Showing posts with label Carousel. Show all posts
Showing posts with label Carousel. Show all posts

27 June, 2022

"The Bench Scene" from CAROUSEL for The Transport Group

Ah, the healing and transcendent power of music, theatre, true friendship and community.

Thank you Transport Group for the chance to return to Julie Jordan and the ‘Bench Scene’ after over a decade, and to share the experience with the huge-hearted genius pal that is Tally Sessions and a 30 piece, first-rate orchestra conducted by Joey Chancey.

It was a gift.

You know a theatre company is special when every single artist on stage donates their time and talent to support it. EVERY. SINGLE. ARTIST. May the Transport Group long continue to make great American theatre.



13 September, 2016

Ask Al: FAQs! - Part 1

Dearest Readers,

As time goes on I have noted and collected many a FAQ from friends, students, fans and the generally curious. I thought it might call for a new little series of Ask Al called LIGHTNING ROUND! 

[*KAPOW!*]  

Enjoy, and as ever, if you have questions, please feel free to reach out in the comments section or via email!

* * *


1. How long have you been a performer? From where did you get started?
The first performance I ever participated in was a ballet recital. I was a butterfly.
The first play I ever did was in 3rd grade— I played Miss Hannigan in a school production of Annie. You heard me. And yes. There’s a video.


2. Leading male roles you've been dying to play:

Captain Hook. [*achem*]— hand down.


3. Is there anything you strive to actively improve upon as an artist?
I am always striving to be more truthful, and to gain human experiences that can help me serve different kinds of people and characters. I actively search for understanding of people who see and experience the world differently from me in order to expand my capacity to reflect life more realistically and passionately.


4. Have you ever had a character or play (scene) that gave you difficulty? How did you approach it?
I found it very difficult to get inside the head and heart of Julie Jordan (in the last West End revival, and Los Angeles productions) of Carousel. I think, if I’m honest, I judged her with my 21st century sensibilities about what women “should” and “shouldn’t” endure in a relationship and thus kept myself from being open, from having truly exposed and generous empathy. From that place, one cannot connect, and it took me opening my mind before the enormous gifts of what we had in common flooded my heart.

When I got a grip, I realized we had much more in common than we didn't. The only way forward was to throw away my judgments and search for the things that we shared; to view Julie as a teacher.

I learned from Julie all about the nature of my mother’s loss (of my father in 2001 after 30 years together)— what it means to be incredibly principled about love and to lost not only your husband, but the only love you will ever know.

Ultimately, Julie Jordan gave me the greatest gift of all time. It has been a blessing to revisit her a few times, and continue learning.


5. Something about you that surprises people:
I am an introvert.
I am an introvert in the classic sense in that I "recharge my batteries" in solitude rather than in the presence of others. I prefer long days alone, quiet time, and one-on-one conversations to group dynamics, and above all: I require lots and lots of time alone to process life so to better be ready to face the our extrovert-biased world in all my developed going-out-in-public shininess! My out-going self is not an "act" or a lie, it is an element of my personality I often enjoy, it just is slightly against my inner nature.

My introvert claim surprises many people because I have highly developed extrovert behavior: I am friendly, outgoing, warm, good at parties, etc., but it doesn't mean that that behavior is not energetically 'expensive."

There is nothing wrong with Introversion. It is also not the same thing as shyness or aloofness. It is merely as simple as where one derives their energy.

A classic Extroverted (by necessity) Introvert:
"Many introverts realize that they must become experts in personal appearances and self promotion in social settings.  Many of us realize that simply being ourselves won’t cut it all the time. We can’t remain quiet, reserved or autonomous.  We must function by igniting connections with people.  And in order to do that we need to exude the energy and charisma of extroverts.

So while it can indeed be practically helpful to channel our “extroverted selves” in our work lives, friendship circles and family lives every now and then, many of us introverts fail to set healthy boundaries.  If we have not developed enough self-awareness, our extroverted selves can wreak havoc in our inner and outer lives." —
Top tip: if someone claims to be an introvert and you do not perceive them that way, don't say "No you're noooot." It isn't very polite to insinuate that someone doesn't know themselves. Instead, I encourage you to get curious! Perhaps ask something along the lines of "How fascinating! I perceive you as quite extroverted, do tell me more..." Just a little feedback from someone who gets that comment a lot. ;)


6. Can you offer any specific “tip” to being an actress?
Always, always, tell the truth.


07 May, 2014

Friends I Admire (and Why) - Part 5

Emma Williams
  • She reads. In fact, she eats books. Like me.
  • We met on a 'friend-date.' Which is amazing. What the hell is a 'friend-date' exactly? Well, to quote the Urban Dictionary: 
"a situation in which two friends partake in activities (such as movies, coffee, walk on the beach) that have the appearance of a regular date, but have no romantic intentions." 

