Two Phantoms for Philly: John Cudia and Mark Jacoby
By: Pati Buehler Dec. 19, 2006
The 2006-07 Philadelphia theater season has been treated to some star quality names thus far - television's favorite vixen rivals Joan Collins and Linda Evans (Legends), Richard Thomas and George Wendt (12 Angry Men), Michael Learned and Tom Bosley (On Golden Pond) as well as Philly's own Andrea McArdle (Annie Get Your Gun). Yet this may be the first time that two actors who both played the same blockbuster role are appearing in two popular shows for Philadelphia's Holiday theater season.
Longtime Broadway veteran Mark Jacoby has starred in such notable Broadway shows as Sweet Charity, 1986, The Phantom of the Opera, 1988, Grand Hotel, 1989, Showboat, 1994, Ragtime, 1998, Man of La Mancha, 2002, the recent Broadway revival of Sweeney Todd, 2005; he now joins the talented cast of the Walnut Street Theater's production of 42nd Street, playing the role of show director Julian Marsh. The show runs through January 7, 2007. Upon Mark's return to New York, he will be playing the role of the Major-General in the Lincoln Centers production of Pirates of Penazance that will run from March 7th through March 31st.
John Cudia made his Broadway debut in Les Miserables in 1994 and was brought into the national touring company of the Phantom of the Opera as a swing in 1999. Within nine months, Cudia was playing the lead role of Raoul and covering the role of the Phantom. He is proud to be associated with two of Broadway's longest running shows in history and to be the first and only actor to have performed both roles, Jean Valjean and the Phantom, on Broadway.
We're sitting in the dressing room of John Cudia at the Forrest Theater as he's prepping for the 60 min. makeup routine.
John, who has played almost every male part in the production, including the roles of Feuilly, Jean Prouvaire, Lesgles, Courfeyrac, Enjolras, Brujon and Jean Valjean, spoke about his experiences with Les Miserables. John's involvement with the show came just a year and a half out of college as he realized this is where he wanted to be.
In 1999, John was cast as a temporary swing in the national touring company of Phantom. Nine months later, John was promoted to the lead role of Raoul.
One of BroadwayWorld.com's readers posed an interesting thought about the casting of Raoul, and I asked John what he thought. "Why does it seem that almost every actor who plays Raoul covers for the Phantom role and often eventually plays the Phantom?" John's reply: "I don't really know. I don't think it's a set thing but more of a combination of the actor playing Raoul having qualities that suit the role of the Phantom or in my case; I asked to understudy the Phantom upon getting the Raoul role. So it may be a bit of both. As you know some swings cover more than one part and an actor that covers Raoul may also cover the Phantom. I know it's turned out to be the case many times, but I honestly don't think it's a set thing. But that is interesting."
John grew up in Toms River, New Jersey and enjoyed the music of Billy Joel, Barry Manilow, and "getting lost in the stories of their songs." John reveals that it took him a while to decide upon the notion of performing for a living - to be paid for something you've always enjoyed doing. It was not until he was in college that he began talking to people who were working in arts and education. According to John, "At the time I really wanted to be a pilot either in the military or the airline business. It wasn't until a teacher brought to my attention that he thought I should be a singer that decided that I would focus on that as a goal". John acquired much of his theatrical experience at Ocean County College in New Jersey and then at the Paper Mill Theater, which he enjoys even to this day.
Of course, an interview would not be complete without asking John's opinion and advice for up-and-coming actors. He shares this: " I would say, get on stage as much as possible, anywhere and at any time; whether it be high school, summer stock, community. Being on stage is the best education you can get, but I also believe being well rounded has as many benefits. If your love is theater, then it's getting to know all the aspects of theater. All of these things will make you a better performer. Having an understanding of what other peoples jobs are and building a working relationship with them is important.
Pati Buehler: What is the attraction of The Phantom of the Opera in your opinion?
John Cudia: Well, it such an important part of theater history, and to be a part of that is an amazing thing. It's also an incredible role to play. It's challenging and a tremendous amount of fun, and being part of something that has touched so many people is truly a thrill. A thousand different people who see Phantom will give you a thousand different answers as to the attraction of the show, the music, the lyrics, the costumes, the story, and identifying some of the deeper themes. Good story, good music. It's got it all."
PB: Having seen Phantom several times since it opened, I am still impressed at how fresh and alive the show remains. What do you think attribute that to?
JC: I feel that this company makes a commitment to keeping the production fresh. From city to city, they will often have rehearsals and brush-ups. Everything is maintained - the costumes, the lighting; we've all made a commitment to keep the quality of the show as close to the original as possible. And yes, there are many who have seen it several times over the years and you don't want those people to have an unfavorable experience especially with a show that so many have such strong emotional connections to.
John Cudia is contracted to play the Phantom until April 2007. And as I leave him in the hands of his makeup artist I thank him for the wonderful job this cast is doing keeping this show alive and fresh, as well as for his time and an interesting interview.
The Phantom of the Opera will be here at the Forrest Theater, Philadelphia through December 31st.
As John Cudia begins to transform into that lovable Phantom character, we welcome yet another Phantom from the past; Mark Jacoby, who is currently starring as Julian Marsh in the Walnut Street Theater's production of 42nd Street, which runs through January 7, 2007.
Pati Buehler: Mark, thank you so much for visiting us here at the Forrest. Please, tell us all about playing Julian Marsh?
Mark Jacoby: Well, it's great fun to play. Julian Marsh is a domineering, flamboyant man and artistically driven, focused like the headlight on a train and you do his show one way, my way! (laughing)
PB: Do you think Julian Marsh gets a little sidetracked by Peggy Sawyer?
