TROUPER TUESDAY: Catching Up With SOMETHING ROTTEN's ERIC SCIOTTO

It is always great to see terrific performers in great show after great show.  And I hope it is obvious how much I appreciate the truly amazing folks whose names aren't above the title - the gypsies.  One of those professionals is the gifted and (now) long-time friend of this blog, Eric Sciotto.  Over the past couple of years, Eric has been so generous with his time and insight.  Today, we catch up with him in the midst of the craziness of rehearsing, opening and doing press for the latest show on his resume, Something Rotten!

Five + 5 with Eric Sciotto

ONE: Welcome back, Eric!  The last time we chatted, we were actually face-to-face after you killed it as John Jasper in Drood.  So what have you been up to since then – professionally?  With your family?

ES: Why, THANK YOU! I hear there's some bootleg audio of me as Jasper! (hint hint!). SOOO much has happened since then!  Let’s see… Professionally:  I took a much-needed break, taught for a dance studio for a year, directed a fierce production of #IntoTheWoods, finally completed my “I played every male role in A Chorus Line” life-goal, played an 18 year old in the same summer, ate a TON of Lobster, jumped on The Bandwagon at City Center, directed a fierce production of #Xanadu, and then started my 12th Bway show (SOMETHING ROTTEN!) which just opened!  Family:  laughed a lot, cuddled a lot, did a TON of laundry, changed a LOT of diapers, prepped a LOT of meals, kissed a LOT of boo-boos, read a zillion books, played a ton of Legos, and tried to keep everyone alive!

As Zach in A Chorus Line

As 18 year-old Ren in Footloose (with Kristen Martin as Ariel)

TWO: Considering the immediate and sometimes intense scrutiny of performing live in this age of social media, what was the best thing about getting Something Rotten! on its feet and ready for opening night?  What was the worst part?  Do you read the message boards, Tweets, etc.? Why or why not?

ES: There was a lot of buzz… we were exciting and mysterious…. no out-of-town?!?! Cold-open on Broadway?!!? Wild! I avoided message boards for the most part. I've read them in the past, but decided that I didn't want to invite that negativity into my life this time. A LOT of people are REALLY opinionated about stuff they haven't seen or stuff they know very little about. Sure there are a lot of supporters too… but I just chose to stay away this time… and I feel better about that. That said, I'm very active on the Twitter (@E_DaddySciotto) and FB, and so I've seen a LOT of posts and opinions… and the buzz has been incredible…. I'm really proud and happy to be a part of this VERY ORIGINAL MUSICAL with an incredible creative team who were not afraid to put in the work and sometimes make the hard decisions…. They were hell-bent on making the best version they could and clearly, it's smelling like a HIT!

THREE: Okay, let’s face it. Pretty much everything about Something Rotten! is HUGE! Big sets, big costumes, big cast… what is it like backstage?  What is your most challenging moment backstage? What is your most challenging moment on stage?  What is the one thing you wish the audience could see that goes on during the course of a performance?

ES: You're right! It's major! It's like a colossal game of Theatrical Tetris back there! Luckily we have awesome and skilled stage crew and wardrobe professionals to make it all happen! Most Challenging Moment Backstage, is probably my quick change after "Musical" or the one before "To Thine Ownself." They're just super-fast. No time to think or breathe or get water. What would be awesome for the audience to see backstage: Maybe all the mid-number shoe-changes we do… like into our taps in the middle of "Bottom's On Top." It's like a pit crew at a race, boots-off-tap-boots-on-tap-microphones-attached-and-GO!

Eric's production of Into the Woods
Jen Morris and Caiti Alongi
(Photo by Christine Ruhnke)

Eric's Metro Award-winning production of Xanadu (Best Choreography, Eric Sciotto)

FOUR: You have had the great fortune of working with some of the legendary greats – Chita Rivera, John Lithgow, and Bernadette Peters – and some the current crop of Broadway greats – Brian D’Arcy James, Christian Borle, Will Chase, Kelli O’Hara.  You, like they, have had a long career on the stage.  What do think it is that all of you have in common?

ES: I HAVE been very lucky to work with incredible people…. and watching them is like a constant Master Class! Kelli is actually one of my oldest friends! We were dance partners at Music Theatre of Wichita in 1997…. I'm so excited and proud of all she's accomplished! And it's been a blast to be reunited with Brian 13 years later (we did Sweet Smell of Success together). He's INCREDIBLE. What do we have in common?! I don't know… a refusal to leave?! Ha!

FIVE: I’ve has the pleasure of seeing you go on for a role you’ve understudied, as I mentioned earlier.  This time around, you are again understudying TWO of the main roles – Nigel Bottom (John Cariani) and Shakespeare (Christian Borle).  They couldn’t be more different.  Now that the show is settling in for a long run, have you had much time to work on these roles?  How do you approach each?  What tips/advice have their originators given you about it?

ES: The crazy thing about understudying is that you really don't get any rehearsal until after you open, that said, you want to be able to jump in if your person has a fitting or is sick one day. So I try to do everything I can on my own. I think "if I had to do this role TODAY, what don't I know?" And then I make a list of what I don't know and I figure it out, or ask the AD or the DC... Now, when a show is constantly changing, it can be overwhelming. I worked at home to be off book on a scene and walked in the next day and the scene was 100% rewritten. So at some point I let myself off the hook a little and thought "you need to let them settle on a version and THEN worry about this."

After we opened, we jumped right into US rehearsals. Every role has two covers, and we have primary and secondary focuses, and so I've been rehearsing Shakespeare from the get go, and we've already done full US run-throughs. So this week we'll switch to secondary focuses, and I'll finally get to start working on Nigel. Now, of course I've done a lot of work on my own, but it'll be great to start working on it with everyone else.

