REMEMBERING VINNIE
As I prepare for the return of American Singer Seminar in Summer, 2013, I am thoughtful of why it was first developed and for whom. It is totally for the participants. Those who will join me as colleagues and shape the future of the Business called 'Show'. Some things will change. But the essence of the program and the quality of the instruction and the instructors will never be compromised. The first man I invited to join me as partner to this project was Vincent Liff of Johnson Liff Casting.
Sometime in the Spring of 1999, I sang an audition for Vinnie Liff and the production team of a now long-closed musical. It was a hot, noisy day at NOLA Studios in New York. Part-way through my audition song, I walked over to the open window and pulled it closed. Before the end of the song, the entire table was laughing. They tried to keep it together, but they were a mess. The song wasn't all that funny, as I recall.
After I stopped singing, Vinnie apologized to me saying,
"We all watched you close the window. And each of us, individually, tried to figure out the acting motivation for doing so in your song. Then, we each realized that we no longer heard the jack-hammer outside in the (54th) street and figured out that you were simply, closing the window. At which point, we all lost it. Please forgive us. It's been a long day."
After my audition, the rest of the production team took a much-needed break and left the studio. Vinnie had a snack with him and remained in the room. I told him I was developing a summer program that would serve as an introduction to the industry for young musical theater performers. I was focusing on what was not taught in colleges or conservatories, while basing the vocalism on classical training that had served me so very well. I intended to teach at a university in the future and wanted to create a workshop that would serve as the basis for my one day leading a department.
My faculty for the this, 'seminar' would include working New York performers who shared a gift and passion for teaching as I did. I added that I intended to invite his casting assistant, Ron LaRosa, a former Les Miz cast-mate of mine, to come join the faculty that summer in Colorado. At that point, he put down whatever he was munching on and asked me,
"My dear boy, why would you invite Eliza when you could have Higgins?"
Vinnie Liff, the casting director who rose to introduce me at every audition he invited me in for, and often walked his actors to the door to open it for them on the way out. This is the man I wanted my young colleagues to meet. For them, his courtesy and adoration of the art form and the community that supported it, would be the benchmark against which all other casting directors, producers and colleagues would be measured.
He joined the faculty for three summers. He loved being there and the participants loved him for his honesty and humanity.
Vinnie died in February, 2003 after years of dealing with an unkind and relentless brain tumor. In May of that year, I sang Bring Him Home at his memorial onstage at the Majestic Theater in New York. I am not sure exactly how I got through that song. Nor, why I was even there since I was the only singer without a Tony Award on his mantle. Vinnie had 'cast' his own memorial months beforehand and left instructions for his assistant to make the arrangements. After I sang, a tall, gorgeous man sang "Moon River". It was the most beautiful thing I could imagine. Walking out afterward, I asked Norm Lewis if he was interested in joining me for a special Bernstein MASS project in Dallas. He was, and he did. And he was brilliant. I told him at the time that it was likely for that reason alone, Vinnie had invited me to join in his last New York production.
Since his death, a 'Vinnie Liff" Scholarship has been provided to ensure that an actor, who otherwise could not attend, had a chance to experience what we do at American Singer. It's not much, but it is a living tribute to a colleague and friend who meant so very much to so very many of us.
Cheers, Vinnie. This one's for you.
Doug Webster
As I prepare for the return of American Singer Seminar in Summer, 2013, I am thoughtful of why it was first developed and for whom. It is totally for the participants. Those who will join me as colleagues and shape the future of the Business called 'Show'. Some things will change. But the essence of the program and the quality of the instruction and the instructors will never be compromised. The first man I invited to join me as partner to this project was Vincent Liff of Johnson Liff Casting.
Sometime in the Spring of 1999, I sang an audition for Vinnie Liff and the production team of a now long-closed musical. It was a hot, noisy day at NOLA Studios in New York. Part-way through my audition song, I walked over to the open window and pulled it closed. Before the end of the song, the entire table was laughing. They tried to keep it together, but they were a mess. The song wasn't all that funny, as I recall.
After I stopped singing, Vinnie apologized to me saying,
"We all watched you close the window. And each of us, individually, tried to figure out the acting motivation for doing so in your song. Then, we each realized that we no longer heard the jack-hammer outside in the (54th) street and figured out that you were simply, closing the window. At which point, we all lost it. Please forgive us. It's been a long day."
After my audition, the rest of the production team took a much-needed break and left the studio. Vinnie had a snack with him and remained in the room. I told him I was developing a summer program that would serve as an introduction to the industry for young musical theater performers. I was focusing on what was not taught in colleges or conservatories, while basing the vocalism on classical training that had served me so very well. I intended to teach at a university in the future and wanted to create a workshop that would serve as the basis for my one day leading a department.
My faculty for the this, 'seminar' would include working New York performers who shared a gift and passion for teaching as I did. I added that I intended to invite his casting assistant, Ron LaRosa, a former Les Miz cast-mate of mine, to come join the faculty that summer in Colorado. At that point, he put down whatever he was munching on and asked me,
"My dear boy, why would you invite Eliza when you could have Higgins?"
Vinnie Liff, the casting director who rose to introduce me at every audition he invited me in for, and often walked his actors to the door to open it for them on the way out. This is the man I wanted my young colleagues to meet. For them, his courtesy and adoration of the art form and the community that supported it, would be the benchmark against which all other casting directors, producers and colleagues would be measured.
He joined the faculty for three summers. He loved being there and the participants loved him for his honesty and humanity.
Vinnie died in February, 2003 after years of dealing with an unkind and relentless brain tumor. In May of that year, I sang Bring Him Home at his memorial onstage at the Majestic Theater in New York. I am not sure exactly how I got through that song. Nor, why I was even there since I was the only singer without a Tony Award on his mantle. Vinnie had 'cast' his own memorial months beforehand and left instructions for his assistant to make the arrangements. After I sang, a tall, gorgeous man sang "Moon River". It was the most beautiful thing I could imagine. Walking out afterward, I asked Norm Lewis if he was interested in joining me for a special Bernstein MASS project in Dallas. He was, and he did. And he was brilliant. I told him at the time that it was likely for that reason alone, Vinnie had invited me to join in his last New York production.
Since his death, a 'Vinnie Liff" Scholarship has been provided to ensure that an actor, who otherwise could not attend, had a chance to experience what we do at American Singer. It's not much, but it is a living tribute to a colleague and friend who meant so very much to so very many of us.
Cheers, Vinnie. This one's for you.
Doug Webster
