2020 Interview with Robert Bannon

I have updated news of this appearance at the bottom of the article. Feinstein's is closed until further notice because of the Corona Virus.*

Actor/singer Robert Bannon has worked on Broadway and on TV's SNL. He was to present his cabaret show Unfinished Business at Feinstein's at Vitello's April 14. In our conversation he tells us about his background and how his love of the American Songbook came to be.

Tell our readers why you are recording an album in salute to the American Songbook. You graduated from Julliard Prep. What did you learn from the composers of these songs? Who are your favorites?

RB: Growing up in a good little Italian-Irish family in NJ, the music of Sinatra, Sammy, Dean, Johnny was reverent. The instrumentation, storytelling, and classic nature of these songs just spoke to me. I have always been a fan of the “story” and the build of a song. I love singing all music and listening to everything from hip hop to country (and sometimes that sneaks in the show) but all in all nothing beats the classics. They can be done and reimagined but the bones of them remain and will forever.

I did go to Julliard Prep, I was in the first music theatre class under Bertin Rowser and Diane Wilson. I am so grateful to them for seeing something in me, as a child, I didn’t see in myself. I learned that acting and musical theater are truly art forms. There is a difference between fame/celebrity and the art and the work it takes to serve it. That goes back to the classic element of the show. It is my story, but I serve the music and I hope that translates.

As far as composers, I learned it’s all in the melodies. Can you listen to a song and remember it? That is the magic of a good song. Also the saying that you don’t remember what you did or what you said but you will always remember how you FEEL! Does the music make you feel something? The universal themes of them all!

I have a bunch of favorites. I love Johnny Mercer. His vibe and style is just timeless. The poetry of his lyrics is second to none. Also I love Anthony Newley. He is often not thought of but I love the DRAMA of his music!! His arrangements and songs are full of it. It makes a moment in my shows and hopefully emotes something we all can relate to!

You title your concert show Unfinished Business. You are so young. Usually artists use this term at the end of their careers. What is your intent?

RB: Thanks for this question and saying I’m young!

There is a story to the title. When I was in high school and at Juilliard, I ended up getting sick for 4 years. I had undiagnosed Lyme disease which turned into meningitis before Justin Bieber made it a newsworthy thing. . I literally never had a chance to go to high school as a “normal” student. When I recovered I only knew one thing - singing. I started putting myself out there. I got called in to replace Roger in Rent on Broadway. I walked in, botched the audition and freaked out. I changed my major to Political Science and became a history teacher done with performing. After two Masters Degrees in Education, I felt something was missing. I would literally tear up at a curtain call or a concert.

So after 10 years of not performing, fate intervened. I met up with amazing performers and writers Matt Gould and Griffin Matthews. They just did their show Witness Uganda at the Wallis in Beverly Hills. They helped me literally dust off the rust and get back out there. They told me I had something to say. The first day I sang again I said I had some Unfinished Business to do and it stuck. I called my show that in NY at 54 Below. It is the journey and the lesson that we all have something unfinished to do. Take a step and the path with FOLLOW and do it!

Do you tell anecdotes in your show or just sing? As a principal in SNL, you must love comedy. Any comedic stories or skits we may look forward to?

RB: I think I talk as much as I sing! I have stories for days and have had such an interesting life thankfully! I love to talk about my journey, family, love, and some of the things that I’ve experienced. I love comedy! I grew up obsessed with SNL so being there is beyond anything I could ever imagine. I’m so grateful to just be in the halls of that American Institution!

I do have some fun stories. I talk about my childhood obsession with all things Manilow, being stuck on an elevator with singing legend Phoebe Snow, my personal life which is a show in of itself, etc! There are a lot of laughs. I am all Jersey all day so that totally comes across in the show.

Talk more in depth about SNL. What has this added to your career as a performer? Has improv strengthened your delivery and stamina onstage?

RB: I was first asked to be on SNL in a sketch about the TSA. In the sketch they let me through security with a sketchy bag and book bag while others were not allowed to come through as they had a travel ban. I had to shave my head for the part and I asked the Casting Director, if I shave my head, can I be on a live show? Please! It actually worked. Ask and you shall receive.

