BLEEP Magazine 411

OUR YEAR-END DOUBLE ISSUE

DECEMBER / JANUARY 2014 Issue • 411

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Jim Caruso’s Secretary” star Ultimate Party “Madam Erich Bergen featuring his pack of Legends from Birdland, Broadway and beyond

Klea Blackhurst Natalie Douglas Julie Halston Billy Stritch

YouTube Sensation

Colleen Ballinger

Tony Award nominee

Amanda Green

Television legend

Linda Lavin Singer & MS activist

David Osmond Bassist & singer

Steve Doyle Drummer & author

“The Luke and Jeff Show”stars Daniel Glass

Luke Hawkins & Jeff Pew

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Icon of stage and screen

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what’s

n i p e e bl inside: 9 12 16 24 30 44 48 86

FAV OF THE YEAR: JACK FALAHEE

We’ve been captivated by “How To Get Away With Murder” and by Jack Falahee, the scene-stealer who has shown his character will do anything he has to do to get what he needs

ONE TO WATCH: ROBERTO ARAUJO

Roberto Araujo began taking photographs when he was performing on tour in Asia. Since then, he has been steadily carving out a niche for himself.

BLEEP YEAR IN REVIEW

In a year that began with an Olympic gold medalist and ended with Liza - it’s fair to say 2014 has been amazing.

HOLIDAY FOODS WITH MATT SKRINCOSKY

He’s worked on shoots for BLEEP in the past, but for the first time, Matt takes center stage by creating a holiday feast you’ll be sure to copy for all of your festive gatherings.

THE ENSEMBLISTS OF THE YEAR

From the dozens of actors featured on The Ensemblist this year, Nikka and Mo picked six of their favorite guests to be crowned with the very first Ensemblist Awards.

PAUL MAC

Australian musician/producer/DJ Paul Mac talks about his love of music and his love for Berlin.

EVGENY GRESHILOV

We talk with Greshilov about Jackie Chan, focus, and why he prefers performing in an actual theater.

A DAY WITH THE MET ORCHESTRA

We spend a day at the Metropolitan Opera with a handful of the most incredible orchestra members in New York.

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what’s

n i p e e l inside: b 54 Jim Caruso’s

Ultimate Party featuring his pack of Legends from Birdland, Broadway and beyond

Klea Blackhurst Natalie Douglas Julie Halston Billy Stritch “Madam Secretary” star

Erich Bergen YouTube Sensation

Colleen Ballinger Tony Award nominee

Amanda Green “The Luke and Jeff Show”stars

Luke Hawkins & Jeff Pew Television legend

Linda Lavin Singer & MS activist

David Osmond Bassist & singer

Steve Doyle Drummer & author

Daniel Glass

&

Icon of stage and screen

Liza Minnelli

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BLEEP CREATIVITY. UNCENSORED.

RYAN BRINSON Editor-in-Chief SARAH ROTKER Business & Audience Development Manager PABLO SALINAS Social Media Associate BEN HUMENIUK Cartoonist RACHAEL MARIBOHO Culture Editor COVER PHOTOGRAPHER: Bill Westmoreland FEATURE EDITORS: Nathan Robins WRITERS: Caleb Bollenbacher Hatley Moore Laura Seitter Alex Wright FEATURE CONTRIBUTORS: Florian Hubertus WEB CONTENT: Sheena Wagaman Eric Lehman

All articles and photos are the property of the writers and artists. All rights reserved.

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Letter from the Editor The year that was.

Olympic champions. Stars of TV’s biggest shows. Aerial extraordinaires.

Top chefs. A Rock and Roll Hall of Famer. An American Ninja Warrior. Liza Minnelli. They’ve all been in BLEEP in 2014.

If that wasn’t amazing enough, we have been read by thousands of readers in 86 countries around the world (and counting). It’s truly been a banner year.

I’ll admit that it snuck up on me though. Perhaps it’s all a part of getting older, but it feels like yesterday was the middle of the summer and today, it’s freezing and Christmas songs are playing in the grocery stores. I haven’t bought a single gift, I’m not at all prepared for winter, and I still have a giant question mark on my December 31st calendar. But here we are.

When we’re young, the build up to the holiday season feels like the longest ramp in history. It’s a slow build that gradually becomes more heated as we get closer to December 25th. Now, it’s not even Thanksgiving and we are in full-scale Christmas mode. The holidays in New York City are like a contact sport. From the moment Halloween ends, we attack Christmas with the fervor of a chariot race and Thanksgiving is merely the benchmark we need to make our over-zealous early Christmas behavior seem acceptable to Middle America.

I attended the unveiling of the Barney’s Christmas windows, designed and curated by Baz Luhrmann. Pentatonix performed, there was an ice skating rink installed in the middle of Madison Avenue, there were dancers, a drumline wearing Catherine Martin designed outfits – it was a spectacle. As the confetti canons blew white snow-like confetti all over the block, I couldn’t help but think about how no where but here would this sort of presentation happen for a window unveiling. It was a loud reminder about just how full-contact the holidays are in New York.

We are closing out 2014 in the same way, a full-contact sport approach to BLEEP. A Broadway star? Check. Two Birdland legends? Check and Check. Star of one of TV’s newest hits? Check.

LIZA FREAKING MINNELLI? CHECK. Not to mention we revisit and highlight all of our favorite artists from this year. It’s our version of a cavalcade of stars and we could not be more grateful for each one of them.

Here’s to you. Let’s close out 2014 with a bang and get a kick ass start to 2015. Just wait til you see what we have in store.

Ryan Brinson Editor-in-Chief

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BLEEPblips Company XIV brings their hit Nutcracker Rouge back to NYC

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DON’T MISS IT

Laura Careless as MarieClaire in Nutcracker Rouge.

Photo by Phillip Van Nostrand.

Nutcracker Rouge, conceived, directed and choreographed by Austin McCormick, took New York City by storm during last year’s holiday season, making everyone’s Must See list. It was even nominated for a Drama Desk Award for Unique Theatrical Experience.

It’s back and better than ever, thanks to a new venue, some new faces and a fresh dose of sexy attitude. It’s unlike anything else you’ll see in New York this holiday season and you’ll remember it long into the new year.

Nutcracker Rouge runs from November 20, 2014 – January 4, 2015 in a limited 7-week engagement at Company XIV’s new intimate, theatre-lounge home, XIV, located at 428 Lafayette Street, between Astor Place and East 4th Street in New York City. www.CompanyXIV.com

The Broadway’s Boys lend their voices to your holiday playlist The Broadway Boys (Landon Beard, Danny Calvert, Mykal Kilgore, Tyler Maynard, Jesse Nager, Kyle Post, Zak Resnick and Gabe Violett) have released their newest album, Hark!, and it’s full of the classic holiday tracks you love. This group of tenors hail from hit Broadway shows as Wicked, Jersey Boys, Hair, and more.

But they have more than just sweet harmonies up their sleeves with this project. They’ve invited powerhouse vocalists Shoshana Bean and Shayna Steele in on the fun. The result is an album you’ll want to add to you to holiday party playlist.

Head over to iTunes now to get your copy today!

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TV’S BREAKOUT STAR OF THE FALL

jack falahee Each fall, there are a myriad of new shows clamoring for our TV-watching attention.

Some get it immediately, some earn it over time, and most disappear into the vaults of TV shows that didn’t last. This fall, I’ve been captivated, much like millions of Americans, by “How To Get Away With Murder” and by Jack Falahee, the scene-stealer who has shown his character, Connor Walsh, will do anything he has to do to get what he needs.

“How To Get Away With Murder” was probably the buzziest of all of the pilots this fall. After the runaway success of “Grey’s Anatomy” and “Scandal,” Shonda Rhimes’ track record speaks for itself and boy, does this show deliver. The courtroom drama of “The Good Wife” mixed with the soapy antics of “Scandal” and was topped off by a dollop of the plot of “Legally Blonde” to create a delicious hour of TV that is as heavy with the sex as it is with the surprises. Viola Davis is a great as we knew she would be, but it’s the younger cast of prime time newcomers who have proved to be the real revelations, most of all, Falahee.

The character of Connor first grabbed our attention by using reckless sexual abandon to get what he wants. At first, he was painted as an opportunistic and overly entitled knowit-all whose aggressive sexual exploits made him appear tawdry. But what Falahee was able to do with Connor over the course of the fall was take the character and give him depth, dimension and most importantly, he made Connor likeable.

The headlines may have been about the more-graphic-than-usual sex scenes, but Falahee has been bringing an intriguing character to life in an incredibly nuanced way. As the mysteries deepen on the show, so does our love for Connor and the actor who is bringing him to life.

- by Ryan Brinson Illustration by Tyler Ellis

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The Evolution of Ben Affleck My birthday buddy, Ben Affleck, has been a prominent figure in Hollywood throughout the last twenty years. I’ve grown up watching his work, the first thing being the Michael Bay masterpiece, Armageddon. Ever since then, I’ve followed his career, since I’m an obsessive movie nerd.

Why would I do an entire article over Ben Affleck?

Simply put, he used to suck so bad at acting. So bad that there was an entire song devoted to his awful acting in Team America. But now I adore his work.

How did this happen? Let me take you through the years of Academy Award Winner, Ben Affleck.

by Hatley Moore several big-time blockbusters. Unfortunately for Affleck, he wasn’t considered a respected actor yet by any means, probably due to the strong opinion that he was an awful actor. It also didn’t help that the movies sucked, too. Let’s review a few of these cinematic works: • Armageddon—crying and screaming mixed with the apocalyptic realism of 2012.

• Pearl Harbor—F*$# you, Michael Bay. • Reindeer Games—lol. This movie is actually kinda fun for the wrong reasons.

• Daredevil—The atrocity that killed any hope of great Marvel flicks outside of Spider-Man and X-Men for a bit.

And that’s just a few. But I have to end this phase with the worst of all, Gigli. This disaster of a film, starring the engaged couple Affleck and J-Lo, was so awful that it is still on IMDb’s Bottom 100 movies of all time.

The Beginnings Once upon a time, there was a little boy named Benjamin Géza Affleck-Boldt, who wanted to be an actor really bad. After some TV commercials and other little projects, Affleck was cast in Richard Linklater’s fantastic ensemble movie, Dazed and Confused, where he played a bully that was as unlikable as Affleck himself once he began doing Michael Bay films. Alas, The Respectable Ben Affleck these were the beginnings of the While Hollywoodland wasn’t received very well Ben Affleck rise to fame. critically, I view this movie as the turning point of Affleck’s acting career. He was fantastic in this film Kevin Smith depicting George Reeves, and the Golden Globes Ben continued to play supporting thought so too. As far as acting goes, he started roles for a while, most notably at this doing more supporting roles in some pretty decent time working with Kevin Smith, who films. While it was strange at the time that he was was also on the rise to fame after his going backwards with acting, it all made sense soon cult classic, Clerks. Affleck would when he came out with his directorial debut, Gone go on to be in five of Smith’s films, Baby Gone. a move that would make him more With this film, The Town, and Best Picture winner well-known in the indie-market.

Argo, Affleck has proved he is an unbelievable director, and his acting in the latter two are equally as Academy Award Winner fantastic. His talent behind the camera makes me so Indie-actor Ben and unknown excited any time he comes out with new work. friend Matt Damon wrote the wonderful film, Good Will Hunting, 2014-future in 1997. That film would go on to I thought Ben was amazing in Gone Girl, and I think be nominated for 9 Oscars, winning we may see his first nomination in the Best Actor’s two. One for the late and great category at the Academy this year. While a lot of Robin Williams, and the other for people have criticized Ben’s casting in the Justice Best Writing to Affleck and Damon, League Franchise as Batman, I’m so excited to see launching the careers of both of the older, gruffly Bruce Wayne portrayed by an actor I them into the lime-light. now love and respect.

It amazes and inspires me to watch a talent in The “Oh God, I Don’t Know How To Act Well in Hollywood mature and grow so much over the years, These Awful Movies” Phase and if he has come this far in just 20 years, I can’t wait Post-Hunting, AA-winner (yes that is a play on words), to see what he does over the next forty. Long Live Affleck had a financially successful time starring in one of my favorites in Hollywood, Ben Affleck.

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the intersection by

caleb bollenbacher

Birdman

It’s a rare thing when forms intersect as cleanly as they do in Alejandro González Iñárritu’s “Birdman.” The beautifully oddball film about a former Hollywood star who has turned to Broadway to resurrect his career is such a clever melding of the two mediums it examines that it is almost something else entirely.

“Birdman” is a film unlike any other, and what distinguishes it more than anything else is how unlike a film it is. The cinematography is unprecedented, with the entirety of the film masquerading as one shot. The transitions are there, sure, but they are faint, cleverly hidden in such a natural way that if you blink you might miss them. From the very start we are trotting down the halls with Michael Keaton’s Riggan Thomson and the rest of his motley crew of actors, through the halls that house their new Broadway play. It’s so kinetic, so frantic, that it is nothing short of lifelike, and the illusion of being present with Riggan and the other POV characters persists throughout the rest of the movie.

Right off the bat the scene is set: Riggan wastes little time inserting himself into a reading on stage, cameras following him to take in every angle of the room, leaving no corner unturned.

The audience sees everything that Riggan does.

And yet, we manage to see things that escape his notice. “Birdman” isn’t real life, it’s theater captured on camera. Throughout the movie the POV torch is passed around to Riggan’s co-stars, friends, and family.

Perspective shifts so smoothly and yet so abruptly that the façade of Hollywood magic is not present. It’s merely realistic; action unfolds in a natural way, with the camera capturing it in a way that is so seemingly happenstance that it comes across as truth.

This is the beauty of “Birdman”, that the best aspects of theater are present, and the audience has a front row seat to see all of it. The playhouse within the film acts as one giant set, as nearly all of the action takes place within or immediately around it. It’s like

something that could exist on stage: defined enough to grow familiar over the course of the two hour run time, but with enough twists and turns to hold magic, to be infinite.

