Clothes Make the Man

"MAME" STARTS PREVIEWS ON APRIL 20 AT GOODSPEED OPERA HOUSE!

I grew up as much in the design world of the theatre as in the world of acting and performance. My Dad, Don Beaman, was a set designer, and taught scenic design at Boston University for decades (this photo shows him in his early career, fittingly posing on a paint frame).
Much of my youth was spent in paint shops, washing brushes and buckets, helping to size drops, and watching my Dad paint. I also wandered off into costume shops, which to me were magic emporiums, overflowing with feathers and velvets and glitter. Stitchers and drapers would send me off into a corner with scraps of fabric where I would happily play by myself for hours while they went about the work of creating amazing things for actors to wear. Stage struck as I was from as early as I can remember, to me being an actor meant transforming into any character I wished with the help of the right disguise.

When I was in college, Richard Attenborough's film of "Chaplin" came out. There's a scene in it where Robert Downey, Jr. (in a masterful performance) finds the hat, cane, and other accoutrements of the "Little Tramp" character for the first time. To watch this fanciful scene, click here. These simple articles of clothing magically suggest to Chaplin the qualities of what would become one of the most iconic and beloved characters of all time. Costumes have power, and a truly masterful costume designer can be an actor's best ally in creating a memorable performance.

How fortunate we in the Goodspeed production of "Mame" are, then, to be blessed to wear the sumptuous creations of designer Gregg Barnes. Gregg is a Tony Award-winning designer whose credits include "The Drowsy Chaperone," "Legally Blonde," and most recently his glorious creations for "Follies." Gregg is what I would flatteringly refer to as 'old school.' He dazzled all of us at the first day of rehearsal with his collection of hand drawn, painted and bedazzled renderings for Auntie Mame's stunning wardrobe of 17 looks. Gregg's designs have wit, glamour, specificity and he consciously creates each look with an eye toward telling the story of the play through his clothes. In each scene in which Mame appears, her individuality and flamboyance are highlighted by using color and style to contrast with everyone around her. And Gregg's specificity and artistry extend to all of the characters that inhabit the world of "Mame."



A cameo role like Lindsay Woolsey can be, in some ways, more challenging to make specific and memorable than a large role, primarily because there is very little information about him in the script. Of course, the flip side of that challenge is the opportunity to be creative about filling in the blanks with the choices made about how he sounds, moves, and looks. Traditionally, Woolsey is an elegant, well dressed, calm presence in Mame's zany world. Patric Knowles, who created the role in the Broadway production and film of "Auntie Mame" was distinguished, classy, with an understated British charm. While I admire these qualities, for a dynamic, imaginative character actor like me this seemed a bit staid. But I was really at a loss as to how to imbue this small role with something special.

I went in for my consultation with the hair and makeup department for "Mame" sporting a beard (a default look I go to in between roles as I loathe shaving every day) and surprisingly, they thought we should keep it; as the action of the play spans three decades, they will have me use temporary color to darken my hair and beard in the early scenes, washing it out for the Act II scenes, allowing my natural salt and pepper to come through. Then I thought, well, what kind of a gentleman wore a beard in the 1920s, when the predominant look was clean shaven with slicked back, neatly cut hair? The answer-- an 'artistic type,' or a man with a European sensibility. This is where Gregg Barnes stepped in and suggested to me that perhaps the eminent publisher, M. Lindsay Woolsey, is less an understated executive and more of a kind of worldly impresario, with an artistic/European flair. He suggested as a model the founder of the Ballets Russes, Sergei Diaghilev, whose personal style included shoes with spats, rich overcoats with big fur collars, flamboyant hats and luxe accessories.

This was a direction I had not considered going in! In a short conversation, Gregg essentially handed me my character. How fitting that since Vera Charles, the outrageous stage star, is Mame's closest female friend, her closest male friend should be someone equally stylish and artistic? I look forward to my costume fittings with Gregg and his team with great anticipation now, knowing that each element will help me bring Woolsey to life in a vivid and memorable way. Photos of my transformation will of course be included in a future blog post!

The Fabric of a Life

JAMES BEAMAN WILL PLAY 'M. LINDSAY WOOLSEY' IN THE SEASON OPENER, "MAME" AT GOODSPEED OPERA HOUSE STARTING APRIL 20!

