegan plays "Harold," opposite Academy Award-winner Estelle Parsons as "Maude."  Too biased to post any sort of review of the show, but I'm excited to see it, tonight.  I'm a huge fan of the film; really eager to see how they've adapted it to the stage...

Wednesday, January 5, 2005

Joe Calarco has arrived in Tokyo to direct the Japanese premier of his SHAKESPEARE'S R&J.  Here are some of his first impressions.

Monday, January 3, 2005

Hope everyone had happy holidays and a great New Year's celebration.  Before writing about anything else, I wanted to provide a link to any of you who are able to contribute something, even the smallest amount, to help aid the victims of the horrible disaster in Asia.  There are many charities who could use your aid and that take donations online.  Here is just one: United States fund for UNICEF.  Thanks to friend Dan Diggles for the link.

Since my last entry, we lost a great actor and New Yorker, Jerry Orbach.  In reading many of the articles and obituaries and Internet postings about this talented and jovial actor, I was able to piece together a surprising and touching realization about my own experience having worked with him on an episode of LAW & ORDER.  In one article, someone Orbach knew said that he "always knew his lines and everyone else's."  Another recounted how extremely kind Orbach was to the actors in featured roles who would work opposite him on the show.  If they flubbed a line, he'd tell them to keep going, knowing that everything would be fine in the final edit.  If they were nervous, he'd try to put them at ease.  He was outgoing and approachable: between setups, Orbach chatted with me about politics in the wake of the first Bush victory, voter fraud in Miami, and cards.

It was my first-ever TV appearance, and in the scene I shot with Orbach, I had some challenging technical jargon to speak.  In the middle of a take, I went up on my lines.  Of course, there were other takes -- it wasn't the end of the world -- but privately, I felt a little embarrassed.  We shot some other angles and then the final shot in the scene was a closeup on Orbach.  He began his take, and then HE flubbed a line.  "What's my line, again?" he said to the crew.  No one answered him -- they just immediately started another take and he got it right. 

At the time, (and in these two years since), I thought, "OK, it was a little embarrassing to have gone up on my lines, but so what?  So did Jerry Orbach."  Though in the back of my mind I think I already suspected this, I'm now pretty certain that this man who "always knew his lines and everyone else's" went up on purpose, for the psychological benefit of a nervous young actor. 

What a class act.  It was a privilege to have appeared in my first TV spot opposite someone like him. 

Rest in peace.

Friend Joe Calarco has left for Japan to direct the Tokyo production of his SHAKESPEARE'S R&J (in Japanese!).  Joe has joined the blogging world, and will be journaling about his experience there.  No news, so far, about his first day in Japan (but it's a long trip; maybe he's still en route).  Guess I can take out LOST IN TRANSLATION, in the meantime, and imagine what it could be like...

Sunday, December 12, 2004

UNLOCK'D ended its run, yesterday, with a full house and a warm standing ovation.  Thanks to friends Joe Calarco, Nell Benjamin, Michael Cassara, Alison Franck, and Patrick Parker for coming to see the show.  Afterwards at Molly Wee Pub for drinks, Joe Calarco showed us the script for his upcoming Tokyo production of his SHAKESPEARE'S R&J, written entirely in Japanese.  Joe may not be able to read his own script, but luckily he'll have two translators when he goes to Tokyo to direct the production in January.

Went to see an evening of songs by Brian Lowdermilk and Kait Kerrigan, tonight, directed by Michael Cassara who assembled a great cast including Michael Arden, Kate Shindle, Mandy Gonzalez, Alison Fraser and others for the performance at Opia.

Friends Eric Millegan and Jeff Gurner start rehearsals tomorrow for the world premiere of HAROLD & MAUDE at Paper Mill Playhouse, starring Academy Award-winner, Estelle Parsons.

