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Doogie Howser goes raunchyNeil Patrick Harris remakes his image from M.D. to Emcee
NEW YORK (AP) -- Theatergoers may not be quick to recognize the new master of ceremonies in Broadway's "Cabaret." Chances are that many have seen him in something before, but never quite like this. Neil Patrick Harris -- TV's "Doogie Howser, M.D." -- began headlining the Roundabout Theatre Company's raunchy revival of the musical in January, joining a cast that has been heavy on mainstream name recognition in the long-running show that opened in 1998. As the painted, lascivious Emcee who lures audiences into director Sam Mendes' dark vision, the only thing familiar about the former teenage star is his name. Harris shed some weight for the role, along with the squeaky-clean image that accompanied his early stardom. Taking a break in his dressing room on a recent afternoon, Harris' signature wholesomeness was apparent. Only traces of the goth stage persona were visible -- a long flap of jet black hair pushed away from his eyes and "weeks-old" layers of chipped nail polish, also black. "Cabaret" is the latest in a recent flurry of theater work for Harris, who jumped at the opportunity to play the strung-out host of the Kit Kat Klub. "Living in Berlin in the late '20s, at the end of the Weimar Cabaret period, there was great fun and frivolity," he says. "And suddenly it started to turn very dark and caustic and drugs were abundant. Cocaine addiction was running rampant. There was lots of heroin and opium. So you have this very twisted sense of reality." 'It's not so bad'
The distortion of reality is somehow tweaked by the procession of familiar faces that has starred in the production, which celebrated its 2,000th performance this month. The cast has featured, at various times, such actors as Molly Ringwald, Brooke Shields, Tom Bosley and Hal Linden. Michael C. Hall and John Stamos had stints as The Emcee, a role originated by Alan Cumming, who also won a Tony. A lot about this role is new, including some physical challenges, like the accent. "The trick is being as authentic as you can, but still be American enough so that people can understand you," says Harris, who worked with a few different dialect coaches. Also, by his standards, there is a lot of dancing, at times in drag and high heels. "I find you're on the balls of your feet, so it's not so bad." Peter Wolf, the production's stage manager, was impressed with how quickly Harris picked up the dance numbers and other challenges of the role. "He came very prepared and ready to work," says Wolf. "We were ahead of schedule all the time. He just kept pushing us to move on." Harris also pushed himself to slim down. Actors playing The Emcee learn quickly that being in shape is a necessity, according to Wolf. "They realize that their stamina has to be built up. They are moving constantly from the top of the show to the end. They're on stage probably 85 percent of the time." Of the several Emcees Wolf has seen pass through the production, he noted that Harris' approach was to accent The Emcee's broad change in tone, waiting until later scenes to fully reveal the character's deeply cynical and tragic sides. This nightly metamorphosis is something Harris relishes about the part. "The whole idea of The Emcee's role is that he sort of defines transformation. He starts off very happy and charming as the 'Willkommen' man," Harris says, referring to the show's famous opening number. "And then he's an aristocrat flaunting his money, or a lovesick man falling in love for the first time. Sometimes he's a woman in the kick line. It's not until the final transformation at the end that you realize who he truly is." Up next: Peter Parker's voiceFor Harris, who turns 30 in June, range is part of the fun of acting. His recent assignments have spanned "the token white guy" in the movie "Undercover Brother" to the cerebral love interest of Anne Heche's Catherine in the Pulitzer Prize-winning play "Proof."
In his latest television project, scheduled to premiere in April, his identity may be even more thickly masked than it is by The Emcee's caked-on makeup. He plays the voice of Peter Parker in MTV's animated series "Spiderman." "It's all computer-generated 3D animation. Very cool stuff," says Harris, who has done much voice work. Like many actors, he splits his time between New York and Los Angeles. But theater, he says, is more than just a way of filling time in the off-season. And musical theater is something he especially intends to keep pursuing -- a goal made easier by Stephen Sondheim, who seems to appreciate Harris' work. Two years ago, after appearing in the Los Angeles production of "Rent," Harris was hired for a local concert production of "Sweeney Todd," the Sondheim musical. Sondheim saw Harris' performance and recommended that he do it for the Lincoln Center production. The relationship, and a string of jobs, grew from there. "He asked me to do the 'Evening Primrose' recording, Which was great," Harris says, referring to the album of songs from the 1966 musical written for television. "That was really exciting." The connection led to a workshop for a revival of Sondheim's 1990 musical, "Assassins." However, the show's opening was postponed shortly after September 11. The timing wasn't right for a musical about people who tried to kill U.S. presidents. "Assassins" is tentatively scheduled to open in February 2004, with Harris playing Lee Harvey Oswald. But that could change and so could Harris' plans. With the TV pilot season soon in full swing, he can't say if his near future will be in front of a camera or a live audience. He acknowledges his commitments in New York may get in the way of film or television opportunities. But for now, Harris is happy playing The Emcee eight times a week. "I would have never been able to forgive myself if I didn't take this role. "And that's the great thing about pilot season -- it will always be there next year." Copyright 2003 The Associated Press. All rights reserved. This material may not be published, broadcast, rewritten, or redistributed.
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We were ahead of schedule all the time. He just kept pushing us to move on.