Linsey-Woolsey

Linsey-woolsey was the name given in the 17th century to a type of durable wool and cotton blend fabric from the British Isles. It was a commonly used and less expensive alternative to woolen cloth, and was one of the staples of the early American colonists. According to Wikipedia, "Linsey-woolsey was valued for its warmth, durability, and cheapness, but not for its looks." It is amusing, then, that Patrick Dennis decided to snatch this musical sounding name and bestow it on a minor character in his novel, "Auntie Mame," Mr. M. Lindsay Woolsey, the eminent publisher.

Somewhere along the way, in the adapting of the best selling novel for the stage, the character of Lindsay was expanded, from a marginal figure mentioned only in one anecdote, to a supporting character who is a mainstay in Mame Dennis' life. His role is nearly identical in the musical to what it is in the play: Lindsay is there as an admirer of Mame's; one of those suitors who becomes a friend, always hoping that perhaps the free-spirited Mame will come down to earth and finally marry him. He is a party guest at the top of the show, and then reappears at crucial moments in Mame's stage life-- he comforts her when little Patrick is swept away to boarding school; he is present when the news of the stock market crash hits; he encourages Mame to write her memoirs; and he helps her seal the deal when she sabotages Patrick's unsuitable engagement to the crass, bigoted Gloria Upson. It seems clear that, like his namesake fabric, Lindsay is a warm and durable friend. In my research I have not been able to uncover why he has the first initial of 'M' or what it signifies. Perhaps if I get to meet Mr. Jerry Herman at our opening out at Goodspeed, I can ask him if he knows.

Jerry Herman's Trinity

It's rather astonishing to recognize that the lion's share of Jerry Herman's success has stemmed from his three juggernaut musicals, "Hello, Dolly!", "Mame," and "La Cage Aux Folles." Of course he wrote other fine shows like "Mack and Mabel" (Herman's personal favorite of his shows), "Milk and Honey," and "Dear World," but none of these could match the phenomenal success of the main three Herman classics. "Dolly" was the longest running musical of its time and won ten Tony Awards; "Mame" won three Tonys and established Angela Lansbury as a bona fide Broadway star; and "La Cage" is the only Broadway musical to have won a Best Musical Tony, and the Tony for Best Revival twice.

"Mame" will be my second Jerry Herman musical, having appeared in three productions of "La Cage Aux Folles" over the years, most recently starring as Albin opposite Maxwell Caulfied as Georges in the Ogunquit Playhouse production in 2007. What is interesting about the Herman Trinity, as I call it, is that all three shows share some core themes. All three revolve around a central female, or at least 'maternal' figure, a sort of eccentric fairy godmother who encourages a younger generation to embrace life, love and individual happiness. Mame, a free spirit who has never given much thought to being a mother, finds the love of her life in young Patrick, and devotes herself to giving him a colorful and exuberant life; Albin, an extravagant drag queen, also sees himself as the only real mother his adoptive son Jean Michel has ever had, and just like Mame, offers to him an alternate view of the world that fights conventionality and which brings out his true loving heart. It can't be a surprise, then, to know that Jerry Herman's own mother was the most important figure in his life, and that her passing, long before he realized his phenomenal success, was a devastating event which may have inspired him to create these strong, vibrant mother figures in his musicals.

Research and information like this about the pieces I work on just add to the process of being a part of a production and give me a foundation on which to make choices regarding my role and my place in the show. As "Mame" is not often produced on the level of a theatre like Goodspeed, I feel really excited to be a part of this production and look forward to rehearsals starting in a little over a week! For more information on Goodspeed and "Mame," visit their website here.

It's Today!

I have not posted an update since the holidays, which will give you an indication of how very quiet the winter has been in my corner of the theatrical industry! But things are looking up.

Next month, I will return to Goodspeed Musicals in Connecticut to play the role of M. Lindsay Woolsey in the Jerry Herman classic, MAME. This will be my third production with Goodspeed and I am delighted to continue my relationship with this prestigious theatre. The production will be directed by Ray Roderick and choreographed by Vince Pesce; I have not yet worked with either of these esteemed gentlemen and am excited to do so. As of this writing, the full cast has not been announced, but Auntie Mame herself will be played by Tony nominee Louise Pitre, of MAMMA MIA! fame, and Mame's 'bosom buddy' Vera Charles will be played by the incredible Judy Blazer. I have admired Judy's work since seeing her in TITANIC, and I look forward to working with this Broadway veteran. For the Playbill item on Ms. Pitre's casting as Mame, click here.