Sunday, December 5, 2004

Had rehearsal for UNLOCK'D, yesterday.  The cast and writers -- well, everyone involved -- are hilarious.  It's been a good two weeks.  Performances are this coming week, and they had all sold out only a few days into rehearsals.  I'm curious to see who all these people are who will be coming.  Later went to dinner for friend Pam Adams' birthday, followed by another birthday party for friend Robin Carus at VINTAGE and ending up with seeing Jeff Gurner's band LISA JACKSON AND GIRL FRIDAY at CBGB's.

Wednesday, December 1, 2004

Along with Alison Franck, UNLOCK'D writer Sam Carner and UNLOCK'D cast members Andrew Palermo, Jeff Gurner, Laura Bell Bundy and Kate Wetherhead saw Derek Gregor play last night with his excellent band, M-LAB at The Knitting Factory.

Saturday, November 27, 2004

Saw the Manhattan Theatre Club production of Craig Lucas's RECKLESS, tonight, starring Mary Louise Parker (excellent, as always).  Rosie Perez and Debra Monk are standouts, as well.

Friends Kenny Boys and Bethany Brooks are getting some great reviews as "Pastor Manders" and "Regina," respectively, in Ibsen's GHOSTS at New Jersey's Luna Stage Company.

Tuesday, November 23, 2004

Saw a screening last night through BAFTA with Alison Franck of the new film adaptation of Andrew Lloyd Webber's THE PHANTOM OF THE OPERA.  There was a talk-back afterward with director Joel Schumacher and star, Emmy Rossum.  I'd give my impressions of the film, but that would be tacky, since it doesn't officially open until December 22.  The reviews will be extremely readable, though; I can promise you that much...

Met the rest of the cast of UNLOCK'D, in our first rehearsal, yesterday.  The cast is a veritable who's who of really great young up-and-comers: Richard Todd Adams, Catherine J. Brunell, Laura Bell Bundy, Jeff Gurner, Marya Grandy, Jim Newman, Amanda Ryan Paige, Andrew Palermo and Kate Wetherhead.

Sunday, November 21, 2004

Start rehearsals tomorrow for UNLOCK'D by Sam Carner and Derek Gregor, with director Will Pomerantz with whom I've been hoping to work for a long time.  Now, happily, I get the chance to.  Friend Kate Wetherhead is also in the cast along with Richard Todd Adams and some others whom I guess I'll have to be surprised by, tomorrow, since I haven't been told who else is in the cast! 

Details on the show (or rather a link to information) are posted on my news page.

Friend Jamie McGonnigal's all-star benefit concert of PIPPIN will happen on November 29th.  Info about the concert can be found at www.pippinconcert.org.

Saturday, November 20, 2004

Wow.  It's been awhile since I've blogged...  I moved to a new apartment in Brooklyn and took some survival jobs, which I've been busy with before embarking on UNLOCK'D this coming week.  One of the jobs is ushering at 42nd STREET, which will be closing, soon, at the Ford Center, soon to be re-named the Hilton Theatre.  Hilton Hotels will be setting up a booth in the lobby to sell time shares.   (Irving Berlin would roll in his grave.  He didn't even allow a gift shop in his Broadway theatre, The Music Box, under the conviction that it was theatre, not the circus.  Now they're selling time shares.)  (Story courtesy Talia Krispel!)  I heard a rumor that the Belasco Theatre, where DRACULA is currently playing, is going to be renamed The Hoover in a brilliant display of marketing synergy, with free vacuum-cleaner demonstrations in the lobby during intermission.   But I digress...

42nd Street has some huge tap numbers, which for a non-dancer (like this guy) are endlessly fascinating to watch.  Standouts in the cast are, of course, Nadine Issenegger as "Peggy," Blair Ross as "Dorothy Brock," but my favorites are actually Alana Salvatore and Kelly Sheehan as "Annie" and "Lorraine," respectively.  Honestly, though, if you're going to have to take a survival job between acting gigs, you could do worse than having to watch 30 beautiful girls dance for 2 1/2 hours.  Say what you will about David Merrick, but he had the right idea about that one. 

