The Lights of Fourteenth Street

Those who follow my blog know that I love acting as my own dramaturge on every show I do.  I am a research enthusiast and love discovering source materials and real-life people and places that have inspired writers whose works I undertake. So of course, when I landed the part of Rudolph Reisenweber, majordomo of the Harmonia Gardens Restaurant in "Hello, Dolly!," I dug around and have discovered the actual New York restaurant that inspired the elegant eatery that is the centerpiece of the show.

Vintage postcard showing Lüchow's dining room

Lüchow's, a popular German restaurant and biergarten, was a fixture on Irving Place for a century.  The Union Square area was, in the late 19th and early 20th centuries, a vibrant cultural center, with concert halls including Steinway Hall and the Academy of Music, as well as theaters and music halls.  From its earliest days, musicians flocked to Lüchow's for its hearty, authentic German cuisine and for the Würzburger and Pilsner beers for which founder August Lüchow was the exclusive agent.  Live music was always part of the Lüchow's experience, as was elaborate decor, including stained glass skylights, Tiffany windows, mahogany paneling... a fitting inspiration for the lush interior of the Harmonia Gardens.

Famous visitors regularly held court at Lüchow's, enjoying sauerbraten and Wiener schnitzel, among them iconic actress Lillian Russell; Diamond Jim Brady, who eventually had an entire private dining room created in his honor; composer Victor Herbert and his associates founded ASCAP, the American Society of Composers Authors and Publishers, at a corner table; in later years, musical greats like Oscar Hammerstein were regulars at the eatery, and Gus Kahn wrote the song "Yes Sir, That's My Baby" over bratwurst and cabbage.  Even Teddy Roosevelt raised a stein of beer or two amidst the fashionable New Yorkers at Lüchow's.

Lüchow's facade in the 1930s

The waiters at Lüchow's may not have done fouetté turns and Russian splits like those at the Harmonia Gardens, but they were famous for their efficiency, expert knowledge of the menu, and their wonderful recommendations to those patrons not familiar with German delicacies.  The brisk service, hearty and delicious food, authentic beer flowing from the taps, genteel surroundings and sentimental Viennese music all created an atmosphere of gemütlichkeit--cozy, jolly good cheer.  Lüchow's remained in operation until 1982 (there is an NYU dorm now on the site where it stood), but its place in the life of legendary New York history remains.  Even some of the rib-sticking, delicious dishes can be recreated via recipes that have survived the decades.  Click here for instructions on how to make Lüchow's famous sauerbraten!

What does all this do to inform the world of "Hello, Dolly!" and my character of Rudolph?  Well, a lot!  Rudolph brings to the world of the Harmonia Gardens the only flourish of authentic German style and color; he is, in a way, an embodiment of homage to Lüchow's.  Also, learning about 14th Street and the lively scene of music, good food and entertainment that it once was gives me a sense of the world that surrounds the Harmonia Gardens, and just how special it might be for patrons to spend an evening within its walls--and how devoted its staff would be to favorite guests like Dolly Levi.  Knowing that Lüchow's waitstaff was famous for efficiency and expertise helps me and the other waiters in our imaginary restaurant summon up an air of pride and finesse that certainly will make our performances sparkle with energy and period charm.  For more about Lüchow's, I recommend this wonderful blog post, which gives more of its colorful history and fun info.  Gut Essen!  

No Small Parts

I don't care how small the parts are, as long as they're good.  ~Alan Ladd

It was Konstantin Stanislavsky who said, "Remember, there are no small parts; only small actors."  If you google this quote you will see it misattributed to everyone from Ginger Rogers, to Melanie Griffith, to Milan Kundera!  It's not surprising, as this is a sentiment that has been shared, or at least repeated, by every actor who has ever trod the boards.  