Since then I have had big roles, small roles and everything in between. Check out Electric Shoes with Keenan Thompson and see my bass playing wig debut. Seeing the way that show works and how talented they all are is inspiring. I’ve seen some of the best in the biz work up close to make that show fly. It’s always an honor. When I was first on, a friend from elementary school wrote me and said “You used to stay up and watch this show every Saturday and now you are on that stage!” It is a pretty surreal moment!

Improv is simply the best! It is scary which makes the pay off so much better. I am a graduate of Willian Esper for acting under the amazing Barbara Marchant. That program is Meisner acting technique which is mostly improv. That skill is something that makes you so present in your work as an actor and has certainly helped my stage show and listening to the audience moment to moment. It keeps you on your toes and ready for anything! Who knows what will come out of my mouth!?

What is your favorite Broadway show? It does not have to be one that you have done. Why this choice?

RB: That’s a tough question. I love Rent. I loved finally being able to be in Rent after my awful audition as a kid and being Roger. That show resonates with me so deeply about love and living each day to the fullest.

I would love more original musicals to be made on Broadway! Witness Uganda is BRILLIANT! That score is something that has stuck with me. It was genius at the Wallis in Beverly Hills. Matt Gould who co-wrote that show has a new show coming to La Jolla called Lempicka! Go SEE IT! I am hoping after California it takes over NYC!

Any particular role that you are yearning to play onstage? Why this choice?

RB: I would love to play Bobby in Company. I just relate so much to his character and the score is brilliant. I also love comedy and have been singing “My Girlfriend Who Lives In Canada” for years. So I would love to be fitted with a puppet to have some fun in Avenue Q! I am always down for some campy puppet moments.

Did you grow up with music in your family? What inspired you to be an actor and singer?

RB: My parents loved music. My dad loved placing big headphones on me and letting me rock out to Earth Wind and Fire. My mom loved Carly Simon. We would listen to her when she made us breakfast every weekend but don’t ask them to sing! Ha! They are not singers. My parents are kinda shy and I am literally shot out of a canon 24-7. I think I always wanted to make people smile and entertain. I would take the sheets from my bed, make curtains, and put on shows for my family since I could remember.

I tell a story about trying sports and being dreadful (soccer goalie is not on my special skills on my resume) and finally being like nope I quit! Take me to singing lessons instead. Sixth grade hit, I was the Prince in Cinderella at my school, I was hooked. I wanted to sing and act anywhere and everywhere.

My parents were hip and loved music. I was the old soul. I got a karaoke machine for Christmas with the Hits of Manilow and I was sold. Hook line and sinker. I would listen and study him nonstop.

What was it like performing with giants like Patti LaBelle and Whoopi Goldberg? What did you learn from being in their presence?

RB: Wow! I had the pleasure at 12 years old to perform with Ms. LaBelle at a tribute concert for Laura Nyro (songwriter) at the Beacon Theatre. I have loved her since. She was so kind, humble, and a FORCE on stage. She brings 110% everytime and is so authentically herself. Her kindness and authenticity are what makes people love her. I have had the pleasure to see her numerous times after and sing with her again, she is as amazing now as ever! OBSESSED!

Whoopi is such a wonderful performer, kind, and generous. She was such a wonderful person to be around. I think I learned that being kind matters. Being a good listener and remember that you matter and your art matters but you can’t do it without the people who support it.

Do you have a goal in LA? Are you looking toward more work in TV and roles in film? Will stage always remain a vital part of your performing life?

RB: It is so humbling to be booked at Feinstein’s in Studio City. No one is more surprised and honored than me. Three years ago, I had hung it all up and had not done a thing so I’m thrilled people are inspired and supportive. I am focusing on my new album which is on the way based on the one man show and journey. My first love will always be me, a stool, mic, and a piano player. It’s taken me decades to be comfortable sharing my story, and that will always be the one I want to tell first and foremost. I am just happy to meet some new friends in LA and spread my message and music! Therefore stage and the live show will always be the first love. We are always adding more dates so I’m so grateful for that. They are all on RobertBannon.com.

I love TV and film! I would love to do more straight up acting. That is such a fulfilling way to make a living to be the vessel for the text and project either comedy or drama-that is a blast. I would love to be open to whatever life has to surprise me. One thing I learned is it’s gonna surprise me so let’s see where it goes!

Add anything you wish here that we did not already mention.

