Nina Arianda & Hugh Dancy in "Venus in Fur". Photo by Joan Marcus.

“There’s nothing in that.”

Those were the sage words of advice David Ives received from his father as the young playwright headed off to the Yale School of Drama. We should all have such nothing. With a career spanning influential comedies like All in the Timing and acclaimed translations of classics like the Moliere “rewrite” School for Lies, to his current Tony-nominated, Broadway hit Venus in Fur, Ives has proven those words wrong and made a life working in the theater.

During a recent discussion moderated by famed critic John Lahr at the 92nd Street Y Tribecca, Ives opened up about the highs and lows of his career in sparklingly articulate and, at times, raucously deadpan stories — from his tragically lost first play to his current much-anticipated collaboration with Stephen Sondheim.

On his unfortunate debut as a playwright: 

I got bitten by the theater bug quite early and I wrote my first play when I was nine. I took this three hundred page, sort of noir novel out of my parents’ library and I turned it into a ten minute play. For my cub scout troupe. I was going to play the lead, of course, and all my friends were going to play the secondary roles which were much smaller. But what I didn’t know is that everyone in the play has to get a copy of the script. And so I learned my lines, I passed the script on and he lost it. And it was probably my best work ever. I’m still looking for it.

On the thrill of discovering his love for theater:

The stinger really stuck in my flesh when I was seventeen and I went to see Hume Cronyn and Jessica Tandy in A Delicate Balance. It came through Chicago. I well remember the sensation that I had sitting in the front of the balcony for $3.65 and watching Cronyn & Tandy and feeling like I was in the front car of the Cyclone in Coney Island. Because I had never seen anything like this, something so extraordinarily passionate and eloquent. I might as well have just gone home that day and written my parents a note that said, “Dear Mom & Dad, I’m going to be a playwright. Nothing can stop me.”

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Nell Benjamin & Laurence O'Keefe. Image via Paul Lincoln.

You’ve heard of a musical being tested via an out of town tryout — but what about an after school tryout? Laurence O’Keefe & Nell Benjamin, acclaimed composers of the Tony-nominated and Olivier-winning Legally Blonde, are doing exactly that in an extraordinary collaboration with New York’s LaGaurdia High School of Music & Art and Performing Arts. Opening this Thursday night and running through the weekend, the students will be presenting the world premiere of Life of the Party, a new show about movie musicals in the Soviet Union, directed by Paul Lincoln. Featuring a talented (and enormous cast) and a 45 piece orchestra, this ain’t your Mama’s high school musical.

I had a chance to play “he said/she said” with the husband & wife writing team as they made final preparations for the big debut — and they had a lot to say about their cast, their inspirations and their own high school dreams.

Let’s get the basic facts out of the way first: how did you end up working with LaGuardia High School on a new piece?

Larry: We ended up working there because we were floored by the production Paul Lincoln directed there last year. It was Kismet, with a cast of about 70, an orchestra of about 45, all singing these amazing, operatic tunes. And everyone was so young, but so committed and so well trained; and the production itself looked like it cost millions. It was an amazing evening, and everything I like to see in theater but seldom get to: huge commitment, passionate execution and huge scale. And for only 20 bucks!

So when our old friends (Paul and Mary Ann Swerdfeger, the head of LaGuardia’s opera workshop) came to us after and said “would you like to create a show for the 2012 school year?”, we were very tempted. Yet at first we were doubtful we could think of anything. At first we went “uh oh, what show could we possibly do that would be 1) big enough, 2) appropriate for legit voices instead of our usual pop belting songs, 3) appropriate for students?”  But then we remembered an idea for a show that we had been turning over in our heads for more than a decade.

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Gavin Creel at Birdland. Photo by Monica Simoes.

Two-time Tony-nominee Gavin Creel is on a roll–and it’s rolling him into a theater near you. Producers just announced that he’ll be playing the lead in the first national tour of the smash hit The Book of Mormon. But that’s just the latest in a string of bold moves for the charming and handsome Creel. From a new pop album to his groundbreaking work for marriage equality with Broadway Impact, he’s long been winning hearts and minds far beyond the Great White Way.

