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[RobertArmin] Good evening and welcome once again to Fynsworth Alley. [RobertArmin] Tonight, my guest is one of my favorite actors currently working on Broadway. [RobertArmin] Michael Cumpsty. [RobertArmin] Michael, most recently appeared in Enchanted April. [RobertArmin] But musical comedy buffs will remember him from the revival of 1776 and the current revival of Forty Second Street. [RobertArmin] Michael is currently making a guest appearance on the "soap" ALL MY CHILDREN. [RobertArmin] In fact, that's why he wasn't able to join us last week -- a late night session with ALL MY CHILDREN. [RobertArmin] I'm killing a bit of time here because Jonathan Freeman (also of 42nd Street) just called and Michael is "chatting" with him. The easy way -- by telephone! [RobertArmin] Anyway, send your questions and we can get started. [RobertArmin] We will also give away a copy of the Original Cast album of COPENHAGEN -- starring our own Mr. Cumpsty. [RobertArmin] Good evening, Michael. [MichaelCumpsty] Hi, I'm delighted to be here. [RobertArmin] Kris and I have been admirers of your work since ARTIST DESCENDING A STAIRCASE? [RobertArmin] Was that your first Broadway show? [MichaelCumpsty] God, was it? [MichaelCumpsty] Yes, I think it was, yes, it must have been. [MichaelCumpsty] I tend to think of LA BETE as my first but it was actually after that. [RobertArmin] Yes, LA BETE was a terrific show that, surprisingly enough, failed to catch on. But those who saw it remember it fondly. [MichaelCumpsty] Except the critics [RobertArmin] All too true. But what do they know? [RobertArmin] Your career as an actor has been quite varied. Did you start out doing musicals or did that come later? [MichaelCumpsty] Much later [MichaelCumpsty] The first musical I ever did was PETER PAN. [MichaelCumpsty] It was at the Alliance Theatre in Atlanta [RobertArmin] Who was your Peter? [MichaelCumpsty] Peter was Annie Morrison [RobertArmin] From Merrily We Roll Along. [MichaelCumpsty] And, I got that job because Jay Binder decided I was gonna [MichaelCumpsty] And he actually paid for my singing lessons and he never asked me to pay him back. [MichaelCumpsty] which was very sweet [RobertArmin] Having Jay Binder on your side is quite a plus for an actor. [MichaelCumpsty] Well, yes, [MichaelCumpsty] And then, the next one I did was 1776 [MichaelCumpsty] and I think Jay Binder had something to do with convincing Jim Carnahan to convince Scott Ellis to hire me. [MichaelCumpsty] And, then 42ND STREET [MichaelCumpsty] The bottom line is I keep getting cast in roles I don't need to sing very well in. [RobertArmin] Your work in 1776 was remarkable. Dickinson is a difficult character, perhaps the closest thing to a "villain" in the piece -- and yet he is still a noble and honorable man. You made his personal conflict very believable. [RobertArmin] And almost likable. [MichaelCumpsty] I read a lot about Dickinson [MichaelCumpsty] and really did feel he was a noble and honorable man. [MichaelCumpsty] And it is sort of easy to play him that way when you've got Gregg Edelman being the "Nazi" [RobertArmin] Many who only know the show from the movie version might not know the musical number "Cool, Considerate Men" (which was cut out of the film but restored for the DVD, fortunately). [RobertArmin] It is an usual number in that it makes the Conservative viewpoint seem almost right? LOL [MichaelCumpsty] LOL [MichaelCumpsty] Well, it's a position [RobertArmin] Of course, if we had lost the revolution, you would have been one of the heroes! [MichaelCumpsty] The whole idea of decorum and things being done within a code of conduct provide a great deal of security and comfort to certain people, I think [MichaelCumpsty] And, the security and comfort are good things. [MichaelCumpsty] But the problem arises when it gets to be exclusionary [MichaelCumpsty] And, I think the aristocrats have always had that problem. [MichaelCumpsty] I know this as an Englishman. [MichaelCumpsty] But actually going back to your point about Dickinson being a hero, he was prepared to fight against the British [MichaelCumpsty] He just couldn't bring himself to fight against the King. [MichaelCumpsty] And, he did eventually sign the Bill of Rights and I believe the Constitution. [MichaelCumpsty] So, he was rehabilitated in American History much more than the musical gives you the impression he would have been [RobertArmin] Peter Stone's script includes much of that information in the printed introduction. It's