Christmas Caucus

Week 55: Des Moines, IA

I stopped believing in Santa Claus when I was six. Mother took me to see him in a department store and he asked for my autograph.
--Shirley Temple

I hope your holidays were warm and wonderful. I had a pleasant Christmas in Des Moines, mainly because of the delightful way that the company came together to celebrate and make this holiday away from home special. We were treated to a delicious Christmas Eve dinner, and a wonderful dessert and egg nog party in the penthouse of our hotel.
Secret Santas were revealed, carols were sung, Christmas crackers popped, and our own pyro guy Mike Berg played a fabulous Santa Claus--and found himself being sat upon by every member of the cast and crew! Here he is with the two resident Jews, me and Jonathan Hadary! People flew in their families and significant others; Matt Greer had his beautiful children Spencer and Miranda dashing about. Lest you should worry that we don't get to have a family style Christmas on the road, let me assure you Christmas with the Spamily was an affair to remember.

My week here started with a series of seven back to back radio interviews at various studios spread out around town. The local press representative picked me up at the unholy hour of 7:30AM on our first day here, and shuttled me from one interview after another. It was rather fun, though, to tailor the conversation to the station that was conducting the interview--"musical theatre" talk for the public radio/arts station, fart jokes and showgirls in bikinis for the rock station. It's fortunate that our show has such a broad appeal! Des Moines is an odd city, rather nondescript and strangely quiet. Part of this has to do with the very convenient skywalk system that connects office buildings, hotels and indoor malls--leaving the streets almost deserted. We are performing at the Des Moines Civic Center which gets my vote for ugliest theatre I have thus played on my tour. The interior is vast, with plain high walls of grungy white stucco, and horseshoe shaped, continental style seating, upholstered alternately in primary green, red and blue. However, the audiences have been great.




Lest you should think there is no beauty in Des Moines, au contraire. A small group of us went on a tour of the governor's mansion, Terrace Hill. This historic home was built in the mid 19th century by Iowa's first millionaire, Benjamin Franklin Allen, who squandered his family fortune and had to sell the home to one of the lawyers who worked on his bankruptcy case, F. M. Hubbell, whose descendants lived in the house for over 70 years. The family bequeathed the house to the state of Iowa and in the 1970s it became the governor's official residence.
Built in 1869 at a cost of $250,000, it was the first home in the region to have gas lighting, indoor plumbing, and an elevator. Rich with sumptuous woods and veneers, magnificent stenciled walls and ceilings, marble fireplace mantles and an extraordinary stained glass window at the top of the grand staircase (reminiscent of "Gone With the Wind"), this place is a real treasure of Victorian and turn of the century opulence. It was a pleasure to visit it and to learn about the extraordinary efforts of the nearly all-volunteer staff that keeps the place going while the governor's family resides in the historic home. We even got to meet the staff chef, whose pumpkin pies filled the air of the house with sweet smells of goodness. The place was all decked out in Christmas finery and all in all it was a real treat to see it.

From Terrace Hill, I went further up Grand Avenue and stopped in at the Des Moines Art Center. It is a small gem of a museum: the main building dating back to the late 40's is sort of sleek, post-war deco with light woods and matte steel railings, and a very special wing built in the 60s and designed by I.M. Pei is in his signature style, all clean lines and striated concrete. The collection itself is small, and primarily focused on 19th and 20th century artists. There are some fine pieces by Picasso, Childe Hassam, Rodin, Monet, as well as some photography by Man Ray and Alfred Stieglitz.
The most famous piece in the collection, and the one that drew me to the museum, is "Automat" by Edward Hopper. Regrettably, the painting is currently on loan to a museum in Seattle so I missed the chance to view this wonderful piece up close and personal. I did have a very nice lunch in the museum restaurant, reputed to be one of the finest in Des Moines, and the art dork in me was very satisfied.

Flo is my Des Moines dresser.
She and her husband were publicans, and owned a bar in the East Village section of Des Moines for 25 years. They got involved with stagehand work via the fire fighters who frequented their pub (seems fairly common that fire fighters do back stage work on the side), and Flo became a wardrobe worker ten years ago. Luckily for me, she dressed my "track" the last time the show was in Des Moines, so this week has been easy breezy. Thanks, Flo! New Year's will find me in Cincinnati, so I will write from there in 2009. Happy New Year everyone!

Girl of the Ozarks

Week 54: Fayetteville, AR

Touring is traditionally an adventure playground for young actors and those who would remain young past their first youth; oats are sown, hell is raised, candles are burned at both ends. The twin excitements of a new town and an almost unbroken succession of first nights, every one a triumph of adrenalin over adversity, added to the curious sense of truancy involved in being away from home create an emotional wildness.
--Simon Callow, "Orson Welles: The Road to Xanadu"

Sounds like fun. What tour was he on?!

Welcome back--did you miss me? Last week's layoff week marked the end of my first year with "Spamalot" and so I suppose this begins the next major phase of this journey for me. The week off afforded me some time to get my holiday shopping done in New York, and to enjoy an early celebration with my Mom and family up in Massachusetts.

