AMDA Magazine vol. 2, number 4

VOL. 2, NO. 4 NEW YORK + LOS ANGELES

HAMILTON

Alumni grace the many stages of the blockbuster musical

RAY FISHER

On playing iconic boxer Muhammad Ali and superhero Cyborg

J. ELAINE MARCOS

Broadway vet goes solo with her one-woman show about “making it”

CONTENTS

ON THE COVER:

Caissie Levy as Elsa in Frozen.

Photo by Andrew Eccles

Frozen

VOL. 2, NO. 4 NEW YORK + LOS ANGELES

Caissie Levy takes Broadway by storm as Disney’s Elsa.

HAMILTON

Alumni grace the many stages of the blockbuster musical

RAY FISHER

On playing iconic boxer Muhammad Ali and superhero Cyborg

J. ELAINE MARCOS

Broadway vet goes solo with her one-woman show about “making it”

AMDA Magazine is published by

6305 Yucca St., Los Angeles, CA 90028 amda.edu Copyright ©2018 AMDA College and Conservatory of the Performing Arts. All rights reserved. Reproduction in whole or in part without permission is strictly prohibited.

Submissions, Updates, Feedback Please send alumni and faculty updates, news tips, comments and suggestions to alumniservices@amda.edu.

AMDA Department of Media and Communications Michael Lloyd, Director mlloyd@amda.edu 323-603-5989 Eric Almendral, AMDA Magazine Art Director ealmendral@amda.edu 323-603-5907 AMDA Department of Alumni Relations Ryan Dejak, Director rdejak@amda.edu 212-957-3376 Melissa Ritz, Coordinator mritz@amda.edu 323-603-5936 Contributing Writers: David Harris, Alex Simon, Lyle James Slack

THIS PAGE:

Caissie Levy, Frozen by Deen Van Meer

OPPOSITE PAGE:

Hamilton by Joan Marcus; Kyle Hamilton, SpongeBob SquarePants

by Joan Marcus; J. Elaine Marcos by Lia Chang; Ray Fisher as Cyborg, courtesy Warner Bros./DC Entertainment; Dance Concert by Trae Patton

BACK COVER:

Los Angeles by Patrick McElhenney; New York City by Madison Fender

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Smashing Every Expectation Alumni are performing in the many Hamilton productions across the US and around the world.

Sound Science

PhD student Elisa Monti tackles trauma and the singer’s voice.

8 10 Going Solo In her one-woman show about life as a performer, J. Elaine Marcos gets the Job done.

22 Balance of Power

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Ray Fisher finds success exploring the humanity and conflicts within two famous heroes.

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OPENING ACT

AMDA NEWS & UPDATES

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GALLERY

AMDA PERFORMANCES

Book your audition at amda.edu/audition or call 800.367.7908 to learn more.

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AMDA NEWS & UPDATES HOWARD WISE/JPISTUDIOS.COM; COURTESY CBS

Behind the Wheel Sasha Calle on working the angles and getting the big break on “The Young & the Restless” Success in the arts is often a combination of talent, luck, persistence and hard work, qualities AMDA Los Angeles alumna Sasha Calle has in abundance. Immediately following graduation in 2017, Calle began an all-out pursuit of her dreams of acting, singing and songwriting. Her determination led to work in commericals, recording sessions, the miniseries “Socially Awkward,” and a contract role on the venerated CBS daytime soap, “The Young and the Restless.”

From the moment you graduated, you were working on different sides of your career: acting, music, social media, etc. How do you think this contributed to landing the role on “The Young and the Restless” (“Y&R”)?

Working a multitude of angles was always a part of the strategy. I think that’s the whole point of being an artist, that we’re able to tap into many outlets of expression and creativity. It’s a blessing and we should use it. AMDA also emphasizes this. They teach us the importance of hustle and variety. They prepare us to be versatile.

Because once you graduate, it’s you against this grand, big monster of an industry.

You really have to acquire patience and you have to focus. You’ll have to pick up side jobs you may not like. You’ll go through many frustrations, tears. Heck, you might get a big break quick, who knows. But I had a whole year and a half of constant rejection and over 100 auditions before I booked “Y&R.” You can’t take anything personally and you have to move, move, move.

Music was up and down for me. Money was low. My living situation wasn’t consistent. There was a lot of stress in my life. But I knew the goal and I knew I had to continue. I truly believe showing up is one of the most important factors to success in this business. Show up.

After many auditions, many failed promises, many tears, many collaborations that had fueled my soul, many lessons

Sasha Calle

learned, on a regular day, “Y&R” calls (two months after the audition) to see if I’d like to test for a contract role. I took it with a grain of salt and showed up. It was another audition. I had gotten far so many times.

This was just another opportunity to show a group of people what I loved and what I did best. To my surprise — 40 minutes later — “Y&R” called and offered me the job.

The same week I found my music producer! A kind, loving soul who listens and is on the same musical wavelength as me.

All I ever wanted. It still feels surreal. I have now been on the show for three months and am currently working on my first EP.

a part of an onscreen Latino family. How do you feel you and your castmates can contribute to representation on the show and TV in general?

The Rosales family is adding to the “Y&R” canvas by being honest, hardworking and loving. We are so thankful for the opportunity to represent our Latin American community through this platform. We don’t take it lightly; we truly hope to inspire. We all grew up in Latin American households. Now it’s our opportunity to proudly share that with the world. We hope you see the love, respect and appreciation we have for our culture.

How does it feel to join a show with a 45-year history and generations of fans? How does that affect your approach to the role?

It’s an honor. I am so grateful to “Y&R,” CBS, Sony Pictures Television and Executive Producer/Head Writer Mal Young for blessing me with the immense opportunity to originate the role of Lola.

Knowing that “Y&R” has been on the air for 45 years only encourages me to become a better performer. I walk on set every day and I’m immediately surrounded by knowledge, respect and history.

It’s inspiring. There’s always a new lesson, a new laugh, a new name, a new experience.

Given the plot twists central to the world of soaps, has anything caught you by surprise yet? Any “whoa, didn’t see that coming!” moments?

This one is more of an on-set moment, but I never saw the “one-take wonders” coming. The soap world moves so quick and it is jaw-droppingly amazing! We film an hour-long episode a day, five episodes a week, year-round. It is a nonstop moving machine, insanity at its finest. Highest respect. I’m having a great time playing Lola and introducing her to the “Y&R” audience. As for story line, I look forward to you tuning in.

You were brought on to “Y&R” not just as a Latina actress (and character), but to be

You can watch Sasha Calle on “The Young and the Restless” weekdays on CBS.

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Becoming a Giant Sean Samuels helps the YouTube Channel make its mark in the streaming world In the short time since its launch, the YouTube Channel has become a destination for cuttingedge programming. As the curtain closed on the second season of “Giants,” a coming-ofage drama following the lives of three black millennials, Sean Samuels has emerged as a standout performer for his role of Ade. Described as “the most polarizing of the characters” by The Gentleman’s Daily, Ade “is in a war with a most familiar giant: himself. Samuels attacks the role with such passion, forcing us to closely examine the tribulations gay men face in this country.” Throughout the first season, we witness Samuel’s character coming to terms with Sean Samuels in “Giants” his past, present and future in the complex and challenging modern world. The second season already has millions of views on Facebook and the YouTube Channel. international tour of West Side Story. At the young age of 20, Television critics are noting the work as well. This year, he made his Broadway debut in Disney’s Tarzan musical. Sean’s “Giants” won Best Drama Series, Best Writing Drama and Best other Broadway credits include Curtains and Spider-Man: Turn Original Song at the Indie Series Awards, and nabbed two Off the Dark. Sean’s film and television roles include Parasites, Daytime Emmy nominations.

