With all of the critical acclaim at its’ feet, it is no small wonder that Fun Home has become one of the hottest musical tickets on Broadway. Originally premiering in 2013 at downtown’s Public Theater, it now has taken up residency in midtown. Just last week, it smashed Circle in the Square’s box office record of any musical that has ever played in the space. What is a wonder however, is the show itself. [Read more…] about Theater Review: 12 Time Tony Nominated FUN HOME
INTERVIEW: Victoria Clark, Broadway’s Sexiest… Grandma?!?
It’s almost impossible to believe that stage veteran Victoria Clark is playing a grandmother in Lerner and Loewe’s Broadway musical revival of Gigi. With her youthful face, boundless vivacity, and lovely demeanor, she carries an offstage flair of immortality. And yet, this Tony Award winning actress, who took home Broadway’s top prize for 2005’s Light in the Piazza has just been nominated again for her role as Mamita, the primary caretaker of young Gigi during Europe’s Belle Epoque.
Manhattan Digest spoke with the self proclaimed “anti-diva” in a recent phone interview to discuss her latest project, her winning secret to staying in shape, the admiration she lavishes on fellow cast members, and her real life pending nuptials.
MD: Were you familiar with Gigi before you took the role?
VC: Not really. I had not read anything by Colette and I’m embarrassed to say that I wasn’t familiar with her prose nor had I seen the movie, which was weird for a musical theater nerd. With so many plays and musicals now, they just offer me the role-which is great! Sometimes it’s actually harder to just get an offer to go into a show without going through the audition process. That process can be quite helpful for actors to prep and research, so the performance needs a lot more work one you start rehearsals when you’ve not had a build-up to it. I prepped by reading as many Colette novels as I could.
MD: Your role as Mamita is one who is quite protective of Gigi and pushes her towards true love, whereas Dee Hoty’s character, Aunt Alicia, is a gold digger who tries to persuade her into marrying for money. Is there any commentary about Gigi making a personal choice and/or deciding upon female empowerment over wealth?
VC: There are many clues in the novella. You know, I try not to watch other performances of the roles I am playing for source material because it’s too easy to steal or get intimidated. Then I realize I am imitating the performance rather than making it my own so, it takes longer to do that, but that’s the way I’ve always worked and it seems to be working for me. What I finally landed on is that Mamita is a larger than life character whose life is very vibrant, and it tends to eat up the energy in the room. When you have a child growing up in that environment, they don’t develop as quickly. If you look at Mamita’s purpose, it is to raise Gigi better than anyone could and also do a better job than she did the first time around with her own daughters. That is where the protectiveness comes from. A lot of my performance is based on the fact that I feel included in her life. As you get older, it’s really nice to not feel left out. By having been raised in both worlds, she is able to make her own choice—which is better than something we adults could have ever imagined for her.
MD: When I saw you in the show, I thought, “This is a typical Victoria Clark role!”
VC: (Laughs) I’m getting really known for these maternal roles. I’ve played a lot of bad guys and a lot of crazy people, but these types are fine with me. There are definitely worse things than being known as a compassionate maternal figure.
Photo courtesy of Carol Rosegg
MD: What’s been the most rewarding part of this project from its inception at the Kennedy Center until now?
VC: Probably the most rewarding part for me has been working with this company. We all love how inter-generational it is. I get the biggest kick out of working with Cory (Cott) and Vanessa (Hudgens) and Howard (McGillin) . We really are like a family. We older folks are so tickled when the younger people come to us for advice because it’s nice to be consulted upon for certain things. I really look forward to seeing everybody every night. It’s a challenging part, but we realize that we are all in it together. Plus I’ve had some fellow cast members tell me that they really enjoy watching my process, which has been nice. The property itself is a bit dated, but I think that Heidi Thomas (the book writer) did a great job of updating it and making it fun for modern audiences. The set almost looks like a big scrapbook. It is clear that it’s almost a rose-colored memory of that time. When I look back on the happy memories in my life—this is what the show reminds me of, so when I perform, I think about the strong women in my family that have come before me who just loved life and the majority of the show displays snapshots of turning points in a life.
MD: How have you managed to keep your voice in great shape, especially with all the dips we’ve had with weather?
