I have a confession. I have sinned against Dionysius and Stephen Schwartz. I openly and loudly sang during the performance of Pippin. I loudly and joyfully applauded during musical performances and hooted and hollered between numbers. Once was a mistake, twice was a choice. When Adrienne Barbeau said “Sing along” I listened. I followed her directions to a “T”…after all, I am a trained professional. What makes my sin even more grievous is that I know what it feels like to be on stage, in the moment, only to be stopped by rude or obnoxious audience members. As such, I vowed at the age of 8 to NEVER be that person.
In an effort to be the ideal theatre patron I have developed a bit of a ritual that I stick to when attending a show:
First, I conduct research of the show before I go to see it. I try to know, at least, a synopsis of the show before the curtain opens.
Second, I am in my seat promptly when the house opens and I have consumed the amazing, mouthwatering, probably really bad for me, cashews before the house lights dim. I sit quietly and with an open mind waiting for first measure of music to fill my soul.
Finally, I quietly, and inwardly, applaud the musical numbers so as not to break the momentum of action on stage. I laugh at the appropriate moments, and stand for the entire cast during the curtain call.
Last night was very different for me, because, damn it all to hell, I was forced out of my ritual while watching Pippin at DPAC!
After seeing this show, I am torn. I don’t know if I should be praising Stephen Schwartz as a musical genius or if I should be singing the praises of Diane Paulus for the revival and new concept for Pippin.
Director Diane Paulus’ revival of this modern classic has brought Pippin into the present time. She has successfully adapted the show to audiences that are more attracted to spectacle than they are with the plot and the subsequent meaning of the lines. She has created a world that allows characters to interact with audiences who, instead of witnessing the actions, become a part of it. Her new direction adds a combination of raw athleticism, musical talent and a dash of fascinating technology to the original choreography of the late Bob Fosse. Throw in some magic for good measure and you have the stunning staging of Pippin.
Even though the show is written in such a way that modern amenities are available, the storyline of this brilliant musical takes places during the Carolingian Renaissance,
Picture this; the stage is engulfed in an epic battle scene between the Catholic Army of Charlemagne and a group of Non-Believers. Instead of violence of sword and shield this fight is contested through acrobatic feats and other daring moves using hoops large and balls as large as a person. Teams of acrobats were climbing up a red pole that was symbolic of soldiers being cornered. Those same acrobats would perform a maneuver that saw them sliding down the pole at full speed only to stop themselves inches from the ground. The maneuver left the audience loudly gasping and in awe. Once the battle is over, we are left with a distraught Pippin and the illusion of a talking man whose head has been magically separated from the rest of his body.
Kyle Dean Massey plays the title role of Pippin and will not disappoint you in his performance. Every note, laugh, smile, dance move, and breath he takes draws an audience into his internal struggle between good and the perception of evil.
The Leading Player was portrayed by the understudy of the regular owner of the role Sasha Allen, who was out due to injury, Lisa Karlin stepped in and played the role for the DPAC audience. I will admit I was a bit disappointed in learning that I wouldn’t see the originally cast Lead Player. But, holy flying acrobats, Lisa Karlin was AMAZING. If she was that amazing, it makes me wonder if Sasha Allen is as commanding of the stage or was she merely brought in for the namesake. With every line delivery, movement, and song Lisa Karlin takes over the entire stage, demanding the audience to watch every magical move she makes.
Stephen Schwartz has created a masterpiece that literally and figuratively supports the idea that theatre is merely a memory. It is there for the moment, but must move on, leaving us with only the emotions that we felt during the performance. In this day and age we can go onto Google or YouTube and watch the videos of the performances, but that will never replace the joy and raw emotions that are felt “in the moment.”
Schwartz has helped to teach me, with Pippin, that theatre can be an alternative to life. It can serve to blanket us from the unwanted. It allows us to leave our lives of anger, frustration, sadness, and disappointment behind as we travel to a place where none of those things matter. If only for a few hours, the world that exists in our imaginations can be allowed to take place before our eyes…on stage.
