The Interview Part I

By Leslie Marin

If you’ve been to Foothills Theatre’s mainstage productions or its Children’s Theatre productions over the past 5 years, then Steve Gagliastro and his many characters ~ both comedic and serious ~ are already familiar to you. Same goes for Stoneham Theatre, Salisbury Lyric Opera, the Lyric Stage Co. of Boston, Worcester County Light Opera and Springfield’s Majestic Theatre. You might also have seen him at the Ogunquit Playhouse last season. And guess what, if you were ever in Asia, there’s even a chance you caught him on tour as part of the 1999 Sam Mendes revival of “Cabaret.” Most recently you may have been lucky enough to see him back on the Foothills stage as producer Norman Petty and playing trombone in Buddy: The Buddy Holly Story. He’s portrayed everything from bandleader Wallace Hartley in “Titanic” to Judas in “Jesus Christ Superstar” to Gothel the Witch in “Rapunzel.” Sometimes he is easily recognizable, sometimes he is cloaked in make-up and costume; but regardless, his magnetism and command of the stage are unmistakable. Don’t frequent live theatre? Well, there’s still a good chance you’ve crossed paths with “Gags,” as he is known to his many friends. In addition to being a very talented actor, he’s also an outstanding musician. And teacher. And singer. He’s the former K-12 music teacher in the Northboro/Southboro school system, a former private voice teacher at Holy Name CCHS, a former vocal instructor at Jo Anne Warren Studio, and a cantor for the Diocese of Worcester. Listen to Gags performing jazz standards (as he did at Pulse Magazine’s Annual Fashion show) and it’s as though Billie Holiday has returned to the stage (only with a mustache and a, well, let’s just say that Gags is male and Billie wasn’t). So not only is this 32 year old multi-talented, he’s also multi-continental, and in fact his latest gig is as part of the Hong Kong/China/Singapore/ Malaysia/ Australia/New Zealand/Japan/S. Korea tour of SpongeBob Squarepants. I got to talk with this integral part of the local (and not so local) theatre scene while he was on break during a rigorous day of rehearsal for “Buddy.”

Pulse: OK, let’s get it out of the way. SpongeBob Squarepants?! Really? Are you going to be in a big, sweaty costume or is this serious theatre work?

Gags: As serious as “SpongeBob” can be, I suppose. It’s not going to be the standard big head/poofy costume show. It is more along the lines of “You’re a Good Man Charlie Brown,” where the actors are costumed, but not hidden. There will also be some major flying and animatronic puppetry.

This’ll be your second time on a major tour ~ what’s it like on the road?

I love the road, especially when you can see the world on someone else’s dime. I also try to save as much cash as I can, due to the fact that as an actor you never know when or how long your next gig will be. The people are always interesting as well. As in most theatrical settings, you are thrust together with a bunch of strangers you are required to trust immediately. The first few weeks are usually long and tedious, but once the show is opened, you have a bit of down time to see the sights, sleep in, and get to really know your cast members, as you’re all sort of stuck together. Due to the fact that performances are most often at night, actors are nocturnal creatures and, as I am a bit of an insomniac, that suits me fine.

Back up a little bit and tell us how you got started in theatre and music.

Well, as a young boy, I always listened very closely to the radio and TV, and would always try and match the exact pitch of what was playing, especially jingles. I was born with a very good ear and found that it was easy for me to blend with and sound like I was actually singing with performers on the radio. I started performing publicly at Worcester East Middle School, loved the attention (and I wasn’t half bad), and so I continued acting at Holy Name’s CCHS. It was there I met Music Director Joe Burke, a great guy and still a close friend, who had a huge influence on me. Joe recruited me for the Chorus and eventually, started me playing trombone. It was really because of Joe that I decided to study music/music education in college and not theatre.

You have a tremendous and varied body of work. Favorite roles?

I suppose Hans/Rudy in “Cabaret” is at the top. Every time I perform that show it is a treat. I also loved playing Brian Dowd in Jack Neary’s “Jerry Finnegan’s Sister.” Actually, I love every character I have played in Jack’s shows, and so far I’ve done 15 of them.

Most embarrassing on-stage moment?

Probably at Assumption College a few years ago. My friend Richard Monroe brought me in to play Jesus in “Godspell” and someone dropped a cue. I tried to cover and gave the cue for the wrong song, completely skipping a huge scene and song. Luckily, due to the loose nature of the script, it was an easy fix. But to see poor Richard frantically flipping through his script to find a solution was heart wrenching. The audience never knew and we squeaked in the skipped material, out of order, but it was still a nightmare.

A lot of actors talk about “The Process.” How do you prepare for a role?

It really depends on the show. I end up doing a lot of comedy, so there’s not a whole lot of preparation outside of learning the lines, blocking, etc., and experimenting with characters. “Finding the funny,” as someone once put it. I’m about the furthest thing from a method actor so I treat my work as just that, work. I show up prepared, give 100%, and go home ~well, maybe to Vincent’s first! I also research relevant materials to find a depth to whomever I am portraying.

Do you find that characters stay with you even once a show is over?

The only times I find that to be the case are when I’m in a small cast say, 2-3 people, or when I am playing a character who actually existed. When a character is based on a real person, dead or alive, I am always very concerned about doing justice to the person’s memory. These days, I move from show to show so quickly, I really have no choice but to let the characters go when the play is done.

You are a member of the Actors Equity Association. What does that mean?

Yes, I’m a member of AEA. AEA is affiliated with the AFL/CIO and is the stage equivalent to SAG or AFTRA, the film and television actor’s unions respectively. It means that as an actor, I am protected from hazardous working conditions and unfair labor practices. It also allows me to access the union’s health insurance and pension funds. Basically, it keeps theatre actors from being screwed over.