Two months ago (and sadly before I could grill him about Mormon), I caught up with Creel via phone to interview him for the May issue of “Passport Magazine” (hitting newsstands any day now). However, we had so much to chat about and so much that was too juicy for the print edition, it couldn’t be contained in one article–so I thought I’d share the extras here. Serious or silly, whether discussing his own wedding dreams or his codependent relationship with his dog, Creel proves why he’ll always be one of our favorite leading men…

Hi Gavin. How are you doing?

I’m good. I’m literally standing on a marina in Key West so I’m going to step outside so we can have a little chatty poo.

I’m sorry to interrupt; I didn’t realize it was vacation time.

I’m not on vacation; I’m doing a Broadway Across America concert. Doing a little presentation for eleven new musicals for next season. Just coming down to sing a song. I literally flew in an hour and a half ago and am flying out tomorrow morning.

Fun times.

Crazy. That’s the life of being a show business whore.

[laughter] Honestly, the first thing I have to do is thank you. My partner and I of eleven years just got engaged last week.

Oooh! Congratulations!

It truly is because of people like you that we were able to do this.

I appreciate that; it’s very kind of you but I’m not getting married or engaged yet so it’s people like you who are doing it. Even though we’re still fighting for the rights it takes people like you to do it, to stand up and face all the stupid that might come your way even though it’s legal.

Have you had a chance to attend any weddings since it became legal in New York?

No gay weddings yet.

None! Oh no…

I’ll be looking for the invite.

It’s in the mail now.

[laughter]

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Wood Harris, Nicole Ari Parker, Blair Underwood & Daphne Rubin-Vega in "A Streetcar Named Desire". Image via streetcaronbroadway.com.

Spend just a few minutes in a room with the company of A Streetcar Named Desire and one thing is immediately clear: this is the hottest cast on Broadway. And I don’t just mean physically attractive, though Blair Underwood (In Treatment), Daphne Rubin-Vega (Rent), Nicole Ari Parker (Boogie Nights) and Wood Harris (The Wire) are a stunning foursome . No, their heat is also a product of their passion for the work and an outspoken determination to make this revival, the first multicultural Streetcar on Broadway, a richer, deeper experience.

In the run-up to their first preview (tonight at the Broadhurst), the entire cast and their director Emily Mann gathered at B. Smith’s to talk about the genesis of this production, the ghosts of prior versions of the play and why this will be one of the steamiest stage trips to New Orleans you’ll ever take. (And just to sweeten the deal, check out our special discount code for tickets at the end of the post!)

On the decision to do an interracial production:

Mann: “It’s sort of why not? What took so long? It’s such an obvious way to do this play. It’s the meaning of New Orleans; to have that gumbo of ethnicities and races makes the city the incredible and unique place it is in America. …Tennessee [Williams] himself wanted always to see the play done this way. He had hoped it would be done on Broadway in 1955 but it was Sweet Bird of Youth, I think, that was premiering and they didn’t want two of his own shows to be competing on Broadway. So it never happened. But he gave permission all through his life to have this done and I think he’d be thrilled by what we are doing today.”

On the draw of Streetcar: 

Underwood: “…it’s Tennessee Williams. It’s beautiful. Poetry. It’s human. It’s brutal. It’s vulnerable. It’s passionate. It’s desire. It’s all of those things. That’s why it’s an iconic play. That’s why it’s a classic. That’s why people should come see it.”

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Lea DeLaria in "Out of Iceland". Photo by Richard Termine.

In a world of cookie cutter show biz types, Lea DeLaria is a true one-of-a-kind. From her boundary-busting stand-up to her Broadway barnstorming (and Drama Desk nominated) debut in On the Town, she has blazed a career that includes acting, writing and singing while remaining true to her  outspoken, “Bulldyke in a China Shop” attitude. And we wouldn’t want her any other way. [Which should be fair warning that the following interview includes more than just a little salty language; Victorian maidens beware.]

Now, she’s back on the New York stage in the romantic comedy Out of Iceland, as a mythical imp (don’t call it a “Troll”!) who adds a twist to the proceedings. Just before the show opened, she shared her thoughts on her swinging London life, her dream roles and the joy of kissing Brooke Shields.