Tony Award-winner Christian Borle, center, Eric Sciotto immediately to the left

Approach: Nigel is tougher for me because John Cariani is so delightfully and loveably quirky. And that's so real for him and so unique and individual. So to unlock MY own version of that is the job. I CANNOT just do it like John does because it wouldn't be right on me. I gotta find my own path. Shakespeare has been a JOY for me to play around with. It makes so much sense to me and it's like I get to smush a few of my favorite iconic characters together and play them all at once: Frank N Furter, Austin Powers, and Patsy from AbFab! (Oh! And a little bit of Uncle Scar.) It's gonna be fun when I finally go on.

As far as tips or advice from the originators: That's not really a thing. I don't talk to them about it much. No one wants an understudy breathing down their necks. I try to do all my work and get detailed as possible and watch them and learn from them from the shadows.

Five Words.  Or less.  

• Favorite type of omelet: Veggies and Swiss Cheese
• Working with Casey Nicholaw: Joyful. Lots of Laughs. Productive.
• William Shakespeare in Eric Sciotto’s life: Incomprehensibly tedious… until now!
• The job you’d like to have if you couldn’t be in show business: Something with sewing! Quilter? Costumer?
• Dancing in “A Musical” is… Treacherously slippery! But THRILLING!

Three of my favorite people in one place! Heidi Blickenstaff, Eric, and Angie Schworer -
Thank you all so much!!!

BONUS QUESTION:  You share the stage with two of my personal favorite Broadway ladies – Angie Schworer and Heidi Blickenstaff.  How great is that??

ES: It’s AWESOME.  They’re both such incredible ladies!!!  I’ve admired HB since I saw her in [tos]! My GAWD she was fierce! And I knew her peripherally… but it’s WONDERFUL to finally work with her.  And ANGIE!!!  We crossed at Annie Get Your Gun for a hot second back in like 2001?  She’s THE ULTIMATE ICONIC AMERICAN SHOWGIRL.  I keep trying to get her to approve of my bevel and my tipping.  #IJustWantToBeFierceLikeHer

Thank you, Eric!

(Photos provided by Eric Sciotto, credited where necessary; Something Rotten! production photo by Joan Marcus)

RE-REVIEW: The Mystery of Edwin Drood

Review of the Saturday, March 2 evening performance at Studio 54 in New York City.  Starring  Stephanie J. Block, Eric Sciotto, Gregg Edelman, Jim Norton and Chita Rivera, with Erin Davie, Alison Cimmet, Andrew Samonsky, Kyle Coffman, Nick Corley and Robert Creighton.  Choreography by Warren Carlyle.  Directed by Scott Ellis.  2 hours, 40 minutes, including intermission.  Closes March 10.

Grade: A+

You never know what you are going to get when you see a show close to the end of its run.  Sometimes, it is a mere shadow of its earlier self - maybe the replacements aren't so great.  Other times, it has been around so long and has gone unchecked, making it an unwieldy mess - a parody of itself.  But in the case of the soon-to-close revival of The Mystery of Edwin Drood, it is as together, exciting and excellently performed as it was when it first opened.  And, considering that at this performance there were two major cast replacements and four understudies on in principal roles, that is amazing in and of itself.  It speaks volumes for the company and its depth of talent.

It was all hands on deck to fill in all of the roles, including both swings, Jennifer Foote and Justin Greer.  You'd think that maybe the big company numbers would look skimpy, but that was definitely not the case.  The dancing, in fact, seemed even more sharp and spectacular than it did on my first visit.  And the entire ensemble got the whole place - it looked full to me - really pumped up before the orchestra struck the first note!  In short, despite being down a few members, the ensemble brought an intense and special energy to the show that night.

Indeed, even the regulars who were in the show had a particular edge that night.  Gregg Edelman seemed to take his role of Crisparkle to new zany (and creepy) heights; the audience ate him up, and he responded in in kind.  Robert Creighton's Durdles/Nick Cricker remains delightful - charming, sweet and delightfully vulgar. (His lover's duet with Ms. Rivera was sooo icky, and sooo funny.)  As Drood, Stephanie J. Block was on fire!  Her energy, enthusiasm and swagger elevated every scene she was in, and she nailed that last note in "The Writing On the Wall" with effortless power.  And the great Chita Rivera was just that - great.  She looks like she is having the time of her life, and really plays directly to the audience very well.  She is a treasure.  Finally, in the most challenging role of Chairman, Jim Norton  is a sublime mix of downplaying, overplaying, wit, charm, sophistication and bawdy.  He is the glue that holds the whole thing together, and yet he makes it look like it is no big deal, just a man doing his job.  But you can tell by the sparkle in his eye and the little gestures he has with each company member, that he is enjoying every single second on the stage.

The two high profile additions to the cast, replacements Andrew Samonsky and Erin Davie, fit their roles and fit into the company without a hitch.  Neither plays their role like their predecessor, but the show does not suffer for it.  Samonsky's rakish Neville Landless is a riot of big toothsome smiles and over-the-top bravado.  He nails every laugh - maybe even more than Andy Karl.  But it is his melodramatic intensity that is both hilarious and edgy.  His heightened menace brings some palpable tension whenever he and Drood are in the same place.  Ms. Davie's Rosa Bud is a silly, coy and charming little girl getting used to a woman's body, and as Dierdre Perrigrine she's a scream - a sexy flirt with a little something for everyone.  She is one of those actresses you find yourself watching even when she's not the focus of the scene; watching her face as she goes back and forth between characters is a real delight  She has a lovely voice and manages to be both the serious ingenue and hilariously funny at the same time.  It is no wonder she was selected as murderer that night - and she tore that confession up!

