Performers from Musicals and Concerts Who Really Stole the Show
By Joel Markowitz
Four Actors Make Me Dizzy Over Lizzie and the Marquis
I was on the fringe of total frustration, until I found these four scene stealers in a tent and a small stage, where their productions won the respect and hearts of Fringe audiences. Bravo Jesse, Eric, Felicia and Maria!
- JESSE J. TERRILL
- Composer and Herald in Forum Theatre’s Marat Sade
Not only did he compose the score, but multiple hat-wearer Jesse Terrill, lures the audience into Forum Theatre’s caged version of Peter Weiss’ Marat/Sade, steals several scenes as The Herald, and plays in the orchestra at H Street Playhouse.
Joel: What styles of music did you select when composing your score?
Jesse: I think the music takes on the style of early Romantic, some cabaret (Kurt Weill is an influence), and, as everyone likes to point out when they hear my music, there are some passages that sound a little like they’re from a Danny Elfman movie score. The most important thing to me was that the music was fun-something creative inmates would like to sing. I am lucky to have five very talented actor/singers and one actor/musician assisting in creating the soundscape of the play. They effectively capture the different elements of the songs I composed: demented lullabies, raucous cabarets, militaristic marches, and cloying anthems.
Joel: Who wrote the lyrics?
Jesse: The play is by Peter Weiss, but the original music written for the famous English production was by Richard Peaslee, and the lyrics for that version (and the version we use) were by Adrian Mitchell. We use the lyrics that are provided in this translation, but Peaslee’s music has been scrapped in place for my own. Sure saves on music rights! I have to admit, not all of Mr. Mitchell’s lyrics scan easily, so I had a devil of a time trying to fit his words to some of my music, but it all worked out in the end.
Joel: What does your score add to the show?
Jesse: I’m an actor/composer…I enjoy being able to do both in a show, and after Michael Dove (Forum Theatre’s Artistic Director) proposed the piece and asked if I would write original music, I said absolutely, and I asked for the role of the Herald. The Herald acts as a Ringmaster, and what better opportunity to add to his many roles the role of composer, musical director and performer. It’s certainly fun for me, and it’s a way to tie in the music to a specific character so that it doesn’t seem arbitrary. Michael really wanted the music to belong specifically to Forum Theatre’s production. If we borrowed music from another production, we would be influenced by an outside force not of our own making. I wrote the music, but the singers contributed their ideas, inputs, and suggestions, and in the end, we came up with something that was collaborative, and honed-in to what we created on-stage.
Joel: Where will we see you next?
Jesse: I am happy to be part of a re-mount of The Last Days of Judas Iscariot, with Forum Theatre, in late Fall. I’m also involved with The Winter’s Tale at Folger Theatre in 2009, both acting and performing music. I also have written original music for Kathleen Akerley’s production of her play, Theories of the Sun. Look for that in mid-August at Longacre Lea productions.
Forum Theatre’s Marat/Sade continues at H Street Playhouse thru August 10th.
- MARIA EGLER
- Clymenestra in Dizzy Miss Lizzie’s Roadside Revue – The Oresteia
When Maria Egler’s sexy, sultry, vengeful Clytemnestra slithered along the stage, snarled at the audience, and belted her scorching opening rock number, she instantly became the audience’s favorite. Every time Maria moved, or spoke or sang, her new-found adoring fans went crazy! You rock girl!
Joel: Tell us about this role, and how much of your own personality is in your character.
Maria: I play Clytemnestra, wife and murderer of Agamemnon (the King) and mother/victim of Orestes, Electra and Iphigenia. Since Clytemnestra is a murderer and “Vile Whore.” I would like to think that I bring nothing of myself to the character as I have never murdered anyone, and prefer not think of myself as a whore. However, she is a strong woman who knows what she wants and uses whatever means she can to get it., and I admire that.
Joel: Tell us about your opening number.
Maria: My opening number “Vengeance” could be described as emotional exposition. Clytemnestra’s reasons for every bad thing she is going to do are explained and the depth of her pain and desperation are made clear…..by my screaming.
Joel: Talk about your vocal training, and some of the roles you have played
Maria: I attended the Catholic University in DC where I studied with N. Thomas Pedersen (who would be furious if he heard how I was singing in this show!) I just recently returned to the area after traveling the country with the National Tour of Gypsy playing one of the strippers. In the area, I have appeared at Toby’s playing Miss Flannery in Thoroughly Modern Millie, Faye Templeton in George M! and Irene Roth in Crazy for You at West End Dinner Theatre.
Joel: What’s next for you on the stage?
Maria: I will be appearing in Phantom of the Opera at Toby’s Dinner Theatre in Baltimore in the fall…..and hopefully more shows with Dizzy Miss Lizzie’s Roadside Revue – of course!
There are 2 more performances of Dizzy Miss Lizzie – Fri, July 25 at 7 and Sat, July 26 at 2.
- ERIC MESSNER
- Jacques Roux in Forum Theatre’s Marat Sade
During all the screaming and wails and craziness and bath water which drips on the H Street Playhouse stage during Marat/Sade, there is a scene that actor Eric Messner blows out of the water. I had chills up and down my spine when Eric delivered the end of Act 1 scene stealing performance, and here is this brilliant actor’s take on it.
