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[0:00] Mike Abrams: There's a cat over here. There's a cat over there. And the wrong one died. And the wrong one died.

[0:16] Mike Abrams: Welcome to The Wrong Cat Died, the podcast breakdown of the Catastrophe. I'm your host, Mike Abrams, and today we have another amazing guest. I'm excited because this is going to be a slightly different view of the show that I have yet to have on The Wrong Cat Died. So he was the production stage manager on the US National Tour 2 and then part of the US National Tour 4. So welcome, Scott Faris, and thank you for joining me.

[0:40] Scott Faris: Hi. You're welcome. Nice to see you.

[0:40] Mike Abrams: I have not had a PSM on, and I think this is a very fun angle because you are really tied to the show in a very different way than I'm Demeter or Tugger or something else. But we're going to get into two because that was the LA where you really got into it as putting on the show. But I always love to hear before that, what was your introduction to the show? Had you seen it before the LA company on Broadway or West End?

[1:04] Scott Faris: Yeah, no, I saw the original production on Broadway just a few weeks after it opened. I started my career as a dancer, so I was tuned into dance shows, and I had dance friends that were in the show that a couple I'd gone to college with. So I was tuned into dance shows, but I had moved into stage management. Dancing is very hard, as you've probably heard in these interviews with Cats. So a friend of mine was a PSM, I got a ticket, I saw it, and I thought, eh, you know, it's kind of like a Vegas show, but they're cats. So I was not bowled over. I was impressed by the production values, scenic design, lighting design, costume design, the music was good, and the immersive, the set design was probably the single most amazing thing about it. The music was fun, and they were cats. Who doesn't like cats? Well, if you like cats, it's better.

[2:03] Mike Abrams: I love that, just the nonchalant, because that's kind of how I walked in. I didn't know much about it, and my first reaction was, I feel like I'm in this junkyard. The set was incredible, just the way it was immediately visible, and you could kind of immerse your way in. And then I'm not a dancer, I didn't know. I was like, oh, they danced, it looked hard. But I was kind of judging the plot, like, what is this story? And you kind of were just like, yeah, it was fun.

[2:33] Scott Faris: Yeah, and for me, you know, it was the show when it opened. Everybody was raving about it. So therefore, I went, you know, you have to see it. And I came out and went, eh, it was all right. Hey, I'm not being arrogant or judgmental, it just was, you know, fine. It was cats, cats dancing on stage. There were cats jumping around.

[3:02] Mike Abrams: Yes, go ahead, Sarge.

[3:03] Scott Faris: As I said, it wasn't that long after that this L.A. company was kind of put together.

[3:10] Mike Abrams: It actually was. Were you already a PSM?

[3:13] Scott Faris: I had been a PSM, and I was touring with a show, and I was early, or super early career, I was pretty young when I went into being a PSM. I was touring with a show in Europe, a Broadway show, Amos Behaven. And I'd been doing that show for about four years on and off. And I came back from this world tour and landed in New York, and that was in '83. And I came back because Chorus Line was becoming the longest show ever that summer, August of '83. And I was in Chorus Line when I was a dancer, so I was invited to participate. So I was back in New York, and I was, you know, just around, and people knew I was back. And the Broadway PSM for Cats was my assistant stage manager, or my stage manager on Chorus Line. And I went into him now and then, and he said, hey, we're going to do... He was running Cats, and it had been open for a year and some. And he said, we're planning a tour, two tours, actually, and we're looking for PSMs. Are you interested? And I said, sure.

[4:15] Mike Abrams: Mm-hmm.

[4:16] Scott Faris: And I went in and interviewed for First National, which was going to open in Boston, I think in, and this was early '83. It was going to open in the fall of '83. So I interviewed last, and I don't know what I did early in that year, but I heard back from him. He said, you didn't get it, but I want to keep you in mind for the Los Angeles company that we're going to start rehearsal for '84. And I'm originally from LA, and I'd been in New York for seven years or so. And I thought, oh, okay. You know, and I said, I was interested. Didn't hear from him for, geez, almost a year. And then he called me, and I went back in and interviewed, and he said, yeah, I want you to do the gig. And we started rehearsal in LA in November of '84, and off we go.

[5:13] Mike Abrams: So since this is a little new to me, and I think a lot of the listeners, they might know what a PSM does, but we've talked a lot about the auditions and then rehearsals. In your interview process as a PSM, how much of the Cats do you need to understand, or is it more about your experience as a PSM and like, here's what I'm capable of doing, but you don't need to know the show?

