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Conversations featuring authors and influential leaders in the arts, media and business.
The 2016-2017 Joseph Jefferson Equity Award nominations were announced this week. There were 158 nominations in 33 categories for Chicago Equity theatrical productions during the period August 1, 2016 through July 31, 2017.
Read MoreDeep inside Cirque du Soleil’s white and gold big top tent city at United Center, there is an area bustling with excitement. Coaches work with strap artists on new routines, tumblers tumble as human hummingbirds flutter by. There is a wide array of exercise equipment, lest you think that 10 shows a week is not exercise enough. It may not be the most conducive place to have a conversation -- in and alongside weight lifters, an enormous stallion puppet and yes, the contortionist, who was nailing his stretching exercises as the cactus handlers strolled through.
If only life was a circus!
Read MoreYou will want to make a note that Lizzie Borden is coming to town. The fabled axe madam herself, known for a (disputed) total of 81 combined whacks, will have her story retold by a new professional theatre company making its debut with the Chicago premiere of LIZZIE at the Den Theatre. Stay tuned for more about the show ... but first, Firebrand! Chop! Chop!
Read MorePreviews begin this weekend for the Grippo Stage Company's revival of long-time Chicago playwright and actor James Sherman's God Of Issac at the Piven Theatre at Noyes Cultural Arts Center in Evanston. The semi-autobiographical piece centers around a young American Jew searching for his Jewish identity following the threatened 1977 neo-Nazi march in Skokie.
Read MoreIf not for a comment by Walter Matthau on the set of Dennis the Menace, Randall Newsome might well be still behind the camera.
Read MoreIn case you were wondering, David Catlin actually grew up in Pittsburgh. At last report, no whales have been sighted in the Ohio River, but that did not deter Catlin’s lifelong fascination with water, the ocean, or, otherwise affect his extraordinary gift for storytelling, all of which intersect in the Lookingglass Theatre’s magnificent production of Herman Melville’s Moby Dick.
Read More
On March 23, 2016, we launched the Conversations series at the Skokie Theatre. We set out to present "a monthly interview series featuring authors and influential leaders in the arts, media and business" with a plan to run for four months with two conversations for each program. As you will hear, our first program, with producer/writer/actor Ron Keaton and writer Ethan Michaeli, was particularly memorable. Our conversations have continued since those early days with now over 30 available on our website at De Usuris and online at iTunes, Stitcher and Libsyn.
This week, we are featuring the conversation with Ron Keaton including a scene from his Jeff Award winning performance of Churchill. We have also reprinted here, for the first time, the opening monologue of the show as this week's De Usuris blog post as a tribute to my friend, the late John Callaway -- proof that the more things change, the more they stay the same. Cheers, ET
Conversations are very engaging. You can have them anywhere. With anyone. Even short conversations can have a long- lasting effect. It is always good to have something interesting to talk about. And sometimes, things just come up and you go there.
That is what this program is all about.
My friend and mentor, the late John Callaway, and I had spirited conversations on just about every topic you can imagine. He always said that he was a generalist. He said it was because he was curious about everything.
John had an amazing approach to these kinds of things. He said once that it was an extraordinary opportunity to be able to explore a topic and talk with a guest without all the phony studio gimmicks to make the broadcast appear like the audience is having fun. No commercial breaks. Interesting topics and engaging guests. Not like TV at all, he’d say.
John believed strongly in preparation. You need to show up early and ready to play, something I have always done my entire life.
I realized somewhere along the way that I was curious about everything, too. And while I have concentrated on military history for almost three decades, we are about to venture into new, exciting territory. I am very happy that you have come along for the ride. And, I can assure you I am ready to play.
Leading up to this program, I have received a lot of emails, letters, and calls from people telling me that they appreciated all of the Library programs we produced over the years. For those who may not know, the lectures, interviews and panels were presented and broadcast live over the internet before anyone put the words "YouTube" together. They were recorded live with an audience. In the early days, that might be no more than 10 or 12 people, but we didn’t care. Every one of those people were there to hear what we had to say.
In a very short time, we assembled what would become an award-winning production team. We were picked up by WYCC and our show ran twice a week – at 6 a.m. and midnight on Sunday nights. After a few years we moved to another great slot – Friday at 3 p.m. – before negotiating Sunday morning at 10 a.m. -- head-to-head with Meet the Press.