As a character actor, my view is aligned with Alan Ladd's, as indicated in the quote above. I want to play good, memorable, delicious roles and sometimes these fall under the category of the 'cameo.'  Now, don't get me wrong--I love playing leads, and in recent seasons, I have gotten to play some spectacular ones; from Thénardier in "Les Misérables", to last summer's Cookie McGee in "Nice Work If You Can Get It."  But a sprint can be as rewarding as a marathon, especially when the smaller role is a classic of the repertoire, a familiar character much anticipated by audiences who know a show like the perennial favorite "Hello, Dolly!"

David Hurst as Rudolph, with waiters in the film "Hello, Dolly!"

In my last post, I announced that I will be returning to Riverside Theatre to play Rudolph the headwaiter in this Jerry Herman classic, and I am tickled to have the chance to make this small, robust cameo part my own.  Rudolph runs the show at The Harmonia Gardens restaurant, the scene which is the centerpiece of "Hello, Dolly!".  From the spectacular dancing of The Waiter's Gallop, to that moment everyone anticipates--Dolly's grand entrance, feather headdress and all, at the top of those stairs to the strains of the show's title song--the Harmonia Gardens is the place where everyone in the audience feels 'back home where they belong.'  I think of Rudolph as the ringmaster, sometimes barking orders and blowing his whistle like a Prussian commander, sometimes the silent presence standing by Dolly's table awaiting orders for the next course, where the smallest lift of an eyebrow can be an hilarious punctuation mark on Dolly's masterful manipulation of her hapless future husband, Horace.  

S.Z. 'Cuddles' Sakall

It's true that Rudolph doesn't appear until mid-Act II, and that his journey on stage is a brief one, but the challenge for the actor is to become a seamless part of the world that has been created by the company up to his first entrance, while being a vivid and colorful presence that the audience will remember.  I feel like it's a guest star moment, and I am looking forward to playing this funny little German martinet.  Of course, being the classic film fan I am, I look for inspiration from the character men of the past, and in addition to looking at David Hurst's memorable Rudolph in the film version of our show, I am studying guys like S.Z. 'Cuddles' Sakall.  Sakall is best remembered as the headwaiter at Rick's in the beloved Casablanca, and for his thick Hungarian accent and befuddled charm.  Sakall was a true character man in the grand tradition, never straying far from his lovable and memorable persona--and it is this kind of unique impression I want to make with Rudolph.

Olivier in "Peer Gynt"

The approach to a small part is the same as for a leading one: understand and illuminate your character's special place in the storytelling; create a vibrant, memorable living being, and infuse him with your spirit!  One of my earliest lessons about the artistry that goes into creating a cameo role came to me when I was around 13, stage struck and obsessed with the then acknowledged greatest actor alive, Laurence Olivier.  In 1944, his first season as a co-director of the Old Vic, he played the flashy title role in "Richard III," but also chose to take the cameo of the Button Moulder opposite Ralph Richardson's "Peer Gynt."  For Olivier, it was both great fun and a stretch of his technical skills to take on this small part, and so complete was his transformation that many who saw the production didn't even recognize Olivier in the part.  For him, it was a chance to explore another facet of his talent. An example I've never forgotten!  

"Hello Dolly!" runs March 8-27 at Riverside Theatre, in Vero Beach, FL and will star Michele Ragusa as Dolly.  In my next blog post, I will share some dramaturgical geekness-- my research into the real life New York restaurant upon which the Harmonia Gardens was based!

Hello, Rudy!

2015 gets Wilder-- and Wilder... 

With Giselle Wolf in "The Long Christmas Dinner"

As our run of "A Wilder Christmas" progresses, audiences and critics alike are praising the production and it is extremely gratifying.  These two Thornton Wilder one acts are challenging pieces that not only break many theatrical conventions but also present powerful ideas that shake our habitual perceptions of life and living.  It's really inspiring to see the way people are being touched by our work.  As of this writing, the production has been extended through January 10!