Unlike most stage productions, there is a heightened sense of the fantastic. From the very start, “Birdman” displays touches of the big screen blockbusters that it makes frequent reference to. There’s an aspect of the otherworldly, things that are larger than life right alongside the mundane. But presented in the straightforward manner that places the audience directly in the driver’s seat, the fantastic touches seem everyday. They seem acceptable.

That’s magic, and it all comes back to the camerawork.

Imagine if a fantasy or science fiction film were shot in a single long take. It would indubitable seem much more accessible, and yet the content would preclude any notion of reality. Your reason would fight your senses and it would win. With “Birdman” the touches are so subtle, just a slight step out of the ordinary that the extraordinary seems possible.

That’s what I love about the stage: there’s magic in a bubble, an entire world, so far away, yet close enough to be real. By creating the sensation of being at the theater, by intertwining the best aspects of two mediums, Iñárritu manages to bottle up the fairy dust that gives life to the stage and bring it to the silver screen. The effect is nothing short of enchanting.

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one to watch Born in Mexico City, Roberto Araujo began taking photographs when he was performing on tour in Asia. Since then, he has been steadily carving out a niche for himself in the way he sees life through the lens of his camera.

He is certainly one to watch.

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WHEN DID YOU FALL IN LOVE WITH PHOTOGRAPHY? Visual arts in all their disciplines are something very appealing to me. I have dabbled in lighting design and video editing on top of my acting career.

When one of my older sisters was in college studying photography, I enjoyed being her assistant and I inadvertently learned the basics of 35mm photography. But it wasn’t until I was on tour with a musical in China that I seriously started exploring the potential of my abilities behind the lens.

WHAT IS THE LAST THING YOU DO BEFORE YOU STEP ON STAGE? I really like to collect my thoughts, stand with my eyes closed and think about what I’m going to do when I walk out there.

HOW DO YOU CONTINUE TO CHALLENGE YOURSELF AS A PHOTOGRAPHER? As much as I love working with male figure photography and as popular as it is with my followers, I love creating stories and painting different pictures. My biggest challenge is creating a style and not creating a formula.

I don’t want every picture to look the same and just make the subject interchangeable. Each picture has its own voice. My favorite challenge comes when someone tells me “I don’t look like all your models.” We all look at ourselves in a very critical way and if I can highlight the strong points they can’t see, then my job has been done.

WHY HAVE YOU CHOSEN TO EXPRESS YOURSELF THROUGH A CAMERA LENS? I like telling stories and sharing my point of view. I was born and raised in Mexico City and my cultural background influences my art in very particular ways. Ways that only apply to my life experience. My images transcend language and cultural barriers. It’s fascinating to me to see how people react to an image, and to see the different reactions the image gets. It tells me so much about who is looking at the picture.

WITH SO MANY INCREDIBLE CAMERAS ON THE MASS MARKET, IT’S EASIER THAN EVER FOR SOMEONE TO TAKE GOOD PICTURES. IN YOUR OPINION, WHAT’S THE DIFFERENCE BETWEEN GOOD PHOTOS AND GREAT ONES? I like giving this analogy: An expensive microphone doesn’t make a singer good. Art is subjective and we don’t always like the same things. What I like about a picture and makes it great in my eyes is when the photographer’s voice is clear. I find inspiration in images that break the mold and speak in statements instead of apologetic questions.

WHAT’S COMING UP NEXT FOR YOU? I have been working with Spanish designer Alex Vinash in a couple of editorials for an Italian fashion magazine. I want to explore the world of High Fashion more. My first solo show, MALEXPOSURE was a very exciting experience and would love to bring the show to other venues in New York City. I want to continue to tell stories by collaborating with members of the Broadway community such as Susan Blackwell, Kristie Dale Sanders and stylist Whitney Anne Adams. We are working on a new editorial inspired by Spanish film maker Pedro Almodovar. Exciting stuff!

Find more on Roberto on his website at www.bobbyaraujo.com and follow him at www.instagram.com/robertoaraujophotography BLEEP 13

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THE SHAMELESS LIST OF OUR FAVORITE ARTISTS OF THE YEAR In our February issue, Olympic Champion Evan Lysacek said of his gold medal win:

“One thing that surprised me when I was standing on that podium was that I was thinking of all of those moments in my career I never thought I would remember. When I was too tired, too sore or too injured and I somehow kept going. Those became my Olympic moments.

There weren’t 20 million people watching those private moments, but they superseded the very public moments. The private moments are what made that happen and I really thanked God to never give up.”

In our February issue, Olympic silver medalist Elvis Stojko said:

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“What I love about skating is all the tricks and pushing the envelope. I did the quad-triple in ‘97 and it was something you could put a measuring tape to it and say, ‘Wow, I did it.’

In our July issue, Jake Simpson said:

“My inspiration comes from random objects and things I find all around me. A lot of times I will go to thrift stores just to look through everything they have. Some of the things I find I have no clue what they’re even used for but I can immediately see how I can incorporate it into an outfit.”

In our September issue, Andrew James Taylor said:

“Back in the middleages, people would use human nail clippings as nail enhancements to add length to their nails. I have actually had someone ask me if I could do that to their nails because they felt that is was a more organic way of going about nail enhancements.

That is probably the most awkward request that I have had to date.”

In our March issue, we asked “The Walking Dead” star Emily Kinney:

Both Spring Awakening and “The Walking Dead” are shows with cult followings, just two different mediums. What’s it like to be a part of two shows like that?

“Spring Awakening had that sort of super dedicated fan base. When I was first exposed to that, it was like nothing I had ever known. In some ways, it prepared me for that for “The Walking Dead.” To know that people are so open and excited for your work is such a gift.”

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EP BLE2014 In our April issue, Rock and Roll Hall of Famer Steward Copeland talked about his home movies of The Police that became a hit film:

In our April issue, Melinda Doolittle said: In our May issue, we asked Natalie Grant about singing “I Love The Lord” by Whitney Houston:

“I was asked to sing at the 50th Anniversary of the March on Washington, and sing on the on steps of Lincoln Memorial. There were a few hundred thousand people there and I decided to sing that song. It wasn’t until 30 seconds before I went on when I thought ‘What was I thinking singing a Whitney Houston song on the steps of the Lincoln Memorial?!’ When I started singing, I could see people giving me that look of ‘She’s singing Whitney,’ but by the end, they were on their feet. It could have gone really bad but it went really well.”

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“I sing my heart out. I love what I do. I love the fact that I get to get on stage and just be me and tell my own story.

I used to be a background singer and that’s all about supporting someone else. I’m at the point in my life when I have something to say and a story to tell so I’m a storyteller.”

“The film reminded me of the good times we’d had, the mob hysteria and that first rush. We were receiving the kind of fan adoration that comes with being in a boy band, not a rock band.

It’s that high pitched shriek from thousands of teenage girls that Led Zepplin has never experienced and that’s what we were receiving.”

In our June issue, we asked Frank DeJulio about his connection to his film, “The Normal Heart.”:

“I remember reading The Normal Heart for the first time in my first year of school when I moved here in 2004. I was doing a scene from it in class and was playing Ned. Now keep in mind, it was my first year acting so I was still very nervous and not confident in my body at all. I remember doing that scene to this day.

I was furious. I scared myself at how furious this play made me and how I put it into Ned’s character. It was the first time I put my whole heart and everything I was into something and completely lost myself in it. I remember that night, I didn’t sleep because I was so excited to go back to school the next day and work on it again. At risk of sounding cheesy, The Normal Heart made me realize how much heart I had as an artist. “

In our October Comic Culture Special Issue, Riki LeCotey said the enduring appeal of cosplay is:

“Bringing your favorite characters to life, the challenge and satisfaction of creating a costume yourself, meeting people who are also fans of the same characters.”

In our July issue, we asked 2 Ring Circus co-founder Joshua Dean about the continuous appeal of aerial artform:

“The constant work. It’s not like I can quit training and still do what I do. I have to continue training everyday, I have to continue my workouts and stretching and every aspect of keeping my body fit from how I eat to how I feel in the air. Keeping all of that active in my life is the fun thing. You have to be a hard worker if you are going to do this. “

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EP BLE2014 In our October issue, we asked Jordanna James about being a part of one of the fall’s biggest new Broadway musicals:

“Side Show has taught me courage. I really don’t want to say this but I’m rather shy when it comes to singing. First day of rehearsal the cast got around the piano and sang “Come look at the Freaks” and all I thought was ‘Holy cow what did I get myself into?’ I am a dancer not a singer!

Hearing everybody else sing was breath-taking and I was in such awe. Soon I learned through courage, perseverance, and the help of my Side Show family that I had a voice and I could play my part and put on a remarkable, inspiring, and life changing show.“

In our July issue, we asked Charlie Williams about what he considers his b:

“I would say that would be my Broadway debut, which was Memphis. I was able to break into the New York scene, I was living in LA at the time. So to come to New York City and come with a new musical, record a cast album, it won the Tony - it was all in one great package. “

In our February issue, Nikka Graff Lanzarone of The Ensemblist said about the artists featured on their podcast:

“I feel a lot of the Broadway press is star driven and a lot of people don’t even take the time to write out who is in their pictures. It’s a lot of ‘...and cast.’ and so many of these people have done 14 Broadway shows. These are incredible artists with a lot to say about what it is to make a life in the theatre.”

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In our November issue, we asked Davide Zongoli about creating art physically, with his body: In our September issue, blogger Said Karlsson of TokyoFaces.com said:

“Style is being able to express who you are through what you wear, and doing in a way that feels natural and obvious.”

“The appeal is being, yourself, art in motion.

You don’t just create something like it happens in many other arts, you have to draw your body as a painter would, feel the emotions as an actor would, and dance to the music as if it could get out from your gestures and movements. In this way, you become art. I don’t think there are many things comparable and charming like this.“

In our April issue, we asked Markus Riva about where he draws inspiration for his creative performances:

“I sit on YouTube for hours and watch all the pop performances and videos. If you are in pop music, you have to see what other people are doing. You can draw inspiration from it. I don’t copy it, because you have to get it through your own prism and vision. “

In our November issue, we asked Matthew Del Negro about the “Scandal” fandom & how that interplays with the work:

“It’s nice that people are seeing your work.

When you’re doing the actual work, you’re not thinking about what comes with it since you can’t really control that. In the beginning, the way they work, you really don’t know what’s coming.

So, I’ve chosen to play in the moment and gather the information as it comes.”

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Matthew Skrincosky has worked on shoots for BLEEP in the past, but for the first time, he takes center stage by creating a holiday feast you’ll be sure to copy for all of your festive gatherings. To celebrate, he gathered with some artists and BLEEP contributors for an evening of delicious food.

THE HAPPIEST HOLIDAY SPREAD

FROM ONE OF THE TOP UP-ANDCOMING CHEFS IN NEW YORK PHOTOS BY KEVIN THOMAS GARCIA BLEEP 25

MATTHEW SKRINCOSKY

THE NEW FACE OF FOOD You’ve said moving the New York is what opened your eyes to the possibilities in the kitchen. How so?

My mother is an amazing cook and my grandfather is a Navy Chef from WWII. I have always enjoyed good food, but [my experience was] very limited to my All-American upbringing. Being German and Polish, those were the only two “modifications” to my culinary experiences. So, moving to NYC opened my eyes to Thai, Mexican, Indian, Lebanese, French...the list obviously goes on and on.

NYC is like a superfood itself.

It has everything and it’s all so good and so good for you.

What have you done to hone and improve your craft?

I always love to try new recipes and I am notorious for studying several recipes that are similar and blending and molding them into my own creations and vision. I have always taken every opportunity to cook for someone or a group of people. It’s an amazing adrenaline rush as well as a great challenge (for not having ANY counter space, an “easy bake oven” and no storage thanks Hells Kitchen!) But my true step forward to becoming a respected professional was leaping whole heartedly and unabashedly into culinary school at the Institute of Culinary Education.

Describe your style of cooking.

Approachable, homey, farmto-table, local, sustainable fare with a touch of refinement and 26 BLEEP

finesse. I like to cook fresh and clean with touches of indulgence and decadence, because we all deserve treats (everything in moderation). I live a healthy, active lifestyle, and I want my food to reflect that. One of my favorite places is the farmers market. I plan on becoming well known at my local markets because building that relationship is very important to any farm-totable chef.

Why do you cook?

Honestly, I cook whatever I think looks beautiful that day.

[I cook] what inspires me, and drives me to create a gorgeous tasty dish which, at the end of the day, warms someone else, makes them smile, [makes them] remember an old childhood memory, or takes them away for a moment. I cook with love. Lots of love. My mother always does, and that’s the greatest driving force to my cooking. Love. Love of the food, respect for the food, love of the process, and love of the final product. Love of the people enjoying my cuisine.

What’s next?

I’m spending a few months at the incredible Jean Georges restaurant ABC Cocina - the sister restaurant to ABC Kitchen down on Union Square. After that, we will see. Study abroad a bit? Continue with ABC? But the dream, the goal, is to start my catering, private chef, private events company.

Stay up to date with Matt at www.facebook.com/ matthew.skrincosky & at www.instagram.com/mskrincosky

Pictured on opposite page: Roasted butternut squash and mushroom Filo cups with a honey and thyme ricotta filling, finished with Parmesan cheese and chive.

Roasted brussel sprouts with bacon and cranberries.

Spiced turkey meatballs with butternut squash, cinnamon, nutmeg, ginger finished with a mango jalape単o chutney.

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Pictured: Arugula fennel and clementine salad finished with walnuts and citrus vinaigrette.

Bosc pear and cranberry Tart.

Merguez sausage piggies in a blanket. Homemade pie crust finished spicy Dijon and thyme.

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Homemade pumpkin pie pudding finished with sweetened whipped cream and finished with nutmeg.

Fig compote and goat cheese Crostini finished with thyme and drizzle of honey.

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THE ENSEMBLIST 2014 presents the

ENSEMBLISTS of the year

Our favorite podcasters Mo Brady & Nikka Graff Lanzarone culled the best of the best from this year’s Ensemblist episodes and now we ask the two hosts about their year and what they’ve learned.

