500

Week 71: Anchorage, AK

This week, my friends Tim and Angela and I rented a car and drove out along Seward Highway in the direction of Portage glacier to take in the scenery. The Alaskan landscape is awe inspiring. Vast, unspoiled expanses of sea and snow, majestic mountain peaks and towering pines.
Waterfalls and mountain streams that trickle down the sides of steep rock faces that rise above one as one drives the coastal highways. Eagles circle overhead as the sunlight dazzles off the sparkling water and gleams across the polished, icy glazed surfaces of the craggy peaks. Chill, fresh mountain air fills the lungs and numbs the nose and cheeks. Surveying these panoramas, we couldn't help commenting on how small and insignificant we humans are in contrast with the awesome majesty of nature. Truly, I understand now why people choose to make this part of the world their home. Our little band scrambled over rocks, climbed to lookouts and visited a wildlife preservation center where we were able to view bison, moose, caribou.
We had the pleasure of watching a reindeer mom attending to her newborn calf, a fluffy black baby with spindly, still-uncertain legs. I think we tend to get so caught up in the little dramas of our lives, we humans, that we forget that there is a natural world out there, as basic as our true, essential selves, which exists in a timeless cycle that we would do well to connect with more often than we do. How fortunate we are also to live in such a vast and beautiful country that encompasses so many different landscapes and ecosystems. Talk about purple mountain's majesty.

This week marked my 500th performance in "Spamalot." This is half of what several original tour members have performed, but for me it's certainly a significant achievement, and the most performances I have ever given of any one role. It's a mindblower to think of the many places I have been and fine performers who have come and gone from our little "Spamily," and the thousands and thousands of people I have helped entertain over the past 16 months. All I can really say is that I am grateful as hell to have such a great job during these uncertain economic times and to be able to say I am a working actor. It's something I have spent many years dreaming of and struggling for, and to realize that I have been continuously employed as a performer for over a year is humbling and deeply gratifying.

Our second week in Anchorage has been certainly as successful as the first, with word of mouth bringing enthusiastic crowds to the theatre every night. John O'Hurley has integrated himself into our production with finesse and is now a charming, befuddled and delightful leader as King Arthur. We are able to jell somewhat now as a company after a flurry of changes in the cast, and all eyes are set on our San Francisco opening in a few weeks. California, and the happy promise of multi-week "sit downs" in San Francisco and LA have loomed on the horizon all winter, and we are all excited to be on the brink of getting there. From Alaska, we head to Eugene, Oregon, where I will be making a brief pilgrimage to Ashland and the Oregon Shakespeare Festival, and then, when the company goes on to Spokane, Washington I will be taking a week's vacation to return to New York, conquer my nerves and nail my driving test! From there, it's a week in Denver and then on to our opening in San Francisco. Several of you have written me asking about dates beyond San Francisco, as the official "Spamalot" website has not posted dates yet. We will be at the Ahmanson Theatre in LA from July 7 through September 6, and a week in San Diego follows that engagement. September is as far as our official itinerary goes at present but the tour will continue beyond that.

Vicki is my dresser in Anchorage.
She trained originally to be an actress, and many years ago was offered a teaching job up here, fell in love with Alaska, and stayed. She has taught drama, debate and public speaking as well as math on the high school level up here, and keeps her hand in in the theatre world as often as possible, acting and working wardrobe among other activities. Our whole Anchorage crew has been a friendly, welcoming lot and it has been a most enjoyable engagement. I confess, however, that I am ready for the warm. Pretty as this part of the country is, I am hankering after some real spring weather. Perhaps it's waiting for us in Oregon. More from there next week.

Northern Exposure

Week 70: Anchorage, AK

Welcome back! I had a hectic, but ultimately good week off in New York. Got my taxes done, visited with old friends, and made it to three Broadway shows. I also took my driver's road test, but alas, nerves prevailed and I failed. Which means that in a couple week's time I will be taking a vacation in order to return to New York and retake the test. I am undaunted and determined to get to California as a licensed driver!