"Miniature masterpieces, at once poetic and profound, and I doubt you’ll ever see either one done better."
~The Wall Street Journal

In an interesting turn of events, Santa brought me an early Christmas present in the form of my first role of 2016, ironically in a show based upon--yes--a play by Thornton Wilder!  "Hello, Dolly!," one of the most iconic and beloved classics of American musical theatre, is based on Wilder's "The Matchmaker."  Riverside Theatre in Vero Beach, Florida is producing "Hello Dolly!" and has invited me to play the delicious cameo part of Rudolph, the majordomo of the Harmonia Gardens Restaurant.  This is something of a full circle moment for me, as this time last year I was rehearsing "Crazy For You" at Riverside; I am delighted by the prospect of returning to beautiful sunny Vero and working again with one of my favorite directors, James Brennan, with whom this will be my fourth production.

David Hurst, center, as Rudolph in the film of "Hello, Dolly!"

My history with Jerry Herman has been a happy one.  I have done three productions of "La Cage Aux Folles"--twice as a Cagelle, and then as Albin, opposite Maxwell Caulfield at Ogunquit Playhouse.  I also played Lindsay Woolsey in "Mame," starring Louise Pitre, at Goodspeed Opera House.  "Hello, Dolly!" is arguably Herman's most beloved and well known show and Rudolph is one of the best cameo parts in the musical theatre repertoire.  The role was immortalized in the film version by David Hurst.  Hurst was a German-born actor and a Jew who escaped Nazi Germany as a child via the Kindertransport and settled in Ireland, where he became an actor; eventually he came to Broadway in the original production of "Camelot," playing Merlin opposite Richard Burton and Julie Andrews.  His turn as Rudolph in "Hello, Dolly!" is what he is best known for, and he's delightful in the part.

As always, I am inspired by the character men of the past and the traditions that make shows like "Hello, Dolly!" perennial classics that audiences love.  The show runs March 8-27 on Riverside's Stark Stage.  It will be fun to be a part of this show as a way to 'gallop' into the new year, as it were!  More on this, and other things simmering for 2016, to come.  Have a safe and happy New Year!

My Annual Holiday Letter 2015

Year's end is neither an end nor a beginning, but a going on, with all the wisdom that experience can instill in us.
~Hal Borland

With Drew Nellessen in "Crazy For You"

My year began in the warm and sunny embrace of lovely Vero Beach, Florida where I romped gleefully through the role of Bela Zangler in the Gershwin musical "Crazy For You." Riverside Theatre is a superb venue, producing terrific work under the auspices of Artistic Director Allen Cornell, and I was reunited with two of my favorite collaborators, director Jimmy Brennan and musical director Ken Clifton, and introduced to the wonderful choreographer Deanna Dys.  Truly, I'd return to Riverside at the drop of a hat.

With Sally Struthers

I returned to wintry NYC and embarked upon an arduous audition season, coming close but no cigar to so many plum jobs, including two exciting tours.  Just as I was beginning to lose heart I was given the chance to audition for another Gershwin romp, "Nice Work If You Can Get It," a co-production of The Gateway and Ogunquit Playhouse.  Director Larry Raben and choreographer Peggy Hickey invited me to play the shamelessly fabulous comic lead of Cookie McGee.  I strapped on tap shoes for the first time in a quarter century, and had the gift of co-starring with the irrepressible Sally Struthers, with whom I have become good friends; we enjoyed a summer full of laughter and SRO audiences giving standing ovations. I even got to meet the show's author, Tony winner Joe DiPietro, who embraced our production in the most gratifying way.

With Eve Plumb

With Brenda Vaccaro

Actually, 2015 seemed to be my year for working with 1970s TV and film legends-- stars of three of the greatest sitcoms of all time, and an Oscar nominee!   In addition to dear Sally, "Nice Work" also gave me the thrill of working with guest stars Valerie Harper and Brenda Vaccaro, and "Crazy For You" guest starred Eve Plumb, known to all as Jan Brady.  Strong, vibrant women all.  Many 'pinch me' moments this year.

