Stage-door-ing: A Guide

Dear Al,

Any tips or things to keep in mind when a fan wants to meet a performer they admire at the stage door? I've heard both wonderful and horrible stories and I want to be the best kind of "fan" I can be! 

Thank you,

Jessica

*

What a FAN-TASTIC question! So thoughtful and something very few people every discuss at length. I am so happy to provide a little insight into what it feels like on both sides of the stage door experience!

When you are a professional actor, singer, artist, speaker, performer, noted person of any kind, you often meet strangers that have been influenced and affected by your work. There are many kinds of “stage door” experiences, some beyond beautiful, some verging on the inappropriate, and some downright upsetting.

It should be noted that most are wonderful, but just in case you are ever in fear of crossing a line, it might be helpful to lay out some helpful hints about what it feels like to be on the other side of the exchange, and hopefully encourage more positive and meaningful encounters, and lessen the chance of a cringe-able moment for all. :)


I want to begin with a recognition: it is, without a doubt, a privilege beyond imagining to be any kind of human "of note." If a fellow human feels the desire for an autograph, a photograph, or any moment of time with me, I continue to be honored, and, frankly, slightly in shock. Why? Because I don't feel particularly remarkable. Especially when I sit at home pretending that "putting on my bathrobe" is "getting dressed," watching crime drama with my cat, on my sofa in Queens. But hey: I recognize and respect that being a public performer comes with certain visibility, perceptions, honors, and also, sacrifices. It is all part of the gig.

Ruthie Henshall, West End star and creme-de-la-creme of singing actors, taught me at the very beginning of my career that being generous with people at stage door is "Act 3" of our job—and I believe that. That, if a fan is brave enough to come up and thank you for your work (and perhaps even express what you mean to them); that, despite a long day of life-giving, energy-draining performance, those audience members have earned that extra 5-10 minutes post-show. Everyone has earned it. It is courteous, generous and rewarding from, and for, both parties.


Some of my most beautiful encounters in the theatre have been experienced after a performance with extraordinarily generous people, sometimes young hopefuls that remind me of my younger self, and others simply filled with emotion, gratitude and lifelong memories.

When I was a young theatre-goer, I came to see my first Broadway shows at 14—it was the 1998 Broadway season and my eyes were full of stars and my ears full of show-tunes. Audra MacDonald, Rebecca Luker, Douglas Sills, Judy Kaye, Donna Murphy, Patti Cohenour, Marin Mazzie— they were my idols and role models and dare I even say it? In a certain way, my saviors. I was spending every single day with "them" as their voices and vulnerabilities blazed through my stereo system in metro-Detroit.

I respected, adored, and felt grateful to them, but I was also quite shy, and could never in a million years have built up the courage to thank them in person for the gifts they had given me. I would have melted down in a puddle of “I-don’t-deserve-to-breathe-the-same-oxygen-as-this-human” incomprehensibility; rendered incapable of articulating what they meant to me, what they had given me, let alone kept it vaguely together long enough to avoid asphyxiating on my own tongue.

All of this is to say: I think about 14-year-old Al whenever I meet someone at stage door, because they could be feeling just like I did.

Perhaps you, dearest readers, can’t entirely imagine how ordinary I feel when I come out of a stage door. Often times I'm thinking “Did I fully remove my makeup / I have to find some food / check on my cat’s Instagram / call my pharmacist / I wonder if my mother made her connecting flight in Atlanta yadda yadda yadda” …BUT I DO. I’m an "all-grown up" version of that 14-year-old girl  who might never be able to believe this is her life.

So I recognize now, that Rebecca Luker likely felt the same way about herself. (Just, ya know, without wondering about her cat’s Instagram...) All of my idols were (and still are) just people: normal, talented people going to work; and when they had the wherewithal, they were happy to greet fans at stage door because they couldn’t believe this was their life…

I don’t know when we become like our role models, but oh dear reader, we do. I still can't believe people even vaguely know who I am. In fact, this week at Yankee Stadium while supporting my Detroit Tigers, a sweet fan and her Dad came up to me and said Hi, we got a picture, and I followed up by asking her how the heck she knew who I was. (I'm clearly... a total Pro.)
Hopefully, as we grow, we can open ourselves to the realization that none of us are gods; that even our idols are people, and that we can respect the fact that authenticity is all that is required to make a meaningful connection with a person you admire.

I have had stage door experiences that have been touching, meaningful, and moving—I will hold them in my heart for the rest of my life. And, I've also had some stage door experiences that have been really challenging.

Know this: what lies within the confines of our inner-most selves is not only where an artist's best and most authentic work comes from, but it is also ours, to both defend and share at our own pace, and at a level of comfort that feels appropriate for us. We also have the right to change our minds, to retreat if we sense danger, to be discerning. And, we have the right to not engage for any reasons we deem fit, particularly if the work on stage is at risk (such as in terms of rest, energy, germs, etc). You have purchased a ticket to the performance, and that price tag does not include meeting the cast outside stage door. It is not a requirement, and should not be perceived of negatively if the actors wish to decline their participation.

We have rights—just like everyone else on earth, for again, we are also human beings trying to figure it all out too. I truly mean this: no matter how remarkable you may deem someone to be, at essence we are all souls striving to grow, to heal, learn, and be better versions of who we are every moment.

Social media (and the media at large) has in many ways warped our sense of what it means to "share." Even the words "friend" and "follower" have become warped by this phenomenon. In my own, introverted and very privately held life, I define a friend as: one who has borne witness to, and held, my inner life. I will not allow that definition to be exploded by Facebook. But it would be irresponsible to ignore the very blurry lines surrounding the word "friend" in our society. A “follower” on the other hand, feels slightly clearer—I do not follow your comings and goings, but you choose to follow mine. That feels appropriate, and like the boundaries are clear. Above all, remember this: never confuse friendLY, for freindSHIP.

Still. Confusing.


Dearest theatre goers, television watchers and fans of all kinds: those you admire are human beings too. We have limitations, emotions, off-days and downright bad days. We have previously arranged appointments, we have beloved family and friends visiting. We get sick. Sometimes very sick, and have to disappoint people, which is, believe me, heart-wrenching.


