In the Shoes of...Stevie Cupo

Well folks, it has been awhile since I have profiled anyone for my "In the Shoes/Heels of..." interview series, but that is about to change. I am starting by interviewing some of the upcoming performers who will be featured in Signature Theatre's Kiss of the Spiderwoman, starting with Stevie Cupo.
Stevie was in the second show that I did at Signature Theatre, Grand Hotel in 2001, and we have been friends ever since.
So here to kick back the interview series is one of DC's preeminent character actors, Stevie Cupo.




SGS: How did you get started in this crazy business that we call show?
SC: It was definitely my survival instinct at play. You see, I had always been in front of audiences, but as a singer. I was a boy soprano who would get hired for weddings or parties. Plus, I had always sung in choirs and choruses. For many years, I thought I would become a music teacher.
On the other side of the coin, I was much disliked by the “popular” kids in school and was even reviled by the “tough” ones. I really got picked on A LOT in high school.
In 9th grade, I got cast in “Bye Bye Birdie” at school, as they needed a boy soprano for the role of Randolph. The next year, the school musical was “Li’l Abner”. I was cast as Pappy Yokum (my voice finally changed over the summer). It was exciting for me, but the Monday after we did the show, I went back to my “life as a victim”. That Monday, as I approached my English class, I saw Donald MacCallum standing outside the door. He had always been my main tormentor. This is the person who liked to punch me everyday, once a day just because…
So, I put my head down and tried to get past him as quickly as I could, but he stopped me. He held out his hand to me and said, “I have to shake your hand. You made me laugh harder this weekend than I have in my entire life!” And my “light bulb” went off. It realized then that this was how I was going to survive my remaining years in high school. It was a life changing moment for me. And I went on from there.

SGS: What was the first Broadway show that you saw?
SC: “Purlie”, with Melba Moore. (I was on a high school trip.)

SGS: What brought you to Washington, DC?
SC: I was disillusioned from working and living in New York for 11 years (1977 to 1988). Even though I had been working in the theatre (mostly tours), I found I didn’t have the stomach for the “business” side of the business. It was waaaay too cut-throat for me. Plus I hated what New York was doing to me as a person; I didn’t like the cynicism I was developing. So I decided it was time to get out. I was going to move to Boston as I had friends and family there.
But … a friend of mine (Leslie) asked me to oversee her apartment for the summer while she was out of town doing theatre. She had sublet it to an acquaintance of ours (Rick) and I was collecting his rent and picking up her mail. So I delayed my move to help her out. Rick, it turned out, also was wanting to leave New York, but was intending to go to DC, as he had been with the Washington Ballet in his youth and knew the area. We got talking, and he asked me if I would consider moving down with him in order to share expenses. I didn’t know anyone there except a former roommate of mine. He was working at the Kennedy Center at InstantCharge. So, I called him to see if there was a job at the KC. He said, “YES! Get here now!” And I did.
SGS: What was your first gig here in town?
SC: The Mrs. Foggybottom Show at the Omni-Shoreham Hotel Marquis Lounge. I was with it for 5 years.

SGS: You have been featured in many local productions at many houses. Some of your more notable performances have been at Signature Theatre. What was your first show there?
SC: “Cabaret”. That also happens to be the first “real” show I did in Washington.



SGS: Cabaret may well be the show that you are iconically linked to in this town. When in preparation for this juicy role, what were your inspirations or insights into the Emcee?
SC: I think it goes way back. During the summers of 1972 and 1973, I was hired as a singing waiter at a theme park (Gaslight Village) in upstate New York. The manager of the park also ran a night club (The Tiki Room). After we closed the park at night, some of us were hired to sing at the club. We would sing anything that was “hot” at the time. The movie “Cabaret” came out the summer of ’72 and I leapt on it. I was Liza Minnelli and Joel Grey all wrapped up in a young, fey package, beltin’ out those songs. That’s how I was introduced to the material. As raw as I was, I felt crazily connected to the emotional character of “Cabaret”.
In college, I did the role of the Emcee and did a pretty good replica of Joel Grey in the movie.
But I think it was the “hard” years in New York that made me ready to re-think the role and add the edge that was missing from my previous incarnations. The insight was more as a result of life experience rather than
research. I have found that I am an instinctual performer. I suppose this reflects that notion.