such an amazing script in how each of the characters was fleshed out so effectively. [MichaelCumpsty] I loved Peter Stone [MichaelCumpsty] He was such a gracious, intelligent, funny man. [RobertArmin] The musical theatre has lost a major creative talent. [RobertArmin] And yes, he was a nice man. [MichaelCumpsty] Yeah [MichaelCumpsty] There was an episode of Theatre Talk which was a sort of a memorial to Peter [MichaelCumpsty] And while they were talking about 1776, they showed an excerpt of me singing that song [MichaelCumpsty] And, I was dumbfounded. [MichaelCumpsty] All the singers they had in that show and they chose me! [RobertArmin] It's a very good number, though. [RobertArmin] So don't be modest. [RobertArmin] As an Englishman, you have played a number of "Americans." How did you learn to master the dialect? [MichaelCumpsty] Well, I've lived here since I was 19. [MichaelCumpsty] But, I still had to get speech teachers to help me. [MichaelCumpsty] I must have been to four different dialect coaches [MichaelCumpsty] A couple for specific jobs. [MichaelCumpsty] But, two, just so I could learn to do it. [RobertArmin] DorothyGale asks: what was it that made you first realize that you wanted to be an actor? [MichaelCumpsty] There was a Christmas Pageant being cast at my primary school when I was about nine. [MichaelCumpsty] And, I knew I couldn't play Jesus or Mary [MichaelCumpsty] So, I just had to be Joseph [MichaelCumpsty] And, I guess that was it. [RobertArmin] Where was that? [MichaelCumpsty] In Scotland, just outside of Glasgow. [RobertArmin] So you were born in England, schooled in Scotland... [MichaelCumpsty] Scotland form 6-9 [MichaelCumpsty] And, then Capetown til I was 16. [RobertArmin] Talk about worldly... [MichaelCumpsty] Oh, I don't know [RobertArmin] And then what brought you to America? [MichaelCumpsty] I went, I got a scholarship, I went to the university of Chapel Hill in North Carolina [MichaelCumpsty] And, they paid me a stipend to live on [MichaelCumpsty] And provided me with summer internships and trips home. [MichaelCumpsty] It was just too good to turn down. [MichaelCumpsty] So I came here intending to stay for four years and then go back to medical school in Capetown. [MichaelCumpsty] But, by the end of my undergrad, I was already doing a lot of theatre. [MichaelCumpsty] So, I did a graduate degree in Theatre [RobertArmin] So, prior to ARTIST DESCENDING A STAIRCASE, give us an idea of what you did professionally in the theatre. [MichaelCumpsty] Four or Five Shakespeares at the Public Theatre [MichaelCumpsty] A production of MAN AND SUPERMAN at the old Roundabout downtown [MichaelCumpsty] Two plays with Liviu Ciulei, one at Princeton and one at the Guthrie [MichaelCumpsty] And before that I pretty much was working with the Play Makers Company which was in Chapel Hill. [RobertArmin] h0llw00d1 asks: what's the trick about auditioning for film or TV as compared to theatre? [MichaelCumpsty] You do have to modulate for the camera so you don't seem to be trying too hard. [MichaelCumpsty] But it is just a question of scale. [MichaelCumpsty] The essence is the same. [RobertArmin] As I said earlier, you have had quite a varied career in terms of roles, [RobertArmin] what are some of the roles you're anxious to play? [MichaelCumpsty] Richard the Third [MichaelCumpsty] Lots of other Shakespeare, too [MichaelCumpsty] I'd like to play George in VIRGINIA WOOLF [MichaelCumpsty] I'd like to play Arthur in CAMELOT but I think Liam Neeson is doing it. [RobertArmin] That would be a great role for you, as well. [RobertArmin] No Higgins? [MichaelCumpsty] Not yet, [RobertArmin] Such a young man... [RobertArmin] Many things ahead. [RobertArmin] You're very modest about your singing, which you shouldn't be... [MichaelCumpsty] AHH, I don't sing well [RobertArmin] Are there other musicals you think would be right for you? [MichaelCumpsty] Well, I don't know that much about the musical literature [RobertArmin] Well, I'll have to give you some ideas. [MichaelCumpsty] But I have continued to take singing lessons since preparing for 42ND STREET about three years ago. [MichaelCumpsty] with Vicki Clark [RobertArmin] Ah, Vicki is a good friend. Very talented. [MichaelCumpsty] So, I'm getting better [MichaelCumpsty] So, if I got the chance, I'd love to take another crack at a big musical . [MichaelCumpsty] I think I might sing better next time. [MichaelCumpsty] Two different times on 42ND STREET I sang a whole number in a different key from the key the orchestra was playing. [RobertArmin] I