All The World’s A Stage

This celebration of columnist Carl Cafarelli’s history as a fan of live theater originally appeared at Boppin’ (Like The Hip Folks Do) on September 17, 2019. As you may have noticed, the world has changed a bit since then. Cafarelli adds this 2020 preface:

“When I wrote this in 2019, live theater was active and vibrant. I had recently made my first-ever trip to see a play on Broadway. I was looking forward to continued exposure to local theatrical productions in Syracuse, and my wife and I hoped to make Broadway jaunts an annual event. The quarantine scene squashed that plan for now. We’ll get back to Broadway someday.”

I have always loved the theater. I have no specific recollection of my first experience as a theater-goer, though it was probably something along the lines of an elementary school production of How The Grinch Stole Christmas. Mrs. Richards’ third grade class at Bear Road Elementary used to put that one on every year, a tradition which ended after I took on the lead role myself as a third-grader in 1968. I guess I broke it. Sorry…?

As a budding li’l narcissist, I certainly liked the idea of being a star of stage and screen. But I left the footlights and floorboards behind me after sparring with all the Whos down in Whoville in ’68. My love of theater continued to grow nonetheless.

Granted, I was mostly a passive fan; I went along with parents or siblings to whatever school production or community theater extravaganza they wanted to see. But I was a willing participant, and I enjoyed most of these outings, maybe even all of them. It wasn’t Broadway, but it was captivating.

The details blur in memory. I recall seeing my cousin Maryann play the lead in The Pompeian Players’ staging of The Unsinkable Molly Brown; I later saw a TV rerun of the film version starring Debbie Reynolds, and sniffed dismissively that Maryann was the better Molly Brown. I saw at least two Famous Artists Playhouse presentations put on at Henninger High School, Three Men On A Horse (with Bert Parks and Abe Vigoda) and Dames At Sea (with former TV Catwoman Julie Newmar). I think my sister Denise had small parts in both; she was definitely in Three Men On A Horse, playing an intrepid newspaper reporter, crying out, “What a story!” See, acting ran in the family. There was also a Cicero High School production of Carnival–one of my favorite musicals–which I think we went to see just because we wanted to see it.

Julie Newmar wore a slightly different wardrobe for her role in Dames At Sea

All of the above plays were presented to me in the early ’70s (though Carnival may have been a tiny bit later in the timeline). An eighth grade class trip to New York City in 1973 added Jesus Christ Superstar to my theater-goin’ resumé, an off-Broadway production that was as close as I got to the Great White Way. They say the neon lights were bright on Broadway, but I could not verify that claim firsthand. 

Seeking (and failing) to appear more cool than I actually was, I think I distanced myself from plays while in high school; if I did in fact see any musicals during my sentence at North Syracuse Central High School, the memory of it/them is gone. I wish I had been more willing to participate, whether as an audience or an unlikely actor, but I had walls to build around me, and that took up most of my time.

The interest started to rekindle slightly in college at Brockport. I saw a campus production of Pippin, and although I didn’t really like the play itself, at least I went to see it. A Shakespeare course brought me to Geva Theatre in Rochester for Twelfth Night; I was suffering from pink eye that night, but somehow managed to enjoy the play anyway. I took one analytical theater course, and it seems like we must have seen a play in connection with that; maybe it was Pippin? Can’t remember. I retain three chief memories of that course: a theater-major classmate’s fairly accurate imitation of the professor; the enticing prospect of the class meeting the playwright Eugène Ionesco (a meeting cancelled because Ionesco fell ill); and a late-night study session with a female classmate. The latter was probably not what you’re thinking; although we goofed around and giggled like the teenagers we were, we were platonic pals, and we actually did study. (Though I confess that, looking back, I’m not sure if she may have been afraid I was going to try to kiss her, or hoping that I would. The former is more likely. No boundaries were breached in this session.)

For dramatic purposes, the parts of my theatre classmates and Eugène Ionesco will be played by Miss Julie Newmar

It was really after graduating from college that I started wanting to see plays again. I moved into an apartment in Brockport with my girlfriend (and eventual lovely wife) Brenda, and we were occasionally desperate for something to do on the weekends in that small village. We saw movies, we caught two area rock ‘n’ roll bands (The Insiders and The Party Dogs) on the too-rare opportunities they played within walking distance, and we enjoyed beer. 

