In these extraordinary and uncertain times of COVID-19, with venues closed and live performance at a halt, NiteLife Exchange is reaching out and covering the effect the crisis is having on performing artists.
Triple threat, actor-singer-dancer Jeremy Benton, is not only full of show-biz vitality, but he’s also an advocate and activist—a keen social observer of art and politics. Career-wise he played “Phil Davis” in the National Tour of IRVING BERLIN’S WHITE CHRISTMAS, “Bob Hope” in CAGNEY in the York Theater’s Off Broadway production and “Billy Lawlor” in 42ND STREET on Broadway, opposite Shirley Jones. Benton has also starred in the National Tour of ANYTHING GOES (opposite Rachel York), ANIMAL CRACKERS at the Denver Center), CALL ME MADAM at the Lyric Theatre (opposite Beth Leavel) and was the original cast “Fred Astaire” in BACKWARDS IN HIGH HEELS: THE GINGER ROGERS MUSICAL—among many others. You can follow him on Instagram @jeremywbenton
NiteLife Exchange (NLE) asks Jeremy Benton (JB) Six Questions:
NLE: Looking back, at what point did it hit you that the COVID-19 pandemic was going to be more serious than we might have believed? What was your gut reaction?
JB: I believe it was March 6, that Friday, when the city was put on quarantine and social distancing was urgently encouraged by the government. I think shortly thereafter Broadway closed. It seems like our entire industry completely went into hibernation that weekend. Shows started closing early, rehearsals shut down, college productions stopped, schools shut down, classes canceled. At first I think I was like a lot of people who were extremely focused on the financial nuclear bomb that had just hit not only me, but most everyone we know in New York City.
But as I tuned in to Dr. Fauci and Governor Cuomo, I feel like the emotional side of my psyche that allows me the resources to be an actor kindly took a backseat to the science loving stoic. Like I’ve said online and to friends and family, I would rather logically and reasonably deal with all of the tragedy on hand now, so that my wound, although it may be large, is singular in its presence. I believe my industry will be the barometer of society returning to some sense of normalcy. So when you look at things logically, what will be the atmosphere in our country that provides space for social norms again? At the very least, massive testing capabilities and above all a vaccine will provide an atmosphere for normalcy to return. What Dr. Fauci and every other expert says is, even on a fast track, a vaccine is 12 to 18 months away. It has to be, because you cannot release something into the public if it hasn’t been properly tested. In short, the vaccine testing is what’s going to hold back the sense of normalcy that we all yearn for. But you can’t just release something without that testing. They could put something out on the market that actually harms everyone instead of vaccinating them against COVID-19.
I’ve talked to so many in our industry that are longing for this to be over soon. We is theater artists have our souls refueled by telling audiences stories and holding that mirror of society up to the faces of those audiences, sometimes sparking self reflection, sometimes for pure entertainment. Believe me, I hope for nothing more than to be wrong about all of this. But when you start doing thought experiments, the logical answers start to reveal themselves. For example, let’s say theaters open back to audiences by the Fourth of July. Does the audience have their temperature taken at the door? Are they still wearing surgical masks and latex gloves as they enter, and do they sit at least 3 to 4 seats apart? Do the ushers have medical grade PPE? Does the concession stand employees have the same? Does the curtain open on a production of 42nd St. to reveal a sea of colorful costumes and brilliant white surgical masks? How did these actors rehearse? Has being cast in this production been dependent on your COVID-19 status? Do shows Rehearsal via Zoom for 14 days to quarantine each cast member, and then if no one shows signs after that 14 day period, do they decide to then gather in the same room? Will there be a test kit for every American by then? Name a person you know that doesn’t have a cell phone. Will we see personal test kits equal the number of personal cell phones by July? Do producers scale down their productions because their Theaters are only seating at half capacity? Do theater patrons pay full price to see these productions? What is full price anymore? All of this speculation to say that we are in unknown territory.
Our union president, Kate Shindle, posed a very interesting question the other day online asking some very long overdue questions about actors and stage managers calling out sick, about understudy coverage, etc. It has taken a pandemic to get these somewhat awkward conversations started, but I’m very glad that they are. For example, pre-COVID-19, that wonderful theatre mindset, that I am 100% also guilty of, of “pushing through the illness, pushing through the injury, never calling out, never missing a show“ was pretty much emblazoned in what I would say is the vast majority of folks in the industry. Pre-COVID-19, the thought of calling out sick from a show where producers had not provided any understudies or any coverage would be absolutely unheard of. I’ve been in this situation more times than I can count. I’ve even done a double show day on the same day I had a root canal and a wisdom tooth extraction. This mindset stems from the fear of being completely blackballed in this industry because an actor/SM dared to call out of a show that had no coverage and possibly causing the show to be canceled. I think that entire mindset is going to be reevaluated. But, I also think that producers will have a different mindset about that as well. So there might be some good negotiations on that end that come into the light after we get a vaccine and get theater patrons “un-scared“ enough to start coming back to see live theater.
NLE: What personal adjustments to quarantine have you had to make personally and professionally?