In 2003, the musical Wicked premiered at the Gershiwn Theatre on Broadway. From the start, this show was a success. It quickly became a true phenomenon of fan dedication with crowds filling the theatre on Broadway, and many others all around the world, steadily for the past 12 years. In 2004 the show was honored with three Tony Awards and with 7 other nominations. The Durham Performing Arts Center is the latest in a very long line of venues to play host to this juggernaut of stage success as they welcome the Munchkinland Tour to their stage for 2 weeks of shows.
My tour of Munchinkinland began under the watchful eyes of a dragon that was omnipresent throughout the show. A giant map of The Land of Oz was projected on the screen. I studied it closely and I memorized all the local attractions listed. I even deciphered the map legend.
From the program, I reviewed the bios of each member of the cast so that I knew who I would be traveling with. My excitement grew to the point where it bordered on frustration that the show would not begin when I wanted it to.
Having been a fan of the original Broadway production, I had set some very high expectations for the performance that I was about to see. On the other hand, I knew going in that I wouldn’t be hearing or seeing the originals that I have pictured every time one of those memorable songs comes across my Pandora station. To be honest, of course I would have preferred to see Kristen Chenoweth, Idina Menzel, and Joel Gray in the performance. But I put that aside in hopes of seeing the beginnings of a new generation of Broadway caliber performers; I was not disappointed.
Each actor that took the stage brought new, fresh qualities to characters that I already loved. Carrie St. Louis, Laurel Harris, and John Davidson took on the roles of Elphaba, Glinda, and Oz respectively. As high as my expectations were, I didn’t leave wishing I could erase the performance from my memory. Quite the contrary, I played their scenes over and over in my head all the way home. Now, with an even more enhanced love of the characters and story.
It is very difficult for any actor to step into the character shoes of a previous actor. Harris and St. Louis had some very large character shoes to fill. Each woman brought their own interpretation of the character’s personalities to their respective roles. While they were not able to change the music or movements, the two added their own original characterizations and vocal tones that garnered them a much deserved standing ovation for their phenomenal performances. While the performance of John Davidson did not jump out at me in a positive way, he also did not take anything away from the show; his performance was solid.
From the performances themselves, there is no way to find one musical number that stands out on its own. Each song is beautifully written by Stephen Schwartz and performed with such conviction by all cast members. That being true, one number in particular brought me to tears.
For Good is a gut wrenching song that describes a moment that all of us can relate to; thanking a dear friend that has created the biggest impact in our lives. The lyrics “Because I know you, I have been changed for good” describes my small obsession with this musical. The tears that I shed during this song were close to sobbing like a little girl who has found lost her puppy.
Costume Designer, Susan Hilferty is a genius! The spectacular costuming brings to life the odd, magical, mysterious, illusionary characters from the land of Oz. Hiferty uses strange angles of hair, crazy uneven hemlines, over the top colors, and cute preppy clothes to create distinct visual personalities of each character.
Nowhere is the impact of the costuming more apparent than with Elphaba and Glinda. As the play opens you soon feel the anguish of a person who is different, who doesn’t fit in, and who is a social outcast. In the world of Oz the costumes feed the irony of what is “normal” and what is not.
Set Designer Eugene Lee creates a beautiful city that all audience members wish to travel to. Each scene change was a flawless transition that offered audiences a spine tingling representation of what the other side of the rainbow could be. There is never any doubt about where you are, and there is never any doubt about how this musical ties into the Wizard of Oz storyline.
Kenneth Posner served as the Lighting Designer. The scenes featuring Shiz University, Ozdust ballroom, the vacant castles, and the cornfield are beautifully illuminated by a phenomenal light design. The lighting also is a crucial element in creating the most spectacular of all scenes; Elphaba’s first flight during the song Defying Gravity.
James Lynn Abbott brings a new and fresh dance arrangement to the tour. The unique and innovative dance moves are reminiscent of Bob Fosse, with leaning poses and no straight lines. The well-choreographed dancing number Dancing through Life is fun and carefree, clearly demonstrating the laid back and fluid movements of Fieryo.
There are a lot of thought provoking ideas woven through the story and in the way they are presented:
What is normal?
How can you truly interpret someone’s actions?