And we saw plays when we could. Carousel at the college. Brigadoon and It’s A Bird, It’s A Plane, It’s Superman at Brockport High School, and I think Bye Bye Birdie at the high school, too. Somewhere in there we saw The Rocky Horror Show on a visit to Syracuse. I don’t remember any more than those, and I don’t remember seeing any plays when we lived in Buffalo 1982-87. But the interest had been re-established.

We’ve lived in Syracuse since 1987. During that time, we’ve seen plays whenever we could. High school plays. Community theater. Syracuse Stage. Touring companies. Shakespeare in the park. Children’s theater, when our daughter Meghan was young. Fiddler On The RoofThe Grapes Of WrathLa Cage Aux FollesYou’re A Good Man, Charlie BrownThe Sound Of MusicThe Music ManOliver! Guys And DollsGreaseThe Pajama GameDamn YankeesHairThe Last Five YearsThe Tempest. Brenda, Meghan, and I saw Wicked at the Civic Center, adored it, and we got to see it again at the Apollo Victoria Theatre in London in 2010. Brenda has seen it a total of three times, and Meghan has seen it four times. And we have been changed for good.

In the summer of 2019, I finally–FINALLY!–saw my first play on Broadway. Brenda and I had been talking for ages about taking a bus to New York, seeing what matinees might be available at the discount ticket booth, and then catching a return bus to Syracuse the same night. We got up early, made it to Manhattan, and grabbed tickets to see Oklahoma! at Circle In The Square. A wonderful, thoroughly exhausting day, and a dream at long last come true. Broadway. It was daylight, but I do believe the neon lights were bright regardless.

We’re going to try to do that again, maybe make it a once (or twice?) a year treat. And we’re going to continue to see plays in Syracuse when we can. This past Sunday, we saw Keenan Scott II‘s powerful new work Thoughts Of A Colored Man, which we believe is Broadway-bound and will eventually be Tony-nominated. We really, really hope to see Hamilton some day. The play’s the thing. Musical, drama, comedy. We will stand and applaud. Theater. Welcome to the theater.

Ken Wulf Clark and Hanley Smith in The Last Five Years at Syracuse Stage, 2019


You can support this blog by becoming a patron on Patreon: Fund me, baby! 
Fans of pop music will want to check out Waterloo Sunset–Benefit For This Is Rock ‘n’ Roll Radio, a new pop compilation benefiting SPARK! Syracuse, the home of This Is Rock ‘n’ Roll Radio with Dana & CarlTIR’N’RR Allstars–Steve StoeckelBruce GordonJoel TinnelStacy CarsonEytan MirskyTeresa CowlesDan PavelichIrene Peña, Keith Klingensmith, and Rich Firestone–offer a fantastic new version of The Kinks’ classic “Waterloo Sunset.” That’s supplemented by eleven more tracks (plus a hidden bonus track), including previously-unreleased gems from The Click BeetlesEytan MirskyPop Co-OpIrene PeñaMichael Slawter (covering The Posies), and The Anderson Council (covering XTC), a new remix of “Infinite Soul” by The Grip Weeds, and familiar TIRnRR Fave Raves by Vegas With RandolphGretchen’s WheelThe Armoires, and Pacific Soul Ltd. Oh, and that mystery bonus track? It’s exquisite. You need this. You’re buying it from Futureman.

(And you can still get our 2017 compilation This Is Rock ‘n’ Roll Radio, Volume 4, on CD from Kool Kat Musik and as a download from Futureman Records.)

Get MORE Carl! Check out the fourth and latest issue of the mighty Big Stir magazine at

Hey, Carl’s writin’ a book! The Greatest Record Ever Made! (Volume 1) will contain 100 essays (and then some) about 100 tracks, plus two bonus instrumentals, each one of ’em THE greatest record ever made. An infinite number of records can each be the greatest record ever made, as long as they take turns. Updated initial information can be seen here: THE GREATEST RECORD EVER MADE! (Volume 1).



This is a piece I wrote in 2016, right after Hamilton won its barrel full of Tonys. Thanks to Disney +, I’m finally set to enjoy my first view of Hamilton this month. And the opportunity prompts me to think back to when I first became aware of the play and its phenomenon, and its peripheral connection between me and and an old college friend.

Leslie Odom, Jr.