know the feeling!!! At least it's creative!!! [RobertArmin] h0llyw00d1 wonders: Who would be a dream female costar for you? [MichaelCumpsty] I did a workshop of CAMELOT and played opposite Audra McDonald [MichaelCumpsty] which was extraordinary [MichaelCumpsty] And, I've known Donna Murphy for almost twenty years and have always thought she was incredible [MichaelCumpsty] I met her when she was working at Williamstown [MichaelCumpsty] on a musical about Odysseus and his Travels which had the wonderful title, ARE WE THERE YET? [RobertArmin] It had to be better than HOME, SWEET HOMER. [MichaelCumpsty] I think the favorite title I have ever heard, years ago a friend of mine was doing a musical out-of-town., called KISS ME QUICK BEFORE THE LAVA REACHES THE VILLAGE. [RobertArmin] Gee, that's the musical in which I met my wife, Kristine. I've heard of that. [MichaelCumpsty] No, really? [MichaelCumpsty] My friend Richard Hicks was in it. [RobertArmin] Kris did it at both Musical Theatre Works and Northshore in Boston. [RobertArmin] How about that for a co-inky-dink. [MichaelCumpsty] Get Out [RobertArmin] The whole title is much more interesting than the "short" version, which is actually "Lava." [RobertArmin] From an earlier question, on another topic, Dante asks: Did you enjoy working on L.A. Law? [MichaelCumpsty] Oh, yes, I did [MichaelCumpsty] I had a great time actually, [MichaelCumpsty] The people were very warm and generous [MichaelCumpsty] especially the old series regulars. [MichaelCumpsty] The writers wrote me some very nice story lines [MichaelCumpsty] Although, I got my favorite and most frustrating direction on that show. [MichaelCumpsty] We were filming a scene one day and the actress I was playing with and I both asked the director how the storyline was going to develop [MichaelCumpsty] She said "We don't know!" [MichaelCumpsty] So, we asked, what should we play? [MichaelCumpsty] And, she said, "Play nothing" [MichaelCumpsty] That's TV for you. [RobertArmin] Not quite as brilliant as "less is more," I must say. [MichaelCumpsty] I was doing an episode of a short lived series [MichaelCumpsty] in which it became clear that I was suppose to have been in Viet Nam [MichaelCumpsty] I said to the director, "Number one, I sound English." [MichaelCumpsty] And "Two, I would have been twelve." [MichaelCumpsty] And, he actually said, "Nobody will care." [RobertArmin] And we wonder why the show was short-lived? [MichaelCumpsty] Yeah [MichaelCumpsty] Actually, seriously, that is why I love theatre because people care about the script so much [MichaelCumpsty] That's one of the reasons [MichaelCumpsty] And, of course, there is great writing on TV too, but not all of it. [RobertArmin] You've had the opportunity to work with some great playwrights. Who are some of your favorites? [MichaelCumpsty] David Hirson [RobertArmin] who wrote La Bete. [MichaelCumpsty] Michael Frayn [MichaelCumpsty] And David Hare [RobertArmin] I don't really need an excuse to have you as a guest here, but the fact that you were in COPENHAGEN is a nice plus. [RobertArmin] Fynsworth Alley actually recorded the complete play on two CDs. And it's well worth buying. [RobertArmin] Not many plays get recorded nowadays. There was actually a British TV version of the play. [MichaelCumpsty] They made a TV movie that I didn't see [RobertArmin] Nor have many seen it. [MichaelCumpsty] I really treasure having that CD cause everything is ephemeral. [MichaelCumpsty] in the theatre [MichaelCumpsty] The thought of years from now being able to listen to Blair Brown and Phil Bosco again will be wonderful. [RobertArmin] Philip Bosco and Blair Brown and you bring the play to life so beautifully, with just your voices. [RobertArmin] Because of the limited set for the stage production, I would think a film would be less satisfying that the audio version. [RobertArmin] Who needs to see a real park and trees to get the idea? [RobertArmin] What was the recording process like. Did you just do the whole play in the studio or was it stop and start? [MichaelCumpsty] It was pretty much straight through [MichaelCumpsty] We just sat in a triangle with microphones between us. [MichaelCumpsty] At, first, it was a bit awkward cause we had to find a different level [MichaelCumpsty] But once we hit our stride [MichaelCumpsty] it was pretty smooth. [RobertArmin] It reminds me, in some ways, of the recording of Who's Afraid of Virginia Woolf, which is long out-of-print, but which really captures the play as an audible work. [MichaelCumpsty] Who