Roundabout's resident Education Dramaturg, Ted Sod, sits down with Death Takes a Holiday leading man, Julian Ovenden, to discuss working on a new musical, life/death and more, as part of Education @ Roundabout's UPSTAGE Guide.
Ted Sod: How did you come to work in the theatre?
Julian Ovenden:It's quite a difficult thing to trace back; your motivation. I wasn't one of these people who came out of the womb and realized the stage was for them. I think it occurred as a natural progression in my life as a result of the events that fashioned me. My father, for example, is a priest and a man of the people. He is a great communicator. That might be one of the influences. Then I went away to school when I was seven as a chorister in a choir which was musically and artistically a professional environment. That set me up in that way. It opened a window into that world. In England, if you go away to boarding school at a young age, you could find yourself emotionally stunted. You have to deal with the trauma of leaving your parents. People talk about the English "stiff upper lip" and being reserved. When I was 16, 17, 18, 19 and growing up, I perhaps wasn't as in touch with my emotional life as I wanted to be or needed to be. I think it was a natural progression to find something that allowed me to reconnect with that part of my life; whether it was through music which I was passionate about or whether it was through acting. I found myself going to drama school and I felt at home with it. I felt I had something to give, something to offer and something to share. Those are the main sign posts on that particular map. I discovered that it is a job that I deeply love.
TS: Tell me about the choristers.
JO:You go through the basics of a normal education in London. But at the beginning of the day you would spend an hour doing music and rehearsing. For an hour in the evening you would sing at St. Paul's Cathedral. You are working with professional musicians and you become a professional musician. You learn routine, the rigor and the nuts and bolts of what it takes to be a professional performing everyday. There would be recordings and tours. The first time I came to America, we toured around for a month. It was an amazing experience. You learn about musicianship and what it takes to be a good musician. It gives you the opportunity to see if it is something for you later on in life. I knew what it took to be a professional. Whether I wanted to do it, I wasn't sure at that stage. But I knew that it took a lot of skill and a lot of work to be at the top of your game. Not to be negative about the business we are now in, and it sounds pompous to say this, but I think because of the way the business has changed, the attention to the craft, whether it be an artist, dancer, musician or whatever, has been marginalized. It has become about media and how famous you can become. I am grateful that I have had the opportunity to learn from people who spent 40 or 50 years perfecting their craft.
TS: What intrigued you about Death Takes a Holiday? Had you seen the FredEric March Film?
JO:No. I knew the movie incarnation with Brad Pitt and Anthony Hopkins, "Meet Joe Black". It intrigued me because I like the idea of it. The modern movie is kind of a guilty pleasure Saturday night movie, isn't it? It's like it's a bit slushy and sentimental but it's quite good in a way-well acted. The story's good. It's romantic and I like romantic things. I like pieces that take a big bite out of something. And I like the fact that you couldn't put your finger on the tone of the piece; that it screws around with important fundamental topics with a kind of light brush stroke. I've worked with Maury Yeston before and I'm a big fan of his music. He was the first to call me up and alert me to the project. The process began from there; meeting the director Doug Hughes and going through that sort of thing. It's a good role.
TS: The idea of playing "Death" must have intrigued you - yes?
JO:Absolutely. I've been sent things for T.V. auditions like a hot shot lawyer or a police man. There are basically five roles and you just pick one. In the theater, I like things that are "heart on their sleeve" kind of materials. I like big emotional stuff. The role of Death seemed like a huge challenge. I am eager to do it and see what happens. It's also great to be back in New York. I love New York.
