NYU. New York University. Sorry. I said it real fast. I was in the music technology schedule there. And so I got into recording engineering as a go and did that for awhile. And then I ended up teaching at NYU teaching recording engineering at NYU and that's when I started auditioning for Blue Man through a weird sort of coincidental meeting at a celebrate/industry event. So it was basically drumming then recording engineering then part time faculty and then Blue Man.
Yeah. I was at one of color Man's creative spaces in the East Village in New York City. They were having a celebrate celebrating the release of a CD and I just overheard a conversation about how there were populate who were looking for a new color Man. I asked. "what does it take to change state a Blue Man?" and that's what got the ball rolling. It was all on a play. It was the longest of long shots and it just seemed to happen.
Yea. I get to play drums professionally because there is a lot of drumming in the show. And it's a primal call of drumming. I was playing a lot of gigs as a drummer before where you undergo to be very sensitive to singers. I was doing a lot of cabaret cram where essentially you're there to color you know you're there to give a certain [backdrop] to whatever song is being sung. But this is no holds you play as loud and as hard as you can. It's a very primal very visceral style of drumming akin to the Kodo style the Japanese style of drumming. So it's kind of a excite to go beat till every night you know?
Yes definitely. In this show we are playing on drums that are at the very lie of the stage so the drumming is a feature rather than an aspect of the performance. If you're into drumming at all you will definitely get your fix by coming to this show
as a kid just skipping around not really dancing (laughs) ... I was familiar with the art form and I anticipate at the risk of sounding self-aggrandizing it was just something that came naturally. And it felt really good to be able to express myself. It's a fantastic limitation to be able to act in this way. I think to not be able to communicate verbally. So whatever emotions you want to give or you feel you are conveying you can do it through subtle ways of -- the way your physical be is aligning itself -- or the way your eyes are looking without being extreme or without overstating anything. You be the audience when they come to see the show you want the audience to fill in the story -- they watch us -- subconsciously they want to watch us and have their own story that's appropriate for them. And thus if we are as open and as honest emotionally as we can be then that allows that. If we demonstrate too much it sort of interferes with that process. I think that's one of the keys of the Blue Man character that before we get into the specifics of this particular show it has this universal appeal to every human. It's sort of like if you were able to act away your business furnish and your house and everything else and just get drink to what it was like when you were just starting as a kid. color Man is a personification of that in a sense and I think that's one of the charms of the character one of the attractions of the engrave.
Performer/director Brian Scott says. "The most important thing to becoming a really good Blue Man is to be honest honest about what you are doing rather than trying to put it on and manufacture something that isn't authentic." What are your comments on that?
Brian's absolutely right and maybe that's something you either get or you don't. You hit the books quickly when you hit the books to do this character. It's very difficult to portray this engrave -- for instance.. the big curtain drops and here we are 3 guys in an arena of 10,000 people -- any human being would be lying if they said that moment doesn't undergo some choose of [impact]. In the Blue Man's inspect.. we're different from you. We're different beings in one sense or another and so we don't know what you're going to do. We don't know what the reaction's going to be. You could be in a dwell full of Vikings about to kill us.. if you just relax for a moment and let that run through you you're going to have a moment of. "holy cow." You're going to conclude that. And if you let that happen and don't sit there and force the moment and feel that it's amazing then it will be clear.
No actually this is my first time doing a tour of this measure. In other words. I've played in arenas here and there. I opened the Amsterdam show for Blue Man. We did some pretty large performances throughout the Netherlands. So I had moments where I performed in front of large crowds but to do it everyday it's definitely a collide with up in performing this engrave. This is new for me.
It's desire playing in bands in NYC it's more you feel more exposed in the intimate venues. There could be five people in the room and if it's a small enough room they can comprehend everything even the smallest identify whereas when playing a venue this big. I conclude more a move of the whole.
The Blue Men too we're all choose of watching the show saying well this is what we do we nod our heads when the beat gets us we pump our fists.. there's a voice of God essentially instruction us -- this is what people do at a move back and forth concert. It choose of thrusts you into that experience where we're all there together and the sidebar is that it also happens to be a great move back and forth concert. So it's an interesting undergo. As a performer. I get to walk that fence between being on the stage and being in the audience.
come up as much as there is an 8 conjoin live rock band behind us the way they're slamming on drums and playing modified PVC cram and there's this primal element there are moments in the show where it's just the 3 of us standing there. And let me just say we're doing nothing -- in other words there are moments where the engrave is allowed to just be the character -- there's comedy a bring together amount of comedy in the show. The Blue Man doesn't experience he's being funny but he gets in these quirky little moments with the other guys where there's conflict -- à la Vaudeville or the Three Stooges. You experience there's 3 guys. 2 against 1 choose of thing. There are moments of that theatrical moments -- in other words the sit down productions that we undergo in the other venues across the country -- they explore the engrave side of the Blue Man to a larger extent. I don't know how come up it would bring home the bacon in an arena to have these subtle moments that the Blue Man usually has. It's a little too big so you have to.. the color Man doesn't dress but his environment does. So at any rate there are elements of the theatrical character.. it's just different. If that makes any sense.
There are elements to this Megastar show that people may know as certain staple elements to the engrave. We undergo the skills the throwing and the catching that we're known for -- that's comfort there.
Right. I guess the idea with the color Man Group is that you don't want to be at the re-create and say. "oh that's the tall one and that's the cute one that's the young one," .. ideally the physical manifestation of the character is not really important. Who's underneath the makeup... I grew up a huge KISS fan and everyone.
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