Joe Calarco asked me to read stage directions a few days ago for a few public readings of Beth Blatt and Jenny Giering's THE MISTRESS CYCLE, which he directed.  I said yes and was a lone male sitting among the five beautiful "mistresses," Rebecca Luker, Julia Murney, Mary Bond Davis, Stephanie Bast and Sally Wilfert.  During the performance it was like being "Guido" in 8 1/2, except with none of the women ever paying any attention to you.  But seriously, the three full-capacity performances, produced by the new theatre company AWOL, were all enthusiastically received, even by me, limited only to my peripheral vision!

Went to Rye Mullis's birthday party last night at the Irish Rogue and ran into friends Michael Cassara, Jamie McGonnigal, Adam Arian, and others, but after a callback in the morning, work at 42nd Street and work, again, typing at a second survival job, I only stayed about an hour.  And drank not a drop.  Oh, well.  Sometimes it's OK to let the other kids have all the fun.  Plus, I have more script work to do before rehearsal on Monday...

Tuesday, November 2, 2004

VOTE.

Friday, October 29, 2004

Last night I attended the opening of Roundabout Theatre Company's TWELVE ANGRY MEN, directed by Scott Ellis, at the American Airlines Theatre.  This was a pretty tight revival of a well-known play and a natural-predecessor to television dramas like LAW & ORDER.  And it was enjoyable in the same way.   I have to say, though, that after one stale revival after another on Broadway, it's refreshing to see something presented without apology for the fact that it was written 50 years ago, and still have it come off so well.  (Technically, this is the play's Broadway debut, though it's been around forever...) Often it seems as though there's a fear behind some of the revivals presented on Broadway that they necessarily have to be updated or made relevant to today, when they were written during and belong in another era.  This production of TWELVE ANGRY MEN still feels like it's from the era in which it was written (the 50's), but it is exciting to sit there and watch it.  It's like being inside an old movie.  The social issues in this play, which then were probably pretty groundbreaking, could be perceived as cliched, now, but everyone knows the play was written in the Fifties; it comes off both charming and engaging to see things presented as they were in their original context with no apparent script-tweaking.  And it doesn't hurt that some of New York's best stage actors illuminate the cast:  Tom Aldredge, Mark Blum, Philip Bosco, Larry Bryggman, Robert Clohessy, Peter Friedman, Boyd Gaines, Kevin Geer, Michael Mastro, Matte Osian, John Pankow, James Rebhorn and Adam Trese. 

Thursday, October 21, 2004

As I sit here staring poverty straight in the face, I'm glad to have beside me an excellent memoir, written by British actor, Simon Callow (SHAKESPEARE IN LOVE), entitled BEING AN ACTOR.  A great book about the daily ins and outs and ups and DOWNS of an actor's life.  You can play to accolades one month and be eating out of cans, the next (...hmm, I think I can relate...)  Lots of great theatrical anecdotes and lore.  The book is filled with quotations by tried-and-true actors like Ruth Gordon (Harold & Maude) who said, "It's not enough to have talent.  You have to have a talent for having talent."  Now chew on that...

Wednesday, October 13, 2004

Last night I attended the Casting Society of America's ARTIOS AWARDS with Paper Mill casting director, Alison Franck.  The ceremony was held at Caroline's Comedy Club, NYC.  Among the many winners were Bernard Telsey and Will Cantler for MCC's production of THE DISTANCE FROM HERE, directed by Michael Greif; Judy Blye-Wilson for ALL MY CHILDREN; and Cindy Tolan for AVENUE Q, which she casts with associate, Matt Schreiber.

Monday, October 11, 2004

This site is hilarious: http://www.wingmusic.co.nz/

Monday, October 4, 2004

Spent the day watching the 45-minute presentations of this year's selections for the NAMT Festival, held at Dodger Stages.  A standout amongst the presentations was the new show, friend Roy Miller's, THE DROWSY CHAPERONE.

