Looking forward to seeing it tonight. Here's how it's described:
When Ben Rimalower was eight years old, his father came out of the closet and embarked on a drug-fueled tear that left his family in tatters. Amid the chaos of his young life, Ben found comfort — like so many gay boys before him and after — in musical theatre, and specifically in the transportive voice of Broadway star Patti LuPone...
With a mix of comic irreverence, stark candor and show-biz bravado, Patti Issues poignantly explores the challenges facing LGBT parents and children while shining unique light on gay men's time-old obsessions with divas.
I remember that Joy show; it played the Actors Playhouse, what? - 10 years ago? - and must have lost every cent of investment, but the "Dell Dude" was not bad in it (although he had a tiny role). The rest of the show has been forgotten.
This may sound like an insult, but I honestly sometimes wonder how people like Rimalower, who remain on the distant fringes of the theatre world for decades, support themselves. (I'm not saying he deserves to be on the fringes, but you have to admit his bio is... sparse and unimpressive.)
Probably so. It would be nice to think they have trust funds that enable them to focus more on their artistic aspirations, but I guess that's not likely.
It does seem, though, that those who have to burn the candle at both ends generally tend to burn out, rather than keep on keeping on.
As someone who has been lucky enough to work with Ben, and who has also been on the 'fringe' for over a decade now, it comes down to one thing:
The desire to make theatre is more overwhelming than the desire to make money.
Of course we all have to support ourselves. And that we do. But we're a weird breed. We suffer through a lot of this businesses indignities just to get a chance to stand on a stage and create. When you watch a show move forward and win three Tonys after leaving you (and most of the rest of your cast) behind, you would think any sane person would chuck it. But...that's not the case. I couldn't imagine my life as anything other than a theatre artist. Someday, we hope it will pay all the bills. But if it doesn't, well...we'll just keep doing what we're doing.
I have often thought that it is actually the people on the "distant fringes of the theatre world" who comprise much of the theater world itself.
Look at the theater worlds of New York, Los Angeles, Chicago, Boston, San Francisco, Minneapolis--even Toronto and London and Sydney--they're filled with people who "toil though they do not reap." Actors, singers, dancers, choreographers, designers, directors, "techies."
Don't you think it is their passion and commitment and creativity that form the bedrock for the professionals who are lucky enough to earn a living wage? And don't you think those people on the fringe create the well-spring from which those professionals emerge?
Dear, sweet Newintown--you can't have reached the advanced age you've reached without realizing that some of the best and most creative theater comes from off-off-Broadway and Equity showcases and waivers and workshops, from readings and Fringe Festivals and, yes, sometimes even from cabarets. Yes, I know, a lot of crap gets produced too, and a lot of vanity projects, but haven't crap and vanity been part of the theatre world since Aristophanes?
So why don't you go see Patti Issues? If you can still get a ticket, that is.
Joey, are you making up Bible verses again? ("toil though they do not reap.")
Matthew 6:28 says "Consider the lilies of the field, how they grow: they neither toil nor spin."
You may need to dial back on the coffee this morning; I wasn't denigrating the "fringe" (although I remember Joy as pretty poor stuff), or Rimalower; I was wondering how people who remain on the fringe for decades manage it. Most artists I've met have either achieved enough success to somehow support themselves, or moved on to something else.
That's all. I know you wish I was being snarky and judgemental and all, but that is more of a transference, I fear.
^ I honestly am surprised by you asking this question. New York (as well as other 'theatre' towns) is filled with people who continually work in the 'fringe' and still manage to pay their rent.
Though...perhaps this is a newer phenomenon. When I first moved to the city (1996), I started working pretty quickly. But, being an old soul character actor at 22, I realized I'd have to bide my time a while. Now...I don't know what the off-off scene was like before my arrival, but with Elena Holy and John Clancy's work on starting the Fringe festival, the downtown scene seemed to expand exponentially. Once Urinetown hit, it seems eyes focused below 42nd Street, and the talent level of who was working off-off changed. Where once it was just a group of young upstarts putting on a show, I was suddenly performing in showcases with actors with Broadway credits. Writers like Mac Rogers (a favorite) have not only been reviewed (favorably) in the Times, but has found his work discussed in New York Magazine's Matrix. When I think about it, I feel really lucky that this is the way I've been able to grow as an actor.
I understand your point, Robbie, but I no longer know anyone over 40 who is still involved in the vicious circle of the non-paying (or low-low-low-paying) showcase world.
That may be because once one has been in a certain day job for 10 years or so, it begins to become more of a career, and it takes over one's energy and concentration, leaving little leftover for nighttime rehearsals. And perhaps some people, as they get older, begin to seek stability more than isolated creative outlets. (And, of course, some don't.)
(I'm aware that the party under discussion in this particular thread is not yet 40.)
I certainly was NOT quoting the Gospel According to Matthew!
If anything, my reference was drawn from the Gospel According to Joseph Mankiewicz, in which Addison DeWitt says, "My native habitat is the Theater--in it I toil not, neither do I spin."
I was also at the most recent reading and thought it was funny and touching. I've only known Ben a short period of time, but I think he's smart, funny and, most importantly, interested in everything theatre-related from the fringes to Broadway.
I wouldn't even think to equate myself with the level and quality of talent of Patti LuPone but I will say I credit her almost completely with indirectly inspiring me enough through her work that I found my singing voice through it. I credit her completely with coaxing a vibrato out of me! XD
I stutter and have major diction issues, but I'm a flawed mofo, and would never attribute that to her!
This sounds great. Too bad it isn't playing near and I won't be in NYC until at least next Spring. =(
Oh, and I mean this in the best way possible, but dude has an awesome name (go ahead...say his first and last name quickly 5 times in a row, haha). I won't even bother describing the images it conjures. It's just vague enough to be quirky and not dirty. Is that his real name? LOL!!!!
"It does seem, though, that those who have to burn the candle at both ends generally tend to burn out, rather than keep on keeping on. "
But there are certainly people who have made it work. I just heard an interview with Edie Falco where she said she waited tables steadily, even with the minor success she was getting, until Sopranos was picked up.
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joined:3/4/06
Posted: 8/30/12 at 05:38am