As the years passed, we produced more than 40 original programs a season with a couple of those years at over 50. Since our production season was 9 months long, you could say we were busy with the show, running the Library, and keeping all the other farm animals happy in the barn.
Nine months. Nine years. Over 300 televised programs and a Neilsen rating of just over .349. (Actually, that's less than 1/2 of one percent, if you are doing the math.) Life was good!
One of the things about being on a weekly television program, and talking about military history and current affairs, is that attitudes change so quickly. So it was a challenge to keep the topics relevant and timely. We took that part very seriously.
And, I would be recognized from time to time, in the store or on the street. People are very nice. They talk to you like you’re an old friend, or high school classmate. The first few times it was a little awkward, but then I got used to it and actually enjoyed the conversations.
One time, a woman stopped me in the store. She was very animated and engaging.
She said: “My husband is a big fan of your show at the military library. He says the stories you tell are inspiring and very stimulating.”
Well, thank you, I said.
“Oh yes," she said, "Every Sunday morning he’d make a very nice breakfast for us. Then, we’d read the papers a bit and settle in and watch your show. Pretty soon he’d lean in and give me a kiss and, well, we were off to the races!”
"I see," I said.
“Yes," she went on to say, unbelievably. "I was a little concerned when you moved your show from late Sunday night to Sunday morning, but ... no problem!"
RON KEATON, producer, actor and writer of the acclaimed Churchill one-man show was our first guest for Conversations with Ed Tracy at the Skokie Theatre on March 23, 2016. Ron discussed his long-time acting career, future goals for SoloChicago and performed a monologue from his 2015 Joseph Jefferson Award-winning performance of Churchill.
Ron Keaton on Winston Churchill’s human side...
“Most people think of Churchill as the august, bombastic, commanding presence and he was all of that. I wanted a more human side to show. I wanted people to know that he had a family and five children. And that he did worry about his failures. He was just as human as the rest of us.”
On creating a legacy...
“I’m at a point in my life where the work I want to do not just as an actor or a person is rapidly becoming legacy… I don’t have children. I don’t have a family like a nuclear unit, so my work personally has to be what I leave behind. Solo Chicago Theatre for me is my idea of leaving something behind for others to enjoy and to learn from and to play with. ... We want SoloChicago Theatre Company to be the brand for solo performance in the United States.”
On aging...
“You’re never too old to learn something new, and that’s where I’m at.”
SOLOCHICAGO WEBSITE
A centuries old debate leads us to wonder if we are a product of the art we create or is art, in this case performance art, a true reflection of the world around us. After a closer look at a handful of recent musical theater offerings this season, the answer is a resounding yes ... and yes. Some reflection on these fine, insightful works is necessary. There is no doubt that if you saw all these productions, you too will be thinking a bit more earnestly about the immigrant experience and race relations in 20th century America and how it might apply to our lives today. Each producing organization deserves a healthy dose of respect for taking the artistic – and potentially commercial – risks to tell these important stories.
It comes as no surprise that it is all happening in and around Chicago. Our arts community has a reputation for risk and innovation. So, the conversation turns this week to the contributions of five musical theatre productions that have confronted racial bias, anti-Semitism and social injustice as a reflection of our society.
Earlier this year, we spoke to James Earl Jones II who portrayed Hayward Patterson in Porchlight Music Theatre’s superb production of Kander and Ebb’s The Scottsboro Boys. This was the last production by director Samuel G. Roberson, Jr., a young and gifted theatre artist who passed on May 21, 2017 at 34 years old. Documented in extensive news reports of the day and many books, including an autobiography by Patterson, the story revolves around the fate of nine African American teenagers accused, tried and convicted of a crime they did not commit. The musical adaptation is framed in the style of a minstrel show by an all-black cast. The most poignant moments of this production were amplified because of the musical structure. The overall message of injustice is delivered by the silent and determined presence of Rosa Parks foreshadowing the social changes and civil rights movement that follow.
We have a deeper understanding of this story today because the central character, Haywood Patterson sentenced to life in prison and unwavering in his innocence, taught himself to read and then with the help of journalist Earl Conrad wrote Scottsboro Boy, published in 1950. As Jones tells us in our conversation, the minstrel show context is appropriate for the all-black cast for which the piece was written. With the ability to reflect months later, the Porchlight production of The Scottsboro Boys is one of the most powerful seen of late – a testament to the inspired talent and creativity of the cast and, especially, Roberson, whose bright and inspirational message casts a beacon of strength and perseverance.
