"Boys from Syracuse," Baltimore, NYC & the World, Pt. 2

About a week or so before The Boys from Syracuse opened to warm reviews at CenterStage, I had the opportunity to sit down with all four of the "boys" to talk theatre, theatre people and future projects.  The first night of the interview, I talked with the subjects of part one of this series, Paolo Montalban and Kevin R. Free, both of whom were quite candid and obviously energized by working on this show.  So, it was no surprise the next night, when Michael Winther and Manu Narayan exploded into the room, very upbeat and immediately open and friendly.  Much of that warmth was clearly shared between the two actors, who joked with each other like brothers and showed so much respect for each other as they discussed their careers.  Like Paolo and Kevin the night before, both answered questions together, finished each other's thoughts and even answered in unison.  "What drew you to this project?" I asked.  Together they exclaimed, "David Schweizer!" 

Winther has worked with the popular and acclaimed director before.  Just this past year, he and the director collaborated on Songs from an Unmade Bed, a theatrical song cycle, where lyrics were provided by one person, Mark Campbell, but the music was created by 18 different composers.  The resulting show earned the actor a 2006 Drama Desk Award nomination for Outstanding Solo Performance.  "The show was supposed to be a concert, but I contacted David to help shape it into a theatrical song cycle.  His forte, really, is solo shows.  We went to Dartmouth to workshop it before New York.  The way it turned out, it really let the audience make a story for themselves, which made it less specific and more universal that way."

 

Manu Narayan's most famous collaboration thus far is probably landing the lead role in Andrew Lloyd Webber's production of Bombay Dreams.  Although he says of that experience, "It was one of the hardest things I have ever done!", Narayan is happy to have had the experience.  "It was amazing starring on Broadway," he says with a smile.  "We were the last slot before the Tony's [deadline].  So, we were previewing AND revising AND having the critics there.  All of it was so fast.  Plus, as the lead, I had to be the leader of the company – be a good example, you know, always 100%, always prepared.  It was rough.  Some days we'd get whole new scenes in the afternoon, then have them in the show that night."  He has only one regret.  "I wish I didn't find out what night which critics were there.  I mean, I always tried to give every audience the freshest, fullest performance, but you naturally give a little more when you know they are reviewing that specific performance – the one that will be in the papers and online for all time.  I know now I need to pace myself better so that it all evens out."  Settling into the run was when he enjoyed Bombay Dreams the most, though. "It is great to surrender to the piece, let it happen and enjoy it, rather than concentrating so hard on it."  Of the subsequent tour, which he was not a part of: "I know it was 100% different than what we did on Broadway.  Like 3 people from the show went with it, and all of our costumes.  But if you saw the tour, you didn't really see what we did."

 

The Bombay Dreams experience did allow the young actor to work with major players in the Broadway community and from the Bollywood tradition.  "[Producer] Andrew Lloyd Webber is a wonderfully giving man to his artists."  Multiple Tony-winner Thomas Meehan was "also generous and soft-spoken.  His quiet demeanor was such a surprise in contrast to the comedic brilliance that he possesses. The entire creative team (Meehan, Farah Khan, A. R . Rahman, director Steven Pimlott and choreographer Anthony van Laast) was really warm and patient in allowing me [to work through] my process as an actor.  So it was a safe, pleasurable experience."

 

Most recently, Manu co-starred in revival of Eric Bogosian's suburbia, which was also directed by the playwright's wife.  "I always looked up to Eric growing up.  And when I got the chance to work with him AND his wife on suburbia, I was thrilled.  They are such great people and it was such a pleasure to see how a married couple can work artistically so well together." Still, that experience (and working on the play f-ing A as well) was much different than Dreams: "The energy in a play is completely different.  A play feels more blue collar, where as a musical is so physical.  And they attract different actors."  Winther agrees, "A musical is all about beats.  You hit one beat then go to the next.  A play is much more fluid."

Oddly enough, Michael Winther was on Broadway right across the street from Manu at the same time in Mamma Mia!  "I was in that for a year with Dee Hoty (as Donna).  I played Harry Bright, one of the dads!" he grimaces playfully.  "It was my first time playing an older character.  It's funny.  I went in for [Mamma Mia!]when it was first here, but I was too young for the dads, too old for the rest of the cast.  But it all worked out.  It was a great time."  Of his co-star he enthuses, "Dee Hoty was a great leader – very consistent and took responsibility for making it fun backstage."  Winther also got to meet the men behind the show and super group ABBA – Benny and Bjorn.  "They are very interested in how the show is playing, and they took a lot of pictures!"