was that cast? [RobertArmin] That was the original cast with Arthur Hill and Uta Hagen with George Grizzard and Melinda Dillon. [RobertArmin] Unfortunately, the rights are, apparently too expensive to make a reissue possible. Too bad. [RobertArmin] But maybe your production can get recorded! [MichaelCumpsty] LOL [RobertArmin] Let's take a second and give away a copy of COPENHAGEN. [RobertArmin] Let me ask a Michael Cumpsty question. [RobertArmin] What was the name of the character he played in 42nd Street? [RobertArmin] Well, h0llywood1 got it, so we'll send him a copy of this excellent album. [RobertArmin] Send me your name and address to fynsworth@showmusic.com. [RobertArmin] Congrats. [RobertArmin] Let's talk a little about some of your film work. [MichaelCumpsty] THE ICE STORM, directed by Ang Lee [MichaelCumpsty] I was very happy to be a part of that [MichaelCumpsty] and, I got to play my scenes with Joan Allen [MichaelCumpsty] She really is a remarkable film actress. [RobertArmin] Yes, she is. [RobertArmin] Oh, by the way, the answer to the quiz question was Julian Marsh. [RobertArmin] Okay, we have the Ice Storm. [MichaelCumpsty] I made a very silly movie called "The Fatal Instinct" [MichaelCumpsty] A spoof movie directed by Carl Reiner [MichaelCumpsty] It was a pretty silly film. [MichaelCumpsty] But working with Carl was wonderful. [MichaelCumpsty] The whole experience was encapsulated in his wrap gift at the end of shooting. [MichaelCumpsty] He gave us all clappers, so we could turn the lights on and off. [RobertArmin] Clap on, clap off. [RobertArmin] Any other films? [MichaelCumpsty] Not big features [MichaelCumpsty] Actually, right after I did ELECTRA on Broadway with Claire Bloom [MichaelCumpsty] we were cast in a television movie with a bunch of other theatre actors like Cherry Jones and John Hickey [MichaelCumpsty] produced by and starring Gene Wilder [RobertArmin] The original Leo Bloom [MichaelCumpsty] called THE LADY IN QUESTION [MichaelCumpsty] I played a Nazi pretending to be from Chicago. [RobertArmin] Is there a really off-the-wall role that you would like to do, something most people wouldn't think of you for? [MichaelCumpsty] Maybe when I'm older I could play Lady Bracknell [RobertArmin] That's good. I might not think of you as my first choice. [RobertArmin] But you would be very funny! [MichaelCumpsty] LOL [RobertArmin] So are there any projects in the near future? [MichaelCumpsty] Not that I have any assurance of. [MichaelCumpsty] There are two projects, one film and one theatre, that I am very hopeful, but maybe I better not say what they are [MichaelCumpsty] in case the producers are reading. [MichaelCumpsty] Actually, one of them is Michael Frayn's new play called DEMOCRACY [MichaelCumpsty] which is currently playing The National Theatre in London. [RobertArmin] Generally speaking, have most of your major theatre roles been offered to you well in advance, or do they suddenly get thrown at you just before rehearsals start? [MichaelCumpsty] That varies a lot. [MichaelCumpsty] It took me about five months to get the role in 1776 [RobertArmin] How about Copenhagen? [MichaelCumpsty] I think I knew about Copenhagen about three months in advance. [MichaelCumpsty] I think I got Julian Marsh just a few days before rehearsals began. [RobertArmin] That's a helluva role to throw at you! [RobertArmin] Were they trying to get a big star? [MichaelCumpsty] I think they were in fantasy land, but I think they were thinking about Jeremy Irons. [RobertArmin] Well, as often is the case, the best actor is the best choice. [RobertArmin] Not that Irons wouldn't also have been terrific. [RobertArmin] But you were completely unique -- and quite wonderful. [RobertArmin] What direction were you given, I'm curious, about your relationship to Peggy. [MichaelCumpsty] I don't actually remember how much Mark Bramble defined that for us. [MichaelCumpsty] But we thought of it as a genuine sexual romantic relationship which is on-going but doesn't actually catch fire til right after the show has ended when he goes to meet her at the party. [RobertArmin] In the revised version now on Broadway, the final production number of "42nd Street" is given a much happier finale. Was there a specific intention to make this version more audience friendly? [RobertArmin] I'm referring to the fact that the soldier boyfriend was killed in the Gower Champion choreography. [RobertArmin] In the new version, Times Square is not allowed to be besmirched by a murder. [MichaelCumpsty] A guy is shot. | |
