Interview with Rebecca Spencer

Actress/singer par excellence Rebecca Spencer has delighted audiences on Broadway in Jekyll & Hyde and played Madame Giry in Phantom in Las Vegas. Since 2014 when she moved to Los Angeles, she has performed her exquisite cabaret and done at least 3 shows for Musical Theatre West (MTW) in Long Beach: The Music Man, S'Wonderful, and Mary Poppins. She will open March 30th in their new production of Catch Me If You Can. Spencer took time out of a busy rehearsal schedule to talk about her role in the show and about her illustrious theatrical career thus far.

You'll be starting performances of Catch Me If You Can at MTW March 29. Larry Raben is directing. Have you ever worked with him before?

RS: No, but I've enjoyed his work. I've always wanted to work with Larry. When I was in Las Vegas, he was in The Producers. I got to see his work. He's wonderful. I've only auditioned for him one other time besides this out here. I had the audition for Catch Me If You Can with Doug Carfrae. I met Doug when I did the Las Vegas Phantom. We became quick friends but at that time I was still living in New York. I had no idea I would be moving out here. Anyway, reuniting with Doug was great, and we've never been cast together. We'll be playing husband and wife. It's such fun.

The fact that you already know Doug will give you an extra edge, good chemistry together and make it that much more interesting to watch.

RS: Yes. As far as the show is concerned, Larry I'm sure will have his different take. The show had mixed reviews on Broadway.

It's a wonderful show. I've seen it a couple of times.

RS: I never saw it. When I moved out here, I started teaching at AMDA (American Musical Dramatic Academy) College and Conservatory of the Performing Arts. There was a very talented student who chose this as his dream role and we had to explore the show, but mostly his role, the lead role.of Frank Abagnale  ...

I know I'm getting off the beaten track, but moving out to LA, I didn't really know anybody...I came out here because my husband Jim D,Asaro got the Wallis Annenberg Center for the Performing Arts director production position...amazing, the first thing I saw in the paper was MTW had this giant picture of Davis Gaines doing Man of La Mancha. I had heard that Musical Theatre West was one of these very good places to work. I hadn't seen Davis for years. We had done Showboat together when we were younger. He introduced me to Mary Ritenhour a production manager for them and my agent got me my first audition for MTW for Music Man, reading Eulele Shinn. I got the part. It was a terrific company, Davis was doing the lead and I had a lot of fun. 

I put myself into AMDA at the time as a regular teacher and when I walked into the faculty room the first day it was like a Broadway show cast ... people with whom I had done summer stock, early cabaret in the 80s and early 90s...we all moved up the ladder developing our passions. I was so enamored that I had walked into a community of teachers, directors, choreographers...and we cared about the kids. It was so wonderful to work with the students and ... I was put in front of music every day. My favorites are the American Songbook and vaudeville all the way up to the 60s, my favorite era...and I taught Drew Mizell with the Catch Me material, that I mentioned earlier. Fast forward four years and I'm in Mary Poppins at MTW playing two little character parts, and there's Drew. I was performing with AMDA graduates. All I can say is, you better do what you teach. (she laughs)

Rebecca Spencer left in MTW's S'Wonderful 2014

Are you still at AMDA?

RS: No. It was by choice due to prioritizing my career focus and energy, I am currently not an active faculty member as I was from 2014-16, but remain on their substitute list. I had a lovely experience there. I teach from home now, as a vocal coach and preparing young artists to build their audition material book. I also love classical singers, recitals and cabaret. It's important that all young artists understand what their essence is.

Let's get back to Catch me If You Can at MTW. Describe the role you're playing.

RS: I am cast in the role of Carol Strong, with Doug (Carfrae) playing my husband. We are the parents of Brenda Strong. Frank Abagnale is in love with her. We do a step into time with a Mitch Miller singalong pastiche. It's a bit of a production number. She's from New Orleans. It's the 60s. There was an innocence in the 60s, that this guy could get away with writing fraudulent checks and becoming a conman. My character doesn't know that the FBI has found him until after he admits it. He's been posing as a minister of the Lutheran faith and a doctor and a lawyer. The mother is very impressed. 

Do you have a certain philosophy about preparing for a role?

RS: I think what is so interesting when you're building a supporting role, and it's a little gem of a moment...it's like why does it happen? In this kind of show, there's obviously a time evolution, whether there are ... flashbacks or flashforwards, this was the 60s, and you're influenced by what it was like in the south as opposed to anywhere else. How did women serve in that time? Some of the social graces. Sometimes the essence of people has never changed, a strong woman is a strong woman, but...how outspoken can you be? You try to make the character interesting, and just as I do with my recordings, you've got to get to the truth. It embraces the fact that Frank was after a family; he came from a broken family, so he's after a stronger family or he's attracted to a family tree that he's always wanted.  There's an evolution for his journey and my character impacts the storyline.

A lead role is of course decidedly different in scope.

RS: When you have a lead role, and I've done numerous leads in my lifetime....it's almost easier to have a bigger part because you get a longer time for your pivotal moments and your journeys and you have a bigger interaction with the other characters in the company and what information and discoveries you get in those exchanges last throughout the scene...but,, when you're doing a supporting role, you have to know why that is happening, that's for the audience, as they're following that character. I like to offer as many layers as I can, not to elongate the scene, but it's my job to layer it. You don't have a lot of time. In a way, it's kind of like television.

You have to jump right in. Let's look back at your illustrious career onstage on Broadway. What was your favorite role?

