If you could make it anywhere else, would you?

A couple of days ago, I found out that two very dear friends of mine are shrugging off the big city for a life Upstate. And they couldn’t be happier. See, they came to New York, like so many, as actors. I don’t say “aspiring actors” or “looking to break into show biz.” They were actors. They performed (and were paid) all over the country by the time they made the move; they just wanted to be here because, well, that’s what you do. New York or Los Angeles. For the most part, that’s where the auditions are, that’s how you take your career to the next level, that’s how you become a star. So conventional wisdom states. But, unlike many, my friends never really enjoyed the pulse of the city. They were here because New York is where you go for musical theatre. Period. So, they earned their stripes: Bartending, taking gigs out of town, cruise ships, dinner theatre, the whole deal. Then they had a baby, and their priorities changed. They realized that after a number of years, they didn’t want to be a part of this grind anymore. Actually, they never wanted to really be a part of it, they just didn't want to endure it any longer. They could actually be happy working a decent job, not performing, with a better quality of life somewhere else. My buddy was offered a promotion from the beer distributor he works for here in the city. The position is in Syracuse and he and his wife jumped on it without a second thought. No more struggling with strollers on the subway, no smell of hot garbage on the street in July, no more pausing a phone conversation on the street because an ambulance is passing every 2 seconds. They are out.

And looking at their situation, and seeing friends around me growing up, I ask this question: If you were not pursuing a career in the arts, would you still want to live in NYC? I, personally, think that this is the greatest city in the world. But, I also know that it can beat you down. So, why endure the bad if you know you can have the good elsewhere. This is what my friends have discovered. They want a backyard and a driveway, and they don’t want to have to be millionaires to have either. What is "the good" for you? Is it the a huge backyard with a white picket fence? Or is it the ability to buy a slice of pizza at 4am?

This week’s Time Out New York’s cover page asks: “Do you belong in NYC?” And it was the first time in a long time that I couldn’t give a definitive answer. A brief history: I moved to NY after college, worked as an actor/bartender/ waiter for 5 years and moved to LA for 4 years and did...pretty much the same thing. I originally moved to “take the next step” and have better weather, but eventually, I decided that my priorities changed and an actor’s life was no longer desirable. I liked acting; I just didn’t like all the hoops you had to jump through to make a living at it. I moved back to NY with my wife last year in an attempt to start a new chapter in our lives. But, not as an actor. I see the city differently now. And there is a lot that I want to accomplish here still, but I must admit, the large yard/picket fence deal is a little more tempting than it used to be (and I don’t even like yard work).

And I think the love/hate relationship with this city is pretty common. But, look, there is a vibe here that doesn’t exist anywhere else. The feeling that you are in the center of the universe is pretty damn cool. Yes, we pay too much money for it. But, sometimes, when the subway is on time (and you get a seat), and you have a great impromptu happy hour with some great friends because you all coincidentally happen to be in midtown at the same time, you realize that this kind of human connection cannot happen everywhere. And it usually doesn’t.

But, when you’re 50 years old and still living hand-to-mouth, and more importantly, you don’t enjoy that lifestyle but you keep plugging along for that "big break," will you know when to say when? And if so, where do you go?

A TEXAS-SIZED TONY BLOG

So, I’m back in New York from deep in the heart of Texas.  It was a great trip, with some fine food, family, and friends.  I will look upon this trip with fond memories and harsh indigestion.  During my trip, I did manage to watch the Tony Awards from Houston.  Furthermore, I managed to read a billion reviews on the topic and viewed some interesting debates/conversations.  So, here is my very late, relatively undiplomatic, 12 cents (because it’s more than 2), which I’ll try to keep brief.  But, I may fail in doing that.

1.  Neil Patrick Harris:  Hilarious and perfect for the broadcast.  Not just his song at the end, but everything he did.  Don’t give me “The sushi joke didn’t land.”  Bullshit.  If you knew the reference, it was hilarious and perfectly timed as they announced nominees for the Best Actor in a Play award shortly thereafter and panned to a very amused Raul Esparza (who, incidentally, stole that show from Mr. Mercury).  NPH kept the show moving and was funny when he was on—like a good host.

2.     2.  Sound problems:  Inexcusable.  Hey sound guys and producers of the Tonys, you’ve done this before, yes?  You did a camera rehearsal, right?  Dude, for your own benefit of not having Elton John throw a Bitch Fit, get it together.  Years ago, I was in a show that was plagued with sound issues in Vegas.  We were supposed to run 6 weeks. We ran 3.  Nobody wants to see a show with music that you can’t HEAR!

3.    3.  Alice Ripley.  Madame, I didn’t see your show yet, but apparently you deserved this award.  And I honor that.  Just stop yelling at me.

