WELCOME, BRAD!
Today we welcome Broadway veteran Brad Bradley to the blog. With a career transcending all genres of the entertainment industry, Brad has been a vital member of the Camp Broadway universe for several years. Broadway’s Backbone, Brad’s podcast, is quickly proving to be one of the most compelling and eye-opening theatre outlets in a long time. Through our bi-monthly column, we’ll peek at everything about Backbone and Brad himself.
On with the show…
Brad Bradley Broadway credits in
clude the original casts of Spamalot, People in the Picture, Annie Get Your Gun (w/ Bernadette Peters & Reba McEntire), Thou Shalt Not and Steel Pier. Brad was a member of the closing Broadway cast of Billy Elliot. Brad starred as Patsy opposite Gary Beach’s & Richard Chamberlain’s King Arthur on the 1st National Tour of Spamalot. NYC – I am Harvey Milk, Chita: A Legendary Celebration. Off Broadway: Ernest in Love, A Christmas Carol (MSG), Cocoanuts. At age 12, Brad was a back up dancer for Michael Jackson in the Pepsi commercial.
Broadway’s Backbone is a podcast dedicated to the men and woman of the ensemble: the chorus of dancers, singers, and actors that are the foundation of every Broadway musical. These often-unsung gypsies are the hardest working people on the boards and are Broadway’s backbone. Each episode interviews a Broadway vet about their life, career and dreams, but also delves into the real topics that aren’t always shared. The life of a gypsy may be full of passion, but not always filled with glamour. This podcast is in honor of the folks of the ensemble and the people who plan to be them.
The following interview was designed to give you – our readers – a better insight on Brad and his passion inside Broadway’s Backbones. My questions are indicated with the initials “EG”, with Brad’s response following.
EG: I have a huge passion for arts education. Can you tell me a little bit about the purpose of Broadway’s Backbone, and what is it going to do for youth that tune in? Why is it important that they listen?
The initial purpose of Broadway’s Backbone was to give back to the theatre community that has given me so much. There is so much I wish I knew at a young age that now I feel I can share with future theatergoers’ and performers. I’ve spent the last several years doing regional theatre and getting to know the young up and comers. They were so interested in my Broadway stories and it shocked me, to me I was “just” in the ensemble. I then realized I had to get the word “just” out of my vocabulary. It’s honestly not something I believe, but since I hear it all the time “he’s just a dancer”, “he’s only in the chorus”, it’s become what I expect people to think. Kids dream of being in the ensemble of a Broadway show, just like I did, and that is something that should be celebrated.
I was visiting close friends In Maine and we were listening to the Broadway Channel on Sirius radio. All the interviews were with stars or celebrities that made Broadway seem unattainable. I said that there should be a program to feature the kids of the chorus, because, after all, that is what the majority of folks will be. My friends encouraged me to make it happen myself, and Broadway’s Backbone began as a podcast.
I think it’s important for youth to listen because it sheds light on the fact the even successful performers on Broadway have the same insecurities and self doubt that everyone has. Bullying, weight issues, anxiety and feeling of failure are part of everyone’s story. The difference is, the podcast shows examples of powering through these issues and taking control of their path and passion. I’ve been learning things about myself with each interview and there are so many things I wish I would have learned when I was young.
EG: There’s a huge influx in young people entering the world of the theatre. Because of the Internet and the way that Broadway is accessed, there is an occasional sense of righteousness and “I deserve this”. As a Broadway vet, can you provide some insight on the importance of understanding how to pay your dues and receive training before letting your head get too big?
I know the righteousness you speak of, us vets call it the “entitlement factor”. The worst part of this practice is the actual disrespect youth have for their superiors. I’ve witnessed young actors talk back to Tony-award winning directors, argue with choreographers, and give a side eye when given a note by the dance captain. I’m old school I guess, but I believe proper attire should be worn to rehearsal and cell phones turned off. There is a huge lack of discipline in the younger generation, but some of that is also due to the way things are taught now. Teachers and parents can’t be as firm and as harsh as they used to be. Some of that is for the better, but sometimes being told you were wrong and you could do it better is important.
So much of today’s world is #amazing and #blessed to appear qualified, but nothing compares to hours in the rehearsal hall working until you get it right. Training never stops, and everyone can get better. You can’t learn a craft from the Internet. You have to fall on your face and be willing to feel humiliated in order to grow as a human, which in turn will allow one to blossom as an artist. Paying your dues is where a style is created, a sensibility is formed, and a passion is perfected. It’s a training ground. There is a difference between being confident and have a big head. A person is confident because dues were paid and training is ongoing. A big head happens when one is ill-prepared and insecurities need to be masked. Every time one wants to advance in life and career, more dues have to be paid. I intend to keep growing and paying until my soul says enough.
EG: Broadway’s Backbone includes some of Broadway’s best. It doesn’t take a genius to realize that you secured such amazing guests by being kind and making people remember you fondly so when you asked them to do the podcast, they obliged. Can you talk a little about how you hope to shift the spotlight onto those that don’t get it very often?
I do pride myself on being kind and I think people like working with me. Being a good person and genuine is just as important as kicking to your face and belting a high note. Talent may get you your first job, but being easy to work with will get you your 2nd 3rd 4th job – and so on. When hearing about someone’s struggles and downfalls and then following it up with a story of performing on the Tonys and recording a cast album (like we do on Backbone), everyone is humanized. At the end of the day, even though the spotlight is on my guest, they are sharing their inspiration to the next youth who will be in the spotlight.
Tune into Brad Bradley’s podcast Broadway’s Backbone every week at BroadwaysBackbone.com, and check back every other week right here on the blog for exclusive Backbone content.