So how were all of those understudies?  Across the board, they were excellent.  No one in the audience lost anything because they were on.  It was especially nice to see Kyle Coffman come to the front as the Deputy.  He actually talks! The young actor played off Mr. Creighton with comfortable ease.  And he's quite funny and athletic in the role - his dancing remains impeccable.  Nick Corley was a sweet delight as Bazzard, singing "Never the Luck" with delight and just a knowing dash of irony.  He was a crowd-pleaser to be sure.  The Helena Landless of Alison Cimmet was sturdy, vicious, and very funny.  She worked well with both Samonsky and Davie, and was a terrific Dick Datchery!

But the delight of the evening was Eric Sciotto's amazing turn as John Jasper.  On in the role for the first time - you'd never know it - he made the role his own.  This was no carbon copy of Will Chase to be sure.  Sciotto (a smaller to average man in stature) was larger than life as he navigated the tricky line of melodrama, never teetering over into excess, but still attacking every nuance of the role with appropriately broad strokes.  "There are two men in me" takes on new meaning in his capable hands - the nice choirmaster becoming less and less evident as the lustful, vengeful man on an evil mission takes over more and more.  What was particularly engrossing about his performance was that he was quite funny, but also quite menacing, and even a little scary.  A terrific touch to his performance was an hilarious homage to the Jekyll and Hyde hair flip.  He also has a terrific and powerful voice, especially in "A Man Could Go Quite Mad" and "Jasper's Confession."  As I said, you'd never know he hadn't done the part before, let alone with just a couple of hours notice. He looked like he was having the best time doing it, and the audience really seemed to love his efforts.  Bravo! (Click HERE to read Eric's philosophy on understudying, and be sure to read his 4 part interview as well!)

Drood is in excellent shape and as fun as ever.  Get to one of its final performances if you've still not seen this - you won't regret it!

Jeff
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JKTS Chat: "Understudyness" by DROOD's Eric Sciotto

From Eric's Gotta Dance feature on Broadway.com
Photo by Matthew Murphy

When word got out a few weeks ago that Andy Karl would be out of The Mystery of Edwin Drood, and that Eric Sciotto, the "Twitterverse" lit up like a Christmas tree.  In what speaks volumes for the love and respect so many of us have for Mr. Sciotto, those Tweets were universally positive - well-wishes, votes of confidence, and, myself included, many disappointed-I-can't-be-there notes of encouragement.

So, many of you wrote to ask if I could do another interview with Eric all about his experience that night.  I had imposed upon him to do three segments of "JKTS Chat," and I wasn't sure if I should impose again.  Thankfully, he is a very generous, giving guy.  I noticed (and I'm sure you did, too) that not only is he passionate about his profession, but he is a passionate fan of theatre just like us.  Then I got to thinking, going on for a role is such a whirlwind of activity, thinking, and emotion, that trying to tell all about the whole experience might be more interesting as a narrative rather than trying to answer specific questions from someone who has never had a similar experience.  Well, despite a very busy schedule - doing the show, getting through the whole holiday season and raising a family with two small children - Eric really, REALLY came through for us.  What follows is his account of that fateful day when he played Neville Landless!

"Understudyness"

So... I love to understudy, and I love to go on for the role!  Not to say there aren't nerves involved, but it's "why I'm there" and doing the role is why I put in all that work...

My philosophy on understudying - and being a good one - is to be as ready as possible as soon as possible in the rehearsal process... I don't wait for formal understudy rehearsals to begin; I don't wait for people to teach me stuff.... I basically say "If [the person I cover] were out TODAY, could I do it?!" And I work from there... I tell myself to "know what I know and to know what I don't know" and I keep a little list... "If I were thrown on NOW, what questions would I need to ask...."  And assume no one's gonna teach me anything. (That's not the case, but if I work like that, it's all up to me and I take responsibility for it all) In the moment, when someone's sick or hurt, or out, do I want to say, "Sorry, I don't know it yet" or "I can do it?" , I choose "I can do it."

Valerie Wright

I have to tell this story: My first Broadway show ever was Annie Get Your Gun, and Bernadette Peters actually was sick when we started rehearsals.  She was there and she fought it, but she was battling a nasty cold or a flu or something.... At one point, like two weeks in or so (foggy memories) we were to show everything we'd completed thus far to the design team.... a no-pressure run of the show...which (of course) means "performance mode" and BP called out that day...she was losing the fight with said cold.... Our director, Graciela [Daniele], addressed the group and said, "Bernadette is too sick to be here, so we'll just show you a few numbers that don't involve her, and we'll reschedule this...." And a small voice peeped up: "Graci... if you want to do the run through, I can do it."  It was Valerie Wright.  Valerie was playing her own role of Dolly Tate, AND finishing up the run of Redhead at Goodspeed, I think.... and she was also Bernadette's cover.... so... finishing a job, learning her own role, and covering.... got it?

Graciela said, "Valerie, thank you, but I can't ask you to do that, we've given you no rehearsal, and it's really not fair to you...."  Valerie confidently said, "I can do the role if you want to do the run-through."  Graci then said, "Let's do the run!"

And we did.  And Valerie delivered a stunning performance that had the whole place captured by her brightness!  She was funny and sad and dreamy and amazing and everybody laughed and cried... she had everyone in the palm of her hand.  It was revelatory!

The fitting for my Tick
"Uluru" costume (Priscilla)

I learned "how to understudy" from her on that day... and I've never forgotten that moment.

I do my work.  I do whatever it takes to be ready....

