Eleven Scene Stealers you should have seen

These latest scene stealing moments came from the debut of a professional company, from a children’s performing company and from some outstanding musicals at community theatres.

Flight of the Lawnchair Man came out of the 2006 New York Musical Theatre Festival. and was recently produced at CCT with 2nd Flight Theatre, and since 2 scene stealers came out of that show. I asked composer/lyricist Robert Lindsey-Nassif, the composer and lyricist of Flight of the Lawnchair Man to start us off.

Robert: Just last year, a man flew several hundred miles in a lawnchair strapped to a mammoth cluster of colorful, helium-filled balloons. And not long before that, an Italian priest did the same thing. These balloon pilot visionaries joined the hallowed ranks of the few, the proud, the silly, who braved the sky with nothing but their wits (or lack thereof), a lawnchair, and latex. And ever since I was a boy, I’ve wanted to do the same thing. I’ve imagined tethering myself to a mass of party balloons that would lift me aloft not to the clouds, but high enough so I could look down on my house and wave at my dog. Sometimes, while waiting around for that jetpack we were all supposed to have by now, I still think about it.

It was this fixation that inspired Flight of the Lawnchair Man – the story of a man who feels earthbound with no means of escape. Jerry Gorman is an ordinary man – in that he’s unique and misunderstood and special, as are we all. He’s a rainbow in a black and white world, longing to find a place where he can breathe freely. I hope and think that his journey is our journey – a quest for self-discovery and fulfillment. Jerry longs to fulfill his “Jerriosity”.

While sailing through the stratosphere in his lawnchair, Jerry Gorman is visited by three greats of aviation. First is Leonardo Da Vinci, then Charles Lindberg, and finally Amelia Earhart, as played by Katherine Hepburn. Earhart sings a rather mystical song called “Creature of the Air” in which she urges Jerry to stay aloft – to never land to join her in the pantheon of great fliers in the sky. Cathy Arnold’s Amelia/Hepburn was beautifully sung and delightfully daffy. Scenery was definitely chewed.

The song “What is That?” is sung by Big Jack Preston (a macho, narcissistic, and borderline psychotic airline pilot) and his beautiful flight attendant, Blaire. Blaire is in the cockpit with Jack they spot something odd in the sky. It gradually dawns on them that there’s a guy in a lawnchair in (at 13 thousand feet) hanging from hundreds of Loony Tunes balloons – not something you see everyday in the friendly skies. As Jack “buzzes” the lawnchair guy he is outraged to see it is his next-door neighbor in Passaic, New Jersey, a nebbishy nerd named Jerry Gorman. Jack seethes with fury at the thought of a worthless wimp daring to share airspace with a fully licensed pilot, such as his glorious self.

Ryan Khatcheressian wonderfully comedic performance perfectly captured Big Jack’s megaton ego and fragile sanity. It was a joy to watch Ryan crack up so creatively.

Book writer Peter Ullian and I were delighted to come see the fine production of our show presented by CCT with 2nd Flight Theatre Company. Randy Jones’ production was wonderfully innovative and witty and the cast was terrific.

And here are the 11 performances which stole the show for me.

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Cathy Arnold as Amelia Earhart, singing “Creature of The Air” in Flight of the Lawchair Man at CCT with 2nd Flight Theatre.

When Cathy Arnold appeared out of the clouds as a sexy Amelia Earhart, she rocketed Flight of the Lawnchair Man to a higher level. Her powerful voice shook the stage, and brought the audience to a frenzy! I almost signed up for flight lessons.

Joel: Tell us about yourself.

Cathy: I am 43 years old, married for 19 years, and have an amazing daughter, Paige, 14 and a Shih-Tzu, Chester, 7. I grew up in the Fairfax area, but being born in Georgia and having family there keeps me connected to my southern roots. I am a late bloomer to the world of community theatre. In high school, I participated in only one musical, Anything Goes, playing the role of Bonnie. I was also a member of the popular Chantilly High School show choir, called Jazzin’ at the time. We performed musical variety shows with the Jazz Band throughout the school year.