Any advice for up and coming performers?

Pay your dues, whatever that means for you. Be realistic about your abilities and where you need improvement. In this business, and it is a business, it is essential that how good you think you are and how good you actually are are the same. Also, know your type. Don’t waste your time and energy on auditions and roles you are not right for. There’s a lot of competition and cattiness in performing, but if you really know where you stand and exactly how you compare with the level of talent surrounding you, in the grand scheme of things, you’ll do alright.

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We’re very lucky to have landed this interview right before Gags headed off on tour. Because we caught him just in time, he has offered to maintain a blog while overseas so that our Pulse readers can hear about his adventures, what’s going on with the tour, and whether or not he, a self-proclaimed “giant wuss” when it comes to trying new cuisine, has been brave enough to try some of the overseas delicacies. To keep tabs on Gags’ trip (his blog from the last tour included such memorable posts as “My Luggage Feels Like Osaka Potatoes,” “I’ll Have a Rodin, Hold the Manets,” and “Tomorrow, I’ll be Rooting for the Swallows”), check out www.gagsinasia.blogspot.com.

The Interview Part II

Ok Gags, let’s pick up where we left off…

What’s your theatrical dream?

Broadway. That’s the ultimate goal. Someone once said that if you can make it there… I’m also very interested in breaking into the voice-over biz, a very difficult nut to crack. I would also love to work with reigning Tony Award winning director John Doyle of Sweeny Todd and Company fame. He directs shows with casts who are also instrumentalists, so I’m hoping I might be right for one of his upcoming productions. My goal has always been to be a working actor, whatever that means. Fame really means very little to me. I just want to work and work regularly.

Any interest in directing? In doing film? In writing?

I have done a lot of directing, mostly with younger performers, so that demon has pretty much been exorcised. I used to that joke that most actors really want to direct, but I was a director who wanted to act. Film is something I would like to explore more deeply, having done a few small roles in independent features. One film, “Dribbles,” should be coming out soon [www.dribblesmovie.com]. I have also been trying to develop a new musical for the past few years, but seem to be stuck on finishing the story. The songs have been flowing, but without a story, I’ve got nuthin’. I am also very near completion of a simple Catholic Mass setting I hope to perform sometime in the next year or so called the “Worcester Mass” ~ get it?

You are also an accomplished musician. How does performing as an actor compare to performing as a musician?

As an actor, you can hide behind the guise of being someone else. When performing as yourself, you are very exposed, very vulnerable. It really tests your mettle as a performer. That and, as a musician, you can often see the eyes of your audience, which is not usually the case in theatre due to intense lighting.

You’ve done so many shows in so many places ~ do you get recognized off-stage?

Sometimes, especially because of my children’s theatre background. The fact that I was born, raised, and still live in Worcester adds to it as well. I am so often in the public eye here in Central MA., singing at churches, visiting Hank Stoltz at WTAG, performing at Foothills Theatre, etc., that I do get recognized here and there. My Dad, Jack, is also the former Director of Public Health for the City of Worcester, so people know my name through him as well.

Photo by Robert Manzello w/ Cherie Ronayne and Rachel Savage in Foothills Children’s Theatre’s “Rumplestiltskin.” Photo by Bob Dolan

Your voice is extraordinary. What’s your favorite genre of music? Do you ever dabble in other styles, maybe rock?

First off, thanks so much for the kind words. Choosing my favorite style of music is tough. I suppose my heart lies in the Jazz/Soul/Gospel/Blues/Funk worlds, as my vocal style is sort of a fusion of these styles. Bobby McFerrin’s music has also had a huge influence on me. For my money, he’s one of the best singers on the planet. Trust me, look beyond “Don’t Worry, Be Happy,” you’ll be pleasantly surprised. I also enjoy classical, oldies, rock ~ anything but American Idol. Overall, if it’s good music, I’m happy to listen to it, whatever the style. Believe it or not, I rarely listen to music at home or in the car. I enjoy sports radio most of the time.

Theatre has a reputation for being…well, it has a reputation, let’s put it that way…yet you seem very serious about the work itself. Is that reputation deserved, and if so, how do you handle being in that sort of environment?

Reputations and stereotypes are birthed, however exaggerated, in truth. Yeah, there are a lot of wacky personalities in this field, myself included, but that can be said of most workplaces. Actors and musicians tend to be loud and demonstrative, but have you been to a Sox game lately? As far as dealing with that environment, I just try to be as professional as possible. It is a place of business and I treat it as such. And, for the record, I am straight man in a committed relationship in theatre, which is somewhat of a rarity!

Is there any role you would turn down?

It would really depend on the script or the contract. For example, I was recently involved in a reading of a new play about the Chappaquiddick Incident in which I played Sen. Ted Kennedy. I was a bit hesitant to accept the role, as he is such a recognizable person and is revered by many. That, and the fear I was someday going to find government vehicles at my house rifling through my trash (just kidding but not really!). But I figured I could bring more than just an impression of The Simpsons’ Mayor Quimby, and the script was quite good, so I accepted.

Once the SpongeBob tour wraps, what’s next for you?

Not sure, as I’ll be in Southeast Asia for six months, possibly more. I guess getting back into the swing of auditioning in NYC, re-establishing the connections I have been working to make there. Hopefully, if SpongeBob does well, it will make it back to the U.S. either as a National Tour or a sit-down [non-touring] run in New York.

Remember to visit www.gagsinasia.blogspot.com often to find out how Gags’ tour is going!