The brilliantly conceived production of Parade currently playing through July 2nd at Writers Theatre in Glencoe is the story of Leo Max Frank, a factory superintendent who was convicted in 1913 of the murder of Mary Phagan, a 13-year-old employee. It is a rush-to-judgment story that ended in what is largely considered today a wrongful conviction. The love story/murder mystery, as seen through the political ambitions and deception of the principal characters, is told this time from the formal sitting and court rooms of Atlanta. After years of appeals and shifting public opinion, key witnesses recant their testimony, exposing the overwhelming prejudice of the day. This parade, however, then takes a very severe and tragic turn.
It is not hard to imagine all this happening because it did. Hal Prince produced the Broadway production that debuted in 1998 and received nine Tony Award nominations, winning Best Score (Jason Robert Brown) and Best Book (Alfred Urhy) and 13 Drama Desk nominations, winning six. A revival in 2009 also received seven Tony nominations. Urhy’s book, based on news reports and personal reflections, is the third part of his “Atlanta Trilogy” that includes Driving Miss Daisy and The Last Night of Ballyhoo. Parade is a particularly emotional heart-wrenching story of prejudice. And while the topic may not be at the top of your list for entertainment, the Writers Theater production should be. This is a musical that makes you think, feel and react to what is happening around us every day. It also highlights the importance of power, influence, factual reporting and the court of public opinion.
The critically acclaimed Jesus Christ Superstar, which recently finished its run at Paramount Theater, was bold and inspiring. This dynamic production took on new meaning with an all-black cast providing a highly-charged version of the driving musical score, framed in the story of Jesus of Nazareth, portrayed by Evan Tyrone Martin. In our conversation, Martin talked about his own spiritual roots and how that foundation influenced his interpretation of the work. Regardless of your religious affiliation, this production had something significant to offer. A powerfully performed, moving and unsettling depiction of a very familiar story.
Jesus Christ Superstar was a turning point in 20th century musical theater, coming at a time in the early 70’s when Hair and Godspell had already spoken to a new generation of audiences. First appearing as a musical concert album, a 1971 Broadway debut and run followed. Audiences were apprehensive about the treatment of this story in a staged musical version. It was only after the phenomenal world-wide success of the film version in 1973 that the iconic nature of Superstar was achieved.
The themes of persecution, betrayal, redemption and unconditional love were at the center of the superb Paramount production, a bold reimaging of a timeless story performed by an extremely talented company.
Jackie Taylor’s Black Ensemble Theater, the mission of which is to stamp out racism, mounted an exceptional original work about the Nicholas Brothers entitled My Brother’s Keeper – The Story of the Nicholas Brothers. In our conversation with writer, choreographer and star Rueben D. Ecoles (Harald Nicholas) and co-star Rashawn Thompson (Fayard Nicholas), early in the rehearsal process, we explored the challenges of recreating one of the most celebrated dance teams of the 20th century. Along the way, we began to understand the personal obstacles they faced in a career that spanned over five decades.
In production, the Ecoles/Thompson teamwork proved to be formidable and this was an inspiring piece of musical theater that we hope will find a life elsewhere. The Nicholas story is a natural for a larger musical theatre treatment, a true-to-life historical story including prominent characters of the day like Cab Calloway, Dorothy Dandridge and Bill “Bojangles” Robinson. Overcoming adversity and prejudice are key to the Nicholas Brothers story. (Note: Black Pearl: A Tribute to Josephine Baker is currently playing at Black Ensemble Theater.)
Griffin Theatre’s brilliant production of Ragtime, brings together all aspects of the American immigrant experience at the turn of the 20th century in a rich, diverse musical journey. Directed by Scott Weinstein, this larger-than-life production is raw, compelling, fresh, edgy and innovatively staged in the very intimate confines of the Den Theatre’s Heath Main Stage and is now playing through July 16th.
Based on a work of historical fiction by E. L. Doctorow published in 1975, Ragtime was adapted as a film in 1981 and debuted on Broadway in 1998 where it received 13 Tony nominations, winning four, but losing Best Musical to Disney’s The Lion King. A decade later, the revival on Broadway opened to critical acclaim in November 2009, but closed in early January 2010.