[5:37] Scott Faris: No, you don't need to know anything about the show. You don't have to study and research it. Your job covers a lot of areas. You are essentially, when a show opens, the director in residence. You also are the mayor of the little town that is the theater, and you then have to solve all the problems and social issues of the cast, as well as running all the technical aspects of the show. So the crew reports to you, the head carpenter, who's the boss of the crew, and you, the PSM work together. So you are responsible for everything that happens on stage, including the quality of the show. So your background and experience and a successful track record in doing that is what gets you the job. It doesn't matter if you know Cats, or you've read T.S. Eliot's Old Possum, Book of Practical... None of that matters. It doesn't matter at all.

[6:29] Mike Abrams: But does it matter after? I mean, how much then do you have to go... How much do you have to learn of the show?

[6:36] Scott Faris: Well, of course, you start with the technical aspects first, so you can make sure that you know how it works. The lore of the show, as passed down from Trevor Naughton to the PSM on Broadway, you gather during rehearsal, and you absorb it. So PSM is responsible for listening to the direction of the show. And then after the directors leave, as you can imagine, a hit show like Cats that ran for 3,000 years, somebody has to stay there and make sure they're still behaving in the manner that Trevor Naughton envisioned it and Gillian Lund envisioned it. So you do learn that lore of the show, the directing, and help the actors stay on track, which they love to desiate and experiment and try different things. It's just the nature of an actor.

[7:33] Mike Abrams: For sure. And I think the nature of this show in particular, where it is a little looser. So is it your job to kind of go in and be like, hey, you need to be meaner to Grizabella today than you were yesterday?

[7:45] Scott Faris: I don't think you're acting like a cat out there. It's really curious. But I want to preface this with something. Trevor Naughton was the artistic director at the Royal Shakespeare Company, and that's where Cats started. And the original company in England, they had these tremendous actors, these Shakespearean actors. Judi Dench played Grizabella originally.

[8:07] Mike Abrams: Yep. Before the movie, before the second time around.

[8:10] Scott Faris: Before. As old Deuteronomy.

[8:13] Mike Abrams: And yeah, well, she wasn't Grizabella, it was Lorraine Page. So anyway, they had actors who had a long track record of playing Shakespeare and doing plays and developing roles. So they came with a lot of skills. A lot of history to be able to bring to the stage, and Trevor built it into this show. So it started with this really organic group of capable actors. It then transferred to New York, and they got top-notch dancing actors. But I think the dancing evolved once it moved to the West End from whatever its original. And don't trust me on all this history, but I do know the fact is that he used a lot of really talented RSC-type actors. And I can't imagine the dance was as hard as it was, but maybe it's exactly the same choreography from original production too.

Because the first Mistoffelees was a great ballet dancer from the Royal Ballet, a guy named Wayne Sleep. Anyway, when you take that production and it opens in New York and you have top-notch actors, and then you go do Boston, and they had a good A-list of actors, and LA, we got some top-notch folks. But the bulk of dancers that want to do Broadway shows live in New York City area.

[9:33] Mike Abrams: Yeah.

[9:33] Scott Faris: Work. So LA dancers are oftentimes, they were doing videos, music videos were really exploding in the early 80s. And so a lot of their experience was music video, short takes, not doing a show for two hours, two hours and 40 minutes. Live too.

[9:52] Mike Abrams: Exactly. And maintaining the character the whole time. Because the whole concept, catch, and the believability comes from the commitment of those actors pretending, acting them to be cats.

[10:02] Scott Faris: Yeah. So with different depth of experience and backgrounds, coming into a show, and certainly the LA show, there were different levels of discipline and knowledge and acting skills that oftentimes had to be encouraged to stay in character and stay being a cat out there, which was kind of a classic line, you know? Folks, you gotta be cats, you know? You gotta stay cats.

[10:34] Mike Abrams: You gotta be cats on the Sunday matinee as well as the Friday night and Saturday night show, because everybody's paying the same money.

[10:40] Scott Faris: So was there a note that you had to give frequently? Like, without maybe, hopefully it doesn't throw any of the particular actors under the bus, but like, all right, this is, I constantly have to remind, besides the, you gotta stay a cat, but what was the other ones?

[10:55] Scott Faris: I think now that I'm a father, a parent, the cats really prepared me for that job, because the cats cast in LA, a lot of them were young and they'd get bored doing the same. We ran for two years.

[11:14] Mike Abrams: Yeah.