VC: That’s a great question. I rest a lot and I have a part of my voice that I warm up every day, which is the middle of my voice and that is my litmus test and when that gets tired then I have I list of precautions that I take. I start to sleep more and talk less and drink more water. I’ve learned the hard way through the years that I can’t push through like I did when I was younger. By the time my voice is tired, then I’ve missed the warning signs and it’s too late.
MD: Let’s talk more about the costumes. Are you wearing a corset in this show?
VC: I’ve had about a million different things I’ve worn to get into character. I’m one of those people who believes in period undergarments, but I have mild arthritis in my cervical spine, which I’ve had for years. It causes some limited mobility in some of my bones, so at this time, No. I’m not wearing a corset because the costumes are restrictive enough.
MD: Wow! Really? You look so thin in the show. When you first came onstage I thought, “Wow! She looks fabulous!”
VC: (Laughs) Weight Watchers, baby!
MD: Congratulations on that! I remember the first time I saw you was in Titanic: The Musical, which was in 1997, so you have really maintained your girlish figure all these years.
The last time we spoke, you told me that you enjoyed cooking, and that your grandmother was a big influence.
VC: Well, I can’t cook any of the stuff she made. She would make biscuits and gravy and dumplings. Right now, I’m all about raw fruits and vegetables and lean protein with an occasional glass or wine. I love pies and cobblers and all of that stuff, but once I start, I can’t stop! Right now, with the demands of the show, I’m not doing much cooking. Plus, unless it’s chocolate, my fiance doesn’t eat that stuff either.
MD: Speaking of your fiancé, do you have wedding plans in place?
VC: Yes! We’re getting married this August. It will be a small family wedding down south, so there’s never a dull moment! I’ll be taking a vacation from the show for it.
MD: How long are you contracted for Gigi?
VC: For a year. The principal cast is here through March 2016. Did you enjoy Corey and Vanessa?
MD: Yes! I enjoyed them them both. Vanessa is just a burst of energy!
VC: Isn’t she?!? And she’s so sweet and such a good person. She is really diving in head first and I think she is doing a fantastic job. Corey is also giving a breakout performance. I think his moment to moment work and his commitment is something you rarely see in young actors and he’s so dedicated. I think he’s going to be a huge superstar. I made that prediction after the first day of rehearsal. I had to restrain myself from running up to him every day and saying, “You don’t even know what life has in store for you…you don’t even know!” (Laughs) And then I thought, “Ok. Just calm down. Let it unfold for him.” But he’s got a very bright future ahead of him.
MD: Absolutely. Well, thank you so much for talking with me. I am so glad that everything is going well and that you’re in this show.
VC: Me too! It has been such a blessing and a I’ve been so lucky to have these amazing projects to work on. I’m very humbled.
MD: Well, you have had quite a run of great hits and I’m sure you’ll continue to have more. We’ll see you in another 30 years in a revival of The Visit. You’ll be the new Chita Rivera for a new era!
VC: (Laughs) Yeah, maybe. We’ll see…hopefully! If I could do half as well as she’s doing now , that would be awesome!
Theater Review: THE UNEXPECTED GUEST
Richard Warwick is dead. His wife, Laura (Pamela Sabaugh) stands before him, gun in hand. But is she the murderer? Herein lies the major question in Theater Breaking Through Barrier’s current revamp of Agatha Christie’s The Unexpected Guest. For the next two hours and thirty minutes, members of Warwick’s house are questioned, suspected, and motivated to find the true killer.
Originally premiering in 1958, the play is a rather lumbering piece of theater. As it is with most stage adaptations of Christie’s work, there is seemingly infinite exposition in an attempt to strip away the evidence of clues. Fortunately, this talented cast makes the most of the material by keeping the pace of what could be an unendurable exercise light and breezy. Nicholas Viselli shines in the title role as a gentleman who stumbles upon the corpse after a roadside car breakdown. Sabaugh strikes effective chemistry with her co-star and the two handle the overly loquacious script, balancing it with the right amount of levity and intrigue. The remaining ensemble complements their leading players, each having their “moments” of shared secrets and in some cases, interrogation.