Toxic Shark, Still Waiting in the Wings, “Jane the Virgin,” “30 Samuels, a New York native, is a triple-threat performer who Rock,” and “The Goldbergs.” In addition to his many performance has been featured as a dancer on Broadway and beyond. Shortly credits, Sean recently released a new single, “Worth,” available on after graduating from AMDA, Sean went on to perform in the music streaming services.

From Australia to the National Stage

Maggie McKenna

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Like most aspiring artists, Australian-born international alumna Maggie McKenna wanted a career in the performing arts more than anything in the world. “I got on a plane and stuck out the two years by myself out there,” says McKenna when asked about flying to Los Angeles for her audition and being accepted to AMDA. “It’s the best thing I could have done. I wanted to grow up and have a big experience, to see America, because I do want to end up working there and here [in Australia].

And just to be out of my comfort zone.”

She turned her training into a professional stage debut in the Sydney Theatre Company’s musical version of the hit movie Muriel’s Wedding, where she was dubbed an “overnight star” by Limelight Magazine and won the Sydney Theatre Award for Best Newcomer for her role as Muriel Heslop.

McKenna is now cast in the first national tour of Dear Evan Hansen, described by the Washington Post as “One of the most remarkable shows in musical theater history.” She performs the role of Zoe Murphy, alongside an all-star cast that includes stage and television star Jessica Phillips, Tony nominee Christiane Noll and Broadway veteran Aaron Lazar. McKenna and fellow cast members celebrated their opening night October 5 at the Seawell Grand Ballroom in Denver.

When thinking about how far she has come since attending AMDA in Los Angeles, McKenna says, “I feel finally like I’m coming into my own as a person.”

OPENING ACT JOAN MARCUS

Shredding the Limelight How Kyle Hamilton turned skateboarding into a performing arts career

CURTIS HOLBROOK

Kyle Hamilton executes a handplant on the SpongeBob SquarePants Broadway stage

Hamilton (left) with fellow members of the Electric Skates, Curtis Holbrook and L’ogan J’ones

New York City-based alumnus Kyle Hamilton took his passion for skateboarding and turned it into his profession. Working as a multitalented artist, his roles range from professional actor to skateboarder and skateboarding coach/ consultant. His work has been featured on Broadway, national film and television, worldwide news outlets, and international theatrical productions.

Born and raised in the midwest, Hamilton’s passion for entertainment and skateboarding emerged at a young age, eventually leading him to study theatre at AMDA Los Angeles.

As a skateboarder, Hamilton has been featured in popular news media publications such as Thrasher Magazine, Concrete Wave Magazine and various television networks such as VH1, MTV and TruTV. He performed at the 2015 Tribeca Film Festival in the Back to the Future 30th Anniversary celebration as a principal skateboarder while also exhibiting his skateboard prowess on the television reboot, “Wonderama!”

Hamilton’s talents have led to opportunities performing internationally with established music acts such as One Direction, Yolanda Adams, David Archuleta and Cali Swag District.

His theatre and film roles include Pasek and Paul’s Los Angeles stage premiere of Edges: A Song Cycle, television star James Roday’s stage production of greedy, Nickelodeon’s hit sitcom “iCarly,” and performing Scooby-Doo/Swing in the international tour of Scooby-Doo: The Mystery of the Pyramid.

Hamilton recently made his Broadway debut — as a skateboarder and skateboarding coach — in SpongeBob SquarePants, which was nominated for a Tony Award for Best Musical.

How did he pull off such a gig?

“I showed them that this was all about mastering the basic fundamentals of skateboarding which allow them to move efficiently and swiftly onstage to ensure authenticity,” says Hamilton. “I look at it from the perspective of a skateboarder out in the audience. When the guys are skateboarding, I can read the body language, similarly like when dancers are onstage.”

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Breaking Barriers With Peppermint From reality show fame to the Broadway stage

Peppermint (center) and company in Head Over Heels

Breaking barriers on a show widely lauded for being groundbreaking is no small feat. As a competitor on season nine of the hit reality series “RuPaul’s Drag Race,” alumna Peppermint became the first openly trans woman to appear on the show. Already a well-known performer in the New York City drag scene, Peppermint garnered the first runner-up spot on “Drag Race.” The season earned the show Emmy Awards for Best Reality Host and Best Reality Competition.

This year, Peppermint broke another barrier by becoming the first openly trans woman to originate a principal Broadway role.

In her Broadway debut, Peppermint plays Pythio in Head Over Heels, a new musical that juxtaposes Elizabethan fantasy with the songs of ’80s chart-toppers the Go-Go’s.

In a recent interview with Playbill.com, Peppermint discusses taking on the responsibility of opening doors for others and promoting tolerance. “As drag performers and trans women, it’s in our bloodline — our drag ancestry — to march on the front lines.”

Head Over Heels, which explores many of the salient themes of gender and identity, is a perfect platform for Peppermint to spread her message of tolerance and understanding. As she tells Playbill, “It shows people who identify as nonbinary, gender nonconforming, or trans: Look at what the possibilities are.”

A Quick Three With Theatre Star Soara-Joye Ross For the 2018 holiday season, Washington, DC’s Arena Stage produced Cole Porter’s 1934 gold-standard musical, Anything Goes. With two powerhouse leads — AMDA alumna Soara-Joye Ross and film, television and theatre veteran Corbin Bleu — the show was a smash, delighting audiences and garnering rave reviews.

What shows got you hooked on theatre?

[My inspirations were] Barbra Streisand as Fanny Brice in Funny Girl, the movie musical, and Bernadette Peters as the Witch in Into the Woods on Broadway!

I was in high school at the time in the Academy of Music program. There wasn’t a drama program, but we performed several pieces from musicals. I would also go to the public library and borrow as many movie musicals on video and cassette tapes of all the Broadway soundtracks I could!

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Anything Goes will be performed in the round. What is the biggest challenge in performing a show created for a proscenium stage in the round?

Oh, I don’t even think about what “was,” per sé... Recently, I played the role of Frankie in Classic Stage Company’s Carmen Jones in New York, and what a fantastic experience it was in the round! You aren’t limited to playing in one direction, and so your entire playing space opens up! Playing in the round is a great deal of fun and is as true to life as it gets.

You were a part of the legendary Broadway musical, Dance of the Vampires. Can you talk about the experience of putting that show together and working with its star Michael Crawford?

Oh my goodness! Michael was a sweetheart! There was this one note in the show that he held out for

Soara-Joye Ross

sooooooooooooooooooo long, it was amazing! He was also my Secret Santa and gave me this heavy heart-shaped thing from Tiffany’s as my final gift.

Anyway, the costumes! The set pieces!

The makeup! Wowza! That show was epic!

We had some diehard fans and I don’t think we were open more than six weeks. Oy! Parts of this story were contributed by Broadway World / Elliot Lanes

JOAN MARCUS

OPENING ACT

CBS CLIFF LIPSON/CBS

OPENING ACT Tony Award–Winner Marissa Jaret Winokur Snags the Big Prize on “Celebrity Big Brother” AMDA alumna Marissa Jaret Winokur took home the $250,000 grand prize in the first season of “Celebrity Big Brother” on CBS. The Broadway vet told Us Weekly, “My biggest worry was that I was going to be in a house with a bunch of people who got annoyed by me talking. I was so stressed out. I’m 45 years old now and the night before going into the house, I felt like it was high school. I was like, ‘I hope they like me. I hope I don’t annoy anybody. I hope they just are patient with me because I’m loud.’ If it weren’t for every single person in that house — the exact group that we had — I would have absolutely not been able to do the show.