So here we are in Anchorage for almost two weeks. I admit that I wrote a whole blog post about my reaction to Alaska but discarded it because I realized that from where I have been and lived my whole life, the Alaskan way of life is something very foreign to me and I had a lot of judgments about it. While these observations may have been entertaining, they were ultimately unenlightened and needed rethinking! Alaska is remote, and the people who live here have a keen sense that they live in a place and a culture far removed from much of American life. As such, they take great pride in their way of life, and have an interesting paradoxical relationship with the wildlife and natural beauty that surrounds them. The animals that populate Alaska, from moose to caribou, from wolves to salmon, are celebrated everywhere here: on wall murals, statues in public squares, and in numerous depictions from fine art to tourist trap souvenirs. Wildlife is also seen as a source of income, commerce and sport for Alaskans. There seem to be almost as many fur shops in Anchorage than there are coffee shops and bars--which is saying a lot. Alaskans are passionate about coffee and love their microbrews and booze. Anchorage is a PETA supporter's worst nightmare. The minute you get off the plane you are confronted by an airport display of the trophies of the hunter and the taxidermist's art, in the form of decapitated moose and deer heads and even an entire stuffed polar bear in a glass case.
In an effort to understand the whole hunter culture I have visited websites and picked up pamphlets about things like "Predator Control," which essentially is the systematic slaughter of wolves and bears in the wild which feed on moose and caribou, thus leaving more moose and caribou for "harvesting" by hunters. I just wonder in what way the "harvesters" are different from the "predators." And I wonder too if moose and caribou meat and skins etc are of real use to people who don't necessarily live any more in an arctic wilderness. Again, I make assumptions. But blood sport holds no fascination for me and it is difficult for me to be open minded about it. There's also controversy here about efforts to get oil drilling going offshore and in nature preserves and national parks. This was, of course, one of the cornerstones of Sarah Palin's message during the presidential campaign. And again, it is part of the conundrum of human beings living so much surrounded by nature and wildlife, and yet having the usual human urges for comfort, profit and "progress." I had a surreal moment the other morning as I walked to the gym around 9AM and saw coming toward me a fancy hansom cab, led by two horses in jingle bell harnesses and driven by a man in a top hat. As the rig jingled past, I saw that in the back was someone dressed in a polar bear suit, holding up a sign that read, "Drill, Baby, Drill." It went along its way and I stood there and gaped, as local residents went about their business, completely oblivious to this bizarre nose-thumbing at environmental protection.




All of that said, there is much to appreciate about Anchorage, not the least of which is its gorgeous natural setting, surrounded by majestic snowy mountains, glaciers and expanses of mud flats. While it is not unusual to see a moose roaming the downtown streets, as of this writing, I have not yet had the pleasure of a sighting! The town itself is a unique mix of cultures and an odd assortment of buildings--while the people have a great deal of character and diversity, the town itself lacks a cohesive, attractive look. Lots of boxy structures , a few glass office buildings, and a plethora of souvenir shops, everything coated in a thin layer of grime from a hard winter of snow and road salt. There is an odd, suburban feeling mall in the center of town, and the large Alaska Center for the Performing Arts, where we make our home this week.
The Center was built in 1989 and our venue, the Atwood Concert Hall, has a very interesting and colorful interior, which resembles a series of teepees fanning out from the proscenium arch. Our audiences have been terrific and buzz around town has been ecstatic--there are some hardcore Monty Python fans out here, and on our opening night, they were cheering for familiar characters and situations as fast as we could parade them out for them! One thing that does characterize Anchorage is the food, glorious food. Wonderful restaurants abound here, from genteel Italian and Pan Asian bistros, to traditional seafood restaurants and brewhouses, to local favorites like the Snow City Cafe, which serves hearty breakfasts all day and makes the most delicious homemade granola (I bought a huge bag of it and eat it all day long). The popular bars, like Humpy's, where one can enjoy everything from trivia tournaments to live blues bands, are hopping every night of the week. I guess in a place where the winters are long and sometimes the sun never seems to set on a landscape that can be more than 20 degrees below zero much of the year, nice warm corners to eat a good meal or drink a nice brew are highly prized.

Now that the delightful John O'Hurley has opened as King Arthur, we do not have the same hectic schedule of rehearsals we were doing prior to the layoff. So Anchorage has been a place for quiet contemplation and lazy days of exploration, with plenty of free time to rest. The Anchorage Museum, regrettably, does not open until May, but I have had the pleasure of exploring some very nice art galleries featuring local artists, most choosing as their subjects the natural beauty of the region and the art of the indigenous cultures. Next week, a few of us are renting a car and driving out to view the glaciers and other wonders of the surrounding landscape. Full report and photos on that next week, when we will complete our two week run here in Alaska, and I will reach the 500th performance mark with the "Spamalot" tour! Phew!

King Richard's Himself Again

Week 69: Cleveland, OH

This week marked our last performances with Richard Chamberlain, as well as a landmark birthday for our reigning king--his 75th. I wish I could adequately express my admiration for "Mr. C." (as I have come to call him) and the work he has done with us in his three months with "Spamalot." He has been a study in devotion and personal discipline. He literally spent every day in his hotel room, resting and preparing for each performance; he ran through his entire show in his dressing room before going on every night. Richard is also an inspiration to those of us who aspire to longevity in our careers as actors: he is fit, vital, loves performing, and didn't miss a single one of his shows during his time with us. I hope that when I reach 75 I will be doing just what Mr. C. is doing, and will be as loved and respected as his fans have shown him to be, with a standing ovation each and every night. On our opening night here, Richard was presented with an enormous birthday cake on stage after curtain call in front of a cheering crowd. It was a great moment. I will miss Richard's kindness, gentleness and enthusiasm. All the best, always, Mr. C.