But above all, we too have very real vulnerabilities and basic rights to any privacy we deem to be appropriate for ourselves. Those boundaries are self-set and deeply personal; and everyone, no matter who they are or what they do, has a right to maintain those boundaries and be respected for it.


SOME TIPS:
     - Come prepared!
     - Bring a pen!(Preferably a Sharpie or other permanent marker)
     - Have the playbill/ poster/CD/autograph book facing the performer, not facing you. It will expedite the process. 
     - Have the camera open, prepped, and the photographer ready-to-go.
     - Have a special request? Just ask! But also be prepared for a “no” if the performer  is unable or unwilling to accommodate your request, and be gracious about it.
     -  Keep your comments authentic, but be brief. Remember that there are other patrons, and that we have to get home (to our famous cats) 
     -  Remember that friendLY is not friendSHIP: these performers are strangers, and not your actual friends (however friendLY they may be!)
     -  Meeting the cast at stage door post show is not included in the price of admission. Be compassionate and gracious if performers decline to engage.


The last thing I want to do is frighten anyone away from sharing their joy, from expressing their gratitude and laughter, getting a fun photo or above all, those sacred, deeply felt moments that can only be shared in a theatre.

I simply urge you to be discerning, and recognize what you are asking of strangers. Above all, to remember that performers are people too.

The first stage door I walked through as a working actor: London's Palace Theatre

TodaTix Campaign

I am so excited to announce that I (me?!) am one of the faces of the fresh new TodayTix campaign.

It was an unspeakable honor to be included in this ground-breaking new platform, a digital theater-loving company that wants theater to be accessible to everyone! TodayTix t is a brand I know and really love (and actually use in real life, by the way!)

This new  campaign is focused on diversity, affordable culture, accessibility, bringing new energy and new theater-goers into theaters across the globe, and all done in an absolutely stunning aesthetic, with photographs by acclaimed international photographer Billy Kidd.

I am so honored to join New York theater luminaries Ariana DeBose, Darren Criss, Gideon Glick, Eva Maria Noblezada, Sophia Anne Caruso, Tonya Pinkins, and Ramin Karimloo. (Nooooot sure what I'm doing on the list but, I'll take it! Also I got to wear a plastic bag dress and a giant purple sheep skin coat and the hair stylist extraordinaire cut my hair LIKEABOSS.)

Information about the campaign is below, and please let me know if you how you #SeeTheaterDifferently!

* * *

From: NEW YORK--(BUSINESS WIRE)

Theater Ticketing Platform TodayTix Surpasses $100 Million in Sales and Unveils New Visual Identity

TodayTix, the international ticketing platform on a mission to redefine the way people see theater, today announced it has surpassed $100 million in sales and has unveiled its new visual identity. Extending on its mission to connect the next generation of culture lovers to theater, TodayTix’s refreshed brand and mobile apps make discovering and attending extraordinary performances even more accessible - and now include the ability to plan theater-going adventures up to 30 days ahead of time.

Since launching in 2013, the arts-meets-technology startup has upended the $50 billion yearly global theater industry initially by launching the first and only free mobile apps for iOS and Android and subsequently launching the industry’s first mobile lotteries on Broadway and in the West End - offering steep discounts to the most anticipated shows. In this timeframe, TodayTix has also expanded rapidly to 10 regions across the U.S. and U.K. and bolstered its partnerships to over 450 leading theater institutions around the globe.

“Reaching over $100 million in sales is an incredible milestone that underscores the growing demand for seamless access to theater,” said Merritt Baer, CEO and Co-Founder of TodayTix. “We’re thrilled to have helped nearly three million customers access the best shows in their cities, and look forward to further connecting with culture enthusiasts through our fresh visual identity.”

TodayTix New Mobile App Features:

• Starting today, customers can now purchase tickets up to 30 days in advance to one hour before show time.
• Kicking-off first in New York City and London, users can leverage the new “Discover” recommendation feature to uncover the show that's right for them based on their interests - whether they're seeking the perfect play for date night or a family evening out on the town.

TodayTix New Visual Identity:

• A new brand logo with an eye-catching “X” graphic.
• Working with noted photographer Billy Kidd and tapping a breadth of muses from Glee star Darren Criss and pivotal Hamilton cast member Ariana DeBose to up-and-coming actors such as Miss Saigon’s Eva Noblezada and 15-year-old actress and singer Sophia Anne Caruso, the brand’s new photoshoot and creative assets celebrate diversity and inclusion in theater.

“Bonded by a deep appreciation of the arts, we set out to reintroduce theater to our fellow millennials. Our new visual identity, developed by some of the minds behind our generation's beloved brands including Shake Shack, Sweetgreen, Warby Parker and Saturdays NYC, continues to push the envelope of creative expression,” said Brian Fenty, Co-Founder of TodayTix. “Whether you're interested in fashion, photography, movement or literature, culture lovers of all ages and interests now have even better access to what they love most - great shows at great prices.”
This momentum comes on the heels of TodayTix launching its successful “Broadway Backstory” podcast in partnership with Theater People’s Patrick Hinds, which surpassed over 100,000 downloads in just three months.

For new brand imagery, logos and mobile app screenshots, download TodayTix’s press kit here: https://www.todaytix.com/content/press/PressKit.zip

About TodayTix
TodayTix is an international ticketing platform on a mission to redefine the way people see theater. Through effortless access to the best shows, insightful guidance to the world of theater, and thoughtful service at each moment along the way, TodayTix enables people to discover the best that their city has to offer. As the first and only free mobile app for iOS and Android connecting the next generation of culture lovers to theater, TodayTix is disrupting an established industry that is ripe for innovation.

Operating in the world’s most iconic theater markets, TodayTix secures the best discounted and full price tickets available for the hottest shows in New York City, London’s West End, the San Francisco Bay Area, Los Angeles, Seattle, Philadelphia, Connecticut, Boston, Washington DC and Chicago.