[11:14] Scott Faris: And it was-

[11:15] Mike Abrams: And one in LA, right?

[11:16] Scott Faris: One theater, Schubert-

[11:17] Mike Abrams: It wasn't a tour.

[11:18] Scott Faris: Yeah. Schubert Theater, it became a job. You know, you were going to work and you were doing eight shows a week. And we did two shows on Saturday and two shows on Sunday. So no life outside, you know? We had Sunday between shows, we would have potlucks and everybody would come.

[11:34] Scott Faris: Being a Production Stage Manager on a national tour is like being the mayor of a little town. You have to solve all the problems and social issues of the cast while also running all the technical aspects of the show.

[12:04] Scott Faris: One of the key roles is to ensure that everyone is on the same page. I would frequently give notes to the cast about their performances, whether it was about timing, delivery, or even just the energy they brought to the stage.

[12:34] Scott Faris: It’s important to maintain a balance between the artistic vision of the director and the practicalities of what can be achieved on stage. Sometimes, you have to make tough calls about what works and what doesn’t.

[13:04] Scott Faris: The way CATS works is quite unique. Each character has their own specific requirements, and it’s my job to make sure that those are met every night. This includes everything from costume changes to choreography.

[13:34] Scott Faris: I often had to remind the cast about the importance of consistency. Audiences come to see a show that they love, and they expect to see the same quality of performance each time.

[14:04] Scott Faris: Communication is key. I would hold regular meetings with the cast and crew to discuss any issues that arose and to ensure that everyone felt supported.

[14:34] Scott Faris: There were times when unexpected challenges would come up, like a last-minute change in the set or a cast member getting sick. In those moments, it’s crucial to stay calm and find a solution quickly.

[15:04] Scott Faris: I also had to work closely with the technical team to make sure that all the cues were executed perfectly. This includes lighting, sound, and stage management.

[15:34] Scott Faris: The camaraderie among the cast and crew is what makes touring so special. We became like a family, supporting each other through the ups and downs of the tour.

[16:04] Scott Faris: My connection to John Napier, the original designer for CATS, was instrumental in my career. His mentorship helped me understand the intricacies of stage design and production.

[16:34] Scott Faris: After my work on CATS, I had the opportunity to run Siegfried & Roy at the MGM in Las Vegas. It was a completely different experience, but the skills I learned as a PSM were invaluable.

[17:04] Scott Faris: The transition from theater to a large-scale production like Siegfried & Roy was challenging, but it also allowed me to apply everything I had learned in a new context.

[17:34] Scott Faris: Each production has its own unique challenges, but the core principles of stage management remain the same. It’s all about teamwork and communication.

[18:04] Scott Faris: I’ve always believed that a successful production is one where everyone feels valued and heard. That’s something I strive to create in every show I work on.

[18:34] Scott Faris: The lessons I learned from CATS continue to influence my work today. It taught me the importance of adaptability and resilience in the face of challenges.

[19:04] Scott Faris: I think one of the most rewarding aspects of being a PSM is seeing the growth of the cast over time. It’s incredible to witness their development and confidence on stage.

[19:34] Scott Faris: Ultimately, my goal is to create an environment where everyone can thrive and deliver their best performance. That’s what makes theater so magical.

[19:54] Scott Faris: I’m grateful for the experiences I’ve had and the people I’ve met along the way. Each production has shaped me into the stage manager I am today.

[20:04] Scott Faris: I encourage anyone interested in theater to pursue their passion. There are so many opportunities out there, and every experience is a chance to learn and grow.

[20:34] Scott Faris: Whether you’re on stage or behind the scenes, every role is vital to the success of a production. Embrace your journey and keep pushing forward.

[21:04] Scott Faris: Thank you for having me on the show. It’s been a pleasure sharing my experiences and insights into the world of stage management.

[21:34] Scott Faris: I hope that listeners gain a better understanding of what goes into making a show successful and the importance of teamwork in theater.

[22:04] Scott Faris: If anyone wants to learn more about my work or get in touch, they can visit my website at scottfarisdirector.com.

[22:34] Scott Faris: I look forward to connecting with fellow theater enthusiasts and sharing more stories from my journey in the industry.

[23:04] Scott Faris: Thank you again for this opportunity to share my passion for theater and the role of a Production Stage Manager.

[23:09] Scott Faris: When a show opens, you are the mayor of the little town. That is the theater. And you have to solve all the problems and social issues of the cast, as well as running all the technical aspects of the show.

