TALKIN' BROADWAY
SPOTLIGHT ON
ALAN CAMPBELL BY ED FELDMAN
It is refreshing
to talk to an individual who has such a zeal for his chosen career. The way his
face lights up and how he becomes more animated along with the exciting
inflections in his voice surely indicate a sincere passion. This is so
important in the acting profession where often times you can be out of work
more than in. Alan Campbell embraces the entertainment business with such
excitement that it becomes contagious. He says, "you have to love what you
do". This idealism along with a whole bunch of talent set the foundation
for his success.
Alan's objective
view of the entertainment industry gives an added dimension and perspective as
to who this actor is as a person. He is a very positive person who is " a
realist about my foibles". Trevor Nunn says Alan has a "gentlemanly
good way about things". Alan gives credit to his folks and the way he was
raised. He had a vision to be in the acting profession and claims that his path
toward satisfying this vision was, in part, due to being "at the right
place at the right time". This path may have had many twists and turns but
you add some determination and tenacity and the result is a respected actor who
is admired by peers, critics, and audiences.
Alan received a 1995 Tony Award
nomination for Best Actor in a Musical for his performance as Joe Gillis in
Sunset Boulevard. He received the Drama-League Award for his performance in the
L.A. production of Sunset Boulevard. This production marked his Broadway debut.
Other theatrical credits include the Ford's Theater production of On Shiloh
Hill, Boogie Woggie Rumble of a Dream Deferred at the Urban Arts Corps in NY
and productions of I Love My Wife and Larry Shue's The Nerd. His TV credits
include co-starring roles on CBS's Jake and the Fatman and ABC's Three's a
Crowd. He is a founding member of H.O.L.A. (Heart of L.A.) Youth Theater
providing an artistic outlet and guidance to inner-city children.
I met Alan at a restaurant near Central
Park for our interview.
EF - Where are you from originally?
AC - I grew up in a town called Homestead
Florida. That is where Hurricane Andrew hit. My parents are third generation.
The main street of Homestead is Campbell Drive. They are moving to Austin Texas
to be closer to my sister and their grandchildren. It is sad in a way That
place has been a part of my family for so many generations. My dad is retired
now and none of the kids are at home.
EF - How many brothers/sisters do you have?
AC - I have an older sister. She is an
endangered species biologist for the state of Texas. She has written a book
recently about a endangered species of the southwest.
EF - Where did you go to school?
AC - I went to Tulane for two years and
then graduated with a business degree from the University of Miami. I graduated
in 1979. I just turned forty.
EF - Are you married?
AC - No, but I was from 87-90.
EF - If your best friend was sitting right
here, how would he/she describe you?
AC - I think I'm a pretty positive person.
I've adapted well to being an actor but I don't eat, live, and breath it.
Trevor Nunn said to me that I always have a really good objectivity about
myself. I don't think I'd ever have an ego or see myself in an unrealistic
manner. It gives me a good view of the business. I'm a realist about careers in
show business and about my foibles. I try to have a gentlemanly good way about things.
That is a Trevor Nunn term. I think it was the way I was raised and the way I
am as a person. I try to look at things objectively. I have never been
particularly impressed with
myself or for anybody else for that matter.
I don't hero worship much.
EF - What visions did you have for
yourself?
AC - I did a lot of things by default. I
was pre-med at Tulane University. I got into a musical group. One of the guys I
sang with was Bob Harley. He wrote Steel Magnolias, Soap Dish, First Wives
Club. He is a screenwriter now. He was originally going to be a lawyer. I
decided I wanted to sing. I ended up in Vegas a while. I took some acting
lessons and ended up in a movie by default. I wanted to stay in entertainment.
I came back to NY and did some musical theater for a while, got a job on a soap
and then a TV sitcom. I was always pointed in one direction and then something
completely different would happen. A lot of it has to do with being at the
right place at the right time. In show business, there are a lot of twists and
turns. People who like a lot of structure would have a hard time in show
business.
EF - This industry can be a tough one.
There are up and down times. How did you manage?
