At the stage door, upstairs in the bar

I'll be posting reviews of the shows I saw in New York City but first, I have some memorable stage door experiences to share. Well okay, one of them was an upstairs in the bar experience.

First, I introduced myself to Saycon Sengbloh, whom I've written about before, after seeing her in the vibrant and powerful Fela! To my surprise, she recognized my blog!

Saycon occupies a treasured place in my theatergoing experience. She went on in the role of Celie, as the understudy for Fantasia, when I saw The Color Purple. It was the first show my dear friend and brother Steve On Broadway and I saw together, on the day we finally met in person.

After signing my Playbill, and sending regards to Steve, she graciously took me onto the stage at the Eugene O'Neill Theatre, which was thrilling. After years of being an understudy, I'm so happy that she's had a chance to create a role on Broadway.

I saw La Cage aux Folles Saturday afternoon and it won my heart completely. But neither Douglas Hodge nor Chris Hoch, who was filling in for Kelsey Grammer, came out after the matinee. (Although lots of other actors and the fabulous Cagelles did.)

On Saturday night, I went to the hilarious Lend Me a Tenor a few blocks away at the Music Box. That stage door was quite an experience.

Did you know that teenage girls go wild for Justin Bartha? Neither did I. But about 25 of them swarmed him for a group photo. It was incredible. (Well, he is cute.)

Since La Cage is a little bit longer than Tenor, I raced back up to the Longacre but everyone had left. Then a woman standing in front of the theatre told me that the cast was in the restaurant next door.

Now, I don't normally run after actors in restaurants. Really, I don't. But I was so taken with La Cage aux Folles. Plus, after writing about Kelsey Grammer's absence, I felt that I owed Chris Hoch a mea culpa.

A waitress told me everyone was upstairs in the bar. One of the Cagelles (Sean Patrick Doyle, I think) recognized me. He said Chris wasn't there but Douglas was, and introduced me. (I asked him to please pass along my compliments to Chris on a terrific performance.)

Well, Douglas Hodge could not have been nicer - incredibly generous with his time after a two-show day.

He signed my Playbill, apologized for not coming to the stage door after the matinee and spent a few minutes chatting with me.

Stupidly, I forgot to congratulate him on winning the Tony Award for Best Actor in a Musical. So, congratulations!

Stage door stories from 2009

I'm not ashamed to admit it: I'm a fangirl. A part of me still finds it amazing that after I see a Broadway show, most of the time I can meet the actors and actresses whose work I've just enjoyed. (And it's not just the more famous ones. I'm thrilled to meet the cast of every show.)

So I can't end 2009 without mentioning some of my favorite stage door experiences of the year. And of course I want to thank the performers who took the time to sign my Playbill, talk to me or on a few occasions when I was brave enough to ask, pose for a picture.

Sadly, I did not get autographs from Hugh Jackman or Daniel Craig after A Steady Rain but I was smart enough to hand my camera to Steve On Broadway, who snapped some nice pictures of the man from Oz looking very jaunty in his gray scarf and fedora.

Among the other highlights:

James Gandolfini from God of Carnage. I'm a Sopranos fan, so this was exciting. Usually, if it's someone I know from TV or movies, I manage to say something along the lines of "loved you on this TV program or in that movie and it's so wonderful to see you on stage." This time, maybe because he came out so quickly after the play ended, I was tongue-tied. Gandolfini was quiet, although he did laugh when someone asked about a Sopranos movie. ("I don't think so.")

Neil Patrick Harris. This was completely unexpected. Apparently, NPH attended the same performance of Waiting for Godot that I did because I saw him going in the stage door. People were clamoring for autographs and he promised to sign when he came out - and he did, as well as pose for pictures. This was the day before he was hosting the Tony awards and I'm sure he had a busy schedule but he was exceedingly friendly and gracious.

Ernie Hudson from Joe Turner's Come and Gone. It was great meeting the entire cast but best of all was spending a few minutes listening to Hudson talk about it had been like the previous week, when the president and first lady were in the audience. He was clearly still excited about it. (Hudson said everyone onstage was temporarily blinded from cell-phone cameras going off when the Secret Service brought the Obamas to their seats for Act II.)

Steven Pasquale from reasons to be pretty. I saw this play in the afternoon on the day of the Tony awards. Pasquale's character is a creep and not very nice to his wife. In real life, Pasquale is married to Laura Benanti, who was hosting the Tony preshow. As he walked away with an assistant, I heard him inquire about her in a way that struck me as so sweet and caring. Quite different from the character I'd just seen him portray. Yes, I know it's called acting but the contrast just reinforced what a great job he did onstage.

Jessica Hynes from The Norman Conquests. Hynes played the frazzled Annie, who cares for her needy but unseen mother and desperately needs a break. I told her how much I enjoyed her performance, how it related to the circumstances of my life and really resonated with me. She asked me whether she'd "gotten it right." I assured her that she definitely had. And I was touched - and impressed - that she cared enough to ask.

Alice Ripley from Next to Normal. This was after her second show of the day and Ripley took a long time to make her way around the circle of fans. She was stopping to talk with almost everyone and I could tell some of the conversations were intense. My guess is that because she plays a woman struggling with mental illness, she meets a fair number of people who have a family member in a similar situation. And from what I could tell, she wasn't brushing anyone off but was taking the time to listen.