RB: Thank you so much for your time and platform! Come see me at the show and say hi! I am so excited to share this show with LA! Joining me is Michael Orland as Music Director! Michael was the MD on American Idol for 15 seasons. He’s worked with everyone and is as talented as he is kind. You don’t want to miss what surprises we both have in store. Also, LA has some of the best singers in the world and I happen to know them so expect a bunch of surprises and a lot of fun!

Unfinished Business plays at Feinstein's at Vitello's at 4349 Tujunga Ave in Studio City on April 14 at 8 pm. Doors open for dinner at 6: 30 pm  Call 818-769-0905 for reservations.

* I asked Robert Bannon what he is doing creatively during this time. Are you working on the CD of the American Songbook? When your appearance is rescheduled, maybe it may be a CD release party?

RB: I am working on the album! It will be of the Great American Songbook. It is produced by Bob Magnuson and features arrangements by Tedd Firth and Rich DeRosa of songs you know with my own twist. Thanks to technology we will hopefully do it all digitally and get it ready to be out as soon as possible. I am trying to be as creative as possible with this time out. 

The new goal is once we have a new date for Feinstein’s in LA this summer it will be an album release with a whole new show! So I am definitely looking forward to what comes in the future. For now, just sending light and love to everyone to stay safe! 

Separate Interview with Lee Blessing

Lee Blessing Shows Multiple Perceptions of Reality
by Don Grigware

Actors Co-op presents Lee Blessing's A Body of Water that opened February 5 for previews with official opening night Friday February 7. The play runs through March 15. Multi award winning actress Nan McNamara serves as director. I sat down with Blessing and here's what he has to say about the play and mounting this production.



I am always fascinated by your plays. What character is telling the truth? Or is it all a dream...or nightmare? You keep us on the edge of our seats with your wonderful dialogue. How did A Body of Water come about? Did some event inspire you?

LB: I can't answer most of this question, but I will say that the idea for the play occurred to me as I as waking up one morning. I was relatively newly divorced (from a long marriage) and still feeling the very powerful (for me at least) post-trauma effects of that. In some ways I suppose this is a play about trauma in all its forms. It's about those moments in life when nothing that we think we know feels real any longer--nothing that we depended on, nothing that we knew in our hearts to be true. This happens to different people for different reasons of course, in different ways and at different points in their lives. But it happens to nearly everyone, I'd argue, whether we'll admit it or not.

You have been called our greatest American playwright because you deal with issues that are relevant. Sports are a typical love of the American culture and have played into many of your plays, like baseball in The Winning Streak and football in For the Loyal. Do sports play into this piece?

LB: Sports really don't have a role in this play, unless you count jogging. Actually I have the bad habit (for a playwright) of writing about a great many different phases and aspects of contemporary life as well as many different sorts of people encountering quite a range of challenges. America tends to favor playwrights who stick to a fairly narrow range of issues and styles and sort of do the same thing over and over again, often quite brilliantly. They develop sort of a "shingle" to hang out, so people will know what to expect before even seeing their next play. For whatever reason, I tend not to do that.

Tell our readers about the play in detail without creating a spoiler alert.

LB: This is such a difficult piece to talk about. It's highly conceptual, and one really doesn't want to ruin any surprises or sharp turns that it may contain. I will say the twpeople we meet at the start of play are in their fifties and in great physical health--just as I happened to be when I wrote it. I'll also say that while it's hard to talk about the play before seeing it, it's hard not to talk about the play after seeing it. So feel free to look me up then.

You always lace your plays with a delicious sense of humor. Is there humor here as well? Give us a sample if you will.

LB: There is a LOT of humor in this play. And, just like my life, it never fails to make me laugh.

What is the main theme of the play? What do you want audiences to take away after seeing it?

LB: I suppose if the A Body of Water has a theme, it has something to do with the nature of courage and our inability to live without faith. After all, something has to get us through the inevitable traumas.

Do you care to add anything?
LB: If there's such a thing as music in dialogue, I think this is one of the most musical plays I've written. Just don't expect to hum along.

to purchase tickets for A Body of Water, call 323-462-8460 or visit www.ACTORSCO-OP.ORG

2020 Spotlight On Chet Grissom

The Road Theatre Co is proud to present the premiere of Nowhere on the Border by Carlos Lacámara and directed by Stewart J. Zully. The play concerns itself with the question Why do people cross borders? Two working class men, an Anglo on border watch and a Mexican, face off in the desert. What is discovered is that border crossings are both physical and emotional. The play opened January 17 at the Road on Magnolia and will play through March 8. Each week we will spotlight a member of the cast or creative team. This week the light shines on Chet Grissom.