4.     4.  Poison, Poison, Poison.  The fact that they were at the Tony Awards brought out the 12-year old hair-metal fan in me.  The fact that Bret Michaels ate it via a stage drop brought out the 12-year old mean kid in me.  Because I laughed.  Sorry.  Glad to hear he’s recuperating.  (NPH’s "head banging" joke:  Priceless)

5.     5.  The number from “Guys and Dolls:” I preface this by saying that I'm singling this out because it is my favorite musical of all time.  Which is why those nearest and dearest to me begged me not to go see it.  I did have every intention of getting to see it this summer, just because I had to see this for myself.  Unfortunately, it’s closing this Sunday.  After seeing “Sit Down, You’re Rockin’ the Boat” on the Tony broadcast, I understand why.  How do you take the greatest 11 o’clock number in theatre history and make it boring and then spastically inappropriate?  The people up there have talent.  Use it.  That number doesn’t need cheap laughs (Mary Testa is way talented, she doesn’t need to spank herself for attention….at least not with this material).  When I heard Titus was playing this part, I was thrilled.  But, looking at the entire number, save the last minute, he was completely stifled and it didn’t seem like he was allowed to make the song his own at all.  By the time we “went to church” in the song, it was too little too late.  Mic problems, not your fault.  Keeping the spirit and the integrity of a classic, totally your fault (Producers and directors, not actors).

6.     6.  The touring productions performing at the Tonys.  See below.

Ok, so here’s the big debate and one I’d like to spend the most time on.  Was it worth it?  Jersey Boys, Mamma Mia, and Legally Blonde are performing all over the country and got a chance to show their stuff on a national broadcast.  And that’s why I think it was a good idea.  This award show is about bringing Broadway into your living rooms.  Touring shows need to be showcased like this, so they can be properly marketed in their multiple stops across the country.  This broadcast is a one-stop shop to the entire nation! 

Now, there are arguments that state that the Tonys are about the best of Broadway, and I agree.  But, aren’t these shows getting a life on tour because they are and have been among the best of Broadway? And regional audiences dig it.  Apparently, while Legally Blonde did “ok” on Broadway, it is KILLING across the country.  My sister-in –law in Houston cannot get a seat!  How does that happen?  National exposure.  I’m sure this would not be the case without that MTV show that appealed to the core demographic of the audience for this show.  But, the moms are the ones who buy the tix for the teenage girls, so the sale is doubled (or even tripled if dad can get drunk enough before the show to sit through it—I haven’t seen it, I’m just thinking this would not the show Dad would choose to see on Father’s day….or any day)! 

There are also some people that say, “Well, these performers are not Broadway performers, so they shouldn’t be performing on a  ‘Broadway’ awards show.”  To them, I’ll say this:  Stop the madness.  More often than not, performers touring with a show ARE Broadway performers.  They’ve been on Broadway, they’ll be there again and they are as talented (or sometimes more) than those currently on Broadway.  Furthermore, they make more money!  Often actors will go on tour with a show they were in on Broadway in order to bank some more cash.  Touring companies get something Broadway companies don’t: a fat, tax-free per diem.  It’s for road expenses, and you can use that to live off of while you bank your salary, which is directly equivalent to a Broadway salary.  So when you give no credit to the Elphaba you see performing in Cheboygan, remember, she was headlining Broadway while you were still weeping about Idina Menzel leaving the show.

On the other side of things, I have a question for those who chose these particular numbers from the shows:  Do you feel this was the best way to showcase these productions?  The balance was off a bit, but I do understand that these shows are currently running across the country and the producers could not pull every performer from their current cities to do a huge, splashy advertisement…er…production number.  I dunno, just a question.  Seeing the multiple Frankie Valli’s made me think of the final scene of “Three Amigos” for some reason.  I also blame a lot of it on sound mixing.  And, no, I can’t do a better job of sound mixing.  That’s your job.

So, yeah, it’s a lot to chew on, but I’ve been away for a week and had this on my mind for a little while.  And there were a billion other things that happened that I marked out for (the Billy Elliot kids, Karen Olivo, Liza losing her mind for the umpteenth time), but if your still reading this, you stuck with me through quite a bit, and I don’t wanna push it.  Feel free to discuss.  Until later, HOOK ‘EM HORNS!!!

 

The Real Rebirth of Slick

I’m feeling a change a-comin’.  While the Hollywood system (and Hollywood money) infiltrates theatre, and shows and ideas for shows are being focus-grouped to death like a box of Frosted Flakes, there is a new passion emerging from artists.  This passion is diametrically opposed to the "bottom line."  People are creating art for art’s sake.  I feel it.  Hell, I see it.  And while people are losing their “safety jobs” during this economic crisis, they are going back to their inspirational well and really trying to find new ways to create and entertain. 

The whole issue with being in the arts is that it is so difficult to succeed by art alone.  So, many turn to the service industry or corporate America for “safety” so they could pursue their passion without worrying about becoming a true “starving artist.”  But, eventually, they become too tired to continue with the pursuit of art and get comfortable in what was just supposed to be temporary supplement for their lifelong dream.  So they stop being artists and opt for health and retirement benefits.  Not that there’s anything wrong with benefits (as we get older, it becomes more coveted—sad that we get excited about the possibility of health coverage, but that is a discussion for another time). 