This year, for the first time in many, many years, I watched the Tony Awards broadcast.
I don’t watch a lot of awards shows.  Neither the Oscars nor the Emmys hold any interest for me; I record the Grammys and the American Music Awards, but I fast-forward through the looooong stretches of each that bore me to tears–left to my own devices, I can watch a three-hour Grammy or AMA show in twenty to thirty minutes, maybe forty minutes, tops.  Middle-aged power pop fans are just not the target demographic of these shows.
But one of the things that did catch my interest on this year’s Grammys was the performance from the Broadway sensation Hamilton.  Honest to God, I just thought it was captivating.  So I tuned into this year’s Tony Awards show to try ‘n’ soak up a bit more of that Hamilton buzz; and, more specifically, my wife Brenda and I wanted to root for Leslie Odom, Jr., the actor who plays Aaron Burr in Hamilton.  Now, we’ve never actually met Leslie; but–a very long time ago–we knew his Mom and his Dad.
First, a bit of background about me and The Great White Way.  I’ve spent a lot of time writing about rock ‘n’ roll, punk, bubblegum, pop, and power pop.  It may surprise some to learn that someone like me–whose all-time favorite musical acts are The BeatlesThe Ramones,The FlashcubesThe Kinks, and The Monkees–also loves Broadway.  But there were always Original Broadway Cast albums around the house when I was a kid, so I was exposed to this music, immersed in it, since even before John, Paul, George, and Ringo paid that first visit to ol’ stoneface Ed Sullivan one Sunday night in ’64.  As a toddler, I would accompany my parents on shopping trips to J.M. Fields or K-Mart, and I’d randomly sing snippets o’ show tunes while sitting in the shopping cart.  This could border on the awkward and embarrassing, like when I would suddenly bellow, Here’s to the son of a B–tra la! from Carnival, or re-enact the domestic quarrel scene from Gypsy, concluding that I was gettin’ my kids and gettin’ out.  Hello, Child Protection?  Yeah, there’s this kid in the department store, and you won’t believe what’s comin’ outta his mouth…!
West Side Story.  The Music Man.  Camelot.  Funny Girl.  Carousel.  And, my favorite, Carnival.  I heard all of these, and many more, and they were ultimately as much a part of my formative musical alchemy as the British Invasion and The Monkees.  The lure of rock ‘n’ roll was ultimately too much competition for musical theater to withstand, but I never exactly stopped loving Broadway, either.  I’ve never seen a play on Broadway, but I did see an Off-Broadway production of Jesus Christ Superstar in 1973, and I saw Wicked in London’s West End in 2010.  I’ve seen many, many local theatrical productions, both professional and amateur; Brenda and I have even been known to attend high school musicals, and I mean high school musicals where we didn’t know any of the student performers–we were just there to enjoy the play.