Catherine Zeta-Jones from A Little Night Music. In the past three years of going to Broadway shows I've met Oscar winners and Tony winners and Emmy winners. But when Zeta-Jones came out of the stage door, looking perfectly made-up and glamorous, I thought to myself, "That's a movie star." She signed autographs, acknowledged fans from Wales and and Scotland who'd come to see her, and in minutes, was whisked away by a waiting SUV, leaving some Hollywood glitter in her wake.

Special bonus celebrity sighting - While I was waiting for the cast of A Little Night Music, I saw an elderly man being helped into the front passenger's side of Zeta-Jones' SUV. It was her father-in-law, 93-year-old Kirk Douglas! I wanted to rush over and tell him about the key role he played in my life, but I resisted. Still, it was awesome to see that unmistakable profile. (And he blogged about going to see ALNM on MySpace!)

Sarah Rosenthal from Ragtime. Sarah, who's 13 and making her Broadway debut, was very sweet at the stage door. She signed my Playbill and asked me, with all the seriousness and polish of a seasoned performer, "So, where are you from?"

In an interview with the Baltimore Sun, Sarah talked about how she spent weeks practicing her signature to make it distinctive. "There have been so many times that I've waited outside a stage door in the cold to get someone's autograph," she says. "It's exciting to think that now, someone might want my autograph."

Megan Mullally at the stage door

I'm sure Megan Mullally is a very nice person and she's quite the trouper, appearing in The Receptionist in Los Angeles with a cast on her wrist after being in a car accident.

In this Los Angeles Times story, Mullally talks about the pressure she felt being on Broadway in Young Frankenstein:

“Since I was the most recognizable name in the show, I always felt like, oh, God. I can never get sick or miss a show, because there were Will & Grace fans flying in from all over the world to see that. And I always thought, what if I miss a show and a guy came from India or a lot of people came from Finland, South American countries, everywhere.

She certainly was in the musical the night I saw it, no beef there. But I do have to take issue with this next statement from Mullally:

"I’d go out and sign autographs every night and go, if I hadn’t been there tonight and you’d come all the way from Russia, that would have been a real bummer.”

Well, I didn't come that far but I did wait outside the Hilton Theatre stage door for quite awhile on a chilly fall night, Playbill and Sharpie in hand, and she never materialized.

It wasn't a huge disappointment. I was there because I love the movie Young Frankenstein, not because I was a big Will & Grace fan.

I got a picture and chatted briefly with the wonderful Christopher Fitzgerald. I had a chance to tell Andrea Martin how funny she was in My Big Fat Greek Wedding. I also met Sutton Foster and Fred Applegate.

What bothers me is that there are performers who do go above and beyond to sign autographs. Some of them, like Alice Ripley, spend an incredible amount of time talking to people.

So please, don't say you were at the stage door every night greeting your adoring fans out of your great sense of obligation when you weren't.

I'll give Mullally the benefit of the doubt. Maybe she was feeling under the weather. Maybe she had out-of-town guests or she had to be someplace early the next morning. Perhaps that was the only night she missed and it just slipped her mind.

The talented and gracious Ms. Ripley

One of the thrills of going to Broadway has been the chance to meet the actors afterward and get my Playbill signed.

It's not simply the signature - it's hopefully sharing a few words with a performer whose work I've just enjoyed. You can't do that after watching a movie or a tv show.

I realize that the actors don't have to come out, so whenever they do I appreciate it. This time, like my previous trips to New York, I've had some wonderful experiences.

But seeing the herculean effort Alice Ripley made to greet fans at the stage door after Next to Normal Sunday night truly was something special.

This was her second show of the day in a very demanding role that's almost entirely sung - there's very little spoken dialog in Next to Normal. So she must have been exhausted. Still, she looked great - full of energy, talking and posing for pictures. (And as you can see, she has a pretty distinct signature. It's like a work of art!)

I'm not very good with crowd estimates but there must have been at least a hundred people waiting for her at the Booth Theatre stage door, in Shubert Alley. Her fellow cast members, J. Robert Spencer, Adam Chanler-Berat, Kyle Dean Massey and Louis Hobson, had already come out and signed.

(The only one I missed was Jennifer Damiano. This has happened to me before, where I've gotten every cast member's autograph but one. There must be a rule that one person must stay away from the stage door, just like one Cabinet member is at a secure and undisclosed location during the president's State of the Union address.)

Ms. Ripley took a long time to make her way around the circle of fans. She wasn't simply signing her name, she was stopping to talk with almost everyone. As she got closer to where I was standing, I could tell that she was having some pretty intense conversations.

My guess is that because she plays a woman struggling with mental illness, she meets a fair number of people who have a family member in a similar situation. And from what I could tell, she wasn't brushing anyone off but was taking the time to listen.

When it was my turn, I congratulated her on her well-deserved Tony award. I told her I thought Next to Normal was such a compelling look at a family in crisis.

I expected her to thank me and move on, but she kept talking, about how this was such a great role for a woman and how most musicals are centered around men and she's been waiting for this opportunity for so long. She just volunteered all of this. I didn't even have to ask a question!

The one thing that made me angry was the woman standing next to me with four Playbills. I asked her why she was getting four of them signed and she said two were for friends and two were for her.

Now, I don't have a problem with getting a Playbill signed for a friend. It's a wonderful, thoughtful thing to do and I treasure the ones friends have gotten for me. I've done it myself for other people. But four? That seemed excessive. I'm just hoping none of those end up on eBay.