Joel: Describe Jacque Roux and how you relate to him.
Eric: Well, Jacques Roux was a priest during the mid to late 1700’s who later turned to spouting revolution and became a sort of cheerleader for Marat’s ideas. Alphonse Dunois is the inmate of the Charenton asylum who gets to play Jacques Roux. Michael Dove, the director, kept pushing us all to remember that we were inmates in an asylum first, and actors in Sade’s play second, which I thought was incredibly helpful and gives us all a base to return to for our dual roles. The character, Alphonse, suffers from Tourettes syndrome, anxiety, and a lot of anger issues (hence the straightjacket). I think that Alphonse has this incredible frustration because he can’t express himself very well, and that pushes him into anxiety and anger.
I tend to enjoy very physical roles, and as Roux/Alphonse I do get to jump around and get hit and sort of pushed around by the guards, so that’s one way I would connect the character to myself. As for any of the mental afflictions, the only real connection to me is a touch of anxiety. I tend to worry and brood about things, but not to any sort of detrimental state that the character of Alphonse experiences himself.
Joel: How physically challenging is your role?
Eric: Well…being in a straightjacket for the entire show is a little daunting. It gets a little warm, and the knowledge that it’s not something I can get out of on my own sort of messed with me a little bit when I first put it on. I also do some twitches and tremors that affect my speeches. So there’s this constant physical movement happening with me throughout the show with the tremors which is then punctuated by these bursts of movement. It’s like sitting for 20 minutes and then getting up and having to run flat out at a moments notice. So…it’s a marathon type show, and I’m pretty exhausted by the end.
My last 3 roles have been fairly physical roles and my friend Shirley saw the show on opening night and said to me afterwards: “wouldn’t it be funny if you did a show where you didn’t have to be so physical? Maybe just came out, sat down, talked for a while, and didn’t have to jump around and get hit?” I told her I wouldn’t mind trying that sometime!
Joel: Your end of Act I speech was riveting and a Scene Stealer. What is happening in the show when you give the speech?
Eric: Well, Jacques Roux is the mouth piece of Marat. Historically, he attached himself to Marat and, like him, calls on the people for revolution and sets up demands that both he and Marat think that the people need in order for a better society. So he’s a catalyst for change, and tries to “rouse the people” each time he speaks. Unfortunately, each time he speaks he is silenced by Coulmier or the guards. There’s only one speech he does where he isn’t silenced, and it’s during the “Faces of Marat” Scene. During this scene, the other actors portray various people that have known or had some kind of contact with Marat; his parents, various other aristocrats, former teachers, Voltaire, etc. They all condemn him and remind him of his bad traits or shortcomings. My character is the only one who defends him in this scene. I really enjoy the speech because it’s about defending the idea of curiosity and experimentation, and the hope for change. Also it’s my sort of “quiet” speech, and it allows me to portray a more focused side of my character(s).
Joel: Where will we see you next on our local stages?
Eric: Next up for me is a little break, a trip to Yosemite and other parts of California, and then come October I’ll be working with Imagination Stage on the show Playing from the Heart.
Forum Theatre’s Marat/Sade continues at H Street Playhouse thru August 10th.
- FELICIA CURRY
- Cassandra and Athena, Dizzy Miss Lizzie’s Roadside Revue – the Oresteia
I have always been a big fan of Felicia Curry. She’s a powerful singer, terrific actress and one heckuva nice person, and it didn’t surprise me that another one of her scene stealing moments was about to occur, when I walked in to Dizzy Miss Lizzie’s Roadside Review – The Oresteia at The Baldacchino. And then it happened, as I watched the audience jump to their feet with her energetic, rousing, show-ending, hand clapping number.
Joel: Who do you play in the show?
Felicia: I play the ill-fated Cassandra and the goddess Athena. I loved playing a not-so-nice character like Cassandra, because I am nothing like her. I must tell you that my friends who know me well, were tickled pink to see me playing her. Personally, I am more like Athena. I am a very optimistic person – one who tries to bring together people. I have been an advocate for diversity education, and Athena is the diversity advocate in our show.
Joel: How were your many talents utilized in the show?
Felicia: I didn’t have any parlor tricks up my sleeve – I can’t eat fire, or juggle, so I used my athletic bag of tricks -cartwheels, splits and walking on my hands.
Joel: Talk about your big number at the end of the show.
Felicia: It’s simply called “Athena’s Song,” although others are now calling it the” Nah, Nah, Nah Song.” It’s a “why can’t we all just get along” song, and who couldn’t love these lyrics: “Fertility is better than hostility… Kisses are sweeter than curses… Prosperity instead of destruction.” I love watching and hearing the audience join in , clap their hands and sing those Nah. Nah, Nahs along with the cast. Who doesn’t like a happy ending?
Joel: What’s next for you?
Felicia: I just joined Capitol Steps, and will be performing with them from August 9th through the entire election season. I’ll also be seen at Signature Theatre in the “holiday show.”
There are 2 more performances of Dizzy Miss Lizzie – Fri, July 25 at 7 and Sat, July 26 at 2.
Also read: Fringe Scene Stealers 1
You must be logged in to post a comment.