JB: Well I’d have to say that the major adjustment caused by quarantine and social distancing is having my employment for the rest of the year either canceled, in a “holding pattern“, or really no update at all. I just don’t know what’s gonna happen with those contracts That haven’t already canceled. But, as my new motto for 2020 instructs me to do: prepare for the worst, hope for the best. Another heavy hit to my lifestyle and routine are the closures of the gyms and museums. A lot of us find an important part of our mental (and physical) health is time spent at the gym and time spent at museums, aquariums, etc. I think these factors have affected me the most during this time of social distancing and quarantine.
NLE: You’re active on social media as a political and social observer, which includes how the arts are affected?
What drives you to be an outspoken critic and advocate?
JB: You know, I don’t think I’ve ever been asked this question before. Thinking back to childhood, the one thing that paralyzed me with anger and frustration was injustice. For myself, yes, when I would be blamed for something I didn’t do, it would literally paralyze me with anger. But also for others, when others were blamed when they were innocent, when others were being persecuted, ostracize, gossiped about, etc. etc., it lit this flame in my gut that was only quenched by speaking out, by opposing the injustice, I support facts over conspiracy. So I guess in that aspect, I’m really just the same now. It’s one of the reasons that I cannot stand the current occupier of the oval office. That type of person embodies everything that lights that fire in my gut.
As far as advocating for the arts, I’ve made it a mission when teaching, speaking, performing in concerts, etc. to advocate for arts in our education system. Not everyone is going to become Patty LuPone or Mandy Patinkin, but what the Arts does is sharpen problem-solving and creativity, which, by the way, combined with science, is going to be what gets us all out of this mess. And yes, our industry isn’t on the current list of essential workers. And I agree with that at this particular point in time. But I do not agree that it is nonessential when the danger of contracting a virus is greatly diminished. Nations can be rich, nations can go to war, nations can occupy, nations can liberate, healthcare workers can save lives, farmers grow the food we eat, etc., AND when you look back at civilizations, the things that told us who these people were, their triumphs and struggles that are woven into their timelines, we look at and listen to and experience their art.
NLE: Out of the necessity to survive, all branches of the arts are moving to online services. The pros are fairly obvious, but what are the cons?
JB: To me the cons are blaringly obvious. We’re already living in a world where everyone is holding a computer in their hands that is capable of connecting us in ways we never thought possible except in a “Star Trek” episodes. But, we also live in a time where most people feel lonely and separated, and choose to retreat into their devices instead of experiencing what our species evolved to experience, which is social living and interaction. This is something that live theater was helping to combat. This is something that the arts can continue to battle. Going into a theater to see a symphony play at Carnegie Hall, or to watch an incredible production of Porgy and Bess at the MET, these are things that spark something primal in our DNA. Gathering with other humans, and experiencing something that is only going to be experienced that evening. That’s the magic of live performance. Even if you do the same show eight times a week, it’s not the “same” show. So I would have to say the con would be increasing this trend of “well I will just watch it online“ after the initial widespread danger of the pandemic has subsided.
NLE: What gets you through these tough times? What’s your advice about coping?
JB: I don’t know if I really have any advice about “getting by during this tough times“. I am just a person, like everyone else, trying to find things to be grateful for on a daily basis. So maybe that’s it, looking for things that usually escape your attention to be grateful for. I also find that giving yourself small little goals will help create a much-needed routine for your day. But on the flipside of that, you should also give yourself permission to not use this time to write the greatest novel ever written, to learn Mandarin Chinese, too get into the absolute best shape of your life, to teach endless online classes or take endless online classes. All of these things are absolutely fabulous, but give yourself permission to not require it of yourself. Give yourself permission some days to just sit and lean into the pain. As Buddha says, “embrace hopelessness”. What does he mean by this bleak sounding statement, haha!?
Let’s translate it in English another way: ”embrace groundlessness”. In short, the more we “white knuckle“ the forms of stability that have been traditionally imprinted upon us right after birth, the more we will eternally be searching for peace. And isn’t piece what is being searched for, ultimately? This has probably been one of, if not the greatest test of this philosophy that I constantly strive to live by. By surrendering to the fact that the sands will always be shifting beneath our feet, we are loosening our grasp on what ever we think “stability“ is and starting to embrace the fact that the only constant and stable thing that we will experience during our time on this planet is change. Embracing groundlessness means embracing a life of change. And as Epicurus would remind us all during this time: focus your energy on the things in your life that are in your control. If you start making a list, you will find that the vast majority of things that happen are not in our control. So reserve your focus and energy for the things that are.
NLE: When the COVID-19 crisis is over, do you have thoughts about what lasting positives we might see?
JB: Now I will put my optimistic hat on, ha ha! No, I think when this has subsided and we are at a point of normalcy, we are going to see another golden era of theater and the arts. I think by facing the reality of a 12 to 18 month timeline before we are back to the normalcy, you start to see the logic behind what I’m saying. If people are starved at this “Primal spark” that I mentioned in an earlier question, and have been given sufficient time to have their fears and concerns about health subside, I believe we are going to see a new joy in celebrating Live theater, live concerts, live music, art displays, museums, etc., the need to physically get out and experience the things that make us human. You know, as I like to think about it, checking off your shopping list at the grocery store isn’t really what makes us human. Self reflection after Masha’s monologue or being moved to tears by a Berlin ballad…. THESE are the things that make us human.
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