Perhaps it is a sign of the times, but this Ragtime seems more in step and has much more to say at this moment than perhaps at any other. This is the story of three families in the tapestry of our evolving cultural heritage. Mixed with real life characters like J. P. Morgan, Booker T. Washington, Evelyn Nesbit and Harry Houdini, the fictional characters of Coalhouse Walker, Jr., Sarah, their baby and a New Rochelle family remind us that our freedom was born from the resistance to racial prejudice and violence. The American dream is embodied in the poignant story of the Jewish immigrant Tetah and his young daughter whose vigilance and spirit is a central theme.
The challenges of these works speak directly to our ability to accept art that places us in uncomfortable territory, moves us, exposes our own bias and even threatens the essence of our perception of the American dream and spirit. In other words, in order to understand more about our interrelationships, we need look no further than our own musical theater community who is encouraging the conversation, and enlisting hundreds of talented, committed artists who view their responsibility to present meaningful and important work to expand our understanding of the world.
There are many more musical (and non-musical) works that could have been included in our conversation. Endorse the fine work of artists, actors and organizations who encourage us to explore issues outside of our comfort zone and, by doing so, help us to understand not only how far we have come, but also how far we have yet to go.
Parade -- Writers Theatre
Ragtime – Den Theatre
Pearl – Black Ensemble Theatre
Porchlight Music Theatre moving to Ruth Page Fall 2017 | Billy Elliot
Evan Tyrone Martin is truly blessed and thankful. Blessed, he says, to have been given the opportunity to perform the title role in director Ron Kellum’s brilliantly conceived production of Jesus Christ Superstar at the Paramount Theatre in Aurora. Thankful to be surrounded by an amazing cast of African-American actors who support each other in telling a universal story about a man who spread a message of peace, love and salvation.
Martin grew up in a church family in Cleveland, inspired by his parents, grandmother and aunt who were singers. He went to Ashland University where he honed a commanding stage presence and vocal technique. In our conversation on May 4th, he reflects on the steady course he was on seven or eight years ago and of the structured plan he envisioned, then abandoned, in favor of a more free-spirited approach to his professional career.
There is a string of solid Chicago and regional theater credits on his resume and he spent some time in New York early on. Martin then appeared in RENT at Paramount a few years ago, received his Equity card and was off to the Arkansas Shakespeare Theater. But things slowed down after that. Auditions were scarce and he was not getting cast. Self-doubt began to seep in after more than a year of "radio silence." Looking back, Martin realizes that there was no backup plan to a performing career, so he pressed forward.
His vigilance paid off when a door opened for another theatrical home at Porchlight Music Theatre. He was encouraged to connect with Artistic Director Michael Weber, read and was cast in Sideshow and soon after Martin had caught the eye of directors Rob Lindley (Far from Heaven) and Brenda Didier (Dreamgirls). Those three roles last season earned Martin two 2016 Best Supporting Actor Jeff Award nominations for Sideshow and Far From Heaven. To cap off a very productive period, the Chicago Tribune included Martin as one of its Hot New Faces of Chicago Theater for 2016. Coming full circle, Martin returned late last year to Paramount in the role of King Triton in Little Mermaid.
If this all sounds like a busy schedule, consider as well that last fall he joined producer Michael Ingersoll and Angela Ingersoll for the Artists Lounge Live concert series at the Metropolis Performing Arts Center. The new show, entitled Unforgettable: Falling In Love With Nat King Cole, had a return engagement earlier this spring and future performance dates are already on the books.
There are many more layers of Evan Tyrone Martin's talents to see and hear at the Paramount where the cast and creative team have redefined the Andrew Lloyd Webber/Tim Rice score in the not-to be-missed production that seems uniquely connected to the faith-based family ministry in which he was raised.
Jesus Christ Superstar is now playing at the Paramount Theatre through May 28 - For tickets, visit: ParamountAurora.com, call: (630) 896-6666.
On his portrayal of Jesus Christ …
“It was really important to me, as an actor, for people to see him as this bright beacon that pushed forward despite the fact that he was being approached on all sides … to be quiet. He continued his message and it is kind of heartbreaking when you see that on stage … To see a man preaching such a simple seemingly harmless message met with such anger and aggression … That was really important for me to convey. I really wanted the audience to feel for this man.”