In our case? A mutual friend "set us up," we exchanged contact info, texted, made a date and met for coffee... then stayed for lunch... then dinner... then yeah, seven hours later were best friends. How about that...
  • She’s wildly smart (I remember once we bonded over the MENSA test questions...#dorks)—and therefore incredibly challenging. In fact, I can safely say she is the only other "scary smart" person I've ever met other than my father. 
  • She is that best friend that you would literally do anything, say anything, go anywhere, for. "Hi, so my creepy ex is following me home on the 67 bus and can you meet me at Seven Sisters in 20 minutes?" --YEP.  "Yeah see I'm trapped in Croatia and need to you come get me..." --SURE CAN.
  • Her Yorkshire accent is a lot of things, but mostly it is super cute.
  • So okay. This might sound creepy but she has this SKIN. It's like the kind of skin you sort of can't believe is REAL exactly... alabaster, wrinkle-free, and seemingly poreless. And sometimes (when I used to see her in person more than I currently do on FaceTime) I would stare at her and wonder: has she ever seen the sunshine? Or, how do her pores manage to breathe...?
  • Emma is a bonafide "cat lady" too... (I call upon her when Tatiana is being superCRAY...)
  • This Yorkshire lassie has some absolutely world-class legs people. (Let. Me. Tell. You.)
  • Geographic distance has made us more emotionally close than any other person I have ever loved and been apart from.  
  • She originated the role of Jenny Cavilleri in Love Story, and when I got the American premiere, she was almost more excited to hand over her creation to her best friend.  And we lived through the entire experience together... [see right]
  • She is understanding.
  • ...funny
  • ...ADORABLE
  • ...and she possesses the perfect balance of self-awareness, honesty, humility and pride in herself to be one of the most self-possessed and loving people I know. 
  • When the going gets tough, Emma gets on the phone.
  • Earlier this year, when Emma was going through a lot of personal trials and big big changes, we developed a way to communicate every day without being bogged down by the heaviness of her circumstances. How, you ask? Well. I requested (okay, demanded) she write me one haiku about her life every.single.day until the aching stopped. ...And she did it. And that's how we handled that. It was fun, funny, touching, tragic, poignant, and painfully moving; and made me feel closer to her than ever. I am proud of her true strength, her ferocious courage and above all, her willingness grow, accept the ebbs and flows, and to face life head on. 

Jeremiah James
  • Jeremiah will (literally) drive through the night to make sure anyone he loves is still breathing and okay.
  • He will do his cruise ship choreography of "Living La Vida Loca" for you during intermission the day after you split up with your boyfriend merely to make you smile for 10 freaking seconds
  • ...or, he will spontaneously take you camping in the Poconos simply because you are having a crappy week. Then he will skinny-dip at 1 am in the Delaware with you. Which is not remotely romantic. Because it is pitch black and too cold. It is just funny and epic and COMPLETELY AWESOME.
  • Jeremiah played Billy Bigelow to my Julie Jordan in the West End revival of Carousel. Picture it:  [endless opening Carnival scene tech for the 'Carousel']
AL: Heeeeey... so the giant kiss in the 'Bench Scene' is terrible.
JJ: ...Okay...
AL: Sooo we have to fix it.
JJ: Great. [pause] Um, HOW?
AL: [Pause] Well... [pulls him into the swath of curtains] ...I mean, we have to, eh, practice.
JJ: WHOA. I'm sorry WHAT?
AL: Just... Jesus. Just f***ing SNOG ME.
JJ: HERE?!
AL: Yes! Here! WHAT? DO YOU WANT ME TO BUY YOU DINNER? GET IN THERE!!
[awkward snogging. // Enter VICTORIA]
V: Hey guys--!
AL & JJ: --WE ARE WORKING!
  • Look: in my day-to-day life, I am not a laugh-out-louder. I am that horrible person who will listen to an amusing comment and quietly go "Oh hey, that's funny..." He is the only human I know who can make me laugh out loud pretty much CONSTANTLY. 
  • I mean... he is a super fox. Dzuh. Major hair. Giant arms and pecs both with their own postal code. Epic skin. Teeth you can see from SPACE... Look: it's dumb. But charmingly, he has absolutely no idea... 
  • ...and he is mostly just a super dork.
  • He is the loyalest human I have ever met. 
  • He is ferociously principled. 
  • And talented. 
  • And deep. 
  • And reassuringly tall.
  • And basically? This man loves his dogs. His country. His scotch. And Superman.
the perfect picture.

More friends I admire:

Part 1
Part 2
Part 3
Part 4 

02 June, 2012

Subject: MacRae vs. Raitt - A Hello Again Thread

"If I've told you ONCE Bob Lenzi I've told you a THOUSAND TIMES! MacRAE!"
So there is this thing we do. 

The cast (and creatives) of Hello Again fell in love. 
That we knew. 
That happens when you take your clothes off and take naked photos for the poster five minutes after you meet one another.
We reunite all the time-- for the 12th of May (a significant date in the play for those of you who do not know), the holidays (see our Easter "Hello Again Jesus!" party), to see The Muppet Movie. You know-- like normals. 

But there is this thing we do...

We, and I really do mean ALL of us, continue to write emails to one another-- and I do not just mean the odd "Happy Birthday Whoever" emails but LONG (sometimes over 60 messages long) email chains. 
About any ol' thing. 
I love a healthy Hello Again email chain. 
Just your run-of-the-mill, Homeric-long-form-poem-esque, epic Hello Again email chain.