It is perhaps timely that I write something about our lovely leading lady, Esther Stilwell, since we are in Esther's hometown this week.
If you have seen the show, you know what all of us know about Esther--that she is an attractive, graceful young woman with a stunning, powerful voice. Hers is one of those great show business stories about the start of a young performer's career. Esther studied at the University of Oklahoma and spent a summer at the Royal Academy of Dramatic Art in England; upon graduation she did a handful of shows including a couple for Disney and the 25th anniversary tour of "Cats," in which she played Grizzabella. But "Spamalot" was her first professional job; she was brought in as the stand by for Lady of the Lake when the national tour was forming and toured with the company in that capacity for the first year. When the reigning Lady left the show, Mike Nichols and the other creative team members decided to give Esther a wonderful break and move her into the role. Thus, in her early 20s and at the start of her professional career, Miss Stilwell became the diva leading lady of a major Broadway national tour. Yet for all the hoopla, Esther is incredibly down to earth, self effacing, sweet natured and real. I believe she owes these qualities to a strong background of family and faith right here in her home town of Fayetteville. She welcomed us here with great warmth, leaving goodie bags for all of us at our hotels, complete with lists of her favorite spots around town and delicious chunks of her own homemade fudge, and her parents hosted our opening night party in their home. Esther will be leaving us in January and there is no doubt that she will be much missed. And the fudge was divine, by the way.

Fayetteville is the home of the University of Arkansas, and has all the qualities of a college town, with a charming campus and a downtown strip of pubs, restaurants and fun shops.
In the heart of this district is the Walton Arts Center, our theatre this week. The result of a collaboration between University of Arkansas, the city of Fayetteville, and Sam Walton (the founder of Wal-Mart, which has its headquarters in nearby Bentonville), the theatre was opened in 1992. It's a somewhat institutional feeling building, a far cry from some of the ornate old theatres we have played recently, and the interior of dull tan colored seats looks rather like an enormous graham cracker. Aesthetics aside, the Walton Center is a well supported, integral part of the Northwest Arkansas region, as evinced by our sold out houses this week.

I admit I have not done a great deal of sightseeing here in Fayetteville. My hotel is out on a highway and we are carpooling, plus there are not too many attractions in this town. There is a museum in honor of Bill and Hillary Clinton, commemorating their time spent here, teaching at the University of Arkansas School of Law. The Fayetteville Public Library is said to be one of the best in the nation. I regret to say I did not visit either institution. It's been a week of simple pleasures--some shopping, internet surfing, reading, and generally hanging out. Sometimes weeks like this are so very welcome on tour--resting and recharging is necessary and places like Fayetteville are great for that.
The highlight of the week has been watching our company game of "Secret Santa" unfold. Every night people are finding goodies and gifts at their dressing stations, being treated to poetic recitations, sent on scavenger hunts, being made to wear funny clothes, finding their spot in the quick change booth festooned with Christmas lights and wreaths. Several of the folks who elected not to participate in the gift giving have volunteered as "elves" to deliver goodies; here is Brad Bradley in full elf regalia ready for duty!

My dresser this week is Melissa, and this is only her second time doing this.
She's a nice, soft spoken young lady who executed her duties to perfection on her very first night. She says her sister is a theatre major but Melissa is more interested in art history, because she wants a job that will afford her opportunities to travel. I harangued her with talk of my passion for the Italian Baroque, and recommended all sorts of books to her, poor girl! Ah well. So, folks, next time I write it will be after Christmas and Hanukkah have passed. I want to wish you and yours the happiest and healthiest of holidays! Take time during this next week--of last minute shopping, tallying up receipts, dashing from one commitment to another, and in general overindulging as we all do this time of year-- to just sit quietly and remember how fortunate you are. In this season of giving, make time to give back to yourself in the form of positive thoughts and feelings of gratitude. And if you can, do something for someone less fortunate this year. The "Spamalot" company has "adopted" two families in Des Moines and it has been a source of great joy for each of us to contribute to making the holiday warm and happy for these deserving people. Give your loved ones the greatest gift you can give--your affection, your embrace, your appreciation and your love.


The best of times is now

What's left of summer but a faded rose?

The best of times is now

As for tomorrow, well, who knows, who knows, who knows?

So hold this moment fast
And live and love as hard as you know how
And make this moment last
Because the best of times is now, is now, is now...
--Jerry Herman

Four Feet

Week 52: Sioux City, Iowa

Brrr! Sioux City is in the grip of a deep freeze this week, but apparently this is not unusual for this part of the country. The extremes of weather here in "Siouxland" are just part of the way of life. Still, the cold is brutal. Sioux City is a small, quiet place; I will be honest, there ain't a whole lot going on here. One of the young ladies in the show was at a local restaurant and she asked her server what there was to do in the area. The server enthusiastically said, "Well, "Spamalot" is in town!" When this dancer said she was in it, the waiter sort of shrugged and said, "Well, I don't know what to tell ya." So, this is a rather quiet week. There's a cineplex across the road from the hotel, and I got to see Baz Luhrmann's new epic "Australia."
Beautifully filmed, and starring Hugh Jackman, who is my new hero--he looks the way every 40-something man dreams of looking. His physique is beyond belief. Oh, and Nicole Kidman looks pretty too. But she is going the way of Meg Ryan with the weird plastic surgery on the lips. A collagen intervention is called for. Saw "Changeling" as well--grim, gripping, terribly upsetting. Beautifully directed by Clint Eastwood in his usual restrained style, with one exception. He seems to have been so seduced by Angelina Jolie's beauty that he allowed her to be given the full Hollywood glamour treatment, in a role that really would have been served by a little less makeup and fashion. Jolie gives a finely modulated, strong performance nonetheless. I have also had a couple nice meals here in town at a place called Sweet Fanny's, where the southern specialties they serve are first rate. The rest of my free time has been taken up with working out, writing Christmas cards, and taking driving lessons from my dear friend Tim. Tim and I did what I called jokingly a 'Thelma and Louise' road trip, flying into nearby Omaha and renting a car to drive the hour and a half to Sioux City. So we have a rental car this week and Tim has been taking me out to parking lots and back roads and letting me practice. I must say, I am doing pretty well!

