Welcome to our second chapter of Broadway’s Backbone on the Camp Broadway Blog! If you missed his introductory post, this ongoing segment revolve around Brad Bradley and his podcast Broadway’s Backbone. With a career transcending all genres of the entertainment industry, Brad has been a vital member of the Camp Broadway universe for several years. 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.
This week’s special guest is Broadway veteran Stacey Todd Holt! Credits: Rocky, Elf, Something Rotten! Elf, Cry-Baby, The Producers, Contact, Big, Crazy For You. Stacey is a long-time member of the Broadway community and his experience spans multiple Broadway shows. You can see Stacey’s work eight times a week on Broadway in Something Rotten! or in Tuck Everlasting, in which he was associate choreographer on. Stacey coined the phrase that if the ensemble is Broadway’s Backbone, the swings are the spinal cord!
Below are certain sections transcribed (truncated for your reading pleasure) with commentary and background so you further enjoy the podcast. If you’d like to listen and read simultaneously, click this link for the podcast: www.soundcloud.com/brad-bradley-17/broadways-backbone-wbrad-bradley-gueststacey-todd-holt-ep1
On summer stock…
STACEY: The whole summer stock experience was just putting to use what I learned in conservatory. For me, it was great because I had a thick southern accent and it was g
reat to go through the technique-learning process to get rid of it so I could use other accents. I was glad that I went through a four-year conservatory instead of moving straight to New York. I grew up on a farm. My father traveled a lot – I knew I had to get out of the south. I knew that there was life outside of my town. I had to go to New York. It wasn’t go to Chicago or go to Portland and do smaller [stuff], just go for it.
STACEY: I moved there with $500. My sublet was $350 and I had to get new headshots. I had a month to get my next month’s [rent]. I would never imagine going to New York with $500.
Camp Broadway: This entire concept was not uncommon in the golden days of Broadway. People would move to the city with a dream to be on Broadway, and as Brad says, “pound the pavement” and make their way on Broadway. I think the difficulty to do this nowadays has a lot to do with how the current time period has changed things. There’s much more competition. Online casting calls, lots of different ways to shift the way that achieving success can occur.
On how fast things change on Broadway…
STACEY: I was on for the closing night of Crazy for You [as a swing]. The Shubert was a fire hazard – we were sold out, people sitting in the aisles and the standing room was packed. The applause was insane. It was the most magical night – I could have done that show forever and ever. I don’t want to be on as a swing [on opening night].
Camp Broadway: The theatre moves so fast. I’ve had instances where I’ve jumped onstage or people have had to fill in the gaps to continue the show. There’s so many moving pieces to a Broadway show, and it’s so amazing how many people it takes to keep a show running, eight shows a week. It is a lot of performances for people to do, and that’s why we have the backbone.
On mishaps…
STACEY: If you told me at any minute that I was on, I’d be like “great”. They’re rigged [the chairs on set]. They got placed incorrectly. I was on, and I’m in my brain, looking around and I see that one chair should have been a barricade chair [part of the set]. So during the number, I’m trying to correct this before it collapses. Literally wanting to vomit, sweat was pouring off of me. All of a sudden, it started happening.
Camp Broadway: I think this is important for us all to know – there’s no such thing as a “perfect” show. Things aren’t ever going to be completely right. Striving for perfection is an incredible trait, but expecting it is not. There’s no point, because theatre is a living, breathing organism. Use this example of Broadway even going wrong as an example that even the best have mistakes.
On his process…
STACEY: By beating [people down in the theatre] down, it might work for others, learning individually how that person works and pulling the performance out [is the best way].
BRAD: Do you have a secret [to being a dance captain]?
STACEY: It’s all about performing from one’s personality. I never want to come to someone pointedly or with a demand. I came in with a funny, quirky way and it wasn’t until later when I saw that she came to life when she sang. It floored me. She’s so incredibly talented, and I felt that she was being shaped and formed into an ensemble member who couldn’t bring any of that to life.
We all go through it. We all feel like we’re not showing our full potential. I have to have it in my life, well-rounded things, if I’m going through a rough spot.
If you enjoyed Camp Broadway’s commentary on Brad Bradley’s podcast Broadway’s Backbone, be sure to come visit us again in two weeks for another chapter in our showcase of Backbone, and tune into Brad’s podcasts at BroadwaysBackbone.com!