When we arrived in Cleveland, it was still in the grip of winter, but as the week has progressed, the weather has gotten more and more springlike. However, Cleveland is vying with Oklahoma City for windiest city I have been to on this tour. The gusts that whip across the city off Lake Erie are something fierce. Cleveland has a nice, solid look and has many large, imposing neoclassical pre-war buildings and impressive monuments. These are the result of the 1903 Group Plan, and constitute one of the most complete examples of "City Beautiful" design in the United States. We are staying in Playhouse Square, where our theatre, The Palace, shares the district with the Ohio, Allen, State and Hanna theatres, making it the largest U.S. performing arts center, after Lincoln Center in New York.
Cleveland is a theatre town, with two large regional theatres and numerous other performing arts institutions. The Palace is a magnificent theatre, originally built in 1922 as a vaudeville circuit theatre, in the French Renaissance style, with rose damask walls and Carrara Marble, crystal chandeliers and a glorious domed ceiling medallion. With its more than 3,000 seats and the opulence of its interior, it is one of the finest theatres I have played in my months on this tour.

On Wednesday I went to the Rock and Roll Hall of Fame.
Why, you may ask, is this venerable institution in Cleveland? Well, in the 1950s, legendary DJ Alan Freed coined the term "rock and roll" to describe the upbeat rhythm and blues music by black artists which he was then promoting on his popular Cleveland radio program. Thus, Cleveland became the birthplace of rock and roll. The Hall of Fame is a magnificent complex, housed in what looks like a glass pyramid perched on the edge of Lake Erie. It is an overwhelming collection of memorabilia and artifacts, interactive displays and multi-media installations spanning the entire history of rock and roll, from its roots in the blues and gospel music through the decades. In short, it is the Smithsonian of rock and roll music. One needs far more than the two hours I allotted myself to explore the museum, and after a while my head began to swim from all the stimulation, both visual and aural. I loved seeing the stage costumes of some of the greats of popular music, from Madonna's bustiers, to Michael Jackson's rhinestone studded white glove, to David Bowie's Ziggy Stardust costumes.
My two favorite things in the Hall of Fame were: a film instillation called "Video Killed the Radio Star" which is a brilliantly edited exploration of the impact of the music video both on music and popular culture--really fantastic piece of film making, presented on multiple screens in a dazzling display; and a small piece of history--a handwritten letter from Dusty Springfield to her producer regarding the songs she was choosing to record for her legendary "Dusty in Memphis" album. This album is a masterpiece and one of my favorites of all time, and to see this early bit of creative conception from one of my absolutely favorite artists was a real treat. Goosebumps! The current special exhibition is on Bruce Springsteen, and chronicles his career via some wonderful memorabilia, much of it from The Boss's own collection. There was a quote from him in the exhibit that really resonated with me, so I wrote it down:

I believe that the life of a Rock and Roll band will last as long as you look down into the audience and can see yourself, and your audience looks up at you and can see themselves, and as long as those reflections are human, realistic ones.

Words to work by for any live performer, in my opinion. Check out the Hall of Fame when you are next in Cleveland. By revisiting the history of American music, we find that we are exploring the history of Americans. Very cool.

On a rainy afternoon I went out via public transport, through the sprawling Case Western Reserve University campus, to the Cleveland Museum of Art. The museum is undergoing extensive renovations at this time, so a good portion of the collection was closed to the public; nevertheless, what was accessible was well worth the trip. The highlight of my visit was the current special exhibition of the captivating photography of Lee Friedlander. I think I have mentioned before my love of photography, and my enjoyment of taking photos myself. I have also mentioned that one of the pleasures of traveling and seeing as much art as I have been fortunate enough to see, is the discovery of artists whose work really excites me and makes me an instant fan. I had this experience with photographer Andre Kertesz, and now I am completely enamored of Friedlander.
Many may know his work for his wonderful portraits of famous musicians like Aretha Franklin and Miles Davis, but Friedlander's range extends far beyond portraiture-- to incredible landscape photography, to the capturing of remarkable images of American life through a unique and sublimely wise and ironic eye. His self portraits are wonderful, and are often simply his capturing of his own shadow projected on to a person or place he is photographing. He loves to view things in layers, calling our attention not just to the central subject of a photo, but forcing us to view it through reflective glass, or beyond obstructions in the foreground, or in contrast with other elements in the frame. I just loved seeing his work, which ranges from gritty candid moments to sublime, sensual images of nature. I found myself laughing out loud at the unique moments that his subtly humorous eye captures. I related strongly to his vision, and was inspired to take more photos myself--and I think all great artists inspire others to want to view life in their own particular way, and to create. I love this quote from Friedlander, which gives real insight to his artistic view:

I only wanted Uncle Vern standing by his new car... on a clear day, I got him and the car. I also got a bit of Aunt Mary's laundry and Beau Jack, the dog, peeing on a fence, and... seventy-eight trees and a million pebbles in the driveway and more. It's a generous medium, photography.

--Lee Friedlander, 1996

No trip to a fine art museum for me would be complete without exploring what they have from the Baroque period. One really beautiful gallery contrasts the opposing movements of the period: Naturalism, as exemplified by Caravaggio, and Idealism, as represented by Guido Reni and his followers.
Obviously, I prefer the more dramatic, full blooded work of the Naturalists, and was delighted to see that the museum possesses a Caravaggio, "The Crucifixion of St. Andrew." With unflinching honesty and an understanding of the human form in all its complexity, the master gives us a scene of rich, earthy power. Other favorites of mine in the Cleveland collection are the completely delicious "Cupid and Psyche" by David, a portrait of a mischievous adolescent boy rising from the bed of pleasure, where his ivory skinned lover lies sleeping. Cupid looks straight out at us with a grin and a decided twinkle in his eye, which makes this painting wonderfully naughty. I also fell for a small portrait by 18th century French artist Nicholas de Largillierre, of the Comte de Richbourg-le-Toureil.
Eschewing the notion of idealizing his subject, de Largillierre gives us a strong, optimistic young man with a slight shadow of a beard, wonderfully textured clothes, and even the fallout of white dust on his shoulders from his fashionably powdered hair. I find it most fascinating to notice what an artist chooses to include within the frame of his image (whether photograph or painting) and what he leaves out.



Beverly is my Cleveland dresser.
She has been working in wardrobe for 40 years and dressed Sir Robin the first time the tour came through two years ago. It is always a pleasure to work with the seasoned pros who have dedicated a lifetime to the work of the theatre. Well, that's it for Cleveland. We are all very much looking forward to our week off next week before our two week engagement in Anchorage, Alaska, where we hope we will not be buried in molten lava from the increasingly restless Mount Redoubt. More in two weeks, friends, from Anchorage.

The Man Who Would Be King

Week 68: Wilmington, DE

This week we began rehearsing with John O'Hurley, who will be our new King Arthur until at least the fall. While he doesn't begin performing with us until our opening in Anchorage in a few weeks, he came to Wilmington to work with us this week. "Spamalot" is not new to John, as he was the star of the Las Vegas production at Wynn Casino which closed last summer. He has most recently been playing Billy Flynn with the tour of "Chicago." You will know Mr. O'Hurley from his many television appearances, which range from playing the role of J. Peterman on "Seinfeld," to winning the first season of "Dancing With the Stars" in a controversial "dance-off," to hosting several game shows, including "Family Feud." But this versatile and accomplished man has far more to his credit than that. He is a successful voiceover artist, providing the voices for many cartoons and video games; he is a venture capitalist and principal partner in two companies; he is an accomplished musician and composer, with a CD out of his cello and piano compositions; he is a motivational speaker and the creator of products for corporations to increase productivity and customer satisfaction; he maintains a single digit handicap in golf; he is a published author; and he is a devoted husband and father. In short, John O'Hurley is THE MAN. He is larger than life in every way, and his Arthur is supremely dignified, ultimately befuddled, and as charming and charismatic as Mr. O'Hurley is himself. It will be great working with him.

We are performing this week in the historic DuPont Theatre in Wilmington.
Originally built as The Playhouse Theatre in 1913 as a venue for out of town tryouts of shows heading to Broadway, the DuPont has the distinction of being the tiniest theatre we have played since I joined the tour. The house itself is lovely and intimate, about 1200 seats, but the back stage areas are cramped and claustrophobic. My dressing room is like a small train compartment in which I have to stand to do my makeup; the stage door opens out into the lobby, and all week I have left work and come smack dab into a crowd of patrons! The theatre is housed in the swanky DuPont Hotel and is of course a popular destination here; the sold out houses have been most gratifying.