RS: I started in theatre at Ithaca College, thinking I would do a little writing for broadcast journalism, and then they found out I could sing. I ended up a music major and I graduated from Ithaca with a classical degree. I started auditioning and did Jekyll & Hyde. I have a long history with Jekyll & Hyde. Versatility was how I was brought up. I think that's what's helped me survive transitioning as an actress. I created a role in Jekyll & Hyde and 7 years later when it came to New York, I was the swing. At the same time that was happening in New York, I had just come off the workshop of Ragtime I did the very first cast album of Ragtime. I turned down the role in Ragtime in Toronto, which ultimately would have been my Broadway debut. Instead I did Jekyll & Hyde on Broadway because I wanted to see something come full circle. 

And you stayed with Jekyll & Hyde?

RS: Six months into it as the swing, I was going to leave ... but I was thrown on to do Emma, the role I created. This time it was with a duet "In His Eyes" with Linda Eder. I was given a week and a half notice. Christiane Noll was doing a recording and needed to get out. It was kind of beautiful that I did get to step in for the role I created. The night I went on, Frank Wildhorn was conducting. They were still in rehearsals for The Scarlet Pimpernel down the street. They all came in for the second act when I did the big Lucy/ Emma duet with Linda. To sing against a powerhouse like Linda, I didn't have to hold back at all. At the end of my journey with Jekyll & Hyde as a swing, I had learned about directing, which is what I wanted to do because it makes you a better actor. I moved up to understudy. Then I assumed the roles and got billing out front. I hung up the ingenue dress and became a character woman.

Do you have an example that stands out in your mind of really connecting to your audience?

RS: The great thing was that when I was doing Jekyll & Hyde a stock group from my high school in Pennsylvania Neshaminy High School came up. It was a night to raise money for Equity Fights Aids, so a couple of castmates and I came out and talked to my old high school. The kids were whole generations later, but they all had that dream. We could relate because we had that in common. Someone in that audience had the same dream I once had.

For tix and info for Catch Me If You Can at MTW, go to:
http://musical.org/shows-tickets/

Rebecca Spencer, Chuck Wagner and Linda Eder in Jekyll & Hyde

2019 Interview with International Singer Tom Lowe

Tom Lowe is a pop singer/composer who recently released a short video entitled "Polanco". It's enchanting to watch this little miraculous film about a small Mexican city and what goes on in one of its popular bars. The story is based on a real life incident in which Lowe was robbed in the back of a taxi in Mexico City. His disgust of the people eventually turned to respect and love when many came forward, helped him to survive and to produce his video. The full story is at the next to last link at the bottom of our interview and is an exciting and humanely worthwhile read. Lowe, born in England  and with a multi-cultural background both here and abroad, discusses "Polanco"and also his fascinating career thus far as an international pop singer and musical theatre actor.

Describe in detail the scenario created in Polanco. What  I see is

a local bar in  Mexico with lots of different people enjoying the

ambiance, the music and each other...but there's so much more

underneath. 

TL: In the music video “Polanco”, we see a girl meandering through a dimly lit bar. She sits down next to a guy she knows. She seems disinterested by him, instead sharing a moment with the attractive female bartender. The man tries to kiss her. She dodges the kiss and makes her way to the bathrooms. The man follows and finds her kissing another guy. The first guy seems really upset.

Meanwhile a singer performs in the bar while people dance energetically on the dance floor.

The girl nonchalantly returns to the bar, whispers something in the female bartender’s ear, and leaves. The bartender is shocked by the comment, but curious. She joins the girl outside for a cigarette. The girl takes her home to a high rise apartment overlooking Mexico City. They get it on while the sun comes up.

In the final shot, the singer sits alone at the bar and raises a glass of “marguerita mango” to the camera.

Did you write the

song? The script? Both?

TL: The script was written by the music video’s director, Abdeel Moreno, from Mexico City. I described to him a vague scenario involving a love triangle intrigue and a same sex romantic encounter. He took it from there.

Explain what it means to you and what you hope audiences will experience.

TL: What it means to me is; something naughty, a story told without words with twists and turns, a fly on the wall experience that keeps the audience interested and guessing. It’s supposed to be sexy, cheeky, daring, filled with surprises.

Perhaps the behavior of the girl, while being morally corrupt, is titillating for some viewers. Perhaps some people watching have behaved in a similar way after one too many drinks. Perhaps her drink has been spiked. What if the girl represents the dark side in everyone? Perhaps the final action of the singer holding the marguerita to the camera, is as if to say: Look what happens when tequila is involved!

The film and the music are interlocked, or so it seems. I cannotimagine one without the other. I have not seen Roma, so forgive me. Are you trying to convey a similarity in this music video to the content and themes of Roma? Explain in detail.

TL: The video was not intended to be viewed without the music, but the song is indeed available for download on all the usual channels. Spotify, iTunes, Amazon etc. It’s designed to be played in bars, nightclubs and on the radio, hopefully to a wide global audience some day! 

The video has nothing whatsoever to do with the movie “Roma”. In my promo email, I merely made an allusion to the Oscar winning Mexican movie as a joke, since both it and my video are named after neighbourhoods in Mexico City. Aside from that they couldn’t be more different in conception, genre, feel, and size of audience reached so far!

Is the song entitled "Amor"? There are many kinds of love depicted in the room. Tell us your vision of this.

TL: The song is entitled “Polanco”. The love depicted in the video is first unrequited love, then sneaky, duplicitous love, and finally fun, playful, same sex love. The same sex experience is nothing out of the ordinary for our lead character, but for the bartender it’s a bit more scandalous and forbidden. It might be her first time going with a girl.