The Ensemblist is an audio podcast featuring interviews with Broadway ensemble members: swings, replacements - the kind of artists that make Broadway tick.

From the dozens of actors featured on The Ensemblist this year, Nikka and Mo picked six of their favorite guests to be crowned with the very first Ensemblist Awards.

It’s up to you to vote for your favorite Ensemblist of the year using their hashtags! Tweet out the issue & your favorite’s hashtag!

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CURTIS HOLBROOK

Each actor has a show that means more to them for one reason or another. For some, it’s a show they were a part of. For others, it’s a show they experienced and became a part of them. What show is that for you?

Why does it mean more?

West Side Story. I saw the national tour of West Side when I was thirteen years old, and from that moment on, I knew that I had to be an actor. The storytelling through the movement was unlike anything I had ever seen before. It instilled in me the fact that movement doesn’t have the same impact if it doesn’t come from the character’s point of view. I always hoped that I would get the opportunity to do the show, to know what it felt like, and had a “full circle” moment when I was cast as Action in the Broadway revival.

The process of being an actor, some call it “the grind,” teaches each person different things. If you could pass along a practical piece of advice to the next wave of aspiring Broadway artists, what would that be?

If there is any other career that you are interested in, seriously consider it. That may sound a bit harsh, but this business is cut-throat. There is always someone out there working harder than you. If you can’t imagine yourself doing anything other than a career in performing, then congrats, you caught the bug. Which means, making sure that when an opportunity presents itself, you are ready. Take EVERY class, workshop etc. that comes your way. It sounds cliché, but I have found that luck truly is preparation meeting opportunity. Also, just be nice to everyone you meet. You never know who you’re talking to.

The Ensemblist takes an experience that takes place on stage, in-person, with a live audience and brings the stories to a digital format for people to experience wherever they are at. In your opinion, how has technology impacted the life of an actor both on stage and off?

That we have much more access to everything. There are so many tools at our fingertips to help be prepared. For example, I had an audition for a TV show yesterday and I had never met this particular casting director before. I googled her and found an article where she spoke in depth about her observations of actors and how they handle themselves in the room. It was really helpful to know her particular taste and made me feel like I knew her before I even walked in to the audition. Also, I have found social media (Twitter and Instagram in particular) to be a really great way to connect with theater fans like never before. It’s a great way to sort of get to know each other and have a glimpse into people’s lives more so than just a brief meeting at a stage door.

What has this past year taught you about yourself?

That while I believe working on your career is extremely important, I have learned that building the life you want is more important. It is so easy, and necessary, to throw yourself completely into your career and your craft, but you have to remember that this career is fleeting. The show will end.

I have found that my life, my relationships, have to come first. That is my foundation. And if that is maintained, and hopefully you are surrounded by people who support you and make you better, then your career can soar.

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What’s next for you and where can we follow you?

I’m thrilled to tell you that I will be directing and choreographing a show (which will be announced shortly) for Friends in Theater Co.. Last year we mounted a one-night-only full production of Once On This Island. We had a star-studded cast and tons of support from the Broadway community which enabled us to raise $40,000 for Make-A-Wish. This year our goal is to double that amount. You can follow me at www.instagram.com/curtisholbrook and www.twitter.com/curtisholbrook for more information about the show.

One of Broadway’s most versatile performers, his credits range from dancing in the ensemble of Fosse to mocking Officer Krupke as Action in West Side Story.

Curtis Holbrook is currently treading the boards for the ninth time at the Richard Rodgers Theatre in If/Then.

After originating his ensemble track, he gracefully stepped into the lead male role during Anthony Rapp’s absence, holding his own opposite Idina Menzel. Equally adept at performing on stage and screen, the cinema veteran spoke to The Ensemblist about performing in Julie Taymor’s cinematic tribute to The Beatles, Across the Universe and the film adaptation of Hairspray.

#CurtisEnsemblistAward

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In the stand out role of Janelle Woods, Rashidra makes a memorable turn in Beautiful: The Carole King Musical. She’s stepped in and out of the spotlight in other featured roles, from Abraham Lincoln in HAIR to Michelle the sassy nightclub singer in Sister Act, always giving a performance full of grace and confidence. A veteran of five Broadway musicals (including making her debut in Avenue Q playing Broadway’s favorite superintendent, Gary Coleman), Rashidra spoke to The Ensemblist about performing twice at the Great White Way’s biggest celebration: the Tony Awards.

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The process of being an actor, some call it “the grind,” teaches each person different things. If you could pass along a practical piece of advice to the next wave of aspiring Broadway artists, what would that be?

At talkbacks I always tell younger groups to not burn bridges. You never know if or when the person singing next to you could become responsible for you getting a job further down the road. Don’t wait to get to Broadway to give 100%- you never know who’s watching you- your work ethic, your talent, your respect for whatever show you’re doing and the people you’re doing it with.

The Ensemblist takes an experience that takes place on stage, in-person, with a live audience and brings the stories to a digital format for people to experience wherever they are at. In your opinion, how has technology impacted the life of an actor both on stage and off?

I was just talking to some cast mates about this the other day- anyone who knows me knows I’m TERRIBLE at self-promotion. Technology makes me have to get over that really quickly. It’s important for social media you to represent the “you” you want casting directors, producers, directors, MDs, any creator to see when you walk in to a room. Do you want them seeing you as someone who’s a gossip and negative- a cloud of gloom- or as a light and someone they can’t wait to have in the room with them?

What has this past year taught you about yourself?

If I had to narrow it down, I would say I’m learning more about my value as a performer- not through someone else’s eyes, but through creating my own. I’ve always heard so many people talk about it and I never really “got it” until this past year. It’s a blessing and I’m so thankful to have a great job (for someone who closed 2 shows between January and June of one year, I’m still having a hard time grasping the success of Beautiful), but I’m realizing more and more that I need to get back to my own creativity while I’m telling someone else’s story 8 times a week. I’ve watched so many friends and colleagues take huge leaps and bounds this year- from songwriting and breaking out from Ensemblist to lead to major film rolesnow I’m ready to put in the work to start my own path. I can’t walk in to an audition room and expect someone else to hire me for something I haven’t fully prepared myself for. It’s more than just having the sides and songs learned or memorized or beat-worked through- there’s something else at the heart of it all. And that part never stops developing, or at least I hope not.

What’s next for you and where can we follow you?

As of now, I’ll be living it up at the Sondheim 8 times a week. I’m also at www.facebook.com/RashidraScott and at www.twitter.com/RashidraScott.

RASHIDRA SCOTT

Each actor has a show that means more to them for one reason or another. For some, it’s a show they were a part of. For others, it’s a show they experienced and became a part of them. What show is that for you?

I think that show for me was a production of Hair I did at Arizona Theatre Company. Our first day of rehearsal was election day in 2008. All of us who were of voting age had voted absentee and, after the first day of rehearsal, we all met at one person’s housing room and watched the election results come in. We then dubbed our tribe “Obamadon.” Hair is such a powerful show, our director (David Ira Goldstein) really led us through exercises and activities that seemed a little silly at first, but really bonded us even more than living out-of-state together did. The whole experience out there was kind of life changing for me as a performer. I felt a freedom and inhibition for life (getting naked on stage 8 times a week with 20 of your newest closest friends will do that to you, I guess).

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BARRETT MARTIN

Each actor has a show that means more to them for one reason or another. For some, it’s a show they were a part of. For others, it’s a show they experienced and became a part of them.

I grew up as a dancer. I started at the age of 3 1/2. When I first saw Movin’ Out on Broadway, I was moved in a way I hadn’t been before. Shortly after, I had an audition for the national tour. I grew up dancing, yes, but I was not a “company dancer.” In fact, by high school, I had stopped studying dance and started doing more theater. But I auditioned nonetheless.

After 4 or 5 callbacks, I booked the show. If I thought seeing the show was an experience, doing the show was even better. It was and forever will be the cherry-on-top of my career as a dancer. Movin’ Out was fulfilling every single night for the 2 years I was involved with the show.

I knew it was something special because when I finished my run with the show, I was okay if that was the last time I ever danced.

If you could pass along a practical piece of advice to the next wave of aspiring Broadway artists, what would that be?

My best piece of advice is that you are enough. Obviously when we audition, we try and put our best foot forward, dress the part, and appeal to the wants and needs of the creative team, but don’t lose yourself in that. Ultimately, they want to see you. That’s the most exciting part about auditioning people (and I have sat on the other side of the table).

They (creatives and casting) want to see who you are, what your take is.

When someone comes in trying to be something they aren’t, they go from being “not right for the part” to just “not right.” Being an actor is about putting yourself out there and dealing with rejection (a lot of it).

You have to always keep moving forward. My favorite feeling is leaving an audition and forgetting about it 5 minutes after I’ve left the room.

That’s not always the case, but it’s what I strive for.

In your opinion, how has technology impacted the life of an actor both on stage and off?

Technology has certainly had an impact on stage as far as scenic and lighting design. It undoubtedly enhances the theater experience, but also adds more complexities and safety issues at times. Off-stage, I would say there isn’t a huge difference. Obviously, cell phones and iPads make it easier for agents and casting directors to contact people and send out sides. I see some people reading scripts of an iPad, but I still prefer good old paper. Having Wi-Fi in the theater definitely helps kill time during tech or down-time in a show. However, I’m a bit oldfashioned and only check my phone at intermission.

What has this past year taught you about yourself?

Well, this past year has taught me a lot about investing yourself in a project and making sacrifices. We began working on Side Show at La Jolla Playhouse in California over a year ago. There was no guarantee of it going to Broadway. I have a beautifully talented wife, Megan Sikora, and a beautiful boy, Elliot, who is 2 and 1/2 years old. Three quarters of the past year were spent away from home. My wife did some work out-of-town, as did I. Fortunately, for most of it, we were all able to be together. But it was definitely a crazy year of traveling and sacrifices on both our parts to make it all work.

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What’s next for you and where can we follow you?

As far as what’s next, I’m hoping Side Show will have a healthy run. I love the show and I love what I do in the show. If my answer to the first question wasn’t Movin’ Out, it would be Side Show. I hope to continue performing in all capacities. If I had to choose something else to do, I’d like to get on the creative side and maybe try directing. Feel free to follow me at www.twitter.com/BarrettMrtn

With an incredible nine Broadway credits to his name, Barrett has a reputation of consistently being the right man for the job (so much so, he was known as “Solutions” backstage at The Addams Family.) From How to Succeed... to Nice Work If You Can Get It, his stable and strong presence onstage has been key in productions where the ensemble stands front and center. Currently frightening audiences at the St. James as the Human Pin Cushion in Side Show, there’s seemingly nothing Barrett can’t do, including raising a handsome three-yearold son with wife (and fellow former guest of The Ensemblist), Megan Sikora.

#BarrettEnsemblistAward

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Daniel is so singularly talented in so many ways, that when we first saw him perform we were jumping out of our skin to see what he would do next. He has graced seven different Broadway stages, from blowing the roof off of the Shubert as part of the “Be Black” trio in Memphis to his spellbinding audiences with his featured tap trios in After Midnight. No matter the production, Daniel’s suave style in always a joy to watch. This winter, he’s closing Motown the Musical, where he originated the role of Eddie Holland. However, he’s been making the biggest splash this year with his visceral spoken word performances, uniting the Broadway community for important social causes.

#DanielEnsemblistAward

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The process of being an actor, some call it “the grind,” teaches each person different things. If you could pass along a practical piece of advice to the next wave of aspiring Broadway artists, what would that be?

Dreaming is free. Dreams cost. Be prepared to make some sacrifices in order to obtain them and you will quickly find out what your dreams are worth to you.

The Ensemblist takes an experience that takes place on stage, in-person, with a live audience and brings the stories to a digital format for people to experience wherever they are at. In your opinion, how has technology impacted the life of an actor both on stage and off?

If nothing else, technology has made the audition process easier. Everything is digital so there is no need to carry a headshot and resume, sheet music can be read from a tablet, and websites like Dropbox and Hightail make it possible to keep and send video files and audio recordings. Technology has truly lightened the load. It has also made it possible for actors to build their own platform and broaden their audiences. These days, anyone can be an actor, casting director, director, and producer all in one.

DANIEL J WATTS

Each actor has a show that means more to them for one reason or another. For some, it’s a show they were a part of. For others, it’s a show they experienced and became a part of them. What show is that for you? Why does it mean more?

I did a production of Jelly’s Last Jam at the Alliance Theatre. I was still non-Equity at the time. I learned so much about what it meant to be on stage and present at every moment. It was great for character development, both on and off stage.

What has this past year taught you about yourself?

This past year was more of a reminder of things I had forgotten. This year I got back to my roots. I went back and taught for a week at my alma mater, Elon University.

I got to tap back into the ambitious/audacious Daniel that brought me here in the first place. I’ve missed him.

What’s next for you and where can we follow you?

At the beginning of the year, I will be heading to Los Angeles. It’s time to begin the bicoastal process. I will return to NYC in the summer for a production of a show I created called “The Jam.” We’ll be at Ars Nova for a month. You can keep up with me via my website www.WattsWords.com and at www.twitter.com/dwattswords.

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SAMANTHA STURM

Each actor has a show that means more to them for one reason or another. For some, it’s a show they were a part of. For others, it’s a show they experienced and became a part of them. What show is that for you? Why does it mean more?

The Music Man was the first Broadway show I ever saw. I was 14, and cried during intermission. I knew from a very young age that I wanted to be on Broadway, but seeing a show really cemented the need to be onstage. I was literally aching to get on that stage with those wonderful performers. I knew right in that moment that performing was what I was meant to do. All because of “Shipoopi.”

The process of being an actor, some call it “the grind,” teaches each person different things. If you could pass along a practical piece of advice to the next wave of aspiring Broadway artists, what would that be?

I’d say, if anything, try figure out exactly what it is that makes you a special performer. That’s not to say that one can’t be multifaceted and constantly discovering new talents and specialties, but try to hone what makes you, you. Not everyone is a rock singer, not everyone can tumble, not everyone is “the vixen,” and all of that is ok. It’s about knowing what makes you great, and showcasing that.