To learn more, please visit www.todaytix.com, tune into the TodayTix “Broadway Backstory” podcast, or download TodayTix for iOS or Android.

Ask Al: You Contain Multitudes

Dear Al,

Honestly, I am a little embarrassed to ask this question because I suspect you are asked it all the time, and possibly not with total seriousness. But I am actually asking in earnest: How do you get to Broadway?

I am a sophomore musical theatre student in a great American MT program and I’m a soprano just like you! It is my one and only dream to be a performer on Broadway someday, and I literally can’t see myself doing or loving anything else as much, but all I ever hear is how impossible it is to get “there,” how hard, how tough, how the odds are against us all. If that is true, then I don’t think I understand why training programs even exist for such an “impossible” profession! Because, well, you are “there.” You did “it.” You proved that this impossible thing, is not, in fact, utterly impossible. Somebody is doing it! So I figured I might as well ask what makes you tick, what motivates you, and how, if possible can others hope to be in a position like yours one day?

I know there is no real secret, I do. I know you have to work harder and be better than the rest. But what does that mean? What does that look and feel like?

You are such a big inspiration to me, and I just wanted to know if there were any thoughts on the topic you could share.

With gratitude,

Tara

 * * *


Dear dear Tara,


You’re not only a smart cookie, you are bold! This is a great question, and I sincerely thank you for asking this with such a genuine spirit. You are right, one does have to work harder and always strive to be the best they can possibly be in order to work at the top of any profession. But, assuming that that is obvious, let’s start by breaking up the mysteries of “making it” into a few points—all of which are not about specific “How To-s,” but about outlook.
 

1. No more “Never”
    Ah platitudes!  
    I love your logic because YES: Somebody is doing it. They have to cast someone, so “Why me?” Well, why not you? I like to think of Broadway as the “Special Forces” of the Theatre, and thus, by that logic, yes, it is an extremely rare, special, and thus, difficult achievement to make the cut. The reality is: you might not. Most people don’t. But? Some people do. And you could be among them. You have to be talented, bold, very resilient, and more than a little lucky.

    But you are correct: someone is out there doing it. People are also winning medals at the Olympics, going to outer space and this year the Chicago Cubs won the World Series. So take away those “Never” platitudes and replace them with language (and thus, thoughts/beliefs!) that stay open to possibility, even if the possibility is indeed slim.

Instead of
    “I’m never gonna make it,”
    “I’m never the lucky one,”
or
    “I’ll never sing like that”

Try phrases like
    “They have to choose someone!”
    “It might as well be me!”
Or,
    “Every day I am improving my skills and capacity!”


2. Athletes of the heart
    You are correct, “How do I get to Broadway” is a question I get asked all the time. It is matched in frequency to “How do I know when I’ve ‘made it.” And “What is ‘Success?’” Whoa Nellie. These questions all garner a similar response.

    'Broadway' is just like any other dreamy life goal. If I were an Olympian, people would assume that the view from the summit took years of early mornings, sacrifices, fierce commitment and bone crushing work, but somehow, society doesn’t always view artists in the same way. Believe me, the rigor required is identical, it just takes different forms. As Antonin Artaud said, artists are “athletes of the heart.” Artists of all kinds, but particularly interpretive artists have to do emotional gymnastics that turns their heart, minds and souls inside out to serve a story. But performing artists are also? Actual athletes. Just ask any performer doing 8 shows a week. Of anything.You ask what rigor "looks and feels like." That is, of course, different for every individual, but here are some ideas that I adhere to. These thoughts do not apply to and for everyone, but they are a guideline for me. (Also, if you are not an actor and you are reading this blog anyway, I welcome you to find the corresponding parallels in your own profession and life!)

    - Rigorous self-exploration (you are the only personal human experience you will ever have)
    - Incredible discipline (of diet, exercise, rest, study, class, physical therapy, skill improvement, health maintenance, vocal rest)
    - Empathy (you have to constantly expand your heart to be able to understand and portray without judgement, people very different from you)
    - Curiosity (about humanity, relationships, history, culture, and people who are different from you)
    - Voracious, rigorous study (read plays, books, see theatre, take classes)
    - Practice Practice Practice (you have to DO it actually warm up, sing, stretch yourself, sight-read, Read out loud, or freaking finger paint I don’t care— but you have to DO your art— every single day)
    - Exercise (your body is your instrument)
    - Feed yourself real food and actually sleep (depravity is overrated, and seriously uncool/not to be bragged about)
    - Constant skill improvement and expansion

Finally,


3. “Broadway” is special, but it also just geography
"Broadway" only made up of a few criteria:
    - The size of the house
    - The geography of the address.
     There are 41 qualifying Broadway theatres, all of which have to have over 500 seats, and located in the Theater District and Lincoln Center circling along the street “Broadway,” in Midtown Manhattan, New York City. It is also, not unlike church or marriage or the right to vote, much much more than just that the basic criteria, but in essence…that’s it...

     Yes, Broadway (along with London's West End) is widely considered to represent the highest level of commercial theatre in the English-speaking world. But, while that is amazing, and a wonderful goal to aspire to, there are many many places in America, and across the planet to create, perform, participate in, and enjoy, the theatre.

    Off Broadway services more New York city tourists in a calendar year than the Empire State Building, the Statue of Liberty and Ellis Island combined!

     And that is just New York! What of London’s West End, National and International Tours, summer stock, semi-professional theatres, and last but certainly not least, incredible, award-winning regional theatres across the country (like the Guthrie, McCarter, Goodman Theaters, the Mark Taper Forum, and of course, The Kennedy Center)? See where I am going with this? Essentially: There are lots of places to work that are not Broadway.

     These incredible venues are not only the birthplaces of many original works, and Broadway shows before they reach New York, but the majority of regional theatres like to revisit the past and cater to the audiences (just like you!) that love classic plays and musicals as much as they enjoy the new stuff, not to mention: they are the sites of many of my (and hundreds of thousands of other actors’) very favorite artistic experiences.

     In 2016 there were also over 500 amateur productions of Fiddler in America alone, along with 20 professional American productions, and countless international professional productions (did you know Fiddler has been professionally produced in Japan over 1300 times in the last 50 years?!)