 

Mr. Winther's Broadway debut came in a short-lived play, Artists Descending a Staircase.  At the time he was in the original cast of Tony and Tina's Wedding at night and reading for auditions during the day.  "I was reading parts with actors auditioning for Artists, and M. Butterfly.  One day, they asked me to audition for a role myself, and I did.  I got the part!"  He chuckles, "I got the call while I was at this awful temp job.  I was excited, and told a co-worker, 'I'm gonna be in a Broadway play!' and he said, 'Good, now go Xerox this.'!"  He was also in Hapgood at Lincoln Center, which director Jack O'Brien asked him to do.  "I got to work with Stockard Channing!"

 

Later, he would work with multiple Tony-winner O'Brien in his first big Broadway musical, Damn Yankees.  "We worked on King Lear at night and did Damn Yankees during the day.  And I got to work with (Oscar nominee) Rob Marshall and his sister (Tony-winner) Kathleen.  It was really fun.  Those of us who weren't great dancers did the best we could.  It was almost a relief when they told me to stand on the dugout and clap my hands!  Scott Wise really got me through that show though."  With Damn Yankees, he got to work with some honest-to-goodness Broadway legends – Bebe Neuwirth, Victor Garber, and later Jerry Lewis.  Of Neuwirth he says, "[She] was always incredibly professional and very consistent and disciplined, both onstage and off.  She would always be at the theatre before everyone else and do a full dance warm up before every show."  He goes on, "Victor Garber is a real gentleman and in Damn Yankees, he really took responsibility for leading the company.  He set the tone for [all of us].  I loved working with him, and I'm so happy he has done so well in Hollywood.  Good for him!  The theatre misses him.  I look forward to his return."  And working with director Jack O'Brien on three shows, Winther is a huge fan: "I learned so much about the theatre from him.  His commitment and energy is contagious and I would work with him on anything at anytime."

 

Winther's other big foray into musical theatre was the Roundabout revival of 1776.  "It is still my favorite job!  It was all men – all character actors.  I got to work with the great Pat Hingle and Brent Spiner.  I just remember that everyone really appreciated having the job.  Spiner, like Victor Garber really led the company.  He worked harder than anyone and set a very high standard.  He was a joy to work with – he had spent a lot of time in the theatre before he became Data on Star Trek – and he was so glad to be back in such a great part.  I think he missed one show in the whole Roundabout/Broadway run.  He is a great, funny wonderful man."

 

Right now, though, both Narayan and Winther are enjoying their CenterStage experience.  Aside from getting to work again with director Schweizer, the both feel that Boys from Syracuse will be "breezey fun!  It is just a good time – not serious at all."  Narayan is a fan of "the great score!  Full of standards!"  Winther concedes that Schweizer has opted to go with the original book, not the revised more recent version, emphasizing the theatricality of burlesque and vaudeville.

 

Of this production's non-traditional casting, Michael says, "It is fun to play with the twinning.  In a way, [non-ethnic casting] has made 'race' go away.  It becomes a non-issue."  On the topic altogether, Manu is a firm believer that "everyone should be able to play everything.  I mean, why shouldn't white people be in a play by August Wilson?  It should come down to actors' skills.  Most plays are about universal themes, things we all share, so race shouldn't even matter."

 

Both are also enjoying Baltimore.  "Actors are really taken care of here at CenterStage," Winther says.  Narayan agrees.  "Everyone in New York says it is great to get work here.  Plus there are so many great places to go, and to eat!  I loved Lexington Market, and eating at Sascha's and The Red Maple."  After they hang up their togas in January, both of these performers have a lot lined up.  Mr. Narayan has roles intwo independent films releasing soon, and he is working on some recordings with his band. Manu and the Stem Cell Brothers.  In fact, they are featured on the soundtrack to Vanessa Williams' next film.  Meanwhile, Mr. Winther is working on a new solo show, appears in Jumpers with Samuel L. Jackson, and will be a part of Lincoln Center's American Songbook series.

 

Until then, you shouldn't miss the star-studded Boys from Syracuse at CenterStage in Baltimore now through January 14^th.  Thanks to all four of the boys: Paolo, Manu, Michael and Kevin for sharing so much.

 

The review of The Boys from Syracuse was posted on 12/14/2006.  The first part of this interview posted on 12/11/2006, and a general article about the production appeared on 12/04/2006.  Just in: Coming soon, an interview with the acrobatic dancers of the Boys from Syracuse!

 

PHOTOS: Main Page: (L to R) Manu Narayan and Michael Winther; Article: TOP: Manu Narayan; MIDDLE: Michael Winther; BOTTOM: (L to R) Manu Narayan and Michael Winther.  Color photo by Richard Anderson, headshots courtesy of CenterStage.