Talk about your role in the video as singer and also in putting it all together behind the scenes. Are you executive producer? You mentioned that the talented Mexican musicians are up and coming. Who are they?

TL: I’m playing the role of a singer who’s performing his original song on stage in the bar. It’s a small crowd. The singer is a relatively unknown artist. 

My role behind the scenes was executive producer and co-writer of the song. Many of the extras in the music video are acting students in Mexico City. They generously offered their time for free. There were several pitchers of mango marguerita flowing freely from the bar during the six hour shoot, so a good time was had by all. 

What kind of response are you getting in the US? Abroad? In Mexico? Is there a goal? Will there be a sequel? A continuation of the storyline?

TL: The response has been great so far. People are loving the contemporary Latin pop sound. Most people have commented that they really enjoyed the video and thought it was sexy.

The song is my first outing with 3KMKZ; music producers Pepe Portilla, Oliver Garcia and Hector Mena, based in Mexico City. We’ve recorded a second song, “Moctezuma’s Revenge”, which is due a music video shoot hopefully next month. I’m envisioning being sacrificed by Aztec warriors, scantily clad, while sitting on the toilet!

I’m hoping to record several more songs with 3KMKZ in the future, starting next month. 

There is no goal persay. I do this mostly just for posterity, for the pleasure of integrating on a deeper level with foreign cultures, for the fun of the experience. 

Maybe in the back of my mind I have the idea that young gay people might have the opportunity to see an expression of homosexual love on the screen so they don’t grow up feeling that it is wrong to be gay, as I did.

You have a varied background in music and speak many languages. Does Spanish have a bigger and more important meaning in your work? If so, be specific about what that is.

TL: Spanish has had an important role in my career. In 2016 one of the songs from my first album; “Inesperadamente”, was selected to represent the USA in an international song competition at Viña Del Mar in Chile, the largest music festival in South America, a curious honour, since I am not American. I am English. One of the co-writers and producer of the song, Mitchel Delevie, is American. I had the opportunity to perform the song live in front of 20,000 people and a televised audience of millions. It was pretty scary!

Aside from that, I must say that I find some Spanish and Mexican men to be extremely hot. So perhaps that helps entice me to those parts of the world. Haha. 

Talk about your Harvard days, your East Asian studies and your involvement as a cultural attache for the University. Is that still a major part of your life?.

TL: My college alumni network will likely be a major part of my life until I’m old and wrinkly. Many of my closest friends are from the undergraduate classes of 2001 through 2008. I’m still on the mailing lists for The Harvard Pops Orchestra, The Hasty Pudding Theatricals, and my co-ed college a capella group, The Harvard Veritones!

In 2006 I bought in to a trip to China made by the Harvard Club of Tiger Crane Kung Fu! When it became apparent that no one on the team spoke mandarin, I was volunteered as an unofficial and temporary translator for the team; pretty amusing, since my knowledge of Chinese was basic to put it generously. When a representative from The Shaolin Temple returned to the Harvard campus months later, he presented me with a certificate naming me Harvard’s cultural attaché to The Shaolin Temple!

Learning Chinese has proved to be a quirky skill to have. I’m writing a one man show in Mandarin, singing songs made popular by Chinese Idol and The Voice, China. The songs frame an informal discussion with the audience about my travel adventures along The Ancient Silk Road in 2004.

I understand you have been a member of many bands. Which ones? Have you gone permanently solo?

TL: At 18 I became a member of the British boyband “North and South”. Our first single reached number 7 in the UK charts. We had four top 40 hits and acted in our own comedy TV series for Children’s BBC.

In college I was the lead singer of “Tommy and The Tigers”. We recorded an album and performed around the university campus, and at venues in Boston and New York City, including The Bitter End and the infamous CBGBs, believed to be the birthplace of hard core punk rock in the 80s.

I’m currently lead singer of “Chthonic Angels” in Los Angeles. We’ve written and recorded about 20 songs. Brian Florian writes the music. I write the lyrics.

I will likely continue both as a solo artist and as a member of a band in the years to come, but I’m focusing more on the solo stuff. It’s all just for fun really. I don’t have a record deal and I’m not making any money from it, nor do I expect to. It’s a brave new world of downloads out there and trying to make money to even break even with any of this stuff would be a full time job. I simply don’t have the time nor desire to pursue that. I think of it more as a passion project.

I read that you have also done TV talk shows. Where? When? Is that still a vital part of your life?

TL: In 2011 - 2012 I hosted a reality TV show on The Oprah Winfrey network entitled “Real Life: The Musical”. We crash-coached ordinary people off the street in singing and dancing, and orchestrated flash mob musical production numbers to surprise their loved ones with a unique message in each episode.

Talk about you as an actor in musicals and doing two roles in productions of Les Mis, one of which was at the Hollywood Bowl in 2008.

TL: I’m one of the lucky few to have played both Marius and Enjolras in major productions of this amazing, beloved musical. I played Marius on London’s West End for 2 years, aged 20, which was an absolute dream come true and possibly the biggest, most exciting break of my career. 

The Hollywood Bowl is an incredible venue to perform at, fighting and dying on the barricade under the moonlight, with the 73 piece LA Philharmonic Orchestra backing you up. Spine tingling stuff.

Getting back to the video of Polanco is this your first or have you done others?

TL: I’ve done some other music videos. Check them out on YouTube:

1) The Party Is On

2) Inesperadamente 

3) Quando Chove No Rio

4) Live

Any gigs coming up in the immediate future?