On the show’s message …
“It can be so universal because it is about a group of people seeking truth and fighting against religious and political influence to really be able get to the bottom of their beliefs … who they are as a community and a race of people. I think having an all-black cast brings a phenomenal and interesting layer to the story because we are one of many races that have known oppression for a very, very long time … Taking this perspective on that very real element in this story makes sense, but I do believe in general that because this is an all-black cast does not make it a black production. There is still a universality that people can grab on to.”
Felicia Boswell plays Mary Magdalene and Evan Tyrone Martin is Jesus of Nazareth in Paramount Theatre's Jesus Christ Superstar through May 28, 2017.
Following your passions …
“When I was younger and first moved to New York, I made very specific plans about how I wanted my career to go and in the last seven to eight years, I kind of let that go … I go where I am most passionate. I do the things I am most passionate about and let that tell me which direction to walk confidently in.”
His inspiration and support …
“Everybody in my family has been instrumental in my success as a performer … My grandmother, before she passed, one of her favorite things to do with me was sing and listen to music. Before my aunt passed, she was instrumental in telling me that I need to be educated. if it were not for her I would not have gone to college … Of course my mom and dad … sacrifice after sacrifice for 15 years to get me to rehearsals, pay for trips, get into college, stay in college even when they knew none of us could afford it … Having that amount of support behind you is invaluable … I could not and would not be where I am right now if it were not for my family.”
EVAN TYRONE MARTIN WEBSITE
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Production photo credit: Liz Lauren
Ever feel like you want to throw your cell phone away, but then realize you need to call someone to tell them where you are? Was the last time you ended an argument with a Google search around lunchtime today? How many pairs of shoes did Amazon send to you before you actually wore them?
If you are a keen social observer like Bill Dyszel, there is a good chance that you already know how amazingly dependent we are on the internet, that highway of information and practical applications that make life so easy we often forget to actually live it in real time. Dyszel, an accomplished opera singer who has written and is performing The Internet Ate My Brain at Davenport's Piano Bar and Cabaret on May 14th, is an expert on the topic. He is the author of a growing list of 20 books that includes Microsoft Outlook for Dummies, the popular series of self-help manuals that age like a fine wine with every new version. As we found out in our Q & A this week, in between the finer points of making our lives more efficient in his real job, Dyszel has developed his own special brand of musical commentary about the way we live our lives in the social media age.
We also found out that Bill Dyszel's manic, fresh and inventive style is perfectly suited for the intimate stage at Davenport's. The multimedia show, with musical director Beckie Menzie, is loaded with masterful parodies on a range of comic viewpoints about Amazon, Google, WebMD and a particularly hilarious take on selfies. Dyszel's New York performance was named a Top Ten show by Theater Pizzazz and won a coveted nomination for the Broadway World NY Cabaret Award for Best Musical Comedy.
We caught up with Bill Dyszel to pose a few questions in advance of the Davenport's appearance.
Q & A with Bill Dyszel
ET: Is it safe to say that you straddle two very different worlds: by day, the mild-mannered reporter who dissects complex software upgrades so the rest of us don’t have to, and, by night, a kinetic, hilarious, dialed-up and tuned-in cabaret performer whose laser-sharp musical parodies and original material hit at the heart of our Internet-based world? Or, is there another Bill Dyszel that we do not see as often?
BD: There’s also the content marketing guy who creates lots of business communications material that sells stuff to big companies. It’s not as funny, but it pays better. Now and again there’s also an opera singer, a task that is much less serious than it often looks.
ET: How did the book writing project begin?
BD: I wrote for lots of computer magazines in the heyday of titles like PC Magazine and Computer Shopper, mostly doing product reviews, etc. I reviewed Microsoft Outlook in its first release, and kept covering it ever since.
ET: How much of a program like Outlook does an average person use? There are some obvious priorities, but talk about a couple of features that you were surprised more people don’t use.
BD: I doubt that most people use more than 10 percent of what’s in there. Part of that is because Microsoft used to add flashy new features every 2 to 3 years as a competitive practice. Some of those features stayed in the product, no matter whether they were widely adopted. Most people don’t use the task list much, but it’s a great way to stay on top of all the little chores we all need to do every day. I like the Notes feature, which is where you can keep random scribblings of things you’d like to remember. Microsoft wants people to use One Note for that, but I think the Outlook version is more helpful because it’s right there with your email.
