Interview: Toby on Her New Theatre in Baltimore

In part one of my interview with Toby Orenstein of Toby's Dinner Theatres in Columbia and Baltimore, she talked about her theatrical roots, working with now famous actors and writers, such as Academy Award nominee Edward Norton.  Now, she looks to the present, with the opening of her latest venture, a brand new theatre in Baltimore, and to an optimistic, exciting future.

James Howard (JH): What made you decide to open a second location?  Why at the Baltimore Travel Plaza?

Toby Orentsein (TO): Well, they approached me.  And I said, "No, I'm not interested."  The man in charge kept asking, pursuing.  He said a new corporation has taken over the hotel and was completely revamping the building, including what had previously been a dinner theatre.  I still said "no."  But he kept at it and he was so passionate.  I told him I would, provided he'd agree to redo the space to be a quality place to do theatre and have dinner.  He agreed.  I was also in the middle of a seven month run of Cats in Columbia.  As the run went on, I realized that for all of those months, I wasn't able to use any more actors.  Lots of talented people that I like to work with weren't able to work because of Cats being there for so long.  That helped me decide, too.  Now I have two places to keep that many more actors and others working.  I get to leave fewer people out, and that is a good thing.

JH: What are your expectations for this new venue?  Have they been met or exceeded?  What are you still working on?

TO: My expectations are the same, I think, as they are for Columbia - to do good shows, and provide good entertainment and a meal at a reasonable price for the community.  Really, they are the same as for any business owner - I want to be successful.  Has that been met? Hmmm.  Yes and no.  Yes, we have maintained Toby's high quality standards.  So far all of the shows have been well-received, critically. I had done all three before at Columbia, and thought it would be interesting to see how they'd work in a different space - Toby's Baltimore is not in the round.  On the other hand, I'd like to reach even more of the market.  It is tough because people don't know we are here yet.  Once people find us, they will, I hope, return.  It is already happening - I've seen some of the same faces at each show, and the audiences continue to grow.  So that's a great thing.  But, in a way, we are fighting old misconceptions about the area.  Hopefully, when people venture here and see a sparkling new hotel with lots of parking they will see that things have changed. (Note:  The Travel Plaza has well-lit, separate parking for Toby's, including a security guard.)  Plus the few blocks between us and Canton are due to be completely revitalized, bring all kinds of new people and businesses to the area.  By then we'll be an established part of the Baltimore theatre scene.  I am really looking forward to that.  But I will continue to grow and finds ways to reach out to the Baltimore audience.

JH: How do you juggle working on two shows at two locations?

TO:  I am up at 5AM every day - it's a full day for me.  I surround myself with good people, and I keep my eye on the prize.  To get things the way I want them, I know I have to work hard every day.  Mostly, though, I remember, you can fix anything except death and terminal illness, and that you can never go back to before.  Keep moving ahead.  One time, I sat in on a class given by the director at Catholic University, and he said something that I'll never forget.  "You have to know you have shit."  That's hard for a lot of directors to recognize - if it doesn't work, admit it and go on.  [Laughs]  Kids in my shows will tell you, I change things in mid-performance, and always after a show opens. You can not be afraid to fix problems. 

   JH: You have done Ragtime before.  How is the current production in Baltimore similar and different?

TO:  Well, it is the same beautiful story and score.  And some of the people are the same as the last time.  What will make it different is the space - we have completely reworked it for this larger, proscenium stage.  That makes the story-telling different.  And the new people in it make it new and different, too.  They bring the same commitment, but a different energy.

JH: In the past, you have produced original works like It's a Wonderful Life and your own version of Phantom of the Opera.  Are there any more such projects in the works?

TO:  Not right now, but I am always looking for things to explore.  Our next show [in Baltimore] is It's a Wonderful Life, which I haven't done in awhile, and never in a space like this.  So, it will be interesting to go back to it and redo it.  It has always been a popular holiday show in Columbia, and I hope that will be the case in Baltimore.  The show is high quality.  You know, we do original works for our kids' shows in Columbia, like the one about Dr. Ben Carson.  So, in a way, we are always working on original things.

JH:  Throughout your career, you have managed to balance season after season with traditional crowd pleasers and new and cutting edge shows.  What has been your greatest success?

 TO: Greatest success?  Well that depends.  Are they good artistically?  I think so, yes, so they are all a success to some degree.  Are the financial successes?  Some yes, some no.  I try to allow myself one show that is a real challenge and very artistic.  A lot of those weren't huge financial hits, but they were very successful from an artistic point of view.  Personally, I am so pleased and proud with how Sunday in the Park with George turned out.  That is one tough show - most people won't touch it - and to do it in the round?  People must have thought I was crazy.  But it turned out beautifully.  Didn't make much money, but it was a great show.

JH:  Are there any current or recent shows you'd like to do?  What is your dream show?

TO:  I'd love to do Les Miz.  So many of the people I've worked with have gone on to do that show on Broadway and on tour.  [Laughs]  And I do have a turntable at the Baltimore location!  Hmmm… I guess that would be my dream show, too.  That, and Parade.  Talk about artistic!

JH:  What can we look forward to this season from Toby's?

TO:  Well, after Ragtime, we have It's a Wonderful Life in Baltimore.  Beyond that, we have The Full Monty, Fiddler on the Roof, Grease, Dreamgirls and Hot Holiday Nostalgia (next Christmas time).  Grease is the show most people in the Baltimore theatre asked for on the suggestion cards.  And in Columbia, we have we have Here's Love for the holiday season, then Hot Nostalgia, George M!, Little Shop of Horrors, Titanic and The Sound of Music.  Anyone who can think of a way to sink the ship in the round in Columbia, call me! [Laughs}

JH:  Given your long career, what advice would you like to give theatre artists that you have picked up along the way?

TO:  I don't know that I should be giving out advice to everyone, but I will say what I tell my kids in the summer program.  No matter what you choose to do with your life - a career in the theater, being a doctor, anything, remember this: Raise the bar in your life.  Good is not enough when you dream of being great.

Thank you for your time, Toby!

Ragtime continues at Toby's Baltimore through November 12, and Kiss Me, Kate continues at Toby's Columbia through November 19.  Go to www.tobysdinnertheatre.com for information on both venues. 

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