AC - You need to enjoy your work. I've been
lucky enough to have big jobs that have lasted a while. I can't rest on my
laurels but I have a choice now of what I want to do. Where do I want to be?
How hard do I need to work? Where do I direct my talents? You have to save your
money. You have to live within your means as an actor. Sometimes you make a
lot, other times not that much. You have to be a squirrel and stash some away.
I think when you are younger you are always after work but after a certain age
or level of achievement, you don't want to work on something that isn't any
good or that you're not going to make any money. Now I find it difficult to get
excited over everything. There has to be two or three elements in it to be
worth doing. I remember Glenn telling me that when she considers doing
something, it has to be a wonderfully written project, a director she is dying
to work with, or an actor she really wants to work with.
EF - An actor in an interview once said you
have to be more interested in the process, not the results. What is your take
on that?
AC - That certainly is true. I love the
rehearsal process more than I like seeing a play or film. Once that is over it
is almost anticlimactic . I did a film a little while ago that is not a
particularly a good film, but I had a good experience doing it. If I was carrying
the film as a star, I would feel some kind of rejection if it didn't do well. I
didn't envy Glenn Close, Betty Buckley, and Elaine Paige because it was their
responsibility and Andrew's to sell the tickets based on their names. George
Hearn and I didn't have to accept the responsibility.
EF - How would you define success in terms
of being an actor?
AC - It all depends. Some people don't
define success in financial terms. It is important to enjoy the process. I
would rather be a starving actor rather than a wealthy doctor. If you come at
it from a point from being rich and famous in this industry, you are going to
be disappointed. You have to love what you do. Rejection can come hard and
fast. You have to love the process and love the people in it. I love the people
in the entertainment business.
EF - Who have you stayed in touch with?
AC - My dresser. You become so involved
with him. It is an amazing friendship. They see you at your worst and best.
Some of the stage managers. I keep in touch with the actors - Glenn, Elaine,
Betty, and Alice, of course. I'm real excited for her with the new show. Betty
Schaeffer was not a good role, I think. This will get her what she deserves.
She is a very talented performer. I haven't missed the show but I have missed
the people. It is like a family. There is a real sense of loss.
EF - Tell me about your most demanding
role?
AC - This one in Sunset, both physically
and vocally. Maintaining the level of
performance, emotionally, physically 8
times a week is demanding. I had to change my character a bit each time when
the leading ladies changed. It is like starting from scratch again. I haven't
worked this hard in entertainment. I don't think people realize that you have
to gear your entire life, every facet of it toward those 8 shows a week. In
terms of eating, drinking and things you enjoy have to be reduced. Elaine and I
at the end of the show each night started a ritual. I got these two little
antique glasses. We used to a little nip of Cognac. The dresser would bring it
up, we'd take a nip and then take our bows. We did it before our bows each
night, not the matinees though.
EF - Do you have a preference between
theater and film?
AC - I don't think anything equals the
immediate response of the theater. There are things I like and dislike with
both of them. They are so different. I feel fortunate to have worked in both
areas. It is hard to say one is superior of the other. I do love the theatrical
community though. It is like you have an unlimited amount of takes on film. The
immediacy is great in theater.
EF - How did the role in Sunset come up?
AC - I've always worked. Sometimes there is
longer times between opportunities. After the TV series got canceled(Jake and
the Fatman). I sat around and thought I always wanted to be a leading man in a
musical. That was my dream but I put it on the back burner to do TV. I started
studying voice. Low and Behold, one of those instances where desire and
opportunity come along, my voice teacher said he worked with Kevin Anderson a
while ago to get into this new musical called Sunset Boulevard. He said they
are going to do it here and thought I would be good for it. He knew the casting
director and have your agent call him. He did and started the audition process.
It lasted 6 months. I went back 5 times at least. They kept coming back. They
were looking at Peter Gallagher and all these people. I really wanted to do a
Broadway musical. I hadn't really sung in 10 years. I was very fortunate that I
got that opportunity. Now that it is over, I have to make a choice of what I
want to do. I'm not sure yet.
