An Interview with Brad Oscar--the Current King of Old Broadw
By: Maya Cantu Sep. 13, 2005
Oscar will first take on the role of Oliver Webb in the September 26th Actors' Fund benefit concert of the train-set mock-operetta On the Twentieth Century, a show to which he has a close emotional connection. For those only vaguely familiar with the Coleman/Comden/Green musical, Webb is one of the yes-men of egocentric director Oscar Jaffe (played by Douglas Sills)--a yes-man who longs to meet "Mr. Money." "Ironically, On the Twentieth Century was the first Broadway show I ever saw...I loved it, and wore out the original cast album! I'm so excited to be a part of the first New York production since the original," he beamed.
The ironies don't end there. This winter, Oscar will travel to his home town of Washington, D.C. to portray a character more sinister than any politician. He'll play no less than the devil--aka Mr. Applegate--in Arena Stage's production of Damn Yankees, yet another show that means a lot to him. "I know this will sound like I'm revising history to make this more dramatic and inspirational," he laughs, "one of the first shows I saw as a child growing up in D.C. was a summer tour of Damn Yankees in 1972 starring Ray Walston and Gwen Verdon, who were both repeating their original roles. I was all of 7, but I have loved that show for the introduction it gave me to the theatre and the American musical, and I can't wait to sink my teeth into such a wonderful role...I'm also thrilled to be making my D.C. debut at Arena Stage, where I grew up seeing so many fabulous productions of classic plays and musicals." He's also pleased with what he terms as "a nice change of pace"--not being onstage for 95% of a show.
While the role of Mr. Applegate is perhaps a few rungs up on the evil-ladder, Oscar doesn't think he's too different from Max. He can even relate a little himself. "We've all got some of the devil in us--certainly Max has--and ultimately, he's just a guy trying to get what he wants--it just happens to be a soul as opposed to a bomb musical!" As for Bialy, he stated, "He's exhausting! But I so love his spirit, and his true love of the theatre and what it means to be a man of the theatre. He's fabulous and over-the-top, always thinking and calculating." The Brits, as well as Americans, were shocked and charmed by Max. "I was suprised at how similar the audiences were in London! The show had only been running for two months when I came in, so it was still a fresh, big new hit." Oscar also noted that the London audiences seemed to get even the jokes that referred to the Bronx, off-Broadway and intermission (called the "interval" in England).
The way in which Oscar landed the role of Max has passed into theatrical lore; it's the kind of story that is usually only found in the anything-can-happen world of musicals. Originally a swing, he started off in the role of Nazi "playwright" Franz Liebkind after Ron Orbach injured his knee during tryouts; Oscar also became Nathan Lane's understudy. After receiving a Tony nomination as the pigeon-loving fascist, the deep-baritone Oscar trumped people's expectations of a "name actor" replacing Lane as Max, and was cast in the role himself. Comparisons to Lane (who he had once imitated in Forbidden Broadway) inevitably followed, but he was a success in the role and has become quite associated with Max. He certainly doesn't think that there's only one way to play the excitable Bialy--"I've seen many actors play him now, and they all bring something different to it--whether its their comedic style, physical presence or vocal abilities--it all adds up to an individual Max."
Oscar refined those skills early--he's always been in love with performing. "I'd put on shows in the basement or the backyard, making puppets and sets. I was also lucky enough to have several people along the way who nurtured this." He cites as inspirations his elementary school librarian Mrs. Anderson, voice teacher Ann Amenta Long and two heads of the theatre department at his local JCC--Bruce Silver, and predecessor Karen Brooks Hopkins, who "is now the head of the Brooklyn Academy of Music, so I guess we both did okay coming out of the JCC!" Oscar also gushed about the invaluable contribution of his parents. "Their support--emotional, financial, and in every other way possible--enabled me to make my way into this business without so many of the fears and difficulties many people face."
These days, it seems as if Oscar's feet are planted in musical comedy soil, but he's also done his fair share of pop opera--he performed on Broadway in Aspects of Love and Jekyll and Hyde. When asked on the difficulties of each genre, he responded, "I think I prefer classic musical comedy in form, but each present their own challenges and demands." Of course, he mentions that doing any show 8 times a week is a challenge.
Whether trying to run off to Rio with other people's money or to Hades with other people's souls, Oscar is at his hilarious--and symmetical--peak.
Picture Credits2-With Andy Taylor, Photo by Paul Kolnik
3-Ringing the opening bell at the American Stock Exchange
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