A chat with Suzanne Mann before her first cabaret performance at Homewood Theatre

Mention Suzanne Mann to a theater fan in Birmingham, and most people will have memories of her on stage. Whether at Town and Gown in classic musicals (she met her husband, Jack Mann, in one of them) or with the Wit’s Other End doing sketch comedy, she’s one of a handful of people who is genuinely a Birmingham theater legend. And she’s not done, yet, taking to the stage this weekend for her first-ever cabaret performance. Before that show Saturday at Homewood Theatre, she reminisced about her storied career and the many things she has accomplished on stage and off.

Tell me a bit about your background.

I grew up in Chalkville playing in the woods and making mud pies.  My family moved there at the end of WWII.  So, I’m really a country girl at heart.  I skipped the second grade, graduated from Hewitt-Trussville High School. I was a cheerleader, homecoming queen, senior class vocalist and not a very good student!

What’s your first memory of being on stage?
My mom dressed my brother and me as Sunbonnet Sue and whatever his name was, gave us toy ukeleles and put us on stage at his elementary school.  She sat behind the curtain and played a real uke, we pretended to play, don’t remember what we sang but I think we must have been very cute.  I was 4!

How did you meet Jack, who would become your husband?
Many of your readers may already know this as you have already put it in print.  We met in the 1963 production of “The Music Man” at Town and Gown Theatre.  I was in the chorus, he had a starring role as Harold Hill’s sidekick, Marcellus Washburn. We got married the next year:  I addressed my wedding invitations in my “My Fair Lady” dressing room!

Any idea how many shows you’ve done, and do you have any favorites?
My time in the theater goes back many decades, and I have no idea how many shows I’ve done -– most of them took place from the ’60’s through the ’80’s.  When you do a show, each one takes on a personality of its own, and you find different ways to fall in love with them, primarily because of the people to whom you’ve been “joined at the hip” for weeks: they become a second family.  The shows that stand out as important to me in various ways were, of course, “The Music Man” (where I met my husband), “Gypsy” (I was just starting out and it got me noticed), then leads in “My Fair Lady,” “Camelot,” “Oklahoma.” Other roles followed that I enjoyed, particularly those that were supporting roles… not as much responsibility and lots more fun.  But as far as fun, meaningful or important I’d have to say that playing Agnes Gooch in “Mame” was the most fun, and the most meaningful were “I Do, I Do,” a two-person show opposite my husband, Jack Mann: we toured that one around the state in a Greyhound bus because there were so many props and a crew of about 10; and Lady Alice in “A Man for All Seasons.” It was directed by my son, Philip, who is now the executive director of the Virginia Samford Theatre.

In addition to your many theater roles, you were a member of Wits’ Other End, the comedy troupe. Can you tell me about that?
The Wits’ Other End Players were one of the highlights of my performing years.  We started it in June of 1977, and it ran its course over the next 15 years – five shows a week to begin with, then limited runs and lots of appearances at various business events, parties, etc.  People still come up to me and remind me of how funny we were and how much they enjoyed us (Jim and Cathy Rye, Jack and me, and Boots Carroll).  All of us learned a lot about timing, working in close proximity to an audience and pushing through when you’re exhausted… even if happily so.

You also had an education career, correct?
I was a resource teacher for gifted students in the Mountain Brook Schools. That also started in 1977. I went to all four elementary schools the first year, two schools the second, and was at Crestline until my retirement in 2001.  I loved what I did with all my students -– grades three to six, particularly the 20-plus productions of Shakespeare’s plays that we did.  The kids loved it, the whole school would get involved, and the students never developed a fear of reading Shakespeare like so many of us did.  He’s my favorite playwright.

How did the cabaret show come about? Is this your first one?
My friend, Jan Hunter, talked me into doing this, and yes, this is my first cabaret.  It is very different in that there is no script, director, producer, etc., so I’ve had to come up with everything.  But it’s good to take a risk and accept a challenge – keeps the juices flowing!  I don’t really have a theme for this show, mainly because I’m singing many songs that I’ve always wanted to sing. And I wouldn’t be doing this without Debbie Mielke at the piano. She’s amazing!

What kind of music to you listen to?
I like most all music, except maybe hip-hop and rap.  I love listening to Mozart, Liszt, Chopin, Sondheim, Gershwin, Cole Porter, Rogers & Hammerstein, Lerner & Loewe. I love to hum or sing along, particularly on some of the songs I know I’ll never sing in public –  it’s such fun.  I adore singing along to “Sweeney Todd.”  I always wanted to play Mrs. Lovett, but it escaped me, as did Mrs. Anna from “The King and I.”

What’s a favorite performance you’ve seen on stage?
Years ago my husband and I were in NYC and walked up to the ticket booth at “Grey Gardens.” We got seats on the front row.  Christine Ebersole was the star, and I didn’t even know who she was.  I never got over her performance.  She was so peerless that I swore I would never go on stage again!  How could I possibly?  Just so impressed.

What’s a great piece of advice you were given along the way?
The late Randy Marsh said to always be in the moment.  And if you have a physical move that you want to do, or do naturally, only do it three times, no more; otherwise, it loses its effectiveness.  It’s overkill.

Can you tell me about a time something went wrong?
I was on a completely blank stage in a wheelchair for Miss Mona’s final scene in “The Best Little Whorehouse in Texas,” singing “The Bus From Amarillo.”  I went completely blank for about a nano second, my life flashed by, and it scared me so badly that I made up lyrics – that rhymed! – for the part I had forgotten.  Still frightening, and no, I don’t do improv!

What’s something about you that might surprise people?
Most of your readers may be surprised to learn that my ears are not pierced – I’m a complete and total sissy.

What are you reading?
I’m reading a wonderful book by a retired professor named Gayle Greene named “Immeasurable Outcomes: Teaching Shakespeare in the Age of the Algorithm.” Anyone interested in the way education works – or should work –- will enjoy it.

Are you listening to or watching anything?
I don’t listen to podcasts and probably should.  I do watch too much TV, mainly on BritBox and Acorn – they have wonderful series.

Do you have any pre-performance rituals?
On Saturday, May 29, I’ll follow my pre-show ritual:  At half-hour I want to observe quiet, think about what I’m supposed to be doing in a few minutes. I don’t like to talk and often go off in a quiet corner to be by myself.  That’s where I thank God for all the abilities He’s given me, to help me remember all my lines and lyrics, and to not trip over the furniture.

What’s next for you?
I have not a clue what I’ll be doing next!  Opportunities for performing at this stage of my life are few and far between.

Suzanne Mann Cabaret Show, March 29 at 7:30 p.m. at Homewood Theatre.