In 2007, at the urging of friends, one of them being my former Jazzin’ director who now runs The Alliance Theatre, Elaine Wilson, I auditioned for TAT’s summer production of Cats. I didn’t know what the show was about, so I rented the movie a few days before auditions. I told my daughter, as she watched it with me, “I think I would like to be that real ugly, beat-up-looking cat who sings “Memory”. That lady (Elaine Paige) gives me the chills when she sings it.  I want to be like her!” {Just for the record, Joel, I said that BEFORE Susan Boyle…ok??!!} Well, I won the role of Grizabella and I was hooked!  Subsequently, I joined TAT’s group Capital Cabaret; played Claire in Bare with CCT and 2^nd Flight Productions (WATCH nomination); Madame Grande de la Bouche in Beauty and the Beast with TAT; Mrs. Crachit in A Christmas Carol with TAT; and just recently, Amelia Earhart in Flight of the Lawnchair Man with CCT and 2^nd Flight Productions.

Joel: Talk about your scene stealing song.

Cathy: Amelia Earhart appears to the main character, Jerry, towards the end of the musical. She is the third aviation legend to visit him. Jerry is in his deckchair that is attached to 400 red balloons and he is flying. His lifelong dream is to fly and this is the only way Jerry can accomplish this. He is keeping in contact with his girlfriend, Gracie, who is on land, through walkie-talkies and is about to shoot out some balloons and return to the ground. Amelia appears to Jerry to invite him to join the creatures of the air, like herself, and, thus, that is the title of her song. Her song has the most influence on his decision in the battle to become either a creature of the air or a creature of the earth.

The Amelia that I played was not the stereotypical woman from the history books. She was sexy and tantalizing – a bit on the diva side – right down to her high-heeled skinny boots and tight pants. It was a fun, big character to play because, believe it or not, I am a little on the shy side at times.

Joel: What does the song mean to you?

Cathy: The song, “Creature of the Air”, was all about doing what you are meant to do – to follow your dreams. Amelia sings, “How can I be dead? I’m too debonair, I am what I was…a creature of the air”.  She’s not dead. She has been doing what she has always wanted to do, since 1937. She’s happy. She wants Jerry to be happy, too, to fulfill his dream, and to decide, “Will it be up or down?” Sometimes sacrifices have to be made in order to do what you are meant to do. We all know that lesson in life. Some of us choose “up” and some of us choose “down”, and there are always consequences for what we decide.

Joel: What’s next for you?

Cathy: I do not know what is next for me on the stage. I am definitely taking a break over the summer and hanging out with my daughter. I might go out for A Christmas Carol again in the fall. I really enjoyed doing a holiday production.

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Ryan Khatcheressian as Big Jack , singing “What Is That?” at Flight of the Lawnchair Man at CCT with 2nd Flight Theatre.

Ryan Khatcheressian has become one of my favorite local singing actors. Last year, I raved about Ryan’s performance of “Sailing”, my all-time favorite song from a musical at Kensington Arts Theatre’s WATCH Award Winning Best Musical A New Brain as one of my favorites of the year.

Here at Flight of The Lawnchair Man, Ryan’s earned his wings with his soaring and zany performance of “What Is That”. Here we not only heard Ryan the great singer, but we also saw Ryan the great actor. His Big Jack was not only crazy and dangerous, but at times Ryan made you feel sorry for the loony. You had to see Ryan’s eyes during the song, almost popping out of their sockets!

Joel: Tell us about yourself.

Ryan: I first got the theatre bug when I was in high school. Looking back, I believe I threw myself into every singing group possible so I was always performing. Our high school did an annual musical, and that was the first time I experienced the art form. The first show I was cast in was The Sound of Music. I auditioned for the role of Rolf Gruber and did not get the part. Instead, I was offered a role in the ensemble where I recall being onstage for two whole minutes. I was one of many Rolf rejects at the Von Trapp party singing “Goodbye” to the children as they went upstairs to sleep. As sad as I was to not get the part, I am so glad for my two minutes of glory because I learned so much from that first show. But I still cringe every time I hear “So Long, Farewell”.