SGS: You are a man of many faces and many disguises. You are almost like the Lon Chaney of DC Theatre, (except much cuter). In almost every show that you are in you have changed your appearance drastically. This comes of course with the territory when you are a character actor, but you take it to astonishing levels. Your burnt and scarred face as Dr. Otternschlag in Grand Hotel comes to mind. As does your ancient old Erronius in A Funny Thing Happened on the Way to the Forum. Then of course there was Hot Blades Harry. I seem to recall Bert and Ernie style eyebrows that made me laugh. At any rate, your make up skills are as first rate as your performance skills. Can you tell me a little about these transformations, how long they can take, and what inspires them?


SC: As I said, I have found that I am an instinctual performer. That is how I often approach a role; and that includes what the character will look like. I get a gut feeling for the emotional base of the person I am supposed to embody and how that “base” might reflect how they could appear. I also think it’s important to talk with the director to try to understand his or her vision of the piece before creating a “look”. My appearance is intrinsic to the overall feeling of what they will want to project.
There is no set time on how long it takes. It depends on the materials I use (latex, wax, etc) or don’t use. You mentioned Dr. Otternschlag. His latex “mask” took me about 2 hours to build. It lasted about 10 performances and then I would make another. Hot Blades Harry, on the other hand, was a fast change. I only had about 10 minutes to create the effect I needed.
But I am fascinated with the process of transforming; of becoming another person. To me, it is ultimate way to immerse oneself in a role.

SGS: You have been very active in the cabaret world of late, with the several different incarnations of Naked Cabaret (Emotionally, that is). How did all of that come to be?
SC:Because of the “Mrs. Foggybottom Show”, I became very good friends with our music director, Howard Breitbart. Some of Howard’s best buddies were very involved with cabaret in DC; people like Judy Simmons and Cindy Hutchins. These 2 women eventually became very dear friends with my partner Dan and me. They, in turn, were instrumental in the creation and development of the DC Cabaret Network (under the auspices of an acquaintance, Wendy Lane Bailey).
Because of them, I became a member of the DC Cabaret Network. More recently, through them, I was offered “Naked Cabaret”, as part of the first DC Fringe Festival; not only to perform but to co-direct with Judy Simmons. The following year, Signature Theatre was looking for “acts” as part of their summer series. They contacted Judy Simmons and off we went. After doing the same show at the Arts Club, one of the actresses in the show (Terri Allen) and I got talking and decided it was worth trying to produce it ourselves. So we put up the money and did the show for a month at the Warehouse Theatre. (And if you’ve been keeping track, I produced AND directed AND was in it … I don’t think I will let that happen again). It was a great experience, ‘cause it was a good show with good people … and ain’t that what it’s all about.
I’d like to add, because of my cabaret experience during my formative years as a performer and because of the intimate, emotional immediacy cabaret invokes, I have a special place in my heart for this amazing art form, which, too often gets trivialized.

SGS: You also hold many direction credits in the area. Can you tell me some of the things that you have directed, and how your work as an actor inspires and informs your director's eye?