I can’t explain it. Even one person out would have changed the whole chemistry.

Thankfully everyone in there got me and got my personality.”

Winokur has a résumé that ranges from television to Broadway. She has guest starred on a wide range of television series including “The Talk,” “Curb Your Enthusiasm,” “Scream Queens,”

“Girls,” “Crashing,” and “American Dad!” Winokur has also starred in multiple film roles including American Beauty, Fever Pitch, and Scary Movie. In addition to winning a Tony for her role in the acclaimed musical Hairspray, Marissa took home several awards including the Drama Desk Award for Outstanding Actress In a Musical, Outer Critics Circle Award for Outstanding Actress In a Musical, and a Theatre World Award.

“I’m never going to do anything like this again,” says Winokur. “This was pretty intense. I was such a fan of the show, that’s why I did it, and now I can’t wait to watch again and know what’s going on. And watch the feeds, because the feeds are where the show actually plays. If you’re watching the feeds, you know what’s really happening. If you’re watching the edit, who knows what’s going down?”

Marissa Jaret Winokur

Luke Tennie Lands Big Role With First Post-Grad Audition

Luke Tennie as Adam Green in director Rob Reiner’s 2017 feature, Shock and Awe

“A lot of people have talent, but technique and skill is earned,” alumnus Luke Tennie says of his experience at AMDA and how it prepared him for auditions.

“Being able to play that part (Adam Green), it was right out of school, it was my first audition and I knew it was because I was trained. Our teachers worked us hard and that’s the only reason I’m seeing the results I am now.”

Shortly after graduating from AMDA with a BFA in Performing Arts, Tennie booked his first major motion picture role as combat veteran Adam Green in Rob Reiner’s film Shock and Awe, working alongside Woody Harrelson, Tommy Lee Jones, Alec Baldwin and Jessica Biel. Now, Tennie is set to star in SyFy’s new series “Deadly Class” (premiering in 2019). Tennie plays Willie, a hardened gangster, but underneath is an honest and thoughtful person who is under endless pressure to become the thing he hates most.

More: Luke Tennie discusses his experience making Shock and Awe at amda.edu/videos.

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SOUND SCIENCE PhD student Elisa Monti tackles trauma and the singer’s voice.

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t’s a singer’s worst nightmare. In an AMDA New York classroom, a singer performs before their peers, the musical theatre instructor in the corner dissecting every note coming from their mouth. The music crescendos, the student belts the showstopping note — and cracks, their strained throat unable to cope with the stress placed upon it. Wincing, most onlookers choose to politely stare at their own music as the instructor corrects the mortified student. Every student looks down — save one.

Elisa Monti was watching.

“I was starting to sense that a lot of the vocal things that were happening with the performers were very psychological,” Monti recalls. “At some point, their voice becomes strained in the song — there’s something going on vocally, but you have a sense that it’s an emotional block.”

Monti isn’t your typical AMDA graduate. An immigrant from Milan, Italy, she came to AMDA New York to pursue a career in singing.

While her peers went on to pursue careers on stage and screen, Monti found herself less and less interested in becoming a performer. “I didn’t see myself as an actress that much, but I knew that I wanted to have that kind of education to help myself as a singer.” Instead, Monti found herself drawn to the psychology of singing: the mental and emotional blocks that impact the way people speak and vocalize.

“It’s not something that is talked about a lot. I remember back then thinking, ‘I kinda want to get into this.’”

Monti did exactly that: Setting aside her character shoes and soprano songbook, she dove into the worlds of experimental psychology and vocal psychotherapy. After completing the Integrated Program at AMDA New York, Monti earned both her Bachelor of Fine Arts and Master’s Degrees at the New School for Social Research, where she is now pursuing her PhD. Her research? Understanding how emotional and psychological blocks — including childhood trauma — impact the acoustics and physiology of the adult singer.

Researching Trauma’s Effect on the Voice While research has thoroughly explored the effects of trauma on the body, Monti is one of the first to explore how childhood trauma — including sexual, emotional and physical abuse — impacts an adult voice which may sound “normal” to the untrained ear. This includes minor traces of fatigue, rasping, hoarseness and restrained dynamics.

“The voice is physiological,” Monti explains. “It’s a thousand little muscles that have to function a certain way to be functional.

What we’ve seen so far is that sometimes, a voice can become completely dysfunctional… and a lot of those patients have histories of abuse in their childhood.”

Monti and fellow researcher Wendy D’Andrea used voice analysis software to detect vocal patterns (such as anxiety or breathiness)

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in participants who had experienced traumatic events in their childhood. The study — entitled “The Voice of Trauma: Traces of Childhood Trauma in One’s Voice” — showed a clear correlation between childhood trauma and vocal affliction: Significant vocal differences were found among participants who had experienced childhood sexual abuse; anxiety accounted for some, but not all, of the variance between voice and trauma. Additionally, participants whose voice recordings were too quiet to be analyzed were significantly more likely to endure childhood adversity, particularly neglect and familial substance abuse.

In another study, Monti researched whether an adverse parent-child relationship had any effect on adult singers. “That kind of dynamic can impact somebody’s sense of self-worth, their relationships as adults,” she explains. “The voice has a lot to do with the identity of a singer.” The study’s results led Monti to suspect that the more a singer feels ashamed about their attachment to a parent, the less loudly they’re able to sing: The greater the shame, the softer the singer.

Healing Through Music So how does a therapist treat singers who suffer from psychological trauma? Simple: Sing. Monti is certified in a practice called vocal psychotherapy, wherein therapists use music and vocalization to tap into the client’s unconscious and create new modes of expression.

“The voice is really the main instrument we’ve had throughout evolution,” explains Monti. “We’re born recognizing our mother’s voice even though we’ve never seen her face. The voice is a very, very powerful tool.”

Vocal psychotherapy places the singer in an elemental, cathartic mindset. While immersing them in a serene, comforting environment, the therapist will take the client through a series of chords and harmonies that trigger instinctual emotions. “There are no words. It’s just sounds. The idea is that when we vocalize in that manner, we regress. We go into earlier stages of our lives where language was not something we really used.”

By going through simple, primal vocalization exercises, Monti adds, some musicians experience sudden epiphanies — a process far preferable to spending six months in conventional therapy with little or no progress.

The Singing Scientist Monti hasn’t forgotten her time at AMDA — far from it. In fact, Monti argues that her performance past continues to shape her into a better scientist and researcher.

“AMDA definitely helped me become a better scientist,”

FRANCINE DAVITA

AMDA Alumni Are Worldwide and Diversified

“The voice is really the main instrument we’ve had throughout evolution.

We’re born recognizing our mother’s voice. The voice is a very, very powerful tool.”

SHARE YOUR STORY!

Throughout the course of a student’s experience at AMDA exists an evolution of limitless potential.

Students are challenged to discover and express the depths of their creativity, which often lays the foundation for new ideas and inspirations.

Elisa Monti

Monti acknowledges. “Knowing both worlds allows me to ask experimental questions that maybe somebody else wouldn’t think about.” Immersed in the performance world, Monti witnessed the incredible psychological stresses placed upon artists. She saw firsthand the afflictions that often creep upon performers, including depression, self-judgment, eating disorders and neuroticism.