Wilmington itself has a rich history. More than a hundred years ago, it was the center of the iron and steel industry in America and a major shipbuilding hub, with foundries and factories lining the Christina River (named for Queen Christina of Sweden by the Swedes who originally settled here). Today, Wilmington is the center of the credit card industry, and the banks of the Christina River are now an attractive river walk, lined with restaurants, condos and a farmer's market. Great care has been taken in the development of the riverfront, and the marshes and wetlands on the river have been meticulously preserved to support wildlife and the flocks of migratory birds that are attracted to the area. Wilmington was an important player in African-American history.
During the Civil War, it was a treacherous and crucial passage through which the Underground Railroad operated, with heroes like Harriet Tubman leading the courageous effort to bring southern slaves to freedom in the north. Despite these efforts, criminal gangs successfully abducted free slaves, selling them back into slavery down south, a shameful part of Wilmington's history which is movingly remembered in a monument on the Riverwalk. In fact, African Americans are further honored with Harriet Tubman Park and public ways named after Rosa Parks and Martin Luther King, Jr. Today, Wilmington seems to have a large black community and it's great to see their cultural history being honored in this way. My favorite discovery, in my early morning walks through Wilmington, was the architectural cornucopia that is Market Street, the main business strip leading up from the railroad station and riverfront. The street still retains much of the feeling it must have had as travelers ascended the hill carrying their carpet bags in the 19th century. It is lined with a wonderful collection of buildings from various periods, from the carefully preserved 18th century houses on Willingtown Square, to ornate late 19th and early 20th century structures, to some marvelous streamlined examples of Art Deco design.
While many of these old buildings are boarded up and crumbling, one can see the efforts to restore these great structures, particularly in the Lower Market Design District, which is revitalizing this historic street. Perhaps the most imposing of the architectural features of Market Street is the Grand Opera House, its white gingerbread facade creating a fanciful effect, especially at night, when it is washed with lights in shifting rainbow colors.

I have received a couple more questions via my website regarding touring life, and thought I would answer them here this week. Just a note to those of you who want to send me a personal message or a question--rather than posting a comment here on the blog, shoot me an email instead at james@jamesbeaman.com.

One reader asks:

Got a cosmetic question for you -- I noticed in one of your pics, MAC was on the table. Is that usually the best make up to use for those who appear on stage and/or tv?


Our wig and hair department supplies all the makeup we need for the show, and they use a combination of MAC and Makeup For Ever, which is a French brand. For specialty things, like the "dirt" we use on our faces in the early scenes, we use products from Ben Nye, which is a tried and true theatrical makeup company. MAC does make products suitable for stage work, and of course they have a great many products and choices. MAC was started by a group of professional makeup artists in Canada and was bought out several years ago by Estee Lauder. When I played the lead in "La Cage Aux Folles" a few years ago, MAC "sponsored" me and provided me with all of my makeup for the show.

Wendy writes:

My family saw Spamalot 'way back in frigid Peoria in January and loved it! My husband has been reading your blog on his lunchbreaks since then and is now all caught up. One thing we wondered - do the musicians tour with the show, or do you use 'local' musicians at each city? My sons both play instruments and they always want to know about other musicians.


Our tour travels right now with a drummer, a trumpet player, and two keyboard players, plus our conductor. The rest of the orchestra is jobbed in in each city, and I believe five additional musicians are hired: a woodwind player, a bass player, guitarist, violinist, and an additional brass player. When we have our longer runs in California this summer we will only be bringing with us our two keyboard players and the rest of the orchestra will be local, per the rules of the union out there.

Danielle is my Wilmington dresser.
She is primarily a costume, wig and makeup designer and works with the theatre department at University of Delaware as well as the Delaware Theatre Company. While she works wardrobe for us, she is busy creating wigs for three shows at once. Industrious girl! Well, folks, Wilmington has been a busy week. We have had some intensive rehearsals with Casey Nicholaw, the original choreographer of the show, in anticipation of our highly publicized openings in San Francisco and L.A., in addition to the company rehearsals to integrate John O'Hurley into our production. After our Cleveland engagement next week, we all get a blessed week off!

The 'Burbs

Week 67: Atlanta, GA

When you travel as much as I have been, certain absurdities about the travel industry become just part of the drill. Airport security, with its usual series of indignities, has led me to become what they call an "expert traveler." No belt on travel day, slip on shoes for easy removal, my lip balm and toothpaste in regulation ziploc bag. But certain aspects of airline travel nowadays just get up my nose. The most glaring example of gouging imaginable is the new baggage fees.
Airlines now charge you an "excess baggage fee" just for having checked baggage. Used to be no charge for the first bag, a nominal fee for the second bag checked. Not so anymore. You have to pay just to have luggage. And not only that, if your bag is even one pound over the limit of 50 pounds, you pay an exorbitant fee. On Delta, flying from Austin to Atlanta, I paid $15 for my first bag, $25 for my second bag, and because my suitcase was three pounds overweight, I was charged $90. That's $30 per pound. In all, the fees came to $130, enough to have bought an extra plane ticket. Now, our company covers these charges, as our union requires them to transport a certain amount of baggage for us, but nevertheless these fees are pure GREED on the part of the airlines and are an outrage. End of diatribe.