As I left Shubert Alley I could see Ripley still talking to the remnants of the crowd. What a gracious, classy woman. I'm so glad that I made a point of telling her how how much I appreciated the time she spent with us.

So here's to you, Alice Ripley and to all of the other actors who've taken the time to sign Playbills, pose for pictures, share a few words with fans. For me, your graciousness is part of what makes going to the theatre so exciting and so unique.

Always something new to do in New York

Okay, I don't actually spend every moment of my New York City trips in Broadway theatres. It's an immensely walkable city with more things to see and do than probably any other city I've ever been in. So here's a rundown on my Memorial Day weekend:

Breaking the curse of the Jacobs Theatre stage door

On my two previous outings to the Jacobs, to see Frost/Nixon and The Country Girl, I was spectacularly unsuccessful in getting my Playbill signed. So I wasn't getting my hopes up for God of Carnage. But surprise - James Gandolfini came out pretty quickly, followed by Hope Davis and Marcia Gay Harden. They were all very gracious. Gandolfini was quiet but laughed when someone asked about a Sopranos movie. ("I don't think so.") Sadly, I missed out on the Holy Grail of stage-dooring, getting everyone in the original Broadway cast of a show to sign my Playbill. Jeff Daniels made a hasty exit. Hope Davis said he had out-of-town guests. Well, okay. Three out of four is 75 percent.

Sampling eclectic cuisine

Ninth Avenue (aka Hell's Kitchen) is my favorite street for eating in New York. Just a couple streets over from the bustle of Times Square, it's like another world. The sidewalks aren't nearly as packed with tourists and it's more like a regular neighborhood. It also has dozens of tiny and not-so-tiny restaurants serving up every type of food you could possibly imagine. I've eaten at half a dozen different ones and they've all been great. This time, I went with my friend Chris and his entourage to the Zen Palate - my very first Asian vegan restaurant, where I had some delicious whole wheat noodles with stir-fry vegetables. And no one looked at me funny when I asked for a fork - because I am chopstick-impaired.

Walking to Brooklyn

Sarah and Kari invited me to join them on a walk across the Brooklyn Bridge on a beautiful, sunny Memorial Day. Now I can say I've done it in both directions. It was very crowded and you've got to watch out for bicyclists and I should have put on some sunscreen. But it's such a fun walk with great views. As I remarked to Kari, what a photogenic bridge! Look at her pictures and see if you don't agree. That day, we rode the subway, walked, took the water taxi and a land taxi. Just about every mode of transportation except a helicopter ride over Manhattan. Okay, not sure I'm up for that but someday I would like to take one of those horse-drawn carriages around Central Park.

Witnessing literary history

I'm not a huge fan of short stories but I do love two that I remember reading in middle school or high school - The Ransom of Red Chief and The Gift of the Magi. When Sarah led us to lunch at Pete's Tavern, little did I know that I'd be stepping into literary history. New York City's oldest continuously operating bar and restaurant is the very spot where Mr. William Sydney Porter, better known as O. Henry, wrote The Gift of the Magi in 1905. His booth is set up as a little shrine. Made me want to buy a pocket watch and grow my hair long so I can get some fancy combs! Pete's Tavern, on East 18th Street near Gramercy Park, has been opened since 1864 and it stayed open during Prohibition disguised as a flower shop. If you go, I highly recommend the grilled chicken salad.

Relaxing in a lawn chair in Times Square

I got to New York on Sunday of the holiday weekend, the first day of the city's experiment closing Times Square to traffic. And it was pretty neat to be able to walk down the middle of Broadway. But I had to laugh when I came back from my excursion on Monday and saw people sprawled out on lawn chairs and chaise lounges that had been set up in the street. It looked like a massive installation of performance art. How incongruous! A little bit of suburbia in the heart of the city. I saw a sign inviting other chair manufacturers to display their furniture. I'm hoping when I go back this week, there'll be Barcaloungers.

Daniel Radcliffe, I tip my Sharpie to you

Congratulations to Daniel Radcliffe for getting his caricature unveiled at Sardi's this afternoon. He'll be part of an illustrious tradition and it's a well-deserved honor, in my opinion.

While I had mixed feelings about the play, I thought he was terrific as a very troubled teenager in Equus. And in every interview I've seen he handles himself so well. For a great example, check out what he had to say on Theater Talk about the challenge of keeping his performance fresh.

I think this is a good time to say that I owe Daniel an apology. When I wrote in November about getting his autograph at the stage door I mentioned that he seemed to take an awfully long time to sign his name. I suggested, in what I hope was a lighthearted way, that he practice a quick, illegible scrawl.

I didn't realize until later that he has a condition called dyspraxia, which affects his handwriting. So of course, I feel horrible. He mentioned dyspraxia briefly when he was on Inside the Actors Studio and he talks about it a little more in depth in this interview by Kevin Sessums at The Daily Beast. (Thanks to Rocco at What's Good, What Blows for the link.)

"I have a very mild form of it. I’ve gotten it mostly under control now. I played a lot of videogames as a kid which really helped it. It basically surfaces as bad coordination. Another example of it is how terrible my handwriting is because I can never quite tell when the pen is going to land on the page."

Now I have even more respect for him trying to sign all of those Playbills after a performance. He'd have a perfectly understandable reason for bowing out of the task, but he doesn't. And judging from the number people who find my blog by searching for Daniel Radcliffe, stage door and autographs, I know how much it means to his fans that he makes the effort.

