INTERVIEW: J. Elaine Marcos from Priscilla Queen of the Desert

1. From Flower Drum Song to The Wedding Singer to A Chorus Line, you have had many hits on the Great White Way. What is it like moving from one success to the next?

What is it like? It a roller coaster of emotions that’s for sure. Each Broadway show is a journey from the audition to the callback, to being offered the show, to first day of rehearsal, opening night to closing night to waiting for another audition so I can work again. Ups and downs, but the UPs are a blast! It’s nothing less than amazing being part of different shows and “show families”. You also never know how long a show will last so I am grateful every time I walk in my theatre. I usually like to say I am heading to the “theatre” as opposed to “work”, it’s just more fun that way.

2. You are currently starring in Priscilla, the new Broadway smash. What is it like starring in this glitz and glam show?

Priscilla is just the opposite of my last show A Chorus Line in term of the glitz and glam. As Connie Wong in A Chorus Line, I wore flats, a woven - wool pant-suit-unitard with minimal make-up. But as Cynthia I wear lingerie, thigh highs, lashes and glitter in my lips. It’s Connie Wong gone wild!! I am having an amazing time playing this role.

3. You are playing the iconic role of Cynthia. How did you go about making this role your own?

Honestly, this role is really me impersonating my own Mother. My Mom (Esther) is lovable and charming most of the time...but other times (sorry Mom) she can be a little over the top, so I just channeled her energy. In addition to adding a bit of a cartoon aspect to Cynthia because I love cartoons!

4. This role has you going crazy and taking over a bar with a very special talent that involves ping pongs. How did you go about playing this role?

“Playing” is the key word when it comes this role. I really love being in the moment and trying out different things during my number, just so I don’t get stuck in a rut. Most of the movements are choreographed but in certain spots I like to just see what happens. If I don’t feel like I am playing and having fun then I am not doing my job. My” job” is to “have fun”, now who wouldn’t want that job?

5. You have a strong background in stand-up comedy. Did those past experiences help you prepare for this role?

ABSOLUTELY! It’s mainly the ability to take risks that helped me land any job I’ve had so far. Standup comedy is one of the hardest things to do and so is auditioning so the more times you can practice that skill of putting yourself out there and risking it all...I think the better and stronger you become as a performer.

6. What is it like working with the big star of the show, Priscilla, the bus herself?

Oh Priscilla......(sigh) She doesn’t talk to me much. She’s a bit of a diva. I actually think she’s gained weight since the first production in Australia, but I don’t tell her that. I do appreciate her work ethics though; she hasn’t missed one show yet.

7. Along with many successes on the stage, you have had a great career in movies and television. How is it different transferring from in front of a camera to in front of an audience?

The environment is totally different that is for sure. Being in front of one thousand people and feeling their energy and laughs is totally different when you are in front of just a camera/director and the crew on a set. But I think I have to remember that just because I might only be filmed from the waist up, doesn’t mean I only “act” from the waist up. As a dancer first, I’ve always felt comfortable with “being in my body” meaning my body has to be as energized as it would be on stage even if I am not dancing. I used to think that stage equals big and TV/film equals small. In a sense that is true, but small doesn’t have to mean “shut off”, you still need to have energy or else you just look boring.

8. You recently starred in the hit movie Morning Glory. What was it like working with that extremely talented cast?

Working with Harrison Ford, Diane Keaton and Rachel McAdams?? It was amazing and I tried to just soak up it all up. They are all such talented, kind, and sweet people, it’s not a wonder they are stars that we look up to. I think we like watching them on the screen because their own personal charm comes thru in their acting. They are wonderful human beings first and foremost....then talented. I think that’s what I learned from them the most.

How to Succeed in Business Without Really Trying @ Al Hirschfeld Theatre

How does one succeed in business without really trying? Beats the heck out of me! But it seems the cast over at the Al Hirschfeld Theatre have the little black book on the business. Show business that is. With the familiar toe tappers of Frank Loesser, the keen eye of Rob Ashford, and the sharp deliveries of Daniel Radcliffe and John Larroquette; How to Succeed in Business Without Really Trying is a knock out, show stopper of a revival.

