Dear Gentle Reader,
Hello! How have you spent the last few weeks? I have been working through the closing of one show 😞, starting a new job 💵, and beginning rehearsals for a new show😄, so life has been a hurricane of madness! But it is all working out in the right direction, so I shan’t complain about it. How can I, when there are worse things in the world?
🎭A Chorus Line ended three weeks ago, and still this week, I am reminded of the show by people who happened to have seen it. I am grateful for the many very kind words of the show and my portrayal of Paul. It means the world to me. The thing is that they don’t mean so much because it may be validation of whether or not I am good at acting, but that the approach that I took with the big monologue to make it my very own while keeping true to the show’s legacy, and as powerful as it should be, worked. I am a very physical actor. I gesture. I use all of my body for everything and not just my face to tell a story. This means that to do the monologue the same way it is traditionally done would totally ring false in me, which could show in the performance. It was a chance I really didn’t want to take, especially since this was such a personal role to play. So, I set it up the way that felt good to me and when I rehearsed it for the first time the director, Bill Starr, loved it. There were, of course, tweaks made and suggestions, but what we were able to wring out of each sentence felt like truth. And it felt right. For me. The hope was that the audience wouldn’t be pushed away in this version.
Then, something remarkable happened. People began telling me that as the monologue went on (the first few times I rehearsed it, it felt like it went on and on and on…) people said they began to lean in; they wanted to know more about Paul’s story! ❤️ I am certain that there were people that wanted it to be traditional, and I get it, but they didn’t dislike what they saw. What at first seems like a wonderful dauntingly incredible challenge became a piece that I am extremely proud of. I have loved ALL of the amazing opportunities that I have had but to say I am proud (which I almost never do) of a piece of work is rare. There are literally a handful of pieces that would qualify.
And that being said wraps up my second run of A Chorus Line. I loved the show the first time I was in it and I loved it this time around too. So many wonderful new people that I can now cheer on and be a fan of. ❤️ That’s one of my favorite things about theatre.
Dear Reader, last month, I made mention of job interviews and the need for adjusting my financial course 💵. As I hinted at in the beginning of this post, I got the job! I am excited for all of the new challenges and security this will bring, but first I have to play catch up with the two and a half months of work that has been left behind while this position was vacant. 😜BUT this is not a blog about working stiffs, so let us carry on!👍
Two weeks ago, we began the process for Catch Me If You Can. Kind Reader, if you have seen this show, please tell me, did you find it strange that nearly every song has to have a scene in the middle of it? While going through the script, I found myself wondering what Terrance McNally, Marc Shaiman and Scott Whittman were thinking. There is incredible music throughout this show and it feels like it abruptly stops the number to add the scene. Maybe that was just because I was reading through and making notes and whatnot. I shall keep you posted on the findings of this query. The other thing that struck me was that even though the script is only 120 pages, if FEELS longer. I am curious if that is because of the song scenes. Only time shall tell.
Good Reader, if you have input on the Catch Me question, I beg you, let me know in the comments below! Am I the only one in thinking this script setup is awkward? Does the show feel like it has a Lord of the Rings-esque ending? Do you get what I mean by that reference? GAH!! The questions seem to never end…
Until I find my sanity, Dear Reader… 💖
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Congrats on the new gig and on CMIYC 🙂