TL:I’m performing excerpts from Les Mis at The Lincoln Center (Bruno Walter Auditorium) in New York on April 6th @ 7pm with The UN Chamber Music Society, led by Brenda Vongova, to raise money for the homeless in New York.

https://www.facebook.com/events/398791197606075/?ti=icl

https://en.wikipedia.org/wiki/Tom_Lowe_(performer)

Here is the mesmerizing backstory that led to the video:
https://www.facebook.com/3818/posts/10106680010053101/

Here is the video Polanco:
https://youtu.be/2U6cevVxI-s

2019 Cameron Watson Interview

Director Cameron Watson is about to receive the Milton Katselas Award for distinguished achievement in direction from the LADCC for 2018. He is one busy director in LA theatre and recently sat down to discuss overseeing the new production of Steel Magnolias at Actors Co-op, set to open Friday March 22.

Describe your association with Actors Co-op.

The very first play I ever directed in LA was Horton Foote’s The Habitation of Dragons at the Co-op in 2005. That was an experience and a production that certainly changed my life. I had been seguing from an acting career to directing and had just written and directed my first film, Our Very Own, starring Allison Janney. Allison was nominated for an Independent Spirit Award for her performance in that film. I did not have directing theatre on my mind coming fresh off that movie, but it sort of just fell in my lap. All of the pieces and elements aligned and it seemed like the perfect thing to do. I had a very long and good relationship with Horton because he had given me my first professional job as an actor in NYC. I replaced Matthew Broderick in his hit play, The Widow Claire, at Circle in the Square. Horton was very much a part of that production of Habitation at the Co-op for me, and he was very helpful as I was prepping it. He came and saw the show and spent time with the cast. That day was one I will never forget. So, I am very happy to be “coming home” to where it all began.

Steel Magnolias has been remounted several times over the years. What is your take on its popularity? 

It is an evergreen. It has such a loving heart and is chocked full of beautiful, funny, complicated women who care so deeply about each other. Lifelong friends. The story touches everyone in some way. You can plug yourself into it even if you are not from the south or spend much time in a beauty parlor. But I bet your mother did, or your grandmother - or your family had a friend or an aunt just like Clairee, on and on and on. Robert Harling tapped into something deeply universal - the human heart.

Is this production any different in texture or design?  

I have worked closely with the design team to make sure we create a very real world. This is a functioning salon built in a converted carport that has been up and running for 15 years and it generates a living for Truvy and her family. It is very important that it feels like a working, authentic space and not a cotton candy-coated version of a beauty shop. And these women are real women in real clothes, not overly-exaggerated ideas of what that era was. They wear these clothes to work in and to live in.  I think people will be surprised at the detail and the design choices.

What challenges do you face as director? 

My biggest challenge is always to get to the truth of it. I am most concerned with telling a story from the heart by having real people in real time living in real space. But that usually comes easily once we all find our sweet spot of where the play and the people in it live. This particular show has an enormous amount of physical activity. There are actual hair-washings and roller-settings and brush-outs and manicures in addition to the emotional action, so we have had to work very hard on choreographing all of that with great authenticity and realism.

Talk about your cast and their chemistry, which is so important for this play. 

I have the best six women for this play you could ever hope for. They are perfection, individually and as an ensemble. Nan McNamara, Treva Tegtmeier, Lori Berg, Ivy Beech, Heidi Palomino and Deborah Marlowe are all fabulous creatures with enormous talent. I am so fortunate to have them all. There is a wonderful comradery among them already as members of the Co-op and dear friends. We were ahead of the game the moment we sat at the table for the first read. Their affection for each other is palpable and infectious and really serves the play.

What do you feel is the main theme of the play? There is a lot of sentimentality, but it seems to play in well with the characters' relationships to one another.  

If you face the sentimentality straight on and have it come from a very direct, honest and blunt place, you cut through to the truth. And the truth of this play is quite stunning. It is a study on friendships, relationships, parenting, marriage, survival, beginnings and endings

What do you think audiences will take away? 

I hope they have a couple of hours of deep, hearty laughs, some moments of recognition about themselves, and that they walk away with a full heart while wiping away a tear.  As Truvy says, “Laughter through tears is my favorite emotion.” And she means that.

On another note, congrats on the Pasadena Playhouse Christmas radio plays Miracle on 34th Street and It's a Wonderful Life. Will there be a third this year? 

I have had the best time putting together these Christmas radio plays at the Playhouse. Danny Feldman is breathing such incredible new life into that glorious theatre and bringing amazing local artists into the fold there. I am honored to be a part of the Pasadena Playhouse family. He and I have something fun up our sleeves for this coming Christmas, but I have to keep a tight lip on it for now. Let’s just say it will put you in the spirit for sure!

What other projects continue to keep you active in our theatre world? 

I am blessed to stay as busy as I do in our theatre community. I am always so happy to be asked to do something that involves great writing and wonderful actors and designers. Our talent pool here in LA is staggering. Better than ever. I am currently developing a theatre project that I am crazy about with my dear friends, Beth Grant and (daughter) Mary Chieffo. I also have a stack of new plays on my desk I am very excited to read once I get these Steel Magnolias all coiffured and hair sprayed!

