Playing Dean Martin or anybody

The annual Dean Martin Festival was held June 18-19, 2010 in Steubenville, Ohio, the hometown of the star. Deana Martin, his daughter, appeared at the Naples Restaurant there, and then hosted a substantial part of the show on the grounds behind the Spot Bar. She played herself--a gracious lady to everyone, a seasoned performer and a fine emcee. In the process, she introduced several impersonators of her father--actors of varying abilities.

The audience could wonder about the thoughts and feelings of impersonators, and could imagine that in their heart of hearts, they are deeply disappointed. They might feel trapped. But many people feel trapped in their jobs, and many are. An impersonator may view the impersonation as merely a job--an outfit to wear, a pose to strike, some songs to sing--for a couple of hours. But the work of an impersonator goes more to the heart of an individual's identity.

Joe Sixpack can be himself at home and at the factory, but the impersonator adopts an identity different from his own, if only for a few working hours. Of course, actors do this, but they put on a mask that can be more easily removed than that of an impersonator. Harrison Ford is not as likely to be stuck with the character Han Solo as a Dean Martin or Elvis Presley impersonator is likely to be stuck in his (or possibly her) role. Actors at all levels of ability and popularity may risk being typecast. Famously, Leonard Nimoy asserted that he was not Spock. Nevertheless, for some of those who are typecast, there may be a lot of work and at least adequate income.

But if an impersonator has aspirations to grow and rise as an entertainer, the opportunities are drastically limited. A great Dean Martin impersonator may win a role in 'Ocean's Nineteen', but the chances for branching out are dismal. After all, a good impersonator wants to be identified with the star as much as possible: the parts to play are limited.

Impersonators must be aware of the vast gulf between them and the stars. They may find earning a mere $50.00 for their appearance galling, as they realize that the star might be earning or might have earned $5000.00 for the same work. After all, the impersonator is, at worst, only a pale reflection of the star and, at best, only the producer of a very good illusion.

Fans are mostly in love with the star, not the impersonator. So they are using the impersonator as a means of generating fond memories of having seen, or a vicarious experience of being with the star. Fans are most likely to prefer seeing the star. So impersonators may have their own fans, but the actors must realize that, for the most part, fans are not primarily in love with them.

Most of us value authenticity. Most of us want people to know us and love us for what we really are. The masks we wear and the roles we play can take us into dangerous psychological territory. At least, they can limit our enjoyment of life, as we struggle to maintain the pretense or affectation, or as we try to get beyond them.