The Ensemblist takes an experience that takes place on stage, in-person, with a live audience and brings the stories to a digital format for people to experience wherever they are at.

In your opinion, how has technology impacted the life of an actor both on stage and off?

I think technology has impacted every part of an actor’s life!

Most submissions are done electronically now, so we use far less paper headshots and resumes than we used to. I have a very hard time because I’m pretty computer illiterate, so I get confused. It’s much better for the environment, and our wallets, though! On the other hand, technology can be frustrating. It’s so distracting while onstage to suddenly hear a phone ring, or to see the glow from a phone while someone is texting. I think sometimes audience member forget that we can see AND hear them!

What has this past year taught you about yourself?

This past year has taught me to listen to my heart, and trust my instincts. As soon as I invested in my happiness, I was suddenly surrounded by it. I have had the privilege of doing so many beautiful and interesting projects this past year. If I hadn’t trusted my gut, I don’t think those opportunities would have presented themselves.

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What’s next for you and where can we follow you?

I’m not sure what’s next! I’m currently in the cast of On The Town on Broadway, and I love the show very much. It’s a beautiful production. Follow me on Twitter & Instagram (www.twitter. com/SamanthaSturm & www.instagram.com/SamanthaSturm), and we can discover what’s next together! Or we can talk about food. Let’s be real, that’s what I mainly talk about.

It’s true - we’ve always loved Sam’s electrifying stage presence in The Addams Family, Nice Work If You Can Get It and Matilda The Musical, but in her comic turn as Fofi, the Girl in Green, in the incredible new revival of On The Town, she stands out as an ensemblist among ensemblists and a first rate comedienne, and is rapidly becoming a staple of the Great White Way. As an original cast member of each of her four Broadway shows, Sam has gone into the recording booth to make her mark on history, and shared the feeling of immortalizing a Broadway musical on our Original Cast Albums episode .

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A multi-talented vocalist, dancer and comedienne, she’s covered every Broadway leading lady imaginable, from Judy Kaye to Sutton Foster. Onstage and off, the classic beauty and elegance of Kristen Beth Williams is undeniable. While performing in the ensemble of Broadway’s Nice Work If You Can Get It, Kristen Beth won the opportunity to lead a production of her own, starring in the West End revival of Top Hat for most of 2013. Since then, she has returned to Broadway in the ensemble of Pippin, proving that this triple threat is a consummate professional.

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#KristenEnsemblistAward

If you could pass along a practical piece of advice to the next wave of aspiring Broadway artists, what would that be?

Be someone you would like to work with. In this business, it’s not always your talent that gets you the job. It’s your reputation.

Your reputation will precede you wherever you go. If you are fantastically creative and willing to take risks artistically, but you’re a jerk...I mean, it should be a no-brainier! Be nice. Be on time. Be respectful of the other artists in the room. Don’t be a doormat, by any means, but no one wants to be known as “the difficult one.”

In your opinion, how has technology impacted the life of an actor both on stage and off?

It’s strange. You feel you have to have an online presence. You get a “press briefing” regarding social media for some shows, and you really have to be careful what you put out there because a lot of people will research you via social media before hiring you for a job. It’s bizarre, but it’s there, and it’s what we do now.

Backstage, everyone is on their phones (I mean, that’s where I am right this moment as I type!). We do have a group that does crosswords or knots backstage, but most of the time, everyone is tucked away in their own little digital space. I have a friend who institutes a “no technology at cast get-togethers” rule, which I love!

So instead of “oh I have to show you this YouTube video,” it’s “let me do my best impression of this YouTube video I saw,” which gets people telling stories and interacting. So much more fun!

What has this past year taught you about yourself?

That whenever I try to control my career - the direction I want it to go, the roles I want to play, etc- it doesn’t work. It doesn’t backfire on me, but it doesn’t work. I truly believe we get the jobs we’re supposed to get, and (this may sound silly) the universe puts us where we are needed. Also (and I have to be reminded of this often), that “life” things need to take precedence over “career” things...more often than not.

What’s next for you and where can we follow you?

I don’t know what’s next for me, actually, but I’ll let you know when I find out! I’ve definitely been in that “I’ll never work again” phase that all actors go through at the end of a job, but I’m trusting that the next thing will find me if I just keep putting myself out there. You can follow me at www.twitter.com/KBDubsNYC and at www.instagram.com/KBDubsNYC.

KRISTEN BETH WILLIAMS

Each actor has a show that means more to them for one reason or another. For some, it’s a show they were a part of. For others, it’s a show they experienced and became a part of them. What show is that for you?

That is a toss-up between two shows: the first musical I ever saw live onstage and the first show I ever saw on Broadway. The first is CATS, and God love me, I REALLY want to do the show before I can’t dance it anymore. I still remember sitting in the audience at Fair Park Music Hall in Dallas, Tex., 9 years old, watching those amazing dancers. That show changed my life. It’s why I became a performer.

The second show is Ragtime (the original Broadway production).

The story, the music, that cast...it was Broadway magic! I started crying halfway through the first act and didn’t stop till half an hour after the curtain came down. I had the opportunity to do the show a few years after that, with some of the original cast members at Music Theatre of Wichita. That is an experience I will never forget.

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ENSEMBLISTS of the year

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spotlight on berlin - by florian hubertus -

paul mac

These days, Germany celebrates the 25th anniversary of the fall of the Berlin Wall.

The iconic symbol of this painstaken history has always been Berlin, a city divided by a wall. Nowhere else is the past of a once divided nation more visible than here.

Since the reunification, many years have passed and the dividing scar is hardly visible anymore, morphing the two faces into something completely new. It has become a Mecca for the artists, freaks, dropouts, free spirits, hipsters and Bohemians of our age. Countless articles attempted to explore the syndrome of the “Berlimania” and the global fascination with this island seeking mainland.

I accidentally ran into Australian musician/ producer/DJ Paul Mac in Neukoelln. In his home, he enjoys stardom for his solo work and being involved in many other projects that span from collaborations with indigenous dance theatres to pop and rock music with bands such as Silverchair or The Dissociatives. He is not a permanent citizen of Berlin but he keeps returning for longer periods of time. I wanted to know why.

Paul invited me to his studio in the heart of Kreuzberg, where he is busy recording a movie score. He rushes me inside a small shop. At the end there is a secret door behind what looks like tin foil hanging from the ceiling. We enter a small, dark room stacked with keyboards, synthesizers, computers, microphones and a few empty beer bottles.

“Just give me a minute. I am about to finish the final scene and then I will send it to the director of the movie.”

A beamer throws a movie onto the white concrete wall. Paul presses play. The movie starts along with orchestral music that lures itself slowly around the images I see. We sit there for a few minutes; Paul seems very excited, eyes focused on the movie. Once the credits roll in, he stops the movie, smiles. He looks very pleased and starts writing an email. Once this is done, one can feel that, despite his very easy going, laid back Aussie nature, the last weeks of work and stress have just fallen off of his shoulders. We decide to get a beer and sit outside a bench in front of a “Späti”, one of the many Kiosks/corner shops, to enjoy the afternoon sun.

So Paul, tell me. What have you been up to lately?

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Photo by Tony Mott

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this process. For example, the scene you just saw, the final scene in the movie: First I had a score that was very emotional, really overloaded and heavy but it did not work. So I reduced it and had the parts recorded anew with only a violin. All of a sudden, it made much more sense.

You told me you played a few gigs here in Berlin as well?

Yes, I have been playing mostly with Stereogamous with our friend from Chicago Shaun J Wright. We have this party called “Voguey Bear” in Sydney. And now we did a few shows over here. We played the Panorama Bar and at Golden Gate. Those are definitely career highlights for me.

Shows I will always remember.

On the way to Berlin, I played a private show in Italy for a jewelry company. That was amazing. I got to see some of Italy, and it helped pay for my trip to Berlin.

How did you experience the shows you played?

For the Panorama Bar, we were invited to play a live set, so we spent a few weeks creating a live show to play there. It was amazing. A one hour set of mostly unheard of material to a super discerning, music loving crowd. It was pretty full on. The crowd went nuts, the sound was amazing, and a lot of our heroes were in the audience. Incredible!

Before the Golden Gate gig I was really shitting my pants. One of my favourite DJs, Rob Gallic, was playing this super deep tech that I love, which we don’t really play, and I thought “Oh my god, the crowd will hate us. We’re way too noisey for this, our music way is just different.” But they loved it.

They really dove into it. It was amazing!

Definitely a highlight in my career so far, and a huge honor! Both of them.

And then I have been working on my next solo album. This has been a process going on for a few years, on and off. I am really excited. I hope it will be out in early 2015 but going back now after Berlin and being exposed to this music here I feel like I have to rework the whole thing. It seems to be way too poppy now (laughs).

When did you decide to come here for a longer period?

When I met someone special here. That brought me back to spend more and more time here.

What makes Berlin special to you?

There is a free spirit here you will not find anywhere else. And the music, of course. So much good music comes from this place.

As a demonstration for refugees passes us, Paul notes that the security forces are called anti conflict forces, a very defensive, passive term that does not hint to them restoring order through force or violence but by trying to avoid any major conflict, by acting preemptive. “Wow that is cool. You would never see that at home. It is a whole different approach. I like that. It is like the police in Amsterdam. And some of them are damn hot! (laughs)” Is it my feeling or are you more ‘out’ in your work lately. You headlined the Brisbane Pride Festival, released a mix tape for BUTT Magazine and also the video clip to Stereogamous’ “Sweat” has, let’s say queer edge to it.

Yes, definitely. I came out very late. I was never ashamed, but in the past people advised me not to do it. They said it would be a bad career move.

Is the public in Australia aware that you are gay?

Yes I would say so.

What do you love/hate about Australia?

I am from Australia, so I start missing the weather.

It can get really nasty here. Right now, I just wanna go to the beach! Sometimes I miss the easy going nature of Australians but here you have certain freedoms you do not have anywhere else.

How does it differ to Australia?

When you go out, for example. It is so different to home. Here, a club may be open all weekend, non-stop and people seem to know how to have fun, for longer, without being idiots. It is a very hedonistic place where you can be whatever and however you want to be. You respect each other’s freedom. And it works.

How do you know Berlin?

I came here a few times to play shows, e.g. with Silverchair or The Dissociatives but also Stereogamous. The music scene is very particular For more on Paul Mac, head over to and I fell in love with it. www.paulmac.com.au

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Evgeny Greshilov Evgeny Greshilov went from being a self-taught acrobat using snow drifts as his net to a student at the circus school and at the University of Culture and Arts in Russia. We talk with Greshilov about Jackie Chan, focus, and why he prefers performing in an actual theater.

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WHERE YOU ARE LOCATED NOW? I’m in the plane, flying to Cali, Colombia to participate at “1 Copa Pole Sudamericana” as a judge and performer. Originally I’m from small town in Siberia, and as teenager, I moved to Moscow and this is the place where I’m living and practicing at this moment.

WHEN DID YOU FALL IN LOVE WITH ACROBATICS? It happened in childhood. I had a friend who was very passionate about Jackie Chan and different ninjas. We spent many time outside, trying to repeat tricks which watched on TV. In my place, we have been a long winters and a lot of snow. How we did it? We were looking for deep snowdrifts and jumping there, trying somersaults.

That were a first steps.

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WHAT ARE SOME OF YOUR FAVORITE PLACES TO PERFORM? I really like to perform in a theatre or in a greatly equipped venue with professional lights and etc. Why the theater? Because it’s specific atmosphere, more artistic and dramatic, the feelings on the stage simply amazing. I found the audience in the theatre a little bit different comparing with other venues.

AERIAL PERFORMING IS A MIXTURE OF STRENGTH AND ARTISTIC LINES AND MOVEMENT. HOW DO YOU FOCUSING ON PERFORMING? During my act, I’m changing my attention all the time. Sometimes, I focus on the trick execution and in another place, on the choreography. But in all of that, I’m trying to feel the emotions according my storyline.

And it can be possible, after many rehearsals, some tricks and transitions become automatic, working on muscle memory.

IN YOUR OPINION, WHAT MAKES YOU UNIQUE? I hope it’s my style on the stage. The mixture of tricks, transition, choreography and characters with storylines.

WHAT IS NEXT FOR YOU? It’s a good question! We will see. It may be time to find myself in something completely different or maybe time for family. I have some projects, but not ready to talk about it just yet.

For more on Evgeny, head over to www.evgenygreshilov.com

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Jim Caruso’s Ultimate Party featuring his pack of Legends from Birdland, Broadway and beyond

Klea Blackhurst Natalie Douglas Julie Halston Billy Stritch “Madam Secretary” star

Erich Bergen YouTube Sensation

Colleen Ballinger Tony Award nominee

Amanda Green “The Luke and Jeff Show”stars

Luke Hawkins & Jeff Pew Television legend

Linda Lavin Singer & MS activist

David Osmond Bassist & singer

Steve Doyle Drummer & author

Daniel Glass

&

Icon of stage and screen

Liza Minnelli 54 BLEEP

PHOTOS BY BILL WESTMORELAND Alexandra Haas introduced me to Bill Westmoreland when I moved to New York 25 years ago. We did a photo shoot, which yielded the best picture I’d ever taken.

We’ve done about two dozen shoots since then, and I don’t know a soul who works harder, or cares more about their art. He’s someone you want on your team, and I’m so proud that he shot this BLEEP cover and so many of the inside photos! -Jim www.billwestmoreland.com

Vintage 1960’s jewelry courtesy BLEEP 55 of Karen Kleber

Editor’s note: There is no one more qualified in New York City to curate an issue full of ridiculously talented people than Jim Caruso. He’s also the one man in New York who I take at his word - no questions asked. If he says there’s an artist I need to listen to, seek out, get tickets to see - I do. He’s always the coolest guy in the room, though he’d never admit to it. It’s an honor to call him a friend and to have him and his talented friends all over this issue. - Ryan

jim caruso

that’s the key to the success of Cast Party. My hosting exuberance is sincere. We get to celebrate talent in the greatest rooms in the country, with brilliant musicians accompanying. There’s no judging or booing and it’s a happy, positive experience for all of the performers.