Which brings me to the ultimate point:


4. Work is the Goal; and Work is Work
     I am no less playing Tzeitel than Haley Bond was at The Muny last summer, or Teagan Wouters continues to do in the Australian National Tour; or any number of Tzeitel’s across the country and world in regional, amateur and high school theatres. I get paid—and yes, a Broadway production usually gets recorded into an album, which is eligible for a Grammy; but the words themselves, the songs, and the life Tzeitel Kamzoil lives? Every actor with “Tzeitel” next to their name in the program says the same words—at varying levels of professionalism, artistic depth, exposure, technique, experience and capacity, yes—but we all still do it.

     And so can you, dearest Tara! If you possess talent and grit (and I’m just going to assume you do!) you can play Laurie and Carrie and Magnolia and Maria and allllll the yummy sopranos you want—they just might not be on Broadway. But honestly…who cares? You might thrill, entertain and move the good people of St. Louis or Sarasota or Minneapolis and that’s wonderful! Some of the greatest artistic experiences of my life have been in Edinburgh, Washington, DC, Sheffield, Manchester, Philadelphia, San Francisco and Los Angeles. These lovely roles are out there in the world to be played, and you might just play them. 

     For work is work. That is the nature of an functional actor’s life/a performing career. Working. Not working in a highly public, salary-and-fame-and-award driven way. Fame and fortune are hollow goals, and their pursuit (I promise, I've witnessed it) will make you miserable. Not every screen actor is a movie star, nor every musical theatre performer a Broadway legend. Some are both (ohai there Bette Midler, Bernadette Peters, Carol Burnette, and Mandy Patinkin)!
    But most of us actors are just going from job to job, and while often those jobs are quite rewarding, though sometimes they are not. That's okay. We go about this work regardless of the fancy address; we pay our bills, collect our insurance weeks, and when we are lucky, make new friends and fill our souls. But above all, working is truly about providing for ourselves as artists. That alone is a difficult goal to achieve (only 1% of all the actors in the Actors Equity Association, work) thus, being a working artist is truly the ultimate artistic dream. If notoriety and shiny awards come your way, how wonderful. If not? That’s okay too. Someone has to, nay, gets to play Hedda Gabler in Philadelphia; someone gets to play Valmont and Mama Rose and Coriolanus in Whereverville. Be honest: wouldn’t it be magical if that could be you?


5. “I contain multitudes”
    Walt Whitman said:

    “Do I contradict myself? Very well, then I contradict myself, I am large, I contain multitudes.”

    Whoa boy, Walt. Steady there. You nailed this on the head. Human beings are vast creatures, containing multitudinous textures, capacities, and qualities all of which make up who we are, and the stories of out lives.

     Broadway is a wonderful life goal, and I feel beyond honored to have “made it” to both the West end and Broadway myself—I count my blessings every single day.

    However, “Broadway” is, in actuality, just a goal like any other. It is like making partner, losing the weight, winning the medal, etc. There is no train station of “Success” one pulls into where when they depart, everything is perfect and grand. There is no magical wand that waves and voila you are all set. No no no. You achieve the goal, pop the champagne and celebrate! But then? Life proceeds.

    Ask any Olympian what life is like 3 weeks after they win a gold medal. I guarantee you they are watching movies and ordering takeout. My version of that is this: 40 minutes after my Carnegie Hall debut was I in a fancy champagne bar raising a glass of Veuve Cliquot in Manhattan? Nope. I was in Brooklyn Diner getting a strawberry milkshake with my mom, manager and two of my best friends. I was still in my ballgown. Then? I ran home, fell dead asleep, and woke up early to teach my 9am acting class for the next 6 hours the next day down at Pace. Why? Because I contain multitudes!  (Incidentally, not one of my students gave a damn that I’d made my Carnegie Hall debut the night before. They were too busy feeling their feelings and being chickens…). I reveled in the dichotomy of my activities—because life is ridiculous! And hilarious! And beautiful! All of the these activities heightened the celebration of the other, and of the richness of life itself.

    The point is: once you climb the mountain/achieve your dreamy amazing goals, yes, you absolutely get to enjoy the view from the summit! But then you have to realistically go about life with humility. That means maintaining and hopefully often expanding your standards; it means setting new goals, getting new dreams, falling on your face again and again (just in higher heels…) and on you go, living your life. You still have to vacuum, do the dishes, get sick, feel grumpy, bloat after eating salty stuff, get caught in the rain, and have bad hair days. #SorryNotSorry: big dreamers and high achievers are people too.

    Part of “making it” is not only accepting, but celebrating that your best life achievements and your greatest successes will come in may shapes and sizes. When I think of my Carnegie Hall debut, I do think of the orchestra, the gown, the sight of the hall, and that high C that soared over the crowd. But I also think of the strawberry milkshakes with my closest people, and the class I taught the next day at 9am. When I think of that achievement, it contains the multitudes of all of those details— not just the shiniest one. I was proud to be at school the next morning after the evening I’d experienced. I was proud to be celebrating the greatest artistic achievement of my life thus far with my dearest friends in a place that felt true to myself. Because I contain multitudes.

Work. Sing. Soar. Be yourself.
Whatever and wherever that lift-off point may be.
For you, too, contain multitudes.

I've Been: Nov-Dec 2016

- Taking Tatiana to WORK! (Shhhh don't tell....)

- Trying to get involved in Snapchat (@alsilbs) and finding my ouvre in the "Sad Series" (posted as Sad Reindeer and Tzad Tzeitel on Instagram.)

- Making history with my fellow Americans

- Voting for our first female president of the United States of America! (#ImWithHer)

- Gathering myself, my personal and communal missions, and my hope, post-election.This is going to be hard, but I feel galvanized and motivated to care about my world in new ways. As Pericles stated, "Just because you do not take an interest in politics doesn't mean politics won't take an interest in you."

- Truly starting to feel like myself again, health wise...

- Enjoying the fruits of our labor (union) when our union won a #FairWageOnStage!

