BWW Interviews: Jason Danieley Talks Paper Mill's Broadway-Bound CAN CAN

Paper Mill Playhouse opened its 2014 - 2015 season with the Broadway-bound, world-class revival of Can-Can., now playing through October 26th. The production stars Broadway veteran Jason Danieley (Next to Normal, Curtains) as Aristide, a judge who falls in love with a Parisian cafe owner who defies the law and features the scandalous dance the Can-Can in her show. The act may mean the end of her business and their romantic relationship.

Today Danieley talks to BWW about his character 'Aristide' who he describes as, "a guy, unlucky in love, desperate to be happy with a penchant for drinking."

CAN CAN marks your first time performing at the Paper Mill Playhouse. What has that experience been like for you?

It's been a lovely experience. The crew and staff at Paper Mill have been very supportive and as professional as one could hope for. Milburn isn't has far away as I once thought it was. It's a pretty easy 40 minute commute which makes it easy for so many friends and family to take the short trip out to see our great show. The theatre is set in a very picturesque area within walking distance to town and lots of food and shopping. It's like working out of town but I get to be in my own bed every night.

Were you familiar with the book and the music from the show prior to your casting?

I was familiar with some of the songs but not the plot. I had seen the movie and was warned repeatedly that that was nothing like the stage play. Boy, were they right.

The show is set in 1893. In what ways is the story still relevant in today's times?

I read in the Cole Porter biography, by William McBrien, that the impetus to write this show was because of Cole's ongoing fight against Puritanism and censorship. It is true, as in the plot, that "carefree Montmartre in 1890 was besieged by censorship troubles. The resident puritans were outraged by the new dance..." Cole Porter's lyrics have always been risqué and I imagine that when he was writing them they were even more controversial. And even today there are forms of art and lifestyles that are similarly looked down upon because of a "false morality" that is being forced upon people from self-imposed haughty places in society.

As Mr. Porter so eloquently puts it in the song "Live And Let Live":

READ AND LET READ, WRITE AND LET WRITE

LOVE AND LET LOVE, BITE AND LET BITE,

LIVE AND LET LIVE AND REMEMBER THIS LINE,

"YOUR BUSINESS IS YOUR BUSINESS IS YOUR BUSINESS AND MY BUSINESS IS MINE."

What do you think makes Cole Porter's music so timeless? Do you have a favorite Cole Porter song?

I think Cole's songs are deceptive. They appear to be simple, having beautiful melodies but he plays with different rhythms and ethnic flavors in styles that are fun and unexpected. He almost always has a harmonic surprise and often experiments with the structure of his songs. His lyrics are similar in that they are worded for everyone to understand and yet they often have a profound deeper second meaning, double entrendre, sexual innuendo etc... that gives to the listener over and over in different ways. Huge fan!

Can you relate to your character, Aristide in any way? How did you make the role your own?

As my wife was traveling out to Paper Mill I sent her a selfie of me in my costume and makeup, with my mustache curled. I said "yet another guy, unlucky in love, desperate to be happy with a penchant for drinking. This is that guy in this costume and facial hair". I've played a variety of roles that are similar. George in "Sunday", Johnny Nolan in "A Tree Grows In Brooklyn", The Sultan in "Secondhand Lions"etc... I'm not sure what that says about me but I do have a bit of the dark, fatalistic romantic; I AM Irish after all.

But I do have a fun and silly side to me and I think that's how I've made Aristede my own. I haven't seen any other portrayals but I do know that if there is a joke or a funny situation to mine, I'll find it.

What were some of the biggest challenges you faced taking on the role?

The biggest challenge was the duel. Michael Berresse and I have an extended and very exciting sword fight at the end of the show. We rehearsed at least 2 hours a day, and a few 4 or 6 hours every day for the three weeks of rehearsal. And, as usual, when you get on the actual set there are elements that change how you do the fight. Not to mention all of the other actors on stage dodging and weaving around us. It's a real physical and mental work out. And I wouldn't be able to do it with as much confidence as I do without someone as talented as Mssr. Berresse.

What changes were made to the book for this production, particularly as far as the relationship between Aristide and Pistache?

I haven't read the original script. No real need to do so. From what I understand about 90% of the script is rewritten by David Lee and Joel Fields. A lot of the intention is still intact as are the characters but a rearranging of scenes to help with the flow of the story telling. There are a few things omitted like the Garden of Eden ballet. It didn't push the plot along.

As far as Aristide and Pistache's relationship; it is established in this version that they knew each other growing up and were young lovers. Circumstances forced them apart (his mother - natch) and they haven't seen each other for 17 years.

You starred in Broadway's 'Next to Normal.' What are some of the differences in the way you approach a heavy drama like that versus a light hearted musical comedy like "Can Can"?

I approach all roles exactly the same. As an actor it is my job to play "the truth" and it's up to the writer to create the circumstances for humor or drama and the director, often with the actor, finds the balance based on the journey of the characters and what is needed by the audience at any one given time. Often you can find both, humor and drama, in one and the same moment. There was a lot of humor in Next To Normaleven though the circumstances over all were dire. And similarly in Can-Can, even though it is a pretty straight forward musical comedy, our 21st century sensibilities as an audience, often demand a balance of both humor and reality. So the stakes are very high for the relationship between Aristede and Pistache to succeed.

About Can-Can:

Can-Can was first presented at Broadway's Shubert Theatre in 1953 by legendary producers Cy Feuer and Ernest H. Martin. The musical made an overnight sensation ofGwen Verdon. A 1960 film adaptation starred Shirley MacLaine, Frank Sinatra,Maurice Chevalier, and Louis Jourdan.

Can-Can will be performed at Paper Mill Playhouse eight times a week, Wed - Sun. Performance schedule: Wednesday at 7:30PM, Thursday at 1:30PM and 7:30PM, Friday at 8:00PM, Saturday at 1:30PM and 8:00PM and Sunday at 1:30PM and 7:00PM. Subscriptions are on sale now and may be purchased by calling 973.379.3717. Single tickets will go on sale on Monday, July 28, 2014. Tickets may be purchased by calling 973.376.4343, at the Paper Mill Playhouse Box Office at 22 Brookside Drive in Millburn, or online at PaperMill.org. Visa, MasterCard, Discover, and American Express accepted. Groups of 10 or more can receive up to a 40% discount on tickets and should call 973.315.1680. College students can order $20 rush tickets over the phone or in person at the Paper Mill Playhouse Box Office on the day of the performance.

About Jason Danieley

Jason Danieley was recently seen on three different PBS broadcasts: Live from Lincoln Center with the NY Philharmonic in Carousel (Enoch Snow), Ring Them Bells, a celebration of Kander and Ebb, as well as NJTV's American Songbook at NJPAC (the last two with his wife, Marin Mazzie). Broadway roles include Next to Normal (also with Mazzie), Curtains (Outer Critics Circle nomination), The Full Monty (also on the West End) and Candide (Theatre World Award and Drama Desk nominations). Danieley has been a part of the world premieres of Floyd Collins, Dream True, The Highest Yellow, Beauty and Secondhand Lions. This summer he will be appearing in Kander and Ebb and Terrence McNally's The Visit at Williamstown Theatre Festival.

Photo credit: Photo Credit: Genevieve Rafter Keddy

Photo credit: Matthew Murphy

'Next to Normal' photo credit: Joan Marcus