For more info or to purchase tickets to Steel Magnolias, visit:
www.actorsco-op.org

Story for Grandparents Today Magazine

As a grandfather, parent and overall believer in traditional values, I must say I worry about past cherished customs being discarded in today's fast-paced world. What will happen if things are not written down any longer? Do you remember letter writing, thank you cards, Christmas cards, Birthday cards? Do you recall having a diary or seeing one that a relative had? When my wife Clarice died a few years ago, it was painful, but I cleaned out all of her clothes and jewelry and treasures, except her diary. I didn't know she had one until last week  I was rummaging through a bureau drawer looking for God knows what, when I found this small but compact brown leather covered book. I thought it was a bible at first, but when I opened it, I recognized my Clarice's handwriting. "OMG", I thought, "she kept a diary". How did I overlook this? I felt strange about reading it, but what harm could it possibly do since she has not written in it in over 5 years. I proceeded toward the back of the book and began to peruse one of her last entries.

January 5, 2013

Today was a particularly lovely one. The beautiful pearl necklace that Jim gave me for Christmas had a broken clasp, so he had it replaced and gave it to me today.. He put it around my neck with such a loving touch, that it was almost as if he had given it to me for the very first time. He is so special, my dear Jim.

I started to cry, because Clarice and I were close, even though we had our difficulties, but....I never heard her refer to me as her...dear Jim! I wondered if I should read any more entries. Of course, my curiosity and the thrill of seeing her beautiful penmanship drove me on. I could almost hear her soft, sturdy voice as I read what she wrote. I turned the pages to the beginning, read some girlish remarks about her wonderful parents, so decided to turn the pages quickly until I got to a more interesting time that included me. I turned to 1985, when my little girl Susie was about 10; Clarice and I had  married in 1973.

November 10, 1985

I can't adequately describe how I feel today. My heart is nearly broken. Jim has been working late every night for over two weeks. I know something is going on. He is seeing someone else. He comes home late, kisses me briskly and goes to bed. He leaves the next mrorning without coming to the breakfast table or even bidding me a goodbye. Our little Susie asked me this morning why her daddy has not been friendly toward her lately. "Mommy, is Daddy sick? He always used to kiss me every morning and every night. It's been a long time since he spent time with me".

December 1, 1985

I love my husband in spite of his infidelity to me. I hate the thought of divorce or even separation. I must stay with him.  I will stay with him ...  so Susie knows her father. I cannot bear for her to be unhappy. Somehow we must work this out. We will. I will do everything I can to make it right.

I was never unfaithful to Clarice. I worked double hours in order to buy her a diamond bracelet for Christmas and to give Susie a giant doll house. When Christmas came and Clarice and Susie saw their presents, all was well. They were overjoyed. But I never knew how she really felt and how deeply my absence at that time affected her, until I read these entries.

December 25, 1985

I am in tears. Today Jim gave me the most gorgeous diamond bracelet and explained that he had taken a second job at night in order to pay for it. He gave Susie a large and beautiful doll house with lifelike rooms. She hugged her daddy so hard. I wonder if he will ever know how much we love him. I feel ashamed to have ever doubted him. I should have known better. However, if some infidelity had occured, the tension here would have been practically impossible to live with on a daily basis. It is the price one must pay to keep your family together under one roof. Thank God, this Christmas was a wonderful one and we are all so happy again.

Recently I spoke with Susie on the phone. She talked of separating from her husband Bob. She didn't know exactly what he had done, but she said she was feeling neglected. They have a little boy Timmy who is 5 years old. Susie had him later in life and of course, adores him, as do I. I'm a proud grandpa.
(He looks at diary). I tried and tried to tell her that she must communicate with Bob and try to stay with him, for Timmy's sake. (looking intensely at diary again...) Now I know why I found this. It's a life saver. I must send it to Susie right away. She may remember how she felt back then when her daddy was out of touch for a while, but ... if she sees in writing and is able to read what her mother went through emotionally, that she actually contemplated the possibility of leaving me...Susie might reconsider and do the same for Timmy. It's worth a try.

(He looks one last time at the diary in his hand.) The value of writing things down is so important. An email is hardly as effective as a handwritten message. One's personal writing is authentic and carefully thought out; it bares one's soul and tells the truth. So, it may very well be a major contributor in changing lives.

A major concern still exists. How can we be sure that our children, and especially our grandchildren, will not only get the message but actually write themselves? I have decided to write a letter to little Tim. Susie recently sent me a drawing he made of me. I am going to send it back with my letter and ask him to write a description of what he drew underneath the picture ... to tell me in words what he drew in the picture. I don't expect a miracle from a five year old, but whatever he says is his first effort at writing a real honest to goodness paragraph. This will hopefully bring the whole issue of writing full circle. If we do not accomplish this, and the children ignore writing altogether, our future is bleak.

We are slowly becoming a nation of computer oriented geeks. We spend most of our lives reading summaries and synopsies, not real, intelligent books and putting together poorly written, opinionated email messages that end up sounding nonsensical and may be grossly misinterpreted. Where will we be without great journalists and authors, who open our eyes to fresh possibilities, without chefs who write new exciting recipes, without teachers creating challenging lesson plans, without leaders who will write coherent speeches advocating justice and fighting its cause...where will these people be unless we insist that youngsters, our grandchildren, start looking ahead, take the responsibility and write down their beliefs, their feelings, their original ideas and their hopes and dreams for a better life? Without letters, documents and such, we have lost a great art and will not - cannot - survive with any real sense of intelligence or purpose.