- Basking in the sheer, unadulterated badassery of my mom, MamaSilbs

Fiddler LONDON cast!

- Singing at Joe's Pub with (the Noel Coward to my Gerturde Lawrence) Lance Horne

- Enjoying a Fiddler-London reunion at Joe's Pub!


- Bidding farewell to our original Mama extraordinaire, Jessica Hecht

- Welcoming the one and only (4-time Tony nominee, original Broadway Cosette,Betty, Svetlana and Mrs. Bechdel, VOICE OF POCHA-FREAKIN-HONTAS, and good friend) Judy Kuhn as our new Golde.

Don't be jealous.

- Reading reading reading:
     - The Art of Seduction by Robert Greene
     - The Magical Chorus by Solomon Volkov
     - The Art of Memoir by Mary Karr
     - Murder on the Orient Express by Agatha Christie
     - The Art of Possibility by Rosamund Stone Zander , Benjamin Zander 
(I highly recommend listening to the authors read this on Audible.comthere are dozens of musical examples that are present in the audio version that enhance the experience immensely!)

 - OMFG OMFG: Enjoying my 'Murder, She Wrote' makeup bag (purchased from Etsy)

- Having the honor of witnessing my soulmate friend Amy Jo Jackson get married in NYC. She was an authentic and glittering bride. 


- And also sharing some wonderful memories with dear friend Nikka Lanzarone (which included going over her maid-of-honor speech in the creepy AF train car of The McKittrick Hotel...)

- Decorating my "Christmakuh tree" with a dozen beautiful owl ornaments!

- Beholding the antics of MamaSilbs' Chloe the Cat


- Reveling in the final chapter of #TheCutestPregnantWomanOnBroadway!

- Closing Fiddler on the Roof on Broadway (GUYS: ...can you believe I was in Fiddler on the Roof ...on Broadway?)
. Saying goodbye to a very real and very dear new family that shall forever remain a part of the fabric of my psyche.



- The glow of Christmas

- The miracle of Hanukkah

- The joys of a New Year

- Mega New York City Snow!

- Starting a new chapter, with new values and lesson, in a new year of 2017

Ask Al: You Have ONE Voice

Hi Al!

     My question for you is: do you have any advice for being a legit soprano in theater today? I've studied classical voice since I started singing, but Musical Theatre has always been what I love and wanted to pursue, and why I'm majoring in it now.
     My program is very focused on doing contemporary, experimental theater, which I enjoy, and think is important to have experience in. However, next semester's season doesn't include a single musical revival, and that terrifies me as a legit soprano looking to actually have a career. I chose to come to this program to be exposed to theater that is outside my comfort zone, to be more rounded as an artist, but that doesn't change the fact that my instrument is more well suited to sing Rodgers and Hammerstein than Pasek and Paul. 
     You are such a big inspiration to me because you are able to be successful doing the type of theater I would like to do, and I just wanted to know if there were any thoughts on the topic you could share?

Thank you!
M

* * *


Dear M,

A very big and often-asked question! Here are some thoughts.

1.  The only limitation on yourself, is yourself.
     When you look back in however many years, you might look at your body of work and realize you're not really doing a lot of musicals. In time you might realize you love watching, but don't enjoy being IN them! You might be a comedienne. You might be a huge TV star. Or doing a zillion dramatic plays on regional theatre. Or you might be doing a smattering of all of the above. Or! You might be a lawyer or a chef or running the state of New Hampshire or in a punk band or kicking ass with your a bungee-jumping business. Or whatever. You can also be all these things.

     Again, if you would have told teeny Al that one day she'd be a NOVELIST?! Puh-lease. Little Al would have laughed in your face. "I can't even spell!" she'd say. Thank you spellcheque spellcheck. Nevertheless, here we are: Writer. In fact, when I protested to my literary agent that I couldn't do this because "I'm a actor," she took a deep breath and calmly replied "Well, that may be so, but... I don't represent actors. So you must be a writer." I almost wept. Take that Masters in Creative Writing I don’t have--haters gonna hate. I'll just keep plugging away and doing me, thankyouverymuch. My literary agent's words prove that we are only limited by the labels we place upon ourselves.

     I’m sure a lot of people out there think I faked it, that I didn’t put in the "right kind" of work to become myself. But does a marathoner have to have a masters degree in Sports Medicine? No. They must hit the pavement every single day and run, DO, learn from their mistakes, get better, run longer and more efficiently. That’s what I did.
     In college, I snuck away from the Drama School halls, and listened to open masterclasses; I sang in the Opera School practice rooms. I wrote every single day on the subways, trains, airplanes, and in every single dressing room, and then one day? An epic novel was sitting on my desktop. That’s how it is done.
Running 26.2 miles tomorrow is not possible.
Running it in a year could be.
Writing an epic novel by tomorrow is not possible.
Writing it bit by painstaking bit over 7 years? Is.
I know. I ...did it.
Without training. Just a little talent, some of brains, but mostly a lot of grit, discipline and above all passion.

     My passion for theater and my acting training is the bedrock of my artistic life because the message is that I can be/transform myself into anything I need or choose to be. The world might want me to label or limit myself, but the only people that can ACTUALLY label or limit us is ourselves. We give others permission to limit us—we allow them to get into our head. Ignore those people.
     When I taught my kids a Pace, I harped on about this all the time. "Yes, girl who thinks she isn't pretty, yes you can play that bombshell. Don't tell yourself you can't do that, let the director decide." If we obsess about the "I cants" we completely lose track of the "but what if I CANs?!"
     ...Don't be that girl. Try it all. Do it all. Sing 'Many A New Day' AND 'Out Tonight,' then after that go to microbiology class, read Anna Karenina, be in Twelfth Night, bake gluten free cakes, and go to the baseball game. All of it will make you better at being a person, and that is the thing that matters most in any creative career. If we as artists are meant to reflect life, but we don't have a full and true life to reflect, than what are we doing?
 