You can catch Daniel on Broadway in Equus at the Broadhurst Theatre through Feb. 8.

Daniel Radcliffe and the sweaty shirt

I really look forward to the pitches that cast members make at the end of the show this time of year for Broadway Cares/Equity Fights AIDS.

First, it's a great cause and I always drop something in the bucket. The organization helps people with HIV and AIDS as well as those with other illnesses, such as breast cancer. Second, you get to watch the actors you've just seen playing characters break the fourth wall and address the audience as their real selves.

Last night, at the end of Equus, it was especially exciting. Daniel Radcliffe auctioned off a sweaty polo shirt that he wore onstage in New York and London. He autographed the shirt and even wiped his face with it, so the lucky recipient, who paid $550, is assured of getting some of Harry Potter's DNA. How thrilling!

I'll have much more to write about Equus later but let me just say that Mr. Radcliffe gave a mesmerizing performance as a troubled teenager who blinds horses. And at the risk of sounding completely shallow, he has quite a cute little tush!

A lot of people find my blog by searching for Daniel Radcliffe, stage door and autograph, so here's the scoop:

I did manage to get his autograph and Richard Griffiths' at the stage door afterward. It was a pretty hairy experience. The stage door at the Broadhurst is on the front side of the theater. Just make a right turn as you exit. But you can't miss it - you'll see the security guards and the metal barricades.

The security people won't even let you near the metal barricades unless you show them a ticket for that night's performance. And you'll be wedged in like sardines with your fellow theatergoers. It was a bit of a madhouse, with the guards constantly telling us to move back and to not push. But it was kind of hard to avoid pushing when you tried to move back!

I was just behind the front of the barricade and I kind of scoped out the situation while we were waiting, trying to find an opening in the crowd where I could thrust my Playbill at Radcliffe. (He comes out fairly quickly, within 20 minutes. You'll have to wait longer for Griffiths but by then, the crowd will be gone.)

When he got to me, he seemed to take a looong time to sign his name. "Daniel" came out pretty good, but the signature starts to trail off by the end of "Radcliffe." He needs to work on a quick, illegible signature! Update Dec. 1: Okay, now I feel awful. I just heard Radcliffe say on Inside the Actors Studio that he suffers from a mild form of dyspraxia, which can affect fine-motor control, such as handwriting. So I apologize for joking about your signature.

Radcliffe will work both sides of the barricades. My advice is to position yourself on the side next to the giant Shrek poster. That way, when his driver pulls up and the car door opens, you'll be in good position to try and take a picture before he jumps inside.

Daniel Radcliffe and the stage door

I've gotten e-mails from a couple of readers who are making their first trip to Broadway just to see Daniel Radcliffe in Equus. More than a few people have stumbled upon my blog by searching for his name and "stage door." So I know there's a lot of interest in whether he'll sign autographs. After digging around on the Broadway World message boards, here's a little update.

Several theatergoers have reported that Radcliffe is making an appearance at the Broadhurst Theatre stage door, signing Playbills and even an occasional Harry Potter dvd case. As always, past performance is no guarantee of future results. But if he's signing autographs now, there's a good chance he'll do it through the entire run of the play.

A Broadway World post from Without A Trace has a pretty detailed description of what it was like at the Equus stage door, and it's quite a mob scene, with hundreds of people screaming and pushing.

"Daniel Radcliffe was the last one out and he signed for A LOT of people. He first went around to the right side of the barricades and signed for most of the people in the front (he even signed someone's Harry Potter DVD cover). Then he came around to the left side of the barricades. Everyone around him was telling him how much they loved him in Harry Potter, etc etc.

"When he got to my spot in the barricades, I told him that his performance in this show was brilliant and that it is wonderful to see him in a role that most people wouldn't think to see him in...and he pulls it off so well.

"He then asked me if I had seen the show that evening, and I said no, that I had seen the first preview on Friday night. He responded with "Oh, that was a good night to be here!" Then I told him that I was telling all my friends to go see the show, and he said "We're not completely sold out, keep telling people to come!" Then I thanked him again and he seemed very gracious and pleased with my comments about his performance. Then, he went onto the next person, who mentioned Harry Potter again..."

Apparently, this person went to the stage door on a night when he or she wasn't seeing Equus, to stake out a good spot. That might not be possible if you're coming from out of town. So you should probably head out of the theatre as quickly as possible - even if it means giving up a pit stop. There'll be time for that later - after you get your autograph.

Stopping at the stage door is a great and time-honored part of going to a Broadway show. I've had wonderful experiences and disappointing ones so whatever happens, I can sympathize.

My advice is, stand your ground, don't be bashful about reaching out with your Playbill, remain calm and above all, just enjoy being part of the whole crazy scene. (Although they're not all as crazy as this one will be). Here's a video that will give you some idea of what you can expect.

Ok, if Equus is your first Broadway experience - have fun and break a leg! Hopefully you'll see a great show and take home a great souvenir. And of course, you'll want to return.

Happy birthday Marian Seldes!

Thanks to Sarah at Adventures in the Endless Pursuit of Entertainment, I know that Marian Seldes turns 80 today. (Sarah's created a great photo montage of Seldes' career and her lengthy list of stage credits.) Of course, I can't let the day go by without paying my own tribute to this legendary and gracious actress.