Picture this now folks, atop the World Wide Wicket Company hangs a lone window washer by the name of J. Pierrepont Finch; played by Daniel Radcliffe, a name that means zilch, that is until he starts to climb the cooperate ladder in leaps and bounds, causing ladies’ heads to turn and men to shake their fists. How does this young whipper snapper do it? Why by reading his handy dandy “How to Succeed in Business Without Really Trying” guide, of course. This guide gives him all the know how, from schmoozing with the boss; J.B. Biggley, played by John Larroquette, to avoiding the company weasel, Bud Frump, played by Christopher J. Hanke. Now if only he can get the dream job as well as the dream girl, Rosemary Pillkington, played by Rose Hemingway, then he’d be in business.

Director, Rob Ashford, has polished one gem of a musical. From cast to costumes, sets to sound, lights to laugh-out-loud timing; Ashford nails it right on the dime. He captures the fast paced business world of the 1960’s drone worker both in dialogue and in dance. Each number having very clean and defined dancing moments that ranged from wisps of Fosse in “How to Succeed,” to a full on tap in “Cinderella Darling,” and even little sarcastic jab at a dream ballet in the number, “Rosemary.” Although it can be contested that the dancing was a bit much, none can rival the brilliance of “Old Ivy,” and “Brotherhood of Man,” which had the audience in a frenzy of cheers.

Now for the question that is on all of the tweeny-boppers minds, can Daniel Radcliffe pull off a Broadway musical? The answer is: yes, he can. With a charisma that charmed the audience into a standing ovation, Radcliffe takes the character of Fink by the bowtie and does not let him slip out of his grasp for a second. Although thin at times; his voice carried a pleasant, warm tone thought the production, which worked well for the character of dear old Finchy. As for the dancing, boy does he have rhythm! With a discipline to rival any seasoned Broadway actor, Radcliffe takes to the steps like a natural. His rapport with the rest of the cast is generally seamless, however, his relationship with the character of Rosemary left this reviewer wanting more of that romantic connection.

And who can forget our leading lady. Rose Hemingway shines in her Broadway debut, approaching her character with such endearing sensitivity and sweet comedic grace, it isn’t hard to see how third time was the charm to finding the perfect Rosemary. Hemingway’s rendition of “Happy to Keep His Dinner Warm,” is a cherry of a performance, which has this reviewer hoping to see more of her work on the big white way in more shows to come.

It would be a crime not to mention the brilliant comedic performances of the cartoonishly maniacal Christopher J. Hanke and the boisterous deliveries of the sexy sectary, Hedy La Rue, played by Tammy Blanchard. But the biggest crime of all would be not to state how delightful it was to see John Larroquette strut his stuff as J. B. Biggly.

This musical would not be complete without the imaginative designs of Derek McLane for sets, Howell Binkley for lighting, and Catherine Zuber for costumes. McLane and Binkley’s tag team work on the light up honeycomb backdrop, set the mood and location with a creative flare complementing Zuber’s classy cuts for Sixties business chic.

So let’s review reader: How did the cast fare? With class! How did the style shine? With flare! Finally, how do you get to see a show like this? You get tickets and you get them fast!   

Review By: James Russo & Sarah Hogan-DePaul

INTERVIEW: Nick Adams From Priscilla Queen of the Desert

  

1. Your last role on Broadway was one of the "Cagelles" in La Cage Aux Folles. What was it like working on that Tony Award winning production?

*It was an incredible time. It was my first time working on such a critically successful production from the beginning. I love that family. Working with Kelsey and Doug, learning from them... It was a wonderful experience.

2. You are now playing the lovable Felicia in the smash hit Priscilla Queen of the Desert. What is it like tackling your first lead on the Great White Way?

*It's an absolute dream. It really doesn't feel real sometimes. It's the most exciting time in my life. I've never been happier. It's the most responsibility I've ever had in a show, yet I have the most fun I've ever had. I've realized the dream I've had from the time I was a nine year old boy in Erie, Pa. My mind is blown!

