{"id":1472,"date":"2020-11-10T06:22:00","date_gmt":"2020-11-10T06:22:00","guid":{"rendered":"https:\/\/performingartslegacy.org\/dybasjames\/?p=1472"},"modified":"2020-11-30T19:33:51","modified_gmt":"2020-12-01T00:33:51","slug":"cape-cod-playhouse-bus-stop-photos","status":"publish","type":"post","link":"https:\/\/performingartslegacy.org\/dybasjames\/cape-cod-playhouse-bus-stop-photos\/","title":{"rendered":"Cape Cod Playhouse \u2013 Bus Stop \u2013 Photos"},"content":{"rendered":"<\/p>\n[aesop_gallery pslightbox=&#8221;on&#8221; galleryType=&#8221;thumbnail&#8221; id=&#8221;1522&#8243;]I was playing the role of Underling in the musical \u201cThe Drowsy Chaperone\u201d at the Cape Playhouse in Dennis, Mass. \u00a0Fellow actor\u00a0Bill Nolte (playing the role of Feldzieg) and I would laugh as we passed the costume &#038; hair rooms during every performance and marvel at all of the costumes and hair pieces \u00a0from other shows that were hung, folded and perched on Styrofoam heads in the room. We got the bright idea to do a photo shoot of characters we thought the costumes belonged to. The stage door was in the back of the theater and on the grassy lawn behind it, lives a park bench, bus stop sign and a cigarette disposal stand. This set the \u201cstage\u201d for our proposed costumed characters from various musicals. We got the costume and hair department to help us out and laughed a lot as we were making choices of what costumes to wear and what \u00a0to use as props. Here are the results:<\/p>\n","protected":false},"excerpt":{"rendered":"<p>[aesop_gallery pslightbox=&#8221;on&#8221; galleryType=&#8221;thumbnail&#8221; id=&#8221;1522&#8243;]I was playing the role of Underling in the musical \u201cThe Drowsy Chaperone\u201d at the Cape Playhouse in Dennis, Mass. \u00a0Fellow actor\u00a0Bill Nolte (playing the role of Feldzieg) and I would laugh as we passed the costume &#038; hair rooms during every performance and marvel at all of the costumes and hair [&hellip;]<\/p>\n","protected":false},"author":200,"featured_media":1489,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[1],"tags":[],"class_list":["post-1472","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-highlight"],"metadata":{"_edit_last":["200"],"_wpac_members_redirect_to":[""],"_wpac_show_in_search":["0"],"_wpac_show_excerpt_in_search":["0"],"_wpac_nonmembers_redirect_to":[""],"ase_chapter_enable_timeline":["off"],"_thumbnail_id":["1489"],"ase_map_component_start_point":["a:2:{s:3:\"lat\";d:29.76;s:3:\"lng\";d:-95.38;}"],"_edit_lock":["1606782830:200"]},"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v28.6 - 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Started my career working in Bob Simpson Revues at the Edgewater Beach and Del Prado Hotels in Chicago. Moved to NYC and landed my first Broadway show playing the role of Vito DiRossi in Richard Rodgers\\\/Steven Sondheim\\\/Arthur Laurents\u2019 Do I Hear A Waltz?. Next came George M!, Via Galactica (oh, the stories one can tell about this one week space odyssey disaster with music by Galt MacDermot and directed by Sir Peter Hall), 42nd Street, Sunset Blvd., The Scarlet Pimpernel and Pacific Overtures, originating the Sondheim songs Someone in a Tree and - extolling the merits of \u201cDetente\u201d - Please Hello. Toured with shows like Camelot (Mordred), J.C. Superstar (Herod), 42nd Street (Andy Lee - 3 years and over 1000 performances throughout the U.S.A.,Toronto &amp; Tokyo) and Guys and Dolls (2 years as Harry the Horse). Kind of makes my head swim when I think of all of the cities we played for sometimes six months and other times just one night. Over the years, I\u2019ve had the good fortune to study acting with Mary Tarcai, Uta Hagen, Herbert Berghof and Bobby Lewis; voice with Keith Davis, Amelia Haas and Denes Striny; dance and movement with Edna McRae, Luigi and Anna Sokolow. I\u2019m deeply indebted to all of them for giving me the knowledge to create and maintain the craft. Being in NYC - and being in the the right place at the right time - gave me the opportunity to audition for Jerome Robbins\u2019 American Theater Lab, and asked to be one of the original members of the group. We had a rigorous schedule of daily classes which included improvisational and experimental theatre games (think Grotowski). Gregg Lawrence writes about our American Theater Lab in his book Dance with Demons: The Life of Jerome Robbins. And what actor doesn't consider a few years in Los Angeles? While living there, Equity Waiver Theatre was in full flower and my motto was \u201csuit up, show up, and say yes.