And so it was with Neville.... now, my life is more complex than it once was... I have two kids at home...  and I can't sing 'til all hours of the night, or [during] naps, because I'll wake people... and when I'm home, I'm in dad-mode... So preparing for the role of Neville (and Jasper) has been brought to you by the NJ Transit.... I worked on every commute possible, and when walking to or from the bus, I was singing the songs... I worked on breaks.  And in rehearsal, I just watched and watched and watched and prayed that a lot of it would “osmosis itself” into my brain.

When we started rehearsing Drood, Andy was still doing Jersey Boys... so every Weds and Sat, he'd run off to his matinee, and if they were doing any Neville stuff, I'd jump in... this is like a gift from the Oprah to have that chance.... by the time we went into previews, I'd done all but ONE number (I think) with the actual principal cast! That's unheard of and was deeply appreciated and not taken for granted... each time I had that opportunity, I went full tilt!  Tried everything as big and real as possible, made mistakes, screwed things up, and learned from it all!!

Then once in previews, we went into formal understudy rehearsals, which are usually once a week, and I was able to keep working and get some repetition and finally belt out a few of the numbers I'd mostly rehearsed quietly....

Neville make-up test (before I lost the beard)

So, by the time Andy was actually sick and called out, there wasn't much more I could do without just DOING IT!

He'd been battling a cold or flu, and so I was on "high alert" in my brain... and watching him like a hawk.... and so, when I got the call Sunday morning, I was fine and ready to go!

The biggest challenge, was that I'd never done the makeup.... the makeup designers did a test on me, and so I knew what I should look like, but I hadn't applied it myself.... and I'm not really sure what happened, but the makeup went on SOOOOO dark that I basically looked like I was doing blackface... It was funny and shocking... See, I hoped I'd have the luxury of taking my time to make sure I looked right, but an understudy is also in the business of making everyone feel comfortable with the fact that you're on... so when the stage manager says that they called the principals in to run a bunch of scenes and numbers... that takes up your prep-time.  Also, often, you'll have a last-minute fitting....

So - when you think "oh good, I'll just calmly prepare and do what I need to do" THINK AGAIN!  

I did try to get in really early, and have a little time to myself (makeup, script, last minute questions) but was quickly pulled in a million directions.  It's honestly very frustrating, and, in my opinion, counter-productive.  But I'm clearly alone in this thought.  I'd rather think of everything ahead of time and deal with everything ahead of time, so when the moment comes, we're all cool and ready. But most departments work under the "when it happens, we'll deal with it" rule.

I had to learn years ago to get over it.  So part of my prep-work in preparing for a role includes reminding myself that when the time actually comes, I will not get a moment to myself first... so BE READY.

K... so... Jessie Mueller (Helena Landless) was AMAZING.  I respect her and trust her immensely.  She was AMAZINGLY insightful and helpful... don't forget, I have my own track in the show, so I can't always see everything that Neville does... and things morph and change and evolve, and there was some blocking that changed in previews, that I never could see because I'm quick-changing in a stairwell... so, she talked me through that, but more importantly, let me know that whatever I did, she'd go with it.  Also, after the opening number, Jessie actually went and darkened her makeup, to make us more twin-like.  (What a lovely and generous and thoughtful lady!)

Which brings me to: "a good company will always conspire to make the swing or understudy right."  And this company is the BEST!  They were all so present and available to differences and nuances and adaptable if anything was different or wrong.  (Reminded me of Sherie Rene Scott and John Hickok, who were SOOOOO incredibly open to differences when I was on for Radames in AIDA.)

That said, as a cover, it's MY job to do what they're used to so that they don't feel like anything is different in terms of blocking and staging, and then within THAT framework, deliver my own performance that fits in with theirs....

Luckily, I LOVE LOVE LOVE what Andy is doing with the role of Neville.  He's been a GREAT model and someone who has taken a smallish role and made a SHOW-STEALER out of it.  He's wonderful and I happily worked within the bubble of his shtick-filled brilliance and felt great out there.  It was a blast, and I can happily report that all the laughs and responses were there, which kept the timing relatively the same, and the rest of the cast were more than congratulatory and complimentary and even the crew went out of their way to pat me on the back and say how much they loved my choices, my characterization, my confidence/command, and my overall work!  SO - I was happy.

I was nervous, but VERY sure of myself.  I'll have to fix the makeup if I ever do it again, but Andy is strong-like-bull, and so I don't foresee it happening much, if ever!

E-Daddy and family

I'm VERY happy to have done it once.  Quite simply, it means the work was not in vain.  I did it.  I felt great.  People loved it.  Fans have been so lovely and kind and celebratory of my performance.  And best of all, my partner decided to take a chance and bring our 4 year old, Samson, to see his E-daddy and to see his first Broadway show ever.

So, knowing Sammy was out there was mind-blowing for me.  He apparently was SUPER interested and really watching and really listening and asked a ton of questions about tiny details in the lyrics that really proved that he was listening... and he was so excited afterwards! Proud of me and proud of himself for being so good and for seeing his first show!

That made it all SUPER SPECIAL!!!!!

K... a few specifics:  

PRE-SHOW:  I have never worked that area... and my own section is small and easy to address... so I just wandered about and made a bunch of self-deprecating jokes about my "subtle" make-up application....  And I talked to my Sammy.

"THERE YOU ARE": Funnily enough, in my own track there's a section of lyrics that I never sing, because I'm busy dealing with (and talking to) an audience member... so when it came time to sing it, I was not as "on it" as I'd hoped... but everyone is singing them too, so I jumped right back in....