So: once upon a time, a very very healthy (read: strooooong) debate began among us regarding the Billy Bigelows of original John Raitt and film version Gordon MacRae (and obviously this Julie Jordan had quiiiiite a bit to say about it thankyouverymuch). It was legendary--as all good Hello Again  conversations seem to be.

Below, is the MacRae vs. Raitt Hello Again  email chain.

En. JOY.

____________________________________
Subject: MacRae vs. Raitt

The controversial court case continues--check this out:

Notice this is #3 while #4 is...I rest my case.

--
Jack Cummings III
Artistic Director
Transport Group Theatre Co.
____________________________________

From: Bob Lenzi
Subject: MacRae vs. Raitt
 
 Well take a peak at #8 when you have the chance.  At the 7:25 mark, I believe the subtext is "Alright all you ignorant MacRae loving shits.  Listen to what I'm about to do live, no sissy film sets with vocal dubbing.  MacRae could never dream of the vocal brilliance I am about to display.  Enjoy my extra B-flat bitches..."

______________________________________

From: Bob Stillman
Subject: MacRae vs. Raitt

So, MacRae gets to sing all of "If I Loved You," plus the reprise,"in #3, and Raitt gets his verse cut out of #4, and you're making comparisons?

______________________________________

From: Chris F
Subject: MacRae vs. Raitt
Don't be silly, Jack.  John Raitt.  End of story.

______________________________________

From: Alan Campbell
Subject: MacRae vs. Raitt
Make it stop!

______________________________________

From: Jonathan Hammond
Subject: MacRae vs. Raitt

Jack.
You have broken our sacred Playbill rule.

Hi all!
Xxx

______________________________________


From: Chris H
Subject: MacRae vs. Raitt
 
Well, if we're talking numbers...

Google Search:
Gordon MacRae - 686,000
John Raitt - 8,620,000 
______________________________________


From: Chris F
Subject: MacRae vs. Raitt
 
Thank you, Chris.  I always could rely on you.

______________________________________

From: Alan Campbell
Subject: MacRae vs. Raitt

Wow. Haberl gets in the weeds with that one!


______________________________________

From: Donald Butchko, Stage Manager
Subject: MacRae vs. Raitt

...is it too late to vote for Michael Hayden?

______________________________________

From: Jack Cummings III
Subject: MacRae vs. Raitt

Sure--that was such a robustly sung performance--and by robust I mean...not.
Sent from my Verizon Wireless BlackBerry
The cuts were decided upon based on quality.

No further questions your honor.

Bam!
End of story!? Oh hell to the no Fenwick!
Not in a million years so sit back down in that wheelchair Blanche!
Nice made up figures Haberl--why don't you run along and play with your Fischer Price airport while we settle this.
Look @ Lenzi trying to exert authority--how droll...how VERY droll. Don't you have some cheeks you need to rouge LENZI!!??
Je regrette rien.

______________________________________

From: Alexandra Silber
Subject: Re: MacRae vs. Raitt

Gah!!
I leave you children alone
For 2 MINUTES!!! 

Look. Raitt had a B-flat. It did rock. He was a beast and the original and could sing Verdi of you asked him to. 
MacRae was so fucking sexy-- like  Christian Bale french kissing you with a mouthful of Scotch sexy--and crooned like a psychopath. 
I want you to know that I have KNOWN some Billy Bigelows in my time... Believe. You. Me. 
These two were both amazeballs. 
My overall verdict?
  Rait for My Boy Bill and the money note 
  MacRae for My Little Girl
Done. 

And Donald...? If you mention Michael Hayden again we are finished. 

I say one blew it high, the other blew it low...for many and many a long long day. 

Over and out.

______________________________________

From: Jack Cummings III
Subject: MacRae vs. Raitt

Silber in da' house y'all! Heeeeeeaaaay!

______________________________________

From: Alexandra Silber
Subject: MacRae vs. Raitt
 
Oh my god did I silence the crowd...?

______________________________________

Subject: MacRae vs. Raitt

You did just basically drop the microphone and walk away...

______________________________________


From: Bob Stillman
Subject: MacRae vs. Raitt


Put it this way, Al: if this thread were an air mattress, it'd be punctured. 

BAM!

______________________________________

From: Donald Butchko
Subject: MacRae vs. Raitt

I want to frame this.  or perhaps stitch it into a sampler?

______________________________________

From: Jack Cummings III
Subject: MacRae vs. Raitt

End Scene. 


30 November, 2011

A 'Quick 5' with The Maryland Theatre Guide

A great, thought-provoking Q & A with The Maryland Theatre Guide. See you Friday!
*

Alexandra Silber will be back performing at The Kennedy Center on Dec 2, 2011, at 7:30 PM as part of The Barbara Cook Spotlight Series. She was last seen there in Master Class starring Tyne Daly. Alexandra’s London theatre credits include Carousel, Fiddler on The Roof and The Woman in White. She recently made her NYC debut in Hello Again at The Transport Group.