We are performing at the Orpheum Theatre here in Sioux City.
Built in 1927 as part of the famous Orpheum vaudeville circuit, this local landmark went through a meticulous restoration which was completed just seven years ago. It's an opulent, beautiful old theatre with a fully restored Mighty Wulitzer organ. Unfortunately, the restoration process didn't include enlarging the playing space to accommodate today's large scale tours, like ours. When the crew arrived, they had to do some fancy footwork to fit our scenery into the shallow stage space. This meant eliminating four feet of the stage 'deck' from the front of the stage, foreshortening our playing space considerably. A few additional changes were required in the set and some restaging of some key moments in the show--the rehearsals for these changes being quickly accomplished just an hour before our opening performance. This made for an exciting and sometimes scary first show. With cast and crew on our toes the entire evening, making sure that everyone was safe and knew where to go in a very different space, the energy was kinetic. Only one moment of terror opening night, during the nun and monk pas de deux in the "Camelot" number. At the climax of the dance, the monk takes one of the nun's arms and one leg and spins 'her' around-- but with the stage space being smaller, this move brought the dancers perilously close to the pit and Matt, our nun, almost ended up in the string section! Scary! But there were great benefits to the sudden change in stage space as well: the energy on stage was electric, spontaneous; we were closer to the first rows of the audience which made for a stronger connection with the spectators. And what an audience! Don't judge a book by it's cover, folks. Sioux City may be sleepy but it's inhabitants are not. Rarely in my year on this tour have I experienced a more enthusiastic, responsive and appreciative audience. It was pure joy. The day after opening I was sitting in a local coffee shop and heard a group of elderly men talking about the show. One of them was rapturously reporting to his friends that our show "will spoil you for any other Broadway show--it's that good." I sat there, in anonymity, grinning with great satisfaction.

Something else touching happened on our opening night at the Orpheum. As you may remember, at the end of the show, Patsy goes out into the audience and finds the Holy Grail under the seat of an audience member. It's a different "peasant" and a different seat every night, and the unsuspecting person is brought up on stage in a bit that never fails to delight the audience. On our Sioux City opening, Brad Bradley, who plays Patsy, went out and brought up a young boy, a shy kid with floppy bangs half obscuring his eyes. The next day I received this message from our bass player in the band about just how special it was that this particular young boy, Austin, was selected:

Great show tonight in Sioux City. I play bass in the pit. I wanted to let you know about the boy you brought up on stage tonight. He has had a very rough year and is suffering major depression. He has been in and out of school all year and his father passed away earlier this year. This is the second time he has gone anywhere besides school in the past few months. Today was his birthday and also the first time his family has seen him smile in months, and you have it captured in the picture you took tonight. I know it was not planned but you made his family very happy today. Kudos to you and the cast!


My emotional reaction to this touching news requires no comment. What we do does matter.

The holiday season always brings with it a time of reflection for me, when I look back over the year that has passed; the gains, the losses, the lessons learned, new friends made, and the growth that new adventures have engendered in me. This tour has been a seminal event in my career. After 20 years of solid work in many areas of the profession, from cabaret to Shakespeare festivals, I got a real 'break' being offered Sir Robin. It has been a year of many firsts and a chance to see the country. I have experienced more of North America in the past year than I have in my entire life. The opportunity to travel, to make a good living as an actor in a profession that offers a precious few such chances, to reach out and connect with our audiences and to be able to share my experiences with people like you... all this has been an embarrassment of riches. I feel very blessed. And my "Spamalot" adventure will continue into 2009. I have been asked to stay on at least until May. So there will be many more tales to tell in the next five months. I hope you will stay on for the ride.

My dresser here is Chris.
She qualifies as the coolest dresser I have worked with thus far on the tour. Chris was at one time a jockey in Colorado; she married and moved back to Iowa, working in her parents' photography studio. In her mid-forties, she decided to test to become a firefighter and passed! She is now the only female firefighter in her station house. Many of the guys she works with take part time work as stagehands and she followed suit, which is what brings her back stage at the Orpheum. This fascinating lady also competes in riding competitions with her horse Boo Boo. I just think she is the coolest. Next week is a layoff week, and I will be returning to New York to attend to some business there and then spending a long weekend with my Mom in Massachusetts, celebrating an early Christmas together. So look for a post the week after, from our Lady of the Lake Esther Stilwell's home town of Fayetteville, Arkansas.

Giving Thanks

Week 51: Pittsburgh, PA

Joy is what happens to us when we allow ourselves to recognize how good things really are.
--Marianne Williamson


As I mentioned before, I was born here in Pittsburgh, as was my older brother. My parents met in the drama department of Carnegie Tech (which later became Carnegie Mellon). After they married, they lived here for a few years and then moved us to Massachusetts. I don't have memories of Pittsburgh, aside from one summer I spent here in 1978 when my Dad was designing the scenery for the Civic Light Opera season at Heinz Hall. I remember hanging out in the paint studio with him as he worked, washing brushes and buckets, helping to size drops. I remember the majestic white, gilt and red velvet interior of Heinz Hall, and the wonderful productions, which included "Company," "Anything Goes," and a beautiful "Oliver!" starring Clive Revill, reprising the role of Fagin, which he created in the original London and Broadway casts of the show. I remember the remarkable sight of those three mighty rivers joining together in the city, and a trip to Kennywood amusement park; I also saw "Star Wars" on the big screen here that summer. Now that I have completely dated myself...


