How Brynn O’Malley creates a leading lady in Honeymoon in Vegas
Welcome to Building Character, our ongoing look at performers and how they create their roles
Make no mistake: the new Broadway musical Honeymoon in Vegas is supposed to be a lark. Based on the 1992 film, it’s a fizzy romance about Jack Singer, a guy who won’t propose to his girlfriend Betsy because his mother cursed his love life. (Like, literally cursed.) He almost loses his lady, however, when she’s seduced by a flashy gambler, and getting her back requires a trip to Hawaii, a visit to a mysterious tropical monument, and a skydiving trip with a planeload of Elvis impersonators.
So again… this is not Greek tragedy. And Jason Robert Brown’s score, with its swinging Vegas sounds, is designed to keep toes tapping while these lovelorn dorks sort out their lives.
But despite all the goofiness, the actors have to take their roles seriously. If their performances don’t have legitimate feeling—if they don’t show some recognizable humanity—then the whimsy won’t work. Just ask Brynn O’Malley, who plays Betsy: “The show is so much fun and the circumstances we’re put through are so ridiculous,” she says. “But we also feel like our job is to be the ambassadors of truth and make sure that no matter what is put in front of us, we approach it from the most grounded place.”
That’s one reason she’s glad to have another crack at her role. O’Malley also played Betsy when Honeymoon in Vegas premiered at New Jersey’s Paper Mill Playhouse last year, which means the Broadway run at the Nederlander gives her the chance to go further with her performance. (The show is currently in previews and officially opens next month.) “What’s been fun this time around is we get to dig a little deeper and really track Betsy’s journey through the show,” she says.
Of course, digging deeper doesn’t always mean breaking brand new ground. In one crucial scene, for instance, Betsy has to decide if she’s going to impulsively go to Hawaii with the romantic gambler (played by Tony Danza) and leave Jack alone with his commitment-phobia. At Paper Mill, O’Malley motivated Betsy’s decision with both anger and excitement, while both her paramours fought for her attention. “We liked that scene,” she says. “But we weren’t sure, coming in to this round, if the scene as written was what we wanted to do for Broadway.”
She continues, “We thought, ‘Well maybe we can play it this way, or we can take Jack out of it, on an on.’ We went through four or five versions, only to discover that the one we started with is the one we’re gonna do. But now we know exactly what we’re doing, and we know exactly why.” [Read more →]
December 9, 2014 No Comments
Jonny Orsini’s passionate preparation for his latest role
“I wanted to become a journalist before I became an actor,” says Jonny Orsini. “I think I approach roles the way a journalist approaches stories.”
That means he does a serious amount of research for every part he plays. Take his work in Almost Home, a new drama by Walter Anderson that’s now at Theatre Row in a production from The Directors Company. Orsini plays Johnny Barnett, a Marine going back to the Bronx after serving in Vietnam. The character not only confronts his own guilt at being called a hero, but also grapples with the expectations of his family and mentors, some of whom have shady ulterior motives.
For Orsini, who’s too young to remember what Vietnam veterans faced when they came back to America, books and films have been essential to his preparation. Even more importantly, he’s had long conversations with Anderson, who fought in Vietnam himself. “Walter didn’t necessarily experience everything in the play, but a lot of it draws from his life,” the actor says. “So to have him in the room was incredible. And he had the best suggestions about what to read and what to watch.”
The research, though, is only part of Orsini’s journalistic impulse. “I was always interested in learning about people and things that weren’t necessarily widely known and then bringing the story to light,” he says. “If you’ve gone through something and you feel alone, then seeing it in a respectfully told story can make you feel less isolated. Anything I can do to make people feel less alone is very much what I want to do with my life.” [Read more →]
September 26, 2014 No Comments
James Wirt on the unexpected humor in the play Phoenix
Phoenix doesn’t sound like the funniest play. The show, which is now at Cherry Lane Theatre, opens with a nurse named Sue (Julia Stiles) confronting a laid-back dude named James (James Wirt) just a few weeks after their one-night stand. Turns out she’s pregnant—whoops—and she’s not planning to keep the baby. And oh yeah, after this, she and James are never going to see each other again.
To repeat: Not an obvious laugh riot. But playwright Scott Organ injects his script with so many startling turns—and gives both characters such vivid personalities—that their odd relationship is as charming and amusing as it is bittersweet and sincere.
It’s a very particular play, for instance, that can deliver both tense uncertainty and awkward comedy while two almost-strangers sit in the lobby of an abortion clinic, discussing the fate of their unborn child.
The audience response to these moments has certainly surprised Wirt. “There are so many laughs in so many random places, especially in the abortion clinic [scene],” he says. “I’m trying to get the scene driving, and then we hold for a laugh at Julia saying something. We never knew that line was funny, and now we can incorporate that.” [Read more →]
August 4, 2014 No Comments
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
The woman behind Clown Bar‘s twisted ingenue
Welcome to Building Character, our ongoing look at performers and how they create their roles
Considering all the gunfights and sex and dirty jokes in their show, you wouldn’t think anyone in Clown Bar would base their performance on It’s a Wonderful Life. But that’s one reason this raucous play has become such a downtown hit. It never met a vintage reference it couldn’t use.
Written by Adam Szymkowicz and presented by Pipeline Theatre Company, the show is a noir parody about the gangster underworld of professional clowns. Dressed in full makeup, the hardboiled characters gather at their seedy local watering hole, pausing between songs and jokes to make threats, run rackets, and occasionally kill each other. Even Happy, the local cop who’s trying to clean up the scene, is a former gangster clown, and there’s no guarantee that the life, the power, and the dangerous dames won’t pull him back in.
But like any good noir, Clown Bar has an angel among the devils. Or at least, she’s about as angelic as it gets with this twisted show, which plays on Saturday nights at The Box. Her name is Petunia, and even though she’s a prostitute with a foul mouth, she’s still a swell dame.
That’s why actress Jessica Frey’s performance is inspired by It’s a Wonderful Life—specifically Gloria Grahame’s turn as flirty bombshell Violet Bick. “I was trying to use the style of that era as a baseline, and then pump it up,” she says, adding that even though Petunia is a hooker, she’s not a hopeless case. “She’s so sweet, and she’s just trying to do her best by everybody. I think that makes her very endearing. It potentially makes her the audience’s ally in the show.”
Frey adds, “In her mind, this clown bar is nothing seedy. It’s nothing disgusting. She’s trying to spin horrible things that have happened to her into positive things. She makes light of her STDs. She makes light of being a prostitute. She has to remain positive, or the audience won’t root for her as much.”
Not that Frey has always been the good clown. Last year, when the play had its first successful run, she was cast as Popo, a sociopathic enforcer. But when Kelley Rae O’Donnell, the original Petunia, couldn’t return to the role, Frey changed characters. “I have such respect for Kelley, and her performance was intimidating from the beginning,” she says. “I couldn’t get it out of my head, and during the first couple of weeks of rehearsal, I was thinking to myself, ‘I’ve made a horrible mistake!’ [Read more →]
July 8, 2014 No Comments