Today we continue our series of conversations with the recipients of the 2010 Tony Awards for Special Achievement which this year is being awarded to the Alzheimer's Association of America and their spokesperson: Broadway, film and television star - and past Tony-winner - David Hyde Pierce. In the first part of this discussion yesterday, I spoke to Harry Johns, the CEO of the organization. Now, in the second part, I speak to the magnetic and magnanimous Mr. Hyde Pierce himself.
Alzheimer's Advocacy & The Arts - Part II
David Hyde Pierce's tireless efforts for the Alzheimer's Association of America as their spokesperson and fierce advocate have helped it to achieve a level of fame and notoriety it had never yet achieved prior to Hyde Pierce's involvement in the organization. His help as an advocate for the organization has led to a higher national profile for the organization and therefore a higher emphasis has been placed on their place as one of the most groundbreaking and innovative groups of their kind, leading scientific research on the disease. In Part I, we had comments from the CEO and head of the Alzheimer's Association, Harry Johns, on the organization itself, how he came to be involved with it, their history and the participation of Mr. Hyde Pierce. Today, Part II continues with David Hyde Pierce himself discussing his connection to the cause, his work with them and what receiving a special Tony Award means to the organization as a whole. Perhaps most well-known for his four-time Emmy-winning role on eleven seasons of NBC's FRASIER co-starring Kelsey Grammer - himself currently on Broadway in LA CAGE AUX FOLLES - Hyde Pierce is just as passionate and successful in his advocacy for his organization as he is in his artistic endeavors onstage and onscreen.
PC: Did you feel privileged to work on the last new Kander & Ebb score?
DHP: I did. First of all, I loved working on the show and I was so grateful to be working with John. And I did feel privileged to be working on the last Kander & Ebb show though it turned out to not quite be the last one. They keep coming out with them. There's THE VISIT, and now they have SCOTTSBORRO BOYS...
PC: And THE SKIN OF OUR TEETH.
DHP: About SCOTTSBORO: I just to have say this, the whole thing is so beautiful, powerful and shocking. I really want to see it on Broadway. Also, THE VISIT: I saw the last run-through before they went to D.C. with a beautiful performance by Chita Rivera and a truly haunting turn from George Hearn. It was just gorgeous.
PC: Would you ever consider playing the John Collum role in SCOTTSBORO?
DHP: You know what, having John do it, I can't imagine why I would do it. It's been done as well as it can ever be done.
PC: Are you going to surprise us in the future with some of your character choices?
DHP: I always try to do something different to keep my creativity alive. I love to keep myself challenged.
PC: Could you tell me about the show you're doing now in London and will be bringing to Broadway in the Fall, LA BETE?
DHP: It's a farce, it was done in ‘91 on Broadway. It was sort of legendary for several reasons. Ron Silver was the star and dropped out of it out of town. Tom McGowan - who played the station manager on FRASIER for all of our run - was the understudy and opened on Broadway in the leading role. Some of the actors received Tony nominations. It was slaughtered by the Times and, subsequently it closed very quickly. It only ran twenty-five performances. It went on to open in London and won an Olivier and was a huge hit with Alan Cumming in the leading role. In the twenty years since [Broadway] it's been performed a lot. It's sort of in the style of a Moliere play but it's also very contemporary. It has deep roots even though it is very funny. The sort of issues that it deals with - ideal versus real-life sort of things - are pretty potent. What we're in the midst of exploring is how far we can go in each direction.
PC: What are your feelings on 3D sets or computerized projections and the new technology?
DHP: I think it doesn't matter. But, you can kill something with too much money. No matter what the stakes, you have to have something to offer an audience. If the technology helps to do that, then it's a good thing.
PC: What were your favorite theatre scores as a kid?
DHP: I grew up with the records my parents had. The earliest scores I remember hearing were MY FAIR LADY, the MARY POPPINS soundtrack, DESTRY RIDES AGAIN...
PC: What a bizarre choice!
DHP: Yes, those were the types of records they kept in the house. We also had Louie Armstrong's recording of "Hello Dolly!"
PC: Define collaboration.
DHP: (Long Pause.) Working with people who challenge you and inspire you to go beyond what you thought possible.
PC: Speaking of collaboration, could you talk about your relationship with the Alzheimer's Association and working with Harry Johns?
DHP: They've been around much longer than I have been involved. When I was on FRASIER - the Alzheimer's Association has a Memory Walk - and they had asked me to being at the walk to sign autographs. So, I did that and that was my first contact with the association. I liked the people, and, at that point, I had lost my grandfather to Alzheimer's disease so I thought this was an especially important cause. And not a very popular one. Not a lot of people were focusing on Alzheimer's and I think because of that I wanted to personally get involved in the fight. What happened was, they brought me to Washington to testify before Congress to address the need for more funding. I started working with Maureen Reagan who was a powerhouse. Because of her experience as daughter of the president, she knew everyone. She took no prisoners. She was a fierce, fierce advocate for this disease - and a completely bi-partisan one. She was so inspiring.