     I've seen so many young talented people strangled to death by the voices telling them "how it is" in the business, and that they have to narrow in on a market, know their brand, etc etc. And while I don't deny the legitimacy of, and respect that as a possible path, I'm not a ruthless business person, I'm an artistic soul and I suspect you are too. The best way for an artistic soul to survive in the arts long term is not to prioritize "knowing their brand and then marketing themselves well" but to know themSELVES deeply so they can be authentic in every move they make from personal to business. It is my deepest belief that good work and an authentic person is the best business card there is.

     Don't limit yourself. Be brave enough to question, to not know, and not be good at it all; to learn, grow, and BE, everything you CAN be.


2. Not every caring person is the Voice of Reason.
  Sometimes people who love us very much get very nervous when we try to break free of our tiny familiar comfort zones in an attempt to live huge. Sometimes that is because they are afraid for us, wanting us to be responsible an practical, wanting our safety and happiness and believing with all their hearts that being "careful" is how that is achieved. But often, there is a small component of their own ego resenting your chutzpah and courage to bust out, and they want you to stay small so they can be more at ease with their own life choices. I am here to tell you: those reactions have nothing to do with you. These reactions to your mega plans sound like this:

     "Why would you want to leave your secure job and start a business you're passionate about? That's insane!" 
     "But only 1% of actors in Actor's Equity are working."
     "You want to pursue the arts in this economy?!"
     "But what about your responsibilities? You have a family to look after." 

     These people make excellent points, and of course one should always assess whether one is being impulsive or truly being passionate; but fretting over every worry-wort's opinion about your life goals is not productive. Those comments come from care, and from their fear, not from the absolute truth. Surround those people in the hug they need, and keep making courageous leaps. You may fall on your face. You may break a few ribs. But nothing worth having is not worth fighting for.


3. YOU. HAVE. ONE. VOICE. 
     Your voice is your instrument, yes, and you are limited by your anatomy, sense of pitch, training, natural capacity, musicality and and and— but! The human voice is not a bassoon, limited by it's player as well as its structure. The voice a remarkably versatile thing.
     I am a legit soprano but you'd never know it listening to me belt my face off in Kiss Me Kate's ‘I Hate Men,’ or belting a D as Tzeitel every day. I can do that too! So can Benanti and Osnes and Boggess. You're a soprano, but not just a soprano, you are a singer, and thus, innately versatile! Opera views versatility differently, and that is okay too. In the opera world, you find your voice known as your facht, and those are the roles you are available to sing (lyric soprano, dramatic soprano, spinto, etc). But one of the beautiful things about theatre is the ability to shapeshift! The industry might not always behave that way but it doesn’t mean it is possible. Just because we can sing 'If I Loved You' doesn't mean we can't sing 'Gimme Gimme.'
     The same holds true for you. You have ONE voice, ONE instrument, made up of infinite colors.


I really hope this helps. All the best and let me know how you're doing,

Al

Interview for AOL Build Series

A wonderful afternoon at the AOL Building with @BroadwayGirlNYC, Laura Heywood. 

 "Grammy Award® nominee Alexandra Silber (currently starring as Tzeitel in "Fiddler on the Roof" on Broadway) stars in this intimate musical, "Arlington," which focuses on a young Army wife trying to keep herself from a nervous breakdown as her husband fights overseas.

For full schedule and more videos go to http://aol.com/build"

Arlington: a World Premiere Recording

Broadway Records has announced that Arlington: World Premiere Recording will be released digitally and in stores on June 17, 2016. The album is currently available for pre-order at www.BroadwayRecords.com and Amazon.com

Grammy Award nominee Alexandra Silber (currently starring as Tzeitel in Fiddler on the Roof on Broadway) stars in this intimate musical, which focuses on a young Army wife trying to keep herself from a nervous breakdown as her husband fights overseas. Written by playwright/novelist Victor Lodato and award-winning composer Polly Pen (Goblin Market, Bed and Sofa), Arlington was originally produced Off-Broadway by the Vineyard Theatre in 2014, about which The New York Times declared "Sarah Jane is flawlessly portrayed by the gifted singer Alexandra Silber," while The New York Observer called the score "melodic and lovely." Now, Broadway Records brings Alexandra and pianist/actor Ben Moss into the studio to commit this stirring musical to disc. The album is produced by Michael Moritz, Jr. and Jeff Berger. This album is made in part by a generous donation from The Ted and Mary Jo Shen Charitable Gift Fund.

"Arlington is, without question, the most challenging and illuminating piece of theatre I have ever had the privilege to be a part of-from the controversial subject matter, to the arresting use of direct address, to the monumental vocal task. From the moment Jack Cummings III asked me to be a part of the original 20-minute version at Premieres in 2012, to the fully-realized Vineyard production in 2014 directed by Carolyn Cantor, it was a thrilling and terrifying challenge from beginning to end. That Sara Jane will now live forever through a recording is beyond my wildest dreams and expectations." -Alexandra Silber

Getting a "Look"

Remember when Maria Callas told Sophie DePalma to "get a look?"

Well she was right. 

We all need a look. (Some of us more than others *hint hint* Miss Sophie DePalma)

That is why I was both honored and relieved to have the great George Brescia of "George B Style" @GeorgeBStyle helping me to find the swan beneath the layers of my everyday duckling. The "boho-chic" duckling. The sometimes insecure " grad-student-buried-beneath-a-headscarf-and-a-bulky-cardigan-or-three" duckling.

Onwards and upwards little duckling.
Onwards in clothes that fit.

George obviously has impeccable taste, and he is always on the lookout for big new talent, which he has more than found in Dee Hutton Style.

Their brand statement is preeeeetty rad:

"DEE HUTTON is a designer collection for women that honors the old world craftsmanship and intimate customer experience of sumptuous atelier salons. Offering clothing for the current season in a variety of colors and fabrics, and delivered to customers within weeks, DEE HUTTON provides a contemporary model of luxury made-to-order for a new generation of style-setters. Separates, cocktail dresses, and evening gowns will be constructed using the finest fabrics, embroideries, and skins sourced from around the world. (...) Available by showroom appointment and at trunk shows nationwide, DEE HUTTON is produced entirely in New York City"

DEE HUTTON just launched this past October, and they're coming out with their second collection in a few weeks- you definitely check them out. I love them. Plus, they are located across Union Square from my theatre (the Vineyard) on 17th Street & Broadway. Visit deehutton.com to see their full line and book an appointment to visit the showroom.