One must listen and watch to have a true understanding of what is going on around them.
Don’t pass judgment, because things aren’t always as they appear.
The most unlikely combination of personalities can result in a most rewarding relationships.
Stephen Schwartz weaves subtle hints throughout the script and music that creates the bond between Wicked and The Wizard of Oz. Secrets are shared that only a Wicked audience will learn. Several audience members let out a collective “Ah” when the biggest secret was revealed at the end of the show. It is awesome that a new group of “Wicked Geeks” were born last night
All things considered, the night lived up to every expectation I had. Well except for one…I wanted to be cast as Glinda the Good Witch so I could wear that amazing gown
When I go to the theatre for a show I arrive with a set of expectations that comes from decades of Broadway show patronage. I expect to see a show that has an established story; musical arrangements that progress and add to the story are also a must. I also appreciate a well thought out visual experience made by dynamic sets and lighting. The most important aspect of the experience has to be the performers that take the stage. A good cast can bring even a mediocre show up to new levels, most of the time.
My most recent Broadway show experience was with Mamma Mia at DPAC. The show is the product of playwright Catherine Johnson with music composed by Benny Andersson and Bjorn Ulvaeus of the 70s and 80s Pop group Abba. The show is comprised of the international chart topping music of the band. Since the show debuted on London’s West End in 1999 it has gone on to be performed around the world to much fanfare and acclaim even receiving 5 Tony nominations in 2002. In 2008 the musical was adapted into a feature length movie starring Amanda Seyfried.
As I waited for the show to start, I found myself “people-watching”. I surveyed the audience as they came in and attempted to figure out just who they were. I saw, numerous young fans that I called Teenie Boppers, a few fans that felt the night was right for full length feather boas, and I was even graced by the presence of a local drag queen. To call the audience an eclectic mix would be an understatement, maybe that should have been a warning to flee.
I admit, I went to DPAC as a Mamma Mia virgin, I had never seen the stage version or even the movie. I knew the ABBA songs; my mom would sing them while working around the house during my childhood. What I did know, I liked the songs and I loved theatre. There was a great potential for me to have a good night.
As far as the show goes, I had a hard time with it. As I have felt with other shows like this, American Idiot comes to mind; it felt much more like a rock concert than a Broadway show. The story seemed like it was a bit underdeveloped with some details overlooked. The lack of emphasis on actual story led to some awkward moments. She mails letters to her dads to invite them to her wedding the day before the wedding? Wait Huh?
Much like you would expect at a live rock concert, the volume of the music was set at a level that was bordering on “too damn loud”. It was a reprieve for the show that the audience knew all the words to the songs and sang along, because hearing the singing voices of the actors onstage was not possible. At the start of Act II the music hits so fast and so loud. It is unpleasantly alarmed you and pins you in your seat as you try to figure out if someone messed up or if that was supposed to happen.
In contrast to my auditory experience, the visuals were quite nice. The lighting design was simple yet effective. A very simple Greek style beach inn is the only set piece used. The revolving set pieces help travel between interior scenes, courtyard scenes, and straight to the front door of Donna’s Inn. Well-choreographed set changes utilized the ensemble to help the transition from scene to scene. Simple white stucco walls, small rust stains from metal meeting sea breezes, and a beautiful teal backdrop completed the set. A huge moon was projected to appear and fade giving us the appropriate time changes.
The cast had its highs and lows as well. Chelsea Williams carried the role of Sophie well. Her performance of “I Have a Dream” was impressive. Donna, played by Georgia Kate Haege had a decent singing/acting moment halfway through act II. Her performance of “Slipping Through my Fingers” in Act II had me thinking I was actually in a Broadway show, if only for that moment. The roles of the male characters would have to be the lows. Michael Colavolpe, who played Bill Anderson, had this creepy quality to him that really just made him hard to enjoy.