Lindsay is an interesting supporting part. He appears very briefly in Patrick Dennis' novel of "Auntie Mame;" he is Mame's publisher when she decides to write her memoir, entitled "Buffalo Gal." The writers of the play adaptation of the Dennis novel (which starred Rosalind Russell on Broadway and in the fantastic film version), Jerome Lawrence and Robert E. Lee, decided to make Lindsay a constant supporter in Mame's life, an admirer who sticks with her through thick and thin and who eventually marries Mame at the story's end. The role was created in the play and film by the elegant Patric Knowles, and was played in the original cast of the musical by George Coe. I look forward to bringing some suavity of my own to the role!

This will be Goodspeed's first production of MAME, and they seem to be pulling out all the stops in the glamour department. For costumes, they have brought in Gregg Barnes, most recently represented by his glorious designs for FOLLIES. To get a taste of Auntie Mame's extensive wardrobe, click here for an online gallery.

MAME will play April 20 through July 7 at the beautiful and historic Goodspeed Opera House. For more information on the production and to get your tickets, click here for the Goodspeed website.

Holiday Letter 2011

It is that time of year again, my annual holiday letter. I hope that as you read this you are making plans not only for a warm and festive season but also for what I hope will be a successful and joyous 2012.

2011 was, for me, a year of several firsts. The project that launched my year was the Off-Broadway premiere of "The Road To Qatar!", an original musical by David Krane and Stephen Cole. This was my first time originating a role in a new show and I got to play one of the leads! We presented the show at the York Theatre Company and it was, in every way, a love-in for the company, creative team and crew from the very first moment. We just had a blast putting this kooky show together and we all loved working with each other. Unfortunately the press blasted the show pretty badly and it did not go on to have the life it deserved. But we did get to record an original cast album on Jay Records. This was another first for me, and the recording session yielded what I think is an album that's really fun and captures the spirit of the piece. I don't need to tell you how thrilling it was to see my photo in the booklet and to see my name on all those tracks! Click here to visit Amazon.com and read the great customer reviews for the CD.

Following "The Road To Qatar!" I did a showcase with Musicals Tonight of an obscure English musical from 1916--"Theodore and Co." by Ivor Novello and Jerome Kern, playing the randy aristocrat Lord Wye. Great cast of people and much fun. And the best thing that came of it was a friendship with my co-star Amy Arbizzani, a terrific performer and even more terrific person.

Summer brought the opportunity to play another randy aristocrat, Lord Evelyn Oakleigh, in the classic "Anything Goes," which I performed at Merry Go Round Playhouse in upstate New York. Evelyn is one of the great character parts of the musical theatre repertoire and I was lucky to get to play it opposite the super talented Julie Cardia as Reno Sweeney. It was also my first production at Merry Go Round and I look forward to returning there in the future.

In August I did my third Bootleg Shakespeare production with Taffety Punk Theatre Co. at the Folger Theatre in DC, playing Hubert in "King John." These one night only collaborations are such a thrill to do--the acting equivalent of bungee jumping--and I loved playing again with Marcus Kyd, Lise Bruneau and their stellar company.



As summer wrapped up, I went to St. Louis to play the conniving Henri Labisse in "Victor/Victoria" at Stages St. Louis.
This was my first show at the theatre in 14 years and it was great to reconnect with the folks there and do a show that is rarely revived. It was a scrumptious art deco production and I had fun twirling my mustache and speaking in a French accent as thick as gruyere cheese.

I don't think any actor I know could complain about a year in which he played five very different and delightful roles. As often happens in this business, I returned to New York in October and faced a very uncertain future. Finances are tight, auditions few, and it can be difficult to keep a happy face. But I continue to put myself out there. I am trying to initiate some potentially exciting original projects, I am studying new skills, among them doing voice work for animation. I taught my Audition Intensive workshop for the second year at Goodspeed Musicals and am seeking more opportunities to coach and teach. And of course, the dream of finally working on Broadway continues to simmer just below the surface. For most of us, it is a matter of hanging in there, isn't it? And so, as 2012 quickly approaches, I am writing, shopping a project around that I plan to direct, and keeping my hat in the ring whenever and wherever I can. I hope that you will hang in there too and continue to follow your dreams, whatever they may be.

Best wishes to you and yours for a warm and beautiful holiday season and all the best for the new year to come.

"The Road To Qatar!" Original Cast CD Released!

I am delighted to report that the Original Cast CD of the York Theatre Company's production of "The Road To Qatar!" has officially hit the stores. The album was produced by John Yap and Jay Records and is currently available for purchase and download. I am so thrilled to have made my first album--a real milestone for a music theatre actor-- and couldn't be prouder of the entire "Qatar" family, and especially our writers David Krane and Stephen Cole, who oversaw the recording and production of their 'baby' with a meticulous and loving eye. The recording truly captures the zany spirit of the show and I think you will agree that it brings back the spirit of classic musical comedy!

