Two-time Tony nominee Christopher Sieber, one of Broadway’s finest comedic actors, is currently earning laugh after laugh in the new musical Death Becomes Her, adapted from the film of the same name, at the Lunt-Fontanne Theatre.
Sieber plays Ernest Menville, the love interest who comes between longtime rivals Madeline Ashton and Helen Sharp, hilariously played by Megan Hilty and Jennifer Simard, respectively. And, Sieber is equally riotous in his 13th Broadway outing, which is directed and choreographed by Christopher Gattelli.
The Minnesota native made his Broadway debut in 1997, playing Agis opposite Betty Buckley, Susan Egan, and F. Murray Abraham in the 18th century-set musical comedy Triumph of Love. Since that time, he has earned two Tony nominations: for his work as Sir Dennis Galahad, The Black Knight, and Prince Herbert's Father in 2005 Tony winner Spamalot and for playing the vertically challenged Lord Farquaad in David Lindsay-Abaire and Jeanine Tesori's Shrek the Musical, based on the DreamWorks Animation hit.
Sieber's other Broadway credits include the Tony-winning revival of Company, where he was first paired with co-star Simard; The Prom; Matilda; Pippin; La Cage aux Folles; Chicago; Thoroughly Modern Millie; Into the Woods; and Beauty and the Beast. He has also been seen on screen in Blue Bloods, Law & Order: SVU, The Good Wife, The Good Fight, Elementary, Ed, Sex and the City, Pushing Daisies, It’s All Relative, Two of a Kind, Guiding Light, All My Children, and Another World.
In the interview below for the Playbill series How Did I Get Here—spotlighting not only actors, but directors, designers, musicians, and others who work on and off the stage to create the magic that is live theatre—Sieber dishes on his most memorable day job, and gives advice for those starting out.
Where did you train/study?
Christopher Sieber: I went to The American Musical and Dramatic Academy here in NYC.
Was there a teacher who was particularly impactful/helpful? What made this instructor stand out?
There
were teachers at AMDA, but the teachers who changed my life were in
high school: Jane Gilles, Henry Hebert, Deb Bendix, and Susan Novak. They
all saw something in me that I did not. They literally told me to get out
of Minnesota and head to N.Y. or L.A. I thank them every time I see them.
Do you have a favorite moment in the musical for Ernest? What makes that part of the show particularly special?
“Poor
Ernest.” He’s literally a pawn in a jealousy game. Stuck in the middle.
I do love that at the very end, he has won his own game on his terms. Vindication!
You and Jennifer Simard previously made comedy magic in Company,
and you're again starring with her as well as Megan Hilty and Michelle
Williams. What's it like sharing the stage with so many talented women?
All three are powerhouses! There is a phrase: “Lead, follow, or get out of the way….” I get out of the way.
You made your Broadway debut in Triumph of Love opposite two acting greats, Betty Buckley and F. Murray Abraham. What stands out for you about that first Broadway experience?
I
was a kid! What a wonderful and mind-boggling experience! I was on
stage with legends, and I’m still friends with all of that small but
powerful cast. I saw my very first Broadway show at that theatre (the
Royale, now Jacobs), Speed-the-Plow with Madonna. I sat in the
seat K106, which is up in the last row of the balcony against the wall
of the spot booth, and then I made my Broadway debut there with Triumph of Love. Then, I got to return to do Company. That theatre has magic for me.
Do you have a dream stage role or roles or any role you'd love to revisit?
I
love what I do. I really do. The roles I have done were all special, and
I am always grateful for the chance to create a character. However,
when it’s time to move on, you must, and you know when it’s time. You want
to stay in love, so I leave while I still am. Oh, and to answer the
dream role question: I am still young enough to play Harold Hill.
Tell me about a time you almost gave up but didn’t.
There
were so many times I wanted to quit; ask any performer, and they will
probably say the same thing. But I didn’t. I had a pity party for about a
day and then got back to it…I still look at other options every now and
then, but I think I would crumble and disintegrate if I couldn't do
what I get to do.
What do you consider your big break?
There
was a show that was to be my Broadway debut, Paper Moon. We closed
before we made it to Broadway even though we all signed our production
contracts—so that was, of course, disappointing. However, the big break
was: someone trusted me, someone saw me, and wanted me in their Broadway
show—that was a major moment. I knew then, even though it didn’t
happen, that it was possible.
What is the most memorable day job you ever had?
The
most memorable or the most soul-crushing? I guess it was my early start
in showbiz in ninth grade. I was asked to wear a Twinkie the Kid costume (yes, the no-expiration-date snack cakes). I was to portray
their mascot in a light golden brown foam Twinkie costume, with boots
and a cowboy hat, and hand out the prepackaged snacks at a large mall. I
thought it would be fun. I have never been kicked, smacked, and
assaulted so much by little children in my life. I was a fun-loving
Twinkie handing out free samples, why did they kick so much? Why? I made
$40 for the day, and said no more Mr. Twinkie.
Is there a person or people you most respect in your field and why?
I
have to say the crew of any Broadway show are true heroes. They make
the show go, they keep us safe, they fix the tech glitch. We are just on
for the ride. Also, our stage management teams have a daunting task of
keeping track of every single detail in the show. They are always on
call and can solve any problem in two seconds or less.
Tell me about a job/opportunity you really wanted but didn’t get. How did you get over that disappointment?
There
are always things that you want, but didn’t get. I learned decades ago
to nail that audition every time. Hit it out of the ball park. Go in and
kick butt and know that most of the time it’s not about you, and that’s
okay, but don't dwell on it. Move on and go to the next one. That being
said, I would have made a very controversial, yet poignant “Pepper” in Annie.
What advice would you give your younger self or anyone starting out?
Pay
attention to the human zoo. Get off your phones and social media if you
want to know human behavior. We (humans) are weird creatures. Talk to
each other without a phone. Listen to each other without a phone.
Say “yes” as much as possible. There is always something amazing that will come from that. Even if it’s a bad experience or not a good show, you will have the experience and, most of all, knowledge of what you don't want. Plus, think of all the fun stories you will also have!
What do you wish you knew starting out that you know now?
I wish I knew that you have to go through the good and the bad. It will be tough, really tough.
What is your proudest achievement as an actor?
I
think my proudest achievement is getting the privilege of doing what I
do. I get to make 1,500 people laugh eight times a week at the Lunt. I get to
let people forget the outside world for a while, and I will always be
grateful for that.
Company of Death Becomes Her
Taurean Everett and cast of Death Becomes Her
Michelle Williams, Megan Hilty, and cast of Death Becomes Her
Michelle Williams and cast of Death Becomes Her
Megan Hilty, Jennifer Simard, Josh Lamon, and Christopher Sieber in Death Becomes Her
Megan Hilty and Jennifer Simard in Death Becomes Her
Megan Hilty and cast of Death Becomes Her
Jennifer Simard, Megan Hilty, and Christopher Sieber in Death Becomes Her
Jennifer Simard, Megan Hilty, Christopher Sieber, and cast of Death Becomes Her
Christopher Sieber in Death Becomes Her
Jennifer Simard and Christopher Sieber in Death Becomes Her
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