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Acting

Actor to Offstage Prompter: “Line…!?!”

It’s a calendar month since they closed down Broadway, and I have been thinking about Death. If that’s too morbid for your taste, you may want to skip this one.

The great sorrow in the present crisis is that the terminally ill are dying alone without comfort of friends or loved ones. So amidst all this terrible tragedy, appalling inconvenience, and ongoing uncertainty, I have wondered lately, occasionally, about a good last line, albeit that if one were about to cross the rainbow bridge, there’s every chance that no one would hear anything you might say…

Nevertheless, as an actor it would simply be embarrassing to arrive at the final moment and have to ask for a prompt. And with the current global challenge, including the prospect of death – the possibility at least, should you happen to inhale the wrong person’s sneeze – doing what Doctor Johnson back in the 18th century said said it did (focus the mind) – what an opportunity to get something down on paper.

Coming up with words that might endure in anyone’s memory more than an hour or two is a tricky proposition though. A sample of some very witty utterances already made includes:

“It’s been a long time since I had champagne.” Anton Checkov – Russian playwright

“This is where the fun begins.” Ben Travers – British playwright

“On the contrary.” Henrik Ibsen – Norwegian playwright

Last words can be very telling in terms of the speaker’s character. A person of high moral probity might say, along with Socrates, “Crito, I owe a cock to Asclepius, will you remember to pay the debt?”

With an eye to a laugh, “This is no way to live.” Groucho Marx

Somewhat dissatisfied with the set, “I knew it! I knew it! Born in a hotel room and, goddamn it, dying in a hotel room.” Eugene O’ Neill – American playwright.

Do you agree with me that Death is the great taboo these days? Where once no one dared mention sex in polite society, or in some cases money, these days to talk about death at a dinner party is to be struck off future invitations.

And that can be no surprise when the prevailing culture, in America at least, takes the view that death is optional, and that with a reverse-mortgage and the right medication (notwithstanding those side-effects given in husky voice-over against bucolic scenes of happy family barbecues in television commercials). This is madness, the idea that the inevitable appointment with the “fell sergeant” can be indefinitely postponed, defies all logic, experience and evidence.

But we seldom talk about the universal leveler with each other, let along how best to go about it. Many of us find it deeply upsetting even to think about it. But how is it sensible to go fearful or ignorant to that which awaits us all?

If one were looking for advice, albeit of a markedly sombre tone, there’s the Duke’s speech to Claudio Act 3, scene 1 of Measure For Measure which begins, “Be absolute for death, and either death or life shall thereby be the sweeter…”

Or there’s Elizabeth Kubler-Ross’s book, On Death and Dying

Or there are Dr Peter Fenwick’s youtube videos.

And although I certainly have no empirical proof, apart from the vivid memories of loved ones who’ve gone before, I tend to agree with His Holiness the Dalai Lama’s assessment, “Change of clothes.” One hopes.

Talking of metaphysicians who flirt with the intangible: there’s at least one of Nostradamus’s prophesies that was correct in every detail. On his deathbed he said, “Tomorrow, at sunrise, I shall no longer be here.”

And for an epitaph what could be better than Spike Milligan’s“I told you I was ill.” engraved on his tombstone.

Returning to the problem of the last line. If one were minded to die with one eye on publication, I offer a few generic options here, mainly for actors:

“The Great Stage Manager in the sky is calling places (beginners/UK)”

“If I’d had just one more rehearsal, I’d be playing this differently.”

“How about a round (of applause) on this exit?”

Categories
Acting

Since the World Changed…

They closed the Golden Theatre on West 45th Street on Thursday 12th March, most of Broadway and off-Broadway following within a few hours. On Friday March 20th Hangmen was closed officially.

All that seems like a whole different long-time-ago time now. But then that’s what two weeks (today) of self-isolation can do for you.

Actors are no strangers to being chucked out of work and sometimes suddenly too. But even the most seasoned of us has never been through this. Well that’s not quite true. As I mentioned in my previous post they closed the theatres down at the end of the 16th and in the early 17th centuries due to outbreaks of plague. And stories abound of touring companies being abandoned in far-flung parts because the manager absconded with the takings. That was in the bad old days before there was Equity, the actors’ union.

That’s me and Pete Bradbury up there in the top right. Below is a picture of me ready to step in to the role of Harry Wade, one of the Hangmen of the title. Posted here by kind permission of the production ‘cos sadly, although the chances were slim of you actually seeing me in the part, now the chances are zero.

We were getting into top gear, both working on Broadway shows, my wife Trish in the acclaimed To Kill a Mockingbird – which had recently played to 18,000 high school kids in a sensational free performance at Madison Square Garden – and me in one that on paper at least had all the hit ingredients. This virus thing is more than inconvenient. Just saying.

That’s Patricia Conolly with a dressing room selfie of Mrs Dubose.

So what’s to be done in this in-between moment? Well you can always read a great novel (or write one). The only Tolstoy novel I’ve read is Resurrection, so yes, maybe I will have a go at War and Peace… Or Moby Dick… or one of the longer Dickens…  The watercolors, the jig-saws, that coverlet you’ve always meant to crochet…

Talking of literature, P G Wodehouse can always be relied on for an amusing turn of phrase. Earlier today I came across this for example, “He uttered a sharp exclamation and gave a bound which, had he been a Russian dancer, would probably have caused the management to raise his salary.”

It may not look like much out of context and perhaps you had to be there, but it caused a lot of mirth in the Conolly/McPhillamy household to the extent that tense shoulders began to loosen and worry lines gave way to the creases of laughing smiles.