Christie spent a great deal of time crafting the plot, but the primary riddle audiences will be left asking themselves is, “Why does any of this matter?” All of her characters point to the fact that Warwick was a demanding, abusive alcoholic whose demise is almost celebratory. Perhaps these proclamations add to the mystery?
While The Unexpected Guest might not be one the most enigmatic shows you’re likely to see, high credit should be paid to this fine acting troupe and it will be a delight to watch their quality continue in upcoming works.
The Unexpected Guest is now playing through May 10th at Theater Row (W. 42nd between 9th and 10th) For tickets and information, visit the box office or http://www.tbtb.org/
Theater Review: AIRLINE HIGHWAY
A close friend of mine once told me that the idea of eulogies eluded him since it made more sense to share kind words with the living rather than about them once they’ve gone. He shares the same sentiment with Miss Ruby (Judith Roberts), the dying matriarchal figure in Lisa D’Amour’s heartfelt drama Airline Highway.
Direct from Chicago’s Steppenwolf, Airline Highway takes us to the parking lot of the Hummingbird motel, an unsavory dilapidated refuge for the downtrodden of New Orleans. Miss Ruby, once the beautiful grand dame of the Hummingbird and caretaker of her “little duckies”, is nearing her death and wants to go out in style. With the help of motel manager Wayne (Scott Jaeck), Tanya (Julie White) , a worn out, but but beautifully broken prostitute, Sissy Na Na (K. Todd Freeman) , a flamboyant drag artist, Francis (Ken Marks), a half-baked bohemian who lives life with carefree aplomb, and Krista (Caroline Neff), a returning visitor to the Hummingbird, each pull together to recall fond memories and bury some secrets from their past.
Bait Boy (Joe Tippett) returns for the day’s festivity as well, along with his significant other’s daughter, Zoe (Carolyn Braver). Bait Boy was once an inhabitant of the Hummingbird, but escaped to Atlanta for a better life. Zoe has joined him on the pilgrimage to write a school paper on sub-cultures. She has come to the right place, for there are fewer colorful spots and characters along this stretch. Her pie-eyed view of the world is shattered, however, when her subjects defiantly object to the fact that Zoe wants to encapsulate their life into one article in one afternoon. How are lives stuffed with dashed dreams, endless struggle, regret and poverty summarized in one paper?
D’Amour delivers a genuine cast of vagabonds filled with grace and dignity, bringing to mind David Newman, Ira Gasman, and Cy Coleman’s heartwarming musical about Times Square hookers in 1997’s musical The Life. Though they lead unconventional lives, each soul offers searing personal stories of where they’ve been and what they could-or won’t-ever be.
It is not simply good luck that explains why Tony Voters gave Airline Highway four nominations. Under Joe Mantello’s masterful hand, the show reminds us of our own good fortunes, evokes empathy for those who don’t have them, and instills an unbreakable appreciation and zest for life.
Airline Highway is now playing on Broadway at the Samuel J. Friedman Theater, 261 West 47th street between Broadway and 8th. Tickets available at http://www.manhattantheatreclub.com/season-tickets/ or by visiting the box office.
Theater Review: WOLF HALL: PARTS 1 AND 2
Picture this: It’s 1527. You’re Henry VIII. Your wife, Katherine is just not cutting it anymore. You’re bored and you want the “D” word. You also want your mistress, Anne Boleyn. So, you ask the Cardinal if he’ll divorce you and Katherine so you can live happily ever after with Boleyn. He says (paraphrasing), “Are you barmy?!?! That totally goes against the doctrine of the Roman Catholic Church!” But you sally forth with your plans and enlist the help of your chief confidante, Thomas Cromwell. After all, Cromwell used to be the Cardinal’s secretary. He might have some leverage, right? Answer: Nope. Not really. (Sigh) Oh well! Eventually, you decide that shaking up the court, the church, and your country is well worth the price of marrying someone who you will end up leaving for yet another woman. She’s not gonna be a dandy, either. Geesh Henry! You’re really a rebel-rousing whore, aren’t you?
This is primarily the plot of Wolf Hall, the astonishing two part drama currently playing at Broadway’s Winter Garden Theatre. The production comes to New York after a sold out, hugely successful run in London where it recently nabbed a couple of Olivier awards. It is likely to garner several Tony nominations as well. If justice is served, it will not not walk home empty handed.