3. Guy Pearce, the original Felicia from the movie, attended opening night. Did you have the chance to meet him? Did he give you any advice?

*Yes! It was such a wonderful opportunity to meet him and receive his blessing on my interpretation of this role. We spoke at length on opening night and to receive the "OK!" from the man who brought this character to life on film was a very magical and humbling moment. 

4. Priscilla is such a nationwide smash; what did you do to truly make this role your own?

*Well I've never seen a stage production of the musical, so I went on instinct and allowed myself to find him with the guidance of our amazing creatives and my incredible leading men costars. I wanted to bring a lot of myself to the role and infuse Adam with a youthful, jovial essence. I wanted to show the little boy hiding inside under all the wit and muscle.

5. You have the chance to belt some of the biggest disco hits of all time in this show. Was it nerve-racking taking on the likes of Madonna?

*I was so excited. It's a first to have her music in a broadway show so I felt honored to be the one to get to create it. I forget in the context of the piece that they are all preexisting popular hits. It's only when I step out of it and people ask then I say, "oh yeah you're right!"

6. Will Swenson, Tony Sheldon, and you seem to have amazing chemistry on stage! How did you guys get to become so close both on and off stage?

*Will and I knew one another socially before we started rehearsals, but when the three of us got together the first day, we just clicked. Our creative team said "we finally got it right." We are like family offstage now as well so that carries over into the show. It's necessary that you believe and care for the three individually and collectively. We hung out together right away, went to drag shows... really established a great bond from day one. They are incredible people and I can't imagine doing the show with anyone else.

7. What is it like working with the big star of the show, Priscilla, the bus herself?

*She's unreal! I love her. She's very consistent and always shows up for work. It's amazing to see a set piece that has a mind of it's own. (There are actually many people involved in making her move so effortlessly.) But she is a crowd pleaser. 

8. The reception each night for Priscilla from audience members and critics alike has been extremely positive. What is it like being up on that stage each night?

*I've never been in a musical that gains a reaction like this. It's maniacal. We get them in a joyous frenzy! It's remarkable to hear the roar of applause each night and to look out and see so many people look so happy. You'd think you were at a rock concert the way the crowd is dancing and screaming. It's the most thrilling thing I've ever felt.

9. You had a chance to work for the “It Gets Better” campaign. What was that experience like?

*I was very honored to work with the "it Gets better" campaign and act as spokespeople for their work. The message of our show is that of love and acceptance. We celebrate individuality. I can't think of a better vehicle to help the campaign and spread awareness. I'm a living example.  

10. You have a popular video blog now on broadway.com. What can your fans look forward to on that series – any big episodes coming up?

*We just had our biggest last week with the opening night segment including the today show. In the next coming weeks I'll be taking the camera about town with me more (daily life, classes, interviews) and will introduce more of the cast. I want people to see inside our family at the Palace.

Bengal Tiger at the Baghdad Zoo @ Richard Rogers Theatre

War. We all hear about it, some of us live it, others create it and a tiger gets to watch it, in the new play, Bengal Tiger at the Baghdad Zoo, written by Rajiv Joseph. Through the eyes of this gruff and ghostly echo of a feline, we are taken on a journey to try and answer the question that has eluded man since the dawn of time: what is the meaning of life?

Two American soldiers; played by Glenn Davis and Brad Fleischer, are posted at the Baghdad Zoo to guard the Bengal Tiger, played by Robin Williams. Out of boredom, Davis’ character decides to taunt the beast only to have his hand bitten off, resulting in the tiger biting the bullet. Yet this is only the beginning, for beyond the veil our tiger finds himself wandering the streets of Baghdad, contemplating the weight and worth of life – both his and others – only to find he is not alone with this question.