You will be performing at The Kennedy Center on Dec 2nd in the Barbara Cook Spotlight Series. Can you give us a hint of what you will be singing at your concert?

©dan wooller
It feels odd to call my cabaret act London Still a concert because it feels like more of a theatre-piece. Probably because it tells a linear story; the tale of why I left America as a teenager, and why I returned. It is a classic tale of ‘there and back again’’- from Odysseus to Bilbo Baggins to Dorothy – we all return to the place where we began and are changed. It is a universal human experience.

That said, I pepper it with my own details, from the serious to the utterly self-deprecating (one of my very favorite things to do). You’ll hear a great deal of Kander and Ebb, Kurt Weill, and of course Rodgers and Hammerstein, but it is also peppered with some jazz, pop and even some opera.



What are your earliest memories of performing?

I remember my very first Ballet recital when I was 5 – my class ran across the stage flapping our arms. My mom made everyone’s wings. I had bangs. There was cuteness. I also cut my teeth in the third grade in a production of Annie at El Rodeo School in Beverly Hills. No, not what you are thinking, I circumvented ever playing the title character and in fact played Miss Hannigan. Thaaaat’s right. I was fierce and mean and convinced myself for years that she behaved so badly because of her drinking. I took it really seriously.

A couple of weeks ago I went to the opening of the Kennedy Center’s beautiful production of Follies on Broadway. I was pleased to casually drop the following piece of trivia:
“I really don’t know this musical at all. I know the premise and some of the songs, but mostly I’m a Follies virgin. Though, I would be totally lying if I said that I didn’t close the 5th grade talent show with “Broadway Baby.”
Well, I did.
I want to say I closed the 5th grade talent show with “Losing My Mind,” but it would be a lie.
A great, funny lie, but a lie nonetheless.
Anyhow I had a full-on period suitcase and concept costume.


You have won critical acclaim in London for your performances in Carousel and Fiddler on the Roof. Why do you think British audiences love American musicals and are British audiences similar or different than American audiences?

Why do they love American musicals? For the same reasons we revere Shakespeare – because we invented the genre! There is nothing like seeing American musicals performed by Americans, but what I love about the British relationship to American musicals is that they do not have the same cultural references to the pieces that Americans do, as well as a completely different sociological relationship to class structures and emotional expression – all of that is very real.

An interesting example: when we began initially working on Fiddler on the Roof we were met with a perplexing issue about accents that went on for weeks. Fiddler is, to us, an American musical, possibly one of the best every written and a classic. Everyone played Lazar Wolf in High School. Everyone has been to at least one wedding where “Sunrise Sunset” made everyone melt.

But in Britain, they do not have that relationship with the piece, the characters, the story. As an officially Christian country they are less generally familiar with Judaism as a widespread cultural attribute.To them, it is a European story… because it technically is. But most fascinating of all? Why in the world would these people speak in American accents in Europe? As American theatre-goers we do not hear American accents as “accents,” for us it is the neutral sound. It makes perfect sense that everyone is stomping around the shtetl sounding like they are from various parts of Jewish America because to Americans that is a relevant parallel.

Not for the British.
So. We started with the concept of “neutral accents” – all the Jews in Anatevka had the accent we all hear on BBC News called “Received Pronunciation” (or “RP”). That didn’t work because of RP’s projection of higher-class and education – all of a sudden Tevye’s daughters sounded like they were from private schools rather than ready to milk cows in the dead of winter. Weeks of trial and error later we decided upon a European Yiddish accent (ie, Eastern Europeans that learned to speak English in England), the Russians, in contrast, used RP. It worked. A completely unique issue to the British approach to the American musical and here is my ultimate point: Americans write wonderful musicals. The British re-interpret them, wonderfully. As a British actress (up until a couple of years ago) I am proud to have cut my professional teeth there.
AND: Let’s not forget how much Americans love popular British musical theatre in return – thank you The Phantom of the Opera and Mamma Mia!. Just saying.

I have to say, I truly believe that people love great theatre no matter what the geography.



You were in Master Class here at the Kennedy Center with Tyne Daly. What were some of your fondest memories of that experience?

For the 2009–10 theater season, the Kennedy Center presented Terrence McNally’s Nights at the Opera including The Lisbon Traviata, Master Class, and Golden Age, a special collection of three McNally plays on one of his favorite subjects – the opera. Without any exaggeration, being a part of that triptych of McNally plays was one of the most fulfilling artistic experiences of my life.
So often as an actor, one can feel as though their contributions are limited – of course ideally theatre is collaborative, but we often have to take the visions of the director, the playwright, the designers into account, and though we hopefully are able to reach deep within ourselves and give, the greater principles as to why or what we are giving to can get muddled. It is rare that we get a chance to reach to offer something beyond “a great night at the theatre” and contribute to a Greater and Universal veneration of Art Itself.

