Michigan-bred Michael Kirk Lane is now leading online cabaret courses for the 92Y School of Music, including the new “Cabaret Conversations” series that hosts important persons from the world of cabaret in discussion, as well as “Cabaret History and Great Performances.” As a teaching artist for over 20 years, Lane has taught all ages from pre-school to retirement homes. In each class he brings the same philosophy to his teaching, no matter the age of the students. Lane is, of course, also an award-winning cabaret artist, having most recently won the 2020 Manhattan Association of Cabaret Award for Male Musical Comedy Performer. Along with three previous MAC nominations, Lane has been nominated for three BroadwayWorld Cabaret Awards, winning in 2018 for Best Show. BroadwayWorld Cabaret has called Lane “one of the most popular performers and people working in cabaret today.” He is known to cabaret artists for his solo shows, as well as his position as House Manager at The Laurie Beechman Theatre. He also serves as Associate Producer for No Strings Productions, making puppet films for children in troubled areas of the world.  He is also a member of the voice cast for International Children’s Television’s YouTube series “The Flying Tent”.

NiteLife Exchange (NLE) asks Michael Kirk Lane (MKL) Six Questions:

NLE: When did you begin performing? What attracted you to music and acting at that time?

MKL: My first music teacher was my grandfather.  He was a barber-shopper and saw something in me and started teaching me vocal technique when I was quite young.  My grandmother was also always singing, whether it was with Sweet Adeline’s or singing along to Lawrence Welk, music was always around in their hose. I’m sure my mother would tell you, I’ve been performing forever (she has the blackmail home movies to prove this to a point).  My first “role” was as the ringmaster in my kindergarten circus, so I guess I’ve been doing this my whole life.  Now at least I could pronounce “Ladies and Zentelmen pwezenting the circus” correctly.

NLE: When did your career in Cabaret begin? What rewards (other than awards) have you derived from working in this community?

MKL: My career in cabaret began with being a regular at Don’t Tell Mama.  One night I was sitting at the bar, just back from touring in a children’s show and unemployed.  The manager at the time walked up to me and said “I don’t have a host for tomorrow night, let’s be honest you’ll be here anyway so I might as well pay you. Be here at 6.”  The rest is history, I’ve worked in the clubs ever since.  The staff at Mamas became and continue to be the core of my New York chosen family.  That family has, of course, expanded to include many in the cabaret world, especially from The Beechman.

NLE: A large part of your life is teaching. How did this segment of your career come about? What’s your favorite part of teaching?

MKL: Teaching Artist work is something I’ve always done. I began teaching theatre when I was 17. The only reason I didn’t go for a teaching certificate, alongside my theatre major in college, was that the state of Michigan didn’t certify in theatre at the time.  I’ve continued to teach throughout all my years in New York.  I’ve taught for many years for the amazing organization Wingspan Arts, and also currently teach with The 92Y School of Music.

For 92Y, I host a monthly interview series called Cabaret Conversations, and also teach a four-week lecture series called Cabaret History and Great Performances. Those programs both came about during the pandemic, and have been a great creative outlet during this unusual time. For more information on these programs visit: https://www.michaelkirklane.com/cabaret-at-92y

The best part of teaching is always when a student has that “ah-ha” moment.  To see the skills you’ve been sharing really click for them.  I’ve taught every age from pre-school to retirement home over the years and I approach all of my students with the same philosophy. “Art, Theatre, and Music are ways for us to connect with our most authentic self, and to explore the world around us.” I’ve also learn so much from my students, different ways to look at the world, and perhaps new ways to approach art.

NLE: And yet another of your many facets is puppetry. What was your inspiration for learning to be a puppeteer? How did you connect with No Strings Productions?

MKL: While I do occasionally wiggle a dolly in the background and have done some voice over work for a handful of projects, my work with No Strings is mostly from the production side of things. Mostly, I think of myself as one of the luckiest Muppet geeks alive.  I’ve been with the company since 2008, I’m now listed as an Associate Artist and Associate Producer on their projects.  I get to work alongside the people responsible for so many shows I loved as a child, creators and performers from Sesame Street, Fraggle Rock and The Muppets.  To now as an adult get to call these amazing human beings colleagues and friends is a huge blessing.  And, to work alongside them as we create work to make the world a better place makes it even better.  I’ve been involved in films addressing HIV/AIDS awareness and Gender Equality for Eastern Africa, Child Protection and Public Health for Haiti, Peace Building and Trauma Healing for Syrian Refugees, and Nutrition and Public Health for Madagascar.  Readers can find more information about No Strings at: http://www.nostringsproductions.org/

NLE: When did you realize you  have a gift for comedy? What is your “philosophy” of comedy and comedic performance?

MKL: I approach comedic material like I do any material really. In any style of performance, be it cabaret, musical comedy, acting, or voice over work, I try to approach it from a sense of authenticity and honesty. Find the connection to the lyric, or create the world of the character and the rest flows from that. In rehearsals my team and I will bat about ideas about how to punch up a joke or could a look or a gesture add to a bit, but that comes in the exploration and willingness to play.  You can’t be afraid to make a fool of yourself to make a moment work, but it has to be earned and honest.  If you force it, it won’t be funny.

NLE: What are your goals? Where do you see yourself in the next decade, pandemic aside?

MKL: I’ll be honest, I learned years ago to not plan that far out.  You never know what opportunity will present itself and how the road before you may twist and turn.  When I moved to the city in 2006, I’d have never thought I’d be doing what I’m doing now.  I just try to stay in the moment and say “yes” to opportunity as much as I can.

Enjoy Michael Kirk Lane’s Epric Showtune Medley