If you have read my bio on my website you will know that I spent several years impersonating the great Marlene Dietrich. Thus, the photo that launches this week's post. If you are looking for a fun flick for a snowy night in front of the fire this winter, check out 1942's "Pittsburgh." A tale of ambition in the steel industry, it stars John Wayne as "Pittsburgh," Randolph Scott as "Cash" and Marlene as Josie, whose nickname is, and no, I am dead serious--"Hunky." Dietrich's penultimate dramatic moment in this film is a harrowing scene in which she plummets to her death in a mine shaft elevator that comes detached from its cable. Dietrich always played women of easy virtue who had to die to keep the Hays office happy. But I digress.

Architectural grandeur highlights this visit to Pittsburgh, beginning with my hotel this week, the historic William Penn Hotel.
Built in 1916, this is one of the great American hotels, like the Plaza in New York. From the elegant lobby, with its sparkling chandeliers, presently swathed in garland, twinkling lights and an enormous Christmas tree, to the plush guest rooms and the stately ballrooms, this is definitely a swellagent place from a bygone era. It's been a delight to stay here, and the company threw us a scrumptious Thanksgiving dinner in the Lawrence Welk Room (his band began it's rise to fame at the William Penn, and the famous bubble machine not only made its premiere here but is still stored somewhere in the hotel!).
The food was just delicious and it was a chance for the entire cast, crew and management to dress up a little and be family together on this festive holiday.

The grandeur continues at our venue this week, the Benedum Center.
Built in 1927 as The Stanley Theatre, it was originally a movie palace similar to Radio City Music Hall, presenting big screen entertainment and lavish stage shows. Beautifully restored, the venue is just breathtaking, with 90 crystal chandeliers and torchieres, gleaming brass railings, Florentine style friezes, and a mirrored lobby meant to emulate the Hall of Mirrors at Versailles. It's a beautiful venue, and is home to the Pittsburgh Civic Light Opera now, nearby Heinz Hall being used primarily for the symphony. Pittsburgh is an interesting city to stroll around, at once seedy and solid-- skyscrapers sharing the landscape with ornate 19th century buildings reflecting the ostentation of a city built on the wealth of the great steel magnates. I have enjoyed taking pictures of some of the architectural gems here.



Making money is art and working is art and good business is the best art.
--Andy Warhol

That quote just about encapsulates the commercial theatre! My one museum outing here was a real beaut. The Warhol Museum is a unique tribute to one of Pittsburgh's favorite sons, and with seven floors of art and archival material, it is a comprehensive overview of the art and life of the enigmatic Andy Warhol.
I never quite realized how diverse his talents were. Of course there are the famous Campbell's Soup cans and the celebrity portraits, from Liz Taylor to Marilyn. But he also did some striking abstract works, including mammoth Rorschach images in metallic inks and a large canvas on which he experimented with the effects achieved by urinating on to copper-based paint (sounds gross but the final result was rather pretty). From his work as a commercial artist and film maker, to the publisher of Interview magazine (he said he started the publication to get free tickets to events), Warhol was intensely aware of American culture and all its detail, which he collected in his consciousness and used to create art with a very particular and compelling point of view. He was a true aesthete in the tradition of Oscar Wilde, viewing life as art and the artist as art. His signature black Ray Ban glasses and wild blond wig made him as iconic as the images he used in his work. The museum also includes the work of some of his contemporaries and collaborators like Keith Haring and Jean-Michel Basquiat. But my favorite room was the one containing Warhol's "clouds:" silver foil pillows filled with helium being gently wafted around a white room by fans. I had a delightful time watching a little angel-haired child romping amongst these puffs of silver. It was a playful collision of art and life that I think Warhol would have found delightful.

The holiday this week, the time I have spent in Pittsburgh and the kindness of a new friend I made here have all reminded me how important it is to try and stay in a place of gratitude and appreciation of all that I have and the beauty that life has to offer. It is easy to get bogged down in concerns and anxieties, to fret about the economy and worry about money, to try and hold on to what one has for fear of losing it and being without. It's easy to lose perspective; to forget the gifts one has been granted--of health, of vitality, of meaningful work, of loved ones. There are some people in my circle and in the circles of my friends who are suffering, who are dealing with catastrophic illnesses; the death toll continued to rise this week in Mumbai, where innocent people have been the victims of hate and ignorance. In the face of despair, and our own feelings of helplessness, there is power in gratitude. I hope that this Thanksgiving brought great bounty to you and the feeling that you are blessed and have much to be thankful for. May we carry those feelings into the new year.

Sigrid is my Pittsburgh dresser.
She has the elegant carriage of a dancer, and used to work in the fashion industry, draping and tailoring--she says with pride that her specialty was creating suits and if you know anything about that kind of tailoring, you know it requires great skill and attention to detail. I have no doubt Sigrid was terrific at it. She has been a pleasure to work with here. The Pittsburgh audiences have been enthusiastic and generous. We are doing the annual holiday fund drive for Broadway Cares/Equity Fights AIDS right now. At each performance, cast members collect money in the lobby for this very worthy charity which has raised $100,000,000 through this kind of grass roots fundraising. If you are looking for a worthy cause to contribute to this season, I recommend BC/EFA. The money you contribute goes directly to those who need it, from all walks of life. And so, in closing this week, let me thank you for YOU. Your interest in my journey and your enthusiasm for the work I do lifts me up and makes me feel connected. So thank you for sticking with me! Sioux City is next...