However, due to the recession, people are losing these jobs, and benefits, by the truckload.  These jobs that were supposed to keep them “safe” from the pitfalls of sporadic (artistic) employment.  So, the irony is that they are suffering the very same fate that they took these day jobs to avoid.  So what to do?

More and more, I’m hearing about friends and acquaintances going back to school or setting out on their own to get back to what made them feel alive.  Alive, not just safe. 

The greatest current example of this is The Transcendence Theatre Company.  This is the brainchild of my friends Amy Miller and Brad Surosky.  If you know them and have ever spoken with Amy about this, you know that just hearing her speak invigorates you and makes you want to be a part of this amazing group.   They are integrating personal and artistic development and are really trying to create a movement that nurtures the artist while entertaining the masses.  In a Group Theatre-like approach, they have taken a group of actors, directors, and technicians down to Punta Banda, Mexico on “The Transcendence Artists Project.”   This group is coming up on its fourth month down there as they strip away pretensions and anxieties associated with performance.  While improving themselves, they are entertaining at the Gertrude Perlman Theatre and giving back to the community by visiting orphanages and performing at many local events.  Their journey thus far has been amazing and I encourage you to check them out and donate to this non-profit at www.transcendencetheatre.org.  

Another is a group in New York just starting to get off the ground, founded by my great friends TJ D’angelo and Larry Scheraldi.  They have created the NYC Children’s Theatre in order to bring live entertainment to children in the New York area.  As public funding is questionable for arts in schools these days, these guys are trying to find an answer.  And I’m really proud of them.  For more info and to donate, contact TJ at tdangelo@nycchildrenstheatre.com.

And, no, these groups didn’t ask to be plugged.  They are just the inspiration for this diatribe. And you can become a fan of both on Facebook.  

It’s the “We’ve got nothing to lose” approach that is creeping back into our culture because, truly, some people have lost everything.  And it’s necessary.  Sometimes things need to be shaken to their foundations so they can rebuild stronger and with more purpose.  Why not do what you love?  Your life will be richer for it.

“Yeah, yeah save it for Oprah”—I hear you.  Hey, I’ve been a cynic too (I probably still am concerning some things).  But, I feel better lifting people up.  So there.  Eat it.

(Disclaimer:  As an aspiring commercial producer, I have absolutely nothing against making money.  That's the point here.  With this new "revolution" maybe we can have it all.  Amy Miller's goal is to create a new future where art and commerce are not mutually exclusive.)

Alright gang (or person), I’m off to Texas for a week.  Possible communication from the road.  But, then again, maybe I’ll just enjoy the heat….

It starts.

So, yeah, I wanted to have an outlet to discuss a myriad of things.  However, mostly I'd like to offer musings on theatre, film, entertainment, and all the history and, more importantly, future thereof.  I was lucky enough to participate in the Commercial Theatre Institute's 3-day workshop here in NYC from May 15-17.  It was an amazing seminar for current and aspiring theatre professionals that interviewed a large number of successful working producers, marketers, general managers, press agents, etc. through various Q&A sessions and panel discussions.  Essentially, it was an academic approach to try to give some insight as to what it would be like to produce commercial theatre.  There were many great stories, lessons, and participants and they really helped to illustrate a path to get from A to B when you find a property you like and want to show the world.

Why is this important?  Well, one of the participants in the panel discussions was a young producer named Ken Davenport.  I'm sure many of you have heard of him (he did that iphone commercial a couple years ago).  He is currently producing a number of shows both on and off- Broadway.  I feel that he is the most relevant reference to my inaugural post.  This idea sprung because Ken has a fantastic blog (which, of course, he plugged at the seminar--and damned if I didn't subscribe) called theproducersperspective.com.  It's his random, but important, thoughts about the theatre world and his attempts to create a dialogue that is important to the future of the industry.  So, I thought (as I was weary and staring at a computer screen on the overnight shift at the hotel I work at), if a successful (read:  busy as hell) theatre producer has the time to share his thoughts, why not one that is about to start in this facet of the industry?  I feel I may have a different perspective, having "retired" as an actor 3 years ago after a decent run of modest success and not really working full time in theatre since then.  While I've been an actor (in both NYC and LA), non-profit theatre producer, and assistant to the assistant in marketing, promotions, and film, I have been actively pursuing producing/theatre management/all of the above to get me back to the industry in which I've always felt comfortable.  I have some great possibilities that I'm truly excited about and would love for them to come to fruition.  But, along the way, I'd like to open up the floor to discussion, or hell, maybe just raise a decent point or two.

The question is:  Do you care?  I would love to have an open forum for anyone who agrees and disagrees with any issues.  Or I'll just give you my opinions.  Do with them as you wish.  Or I'll accept any advice if Ken Davenport decides to view and comment.  

(Bloggers note:  I've never been a fan of blogging.  I always been of the opinion that those who blogged thought they were more important than they are.  But, I have seen a shift in that there is a lot of great discussion to be had by a simple thought....and, also, I've always thought I was more important than I am).