I know I’m not alone in this opinion, but I believe that the reason this show does well in so many different locations is merely because the audience is coming to an ABBA rock concert. There is a very shaky plot that attempts to weave the songs together, but it was clearly evident that this was just for show. It is impossible to have the words of the songs match 100% to the plot that we are provided. To me, that detail just kills the idea that this show is a true Broadway show. I can hear the audience at the water cooler at work saying, “I went to this ABBA concert” and a Broadway play tried to break out.” DPAC was able to bring a concert to North Carolina that many seemed to enjoy, but is it a true Broadway musical just because there are lines that attempt to connect the songs together? I don’t believe so.
Joseph and the Amazing Technicolor Dreamcoat National Tour 2014. Photography by Daniel A. Swalec
As the audience waited in great anticipation for the 2 millionth visitor to enter DPAC last night, I quietly sat in my seat. I sat mesmerized by a smoke screen shielding the view of center stage; behind it was the colorful production of Joseph and the Amazing Technicolor Dreamcoat. As the 2 millionth visitor award was presented, I watched a lifeless smoke stack begin to take on recognizable shapes; shifting shapes from giant ships to trains to crayons. The journey through the biblical story of Joseph and his 11 jealous brothers begins with a simple alarm clock, jolting Joseph out of bed.
When I found out that the roles Joseph and The Narrator would be played by the husband and wife team of Ace Young and Diana DeGarmo I was anxious. I found solace in the thought that, “If their fellow American Idol alumni Clay Aiken, Fantasia, and Carrie Underwood can do Broadway…so can Ace and Diana.” I was half right, sorta kinda.
Diana DeGarmo brings a high energy character to life on the stage, keeping us informed of the story through her narration and song. However, I do question the use of a handheld microphone for her character. Yes, it gave her a prop, but it reminded me of when she competed on American Idol. I wish she could have had both hands free to use to interact with the cast. All things considered, Diana DeGarmo is the anchor of the cast; she also carries the duo of leads onstage with a powerful personality, energetic smile, and phenomenal voice.
Ace Young has his strengths and weaknesses; he is an amazing dancer, but only an average actor. That dichotomy made me question the casting of him as Joseph. He would have been able to “rock out” in one of the brother roles. It is easy to see him as the lead in Rock of Ages or maybe even Roger from Rent. That being said, I don’t believe Ace’s style of singing was what Sir Webber had in mind for Joseph. His voice was once described by, former American Idol judge, Simon Cowell as “nasal”. I have to agree, he voice sounded very nasal in all of the songs he performed.
Andy Blankenbuehler takes the beautiful music from Andrew Lloyd Webber and lyrics of Tim Rice and creates a new production for the Broadway Tour. His directorial concept takes the Book of Genesis story from clothing of the biblical times to clothing of the modern age. Mix in some amazing Technicolor lighting, simple yet wesome moving set pieces and the journey is set. And thank you Andy for making the opening overture not boring and the curtain call the most amazing one I have ever experienced!
It is impossible to write about the show without mentioning the high energy choreography. For the final number of Act 1, I felt that I was watching a high impact jazzercise video. I found myself I was waiting for Richard Simmons to prance on the stage to begin Sweatin’ to the Oldies. Heck, I wasn’t even on stage and I was out of breath and sweating from their routines!
The words on this page will never be able to do justice to the set and lighting design. Such great detail was put into the backdrop. Much thought was put into the multiple uses of the muslin curtains hanging from the fly system. The quick transitions from one scene to the next were flawless and created beautiful scenes.
Although the characters of the 11 brothers are inherently bad because of their actions in selling Joseph into slavery, I still I fell in love with each and every one of them. I wouldn’t mind if those cast members had a spin-off musical entitled 11 Cool Brothers and a Dude with a Coat. The contrasting styles of song that each brother brings are unique; the audience is left wanting to hear more of their tales. From back-woods country, to Parisian flair, to the Reggae beats; we witness the unique contrasting personalities that the family members possess.
One of the fascinating things about seeing and performing in live theatre is the ability to escape reality, and Joseph helped create that parallel universe. Random singing, dancing, flashy costumes, and an Elvis sighting help me forget that I was sitting in Durham, NC and transplanted me to ancient Egypt. I’ve known the music, known the story, but had never experienced a live performance of Joseph and the amazing Technicolor Dreamcoat. I’m truly glad that I went and witnessed this Webber classic.