Before I made my first trip to Broadway last year, I was vaguely familiar with her name. I knew that her father, Gilbert Seldes, had been a famous literary critic and Kevin Spacey had mentioned in an interview that she was one of his teachers at Juilliard. But when I decided to see Deuce, I was much more excited about Angela Lansbury, who was making her return to Broadway after an absence of 25 years.

I know a lot of people felt that Terrence McNally's Deuce was sort of thin as a play, but I have to disagree. I enjoyed it so much that I wish it had lasted twice as long as its 90-minute running time. I was enthralled the entire time listening to Seldes' and Lansbury's characters, former tennis professionals who hadn't seen each other in decades.

Granted, there isn't much action. At one point, each of them stands up. But they're mostly just sitting in chairs, in a stadium, reacting to imaginary tennis balls whizzing back and forth as they watch a match at the U.S. Open. Occasionally, the play-by-play announcers chime in and an adoring fan stops by.

But most of the play is simply the two women - former doubles partners - sitting and talking, reminiscing about their lives. And I think that's what made it memorable for me. It's so basic - two people telling a story in front of an audience. It's the world they create with their words that's important, not car chases or special effects. And it's probably one of the most difficult acting jobs because all you have is language, in all of its nuances.

I felt so privileged to be in the company of these two great actresses. I was immediately caught up in their characters. It could easily have ventured into Grumpy Old Men territory and been completely jokey, but it didn't. It was sweet and funny. I liked hearing them talk about the old days, about how things had changed for women, for female athletes, about their hopes and disappointments.

I saw the play on a chilly April evening, and of course I waited at the stage door afterward. Despite the cold, both women were incredibly gracious and accommodating to the crowd that was waiting for them. They signed Playbills and Seldes went down the line, talking to people. They are troupers in every sense of the word.

While Lansbury signed her name in bold strokes, I was especially struck by the fact that Seldes, such a strong figure on stage, has such tiny, delicate handwriting. She signed her name using a blue ballpoint pen and when someone offered her a thick, black marker, she politely declined, saying that she couldn't possibly use it.

Three months later, when I was back in New York, I went to City Center to see Gypsy, and who should come down the aisle, taking a seat almost across from me, but Marian Seldes! I was a little hesitant about approaching her. I mean, yeah, I know you're supposed to leave actors alone when they're on their own time. But what can I say? I'm starstruck! I'm a fangirl!

People kept coming up to her before the show, at intermission, some of them staying way too long in my estimation. The woman barely had a moment to herself. But finally, I saw an opening. I figured, I'll go over for a quick hello and tell her how much I loved Deuce. What could it hurt, right?

I had just listened to a wonderful interview with Seldes on the American Theatre Wing's Downstage Center program. So I went over to where she was sitting, bent down, told her how much I'd enjoyed the interview and how much I loved her in Deuce. She smiled so sweetly, thanked me, and told me how much she loved being in Deuce. She started to talk about Gypsy, saying "Isn't it wonderful," and then she nuzzled my cheek. How awesome is that!

What I admire most about Seldes is that she has maintained such a deep commitment to the theatre over the decades and is so passionate and eloquent when she talks about her craft. At the same time, she's so gracious. And talk about a trouper - she was in Deathtrap during its entire Broadway run and never missed a performance in four years. That's 1,793 performances!

So, a very happy 80th birthday to Marian Seldes. Thank-you for a memorable performance on stage and being so welcoming off stage.

Stage door stories Part II

I've written before about some of the wonderful experiences I've had meeting performers after a Broadway show. Well, I don't want anyone to think that it's all smiles and puppies and kittens at the stage door. Last weekend I had the unique experience of being turned down for autographs by two Academy Award-winning actors in the space of less than 10 minutes.

On Saturday night, I saw The Country Girl at the Jacobs Theatre. It's a play about a washed-up, alcoholic actor, portrayed by Morgan Freeman, who's given a second chance at stardom. Frances McDormand plays his long-suffering wife and Peter Gallagher is the ambitious director who tries to keep Freeman's character from falling off the wagon.

Now, as I learned after Frost/Nixon, it's kind of tricky waiting for actors after a show at the Jacobs. While there is a stage door next to the entrance, most actors seem to leave through a service corridor next to the Golden Theatre, where Avenue Q is playing. So last spring, I missed Michael Sheen's quick exit that way, and Frank Langella apparently never came out at all. Maybe he's still there.

This time, I was prepared, leading my two theatergoing buddies, Steve on Broadway and the love of his life, to that spot. As we waited in line with a couple dozen eager fans, Oscar winner Morgan Freeman walked past us accompanied by a security person, who informed us that the actor wouldn't be signing autographs. Although he did deign to grace us with a smile.

Ok, I was 0 for 1.

Then a few minutes later, standing outside the Jacobs was Oscar winner Frances McDormand. My friends told me she wouldn't sign my Playbill either, but I approached her anyway. To her credit, Ms. McDormand was very polite. She was sorry, but told me, "I don't do press, I don't do photographs, I don't do autographs. I just work." (Hmmm, isn't doing press part of the work?)

I was 0 for 2, and I didn't even think about waiting to get turned down by Peter Gallagher. My tender ego couldn't stand any further rejection.

But as I've said before, the vast majority of Broadway performers are incredibly gracious, more than willing to sign autographs, pose for pictures and chat with their fans. Indeed, my first Broadway autograph was with two-time Academy Award winner Kevin Spacey after seeing him in A Moon for the Misbegotten last year. (So take that, Frances McDormand and Morgan Freeman!)

