Interview: Jeffrey Vause of ALOHA OY! at Don't Tell Mama

How exciting, the be an artist from one corridor of show business, to decide to venture out of your branch and into another, and to have it be a success. That's what's happening to Jeffrey Vause.

Vause, a consistently working actor and playwright (and recent impresario) thought it might be fun to do a cabaret show. He booked that show, ALOHA OY!, into Don't Tell Mama for a one-night-only event and the Original Room at DTM was so Standing Room Only that this reporter sacrificed his seat to make room for a paying guest who would not get to see the who, otherwise. Fortunately, I can go back to the club and catch one of three encore performances that Jeffrey has planned, out of pure-old popular demand.

As Jeffrey Vause prepares for the first of his three encores, I emailed to see if we could do a digital q&a so that people could get to know this new cabaret artist on the scene, no longer on loan from the theatrical industry because, clearly, there is a place for him in cabaret and concert.

This interview was conducted digitally and has been edited for spelling and punctuation.

Jeffrey Vause, welcome to Broadway World!

Thanks, Stephen for chatting with me!

Earlier this year you made your cabaret debut at Don't Tell Mama and the Original Room there was packed to absolute capacity. Put a picture in my head of what it's like to go out for your nightclub debut to that sight.

Oh wow - I was completely nervous and anxious before going on - we started late because there were so many in the room and the staff was trying to take the drink orders and seat everyone. I remember going upstairs from the dressing room below around 4:50 (the show was supposed to start at 5) and I ended up in the back of the room by the bathrooms pacing and waiting, anticipating what would happen and when. I was so nervous! The fact that I was sold out was told to me the day before by a friend who was trying to make reservations on the Don't Tell Mama website and was unable to because of a notice on the site saying they'd stopped taking them! So, imagine how thrilled I was to be able to perform my cabaret debut in front of a packed house of very supportive folks. It was a great audience, too, who came from all over to see me, so I felt especially blessed. The young man who was seating folks and working the lights and sound took me aside before we started to tell me "Do you have any idea how much love is in this room for you?" Well, that calmed me down and the second I hit the stage for my opening number, I felt that love. I felt I was home. It was incredible!

You are an accomplished theater actor with a long tenure in the business. Why cabaret? Why now?

Well, I had always thought about performing an act in the cabaret world, having seen many friends and their acts. I was always curious about that scene and wondered if I could be successful doing it. I think the pandemic allowed all of us time to re-examine our lives and choices - and I thought if not now, when? I'm grateful that Phil Hall, my one-time vocal coach, gave me the courage and helped me shape the show to what it's become. Phil and I had dinner about - gosh, 6-9 months ago? And I asked him point-blank if I was good enough for the cabaret stage - and he didn't hesitate with his "Yes!" response! I guess I just needed that one person whom I trusted in this world to say 'Go for it' and Phil did - and the rest, as they say, is history!

Your club act, ALOHA OY! has one of the best show titles ever. Break it down for me from show concept to first performance: how did you develop this musical cabaret play?

As we'd say in the islands "Mahalo!" (Thank you!) So back in 2004-2005, I had written myself a one-man multi-character play which I also called ALOHA OY!: I had visions of becoming the next John Leguizamo or Lily Tomlin, playing different characters, telling the story of a kid from Hawaii who moves to NYC, who auditions for a play about a kid from Hawaii moving to NYC, and what happens. Kind of A STRANGE LOOP-ish but not as accomplished. I produced and performed it for a week during the blizzard of January 2005! But I was never satisfied with how that turned out. So, flash forward all these years and I had an idea of telling my story just by myself, which is the story of someone who moved directly to Manhattan after growing up in Hawaii, and doing it via song as well as story. And when Phil and I had dinner, as I mentioned earlier, he told me to find songs I wanted to sing and match them to the narrative. It was easy to pick out various stories I wanted to tell and many of the songs I chose helped me shape how the evening would progress. I loved rediscovering songs I'd sang before in auditions and in lessons with Phil, plus adding songs I never thought I'd be able to pull off - and thankfully I think I have. John Bowen, a good friend, vocal coach, and brilliant pianist stepped in to play the show, as Phil had other commitments, and he took the reins perfectly. Between Phil and John, the show developed seamlessly. So, that's why I actually call the show "ALOHA OY! THE CABARET" - I suppose to distinguish it from "ALOHA OY!" the one-man play that I'd previously created, which is vastly different from the cabaret act. And further, because the show is about both Hawaii and New York, I figured "Aloha" and "Oy!" put together would be catchy and fun!

This is not your first time writing an original show, you are a produced playwright, too. How does writing a nightclub act differ from writing a play?

When writing a nightclub act you have a really strict time limit on the performance, so that forces you to be economical with how you tell the story. When I write a play I try to keep my mind open to allow characters and situations to speak to me without concern for time or how long the play will be. I loved writing this piece, slotting in the songs, moving the dialogue around to match the songs, structuring it - it was very easy for me to do and I hope I can do another nightclub act, one day, perhaps about another topic or around another songwriter. I'm in awe of cabaret performers, and now that I've dipped my toe in the waters I'm hooked.

What does the future look like for the Proud Image Theatre Company?