Someone just said, “Cast Party is the perfect marriage of muse and booze.”

CAST PARTY HAS BEEN HOST TO EVERYONE FROM TONY BENNETT TO ARIANA GRANDE, FROM LISA LAMPANELLI TO LIZA. THIS YEAR, HOWEVER, THE CAST OF BRAVO’S “THE REAL HOUSEWIVES OF NEW YORK CITY” PAID YOU AND THE BIRDLAND GANG A VERY MEMORABLE VISIT. It’s true! Cast Party is like the Ellis Island of Open Mic nights…at some point, they all come through the gates! The “Real Housewives” showed up with bugle beads and a gigantic camera crew. The resulting episode garnered over a million viewers, a ton of Birdland screen time, and a People Magazine piece. It was come-what-mayhem! They all ended up singing, and Billy and I provided backup for Countess LuAnn de Lesseps, which made Pinot-swirling Ramona Singer livid. She began a Ramona-coaster of insults, hinting that LuAnn had personally hired Billy to play for her.

LuAnn sniped, “He’s Liza Minnelli’s accompanist, you cow!” which turned into Cast Party Quote of the Year!

LOOKING BACK ON THIS YEAR, WHAT HAVE YOU LEARNED? I’ve learned that I like group action! This year, one of my goals was to put together variety shows with interesting combinations of the talented people I know and love. It started with a thrilling All-Star Cast Party we presented at Jazz at Lincoln Center. There was dancing and singing and lots of harmony. I found that I’d been missing the great energy that brings.

I know a slew of ridiculously talented, funny and brilliant performers, so why shouldn’t we all work together? Jane Monheit, Billy Stritch and I just enjoyed a run of “Hollywoodland” at Birdland – all music from the movies. Billy and I are at Bemelmans Bar at The Carlyle Hotel every Sunday (with special guests), and we’ll do our “Swinging Birdland Christmas” with Klea Blackhurst during Christmas week. I always say that show business is 75% about the “hang.” And believe me, you want to hang out with these particular LOOKING FORWARD TO NEXT YEAR, WHAT HAVE people. Of course, there’s always a lot of laughter – it’s YOU GOT UP YOUR SLEEVE? probably what brought us together in the first place.

Lots of plans for Cast Party! My dear friend Dave I have a feeling I’m just creating the big family I didn’t Koz is opening a new music room in the heart of have as an only child!

Beverly Hills, and we’ll be there on December 17. We’ll return to The Smith Center in Vegas and have some CAST PARTY, YOUR OPEN MIC AT BIRDLAND AND overseas possibilities. We’ve been planting seeds ACROSS THE COUNTRY, CONTINUES TO GROW with “Hollywoodland,” and Billy and I are putting a AND BECOME MORE AND MORE EXCITING. WHAT Sinatra Centennial show together. My Monday night KEEPS YOU GOING? Broadway at Birdland concert series is going great Cast Party is never the same – I never know who guns, too. So that takes care of the showbiz portion or what will walk through the door on any given of my life. I’m very optimistic this holiday season, and night. Sometimes it’s like the “Den of Non-Equity,” am very much looking forward to 2015! Just knowing sometimes it’s “Night of A Thousand Stars.” A that I’ll be surrounded by extraordinary friends is the performance by Martin Short can follow a housewife best gift ever! singing an original song about her feet. It’s a showbiz democracy. I’m obsessed with talent, and maybe For more, head over to www.castpartynyc.com 56 BLEEP

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Before I knew Klea, her publicist tried in vain to get me to her one-woman Merman show. I kept saying no, because it sounded like my idea of hell, only because I wasn’t so much into Ethel. When I finally saw Klea in action, I couldn’t believe I’d been missing so much fun for so long. She’s one of the most entertaining, intelligent performers on the cabaret and theater scene, and as a Utah native, a fellow Osmond fan (see page 76) -Jim

klea blackhurst TELL ME ABOUT YOUR 2014.

This past year, I’ve been really busy, but also really trying to get my feet firmly in theatre. I did a new musical in development called Queen Mother about Charlie Chaplin’s parents, and then I also played Ursula in The Little Mermaid, which I made very Shakespearean by the way. I made her bigger than the sea.

away learning a little bit. I think having a context for a song lifts it for an audience today. I’m thinking of a Gershwin Brothers song called “Sam and Delilah,” which is the first song Ethel Merman sang on Broadway, about 7 and a half minutes before she sings “I Got Rhythm,” which becomes the big hit. So to say that on the opening night of Girl Crazy, George Gershwin is in the pit, and there’s Benny Goodman, Tommy Dorsey, Jimmy Dorsey, Glenn Miller, Gene HOW DID YOU MAKE YOUR URSULA DIFFERENT Krupa – all of these guys are in the orchestra pit while THAN A CARTOON? Gershwin is conducting - I swear to you, that bit of I got in the middle of it and it was so heightened info gets audiences so excited, as if I have anything to and I realized it was very much like a Shakespearean do with any of it, which I don’t. I like people to have villain. I mean, I have a cauldron, a magic shell, I’m laughed and really enjoyed themselves. going to destroy my brother’s daughter to get back at him – it has giant epic themes that I just got into.

WHAT INSPIRES YOU? There is a certain something to the people in this HOW ELSE HAVE YOU BEEN WORKING IN THEATRE? room. Jim has created a world at Birdland that is I did my first Gypsy two years ago and I did my sustained excellence. Theatre still inspires me, and not first Hello Dolly last year. It’s so good. I got to be the even the pieces themselves, but the insane dedication Goodspeed Opera’s Dolly which was a huge honor of the people. It’s just so incredibly daunting and because that place is so historic. They had never done amazing that you just have to keep doing it. It’s sort it and it was Hello Dolly’s 50th anniversary. I’ve also of our lot in life. been working on a new musical version of Hazel. I think that will go forward in the next year or so and LOOKING FORWARD, WHAT’S NEXT? it’s being directed by Lucie Arnaz.

We have a Swingin’ Birdland Christmas with Jim and Billy, and this is our fifth year to do it, which means SWITCHING GEARS, WHAT DO YOU BRING TO THE we’re Christmas perennials. I can’t believe it. The fun TABLE DURING A CONCERT? thing is that we are the early show at Birdland for the My calling card, or claim to fame that put me holidays. It’s less about us, we are the early show at into this world, was a show about Ethel Merman. It this world-famous club. It’s amazing. was a tribute from one personality to the greatest personality of that ilk. I like songs and the music For more on Klea, head over to to be put into a certain context. I like people to go www.kleablackhurst.com 58 BLEEP

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We like to say that Natalie has performed 745 concerts at Birdland over the past ten years. It’s more like 30, but that’s not as funny. Natalie was one of my first Birdland bookings, and boy, did she do me proud! With fabulous shows, consistent sell-outs and that thunderous voice, is it any wonder her photo now graces the wall at Birdland? -Jim

natalie douglas YOU JUST GOT BACK FROM LONDON, DOING YOUR THIRD HEADLINING AT THE CRAZY COQS. WHAT IS THE DIFFERENCE BETWEEN A LONDON AUDIENCE AND A NEW YORK AUDIENCE? A London audience takes a tiny bit longer to realize I want them to laugh. I want them to engage. Part of cabaret has lost meaning and occasionally when I’m doing shows across the country and tell people it’s a cabaret, they think that means stripping. It’s actually about the communication and the connection I love to make with an audience. It’s a complete dialogue, they just don’t have any lines. The audience is your scene partner. So it takes a second longer for the UK audience to know that I want that connection, but once they’re there, they are so fantastic and interested.

I’ve been doing this for a while and I always try to talk about the anecdotal, fun and interesting things about these songs. I just did a Dolly Parton show and I know that some people who showed up knew more about Dolly than I did, some came because of me, and some came because of the room. All of those people need to have an entertaining and good experience.

just as much time worshiping Nina Simone as I can Patsy Cline. I’m that girl. I have a whole Streisand show and I’m a Judy freak. Gisele McKenzie, Alice Fey. My parents were much older when they adopted me, so I have their taste.

YOU’VE PERFORMED IN SOME OF THE MOST FAMOUS VENUES IN NEW YORK. IN THE PAST YEAR, WHAT HAS BEEN A HIGHLIGHT? This year included getting my picture on the wall at Birdland. I grew up hearing about Birdland. My parents loved music and music was a part of everyday life. Birdland was a legendary name spoken in hushed tones in my house. When I first performed there in 2004 was thrilling, but I never dreamt my picture would join those pictures. Jim and Gianni totally surprised me. There was some crying and some screaming.

WHAT’S COMING UP? Our annual New Year’s Eve show. I’m doing a lot of one-off things and my annual trip to Dallas to sing at this fierce Christmas Party that has many illustrious guests, including a former President. In the spring, I’m going to start doing a show once a month at Birdland.

SPEAKING OF YOUR DOLLY SHOW, YOU HAVE A PRETTY DIVERSE TASTE IN MUSIC. HOW DOES THAT COME OUT IN YOUR SHOWS? I have a Nina Simone show and I have a Dolly Parton For more on Natalie, head over to show. I love singing things that are current and fresh, www.nataliedouglas.com but I’ll always be a sucker for a standard. I can spend

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After I saw Julie Halston’s first one-woman show at “EightyEights,” I bounded up to her and said, “You’re fabulous, and we have to be best friends.” Amazingly, she didn’t call security. We went to dinner, had a ball, and have been yakking and working together ever since. Very few people on the planet make me laugh harder than Julie-Lynn. -Jim

julie halston YOU’VE HAD A BIG YEAR! This past year has been fantastic. I worked on a fantastic play by Richard Greenberg called The Babylon Line. That’s how my year all started and then I got this call to be a part of this play headed to Broadway, You Can’t Take It With You, the Kaufman and Hart classic, starring James Earl Jones and Rose Byrne. Now, we’re on Broadway.

HOW HAS THIS PLAY CHALLENGED YOU AS AN ACTOR? It’s very physical. There’s a very physical moment in Act 2 where I have to do something on a very steep staircase. So not only do you have to do this very physical thing, but you have to keep the audience in paroxysms of laughter while you’re doing it. That was the challenge. Every night, it is something that I have to condition for. Also, this is an American classic that is so well structured, but it’s fast paced. It’s like a musical.

It’s rhythmic. It takes a lot out of you, you have to be on your toes and if you don’t get the timing right, the joke will fall.

This play was written in the 1930’s and we talk about all the same stuff we are still talking about.

Russia, taxes, Wall Street, sex, romance, family. Done.

Kaufman and Hart. They knew what they were doing.

WHAT HAS IT BEEN LIKE TO WITH JAMES EARL JONES? He couldn’t be more delicious. He’s very humble. He has that voice and everyone knows his voice. What they don’t know about him is that he really is very honest, a truthful actor, so fun and very protective of us. He’s enjoying himself at 83 years old, doesn’t wear an earpiece, came to rehearsal almost completely memorized – he’s the total pro. We live in a culture that’s so obsessed with fame, but then there are the masters and that is not part of their equation. They really want to be great at what they do.

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I like to work with people who are constantly improving their craft. That’s part of why I love working with Jim and with Billy. They are so good at what they do and they are always getting better. It inspires you to do better. It’s also more fun. I’ve worked on projects that have done well, perhaps for the wrong reasons and I’ve worked with people who are famous who weren’t very good. That’s not fun. People like that are very insecure and it really becomes about their needs. When you’re really good at what you do, you’re generous. Insecure people are not generous.

HOW DO YOU CHALLENGE YOURSELF? I’m always reworking my material. I also coach a lot of people. When you teach and coach people, it forces you to be better. Students ask questions and they are paying you for the answer.

I also think the most important thing is that you have to be enthusiastic about the future. It’s very important to be optimistic and not negative. The world has changed. How about moving with it? Young people are our future. They want to learn and they are doing a lot of things. The young people I work with are very respectful of heritage and they have more resources to look at it. It’s important to be engaged in the world.

WHAT’S NEXT? I’m doing a show with Julie Gold at Birdland, my favorite club. I’m actually working on a screenplay with my friend Donna Daley. We wrote a book of original monologues called “Monologues for Show Offs” and it was all original monologues for actors.

A lot of colleges and casting agents have them in their arsenal. So now Donna and I are working on a screenplay together.

For more on Julie, follow her at www.twitter.com/juliehalston

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I first met Billy in a smoky Dallas piano bar in 1982. He wore a piano brooch, big red glasses and was playing better chords on that piano than any human I’d ever heard. We became bFFs, due to our similar sense of humor, mutual love of The Carol Burnett Show medleys and a certain Eydie Gormé torch song. There is no end to the fun we’ve had touring the globe with Cast Party, Liza and our own duo show. He’s one of the all-time best accompanists known to man, and a thrilling entertainer in his own right. -Jim

billy stritch LOOKING BACK ON THIS YEAR, WHAT HAVE YOU LEARNED? The past year has been a lot. It’s been kinda crazy.

One of the nicest things that’s happened is that I got a stage in the auditorium where I grew up in Texas named for me. It will forever in perpetuity be named the Billy Stritch Stage in the Sugarland Texas Auditorium, which is a landmark building which is fabulous.

Earlier this year, I spent a great three weeks in London working with Marilyn Maye at a club called The Crazy Coqs and I also worked at a club called The Pheansantry.

I also remodeled my kitchen this summer which may not sound like a lot, but in New York City, it’s quite a lot. Lots of trips, and I’ve been continuing my association with Jim Caruso at Bemelmans Bar at the Carlyle on Sunday nights as well.

glamourous, old New York hotel. I always tell people, if they want the quintessential New York night, an evening at either the Café Carlyle or Bemelmans fits the bill. There aren’t a lot of places with an environment like that in New York that have great live entertainment. It’s a great vibe, you never know who you’re going to see there. That’s where a lot of the celebrities stay so you get to see stars all the time. But it’s low key so that’s nice.