Your queen is dead, your king is through, she is not coming back to you…
I traveled to a beautiful city last night; one with beautiful lights, amazing architecture and vivid culture. The city was Buenos Aires, Argentina, during the 1940s and 50s. This is the city and time of Eva Peron, the central figure of the most recent Broadway production to come to DPAC; Evita. This story is a colorful journey of a young actress rising up through the ranks of men, eventually becoming the First Lady of Argentina.
The story opens with a gripping montage dedicated to the life of the powerful figure that is Eva Peron. The scene is reminiscent of the dark streets of France as depicted in Les Miserable; the somber mood is palpable as the death of Peron is announced to her country.
Josh Young, playing the role of Che, stole the show. Young was nominated for a 2012 Tony Award for his performance as Judas in Jesus Christ Superstar. He portrayed the role of Che with beautiful articulation and intonation; he brought passion and intrigue to the character. Some actors feel success if the audience can relate to the character they have taken on; Young went even farther. I could easily feel every emotion that pours from his soul; the mere look he would display at the thought of Peron told you exactly how much disdain he had for her and the government she represented.
As great as Young’s performance is, the role of Eva played by Carolina Bowman can only be described as adequate. In the scene where Eva steps out onto the balcony wearing that iconic white sequined gown, and delivers the famous “Don’t Cry for Me Argentina,” Bowman did not disappoint. Aside from that one scene, she appeared to struggle with some of the dynamic shifts from singing with her “chest voice” to hitting the needed note with her “head voice” leaving her sounding unfocused or breathy. Aside from a few touching moments of vulnerability her portrayal mostly fell flat.
Director Michael Grandage is also to be commended for his work with this production. His attention to detail was evident and appreciated. His use of technology from the digital age added a dynamic connection of the opening scene with Che to the closing scene on the balcony with Eva.
Choreographer Rob Ashford added creative blocking and dance moves that easily identified the socio-economic status of each character. Strong, rigid movements from the elitist military were in stark contrast to the lyrical movements of the lower class.
Neil Austin’s deliberate light design choices of back and side lighting added sharp angles and strong shadowing. The lighting accentuated the shady personality traits of Eva and Colonel Peron. Austin’s use of the backlighting also led the audience to believe that they were the townspeople, basking in the glow of Eva’s powerful personality.
Christopher Oram served in two major capacities as the set designer and costume designer for the tour. The costumes were incredible, especially the customary white ball gown of Eva’s. Peron’s subtle transition from a young and naïve girl, to the strong and rigid leader is defined through the style, line, and color of each and every costume change. Those changes were also poignant in the way they occurred… onstage.
An exquisite, yet simplified, set design from Oram gives the audience a unique perspective of the home of the Peron’s. The powerful image of the opulent mansion was understated when you consider the wealth and prestige that the Peron’s embodied. As the scenes change the genius design granted the audience the ability to travel through walls with only the movement of a chandelier.
The performance of Josh Young, the direction of Michael Grandage, the costumes, the lighting, and the set all come together in perfect harmony to bring the story of Evita to life in all its glory. It is not in the repertoire of Andrew Lloyd Webber to disappoint, the fantastic cast and creative team of the tour of Evita do not let us down either.
It’s never easy to allow yourself to fall in love, and it is even more difficult to allow yourself to let go of a past love.
The tour of the 8 time Tony Award winning show Once, directed by JohnTiffany, stopped at the Durham Performing Arts Center for a series of 8 shows from January 21st through 26th. The music, script, movements, and the unique addition of live instrumentation combine to form the standing ovation worthy show.
Through the beautiful and complex music and songs of Glen Hansard and Marketa Irglova, Once becomes a beautiful love story created with an entire audience watching. True inner turmoil, of a love lost, is clearly audible through the gut-wrenching performance of Stuart Ward. His pain is balanced by the compassion and unrelenting support as performed beautifully by Dani de Waal.
(Think pain of The Wedding Singer in the tune of Rent with the hairstyles of Spring Awakening, with the box set of Billy Elliot, and chorus involvement of Chicago.)
