By Seth Rudetsky
23 Mar 2009

Last Wednesday, I interviewed John Miller, who is one of the biggest Broadway contractors. A contractor is the person who hires the musicians in the pits, and he's done so many shows, it's mind-boggling. The Producers, Seussical, Jersey Boys, Thoroughly Modern Mille, The Drowsy Chaperone are just a smattering of the many shows for which he's put the orchestra together. He was there talking about his new CD called "Stage Door Johnny," which is available at www.psclassics.com/cd_miller.html. John began as a bass player and in the late 70's he was asked to audition for I Love My Wife, the musical that celebrated the 70's penchant for wife swapping. Quick trivia note: Who took over for the two male leads? Answer: The Smothers Brothers. Question Two: Who understudied them? Answer: Chicago director Walter Bobbie!

So, the show needed a bass player who could sing and act a little, and John was asked to try out for the part and, before he went, he asked his actor friend for audition tips. His friend said that if John got a call offering him the part, he should ask to look at the script and score. John auditioned… and was offered the part on the spot! He tried to act savvy and told the director that he'd like to look at the script. There was an awkward pause and they finally said, "OK…we could get you a script." Then John said, "…and I'd like to see the score." Well, the composer was sitting right there…. and it was Cy Coleman! He had written the scores to Sweet Charity and On The Twentieth Century. There was another awkward pause, but this time it was followed by "Thank you very much!" Usually if you're thanked, you're also ixnayed. John was mortified, called and apologized for acting like he didn't want the job and he got cast. And, he was the main singer who debuted that 70's classic "Hey, There Good Times," which was also featured on the Tony Awards… I then deconstructed the Tony Awards to point out the distinct lack of blinking from Lenny Baker (24 seconds without a blink…topped only by Liza Minnelli's 33 seconds staying wide-eyed during "I Don't Know How To Love Him" during a "Spiritual" medley on the Bell Telephone Hour).

Then I chatted with Howard McGillin, who's now officially the longest-running Phantom. I, of course, asked him about mishaps in that show, and he said that the boat the Phantom uses to take Christine to his lair is remote controlled. Sometimes if a cab goes by using its radio, the boat will suddenly start backing up. I'd love to hear those offstage singers during the title song when the boat starts coming at them: "He's there…the Phantom of the Opera… Beware, the Phantom of the—Beware! BEWARE!"

I asked Howard what it was like playing opposite Broadway beltress Betty Buckley in Drood. He recalled that he was always blown away by the power of her voice when they sang the duet, "Two Kinsmen." Howard said it was like standing next to a 747. If you haven't heard that recording, get thee to iTunes ASAP. He also did Anything Goes with Patti LuPone, Leslie Uggams and Elaine Paige in London. I asked about Leslie Uggams, and he remembered her opening night on Broadway. There was a moment where he was supposed to be avoiding the ship's pursers, so he grabs Reno Sweeney and dips her in a liplock. When he let go of Leslie, she literally began to laugh at him onstage. He didn't know what was up 'til he got offstage and realized that Leslie was sweating a little and had forgotten to powder her face. So, when he got out of the kiss, his face was covered in full black woman foundation! Next role for Howard: Julie in Show Boat. Howard then sang two songs and suffice it to say, he's still got it! You can get his solo CD at his website www.howardmcgillin.com.

At the beginning of the week, I saw the Actors Fund performance of Shrek. Let me again tell everybody that if they're going to see a Broadway show, go during an Actors Fund performance. The ticket money goes to a great charity (not just for actors, for anybody in "the business" — writers, directors, ushers, musicians, box office workers, stagehands, etc.) and the audience is full of Broadway folk who are there on their "dark night." And, because the audience is full of Broadway folk, the actors give an extra sassy performance because so many of their friends are there. In one scene, John Tartaglia, who's so funny as Pinocchio, says something annoying and the crowd reacts. I decided to watch my friend Jennifer Simard, who plays the Wicked Witch, to see what her ad lib would be and, of course, I thought it was hilarious. As everyone was expressing their frustration with Pinocchio, I watched her mouth and could make out her saying, "You exhaust me. I'm exhausted!" Speaking of her improvs, she called me a week ago, and I saw her name on the caller ID and answered with a "Can I help you?" She immediately went with it and said, "I don't know. Is this American Airlines?" Brava. "Yes, and" training.

OK…this week, I'm going to see Anne Steele in her held-over show at The Metropolitan Room (metropolitanroom.com) and former Elphaba Eden Espinosa's gonna belt it out at Joe's Pub (www.joespub.com). Then, this weekend, I fly down to Myrtle Beach, SC, to do another master class and my Deconstructing Broadway show at Coastal Carolina University. For deets, go to www.SethRudetsky.com. And, Happy spring!

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(Seth Rudetsky is the host of "Seth's Big Fat Broadway" on SIRIUS Satellite Radio and the author of "The Q Guide to Broadway" and the novel "Broadway Nights." He has played piano in the orchestras of 15 Broadway musicals and hosts the BC/EFA benefit weekly interview show Seth's Broadway Chatterbox at Don't Tell Mama every Thursday at 6 PM. He can be contacted by visiting www.sethrudetsky.com.)

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