"NO GOOD CAN COME FROM BAD":  Went great!  Very fun!  I may or may not have crushed Stephanie J. Block's hand during the "menacing handshake" and she may or may not have said" that's enough! that's enough!" out of the corner of her mouth....  And I also do a fancy twirl of the cane at the end... which got gasps, I'm pretty sure... I felt cool.

CHITA:  She gave me a sly look halfway through and said, "well allllright!" (You’d have to hear the tone of voice... I can't really describe it...) It was the perfect vote of confidence and spoke volumes!

DATCHERY: My night on was the ONE AND ONLY time ROSA was DATCHERY!!!!  Cool!!! 

LOVERS: Helena was picked, and so I had to do the old "please don't pick me" take which is fake because OF COURSE I wanted to do lovers with my sister... but it didn't happen...  

And MURDERER... was..... ummmm... Puffer!  Right... 

...So, yes, it'd have been fun to be chosen for something... and I wanted that, but I was also relieved... it was my first time out there... I was happy to have made it through and have it go so successfully... I didn't need more to think about....

Hope you enjoyed my epic account of what it's like to cover and perform the role of Neville!

Eric Sciotto

Twitter: @E_DaddySciotto

Thank you, readers, for your continued support and interest!  And thank you, Eric, for being so helpful, generous and thoughtful.

To read the first 3 installments of JKTS Chat with Eric Sciotto by clicking the icons to your right, or click the "JKTS CHAT: The Interviews" tab at the top of the blog!

DO NOT MISS ERIC AND THE REST OF THE CAST OF THE MYSTERY OF EDWIN DROOD BEFORE THEY ARE GONE!  THEY'RE AT STUDIO 54 UNTIL MARCH 10TH!

All photos, unless otherwise noted, courtesy of Mr. Sciotto.

Jeff

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Random Thoughts on the State of the Theatre Scene

Now that things are starting to gear down on the Theatre Scene, I thought I might talk about some random things going - not enough by themselves for a whole blog, but together enough to be briefly interesting, I hope.

Congratulations to 2 Friends of JKTS!  Bare's Alex Wyse and The Mystery of Edwin Drood's Eric Sciotto, who both are so generous with their time to do interviews for us, BOTH got the chance to go on for roles they understudy in their shows.  Alex went on this past weekend for the role of Peter, normally played by Taylor Trensch, while recently, Eric went on as Neville Landless for an absent Andy Karl.  Seeing that both of these great guys are popular on social media and the boards, fans all over were pulling for their success (myself included).  By all accounts, neither disappointed!  Way to go!  Good news, Alex Wyse fans - he tells me that he'll be on for the Saturday matinees the rest of the month, while Trensch continues to rehearse for Matilda.  And good news for fans of this blog!  BOTH Eric and Alex will be back later this month for one more round of JKTS Chats! (Have a question for Eric or Alex?  Email it to me at jkstheatrescene@yahoo.com .)

A Smash Bombshell!  I don't know about you, but the Broadway fan in me LOVES the "show sequences" - from rehearsal to tryout staging and/or fantasy staging - on Smash.  And I'll admit that I was a little disappointed when a Broadway staging of Bombshell was shelved.  And then I was REALLY disappointed when the show's first season soundtrack was more covers than "show songs."  So imagine how excited I was to hear of the imminent release of a faux cast recording of Bombshell!  Sign me up!

Broadway "Goes Green." Again.  Congratulations, Wicked! Galinda and Elphie and company raked it in at a record-breaking pace in 2012.  For the last 9 consecutive years, the show has been the top grosser.  This ninth win beats the record previously set by The Phantom of the Opera which was number one for the late 80's and early-mid 90's.  And miss Saigon interrupted that record run, making Wicked the clear number one both in number of years and consecutive years.  What about The Book of Mormon you ask?  Well, if it continues to average a $200+ ticket price EVERY WEEK in 2013 and continues at 102.6% capacity EVERY WEEK, it is still not likely to beat Wicked (as long as it continues at current levels) because of seating capacity.

The Stars Will Shine Brightly in Broadway Plays.  It is just a matter of course for producers who want to present plays AND have a chance at a profit to do one of two things: have a huge star for a limited run or do a star-filled revival of a beloved play.  A little bit of both of those scenarios will come to pass the rest of this season.  Just announced: Bette Midler, plus previously announced Tom Hanks, Cicely Tyson, Cuba Gooding, Jr., Vanessa Williams, Alec Baldwin, Shia LeBeouf and Estelle Parsons.  Then there are the currently playing Scarlett Johansson, Jessica Chastain, Laurie Metcalf, David Strathairn and Dan Stevens.  Think of all those Grammys, Emmys, Oscars and Tonys in one place!  And that's no slight to regular theatre folk... Debra Monk, Benjamin Waker, Ellen Burstyn, Tony Shalhoub, Seth Numrich, Judith Ivey, Judith Light, Jeremy Shamos and Nathan Lane to name but a few.  Of course, they do not guarantee a hit play - good writing, good acting and good directing make that happen.  But they sure are going to get a lot of press.  Good luck to them all!

May I Recommend: Read these past blogs!

Mr and Ms Broadway 2012
20 Theatre People Who Changed 2012
The Pippin Quiz

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Jeff

JKTS Chat: Recording DROOD and Celebrating the Holidays

Eric's Broadway.com Photo Feature
(Photo by Matthew Murphy)

The holiday season upon us, The Mystery of Edwin Drood's very own Eric Sciotto takes us backstage at Studio 54 for a look at how the cast celebrates Christmastime together.  PLUS he explains how the Drood cast recording came together, and shares a glimpse of his family.  Oh!  And a Chita Rivera photobomb for Eric and Stephanie J. Block!   Be sure to scroll down for the hilarious music video from Andy Karl and the whole cast of The Mystery of Edwin Drood - "Bustle Fluffah"!