This ongoing love of music and musicals also led me to a short-lived TV series called Smash.  Smash ran for two seasons, from 2012 to 2013, and it was kind of a mess, really.  But it had its moments, and I never missed an episode.  And I noticed an actor who had a recurring role on Smash, and I called Brenda in while I watching him on the show.  Hey, Bren.  This actor’s name is Leslie Odom, Jr.  It could be a coincidence, but damn–doesn’t he look a little like Les?
I met Les Odom in college at Brockport, in Spring of 1979, I think.  Les was friends with a couple of the guys I lived with, Truck Thacker and Ray Ramos, so I saw Les here and there in our dorm suite–partying, kibbitzing, listening to music (with The O’Jays‘ live “Wildflower” a particular favorite, as I recall).  Les was from Queens, so he was on the school’s charter bus to New York City during Spring Break; I was also on that charter bus, accompanying Brenda back to Staten Island, where I would be meeting her parents for the first time (and, of course, also making a side trip to see The Flashcubes play on the Bowery).  That bus trip was a bacchanalia on wheels, a mobile version of dorm life, and enough fun that I only minded a little when all these downstaters kept putting down my home town when the bus passed through Syracuse.  You call this a city?  Man, this ain’t even big enough to be a borough!
(And this may be a case of my memory rearranging facts to suit my narrative, but I do believe it was Les who said, Naw, man–come on!  It seems like a nice place.  Leave CC be!)
When I graduated from college in 1980, I decided to stay in Brockport while Brenda completed her studies.  We got an apartment in the village, and were surprised to discover that Les and his girlfriend, Yvette Nixon, were also living in the same small complex, Villager Apartments.  We were never really tight, but we renewed our friendship nonetheless, and spent some time hanging out over the course of that summer. I have a specific, vivid memory of Yvette making dinner for us in their apartment one night, and we spent a lovely evening drinking and partying, alternating between watching Ted Kennedy’s firebrand speech at the Democratic National Convention and listening to James Brown’s Live At The Apollo LP.  I remember it as a happy, happy time.
But Villager Apartments didn’t seem to remain a happy place for Les and Yvette.  Brenda and I both remember them as a really cool, very nice couple, and we all got on quite well.  But Villager’s manager, Pete–who lived next door to Brenda and I, and was also a friend of ours at the time–may not have shared our affection for Les and Yvette.  It may have been racial (which is an easy stone to cast, even when it’s not true), or it may have been a simple matter of friction between tenants and an apartment manager.  I didn’t see any of it.  All I know is what Pete told me: that Les was banging on Pete’s door late one night, presumably to report a problem with Les and Yvette’s place, and Pete opened the door and pointed a gun at Les.  Les shouted, No, Pete!  It’s me–Les!  No shots were fired, and no one was hurt, thank God.  But Les and Yvette moved out not long after that.  We never saw them again.
When we saw this Leslie Odom, Jr. on Smash, we knew in our hearts he had to be Les’ son.  Had to be.  Odom’s a common name, but the resemblance was strong enough.  Now, Les was a big guy, and Leslie, Jr. didn’t seem to be as physically large–well, on TV, anyway.  But Yvette was of slighter build, so it was plausible. I did the Google Stalk thing that everyone does now:  Leslie Odom, Jr. was born in August of 1981 in Queens–roughly a year after we’d last seen Les and Yvette, and in Les’ home town.  But no matter how much we researched, we couldn’t confirm the identities of this actor’s parents.  Well, yeah, we knew his father was Leslie Odom, Sr–we are indeed that well-versed in the time-honored art of deduction–but we didn’t know his mother’s name, and we couldn’t say with absolute certainty that his Dad was the Les we used to know.
When we saw the performance from Hamilton on this year’s Grammys telecast, we noticed Leslie Odom, Jr. in a prominent role.  The performance was intriguing; the idea of “a hip-hop musical” wasn’t intrinsically attractive to me, but this seemed so powerful, so well-executed, so goddamned irresistible, that it just knocked me out, man.  My budget wasn’t likely to accommodate a trip to New York and Hamilton tickets any time soon, but I kept my eyes open for further TV glimpses.  Everyone knew Hamilton was going to dominate the Tonys.  And that meant Brenda and I were going to watch the Tonys.
The awards show itself was amazing, actually.  Host James Corden was fantastic, the comedy bits and musical numbers were endlessly engaging, and–unlike the Grammys or the AMAs–I never felt like fast-forwarding through anything except the commercials.  It was a thoroughly enjoyable evening of television.  Watching the scene from Hamilton, I found myself mesmerized; the only comparison I could think of was The Beach Boys‘ masterpiece Pet Sounds; not because Hamilton is in any way reminiscent of Pet Sounds, but simply because that’s what comes to mind when something is as good as it gets, nonpareil, a summit of achievement and accomplishment.  Tough to make that pronouncement based on a couple of numbers seen on a 32″ TV screen, but screw objectivity anyway.  There was a giddy joy in surrendering to the moment, and letting it sweep all cynicism away.
When it came time to award the prize for Best Actor In A Musical, we knew that Leslie was up against Hamilton‘s creator and star, Lin-Manuel Miranda, and we figured Miranda was a lock. But Leslie won!  We whooped and hollered as if he were one of our own.  And, in the conclusion of his acceptance speech, Leslie, Jr. acknowledged, “Leslie Odom, Sr., Yvette Odom, and Elizabeth Odom taught me well as well.”
And there it was.  Confirmation!  I’m not embarrassed to admit that Brenda and I both screeched like young teens at a One Direction show. And we’re pretty sure we saw Les–Les, Sr.–in the audience, pumping his fist in jubilation, proud of his son. It felt so damned good.
They say the neon lights are bright on Broadway.  Sometimes that harsh glow can be blinding, too much to take in; but sometimes, there really is magic in the air.  That magic can manifest in music and art, and also in friendships long gone, but still remembered fondly.  That glitter never rubs off.  It never will.