WHAT’S NEXT FOR YOU? I’m looking forward to a week of Christmas shows with Klea Blackhurst and Jim at Birdland. We’re also going to Indianapolis to do a week of Christmas shows. Christmas is always a great time. There’s a lot of fun work and a great time to be in New York. Next year, I’m working on an Alaskan cruise but I’m also looking forward to that down time.

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erich bergen Erich Bergen is talented, smart and ridiculous, which are evidently prerequisites for being a friend of mine. He first came to Cast Party at age 17, accompanied by his father. His career has blossomed, thanks to the “Jersey Boys” movie and “Madame Secretary” on CBS, but he’d still rather talk endlessly about the pre-teen theater camp he attended. Trust me…don’t bring it up. -Jim You’ve had quite a 2014! Let’s start with Jersey Boys.

What did that experience teach you about yourself?

That anything is possible. Being in the movie of “Jersey Boys” was something I thought about sitting backstage on tour with the show, but, and this is gonna sound strange, it’s the kind of thought that’s fun because it’s safe. You know it’s not gonna happen, so you can daydream all you want about it. There’s no stakes. But when it actually happens, it’s an out of body experience. So more than anything, that whole experience taught me to dream even bigger, because those things really happen.

Having now played both, what was it like transferring Bob from stage to screen?

Not that different. Des McAnuff’s original direction of the stage show was very cinematic, in both the production overall and in how he wanted the actors to approach the piece. So when it came time to put it on film, I didn’t feel I had to “adjust” much. That being said, if you are in the moment, there’s a natural change that occurs when you don’t have get across information to the last row of the balcony and there’s a giant camera 2 inches from your face. Clint also allowed us to breathe in the scenes a bit more, we didn’t have to “tell” the audience information because we could just show them. It allowed us to live in these characters in a way we never got to on stage.

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You’re also part of one of the fall’s hottest new shows, “Madam Secretary.” How has this show stretched you as an actor?

I love every second of this show. Working on a TV show like this - you really have to think on your feet.

Things change moment-to-moment. A scene, when we get it on its feet, maybe doesn’t work as well as it did on the page, so it’s re-written quickly and you have to memorize new lines on the spot. From moment-tomoment, things are changing and you just have to be present and be aware, all while memorizing lines you “sort of” know. It’s quite scary sometimes, but really thrilling. I’ve never done anything like this.

What’s next for you?

I’m lucky enough to be on a show that everyone’s loving, so “Madam Secretary” continues until the summer, and then hopefully we will be back in the fall! I don’t do the “vacation” thing very well, so I’m currently looking at a few projects to jump into over the summer.

Looking back on this year, in a nutshell, what has it taught you?

I own way too many pairs of shoes.

For more on Erich, follow him at at www.twitter.com/erichbergen

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Colleen Ballinger If you’ve spoken to me for more than ten minutes, you’ve heard me reference Miranda Sings, the brilliant-but-passive-aggressive creation of Colleen Ballinger.

After discovering her on YouTube, I invited her to Cast Party, which yielded one of the funniest impromptu moments in our history. I told her she’d have a home at Birdland if she ever put an act together. She did, and it was instant pandemonium with lines ‘round the block. Now she’s performing hundreds of concerts every year all over the world, and just made an appearance on “The Tonight Show” as the guest of the newest Mirfanda, Jerry Seinfeld. -Jim You were nominated this year for a Teen Choice Award! What was your reaction to finding out about your nomination?

I was so excited to find out I was nominated! It is amazing that people are started to recognize and respect online content creators.

It was such an honor to be nominated and I hope award shows continue to nominate Youtubers and other creative people online.

Talk about “Comedians in Cars Getting Coffee.” How did that come about? What did that experience mean to you?

Jerry Seinfeld gave me a call one day and asked if I wanted to be on “Comedians in cars Getting Coffee” and I was over the moon! His daughter is a fan of Miranda and showed him some of my videos. He liked them, and decided to have me on his show. The entire experience was surreal. He is absolutely wonderful and I learned so much just from filming that one episode with him. Definitely the most terrifying and gratifying experience I’ve had in my career.

Is Miranda here to stay? What does the future hold for the character?

Miranda will live as long as people want to see her.

I always thought it wouldn’t last but people keep asking for more. She is such a fun character to play

and I really enjoy making the videos. I would love to broaden the audience and introduce more people to the weirdo that is Miranda Sings. I would love to do a television show and I’m working on one right now but with this business, you never know what’s coming next.

What’s next for you, Colleen?

Getting married!

I’m busy running around with lipstick all over my face on the internet, on tour, on sets, etc so I’m looking forward to having a day where I get to be normal with my family and get married to my awesome fiancé. After that, I plan on continuing to act like a fool on the internet for as long as people will watch.

Looking back on this year, in a nutshell, what has it taught you?

Hard work and determination pays off. I have worked so hard the last five years with this character and for the first time she is truly being recognized in the business.

It’s so satisfying and humbling.

I’ve also learned to cling to family in difficult times. The hate and backlash is sometimes overwhelming and I’ve learned that spending time with family is the only way I’m able to let it roll off my shoulders and be okay.

To keep up with all things Miranda Sings, follow at www.twitter.com/MirandaSings

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Gianni Valenti has been the owner of Birdland for 30 years – and has kept it running in the black for just as long. He’s the only person on earth I fight with…and for all the right reasons. He cares about his business like I care about mine, and we have a fairly perfect working relationship…even if I do drive him crazy. - Jim

jim’s must list Schmackery’s Caramel Apple Crisp Cookies Bar Centrale Bemelmans Bar at The Carlyle Hotel “Watch What Happens Live” Hermés boxes and their contents Coca-Cola Grey flannel (the fabric, not the cologne) New York City Birdland Cher…always Cher “Kay Thompson’s Eloise” The Turks & Caicos Islands Joe Eula illustrations Fred Astaire Films Dots (the candy, not the pattern) 70 BLEEP

a conversation with gianni valenti Where did your love of music originate?

From my father. He was a musician: a saxophone, clarinet player from Italy. My grandmother was an Italian opera singer. My sisters played piano and tap danced. My older brothers were drummers. So music was always in our family from the time I was born.

You just signed a new lease to keep Birdland going! In a time when so many institutions of New York are disappearing - what’s the drive to keep this iconic place alive?

It’s important for us because Birdland was established in 1949, and is the home of so many of the jazz greats. Jazz is our heritage, it’s the American music. We need to keep it alive. And I feel I have to do my part to keep the name alive and the tradition going. In 1983 when I first met Doris Parker, Charlie’s widow, I made a promise to her that I would keep Birdland going for the next 50 years. If I can fulfill my 50 year commitment, I’ve done my part.

There are now plans for the basement of Birdland. Tell me about Feinstein’s.

With more and more venues closing, I feel very grateful that we have just signed an additional twenty year lease at Birdland. Michael Feinstein and I have been friends for years, and when I was renegotiating my lease, we began to discuss re-opening Feinstein’s on our lower level.

We both feel it’s important to give artists a quality home to perform.

Our plans are to build an intimate nightclub, seating about 100 people, with a state-of-the-art sound system, great food, and reasonable prices. It’s imperative to continue celebrating the Great American Songbook.

What does the future hold for Birdland?

Birdland has been around for 65 years. We’re expanding musically, and I’m happy to be building a different audience, thanks to the Broadway at Birdland series. Of course the jazz community is of utmost importance to us, but we will continue to be flexible, creative and eclectic. I’m thrilled that music is headed in a positive direction, and that Birdland continues to grow.

Photo by Bill Westmoreland You’ve performed on Broadway and you’ve written for Broadway. In the space of a tweet (140 characters), tell me the difference in how you approach the two.

When u write, you’re done opening night, when u act, it’s just the start.

Most recently, you were nominated for a Tony Award for your writing on Hands on A Hardbody.

How did that show differ from what you’d written previously?

I wrote music as well as lyrics for the first time. Hands was based on real people and my collaborators and I got to know them and felt honor-bound to portray them as rich, full people, not caricatures. The show is very funny at times, but also about serious themes like faith, racism, economic inequality, aging, and the American Dream.

What’s next for you?

I am writing additional lyrics and some new songs for “Peter Pan Live” airing on NBC December 4.

Looking back on this year, in a nutshell, what has it taught you?

This year taught me to just keep working, trying to do my best and to have faith that you never know what’s around the corner.

For more on Amanda, follow her at www.twitter.com/amanda_green

amanda green On one hand, songwriter Amanda Green is a throwback to a more erudite time, thanks in part to what she must have learned at her brilliant father Adolph’s knee. She also has an edgy, hipster side, writing musicals with the cream of the contemporary crop of Broadway writers like Tom Kitt, Lin-Manuel Miranda, Jeff Whitty, Doug Wright and Phish leader Trey Anastasio. Her Birdland concerts are legendary, humor is dark as night, and her friendship is precious! - Jim

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Luke Hawkins & Jeff Pew

Luke Hawkins and Jeffrey Pew are a modern-day Martin and Lewis; at once musically savvy, charming and completely insane. They sing, they dance, they play instruments and everyone who meets them falls for them just a little. Their YouTube videos are taking the Broadway community by storm, so get on the bandwagon! -Jim In your videos, you seem like you’ve known each other forever. How did you become friends and collaborators?

We began our bromance in the summer of 2011 at the Sacramento Music Circus. We did four shows that summer and I was playing the piano – Luke came out of the dressing room and was like “No way! You play the piano?” Luke is a sick tap dancer. That began our jamming on piano with him tapping. We’ve just been super tight ever since.

our comedic skills and shape it into something we think is cool.

What’s the point?

We are both Broadway performers. I’m in Cinderella, Luke just finished the Top Hat lab. I’m doing First Wives Club in Chicago – it’s what we do. It’s what we hope to do for a long time. The reason we are doing this Youtube show is that it’s more bold and risky to make something yourself. We feel like we have that capacity. We love the energy we have and the How did “The Luke and Jeff Show” come into being? bits we can create. We feel like if we never take the We just started it. Before the show, we were opportunity to flesh it out, that’s a big regret we don’t hanging out at Birdland all the time for Cast Party and want to have. It’s better to do it and fail than to never “The Luke and Jeff Show” came from us wanting to do it at all. do something together. We had talked about doing a show for the Broadway at Birdland series, which we What’s next? will probably do, but if we had a YouTube channel, it The way I answer that question is: I don’t care what’s would allow us to be creative and do bits and creative next, I just want to make cool videos. We’ve talked things. It could be anything. We felt it was the best way about it being an official web series. We’ve talked for us to be in control of any type of entertainment about it allowing us to branch out into the sketch value we could put out there. It wouldn’t be limiting. comedy world. The possibilities are endless but at this point, we would be getting ahead of ourselves by What has been the biggest challenge in creating planning on the next big step. We would rather put these videos so far? out good content. Some of our videos really hit the I never went to film school and I’m not a computer mark and some, we learn from. I think that’s the most wiz. We just have a bit we want to do and then have to important thing to focus on right now. We just want figure out how to make it happen by communicating to make cool videos. with our videographer and storyboarding. We’ve had to be unafraid to go with a concept that doesn’t necessarily fit into what’s already out there. If we Follow Luke and Jeff on their YouTube channel at think it’s funny, we go with it. We are trying to hone www.youtube.com/user/TheLukeandJeffShow 72 BLEEP

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Linda Lavin

Linda Lavin and I met while singing at President Clinton’s first State Dinner at The White House, which we’re more than delighted to tell anyone who will listen.

Everyone knows she’s theatrical and television royalty…but did you know she makes the best pot roast this side of…anywhere? - Jim

From “Alice” to “The Good Wife,” you have seen the TV industry evolve and change. What are the biggest differences between working on a show then and working on a show now? What’s stayed the same?

I honestly don’t see many differences! It’s all about the work. Of course, the “Alice” cast and crew were my family for 9 years. I loved and laughed with them every day. We worked hard and enjoyed the success tremendously. Being a guest on “The Good Wife” has been an absolute joy. Julianna Margulies, Christine Baranski and the rest of the cast are true professionals and such lovely people. They welcomed me just like we did when people guested on “Alice!”

You never stay far away from the stage for long.

What keeps drawing you to live performance, may it be a cabaret or a play?

The material draws me back. And the people. That’s one of the perks of success. If you’re lucky, you have the choice of working with the best in the business.

When Nicky Silver, Charles Busch, Richard Greenberg or Hal Prince calls and invite me into a project, I’m there.

What inspires you to keep going and keep pushing yourself as an artist?

Getting to watch other people’s good work always inspires me, which is why I love seeing a lot of theater and film. I’m a character actor. I want to show up and play all the women that live inside of me. Happily I’m starting to do more film work. There was the Robert DeNiro/Nancy Meyers movie “The Intern,” “A Short History of Decay,” and two independents that are as yet unreleased. It was always my hope to do these kinds of interesting projects…and now they’re happening.

What’s next for you?

I’m in talks about doing a Broadway show for the fall of 2015 and I’ll do some concerts at 54 Below in June – y’all come!

Looking back on this year, in a nutshell, what has it taught you?

I’ve learned that I have to live fully in the moment.

It’s quite a commitment! I want to enjoy my life and not worry so much about the future. We all know how that story ends…so why dwell?

You’re someone who has accomplished so much For more on Linda, follow at in so many facets of the entertainment industry. www.twitter.com/Linda_Lavin

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david osmond When my friend Natalie Jensen brought David Osmond to Cast Party 11 years ago, I did my best to keep a lid on my Osmond obsession. Cut to last year, when I was in line at the Salt Lake City airport on a layover. Who was in front of me? David Osmond. He turned around, gave me that famous smile, and said, “Well ONE of us had to be here to greet you!”

This guy is ridiculously talented, and is doing incredible things with his life. That family continues to inspire me. - Jim

Where did your love of music originate?