You hear a character described as a “flamboyant Icelandic troll who crawled out of a television” and I’m not sure you think, “Lea DeLaria, of course!” Seriously, what was your response to hearing about this unusual role and what convinced you to play the part?

OK the “TROLL” thing is really starting to annoy me; I DO NOT PLAY A TROLL!!!! I play a ”HIDDEN PERSON”. Hidden People in Iceland are like Leprechauns in Ireland. Hidden People HATE trolls, we hate them. So to be clear that description is incorrect and both the author and I are losing our minds over it. Once I read the script I could see an unusual quality to this play. It is a romantic comedy with a twist and I play that twist. What’s not to like? The character I have created is a combination of Bugs Bunny, Beetlejuice and Grouch Marx…so, the comedy is broad and old school and I get to ad lib.

There’s a mystical, modern fairy tale quality to Out of Iceland. What were your favorite fairy tales as a kid?

My favorite fairy tale was The Bible.

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Yesterday, I said that Show Folk this month was “getting epic;” you thought it was just a lame Homer joke. Truth is, we’re doubling up on great interviews with another leading man of the stage pulling up a chair to our cyber table and joining us for a little conversation. As usual, I’ve edited the transcripts (removing the truly libelous parts) and posted the results. If yesterday was all about Gods, today we’re going straight to the devil…

Howard McGillin in "Damn Yankees". Photo by Ken Jaques.

Tony-nominated actor Howard McGillin has exchanged a mask for a set of horns…and we ain’t talking a brass band. Having famously played The Phantom of the Opera for more than 2500 record breaking performances, he’s descending to new devious depths (and crossing the river to Jersey) to take on the devilish Applegate in Paper Mill Playhouse’s new production of the classic musical comedy Damn Yankees. Busy with last Sunday’s opening night, the dashing star still found the time to chat with us about some favorite co-stars, making up lyrics to “Music of the Night” and his run-in with a bionic wardrobe malfunction.

The devil comes in so many different guises; what inspired your take on Applegate in Damn Yankees?

Well, he’s the classic comic villain. He’s vain, revels in all the mischief he causes, and is ultimately brought down in a satisfying tumble of self-inflicted grandiosity. It’s delicious. Of course I remember Ray Walston’s performance, and my friend Victor Garber’s wonderful take on the guy. But I just try to find a way to make it mine, and I think the key is his ridiculous vanity. It makes it so much fun to see him fall.

You famously hold the record for playing the Phantom in The Phantom of the Opera  more times than anyone else. What are the benefits and challenges of doing a short run like the month of Damn Yankees at Paper Mill?

It’s a joy to tackle any part, no matter how long or short the run. Of course, when you sign on for something like Phantom you never imagine you could be doing it over 2500 times! It just happened that I loved performing it and the creative team seemed to like what I was doing and decided to keep me on. The process of performing a role remains the same. You always set foot on stage with the goal of making it a fresh performance. The only difference is that after many years of doing long runs in Broadway shows, four weeks seems unfairly short. I know I will miss doing this show. It’s just so much fun.

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Once a month, a member of the theater community will pull up a chair to our cyber table and join us for a little conversation. I’ll edit the transcripts (removing the truly libelous parts) and post the results here every second Wednesday. For March, things are getting epic…

Denis O'Hare in "An Iliad". Photo by Joan Marcus.

Tony-winner Denis O’Hare has entered the pantheon. Literally. In his tour de force (and very well-reviewed) An Iliad, he may be alone on stage but, with a turn of the head or a sly vocal inflection, we see Hermes and Athena–not to mention all of the warriors and women of the Trojan War. As both an actor and co-author of this modern adaptation of Homer’s classic tale, his work is an act of virtuosic storytelling that is passionate, at times funny and always deeply engrossing. Of course, television viewers know that O’Hare is no stranger to larger than life characters, although from more contemporary mythology like his haunted Larry Harvey on American Horror Story or the villainous (and perhaps rising again) Vampire King Russell on True Blood. 