After that episode, my friends and I walked over to the Al Hirschfeld Theatre to say hello to the cast of the immensely enjoyable musical Curtains. I'm so glad we did, because my faith in humanity was soon gloriously restored.

Sadly, the show is closing on June 29, so these actors don't have much to gain in terms of goodwill by signing autographs, but they did it anyway, graciously greeting every fan who wanted to meet them. They were just as nice as they were last spring when I saw Curtains, my first-ever musical on Broadway.

I was so happy that I had a second chance to talk to the show's star, David Hyde Pierce. I congratulated him on winning a Tony award for his performance, thanked him for being so kind when I met him last year, and told him I hoped he'd be on Broadway again. If he's in a show, I definitely want to see it.

But wait, it gets even better.

After that, my buddies and I waited outside the Music Box Theatre for August: Osage County to let out. We had a terrific conversation with Rondi Reed, now a Tony nominee for her wonderful performance as Aunt Mattie Fae Aiken.

My friends had met her before, and she greeted us so warmly. Let me tell you, standing there on the sidewalk for more than a half-hour, until they actually shut off the theatre lights, laughing and chatting with Ms. Reed will always be one of my most memorable stage-door experiences. What a great actress and what a genuinely warm and friendly human being.

Despite my experience at The Country Girl, it was a great weekend for celebrity sightings. I saw former heavyweight champion George Foreman and Grammy winner John Legend leave the MTV studios, and I just missed Chris Rock. His car pulled away as I was crossing the street.

At the stage door after A Catered Affair Harvey Fierstein and Faith Prince were wonderful. But a highlight for me was when eagle-eyed Steve spotted Scott Wittman, who was waiting for Harvey, standing off to the side. Wittman, and his writing and life partner of more than 25 years, Marc Shaiman, are the Tony-winning composers of Hairspray.

I was a little hesitant about approaching Scott Wittman, but Steve gently encouraged me, and I'm so glad he did. It was pretty thrilling. (And I never would have recognized him on my own). After I saw Hairspray on tour last year, it immediately became one of my favorite musicals. I listen to the Broadway cast recording all the time.

I was completely tongue-tied, had no idea what to say, but Mr. Wittman could not have been nicer when I told him how much I loved Hairspray. He smiled such a sweet smile, crossed his hands over his heart and said, "thank-you." Then he pointed to Harvey and said that he was a big part of Hairspray's success. I wish I'd replied, I'd love to have seen the show with its original cast, but honestly, the story and the music are timeless to me.

My Broadway debut - one year later

Tonight marks the first anniversary of my first Broadway play - A Moon for the Misbegotten, and tomorrow, my first Broadway musical, Curtains. One year ago this evening, at the tender age of 47, I stepped inside a Broadway theater for the very first time in my life and was immediately hooked. It's never too late to make your debut on the Great White Way, is it?

While it was a chance to see Kevin Spacey's performance in Moon that lured me to New York initially, I've been back three times since April 2007, and I've seen a total of 21 different shows (Moon twice). And while I have my favorites, I can honestly say that I've enjoyed at least a little something about each and every one of them. Going to the theatre in New York City is still a pretty big thrill for me. I'm very envious of people who live there and can go all the time. I just wish I had a chance to see more off-Broadway shows, too.

I've now been inside 18 of the 39 Broadway theatres. There are some I like - the cozy, intimate orchestra section of the Belasco, for example. There are others I'm not crazy about - I felt sooo far away sitting in the rear of the Hilton's orchestra. The narrow, rectangular-shaped lobby of the Richard Rodgers made me feel absolutely claustrophobic. I'm hoping to get to all of them eventually, and if it comes down to the final one, I'll swallow hard, bite the bullet and go see The Phantom of the Opera at the Majestic, because that show most likely isn't going anywhere in my lifetime.

This week, I got a comment on a post I wrote awhile ago about going to the stage door after a show to get my Playbill signed. The person who wrote has never been to a Broadway show, but is planning to go see Equus with Daniel Radcliffe, and wanted some advice. Imagine, someone asking me for advice. Can you believe it?

So, to mark the first anniversary of my first Broadway show, and in a shameless attempt to pump up the hits to my blog, (weekends can be slow, you know) here are some words of wisdom to another novice theatergoer.

Before I start, just in case there's one person left on the planet who doesn't realize it, Equus is not a play for young children. It's about a psychiatrist treating a young man who has an unhealthy fascination with horses. Nudity and adult themes are most definitely involved. You'll be seeing a side of Daniel Radcliffe you've never seen in the Harry Potter movies. (I'm not talking just about his acting.)

So forewarned is forewarned. Now, you want to get outside as quickly as possible after the show ends to claim a good spot. (My advice is to make a quick trip to the bathroom, because you might be there for awhile). I'm not sure where the stage door is at the Broadhurst Theatre, but you can ask an usher. With Radcliffe's fame, there'll be metal barricades set up, and a mob scene. You won't have any trouble finding it!

We don't know yet what color the Playbill will be, but I would recommend two different-color Sharpies (available at most drugstores), one black and one a lighter color, like red or silver. You can also check back at the Playbill Web site after the show opens to see what the cover looks like, so you'll have a better idea of which color will show up best.

Now this is important. If you're there alone, make friends with someone standing next to you, so you can trade cameras and hopefully each get a picture of yourself with Daniel Radcliffe. With the number of people, it'll probably be close to impossible. My guess is he'll be quickly signing his name and moving on. But you should be prepared just in case the opportunity arises. (And I wouldn't bother lugging your 800-page Harry Potter book to the theatre, chances are he'll only sign Playbills).

