Gary McComiskey
As a past Alumni Spotlight, can you give us a little update on what you have been up to since your last feature?
Well, I could tell you all about the fabulous theatrical experiences that I have had over the last three or so years. Famous co-stars. Exotic locations. Wealth beyond imagining. Unfortunately, none of that is true. Sadly, reality is much less exciting. Mostly it has been going to work, enjoying time with my family, playing hockey in my spare time, and a little bit of community theater to help out a friend. There are a couple of new things. I mentioned in my first Spotlight that I was working on a podcast. Well, that has turned into a weekly ball hockey podcast for almost three years running. (HIT the DEK – It’s hockey in sneakers) I’ve also had the opportunity to return to the Little Theatre stage after a decade away, participating just last week in the 24 Hour Play Festival. That was an experience that I feared I might never have again, and it was incredible. I recommend it highly. And, of course, we are currently preparing to open the 20th Annual CPTG Cabaret.
What inspired you to write this year’s Cabaret for Charity: Glory Days?
Back when I was participating in the Cabaret every year, (and, as one of the few who had been involved with all of them, to that point,) I decided to write a script for the 10th Annual show. It wasn’t selected, which is fine, because it wasn’t really that good. For unrelated reasons, I then decided it was time to step away from the Chappell Players, and I mostly forgot about it. Fast forward six years. After attending the 16th Annual, I was inspired to try to write one of my own. I looked back over that original script, kept the core concept, and spent nine months writing what I felt was a very good show. It also wasn’t picked. Jump ahead to shortly after last year’s Cabaret, and I get an email saying that the group would like me to do the 20th Anniversary show. Cue (many) more script revisions, and here we are. I’m pretty proud of this show and I think the wait will be worth it.
How has the Cabaret grown and changed over the years?
In late 1999, we were just coming off of a tremendously successful run of Grease. (5 out of 8 shows were sellouts.) The CPTG President at the time, Mike Rosenberger, wanted to capitalize on that momentum for a good cause, and so what would become the first annual, Y2Kabaret, was born. (We sold that out, too. *pat pat*) That first show was the wild west. All Broadway songs, chosen by committee, no script, no costumes, no theme. Mainly it was a musical revue. We had about four Music Directors. There was a heated argument about whether we could legally use a prop in one song. There was a tremendous amount of backlash from the University when administrators with plaques on their doors took issue with two songs from Jesus Christ, Superstar. Fun times. The following year we brought in a loose story and minimal “script” and costuming. The 3rd is where we brought in pop songs, costumes, and a professional MD. Number 5 is what I would classify as the first fully scripted mainstage show. After that, the template was pretty much set. We started inviting alumni back to perform pretty early on. (I suspect this was mainly so Don Gormanly could keep singing in the show.) Many are now scripted, though not all. Themes vary from year to year. At the end of the day, though, it is still about helping Bread and Life.
Why is it important that Chappell Players Theatre Group gives back and does a show for charity?
Performers are kind of inherently selfish. That sounds harsh, I know, but please hear me out. Many, many of the people that I have performed with are humble and kind, thoughtful and generous, good people. Nevertheless, there is a certain arrogance in the idea that someone should spend time and good money to watch you get on stage and do a thing. At minimum, this charity show is a good reminder for us to stay humble and pure about why we do this. More importantly, though, it is because we can. It’s the whole Spider-Man thing. “With great power comes great responsibility.” God has gifted us with the ability to put on these shows. Whatever your talents or specialties, if you are working on a Cabaret then you have the capacity to contribute to something greater than yourself. We have an obligation to use those skills to do good. Maybe not all the time, but definitely when it counts. Bread and Life feeds people. Feeds families. It isn’t abstract. It is a tangible thing. Every dollar that we raise with this show helps put food in a hungry child’s mouth. I can think of no higher calling.
What advice can you give to current Chappell Players about using their talents to help their community today and after college?
You don’t have to be a superhero and you don’t have to be Mother Theresa. If you happen to be stupid rich, and you want to hold a celebrity fundraiser, or build the next cutting-edge research facility, then God-speed. For the rest of us, however, take a little time to think about what you’re good at and how you can help people with that. It will be different for each of us. If you belong to a church, see if they will let you put on a charity show like this one. Get your friends to help you out. (Here’s a tip: people love Christmas music.) Or find a place to volunteer your time. A lot of charitable organizations need bodies to put in hours as much or more than they need monetary donations. Be kind. It doesn’t hurt you to be nice. The youth group with which I volunteer once had a homeless person come in and talk to our teenagers. He said that as much as he relied on the money that people gave him, he also wanted, more than anything, to be looked at as a fellow human being. Even if you can’t afford to give a few extra bucks, a smile or a sympathetic word could make all the difference. “There, but for the grace of God, go I.”