Before I even knew music was music, I was in that it was a business. My dad is Alan Osmond, one of The Osmonds, producer of “The Donny and Marie Show,” etc. I have 7 brothers, I’m the 4th of 8 boys. I became the leader of my younger brothers’ little barbershop quartet and my dad saw this desire to sing. My dad taught us four part harmonies and we sang all the songs he sang. That was my first introduction into music. I’ve been performing since before I could remember. We became a boy band – we were “The Osmond Boys” and then “Osmonds Second Generation,” and we used to tour with New Kids On The Block.

I was 12 and I went to the premiere of my uncle Donny in Joseph and the Amazing Technicolor Dreamcoat - I never knew this world of Broadway existed to this scope. A few years later, I actually played Joseph and ended up being Donny’s understudy. I ultimately played five companies of Joseph. It was a dream come true.

There was a time when all of my writing and singing came to a stop. I had to give up music for quite a while. I had crushing pain everywhere, my eyesight diminished, I could hardly move, I ended up in a wheelchair. I didn’t even know what it was. After being in the wheelchair for the better part of a year, I was diagnosed with MS. I thought I knew what that meant and I thought music was over for me. My dad also has MS. He’s had it for 27 years. In a matter of months, I’m worse off than he had been in decades, so I was in denial.

So I was trying to figure out what I needed to do, I was in survival mode. I actually proposed to my wife from that wheelchair state. I have been, miraculously in some ways, back on my feet and walking. I still deal with MS symptoms, but I can sing again, write again, perform again, play my guitar again – and I have such a deeper appreciation for all of it. I’m back to the point where I’m doing my music again.

I’ve got a lot to sing about.

Tell me about Our Voice In Song.

As strange at this sounds, MS is one of the best things that has happened to me in my life. It’s allowed me a new perspective on what life is supposed to be. Life is so special and we have to take each moment and exploit it and live it to the fullest. To sing about it adds a whole new layer. Music is power. Music is what feelings sound like. I want to use music to inspire. There are a lot of great people living with MS, so I wanted to give back to this community that has given me so much. It’s a free song, inspired by my journey with MS, and I hope it inspires people who are on their journey, but

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we all have challenges. Every person. It was inspired by my grandpa George. He was literally a drill sergeant in the Army. He told me, “You’re going to go through hard times in this life, but I promise you, no matter what comes, you can do it. You can do it. Keep fighting and stay tough.” I hope the song blesses their lives as music blesses mine. (www. ourvoiceinsong.com) What inspires you to keep going and keep pushing yourself as an artist?

I’m influenced by something every day. I’m now a father and I have two little girls. Coming from this family of so many brothers, to be a daddy now, inspires me. My wife inspires me. Music is always in our house and our minds. That is a driving force for me and that unconditional love is a major push. Having gone from not being able to move my toes to being able to take a step inspires me.

What’s next for you?

I’ve got a project I’ve just finished and I hope it will be out next year. Now that I’m doing my music again, I’d love to get back to New York. Having a family makes touring and traveling difficult so it has to be the right fit. Sometimes, those tours and sit-down shows that allow me to come home to my family are cool things. I’ve had some opportunities hosting which is a fun cool thing as well.

Looking back on this year, in a nutshell, what has it taught you?

To never give up. There have been so many crowning moments in my life that have taught me some great lessons.

When I was dating my wife, we knew we wanted to get married. I was in my wheelchair at my parent’s house, my brother was wrestling with his son and it was like a Hallmark moment. I had this question of “Why me? Why did this happen to me?” I felt like I would never have that moment with my kid. I learned in that moment, for me, I’m never allowed to ask that question in my life, unless I ask that same question of “why me” for every happy and good moment as well. As I focus on my abilities, as opposed to my disabilities, I know to keep pushing. I may not be able to run the marathon, but I can at least walk it right now. I can do things. That means a lot to me. As I’m creating music again, I know how important it is to never give up.

For more on David, follow him at at www.twitter.com/DavidOsmond1

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Steve Doyle

Steve Doyle has probably been on stage for as many Cast Parties as I have! His dependability is as rock-solid as his bass playing and musicianship. Plus, nobody is nicer…he’s become an audience favorite at Birdland! - Jim

Where did your love of music originate?

My family had a Hammond organ in the living room of my childhood home that I used to play. I was pretty good at picking up melodies and songs so my father got me started right away with lessons. It didn’t take long for music to become an integral part of who I was because it was something that I excelled at and enjoyed. When guests came around the house, my dad would encourage me to give a little mini concert - he would be very proud and applaud. After a while I thought, ‘hey, this playing music stuff is pretty cool.’

Later I realized it was more like 50% cool and 50% nerd.

the past five weeks with a rental bass so I’m really looking forward to getting back home and getting my hands on my own bass. In terms of projects, I’m planning to finish up work on a new children’s musical - Daddy Dialogs. I also want to record a few videos for release on iTunes and YouTube in the coming months so look out for that!

What’s next for you?

I’ve been on the road touring with Tony Desare for

For more on Steve, head over to www.stevedoyle.com

Looking back on this year, in a nutshell, what has it taught you?

I have to say patience. I had a hell of a time in 2014 with all the repairs on my gear. It was uncanny. A giant crack appeared on the top of my most expensive bass and my two other basses needed work as well.

What inspires you to keep going and keep pushing In addition, both of my amps started malfunctioning yourself as an artist? and my electric bass fell into disrepair. It was sort of Every artist or musician has those moments when like a hell year in that regard. The light eventually they need to push themselves to overcome doubt, appeared at the end of the tunnel and thankfully, uncertainty or adversity. For me it helps to realize the malaise has been brought under control. I really why I started playing music in the first place - because had to just forge through and get ‘er done. Winston I love it. More, music can affect people in so many Churchill couldn’t have said it better, “if you are going unseen ways. It floats my boat to know that the core through hell, keep going.” of what I do is altruistic.

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daniel glass Drummer Daniel Glass had a few Mondays off during his stint touring with the Royal Crown Review, so he sat in with the band at Cast Party. Our “Symphony Orchestra” never sounded better, and we were hooked. It was a happy day when he was able to become our permanent drummer!

Where did your love of music originate?

I’ve always loved music. Ever since I can remember, it has played a big role in defining what I’m about as a person. I grew up in Hawaii, and from a very early age, I was surrounded by a wide variety of languages and sounds. My parents were very progressive when I was little, and refused to get a television (they thought it would “rot” my fragile mind). As a result, my sister and I spent hours every day listening to the radio we became obsessed! In addition to the pop and rock we were absorbing, my parents listened to classic, opera and folk, so there was always lots of music in the house.

What’s next for you?

As usual, I have a thousand projects in various stages of completion. I do a lot of work as an educator, and along those lines I’ll be releasing a new DVD in January of 2015 about the evolution of American popular music called “From Ragtime to Rock.”

Hopefully, this will serve as a fun and helpful teaching tool for educators. I’m also in the process of creating a clinic presentation about the life of drummer Gene Krupa, which will be my focus for drumming festivals and other events I’ll be attending next year.

Along those lines, I’m also organizing a symposium all about the history of the drum set, which I will cohost next Summer with the Percussive Arts Society at What inspires you to keep going and keep pushing their headquarters in Indianapolis. And of course, I’m yourself as an artist? always working with a variety of artists like Marilyn After 25 years of fighting “the good fight,” I’ve Maye and Royal Crown Revue, as well Jim Caruso’s learned that if I can stay connected to what makes me terrific “Cast Party” show at Birdland. passionate about my craft, I’ll stay inspired. Making one’s living as an artist is a difficult task under any Looking back on this year, in a nutshell, what has it circumstances, and doing it year after year requires taught you? a certain kind of tenacity, discipline and a dogged Looking back at the end of each year, I’m always belief that the future will be bright no matter what amazed at how much I’ve accomplished over the the present looks like. It’s very easy to allow bitterness, preceding 12 months. Looking forward, there’s always regret and a sense of entitlement to slip in (as in “the a mixture of excitement and terror about what the world owes me something”) - we can’t allow those next 12 months will bring. I think it’s good to have kinds of feelings to dictate our narrative as artists, or some anxiety of the future - it keeps that fire lit under discourage us from making new work. For me, I’m at me, and pushes me to keep reaching upward! my best when I go back to thinking like a teenager, when I was just excited to experience, talk about and For more on Daniel, head over to www.DanielGlass.com share music simply because I loved it so much.

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Liza Minnelli I can’t think of anyone who has been more influential in my life and career than Liza. I’ve opened for her, assisted her, traveled with her, and roared with laughter with her. She gave me the greatest gift of all when she invited me to sing and dance with her in the tour and Broadway run of “Liza’s At The Palace,” celebrating the late, great Kay Thompson and the Williams Brothers. She’s also the Godmother of Cast Party – her impromptu performances helped put us on the map!

How are you feeling? Ready to dance again?

I’m feeling great, I’ll be ready to dance in just a minute.

all be able to work together again, perhaps a movie.

You inspire so many. Who inspires you?

Oh I’m inspired by so many people, and so many Your ‘Sally Bowles’ stands as the definitive Sally. different things. Mostly people who are dedicated to How do you feel about the enduring appeal of the working towards achieving their highest potential in character? the craft they are passionate about and still managing I think Sally’s character is wonderful and has to maintain their sense of humor. persevered beautifully and with such tenacity by Bob Fosse.

What do you have your sights set on next?

I never know what’s coming next, isn’t that divine?

You’ve been an integral part of the pop culture But I’m always looking forward to the surprise and landscape for years, and currently you have the challenge. energized a new generation of fans as a part of “Arrested Development.” What has being a part of What means the most in the world to you? such a cult classic show been like? How did it stretch Too much to tell, but my fans have been by you as a performer? motivation all of these years and are so special to me.

“Arrested Development” is such a remarkable show I hope I never disappoint them. I’m so grateful for and loved by so many people of all ages. It feels great their support and loyalty. It really means more to me to play the character of Lucille 2 because I get to sort than I can express. of be myself and just make it up along the way...you never know what’s going to happen.

And of course, working with all the brilliantly Stay up to date with all things Liza at talented people involved was a challenging and www.officiallizaminnelli.com wonderfully memorable experience. I so hope we will BLEEP 83

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orchestra the metropolitan opera It’s one of New York City’s most recognizable landmarks, and with good reason. Situated between Avery Fisher Hall and the David H. Koch Theater at the intersection of Broadway and 66th street, the Metropolitan Opera house is the crown jewel of Lincoln Center Plaza. The busiest opera company in the world, the 3,400 Met employees put on seven performances each week during the opera season. We spent a day with 100 of our favorites to steal a glimpse into a typical day not on or behind, but under the stage.

On the schedule for our behind-the-scenes day with the glorious Met Opera orchestra was the final dress rehearsal of Shostakovitch’s opera Lady Macbeth of Mtsensk (1934), and a sitzprobe of Rossini’s Il Barbiere di Siviglia (1816). Prior to our arrival, we spoke with four members of the orchestra and staff who were kind enough to serve as our guides throughout the day. Our intrepid leaders were Rob Knopper (percussion), Yoon Kwon (violin), Angels Martinez (librarian), and Susan Spector (oboe).

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a day in their shoes

final dress – the last opportunity the company will have We met up with Susan and Rob for a little pre-rehearsal to fix any issues or make adjustments before the first coffee and for a rundown of what’s in store for the paid performance. With no public performance that upcoming day. Today’s schedule officially starts with a evening, the orchestra and principal cast members will rehearsal at 11:00 am, but everyone most of the staff have a sitzprobe for a different piece, during which – arrives ahead of time to settle in and warm up from you guessed it! – they sit and probe through the score the winter temperatures. This morning’s rehearsal is a together for the first time.

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We’ve arrived! Rob and Susan say hello to the security guards on duty as they enter the building for the day.

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Every member must sign in next.

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Spotlight on: Rob Knopper When did your interest in percussion begin?

I remember there being drums and so many musical instruments around the house just because instead of a finger painting station or whatever normal people have, there was a keyboard and a drumset that was such an elementary version that the cymbals are literally glued to the stands. I really started doing drum set lessons when I was in fourth grade...I guess it was sixth or seventh grade where I started playing in band. Before my freshman year of high school when I decided that I really wanted to do something that summer, I applied for Interlochen(Center for the Arts) – which has come full circle because now I teach there sometimes – for jazz drum set. And they said “no, you’re not really good enough” and rejected my application. I even applied to Blue Lake, which is like Interlochen but a little more for beginners – and I didn’t get in for drumset, but they said “Okay, you can do band.” At that point I went to Blue Lake, and I loved band. I went to Interlochen for orchestra and band the next summer. High school, and Interlochen, was when I first started playing Delécluse, which is what I’m playing on my album. Delécluse wrote the most popular snare drum etudes that percussionists play. You play it for high school orchestra auditions, you play it for college auditions, you play it for summer festival auditions in college and grad school, it’s on every professional audition list.

Even at my Met audition, etude 9 was on my audition. Out of the twelve, I’ve played probably half of them for auditions.

You just mentioned your album, “delécluse: douze études for snare drum”. What inspired you to record this project?

I’ve been playing these etudes as long as I’ve been a percussionist.

I’ve been playing them relatively constantly since Interlochen. They’re short pieces – around a minute and a half each – and there are twelve of them. But they’re so unbelievably dense that you can just work and work and work on any one of them and you end up having this baggage with each measure. You put so much dedication and emotion into figuring out how to practice these and how to perform them.

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I read somewhere that you’ve said not to practice until you get it right, but to practice until you can’t get it wrong.

Exactly. When you’re a student, those types of things are just rattling around your brain constantly, and you’re continually searching for new ideas and input on how to approach your process. As long as you’re not getting the results you want, it’s like you’re hungry in the desert. You’re looking for anything that can feed your process of “I might be one of the too many people who don’t get to play this instrument for the rest of my life.” It’s exactly why I wanted to start this project. Going back to high school and college, I was so dedicated to this and I worked so hard and I was always finding that there was not enough information.

Traditionally you have one lesson a week, and it’s so great. You get immediate feedback and your teacher shapes your playing over time, and there’s nothing that could replace that interaction with a professional.

And just like we’re seeing in so many other industries, people are taking the initiative to start spreading the word about their approach, and the information they’ve gathered over their careers, as free online content for whoever’s interested.

