STAGE TO SCREENS: Stage Actors Find a Home on TV's "Ed"
By Michael Buckley
26 Oct 2003
Are there advantages to working with stage actors? "Without putting down other actors, there are two that readily come to mind," observes Karpf. "One is purely financial. There's such a talent pool here to draw from; we don't have to rely on flying people in from Hollywood. That's a cost saving to us. Second, for the most part it's a generalization, but the working New York actor is better trained and, I think, more committed to their craft and skill than their counterparts in Los Angeles.
"People are going to scream, 'How can you say that?' Of course, there are
exceptions; there are wonderful actors in both places. But I'll find more
classically trained actresses — Juilliard, Yale— at a younger age here than I would in Los Angeles. They tend to come here first, after their training. If you're looking for actors in their twenties who have good training, I think you'll find more here than in Los Angeles.
"And actors who just love theatre seem to want to live here. They're willing to live the life of a working New York actor. Of course, the Len Carious of the world work in both [media]." Karpf finds it ironic that sometimes he'll go to the theatre and find that "a single-day player [on 'Ed'] has a major part in a play."
Turnabout is fair play, too: During the summer hiatus, Tom Cavanagh took
over the role of Bobby Strong in Urinetown, opposite John Cullum. "It wasn't his Broadway debut," says Karpf. "He had been in Shenandoah [in 1989], also with Cullum."
When "Ed" began, 16 new bowling lanes were installed in the alley/studio.
"We have a full-time bowling technician who runs the technical part of the
lanes — extras do bowling during scenes. Last season, we hosted an NBC party, where people came and bowled."
Was it ever considered that the alley be opened to the public for a charity
event? "No, no," insists Karpf. "It's a working set with props; the lanes
are not what you'd call 'Triple-A.' If we kept them highly polished, people
would be falling all over while they're setting up lights."
This week on "Ed," the lawyer and teacher are separated — at least
geographically — with Carol, who longs for a writing career, accepting a job offer in New York. Without ruining anything for viewers (or creators), does Karpf want to say what direction the plots will take? He pauses. "I'd rather that people just watch; I don't think they'll be disappointed. I don't think [Ed and Carol] are destined for a relationship apart." Like a bowling ball on a lane (and to quote a playwright who's bowled-'em-over for centuries), "The course of true love never did run smooth."
***
END QUIZ: John Cullum, who combines theatre and TV, received one of his two Tonys for Shenandoah, a musical (based on a Jimmy Stewart movie). Who was originally slated to star: a) Jack Palance; b) Robert Ryan; c) Richard Kiley? (Answer: Next column, Nov. 23)
The Sept. 28 question was: In which Broadway musical did Gypsy Rose Lee play a role originated by Ethel Merman: a) Panama Hattie; b) DuBarry Was a Lady; c) Gypsy? The answer is b). (Lee replaced Betty Allen, who succeeded Merman.)
Michael Buckley also writes for TheaterMania.com and The Sondheim Review. He may be reached at mbuckley6@nyc.rr.com
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(l.-r.) Julie Bowen as Carol Vessey & Tom Cavanagh as Ed Stevens in Ed
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| photo by Craig Blankenhorn |
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