I have appeared in Flight of the Lawnchair Man as Big Jack Preston at CCT with 2^nd Flight Theatre Company, in Bare: a Pop Opera as Peter at CCT with 2^nd Flight Theatre Company, in A New Brain as Roger at Kensington Arts Theater, in Aida as Radames at 2^nd Flight Productions Theater Company, in You’re a Good Man Charlie Brown as Charlie Brown at Vienna Theater Company, as Bat Boy in Bat Boy: The Musical as Bat Boy at 2^nd Flight Productions Theater Company, in Jesus Christ Superstar as Jesus at 2^nd Flight Productions Theater Company, in Evita as Che at Vienna Theatre Company, and in Jekyll & Hyde – The Musical as Jekyll/Hyde at The Arlington Players.

Joel: Please set up you scene stealing song.

Ryan: In Flight of the Lawnchair Man, I play a commercial airline pilot, Big Jack. I found him a lot of fun to play, because he is pretty much the complete opposite of me. Big Jack is very boisterous, cocky. and pretty much believes he is a god of sorts. The song gave me an opportunity to explore a role which allowed me to go outside of my comfort zone, and I appreciated that experience. In the story, Jack’s neighbor, Jerry Gorman has decided that he is going to take flight in a lawnchair floating by 400 helium balloons. As Big Jack is piloting a commercial plane, he actually flies past Jerry Gorman, and gets infuriated as Jack believes he is making a mockery of the art of flight.

Joel: What does the song mean to you?

Ryan: The song is a great release for Big Jack because the audience gets to see just how glorified he sees himself. He describes piloting as this to Jerry, “Well pal let me tell you, its the most amazing experience a man can have, to be behind the controls of a mega monolith and guide it towards infinity…well, its like touching the face of God”.

He sees Jerry taking a risk, defying the odds by flying in a lawn chair and all of the sudden, flying the commercial airliner doesn’t carry the same weight as it once did. The experience really puts things into perspective for Big Jack, a bit of a slap in the face that ends up feeling more like a punch in the stomach. All of us have been there at one point, where we have done something we deemed as important in our lives, and then it takes one person or experience to show us how narrow minded we were being.

There are several instances where I haven’t taken the time to truly look at the big picture and will draw opinions on a smaller experience or thought. I remember feeling frustrated and almost wronged in a way as though I had been cheated out of another view point. Big Jack has set up this glorified life for himself based on his good looks, the women he gets and the fame he receives in his community for being an airline pilot. It’s not until the “ordinary” Jerry Gorman does something extraordinary that he gets that reality check and proclaims, “I am just a glorified Lawnchair Man.”

Joel: What’s next for you?

Ryan: That’s a really great question. My wife and I will be having our first baby in a month, so that is really the major life changing debut I will be focusing on for a while.  There is always that list of dream roles you have stuck in your back pocket, so this definitely isn’t it for me, but I will be taking some time off.

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Ellie Borzilleri as Joanne Johnson and Emmi Stern as Maureen Johnson, singing “Take Me or Leave Me”, at Rent: School Edition at Act Two Performing Arts.

I’ve seen many productions of Rent this year, and no two actresses sang the heck out of “Take Me or Leave Me” better than Ellie and Emmi. Ellie is no stranger to Scene Stealers. Her performance as Dorothy Brock in Act Two’s production of 42^nd Street made last year’s Best Musical performances list. You can hear her sing “I Only Have Eyes For You” from 42^nd Street here. I enjoyed Emmi’s performance in A Midsummer Night’s Dream and Children of Eden at Act Two, but she really wowed me and the audience when she and Ellie performed the very steamy, roof-raising rendition of “Take Me or Leave Me”.

Joel: Tell us about yourselves.