Mike Poulton has effectively adapted Hilary Mantel’s works of historical fiction into dual parts. Part One (Wolf Hall) lays the groundwork for all the political machinations that will ensue, but Part Two (Bring Up the Bodies) moves at an even swifter pace, drawing the audience into its fold and keeping them on the edge of their seats. The entire saga clocks in at 5 hours (2 hrs. and 30 minutes for each part) and yet it never feels like a chore, thanks to the superb acting from The Royal Shakespeare Company. There is no finer acting ensemble treading the boards in New York City right now.
Christopher Oram has been charged with the task of conceiving both the set design and the costumes. On both counts, he succeeds with kingly admiration. A sparse, cold, gray brick and cement interior strikes remarkable polarity against his bedazzling ornate costumes. Lighting designers Paule Constable (Part 1) and David Plater (Part 2) also add a thrilling brilliance to an already flawless stage production.
I confess that I am not a history fiend and knew very little about the trials and tribulations of King Henry VIII or his court, so it is with much admiration that I give to director Jeremy Herrin and his team of consummate professionals and producers who have quenched the thirst of historians and simpletons like myself by presenting a captivating, accessible, surprisingly humorous, and hugely entertaining political tale that is worth selling your only child for seats. Weigh the options: You can always find another kid, but Wolf Hall will only be here until July.
Wolf Hall Parts One and Two. Now playing at Broadway’s Winter Garden Theater on Broadway between 50th and 51st. Tickets are available for both parts or can be purchased individually. For more information, visit http://wolfhallbroadway.com/
Theater Review: HAND TO GOD
It has often been noted by people of faith that “the good Lord works in mysterious ways.” For all intents and purposes, He may well be taking a vacation or turning a blind eye to the mischievous antics that are unfolding at Broadway’s Booth theater, where the marquee darkly exclaims that “Broadway is going to hell in a hand puppet.”
Hell is both a figurative place and a frame of mind in Robert Askin’s outrageous play Hand To God. Set in a fundamental christian church in a nondescript town in Texas, Hand to God introduces us to Jason (Steven Boyer), the shy and reserved Mama’s boy to Margery (Geneva Carr), a deeply repressed widow who is leading the church’s puppet ministry. Nerdy Jessica (Sarah Stiles) and bad boy Timothy (Michael Oberholtzer) round out the “puppeteers” as Pastor Greg (Marc Kudisch) watches over his flock–and a close, seductive eye on Margery.
No one seems terribly enthused about the idea of performing in front of the church and suddenly, rehearsals only get worse once Jason’s puppet, Tyrone, springs to life on his hand. This devil incarnate quickly sets out to terrorize anything and anyone in his path and soon, the entire church is victimized by an uncontrollable, foul-mouthed, sock puppet.
One might quickly dismiss Hand to God as a crude, sacrilegious work of simple comedy. But Askins morality tale delves deeper, inviting us to explore the direction of our moral compass. Do we choose to do wrong or does wrongdoing control us? Furthermore, how long can we repress natural inclinations before they push us past the precipice of confinement?
Let’s not overlook the comedy factor here, though. Hand to God is laugh out loud funny, thanks mostly to this finely tuned cast. Boyer seems to effortlessly toggle between Jason and Tyrone but his contrasting personalities are as deliriously different as night and day. Carr is wonderful as a mother desperately trying to hold it all together–and failing miserably. Oberholtzer’s punkish behavior adds even more devilish fun to the mix, and Stiles delivers a first-rate, understated performance as the brainiac who is fed up with everything and everyone. Stage veteran Kudisch offers a solid and stoic portrayal of an opportunistic spiritual leader.
On the surface, Hand to God is a bawdy, adult rated stage comedy but like human nature itself, it is layered by nuance, complications, and empathy. As a new American play, it delivers a jolt of freshness and originality to the genre.
Hand to God plays at the Booth Theater, 222 West 45th Street (between 8th and Broadway). For tickets and information, visit the box office, or http://handtogodbroadway.com/
Jessie Mueller- Tony Award Winner Makes Her Carnegie Hall Debut
Not many performers premiere at Carnegie Hall amongst a throng of children. For Jessie Mueller, the former star of Broadway’s Beautiful: The Carol King Musical, that is precisely how she’ll make her debut there this Saturday afternoon, April 18th. Mueller is the headliner for the Carnegie Hall Family Concert Take the Stage with Broadway Stars.
