BWW Interviews: Dani Marcus of A GENTLEMAN'S GUIDE TO LOVE AND MURDER is Swingin' on a Star

I first met the lovely and talented Dani Marcus 20 years ago when she was playing Louise to my Herbie in Gypsy. I was roughly 4 years older than her, but it was a barn in the middle of Vermont and no one seemed to care. Spending my summer with her, I knew she'd continue on to great things. A true talent - hilarious onstage, with a stunning voice and presence, it was a privilege to be onstage with her.

And doing great things, she is. She's on her first national tour, first time being a swing, and it's in her first Broadway production. For those who don't know, swinging in a show is one of the most challenging gigs in theatre. I took a few minutes to chat with one of the newest swings in the biz.

JM: So what was your rehearsal process like? How did it differ from your usual process?

DM: The initial rehearsal process was unlike anything I've experienced. I was sitting at a table with the other swings, (we call ourselves "SwingNation"). So we're sitting, watching, taking copious notes, and then I'd go home at end of night and try and decipher the furious notes I'd taken. I'd have to take notes on each track I was covering and then somehow sort them all out. I would go home at night, sit at my kitchen table, take out my ruler, and try to write in some legible way what was happening with all the ladies I was covering. If i had any extra energy after that, I'd try to approximate things in my living room (my poor roommates were very helpful through the process). There was lots of on-the-job learning, getting as much as we can through watching.

JM: Did you ever get the chance to rehearse with others?

DM: Our wonderful choreographer Peggy Hickey, would come watch us swing in for a number here and there and give us feedback. I'd be watching, trying to take in what everyone does, and then I'd have to get thrown in and learn on the job. Mostly the rehearsal process was just watching (with lots of snacks from Trader Joes), noting changes that were made and such. Then once we got to Chicago, we began understudy rehearsals which is where we could really start learning and getting to know the stage. It's a marriage in process.

JM: How does this compare to just learning a role and doing it?

DM: First of all, having a laser sharp focus on one person in the world of the play is a lot easier. It's the ultimate excuse to be selfish. Asking yourself 'Who am I?', 'How does this effect me, how do I relate?' It's a really singular focus. What's more, in the rehearsal process, you get to discover it as you go in a very logical way - reading the script, doing the read through, memorizing, blocking, learning choreography, everything systematically being added. And for a long rehearsal process like we had, you have the chance to get things into your body. So, by your first preview you know intimately whats happening in every moment. This process was really hard at first, but it's become a lot easier because I'm working with such great people who made it really possible to find that trust. Ultimately it's like jumping off a cliff in a more extreme way than usual. There's a lot of sorting out of information. Learning in performance what this physically feels like for the first time. It's a really different way for the brain to work.

JM: So it's like living the actors nightmare every day?

DM: Yeah. It's a dream because I'm doing what I've always wanted to do in one of my favorite shows I've ever seen. I fell in love with the show so hard when I first saw it. I knew I had to do it. Working with people I love, but yeah, It's also the actors nightmare because there's so many things you won't know in advance. It's all about learning to let go and be okay with it. Waking up everyday knowing that I could get a phone call telling be I'll be on stage that night doing something I've never done before.

JM: I cant think of many other jobs where you have to do it for the first time in front of several thousand people.

DM: Exactly! The first time I went on I didn't know anyone in the audience. So that was a relief because I didn't have the added pressure of all these people who I would be judged by-I mean who love me...but yeah, a lot of pressure. I've gone on in a full track 4 times in that one track. There've been other circumstances where I've gone on for one number. In a way the full track was more fun, because here it is, this huge deal for me, but no one knows it. It's like being shot out of a cannon. So much has to happen backstage to be wearing what you're supposed to be wearing and such. You think "I know this, but this is happening in real time." There's not much time to think of anything else. Those who have come before me said "White knuckle it, you have to do one thing at a time."

JM: How many swings are in your show?

DM: There are four total, two men, two women. They're fabulous people to be stuck in this process with. I couldn't imagine being with three more fun, talented and compassionate human beings. The whole company is fantastic, but particularly my swing bros and sis have been such a joy to work with.

JM: How long is your contract?

DM: I'm on a 6 month contract. It's a 44 week tour. We'll see what happens. There's a rumored possible extension, but no one knows. I guess we'll see what happens.

JM: And how is touring treating you?

DM: There are times I have to plan. Sometimes I want to find my own housing for a longer sitdown. We'll be in LA in March, and I've already found housing there. What will we do during lay-offs? Figuring all that out- it's a wonderful way to stay in the moment. Sometimes it's a new city every week. Even just going from the hotel to theatre, there's still geography and climate to be dealt with. You can't get out of bed in the morning until you know what city you're in. Some tours are split weeks and one nighters, but happily all our stays last at least one week.

JM: I met you when we were doing musicals in a barn in Vermont, this is quite the switch, you're playing the Kennedy Center!

DM: I'm a musical theatre nerd about this show. Sometimes its difficult like any other job, and then I have moments when I remember what I'm doing. This is something I've dreamed of. I'm one of the luck ones. It's such a privilege to do something you like. A friend of mine and I were in a workshop of a new play, playing trees. Just standing there being trees. At first we complained, but then realized, "I'm being paid to do what I love and this is the only place I want to be."

JM: So how'd you land this job?

DM: I went in to the open call. It took me a really long time to get seen, but I knew I had to be seen. I had a great audition with Jason Styres, From Binder Casting. Two weeks went by, and I didn't hear anything, which is usually the kiss of death. I mourned it and thought 'that's that'. In the meantime, I got called in for jury duty and got picked for a trial. I go in for the whole first week. It was Friday night at the end of the week and I get an email from my agent saying they need to see me for a final movement call the following Wednesday morning - which is when I knew I'd have to be in court. Everyone was telling me I had to call in sick and I just couldn't do it. I felt like I couldn't lie. And its not like I'm that great of a person, it just felt wrong.

So I'm sitting with Francis Kelly, my roommate. He said "You have to go to court and tell them how important this is, that it's a huge opportunity, etc." So, I go in and Sargent Steve, (the officer of the court and the go -between for us and the judge) was the one I had to talk to. I'm shaking in my boots, and I told him what was going on. "I dont know if you heard me say that I was an actor..." and he said, "I did notice that because I'm an actor too." "Then you'll understand my plight! I have this callback and I wont be able to be in session for the morning on Wednesday." He said "Whats the show?" I told him it was the 1st National tour and he put his hand on my shoulder, so excited and said "I toured with 'Sunday in the Park with George!'" So, he went to talk to the judge. They called me in, sitting with the judge, plaintiffs and defendants. I told her my regular job was selling hearing devices. She said you must see a lot of shows, whats your favorite? I told her "Gentleman's Guide..." So, we go through the whole day and she never tells me anything. So, I ask Steve, and he said "She's about to make a decision." So I go back in and she says she can't let me out for the morning session as there would be too much I'd miss. For a quick moment, I was devastated Then she followed with "So we've decided to excuse you from the trial with a 'Break a leg!'. All because of Sargent Steve.

Catch Dani and the rest of the cast in Gentleman's Guide to Love and Murder at the John F. Kennedy Center for the Performing Arts, January 13-30th. Visit their website for tickets.

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