SC: Around the same time the Network was gaining a foothold, I was also getting “noticed” in DC. Some of the people I had worked with, such as Jane Pesci-Townsend and Sherri Edelen (both from “Foggybottom”) were doing their own one-woman shows. Howard Breitbart was music directing Jane’s show and they decided they needed a “third eye”, so they asked me to come in. Soon after, Howard, this time with Sherri, followed suit and the next thing I knew, I was directing many different cabarets around town. This included a series that began at the DC-JCC as part of the Cabaret Network’s initial thrust into the limelight. Along with Jane and Sherri’s shows, I’ve also directed Will Gartshore, Beverly Cosham and Charles Williams in their one-person performances.
Other projects have been “In the Mood for Love”, “From Ragtime to Ragtime” and “ Forever More… George Gershwin” at the Washington Jewish Theatre; The American Catholic Cardinals’ Convention in Chicago; and most recently “The Great American Songbook” with the Gay Men’s Chorus of Washington, DC. (Can you say music review?)
As an actor cum director, I try to key into what the performer is trying to communicate. Once I understand this, I use my instincts (that word again) to assist them in achieving their goal. I attempt to find the best way to achieve this using the tools I have learned over the years as a performer; whether it be sense/memory or changing the emotional tone or even physical placement. These are the same concepts I use when I am on stage. But ultimately, I feel I am best when I act as an editor; letting them play it out as they feel and then coaxing them into an emotional arc. This process seems to make everyone involved satisfied with the final product.
SGS: You being DC famous (in the theatre realm) also have a partner who is DC famous (in the political world). How long have you two been together, and what is it that he actually does?

SC: (“Famous” … oh, that word! More like infamous!!!)
I LOVE my Danny!!! Dr. Daniel Lee Engeljohn and I will have been together 18 years this Valentine’s Day. And, as you know, “gay” years are like “dog” years, so multiply that number by 6 and we are going on our Diamond Anniversary!!!
Danny is (ready?) the Deputy Assistant Administrator, Office of Policy, Program and Employee Development, Food Safety and Inspection Service, U.S. Department of Agriculture. (Howzat?) What that means is he determines what is safe in the inspection and processing of our meat, poultry and eggs. This covers food borne diseases such as e coli, B.S.E. (mad cow disease) and listeria; determining ways to keep our food products safe. (WAAAAY too much stress for MY way of living!)

SGS: You have overcome many health obstacles in the past years, but have kept on trucking, with always the most positive attitude. It is really astonishing and an inspiration to me and many others. What has been the secret to your strength and positivity? PS- HERE IS A LINK to another good article about Stevie.

SC: Faith.
I am a Christian. I strongly believe in the Love of God and Jesus Christ, my friend and Savior.
(Say THAT in a room full of actors and see the reaction ya get!!!)
But this is my truth! I pray every day to be strong and to have faith and to follow in the light and to be the very best person I can be EVERY day!!! I truly believe that all will be all right, no matter WHAT happens. I have faith that my God and Jesus Christ and the Holy Spirit are with me every moment. The strength of that knowledge is what drives me and gives me incredible joy every day.
That’s not to say I falter. I am human and, BOY, am I weak! But each night, I ask for forgiveness and I give thanks for the lessons of the day and I pray to be guided back to the path of light. And if times get tough, I ask Jesus to take my burden from me, and He really does; pure and simple.
I also want to add that the concept of “Christianity” has been usurped by certain organizations that use it to wield power. I don’t judge them because I believe they will eventually discover the truth. And that truth is just what Christ told us, when asked what the greatest commandment is? “The first”, He said, “is Love thy God with all thy heart and with all thy soul and with all thy mind. And the second is like unto it: Love thy neighbor as thyself.” Christianity is about love, not politics.
So, I am strong and positive in God’s Love.
And Faith.

SGS:On a lighter note... Do you recommend to readers that they purchase Candles By Stephen? ;)
SC: Yes, because they are made with love! (And they are beautiful, just like Stephen!)

SGS: Can you tell me one of the funniest moments that you have had on stage?