[23:39] Scott Faris: Being a Production Stage Manager on tour is a unique experience. You have to be adaptable and ready for anything. Each venue presents its own set of challenges, and you have to work closely with the crew and cast to ensure everything runs smoothly.

[24:09] Scott Faris: One of the key responsibilities is giving notes to the cast. This can range from performance adjustments to technical cues. It's important to communicate effectively and foster a positive environment where everyone feels comfortable receiving feedback.

[24:29] Scott Faris: I often found myself reminding the cast about the importance of consistency in their performances. Each show is an opportunity to connect with the audience, and maintaining that connection is crucial.

[24:49] Scott Faris: The technical aspects of CATS are fascinating. From the intricate set design to the lighting and sound, every element plays a vital role in bringing the story to life. I had to ensure that all these components were perfectly synchronized.

[25:09] Scott Faris: One of the challenges we faced was the physical demands of the show. The performers have to be in top shape, and I often worked with them on their warm-up routines and injury prevention strategies.

[25:29] Scott Faris: I also had to manage the logistics of touring, which includes everything from transportation to accommodations. It's a lot of moving parts, and keeping everything organized is essential for a successful tour.

[25:49] Scott Faris: My connection to John Napier, the original designer of CATS, was instrumental in my career. His mentorship and guidance helped me navigate the complexities of stage management and design.

[26:09] Scott Faris: Working on CATS opened many doors for me, including my role with Siegfried & Roy at the MGM in Las Vegas. The skills I developed as a PSM were invaluable in that high-pressure environment.

[26:29] Scott Faris: It's incredible to see how CATS has evolved over the years. The show continues to resonate with audiences, and being part of that legacy is something I cherish.

[26:49] Scott Faris: The camaraderie among the cast and crew is one of the highlights of touring. We become a family, supporting each other through the ups and downs of life on the road.

[27:09] Scott Faris: I always encourage young stage managers to embrace the chaos and find joy in the unpredictability of live theater. It's what makes each performance unique.

[27:29] Scott Faris: The stories we tell through theater have the power to connect people, and being part of that process is incredibly rewarding.

[27:49] Scott Faris: As a PSM, you have to be a problem solver, a mediator, and a leader. It's a challenging role, but the satisfaction of seeing a show come together is worth it.

[28:09] Scott Faris: I often reflect on my journey and the lessons I've learned along the way. Each experience has shaped me into the stage manager I am today.

[28:29] Scott Faris: The relationships I've built in this industry are invaluable. Networking and collaboration are key components of success in theater.

[28:49] Scott Faris: I believe that every show is an opportunity for growth, both personally and professionally. Embracing new challenges is essential for any stage manager.

[29:09] Scott Faris: Looking back, I am grateful for the experiences I've had and the people I've met. They have all contributed to my passion for theater.

[29:29] Scott Faris: The thrill of opening night never gets old. It's a moment filled with excitement and anticipation, and I love being part of that energy.

[29:49] Scott Faris: I encourage everyone to support live theater. It's an art form that brings people together and creates lasting memories.

[30:09] Scott Faris: The lessons learned in theater extend beyond the stage. They teach us about teamwork, resilience, and the importance of storytelling.

[30:29] Scott Faris: As I continue my journey in theater, I look forward to new projects and the opportunity to inspire the next generation of performers and stage managers.

[30:49] Scott Faris: Thank you for having me on the podcast. It's been a pleasure sharing my experiences and insights into the world of stage management.

[31:09] Scott Faris: I hope listeners take away the importance of passion and dedication in their own pursuits, whether in theater or any other field.

[31:29] Scott Faris: Remember, every performance is a chance to make an impact, and I encourage everyone to seize that opportunity.

[31:49] Scott Faris: Let's continue to celebrate the magic of theater and the incredible stories it tells.

[32:09] Scott Faris: Thank you again for this opportunity. I look forward to seeing where the future of theater takes us all.

[32:29] Scott Faris: Keep supporting the arts, and never underestimate the power of a good story.

[32:49] Scott Faris: Until next time, take care and keep the spirit of theater alive.

[33:09] Scott Faris: It's been a joy to share my journey with you all, and I hope to inspire others to pursue their dreams in the world of theater.

[33:29] Scott Faris: Remember, the show must go on, and every performance is a chance to shine.

[33:49] Scott Faris: Thank you for listening, and I hope to see you at the theater soon.

[34:09] Scott Faris: Take care, everyone, and keep the magic of theater alive in your hearts.