“It’s such a great way to perform there for the first time, because it will be as much about the kids as it will be about the people performing,” an excited Mueller said earlier this week during a phone interview. “It will be very interactive,” she continued. “We’re going to have the kids learn songs to sing and dance with us. we’ll also be in and out of the audience, so it’s going to be really cool.”
The 90-minute program will consist mainly of familiar songs from hit shows like Les Miserables, The Sound of Music, and the show that earned her a Tony Award, Beautiful. In addition, she’ll be joined with a chorus composed of working Broadway talent.
Since Mueller departed the production of Beautiful last month, she admits that it has been an adjustment to not perform the show each day, but it’s also given her the chance to catch up on “life stuff” since the show was “all-consuming.” Still she acknowledges how rewarding and humbling the experience was and is eagerly looking forward to her next project, a new musical based on the film Waitress. Music will be composed by singer-songwriter Sara Bareilles and Diane Paulus will direct. She’ll head to Boston’s American Repertory Theater to work on it in June, with an eye pointed towards Broadway.
For now, Mueller is thrilled to be taking the stage at the world-famous venue on Saturday afternoon. “It’s appropriate for all ages, and will be fun, free, and easy, which is something you wouldn’t ordinarily expect at Carnegie Hall,” she remarked. “For children to come to this venue and experience live music in this acoustic environment is going to be really great. It feels like we’re doing this for the kids, which are for all the right reasons,” she added.
Jessie Mueller in Carnegie Hall’s Family Concert: Take the Stage with Broadway Stars. Saturday, April 18 @ 3 PM ET at Carnegie Hall, 57th street and 7th ave.
Tickets, priced $10, $16, and $22, are available at the Carnegie Hall Box Office, 154 West 57th Street, or can be charged to major credit cards by calling CarnegieCharge at 212-247-7800 or by visiting the Carnegie Hall website, carnegiehall.org
Theater Review: R&J- An Uncivil Tale
Earlier this year, Rebel Theater Company mounted a massive production entitled Black Footnotes which chronicled the lives of African-American women doctors who made great contributions, but whose names were erased from the history books. Read the review here: https://www.manhattandigest.com/2015/02/14/theater-review-black-footnotes/
The play consisted of a cast of 28 members, quite a large feat for such a small space. It ran at Nuyorican Poet’s Cafe. Rebel theater has returned to the famed performance space, where a current, large scale re-imagining of Shakespeare’s Romeo and Juliet is afoot
Writers Adam Mace and Kaitlyn Schirard have now enlisted 30 actors, and have placed the famous tale of young romance during the height of the Civil War in 1863 Kentucky. Juliet (Julia Boyes) hails from the wealthy Capulet family while Romeo (Jordane Christie) is from the former slave house of Montague. Once, he and his family had worked for the Capulets, but they were sold to an abolitionist who set them free. In true lover’s fashion, love binds them together, much to the dismay of both families.
To set the piece during the most challenging time of our nation’s history is both thoughtful and appropriate.In the program notes, director Adam Mace tips his hat to Abraham Lincoln (also timely, given the fact that we commemorate his assassination this month). After Romeo murders one of the Capulets in a brawl, his mentor, Reverend Laurence (Christian Lee Branch) unleashes a fiery sermon to parishioners. “I don’t understand is how the Lord can allow such hate to be in our world today. To allow our brothers and sisters to be beaten, sold, tortured, and killed!”, he says. Sadly, the words could be delivered from a contemporary pulpit. Mace expresses the fact that the story far exceeds the confines of romance, but rather, reflects the state of a nation.
Christie and Boyes create fiery passion and Adiagha Faizah is particularly touching as Mama Opal, Juliet’s slave. The supporting ensemble are in top form.
Occasionally, Mace’s script is a bit heavy handed and wrought with too many histrionics. Once the scale is tipped towards the highest level of dramatics, there is little room to build tension. Still, he should be commended for the fine work that he and his assistant director, Najah Muhammad create. It is a joy to watch this theater company evolve, develop, and generate crucial conversations with their provocative works.