With Valerie Harper

Between the Gateway and Ogunquit runs, I had the unexpected joy of being invited to play a  great part in a workshop of a powerful new musical by Marcus Gardley and Justin Ellington, "Loving v. Virginia," at New York Stage and Film's Powerhouse Theatre season at Vassar College.  Director Patricia McGregor is an inspiring leader and a great collaborator and I immersed myself eagerly in the process of developing this fascinating new work in a company of simply thrilling actors.

This fall, I made my film debut in a small role which I shot last spring.  "Till We Meet Again," created by and starring my two beautiful friends Linnea Larsdotter and Johan Matton, had a rapturous reception on the festival circuit, garnering numerous awards, and was given its premiere at the Long Beach International Film Festival.  I'm proud of my friends, of the film, and my cameo in it.

"Ivanov" Cast, Crew and Director Inés Braun

As the leaves turned color and that autumn snap came to the air, I found myself hot on the audition trail once more, and landed a place in the great ensemble cast for "A Wilder Christmas," two one act plays by Thornton Wilder at Peccadillo Theatre Company, in residence at the Theatre at St. Clement's.  Simultaneously, I played Lebedev in Chekhov's "Ivanov," at Columbia University, for MFA directing candidate Inés Braun.  Doing double duty on these challenging pieces has been enormously gratifying and has also proven to be a blessing in the wake of the sudden death of my younger sister, Clea.  The work is a place to put all those feelings and to find communion with my fellow artists and the audience.

Right, as Roderick in "The Long Christmas Dinner"

Finally, 2015 marked two milestones.  My fiftieth birthday, and my twenty-fifth year in the acting profession.  Overwhelming in many ways, but also a source of pride and accomplishment.  I am grateful to subsist in this most difficult but exciting of cities, and to be free to pursue my craft and my dreams.  Oh, Broadway... perhaps 2016 will bring us together.  Wishing you and yours the happiest of holiday seasons full of love and a new year full of possibilities! 

Every, Every Minute

"There is a land of the living and a land of the dead and the bridge is love, the only survival, the only meaning". ~Thornton Wilder

As I write this, Thanksgiving is upon us here in New York City.  It may be the Macy's parade, or the Rockettes, or the tree at Rockefeller Center, but all American eyes seem to turn to our city to launch the holiday season.  It's a time to gather family close, to stampede the department stores, and to deal with the expense and heightened security measures of this year's holiday travel woes.  Hard, perhaps, to see the forest for the Christmas trees.  But, working on two plays by Thornton Wilder while experiencing a major loss in my family has been a mixed blessing: both sobering and inspiring.

Most of us think Thornton Wilder, and think "Our Town."  There's a reason for this.  It's a masterpiece, an American masterpiece, and a play that speaks to the heart and soul of what life is about.  But so often people get the message wrong.  It's not a play about nostalgia or sentimentality; it's a play by an existentialist writer who offers a stinging indictment of human folly.  Wilder felt that human beings only experience life superficially; that we don't fully bring our awareness and our appreciation to all the moments of life, and that we don't truly understand our folly until we experience a loss, such as the death of a loved one.  It's a 'tough love' message.

With Clea at my brother's wedding, 1989

It is just this kind of realization, this seismic shock, that I am in the midst of now, as I grapple with the sudden passing of my sister, Clea.  After a series of medical crises, and a life crowded with challenge and hardship, she died at the too young age of 46, leaving three kids behind, whom we now embrace and support as a family and, with whom, through tear-filled eyes, we contemplate the future.  Having lost my Dad only 15 months ago, I am now familiar with the process of grieving, one that progresses in unexpected ways over a long period of time.  Right now, it's still a shock, but inevitably, my work as an actor in "A Wilder Christmas" at Peccadillo Theatre Company offers the solace of work but the challenge of embracing the human struggle as embodied in the two one acts that make up the evening.