Later, attended a CD launch party at the theatre district's Angus McIndoe restaurant for the a cappella group, Pieces of 8.  Friends Jose "Chach" Francisco and Mandy Linden are members of the group.  Their website.

Sunday, September 26, 2004

Saw friend, Jesse Bush, last week just in time to catch him before he left for the Kitchen Theatre, in Ithaca, to direct my favorite new play, THE DRAWER BOY, by Michael Healey.

Friday night saw ALTAR BOYZ.  A really entertaining show with a great script by Kevin Del Aguila.  If this show doesn't transfer to a commercial run, then my powers of prediction...suck. 
**9/28/04 update: my powers of prediction DON'T suck.  They're transferring.

Sunday, September 19, 2004

A busy day...Went to the Broadway Flea Market, which was buzzing with activity, then saw a matinee of WICKED.  Ensemble member Kristy Cates was on for Idina Menzel in the role of "Elphaba."  She did a great job.  Had gone to see friend Michelle Federer ("Nessa Rose") a year ago when the show was in previews.  A lot of cast members are different now, including Jennifer Laura Thompson in the role originated by Kristin Chenoweth.  Jennifer Laura was excellent, and new cast member George Hearn brought a welcome gravitas to the role of the Wizard.  The show is still turning people away at the door, a year in.  The place was packed.

While doing THE CHOSEN with Theodore Bikel, he highly recommended Tovah Feldshuh in GOLDA'S BALCONY, on Broadway.  Well, months later, now, I finally saw it.  I only knew Tovah Feldshuh in her role as the beautiful and hard-edged defense attorney "Danielle Melnick" on LAW & ORDER.  Her transformation from real-life bombshell into late-life Golda Meir is astounding.  Any actor who knows the delight and difficulty of complete absorption into character and total physical transformation must see this performance. 

In two weeks, GOLDA'S BALCONY will break the record for the longest-running one-woman show in Broadway history.

Friday, September 17, 2004

Attended the launch party of Joe Drymala and Ryan Davis's new theatre website www.stagespace.com, tonight, at the Ars Nova Theatre complex.  Along with running into friends Sandy Rustin and Marny Smith, also met actor and headshot photographer Trevor Oswalt, whose photography is truly exemplary.

Later stopped by Jeff Marx's birthday party at Hurley's -- lots of friends, there.  These parties at Hurley's are starting to seem like a Gen-X version of the Algonquin Round Table.  Except without the Dorothy-Parker vitriol...Well, I'm sure there was vitriol somewhere--this is New York theatre--but no one shared it with me...

Monday, September 13, 2004

Attended the opening night performance of Paper Mill Playhouse's 2004-2005 season opener last night, the Gershwins' rarely-produced OF THEE I SING.  This is the first season completely under the helm of new Paper Mill President Michael Gennaro, who came to Paper Mill from Chicago's Steppenwolf Theatre Company.  This fantastic, ambitious and energetic production was ably directed by Tina Landau.  Friend Herndon Lackey appears in the show, along with a cast of 29.  A review has already appeared on Talkin'Broadway.com.

Thursday, September 9, 2004

Went to the opening gala of the new Dodger Stages off-Broadway theatre complex tonight.  An incredible facility.  Guided tours left every ten minutes and saw each of the 5 new theatre spaces.  The high-tech lobby stretches the length of an entire city block!  Article on Dodger Stages.

Wednesday, September 8, 2004

Got back on Labor Day from a road trip around New England.  Stopped through Brown University, where this year's wide-eyed freshmen sat on the main green to hear their first orientation speech; had a burger at Charlie's Kitchen diner in Harvard Square and wrote postcards to friends; walked the Central Market in Boston.  Prime rib, at a chilly dusk, up near Dartmouth.  Dinner in a quaint Vermont mill town, Bellows Falls.  Coffee on an overcast Sunday in Williamstown.  Leaves hadn't started turning yet, but what a refreshing place to escape to, far away from the Republican National Convention and its resultant madness.