[34:44] Scott Faris: Being a Production Stage Manager on a national tour is like being the mayor of a little town. When a show opens, you have to solve all the problems and social issues of the cast, as well as run all the technical aspects of the show.

[35:14] Scott Faris: One of the key responsibilities is to ensure that everyone is on the same page. I often have to give notes to the cast about their performances, whether it's about timing, delivery, or how they interact with each other on stage.

[35:39] Scott Faris: The notes can vary from day to day, depending on what I see in the performances. Sometimes it’s about energy levels, and other times it’s about making sure the story is being told clearly.

[36:09] Scott Faris: A big part of my job is also to maintain the integrity of the show. This means ensuring that every performance is as close to the original vision as possible, while also adapting to the unique challenges that come with touring.

[36:29] Scott Faris: Each venue presents its own set of challenges, from the size of the stage to the acoustics of the theater. I have to be adaptable and ready to solve problems on the fly.

[36:59] Scott Faris: For example, if a prop breaks or a cue is missed, it’s my job to figure out how to fix it quickly without the audience noticing. This requires a lot of communication with the cast and crew.

[37:19] Scott Faris: I also have to keep track of all the technical elements, like lighting and sound cues. It’s a lot of responsibility, but it’s incredibly rewarding to see everything come together.

[37:39] Scott Faris: My connection to John Napier, the original set designer for CATS, has been instrumental in my career. Working on CATS allowed me to learn so much about the intricacies of theater production.

[37:59] Scott Faris: After my time with CATS, I had the opportunity to work with Siegfried & Roy at the MGM in Las Vegas. That experience was a whole different world, but it was built on the foundation I gained from working on the tour.

[38:19] Scott Faris: The skills I developed as a Production Stage Manager, like problem-solving and communication, have been invaluable in every aspect of my career.

[38:39] Scott Faris: I think one of the most important things I learned is how to create a positive environment for the cast and crew. A happy team is a productive team, and that translates to better performances.

[38:59] Scott Faris: It’s all about collaboration and support. Everyone has to feel valued and heard, which helps to foster a sense of community within the cast.

[39:19] Scott Faris: I also enjoy the challenge of working with different personalities. Each cast member brings something unique to the table, and it’s my job to help them shine.

[39:39] Scott Faris: I often find myself acting as a mediator, helping to resolve conflicts and ensuring that everyone is working towards the same goal.

[39:59] Scott Faris: Ultimately, my role is to make sure that the show goes on, no matter what. It’s a big responsibility, but it’s also incredibly fulfilling.

[40:19] Scott Faris: I love the energy of live theater and the connection it creates between the performers and the audience. There’s nothing quite like it.

[40:39] Scott Faris: Each performance is a new opportunity to tell the story and connect with the audience in a meaningful way.

[40:59] Scott Faris: I think that’s what keeps me coming back to theater time and time again. The magic of live performance is something truly special.

[41:19] Scott Faris: I’m grateful for the experiences I’ve had and the people I’ve met along the way. It’s a journey that I wouldn’t trade for anything.

[41:39] Scott Faris: As a Production Stage Manager, you have to wear many hats and be prepared for anything. It’s a challenging role, but it’s also incredibly rewarding.

[41:59] Scott Faris: I look forward to continuing my work in theater and exploring new opportunities as they come my way.

[42:19] Scott Faris: Thank you for having me on the podcast. It’s been a pleasure to share my experiences and insights into the world of theater.

[42:39] Scott Faris: I hope that listeners gain a better understanding of what goes into being a Production Stage Manager and the importance of collaboration in theater.

[42:59] Scott Faris: If anyone is interested in learning more about my work or the projects I’m involved in, they can check out my website at scottfarisdirector.com.

[43:19] Scott Faris: I appreciate the opportunity to discuss my journey and the impact that theater has had on my life.

[43:39] Scott Faris: Thank you again for this conversation. I hope to inspire others to pursue their passions in the arts.

[43:59] Scott Faris: Remember, every performance is a chance to create something magical, and I’m excited to see what the future holds.

[44:19] Scott Faris: Let’s keep the conversation going about the importance of theater and the incredible people who make it happen.

[44:39] Scott Faris: I’m always open to connecting with fellow theater enthusiasts and sharing our love for the stage.

[44:59] Scott Faris: Thank you for listening, and I hope you enjoy the rest of the podcast.

[45:29] Scott Faris: It’s been a pleasure to be here and share my experiences with you all.

[45:49] Scott Faris: Let’s continue to celebrate the magic of theater together.