Family and Spamily

Week 50: Boston, MA

If you are paying attention, each successive year will make you more intimately acquainted with your flaws--the blind spots, the recurring habits of thought that may be genetic or may be environmental, but that will almost certainly worsen with time, as surely as the hitch in your walk turns to pain in your hip.
--Barack Obama, "The Audacity of Hope"

There is a feeling of full circle about returning to Boston at this juncture of my “Spamalot” journey. We were last here in January, shortly after I began the tour. I arrived here with a strong sense of the prodigal son returning to his home town, a magical snowstorm frosting the city in sugary white. Many cities and several hundred performances later, we are back for a week’s engagement at the Colonial Theatre. This week I have had the joy of spending quality time with my Mom, and of wandering the streets of this city where I spent much of my childhood, my college years as a young drama student, and several years as a working adult. With the present uncertainty as to whether or not I will be asked to continue on with the tour beyond this first year, the comforting energy of a place that feels like home is so very welcome.

Yes, as of this writing, I have not yet been invited to stay on with the tour beyond my first contract. I have certainly been asked over the past few months if I would want to continue, and have always answered in the affirmative. But there are many factors that go into the decisions that are made in regard to a large production like this, and while it is an excruciating time of uncertainty for me, the powers that be will make whatever decision is best in their judgement for the future of the tour. I am confident in the contribution I have made to the production, am gratified by the approbation I have received from the creative team, the press, and our audiences, and am proud of my work. However, I tend to be a somewhat high strung individual and while I wait on pins and needles for that extension offer, I have been a nervous wreck and I am quite sure, a pain to be around.

This brings me to an aspect of tour life that I have not yet touched upon in this blog, that of the group dynamic. Most people have experienced a workplace of some kind or another--an office environment, a busy restaurant, a manufacturing shop. Thrown together with an assortment of different personalities from diverse backgrounds, one has to make one's way, get along with everyone, and, hopefully find a few chums one can share a personal conversation with or, at least, lunch. But regardless of the interpersonal dynamics,in the "real world" most people go home at night and leave those other workers at work. In a touring show, one spends a great deal more time with one's coworkers, traveling from place to place, rehearsing and performing, and socializing in strange places where what counts as "going home" from work is returning to a hotel room. Naturally, the chances of getting on each other's nerves are increased exponentially by all this interaction, and sometimes emotions run high for various reasons--homesickness, fatigue, plain old grumpiness, ennui. I will say this about the "Spamalot" company--it is a fine group of people who get along, and often, genuinely enjoy hanging out together. The "Spamily" has built in some group activities into the touring life, including company birthday celebrations, bar crawls to celebrate both the comings and goings of cast and crew members, and our Saturday night tradition of "shot night." It is, by and large, an affable, generous, good humored group of people.

Belonging to groups has always been a peculiar challenge for me. Without turning this blog--which I realize has largely become a travelogue--into a therapy session, I will say that as a child I was a bit of an outcast.
Precocious, asthmatic, creative, moody, I was picked on relentlessly from a very early age. I learned to be self-sufficient, to enjoy solitary pleasures, and to believe in myself despite the rejection of my peers. But along with these survival skills, scar tissue formed--fear of rejection, a feeling of being an outsider, an impulse to overcompensate to make people like me. The theatre is full of misfits of all kinds and I have always felt it my proper home--where I can truly be myself and give of the natural gifts I feel I possess--of creativity, sharing, and joy through performing. Still, with each new company I join, there is always that nagging feeling that I am a misfit among misfits, still trying to fit in and somehow only managing to find a real connection with a small handful of people who "get me." Now, the "Spamalot" company are fun people. They love to party, to do group activities; there are football confidence pools, organized games of "whirlyball" (a group sport that is sort of lacrosse played in bumper cars--I am not kidding), and movie premiere outings.
Not all of these activities are my cup of tea; but then my movie nights of popcorn, cocktails and Bette Davis, or my Tarot card readings, or my museum trips are not every one's idea of fun either. There are some company members I have never had a real conversation with; others have become good friends. I am not for everyone; I am perhaps an acquired taste--I wear my heart on my sleeve, I express my emotions too freely, I have a wicked temper which I generally keep under wraps but which can rear it's ugly head from time to time, usually with me shooting my mouth off inappropriately. I have difficulty being inauthentic, and sometimes show business requires that one put on a happy face, even if the business is full of rejection, judgment, heartache. I have often said that I am perfectly suited to the work of the theatre but temperamentally unsuited to the business, which can be duplicitous, dehumanizing and just plain nasty. I have been a little hard to live with this past week, but I am hopeful that the "Spamily" in their good natured way, will find their way to forgive me and cut me a little slack during a trying time. As I said, our little moving workplace can be claustrophobic at times. Perhaps I can smooth things over with the "shot night" I am hosting this week. Always one for a theme, my shot this week is a "Boston Cream Pie," consisting of equal parts Godiva liqueur, vanilla vodka, and Irish cream. God, I do have a sweet tooth.

Adding to the tension this week was a much anticipated visit by the director of "Spamalot," Mike Nichols.
I am sure I don't need to introduce Mr. Nichols to you. His career has spanned every area of the profession--theatre, television, film--his legendary comedy career with partner Elaine May, his direction of great films like "The Graduate," "The Birdcage," "Angels in America;" he is one of a handful of artists to have received every major entertainment award--the Oscar, Emmy, Tony, Golden Globe. His helming of "Spamalot" led to a flurry of Tony Awards for the production, including Best Musical. He is, at the risk of using a cliche, a living legend. He saw the tour in performance for the first time in almost two years this week in Boston, and gathered us all together afterward to give us his notes on our work. Obviously, everyone was very nervous, especially those of us who he had never seen before and who never received his direction from his own lips. Like most replacement actors, I learned my show from a dance captain and a stage manager and over the past year have received sporadic notes and coaching from our assistant director, whose job it is to interpret Mr. Nichols' directorial intentions and maintain the show to his specifications. To call Mr. Nichols' note session with us brutal would not be overstating things. He praised the company, and our talent and abilities, but he showed us a lot of tough love in that session--as he called it, he "beat us up a bit." But even though our egos were bruised by his comments, his intention was clear--to make sure that we don't fall into habitual patterns and technical tricks, but make it our business to keep the show simple, truthful and connected to real human experiences, even within the context of the absurd situations and technically perfected musical numbers. It's a tall order, but an opportunity for each of us to reach within as actors and bring more to what we do for the good of the piece, even after some of us have done over 1000 shows. This is the essence and the challenge of being a live performer--repeating the same tasks over and over again while managing to keep it fresh, true and real. Sometimes we all need a kick in the ass, and Mr. Nichols gave us a swift one, masterfully.