ET: There does not appear to be a lot of IT in the opera world. How has your opera career influenced your musical interests now and what prompted the transition to the very unique and original style you have developed?
BD: It’s hard to say what influences what—do I prefer “legit” sounding music because I did opera, or the other way around? Hard to say. I do prefer performing music that incorporates good vocalism. I’ve also always enjoyed classical music comedians like Victor Borge and PDQ Bach, but I like extending that kind of humor to non-musical topics.
ET: You have performed TIAMB multiple times in New York and Skokie. How has the show been adapted to fit in the smaller and more intimate backroom at Davenport’s on May 14th?
BD: The approach is substantially similar, except that in smaller rooms like Davenport’s in Chicago or Don’t Tell Mama in New York, I have to rig my own tech and run my own cues. The show has some lecture/demo qualities, anyway, so it isn’t a problem. The smaller room also makes audience interaction easier, because audience members aren’t so far from the stage.
ET: Do you consider TIAMB a comedy show with music or a cabaret show with comedy?
BD: It’s comedy with music, the comedy comes first.
ET: Why?
BD: The show only achieves its goals if the comedic parts land right. The comedic material conveys the meaning of the show.
Bill Dyszel THE INTERNET ATE MY BRAIN
ET: There is an interactive element to the show. Can you give us an idea about what is in store?
BD: One goal of the show is to provide an experience that couldn’t be duplicated online. Much of that revolves around allowing audience members to interact with each other, face-to-face, in a way that they can’t online. I don’t want a performance that could be replaced by an online video. There are billions of those. This is about the unique value of live performance and live events involving live, in-person interaction.
ET: Conservatively, you have written over 100 songs and song parodies. What are two or three elements of a good parody?
BD: In my view, a good parody adds a new layer of meaning of the original material while also exposing an unexpected resemblance with the topic of the parody. I like to retain as much of the language and structure of the original material as I can, while creating a new meaning with the result. There is a tendency for people to write parodies so that they don’t have to write music. Sometimes that works, but I prefer parodies that honor the original material in some way. Those yield a much richer and compelling result.
ET: When you are doing your show, what are the three most important rules to follow?
BD:
1. Relax—if the performer is having fun, the audience will, too.
2. Respect the audience—The interactive segments allow audience members to express their opinions, and they should feel safe and respected in doing so.
3. Check your fly.
ET: Any other careers we have failed to mention?
BD: I’ve done enough odd little things than I can’t remember them all—radio announcer, improv actor, Navy officer, filmmaker…That should probably be another show sometime.
ET: Thank you for your service. What’s up next?
BD: I don’t think this piece is completely mature yet, it’s always growing. I may push more on developing the blog at TheIntenetAteMyBrain.com and expand that to see where it goes. With any luck, the blog and the show could feed into each other.
If you want to know what it is like to sit around the table talking with the engaging Kathleen Ruhl, you have a couple of choices.
The first, of course, would be to listen to our spirited conversation about a life richly lived in the Chicago arts and education communities, all the while surrounded by a family steeped in medical science. Except, of course, her daughter, the Pulitzer Prize finalist and Tony Award nominee playwright Sarah Ruhl, whose brilliant career has now led to the Chicago premiere of the play that she wrote specifically for her, that being For Peter Pan On Her 70th Birthday. To say that she has pride for her daughter's accomplishments, Ms. Ruhl says, "would imply that I had anything to do with it." But then, she quickly notes, of course, that she did. She is her mother, after all.
One thing is for sure: Kathleen Ruhl has been a colorful thread of the vibrant tapestry of Chicago's ensemble theatre community since arriving here in 1964 ... a much loved and highly regarded actor and educator who is in a role few ever have the opportunity to portray: herself.
It all happens in the Shattered Globe production at Theatre Wit on Belmont, now extended through May 27th, which is the other way to join into the table conversation with her. The brilliant ensemble company of five actors (and a dog) reimagine a deeply personal and poignant time in their family, the passing of Kathleen's father and the subsequent wake ... a moving, intelligent and inspiring 90 minute piece in three movements. And in case you are wondering, Kathleen Ruhl is superb in a role that was, well, written for her.