Ellie: I am a senior at Walter Johnson High School. My first show was actually Oliver! which I performed in when I was four years old, but the year I really got into acting was when I appeared as Peter Pan in my fourth grade production of Peter Pan. I have been in many performances over the years, but some of other favorite roles have included Ms. Hannigan (Annie), The Narrator (Blood Brothers), Dorothy Brock (42nd Street), Belle (Beauty and the Beast), Cathy Hiatt (The Last Five Years), Little Becky Two Shoes (Urinetown), Kate (Brighton Beach Memoirs), and, of course, Joanne Jefferson (Rent).

Emmi: I have just graduated from Bethesda-Chevy Chase High School and will be attending Northwestern University in the fall, in the School of Communications. I will be majoring in either Theatre or Performance Studies. I first remember getting the “theatre bug” the summer before second grade, when I was in a camp production of Snow White that we wrote ourselves and then performed for our parents. I desperately wanted to be Snow White, but I had brown curly hair so I was cast as one of the Wicked Witch’s black cats and Snow White went to a blonde girl. The joke was on her though, because my mother made me a fabulous tail and I stole the show. After that, I performed in all of my elementary and middle school productions, as well as summer productions with Imagination Stage. I took Senior Shakespeare for two years and completed the Acting Conservatory at Imagination Stage during high school. I have studied voice with Deborah Benner for five years. My favorite production in high school was Beauty and the Beast, because I was lucky enough to live out my childhood fantasy of playing Belle. Locally, I have been in three other Act Two shows: A Midsummer Night’s Dream (Helena), The Crucible (Elizabeth Proctor), and Children of Eden (Mama Noah).

Joel: Talk about your scene stealing song.

Ellie: I play Joanne Jefferson, a tough and savvy attorney, who is under the spell of a free-spirited performance artist. Though she is in love, she stays focused and true to herself. I relate to this character in that Joanne is a strong woman who has enough self-respect that she doesn’t lose herself, and that is how I strive to be.

In “Take Me or Leave Me”, Maureen is reassuring Joanne of her love, but that Joanne has to accept that Maureen is who she is…basically a “flirt”. Joanne, however, responds that perhaps it is Maureen who will lose her unless she makes some changes.

Emmi: I play Maureen Johnson, who is a bisexual performance artist. Maureen is a very loud, vivacious, and narcissistic character almost to the point of annoying but she has her insecurities. She is very needy and constantly seeks attention and adoration from other people, even if it means dumping one person callously for another. For me, I needed to relate to her on that level. If I saw her only as her big outward personality, then she would be very one-dimensional and a caricature. I think her love of performing and love of being around people she cares about are qualities that we share, and I have to say, we all get needy sometimes. In the story, when “Take Me or Leave Me” is sung, Maureen and her lawyer girlfriend Joanne, who is the foil to Maureen, are fighting over whose idea they will choose for the Cyber Arts Studio groundbreaking. The song acts as their fight, in which both women express their own personalities and quirks, and then give the
other an ultimatum, “Either take me for who I am and all that comes attached or leave me”.

Joel: What does the song mean to you?

Ellie: While I can say I’ve never had a fight with someone I was in a relationship with, I have had fights with close friends, and this is where I drew my personal experiences from. I remember when I was younger I used to fight with my best friend everyday, and we both agreed that we would never speak to each other again, and then the next day we would be best friends, and the cycle would continue. I found this experience very closely related to the situation that occurs between Maureen and Joanne.

Emmi: The whole idea of the song is that people are going to have traits that you might not like, but you either need to accept them or not. No matter what kind of relationship, platonic or romantic, with a man or a woman, everyone can relate to these themes at some level. For me, the relationship that related the closest to this song for me is a relationship I have with a really good friend. We tend to get on each other’s nerves because there are qualities about her that drive me nuts, but at the same time, she has really wonderful qualities that keep me from heading for the hills. The frustration I have with her, mixed at the same time with adoration, really worked for me in channeling the emotions that Maureen would be having for Joanne in this scene.

