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Charity Work:
A Conversation with Denis O'Hare
Looking for an elegant, exclusive night out? Join us March 11 as we present an exciting Chicago Theatre Night event, featuring a performance of Sweet Charity during its limited pre-Broadway engagement in Chicago. To sign up online, click here.
Critically acclaimed actor Denis O’Hare (C84), a 2003 Tony Award winner for his role in the play Take Me Out and 2004 nominee for his performance in Assassins, stars opposite Christina Applegate in this hilarious musical comedy. We talked to Denis about his role in Sweet Charity, his thoughts on contemporary theatre and the factors that influence his work as an actor.
What is it that drew you to the musical Sweet Charity?
I think I was drawn by its darkness. I'd seen the film Nights of Cabiria, the Fellini film upon which Sweet Charity was based and I really liked the toughness and the reality of it. I'm not actually a big fan of musicals because they tend to be too bright for my taste but Sweet Charity has enough darkness in it to attract me.
The role of Oscar is being "beefed up" in this revised revival. What can you tell us about this and any other updates to the production?
There's been a lot of to-ing and fro-ing regarding the book. Neil Simon has done a lot of work and re-thinking and he and Walter Bobbie have worked to solve some of the historic problems with the overall structure of Sweet Charity. Before his death, Cy Coleman had decided to include a new song for Oscar which is wonderful. It gives Oscar a new intermediate step on his path toward declaring his love for Charity and the number is an absolute charmer. In addition, the ending has been re-thought but I can't say anymore about it than that.
How are you preparing for this role?
Like most parts I do, I find that the majority of the work is done in the rehearsal room. I don't like to do too much work on the script before I get in the room with the other actors and the director. I also find that I tend to go down wrong paths if left on my own, so it's best if I don't make too many hard and fast decisions. The one thing I always avoid when doing something that is not a new work is viewing old productions. I stay as far away as possible from whatever anyone else has done. If I let their interpretation into my head, I find it hard to take possession of the character.
Prior to the opening of Sweet Charity on Broadway, the show will be performed in Minneapolis, Chicago and Boston. What part of the road experience are you most looking forward to?
Oh, I guess I'm looking forward to the hotel rooms. You know, they're so charming, so comfortable. No. Ummmmmm seriously. I love to travel and I love working in other cities because you are able to get to know a city better if you are working there. I love museums and all three cities have major museums. I also love live music and I'll be attempting to see concerts during my few nights off.
Last spring, you produced a video of interviews for the Northwestern Alumni Association's "Back-to-Back Nights with Northwestern" event that asked your fellow cast members and theater-goers whether live theater will be relevant in the coming years. What did you learn from their responses?
It was a fascinating exercise. I learned a few things…some of them, contradictory. One thing I learned is that people come to live theatre for a variety of reasons - -- many of them unpredictable. Some people go to theatre in New York because it's something that is expected of them and they can't go home with bragging rights unless they attend at least one play or musical. Most people come to New York theatre to see musicals. Most people come to plays in New York to see specific people...i.e. stars.
No one in the ticket lines I interviewed had ever heard of me or seen me in anything with the exception of one very nice actor.
What criteria do you use when considering a role in a production?
Oh, there are so many things to consider. Unfortunately, given the reality of paying rent and eating, I have to consider finances. If a commitment is short and doesn't pay much, that's all right. If it's long and doesn't pay much, I have to consider how I will live. Some things pay very well and are just execrable. For that matter, some things pay very badly and are execrable. If the finances work out, or if I've saved a lot of money I always try to do material that I respect and respond to.
I've been offered many things that I just won't do because I can't get behind it. Sometimes the project is wonderful but I just don't see myself in it. I rarely do things for my career's sake. The one time I did that was a total disaster. Many times I won't consider a role if it's too similar to another role I've done recently. Sometimes I'll turn something down if the character goes to a place that I don't want to go to. I have fairly strong political views but given that, I've often played characters that have views I don't agree with...that's an actor's job.
What kind of stage productions do you like to see, and can you tell us about some of the more recent shows you've seen?
I like to see theatre that is daring, risky, even unpleasant. I saw a show called Pugilist Specialist recently that was about the Iraq war and was excellent. The play was almost poetic and the performances were somewhat stylized. I also see a lot of opera, which may seem like a contradiction given what I've said above. I like opera because when it works, it packs a wallop unlike anything else. Truth be told, I don't tend to see a lot of theatre. I go to art exhibitions more often.
In general, how can post-show discussions educate today's theater-goers, especially those who are just beginning to enjoy live theater, or do not come from performance/production backgrounds?
I think the most important thing for anyone attending a post-show discussion to realize is that there is no wrong question and there is no wrong opinion. There are no qualifications to being an audience member. I like talk-back sessions when there is an opportunity for a real debate or a real discussion. I don't like them when audience members attempt to lecture the rest of us and parade their expertise on the play they've just attended.
Can you speak to the value of your Northwestern experience, both as a student and now, as a professional?
I had several excellent instructors while at Northwestern who shaped me into the artist/actor that I am today. I am very grateful to them for their knowledge and their passion.
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