But sometimes experiences come along that make you feel as though you are making a contribution not only to the piece you are involved in, to your playwright, fellow actors, or the immediate audience members who will be in attendance, but to a greater cause – sometimes you get the opportunity to be a part of a contribution to art itself. That is what the Terrence McNally Triptych was: a celebratory contribution to the world of interpretive art itself, and I felt as though I was allowed and able to weave myself deeply into that experience on every level. I made lifelong friends across all three productions, and became reacquainted with myself and my life as an American (in my nation’s Capital nonetheless!)

It was not just a “gig” (I mean, of course not, I was sharing a stage with Tyne Daly in one of the most important venues in the world). The point is: I was a part of something I believed mattered on a cosmic scale.

My time in D.C. that spring also was a period of real transition and personal healing, not to mention the fact that Sophie DePalma went on to be the role in which I made my Broadway debut. But it all began here at the Kennedy Center.
May every national artistic institution be so inspired.

I remember spending time in the Green Room we all shared – every one of us playing cards and laughing in an array of different period costumes. I remember sneaking backstage to the Family Theater from the Eisenhower to watch the second act of Golden Age from the wings (because I was only in the first act of Master Class!).
And best of all? I remember singing at Terrence and (his now husband) Tom’s wedding just outside the stage door along the banks of the Potomac on the most perfect spring day in the history of the world.


Are there any roles on Broadway now that you would like to play?  

I have always strived to do great work with gifted people regardless of the location, but some dreams/itchings include Nora in A Doll’s House, Rosalind in As You Like It, Anna in The King and I, Irene Malloy in (either!) The Matchmaker or Hello Dolly!, and an absolute dream would be to play Amalia Balash in She Loves Me (which, of course, Barbara Cook, the curator of the Spotlight Series in which I am appearing, originated herself).

But truly, there would be no greater dream than getting to revisit Julie Jordan (of Carousel) at home on Broadway. I have been so fortunate to portray her in the West End, in my birthplace of Los Angeles, California, and bringing it to New York would be a dream.
_
 

Watch Alexandra Silber as Julie Jordan in Carousel at Reprise Theater Company in LA, singing “If Loved You” & “What’s the Use of Wonderin’"

Go behind the scenes with Alexandra Silber, as she prepares at the half hour call to play Julie Jordan in the West End production of Carousel.


Alexandra Silber’s website.

03 October, 2011

Elementary School Crushes

Sweet baboo
Who were they?
And where are they now? 
I am not on Facebook so this investigative reporting is OLD SCHOOL.

Andrew Moylan
Andrew and I sat next to each other in both Mrs. Overmeyer's 6th grade World Cultures class, as well as one kick ass, legendary quad-table in last period Art. He was so cute. And freckly. And he got stung by a bee in the face once. I think we hung out at the local town fair and went on the "Kamikaze" twice in a row (which I only did to try to be cool). Crucially, this is the kicker: he had red hair...and you know how I feel about that...

Andrew studied Political science at University of Michigan and is now Vice President of Government Affairs at National Taxpayers Union. He is married and lives in Arlington, Virginia.
And, I am only deducing this from the internet, but I think he is.... in the Tea Party...which iiiiis deeply... a lot of adjectives I won't bother to write... But! On a lighter note is apparently an accomplished "Cross Fitter" which sounds super bad-ass. ...And, happily, he still appears to be a redhead (though wears his beard in what I would declare to be a rather controversial look commonly referred to as the "Chin Curtain" --this is a beard unaccompanied by a mustache that grows down from the sideburns and along the jawline, completely covering the chin. It was Abraham Lincoln's style which is why it is sometimes referred to as the "Lincolnic"...which sounds.... not so great...)


Josh Grant
JoshGrant (he is one of those people whose full name you felt inclined to say inonego) and I attended theatre summer day camp together in 1994-- this is before Interlochen (that is seriously going back in time...). That summer, we did Peter Pan. I played Peter Pan and JoshGrant played Captain Hook.

Later on I would (prepare yourself, this entire sentence is ridiculous)
1. go to a private Jewish Day School's 7th grade performance of
2. The Sound of Music to
3. support my friend Shira from Ballet who was
4. playing the role of Max Detweiler, only to discover that
5. Josh Grant was playing Captain Von Trapp (I suppose he cornered the market for playing middle school versions of sea-faring men?) and
6. The entire production was to be performed in Hebrew on
7. Groundhog Day. 

Josh is now an Ophthalmology Resident at University of South Florida.


Tavi Stutz

Tavi Stutz: AERIALIST.
Ohhhhhh Tavi Stutz. Tavi and I were in what I consider to be my first "proper" show, and you are all going to laugh because it was indeed a little ol' musical called Carousel. I know. I know. You may gasp if you wish. It was absolutely the formative experience that convinced me I wanted to pursue a life in the theatre professionally. I was twelve and played the part of Louise because I was primarily a dancer at the time, and Tavi played the Carnival Boy. Even though I was twelve it was all pretty swoon-worthy (both the theatrical experience and Tavi). It was flirty and there was a kiss and let's just say Tavi was the first person whose name ever made it onto my binder. It was pretty cute.

