Travis was my first photoshoot for this book. A little nervous, I entered the historical Nederlander Theatre on W. 41st street. This was in the height of Broadway Cares / Equity Fights AIDS season and Seth Rudetsky, Kerry Butler, and Jackie Hoffman were grouped together by the stage door rehearsing Mama, I’m A Big Girl from Hairspray for a reunion performance after curtain call in hopes of raising money. They did.
Travis met me at the stage door - a breath of history nailed me in the face. I’ve been backstage of quite a few Broadway houses before, but never pre - show. They have opened, but the whir of excitement was still prevalent. We then entered his dressing room, on the third floor of the Nederlander, to what was a spacious room built for an ensemble in a flashy musical. Lucky for him, there were only three other people inhabiting the space; two other ensemble members (Manoel Feliciano, Casey Garvin) and a swing (Paul Castree).
“It smells good in here,” I said.
“That’s weird. It smelled like vomit in here the other day,” said Travis.
Typical of a boys dressing room.
I looked around at the eye candy in the room - personal notes, Mr. Castree was reviewing his Swing tracks in what was his tenth Broadway show, and Squiggs opening night portraits. It was truly a Broadway dressing room. Since there is still a living, breathing aspiring Broadway performer in me, I asked him what it was like to be on Broadway. He responded, “It’s just like any other theatre… I’ve actually performed in bigger one than The Nederlander. There is just more gravitasse because of the history.”
We began the process a little bit before half hour, so we wouldn’t get in the way of any other performers - though, my stay bled just a little past half hour. Travis, in his pedestrian clothes, begins his process by shaving and maintaining his period look. Since Disaster! takes place in the 70’s, Travis mirrors just about any leading man in any 70’s film.
There’s a quaint little shaving station behind the rack of clothes for the ensemble men. During previews, Travis had a tailor made suit which came out to an impressive $7500, but was cut since the design team wanted to move into a sexier type of look. It’s a story like this that reminds me… we’re rolling with the big dogs and commercial theatre does not play around.
The shaving is merely a topical part of the preparation. Since this was my first shoot, I quickly saw what was interesting and what wasn’t. How many pictures could I get a of shirtless man shaving? Well, many… and I was enjoying fulfilling my Hildy (On The Town) fantasies, but I needed the meet an potatoes. The focus I’m interested in is more about the mentality, the focus, and most importantly… the heart. I took this as the opportunity to corner him with my questions.
“Travis, darling, what is most important to you about your preparation?”
“The most important part about preparation for me,” he responded, “is getting my head in the game. A lot of physical and aesthetic stuff goes into getting ready for a performance, but being in a balanced and focused state of mind is by far most important.”
That’s all well and true, but his hair I think took the most focus out of anything during my time there. I tease, of course, but truly - I haven’t seen someone prepare their hair that much since my high school production of The Producers. After his application of deodorant, he spritzes his hair to a malleable dampness and applies Paul Mitchell Extra Body. After it is firmly combed to the side, resembling the circus strong man, he whips out his blow dryer for the ultimate Farrah Fawcett experience.
As he took hydration breaks, which he stressed is a huge part of his preparation, I asked if he had the tenor track. There was a silence. I should have known since he also understudies Adam Pascal, of Rent and Aida fame.
“Would you say I have the tenor track, Paul?”
Paul looks up from studying his script, and without missing a beat…
“You are the tenor track.”
Shortly after, Mr. Castree and Mr. Feliciano are discussing the “old days” and all of their audition stories for Rent. They were discussing how back then, the call went out for “no stars” to show up for the first national tour of the show, and how now it is non - Equity. I so desperately wanted to be part of this conversation, but Learning To Be Silent from Footloose played in my head, which happened to be another show Mr. Castree was in.
Blowdryer on.
“Travis,” I shouted.
Blowdryer off.
“What is one recurring thought that always pops into your mind as you prepare?”
“Did I eat enough,” he responds.
Blowdryer on. Farrah commences.
He wrapped the wire of his mic three times, placed it on his forehead (low enough for his hats) and set it with mic tape. The next step was to color in his light facial hair so that the balcony can read the details of each actor on stage.
“Travis,” I continue, “What piece of advice have you received that prepped you for your debut?”
“The most useful advice I received was to "fuck ‘em.”, he says playfully. “I don't remember who exactly imbued me with this nugget of wisdom, but it always comes in handy when you need it most.
Feeling nervous about revealing weeks of hard work to an audience for the first time? Fuck 'em. Doubting your choices? Fuck 'em. It reminds me that I decided this career path because it is fun to me, and it always should be just that.”
And with that, he drops his pants to put on his dance belt. Fuck ‘em is right.
He tells me that since they went with a sexier route to his costumes, he should one up the game. I’m beginning to think the core of his performance is his actor’s secret: his stuffed crotch.
Broadway is a lie. Yes, there is a sock in his dance belt. I’ve seen in with my very own eyes. And now you have as well.
After he “enhances his features” it starts to get physical. Not with me… with his warm up routine. As he is warming up physically (a few minutes on his foam roller and a few minutes with some stretches), he becomes receptive to himself. For a few minutes - conversation has ceased as he focuses on how his body is in the moment. I was thankful for letting me capture a personal moment of his.
With that, he put on a tank top and was ready for the top of the show.
“What’s next?” I said.
“Vocals in the bathroom,” he said, “Time for the siren.”
The rest of the dressing room grumbled.
And so I followed him to the bathroom, a very tight space in the hall outside his dressing room. With my body awkwardly draped over the toilet to get a good angle of him, he blasted his “siren” to make sure his tenor line was present. It was.
I didn’t see the show that night, but I did come for the last fifteen minutes so I could capture the reunion performance of Mama, I’m A Big Girl Now from Hairspray after the curtain call. Kerry Butler, who is in the Disaster! cast was joined by Laura Bell Bundy and Jackie Hoffman in hopes to raise money for Broadway Cares / Equity Fights Aids. People spent thousands of dollars to be on the stage with them. They had what I call a New York Night.
A New York Night is where you say, “Yes, and!” just like the rules of improv. You don’t know where you are going to wind up - but it’s usually a time and place you won’t soon forget. Tonight was that night. A New York Night.