Atlanta, as you may know, is not merely a city. It is a region. Downtown Atlanta is a small fraction of what makes up the Atlanta metropolitan area, which is made up of a plethora of counties and communities that sprawl in every direction. We are playing Atlanta this week, but technically we are in Cobb County--northwest of Atlanta--in an area called Cumberland, which is kinda-sorta part of Smyrna. In short, we are in the suburbs of Atlanta. The reason for our being out here in the land of malls, shopping centers, and office parks is our snazzy venue, The Cobb Energy Performing Arts Centre.
This state of the art facility opened less than two years ago and is an impressive structure of enormous glass tiers rising in stylized "waves", with a multi-story grand facade that offers a view at night of the alabaster grand staircase and massive gold and Murano glass chandeliers in the style of Dale Chihuly. It's a very beautiful venue which just happens to be a half hour outside of Atlanta in an affluent suburb. Because our hotel is within walking distance of the theatre, we have no company vehicles this week, so there's not a whole lot to do out here except eat at chain restaurants and shop.

Our opening night was made a bit more special than usual by a visit from none other than Clay Aiken. Clay drove six hours in order to see his good friend Merle Dandridge, with whom he performed in "Spamalot" on Broadway. I admit that when I heard he was out front, I got a couple butterflies; one always feels that extra scrutiny from another performer who has played the same part. But turnabout is fair play--I got to see Clay perform when I was in New York last fall-- and I was actually delighted to show him my take on Sir Robin. He stopped back stage after the performance and was very complimentary to me. It was nice to see him again, and what a good friend he is to come and see his buddy Merle strut her stuff.

On the glorious first day of spring this Friday, I took the public bus downtown to visit the High Museum of Art. The museum was hosting two special exhibitions, one about the Louvre and the other an army of terra cotta soldiers from China. Both had long lines for tickets and to see the exhibits and I am not one to be pushed through an art show with a crowd of people. I opted to visit the permanent collection, which I found rather meagre. The museum itself is very modern looking; vast stark white atria with a series of ascending ramps connecting floors, similar to the Guggenheim in New York. What alarmed me was that the gallery spaces were all fairly wide open with no real climate control within each space, and with the natural light flooding in from the large windows on every floor, I worried about the preservation of the artworks, being exposed to these factors. I was also really concerned that the paintings seemed poorly supervised. The vinyl transfer captions on the walls next to each piece were peeling and rubbed away in places, and the walls themselves marked with grimy fingerprints. I shudder to think that priceless artworks are being handled by thoughtless fingers. Anyway, there were some nice pieces in the collection, including some representatives of French impressionism, including Monet, Renoir, Camille-Corot; some nice decorative art pieces from Louis Comfort Tiffany and Frank Lloyd Wright, and a few nice Renaissance pieces including a fine Madonna and Child by Bellini. The one representative of the Carravagist school was Nicolas Tournier, and his Denial of St. Peter. A French painter who lived and worked in Rome, he was clearly influenced by Caravaggio; all the hallmarks of the school are present in this work: the anachronistic costumes and dramatic gestures of the figures, and the sculpting of light and shadow. My favorite piece in the High collection is a small, wonderfully spontaneous portrait by John Singer Sargent of his friend Ralph Curtis, on the beach at Scheveningen. The piece was clearly created on the spot on the beach, as evidenced by the grains of sand embedded in the paint. It's a free and happy small masterwork, by a portraitist who usually worked in a larger scale, more formal style.



Check it out! Two lovely fans from Huntsville, Brooke and Jenni, who took our show to their hearts when we played there (and me and Ben Davis in particular), drove all the way to Atlanta to see us again.
It's amazing that they are so enthusiastic that they would come all that way. What's more, they made, with their own hands, this fantastic "action figure" of me as Sir Robin, complete with chicken tabard, studded gloves and floppy red wig. It is one of the dearest and loveliest things ever, and even sweeter because they made it themselves to thank me for my work in the show. My new "mini me" will travel with my makeup kit and sit on every dressing table from now on. And when I am back home in New York, he will become a new addition to my Christmas tree. Many thanks to you, Brooke and Jenni, for your kindness and support!! You rock.