\u201d This resulted with my becoming a six-time recipient of the Drama-Logue Critics Award. What a blast it was working with Ray Bradbury and Jose Feliciano creating the role of Villanazul in The Wonderful Ice Cream Suit at The Pasadena Playhouse, to also work with George Rose in the L.A. premiere of Drood !, to play the wacky Tristan Tzara in Travesties, Jigger in Carousel, Tom in That Championship Season and several roles in The Great American Playwrights Show (10 short plays, 10 different roles), which we took on a six city tour after it\u2019s run at the Odyssey Theater. Regional Theatre thrives around the country and it\u2019s been great playing diverse roles in Plaza Suite, Jekyll &amp; Hyde, Breaking Legs, Nine, Annie Get Your Gun, Singin\u2019 in the Rain, The Sea Gull, Tovarich (doing a duet Charleston number with Ginger Rogers), Hello Dolly - with both Ann Miller &amp; Betty Grable -, Romeo &amp; Juliet, Kiss Me Kate (yeah,another gangster role), the King in The King and I, and last but certainly not least playing the role of Barnum for three months, walking the high wire while singing (as we crossed the Bermuda Triangle) aboard the S. S. Norway in the 700 seat Saga Theater. So many other shows and stories have happened through the years. Most recently I played yet another bad guy. This was a Casa Manana - Dallas Theater Center co-production of the play To Kill A Mockingbird. The role of Bob Ewell is now one of my favorite characters. He\u2019s a lean, mean, lyin, drunken, creep. Who, me ??? The cast was brilliant and our director Wendy Dann is one of the best. Most recently Writer\\\/director Zachary Volker cast me in the role of Lou Mullin - a wacko con man - in his short film called Club Magic Moment, which has been showing at film festivals throughout the country. Scrapbooks and my theatre memorabilia are a part of the Newberry Library\u2019s archives. James Dybas Papers: Newberry Library - Chicago, IL https:\\\/\\\/mms.newberry.org\\\/detail.asp?id=814&amp;alpha=D\",\"sameAs\":[\"https:\\\/\\\/JamesDybas.com\"],\"url\":\"https:\\\/\\\/performingartslegacy.org\\\/dybasjames\\\/author\\\/dybasjames\\\/\"}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"Cape Cod Playhouse \u2013 Bus Stop \u2013 Photos - James Dybas","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/performingartslegacy.org\/dybasjames\/cape-cod-playhouse-bus-stop-photos\/","og_locale":"en_US","og_type":"article","og_title":"Cape Cod Playhouse \u2013 Bus Stop \u2013 Photos - James Dybas","og_description":"[aesop_gallery pslightbox=&#8221;on&#8221; galleryType=&#8221;thumbnail&#8221; id=&#8221;1522&#8243;]I was playing the role of Underling in the musical \u201cThe Drowsy Chaperone\u201d at the Cape Playhouse in Dennis, Mass. \u00a0Fellow actor\u00a0Bill Nolte (playing the role of Feldzieg) and I would laugh as we passed the costume &#038; hair rooms during every performance and marvel at all of the costumes and hair [&hellip;]","og_url":"https:\/\/performingartslegacy.org\/dybasjames\/cape-cod-playhouse-bus-stop-photos\/","og_site_name":"James Dybas","article_published_time":"2020-11-10T06:22:00+00:00","article_modified_time":"2020-12-01T00:33:51+00:00","og_image":[{"width":800,"height":600,"url":"https:\/\/performingartslegacy.org\/dybasjames\/wp-content\/uploads\/sites\/188\/2020\/11\/BUs-Stop-Collage.jpg","type":"image\/jpeg"}],"author":"James Dybas","twitter_card":"summary_large_image","twitter_misc":{"Written by":"James Dybas","Est. reading time":"1 minute"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"Article","@id":"https:\/\/performingartslegacy.org\/dybasjames\/cape-cod-playhouse-bus-stop-photos\/#article","isPartOf":{"@id":"https:\/\/performingartslegacy.org\/dybasjames\/cape-cod-playhouse-bus-stop-photos\/"},"author":{"name":"James Dybas","@id":"https:\/\/performingartslegacy.org\/dybasjames\/#\/schema\/person\/71063ace56aeff24edbd2c897e437140"},"headline":"Cape Cod Playhouse \u2013 Bus Stop \u2013 Photos","datePublished":"2020-11-10T06:22:00+00:00","dateModified":"2020-12-01T00:33:51+00:00","mainEntityOfPage":{"@id":"https:\/\/performingartslegacy.org\/dybasjames\/cape-cod-playhouse-bus-stop-photos\/"},"wordCount":175,"image":{"@id":"https:\/\/performingartslegacy.org\/dybasjames\/cape-cod-playhouse-bus-stop-photos\/#primaryimage"},"thumbnailUrl":"https:\/\/performingartslegacy.org\/dybasjames\/wp-content\/uploads\/sites\/188\/2020\/11\/BUs-Stop-Collage.jpg","articleSection":["Highlight"],"inLanguage":"en-US"},{"@type":"WebPage","@id":"https:\/\/performingartslegacy.org\/dybasjames\/cape-cod-playhouse-bus-stop-photos\/","url":"https:\/\/performingartslegacy.org\/dybasjames\/cape-cod-playhouse-bus-stop-photos\/","name":"Cape Cod Playhouse \u2013 Bus Stop \u2013 Photos - 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Started my career working in Bob Simpson Revues at the Edgewater Beach and Del Prado Hotels in Chicago. Moved to NYC and landed my first Broadway show playing the role of Vito DiRossi in Richard Rodgers\/Steven Sondheim\/Arthur Laurents\u2019 Do I Hear A Waltz?. Next came George M!, Via Galactica (oh, the stories one can tell about this one week space