It does seem though that whatever you do, it really, really, REALLY is better not to go outside (except when deploying the newly minted social distancing for those essential journeys). So much so that this amusing little ballad – stop me if you’ve heard it before – seems now to be the summation of all wisdom currently available. (some vulgar language; viewer discretion advised).

https://youtu.be/e0G63uzhFP4

I expect by now you’ve heard this one. But I’ll tell you again anyway…

Tweet: When Shakespeare was quarantined because of the plague he wrote King Lear.

Answering Tweet: I don’t need that kind of pressure.

Tweet: And he did it without toilet paper.

Talking of Nostradamus. It seems unlikely that I’ll be doing any acting anytime soon, so now’s the time to focus on my side hustle – yes, that right ASTROLOGY. You can see my astrological two cents worth here, or check out the rest of the site at www.GalacticFragment.com, and if you’re interested, and I fully acknowledge that astro is not to everyone’s liking – sidebar here: at one time I was on a quest to have a sensible conversation with a scientist about why astrology works. I didn’t pursue this very far because the few scientists I met would start edging towards the door as soon as I mentioned the art of celestial interpretation. I never even got as far as asking them about the implications of the recently discovered sub-atomic particle, the neutrino.

Be that as it might, for the duration of the lock-down I’m offering a chart reading at the deeply discounted price of… pay-what-you-wish. If you’re interested email me at Colin@galacticfragment.com. Something different perhaps? After all, there’s only so much Netflix you can watch…

I hope you’re ok and that you have good supplies of rice, beans, and tinned fish – oh and loo roll!

Even this shall pass away!

Categories
Acting

For me it was quite a lot… about the hair.

We gave London Assurance at The Irish Rep, NYC the last time Feb 09 2020. A delight to perform in. Thanks to all…

Then:

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Now:

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Happy either way

Special thanks to Luis: Master of organic hair coloring

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Categories
Acting

The Power of the Press

I’ve been posting too frequently lately. After this update. I shall resume a sedate once-a-month-if-that routine. It’s the bushfires in Australia that have me so riled. A national emergency and an international crisis – anyway enough of that and plenty of my opinion in previous posts.

Meanwhile…

The astonishing power of a good review in a major newspaper…!

Elliot-Joseph-Evan-Zes-Ian-Holcomb-Brian-Keane-Colin-McPhillamy-and-Caroline-Strang-in-the-2019-production-of-LONDON-ASSURANCE-at-Irish-Rep-Photo-by-Carol-Rosegg-1024x683 2.jpg

From left to right: Those splendid actors Elliot Joseph, Evan Zes, Ian Holcomb, Brian Keane, Caroline Strang, and some portly bloke down right in the frame… photo by Carol Rosegg. 

We opened on the 15th December to some frankly glowing feedback from (in my opinion) a group of enlightened, perceptive, life-affirming critics in several publications and blogs of the greater NYC area. Except the mighty New York Times, where the opinion was at best mildly positive, but not enough to make you want to mash your smartphone and get on to the box office at the Irish Rep 212 727 2737

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The wonderful Rachel Pickup and, quoting from the New York Theatre Guide: “Colin McPhillamy … He plays it all for fun even launching his considerable girth in surprising leaps that recall a vaudevillian’s trick.”

Consequently our business was a very respectable 80% to 90%, nice, but with comedy it’s even nicer when you can’t get a seat.

Then…

Almost two weeks later Terry Teachout published his review in the Wall Street Journal. A rave. Sidebar: the WSJ may require you to subscribe to access the full review, my recommendation is just to come and see the show instead!

The phones began to ring off the hook. We are now almost sold out for the rest of the run. We’re due to close 01/26 and if you did plan to see the show, please organize a ticket before they put up the HOUSE FULL signs!

Happy New Year!

 

 

Categories
Acting

London Assurance at The Irish Rep

From a theatre history point of view London Assurance is unique. Dion Boucicault wrote it in three weeks in 1841. He was twenty. Some sources give his age as eighteen at the time.

That’s me sliding into character in the dressing room

The human Dionysus Boucicault captured some of the Dionysian spirit and poured it in this soufflé of a play. A piece which might also be called a keggeree, or a bubble-and-squeek. There are multiple overt and inferred Shakespearean references and themes, not to mention the derivation from Restoration and Carolinian drama generally. But then, if you were twenty (or eighteen) and had three weeks to write a play what would you do?

With the incomparably fabulous Rachel Pickup in rehearsal

Such derivative literary technique is time-honored of course. Shakespeare never bothered with an original plot as is well known, and looking forward through the 1800s, Oscar Wilde and Brandon Thomas evince traces of Boucicault – certainly Noel Coward in the 20th century took a minor character from London Assurance and made him famous as “Sollox” in Private Lives.

And the same moment, or just before, in performance

It’s always a vexed question for an actor as to whether to read reviews when the play opens. On this occasion I did. The press… well you can see for yourself at www.irishrep.org

Kudos to my fellow cast members, to numerous to list here but again, details at www.irishrep.org. Each of the actors I’m privileged to work with on this one, brings a lively inventiveness and vivid reality, helmed by the ever-creative Charlotte Moore, founder member of the Irish Rep, which translates to a sublime couple of hours in the theatre – Geez, I’m writing my own review here – reminds me of the famous dialogue between Anthony Sher when he played Richard III and Michael Caine who saw a performance.

Caine: And what about those reviews?!

Sher: Oh, I don’t read reviews.

Caine: Read ’em! You fuckin’ wrote ’em, didn’t you?

I am delighted to report that the show is selling well, we play thru January 26th 2020. The play among other things is an entertainment-antidote to the current state of world affairs, and I am able to write the time-honored marketing phrase, “Book now to avoid disappointment.” And just in case you missed it: London Assurance, directed by Charlotte Moore, tickets at www.irishrep.org