Barrett’s Resume: Mamma Mia! (original Broadway cast). Off-Broadway: Godspell (Jesus, 2000 cast recording), Cupid and Psyche (Cupid). Regional: Much Ado About Nothing (Claudio) at Hartford Stage and Shakespeare Theatre, D.C. (dir. Mark Lamos); Camelot (Mordred) at Paper Mill Playhouse; Kept (world premiere) at TheatreWorks in CA (dir. Scott Schwartz); Cameron Mackintosh's Just So (American premiere) at North Shore; The Fantasticks (Matt) at St. Louis Muny; Gypsy (Tulsa) at Weston Playhouse; Children of Eden (Abel/Ham) and The Sound of Music (Rolf) both at Music Theatre of Wichita. A View From the Bridge with Danny Aiello and Mercedes Ruehl at Food for Thought. International West Side Story GAP ad campaign. Native New Yorker. Proud member of AEA. (Avenue Q Website)  www.BarrettFoa.com

Corine Cohen: When did you realize that you wanted to be an actor/performer?

Barrett Foa: This is not my favorite question only because I don't have the obligatory "I saw The Music Man at my local community theatre and from that moment on I wanted to be an actor" story.  I had always naturally gravitated towards theatre and dance in middle school, and my parents were very supportive of that.  They started sending me to theatre camp after realizing that the sports camp that all the other NYC boys seemed to be going to were making me miserable.  My first summer at Interlochen Arts Camp in upstate Michigan was the real wake-up call: Everyone there was truly focused and passionate about not only musical theatre, but all kinds of arts: Shakespeare, opera, choral music, orchestra, band, jazz, visual arts, ballet, modern dance - these kids practiced for hours and hours!  That's when I realized that theatre could be a profession for me - a life-long ambition, not just a fun little hobby.

Corine Cohen: That is wonderful that you found out so young! Your parents must be very proud of you! How did you come to this role?  (Audition process, etc.)

Jeff Whitty (Tony Award winning book writer of Avenue Q) and I had done a workshop together as actors at Playwrights Horizons back in 2000.  He and I would run into each other on the street every now and then, and he would tell me about his writing projects (The Plank Project, Avenue Q, at the Vineyard).  When the show was in previews on Broadway, the producers were giving away comps to spark word of mouth. I had already heard great things, but I was eager to see for myself. I went to see a Wednesday Matinee (by my lonesome), and was bowled over.  I absolutely loved it - I laughed so hard it hurt. (Funny side story: SpotCo was taking quotes from audience members during intermission for a radio spot.  They decided to use mine, and I ended up being quoted in one of the first radio ads for Avenue Q in July 2003!)   As for the role of Princeton/Rod, I remember thinking, "Wow that John Tartaglia guy is talented, but I will never play that part, since I'm not a puppeteer."  So, when, 4 months later, my agent called me to audition for the understudy, I was excited at the prospect, but dubious I would ever be hired.  I went in and sang a song of my own choosing.  Then they asked me a put on a trial puppet and sing my song again, this time having the puppet's mouth move along with mine.  I guess I was good at that, and they gave me the sides from the show and brought me back in threemore times.  I met with the director, Jason Moore, the musical director, Gary Adler, and the production stage manager at the time, Evan Ensign (now the Resident Director.)  They would give me notes ("Spin everything in a positive way" (the basic philosophy for the residents of Avenue Q), "Keep Princeton's voice higher," and "NO VIBRATO!")  Next thing I knew, I was going to puppet school....

Mary Faber and Barrett Foa

Corine Cohen: I love your side story. That is so interesting! Tell me about puppetry school. How did you learn puppetry skills so fast?

Barrett Foa: The understudy role was opening up, and they had narrowed it down to two actors.  They had already seen all the puppeteers in the city (all twenty-three of them!), and they realized that they were going to have to teach performers to puppeteer.  We came in for three hours one day and two hours the next.  The first day, Rick Lyon gave us ping pong balls with dots on them for eyes that attached to our hands with elastic bands. We learned some basics facing the mirror, and then put on some of the Q puppets.  We sang songs from the show ("Purpose," "College") and did the Princeton/Kate hospital scene with each other (playing both characters), while Rick critiqued us on focus, lip-sync, opening our bodies out to the audience, etc.  There was a lot to learn, and Rick was very helpful.  Evan Ensign was also in the room getting his first taste of puppet lessons as well.  Now, I think puppet school is down to more of a science - remember, this was the very first one - we were the guinea pigs - the first performer-types to take on puppetry!

Puppet school is basically in place to give a crash course to non-puppeteers so the producers and writers can get as close to a sense of the performers' puppet style as possible at the final audition.  Rick did not make any kind of casting decision, but did give recommendations to the higher-ups about our puppet skills.
After being cast, I had about three weeks to learn all the music, lines, and blocking for that HUGE role, plus the entire ART FORM of puppetry before I went on for an entire week, while Johnny was on vacation.  It was a fun, stressful month of basically getting me in the right place at the right time and saying the right lines.  I have to admit, my puppetry must have been pretty abysmal back then (despite Rick's expertise) from sheer lack of experience. Over the next year, the puppet captain, (my friend, dressing roommate, and fellow understudy, and professional puppeteer, Peter Linz) had the time to teach me more of the details and subtleties of puppetry until I was asked to move up into Princeton/Rod after Johnny left.  I'm still getting puppet notes (we all are!) from Jen Barnhart, our new puppet captain...  Always stretching, always learning, always growing in this business! - see? Those Interlochen kids were right: Practice, practice, practice!

