Interview: Charles Haid's Thoughts on His Career, Giving Back, and ALTMAN'S LAST STAND

Director/producer/actor Charles Haid's latest theatrical directorial project ALTMAN'S LAST STAND opens February 6 at the Zephyr Theatre (www.plays411.com/altman). In this one-man show, Michael Laskin portrays the Viennese-born Franz Altman who refused to sell his mid-town Manhattan second hand shop to corporate developers.

Hello there, Charles! Thank you for taking the time to interview with BroadwayWorld and myself. Would you agree that the public mostly recognizes you for your various on-screen television roles?

I think I'm one of the "aren't you the guy..." people. In the 80s it was" aren't you the guy on HILL STREET "but now it's more like a "don't I know you?" Whatever the case, it's nice to be recognized and, as you might imagine, there are some great social perks.

Then you turned to directing?

My directing career started as a direct result from my working with Steven Bochco, a fellow classmate at Carnegie Mellon. Other members include John Wells, René Auberjonois, Michael McKean, Judith Light, Albert Brooks, Cherry Jones,Ted Danson, and Steven Schwartz. Nepotism? You bet!

Can you describe the moment during the 1995 Directors Guild of America Awards ceremony that your name was announced as Best Director (ER - Outstanding Directorial Achievement in Dramatic Series' - Night)?

Interesting evening. First of all there was an entire table of mid-range execs, who, by the way fill most of the seats at award shows, from NBC, most of whom had not even wanted to put the show on the air. John Wells and I stood at the bar watching them pat themselves on the back. Then there was the believers' table, including Steven Spielberg who had championed us from the beginning. I fully expected my friend Mimi Leder, who went on to a brilliant career in both film and television, to take the prize, so I was in shock when my name was called. Nicely.

You have crossed paths with some legendary names on Broadway. Tell us about meeting and working with some of them.

Joe Papp and Bernie Gersten hired me right out of college to run the mobile theatre unit for the Public theater. Maybe because I was a Vietnam era Vet and a big Irish guy who could handle what we encountered in all the parks. Every Monday Bernie would give me a roll of $10 bills that I would use to pay off whoever it was that controlled the playground or park we would be performing in during that week. My assistant was a guy named Jim Givins, nicest guy in the world and also African-American, 6'-5 and 300 lbs. He dispersed the cash. Never had a problem in some of the roughest boroughs in the city.

Can you remember one of the first valid pieces of career advice you received?

My first mentor was the great director Alan Schneider who brought Albee and Becket to Broadway. One day he stopped on 48th St. and Broadway and asked me what I wanted to do with my career. I pointed at a Broadway marquee and said, "Have my name up there." His reply was, "No, you don't, kid. Ya wanna work. Just keep working and the rest of the crap will come!"

You have served on the California Arts Council and have taught and lectured at UCLA Film School, Carnegie Mellon University, Princeton University, Stanford University and University of North Carolina School of the Arts. What do you think is the importance of arts education for our future generations?

God, I've been so lucky to be mentored by such wonderful people. Bill Ball, Alan, Michael Kahn, then Dan Petrie, George Schaffer, Bob Butler, John Frankenheimer, and Ken Russell. I try to make it my business to pass it on to younger people by teaching and bringing the very talented along with me. The director is only the sum total of those he works with and I have been lucky enough to work with brilliant young artists throughout my career. Pass it on!

Was there a specific project that brought you to Los Angeles?

I came to LA after my involvement as a producer of GODSPELL. My then wife, Penelope Windust (daughter of acclaimed Broadway director Breitaigne Windust - LIFE WITH FATHER, FINIAN'S RAINBOW) had been offered a season at The Globe in San Diego after being nominated for a Tony Award for Paul Foster's ELIZABETH I. I carried a spear, went surfing, and cared for our baby daughter. An agent came down from LA and recommended we come up. So that fall we were living in the Sunset Marquis with our dog, our cat Harry, and Henry Winkler on the couch. Harry got run over in front of the hotel. A fitting Hollywood ending for a cat born backstage at HAIR. Crushed dreams and all. The rest, as they say, is on IMDb.

What interested you in directing ALTMAN'S LAST STAND?

I was attracted to ALTMAN by the words, the actor, and the subject. It is a story of survival and determination that mirrors the experience of far too many people in the last century. I don't want people to ignore or forget the Franz Altmans of this world. You can map much of the strife, especially in the Middle East, to those who have.

How about a one-or-two-word response to the following:

La Mama - Ellen Stewart

NYC - 70's = Art. 2000+ = Commerce

Stratford Shakespeare Festival - Shakespeare Museum

HAIR - Let the Sunshine In

Los Angeles - Diversity and Home

Your cousin Merv Griffin - Family first!

ER - Steady cam, 3-minute takes

Nip/Tuck - Ryan (Murphy) and I could not be more opposite in lifestyle, but we met in the middle of the creative field.

Breaking Bad - Challenging. Lots of cooks.

Criminal Minds - Violence and misogyny sells tickets. Time's up!

Any final thoughts on ALTMAN'S LAST STAND?

ALTMAN'S marks a full circle for me after 50 years in the biz. I'm back in the sacred space of what is often called "poor theatre," poor in money, but rich in ideas and creativity, with talented young artists who will emerge into the mainstream as a result of their determination and dreams.

Thank you, Sir! And break a leg with ALTMAN'S LAST STAND.

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