“I was there, you know? Thinking about all the psychological problems, I could see people’s insecurities. I could see their perfectionism, feeling like they were great or terrible — it was never anything in between, which, by the way, is typical of trauma survivors.

And of course, the pressures of the career only make that worse.

Despite the gravity of her observations, Monti is grateful to have seen them firsthand in order to better

inform her research and treatment methodologies. “If somebody wants to get into the mind of a performer, I think a great thing to do is perform.”

As Monti herself notes, however, vocal psychotherapy is still an emerging field in its nascent stages. The correlations seem too strong to ignore, and as Monti delves into her research, the mixture of performance and science in her background continues to push her into exciting new territory. Monti’s PhD research focuses on musical theatre singers. She’s creating her own niche in the field by employing acoustic analyses of artists with histories of trauma.

“In the name of science, I can’t make any claims and say ‘this is exactly how it is,’” Monti concludes. “I can tell you that there is some evidence that suggests this actually is a thing. And I am proud to say that I am one of the first people that have looked into this.”

With each passing year, there is a growing number of AMDA alumni blazing new trails for exciting and meaningful careers inside and outside of the performing arts. Our alumni not only become celebrated actors, singers and dancers, but also successful directors, producers, writers, choreographers, designers, stylists, teachers, behavior therapists, CEOs and even scientists!

AMDA is proud to recognize the growing diversity of alumni making a difference in their respective career fields. We want to hear your story!

For an opportunity to be featured, contact alumniservices@amda.edu with your career update.

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SMASHING EVERY EXPECTATION

Alumni grace the many stages of Hamilton, the musical that transformed Broadway.

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hose lucky enough to get their hands on a coveted there are so many moving parts involved in staging this particular Hamilton ticket join a fortunate group who have borne show, execution can slip quickly if you don’t have eyes on it. “The witness to what has quickly become one of the most expectation of creative integrity with Hamilton is just so massive,” successful musicals in Broadway history. Nominated he observes. “It’s unlike anything else, I think, because of the for a record 16 Tony Awards and a recipient of 11 (including Best material, because of the expectations, because of how important Musical), Hamilton: An American Musical is a Pulitzer Prizethe show is — creatively, politically, socially.” winning phenomenon, considered by many theatre enthusiasts Mindlin grew up in Princeton, New Jersey, and began acting at and critics alike to be a culturally transcendent masterpiece.

13 in a McCarter Theater production of A Christmas Carol. After Praised as “an achievement of historical and cultural reimagining” high school, he majored in dance at one of the upstate SUNY system (The New Yorker) and the “most exciting conservatories but ended up wanting a and significant musical of the decade” more diverse education. “And I wanted to (Wall Street Journal), the sung- and be in the city, and AMDA was right there rapped-through musical about the life and had all the resources I was looking for.” of American founding father Alexander After graduation, he enjoyed a busy career Hamilton has come a long way since on Broadway as a performer in Aladdin, 9 breaking into the Off-Broadway scene in to 5, Mamma Mia and Chitty Chitty Bang 2015.

Bang. But slowly he has come full circle, In just a few years, Hamilton has become working first as choreographer on regional a pop culture sensation beyond the world of productions of Gypsy and Xanadu and now theatre, joining the ranks of such legendary as dance supervisor on Hamilton. musicals as West Side Story, The Sound of The most valuable thing he learned — MICHAEL MINDLIN Music, Cats, Phantom of the Opera, Wicked at AMDA, he is convinced, was how to and Les Misérables. Enthralled by writer, audition. “Learning how to be specific, actor and composer Lin-Manuel Miranda’s unconventional depiction what to do, what not to do, how to play the mind games of tricking of America’s past and the uncommonly diverse casts, audiences have yourself into being positive when you walk into the room. You can maintained an unprecedented level of enthusiasm for Hamilton. have all the tools in your bag when it comes to doing the work. But Now in its fourth year, Hamilton remains the hottest show on to be able to audition well is another whole set.”

Broadway — and beyond. The musical is among Broadway’s top 10 highest grossing shows, surpassing many (Les Misérables, Cats) JENNIE HARNEY which had runs of more than a decade. Hamilton now boasts two UNIVERSAL STANDBY: ELIZA, ANGELICA, PEGGY, MARIA national touring casts, productions in Chicago and London, and AMDA NEW YORK CITY 2010, THE INTEGRATED PROGRAM will be opening in San Francisco in 2019.

Earlier this year, Jennie Harney woke up in New York on standby In 2016, AMDA Magazine told the story of alumni Christopher to play not one, but four roles in Hamilton in San Francisco that Jackson and Anthony Ramos, who originated roles in the Broadway night. In the span of six weeks, she performed in Los Angeles, cast. With the show’s growth, numerous additional AMDA alumni New York, San Diego and Chicago. This is the life of the universal have become part of the Hamilton juggernaut. We spoke with seven standby, a position so novel that Actors’ Equity created a new who have stepped into the spotlight in the current casts. contract to cover the unique demands of the role.

“I actually love being a universal,” says Harney, who grew up in a MICHAEL MINDLIN theatrical family (her father, Ben, won a Tony Award for Dreamgirls).

ANGELICA CAST: DANCE SUPERVISOR “You’re always getting the opportunity to play with different folks, to AMDA NEW YORK CITY 2003, THE INTEGRATED PROGRAM watch other people’s process, to learn from the choices they make. In As dance supervisor on the Angelica tour, Michael Mindlin is every cast there are people I just adore working with.” responsible for instituting changes that may occur within the cast.

Harney chose to study at AMDA New York City because the Occasionally dancers are injured and he works with the dance relatively short two-year program allowed her to “catapult” captain to quickly get someone new up and running. Also, because directly into the theatre industry.

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“It’s unlike anything else, I think, because of the material, because of the expectations, because of how important the show is — creatively, politically, socially.”

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JOAN MARCUS

Left to right: Elijah Malcomb (AMDA, 2015), Joseph Morales, Kyle Scatliffe (AMDA, 2009) and Fergie L. Philippe in the Hamilton Philip national tour cast.

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COURTESY OF SHERIDAN MOUAWAD

Alumna Sheridan Mouawad prepares to go onstage in the Chicago production of Hamilton.

But what she valued most was the self-discipline her instructors instilled in her. “They gave you tools — but then left it up to you.

Nobody was going to beat you over the head to do anything. You had to learn how to just get up and do it.”

ALEXANDER FERGUSON ANGELICA CAST: ENSEMBLE, UNDERSTUDY FOR HAMILTON, BURR, KING GEORGE, JOHN LAURENS/PHILIP HAMILTON AMDA NEW YORK CITY 2011, THE INTEGRATED PROGRAM In January 2018, Alexander Ferguson was scheduled for an audition but decided at the last minute not to go. “I was being very hard on myself and it was just not a positive day,” he remembers. “My roommate said, ‘Dude, you are so right for this rock stuff. Go!’ So I went.”

A week later, Ferguson found himself as the understudy for the lead in the biggest musical of the decade. “The craziest part,” he says, “is that it wasn’t even an audition for Hamilton. I went in for The Who’s Tommy.” Fate had other plans, however, as Ferguson was given the opportunity of a lifetime to play Aaron Burr. Following five weeks of rehearsal in a bare New York studio with tape on the floor in place of sets, his moment had arrived. He was asked to fly to Denver to play Aaron Burr for five shows because the primary had to step down and take care of a family emergency. Ferguson notes that as an only child, it was easy to relate to Burr as a character who feels like an outsider, constantly observing and struggling to overcome social anxiety. It proved to be a perfect fit and an experience he would never forget.