SC: I was doing summer stock in 1976 at Surflight Summer Theatre in New Jersey. We were doing “Oklahoma”. Because it was summer stock, many of the smaller roles were played by the chorus. One of the chorus boys, who was not exactly the most masculine appearing fella, was playing the sheriff. The scene was at the end of the play when everyone decides Curly is innocent of Judd Frye’s death. The character of the sheriff protests the decision. Aunt Eller is supposed to say, “Hush up. Or I’ll tell your wife you’re runnin’ around with another woman!”. (Even though the sheriff is not.) Instead, the actress mistakenly said, “Or I’ll tell your wife you’re runnin’ around with a man!” (Who knows why.) The poor chorus kid backed himself off stage, hysterical, half laughing, half in shock, shrilly exclaiming, “Wha-ha-ha-ha-ha?!?!!!!?” And it was like when a stone is dropped into a pool of water. The ripple effect was uncontrollable. The people standing closest to them began laughing; followed by the secondary characters a little farther away; followed by the chorus; followed by the audience. It took about 10 minutes to settle everybody down. That night, the sheriff never appeared for curtain call.

SGS: What is in your DVD player right now?

SC: Nothing. I’m way too anal retentive to leave a DVD in the player. It’s not that Danny and I don’t watch movies, but we have “pay-on-demand” through our cable company. We use that service more these days than the DVD. Last night we watched “Once”; a wonderfully quirky little movie musical that came out of Ireland last year. I absolutely loved it.

SGS: What music have you been listening to recently?

SC:“Pink Martini”, a group out of Portland Oregon. And compilations of ‘50’s girl singers (Keely Smith is a favorite)

SGS: Name your favorite actor and actress (film or stage).

SC: Besides Stephen Gregory Smith? Julianne Moore is a favorite; maybe not THE favorite, but a favorite.

SGS: Top 5 favorite movies:

SC: (OY!)
“Cabaret” “Gone with the Wind” “Babette’s Feast” “Peggy Sue Got Married” “Who Framed Roger Rabbit?”
SGS: What are your favorite Musicals/plays?

SC: “Follies” “Nine” “Sweeney Todd” “The Glass Menagerie” “Bent” And a favorite theatrical experience: “A Moon for the Misbegotten” on Broadway with Colleen Dewhurst and Jason Robards.

SGS: Are there any roles that you have not played that you would love a crack at?

SC: Yes (sigh). The craziest one that I know I could do which I will probably never get the chance to is Don Quixote in “The Man of La Mancha”.
I would also like a crack at John Adams in “1776”. I did it in a concert version as part of the reopening of the Museum of American Art, but would love a chance for a full production.
I’m too old for it now, but I would have loved to have done Guido in “Nine”.
And the title role in “Sweeney Todd”.

SGS: What is your favorite thing about the DC theatre community?

SC: My perception is that there is a sense of “we are all in this together” to create the very best product that can be produced. In New York, I was very aware of people and producers doing work solely out of vanity or greed or for some self-serving purpose. And even though one sometimes comes across that here (we’re all human, after all), for the most part, DC theatre seems to reflect the ultimate goal of bringing people together to create art. I love that.

SGS: If you could change one thing about the DC Theatre Scene, what would it be?

SC:Well … 2 things. (And I am just speakin’ my honest view here y’all).
Many theatres tend to use the same actors. And I certainly have been the recipient of that generous concept. But sometimes (and I mean sometimes) it makes it a bit difficult for the actor to experience another venue where they might be able to expand their repertoire; stylistically, I mean.
And, with the need to appeal to larger and larger audiences, local theatres are increasingly casting out-of-town talent. Many times, the in-town talent pool is rich enough to be able to fulfill those casting requirements; especially in supporting roles. I realize “new blood” or a “name” can energize the buzz in a production, but I would hope that looking locally can continue to be a priority when casting.

SGS: You have a lovely day job. And because of you, I have one too. What is your favorite thing about working at TICKETplace?

SC: Oh, Lordy! The flexibility, of course! What other job in DC affords an actor the time they need to rehearse and perform, without any repercussions? Our boss, Michael Kelley (46), is a wonderful, generous man. When we have to leave for rehearsals during the day, he works it into the schedule. And when we have time free, we can come in to pitch a hand and get some income. He is just great!
I also love being constantly exposed to what is going on around town theatrically. It helps keep ones’ finger on the “pulse” of Washington theatre.

