Imagine a world where laughter and tears intertwine, where a beloved actor sheds his Hollywood skin to become a vessel of pure, unadulterated emotion. That's precisely what John C. Reilly is offering with his latest endeavor, a song and dance show called "Mister Romantic" that's as beautiful as it is profoundly moving.
Next week, Ireland will have the distinct pleasure of hosting the acclaimed film star as he embodies Mister Romantic, a slightly disheveled character who emerges from a steamer trunk at the start of each performance. This isn't just another celebrity vanity project; it's a heartfelt exploration of love, loss, and the human condition, set to the timeless tunes of Johnny Mercer, Tom Waits, Irving Berlin, and others.
But here's where it gets controversial... Reilly isn't simply covering these iconic songs; he's channeling them, using them as a vehicle to express a depth of feeling rarely seen on stage these days. Is he just trying to cash in on nostalgia, or is there something deeper at play?
Reilly’s performances have always hinted at a vaudevillian spirit. Think about his brilliant portrayal of Oliver Hardy in "Stan & Ollie," a film where he and Steve Coogan meticulously recreated classic Laurel and Hardy routines. Or consider his unforgettable double act with Will Ferrell in comedies like "Step Brothers" and "Talladega Nights." And who could forget his role as the endearingly bizarre TV doctor Steve Brule in "Check it Out! with Dr. Steve Brule"? These roles, in their own unique ways, paved the way for the full-fledged theatricality of Mister Romantic.
Interestingly, Reilly's journey to the stage wasn't exactly a straight line. He started performing in musicals as a child – his explanation being that Shakespeare simply wasn't on offer in his South Side Chicago neighborhood. However, when he initially enrolled at DePaul University's theater school, his ambitions were set on becoming the next Robert De Niro, Al Pacino, or Gene Hackman. He saw musicals as something outside the realm of "serious" acting.
And this is the part most people miss... The turning point came with his role as Amos Hart in the 2002 film adaptation of "Chicago," alongside Catherine Zeta-Jones and Renée Zellweger. This experience fundamentally changed his perspective. He realized that musical performance wasn't just a valid art form, but one where he could excel, drawing on a lifetime of accumulated skills. It was a revelation that led him to embrace his talents rather than shy away from them.
"I also realised at that moment that the modern musical is an American invention," Reilly explained. "You can argue that opera and classical music were invented in Europe, but jazz and the American musical are really the only two art forms that we really originated here, you know?" There's a hint of bashful pride in his voice as he acknowledges this uniquely American contribution.
However, Reilly is far from naively optimistic about the current state of the United States. In fact, Mister Romantic was born from a complex blend of “despair and joy.” He openly admits to being deeply concerned about the direction the world is heading, fueled by a perceived lack of empathy. He views his show as a direct response to this trend, a way to “counteract this anti-empathy thing that’s happening in the world.”
He acknowledges his limitations, stating, “I’ve never been really good at making political statements, and in fact I don’t think entertainers’ political opinions really matter very much to the public at large, but I can sing, I can dance, I can tell jokes, I can tell people I love them...” For him, the core mission is simple: to foster connection, spread love, kindness, compassion, tolerance, and empathy.
To bring his vision to life, Reilly assembled a band of Grammy-winning musicians and dedicated himself to rigorous rehearsals. The initial concept for the show was surprisingly simple: “I want to come out of a steamer trunk.” He laughs, admitting that he didn't initially have a clear explanation for this peculiar entrance. Eventually, he conceived of Mister Romantic as a character who perpetually resides within the trunk, emerging only for these performances with a hazy recollection of what came before.
Mister Romantic's overarching goal is to find love during each show, a quest that inevitably ends in humorous failure. This sets the stage for improvised dancing, jokes, and pantomime, all woven seamlessly into the musical solos.
Reilly’s foundation in improvisation stems from his time in college, where he was profoundly influenced by Paul Sills, a founder of Chicago’s renowned Second City troupe, and Sills’s mother, Viola Spolin, whose book “Theater Games” became his bible for improv. He explains that Spolin started by teaching games to latchkey kids in Los Angeles, which she then developed into a comprehensive approach to acting.
Improvisation has remained a cornerstone of Reilly's work. Even the poignant character of Jim Kurring in Paul Thomas Anderson's "Magnolia" was born from improvisational exercises, with Reilly running around Los Angeles in a police costume while Anderson filmed him.
Reilly and Coogan used improvisation to improve a key scene in "Stan & Ollie". The original script didn’t feel true to how performers would speak to each other, so Reilly suggested they improvise based on their understanding of the bond between partners in a double act. Their raw, honest exchanges made it into the final script.
Much of the humor in Steve Brule is improvised. Reilly and the American comedy duo of Tim Heidecker and Eric Wareheim create the concepts, but Reilly improvises almost everything Steve says and does.
Reilly distinguishes between two schools of improvisation: one that embraces serious and even tragic themes, and another that focuses solely on comedy. While he appreciates comedic improv, he believes that limiting oneself to laughs means missing out on valuable opportunities to explore the full spectrum of human experience.
He emphasizes that life is a blend of comedy and drama, and that his acting reflects this reality. He strives to find the pathos in his comedic characters and the humor in his more serious roles, believing that this accurately reflects the complexities of human nature.
Here's a potentially controversial point: Reilly suggests that those who insist on keeping comedy and drama separate might be exhibiting a kind of closed-mindedness. "Fascists like to separate them – people that say, ‘Don’t get politics involved. Don’t get the true human experience involved. Just make us laugh.’”
He acknowledges that improvisation isn't for everyone, recalling an experience with an older Irish actor who disapproved of any deviation from the script.
Reilly has a deep affection for Ireland, visiting twice a year and cherishing the traditional Irish music he grew up with in Chicago. He speaks fondly of impromptu pub sessions, where he’s been captivated by the lyrical storytelling of everyday people. He even dreams of embarking on a pub tour with musicians like Cormac Begley and Lisa O’Neill.
He celebrates the egalitarian spirit of traditional Irish music sessions, where perfection isn't the goal. Quoting David Byrne of Talking Heads, he notes that “people don’t trust a perfect singer,” and that flaws and idiosyncrasies are what make a performance unique and relatable.
He draws a parallel between acting and singing, both of which he sees as forms of storytelling. However, he highlights the unique power of music to bypass the intellect and connect directly with the heart.
"I end up crying every show," he admits. "Someone asked me afterwards, ‘Were you really crying or was that an act?’ Of course I was crying!" He laughs, acknowledging the challenges of singing while emotional.
Singing, for Reilly, is a deeply therapeutic process. He finds that it helps him to overcome bouts of depression, attributing this effect to the vibrations of his vocal cords.
Reilly recognizes that his fascination with older forms of performance, such as musicals and vaudeville, is somewhat unusual. He sees himself as a clown, dedicated to the joy and betterment of humanity. He likens the act of performing on stage to a Mass, a shared experience between the performer and the audience.
So, what do you think about John C. Reilly's artistic journey? Is Mister Romantic a genuine expression of emotion, or just a celebrity indulging in nostalgia? Can art truly make a difference in a world grappling with complex issues? Do you agree with Reilly’s interpretation of those who separate comedy and drama? Share your thoughts in the comments below!