What character do you play? How does he serve the play?

I play Gary Dobbs, a volunteer with an organization that supports The Border Patrol. He's the main antagonist (other than the desert) in the piece.

How does the play challenge you as an actor?

Getting inside the mindset of a character I personally don't agree with is always a challenge ~ so to overcome that you find similarities and legitimate motivations for how he thinks and feels.

On a practical level, the amount of props I have to deal with took a lot of rehearsal time to master.

What do you feel is the meaning of the play? Its theme or message?

That, at our core, we all want the same things in life.

What would you like audiences to take away?

That this is a complicated issue with valid points on both sides. It's a situation that needs compassionate thought in order to come up with a policy that doesn't criminalize people in desperate situations.

Talk briefly about your director and castmates

Our director Stewart Zully has had a strong vision for this play for a long time now, and what he's done with the cast and designers is really heartbreakingly beautiful. The idea of having live music was a brilliant one and sets the tone for the evening in the first few notes. All of the cast have exhibited a strong passion and dedication to the project, and I think that shows on the stage.

Nowhere on the Border plays on Fridays at 8 pm, Saturdays at 8 pm and Sunday matinees at 2 pm. The NoHo Senior Arts Colony is located at 10747 Magnolia Blvd. in NoHo. There is plenty of street parking but arrive early. For tickets call 818-761-8838.

2020 Spotlight on Jonathan Nichols

The Road Theatre Co is proud to present the premiere of Nowhere on the Border by Carlos Lacámara and directed by Stewart J. Zully. The play concerns itself with the question Why do people cross borders? Two working class men, an Anglo on border watch and a Mexican, face off in the desert. What is discovered is that border crossings are both physical and emotional. The play opened January 17 at the Road on Magnolia and will play through March 8. Each week we will spotlight a member of the cast or creative team. This week the light shines on Jonathan Nichols.

What character do you play? How does he serve the play?

I play Roberto Castillo, and I am the Mexican father looking for his daughter in the Sonoran desert between Mexico and Arizona, the Cabeza Prieta region, which is between Mexicali and Nogales, Mexico, and West of Tucson.

Ho do I serve the play? Well, Roberto is the catalyst for the “journeys” both his and his daughter's. That is the play. He insults his daughter and so she just says “enough, I am going after my husband, that you hate” He is not supportive of the marriage and then he tries to find her when she doesn’t arrive. Roberto is also in the “present time” of the play, along with Gary. While his daughter’s journey has happened. Of course, the audience doesn’t know that at the beginning of the play.

How does the play challenge you as an actor?

It breaks my heart every night. I am an immigrant myself, from Cuba, and I am a fortunate immigrant who migrated at a different time and space. The journey that Latinos make is a deadly one, every day this happens and no one leaves their homes and the place of their birth, unless driven by desperate measures, as the characters of this play do.

What do you feel is the meaning of the play? Its theme or message?

It’s a journey of love. A heart journey that, ultimately, is more unifying than the skin journey. We see with our eyes and we categorize and judge based on color, ethnicity and that is understandable and….you fill in the blank. We all have our prejudices. But a journey for love, vows, promises, dreams, aspiration, wanting a better life, missing your loved ones, that is universal. You don’t need to cross borders, that happens every day in every city and state, here and everywhere in the world.

What would you like audiences to take away?

One, I want them to be moved by it, to understand that the story is universal. Two, to understand the terrible and dangerous plight of an immigrant crossing the border and what they experience every day. It’s there. Carlos has done the research and it’s in the play. I think I said in rehearsals, the sun is a character in the play, probably the most important one. I would love to make the theatre the temp of the desert, so it’s a tactile experience. Heat their seats, that’s it, how we do in cars. That part of the desert is one of the hottest and driest in the US, rivaled only by the Mohave Desert. Summer highs reach 120 with surface temperatures at 180. Can you imagine? But, also that it’s a love story as well. Filial love, daughter and father, father and son, husbands and wives, everyone just trying to protect who and what they love. The beauty is that you can change the colors of the skin and put in two different borders and the play would still work. All you have to do is adjust it to that terrain, cause the terrain is also a character. The terrain, the stars and brother sun and sister moon are also characters.

Talk briefly about your director and cast mates.