Ferguson grew up in suburban Orlando, Florida, studying martial arts and ballet. It wasn’t until one of his instructors noticed he could also sing that he decided to attend an after-school arts academy. This led him to AMDA, where he says one of the most valuable lessons he learned was to ignore anyone who tells you that you can’t do something. “The biggest thing AMDA taught me was to be resilient.”

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SHERIDAN MOUAWAD CHICAGO CAST: ENSEMBLE AMDA NEW YORK CITY 2013, THE INTEGRATED PROGRAM As one of 24 ensemble members of Hamilton, Sheridan Mouawad portrays colonial and British soldiers, townspeople, spectators in a courtroom and guests at a musical ball, all in period costumes, naturally. “During the rehearsal period, you’re just wearing typical rehearsal gear — and then all of a sudden you get the costumes on and you have this corset. It definitely changes the way you move,” says the petite, 5-foot-2-inch actress. Learning to execute the choreography on the show’s twin turntables was challenge enough, “but then adding the costumes on top of it, it took me about three weeks to get over the feeling of vertigo.”

Growing up in Australia the child of immigrant Lebanese parents, Mouawad admits she knew almost nothing about the American war for independence. But both her parents are from Lebanon, “so the story of immigrants having to build their lives in a new country — it’s a different mentality of working hard. So that in itself I had no trouble understanding about Hamilton.”

“I felt I was pretty solid on dancing when I started at AMDA and I could sing.” Mouawad recalls. “But that’s where I really learned how to be a smart actress — how to ask the right questions, how to choose clothes for an audition, how to prepare 16 bars, educating yourself on the show you’re trying out for. It changed my whole perspective.”

KYLE SCATLIFFE PHILIP CAST: THOMAS JEFFERSON, MARQUIS DE LAFAYETTE AMDA NEW YORK CITY 2009, THE INTEGRATED PROGRAM When Kyle Scatliffe graduated from AMDA, he had already signed with an agent who had seen his Industry Panel performance. In his buoyant, booming voice, Scatliffe concedes that his career

JOAN MARCUS

“ Where other actors’ struggles have been getting a foot in the door, I was standing in the room. My struggle was to figure out how to not get pushed out of the room.”

— KYLE SCATLIFFE Kyle Scatliffe (far right) and the Hamilton company.

path has been atypical. “Where other actors’ struggles have been getting a foot in the door, I was standing in the room. My struggle was to figure out how to not get pushed out of the room.”

He figured it out quite well. Scatliffe is now playing Jefferson and LaFayette in the musical of the moment and having “a ball,” he says. In addition to having an interest in politics, Scatliffe says he enjoys the way Jefferson’s role is written, giving him the freedom to make a lot of “random, strange choices” that appeal to his “silly” side.

Scatliffe grew up in Westwood, New Jersey, the youngest of five children, and got involved in acting in high school at the urging of a drama teacher. He attended Bergen Community College before enrolling at AMDA. “I always called AMDA ‘theatre boot camp’ because that’s what it felt like. That twoyear conservatory program is such a whirlwind. After you graduate, you realize it’s so hard because by the time you leave, the real world feels easier to take on.”

KARLI DINARDO ANGELICA CAST: CO-DANCE CAPTAIN, SWING, UNDERSTUDY FOR PEGGY/MARIA AMDA NEW YORK CITY 2013, THE INTEGRATED PROGRAM Sometimes, says Karli Dinardo, she and other cast members of Hamilton will go to a local restaurant after a performance and diners who have just seen the show will recognize them and start talking to them. “This show really makes people think,” says Karli, “whether they didn’t like a certain representation of history or they loved everything. It makes people talk and gets them very passionate. I love that.”

Dinardo herself has been very passionate since the age of three, when she began taking ballet and tap in her native Melbourne, Australia. “I was one of those kids who just never slept,” she laughs, “so my parents were like, ‘Let’s just get this girl

into all the activities possible so we can get her tired.’ But it kind of boomeranged because I fell in love with it.”

What she thinks back on most about her time at AMDA, she says, are the teachers she had. “The knowledge and wisdom they passed on and the lessons they taught, the amount that they shared — that was truly the best thing I could have taken away.”

ELIJAH MALCOMB PHILIP CAST: JOHN LAURENS/PHILIP HAMILTON AMDA LOS ANGELES 2015, BFA IN ACTING John Laurens is probably the least known of the principal characters in Hamilton, but after reading about him in preparation for his audition, Elijah Malcomb was impressed with the guy. He was particularly struck by the fact that Laurens — a white army officer from South Carolina — was a passionate abolitionist who lobbied Congress to form a brigade of slaves to help fight the British. “Throughout the whole first act, he’s this rowdy, energetic kind of wild man,” says the soft-spoken Malcomb, who grew up in Corona, California, east of Los Angeles, “running into battle and advocating for these slaves to fight for our cause. Which I think is huge because the American people were fighting to establish their own country and this man saw the parallel to letting slaves fight for their freedom.”

In high school it wasn’t theatre but singing and rapping that obsessed Malcomb. “One of my friends had a home recording studio, so we would just go to his house after school every day and record stuff.” His mom had always made it clear that he was expected to get a college degree, but, he says, “I knew I didn’t want to study something where I wouldn’t be happy.” The AMDA Los Angeles Bachelor of Fine Arts Program seemed to be the answer for both of them. “I felt it would really benefit me personally to do the full four years, that I would be able to learn so much more and really grow into myself as an artist.”

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BALANCE OF POWER

Ray Fisher finds success exploring the humanity and conflicts within two famous heroes.

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t was the kind of review actors dream of: “As [Muhammad] Ali, Mr. Fisher gives an incandescent performance that also makes room for the brooding moments of self-doubt that [playwright Will] Power suggests flickered underneath the preening. … His lively, funny and sympathetic portrait provides the play with a necessary core of authenticity.”

Charles Isherwood’s New York Times review of the 2013 Off-Broadway production of Power’s Fetch Clay, Make Man helped put its star, AMDA alumnus Ray Fisher, directly in the critical and public spotlight. The play garnered nationwide attention, with Fisher receiving copious praise for his portrayal of iconic boxer Muhammad Ali. BroadwayWorld noted, “Fisher keeps us aware that under his mask there’s still a confused fellow feeling unprepared to make some very big decisions.” This duality was one of the more appealing themes of the play for Fisher, who told NPR he was attracted to “the idea of people wearing masks, you know, trying to be who you want to be, especially in society that views you as less than that.” The actor would soon be given a much bigger role with which to explore that idea, as Victor Stone — the superhero Cyborg — in the Warner Bros./DC Entertainment Justice League franchise.

The entertainment world took notice of Fisher thanks to his turn in Fetch Clay, opening doors to high-profile lead roles. Twotime Oscar-winning director Ang Lee attended a performance and met with Fisher about an Ali film he’s developing. (Casting for the Lee film has yet to be annouced.) In 2014, shortly after Fetch Clay closed, the Hollywood trades were abuzz with reports that Fisher was a top contender for a lead in Star Wars: The Force Awakens.

In the midst of this flurry of auditions and rumors, Fisher met with Warner Bros. and DC Entertainment regarding a role in an upcoming film. They then sent the actor to Detroit to screen test for director Zack Snyder, who was preparing to shoot Batman v Superman: Dawn of Justice.