The words of Enda Walsh, coupled with the performances by the amazing cast, bring to life what we all have heard, have said, and remember from friends, family, and ones we have fallen in love with. The Irish brogue, used by the majority of the cast, was beautiful to listen to. Against the norm, their use of the accent remained constant and I found it truly fascinating and awe-inspiring that all the actors were able to maintain their own individual accents even as they transitioned from spoken word to song. However, I will admit I struggled as I adjusted to the halted speech pattern of Girl, who is a young woman from the Czech Republic.
The strong kinetic chemistry between Stuart (Guy) and Dani (Girl) made it easy to hope for the growing relationship of love, against the backdrop of recording an album, that could develop over just a matter of days.
(Cue Romeo and Juliet’s whirlwind romance)
The phenomenal comedic timing of Matt DeAngelis (Svec) left us wanting “more soul and less pants.”
The interpretive movements from Steven Hoggett are a little odd, but I suppose they do illustrate the emotional struggles that Guy and Girl are experiencing. As someone who is more familiar with the traditional style of dance in Broadway productions, this also took some time to adjust to.
The one element of this show that makes it truly unique is in the way the shows utilizes live instrumentation. All Broadway worthy productions make good use of live music, but Once is one of the very few that incorporates the instrumentation into the actual stage performance. Such intimate moments of relationships, of family struggle, heartbreak, and triumph are all performed while playing instruments. During the parts of the show where the characters are listening to “Pre-Recorded” music, via radio or headphones, I found myself searching the stage for the one playing the actual instrument. This dynamic was something that I found to be truly creative and impressive.
To be a triple threat on Broadway is supposedly difficult, but some say it is actually easy to find. You just have to look at any restaurant wait staff in New York City. But, try looking for an actor who can; sing, act, dance, and play an instrument at the same time. What is even more difficult, finding that actor / singer / dancer / instrumentalist and having an entire creative team agree on it. This adds to quality of talent that makes up the cast.
(I do wish I could have been a fly on the wall during rehearsals because the bloopers would have been interesting.)
Although the set appears minimal, with a simple bar and walls with antiqued mirrors, we are easily transported from location to location with beautifully choreographed set transitions. Phenomenal transitions between scenes were heightened with fast set changes, cool set pieces, musical distractions, and subtle light changes. In stark contrast to other large spectacular productions on Broadway, Once uses eloquent words to draw and keep the audience from looking away instead of flashy special effects.
There was one “Special Effect” that was used that I did find interesting. The Czech family of Girl spoke in English, but creative team also chose to project the Slavic translations behind the bar. It was interesting to “see” the translations of the Czech family on the wall of the bar, in a reverse subtitle kind of way. Not only were we visually stimulated by the images of the foreign words flashing on the wall, but we also had fun trying to figure out which words went with each spoken word.
I have never before been influenced so much by lighting in a show as I was in this one. Subtle changes created a visual cue, dictating the mood that matched the scripted words. While overlooking the city, sparkling lights appear forming the city skyline of Dublin, Ireland.
(I have no clue where those tiny little light bulbs were located, but they appear and disappeared without a trace. After they were first used, I searched for those things for the rest of the show!)
The costume design was a little awkward due to the undefined time period or season in which the show takes place. It wasn’t until the nauseating twerking that I figured it was present day, either that or the girl had a serious medical problem onstage.
The sound technician had the volume a tad low at times. I’m assuming the sound designer was trying to create a down-trodden mood to compliment the story. Maybe, had it not been the cold and flu season with many audience members struggling to unwrap cough drops at every single “down-trodden” moment, it would have been more effective.
If you can, I encourage you to arrive early to this performance and become part of the bar patrons. You are given the opportunity to walk across the stage, order a drink from the bartender, and stand next to the chorus/band as they present a spirited pre-show. Each performer is highlighted and appears to be having the time of their life dancing, singing, and enjoy the intimate setting with patrons.
I believe we all can relate to musicals, and we all depend on the emotional places that music and song lyrics can take us. In a recent conversation I had with Matt DeAngelis (Svec) he stated that “Once was not a musical, but a play with music.” I thought he was delusional, because how can the show be billed as a Tony Award Winning Musical and not be a musical. Damn it, he was right.
