Gavin Creel, Broadway's Bright Star, Dies at 48
In his honor, my Q&A with him from 2011
September 30, 2024
Out artist Gavin Creel, who won the Tony for his sublime performance as Cornelius in Bette Midler’s triumphant production of Hello, Dolly!, died Monday, just two months after being diagnosed with a rare and aggressive sarcoma.
He was just 48.
For the many people who saw his work on Broadway — he was also Tony-nominated for Thoroughly Modern Millie and his signature performance in Hair, and was well-known for his work in The Book of Mormon and Waitress — the news is a shock. He was a vital talent on the stage, effervescent and admirable.
For those of us who encountered Gavin in real life, the news feels personal. He deserved so much better than this.
I first interviewed him in 2008 while I was guest-blogging at Towleroad during one of its founder, Andy Towle’s, vacations. The following year, I said hello when he did Broadway Bares, and I also chatted with him at the GLAAD Media Awards in NYC in 2010.
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In 2011, I interviewed him for my own site on the occasion of the release of his lovely album Quiet.
The encounter I most remember was at the 2017 Drama Desk Awards. I was there with some starfucker friends, helping them get a photo with Daniel Craig (long story) when I was suddenly alone for a bit in the lobby. I bumped into Gavin, who shocked me by remembering me and called me handsome. He was faultlessly polite as always, and — also as always — down to earth.
In spite of so much success and sharing the stage with Bette Midler, as he was at that time, he was in no rush to move on from me to whatever came next.
What came next was he won the Drama Desk for Outstanding Featured Actor in a Musical that evening, and went on to claim the Tony later that year.
I’m so, so happy knowing that Gavin won the top honor in his field before his untimely death.
In his honor, I’m republishing most of my 2011 interview with him:
January 2011
Out artist Gavin Creel is best known for his Tony-nominated performances in Hair and Thoroughly Modern Millie (both of which I saw, and in both of which he was award-worthy), but he's also a singer/songwriter more than capable of switching gears from a Broadway sound. His recent EP Quiet is a collection of six dreamy acoustic works that showcase his remarkable vocal and writing talents and that make you kinda wish he were your best friend.
You've accomplished so much — what's been a major highlight?
HIGHLIGHT OF HIGHLIGHTS: Marching in the National Equality March on October 11, 2009, with the cast of Hair and 1,500 other supporters from the theatre community.
Do you think of your activist side as separate from your artistic pursuits, or are the two intertwined?
My perfect dream is to have them coexist and feed off one another. I am inspired by visual artists who are able to put their passions and views into their work. I want to do that with performing and acting.
How did you decide to be an out artist — was there resistance to it from anyone on your team, and do you think it's cost you any jobs?
I think I always knew at some point I would come out in the press, but when I did it, it wasn't really calculated or planned or anything like that. I just said it and in that moment decided, “Enough is enough. If I keep it hidden, then I am giving people something to whisper about.” I don't want whispers, I want screams, baby!
“I don’t want whispers, I want screams, baby!”
Your song “Hot Ohio” deals with a smalltown boy who feels trapped. Is it your message to kids who think they won't be able to steer their own destinies? What's your best advice for making decisions involving leaving home or trying new things that may or may not succeed?
“Hot Ohio” is a perfect marriage of the kid dreaming of a better place, and that same soul still loving the sounds and goodness of a smalltown upbringing. I never want to disrespect my hometown or where I got my start, but it was definitely a place that didn't exactly celebrate diversity. Maybe not its fault, but, I hope young people who listen to that song see that there is real possibility in dreaming and they have to take a chance on something to find real living. Whether or not it will succeed or fail is almost irrelevant. The going for it is the important part.
Why did you decide to do an acoustic EP?
Simple is good. Simple is our friend. I just wanted to simplify, and frankly, it was a cheaper way for me to get more music out. I hadn't had a record out in three years and I realized, “I want people to have some more new tunes.” We have loads more on deck. I'm excited about what is coming next.
Could you describe why each of the six songs HAD to be on this record and what they mean to you?
Overall: I want the listener to press play, close his/her eyes and walk through a quiet part of life with me. It isn't always easy, and it can be pretty lonely, and loneliness is present throughout this record.
“Green to Grey”: Waiting ... I write about it a lot. I know there is a big lesson in that. I'll always be waiting if I keep letting myself. Nothing ever arrives. Ever. So this song is about appreciating now, regardless of what I do or don't have, or think I might want. All the while, still hoping that someone will come along to share it with me.
“Love Fell Down”: But sometimes, no matter how good someone is on paper, it just isn't destined to work ... no matter how hard I try. But I still try ... and it can feel like shit.
“Lonesome”: I love this song. I love the time signature, I love the rise and fall of it. This is the barest of them all. The bottom. The hurt. But amidst it all, this song realizes I have to hurt to dream. I have to deal with endings so that new things can start.
“Anything at All”: After the bottom, when I take my first real breath and sort of say, “Okay ... what do I have here? What am I doing?” and look around, it always seems like I see the world getting along just fine. I wanted to capture that. This song doesn't rhyme, it has no meter, it is meant to feel like one big intake of air and one big release of the simplest, scariest statement: I just want a little love. That's all.
“Small Words”: Then you asses the damages. When you take responsibility. I play the biggest part in everything that happens and everything I get. This song was one of the hardest Robbie (Roth, my cowriter on this record) and I have ever written. It did not come easily. I think because it is so simple. But we wanted to get it just right because those three little words are everything, and yet so hard to say and truly mean. I can't fake it, and I can't say it until I'm ready. Sometimes I think we wish we could call it up more easily. Such small words.
“We’ll try to create some more beauty, somewhere … broken hearts and all.”
“Hot in Ohio”: Finally, I look back. I reminisce, and I return to my inner brat ... to start dreaming again. It isn't over yet, right? Come on carnival wagon. I'm not gonna be normal, I know that, so let's get the freaks together and ride out of town. Then we'll try to create some more beauty, somewhere ... broken hearts and all.
How did the London and New York runs of Hair compare?
Similar, but very different. I loved both for different reasons, but nothing compares to us moving into that Hirschfeld Theatre for the first time and declaring it as our home and setting up shop. The unknown of it all and the excitement that followed — that was a once-in-a-lifetime experience. I'll cherish it forever.
Did you have wild fans or wannabe groupies connected with your Hair experience?
Yes. We called them Hairballs. They didn't like it, but it made me happy.
What would be a dream role for you?
Harold Hill in The Music Man. But I want to direct it, too. Control freak? Most definitely.
What is the best way for fans to stay in touch with you?
I am dialing back my techno communication ways, trying to spend less time in the virtual, so ... if you want to contact me ... come to a gig. Come say hi. Or, if I'm in a show on Broadway, drop a real note to the stage door. I'll try to write back as soon as I have time!
thanks for this!
So sorry for the loss. RIP Gavin. However, it ultimately points out, to me, that being gay is still a dangerous thing. I've been gay all my life, so don't get me wrong. It all just makes me wonder sometimes.