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    D'oh-eth!

    Rick Miller marries The Simpsons with Macbeth for the (almost) last time in zanyone-man MacHomer

    Lindsey Wilson
    Nov 12, 2012 | 12:37 pm
    • Is this a donut I see before me? Mmmm. Donut.
    • Rick Miller is a Canadian performer, playwright and director. His one-manMacHomer hits the Winspear Opera House November 15.
    • In addition to his remarkable voice, Miller employs a variety of multimedia tohelp set the mood for MacHomer.
    • Woohoo! Miller selected Dallas as the next-to-last stop on MacHomer's farewelltour.

    I’m talking on the phone with Rick Miller when we’re suddenly interrupted by Professor Frink. Then Marge Simpson drops in for a bit, followed by Barney Gumble and, later, Mr. Burns. Not to be left out, Krusty the Klown gets in a few words.

    Actually, it’s all Rick Miller, the mastermind behind the one-man theatrical mash-up of Macbeth and The Simpsons called MacHomer. He’s been performing the critically acclaimed show all over the world — more than 175 cities — for 17-plus years. On November 15, Rick brings his self-proclaimed “impressively weird skills” to the Winspear Opera House for the show’s second-to-last performance — ever.

    He took the time to chat from his home in Toronto about the show’s origins, Shakespeare’s enduring resonance and why Cletus the Slack-Jawed Yokel translates the world over.

    CultureMap: We’ve heard that MacHomer was born out of some backstage shenanigans. How did you come up with the idea?

    Rick Miller: I had a very small part in a production of Macbeth — Murderer #2 to be exact — so I had a lot of downtime backstage to just drift off. My brain likes to crash things together, and I thought it would be fun to combine The Simpsons with our show.

    “It’s such a kick seeing how something as culturally relevant as The Simpsons can bring people to the theater who might have otherwise been scared off by Shakespeare,” Miller says.

    It was only meant to be a 10-minute trick for the cast party, with a lot of in-jokes about our actors thrown in, but it was so well-received that it only seemed natural to develop it further. It grew into a sketch, then a fringe festival show, and then I hired people to help turn it into something that could fill a theater as big as the Winspear.

    CM: And you’ve been performing the show for 17 years?

    RM: Off and on. It’s very hard on my voice, obviously, and my body, and it’s not like someone can easily fill in for me. Plus I don’t like to be away from my family for too long. But it’s such a kick seeing how something as culturally relevant as The Simpsons can bring people to the theater who might have otherwise been scared off by Shakespeare. Hardcore fans of both genres walk away pleased.

    CM: MacHomer is advertised as being roughly 85 percent of Shakespeare’s script performed by more than 50 different Simpsons characters. What are some of the more obscure characters we get to meet?

    RM: There are literally hundreds of Simpsons characters, and it’s practically impossible to stuff them all into a 12-character play, but we mess around with who plays whom and who gets at least a line. Hans Moleman shows up, as does Martin Prince and Lionel Hutz — even Llewellyn Sinclair, the Jon Lovitz-voiced director from the episode “A Streetcar Named Marge.”

    CM: It’s kind of like a game for the audience to spot all the characters.

    RM: Exactly. But all the biggies are there.

    CM: Who has the most difficult voice to impersonate?

    RM: You don’t realize how many gravelly, high-pitched characters there are until you get going. Marge, she’s not grating on my throat at all. (Laughs) Krusty is brutal; it’s like doing Tom Waits for an extended period of time. A lot of the kids are also hard, because they’re mainly voiced by women, but I just kill them off early. (Laughs again) Because it’s my show and I can do what I want.

    CM: Who’s your favorite?

    RM:(Lapses into Mr. Burns’ voice) I love doing Mr. Burns because he’s just so evil and smooth and charming with his consonants. It’s relaxing to do his voice. I also hunch myself in and tap my fingers like he does. I try to physicalize characters as I’m doing them.

    CM: With how quickly you change characters? While reciting Shakespeare? That sounds impossible.

    RM: Actually, that’s what The Simpsons cast said to me when I met them. They happened to be in Edinburgh, Scotland, while I was doing the fringe festival there and extended an invitation. I though “Oh no, how are they going to react to me doing this show?”

    “The Simpsons has been on for 23 years, and part of the reason is because it offers such a well-defined world full of noble characters,” Miller says.

    But they loved it! I was being led around the room doing voices for Hank Azaria and Dan Castellaneta, and they were impressed that I could so closely impersonate their characters while speaking in iambic pentameter; it’s not easy to get that stuff out of your mouth. That was just surreal.

    CM: You’ve performed this show everywhere from your native Canada to Australia to Bogota, Colombia. How does it translate across cultures?

    RM: You’d be surprised! The Simpsons has been on for 23 years, and part of the reason is because it offers such a well-defined world full of noble characters. Homer may be an idiot, but he also fiercely loves his family. Barney is a drunken lech but he has the soul of a poet.

    That line from the Springfield Film Festival episode, “Don’t cry for me, I’m already dead”? I think that perfectly explains why The Simpsons characters are such a perfect fit for Shakespearean tragedy. Everyone’s got an inner Homer.

    Each time I take the show to Scotland, there’s double the recognition factor, because obviously they know their Macbeth, but they are also just as knowledgeable about The Simpsons. English-speaking countries understand small-town suburbia and the kooky people that inhabit it — especially the rednecks.