Interview: Susan Edwards Martin

Actress/singer/vocal coach Susan Edwards Martin, Lady Blues in Torch Song Trilogy on Broadway and star of many other musical shows, recently premiered her solo cabaret show at Upstairs at Vitello’s. I reviewed the show and she was sensational.* She is taking the show to Feinstein’s 54/Below in New York on March 23. Edwards Martin also has created an original show about the optimistic way she lives her life called, ‘Unlimited! You’ll Have the Time of Her Life!”, that had a spectacular one night presentation and is currently waiting in the wings for a full production. Busy, busy, busy, Edwards also recently performed with Musical Theatre Guild as the lead in Minnie's Boys to rave reviews. Ms. Edwards Martin sat down and discussed her career thus far, and about the story behind Unlimited! You’ll Have the Time of Her Life! and her latest cabaret show. Before we start to look back I always ask a few less relevant questions about musical theatre.

Who is your favorite composer?

Susan: Gershwin. Musically his songs live on forever. They're timeless. In my view, the best of the best whether it be the lyrics or the music.

Do you have a favorite show? It need not be one you have done.

Susan: A show that had a major impact on me was Carnival. It starred Anna Maria Alberghetti. I was 10 years old, and it was my first Broadway show. The affect of the show on me involved the passion, the story, the music...the hand puppets just totally thrilled me. I went to a music and art camp and made marionettes and puppets. I came home with them and my mother helped me write a show; my father built a stage, and I started performing at kids' parties. Then it grew and I presented my show at assembly programs at schools, and boy scout and girl scout groups; I was working every weekend. Financially, I did very well. I was 10 years old making $100 a show! This was during elementary school, junior high school and almost through high school. I played the guitar, I sang and the kids related to my hand puppets. That was the beginning of realizing my talents.

Minnie's Boys, 2019

Any newer show that you like?

Susan: Hamilton, a pioneer show in theatre history as Torch Song Trilogy was when I performed in it. In Torch Song no one had ever dared to do anything like that before...a love story about a drag queen who just wanted love in his life, a home, a family and a relationship, everything that we all want. Being a part of that was an extraordinary time in my life.

Looking back, tell our readers about your involvement with Torch Song Trilogy and how that began.

Susan: I was in New York. I had a thriving career, constantly working. I performed on Broadway, national tours, and Off-Broadway. I had developed a following. A friend in my building told me he had just seen a show at the Actors Playhouse called Torch Song Trilogy written at the time by unknown Harvey Fierstein. He told me, "There's a part in it that is perfect for you and it's coming to Broadway." I let my agent know and I got an audition at the Actors Playhouse. That's the video scene you see in my cabaret show where Harvey is auditioning me. I booked it. There was a girl playing it off-Broadway but when they moved it to Broadway, they split the part. Lady Blues became its own role. I also understudied the part of Laurel in Act Two, playing both roles quite often during our three year run.

Do you think playing Lady Blues prepared you to do cabaret?

Susan: Absolutely. I was performing every night. Especially when you have to sing, you've got to be in top form. Your voice has to be available to you, you have to get your rest and eat well to have the energy. You have to really take care of yourself to do 8 shows a week. While I was performing in Torch Song, I started doing cabaret all over town. I was performing at all the clubs, the West Bank Cafe, Back Stage, Inner Circle, Caroline's, and I met some of the best people. I had done an out.of.town tryout of a show called Prince of Grand Street and I met a gentleman, Colin Romoff, who was the musical director of that show and who did the orchestrations. When I started working with him he mentored me. He coached Mary Martin, Ethel Merman, Judy Garland… he worked with all those great classic women. He was my coach. I worked with him for quite a long time. The song "The Gypsy in My Soul" that I perform in my show, was his arrangement An amazing talent who is, unfortunately, no longer with us.

Who else mentored you?

Susan: David Krane, who most recently created musical arrangements for the Mary Poppins movie, was Colin's assistant at the time. He was just a young man. It's so fun to see how far careers evolve. In 2000, when I adopted my son Nick, I put everything on pause. What I created here in California in the 80s, was a show that I could perform everywhere. I was working with the very talented musical director Michael Orland (currently with American Idol) at the time and I put all the music on tape. I performed at women's groups, men’s groups, clubs, and corporate events in California and Florida. I love to perform cabaret.

We'll come back to your current cabaret in a bit, but let's switch to your theatrical show Unlimited! You'll Have the Time of Her Life! Tell us how it got started and what is at the core of the show.


Susan: It's based on all true inspirational stories. I joined a writing group in L.A. Minda Burr, a talented and empowering advocate for women, has a master women's writing group. She convinced me that her class would be perfect for me. The first assignment was to write the story of one’s life. Nobody ever asked me to do that. I thought, "OMG, I get to write about all my “stuff." When I started to think about it, I realized that I had experienced some really interesting things in my life. Most importantly, I was raised by a loving family on Long Island. My parents unconditionally adored me and my brother. They totally supported me. In college I auditioned for “Callback” a TV show which was being taped at the Village Gate. The musical director was an unknown talent named Barry Manilow. This was his first musical directing job. I went to his apartment to pick out the songs and work on the arrangements. I sang two songs in the show. Soon afterwards he played for me at my auditions. I paid him $10 (that’s right, $10!!) and we took cabs together to my auditions. He wanted to do an act for me with Adrienne Anderson. He said it would cost me $2000. I was working with my puppets, playing piano bar gigs and starting college; $2000 was all I had. My point of view then in my young life was "How can I give him all the money I have? This is more than I’ve ever had." I asked him if he could wait four years while I went to school. But right after that, he met Bette Midler at the Continental Baths and the rest is history.

Close, but no cigar! What came next?