Fisher returned to New York, but didn’t have to wait long before getting a call from Snyder. Recounts Fisher: And he says, “Well, it looks like we’re going to be making a movie.” I freak out. I’m screaming. I’m swearing at him. I’m calling him a liar, telling him he’s playing a game. “This is wrong! Why are you doing this to me?” When he finally calms me down, he says, “No, we really liked what you did in the test and we want you to be a part of it.” At that point I said, “Listen, I really appreciate you taking the chance and having the faith in me. I will not let you down.”

Along with actors Jason Momoa (as Aquaman) and Ezra Miller (as the Flash), Fisher’s first outing as his superheroic

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alter ego was a cameo in Batman v Superman. Gal Godot’s Wonder Woman also debuted in the film in a more integral role. There was little doubt the studio was setting up sequels and spin-offs, but they had more ambitious plans to challenge the popular Marvel Cinematic Universe movies than most expected. Before Batman v Superman wrapped filming, DC Entertainment announced nine future movies including Wonder Woman, Justice League, Aquaman and — much to Fisher’s surprise — a standalone Cyborg movie in 2020. The actor was stunned when informed of the plans just moments before the public announcement.

Four years later, the future of Cyborg is less certain. Despite grossing more than $650 million worldwide, Justice League fell shy of the top 10 earners of 2017, surpassed by three Marvel films, Star Wars: The Last Jedi, Beauty and the Beast and the unprecedented success of Wonder Woman.

Regardless, anticipation remains high for a solo Cyborg movie.

Cyborg is the only character in Justice League who was not a member of the comics version of the team when it debuted in 1960. Cyborg has surged in popularity in recent years thanks to prominence in two Teen Titans animated series, leading to a much bigger presence in comics, animation, games and other media.

Cyborg’s appeal — both for fans and as a role for Fisher — is much deeper than the color of his skin. The thematic similarities between Muhammad Ali and Victor Stone/Cyborg are numerous: Both are athletes seeking to balance public and private identities while burdened by tremendous expectations. Unlike the famous boxer, Cyborg’s power and heroic duty are forced upon him when Victor Stone’s scientist father saves him from a near-fatal accident by giving him a mechanical body.

In an interview with SyFy.com, Fisher remarks, “Victor Stone’s story is one of acceptance, of self and others. Also accepting his father for the person he once was, absent from his life until he turned him into Cyborg. And acceptance of oneself in that he is both Cyborg and Victor Stone simultaneously.”

While the exploration of nature of humanity when juxtaposed with technology has roots reaching back to Mary Shelley’s Frankenstein (which itself draws on folkloric golems and mythological chimera), it’s particularly relevant in the tech-saturated 21st century. As Fisher tells SyFy, “I see a Victor Stone, a young black man who has gone through this circumstance. And in the comics it transcends the physical and goes to the idea of what it means to be human. That is a metaphor for who we are.”

While contuing to voice his support for a Cyborg movie and enthusiasm for the character, Fisher is taking on new roles. He stars opposite Moonlight Oscar-winner Mahershala Ali in the third season of HBO’s “True Detective,” premiering in January 2019.

WARNER BROS - DC ENTERTAINMENT

Ray Fisher dons the heavy metal as Cyborg in Justice League.

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AMDA alumna Caissie Levy is proving that the cold has indeed never bothered her anyway.

She’s taking Broadway by storm as Elsa, a role she’s originating in Disney’s Frozen. Caissie’s other Broadway credits include Fantine in Les Misérables, Molly in Ghost, Elphaba in Wicked, Sheila in Hair and Penny in Hairspray.

Caissie, who lives in New York with her husband, David Reiser, and their son, Izaiah, sat down with AMDA Magazine recently to discuss Frozen and provide insight on her remarkable career since graduating from AMDA. CONTINUED »

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DEEN VAN MEER

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“I stepped out to do ‘Let It Go,’ and the exchange with the audience was so electric. I feel like it’s a conversation between me and the audience, and we’re in it together.”

Caissie Levy as Elsa in Frozen

As a vocalist, when you’re singing a song like “Let It Go” night after night, do you find yourself falling back on the techniques you learned at AMDA? How do you prepare yourself for that?

When I arrived at AMDA, I only knew about three musicals. It was a rude awakening when I got to school and everyone was talking about Sondheim and obscure pop musicals. All I knew was Rent, Les Mis and Phantom of the Opera — stuff that I’d seen in Toronto when I was growing up. I had a quick education as far as what was out there in the musical theatre canon. My singing voice definitely developed in the time I was at AMDA, and that development has continued into my career. Singing has always been something that I’ve done since I was a child, but finding my voice and fine-tuning it is something that’s an ongoing process. For me, it’s always been about finding teachers that I connect with.

Even the best teachers might not be the right fit for you if they don’t communicate in the way you need your voice teacher to communicate with you.

Over the years my voice has grown. I’m definitely a technician and someone who relies on my technique. I’m very serious about my voice and the way I care for it.

That’s true in this role as well as all the other roles I’ve played, like Elphaba, Sheila [Hair] and Molly. Those characters all have really big songs that require me to lean

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on my technique. Now when I teach, part of what I love to pass on to people is how to use their voice in a healthy way — how to hit those notes, night after night, eight shows a week, in a free and exciting way, so that when you’re up there, you can be free as opposed to negotiating it. I’m at a place now where I can let go and just sing, but there are days that I’m aware of how I’m manipulating things or singing differently and breathing in such a way that’s going to keep me going for the eighth show of the week.

Part of being on Broadway is that you’re an athlete. You have to treat your body and your voice with a supreme amount of respect in order to operate at the level that you’re expected to.

There’s a transformational moment in the middle of “Let It Go” that made the hairs on the back of my neck stand up. Singing such an iconic song, it would be easy for a performer to get lost in that moment, but you rise above it. How do you manage this?

It’s a great question, and I feel like my answer changes every night. When I first heard that Frozen was coming to Broadway, I immediately thought it would be the perfect Broadway musical. Then I started hearing “Let It Go” everywhere, and I purposely didn’t sing it because I thought it was becoming oversaturated.

Even though I knew the song was

awesome and I thought to myself, ‘Oh, I would love a chance to sing that someday,’ I resisted it. It wasn’t until I sang it as a funny mash-up at Feinstein’s/54 Below that I caught the fever that everyone feels when they get to sing it.

And then flash-forward to being cast as Elsa. It definitely was not lost on me throughout the audition and rehearsal process how massive it is that I’m the person who gets to sing this song on a Broadway stage and create this character for Broadway. It’s a huge, crazy opportunity, but it’s also one that can cripple you if you’re not careful. It’s been a negotiation, especially when we brought the show to New York under all of that pressure and expectation. Stepping away from thinking about the magnitude of the song was helpful. It was much better for me to stay in the moment of the show and not think about how crazy it is that it’s me singing the song and that this magical dress transformation change is coming.

On the flip side, there are moments, now that I’ve lived in the role for quite some time, where I definitely let the joy and wonder wash over me while I’m singing, and that is also magical, in its own way.

Last night was one of those nights. We had a 1 p.m. matinee, which was a doozy, and I was feeling a little tired for the 7 o’clock show, but I stepped out to do “Let It Go,” and the exchange with the audience was

DEEN VAN MEER

CAISSIE LEVY (CONTINUED) »

so electric. I feel like it’s a conversation between me and the audience, and we’re in it together. When we got to the moment when I transform, the cheering was so insane and out of this world, and I allowed myself to feel that joy both as myself and as Elsa, you know? And that’s rare, to be able to be on Broadway and have a quick second to appreciate it while it’s happening. It’s a very cool, strange phenomenon.