Listen, they have been steadfast and have all jumped in. The characters that have the journey have had to do research on what happens as your body gets beaten day after day in the desert, and they have had to vocally and physically research and portray that. Not an easy thing let me tell you. I have it much easier. And, because we are double cast, and we rehearsed thru the end of the year holiday, we jump in and out, playing with different actors from one day to the next. Not easy to do. Same words get said, but in different rhythm, and it takes a lot of listening. Which we should be doing anyway….but one becomes hyper vigilant ... which is still what we should be doing. Cause, in the theatre, it happens every night, “for the first time.” That’s the job.

Our director, Stewart (J. Zully) has done a beautiful job crafting it moment to moment. I appreciate all the elements he and his design team have added. It’s a visually stunning play and it’s taken detail work, you know, like for the audience to feel the characters in that heat, the precise consumption of water as the journey progresses, than as you perspire and you have no water, how that affects the body and voice. There is a lot of detail in this and Stewart has been on top of it all. He has also allowed us to find the characters in the process and playing…and has allowed us to disagree with him and tell him why I feel I would not step here or there and, really, has been open to the actor’s feedback. And, more importantly, because he is an actor himself, he respects and loves actors. So his notes come from the director who understands actors' perspectives. You get different notes from a director who has little or no actor speak. Trust me. I would work for him again in a heartbeat. Besides, he’s funny as hell and always had a great attitude. That’s also important.

Nowhere on the Border plays on Fridays at 8 pm, Saturdays at 8 pm and Sunday matinees at 2 pm. The NoHo Senior Arts Colony is located at 10747 Magnolia Blvd. in NoHo. There is plenty of street parking but arrive early. For tickets call 818-761-8838.

2020 Spotlight on Diana DeLaCruz

The Road Theatre Co is proud to present the premiere of Nowhere on the Border by Carlos Lacámara and directed by Stewart J. Zully. The play concerns itself with the question Why do people cross borders? Two working class men, an Anglo on border watch and a Mexican, face off in the desert. What is discovered is that border crossings are both physical and emotional. The play opened January 17 at the Road on Magnolia and will play through March 8. Each week we will spotlight a member of the cast or creative team. This week the light shines on Diana DeLaCruz. 

What character do you play? How does she serve the play?

I play Montoya.  She is a "coyote", which is a term used for a person who smuggles people across the U.S.-Mexico border.  She smuggles two of the characters across the Arizona desert into the U.S.

How does the play challenge you as an actor?

Montoya is challenging because she is has qualities that are very different from my nature.  The biggest thing I hate more than anything in the world is confrontation. I am strong and direct, but not anywhere close to Montoya's fierceness. I usually am cast in nurturing roles-mothers, nurses, etc. So the opportunity to flex in this type of energy was exciting. And it hasn't come easy. When we first started rehearsals, I didn't like getting into Leandro's (Jesus) face to yell at him. It was uncomfortable. I really had to get over my need to be "nice" and embrace that element. I now really enjoy those moments, but it took some work, giving myself permission-to get there.

What do you feel is the meaning of the play? Its theme or message?

I feel that the meaning of the play is about how we are not all that different from each other and all want the same things. We all want safety and prosperity and happiness for ourselves and our loved ones. When we get past what our supposed "differences" are, we find that truly-we are all brothers and sisters in this world, and we really are "in it together".

What would you like audiences to take away?

I am an immigrant myself. My mother brought me over precisely to give me the opportunity of a better life. I want people to recognize the humanity in these people who are in essence, breaking the law. Like the character Roberto says-he doesn't know anyone who wants to leave their country to come here, much less to come here to be a criminal. There are criminal, or "bad" aspects to every part of society. But the bottom line is that these people, like myself-are coming over to thrive in their communities, to try and live their best life, if you will.

Talk briefly about your director and castmates.

I am so grateful that I am surrounded by professional, soulful people. This is one of the most encouraging and supportive casts and director/producers I've ever worked with. 


Nowhere on the Border plays on Fridays at 8 pm, Saturdays at 8 pm and Sunday matinees at 2 pm. The NoHo Senior Arts Colony is located at 10747 Magnolia Blvd. in NoHo. There is plenty of street parking but arrive early. For tickets call 818-761-8838.

Interview with Barbara Brownell

Actress Barbara Brownell is a true inspiration. She has spent her life performing on the Broadway stage, on film and in television with a few great surprises along the way, which she discusses with us in much detail. 