The most important thing is to want to help. You’d be truly surprised at how many opportunities present themselves when you’re actually looking.
Well, I could tell you all about the fabulous theatrical experiences that I have had over the last three or so years. Famous co-stars. Exotic locations. Wealth beyond imagining. Unfortunately, none of that is true. Sadly, reality is much less exciting. Mostly it has been going to work, enjoying time with my family, playing hockey in my spare time, and a little bit of community theater to help out a friend. There are a couple of new things. I mentioned in my first Spotlight that I was working on a podcast. Well, that has turned into a weekly ball hockey podcast for almost three years running. (HIT the DEK – It’s hockey in sneakers) I’ve also had the opportunity to return to the Little Theatre stage after a decade away, participating just last week in the 24 Hour Play Festival. That was an experience that I feared I might never have again, and it was incredible. I recommend it highly. And, of course, we are currently preparing to open the 20th Annual CPTG Cabaret.
What inspired you to write this year’s Cabaret for Charity: Glory Days?
Back when I was participating in the Cabaret every year, (and, as one of the few who had been involved with all of them, to that point,) I decided to write a script for the 10th Annual show. It wasn’t selected, which is fine, because it wasn’t really that good. For unrelated reasons, I then decided it was time to step away from the Chappell Players, and I mostly forgot about it. Fast forward six years. After attending the 16th Annual, I was inspired to try to write one of my own. I looked back over that original script, kept the core concept, and spent nine months writing what I felt was a very good show. It also wasn’t picked. Jump ahead to shortly after last year’s Cabaret, and I get an email saying that the group would like me to do the 20th Anniversary show. Cue (many) more script revisions, and here we are. I’m pretty proud of this show and I think the wait will be worth it.
How has the Cabaret grown and changed over the years?
In late 1999, we were just coming off of a tremendously successful run of Grease. (5 out of 8 shows were sellouts.) The CPTG President at the time, Mike Rosenberger, wanted to capitalize on that momentum for a good cause, and so what would become the first annual, Y2Kabaret, was born. (We sold that out, too. *pat pat*) That first show was the wild west. All Broadway songs, chosen by committee, no script, no costumes, no theme. Mainly it was a musical revue. We had about four Music Directors. There was a heated argument about whether we could legally use a prop in one song. There was a tremendous amount of backlash from the University when administrators with plaques on their doors took issue with two songs from Jesus Christ, Superstar. Fun times. The following year we brought in a loose story and minimal “script” and costuming. The 3rd is where we brought in pop songs, costumes, and a professional MD. Number 5 is what I would classify as the first fully scripted mainstage show. After that, the template was pretty much set. We started inviting alumni back to perform pretty early on. (I suspect this was mainly so Don Gormanly could keep singing in the show.) Many are now scripted, though not all. Themes vary from year to year. At the end of the day, though, it is still about helping Bread and Life.
Why is it important that Chappell Players Theatre Group gives back and does a show for charity?
Performers are kind of inherently selfish. That sounds harsh, I know, but please hear me out. Many, many of the people that I have performed with are humble and kind, thoughtful and generous, good people. Nevertheless, there is a certain arrogance in the idea that someone should spend time and good money to watch you get on stage and do a thing. At minimum, this charity show is a good reminder for us to stay humble and pure about why we do this. More importantly, though, it is because we can. It’s the whole Spider-Man thing. “With great power comes great responsibility.” God has gifted us with the ability to put on these shows. Whatever your talents or specialties, if you are working on a Cabaret then you have the capacity to contribute to something greater than yourself. We have an obligation to use those skills to do good. Maybe not all the time, but definitely when it counts. Bread and Life feeds people. Feeds families. It isn’t abstract. It is a tangible thing. Every dollar that we raise with this show helps put food in a hungry child’s mouth. I can think of no higher calling.
What advice can you give to current Chappell Players about using their talents to help their community today and after college?
You don’t have to be a superhero and you don’t have to be Mother Theresa. If you happen to be stupid rich, and you want to hold a celebrity fundraiser, or build the next cutting-edge research facility, then God-speed. For the rest of us, however, take a little time to think about what you’re good at and how you can help people with that. It will be different for each of us. If you belong to a church, see if they will let you put on a charity show like this one. Get your friends to help you out. (Here’s a tip: people love Christmas music.) Or find a place to volunteer your time. A lot of charitable organizations need bodies to put in hours as much or more than they need monetary donations. Be kind. It doesn’t hurt you to be nice. The youth group with which I volunteer once had a homeless person come in and talk to our teenagers. He said that as much as he relied on the money that people gave him, he also wanted, more than anything, to be looked at as a fellow human being. Even if you can’t afford to give a few extra bucks, a smile or a sympathetic word could make all the difference. “There, but for the grace of God, go I.”
The most important thing is to want to help. You’d be truly surprised at how many opportunities present themselves when you’re actually looking.