EF - What was your first impression when
you read the script and/or listened to the music for Sunset?
AC - I did not read the script until after
my first day of rehearsal. I knew I had a big part because of the movie. I went
home and I was blown away of the enormity of how much I had to sing. I always
loved Billy Wilder. I loved the piece. After my first day of rehearsal, I still
had not heard the complete score so I asked the musical supervisor if I could
listen to it. He was reluctant. The only recording they had was the London
recording. This had changed quite a bit but still gave you the flavor. He
finally agreed. ALW really created a sense of the piece with the opening theme.
It was not the most memorable of ALW's songs but I think it his best score with
actually tying the feeling of the piece, the music and tone together. I think
it is a wonderful score. I got goose bumps all over especially that beginning
overture.
EF - What was your impression of Andrew
Lloyd Webber? Had you known him before?
AC - No I never knew him. I think he is a
genius. He is nice. It is all about the music with Andrew. I worked with him
when he was rewriting Sunset in LA. He would take me and Judy (Kuhn) during
rehearsal and sit down at the piano. He would want to try something new. It was
like an out of body experience. I'm sitting here at this piano and being part
of this amazing experience. He doesn't like acting without music. When he
rewrote Sunset 25% more of it was scored then it was before.
EF - Have you seen the show?
AC - I have only seen it twice. It was
relaxing the first time. I didn't see the show for a couple of years. They
never swung us out. They never let understudies perform unless we were sick. I
never saw it until I went to Denver to visit my girlfriend (Lauren Kennedy). I
sat there and had a cognac cause I thought I would be nervous. I totally
enjoyed it and got caught up when the mansion came down. When I saw it later in
Chicago, I didn't enjoy it as much. The show had closed, I got a little picky
and started to be a critic. Trevor Nunn let everyone do his own performance.
Ron Bohmer's performance was completely different than mine. He was funny! His
relationship was different. He got a lot of laughs. I really enjoyed his
performance though it was not what I would have done. I love the fact that it
wasn't forced upon me.
EF - Who was Joe Gillis?
AC - He's a guy from the Midwest. Basically,
a good guy but with some serious character flaws. He falls into this life of
cynicism. He ceases to believe in himself and takes the easy road. He runs away
from his ideals and that is his most serious character flaw. I think he has to
be likable in some ways. There is a basic goodness about him. I so loved
William Holden's performance but I knew it wouldn't work for 2 1/2 hours on
stage. I didn't think it was likable enough. You want to see the struggle
between Joe and all the characters.
EF - How would you compare or contrast
yourself with Joe Gillis?
AC - I think I can be a little lazy. I
think Joe Gillis in some ways is a little lazy. He takes the easy way out. I
think that anyone who spends ten minutes in Hollywood gets a little cynicism.
He takes the easy way out. Anyone in show business becomes somewhat of a cynic.
It is easy to become disenchanted at times. Some people choose to get out of
show business. I remember talking to Glenn. She said how she wanted to move to
Wyoming and buy a ranch. This is somebody who works quite a bit and is
celebrated.
EF - How would you describe Joe Gillis's
relationship with Norma? Many Sunset fans have their own opinion. What is
yours?
AC - A lot of people ask does he love her,
does he use her? I think the thing that Joe Gillis loves about Norma Desmond is
that she has not given up. He has in a sense. I think there is something
wonderful about saying I will not make a talkie, I'm leaving and walk off a
sound stage and then living in this delusional world that she created. She has
not sold out. Joe Gillis has. Is he in love with her? No. I think he is a user.
Betty Schaeffer sees the potential Joe has as a writer. He's been in Hollywood
long enough to see that no one wants the kind of material he writes. That is
where his cynicism comes in. There was a real magnet between Joe Gillis and
Norma Desmond especially when he was watching her bury the monkey. It grew in
time. She started to care a great deal for him. Joe realizes at some point that
he has become responsible for her happiness. This shows when he reacts to
Norma's suicide attempt. He and Max have become responsible for maintaining
this fantasy world. When they go to Paramount and she asks if he will go along
and he says no, he in a way knows what is going to happen. He knows the script
is no good. He has helped to prop up this deception. Max has become a master at
this. Max, in my opinion, is the best written role in the show. He is a
puppeteer. He has continued to direct her life, this whole sham. Max loved her.