R&J: An Uncivil Tale, runs through April 26th at the Nuyorican Poet’s Cafe, 236 E. 3rd street (between Ave B and C). For tickets and information, visit http://www.rebeltheater.com/#!r–j/c131s
Theater Review: CLINTON The Musical
Love ’em or leave em, it is hard to deny the impact of larger than life politicians, Bill and Hillary Clinton. How can we forget the bountiful years of economic growth, the (dare I say it) “ambitious” first lady who tackled health care problems, and of course, the intern who shook a nation.
Just in time for Hillary’s announcement of a Presidential bid comes Clinton The Musical, a smartly satirical reflection of the trials and tribulations of William Jefferson Clinton and his family. Director and choreographer Dan Knechtges has assembled a hugely entertaining and talented cast that will leave audiences aghast and amused.
Paul and Michael Hodge have written a keenly insightful book incorporating not one, but two Bill Clintons into the script. One is the stately, professional, and polished politician (Tom Galantich); the other is a good ‘ole boy skirt chasin’ philanderer (Duke Lafoon). Both actors beautifully capture the duplicitous essence of our 42nd president. Kerry Butler assumes the role of Hillary Rodham Clinton, and while she is a fine actor with a dynamic voice, it’s hard not to sense a bit of miscasting here. Butler’s natural girlishness lacks the edge needed to fully embody Mrs. Clinton.
John Treacy Egan and Kevin Zak steal the show as Newt Gingrich and Kenneth Starr (respectively), a maniacal duo with an unquenchable thirst to bring down the President. Judy Gold also adds hilarity as both the Ghost of Eleanor Roosevelt and Linda Tripp. The real firecracker here, though, is Veronica J. Kuehn who recreates the infamous girl in the blue dress, Monica Lewinksy. Her number about her tryst with the President, “Monica’s Song” is a gleeful, upbeat R- rated dittie that will, no doubt, have you in stitches.
Clinton The Musical is everything great satire ought to be: clever, funny, well-acted, and above all, thoughtful. No matter what side of the aisle you favor, this is one wild party you won’t want to miss.
Clinton The Musical plays Off Broadway at New World Stages, 340 West 50th Street between 8th and 9th avenue. For tickets and information, please visit the box office or http://clintonthemusical.com/ . ***Special $20.16 seats available for a limited time. ***
INTERVIEW- Bryce Pinkham: From Killing to Kindness
For over a year, Bryce Pinkham was planning to kill on a nightly basis. As the leading man of Broadway’s musical comedy A Gentleman’s Guide to Love and Murder, he plotted (with success) against eight members of the affluent D’Ysquith family in order to become heir to their riches. The role launched him to Broadway stardom and earned him his first Tony nomination. Pinkham is currently on leave from the production and has traded in his devious ways for a white lab coat in Wendy Wasserstein’s Broadway revival of The Heidi Chronicles where he portrays Peter Patrone, a gay pediatrician and Heidi’s (Elisabeth Moss) best friend.
Before a recent performance, Pinkham sat down in his backstage dressing room with Manhattan Digest to discuss his current role, the potency of Wasserstein’s work, and two non-profit groups which are close to his heart.
When Opportunity Knocks…
Rarely are theater actors just handed a part. But casting directors for The Heidi Chronicles had Pinkham in mind for the role of Patrone. He recalls how it happened. “I got a call saying that they were interested in me. They asked if I’d be interested in leaving Gentleman’s Guide to do it. I told them that it would have to be the right timing. Since I had put so much work into it, I wanted to enjoy the benefits of a long run, which doesn’t always happen. I knew I wanted to stay there, but I was also excited about the part. Ultimately, the timing turned out to be right so here we are.” He continued, “This is the first time that someone has just called me to be in a show. It was both terrifying and exhilarating to feel as though there is enough proof in the world that somebody believes I can do it. Therefore, it may be a good thing to do!”