Tavi now? I am not joking, he is an aerialist in the circus and currently in Cirque Du Soleil. Whatever. Amazing. (Oddly I know quite a few people involved in Cirque-- who would've thunk?) Tavi had never really  danced before Carousel and I always wonder if the Dream Ballet ever influenced him?


Erik Wagenheim

A couple of weeks ago I went to the opening of Follies on Broadway. I was pleased to casually drop the following piece of trivia:

          "I really don't know this musical at all. I know the premiss and some of the songs, but mostly I'm a Follies virgin. Though, I would be totally lying if I said that I didn't close the 5th grade talent show with 'Broadway Baby.'"

Well, I did. I want to say I closed the 5th grade talent show with "Losing My Mind' but it would be a lie.  A great, funny lie, but a lie nonetheless and anyhow I was adorable with my suitcase and full-on period concept costume. (In an related note: one of the weirdest elements of it looking back is that my accompanist was actor Jonathan Hammond, whom I just recently reconnected with in New York playing opposite in Hello Again..... I mean talk about "helloooooo AGAIN," right?!)

Anyway Eric played a Smashing Pumpkins song on the guitar in that talent show and it was pretty good. I have no idea where he is now but he was always a bit of a jerk to me and I recall when I worked in a diner in High School he came in, didn't remember me, was sort of rude and the Greek girls I worked with insisted they spike his food with mischief and I let them. I'm sure he's a perfectly nice adult.

...What about you?

08 February, 2010

Los Angeles: Look Deeper

When I arrived on the Pacific shores a few days before Christmas I was many things:

incredibly ill
manic
heartbroken
confused
raging
panicked
isolated
suspicious
anxious
healing
totally lost

And somehow, in the course of a few weeks, I have come through all of those into a realm of utterly new feeling.

"At the ceasing of the running:
What terrified us so?
At the fall of the cities:
Why did we inhabit them?"

When we are confronted (sometimes affronted) by the state of Screeching Halt, we must do more than simply stop. There is nothing for us to do but be present with the pains, truths, realizations and we must work on our Selves. We must endeavor to deserve the growth. We must work for healing. And it is work, indeed.

There I was: broken, depleted, in an unfamiliar house surrounded by seeming strangers; and all of a sudden terribly alone with my pain for the very first time since my arrival in America.

But this place has greeted me open-armed.
And more profoundly, it had been here all along... waiting for me to be ready to rediscover it.

Home.

Los Angeles: Hello.
Hello there.
How I misjudged you.
How I assumed you were not for me, were no longer a part of me when in fact you are my place of origin. My 'Pourquoi Story.' You are where the narrative of this certain Alexandra began, the seat of a personal mythology.
You were the patient Penelope to my Odysseus.
The Eros to my Psyche.

I have often mused about the nature of Return:

A traveler. Perhaps that's it. Though my travels hardly feel worthy of comparison to those of the greats-- Rosalind's full circle to and from Arden, Bilbo Baggins' there and back again. I am no explorer like Vespucci, would never dare to term myself a gypsy nor pious enough for a pilgrim. 

But ahh LA.
How I had forgotten you.

And though I know I am no great traveler of Shakespearean or Historical proportion, I share with them and with us all, a cardinal desire: all I have ever wanted is what we all long for-- a place in the world. A home. 

I feel perhaps like Marco Polo in Italo Calvino's Invisible Cities... In Calvino's book, the great explorer Marco Polo entertains an aging Kubla Khan by recounting tales of 55 cities he has visited in his travels. As Marco Polo continues to impart his experiences, he, willingly or un, revels connections between the cities that leave the reader left to wonder whether the accounts of his destinations actually represent different aspects of a single city; a unique and unrivaled place, in Polo's case, his beloved Venice.
 
You know, it is an odd thing, when we say we Return it naturally implies we've been Somewhere Else. I have more than returned from Abroad. From London. From New York or Siberia or my previous Self or even from the depths of heartbreak or the pits of near self-annihilation. For all my mythological rhetoric I am no Orpheus! And I would never dare to compare with the heartaches of Alcyone. By no means! An Amundsen, Franklin, or Thubron I am not.
No.
I have returned, simply, from Somewhere Else, (a town like any other..?)
Yes. It may still be Wednesday in the middle of our lives, but I am not who I was when I began.
And here in the land of Back Again, one finds they are presented with a second quest: the search for words to articulate the experience.

* * *
 
It would be impossible to properly articulate the profundity of the entire embracing experience in here LA. It was not merely a holiday, a period of emotional comingtogrips, of purging, of family introduction (complete with chasing cousins over a fence and odd but admittedly delicious Jesus birthday cake). Not simple about geographic re-emergence, touching base with childhood characters and straightforward Reunion.

It was not just a Carousel "do-over"-- a chance to revisit a character I've love deeply as if she is a real and breathing friend. A chance to right many of the wrongs done to her by the London experience, erase many of the haunting negative memories and perhaps replace them with more positive, healthy ones.

It was more than an opportunity to force myself to make myself vulnerable with an entirely new group of people-- people who knew nothing of, bore no resemblance to, either my British life, my Interlochen friends, my Michigan home.