Tell me a little bit more about your teaching at AMDA and how that has influenced you as a performer. How has passing on what you know changed your perspective?

Oh my gosh, teaching at AMDA has been such a happy surprise in my life. When I started, I had just finished doing Les Mis, and my husband and I were thinking that we were ready to start a family. I started to teach the fourth semester mock audition class, and I loved it so much.

I’m endlessly amazed at the fact that any of us goes into this business, that we get up in front of people to sing and act and tell stories and be vulnerable. It’s never lost on me how brave that is and what a strange life we have chosen for ourselves. I learn something from every student I meet — about them, about myself and about what it means to be honest and free on stage.

I would constantly come into class at AMDA and tell the students, ‘Okay, so I was just at an audition today, and I thought about the coaching I did with you last night on your song, and I applied it myself.’ So, you know, it never stops.

We’re always learning and we’re always a student. The best actors in the city always remain students, and I think that’s the number one thing.

Teaching definitely brings me back to the original joy of performing. I love the wonder and excitement of being able to adjust one little thing with an actor and watch as something unlocks in them.

Sometimes it’s something vocal, where I can see they’re physically tensing up so they’re not hitting the high notes. We do relaxation exercises, and I give them a couple of physical things to do to distract their bodies from the stress that’s coming, and before you know it, they’re singing it beautifully. Those are techniques that I use every single night on stage. There are physical things I do in order to hit the high notes in a free and healthy way. I

love passing on those little tricks of the trade to the students because I get to watch them discover it for themselves, apply it and see how much better they get. There’s just so much satisfaction in that, to feel that you’re passing it along.

I am in that point of my career where I’ve been on Broadway for over a decade.

This is my sixth Broadway show. I have things to share.

The fact that I get the chance to share those things with students at AMDA is exciting because it marks a new chapter in my career where it’s not just about me anymore. It’s about sharing what I’ve learned and trying to help the next generation of musical theatre performers.

There’s something really special about that.

It’s beautiful what you’re sharing about relaxing your body and allowing the high notes to come out. Watching you sing, it certainly feels like you’re free and easy, and it’s really lovely to see. It’s great to be in the audience and let it wash over you. Not everyone can do that.

I think that’s a responsibility of the actors on stage — to make the audience feel safe.

There’s something exciting about watching someone when you’re not sure that they’re going to hit the note, but it’s not how I want to feel when I’m in a theatre.

When I go to the theatre and see my friends in shows, the second I sit down and the lights go down, I get anxiety for them. I think, ‘Oh my God, what are they doing? How are they getting out on stage and doing this right now?,’ even though I’ve been doing it eight shows a week for 10 years. It’s insane what we do. It’s crazy.

I never want the audience to worry about me out there. I want them to be lost in the story, and I don’t want to pull them out of it

“When I started teaching at AMDA, I tried to give every student a feeling of being seen and understood, because that’s what teachers like Andy [Leech] and Dan [Daily] did for me, and I grew in a really deep way because of that.” for a second. And that’s true if I’m playing Elsa or singing in a club. I don’t want them to worry about me, you know? And that’s where your technique is so valuable and so vital. That’s why it’s important to train, whether you’re training at AMDA or continuing your education afterwards with your voice teacher, your dance teachers or your acting coaches. It’s important when you’re professionally working that you have a command out there and that you can take care of the audience on this ride.

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CAISSIE LEVY (CONTINUED) »

You talked about connecting with faculty and teachers. Can you recall that connection when you were a student at AMDA? Were there faculty that particularly influenced you?

I would say the teacher that influenced me the most when I was there was Dan Daily.

He was the first teacher that made me feel like an actor. I remember he was adamant that we all read the newspaper every day and that we know what’s going on in the world. That was something that always stuck with me because I realized artists can’t exist in a bubble. We have to know what’s going on in the world. You have to be a fully fleshed out human in order to be portraying fully fleshed out humans

on stage. That’s something Dan definitely taught me. He saw through the late-teenearly-20s angst that I had at that time.

Sometimes you connect with a teacher who helps you figure out who you are, and Dan was definitely that for me.

Also, Andrew Leech was very, very special to me. He was my Music Theatre teacher during my first semester. He and his husband have been in the business forever, and he has so much knowledge to impart. He was someone who I felt believed in me. It’s pretty miraculous how far that goes for a kid when they first start out in theatre school. It’s such a big deal to move your life to New York, try to

“It’s such a big deal to move your life to New York, try to pursue this and to not know anybody.

Your teachers definitely become a lifeline for you.”

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pursue this and to not know anybody. Your teachers definitely become a lifeline for you. When I started teaching at AMDA, I tried to give every student a feeling of being seen and understood, because that’s what teachers like Andy and Dan did for me, and I grew in a really deep way because of that.

Has being a mother impacted your teaching and performing?

Oh my God, yes. It changed everything. [laughs] Now every student is somebody’s baby. I look at them and I go, ‘Oh my God, their poor parents are worried about them.’ I just see their baby picture in my mind. It affects the entire way I interact with students, and it has made me a better human.

I don’t feel like you have to become a mom to feel these things by any stretch, but for me, it’s made me easier on myself and easier on other people. I accept things and I accept people as they are, rather than trying to change them, because, you know, we come out how we come out. That’s evidenced from being a mom. My son is just the coolest thing on earth. Every day I’m learning something new about him, and he’s not becoming that, he already is that.

I’m just learning about it as it happens. So, it’s a good lesson in, for lack of a better phrase, letting go of expectations — as an actor, as a teacher, etc.

My agents all like to tease me and say that I’ve hit a new stride with becoming a mom. Something about becoming a mom has made me book everything left and right. But it’s not that. It’s that I have no time for myself. When I spend 20 minutes prepping an audition, I work really, really hard in those 20 minutes, and then I have no more time to prep that audition.

When I go in the room I say, ‘Well, this is what I have for you today,’ and there’s something about that that I think people respond to. You walk in going, ‘Here’s who I am. No apologies. I’m not going to be the person that was before me in the audition room, and I’m not going to be the person that’s after. I’m just who I am.’ There’s something attractive about that, so it’s yielded new opportunities. I think it’s part of the release of becoming a parent and realizing that the world is not just about you anymore. I have really loved every minute of it, even the hard stuff — and

there has been plenty of hard stuff. It’s definitely made me a better artist and a better teacher.

So, you’ve been on Broadway for 10 years.

Looking back, what can you say to students who are graduating from AMDA and coming out into the world? What perspective can you share with them?

I feel like it’s so important to let go of comparisons. Spending your time comparing yourself to other people in the business is an easy way to fail really fast and really hard. You lose all the joy in what you do. I mean, the whole reason we got into this is that it’s fun. So I think it’s really, really important for students who are graduating to remember that the wins are not just getting the jobs. It’s a win every time you get to make art and every time you step on stage. It’s a win every time you get to go into an audition room.

Once you’re in that audition room, treat it like you’re at Carnegie Hall, because that’s what we’re here to do. That’s what’s going to make it fun for you, and it’s what’s going to allow your authentic uniqueness to come through.

I remember when I started out, I looked at what other girls a little bit older than me were doing. I wanted it so much, and I tried to do what they were doing, but I was not having the success I wanted. It wasn’t until I started honing in on what’s special about me and cultivating my natural strengths that I started to book jobs.