That's a good question. I created this company to, initially, showcase my work but I hope to expand, to be able to, one day, showcase other artists from the LGBTQIA+ community and present their stories as well. Visibility has always been important to me, as an out gay artist, and now, more than ever, our stories need to be heard. My first production for PITCO was TOMORROW WE LOVE at Theater for the New City, which I wrote, produced and

starred in - IN DRAG no less! It was my gender-bending comedic homage to the classic late 1950s-early 60s widescreen romantic melodramatic films and was written in style to mimic the plays of someone whom I really admire, Charles Busch, and his Theater in Limbo group and performers such as my friend Andy Halliday and Julie Halston. I had an idea to explore gender-fluid casting, so there was a sense of off-kilter-ness about the show - and I'd hoped that, as the audience watched the play, they'd identify more with the character and situations than the actual gender of the character, if that makes sense. Sadly, the pandemic closed us early - we were to run from March 5th-22nd, 2020 but closed when Broadway did on March 12th. So I definitely want to remount that play at some point. Back in 2015-16, I held very successful readings of a play I wrote called THE MARRIAGE EQUALITY PLAYS, three short plays about that subject which could use a decent production. I think this play is very timely, considering our current political climate! Of course, like all theater projects, it takes funding - and although I've raised money in the past, it's a daunting task and needs a producer - or 'angel' - with big bucks to help! So if there are any interested parties out there who wanna join me and PITCO with this mission, let me know! : )

In the press for Aloha Oy! and on your website, you are prominently described as someone who yearned to leave the Hawaiian paradise in which you lived, for a life in New York. Tell me about the trajectory of your relationship with Manhattan.

As I talk about in my act, growing up in Hawaii, I always felt I didn't belong - and it wasn't just because I knew I was gay from an early age. New York's sensibilities, the humor, the pathos, the energy always appealed to me. I suppose all of us who come here from other places can relate. But the city drew me in early on, watching and loving films and TV shows set in the Big Apple. And I always tell people how glad I am that I came here in my late 20s instead of my late teens because I feel I would be dead, had I not waited as I did. Although AIDS was prevalent in Hawaii too - and I lost many, many friends there to that awful disease - I think NYC would have been too tempting to take risks for my personality at that point in my life. I think the best of the best tend to flock here, and whether or not they remain, they do make their mark and the city shows it, exploits it and celebrates it as well.

How do you think our fair city is doing in these changing and trying times?

These are scary times for sure, and not just in New York City! But being here since 1989 I have certainly seen the changes which have happened from then. New York City will always be the ultimate place to be successful though - because it's really true to me that if you can make it here you can make it anywhere (isn't that a song?) Seriously, the energy, the history, the communities, the different neighborhoods - it's like nowhere else in the world. We've been through hard times before but the city always finds a way to rise up. I'm honestly hopeful for the future.

What would a Jeffrey Vause show about New York City look like?

A lot of ALOHA OY! THE CABARET is set in New York City because I've now lived here longer than I've lived in my former home of Honolulu! So, in a sense, this show is about the City as well. But if I was to create another show about only Manhattan, I'd hope it'd be smart, funny, sassy, caustic, a little angry - just like New York City!

You are returning to Don't Tell Mama for an encore of Aloha Oy! for three performances. What made Mama's your choice for your nightclub debut?

Don't Tell Mama is a legendary place for entertainers to strut their stuff and Phil put me in contact with Sidney Meyer, who has been so good to me and is such a supporter of the cabaret community. I love that it's located in the heart of the theater district too - and

when I was initially offered the Saturday "cocktail hour" spot @ 5 pm, I thought that'd be perfect for out-of-towners and upstate or tristate area friends and family to see a late afternoon show then grab dinner after or see a Broadway show in the evening as well. Some friends whom I'd performed with in the past and with whom I kept up with on social media but hadn't actually seen in person came to see me from both New Jersey and Connecticut and I think the timing of a Saturday afternoon show worked out perfectly for their plans. And Don't Tell Mama has such an amazing reputation - it all seemed a good fit for my show.

Now that you are a fully baptized-by-fire member of the NYC cabaret scene, what's the picture in your head of what's next?

I hope I can continue performing this show to sold-out houses in the future! I'd like to take ALOHA OY! to Honolulu too: I'm planning a visit in October and I know of a club out there and have a good friend who's a musical conductor whom I may chat with about a one-night performance while on holiday. I'd be curious to see how it plays back in my former home! Other than that, I really just want to keep the momentum that I'm receiving for this show going and have people come and have a good time, laugh a little, and enjoy my journey from one island to another! Also, the intimacy and immediacy of performing cabaret really appeals to me and I didn't realize how much I would love doing it. It's all very exciting to be at this place at this time in my life and I'm thrilled to see what the future holds.

Jeffrey, thank you for chatting with Broadway World today, and have a wonderful time with your upcoming performances of Aloha Oy!

Thanks, Stephen this was truly a blast!

For information and to make reservations for ALOHA OY! visit the Don't Tell Mama website HERE.

Jeffrey Vause has a website that can be accessed HERE.

Aloha Oy! postcard designed by Jeff Griffth

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