They were new, potentially flippant strangers. One of the things that happens when one is hurt badly by people close to them is the sneaking suspicion that ill-treatment is all you are worth. How awful a person must I be, one thinks, to be treated this way by those I held dearest? I must deserve nothing better.

So. Initially filled with tremendous social anxiety (particularly in a role and in a piece that requires so much of one's emotional vulnerability), I was instantly introduced to an entire company of people who embraced me in a manner I cannot even begin to write... I can only lightly touch it and pray you understand-- it was an embrace filled with deep, real, poignant love. The love of very special friends and colleagues. And how I love them in return for their gift. The love of the pure theatrical alchemy that we all wish we can experience. The Theatre we dream of. The Theatre that made us love it all in the first place.

These people reminded me, taught me, showed me with their unconditional support, love, understanding, affection, that I was worth-y.

And it revived me.
In a city that had always been my home.
It was the ultimate Return.

* * *

A few days after our opening, I felt my heart open fully again. I felt it open, perhaps, more fully than it ever has in all my life.

I drove my rental car up to Melrose and parked across from the Troubador to take a meeting with a casting director. The day was iconic-- sunny, bright, sky a blinding blue; the kind of weather that fills one with the essence of vitality.

She asked questions.
She listened as I told her my story.
Then, after a brief pause she smiled at me across her desk.

"You know," she chortled lightly, "I am from Orange County. I grew up here and have seen so many people come and go, have watched as LA chewed good people up, spit them out. I've watched talentless people come to this town with big dreams, people willing to walk over anyone, to do any vile thing to get there..." she glanced out at the honey-colored light pouring in from her window.

"But you are from here. You were born down the road. And you went away, you lived your life, your had your dreams, you got some breaks but damn you worked hard to storm through those open doors when they presented themselves and legitimately made good. And here you are, back in your birthplace almost by accident and you've triumphed in such an unassuming way. You've come back-- not full of fluffy dreams but full of the real thing..." she smiled, "that's the kind of LA story I can get behind..." and she looked me straight in the eye, suddenly very serious.

"Welcome Home."

It was transfiguration.

Had I done that? Had I? I thought I had just kept pressing onward, forcing forward.

But this.... This conversation in a Melrose casting office was the moment I first began to see through the fog of sorrow and dislocation sat staunch upon my existence.
The murk lifted, and as it cleared I began in that very moment to create a new vision, (though I could not yet, in that precise instant, see it with total clarity).

It began with her words, followed by a warmth in my chest, and at last by a feeling of absolute certainty startlingly inspired by what is normally a rather gruesome professional exercise. Arriving to her typical Californian office block, her words were that of some kind of disguised prophet. And, thanks to V, suddenly this vision had size and shape.
It became tactile, tangible, populated.
And in this moment, I sensed a kind of threshold.

It has not been others who had prevented me from attaining my sense of belonging and worth,
it had been myself.
It had been my own unwillingness,
my own confusion about how to transform longing in to effective action.
Some people experience this with their professional goals
I experience it with Self.
I could sense a lifeline between these points now: tense, like a tightrope.
Something I could walk along.
In the last few years I had lost tension, and wandered without focus, struggling to survive.
And in this moment I knew:
     I will walk the wire.

* * *

Have I in fact discovered home was always there, patiently waiting for me to earn and deserve it? Observing Calvino observing Venice is a reminder of how often the controlled, measured world of knowledge and assumption fails us. So much of life resists the facts. As Khan discovers: imagining a"Venice" is imagining yourself. And though an unsettling exercise, it is necessary, perhaps. I believe my trip [Home], was precisely that.

So.

Goodbye LA.

Thank you for welcoming me home in such an incredible way.
I will never forget how coming back to a place I was unaware had always been my home, my place of origin, transformed a broken spirit and gave birth to not merely a new chapter,
but a new paradigm,
a new sense of life.

I am grateful to all who made it possible.
And I'll be back.
This is,
and apparently always has been,
Home.

"...what he sought was always something lying ahead, and even if it was a matter of the past it was a past that changed gradually as he advanced on his journey, because the traveler's past changes according to the route he has followed: not the immediate past, that is, to which each day that goes by adds a day, but the more remote past. Arriving at each new city the traveler finds again a past of his that he did not know he had: the foreignness of what you no longer are or no longer possess lies in waiting for you in foreign, not-yet-possessed places."
-- Italo Calvino

29 January, 2010

Carousel 2.0

"The world belongs to you as much as to the next fella-- don't give up..."


27 January, 2010

The LA Times

Enjoy this little feature on Carousel 2.0 and myself in the








It has been a total joy returning to my birthplace.
More on the entire experience to follow (after our opening tonight!)

What a surprise and what a homecoming.

02 November, 2009

Winning the award

Every form of happiness is innermost. The outer displays are the results of this secret, unspoken, unarticulated private flame. Our greatest moments are personal, not always able to be touched or shared.