If I’m going to write a blog post about how to record yourself, it’s not going to be to hook somebody in to sell my album. It’s going to be because I know what it’s like to be a 15 year old who doesn’t know how to play that measure.

You’ve been with the Met since 2011. In terms of overall experience, what’s been the most fun production for you so far?

I think for me, La Boheme – where I go on stage and I’m in costume and actually march around on stage - might be the most fun.

There are so many fun ones, but that one stands out to me. Because even before you play, you’re up there on top of the platform about to walk down this giant staircase, and you’ve memorized this music – all of which I’m not used to doing while I play. Not only that, but I [have to] use traditional grip and I’ve never really played that before Boheme, so I had to learn on the fly. It’s so much fun, and you’re interacting with the supers (supernumeraries, or actors who help enhance the scene in non-singing roles) in this French town.

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The orchestra assembles in the pit for the start of the makeup (all the better to tech your lighting, my dear), final dress rehearsal of Shostakovich’s Lady Macbeth our friends in the orchestra play in street clothes. of Mtsensk.

5 Well, most of them are in street clothes. Many Led by native New Yorker James Conlon at the operas feature an onstage ensemble, called a podium, the production is a revival of Graham Vick’s banda, in addition to the regular orchestra. Just like 1994 staging of the opera, this time starring Eva- the other onstage performers, the banda musicians Maria Westbroek as Katerina and Brandon Jovanovich also appear fully costumed. as Sergey. While the cast performs in full costume and

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Spotlight on: Yoon Kwon How were you introduced to music --- and why violin?

My mom was a piano major in college back in Korea --- her specialty after she graduated was teaching little kids. There were always kids at my home learning piano. I was born into that environment and I picked up the piano very naturally.

My older sister played violin, piano, and cello --- so those instruments were just kind of lying around. I started the violin informally with my sister at home. You know how kids play doctor and patient? My sister and I would play “music teacher and student.” She would be my teacher, and I would ring the bell and come in to ‘take my violin lesson’ with her.

How old were you when you made your debut as a professional musician?

My first public, paid concert was when I was 8 years old. I had started going to the Juilliard pre-college division when I was 8, so I guess that was when [the violin] turned a little more serious than a hobby.

What have you been working on musically outside your responsibilities at the Met? Next season, I’m actually going on tour with a crossover band. Stuart Copeland, the drummer for the Police, and John Kimura Parker, a well-known classical pianist, and a couple of other musicians --we’re going to be doing some cross-over classical music/new music kind of thing --- and we’ll be doing a few shows. It’s still in the baby stages.

The Very Berrie Life and BeYoonique --- I wanted to talk about how you got into vlogging, how did you start, where did the name come from, how did you come up with the idea? It’s very thorough!

I actually started BeYoonique when I was injured for a few months from over-playing. I needed another creative outlet and an internet vlog was a good opportunity to pursue my interest in photos, video, filming and editing.

I’m a typical girly-girl --- I love fashion and makeup and I wanted to share my interests with the young girls out there. When you look at the media and what is out there socially, I felt like there needed to be a little more representation of ‘real girls.’ I wanted it to be something natural, love yourself, be confident, be unique! Exactly what the name suggests.

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The Very Berrie Life …

My husband’s last name is Berrie. We got married a little over 3 years ago. I wanted to share with people who are looking for love, with young people who are dating … I wanted to emphasize how important it is for women to respect themselves and to find someone who gives respect in return. I really believe in individuality and for both people in a relationship to be independent and hard working.

And you know, portray what love is for us.

I want to talk a little bit about your involvement with the MET Orchestra --- how long have you been playing with them and when did you start?

I just finished either my 9th or 10th season --- after a while it kind of blurs.

The Met was the first orchestral audition I ever took. Before that, I had been pursuing a solo career.

When I decided to audition for the Met, I had been starting to re-think what I wanted my life to be and how I wanted my career to develop.

Being a soloist is an all-encompassing life --- it has to be your whole life and I wasn’t sure if I could invest my entire life into being a soloist. The traveling is extremely lonely for a home-oriented person.

Do you prefer playing in an orchestra that is accompanying an opera versus a symphonic orchestra?

I actually do! It’s funny --- you know how the Met plays four symphonic concerts a year at Carnegie Hall? As much as I enjoy those performances, mostly because my colleagues are so wonderful, but playing in an opera --- I feel like that is where my heart is. It’s SO different. But also, it’s so much more rewarding, personally, because I feel like I am part of something so incredibly huge.

Favorite Opera to Play?

Strauss or Wagner. This past season it was definitely Strauss’s Die Frau Ohne Schatten.

Favorite Opera to watch from the audience: Any Mozart opera. You can’t go wrong with Mozart.

Photo of Yoon by Lisa Mazzucco

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During long intermissions, orchestra members will head over to the cafeteria for a bite to eat, work on outside projects, or relax with a game of poker in the lounge. Pictured, trombonist Weston Sprott isn’t shy about declaring his priorities to the world. We think they’re pretty on point!

Yoon Kwon, ever the fashionista, has decked out her violin with some stylish sparkle provided by Luxitune (www.luxitune.com). Fellow Met orchestra member and Luxitune cofounder Katherine Fong told us a bit more about how our new favorite musical accessory came to be. “At a reception following one of my summer New York chamber music performances, I met the jewelry designer HyeJun Park, whose extensive background in both fine art and fashion, along with a budding interest in violin and classical

music, made for an instant bond between us. As the conversation unfolded, the signs at the intersection became crystal clear. HyeJun went home to her sketchbooks and workbench, and soon delivered the first decorated Pavé Ball tuner which was received with such enthusiasm, that we joined forces to create the company Luxitune.”

In between the morning and evening rehearsal, the orchestra members have a few free hours.

Rob took us along to a master class with Keith Aleo (Director of Education and Orchestral Outreach at Zildjian), held just across the street at The Juilliard School. Attended by students and professionals alike, the clinic featured performances by Aleo, as well as a discussion on how to craft a career in the orchestral world.

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Spotlight on: Angels Martinez When did you start working as one of the Met’s librarians?

I started in August 2013 --- this was my first season.

I was born in Barcelona, where I was the principal librarian at the Opera of Barcelona. In recent years, it was my feeling that the artistic quality was suffering --- less titles a year, firings, and less concern for artistic integrity. I took the audition for the MET, I got the job, and my husband and I moved to New York.

Are you a musician?

I am a pianist. I also studied ballet for all of my life --- so I was always involved in the performing arts, but I was never professional dancer. I was teaching for a while and then I started working in the opera theater in Barcelona for over 20 years.

the level of interaction. We prepare the music in the library and we physically distribute the parts to all of the musicians and the conductor. You are always in touch with the production and the musicians. You are in the pit in the evenings. When the performance is finished, we take the music back and we count it to make sure that is complete for the next performance.

We take care of the scores from the very first moment until the end. It is constant involvement.

When you’re not busy at the Met, what are some of your favorite things to do?

I like everything in this life! I like nature, I like animals, I like diving, I like traveling around the world. I’m interested in everything that is new. I like photography and art. This will be my 5th year on the board of directors for MOLA (Major Orchestra How would you describe your profession?

Librarians’ Association) and I am also involved in the As soon as the artistic director programs the season, creation of a database featuring Zarzuela and also the first thing we have to deal with is copyright laws. Spanish classical music and opera. The project of the Older works are already within the public domain. database we are creating is called ATRIL and we are With the ones subject to copyright, we have to be doing it through the Spanish Association of Music aware of who the owners are and we have to rent Libraries called AEDOM (Asociación Española de the music. Copyright laws are very different from documentación Musical). country to country. After that, we have to adjust and prepare all the music. This means bowing for the strings, preparation of inserts, and musical cuts for the chorus books, piano vocals, singers and the leads, and the orchestral parts. We are also responsible for maintaining and repairing the materials that belong to the Met. The Met has some old and valuable sets of materials with broken pages and loose ends. We physically sew the music by hand because staples break and rust. We use an awl and a special wooden ruler/stabilizer that makes holes in the music to prepare it for sewing.

Where is the library?

The Met has its own library just two levels below the stage door. Normally the libraries do not get to see daylight --- they keep us underground.

What is it about the Met that makes it different from other opera houses?

The Met does 7 shows a week. Different shows, every day. Not even the Wiener Staatsoper has this --- it’s amazing. It’s such a high level of activity and quality that you are always on your feet.

If the musicians have a problem with their parts, do they come to you?

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Team BLEEP cut our break short and headed back to the Met to travel deeper underground than we thought was possible. And just as with many adventures, dig deep enough and you’ll strike gold. Welcome to the music library of the Metropolitan Opera. Several levels below ground is where the music really lives. All the opera scores and parts are housed here, neatly organized and cataloged by the library staff.

At the end of each rehearsal or performance, the librarian on duty both collects and stores the scores and parts that were used, and prepares the next piece for their colleagues. We follow Angels as she brings the cart - already prepared for the sitzprobe of Il Barbiere di Siviglia - upstairs to ready the room for the orchestra, principal singers, and maestro.

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Working off a detailed layout, Angels distributes everyone’s part to the right place, and remains on hand to help with any necessary adjustments to the performers’ music.

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William Short practices before the sitzprobe begins.

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Jacqui Danilow takes a look at her part for Il Barbiere di Siviglia. A 35-year veteran of this orchestra, playing at the Met is a family affair for Jacqui: her sister Marji is a Met orchestra musician, as well!

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Spotlight on: Susan Spector Where had you been performing prior to winning your position at the Met? I had been playing Principal Oboe in the Spokane Symphony, combining the income from a regional orchestra with other jobs. I auditioned for the position of Second Oboe (in 1991).

Although that is my title, I am called upon to play Principal Oboe from time to time: usually when one of the Principal players is on vacation or sick. I enjoy the extra challenge of those performances, and the more prominent solo parts, but I am always happy to step back down and not be playing “out of position,” as they call it in sports. I take a lot of pride in my usual role as a second wind player. A good section player has the required technical flexibility as well a developed sixth sense about the Principal player beside them and uses those skills to compliment the principal player.

These might include listening to him/her breathe and being able to anticipate when he/she will take breath or how he/she might play a particular passage that we have in unison or in harmony, playing in tune with them, knowing when to play louder in order to balance his/her volume, knowing when to stay out of the way, etc. Sometimes I can provide help just handing him/her a piece of cigarette paper if he/she gets water under a key during a performance!

The Spector Family relationship with the Met doesn’t end with you. Your daughter, Melanie, was a member of the children’s chorus for a while. How was that experience for you and your family?

The Children’s Chorus experience for us lasted about seven years total, and yes, it did require an unbelievable amount of juggling schedules and priorities. It was only because of my husband’s willingness to work around her Children’s Chorus schedule, and his company’s understanding and allowing him to do so, that she was able to participate in this unique experience.

I was able to watch Melanie perform in Carmen and other operas that I was not scheduled to play for whatever reason such as Boris Goudonov, Hansel and Gretel, and La Gioconda. It was thrilling to see her onstage, singing her heart out, knowing that she was living her dream! As much fun as I had watching her and not having to worry about playing, I think I 94 BLEEP

will always treasure even more the memory of those performances in which she and I performed together.

Sometimes, depending on how far downstage she was and whether or not I had a rest or tacet at that moment, I could actually turn around and get a glimpse of her. Many times, when it is not a Final Dress rehearsal, when there is a break in a rehearsal, we musicians stand up so that we can see the singers and sets and costumes. And, certainly, every single Boheme that she sang and that I played, we saw each other: at the end of the Met’s first act (Puccini’s Act II), the entire parade band and Christmas Eve revelers onstage in the Cafe Momus scene stands in a line across the front of the stage for a curtain call and waves excitedly to the audience. As the audience applauded them onstage, I stood in the pit, faced her, and applauded looking directly at her and she looked at me. It was a connection that I will never ever forget.

You’re also a rather enthusiastic baseball fan. Have you been a lifelong Mets lover? Do you find there’s any crossover between classical music and baseball?

I guess I was just busy enough learning how to live and work in New York City, not to mention learning a whole new repertoire that I had never played before, that I had not gotten into baseball in New York until I met my future husband. Garry grew up in the Albany area and has been a Mets fan since 1968. His passion was contagious. We always had Mets games on TV or radio, but when Melanie was still young, we started going to the occasional game at Shea Stadium There is a LOT of crossover between classical music and baseball. It was my interest in the parallels that I observe between a healthy team collaborating on the field to one doing so in an orchestra pit or on a stage that prompted me to start a blog devoted primarily to writing about some of these common elements.

While the Mets’ playing in the past couple of seasons has not been terribly inspiring and I have not quite had the inspiration to keep the blog regularly updated, I am hoping that the return of our ace pitcher this summer, along with some other acquisitions, might get the creative writing juices flowing for Perfect Pitch posts again! Here is a link to my blog: www.perfectpitch.mlblogs.com

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As we BLEEP-ers anxiously await the start of the sitzprobe of Il Barbiere di Siviglia’s sitzprobe, Maestro Michele Mariotti takes the podium and addresses the orchestra and principal singers. This season’s Met audiences will be treated to Bartlett Sher’s 2006 revival led by Lawrence Brownlee as Count Almaviva, Isabel Leonard as his dear Rosina, and Christopher Maltman as the eponymous Barber.

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schedules of the orchestra, musicians will occasionally cover a part, rather than play it for each performance.

Flutist Maron Khoury, who is covering Barbiere, studies the score during rehearsal.

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The orchestra rehearses Act II of Il Barbiere…

Whew! After a long day of rehearsals, it’s time to head out for the night. Timpanist Jason Haaheim and our dear guide Rob Knopper bid us adieu.

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Our thanks to Rob, Yoon, Angels, and Susan – you were fantastic guides! We’d like to especially thank the Metropolitan Opera for allowing BLEEP to spend time with some of the most amazing musicians and artists in New York.

Lady Macbeth played its final performance of the season on November 29th. Il Barbiere di Siviglia continues at the Met through December 6th. www.metopera.org

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