5 (More) Quick Questions for Eric Sciotto

1.  So, the other day, the cast headed to the recording studio to capture the revival of The Mystery of Edwin Drood on CD!  I know all the Drood fans - including me - are very excited about this.  Explain how the day went.  How did this recording go?  Were the tracks done in order?  Was the orchestra there or were the tracks already done?  Now, you've recorded with your idol, Chita Rivera!  Did that make the day memorable?  Which track or tracks do you think fans will enjoy the absolute most? 

Eric Sciotto: Firstly, may I say, making a recording is something I will always cherish.  The thrill of it has never diminished for me. SOOOO EXCITED!  Okay.... so the DROOD recording experience was unlike some of the others I've done.  Firstly, it was very "live."  The orchestra was in the room, and the whole cast was at mics just behind some free-standing wall units.... meaning we heard everything live in the space, and we all sang together.  If there were soloists, they were in the front of the group and positioned at the mics more prominently   Often, everyone will be in separate rooms on separate mics and only hearing through headphones ("cans").  So I can only imagine this will have the sound and feeling of a live performance rather than an overly micro-managed and digitally perfected cast album.  That's cool!  Only a few times did an actual soloist step into a separate booth to isolate their voice.  As I said, the orchestra was live right then, we did not record to a playback of previous recording.  Interesting. Tracks were not done in order.  Mostly we worked from big groups down, so they could release people as they were done, and so I think Will (Chase) did "Man Could Go Quite Mad" at like 11 PM.... after singing ALL DAY!  He amazes me.  There were a few scheduling considerations, such as being sure to record a lighter solo first, before doing a screamy one, so as not to tax the performers voice in a way that would be detrimental.... so in a few cases, we did some things in show order.  A few fun things: Not only did I share a freestanding mic with Chita (Rivera) for part of the day, she also photo-bombed a picture of me and SJB (Stephanie J. Bock)!  HILARIOUS.  This 2 CD recording will be really cool, because we recorded all the murderer confessions!  They did a few "Out on a Limericks," and a fun idea for recording "The Lovers" which is a reprise of "Perfect Strangers" done at the end of the show... but I think there are 18 possible combinations for "lovers" so, of course we did not do all 18.... Rupert (Holmes) and the gang came up with a fun new take! 

Chita Rivera's Photo-Bomb with
Stephanie J. Block and Eric Sciotto
(Photo by Eric Sciotto)

2.  You mentioned before that Rupert Holmes has been very hands on with this revival.  How was it to work with such an accomplished recording artist/producer?  I imagine he was hands on in the studio, too?  I know Drood is very close to his heart.  Do you think he'll be pleased with how this CD will turn out?  

Eric Sciotto: Rupert is a very smart and lovely and patient man.  He was not producing this recording, so he was there "as the composer" in his own words.  He was helpful and took charge if and when needed, and of course he weighed in now and then, but he knows how to let other people do their jobs, and not micromanage.  A few times, he came out from the booth to congratulate us on a take or with support and compliments.  He's the best!  He said on more that one occasion, "THAT take is one I'm PROUD to have represent me and this show!"

Mr. Alan Eliot and Miss Janet Conover
(Eric and Jessie Mueller) recording Drood
(Photo by Eric Sciotto)

3.  Of course, this is not the first time the Drood company has recorded together.  Tell us about the show's contribution to this year's Carols for a Cure.  Why should we all make sure to add this CD to our collections?  

Eric Sciotto: Carols for a Cure is such a great idea and I love to be involved as much as possible each year.  Richard Rockage arranged a beautiful version of "Good Queen Wenceslas" that has the sound of Dickensian Carolers coupled with a very Music Hall Royale dramatic reading. Chita and Stephanie played the "Queen" (instead of King) and "Page" respectively, and did an over the top dramatic reading of the tale while a chorus of 8 sing behind.  Also a lovely introduction by our "Chairman" Mr. Jim Norton, with his incredible voice... it's awesome!  Very "in the style of" our English Music Hall Personae.  GET YOUR COPY TODAY!!!!!!!!!  Great stocking stuffers for the Broadway Enthusiasts in your life!!!  And all for a great cause!  I love working with Lyn Pinto at Rock*It Science Records and with BC/EFA!!!!  OR download "GOOD QUEEN WENCESLAS."

Family Photo!
David, Olympia, Sam and Eric
(Photo by Eric Sciotto)

4.  As a working Broadway dancer during the holiday season, how do you find time to get ready for all of the festivities?  What traditions do you and David have for the holiday season?  I'll bet it is extra exciting at Christmastime with two little ones at home!  Are they getting excited? 

Eric Sciotto: I'm sure for most people, all the holiday "extras" make time management REALLY challenging... so I don't feel like being a Broadway Dancer has any different problems than other normal humans.... In order to prepare for the holidays, I've brought a lot of work to work.  I have been making hand-made gifts, in my dressing room between shows, and during my Act 1 break.  Today, I brought my (very late) Christmas cards to write out.... I've also been getting home late after the show and staying up extra late doing things bit by bit, sewing, wrapping, etc.... so... I'm tired, but happy.  As for our Family's Traditions, David and I are just beginning to form our holiday traditions, we keep changing and refining them what with the two kids and all... but really we just try to make the house really cozy and fun, decoration-wise, and David baked a bunch of cookies... I think we'll have to make more soon... our 4 year old is really excited about everything... keeps writing additional letters to Santa, and telling his Elf on the Shelf, "Happy," what he'd like Santa to know.... and I'm pretty sure he's just really jazzed about the presents.... and Olympia is just now 11 months.... so she enjoys the decorations, and the tree, and whatnot, but doesn't really get what's going on.  I remember Sam's second Christmas, he was 1 and change, and he was perfectly happy after just ONE present... liked the paper and the box.  So, O will be just fine.  