Making his Broadway acting debut at the Richard Rodgers Theatre, Robin Williams portrays the freely philosophizing, atheist cat of this drama set in war-mangled Iraq. The fact of the matter is, Williams was clearly brought into the production to sell tickets. Unfortunately, with the popular “big-name-only,” bug that has bitten Broadway, without an actor like Williams' name to marquee the show, Bengal Tiger would most likely not have made it to Broadway. Even with Williams not being in the solo spot of leading man, his performance is nonetheless quite excellent. Unrelentingly funny, Williams delivered his lines with spot on comedic timing, exemplifying his stand-up comedy background, making him well suited for this type of role. The supporting cast consisted of Arian Moayed (Musa), Glenn Davis (Tom), Brad Fleischer (Kev), Necar Zadegan (Iraq Woman, Leper), Hrach Titizian (Iraqi Man, Uday), and Sheila Vand (Hadia/Iraqi Teenager). All did an exceptional job of carrying the show, however, in this reviewers opinion the only supporting actor who was almost impossible to enjoy was Brad Fleischer, who whined and groaned throughout the entire production, making it was unbelievably challenging to become tolerant of his poor vocal dynamics.

Although it could be said that the youth in this day and age have become numb to expletives, the use of cursing in this production did not give the "edgy" factor, but hindered the piece as a whole. Excessive foul language in a play equaled more of a writer's weakness than anything else. Although it could be argued the use of foul language sets the tone of times of strife and tension of the situation at hand, the excess use of such words made David Mamet’s work look ‘G’ rated children’s flick. For the first twenty-minutes of the play, the plot was lost among “F” bombs, and not the talk of bombs. We get it, you are hard-core. MOVE ON!

On a lighter note, the technical design of this already impressive play was just incredible. The lights, designed by David Lander, and sound, designed by Cricket Myers, were nothing short of amazing, creating one of the most foreboding and intimidating atmosphere encountered to date. From the moment the doors open, the audience is hit with the bloodcurdling sounds of war in Baghdad alongside of flash bombs and explosive light specials all throughout the show. Set design by Derek McLane enthralls the audience in regality of Baghdad for the majority of the play, only for the entire set to be lifted up towards the end, placing us in the desert – creating a visually stunning picture throughout the entire show.

Although Bengal Tiger at the Bagdad Zoo had its entertaining and impressive moments, it is safe to say that this show is not suited for all viewers. Full of harsh language and pressing issues in today’s society, this show is not for the holly-jolly, happy-ending theatre goers and may come off as offensive. But if you are brave enough to venture into the concrete jungle, wishing to venture deeper into the bloodshed jungle, then by all means, come step into this tiger’s cage. Bengal Tiger at the Bagdad Zoo is now playing at the Richard Rogers Theatre in NYC.

Review By: James Russo & Kyle Conner

American Idiot @ St. James Theatre

The band Green Day isn’t a new sound to the ears of America but it is a new sound to the ears of Broadway. The rock band has had songs on top 100’s lists since their formation in the late 80’s and their album “American Idiot” has been transformed into a power-house musical that reminds everyone what it’s like to go out into the world and discover yourself.

American Idiot follows the stories of three friends on their separate but similar journeys to adulthood. These best friends, Johnny (played by Van Hughes), Tunny (David Larsen) and Will (Justin Guarini), decide that it is time to flee the safety of Suburbia, go out into the world, and live life the way they think it should be lived – not the way their parents, teachers, or anyone else thinks it should be. As the trio is packing for the trip of their lives, Will’s girlfriend Heather (played by Jeanna De Waal) tells him she’s pregnant, thus deciding for him to stay with her and the baby. After some time it is evident that life in the city is not what the two boys expected and they separate. Tunny joins the army and is severely injured during the war; however, he finds himself falling madly in love with the Extraordinary Girl (played by Libby Winters) who is one of the women in charge of nursing him back to health. Johnny, on the other hand, has now fallen in love with Whatshername (played by Rebecca Naomi Jones) and been taken under-the-wing by St. Jimmy (played by P.J. Griffith), an influential drug dealer. This combination leads Johnny down a path of drug abuse and partying until he loses the girl and is left alone and miserable. When the desire for stability and comfort finally overwhelms them, the three find themselves together again back in their home town just like they always were, but this time as entirely different people.