You have won a BWW award in 2017.  What was the play and what did you enjoy most about it.?

BB: The play was Dull Pain Turned Sharp, written by Brent Beerman and directed by Kay Cole.  I played Linda, a woman in her 60s who faces the dilemma of wanting her only daughter to have a grandchild, but is conflicted about a health danger she might have passed down to her. I enjoyed working on a multi-layered character and with a wonderfully talented cast.

You were nominated this past year for directing Laundry and Bourbon/Lone Star. Talk about the plays and what they meant to you.

BB: Laundry and Bourbon and Lonestar are two one acts written by James McLure. While the plays stand on their own, they make a nice companion set because the central conflict in each piece as well as its characters are related closely to those in the other play. They appealed to me because they contain serious themes about friendship, family, and getting through tough times and yet both plays are also delightfully funny. I was blessed to work with two strong casts which made the rehearsal process particularly fun and rewarding.

You have worked in the past with some great directors like Woody Allen.  What play did you do with him and what character did you play? What was the experience like?

BB: I did Play it Again,Sam with Woody for one year on Broadway at the Broadhurst Theatre.
My part was Dream Sharon, his fantasy of the perfect woman. When we were in Boston, pre-Broadway, Woody decided to have his dream girl come to life at the end of the play.  So I reappeared and he named the character Barbara, after me. Of course, working in a hit show on Broadway opened doors for me. I got a nice role in Going Home with Robert Mitchum and Jan Michael Vincent and was cast in The David Frost Review TV series.  However, the most enduring gift is the close friendship I’ve enjoyed these many years with fellow cast member Cynthia Dalbey. I do remember Woody saying, about his writing, “There’s no secret. I make myself write everyday.”  And about his directing, “I just cast well, and let them play.”

What about the 2012 film The Master? You mentioned that director who obviously meant a great deal to you, Paul Thomas Anderson. Its two stars Joaquin Phoenix, who is competing for an Oscar this year for “The Joker” and the late great Philip Seymour Hoffman are unforgettable . What role did you play and what do you remember most vividly about the movie?      

BB: My character was a wealthy New York socialite who was being put through a Past Life Regression by the Master.  When P.T. (Paul Thomas) found out that I was a hypnotherapist and familiar with the process, he sought out my help in shaping the scene. The only line he had written for me was “My name is Margaret O’Brien.” He wanted Philip and me to improvise the rest, and so we did.  Many takes actually. It was exhilarating. Watching Philip work gave me chills. Joaquin was in the scene, but only as an observer.  My impression is that he was never really out of character, even at lunch. While Amy Adams in addition to being extraordinarily talented, was one of the most down to earth people I’ve ever met.

Mention some of the other wonderful directors you have worked with.

BB: I was privileged to work with two giants of the sit com world, Jay Sandrich, who directed me in both the Mary Tyler Moore and Bob Newhart shows, and Jimmy Burrows, who directed me in Barefoot in the Park where I played opposite Tab Hunter. Both Jay and Jimmy were such creative, inventive, and positive influences.  I also was lucky enough to work with Steven Soderbergh in HBO’s Behind the Candelabra where I played Liberace’s sister, Angie. Candidly, the part didn’t amount to much, but I got to see Soderbergh work and how much his cast and crew adored him. More recently I’ve had the opportunity to work with two really talented “up and comers”, Ryan Eggold and Eric Bilitch, who both wrote and directed small, wonderful projects that I had so much fun doing.

This last year you were in the Grammy winning music video of “Old Town Road” with Billy Ray Cyrus and Lil Nas X, a song that set the Billboard record for consecutive weeks as the number one hit. How did this come about?

BB: I started my career as a dancer and continue to dance almost every day, especially line dancing.  I auditioned with seemingly hundreds of dancers of all ages and styles, so that when I was cast, I really didn’t know what to expect or what I was to do.The song is a cross-over hit that combines hip hop with country dancing, which we did for hours. As the day turned to night, I was fairly certain that at least I’d be recognizable in the piece, but at 2 am, they asked me to stay to shoot stills for the end piece of the video. So there I am, in the final frames, posed with Lil Nas X like a moonstruck couple in a prom photo. I found him to be delightful, if not a little overwhelmed by the sudden fame he was experiencing at the ripe old age of 20.  I’ll say this, for all of my credits, from Broadway to the Silver Screen, no part has given me more cred with my grandchildren than my appearance in “Old Town Road.”