Susan: I auditioned for a new Broadway show called Bubbling Brown Sugar, and they told me, "We're looking for a white girl." I sang, read and danced, all in the same day... and got the part. The miracle was, I had walked into the wrong theatre. I was supposed to be at the Alvin Theatre at another audition and mistakenly found myself across the street at the ANTA Theatre and landed my first Broadway show! These are just two of my inspirational stories from Unlimited! You’ll Have the Time of Her Life! Oh, my Aunt Doris was my mentor. She had an act as a ventriloquist. She had built an outfit that fitted on her body and the breasts, belly button and butt all doubled as characters. She would throw her voice and the boobs would talk to each other. I wrote a song called "My Aunt Doris and Her Talking Torso”.

That's hilarious. Isn't your personal life included in the show as well?


Susan: I got married late in life at 49 and became a mom at 50. Adoption was fine with my husband Peter and me, as we were dedicated to nurturing another soul. Getting back to Minda's class, I realized in writing about my life, the stories had to be inspirational. I didn't want to just write "Wow, look at me and how fabulous I am!" The show I wrote had to be entertaining and inspiring. I started to look at other composers' songs such as Sondheim and Schwartz, but there are royalties to pay. Someone said to me, "You're a songwriter write your own!" So I did and with each song and story, I became obsessed. I wrote for a year. I went to bed every night with a pad of paper next to me. Every week in class I would present a monologue or a song just to get feedback. They were very supportive. I realized that once it was out there, it had to be my best effort. So, I asked my friend Larry Blank who writes, orchestrates, conducts and plays piano for Michael Feinstein to listen to what I had created just to see if I had anything good.

He stayed for four hours, sat down at the piano and consequently became my mentor. He was incredible. It was then I knew I had something. We worked all summer and he helped me to write more succinctly, as I have a tendency to overwrite. Then he told me to perform it in front of an audience. I thought, "I need the best place to do my show". I am a member of the North Hollywood Church of Religious Science, so I performed there for one night as a fundraiser, in November of 2017 and 300 people attended my show. It was a thrilling experience! I had worked on it for two years. It was a big hit so I went to APAP in January of 2018. APAP (Association of Performing Arts Professionals) is a marketplace for producers, directors, and performers, to sell and buy shows. I needed to work on the marketing, find the right producers and the best theatre for my show. Until I produce my show as a finished product, I have my cabaret show coming up at Feinstein's 54/Below on March 23.

Any changes to the show since I saw it at Vitello's?


Susan: The brilliant John McDaniel is on the piano! He has done many Broadway shows such as Bonnie and Clyde and Patti LuPone in Concert. He also accompanied and musically directed Rosie O'Donnell on her TV talk show. Recently, he did all the arrangements for the sold out Lights Out: Nat "King" Cole” in L.A.

He's amazing! Will he perform solo?

Susan: Yes, as Sam Kriger did at Vitello's, John will have his own solo spot. He's so great! I can't wait to work with him. Otherwise, the show is the same.

Anything you wish to add about your shows or life in general?

Susan: An important part of my life, besides adopting my son from Romania, is to devote myself to creating a positive role in the world... I'm very active at Temple Beth Hillel; we have a wonderful sisterhood there. I'm also very active at the North Hollywood Church of Religious Science. I love giving back, I love being part of the community and helping any way that I can by doing good work in the world. I was honored to be the recipient of an award called the Braille Review Award. It was created originally to honor Sisterhood women who made a positive difference in the Braille Institute. Now it’s given to those who are dedicated and who go above and beyond in service to the community. I'm very grateful for that. I am also an advocate for the homeless epidemic here. I want to do it all but if we do one thing, as an act of kindness, we can all make a difference in the world. As the lyrics in my original song, “It’s All Good”, “…choose the thing that makes your heart sing”!

*Read my review of the cabaret show here:

https://grigware.blogspot.com/2019/02/cabaret-review-susan-edwards-martin.html

and to learn more about Susan, go to:

www.UnlimitedSusanEdwardsMartin.com

https://youtu.be/Cz2enf7CHck (music video)

https://store.cdbaby.com/Artist/SusanEdwardsMartin

Interview - William Reilly

William A. Reilly has been co-producer/ co-artistic director of Crown City Theatre going on 22 years. Crown has been located at St. Matthew's Church in NoHo for almost 12 years. April 1 the company must leave, as St Matthew's has received a grant to make the spaces a homeless shelter. Reilly sat down recently and talked about what the group will do as they look to the future. Close local spaces are being investigated as rentals until they settle on a new permanent space.

Reilly went on to explain in his dry and rather blunt sense of humor that his company will look at T. U. Studios down the street, and Coast Playhouse in WeHo who are interested in bringing in a new company.. The difficulty with North Hollywood right now is many theatres have already closed or are closing and the city either is not aware of this fact or are ignoring it. The once expanding North Hollywood art and cultural center is now sadly diminishing.

What are some of the problems in seeking out a new home?

As with The El Portal up the street in Noho, for example, they look for someone to bring in things. I think it is much better to bring in a company and let them build an audience. This is what we have been doing. Audiences know that every weekend of the year we have something running. The only question that they have is "Is it the next show yet or is it still the show we saw?" But they know that it is there, that our theatre is accesible to them. The problem with these erratic six week runs in LA theatres is getting audiences in, and it's expensive to run the shows without full houses to pay for the costs. We are amazed that The Importance of Being Earnest is doing so well, but people came in to see The Mousetrap, loved it and call in for upcoming reservations. We don't announce a season. There's a downside to that, especially if a show collapses quickly, or if you have some big time casting issues in keeping the show open, and then you figure out that you have to close the show.We're caught with our pants down.