There's much more in our delightfully, warm and thoroughly enjoyable conversation on April 17th that felt like a short trip to Neverland with Peter Pan.
On pursuing a PhD at 50 years old …
“It was great to be back in academia. I really loved it … I made a bigger world for me.”
On the play's 90-minute format …
“I like the 90-minute form and I like it because I have always felt that intermissions interfere with your immersion in the world of the play. So, I always feel sad that I have to leave the world and then come back to it again. I am all for that 90-minute form.”
Her daughter's inspiration ...
“For me, the reason I think she wrote this for my 70th birthday is because that birthday hit me hard. All of a sudden, time seems limited and I feel that it very much tries to address that issue in ways that are comforting. I say ways because we have a lot of perspectives in the play on what happens after death.”
On growing up ...
“The last line of the play is ‘before I go home’ which I take to mean, in the context of the play, to another world, 'I will stay a little while in the theater where you do not have to grow up.' The sense of growing up does not mean not taking responsibility. It means not becoming ossified … programmed like Dad’s hat … the grownup man’s hat. Why would you wear it when it does not keep you warm? It is just a convention. Being an artist … being in the theater … retaining your playfulness is a way of staying alive.”
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You have seen Ed Kross. Everywhere. Dozens and dozens of times. Maybe on a cruise ship with Second City. Or during the three-year run of I Love You, You're Perfect, Now Change at Royal George, as the Tin Man in Wizard of Oz at Chicago Shakes, a tap-dancing monkey in Jungle Book at Goodman Theatre, or as the quirky studio host in I Love Lucy Live on Stage at the Broadway Playhouse.
There are two memorable roles as a bank manager on-camera opposite Tom Hanks, in Road to Perdition, and George Clooney in Oceans Twelve. Among his over 60 commercial appearances, Kross makes a copy machine selfie and shares a microphone with a dancing mini-wheat.
It is safe to say that Ed Kross is a natural born comic, actor, singer, and dancer. And while it was always part of the plan to pursue a theater and on-camera acting career, Kross says the key for him was to keep busy and apply some basic improv principles to his own life: be present, get out of your head, know the rules, learn skills, stay sharp and be sure to strive for balance in your life.
These days, as we found out in our conversation on April 14th, the witty Kross delivers a more serious turn as a police officer struggling with PTSD in the new Amazon Prime web series Patriot, a role that is on the other end of the acting spectrum from his early days aboard the Norwegian Epic with Second City.
Take an improv class …
“Even if you are not going to be an improviser or if you do not think you are funny, it teaches you to be present in the moment and to get out of your head … I am a big fan too of not following a linear path as far as training. Even if you are not a dancer, take a dance class. Take something just to move and get your body going. Take an improv class even if you are a dramatic actor because it may open up some parts of you that you had no idea you had. Take a pottery class … For Pete’s sake, take a class!”
On Being a Triple Threat …
“Thank you, that is very nice of you to say. I think I am more of a jack of all trades, master of none, type of guy but if you want to say triple threat, my mother will be thrilled.”
On Getting Noticed …
“Looking back I realize how hard it is when you are starting … That is why I always say take a class, do a play, keep yourself fresh because you never know who will be in the audience that night. Do good work. I honestly believe cream rises to the top.”
Working with the Wiz in Jungle Book …
“I understudied André [De Shields] and went on three times for him … let me tell ya, when people are expecting the Wiz and they get this kid from Brookfield, Illinois … I am not saying it was bad but people are always disappointed when there is any understudy on. I mean I was even disappointed when I was on … André won a Jeff for Jungle Book. He was so ridiculously good … We did eight shows a week and he busted his butt. I never saw him give any less at the Wednesday matinee than he gave on Saturday night. That is old school pro. When I went on for him, he sent me flowers. This guy is the real deal.”
On Building your Skillset …
“Skills can be learned … ear prompter, teleprompter, tap dancing and juggling can be learned. Learn some skills and I think the more skills you have the more you can work.”
Knowing your Strengths …
“I certainly love doing drama as much as doing comedy but it is about knowing your strengths. I am not going to kid myself. I have been a goof since day one. It is fun to flex some other muscles but I know where my bread is buttered.”