SGS: What have been some of your favorite shows to perform in?

SC:Have we mentioned “Cabaret”? (hmmmm…) Being in “Sweeney Todd” at the Kennedy Center as part of the Sondheim Celebration was a great honor. (It was especially exciting when Stephen Sondheim hung out in my dressing room one day between shows!!!) I loved doing “Pacific Overtures” at Signature because it was with an entire cast of friends. “Taking Sides” at Everyman Theatre in Baltimore was a joyous experience because of the generous management company and because I was able to push my boundaries as an actor. And “My Night with Reg” (Actors’ Theatre of Washington at the Church Street Playhouse), because I loved the character I played.

SGS: What is a little known fact about you that most people don't know?

SC:Other than Regis Philbin and I are cousins? (Everyone knows that by now.)
In 1972, I and my family became homeless for a few months.

SGS: Rumor has it that you are the inspiration for a character in a very famous Broadway show. What is the truth to that, and what is your special connection to that show?

SC:(Where do you get these questions?) When the musical “Avenue Q” first came out on CD, friends began coming up to me to tell me that one of the puppet characters sounded just like me. Then, people who saw the show started telling me that this same character, named Princeton, reacted and LOOKED like me. Well, the actor manipulating that puppet is a sweet man named John Tartaglia.
Back (again) in my “Foggybottom” days, the second music director, after Howard Breitbart, was a very talented man named Bob Tartaglia. Bob and his wife, Connie, and their family became good friends with Danny and me. In the years that Bob was doing the show, often, his young son, John would come to the show and hang out in the dressing room. Despite his youth, Johnny and I got to be good buds. I guess it was because we both were outcasts in school (his, due to a fascination with puppetry). During John’s teenage years, we used to talk a lot about life and goals. Anyway, he was a good kid who liked my sense of humor.
It was THAT John Tartaglia who was doing “Avenue Q”. When I saw the show, I told him what people had been telling me. And I asked him if he had based the character on me? He said not consciously, but … he felt maybe, after watching me all those years at “Foggybottom”, he might have been subconsciously influenced by my performing style.
I always felt I moved like a puppet.

SGS: Have you ever been on Crank Yankers?

SC: I had never HEARD of “Crank Yankers”. Yet one night, I got the weirdest phone call. I don’t even remember what the gist of the call was all about, but it seemed to me that the person on the other end of the phone was inSANE!
About a week later, I was flipping channels on the television when I came across said program. And the more I watched, the more I got a feeling of “recognition”. And then, out of the blue, the dialogue from the call that had been made to me came on. Now, they didn’t use me (thank goodness!), probably because I hung up on them early in the call, but some poor schmo got on the air.

SGS: What words of advice/wisdom would you give to those just starting out in this business?

SC: Know thyself. Be very aware of what your true strengths are and use them to the fullest. What is it you do better than anyone else? Don’t try to be a dancer if you can’t move … at least when you are starting out. (When you get famous, they’ll let you do anything!)
Also, be yourself!!!!!!!! People can pick up on forced behavior in a second. Show them exactly who you are. Don’t try to be someone you’re not. Honesty is very marketable.
Don’t be afraid of rejection. It comes with the territory. I realize it makes it worse if you are doing what you do well AND are being yourself AND you still don’t get the job. You have to remember there are SO many mitigating circumstances you don’t know about that can affect casting.
That said, if you continue to be confident in what you do best, and if you are able to project your true self, you will ultimately do well.

SGS: Where can audiences look to see you performing next?

SC: ”Kiss of the Spiderwoman” at Signature Theatre. I am playing the (sadistic) Warden.

Thanks for your honesty and wonderful answers, Stevie! You can get tickets to Kiss of the Spiderwoman HERE right now!
Goodnight, all!
SGS