Interview: Jeffrey Polk of BILLY BARNES’ BASH! at Hollywood’s Catalina Jazz Club

Jeffrey’s career in entertainment spans multiple decades and includes credits as a performer, director, and choreographer. He has appeared on Broadway with Five Guys Named Moe, where he deservedly earned an Ovation Award for Best Featured Actor. He gracefully understudied Michael Crawford in EFX at the MGM Las Vegas, and has performed around the world with numerous productions of Broadway tours and shows. Directorial and choreographic credits include In The Heights, Blues in The Night, Ain’t Misbehavin’, Dreamgirls, Kiss Me Kate, and Smokey Joe’s Cafe.

Always feeling honored and blessed and believing in the arts and giving to the world, Jeffrey took ten minutes to answer ten questions about his influences on his continuing career as a dynamic live performer. 

What stars were in the sky when you arrived on earth and during what era?  (Beatnik, Baby Boomer, Gen X, Gen Z?) 

I was born on July 31st under the the night sky of Leo including Scorpius, Hercules, and Draco.   I am a proud baby boomer!

Can you recall your earliest memory of seeing a live performance and its star? 

My auntie used to take me to concerts, like Ike  (Turner) and James Brown. I was 11 or 12, way too young to be there, but I observed how they handled a crowd. You may not think so, but they went through every emotion during those concerts. Laughing, crying, and mostly getting the audience into the groove of the music. Then I saw the 25th-anniversary production of OKLAHOMAat The Ford Theatre in LA. I was just 13 years old, but it starred some of the original Broadway performers in this regional production which blew me away. A Rodgers & Hammerstein musical would be a first musical I performed in Junior HS but I played Jud. (Very short and stubby and very non-traditional casting for Jr. High) .

Coming up in Los Angeles, who were your living role models of color in the performance arena? 

There were a lot of performers. Sammy Davis Jr., The Temptations, The  Nicholas Brothers, Harold, I performed in My One And Only with And  Gladys Knight and the Pips. I had the honor to tour with Gladys and Bubba in Smokey Joe’s Cafe.  When I saw anyone close to my color, I was drawn to them. 

How were your loved ones about you hitching on a star and leaving home for live performing?

When I was 16, I joined a wonderful musical group called The Young Americans, under the direction of Milton Anderson. We sang with stars and professional orchestras all over the country.  The Bicentennial landed me in Washington DC from April to September performing in front of Washington's Monument to celebrate the country’s 200th birthday in 1976! My family said, "Go!" They were so proud of me!

Are you an organic learner and pick up quickly or did you  train professionally  to internalize the process?

I was always in a professional voice, acting, or dancing class. Back then, I picked up quickly, but now it takes some time. LOL!

Who was the first organization to pay you professionally to perform?

My first AEA  (Actors Equity Association union) show was My One And Only in a small dinner theatre in beautiful San Clemente, CA starring the iconic Arthur Duncan and directed by noted Jeff Calhoun.

When did you realize you could sustain yourself as a live performer? 

When I started performing in my first equity show, My One and Only. It was a huge show so many CLOs (Civic Light Operas) in different towns all across the U.S. to put this show up. From there, I made connections and lifelong friends who would help me and guide me on my way towards the right direction. I am forever grateful and indebted towards them.

Everybody is talking about pop singers taking on Broadway roles and popping off on the final note or changing keys to make it their own performance? What is your professional response as a sought after show director for Heart Global Arts? 

When you honor the song created by the composer or the lyricist, just know you are not going to recreate a song the artists made millions from their composition. You are now only earning a set salary for singing the the artistic integrity of the song.  

Do you prefer fronting a live band or orchestra or staying on the beat to music tracks? 

I grew up singing with Les Brown and Manny Harmon, who played with Sinatra, Dean Martin, and other greats. I love it live! 

What venues in LA have you graced their stages but also which ones are illusive for you to perform in your near future?

I have performed often in the LA area. I have been honored to play the trifecta upon all three stages; The Mark Taper Forum, The Ahmanson Theater and The Dorothy Chandler Paviliion within The Music Center, of Los Angeles.   Fortunately,  The Pasadena Playhouse, The Doolittle, which is now the Ricardo, Montalban Theatre, The Hollywood Bowl, The Pantages, The  La Mirada Theatre for Performing Arts, too but so many regionals to list here but I loved The Hollywood Bowl and The Music Center,  oh, what a feeling of achievement and satisfaction! 

The Billy Barnes Foundation and Fraser Entertainment Group invite you to the Billy Barnes' Bash Benefit Concert on Wednesday, April 22nd at 8:30 PM (dinner at 7:00 PM). Featuring   Jeffrey Polk, Jo Anne Worley,  Eileen Barnett, Cheryl Daro, Michael Deni, Jane A. Johnston, Jackie Joseph, James Snyder, and BJ Ward. 

Commonly known as "The Revue Master of Hollywood," Billy Barnes was a prolific composer and pianist whose work significantly shaped the Great American Songbook with standards like "(Have I Stayed) Too Long at the Fair." His legendary revues helped launch the careers of stars such as Ken Berry and Jo Anne Worley. Billy’s television contributions were equally vast, providing special material for The Carol Burnett Show, The Judy Garland Show, and all 144 episodes of Rowan & Martin's Laugh-In. A six-time Emmy nominee, his influence on the arts continues to resonate today.

Directed by the iconic Kay Cole with music direction by the brilliant Michael Orland and hosted by the talented Shawn Ryan, this event honors the legacy of influential composer Billy Barnes. Proceeds provide much needed scholarships for young musicians and support the Foundation’s mission to further music and theatre education.

Only a few tickets are available at CatalinaJazzClub.com or TicketWeb.com. For more information, please visit https://www.thebillybarnesfoundation.org/.

Photo: sylviamoorephotography.com