Kathy Clay

How did you get your start in theater?

As far back as I can remember, I was always doing theatre, going to theatre, and listening to show tunes that my parents constantly played on their “HiFi." I grew up in NJ and my parents took us kids to lots of things in New York City: museums, concerts, ballet, and especially live theatre. How many little girls do you know who got to see Balanchine's Nutcracker at the New York City Ballet every Christmas, along with the Rockettes at Radio City Music Hall? I realize now how spoiled I was seeing that calibre of live performance, but it was nonetheless formative for my love of theater. People ask me what Broadway show was my first to see, and I honestly don’t know! I’m thinking it was a revival of The Music Man, but I can’t be sure. I know for my 5th birthday, Mom took me to see The Frog Prince at the Prince Street Players in Greenwich Village. After curtain call, the actors asked if anyone in the audience had a birthday to celebrate. Of course, I raised my hand. I was invited to come onstage, which I didn’t hesitate to do: I faced the audience alongside the actors and everyone sang “Happy Birthday” to me. The stage lights were in my eyes, and I never felt more comfortable!

 

I remember talking to Mark Foreman and we were talking about how much we both loved the book Something Wonderful, a biography on Rodgers and Hammerstein. I told Mark that I often got misty-eyed reading that book because I grew up listening to all those musical scores. It wasn't just because my parents were in the theatre. It was also because that generation listened to show scores the way people now listen to pop/rock music. Mark had the exact same reaction to the book and for the same reasons. Us “baby boomers” knew lyrics to songs from The Music Man, Gypsy, Carousel, etc., not because we’d actually seen the shows, but because our parents played those LPs constantly. When I went to Lincoln Center a couple years ago to see their brilliant production of My Fair Lady, I had a bolt of recognition when the overture started. I realized I knew the exact orchestration note by note. I said something to this effect to the people sitting next to me and they replied, “I know!!! Us too!!!” So I think it's a real generational thing, but oh how lucky our generation is.

 

What are some shows you have been involved with over your theatrical career?

My resume is quite lengthy (which is either a statement on my experience or my age - let's just go with experience). Before moving to Virginia, I was involved with theaters in New York, New Jersey, and North Carolina. I even did a few off-Broadway shows including Helvetica, Antigone, Broadway Babes, and We Are Alive. Locally, I've acted in a number of shows with Wolfbane, Endstation, Renaissance Theatre, and the Academy of Fine Arts including Noises Off!, Bye Bye Birdie, Guys & Dolls, Hello, Dolly!, Cabaret, Steel Magnolias, and As You Like It. I've also done a bit of directing and choreographing over the years such as Legally Blonde: The Musical, Agnes of God, Rocky Horror Picture Show, and On Golden Pond. Finally, I had a small role as a comedian/reporter in the feature film The Comedian (starring Robert De Niro) and did a television episode of both Another World and Texas.

 

What has been your favorite role to portray?

This is a tough one, because I’ve loved played very varied roles… a real stretch was playing Uncle Fester in Addams Family, which was great fun, but probably not my favorite role. I adored playing Big Edie Beale for Wolfbane’s Grey Gardens - that show really stuck with me, as I was fascinated with the Beales when the documentary came out in the 70’s. Playing Carlotta in Follies at the Academy’s historic theatre downtown was a real highlight. I adored being onstage while Mark Foreman sang “Beautiful Girls" in that show, and singing “I’m Still Here” on that stage meant a lot to me. I’d like to revisit Mama Rose in Gypsy. That’s a brilliant show and score, and I was really too young the first time I played Rose.

 

How do you prepare for a performance?

I love getting all research-y about a part. I read books, articles, etc. that have anything to do with the era or the author, composers, and the history of the character I’m portraying, if it’s a real person, etc. The more homework you do, the more it feeds your performance. I always get a blank journal to write in for each show where I accumulate all my research, but also about choices I’m making about my character’s back story and motivations. I also write as we do “table work,” meaning I write down all notes the director may have for me and their ideas/vision for the show. In addition, I'll write down what I’m frustrated about or stuck on, just hashing things out until I feel the character is truly under me and I’m grounded. Finally I drill, drill, drill: over passages in the script, over notes on music I’m learning, over lyrics, and my lines. I drill my blocking along with my lines so they’re tied together and it’s easy to retain. Thank god I have a funny old knotty-pine basement where I can work and have privacy! I really don’t get nervous anymore because I’ve done so many shows. That being said, I do stand in the wings, though, and take a deep breath, and thank the gods for letting me do what I love doing.

 

What's your dream role/show?

 I’ve been very fortunate in that I’ve played some of the big parts every actress aspires to play: Dolly, Mame, Ouiser, Lady Macbeth, etc. There are some more obscure roles I’d like to play: the Spider Woman, the old dame in Wild Party; Madame Armfeldt from A Little Night Music. It’s very important to know what roles I'm currently right for which can affect my dream roles from life stage to life stage.

 

Tell us your most embarrassing stage story (because everyone has one).

Opening Night of Rodgers and Hammerstein's Cinderella in North Carolina. I was the Stepmother and my ballgown was perfect for my part, except it was too young for my character and too tight (and bright baby blue satin). At curtain call, I took a big curtsey with my two “daughters,” and my entire back zipper blew out: POW!!! Luckily I backed up, pointing to my back so the rest of the cast could have a chuckle. The next night I had a new, industrial-strength zipper sewn in my gown!

 

What is special about community theater?

Community Theatre is SO inclusive, and so special. It brings total strangers together into a team collective, it forges family members together, it brings happiness. Period. It also is a great leveling ground for amateurs and professionals to work together. I love it.