That hasn't happened to you yet, has it?

Every now and then we have about a month's lag, and it hurts financially. There's not enough income so we have to retool. It's like. We were making golf clubs, now we have to make tennis rackets. Close the plant down, change the machinery. (he chuckles)

I can see the church making a homeless shelter there with the theatre space and the upstairs space. There's a nice soup kitchen behind the theatre...

The attitude when they got the grant was, "Well, we don't need your income now, we got a grant." I don't want to bash them, but ironically, this is a blessing in disguise.

And you got a grant too, correct?

We have a two year grant from the county. The main reason the church has stayed alive the last ten years is because of us and our steady rent checks to them. Over the years we've payed them millions of dollars. Don't let the door hit you on the way out, but that's alright. Everyone does what they need to do. In a way, as I said, it's good for us. At least it's good for me. Like Gary (Lamb, co-artistic director), I can't do this 24/7 anymore. It's hard work...a lot of stress. I've had some good support, but not enough. Whenever the theatre needs something done physically, I can't do that anymore. Keeping the plant in shape, all the lifting and carrying. It galvanizes the younger members of the company who already realize that I no longer have the same energy.

Is Gary (Lamb) totally gone at this point?

He's not around as much, but we talk to each other every day. He's still involved in the decision-making process. We do not like to have people think we are in a position of power, like Harvey Weinstein. No. It's our responsibility to help people put on good shows.. that's where it ends;.that's all the power we want...

I've seen many shows of yours through the years. I look at the set each time and see the same walls, but the adaptations from one show to the next make whatever needs to be seen work ... and well.

Basically, it's one of our cast members who keep putting different costumes on it. (he laughs) You have a curtain and you put the furniture in front of it, or you remove the curtain and rearrange the furniture behind. It's great for rentals. We clean off the scenery...and it's great for rentals, which is a huge source of income.

What are some possible theatres where you may rent on your way to finding a permanent home?

The Coast, the Colony, Sacred Fools, The Secret Rose...many more... an old friend and hoofer since the revival of Pal Joey in 1949 Judy Rose has many connections that we are checking out... it has to be a genuine path through Equity, not fictitious, so it may take 10 years to get what we're looking for...as long as we get in and produce good theatre...the irony is that we're in a better financial situation right now than we've been in for a long time.....we did Earnest because there are no royalties to pay...

Let's leave this topic and look at what, in your opinion, are your greatest achievements through the years.

I have my prejudices because of my personal involvement in certain shows... I think Gary (Lamb's) production of Cabaret (above) was an amazing accomplishment, the other is a toss up between two very different shows Stage Beauty and Two Grooms (below, right) - both with the brilliant Ben Rovner, who's left the business to continue his education - that we retooled into our own creation where we used the church for the wedding and then the theatre space for the reception...Gary would say Nosferatu; Michael J, Marchak was brilliant in that, as was Michelle Holmes...

What about future projects in rental spaces?

Marco Gomez who was brought in to save LA Stage Alliance, is developing a brand new multi-media performance space. He's going to have a lot of projections, and he wants to open with Nosferatu, (below, bottom) with a whole lot of special effects, smoke, hydraulics... Of course, I would love to see us remount The Apple Tree and any other vintage musicals like Rodgers' and Hammerstein's Cinderella from the 50s and 60s Golden Age...

We wish Bill and Gary and Crown  City Theatre the best of luck in finding a new home and continuing to pursue their dream of doing exceptional theatre...

Spotlight on Chase Cargill

The Road Theatre on Lankershim is proud to present the world premiere of Death House by Jason Karasev that first bowed as a staged reading in August of 2017 at the Road's Summer Playwrights Festival. It's a scintillating look at prisons and the death sentence as told through the struggles of an inmate on death row, the prison chaplain attending to her and the new pastor. Each week through March 10 we will spotlight a member of the cast or creative team. This week we shine the light on Chase Cargill.

What character do you play in Death House?

Allen Coiro. He's an ambitious, passionate young preacher who is training as Death House chaplain, set to take over for George. He is inheriting the "keys to the kingdom" from his idol and inspiration, and he is determined to do good for his community by serving those affected by horrific crimes. 

What challenges have you faced as actor of the role?

I think it's important to know what Allen is hiding at any given moment, and how best to play that secret. There are so many layers to this amazing play that Jason (Karasev) wrote. Being able to stack each piece of backstory in my mind and allowing them to unravel throughout the course of the play has been a real challenge, but one I have seriously enjoyed. That and the whole being open thing! 

Tell us about your director and fellow cast members.

Michael is great with moment to moment work. He really likes to dissect a scene and find out what is happening underneath the dialogue, and what our characters might be doing in order to protect themselves or achieve a certain goal. Diving in to the intention of a moment and breaking it down to its bones is always a challenge, but he was definitely up for it! 

Sam and Verity are two of the best actors I have ever worked with on stage. I know it's mushy! But I mean it...these guys make me strive for something beyond excellence every single day and I am immensely grateful for their talent and hard work. 

What do you hope audiences will take away?

To me, this show is about healing. I hope people are able to feel the message underneath that has always spoken to me so deeply; we are all more alike than we think, and forgiveness is achievable, given the right perspective. It's a message we need right now. Kudos to that Karasev guy.

Death House plays Fridays and Saturdays at 8 pm and Sundays at 2 pm through March 10 at the historic Lankershim Arts Center at 5108 Lankershim Boulevard in North Hollywood. Arrive early to ensure street parking.