With such varied work on stage and on film both acting and dancing, what do you foresee as a main project for you in 2020?

BB: I’m working on a one person show tentatively entitled “I am Barbara Brownell, I think” in which I explore how I navigated a challenging childhood and a lifetime of experiences to forge the person and performer I am today, only to discover late in life, that I’m not actually, biologically speaking, who I thought I was. The show gives me the opportunity to do just about everything...acting, dancing, even a bit of singing.  It’s both wonderful and frightening to have complete creative control of something.  I can’t very well blame anyone else for the writing, now can I?

Is there anyone in particular in the acting world who inspired you.  Who are your favorite stars today ... from yesteryear and in present time.

BB: When I was very young, I did my best to imitate Shirley Temple. I even looked a bit like her, with a headful of curls. She was definitely my first inspiration. Nowadays?  I’ve always admired Judi Dench, because she can do so many things so well.  I used to love to watch her British comedy series As Time Goes By. And yet she’s just as deft in the classics, in Shakespeare, or in the Bond films, or a musical, or even as a director.  All done with such class, but then again, she is a Dame!

Another contemporary British actress I’ve admired is Sarah Lancashire. Again, it’s the range she displays from drama and action to comedy that’s so impressive.

Do you prefer drama or comedy with either plays or screenplays?  Why this preference?

BB: It’s hard to make a blanket statement. To me, the most important thing is whether I connect to the piece. Truthfully, though, I prefer work that incorporates both drama and comedy. That’s why I so enjoyed directing Laundry and Bourbon and Lone Star, for they both manage to tell heartfelt, human, dramatic stories laced with moments of pure comedic joy, with neither feeling out of step or unearned. Of course, as a performer, there’s nothing as intoxicating as getting laughs from an audience, but it’s doubly magical when you sense the audience is also connecting with you emotionally.

Maybe that’s why Neil Simon remains my favorite playwright. Of course, he is widely acknowledged as a genius for his comedies, but I think he is underappreciated as a dramatic writer. I’ve been blessed to perform Barefoot in the Park, Star Spangled Girl, and Come Blow Your Horn, all certainly light fare. But Chapter Two, Lost in Yonkers, and the Eugene trilogy, to name a few, certainly prove his mettle as a serious playwright.

What do you feel has been your greatest achievement in your career so far?

BB: I was able to fulfill the dreams of a little girl from the poor side of Bound Brook, New Jersey to make it to Broadway. And to have the chance to work with the likes of Jimmy Stewart, Robert Mitchum, Woody Allen, Mary Tyler Moore, Philip Seymour Hoffman, and Jon Hamm.  And to be a senior citizen dancing in a Grammy winning music video. Maybe my greatest accomplishment is that I’m still here.

Sum up your career in one sentence.

BB: It’s not over yet, is it?  Ask me again in ten years. 

Nan McNamara and lee Blessing Interviews

Actors Co-op presents Lee Blessing's A Body of Water opening February 5 for previews with official opening night scheduled for Friday February 7. Multi award winning actress Nan McNamara will serve as director. I sat down with both of them and here's what they have to say about the play and mounting this production.

(to Lee Blessing)

I am always fascinated by your plays. What character is telling the truth? Or is it all a dream...or nightmare? You keep us on the edge of our seats with your wonderful dialogue. How did A Body of Water come about? Did some event inspire you?

LB: I can't answer most of this question, but I will say that the idea for the play occurred to me as I as waking up one morning.  I was relatively newly divorced (from a long marriage) and still feeling the very powerful (for me at least) post-trauma effects of that.  In some ways I suppose this is a play about trauma in all its forms.  It's about those moments in life when nothing that we think we know feels real any longer--nothing that we depended on, nothing that we knew in our hearts to be true.  This happens to different people for different reasons of course, in different ways and at different points in their lives.  But it happens to nearly everyone, I'd argue, whether we'll admit it or not.

You have been called our greatest American playwright because you deal with issues that are relevant. Sports are a typical love of the American culture and have played into many of your plays, like baseball in The Winning Streak and football in For the Loyal. Do sports play into this piece?