In my experience, the star of the show usually comes out last. Perhaps it's done for dramatic effect, or because he or she has so many important visitors backstage. I don't know. So you could be waiting a half hour or more. (You'll have plenty of company). But don't despair and don't leave until it's obvious that he's not coming out. There'll most likely be security people around to let you know if he's not going to make an appearance.

While there are no guarantees that he'll come out the stage door and sign autographs, I have a feeling Daniel Radcliffe will be pretty accommodating. Once you get your signature, etiquette dictates that you move to the back and give someone else a chance. Be persistent, hold your ground and don't be shy. I hope you have as wonderful and memorable an experience as I did, one that turns you into a lifelong theatre fan. Now go out there and break a leg.

One hundred posts

This is my 100th post since I started Gratuitous Violins on Sept. 30, 2007. The number 100 is considered a milestone in the school year, in Congress and in presidential administrations, so why not in blogging?

When I check my statcounter, I'm amazed to see the places readers have come from - all over the United States and all over the world. Unfortunately, I haven't always been able to answer the question that brought them to my blog. So, to mark my 100th post, I'll try to answer some of them.

Which Broadway plays have stage doors?
I think they all do. The actors have to leave the theater somehow. Although sometimes they have ways of slipping out unnoticed. I never did see Frank Langella or Michael Sheen after Frost/Nixon. Sometimes the stage door is right next to the theater entrance, other times, it's around the corner in the back. If you're unsure, ask an usher, or just look for the metal barricade and a crowd of people clutching Playbills and Sharpies.

Broadway meeting the cast stage doors
If you have the time, you can and should go to the stage door after the show. Most of the actors will stop and sign autographs, pose for pictures and chat with you for a minute as you express your admiration for their performance.

Easy to meet David Hyde Pierce at the stage door?
Yes, it's very easy. I met him in April after a Friday night performance. He was very nice, signing my autograph and posing for a picture. I told him that Curtains was my first Broadway musical, and the previous evening, I'd seen my first Broadway play. He seemed genuinely interested and talked to me for a few minutes about the experience. In fact, the entire cast of Curtains is friendly and gracious and I loved the show. So definitely stop by, and tell David Hyde Pierce I said hello. He'll be in the show through Aug. 31.

Are jacket and tie required for going to the theatre in New York?
No, a jacket and tie are not required to see a show on Broadway. Sure, some people will be dressed up, especially if it's a weeknight and they've come from work. But generally, it's pretty casual. A nice shirt and pants are fine. You can wear whatever you want - some people come in jeans, sneakers, t-shirt. It doesn't matter. Nowadays, people dress for the theater pretty much like they dress for a movie. Maybe that's good, maybe that's bad, I don't know. But that's the way it is.

Swordfighting in Cyrano
Yes, there was swordfighting in Cyrano. It was my first time seeing swordfighting on stage, and it was great. Unfortunately, the show, with Kevin Kline and Jennifer Garner, has closed. But don't despair: it was taped for airing on the PBS series Great Performances. There's no air date yet.

Lower East Side NYC dangerous
Hmmm, I don't know. I do know that crime is way, way down in New York City and I felt very safe and comfortable everywhere I went in Manhattan. As always, avoid unfamiliar, deserted places, especially at night, and especially if you're alone. But generally, the places where tourists venture in New York are safe, the subway is fine, and the people are incredibly friendly and helpful. As in any big city, or small town for that matter, just use common sense and keep your wits about you. So go, and have a great time.

Theme from Ice Castles
I guess this 1978 movie has lots of fans, because I've gotten a number of searches about it, including one for "hot sexy Lynn-Holly Johnson," who plays teenage figure skater Alexis Winston. Someone else wanted to know how the movie ends, but I don't want to give it away for anyone who hasn't seen it yet. The theme song is "Through the Eyes of Love." It was written by Carole Bayer Sager and Marvin Hamlisch, and garnered an Oscar nomination for Best Song. In the movie, it's sung by Melissa Manchester.

The 25h Annual Putnam County Spelling Bee and Vanessa Ray
Vanessa Ray plays Olive Ostrovsky in the touring production, which I saw in November. I loved the show, and I thought she was great as the shy and vulnerable Olive, waiting in vain for her father to come watch her at the spelling bee. Here's a short video of Ray talking about the role, and here's an interview.

Who invented the violin?
No one knows for sure. The violin owes its origins to many instruments, dating back to the ancient lyre. The violin emerged in its present form in northern Italy in the 16th century. According to this site, some theories hold that it could have been invented around 1520 A.D., since that was when the first painting including a violin was created, Madonna of the Orange Trees by Gaudenzio Ferrari.

Happy birthday on the violin?
I'm not sure about this one, since I don't actually play the violin, or any other musical instrument for that matter. But this might help. Click on the "play" button if you want to hear how it sounds.

Jerusalem food
Since so many Israelis trace their roots back to Middle Eastern countries, the food is much more kubbe, and not so much knishes. When I lived in Israel 10 years ago, it was hard to find a good bagel. If you want to learn more, Joan Nathan has written some great cookbooks on Jewish and Israeli food, including The Flavor of Jerusalem and The Foods of Israel Today. If you're planning a trip, here's a list of restaurants to check out. I'm not sure if it's there anymore, but one place I liked is The Yemenite Step.

