Tweener's dead, the Governor's dead, and we're off the air for three weeks.... Who's next on the list?
It's sad to say goodbye to Tweener, aka
. We'll miss him; he was a great character on and off the set. Goodbye to the fantastic
(Governor Tancredi) as well. Both died well.
The plot thickens... and I ain't talkin'.
Here are some answers to your questions in the comments:
Dom and Went went to Europe this week to do press. Maybe some of you saw them over there.
The "fries in the shake" is a Bellick thing. As fat as I am, FFs aren't to blame. I do like chocolate malts though!
Pretty actors. Hopefully you weren't referring to me.... More on this later.
Season 2 is in production until late February/early March 2007. They're already talking about a third season, but I ain't talkin'.
The tattoo hasn't disappeared. It's still very much apart of the plot, although Scofield has to keep it hidden so as not to be recognized.
Hopefully Bellick will sing a tune or two, although I don't know how good a singer he would be. Actually, Bellick hummed a tune last season as he walked in with his coffee - a tune I wrote for my daughter.
Howdy to Elena, Miss W and Big Amos!
The show is really getting intense now. The great scripts continue rolling in. These writers are truly sick individuals. It makes me wonder what they do in their spare time. I'm not gonna think about it.
We left off in the Lincoln Tunnel on the way to Broad Way. Last week [the TVGuide.com editors] changed my syntax/punctuation to "Broadway," but any Musical Theater Fan knows it's Broad Way. Yeah, I rolled into NYC with a gig and 30,000 bucks in student loans. Higher education. The first gig I got was a good one - I was in the ensemble in
Taming of the Shrew
at the Delicort Theater in Central Park, and although I had no lines, I was working with
. What a great experience that was. I was making the most money in my life at 250 bucks per week, eating beans and rice, driving into NYC in my beat up 1981 Honda Civic every day to rehearse and perform... living the starving artist's dream. And then I got another job at the same time, again with the Public Theater. This time I had a nice part in
. I played "1st Murderer" to
Tim [Blake] Nelson
's "2nd Murderer." We would lay and wait backstage ambushing people and murdering them with our fake daggers. This was the first time of many that I have been lucky enough to have two acting jobs at once. Rehearse
all day, perform
It was wonderful for me to watch real pros work. These guys were prepared and fun, none of the art-damaged stuff I'd seen in school. Sometimes I think "artists" use that title as an excuse to get away with being unprepared and unruly. The pros are as prepared as they are easy to work with, and always full of ideas. I saw that an actor's job is to have ideas and to set them free in rehearsal and performance. For many years now I have tried to come up with a more positive word for "mistake," because in the end, "mistakes" are usually the most interesting and inspired moments in any "art" form. Destiny again. To me there's nothing as boring as a well-crafted and thought-out performance. I learned from watching Morgan, Tracey, Denzel, Helen and all the other pros at The Public Theatre how to rehearse and perform with the hope of conjuring inspiring mistakes.
When the shows at The Public closed at the end of the summer, I luckily got my first AEA Union job playing Lt. Cable in
at Theater Virginia... which brings me back to "Pretty." When I was younger - like, in my late twenties - I used to play a lot of young leading men. Amazing what hair on top of your head can do for you. I was in the running for a lot of the musical-theatre leading men roles in the regions and on Broad Way back then. Problem was, even with hair, I wasn't that pretty. I auditioned for the Phantom in
, Billy Bigelow in the early 90s revival of
, etcetera.... Never booked one. Eventually, I landed my first B Way gig in
as a "swing," which meant I understudied 14 different parts and had to be prepared to go on for sometimes three of those roles at the same time.
Being a swing in
was the job that taught me how to do all the preparation off stage, and then in performance leave it all to the gods. I understudied all the ensemble men's roles and since someone was out almost every night, I cut my Broad Way teeth rehearsing/performing at the Majestic Theatre in front of 3,000 people, eight shows a week for more than nine months. I did a series of roles in the regions after that, which is the life of a New York actor: Audition and get a job in a regional theater, sublet the apartment for six to eight weeks while you're off working, then come back and start looking for the next job. To land a gig in a long running B Way show is a sweet, sought-after, steady gig. I ended up being fortunate to have
as a great part-time gig because I knew all the men's ensemble parts. Whenever there was a flu epidemic or someone went on vacation, they'd ask me to come fill in for a week or two and I gratefully did... until 1993, when I booked the understudy for Sky Masterson in
Guys and Dolls
at the Martin Beck on Broad Way.
returns Monday, Oct. 23, at 8 pm/ET.