I encourage you to visit Amazon. com to read the rave customer reviews for the CD, which have been amazingly gratifying to enjoy.
While the album is available for download on itunes, I recommend buying the CD, which contains Stephen Cole's wonderful liner notes, original production photos, and the libretto for the show. It is my hope that this recording will be an important step toward the continuing life of "The Road To Qatar!"

Having completed the very pleasurable run of "Victor/Victoria" at Stages St. Louis, I am back 'at liberty' in New York, making the rounds and pursuing auditions. I am delighted to announce that I will be returning to Goodspeed Musicals next month to teach the second Goodspeed Musical Theatre Audition Intensive, along with my teaching partner Molly Tynes, and special guests, choreographer Kelli Barclay, head of the University of Michigan theatre program Brent Wagner, and Goodspeed musical director Michael O'Flaherty. Last year's Intensive was enormously successful and our students have gone on to gain admission to some of the finest conservatory training programs here and abroad. For more information on the program, visit Goodspeed's website.

Happy Thanksgiving!

"Victor/Victoria Is a Hit!

JAMES BEAMAN CONTINUES AS HENRI LABISSE IN "VICTOR/VICTORIA" AT STAGES ST. LOUIS THROUGH OCTOBER 9!

"THE ROAD TO QATAR!" ORIGINAL CAST ALBUM NOW AVAILABLE AT ITUNES!

So, it's official. Audience and critics alike are enjoying our production of "Victor/Victoria" at Stages St. Louis:

It's all wrapped up like a tune-filled souffle that's light and delicious and completely engaging and enjoyable. ~Broadway World

We have settled in for the few remaining weeks of our run here, and everyone at Stages is delighted with the way our production is bringing their 25th Anniversary Season to a glittering close. I am having fun with my extended cameo as Henri Labisse, and am scanning the horizon for the next performing opportunity. St. Louis is graced by several top notch professional theatres. Along with Stages, there is the Rep Theatre of St. Louis, which produces a full season of nationally recognized plays and musicals, including new works which have gone on to Broadway; and every summer, Forest Park comes to life with the Shakespeare Festival of St. Louis, performing on a massive stage outdoors in a beautiful natural bowl for thousands of spectators. I had the great pleasure of playing Casca in "Julius Caesar" in 2006 at the festival and am looking forward to auditioning for their 2012 offering, "Othello." These theatres have been very welcoming and I have had the pleasure of meeting members of their artistic staffs and sharing my work with them. I look forward to returning to St. Louis very soon!

"Victor/Victoria" Production Week!

JAMES BEAMAN OPENS FRIDAY SEPTEMBER 9 AS HENRI LABISSE IN "VICTOR/VICTORIA" AT STAGES ST. LOUIS!



We are launching into tech week here in St. Louis as we prepare to open Stages' ambitious and glitzy production of "Victor/Victoria," the jewel in the crown of their 25th Anniversary season. I must say, the rehearsal process has been a great pleasure; director Michael Hamilton's meticulous approach has yielded a show that already has polish and great style. Adding the costumes, lights, scenery and other elements will take us all to that next level. They have pulled out all the stops at the theatre to make this a lavish and opulent production, stretching the limits of the intimate space to the maximum to create the art deco world of 1934 Paris. For a sneak peek at rehearsals and a look at some of the designs, visit the Stages St. Louis website and click on the video in the lower right corner of the main page.

I am greatly enjoying my role as the conniving weasel, Henri Labisse. Inspired by the comic masterpieces of creator Blake Edwards, I am doing more than a little homage to Peter Sellers' Inspector Clouseau, with a French accent thicker than gruyere cheese! Labisse gets his comeuppance for trying to foil the plans of Victoria and her fairy godfather Toddy by getting completely beat up during the course of the show. By the time the finale rolls around, I have two bandaged hands, a broken nose, a limp, and a head bandage. Being the one genuinely sour note in a show full of sweetness and glamour is a real treat and I'm having lots of fun. In case you don't remember Labisse from the film of "Victor/Victoria," here is a link to the scene in which Julie Andrews auditions for him at Chez Lui. Labisse is played here by veteran character actor and Blake Edwards favorite Peter Arne.

Reviews and production photos to come! "Victor/Victoria," which is already selling like mad, runs through October 9.