My dresser at the Cobb Energy Centre is Kelley.
Kelley dressed Robin and Patsy when the tour played the Fox Theatre in Atlanta a couple years ago, so she knows the tracks well, but her finesse and expertise are in the blood. Kelley is a third generation wardrobe worker, following in the family business of stage hand work which started with her grandparents. In short, she was born to do this, and she is the epitome of calm and skill. Kelley works mainly with the Atlanta Opera, which is in residence at the theatre, and she says we are the first big musical road company to play the venue. The 2,700 seat theatre has been quite full this week and the audiences have been great. Our next stop is Wilmington, Delaware, where we will meet the man who will be our next King Arthur, John O'Hurley. We have two more weeks with our beloved Richard Chamberlain, and then a one week layoff before we head to the west coast.

Keeping it Weird

Week 66: Austin, TX

I have a soft spot for Austin. Six years ago, I did Terrence McNally's "Love! Valour! Compassion!" here at Zach Scott Theatre Center. It was a wonderful production of a great play and I had the marvelous role of Buzz, who is the comic center of the piece. It was a blast, and during the two months I was here I got to know and love Austin. An oasis of liberalism in the heart of Texas, Austin is it's own special world. It's a college town, home to University of Texas Austin (where we are performing this week at gigantic Bass Concert Hall), and a hub of live music, art, culture and creativity of all stripes. The city's slogan is "Keep Austin Weird," and in a way it's fitting. I love the diversity here, the funky neighborhoods, the open minded attitudes and the great music and food. I have had the chance to revisit some of my favorite haunts, especially the fabulous restaurants.
Chuy's (the original location on Barton Springs) is where you go for outrageously good Tex-Mex and kitschy homage to Elvis Presley. I have yet to have a tortilla soup as splendid as theirs. And for the best burger in Austin, it's Hut's, in the same location since 1939 and full of old diner memorabilia. I had a Richie Valens burger, overflowing with grated cheese, tomatoes, jalapenos, and guacamole. So much for the diet. The shopping is great here, as is the nightlife, and the "Spamalot" tour had it's own special Austin celebration when we marked our three year anniversary this week.

We had a special brush up rehearsal this Thursday to polish up the music and choreography of the show. It was a nice opportunity for us all to get into a rehearsal hall together and reconnect with the work we do without the pressures of the audience out front. And a chance to just enjoy working together and refining what we do. Our stage manager Ken started the rehearsal by telling us that our Austin reviews were stellar and remarking that in all the time he has been on this tour he has only read one mixed review of our production. And he praised all of us for continuing to present a fine, committed, high energy show each and every time we get out there. This affirmation added to the sense of camaraderie and enjoyment we enjoyed in rehearsal this week, as well as to the celebration of our anniversary at Moonshine bar and restaurant, where we had great food and drink and stomped our feet to the fabulous sounds of Bluegrass band Milkdrive.
A great time was had by all. Here's Mr. Chamberlain and Mr. Connell enjoying some party grub and camping it up for the camera. Sometimes in the thick of the whole relentless touring thing, it is easy to forget how lucky we all are to work within such a great group of people.

The annual South By Southwest Festival begins this weekend, with a film festival and an extensive lineup of live music events. You can feel the energy in the streets. Austin is definitely a place where things are happening, where people go out every night of the week, and where creative people are doing their own thing. There is art everywhere, from the tattoo parlors to the art and craft galleries, to the Austin Museum of Art. I ventured in this cold, rainy Friday and enjoyed a really beautiful exhibit of photography by Clifford Ross. Ross is a landscape photographer whose work spans from the realistic to the abstract. My favorites of his images were his series of surging waves captured by Ross during hurricanes along the Long Island coast. The majesty of these foaming towers of water, frozen in vivid tones of white and gray, is really captivating. I was glad to have a chance to catch a little bit of art in Austin this week.

The Austin crowds have been big, boisterous and appreciative and it has been a blast to perform here! Bass Concert Hall is enormous and it has been gratifying indeed to see those packed houses. My dresser this week is Trinka.
Trinka tells me her name is a Slavic derivative of Katherine, and Trinka is as unusual as her name. With a bright, eccentric personality, she goes about her job with a smile, answering in the affirmative with her chirpy "Yup-per!". She fell into wardrobe work when she was the driver for singers in the local opera company. One night she dropped her charges off at the theatre and was asked to fill in last minute as a dresser when the crew was shorthanded. She has not left the wardrobe world since. She's been great fun to work with. I wish we had more time in Austin for me to retrace all my favorite places here and discover new ones. But I know I will be back here. It's a great town. We are off to Atlanta next week--see you there!