Some of the most famous rock songs of all time are brought to life by this high energy ensemble lead by Van Hughes (seen on Broadway in 9 to 5 and Hairspray) who plays Johnny, a frustrated youth dealing with drug experimentation and a love lost. Hughes astounding skill theatrically and vocally forces the audience to experience his frustration with a life bound by rules, his freedom when those binds are severed, his loss of control, and his longing for home just as he experiences them. Playing one of Johnny’s two best friends is Justin Guarini (American Idol alumni who was seen earlier this year in Woman on the Verge) as Will, a good natured but ill equipped father and boyfriend. His love for his girlfriend and his desire to provide for her and their new baby is shown clearly through Guarini’s heart-wrenching gazes and pleas toward Heather (Jeanna De Waal) to stay with him.. The second best friend, Tunny, a young army recruit just trying to get the girl, is played by David Larson (seen on Broadway in Billy Elliot). Larson’s spectacular performance allows for the audience to recall the feelings of shyness, confusion and hope around a person they are attracted to. Paired with Van Hughes was understudy P.J. Griffith playing the role of St. Jimmy, a negatively influential figment of Johnny’s imagination.. Anytime Griffith walked onto the stage there was a surge of energy throughout the theatre from the thrill of danger that St. Jimmy’s character offered and the adrenaline rush of fear that comes with that danger. Griffith‘s wild look and electrifying performance were a contributing factor to that energy. Along with the lead actors there were wonderful performances given by the three leading ladies, Rebecca Naomi Jones (seen on Broadway in Passing Strange) who played Johnny’s love Whatshername, Libby Winters (in her Broadway debut) who played the Extraordinary Girl – Tunny’s caring but desirable nurse, and Jeanna de Waal (who was recently seen in London’s production of We Will Rock You) as Heather – Will’s pregnant girlfriend and an ensemble consisting entirely of extremely talented and energetic performers. While the overall energy of the ensemble was good, at certain points the orchestrations of the songs sounded a little too chorus-like for a rock show; however, the entire ensemble brought such a level of excitement to the stage that it was impossible for audience members to leave without feeling like they just had an adrenaline shock.

Though the actual performance of American Idiot was fantastic the book written by Michael Mayers (who also serves as the shows director) and Billie Joe Armstrong (leading man of Green Day) was not as fully realized as it needed to be. The plotline is one the audience knows well of a boy, or in this case three, going out into the world to discover themselves and getting into all sorts of trouble along the way; however, this is not clearly illustrated in the book. With some weak monologues and an abrupt ending, this piece truly needed the help of a professional book writer. Although the book was not up to par, other aspects of the show were. The first of these was the Tony Award winning scenic design by Christine Jones (designs on Broadway include Spring Awaking). The open set with multiple moving pieces such as furniture, scaffolding, and even a stairwell were fantastically designed. Along with all these movable parts were the three floor-to-ceiling walls covered in individually working televisions that allowed for inner thoughts of the characters to be expressed and many scenic elements to be shown. The transitions between the many locals of the show were not a challenge due to the many mobile pieces and the ingenious and Tony Award winning lighting design by Kevin Adams (designs on Broadway include Next to Normal and The 39 Steps). The hundreds of concert-style lights created a rock concert atmosphere for the audience and made it impossible not to notice the brilliant choreography done by Steven Hoggett who stayed true to the term “rock-opera” as shown by the fact that the dance moves in this show are more likely to be found at a concert than on a Broadway stage. The most fantastic moment of the show in terms of choreography was during the final number when the entire cast was onstage and each member was doing a signature dance move from one of the other numbers, unifying the entire show into one final song. Reflecting the choreography in the final number, the production crew came together and created a piece of art that truly represents what a rock-opera should be.

American Idiot is a show any Broadway fan would enjoy and a show any Green Day fan would rock out to. It will be showing on Broadway in the St. James Theatre until its closing performance on April 24th 2011. Until then audiences will continue to be amazed by this talented collection of artists.

Review By: James Russo & Courtney Labossiere