I don't know if Michael is the youngest member of the company, but he's in that range somewhere. This is his Broadway debut and he was hired as a member of the ensemble for the new version of the show in October. Oh yeah, he also had one other skill that they were interested in, but I think I'll let him tell that story himself. (I'll give you a hint - he's well over six feet tall.)

NR: I understand you grew up in Minnesota. Can you tell me a little bit about it?

MH: Let me qualify that. Actually, my formative years were in New Hampshire. I spent 11 years there. I was born in Minnesota and then I moved out to New Hampshire for 11 years. Then I moved back to Minnesota in fifth grade, and then eighth grade came around and we moved back to New Hampshire, and then my senior year we moved back to Minnesota. So I've lived...

NR: ...in the snow belt either way!

MH: Exactly. I lived 15 years in New Hampshire and I guess another 10 years in Minnesota. That's where my family is now and that's kind of how it happened. My dad was working for Eastern Airlines. He was a pilot for them. After it all fizzled out and the airline went bankrupt, we didn't have anything tying us to the east coast so we moved back to Minnesota. Both of my parents' relatives live there.

NR: When did you decide you wanted to perform?

MH: I think right out of the womb. I think I decided really early on. I was probably 4 or 5. For instance, I cried really LOUD. I was a crybaby when I was young, so I think from the get-go I was really expressive and a communicator.

NR: Sort of like a "show-off kid?"

MH: Yeah. And then I was the entertainer when I was younger.

NR: Did anyone in particular inspire you?

MH: My mom was a big inspiration for me. She was an actress, a semi-professional singer-actress out in the Midwest belt and also somewhat in New Hampshire. She was a kind of an inspiration for me. She actually directed me in some stuff when I was in junior high. She was a big inspiration and encourager. I've always loved movies and theater, so I was always inspired. Annie was the first Broadway show I saw, that or King and I. I loved it then.

NR: How often did you get to Broadway?

MH: Not too often, but when we came to New York we would always go see a show. I saw King and I, Annie, and Into the Woods.

NR: What type of training did you get?

MH: My first two years of college I went to San Diego, University of San Diego. That was nice actually to be out there for a couple of years. I went there on a vocal scholarship. That was a really great way to get a great education at almost no cost, and it was a pretty high tuition too, so it was a really great deal. It was probably one of the more unusual deals in the country for singers, to be able to get that kind of a break. And then I realized that I didn't want to be doing that anymore. I wanted to do more solo stuff. I wanted to just concentrate more on myself than just doing the chorus/choir stuff. So, I decided to transfer to the University of Minnesota, which I was familiar with and where they had great programs in theater, in performing, and acting. I realized I really wanted to do that. I had been studying journalism in San Diego so I decided to nix that and really go full throttle in theater and just do it myself.

NR: How long ago did you graduate from college?

MH: Two years ago.

NR: Wow, that's great. So you got here in only two years. That's incredible.

MH: Yeah, it was pretty neat. I moved out here with friends from college. I finished up at the University of Minnesota and I took voice privately. I just kept going and did the "acting theater" thing academically as my major, and it all combined to work out well.

NR: You came to New York right after you graduated?

MH: Yeah. I spent a summer out there and got my Equity card doing a small southern Minnesota show, Joseph (and the Amazing Technicolor Dreamcoat). I think I'm the tallest Joseph on record. Then I came out here in September. I was just talking to friends in my senior year and said, "Anyone want to go to New York?" and we gathered three of us and moved out here. So, we're still sort of all together in Queens but a couple of us have left and moved out. And then there are other people who have moved in, but there's a huge sort of "Minnesota contingent" out here so I've had a lot of support.

NR: This wasn't the first show you auditioned for, was it?

MH: No, definitely not. But this was the first show that I auditioned for through my agent.

NR: Did you know that they were trying to bring you in as the stunt double originally?

MH: No, I didn't from the very first phone call, but when I got to the audition they let us know what was going on and that they needed an ensemble member who could be also his (Percy's) body double. None of us really understood it because it was all new and it was sort of theoretical and it was hard to visualize it. So, really I didn't know what my lot was until I got to the first rehearsal and it was explained "Here's the guillotine and here's where you'll be getting your head chopped off."

NR: (laughing) Oh, no! But you were supposed to be in the ensemble too, right? You didn't get hired just to stand there for that 30 second bit, did you?

MH: No, exactly. So, that's kind of comforting. That was heartwarming.

NR: What did it feel like the first time you did that?

MH: It was scary. I was trying to just sort of trust and have faith in the thing, the mechanism, the gizmo, the magic trick. But you know, there were some particulars that you have to do, like you have to put your head down and you have to listen to the sound cue, so there are some "cause and effect" things.

NR: (laughing) Michael, don't give away any secrets.

MH: No, no secrets. Absolutely not. No, I haven't given anything away. If I did I would have to kill the machine (indicating my tape recorder). But, there were some logistics to it that took away a little bit from it. I had a lot of things I had to think about, so it took me awhile to sort of get into the groove. I finally did and around that time they cut me out. They cut the part.

NR: I think you did two shows?

MH: I think I did two shows.

NR: So, your entire stunt career - gone in the blink of an eye!

MH: (laughing) My stunt career, yes. Actually I have some funny signs here that my mom made. One of them reads - she sent me a head, this skull, around Halloween. It's just a head that you light up and it says, "Here Michael, at least you're keeping the more important parts. Break a leg." Here's another one, "Lay your body down, long and lean, and put your head in the guillotine."

NR: So, I guess that answers my next question. You haven't done stunt work before, have you?

MH: No, I haven't.

NR: You just said, "You want me to do what?"

MH: Yeah, I was like, "Broadway show? OK."