Corine Cohen: Well, you make it look so easy. Guess Peter, Rick and John taught you well! What is your favorite part of Avenue Q?

Barrett Foa: Gosh, it keeps changing.  For a while it was "Everyone's a Little Bit Racist," - the way that song unfolds and builds is pure genius. Then it was that touching hospital scene with Kate Monster.  For a while, it was that final key change and the rush downstage in the opening number.  But this past week or so, I would have to say that it was the first therapy scene with Christmas Eve.  It was Ann Harada's last performance on Sunday (2/26), and I knew that, that scene would never have that original stamp that Ann had put on it.  That being said, I am SO excited to welcome Ann Sanders back to the cast, as our new permanent Christmas Eve.  She is my closest friend in the building, as she was hired as the Christmas Eve understudy a month after I was hired as the Princeton/Rod understudy.  So far, we are the only two understudies to have moved up into the roles!

Corine Cohen: I have seen her and she is great! What was the first Broadway show you saw? Can you remember the experience?

Barrett Foa: My parents swear that it was Barnum, but I don't remember a lick of it.  I do remember going to TKTS with my parents, and sitting in the back row of the orchestra to see the original 42nd Street.  That was glitzy and fun.  But the one moment that lead to the memorization of my first cast album, was... Starlight Express.  Completely embarrassing, I know, but I loved it - I must have been what ten years old?  Singing and roller skating trains?  What could be cooler?! A few years later, Into The Woods would make a big impression on me. That whole opening sequence still gives me the shivers.

Corine Cohen: A little secret, I loved Starlight Express! I loved the creative set. Have you found your Purpose?

Barrett Foa: Oh gosh, who has?  I was talking to my friend about this until 6am last night!  Remember that feeling when you were in college?  "If only I could get a Broadway show, all my problems would be solved!"  So great... I made my debut in the original Broadway cast of Mamma Mia. Yes, I made great money.  Yes, I got to do what I love in a hit show eight times a week, but once you conquer one goal, it's time to make new ones.  Create a lead role in regional theatre?  OK. Work with that great director? Sure.  Do Shakespeare? Check.  Star on Broadway?  You got it.  Next: CREATE a role on Broadway.  After that?  Get aTony nomination for it....  Human Nature is such that we are always striving and reaching for more.  We are never satisfied.  Is acting what I love to do?  Yes.  Is it my purpose in life?  I think it's dangerous when we define ourselves solely by what we do for a living. I hope that I've been put on this Earth to do many things.... but yes, I think helping people escape their own reality for a few hours every night if one of them.

Corine Cohen: What is your favorite thing to do in New York City?

Barrett Foa: EAT.  I totally love food.  Going out to a great restaurant can be one of the most thrilling experiences.  The only problem is the Broadway schedule.  I have to eat dinner at 5:30 every night.  I feel like a senior citizen.  That's why tonight (Monday - the day off!) I told my friend that we are meeting at a great restaurant on 10th Ave.  We are splurging and we are eating LATE: 8pm!  Ahhh.
My second favorite thing to do is seeing theatre - plays, musicals.  I try to see whatever I can. On my list:  Bridge and Tunnel, The Color Purple and Jersey Boys.

Corine Cohen: Do you have a favorite restaurant?

Barrett Foa: Lupa on Thompson St. (between Houston and Bleeker) never lets me down. I just had a great meal at Taboon on 52nd and 10th Ave.  I wish I had more time to explore all the amazing restaurants in this city.  I also wish I had more friends with a bigger budget, so they can splurge along with me!

Corine Cohen: (Laughing) Take your poor friends out! Do you have a favorite playwright?

Barrett Foa: Lanford Wilson is of my favorites.  The Rimers of Eldrich, and Home Free are two of my favorite plays ever.  Some top-notch playwrights on the brain as of late: John Patrick Shanely (Doubt), Horton Foote (The Trip to Bountiful), Martin McDonagh (The Pillowman), David Auburn (Proof), LaBute, Baitz.....that Shakespeare dude was pretty good.

Corine Cohen: Shakespeare dude, you are killing me! Tell me about your trapeze work. What made you jump into that? (Pardon me I can be corny)

Barrett Foa: A friend had a birthday party at Trapeze School New York on the Hudson River (the views from the top of the ladder, and one swing on the bar are worth the price of a class alone!).  I had flown a few times years earlier at Club Med on a family vacation, so I had a leg up, as it were.  It all came flooding back, and with the help of my early dance training, I picked it up pretty quickly.  (Actually, you'd be surprised at how much you can accomplish in just one class. - it's very much a mind- over-matter exercise/sport.  It's all about trust in the equipment, trust in the instructors, and trust in yourself, and less about actual strength or skill.)  So far, I have only taken three classes over the past year and a half, but I've been learning a new trick each time.  I've performed and "caught" a knee hang, a planche, and a whip.  The folks at the school even invited me to be a part of an eight week intensive for students who have shown promise (very flattering, but it's exhausting, and rips your hands apart (I need them for Q.) - plus, the course times were not compatible with the Avenue Q schedule... but then again, what is?!  No dinner, no trapeze.... what's next?!)  You should try it:  www.newyork.trapezeschool.com

Thank you, Barrett. You are a joy to watch in Avenue Q! I am sure your parents are very proud of all you have accomplished. You can see Barrett Foa in Avenue Q. Call 212-239-4200 for tickets and check out the Avenue Q website for more information.

http://www.avenueq.com