During this rather high pressure week, I have been given the blessing of spending time with my Mom, my biggest and most loving supporter, who I had not seen since our last stop in Boston in January. Her belief in me and the sheer joy that we share in each other's company is priceless and we had a lovely week, enjoying some nice meals and a stroll around the Museum of Fine Arts, reveling in the treasure trove of masterpieces that this world class museum offers.
We visited our favorite Impressionist works like Renoir's "Dance at Bourgival;" the dreamy Victorian love scene "The Painter's Honeymoon" by Lord Frederick Leighton; we had the pleasure of wandering into a special exhibit of the great portrait photographer Yousef Karsh, who captured the faces of some of the greatest people of the 20th century, from Picasso, to Churchill, to Einstein, to Audrey Hepburn.

Marvelous. I am deeply grateful for these treasured times I get to spend, however infrequently, with my Mom. She is a great human being, a wonderful artist, and my soul's friend. She inspires me and encourages me and reminds me that, no matter what mistakes I make or challenges I face, that I do what I do out of love and a desire to be the best artist and person I can be. I love you, Mom.




We are performing at the historic Colonial Theatre, where the "Spamalot" tour launched in 2006.
This jewel box of a theatre is also where I saw all of my first Broadway shows, including a touring company of "Annie" in the late 70s. I was maybe 12 years old and all the kids on stage were my age--I sat there in my nose bleed seat, dazzled and hungry to join them up there, dreaming of that day I might be in a Broadway musical. During the finale of our show one evening this week I looked out at that gold encrusted auditorium and thought, oh my God. I did it. I got my dream. I am up here performing a Broadway musical. How many people can say they have had a moment as ineffable and as magical as that? No matter what happens in terms of my future with this particular tour, I can be exceedingly grateful for my adventure thus far and the extraordinary achievement of a childhood dream. Life can be so humbling.

Remember Beverly?
She was my dresser at the Opera House the last time we were in Boston, and it is so nice to work with her again. She has a lovely energy and that fantastic Boston accent that makes me feel so at home. Beverly has the distinction of being the first dresser to make a return appearance in my blog. Thanks Bev! More from the city of my birth, Pittsburgh, PA, next week, friends.

Mermaids

Week 49: Norfolk, VA

I was last in Norfolk about ten years ago, performing at Virginia Stage Company in the zany two-man show by Charles Ludlum, "The Mystery of Irma Vep." A riotous spoof of gothic horror stories, the show requires two actors to take on several characters each, and jump in and out of them in a series of lightning fast costume changes.
Starring opposite the then artistic director of the theatre, Charlie Hensley, I played a shrieking lady of the manse, a hunchback caretaker who is also a werewolf, a Middle Eastern trail guide who sounded suspiciously like Peter Lorre, and an Egyptian princess raised from the dead. It was a hoot (that's me on the left as Lady Enid). I am glad to say that Virginia Stage Company is still here, in its lovely jewel box of a theatre, The Wells.

Norfolk is as I remembered it, with some improvements and developments, including a very fancy mall right in the downtown area where we are performing this week at Chrysler Hall. Norfolk has a long military and naval history reaching back to the Revolutionary War, during which the city was completely destroyed in battles with the British navy, then built up again in the Federalist period. There is a national maritime center here and a memorial to the great General Douglas MacArthur. Norfolk is also the cultural center of this region, known as Hampton Roads. A revitalization project started around 2000 gave the city it's symbol, the mermaid. And the little ladies are everywhere--on official buildings, signs, and throughout the city in the form of sculptures which were part of the "Parade of Mermaids" project benefitting the arts in Norfolk.




Due to a somewhat melancholy streak in my character, I have always enjoyed a rainy day with nothing pressing to do. I have always seen such days as an opportunity to commune with myself, and to do something solitary and introspective. Visiting a museum is the ideal activity, and on this rainy Thursday I took in the Chrysler Museum of Art here in Norfolk.
Incredible to me that I never visited when I was last in Norfolk (for several weeks). The museum is a gem, a sort of "mini-Met," its Tuscan style building housing a marvelous collection of antiquities, modern art, an extensive collection of glass, decorative arts and photography, as well as a large exhibit of neoclassical American marble sculptures. I realize that it makes me a fuddy-duddy art dork, but I had such a delightful time there. The staff is the warmest, most helpful and welcoming of any art museum I have been to. One of the staffers, a bright young lady named Michelle, joined me in the Art Nouveau room of the decorative arts collection and we had a stimulating chat about our shared obsession with visual art. Michelle told the director of the museum that one of the "Spamalot" actors was visiting, and he very generously sent her to me at my lunch table in the museum's charming cafe to present me with a stack of free admission coupons for the entire company! The welcoming atmosphere set the tone for a wonderful exploration of some very fine pieces of art--my Renaissance and Italian Baroque cravings being sated with canvases by Tintoretto and Veronese as well as the last known marble sculpture--a bust of Christ--by the great master Bernini, executed at the age of 80. There were some marvelous surprises, such as a dramatic painting, Orestes Pursued by the Furies, by Bougereau, featuring an incredibly erotic and beautiful male nude; another casting of Rodin's masterwork, Age of Bronze (you recall I saw one in Ottawa last week--I learned today that the execution of this nude sculpture is so fine that when it was first exhibited Rodin was accused of having made it from a life casting of his model, forcing him to produce the photographic studies he had worked from to sculpt the figure); and my favorite of the 19th century French paintings in the collection, Pierrot as Politician by Couture, depicting two businessmen, dressed in costumes on their way to a masked ball, discussing current events over a newspaper. The New York Times has described the Chrysler collection as "one any museum in the world would kill for," and it is easy to see why. Again, there is great beauty for us in unexpected places. We just have to get out our umbrellas and go look for it.



