Beginnings

My stage debut at the age of twelve ... on the front page of The Garner News, yet. I played Linus in a children's theatre production of "You're a Good Man, Charlie Brown." The (unsigned) critic wrote, "Ross was excellent as the twinkle-toed performer" of the "My Blanket and Me" number. My father enjoyed that one, I can tell you.

A vivid group scene from the David Rogers stage version of “Tom Jones.” Yrs. truly on the extreme left as Partridge, the narrator, reacting to Tom's unintentional slaying of a voluble Irish foe. This production was notable to me because I was double-cast as the increasingly-hysterical Highwayman, whose attempts to ply his trade end with his surrendering his own money. I was always a physically self-conscious actor, but all it took to open me up on this occasion was the addition of a simple black eye-mask. I have never felt freer on-stage, and (I think) was never funnier; the scene always stopped the show cold.

An ersatz moment from a musical review, the title of which embarrasses me. It was largely cobbled together by me and my best friend (whom I will not identify here, as this was not an experience he cherished). Mike and I gathered all the comedy spots from radio, movie and British television sketches—everything from Monty Python to The Marx Bros. (I also tore off a funny little sketch about a pair of battling eldery sisters.) Perhaps unduly influenced by Bob Fosse's ego, if not his talent, I selected, choreographed and performed in the musical numbers. My favorite was a duet of "Money, Money" from "Cabaret" with the adorable Lisa Yow (not pictured here, alas). I also relished playing Groucho in the "Jamison, take a letter" scene from "Animal Crackers." We performed the show al fresco, and got rained out on opening night -- the first of only two. So, one performance and off -- much to Mike's relief. That's me on the left, making a not very convincing threat with an iron pipe.

In the early 80s some friends and I got together in an attempt at weekend cabaret. The only restaurateur who bit was the owner of Jung's Far East. We performed in the fabled Soong Room—as Anna Russell was fond of saying, I'm not making this up, you know. We did two thematic cabarets before Mr. Jung rang down the curtain permanently. But it was fun while it lasted—especially since I got to do Noel Coward's "Nina" for the travel-themed show. Half of that one was made up of Coward songs; no one else wrote better, and funnier, travelogues. This is my publicity photo. I wish I had that boy's hair.

The performance I'm most proud of, in the role I most wanted to play. As Toby in "Sweeney Todd" at St. Mary's College in Raleigh -- the first production of the Sondheim masterpiece in the Southeast. This is the "Not While I'm Around" scene. The woman playing Mrs. Lovett had absolutely no sense of humor. No one in the audience seemed to mind. I think they simply responded to the character's grotesquely funny pragmatism... but GOD, was she a pill. With two unfortunate, ill-advised lapses, "Sweeney" was pretty much my swan song as an actor. What a way to go out...

Headshot or mug shot? Taken for a production of “Side by Side by Sondheim,” after which the photographer remarked, "You really aren't comfortable having your picture taken, are you?" I'm not.