Why? 
Because Dee Hutton is a modern made to order designer collection of gowns, dresses and separates.
Because clients (like me!) can collaborate and customize their selection in a myriad of colors and fabrics.
Because they happily entertain slight design modifications (such as: adding a sleeve, changing the length, color, etc) which makes each item unique to every owner (for example, [after I wiped the gobsmacked drool off of the sample I tried on] I designed this jumpsuit with them!)

Ta daaaaaa!

Opening Night of Arlington at the Vineyard Theatre! 

[:: : confetti : ::]

©Walter McBride for Broadwayworld.com

Kapow! This is the 'James' Jumpsuit (aptly named because Dee Hutton wants you to feel like a Bond Girl), which I love this piece because it looks like a gown...but IT IS NOT. It is a sexy jumpsuit. With elegant flowy trousers so you can fight the bad guys. Or claw your way to the hor d'oeuvres. Or both.

But even the best outfit isn't complete without the perfectly crafted accessory, and a face would look scathingly naked without the wonders of beauty enhancement, not to mention the Price-Phillip-hacking-away-in-the-jungle-of-briars fortitude of a woman brave and talented enough to whip this head of hair into Glamazon glory.

 So. This getting of a "look" wouldn't be complete without 
...the evocative jewelry of Vincent Peach (@VincentPeach)
...the alchemical wizardry of Amanda Thesen and her 'Love Your Look' makeup genius (@Love_Your_Face_)
...and the 'hairy godmother' JT Franchuk (@jenytamera). 
-- all of these mediums are art, dear readers, and I was one lucky lady. 

©Walter McBride for Broadwayworld.com

©Walter McBride for Broadwayworld.com

Arlington: Rehearsal Log for TheaterMania.com

As commissioned by Theatermania.com, here is a comprehensive log of our Arlington rehearsal process over at the Vineyard.

All with wHitty qWhippy captions. Because that is how I roll...

"Arlington Star Alexandra Silber Takes Us on Her Journey From Rehearsal Room to the Stage of the Vineyard Theatre

Behind the scenes at the new Polly Pen-Victor Lodato musical.

By Alexandra Silber, David Gordon • Feb 25, 2014 • New York City, Off-Broadway

Starring in a one-person show is a daunting task, especially when you're performing at a veritable institution like off-Broadway's Vineyard Theatre. But if Alexandra Silber, star of the new musical Arlington, is nervous, she's not letting it show. Backed only by a pianist, Silber is all alone for the show's 55-minute duration, taking the audience on a harrowing journey through the psyche of Sara Jane, a lonely army wife who eagerly awaits her husband's arrival home.
In preparation for the start of performances, Silber takes us on a journey of her own — one from her rehearsal studio to the stage of the Vineyard Theatre — where you can catch Arlington through March 23. Check out her photos and quirky captions in the gallery below."

Playbill "Cue & A"

I recently filled out a delightful little questionnaire for Playbill.com [and big thank yous to Matt Blank at Playbill who is always a joy to work with!] Here are some highlights! I had an absolute blast with it.

The full article can be viewed here.


* * *

If you could go back in time and catch any Broadway show, what would it be?
    ⁃    The original 1938 production of Our Town
    ⁃    Tyne Daly in Gypsy
    ⁃    Uta Hagen’s famous first performance on Broadway of A Streetcar Named Desire (when she stepped in from the touring company for Jessica Tandy), where she went on with Marlon Brando with only five minutes of rehearsal before the curtain went up…? Yeah.

Fire up that DeLorean…


Current show other than your own you have been recommending to friends:

Rachel Bay Jones’ performance in Pippin.


Favorite showtune(s) of all time:

Let me begin by saying that I have a very specific definition of what a ‘show-tune’ IS, and believe you me: Anything does NOT ‘Go.’ A true Broadway show tune  is more than merely a tune from a show—it must have pep, tunefulness, and vigor—it tune rallies those musical theatre troops in a singularly sensational, glittery fireball of razzle dazzle reminding you that it is time to start livin’.
That there is no business like show business.

A Show-tune is you and your family singing in the car.
A Show-tune is sung in the shower. 
Can we all agree ‘Epiphany’ from Sweeny Todd is not a sing-along in the car sort of number?
For this reason: “Sunday,” “One Hand One Heart” and “Will He Like Me?” are not on the Show Tune list, and
“Morning Glow,” “Camelot,” “It’s Today,” “There is Nothing Like a Dame,” and “The Lees of Old Virginia,” ARE.


Some favorite modern musicals:
American Idiot destroyed me.


Some favorite classic musicals:
Classic musicals are my thang so this is tough. [*thinkthinkthink*]

She Loves Me, Fiddler on the Roof, Hello Dolly!, Carousel, 1776, and Show Boat.


Broadway or screen stars of the past you would most have loved to perform with:
Mary Martin


Your personal performance idols, living or dead:
I admire many people, including:

    ⁃    Danny Kaye,
    ⁃    Bea Arthur,
    ⁃    Cate Blanchett
    ⁃    Maria Callas,
    ⁃    Marcel Marceau,
    ⁃    and Irene Pappas.

But I save the term idol for only one woman, and that is Dame Angela Lansbury.


The one performance – attended - that you will never forget:
[WARNING: I’m offering this answer in numerical points to prevent you from having a stroke whilst reading.]

PICTURE IT:
1. In Seventh grade.
I went along to a
2.  middle school production
of
3. The Sound of Music
at
4. Hillel Day School
because
5. my friend Shira (yes, really), 
from
6. ballet class
was playing
7. Max Detweiller…
And Five seconds after the curtain went up I realized the entire production was…
8.    …in Hebrew.
It was also happened to be
9. Groundhog Day.

…Scene.


Most played song on your iPod:
“Heaven When We’re Home” by The Wailin’ Jennys.