odyssey disaster with music by Galt MacDermot and directed by Sir Peter Hall), 42nd Street, Sunset Blvd., The Scarlet Pimpernel and Pacific Overtures, originating the Sondheim songs Someone in a Tree and - extolling the merits of \u201cDetente\u201d - Please Hello. Toured with shows like Camelot (Mordred), J.C. Superstar (Herod), 42nd Street (Andy Lee - 3 years and over 1000 performances throughout the U.S.A.,Toronto &amp; Tokyo) and Guys and Dolls (2 years as Harry the Horse). Kind of makes my head swim when I think of all of the cities we played for sometimes six months and other times just one night. Over the years, I\u2019ve had the good fortune to study acting with Mary Tarcai, Uta Hagen, Herbert Berghof and Bobby Lewis; voice with Keith Davis, Amelia Haas and Denes Striny; dance and movement with Edna McRae, Luigi and Anna Sokolow. I\u2019m deeply indebted to all of them for giving me the knowledge to create and maintain the craft. Being in NYC - and being in the the right place at the right time - gave me the opportunity to audition for Jerome Robbins\u2019 American Theater Lab, and asked to be one of the original members of the group. We had a rigorous schedule of daily classes which included improvisational and experimental theatre games (think Grotowski). Gregg Lawrence writes about our American Theater Lab in his book Dance with Demons: The Life of Jerome Robbins. And what actor doesn't consider a few years in Los Angeles? While living there, Equity Waiver Theatre was in full flower and my motto was \u201csuit up, show up, and say yes.\u201d This resulted with my becoming a six-time recipient of the Drama-Logue Critics Award. What a blast it was working with Ray Bradbury and Jose Feliciano creating the role of Villanazul in The Wonderful Ice Cream Suit at The Pasadena Playhouse, to also work with George Rose in the L.A. premiere of Drood !, to play the wacky Tristan Tzara in Travesties, Jigger in Carousel, Tom in That Championship Season and several roles in The Great American Playwrights Show (10 short plays, 10 different roles), which we took on a six city tour after it\u2019s run at the Odyssey Theater. Regional Theatre thrives around the country and it\u2019s been great playing diverse roles in Plaza Suite, Jekyll &amp; Hyde, Breaking Legs, Nine, Annie Get Your Gun, Singin\u2019 in the Rain, The Sea Gull, Tovarich (doing a duet Charleston number with Ginger Rogers), Hello Dolly - with both Ann Miller &amp; Betty Grable -, Romeo &amp; Juliet, Kiss Me Kate (yeah,another gangster role), the King in The King and I, and last but certainly not least playing the role of Barnum for three months, walking the high wire while singing (as we crossed the Bermuda Triangle) aboard the S. S. Norway in the 700 seat Saga Theater. So many other shows and stories have happened through the years. Most recently I played yet another bad guy. This was a Casa Manana - Dallas Theater Center co-production of the play To Kill A Mockingbird. The role of Bob Ewell is now one of my favorite characters. He\u2019s a lean, mean, lyin, drunken, creep. Who, me ??? The cast was brilliant and our director Wendy Dann is one of the best. Most recently Writer\/director Zachary Volker cast me in the role of Lou Mullin - a wacko con man - in his short film called Club Magic Moment, which has been showing at film festivals throughout the country. Scrapbooks and my theatre memorabilia are a part of the Newberry Library\u2019s archives. James Dybas Papers: Newberry Library - Chicago, IL https:\/\/mms.newberry.org\/detail.asp?id=814&amp;alpha=D","sameAs":["https:\/\/JamesDybas.com"],"url":"https:\/\/performingartslegacy.org\/dybasjames\/author\/dybasjames\/"}]}},"_links":{"self":[{"href":"https:\/\/performingartslegacy.org\/dybasjames\/wp-json\/wp\/v2\/posts\/1472","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/performingartslegacy.org\/dybasjames\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/performingartslegacy.org\/dybasjames\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/performingartslegacy.org\/dybasjames\/wp-json\/wp\/v2\/users\/200"}],"replies":[{"embeddable":true,"href":"https:\/\/performingartslegacy.org\/dybasjames\/wp-json\/wp\/v2\/comments?post=1472"}],"version-history":[{"count":0,"href":"https:\/\/performingartslegacy.org\/dybasjames\/wp-json\/wp\/v2\/posts\/1472\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/performingartslegacy.org\/dybasjames\/wp-json\/wp\/v2\/media\/1489"}],"wp:attachment":[{"href":"https:\/\/performingartslegacy.org\/dybasjames\/wp-json\/wp\/v2\/media?parent=1472"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/performingartslegacy.org\/dybasjames\/wp-json\/wp\/v2\/categories?post=1472"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/performingartslegacy.org\/dybasjames\/wp-json\/wp\/v2\/tags?post=1472"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}