Everett Quinton finally plays another shady lady
Although the Peccadillo Theater Company’s new comedy Drop Dead Perfect sends up a wide range of American cultural touchstones—from The Glass Menagerie to I Love Lucy to What Ever Happened to Baby Jane?—its greatest inspiration is arguably the high-camp, cross-dressing work of Charles Ludlam’s Ridiculous Theatrical Company. As with Ludlam classics like The Mystery of Irma Vep, Drop Dead Perfect is a smorgasbord of high- and lowbrow references, and it stars a leading man decked out in glorious drag.
In this case, the gender-bending star is Everett Quinton, Ludlam’s longtime artistic and romantic partner and a Ridiculous fixture during the company’s heyday in the 70s and 80s. When Quinton enters in a fitted 50s gown, meticulously coiffed auburn wig, and jungle red nails, he seems absolutely in his element. It’s as though the part of Idris Seabright—an overbearing matriarch who’s keeping a major secret from her beautiful ward, her long-lost Latin nephew, and her pill-pushing lawyer—has been written just for him.
And perhaps it has been, though the credited playwright, Erasmus Fenn, isn’t saying. That’s mostly because he doesn’t exist. “If I may be slightly coy about it, I’ll say he speaks only to me,” says director Joe Brancato, the founder and artistic director of upstate New York’s Penguin Rep, where Drop Dead Perfect had its world premiere last summer. (It’s currently playing at the Theatre at St. Clements.) “He was born and raised in the Bronx, just as I was, but he’s agoraphobic. He doesn’t want to besmirch his life with the business of the theatre like doing press; he’s a child at heart.”
Brancato, however, gleefully reminisces about going to see Ridiculous shows. “The abandon was amazing,” he says. “They were just breaking all rules and at the same time saluting everything that was great on film and on stage, and that always stayed with me. I remember Everett so clearly, which is why I asked him to do this play.”
Though Quinton forged his career playing what Brancato calls “gargoyle women,” he hasn’t trod the boards as a broad since 2010′s Devil Boys From Beyond. “I had been praying for a role that was as meaty as things I had done in the past,” Quinton says. “I cut my teeth on big juicy parts like Idris, and I wonder if that gets in my way at auditions. The whole ‘tone it down’ thing is my dilemma. I object to terms like ‘over-the-top.’ To me it’s just high comedy. It’s like the Restoration comedy of our time, all these fabulous extreme characters.” [Read more →]
July 22, 2014 No Comments
Ray Anthony Thomas tackles the gruff poetry of Between Riverside and Crazy
Welcome to Building Character, our ongoing look at performers and how they create their roles
There are so many pronouncements and jokes and wild, thundering feelings in Between Riverside and Crazy that you may not think about the poetry until you leave the theatre and catch your breath.
The latest from Stephen Adly Guirgis, now in its world premiere at Atlantic Theater Company, the play follows Pops (Stephen McKinley Henderson), a recently widowed police officer who’s suing the department, trying to motivate his ex-convict son, and nursing a drink any chance he can get. Life hasn’t licked him, though, and eventually, he starts shedding the memories, the people, and the dark private thoughts that have pinned him down.
We especially feel his fire when he speaks. Whether he’s scolding his son Junior (Ray Anthony Thomas), telling cop stories, or just making a salty observation about church ladies who eat too much, he delivers beautifully sculpted speeches. Yes, they’re peppered with curse words and slang, but their artistry is easy to hear.
It’s like that with all the characters. Guirgis, whose earlier plays include The Last Days of Judas Iscariot and The Motherf—er With the Hat, is well known for giving powerful voices to even the most disenfranchised people.
“The characters live in a poetic place, even though they’re not poets,” says Thomas. “The way they express their lives is almost musical, and when we were in rehearsal, all of us were just trying to find that common musical language.” [Read more →]
July 21, 2014 No Comments
Welcome to Fanmail, our tributes to theatre artists we admire
I heard Annie Golden’s voice before I ever saw her. Her song “Hang Up the Phone”—a bizarrely peppy ode to romantic jealousy—made quite an impression on me as an adolescent when I heard it in John Hughes’ movie Sixteen Candles. I played it over and over and over again (on LP!), and I fell for her clear, high-pitched voice, which sounded strong but also throbbed with emotion and insecurity.
