Interview: Jim Caruso on Cast Party

What began as a Christmas party with friends and a piano in 2002 has become one of New York’s best-loved nights out, and Jim Caruso’s Cast Party is now returning to London’s Crazy Coqs for three nights only, from 4 to 8 November. Joined by pianist Billy Stritch, Jim calls it an “extreme open mic”: a variety show built in real time from whoever is in the room. Red Bus Londinium asked him how it all started, and how it balances established stars with unknown newcomers.

Red Bus: Do you remember the first Cast Party, and did you imagine it would last more than twenty years?

Jim Caruso: It began as a Christmas party at the King Kong Room in December 2002. I invited friends, there was a piano, and naturally everyone started singing. The management asked us to come back, and apparently I’ve never learned how to leave a party.

There was certainly no business plan involving international travel and two decades of Mondays. But something clicked: performers loved having somewhere to gather, sing, and cheer each other on. We moved to Birdland in 2004, and that spirit is still the whole point. The longevity astonishes me. The talent explains it.

Red Bus: How would you describe the London format, and how do you balance established names with newcomers?

Jim Caruso: I call it an “extreme open mic,” which sounds like something requiring protective equipment. In fact, it’s a variety show built in real time from the people in the room, with Billy Stritch at the piano and me connecting the dots.

The spontaneity is real, and there is no rehearsal. But there’s a host shaping the evening and a spectacular musician supporting the singers. An established star might be followed by someone we’ve never heard before, and that discovery can be just as thrilling. A famous name gets a lovely welcome, but so does a wonderful performance by someone whose name we’re learning. We’re celebrating talent, and talent doesn’t always arrive with a publicist.

Red Bus: How do London audiences differ, and does Crazy Coqs change the evening?

Jim Caruso: At Birdland in NYC, many of the regulars know the rhythm of the evening. They’re practically extended family. In London, there’s the added pleasure of introducing ourselves and discovering what makes a different room laugh, listen, and suddenly come alive.

London certainly knows its theatre, so I feel we’re among people who appreciate both a beautifully delivered lyric and the glorious absurdity of show business. And Crazy Coqs is wonderfully intimate. You can see people listening. A quiet song can draw everyone closer, and a big laugh travels very quickly. It feels like a fabulous private party for which someone has thoughtfully sold tickets.

Red Bus: Is there a Liza story that shows what she’s like away from the spotlight?

Jim Caruso: One of my favourite memories actually happened in the spotlight, but it gives you a glimpse of the woman behind it.

We toured the world with what became Liza’s at the Palace, and our run at The Coliseum in London felt very historic. Liza would sometimes turn upstage, cover her microphone, and ask us where we should go to dinner. “Balan’s or Joe Allen?” There we were, in the middle of this enormous theatrical event, and food was being discussed. I found that completely endearing. To the audience, she was Liza Minnelli making a triumphant return to the stage. To us, she was also our very funny friend making supper plans. I was trying to remember my choreography and appreciate the moment. Apparently she could do all that and consider the menu. Away from the spotlight, Liza throws the best parties ever. She piles Kentucky Fried Chicken and mashed potatoes into sterling bowls, then everyone retires to the music room to sing into the wee hours. Those singers have included Janet Jackson, Tony Bennett, and Madonna…all sharing the music and the fun. Her parties were the impetus for what became Cast Party!

Red Bus: What would you say to someone who loves theatre but has no intention of singing?

Jim Caruso: Please come. You are an essential member of the company. Singers need listeners, and an enthusiastic audience can turn a lovely performance into something extraordinary.

There’s absolutely no compulsory singing. I’m not going to drag you out of your chair because you made eye contact. Settle in, enjoy Billy’s extraordinary playing, and let us introduce you to some remarkable people. I want a first-timer to feel included from the opening moments, with no homework and no secret handshake. You may arrive knowing nobody and leave with several new friends and favourite performers. That’s a very good night out.