#PersonOfChange: An interview with Michael Boyd
“I was very much aware that none of the people in the cast photos looked anything like me (chubby, mixed race).”
Broadway performer Michael Boyd (he/him/his) has dedicated his life to the stage since he appeared in a fourth-grade assembly program about America in his hometown of Rahway, NJ. He played Tennessee and was hooked. With an international career that includes performing on Broadway in The Best Little Whorehouse in Texas, national tours of Hair, and Jesus Christ Superstar, as well as directing the European tours of the aforementioned and West Side Story, he has not limited himself to performing and directing. Boyd has also embraced the mighty pen. He co-authored and directed Sweet Songs of the Soul starring Tony award winner Melba Moore, spent a year writing and directing for Walt Disney World in Orlando, and has written several full length plays, including a play with music about the life of actor James Dean (Alone in the Rain).
With an upcoming production of his play set in the pre-“Don’t Ask, Don’t Tell” era of the Vietnam war, Soldiers and Other Living Things, Michael Boyd is an artivist and a #PersonOfChange.
When was the first time you saw yourself represented on stage or film?
All through grade school, junior high, and high school I was a theater nerd. While never having actually seen a Broadway show, I was familiar (through drama club teachers and fellow classmates) with the cast recordings of most classic musicals. Although I came to love musical theater during this time, I was very much aware that none of the people in the cast photos looked anything like me (chubby, mixed race). I also recognized that situations written about in these storylines (with the possible exception of West Side Story) were totally NOT of the world I lived in.
Then came the rock musical Hair! It wasn’t until sometime in the third year of its Broadway run that I finally made it to the Biltmore Theater on 47th Street to see this show. My life would never be the same. In addition to having my senses assaulted by this totally new type of Broadway musical, I finally saw that there was a place for me in the world of professional theater.
You played multiple characters in the original Broadway production of ‘The Best Little Whorehouse in Texas’. What was that experience like and how did it influence your career?
Appearing on Broadway was an eye-opening experience and a crash course in how to navigate the policies and politics of working professionally. So many things were not as I had imagined they would be. From the beginning, it was one surprise after another. I went into the show as a replacement. I was cast on a Friday, rehearsed on Monday, fitted for a costume on Tuesday, and onstage on Wednesday. You learn very quickly to step up your game, go with the flow, and observe everything with a keen eye!
You were also part of the National Tours of ‘Hair’ and ‘Jesus Christ Superstar’. How does the experience of being on the road compare and differ to Broadway?
I really have the soul of a gypsy. Even now, I have no real “roots” or obligations to tie me down. I can — and do — pack up my life at a moment’s notice for a project. I love the excitement of being on the road, seeing new cities, working
different theaters. Surrounded by that kind of energy and excitement on a daily basis greatly influences my work inside the theater or rehearsal room. When performing an extended run in New York, my life outside of the theater
tends to become routine. This is not necessarily a bad thing, but the “stimulation of the senses” is at a very different level once the rehearsal process ends and you settle into a run. As a performer, I’ve always felt more aware and on-my-toes while touring.
Recently you directed a concert revival of ‘Inner City’ at 54 Below. What was that like?
It was the culmination of many years of work! I have loved Inner City since its Broadway production in the early 1970s. I had the opportunity to choreograph a regional production in 1981. The authors (Eve Merriam and Helen Miller) became involved with that production, writing new material and restructuring the show. Since that time, I have been on a mission to successfully revive the show in New York. Over the past 30 years I have staged countless productions, readings, and showcases of this piece. The concert at 54 Below (which featured original cast member, Allan Nicholls) was the first staging that was fully-orchestrated and featured an A-list cast of Broadway performers.
The response was overwhelmingly positive and we are working on a full production in the near future!
You wrote a memoir, ‘Forever the Fat Kid’?
Yes, and it was totally unintentional. A number of years ago I went through some very “traumatic” life experiences which seriously sidelined me for a bit. As I started to return to some sense of normalcy, I was having dinner with a close friend. It was the first time that I had the opportunity to vent about all that I had been going through. My friend, who listened compassionately, had only one piece of advice: “You need to write this down.” I went home that night and began writing, mainly as a way to purge. I kept writing. And two years later I had a book. It was great therapy!
“With themes of love, loss and the insatiable hunger for fame, the read is as dense as Mom’s chocolate fudge and, as any fat kid can attest, just as difficult to put down.” - Instinct Magazine
How has acting influenced your writing and directing?
I believe that any writer or director with an acting background has the advantage over those that don’t. It’s simply a matter of having been in someone else’s shoes. An actor’s way of understanding and interpreting a script, how they find their motivations, is shaped by the awareness that they are the vehicle through which the audience must connect to the play. A writer or director who understands this first-hand is able to be more effective in their own respective role.
You have a production coming up. Your play ‘Soldiers and Other Living Things’ will be presented at The Theater at the 14th Street Y in New York’s East Village. What’s the play about?
On the surface, Soldiers and Others Living Things is the story of two Vietnam veterans who return home and are faced with the challenge of adjusting to civilian life after dealing with the atrocities of war. Thrown into the mix are issues of race (for many of the young men who fought in this war, it was the first time they had to interact with people of different backgrounds), family, and sexuality.
Has the play changed a lot since its first production?
Absolutely! And, like many of the projects I involve myself with, it has had a long gestation period. The very first version of this play was presented 25 years ago! Since then it has been resurrected and re-written on a regular basis.
The current script is almost completely unrecognizable from that very first reading (which, incidentally, featured a very young Anthony Rapp in the cast!). Even the title has changed. Hopefully, as I’ve grown as a writer and artist, the show has become a more solid and effective work. Credit must also be given to the many actors and directors who have positively influenced the evolution of Soldiers over the years.
Do you usually direct your own plays?
Not that I have a huge body of written work but, yes, I do tend to direct early versions of my own plays/musicals. I was introduced to professional theater in New York during the 1970s, a time when directors (Fosse, Bennett, etc.) heavily influenced the look, style, and concept of major commercial productions. Hair’s original director, Tom O’Horgan, in particular, was known for his unique interpretation of works for the stage. O’Horgan has been the greatest influence on my sensibilities related to all things theatrical. It’s not that I don’t trust others to interpret my work, but I write with a strong directorial point of view in my head. A view that I’m not sure is accurately represented on paper in early drafts.
What inspired you to present this play again?
I don’t believe that any play should be limited to a specific “shelf life.” Universal truths are timeless. Good stories always need to be told. There’s always a new generation that wants/needs to experience your work. And, lastly, our history should be learned by means other than text books and classrooms…