He worshipped her. Joe also wonders how Norma exists in this town. He gets
pulled in. In a town that doesn't need him, she does. He brings life back into
the mansion.
EF - What do you think would have happened
if Joe had never met Norma? What would have happened to Joe?
AC - He would have gone back. He was ready
to go back. They would have taken his car and he would have gone back.
EF - You have played opposite some very
talented actresses who each portray Norma in their own unique way. How did your
performance change with each one?
AC - I think you play off each actress.
Betty (Buckley) needed to feel that Joe really loved her. She needed that to
motivate her performance. Betty didn't think of Norma Desmond as a monster but
more of a victim. I had to play more into the belief that he really loved her.
She was probably the most challenging because I had to be two faced. She wanted
Joe to adore her. Only when she looked away, did he become more disenchanted. I
think Glenn and Elaine were more autonomous. They saw the character as seeing
what she wants to see. The character was so delusional.
EF - I loved each one of the actresses who
portrayed Norma but was intrigued with Elaine. She brought the lightest Norma
there was. She brought a sense of humor into it. I loved that added dimension.
AC - I think that was the next way to go
after Glenn and Betty's performances. Elaine made a choice to make Norma a
little lighter. I think because of that choice, people understood why Joe Gills
could not only be intrigued but fall for this attractive older woman.
EF - Do you have a preferred way Norma was
portrayed?
AC - I liked them all. I have been asked
this so many times. I have never been able to make a judgment on that. I have
fond memories working with all three women. I was glad to change each time.
EF - Now, what about the Tony Awards? How
were you feeling? I can't even imagine what was going through your head as the
names were being mentioned.
AC - The most exciting time was when I got
the notification. It was something I really wanted. I thought the show really
deserved it. I had no pretense that I would win. In fact, the night of the
awards, I jotted a few things I would say in the off chance it would happen. I
really believed that Matthew Broderick would win. He carried that show (How to
Succeed) and was the headliner. I knew that Sunset Boulevard was so star driven
and so much of the focus was on Norma Desmond that I thought Glenn would win. I
was pleasantly surprised with George (Hearn) winning.
EF - Do you have a favorite composer? There
are many that say ALW shows are just for the sets?
AC - I find that it is difficult for me to
see movies like ConAir or Independence Day. I like the smaller independent
movies. I like more character stuff. I went to the screening of Air Force One
with Glenn Close. I liked that because it had a good mix of effects and acting.
I think a lot of people look at ALW shows at being spectacle but I loved
Phantom and I think Evita was an incredibly well written show. I like Sondheim
too. I am a Cole Porter fan. There are accurate criticisms of both Sondhem and
Webber. Put them together and they would make one hell of a composer. I think
melody wise that what Andrew has written is breathtaking. I like the way his things
are scored.
EF - Do you get out to see any shows?
AC - Some. I have seen Chicago. I saw Steel
Pier before it closed. I haven't seen the others because I have been out of
town. I'd like to see Titanic.
EF - Describe the closing night, the
energy?
AC - Because they had announced way ahead
of time that the show was closing, people had time to adjust and there was no
surprise. There wasn't a great deal of sadness or bitterness. There was an up
kind of moving on. People were sad that the experience was over. It was a
positive kind of closing night. I was really ready to move on Glenn's closing
night was very sad for me. I love Glennie and continue to. She remains a close
friend. We went through the rehearsal process together and saw the show come
together.
EF - Had you met Glenn Close before?
AC - No, met her for the first time during
rehearsals.
EF - You stayed for a long time. Did it
occur to you to move on?
AC - George and I stayed for the entire length.