Joel: I recently asked Trisha Jeffrey, who has played Joanne on Broadway and in the Broadway Tour of Rent , which stopped here last month at The Warner Theatre, to offer you advice on how to play Joanne.

She said, “It can be difficult for a young actor to deeply relate to the complexities of the characters in Rent or in any adult-life play. Life experience is a great tool when it comes to acting. Having as much information as possible about each is vital to the

experience. Doing the research and having a great imagination can go a long way for a young actor. My advice to any young person preparing to play Joanne would be to draw connections from those experiences and people that they already know. Try to find that thing inside of you that somehow relates to the same desires of these characters who need to survive, want to get out, or simply feel loved. Trying your best to understand the character’s situation, knowing their goals, hopes, obstacles, and true objectives are key. And, of course, have fun doing it!”

Do you agree with Trish?

Ellie: I fully agree with Trish. Everyone, regardless of age, has had a relationship suddenly become difficult, and for most of us that starts in middle school. Drawing from these experiences, I put them in “grown-up” context, and used others to model after. For example, in any scene where Joanne was angry or annoyed, I modeled her body language and some facial expressions after my own mother, when she is angry or annoyed with me or anybody else.

Joel: What’s next for you?

Ellie: I have an audition coming up for Little Women with Damascus Theatre Company in the fall, and once school begins again I will take my final bow as a senior at Walter Johnson in their theatre program WJ S*T*A*G*E, and of course, Act Two Performing Arts.

Emmi: College theatre this fall!

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Emily Bosco as Muzzy Van Hossmere, singing, “Only in New York” at Thoroughly Modern Millie at Act Two Performing Arts.

It’s not an easy song to sing, so when Emily finished singing “Only In New York”, the audience went wild, and so did I. With her gorgeous clear voice, and perfect diction, she glided up and down the scales with ease. When I rode the Metro home, I opened the program to see her bio, and I was stunned to see that Emily was only 13 years old. I have seen 5 actresses sing this song (all 4 times or more her age), and I’m not exaggerating when I say that I’ve never heard this song sung better. It was astounding!

Joel: Tell us about yourself.

Emily: My first play was The Music Man at Catholic University when I was 4 years old. I played a little girl. I have had vocal training with Jane Pesci-Townsend and Keith Tittermary. I’ve had theater training with Kathy MacDonald at the Young Artists Theatre and Kevin Kuchar at Act Two, and many different teachers at Musical Theater Center.  At Act Two, I played Muzzy in Thoroughly Modern Millie, and Rose Alvarez in Bye Bye Birdie. At Musical Theater Center, I played Dorothy in the The Wizard of Oz, and Mrs. Mayor in Suessical. At Young Artist Theatre, I played Dorothy in The Wizard of Oz, and many other original roles. I sang the National Anthem at a Washington Wizards game, The Bethesda Big Trains, and at the Maryland Senate.

Joel: Please set up your scene stealing song.

Emily: This is the first scene where I am Muzzy. I sing about my love for New York City, and how it’s heaven on earth. The song is sung at the end of Act One, and this is when Millie falls in love with Jimmy.

I play Muzzy, who is a glamorous singer from the 1920’s. I relate to this character in many ways. One way is that we both love having a good time with friends. Muzzy also hangs out with her friends, which I like to do in my free time. My personal experiences were drawn from the trips I have taken to New York City with my grandparents. Kevin, Keith and Nancy from Act Two helped me with my performance. And, Muzzy and I both love New York City!

Joel: What does the song mean to you?

Emily: This song reminds us that everyone has a passion and dream. Throughout the song, Muzzy passionately sings about how much she loves New York City, and how it’s a major part of her life, because this is the city where she became famous.

Joel: What’s next for you?

Emily: I plan on performing in next season’s plays at Northwest High School. I also have auditioned for the ensemble groups at Act Two.

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John Dellaporta as Man 1, singing “What Am I Doin’?” at Closer Than Ever at Limelight Theatre.