    CM: Everybody gets Cletus?

    RM: Everybody gets Cletus.

    CM: You originally trained to be an architect, and about 300 of your drawings appear in the show’s design.

    RM: Yes, our graphics team turned my drawings into hand-painted slides, which appear onstage along with all sorts of other multimedia. My blood, sweat and tears are literally all over this show.

    The video aspects that play behind me are just one long DVD; there aren’t any cues that can be adjusted to my performance. Because I’m facing the audience the entire time, I don’t actually see any of the graphics behind me. But after 17 years, I’ve got every drip and drop memorized.

    CM: Part of what makes this show so unique is getting mentally dizzy while watching you switch voices at lightning speed. What kinds of reactions have you enjoyed from your audience?

    RM: Some people have told me that they watch the show with their eyes closed. Seeing the way today’s younger generations consume entertainment, that kind of makes sense: Screens are getting smaller and smaller, and we always have our headphones in. Aural versus visual.

    But if it gets kids excited about going to the theater, I don’t care how they experience the show!

    CM: You end MacHomer with something that has nothing to do with Shakespeare: a 25-voice rendition of Queen’s “Bohemian Rhapsody.” Fifty voices weren’t enough?

    RM:(Laughs) It’s 25 famous voices from the music industry, and it’s just gratuitous entertainment for the audience. It’s my show — if I want to imitate Bono and be a rock star onstage for a while, why not?

    --

    MacHomer plays November 15 at the Winspear Opera House.

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    Football for Footlights

    Dallas Cowboys player debuts on Broadway before heading to Texas

    Lindsey Wilson
    Jun 16, 2025 | 1:57 pm
    Solomon Thomas MJ The Musical
    Photo by Andy Henderson
    Solomon Thomas onstage at the Neil Simon Theatre in New York City.

    Before he hits the field for the Dallas Cowboys’ 2025 season, NFL veteran Solomon Thomas took a final bow in New York City — not at MetLife Stadium, but on Broadway.

    Earlier this year, Thomas signed a two-year, $8 million contract with the Cowboys after three seasons with the New York Jets. But before heading to Oxnard, California, for training camp with the 'Boys in July, he gave the Big Apple a dramatic farewell befitting a true Broadway fan.

    On June 13, Thomas made his Broadway debut in MJ the Musical, appearing for one night only in a special cameo role. The hit show, which celebrates the life and career of Michael Jackson, has long been a favorite of Thomas', who’s seen it six times.

    “I cannot think of a better way to celebrate my time in New York than by making my Broadway debut!” Thomas shared in a statement ahead of the performance. “I am so grateful to MJ for making this dream come true and for the support over the past few years. It’s truly an honor to be able to witness the greatness of these performers. I hope to see everyone at the Neil Simon Theatre on June 13!”

    Solomon Thomas outside MJ The MusicalSolomon Thomas outside "MJ The Musical" at the Neil Simon Theatre.Photo by Andy Henderson

    Thomas famously brought nearly a dozen teammates to see MJ, a moment featured in an episode of HBO’s Hard Knocks. He has also served as a CBS theater correspondent and presented at the 2024 Tony Awards.

    Thomas' special cameo is reminiscent of when Supreme Court Justice Ketanji Brown Jackson made her Broadway debut in late 2024 with a walk-on role in the hit jukebox musical & Juliet at the Stephen Sondheim Theatre.

    “Solly has been such a great supporter and friend of Broadway and our show,” said MJ producer Lia Vollack in the statement. “We couldn’t think of a better way to thank him for his time in New York: giving him his Broadway debut!”

    MJ the Musical opened in 2021 and focuses on the creative process behind Michael Jackson’s 1992 Dangerous World Tour. With a book by two-time Pulitzer Prize winner Lynn Nottage and direction and choreography by Tony Award winner Christopher Wheeldon, the show blends dazzling spectacle with emotional depth. It earned four 2022 Tony Awards, including Best Choreography, Lighting Design, and Sound Design in a Musical.

    The current Broadway cast stars Elijah Rhea Johnson, who made his Broadway debut in the show in April 2023. Johnson was involved in the development of the role as “Middle Michael” and succeeded original star Myles Frost, who made history in 2022 as the youngest performer ever to win the Tony for Best Leading Actor in a Musical.

    The national tour of MJ recently stopped at Fort Worth’s Bass Hall in May as part of the 2024–25 Broadway at the Bass season. Other productions are currently running in London, Hamburg, and Sydney.

    Solomon Thomas MJ The MusicalThomas in his Broadway dressing room.Photo by Andy Henderson

    Solomon Thomas MJ The Musical
      

    Photo by Andy Henderson

    Solomon Thomas onstage at the Neil Simon Theatre in New York City.

    While Thomas is known now for both football and footlights, his off-the-field work continues to make a difference. He co-founded the nonprofit The Defensive Line with his parents in honor of his sister Ella, who died by suicide in 2018. Now in his ninth NFL season, the three-time Walter Payton Man of the Year nominee works to end the epidemic of youth suicide, especially among young people of color, by promoting open, honest conversations around mental health.

    As Thomas trades curtain calls for play calls, there’s no doubt he’ll bring the same heart and presence to the Cowboys locker room that he brought to the Broadway stage. And here's hoping the Dallas Cowboys Cheerleaders don't mind sharing the spotlight with Broadway's newest star.

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