I did a workshop once while doing Sunset and it was very difficult. I did a
film where they let me out for a month. It was very difficult to get another
job while I had this one. I got a call about auditioning for Side Show and
other projects. I couldn't do a 7 1/2 week workshop while doing Sunset. The
ended represented a chance to move on. I couldn't do a lot of other projects
because I wouldn't be doing the show justice. It would be exhausting.
EF - Why do you feel Sunset closed?
AC - The cost of operating the show was too
high. The crowds and ticket prices dropped off. You have to be able to run the
show with less than an 80% capacity of full price tickets or else you are going
to be in trouble. The cost of running this show and the salaries paid to these
women (actresses portraying Norma)were very high and far outdistanced itself
from other shows.
EF - It was a star driven show, wasn't it?
AC - Yes. Cher had kind of been mentioned
for a while. The star that you need has to be able to deal with the vocal and
physical demands of the part. Many actresses don't want to do it for six
months. The production people put themselves in a corner by needing to get a
star. This was proven on the road. You need a star to drive it. Linda (Balgord)
is an incredible performer but they might have made a mistake in not hiring a
star as brilliant as I thought she was.
EF - There was talk of RUG making a film
version of Sunset. If they ever did, would you want to reprise the role of Joe
Gillis on film?
AC - Sure, who wouldn't.
EF - I had the pleasure of seeing Forbidden
Broadway. Tell me the scoop of how you are parodied on that show? What Bryan
Blatt does?
AC - They had been talking about
microphones. The sound designer put the microphones further down to get a sort
of filmatic presence at lease in terms of the sound. When Sunset was reviewed,
there were a lot of comments about the microphones and how they could be seen.
The parody had to do more with the microphones in general rather than on me and
my microphone. I used to comb my hair over it. They took that whole opportunity
to do something with the microphones on Forbidden Broadway. Bryan did a great
job. He is a talented guy and a good friend.
EF - You saw it. Did you take it in the way
it was intended, as a parody?
AC - Oh absolutely. Elaine and I went to
see it together when she first came to town. I said to her once they do a
parody of you in Forbidden Broadway, you have arrived on the scene.
EF - Did Elaine think it was funny?
AC - She was hysterical. I think she
thought it was very funny.
EF - Do you think actors have any
obligation to their fans beyond the performance?
AC - Personally, I don't think actors owe
anyone anything outside the performance. I love the contact with people. If you
are an intensely private person it could be very difficult. It is an individual
choice and I don't fault people either way. I enjoyed it. Both Glenn and Elaine
were very shy. Glenn was uncomfortable with people fawning all over her.
EF - What projects are you working on now?
AC - I have been working on material. I
wanted to do some cabaret. I just did a film called Simple Wish that just came
out with Martin Short and Kathleen Turner. It is a kids movie. It is a very
silly role but it was a lot of fun. I have some opportunities in LA now. I am
going to put some of my focus there . I want to put some of my attention back
to film and television. I really enjoyed working in TV. I'm not anxious to jump
back into theater now.
EF - Do you have an interest in doing a
recording?
AC - I do. I love working in a recording
studio. Elaine Paige and I talked about it. She said if she was going to do
something that she would love to have me involved. That may or may not happen.
I think the most important thing for me is
to get material that you are passionate
about. I have been looking at a lot of different songs. What I would like to do
first is do it live as a cabaret type performance to see if I can do them
justice.
EF - What advice would you give to people
pursuing a career in theater?
AC - Believe in yourself, believe in your
own uniqueness. There is a lot of rejection and you have to constantly believe
you are unique and have something to offer.
EF - Alan, you have many fans out there who
really enjoy your work and loved you in Sunset. There are too many messages to
read off. Do you have a message to your fans?
AC - Thanks for the interest. That is why
you do it. The show was supported through thick and thin. People seemed
attentive to the piece. I always thought we had smart audiences. I don't think
it was a show that appealed to people who wanted to sit back and watch the
house move up and down as amazing as it is. The audience really listened to the
piece and the music and got involved in the emotion of the thing.
EF - Thanks Alan for taking the time to do
this interview.
AC - It was my pleasure. Thank you.