NR: I guess you felt, "It's my Broadway debut. Sure, I'll do anything. No problem."

MH: Exactly. Oh, yeah. I would have swept the stage floor.

NR: How did you prepare for your audition?

MH: Hmmm, how did I prepare for my audition? I got my head ready, screwed it on tight... I prepared my music. I didn't have very long, I think I had three days. I think I quickly got some music ready that I had just done in a voice lesson earlier in the week. I had just gotten back from a Connecticut show that I did, The Robber Bridegroom. That's how I got this agent. It's all very synchronous, "cause and effect" type stuff. It was very shortly after that. This was just like jumping into the fire. I just went in and did it and sang the songs that I had prepared. Once I heard about what they wanted I tried to look, I don't know, tall - sort of "Doug Sills-ish."

NR: (laughing) I think the proper term is "Sillsian."

MH: Exactly. That's going to be entered in the vernacular I'm sure.

NR: Probably. Is being on Broadway what you expected it to be?

MH: Yes... and no. I think probably mostly no, because all of the backstage stuff is such a surprise. For instance, all the dressers and all the layers of everything that's required before you actually get on stage. All of the in-depth work of costuming and where you change and what you change into and all that kind of stuff until you get on the stage. So there's all of this backstage world that it seems like the performing is actually the tip of the iceberg and the rest of it is everything that's submerged. So, it's all that that I didn't really know about and that's very neat to be able to learn about. But as far as the thrill and actually getting to perform, that was pretty amazing. I think it's probably way more than I had ever expected because it's so hard to anticipate an opening night on Broadway because it's just so great. It's such a monumental experience, at least if this is what you want to do. If you're a painter who wants to live in solitary in Holland, that's your "being most alive." But definitely, being in front of thousands of people and taking a curtain call and singing "Into the Fire" was pretty amazing.

NR: And you got to be here for the opening in November.

MH: Yeah.

NR: So, you actually walked into something that was completely historic. That must be unbelievable for you.

MH: It is. It's amazing. It's an incredible story in terms of my getting into this show because I was originally going to cater for this show, last New Year's Eve. I came home from Minnesota a day early. I was going to stay for New Year's and then I thought I would cater instead. I got off the plane, got into my house, checked my messages and there was a message from the booking agent, who said, "Michael, I had to take you off the job because of such and such..." So, I was crushed and I wasn't able to work this party. I was really hoping to work this party. It was up in the lobby. So, I thought "I'll have to try and see that show sometime" because it would have been a great experience to work and to sort of schmooze and meet these people. Then, later I got a job in Florida. I went down and did a show and I came back and I was feeling good. I had just worked so now I could treat myself to a show. I came to see Titanic because I had a callback for it but it was sold out at TKTS. So, instead I came here. I saw the show and I didn't really like it. But, I was absolutely astounded with Doug's performance because almost a year earlier I had read an article he had put in "Backstage" for all of us young people to read. It said, "You know, keep with it. Musical theater can really be a solid acting experience, and if you find the reality in the role you can really be an actor and singer at the same time." I thought, "Eureka." So, I stayed afterwards and I wanted to meet him. I wanted to say, "Thank you so much for giving us such a great performance and I'm very inspired." But he never came out, so I left, but I thought, "Oh, I've got to meet this guy sometime. I've definitely got to come again." I went away and I did this show, Robber Bridegroom, and I did a similar role to Percy sort of in terms of disguises. And I thought of him when I did the role. It was like he was with me. Then I came home and had an audition for the very show that had been with me in my mind for so long, and I got the part. First day of rehearsal I told Doug this whole story. I finally got to meet him and I was playing his body double, of all things. It was a very ironic, synchronous and "planets aligned" sort of thing.

NR: That's great. He must have loved the story.

MH: Yeah, he did. So as far as that spilling into the thrill of being in the show, it all happened with such a bang that I wrote for days after that in my diary. It was very cool.

NR: Has any of your family come to see it?

MH: Yes.

NR: What did they think?

MH: They loved it.

NR: Did you know anything about the League when you got here?

MH: No, I didn't.

NR: What do you think now?

MH: I think it's great, I really do. I think it's a great foundation for getting the word out there that we have a show right here. You know, it can be a little obsessive, but that's great. Some people spend their money on peanut butter and movies, you've got your entertainment. But if you want to come and see this show, and as a result, get other people interested because of the hype and really make a connection with the actors, and be inspired by the whole thing. And, vice versa, we're very inspired. (I am at least, I can't speak for anybody else.) I was there once - I still am, what am I saying? I was young and totally starry eyed - I still am! It's great that we can inspire them and they can inspire us.

NR: What do you enjoy doing in your off time?

MH: I love running, going for runs in Queens where I live, in the park. In Central Park sometimes, just walking and running. I like to work out. I like physical activity and athletic stuff. Reading a good book is nice. Just chilling and reading a good book. Cooking, making a great dinner and spending time with my girlfriend, going to movies.

NR: What do you want to do in the future?

MH: Do a Broadway lead.

NR: That's a good goal. Good luck. Thank you.

MH: You're welcome.

I had a lot of fun speaking with Michael. I have to admit that I cringed when he talked about how he used to be young and starry eyed, but then he corrected himself. (If he used to be young, I shuddered to think what they made me!) But, he's a wonderful presence on stage and his height does make him easy to find in the ensemble numbers. So, the next time you're at Pimpernel, just look for the tallest soldier and you'll find the guy who, for one fateful day in October '98, stuck his head in the guillotine so the star didn't have to.

Questions suggested by:

Joanna Morton-Gary, Carolyn Peters, Lois Colpo, Thom and Colleen Rosati, Mark McGrath, Susan Cassidy, Dani Biancolli, Kelly Honig, Jan Kolb