Friday was another rainy day and I decided to visit the Moses Myers house, an historical home in Norfolk that was built in the late 18th century by a Jewish shipping merchant and his family.
I was the only one to show up for the 3:00 tour, and so was treated to a private tour by a charming docent named Therese, who told me the story of the Myers family, the only Jewish family in Norfolk in the late 18th century. The family rose to a high position in society and was greatly respected. One of the sons of the family was the first Jew to graduate from the College of William and Mary, and graduated valedictorian; Moses Myers was awarded an official position by president John Quincy Adams. The house remained in the family line for five generations and so 70% of the furnishings and objects in the house are original. It's a beautiful Federal era home, full of the neoclassical flourishes that were popular in the period. It was a real treat to get a personal tour of the place and glimpse a bit of American history.



My dresser in Norfolk is Tanya. This is Tanya's first big show. She fell into backstage work after being dissatisfied with her former work options and finds she really loves the crazy world of the theatre. She has been level headed and a delight to work with all week. Great work, Tanya!

You will notice that I am three weeks away from the one year mark of my tour with "Spamalot." It's incredible to me how quickly the time has gone. By week 52, I will have played 38 cities across North America and done 352 performances. And it is likely that I will continue on with the tour, perhaps for another year. Next week in Boston, I will finally get to meet our venerable director Mike Nichols, who will be coming to see the show and give us his notes and insights. I am excited to have the opportunity not only to meet this legendary talent, but to receive direction from the man who created "Spamalot" with Eric Idle, John DuPrez and Casey Nicholaw. What, me nervous? Naw.... gulp!

A New Hope

Week 48: Ottawa, Ontario

Did you miss me?? Our two week layoff sped by, during which I caught up with old friends, celebrated my birthday, got my learner's permit, saw some shows and ate like a pig! Honestly, I think I went up two waist sizes. Oh well. Running around in chain mail will burn it off.

You can imagine how very strange it was to spend our opening night in the capital of Canada during the election of Barack Obama. After our performance, a big group of us went to a local pub and watched with eager anticipation and growing excitement as the returns came in and Obama emerged victorious. There was a wonderful feeling of fellowship amongst us, this little band of theatre folk in another country, feeling the pride of being Americans and the elation of being a part of history. It was the first time in years that I felt truly proud to be an American, and while President-Elect Obama has an arduous and heavy challenge ahead of him, I believe that he has the strength and vision to see us through. And perhaps now more Americans will be involved in the process and will participate in government and the furtherance of the causes they believe in. May God guide the footsteps of our 44th president.



Ottawa is our final Canadian stop on the tour. Located on the border between the provinces of Ontario and Quebec on the Ottawa River, the city's name is derived from the Odawa people, a native tribe that once occupied this region. There is a legend that the city was chosen to be the capital of Canada by Queen Victoria, who allegedly took her hatpin and stuck it in a spot halfway between Toronto and Montreal. With the city of Gatineau and the province of Quebec directly across the river, there is a decidedly French feeling to this area. Some of the architecture, from the houses of Parliament to the Fairmont Chateau Laurier Hotel, is truly majestic and very Parisian in feeling. French is spoken as much as English here and there is a rich multi-cultural life. "Spamalot" is performing in the vast National Arts Centre this week, and unlike our engagements in Vancouver and Toronto, our run is completely sold out here! It was a great feeling to return to the show after two weeks and to be received by such an enormous, effusive and supportive audience.



In my travels in Canada, I have visited some good art galleries, but have been disappointed in not finding a fine art museum that has the kind of European antiquities that I am passionate about. Well, the National Gallery of Canada here in Ottawa did not disappoint. What a marvelous structure, and the permanent collection is first rate.
I have a passion for the Italian Baroque as well as the Venetian artists of the 18th century, and this museum has many fine examples of both, in particular some very important large Venetian scenes by Canaletto. All periods of European painting are represented, with some fine examples by Rubens, Boticelli and others; there are some excellent Impressionist paintings including two stunning Monet landscapes, and one of Rodin's great bronzes, Age of Bronze. There was a temporary exhibit of American/Hungarian photographer Andre Keretsz that I found particularly exciting. Most of the photos were taken in the 20s and 30s in Paris and New York and Keretsz had a wonderful eye for detail that I really responded to. After my visit to the museum, I wandered through By Ward Market, one of Canada's oldest public markets, dating back to the early 19th century. This charming area is now home not only to produce and fine gourmet food stalls, but pubs and restaurants and fancy designer furniture and clothing stores. Ottawa is a classy town.

On Thursday, the company treated me and a few others who celebrated birthdays during the layoff to a birthday cake.
This is a "Spamalot" tradition--each member of cast and crew gets a cake on their birthday, usually presented at intermission of a performance, with much frivolity and good will. It was a nice surprise to have a second birthday celebration. With me in this photo are my buddy Tim and Francesca, one of our stage managers, who always takes on the duty of cutting and serving the birthday cakes.