Once is a Broadway play, with music, inspired by the 2006 film of the same name. The story revolves around a young man who lives his life through music in Dublin, Ireland. The young man’s music leads him into relationships and trials that change his world. As actor Matt DeAngelis put it, “love is the central theme of the show… the love for music, the love for family, the love for your city, the love for each other.”
As a lover of theatre, it is always humbling to be able to speak with an actor about his art. In advance of the January, 21-26 performances of Once at the Durham Performing Arts Center I was given the opportunity to speak with Matt DeAngelis about acting and his role on the tour.
DeAngelis, who performs the role of Svec in Once, is also known for his performances in Songs for a New World, Hair, and American Idiot.
MAC – I am really interested in this show, because I actually teach theatre in addition to writing about it. I am really intrigued by how this show operates with so many new aspects of theatre. What influenced you to audition for this show?
Matt DeAngelis – That’s actually a funny question. I audition for what my agent tells me to audition for. I love the show, I had seen the show. Before I got it, I had seen it two or three times on Broadway. One of my best friends is in the show on Broadway so whenever he goes on, instead of one of his understudies, I would go see it. So yeah, I love the show, but basically we are all actors and we have to work.
MAC – Was this an easy transition to go from American Idiot into Once? Was that easy for you?
Matt DeAngelis – Yeah, it was a really easy transition because now I am getting paid and for a really long time after American Idiot, I wasn’t. Easy is a difficult word too. I think I always get cast in shows that you don’t necessarily… We have to be actors, but we have to be authentic versions of ourselves. I think that even though they are very different, Hair and American Idiot and this all have that similar quality to them. I think that there is an element of truth. It’s not about acting all the time, there definitely is acting. Not to say that we are not acting, because we are. I think there is a real big portion of it that is about being yourself. I think that is a through-line in all the shows I have been fortunate enough to be cast in
MAC – Would you consider yourself a method actor or a technical actor with the truth in who you are?
Matt DeAngelis – Honestly, I am the wrong to ask when it comes to questions like that. There’s an old James Cagney quote that I love. He was asked, “James, how are you such a good actor?” He said, “Well, I try my best to hit my mark, I look them in the eye and I tell the truth.” I think that is at the root of it all, I think that is what we do for a living. We have to tell people the truth. So I don’t get wrapped up in that. I didn’t move to Dublin to prepare for the role, so I’m not a method actor. I don’t really get wrapped up in the technicality of it either. I try to look at the roles and I try to see what parts of that role are like me and then I try to behave as if the scenario was really happening to somebody. I don’t think for me… I know for a lot of actors it’s different and everybody has different ways of doing things. For me, that’s what works for me.
MAC – How similar to the role are you for Once?
Matt DeAngelis – Well, he’s a little crazy and I’m a person who likes to have fun and be silly. I definitely bring elements of myself to him but mostly this role is all about me being free just to play, to just play around. In the rehearsal process there was a lot of experimenting with just how silly I could be.
MAC – You ended up pushing the director’s buttons?
Matt DeAngelis – I asked the director in the first rehearsal, we started doing one of the scenes that is really ridiculous. I said, “I want to be clear, just how far off the reservation am I allowed to go?” You give me parameters and I will work within them. I want to have fun and I want to explore, but it’s not my gig. I want to make sure I am operating inside the constraints of the director. I don’t want to step on any toes. I wanted to play and I wanted to be spontaneous and fun. But I also wanted to make sure I was telling the story and not just doing it for my own amusement.
MAC – Who influenced you the most in the show? Were in you influence most by the director or what you had previously seen?
Matt DeAngelis – Any smart actor draws inspiration and experience from everybody he works with. I have had the unbelievable good fortune of my first three professional gigs of note. My first four professional gigs of note actually have all been with Tony winning directors. I was with Diane Paulus with Hair. I was with Michael Mayer with American Idiot. I did the workshop of Last Goodbye with Alex Timbers in New York this summer. Now I am working with John Tiffany so I have been pretty fortunate there. I’d be dumb not to pull inspiration from them. I worked with Gavin Creel in Hair. He was Claude in Hair when I did it on Broadway and then I did it in London. He changed my life professionally and personally. He is such an inspirational person. I think that you learn from everybody, especially when you work with a “Theatre Superstar” like Gavin Creel or a Casey Levy or even a Van Hughes. Van Hughes in American Idiot, you learn from them. You observe them and you learn the way that they do their jobs.