Of course, ultimately, I have always believed that our life's efforts, our labors and actions should be motivated by a simple to desire to be great. Yes. Ultimately, at the end of our days it is about being great, not at all about being thought of as great. I live by that. There is no sense in obsessing over recognition, I focus exclusively on my own standards, my individual set of artistic and moral values. I know the difference of giving everything, and withholding. An audience, every audience, every day, deserves 100 percent of my energies and devotion. Nothing less. And I don't actually care if anyone takes note.

I will know the difference.

I will.

Here, though, I attempt to share with you the unimaginable honor received yesterday from the TMA committee. I cannot share it really, it can only be marked. (But it interesting, isn't it, this human need to award, to commemorate, commend, celebrate..?) I include this post with a photo to respect the pregnancy of the moment Julie Jordan got a nod. She is a beautiful character, one I endeavored to create with a an almost pious sense of devotion, one whom I treasure and delight in the way I would a living, breathing, real life friend. She and Carousel have brought me countless gifts since childhood (one of my very first theatrical experiences was playing Louise in Carousel in 1996 and the experience rocked me), and I know the Perseus-ian tether connected from her heart to my own will never sever.
And although the return to London was fleeting it was filled with familiar things, places, smells, foods, and most importantly, the faces of true friends and of course the lovely, truly shocking, award itself. Thank you London for such a wonderful visit, and thank you to everyone for your incredibly warm and generous congratulatory words. A lot of people made what I did in Carousel possible.
But oddly, the award felt like an odd kind of marking for the last year of struggle. Well done, Al, the piece of glass declared. Well fought. Well battled.
Truly, I am incredibly humbled and grateful.

Thank you.

20 June, 2009

The Hornpipe

The Hornpipe from stage right!

The Penultimate Evening Hornpipe at The Savoy Theatre, London (Sharpy's last hornpipe-- Sharpy is played by Derek Hagan in the red head scarf and this was his last show! The ensemble stepped back to let him and Victoria Hinde do their "lovey dovey" sequence as a solo!)

Enjoy!


26 May, 2009

Behind the Scenes: Half Hour Call

Join me backstage, and follow me as I get ready to play Julie.

This is the half hour call at The Savoy Theatre, enjoy!

17 May, 2009

It takes three

What a week.

It took...

A cut pas de deux
a carnival boy crisis
The threat of a show cancel
The great Adam Cooper
The Rodgers & Hammerstein Estate
and THREE Julie Jordans

...to get through this hell of a week, but if you could have been there on Saturday night, feeling the thrill of togetherness, experiencing the rush of an entire company plunging the period, the full stop on to the end of this violent sentence of a week; well... you would know what it feels like to overcome tremendous adversity and emerge victorious. And victory it was.

Saturday was the best show we have ever done. We burst, we radiated, we trembled with the energy--like the pile of ash that remains from a fallen phoenix. Or a collective creature raging against the dying of the light. This one is for us, we thought. This one is for principle, for nothing other than the fight. We are fighting against our fire going out, "spark by irreplaceable spark." We will not let the heroes within us expire. But Saturday? We were magnificent. Because we are magnificent, and can not be spoiled.

The crowd gave full throttle cheers from the first moment, and were wiping tears off of their chins by the end. The audience was on their feet in a way they have not been since Press Night. And we, more than we ever had, had earned it.

Sometimes in this world, we get burgled. We lay our souls open and bare, like a trusting person would a front door, and people take advantage of our openness, of our extraordinary courage to be so, and burgle us. And who knows why? Jealousy, greed, shattering envy, fear, arrogance, carelessness. The list is infinite. But the terrible transparency of truth reveals these dark forces to be brittle and stooping and banal.

What I do know is this: we could not have reached this serenity without all the violence we have known. But then again, isn't that true of everything?

14 May, 2009

Coops...

...as Carnival Boy.

Adam Cooper Comes to Rescue of Carousel
Date: 14 May 2009


The audience at last night's performance of Carousel at the Savoy Theatre got a special treat when renowned dancer Adam Cooper (choreographer of the show) stepped in at the very last minute to perform in place of the injured Tom Dwyer, who plays the Carnival Boy. Dwyer's usual understudy, Leon Webster, was also off injured, and the second understudy James O'Connell was too ill to perform.

Cooper, who is currently choreographing a production of the opera Roberto Devereux at Holland Park, only agreed at the last minute to go on, with producers facing the prospect of having to cancel the show if he couldn't do it. After 30 minutes of frantic rehearsal, he went on to perform the famed 15-minute pas de deux segment with dancer Lindsey Wise, and a bouquet from co-star Leslie Garrett at the curtain call.

But Cooper, famed for his performance in Matthew Bourne's seminal 1994 all-male version of Swan Lake and appearance in 1999 film Billy Elliot – is unlikely to be called on again. Leon Webster has today been given the “all clear” by doctors and will resume in the role this evening.

All I can say is this: sitting in the wings with the entire company, stage management team, crew and theatre staff, we experienced a communion of sorts. There, bonded together in the presence of such astonishing greatness, we simultaneously glinted for a moment, and bathed in a feeling of unity that I have only ever experienced in the theatre. Tonight was what being in the theatre is all about. It was beautiful and a shattering honour.

What a day.