MJ: Sidetracked? Interesting. Well, I think Peggy Sawyer reminds Julian of something he has lost. She is a true amateur in a sense that she is a lover of the craft, and she has a freshness and purity and simple acceptance of the beauty of what we're doing that Julian's lost over the years and she's restored that in him. And as a result, she becomes personally intriguing to him. That's the way I see him.
PB: Is he in love with her?
MJ: Well, I think that's something the audience can decide for themselves. I think in real life, we don't totally understand what we're feeling. We may be lost to identify it or put a label on it and I think that's where Julian is. The audience will believe what they want to believe. In this case, if the relationship is not defined, I think that can be a positive. I also think it is one of the best things about the show besides the wonderful dancing, of course.
PB: I always get the feeling that Julian wishes that he could be in love with her but he can't, he won't, so he has to deal with that.
MJ: You know what; I am thinking that this (42nd Street) is a piece that has little in common with The Phantom of The Opera, but that some of the appeal of Phantom is the same. I think we are mystified not so much about the Phantom's relationship with Christine, but what is going on with her? Why does she do the things she does? Why does she respond in that way? It's never completed answered. She does leave with Raoul but she does kiss the Phantom in a passionate and intense way. I think this is a part of why the Phantom is a success. Of course it is visually fabulous and the score is wonderful among other things, but I think there's a real intrigue there. Don't you?
PB: I've always been intrigued by Christine's emotional pull towards the Phantom and yet she chooses to go with Raoul.
MJ: Don't you think they were in love? I do.
PB: Yes, I believe Raoul feels that he loves Christine. But Christine has long term, strong emotional ties to the Phantom.
MJ: That's true. Isn't it interesting how this casting of a teacher/ student or director/ student as in the case of 42nd Street has this Svengali theme in both cases? As in My Fair Lady, the same ambiguous relationship takes place.
PB: Well, this is really getting into the characters and I love it. Now I really need to talk about Mark Jacoby. You have been in leading Broadway roles for 20 years. How have you maintained your craft, your energies for so long?
MJ: Yes, my first Broadway role was Sweet Charity in 1996. Well, it's been different for the various shows and roles. When I did Phantom in 1988, I virtually did no singing off stage. The role was so demanding. For other roles, I would do vocal warm-ups and such. Depending on what condition I was in vocally, I would prepare accordingly.
In the case of singing the Judge in Sweeney Todd, that was a very low range for me. My concern in that role was being too warmed up because if the voice gets too high, I don't have a low part. I found that by the end of the week, when fatigue set in, I could do it better. So it always varies.
PB: Out of the many shows with which you been involved, do you have a few special moments or memories that pop into your head as we speak?
MJ: Oh so many. But of course one's first Broadway show is always a thrill.
I guess I attach a small amount of pride to Sweet Charity, because I walked in as someone unknown and got the part. After a few shows, you start to get connections with other people, but in that case I had no advantage, so I felt good about getting the part. I worked with people who were just giants of the business - Bob Fosse and Gwen Verdon, Cy Coleman and Neil Simon; I was surrounded by these gods of musical theater. Bob Fosse is still my mentor. While he is long gone, I still remember things he said to me and taught me. That probably is one of the most special times for me.
Of course playing the Phantom is a great, great thrill and that was a terrific time in my life in many ways too.
PB: Mark, any advice you can share about those getting into this business for the first time?
MJ: You know, I have a son who's an up-and-comer, and he asks me things. You know the business has changed so rapidly since I started that I'm sad to say that I don't know a lot about how to start anymore. The way I started and the way people start today is different, but generally I would say get all the training you can get. Get all the actual performance experience you can get. Don't just sit around and wait for a big break; work, do something, community theater, school theater. But not to sound contradictory - don't become a specialist too early in your life. These days people are choosing musical theater as a career early on. I worry about their general exposure to the world. I think a general education is a valuable thing, particularly as an actor. I tell my son, if you want to do this I support you, but not to go to school and major in musical theater. Go and get a degree or major in theater as opposed to musical theater. Keep your horizons broad because we need to know about the world. I think some of these prodigies that get into a cloistered environment never get exposed to anything but their craft. So you have to be balanced.
PB: Excellent! When you leave 42nd Street, you will head back to New York to be part of The Lincoln Center's production of Pirates of Penzance opening in March.
MJ: I didn't know that! I should make a note of that (laughing).
PB: Of course you do! What a fun role playing the Major-General.
MJ: I've done it before, but I played the Pirate King at the Pittsburg Civic Light Opera. So this role should be interesting.
PB: Can you sing and talk that fast?
MJ: We shall see!
PB: I'm sure you will be wonderful, and everyone will look forward to seeing this one as well. Well, Mark, I know you have an 8:00 curtain and I want to thank you for coming down to meet me. They are warming up for a 7:30 curtain here at Phantom. This has been a lot of fun and it's a rare treat to sit down with two Phantoms in town at one time. And I'm happy to have had this time with you.
Photo # 1 - John Cudia Forrest Theater dressing room
Photo # 2- John Cudia as Phantom. photo credit: Forrest Theater
Photo # 3- Peggy Sawyer & Jullian Marsh ( Cara Cooper & Mark Jacoby) photo credit: Brett Thomas
Photo # 4 - Mark Jacoby as Phantom. photo credit Joan Marcus
Photo # 5 - Mark Jacoby
Information: Walnut Street Theater: www.wstonline.org Forrest Theater: www.forrest-theater.com
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