…You’ll Have Big Shoes to Fill
Pinkham is stepping into a role that has preceded him by great theater actors. In the original production, Boyd Gaines earned his first Tony award for the part. Later in the run, David Hyde Pierce replaced him. Both of these actors have provided Pinkham with a great deal of inspiration, but his take on the part has left him with complex emotions. “I have looked up to both of these gentlemen. As an actor, I like to think about what actor I’d like to be when I grow up and pick those roles which lead me to the career of those people whom I admire. Those are two men who satisfy that.” He added, “I was intimidated and encouraged, but was also hopeful that their performances are a distant enough memory that my interpretation will feel like an homage to the originals, but also an original in and of itself.” He then joked, “Which you can tell me tonight!” While I didn’t get a chance to tell him personally– by way of this article– I can now tell him (and readers) that he is completely genuine and earnest in his performance.
The Fight is Far From Over
The Heidi Chronicles charts eight different characters on their journey through adolescence to adulthood while they join the feminist movement, battle the AIDS crisis, and gain a deeper knowledge of themselves and their collective community. The play ends in 1989, the same year it debuted on Broadway. In it, Peter tells Heidi that he has lost a friend a month for the past year from AIDS. “It’s hard to imagine that today,” said Pinkham. “Thinking about that being staged when so many were losing their lives from that disease is actually quite moving to me. It must have been very powerful.” Sadly, many individuals of a younger generation tend to think of AIDS in the past tense. “It’s boiled down to a ribbon, a GAP ad, and something that is happening in Africa, but something which we’ve contained here in the United States.” He hopes that the show will give people a memory of that time and also give people who were not there an understanding of how critical the problem was—and remains—today.
And the Beat Goes On
Feminism and female identity is a major theme of the show. Every night the cast hear from women and men about how their experience of watching Heidi develop through the decades resonated with their own stories. “That’s what Wasserstein did so brilliantly,” Pinkham said with gusto. “She distilled an entire generation of women’s experiences and produced lines that you hear the audience reacting to.” A few weeks ago, his mother came to see the play and was swept away with emotion. “She wasn’t familiar with the plot and wasn’t prepared to be as emotionally moved by Heidi’s experience as she was,” he said. “That was always the hope; that the play would still have this relevance.” He then recalled a recent conversation he had with a skeptical male theatergoer who asked him why men should see the play. Pinkham responded, “Let me ask you a question: Should women go to see Death of a Salesman?” He continued, “Nobody ever asks if that play is still relevant. Great writers take a moment in history and make it timeless and universal, just as Wendy did. This just happens to be about a female. The fact that we are now having conversations about equality that our grandparents did not have feels like progress, and I feel as though Wendy (who passed away in 2006) would be happy that those conversations are happening.”
Bryce the Benevolent
One might think that Pinkham’s schedule is too jam-packed for extracurricular interests. Yet, he has devoted much of his free time to two non-profit organizations, one of which he co-founded called Zara Aina, a Malagasy expression which means “share life”. In 2012, his close friend was in Madagascar. “I took him to the airport and picked him up and I noticed when he came back that he was a completely different person. I wanted some of what he had.” They both began to set the wheels in motion and talked about how to take American artists there to work with kids. They had no money, but somehow made it work. “The point is that we privileged action as opposed to preparation. We now have 30 kids and we fund their tuition, their basic medical needs, and food and clothing for an entire year,” he said. The experience has been transformative for him. “Nothing will change your perspective like going to a third world country. And nothing will make you prouder of what you do, especially when you are giving a performance that has more meaning than just entertainment, but also as a tool for empowerment.” The organization holds a variety of fundraisers and more information can be found at http://zaraaina.org/
Outside the Wire is another group in which Pinkham is involved. They do performances of Greek and American plays for military members and their families. “I went to Guantanamo Bay, Japan, Kuwait, and Qatar. It was so humbling to see how your art form can affect a certain group of people,” Pinkham stated. He also did scenes from Conor McPherson’s one man show Rum & Vodka about a young Irish alcoholic. Alcoholism is understandably a huge problem for many soldiers and Pinkham’s goal is that the works will forge a conversation and potential change. To learn more , check out http://www.outsidethewirellc.com/
Pinkham will continue to don his physician’s garb in the lauded new production, starring alongside Elisabeth Moss and Jason Biggs, through August 9th at the Music Box Theatre. After that, he’ll hopefully return to his role as Monty Navarro in A Gentleman’s Guide to Love and Murder.
For tickets and information to The Heidi Chronicles on Broadway, visit: http://www.theheidichroniclesonbroadway.com.