Currently alternating performances with Stephen Spinella through March 25 at New York Theatre Workshop, O’Hare took a breather from the battle cries to give us some insight into the challenges of performing a one-man show, rehearsing in traffic–and focusing on work when surrounded by hunky co-stars.

An Iliad is incredibly enveloping and moving as an audience member but what is the experience like for you to live those stories both physically and emotionally as a performer? Is your preparation for this show different from other shows because of those demands?

It is a massive burden this show – the thought of doing it begins to descend on me about 4 hours before hand and I find myself unable to really concentrate on other things. I tend to get to the theatre about 2 hours before curtain. I need to settle into the theatre – say hi to everyone backstage, have a little tea and then I go out on stage and do 30 minutes of Yoga and then about 10-15 minutes of vocal warmup. I usually run through at least one chapter onstage and I always run the List of Wars. Because I ride my bike everywhere, I find myself rehearsing while I’m riding. No one really notices when you talk to yourself on a bike.

Each show has its own requirements. Because of the massive text here, one of the requirements is constantly looking at the lines – I make around 200 errors a night in lines alone. I get a lot of notes from Stage Management and from the director and I’m always thinking about ways to improve and get cleaner.

Which of the mortals and gods was the easiest for you to embody, the one you thought immediately “I know this character”? Who was the hardest for you to “find” as an actor?

I had a tough time with all the characters -there wasn’t one which came to me easily – well, except for Hermes – he’s sort of Cali surf boy (not my usual niche but it was fun). I came to love doing Achilles best–Achilles and Agamemnon. And actually, if I’m honest, I’d say Agamemnon came fairly easily to me – from my years living in Chicago. I still struggle nightly finding Helen. Go figure.

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Once a month, a member of the theater community will pull up a chair to our cyber table and join us for a little conversation. I’ll edit the transcripts (removing the truly libelous parts) and post the results here every second Wednesday. For February, we’re shaking things up (like an earthquake) by talking to two fabulous guests and bringing it to you a few days early (all the better to see their show this weekend)…

Seth Rudetsy & Lauren Kennedy in "Disaster!". Photo by Drew Geraci.

The tiny Triad Theater is being overrun by deadly bees, killer disco tunes and innumerable other unnatural disasters…and it’s all because of writer/actor/director Jack Plotnick and Broadway’s host with the most Seth Rudetsky. Combining their love for 70′s music and those big budget, Irwin Allen spectacles of destruction (think The Towering Inferno and Airport ’75), they’ve co-written Disaster!, a new musical parody featuring a jukebox full of the me-decades best (and worst) songs and an hysterical (both in the comedic and emotionally overwrought sense) cast of great actor/singers struggling to survive until the morning after–including Mr. Rudetsky himself.

With the show running for three more Sundays in February (5th, 12th and 26th) before it hopefully blows up to bigger things, I grabbed some quick email time with the very busy duo to toss out some questions and get their fizzy–if not earth shattering, sky falling–responses.

How did you choose the songs for the show? Was there one song  you absolutely love but just couldn’t find a way to shoehorn into the show?

Jack: I love 70′s music to begin with, but while we were writing I listened to as much of it as I could, and also poured over songs lists. I, of course, considered my favorite songs from the decade first. I brought more of the rock songs to the show because I am a big fan of songs like “Don’t Bring Me Down” and “More Than A Feeling”.  The songs we used had to fit the story we wanted to tell or the plot point we wanted to musicalize, but it also had to be a song that Seth and I really loved.  For instance I wanted one of our characters to sing  ”Let Your Love Flow”;  I thought it was perfect for a certain character’s growth.  But, although Seth enjoyed broadening the scope of the music, he drew the line when it came to country music!

I’m so happy that we got in so many songs I’m OBSESSED with (Like “Saturday Night” and “I’d Really Love To See You Tonight”.)  The one song I really wanted to find a place for, but couldn’t, was “Right Back To Where We Started From”.  Such a happy song!

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Jerry O'Connell in "Seminar". Photo by Jeremy Daniel.