Eric and Will Chase at the "Bustle Fluffah" shoot!
(Photo by Eric Sciotto)

5.  Speaking of holiday traditions, I know that a lot of Broadway shows celebrate the season backstage - decorating, cookies, parties, etc.  What is Drood doing (if anything) to celebrate the season together?  Of course, there are probably people who come to the show and think that you guys are doing Drood as a Christmas show already.  Not the case, but still pretty funny, huh?

Eric Sciotto:  Drood has been rocking out the holiday season.... we have a very festive round of SECERT SANTA going on... it's one of the biggest (number of participants) and most far reaching SS's I've ever seen!  Everyone's fun and festive, and people are pranking each other, and elfing up a storm.... songs are being performed.... tasks.... etc.... and we have a wall of SS gratitude, where people post messages of thanks!  This Saturday, we'll have a Christmas party/dinner situation and reveal our SS's!  Also, our director, Scott Ellis, has challenged us to a Door Decorating contest... so it's starting to look VERY festive!!!  AND.... as a gift to the universe, Andy Karl and the cast of Drood has made a MUSIC VIDEO!  Enjoy: BUSTLE FLUFFAH!!!!

THANK YOU, ERIC!

To check out the first two installments of JKTS Chat with Eric Sciotto, click the pictures on the right hand side of this blog.  
to check out the Broadway.com photo shoot and video featuring Eric, click HERE.
To read my review of The Mystery of Edwin Drood, click HERE.

Jeff
4.116

JKTS Chat: More with DROOD's 3-Time Gypsy Robe Honoree Eric Sciotto

Eric Sciotto
(Headshot by Liz Pearce)

I am absolutely thrilled to bring you the next installment of JKTS CHAT: 5 Quick Questions!  It has been my great pleasure to be talking with Eric Sciotto, who plays  Alan Eliot in the acclaimed revival of The Mystery of Edwin Drood.    In part one (click HERE), Eric spoke candidly about being a working-on-Broadway parent, and what it is like to work with his idol, Chita Rivera.  This time around, he talks about being a 3-time Gypsy Robe honoree and the perils of audience participation each night at The Music Hall Roayale, aks Studio 54!  And now, without further a do, here are...

5 Quick Questions with Eric Sciotto

Eric Sciotto: Playground Daddy!
(Photo by Eric Sciotto)

Question 1.  You are the very definition of "Broadway gypsy."  What about your career as a Broadway dancer is the most rewarding?  Do you, like Bazzard/Bax in Drood, "long to play a larger part?"  What choreographer that you've worked with so far would most like to work with again?  Why?  Is there a choreographer or show that you really want to work with/be in?  

Eric Sciotto: Wow! Thanks! I love being the definition of a "Broadway Gypsy!" What has been most rewarding? That could have lots of different answers: as a dancer, and creatively, what's been very rewarding is that I've had the great fortune to do extremely disparate styles of show... from 42nd Street to Rock of Ages.  I love that I've been able to do pulled-up-classic, and down-and-dirty.  I LOVE that I've had a "chameleonic" career for lack of a better term.  That goes for the singing too.... classic sound to scream-y rock!  That's been really fun....to be a ton of different types of people!  As for the parallel to "Bazzard/Bax".... his character "understudies Clive Paget in the role of John Jasper..." And that's what I do and have done a ton of! Understudying!  I actually call myself a "Career Understudy."  I'd be lying if I said I never wanted to play another role of my own again, but I LOVE understudying!  LOVE IT!  And I've covered a lot of roles and a lot of really cool people!  It's very rewarding creatively to keep working on something else whilst running a show in my own track.... it keeps that newness alive for me.  And stepping into a role is very fun and satisfying for me.  And I feel very confident in my abilities to do that.  What Choreographer would I love to work with again?!  Well, I have two answers... one is Warren Carlyle, who did DROOD!  He's awesome and so creative and I feel like we barely got to do much, since Drood is not really a heavy dance show... but he's wonderful and I really hope to work for him soon again!  Now, from my more distant past: Wayne Cilento!  I did AIDA with him and also replaced into his SWEET CHARITY.  I loved working with him.  He's so intense and energetic and works so hard that he immediately inspires me to be better and go farther and push harder.  AIDA was only my 2nd show, and I really learned a lot from him.  I'm dying for him to do something new and I will try my damnedest to get cast in it!!!  I'd also love to go back into Rock of Ages at some point, even if only for a few weeks.  I LOVED it there and I really had a blast performing that show! 

(Left) Eric as Ja-Keith in Rock of Ages (Photo from Eric Sciotto)

(Right) Backstage at 42nd Street (Photo by Chris Clay)

Question 2.  You were the recipient of the Gypsy Robe on opening night of The Mystery of Edwin Drood.  Explain why this is such an honor for a dancer.  How great was it to get it when you were working with your idol, Chita Rivera, who is, I'm told, a gypsy at heart?  What is Drood going to add to the robe?  Who did you hand it off to?  