The other thing I would say is to never stop being a student. The most inspiring people in every cast I’ve been in are often those who have worked consistently throughout their careers. The reason they’re so inspiring is because they’re the most gracious people in the room. They’re the ones who always say yes to the director, always try, always take the note, never show up with attitude, come prepared — all those things you learn in school and that your teachers tell you to do. Be off-book. Know your stuff. Be polite to the accompanist. Have all your gear. Have your book in order. All of those things actually really matter because they’re going to allow you to do your best work. If you’re a gracious human being, people want to work with you.

That’s the number one thing — saying yes, being open, being kind and not losing sight of the joy of it all.

“Caissie is honest, thoughtful, creative and elegant in her work and in life. She is the perfect role model. Casting Caissie as Elsa says it all. Girls, live up ELAINE PETRICOFF MUSICAL THEATRE FACULTY to the kindness, strength and inner and physical beauty of Caissie Levy. Caissie is family.”

“As I tell all my students, when you do good work, I will remember it. I absolutely remember that she brings out the best in her partners.”

ANDREW LEECH

MUSICAL THEATRE FACULTY

“Caissie played Beatrice in The Effect of Gamma Rays on Man in the Moon Marigolds for her third semester final project in acting. I look forward to her DAN DAILY ACTING FACULTY reviving it when she reaches the right age. I’m delighted with her success, but in no way surprised.” amda.edu

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GOING SOLO

In her one-woman show, J. Elaine Marcos gets the Job done.

ALL PHOTOS: LIA CHANG PHOTOGRAPHY

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urlington, Ontario, native J. Elaine Marcos knew she was destined for the bright lights of Broadway from the tender age of nine, when she attended performing arts camp and elicited her first laugh from an audience. Just months after graduating from AMDA’s Integrated Program, she was cast as Connie Wong in the national touring company of A Chorus Line. This dynamo hasn’t stopped since, building an impressive résumé that includes roles in Miss Saigon; Flower Drum Song; Wonderful Town; Sweet Charity; Annie; Priscilla, Queen of the Desert; and the 2006 revival of A Chorus Line, for which she was featured in the popular film Every Little Step.

A knee injury in 2008 led Marcos down a new road.

She packed her bags, boarded a plane and set her eyes on Hollywood. It didn’t take long before Marcos launched a successful television and film career with appearances in Morning Glory, St. Vincent, Before I Disappear, “2 Broke Girls,” “Grace and Frankie,” “30 Rock,” “Rescue Me,” and “Law & Order: SVU.” Over the next 10 years, Marcos lived bicoastally, as both a Hollywood actor and a Broadway scene stealer.

Earlier this year, producer Ken Davenport called, and Marcos prepared for her return to Broadway in Gettin’ the Band Back Together. Her ninth Broadway show brought her the honor of Broadway’s Legacy Robe.

Marcos’ one-woman show, What I Did for…a Job, a comedic musical revue that combines classic show tunes with personal anecdotes of being a professional actor, made its New York debut on September 5, 2018, at Feinstein’s/54 Below.

J. Elaine Marcos recently spoke to us by phone from her home in the Big Apple.

Above and opposite: J. Elaine Marcos in her one-woman show, What I Did for…a Job.

Let’s begin at the beginning. How did you happen to choose AMDA over a performing arts school in Canada?

I grew up in a small town, far enough outside Toronto that it couldn’t really be considered a suburb. I really wanted to branch out from the world I knew. My mom and I took a trip to New York and toured the school. On our way to AMDA, we passed the Broadway Theatre where the original production of Miss Saigon was playing. It had always been my dream to be in that show. It just felt like kismet, so the decision was an easy one.

Then when I finally got accepted to AMDA and I’d walk by the Broadway Theatre, I’d have this little fantasy in my head of “Ah, there’s my show.”

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When I graduated, it took me four years to finally get cast in Miss Saigon. I just kept auditioning, auditioning, auditioning. That was my Broadway debut.

How was your experience at AMDA? It was a very quick introduction, first of all, to New York City and how things work and how you need to be prepared for auditioning. You really learn the craft of auditioning at AMDA. It also really helped me discipline myself on how I lived, spent my very limited budget and spent my time. I made a very concerted effort to completely immerse myself in AMDA and tried to avoid the many distractions the city outside had to offer. It was tough sometimes, but I did it, and it was a great learning experience.

“It took me four years to finally get cast in Miss Saigon. I just kept auditioning, auditioning, auditioning.

That was my Broadway debut .”

How does it feel to now be on the other side of the table at AMDA? It’s such an amazing feeling teaching workshops at AMDA, so full circle. I love being tapped into that process, but on the other side. I watch these young performers who are so nervous, and I think back on myself at their age, and it’s like, you know what? You’re nervous, and that’s awesome. And you made a mistake, also awesome. We’re here to learn, and there are no mistakes.

After your injury in 2008, you set your eyes on Hollywood and a career as a comedian. Can you tell us about that time in your life?

I guess I’ve always been drawn toward comedy. When I look back at the jobs that I got, even though I was a dancer and singer, I would inject humor into the process. It was almost like a stand-up routine for me, just something I gravitated to naturally. Another dream show for me would have been to be on “Three’s Company.” I love classic sitcoms and that brand of humor.

So would you have been Janet or Chrissy?

Neither one. Mr. Roper all the way, man! [laughs] When I have my fantasies, I’m always playing the neighbor, not the lead. There’s something about a memorable supporting character. Megan Mullally is like that, too, on “Will & Grace.” It’s like they flourish in, then flourish out again, but when they leave, you’re always hungry for more.

Tell us how you created What I Did for…a Job. I’ve gotta be honest with you — I’m absolutely terrified to do it!

[laughs] I’m also so excited to do it. It’s about all the themes and stories we’ve been discussing. People do one-woman or one-man shows and I always think, ‘Are people going to be bored with me talking about myself all that time? Me, me, me, me, me!’

But a lot of people would do cabarets and I was always asked to participate to be comedic relief. People would always ask me, “When are you gonna do your own?” I was so resistant to the idea, for years. But then I realized that most of my audition pieces are cabaret-style acts. I remember auditioning for Priscilla, and I remember thinking that this audition needs to be in my act, and what if I sang all my audition pieces framed around my stories of what I did to get that role. It’s one of those things that was percolating in back of my head for a long time, then just sort of sprang forth one day, fully formed.

I can see how it was inspired by A Chorus Line, including the title.

Totally! It’s all about the ups, downs and in-betweens of being a musical theatre person. It’s also about how I’ve tried to navigate a system where there aren’t always a lot of roles for a Filipino girl.

“How do I fit in?”

When you assembled all the anecdotes, did you see a consistent theme or pattern in them?

Oh yes! The idea of “Am I enough or do I have to bring even more to my talent?” And what I discovered was, yes, I am enough. Even if you add extra sauce on top, to try and sweeten the deal, I’m still who I am, without the sauce, without the extra sizzle. I’d say that’s the primary theme.

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Magazine | 23

GALLERY

AMDA LOS ANGELES EVENTS

TRAE PATTON

DANCE THEATRE CONCERT: “VIHARA”

TRAE PATTON

BFA PLAY: “WEDDING BAND”

24 |

Magazine |

amda.edu

AMDA NEW YORK CITY EVENTS

KRISTINA BUMPHREY

MUSIC THEATRE SHOWCASE

CHRIS MACKE

DANCE THEATRE SHOWCASE

GALLERY

LOS ANGELES

NEW YORK CITY