My Ottawa dresser is Adelle.
This is only Adelle's second show and she has done a terrific job. She, like many of the dressers I have worked with on tour, came to wardrobe work after retirement and she seems to be enjoying herself amongst the crazies of the theatre! Ottawa has been a pleasant, successful and gratifying last stop in Canada. Next week, it's Norfolk, Virginia. Until then, best wishes to all.

HOOAH

Week 45: West Point, NY

We could not have picked a better time to visit the Hudson Valley. The mountains and rolling hills ablaze with autumn foliage are breathtaking, especially viewed from the spectacular location of the military academy at West Point. So why the heck are we at West Point? Well, I shall explain. As you may know, the "Spamalot" tour has been out for about two and a half years continually on the road. It has played most of the major cities in North America, some of them twice. When the Vegas company closed over the summer, it opened up the west coast to the tour and next summer we will play big engagements in San Francisco and Los Angeles, where the show has never been seen. However, in order to get there the show must continue to tour between now and then, and that means opening up new markets across the country for "Spamalot." There are smaller theatres in smaller cities that want the show but either can't afford the show at its present size or have facilities that won't accommodate the sets as they are now designed. So our physical production is being adapted to make these next several months of touring more feasible and cost effective. The Eisenhower Theatre at West Point is a hospitable place, close to New York, where the technical adjustments can be made and rehearsed.

The scenery is being redesigned so that three-dimensional pieces become flat painted pieces, some of the automation that moves the scenery around is being removed, and the number of trucks that transport the show will be reduced from eight to six. This means significant savings for both the production and presenters. With fuel costs what they are, fewer trucks mean less gas; with less heavy and complicated set pieces to unload, set up and break down, this means significant savings on labor. Our orchestra is being reduced slightly as well, and new arrangements have been created for this purpose. The best part is that the audiences will still get the same great, attractive show that we have always done. The original designers have come together to create this revised design plan, the original arranger is creating the new sound for our smaller band. So we are here to do technical rehearsals and staging adjustments with our new scenery and to rehearse with the new orchestration. It's rather nice, actually, as it feels like we are getting ready to open a new show, infusing us with renewed energy as a company. Also, we are only doing one performance this weekend so we can rest somewhat from the rigors of our usual eight show week. Once we have done our performance here, we will be laid off for two weeks while the new production is organized for our next engagement in Ottawa next month. Which means a two week vacation for me back home in New York City!




West Point is one of the largest school campuses in the world, occupying 16,000 acres on a gorgeous scenic overlook of the Hudson River.
A military outpost was established here by George Washington in 1778 during the Revolutionary War, and in 1802 Thomas Jefferson established the military academy here, where for generations "The Long Gray Line" of cadets have been trained to become army officers, and where many of our nation's finest generals have received their education. The academy itself is an imposing fortress perched high above the river, and arriving there it rather reminded me of the fantasy school of Hogwarts from Harry Potter. The Eisenhower Theatre is absolutely huge and presents a full season of performance, including touring shows like ours, celebrity concerts, and performances by the United States Military Academy Band. It's interesting to be in this part of the world and at this historic site this week, as I have been reading the works of David McCullough--"1776," and his Pulitzer Prize winning monumental biography "John Adams." Important episodes in the American Revolution took place in the Hudson Valley, even in the little town of Fishkill, where the company has housed us this week.

Derived from the Dutch words vis, for "fish" and "kill" for river, the town of Fishkill was originally a Dutch settlement established on land bought from the Wappinger Indians.
Fishkill played an important role in the Revolutionary War when a vast military encampment was established one mile below the village to guard the mountain pass to the south. Signal fires lay in readiness on tops of the surrounding mountains. The Fishkill encampment became the main supply depot for the northern division of the Continental Army. The first 1,000 copies of the New York State Constitution were turned out on Samuel Loudon's press at Fishkill in 1777. None of this history is readily apparent in modern day Fishkill, especially in the strip of hotels and chain restaurants where we are staying this week and commuting from to West Point. Many of the company chose to carpool and commute to and from NYC this week but since I will be home for two weeks shortly, I opted to stay out here this week, which has made for a very quiet and uneventful time. I am getting a lot of reading done, and studying for my learner's permit test, determined as I am to finally learn to drive. It should be very amusing to be taking the test amongst a bunch of adolescents in a week or so!

Meet Chris, my West Point dresser.
Chris and I got to work together for a hot second, but she is a pistol! Such a great sense of humor and such a fun lady. We compared tattoos and enjoyed discussing all the things we have in common, including having been born in Pittsburgh. We will be performing there in several weeks and Chris has promised to come and see the show there from out front.

So, friends, "Spamalot" is giving us a two week break and I will be taking two weeks off from the blog as well. During the layoff I will be celebrating my birthday on October 26, catching up with some dear friends and loved ones, and enjoying autumn in New York, my favorite time of the year in the city.
Before I sign off this week, I want to send some love to the great folks who have been making magic in the Broadway company of "Spamalot." We were informed yesterday that come mid-January, the Broadway production will close after a successful four year run. This will mean that in 2009, with the London company closing as well, our tour will be the last remaining production of the show. While I am saddened that this great show must leave its home on the Great White Way, I am proud that our production will continue to roll, bringing the joy of "Spamalot" to thousands and thousands more people.

One last plea, to you and yours: PLEASE GET OUT AND VOTE. This may be the most important election we ever vote in, and we have the opportunity to make history and bring new hope to our country. Do your part, and celebrate the fact that we as Americans have a choice!! Have a great couple weeks, and I will return with a blog post the first week in November when we will continue our adventures in Ottawa, Ontario.