LB: Sports really don't have a role in this play, unless you count jogging.  Actually I have the bad habit (for a playwright) of writing about a great many different phases and aspects of contemporary life as well as many different sorts of people encountering quite a range of challenges.  America tends to favor playwrights who stick to a fairly narrow range of issues and styles and sort of do the same thing over and over again, often quite brilliantly.  They develop sort of a "shingle" to hang out, so people will know what to expect before even seeing their next play.  For whatever reason, I tend not to do that.

Tell our readers about the play in detail without creating a spoiler alert.

LB: This is such a difficult piece to talk about.  It's highly conceptual, and one really doesn't want to ruin any surprises or sharp turns that it may contain.  I will say the twpeople we meet at the start of play are in their fifties and in great physical health--just as I happened to be when I wrote it.  I'll also say that while it's hard to talk about the play before seeing it, it's hard not to talk about the play after seeing it.  So feel free to look me up then.

You always lace your plays with a delicious sense of humor. Is there humor here as well? Give us a sample if you will.

LB: There is a LOT of humor in this play.  And, just like my life, it never fails to make me laugh.  

What is the main theme of the play? What do you want audiences to take away after seeing it?

LB: I suppose if the A Body of Water has a theme, it has something to do with the nature of courage and our inability to live without faith.  After all, something has to get us through the inevitable traumas.

Do you care to add anything?

LB: If there's such a thing as music in dialogue, I think this is one of the most musical plays I've written.  Just don't expect to hum along.

(to Nan McNamara) 

From a director's standpoint, what is your favorite aspect of A Body of Water?

NM: To bring to life a world premiere new ending to Mr. Blessing’s play is an absolute thrill, especially having previously performed in two of his plays (Going to St. Ives and A Walk in the Woods).  I think he is one of our greatest American playwrights.  It’s been a privilege and honor to have him involved in our production.  

What challenges do you face in directing it?

NM: The play has existential themes and tackles some of life’s biggest questions.  But it’s also very funny and moving, and circumstances and characters shift on a dime. There are also some interesting design elements we are integrating.  So orchestrating all those layers and making sure the specificity is in every moment is a wonderful challenge.

What in your mind is the strongest element (s) of a Lee Blessing play? How does he drive a plot forward better than other contemporary playwrights?

NM: There is so much breadth to Mr. Blessing’s plays. Looking at his body of work, there is a wide variety of relationships and themes.  His plays stand the test of time. When you think that A Walk in the Woods was written in 1988 and Two Rooms was written in 1990 (as just a couple of examples), it’s remarkable how these plays feel like they were written today.   He champions strong female characters in his stories. And he is able to tap into the heart of his characters so that in them, we see ourselves.  That’s what great plays do. And he has achieved that time and time again. 

What message stands out? In other plays I have noted his severe interest in love and strong relationships. Tell us in detail what you think.

NM: Mr. Blessing has said A Body of Water is about, in part, the tenuousness of our reality. This feels particularly relevant in today’s world where waking up in the morning one is almost afraid to look at the headlines.  But fear and isolation are also themes in the play.  The characters grapple with the fear of intimacy, the rewriting of their pasts and not living in the present.  In a sense, they are living in a kind of hell.  They are searching for their identities, for their purpose. The play has a profound message about who we are - as individuals and in relationship. 

Tell our readers about your cast and how they are adapting in rehearsals for the play.

NM: I feel so fortunate to have three of the best actors, all company members of Actors Co-op. Ivy Beech, Bruce Ladd and Treva Tegtmeier are such a talented trio. We have had a wonderful time working together and discovering this story together. They are true collaborators. And since we have worked together as actors in the past, there is so much trust. I look forward to every single rehearsal, excited to see what we find as they get more and more specific in their work. They each have moments of humor and moments of great pathos and their work is seemingly effortless. They constantly surprise me with their talents.  

Add anything you care to like how the play is a fit for Actors Co-op.


NM: When I first read the play, I felt it would work really well in the round.  I think it is such an interesting way to experience this story, and I have a terrific design team that has pulled out all the stops - the artistry and care they are bringing to this production is really inspiring.  Actors Co-op has produced two other plays by Mr. Blessing that were very popular with our audiences. I think A Body of Water is a play that will challenge our audiences in a wonderful way. It’s a 90 minute roller coaster ride into a world that is unlike anything we’ve produced before.  And that is very exciting.

to purchase tickets for A Body of Water, call 323-462-8460 or visit www.ACTORSCO-OP.ORG