MAC – As an actress, I am very jealous of all that you just said.
Matt DeAngelis – It’s all the same thing though. They are just people trying to their jobs too, just different ways of doing your job. You have to try to explore from your circumstances because it makes you a better person and a better artist.
MAC – Are you familiar with the statement “Illusion of the first time”?
Matt DeAngelis – Yeah
MAC – Do you ever find it difficult to continue with that show after show? Or, do you find something new with each performance?
Matt DeAngelis – I think it is a fine line when you are doing commercial theatre, because there is an element to it that has to be the same every time. When you are on the road the sameness becomes more important. There is this one bit in the show where I tell this joke where I never get a laugh unless I do this weird little back bend thing. I’ve learned that it is not funny without it; I don’t know why it’s funny with it. I’m a smart actor and I don’t know why it is funny with it, but I know it is not funny without it, so I do it. There are moments like that, but I think it all comes down to listening, honestly. Like, you can pretend it is the first time if you are actively listening to your scene partner. It is not about what you are saying. You saying something is not what makes it spontaneous, you hearing something is what makes it spontaneous.
MAC – When you are doing the show, how difficult is it to act, sing, dance and play an instrument on top of that “triple threat”?
Matt DeAngelis – It feels pretty normal now; I’ve been doing it for a long time now. It was hard in rehearsals but it’s not dancing, it’s moving and there is music with instruments. We are not a musical either; we are a play with music. I think those are both very important things to understand. That’s the way our creative team approached it. It’s a play first, it’s a story first, it’s music first, then add movement second to enhance music.
Matt DeAngelis – I think truthfulness is important; I just try to do it honestly. The entire company has that same goal in mind. It is not any more or less challenging, just a different challenge.
MAC – What do you believe to be the heart of the show?
Matt DeAngelis – I think there is something really special to live music. I think that is a really special thing to our show. I think that Love is the central theme to our show. And not the type of musical theatre that everybody is happy at the end kind of love. Like messy, real life love where you love somebody but the circumstances aren’t quite right. You struggle with it and you try and it’s hard and it’s scary and it’s sad and it’s tragic and it’s amazing. The love for music, the love for family, the love for your city, the love for each other; I think that love is the central theme, but not in the way people would expect.
MAC – With love being that central theme, is that what you would want the audience to take away. That unconditional loving of family and friends and music?
Matt DeAngelis – With the love in our show I think the audience should leave with an appreciation for love in various forms. Even when you are scared, and love is terribly scary sometimes, always be willing to take a chance. Also, from the other perspective, I think that you see someone who really steps into help someone in need, without knowing why, who is a stranger. The girl in our show doesn’t have any vested interest in this person when she first meets him and they end up having a relationship. She sees a person in need of assistance and she helps them.
MAC – I am fascinated with this show with how you are able to accomplish all of this and play an instrument. Personally, I was always challenged to dance and sing at the same time.
Matt DeAngelis – It is pretty special. I am very blessed to be able to do the shows that I have done in my career, have the experiences that I have had, to perform in London and have national tours and I was the lead in a Broadway show, now this. I am as fortunate as actor can possibly be. I think that this is show is truly special and I think that people are going to love it and I think that it touches people in a way that nobody really expects. And it also touches people in a way that you can’t really quantify. We say it is like a snowball. In the beginning you don’t see it coming and at the end it is just washed over you. Our director, John Tiffany, calls it the world’s slowest moving snowball. It is little moment upon little moment upon little moment and then all of the sudden by the end of the show the entire audience is just floored by the emotional experience. You just don’t really know where it came from, it just happened, because John Tiffany and Stephen Hoggett and Natasha Katz and everyone who put the show together are geniuses.
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