My sister was not an easy lady; life was hard on her and she could be hard on those around her who most wanted to help and support her.  But at the same time, she had an innate sweetness, a kindness and a sentimental heart that endeared her to everyone.  It is difficult for me not to have regrets about what I might have done, or said, while she was living; it is a struggle not to beat up on myself for not reaching out more, letting her know I loved her and was here for her.  And of course, it is regrets such as these that permeate the human stories of "The Long Christmas Dinner" and "Pullman Car Hiawatha."  Wilder understood that the most  profound and painful reality of life is that we don't embrace it and engage in it as deeply as we should.  He also knew that these lessons have to be learned and relearned throughout our lives, because, after all, we are only human.

Mom, my brother Alex, me and Clea

I share my grief with my Mom and my older brother, Alex, my nieces Katy and Keira, and my nephew Daniel, and all our family and extended family.  This holiday season will be one of coming together, holding each other tight, and remembering Clea.  I will also have the gift of the work of theatre, a place of great comfort for me, amidst fine actors bringing to the stage Thornton Wilder's urgent message to love each other, appreciate each other, and savor life for the all too brief time we are on this earth.  Join us at the Theatre at St. Clement's and commune with us at "A Wilder Christmas."  

Happy Thanksgiving.  Hold your loved ones close.  Appreciate every, every minute.

Great Authors For the Holidays!

It's been a long time since I have spent the holidays in New York.  We actors go where the work takes us; this year, it keeps me at home in Manhattan!  After a hectic audition season this fall, I was offered two productions simultaneously, both early works by two great playwrights.

Anton Chekhov

An actor friend put me in touch with Columbia MFA directing candidate Inés Braun, who was casting her project of Anton Chekhov's "Ivanov."  Inés, a dynamic creative force from Argentina, cast me in the role of Lébedev, the alcoholic but well-meaning father of Sasha, who falls in love with the manic-depressive, 'Hamlet-esque' Ivanov.  It's an interesting play, definitely an early effort for Chekhov, but a fascinating glimpse into his gift for characterization and his uncanny perception of human foibles.  "Ivanov" will have three presentations, November 20-22, and I am excited to be a part of Inés' growth as a director and to share the work with her esteemed teachers, directors Anne Bogart and Brian Kulick.  It's also so nice to dig into some classic dramatic material after a pretty steady diet of frothy musical comedy!  Not that there's anything wrong with that. 

Simultaneous with rehearsals for "Ivanov" I am working on the holiday offering of The Peccadillo Theatre Company, the company in residence at the Theatre at St. Clement's.  Peccadillo's mission is the presentation of great American plays, and they have chosen two early one acts by Thornton Wilder, "The Long Christmas Dinner" and "Pullman Car Hiawatha" to present as "A Wilder Christmas."  Just as with the Chekhov, this is a stunning look at the developing voice of one of the great playwrights.

Thornton Wilder

Thornton Wilder plumbed the depths of human experience from an existentialist's point of view, and presented his stories in highly theatrical ways.  "The Long Christmas Dinner" tells the story of 90 years in the history of an American family, played out in front of the audience's very eyes; "Pullman Car Hiawatha" is an early experiment in the conventions and devices Wilder perfected in "Our Town"--including a narrator called 'The Stage Manager' and the use of simple props and chairs to establish the world of the play.  These plays are the essence of ensemble acting, and I am thrilled to be a part of an extremely talented cast under the meticulous direction of Artistic Director Dan Wackerman.  "A Wilder Christmas" plays December 3 through January 3 at the Theatre at St. Clement's in the heart of the theatre district.

Various kinds of theatre challenge different sets of actor muscles and as much as I love doing the dynamic work of musical theatre, I am having a great time using my more classical actor talents to bring these Chekhov and Wilder characters to life.  I am also enjoying being a part of the visions of two passionate directors, one well established and the other beginning her training at one of the great directing programs.  In the process, I get to learn more about myself and my work.  A pretty great Christmas gift.