PC: So it was very personal to you.
DHP: Aside from being a cause I could believe in, I also wanted to help. One thing the association has done from me is restore my sense of hope. You know, when you lose someone to Alzheimer's - I lost my grandfather to the disease and my dad to a form of dementia that may have been Alzheimer's - when you start working with people in the organization you realize you aren't alone. You start to realize you are fighting for them and something is being done. There is a sense of hope. The organization is also there for them to provide resources. So, even though the pain of losing a family member to the disease has dulled - that what's happens at the time so we can move on - the people in the Alzheimer's Association and their commitment and passion keeps that passion and hope alive in me. So, it's been a very positive thing to me to be able to help out in anyway they see fit for me.
PC: You also have been a fierce advocate for human rights, as your eloquent words on THE VIEW a few months ago expressed in denouncement of Proposition 8 in California.
DHP: I'm not quite sure what the reaction was...
PC: It was a very positive one. Everyone said, "He's damn right!"
DHP: Before I went on, the producer asked me if I would talk about it and I said, "Fine"... The fight goes on. I think it's hard for people to understand - one of the great challenges of life is to put yourself in someone else's shoes... I just read about a gallop poll, they did a poll about gays in the military. The first survey said, "How do you feel about gay people serving in the military?" and a bunch of people said "Fine." And then they asked "How do you feel about homosexuals serving in the military?" and a significantly fewer number of people were in favor of that. So, it just makes you realize that these chosen words have a great deal power. And the word "homosexuality" has such a long-standing association that goes back through the sands of time - like the word "marriage." So, that's the reality we are up against. But, also, it's an issue of basic human rights and civil rights and understanding that times change and we need to change and evolve - but I suppose it can't all happen at the same time. We can't stand for this persecution anymore.
PC: What did winning the Tony for CURTAINS feel like?
DHP: It was something I had never thought about, ever. I hadn't considered it. I was overwhelmed when it happened. So many emotions. In general, because it was for theatre - which means the world to me - I think certain emotions were heightened. The emotions of being overwhelmed by the honor but also being overwhelmed by the nature of the competition. I thought it was - as it almost always is - it was sort of comparing Apples and Oranges in terms of comparing performances that couldn't be compared. To say one was better, you really couldn‘t. It was all of that at once. It was a very confusing night for me. I will also say that a very positive thing was that I went to Carmine's after the show and the whole cast and crew of CURTAINS was there and they just erupted. It was then that I thought, "OK, now I can understand this. Now I can accept this." Because it was for all of us, ultimately. That feeling of what it meant to the company - we didn't get anything else that night - that sort of pulled me out of my funk. I talked to John Kander about it and he completely understood. He said to me, "I know exactly what you're going through. It's a very weird thing, this whole award thing."
PC: He wasn't even nominated for an Academy Award for Best Song for "New York, New York"! What an oversight! It's shocking.
DHP: You know, in the end, will it matter? There will be that song as long as there is a New York. That's the ultimate thing that happens with a great artist like John.
PC: And you spoke so favorably of Raul Esparza and he of you in the press at the time. They tried to make something out of it that simply wasn't there.
DHP: Like I said, it was absurd to compare those two performances. Or, the others, you know Jonathan Groff in SPRING AWAKENING...
PC: And you've all gone on to great things: Groff is on GLEE, Esparza is constantly working and so are you. Is it any different to receive a Special Tony? Will you take more pride in this one perhaps?
DHP: No, I won't take more pride in it - but, I'll tell you, it's a lot easier being given something and not having to worry and sweat it out and all that stuff. The Alzheimer's Association means so much to me and the theatre means so much to me so one recognizing the other is just great. As far as my own getting the award, you know, I accept it as something - it's not what I've accomplished because I've not really accomplished anything. It's that I've done what I can.
PC: What has helping the association taught you?
DHP: We never know what someone else is going through. You see someone walking down the street and you have no idea what is happening in their life. The Alzheimer's Association helped me understand that you have no idea what is happening in someone else's life. When you see people and the children of people with Alzheimer's and what they have to live with - what their day is like, what their life is like, the difference between what they thought their life would be and what this diagnosis has turned it into. The disease just steps into their lives and turns everything upside down. I just think that it's probably true for anything like this in life - it opens us up to how blind we are to what goes on around us. Certainly I know that one of my main jobs is raising awareness. Letting the people who haven't gone through what my family has gone through know what's out there and how terrible this is so they will join the club.
PC: Do you hope to gain anything for the organization with receiving this Tony?
DHP: One of the most important things to me about this honor is that it gets publicity and awareness to benefit the Alzheimer's Association. So, being on BroadwayWorld getting a lot of hits will bring us lots of welcome attention. I thank you so much for that.
PC: And I thank you. Our conversation could not have gone better! We'll see you in October in LA BETE at the Music Box!
DHP: Thank you. It was good to talk to you. I'll see you.
Donations to the Alzheimer's Association of America can be made at their official website, click here for more information.