Most-visited websites:
Hungoverowls.tumblr.com 

…Hungover. Owls.
[*She lets it sink in…*]
Get into it.


Favorite Tweeters:
Anika Chapin (@AnikaChapin). She is one of the few tweeters that can make me *actually* laugh out loud. Her thread is an uber-smart, super-witty, MENSA-level, anthropologic braniac-splosion of pop culture and musical theater.

Just follow her.

 
Last book you read:
I’m a voracious reader but the last book I finished was The Trickster’s Hat by Nick Bantock. Nick Bantock is an author and visual artist (the author of the Griffin & Sabine Trilogies), my lifelong artistic idol. This is his latest book which is a mischievous and thrilling study of (and guide through) the alchemical art of creativity.


Must-see TV show(s):
This lady loves herself some crime drama… the real nitty-gritty vintage stuff.  If it "looks like we gotta murder to solve" ... I’m IN.


Some films you consider classics:
What About Bob? and The Court Jester. (Cult classics? Are they cult classics if I am the only one in the cult? Dunno...)


Performer you would drop everything to go see:
I have dropped everything to see Rebecca Luker.


Three favorite cities:
Venice, Glasgow, Detroit.


Favorite sport/team/player: 
All Detroit sports rile me profoundly. I love the Red Wings (hockey), but I’m a baseball lady down to the bone marrow (my Dad was a phenomenal [left-handed!] first baseman)—so without question my Detroit Tigers! I get very emotional about it.


First CD/Tape/LP you owned:
What’s an LP…? #kidding


What are some of your most memorable roles as a kid or teenager and how old were you?
Annie Sullivan in The Miracle Worker (I was 16)
Amalia Balash in She Loves Me (17, in high school at Interlochen Arts Academy—opposite Michael Arden as Georg)
and
MISS HANNIGAN… I was 8… it was most-likely an inappropriately accurate, gin-soaked carbon-copy of Carol Burnett’s performance down to the vocal inflection but still…



First stage kiss:
I don’t remember. But certainly my most memorable stage kiss blunder was last summer in She Loves Me with Santino Fontana (a very old “Dear friend’ from Summer camp). We ran at each other at the just-wrong moment and totally botched the final kiss.

Basically: I broke his face.
There was blood.
Then I apologized to Laura Osnes:

@alsilbs, what have you done to my prince? @SantinoFontana is fragile. #handlewithcare
— Laura Osnes (@LauraOsnes) June 20, 2013

How you got your Equity card:

the anti-climax

Hilarious. I began my career in the West End for five years before I came to America for what I believed to be a short visit. Because I assumed I would eventually return to London, I didn’t join Equity for the two short projects (Carousel at Reprise and Master Class at the Kennedy Center) I was working on.

But by the time Hello Again at the Transport Group rolled around, I realized that my original 10-week “visit” to America had turned into a-year-and-a-half. Who was I kidding? I lived here.

I walked into the Equity building… and ten minutes later I walked out with my Equity card. Okay, fine—a touch anti-climactic, but that’s my story and I like it.


Most challenging role you have ever played:
Helen in Howard Barker’s The Bite of the Night, and Julie Jordan in the last West End revival of Carousel.


What has been the biggest challenge about this project?
Aside from it being a kind of performance marathon, Arlington is an incredibly complex piece of text and music which requires me to be in optimum shape in every respect. Combine that with a difficult subject matter (and subsequent emotional gymnastics) and you’ve got a challenge on your hands…


What has been the most fun or fulfilling aspect?
…I love a challenge.

Plus, working on it with the creative company I am keeping.


Worst flubbed line/missed cue/onstage mishap:
[Sigh… Please see blood-soaked stage kiss above.]


Worst costume ever:
Once upon a time I was a “spirit of the wood” in a Christmas pantomime in Glasgow in 2002.
I’ll say the words UNI-TARD and FELT LEAVES and just let your imagination do the rest.


Craziest audition story:
- I have sung all three daughters’ parts of ‘Matchmaker’…. with different voices for each daughter plus played all the dialogue…with myself.
- I have had someone say: “See we're gonna need you to create the physical comedy of the donkey yourself…”
- I have faked being English (in London), only to book the job and have to film it for three days… in New York…trapped in my English accent lie the whole time.
- I have mimed a blind girl being eaten by a werewolf.

But this one takes the cake:

When I auditioned for Master Class I—in utter seriousness—ACCIDENTALLY LOCKED MYSELF IN A UTILITY CLOSET at the studio. I might have missed the audition altogether had the casting director not come to GET ME OUT.  True story.

…Luckily that embarrassing tale of Sophie De Palma has a happy ending. :)

West Side Story

Any upcoming or side projects you can talk about?
I was honored to portray Maria in the first full-symphonic performance of West Side Story last year with the San Francisco Symphony (opposite the gorgeous Cheyenne Jackson as Tony). The recording is set to be released later this summer.


Leading lady role you've been dying to play:
Hedda Gabler.


Leading man role you'd like a shot at:
Captain Hook. [*achem*]— hand down.


Something about you that surprises people:
I am an introvert. Or, perhaps more accurately, a ‘shy extrovert.’


Something you are incredibly proud of:
I’m a proud lady from the state of Michigan.

Sooo…I even made up a snazzy Michigan handshake called “Glove Love” (because Michigan is shaped like a mitten or a glove for those of you who might not be aware)….It is super intense. I may or may not have Glove Loved with James Earl Jones (who is from Grand Rapids).


Career you would want if not a performer:
I am so lucky to already have it—a teacher.
I’m a Professor at Pace University and it is one of the most rewarding aspects of my life. (I’m “Professor Silber!” Ha!)


Three things you can't live without:
Honestly, there is nothing I “can’t live without.”
But I really like watermelon, crime drama and red shoes.


"I'll never understand why…"
…Skeeter is in The Muppet Babies but not in The Muppets? (Like: did she DIE?)
…Britons say “The Menopause”
…the Snuggie is a thing
…Theatres don’t do Ivanov more often?


Words of advice for aspiring performers:

Success is not about what you do, it is about how you feel about what you do.

Arlington Commercial