Jerry O’Connell (Crossing Jordan, Stand by Me and more) is a charmer. He shakes your hand with a 10,000 watt grin on his face. He tells self-deprecating stories with a tumbling ease. And now, with wide-eyed eagerness and well-honed comedic chops, he’s making his Broadway debut in Seminar, a new play by Theresa Rubeck about four writers getting more than lessons in fiction from a sharp tongued and ethically challenged novelist (played by Alan Rickman).

After a recent preview performance, he sat down on the lip of the Golden Theatre stage and shared his thoughts about working with a master like Rickman, being home again and getting his clothes torn off every night.

On the chemistry between he and the other actors playing students: “I think it’s just natural. That group has to have it. The four us do tend to go out after rehearsal and talk about what Alan did that day, talk about the play. Then get a little drunker and have fights over the jukebox.”

On the advantages of knowing Serverus Snape (Alan Rickman): “I know he has that Harry Potter money but he keeps picking up checks. And you wouldn’t want to pick up the check with this cast. Trust me, you’d want to split it as many ways as you can.”

On director Sam Gold: “He’s such a young guy and so talented. …I obviously have a deep respect for him but it’s amazing to see Alan Rickman intently listening to a thirty-three year old director and hanging on his every word. It’s great. I was, like, out of college when he was born. [pause] That’s an exaggeration.”

On being in New York: “I was born and raised in New York, in Manhattan and I went to NYU. …I moved out to Los Angeles and you wake up and you have a tan. It’s fifteen years later and I sort of lost my edge. I have kids now and a wife and all that stuff. And we live in the suburbs of Los Angeles. I commute to work every day in a car and some days I can’t believe this is the way it is. It’s so great for me to come back to New York. My wife and kids are here. My [three year old] daughters are on the subway. They’re getting an edge.”

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Once a month, a member of the theater community will pull up a chair to our cyber table and join us for a little conversation. I’ll edit the transcripts (removing the truly libelous parts) and post the results here every second Wednesday. For November, we’re talking to one of the busiest writers in the business…

Amanda Green. Photo by Bill Westmoreland.

Amanda Green is hands down one of the sharpest lyricists working in music theater today. I’ll never forget the first time I heard her sing her ode to codependence, “If You Leave Me…Can I Go To?” a bitingly funny yet surprisingly touching plea; I knew then and there that she was something special. Now, everybody knows it–with two big (and diverse) shows making headlines. First up, the exuberant and high-flying cheerleader musical Bring It On just began a major national tour. Then in the Spring, the La Jolla Playhouse will see the world premiere of Hands on a Hard Body, Amanda’s collaboration with Pulitzer Prize winner Doug Wright and Trey Anastasio (Phish!)

During a recent phone conversation overflowing with her deliciously infectious laugh (she was in Los Angeles preparing for the run of Bring It On), we had a chance to catch up and discuss the turning point in her career, the joys of being in a show biz family and the distraction of working with far too attractive choreographers.

One of the things I love most about you…

I like this opening.

[laughter] You have written some of the dirtiest songs I’ve ever heard in my life.

Yes.

You know I love a dirty joke. In your family, was that a currency, who could come up with the dirtiest, funniest joke?

Yes. My father [legendary lyricist and playwright Adolph Green] had a filthy potty mouth. As did his friends. And my brother, who is wickedly funny. I’m like a puritan compared to them.

[laughter]

I grew up in a place where it was anything for a laugh. If you could be funny, dirty and funny, then that was prized. Not just dirty for dirty’s sake but funny dirty.

Of course.

My Dad had filthy, filthy limericks he made up. Things like that.

Was there ever one of your lyrics that made him blush or say, “That’s it!”

Well, I always like to tell the story of  “The V Song” that I wrote with Curtis [Moore]. [It’s a song that features a list of euphemisms for female genitalia, as sung by an effusive, female gynecologist.] I was working on it and I went for a walk with my Dad. I told him the lyrics and I was a little sheepish about telling him. I recited them to him and he was like, “Did you include ‘box’?”

[laughter]

“Did you include ‘p****’? You did? OK.” All he cared about was that I got everything in and didn’t leave out anything funny.

Good times. The warm moments you share…

Father and daughter…

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