Eric Sciotto: Yes!  I'm so honored to have gotten the Robe 3 times!  The first was special because Lisa Gajda (who has more credits than anyone on the planet) deferred it to me for Pal Joey.  She had had it and wanted me to have it!  Such a great friend!  I was surprised and honored! Then, I got it in Priscilla and now Drood! I feel like it really hammers home that I'm a "lifer."  That I've done a lot and am worthy of being here.  As I said before, working with Chita is a DREAM!  And the fact that she started as "just" a dancer and is truly THE GYPSY of the UNIVERSE, it was really special to be awarded the robe in this show with her!  I mean.... [head explodes] As for adding to the robe.... AEA had someone do the Pal Joey panel because my son had just been born, and it was not possible for me to spend the time creating the panel.  I do sew.  I'm a quilter, actually, and make things all the time (as time will allow).  I'm VERY proud of the Priscilla panel which I made in my dressing room between shows, and it took a long time.  I hope to be the one to do the Drood panel, but I now have TWO kids, one of whom is 10 months... so there's not a lot of extra time to do anything... I'll have to do it at work, between shows, after I make all the Christmas gifts I need to make. But I have a few ideas.  Simple. Clean. Classy.... we'll see....  with so many opening nights this month, I gave the robe 2 days later to Carlos Encinias at Scandalous. EXCITING!  I think it was a 5-way tie there. (the robe is given based on the number of chorus contracts you've done on B'way...) and so it was up to me to choose.  I ['ve known] Carlos for a long time, and he's a new dad too... so I felt it was the right choice!!!

Getting the Gypsy Robe for Drood
(Photo by Eric Sciotto)

(Left) The Robe AND The Idol: Chita Rivera and Eric

(Right) The Priscilla Robe panel created by Eric

(Photos by Eric Sciotto)

Question 3.  Drood seems like a great show for the ensemble.  What is your favorite dance moment and/or scene in the show?  Why?  

Eric Sciotto: There's actually not much dancing in the show - it doesn't call for it.  My favorite moment is actually the Christmas Dinner scene. I'm a waiter... I stand around a lot.... but I LOVE watching the leads in that one.  First of all, I think it's the best scene and song in the show..... so much going on, tempers are high, stakes are high, everyone's in an uproar and we see, in quick shifts, their outer lives and their inner thoughts... all in quick-cuts.... Also - it seems to be the scene with the highest likelihood of a giggle-fest.... so it's VERY entertaining to watch.  I bite my lip a LOT in that one....

Question 4.  Part of your role is to get the audience engaged and participating from the get go.  I was fortunate enough to be in your section the day I saw the show, and you are a riot!  Do you do the same thing at each performance, or do you tailor it to the crowd?  How?  What are the challenges of dealing so directly with audience and how do you deal with them?  Do you ever wonder why the group you poll seems to lean toward a certain character? (Our section gave the most votes to the obvious choice - John Jasper.  I was shocked!... He didn't win, Bazzard did.)  

Eric Sciotto: I will be honest.... I do not care for audience participation.  I don't like it as an actor and I don't like it as an audience member... but it's part of the job... so I do it.... and it's growing on me.  I don't have a script for my "schpeil."  I have key points that I need to hit and just vary it from there.  I have a VERY short time to chat with my section, because I enter from onstage at the top of the opening number... so I think I have 90 seconds.... unless I go up a little early.... so I don't have the same chatty vibe that a lot of the others can have, because several of them start the number from their section.  I find the audience can be all over the map in terms of being receptive to my speaking with them... some days I get to my section and I see eager happy people that giving off "Yay! This'll be fun!" vibes and others where it's like they collectively fold their arms and look away.  I try to disarm these less than enthusiastic crowds by acknowledging in a polite and charming and fun way that they're "clearly not excited about being spoken to... but that it's my job..."  And I often say "no one else will bother you for the entirety of the show, until I do when I return late in act 2...." That way they don't have to feel guarded the whole time....  But OFTEN, I have a fun and rowdy section who delights in yelling "Drood!" and even seems to interact with me from the stage!  I include and refer to my section throughout the course of the evening... and as I'm sure you know "Alan Eliot's section is THE BEST section in the entire theatre!!!!" The voting is always varied and often surprising!  I can sometimes feel from earlier reactions during the show that so-and-so will get a lot of votes.... but it's not fool-proof... and it's surprising to me a lot.... and the voting is real and not rigged.  So, it's fun!

Eric as Alan Eliot, sporting his new 'Stache
(Photo by Eric Sciotto)

Question 5.  Given the participation aspect of the show, I imagine it is difficult on nights when the audience isn't so verbal.  And I also imagine that sometimes they can get out of hand (maybe the cast can, too!).  How do you all deal with a "dead audience"?  Can you share a story or two of something unexpected that has happened at the end, either from the audience or the cast on stage (or both)?  

Eric Sciotto: We've definitely had the "quiet and polite" type of audience... the certainly love it at the end, but are more "listeners" rather than willing participants throughout.... How do we DEAL with it?  We do the show.  We just keep it moving.  It's less fun for us, but our job is to do the show.  Out of hand?!  We've definitely had some pockets of  very... shall we say SPIRITED people!  But that just adds and has never detracted from the overall experience.  As for unexpected happenings.... ummmm.... the other night, when we started the voting-by-applause for Datchery, the chairman passed the proverbial torch to "Mr. Throttle" and the audience applauded for Throttle instead of waiting for Throttle to wave the handkerchief over the head of the first candidate for the role.  That was really odd to us, and had never happened before....  

Before you go... (Click the blue links!)
Check out these reviews: 

• The Mystery of Edwin Drood
• A Christmas Story
• Scandalous

Check out these Broadway Babies:

• The Book of Mormon's Matt Doyle (Mr. December)
• A Christmas Story's Erin Dilly (Ms. November)
• The Mystery of Edwin Drood's Will Chase (Mr. November) 
• Spencer Plachy (Face of the Future)

VOTE IN THE THIS MONTH'S POLL - LEFT SIDE OF BLOG!

4.096

Jeff