Lush Life

Week 65: Tampa, FL

Some stops on our tour feel like resort vacations rather than work. Tampa is one such. Pristine, sleek, the city embodies everything I imagine a Floridian city to be. It's elegantly situated by water on many sides; it seems to all have been designed by the same architectural firm and been fabricated overnight. Reflective glass, creamy sherbet colors and lush plantings of palms, hibiscus, and bougainvillea. Our gym this week is over a bridge in chi-chi Harbour Island, all impeccable landscaping and gated communities, and my spacious room at the Sheraton Riverwalk Hotel has a balcony overlooking the Hillsborough River, with a view beyond it to the most eccentric feature of the Tampa skyline.

Plant Hall at the University of Tampa was built originally in the late 19th century by a wealthy magnate, Henry B. Plant, as the Tampa Bay Hotel.
This over the top fantasy castle in the "Moorish" style was meant to outdo any luxury resort up to that time. It rises five stories, with spires topped with silver minarets tipped with crescent moons. It has over 5000 rooms and was the vacation home for luminaries like U.S. Grant, Teddy Roosevelt and Sarah Bernhardt. Now it is the main classroom building of the University, but, framed by flamboyant palms and silhouetted against a hot pink Floridian sunset, it looks like something out of The Arabian Nights.

On Friday, I took an adorable streetcar to historic Ybor City.
This, the Latin Quarter of Tampa, was established in the 1880s by a cigar manufacturer from Cuba, attracting Cuban, Spanish, and Italian immigrants, who came to Ybor City to work in the cigar trade. Today, this national historic district retains its multi-ethnic flavor, but like most re-gentrified ethnic neighborhoods, is also home now to the "funkier" element of Tampa--with gay clubs, artist's studios, tattoo and piercing shops, and a lively nightclub scene. The two story brick buildings, with their upper galleries framed in wrought iron railings are reminiscent of New Orleans, while the Latin music and cigar smoke wafting out on to the street speak to the neighborhood's Cuban roots. The only real eyesore in this charming neighborhood is the Centro Ybor outdoor mall, a tourist destination with all the familiar and tiresome American mall businesses like Urban Outfitters, Claire's Accessories, Starbucks. Americans simply cannot go to a new place and explore without having the security blanket of these ubiquitous temples of commercialism. Tacky. Hungry for an authentic experience and some real Cuban food, I wended my way to the Columbia Restaurant, a Tampa institution for over 100 years.
This popular (and noisy) eatery with its painted tile facade and wacky, overdone Spanish interior, serves some really stellar traditional food. I opted for the "El Combo de Cuba," with roast pork, rice and beans, empanada and fried plantains. Absolutely delicious. Despite the more touristy aspects of Ybor City, I am glad that Tampa has supported the ongoing life of this historic district and has encouraged commerce and tourism (even with the tacky mall shops). I wish more cities would invest in the heritage of their old neighborhoods. For example, I am waiting for someone enterprising to revive Coney Island in Brooklyn and bring it back to its former glory.

I love answering your questions about road life, but haven't had any in a while. This week, Jeff asked:

How much or does the change in weather and or venue change your performances?

Well, going from one climate to another definitely has an effect on one's health and energy levels. I have terrible seasonal allergies and asthma, and moving from the cold weather in the midwest to the warming spring of Florida had a real impact on my sinuses and bronchial tubes. That said, the warmer climate is more relaxing and rejuvenating. In terms of the effect of the venue on the performance, there are things to be adapted to in each theatre. Some theatres are enormous and the audience can be very far away from us. This requires us to really reach out with our energy and to bring a larger physical presence to our performances. Different spaces have different acoustics; sometimes we can hear ourselves perfectly and sometimes it is hard to find the balance between us and the orchestra. Some theatres are overheated; some underheated. Sometimes the climate on stage is so dry that we are guzzling water all night, sometimes it is so humid that I have sweated through my costume within minutes of starting the show. All of these things require our flexibility and good humor, but they also keep us on our toes.


My inner art lover was thwarted this week, as both the Tampa Museum of Art and the Florida Museum of Photographic Arts were closed. Drat. I had to console myself with lounging by the pool, working out at our swanky gym... all right, smack me now, I know! We are performing at the Tampa Bay Performing Arts Center, a huge complex with a loyal following of theatre lovers. Richard has been received particularly warmly here, and it's been a good run.
I was reunited with Ann, my dresser from last year in Clearwater (lord, time flies). You may recall that Ann had been a competitive figure skater in her youth. She still has that elegant posture and bearing and is she ever the most impeccable pro! It's wild that I have been on this tour now long enough that I am repeating dressers. I am excited that our next stop is Austin, Texas! I did a play in Austin a few years ago and it is a good time town. I am so looking forward to a little two step, a little push-tush. See y'all in Texas.