Shalom Chaver
This is the phrase that former President Bill Clinton memorably uttered to eulogize Israeli Prime Minister Yitzhak Rabin, who was assassinated in 1995. It's Hebrew for "goodbye friend." The phrase, and variations, such as "friend, you are missed," and "friend, I remember," became popular ways for Israelis to remember Rabin. It's also the name of CD from a memorial concert held in Rabin's memory in Jerusalem and featuring many well-known Israeli musicians.

Some of the questions stumped me: sentimental ideas for a 40th birthday party, (I can't think of any off the top of my head) using the musical Wicked in wedding speeches, (I guess it's ok. My suggestion would be to check out the "For Good" lyrics) and the length of Debra Monk's contract in Curtains. (I have no idea).

However you found my blog, thanks for stopping by. Hopefully, the first 100 posts are only the beginning.

Stage door stories

In a lifetime of moviegoing, I've never once had a chance to go into the lobby afterward and meet the actors whose performances I've just watched. Sure, in Woody Allen's "The Purple Rose of Cairo" Jeff Daniels walks off the screen and into Mia Farrow's life. But really, that's an exception.

I know this isn't something a serious-minded theater fan should say, but it's pretty thrilling to go to the stage door after seeing a Broadway show, meet the performers and get my Playbill signed.

There's something exciting about knowing that the Broadway experience doesn't necessarily end when the final bows are taken. I love the sense of anticipation, standing with a crowd of my fellow theater geeks, er, fans, talking about the show, what we saw the day before and what we're going to see next.

My first stage-door experience was at "A Moon for the Misbegotten" in April. I had my camera and my Sharpie ready for Kevin Spacey, but unfortunately, I hadn't yet perfected the dexterity required to get the autograph and the photograph. Still, it was great meeting him for the five seconds we shared. I asked him to sign my name on the Playbill - so he'd know I wasn't going to peddle it on eBay! I managed to blurt out that this was my first time seeing a show on Broadway and I'd come just to see him. "Well, welcome," he responded, and I was in heaven.

I've had many great stage-door experiences since then, including meeting the entire casts of the musicals "Curtains" and "Spring Awakening." (I keep thinking it would be great someday to see the "Spring Awakening" cast perform "Curtains.") Both are wonderful shows with a talented, gracious group of actors. I was lucky enough to get my picture taken with three 2007 Tony winners - David Hyde Pierce from "Curtains," Christine Ebersole from "Grey Gardens" and John Gallagher Jr. from "Spring Awakening."

I think the "Spring Awakening" crowd was the biggest I've seen, three or four people deep, lots young, enthusiastic fans on repeat visits. One woman brought a poster she'd made for the cast to sign. I was really impressed with the amount of time the cast spent talking to people and posing for pictures. This was after a Wednesday matinee - they still had the evening show to do. Lea Michele even brought her own silver-colored Sharpie that showed up especially well on the Playbill.

I learned a lot between "Curtains" and "Spring Awakening." After David Hyde Pierce signed my Playbill, I started to walk away, then saw him pose for a picture. I ran back, asked if I could have my picture taken with him, and thrust my camera into the hands of the person closest to me. By the time I got to "Spring Awakening" three months later, I was better prepared. I struck up a conversation with the woman next to me, and we agreed to take each other's pictures when John Gallagher Jr. came by.

It's startling sometimes to see the actors in their street clothes, sometimes just minutes removed from the costumes, makeup and emotions of their role. In person, wearing a raincoat and glasses with thick frames, Patti LuPone looks much smaller, hardly resembling the strong-willed stage mother in "Gypsy."

Sometimes, you get to have a few words with them. Other times, there's only a chance to to tell them how much you enjoyed their performance. Still other times, the crush of humanity is so great, all you can do is get the autograph and move on so someone else gets a chance to move to the front of the crowd.

I told David Hyde Pierce that I was seeing my first musical on Broadway, and I'd been to my first play the night before. He asked me what I'd seen and how I'd liked it, and seemed genuinely interested. John Gallagher Jr. beamed when I congratulated him on the Tony. After seeing Gavin Lee as Bert in "Mary Poppins," I told him how much I loved watching him walk upside down across the proscenium arch. He told me how much he loved doing it.

I only had a fleeting chance to tell Angela Lansbury that she was wonderful in "Deuce." Talk about troupers, both she and costar Marian Seldes spent quite a while on a cold New York evening signing autographs and talking to their fans. Miss Seldes signed her tiny, delicate signature with a ballpoint pen, and when someone offered her a Sharpie, she said that she couldn't possibly use such a thick marker. When she found out it was someone's birthday, she smiled, gently caressed the woman's face and thanked her for coming.

And it doesn't even matter if I've never heard of the actors before. I stood outside the stage door after "Mamma Mia!" Yes, it was me and three 10 year olds waiting to get autographs from the show's stars, Carolee Carmello and Carey Anderson. It didn't matter to those young girls that they'd never heard of either performer. They were just excited to get their souvenir programs signed. Kudos to their parents for giving them the total Broadway experience. I hope it was one they'll always remember.

Then later that evening, after seeing "110 in the Shade," I stood outside waiting for a chance to meet Audra McDonald and John Cullum. When I told Mr. Cullum that I'd seen him some 20 years earlier at Syracuse Stage, along with his wife and son, in a production of "Look Homeward, Angel" he was genuinely thrilled.