Twenty-Five Years in the Biz

My 50th birthday is days away.  As I write that I immediately start thinking like an actor.  Hmm, maybe you shouldn't admit that.  You can still play early 40s!  Insert 'LOL' here.  Oh well, authenticity is part of my deal and besides, I often say that as a character actor my best years are always ahead of me.

As Paul in "My Three Angels," 1990

The Big 5-0 feels very significant to me, and has given me occasion for a great deal of stock taking and reflection.  This year also marks my 25th year in the acting profession.  I have been in theatre since birth-- it was the family business; but I joined Actors' Equity during the holiday season of 1990.  I was doing a play called "My Three Angels" at the Worcester Foothills Theatre in Worcester, MA and was offered my card.  Three years later, I moved to NYC with my very first Off Broadway gig, understudying all nine actors and serving as assistant stage manager for "Howard Crabtree's Whoop-Dee-Doo!" at the Actors Playhouse in Greenwich Village.  For a fun blast from the past, check out this public access cable show piece about "Whoop-Dee-Doo!" from '93.

With Goldie Dver in "Crazy World," 2002

I've spent most of my professional career in New York, and what a fascinating and circuitous  journey it has been!  I spent eight years deeply entrenched in the cabaret community, creating four acts as a female impersonator and one, "Crazy World: Songs of Leslie Bricusse" as a vehicle for myself and my friend Goldie Dver, winner of the 2002 MAC Award for Revue of the Year.  All along the way, I did regional theatre and off-off-Broadway; when I retired my cabaret work I went back to grad school for classical acting, reinventing myself and launching a career as a Shakespearean.  Amazing plot twists brought me the life changing opportunity to play Sir Robin in the First National Tour of "Spamalot" in 2007 and a series of incredible musical theatre adventures have followed, including realizing more than a handful of my all time dream parts.

But enough of my resume!  My point is, this birthday has made me feel a real sense of accomplishment looking back on my journey, and I also marvel at how much New York City has changed over my 22 years here.  Virtually every great cabaret I played 'back in the day'--Eighty Eights, Helen's, Judy's, The Firebird, to name a few--are gone; Off-Broadway theaters where I cut my teeth have disappeared as well--places like Actors Playhouse and the Douglas Fairbanks.  Contemplating such losses to the cultural landscape of the city doesn't make me feel old; on the contrary, I just feel lucky to have been a part of the vibrant nightlife and Off Broadway scene of the 90s.  

The legendary 'back room' at Don't Tell Mama

So, thinking 'full circle', as it were, I decided to return to the very first stage I ever appeared on in New York, at legendary Don't Tell Mama, on 46th Street.  Impresario Sidney Myer, probably the most beloved man in New York cabaret, gave me my first chance like so many others, and he has made the club available to me to hold my 50th birthday party.  I am bringing in my chum John McMahon, great pianist and composer who used to hold court at the keys in the lively piano bar at Mama's (oh the many sing-a-longs and gin and tonics I enjoyed in that crazy space) to tickle the ivories, and have made it an open mic, inviting performer friends to get up and offer the greatest gift they bring to my life, next to their friendship--their talent.

What will the next half century bring?  Ha ha!!  Well, you know the old saying--"if you want to make God laugh, tell him your plans."  My story thus far in show biz has been equal parts creating my own opportunities and miraculous strokes of luck.  I am able to announce my next gig!  I will be playing roles in a double bill of two Thornton Wilder one acts, "The Long Christmas Dinner" and "Pullman Car Hiawatha," the holiday offering at Peccadillo Theater Company, at the theatre at St. Clement's-- a space which, as fate would have it, is just a block away from my first NYC stage, Don't Tell Mama, on 46th Street, and--cue the Twilight Zone theme-- directly behind the old tenement building where I had my first New York apartment in 1993.  Perhaps, after all, there is a sort of magical order in the chaos of a life in this biz--or life in general.