David Ellenstein's most recent production of THE CHOSEN, which he directed at his theatre out in San Diego, just opened to great reviews.  Here's one: THE CHOSEN in San Diego.

Sunday, August 29, 2004

SPARE CHANGE closed last night.  Thanks to friends Robin Carus, Michael Alltop, Sammy Buck, Sara Eigenberg, Amy Raudenbush, Jesse Bush, Sid King, Shana Rigby, Nell Benjamin, Peter Millrose, Issac Robert Hurwitz, Julie and Vera Novacek, Heather Knox, Emily Wells, Joyce Isabelle, Patrick Dwyer, Kate Wetherhead, Michael Cassara for coming to the last few performances!

Tuesday, August 24, 2004

Heather Ayers has been away in the Berkshires doing CYRANO, while Becca Ayers and I have been doing SPARE CHANGE.  Heather just got a terrific review for playing "Roxanne" in CYRANO.

Monday, August 23, 2004

Tuesday, August 17, 2004

SPARE CHANGE opened at the SoHo Playhouse this past Saturday as one of the 191 shows in this year's New York International Fringe Festival.  In the audience, along with my sister and her friends, were friends: Jamie McGonnigal, Alison Franck, Stacy Baer, and Brette Goldstein.

Michael Greif is getting some of the best reviews of a Chekhov production I've seen in a long time for THE CHERRY ORCHARD at the Williamstown Theatre Festival.  The New York Times called it "thoroughly disarming" and a "surprising, intuitive" production.

Sunday, August 8, 2004

Ran into Scott C. Embler at 440 Lafayette Studios, today, where we were tech rehearsing SPARE CHANGE.  The show Scott's directing, BURNING BOTTICELLI, will be playing in the black-box theatre there, in the Fringe.

Saturday, August 7, 2004

Finally got around to watching the excellent DVD of THE KID STAYS IN THE PICTURE, the documentary about maverick Hollywood producer Robert Evans.  Fascinating.  On the DVD extras, Dustin Hoffman's impersonations of Evans are priceless.

Kate Wetherhead finished her run as "Percy" in THE SPITFIRE GRILL up in Burlington, tonight, so she's on her way back to NYC.  Her next show is going to be Larry O'Keefe & Nell Benjamin's  CAM JANSEN for Theatreworks/USA at the Lamb's Theatre.

Becca Ayers is leaving soon after our Fringe play, SPARE CHANGE, to play the lead in EMPIRE, a new show about the creation of the Empire State Building.  The show's playing the Stamford Center for the Arts, in CT.

Friday, August 6, 2004

Jamie McGonnigal had his birthday party at Hurley's.  Jamie knows everybody.  It was extremely well-attended, which was great, because I ran into lots of friends, including Isaac Robert Hurwitz who's working on the festival that's presenting THE BLUE FLOWER, the show I wrote about last time; and Marny Smith who's always working someplace great -- this time for Hopkins, Smith & Barden.  Joy Styles talked to me about the new show she just workshopped about Lena Horne, and I hope it gets picked up, because she's great.

Sunday, August 1, 2004

Becca Ayers and I had callbacks for THE BLUE FLOWER last Friday.  We didn't get the show, but we were falling all over ourselves about it.  A great dada-inspired show with excellent music, described as Kurt Weill-meets-Hank Williams.  Website for the show is: www.weimarband.com.  The project has the perfect director, Will Pomerantz, who directed the visually-breathtaking production of Julia Jordan's TATJANA IN COLOR at the Culture Project last year.

Wednesday, July 28, 2004

There's censorship controversy over a Connecticut production of Joe Calarco's SHAKESPEARE'S R&J.  Joe posted a response to the controversy on his website.  Controversy notwithstanding, Joe's taking R&J to Tokyo in the near future for its Japanese premiere.
 

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