Thanks, Wayne! I am exhausted just reading it!
WAYNE WILCOX: I eat what our fearless leader (Warren Carlyle) says is a "light and nutritious" meal. Usually grilled chicken breast with steamed vegetables and baked potato. Think pre-game meal. Sometimes I go to my favorite place in midtown, Joe Allen, and have their chicken salad. It's great there.
After that I get to the theater way before the show, and I drop off my stuff in my dressing room, say hi to Jim my dresser, and head to the house. I climb the stairs to the back of the mezzanine, skipping every other step, to get some blood flowing.
Back in the dressing room, I sit in my comfy little chair with my Charlie Chaplin pillow, and I write in my Sydney journal. It's part of keeping the show fresh. I learned how to do it in school at Boston University. Mostly, I write fictional day entries from Sydney's perspective. It's a trick to get more thoughts and ideas behind the lines that I say on stage. It's the intentions and the thoughts we think on stage as actors that make the lines land on the audience. Acting or Singing or dancing, doesn't matter. It's what you are thinking that makes all of that translate to an audience. It's powerful stuff, the difference between an audience understanding what you are doing onstage, or being left flat.
Then, I put on the make-up (i'm a novice, trust. But, I'm getting better).
Once all that's done, and I'm dressed and ready, I put my throat coat tea in my little tea cup and saucer and I head down to the orchestra pit and say hi to the band. They're in the basement in a tiny room, and I think they get lonely. Also, they adore me, and I go there for my daily ego boost. "Oh, Wayne. We love you, Wayne. You're the best performer that ever lived, Wayne". You know, just modest, not bragging, not egotistical boost-y stuff at all. Tee hee.
I stretch some more on stage before we start.
Oh, wait.. I love this part. At the very start of the show I do my little dance for everybody. If you've seen Chaplin, then you know this. The top of the show opens with a big downbeat (Timpani, every string and wood and brass coming down heavy at once, it's beautiful) and I do my best Flashdance moment at the exact time the downbeat happens. I do it for my fellow Chaplin-ers. They love it. I think.
Or they just think, "Oh Wayne. He's just a little touched, is all".
Read Part I of this interview HERE.
Read Part II of this interview HERE.
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