Little did I know Golden’s career would mirror my own life. We both started out as punk rock chicks, though I just went to CBGBs in the ‘80s while she headlined there as the lead singer of the band The Shirts a decade earlier. The theatre, though, was always my real obsession—as a teen, I played my Sondheim records in secret so that none of my “cool” friends would know. And that’s how I rediscovered Golden: She sang another twisted love song, “Unworthy of Your Love,” as Charles Manson acolyte Squeaky Fromme on the cast recording of the original production of Assassins.
After that, my one-sided love affair with Golden truly blossomed. As a young NYC theatre journalist, I saw her in many shows in the ‘90s and the ‘00s: Playing a hilarious dud of a blind date in On the Town, the straight-talking working-class wife of an aspiring male stripper in The Full Monty, and a variety of roles in an early workshop of Broadway Musicals of 1968 at La MaMa. That last one—a compilation of songs and scenes from mostly forgotten old-fashioned shows that happened to be on Broadway in the same year the game-changing Hair opened—was particularly ironic for Golden, since she made both her Main Stem and movie debuts in incarnations of the American Tribal Love Rock Musical. [Read more →]
July 17, 2014 No Comments
In the coming weeks, TDF Stages will begin hosting the podcast series Masters of the Stage. Created by SDCF (the Stage Directors and Choreographers Foundation), this series features more than three decades of priceless one-on-one interviews and panel discussions with the theatre’s most distinguished luminaries. These conversations will let you hear the story of the American theatre, as told by those who helped chart its course.
As a preview of things to come, you can immediately listen to a thrilling conversation between directors Bartlett Sher and Julie Taymor, moderated by Anne Bogart. Recorded on April 29, 2014 at New York’s National Opera Center, it features discussions of their respective backgrounds, training, and inspirations, and how these elements have influenced many of the projects they’ve pursued throughout their illustrious careers. Listen here… and check back soon for the complete Masters of the Stage collection.
July 16, 2014 No Comments
At Broadway’s “Once,” cast members stick around for years
For many actors in the original cast, Once was the right show at the right time. That’s why they’ve never left.
Take Paul Whitty, who has finally made his Broadway debut, ten years after narrowly missing the opportunity. His first job after college was in The Full Monty, where he was cast as a vacation replacement for an understudy. He was employed for two weeks without ever going on, and though he hoped to come back to the show, it closed a few months later.
“Once happened at this perfect juncture where I really needed this show and I really needed this group of people,” he says. “I was on the fence about whether I even wanted to stay in New York. Whether I even wanted to keep trying my hand at being an actor.”
For Anne L. Nathan, Once was the chance to unleash her inner rock star. She had appeared on Broadway in several high-profile successes, including Thoroughly Modern Millie and Assassins, but her dream was to be in a band. She was never the right age for spiky productions like Rent or Spring Awakening, so when a rock musical came along that she could actually join, it immediately topped her wish list.
And those are just two of the performers who have been with Once since the beginning. Based on the 2006 movie about an Irish guy and a Czech girl who channel their complicated feelings for each other into their music, it launched with a 2011 workshop at the American Repertory Theatre in Cambridge. From there, most of the cast moved to an Off-Broadway run at New York Theatre Workshop before heading to Broadway in March 2012. Even now, almost half of the thirteen-person ensemble is the same as opening night. Along with Whitty and Nathan, current cast members David Patrick Kelly, Andy Taylor, and Erikka Walsh joined the ensemble in Cambridge, while J. Michael Zygo came on board at NYTW.
“I’ve never been in a show where this many people have stayed so long. It just doesn’t happen,” says Nathan, who plays Girl’s mother Baruška. She does sometimes audition for other roles, but so far, nothing has tempted her to leave Once, which won the 2012 Tony Award for Best Musical. The same is true for Whitty, who plays Billy, the owner of a piano shop where Guy and Girl sing the standout ballad “Falling Slowly.”
Whitty says, “It would have to be a really special thing to take me away from Once, because it’s an ideal thing for me. I’m playing a really wonderful, fun character who I got to create, which is the first time I’ve ever done that on this sort of level.”
The company members were very much a part of the development process and have a creative stake in the material. For instance, the production is staged so that the actors are also the musicians, and everyone in the cast was able to experiment in the rehearsal room until they found just the right instrument. (Whitty’s is the guitar and Nathan’s is the accordion, which she had to learn). [Read more →]
July 15, 2014 1 Comment