Closer Than Ever is one of my favorite musical revues, and John Dellaporta is one of my favorite young singing actors in our area. I have seen John work his heart out in 8 shows at Toby’s Dinner Theatre, and I was so impressed with his performance this year as

half-fairy/half-mortal/part shepherd Strephon in The Washington Savoyard’s production of Iolanthe. When the new Limelight Theatre announced that John was cast in its inaugural production of Closer Than Ever as Man 1, I couldn’t wait to see what he would do with “What Am I Doin’?”, and John didn’t disappoint. As an obsessed spurned lover, his rendition was emotional and crazy and haunting, and he sang the song beautifully and acted it powerfully, wringing every possible emotion out of every lyric. It was a tour-de-force!

Joel: Tell us about yourself.

John: I’ve been sort of floating around in DC theatre since graduating from Catholic University’s Musical Theatre program back in 2006. People often confuse me for a born-and-bred locale, but I actually grew up in Ft. Lauderdale, FL, and got Catholic University as a from-left-field recommendation from my college counselor when we were looking for good theatre programs. I sort of “defaulted” into studying theatre: I’d done a bunch of musicals and plays in high school, and as time went on, I realized that nothing else was catching my interest in terms of career paths, so I thought “Why not go be a Musical Theatre Major?” So I came up here, did the CUA program, and found myself really liking the DC Theatre Scene (.com), so I stuck around. 3 years later (God, has it been that long?) – I spent the better part of two of those years serving (literally) over eight shows at Toby’s Dinner Theatre, plus shows with Adventure Theatre, Open Circle Theatre, the Washington Savoyards, the Bay Theatre Company, and now this gem of a show with Limelight (PS. the cast made fun of me A LOT for writing that in my bio, but it’s true!)

Joel: Please set up you scene stealing song.

John: Ok, well Joel, as you know from your multiple super-supportive visits to our show, Closer Than Ever doesn’t have a plot, but rather it’s a series of “songs of experience” as the composers put it. What I can say about where the song comes in is that it’s early in the show, when the mood is still fairly light, and it’s something a bit darker. The audience is coming out of the cheery break-up romp (?) “You Wanna Be My Friend?” featuring the very funny Elizabeth Hester throwing words and objects at the very funny-when-hit-by-things David Kozisek. And before that – you had the sincere-but-with-a-funny-but-true-twist “She Loves Me Not”. So then you get this song, “What Am I Doin’?”, where a guy is sitting there rhapsodically recounting a powerful night spent with a girl, and how she subsequently shut him out. Let’s say that he’s still a little bit attached to her . . .

Joel: What does the song mean to you?

John: Good question, because it changed while I was working on it for the show.  Originally, I pictured the song in a sort of “I’m doing crazy stuff even though my brain knows better oh God oh God” way. As I delved deeper (I feel so deliciously pretentious saying that), I realized it was more powerful, more universal than that. It all comes down to the lyric “When I’m safe and alone in my bedroom, thanking God I’m not soaking and wet, I think back to that night I felt tingles, holding tight not to slip down the shingles, feeling feelings I’ll never forget, and I wish I was saying . . .” – back into the crazy thoughts chorus. He’s reconnecting to a powerful feeling he felt not just in his time with the girl, but also in his madness on her roof. This leads to more madness, and a sort of glee that emerges by the end. It ended up being a much more satisfying arc by really going for that delight and delusion. And I could certainly relate, even if I’ve never climbed up on someone’s roof/started stalking them. But I have had strong feelings for someone that went unreciprocated, and I found myself wallowing in the despair of that and oddly enjoying it. Now of course in life I say, “Wake up and move on”, but onstage it’s fun to chase the feeling, and quite cathartic. And, apparently pretty funny to watch.

Joel: What’s next for you?

John: I’m spending the summer understudying four fabulous men in a fabulous production of You’re a Good Man, Charlie Brown at Adventure Theatre, running from June 26 to August 8. The amount of talent that artistic director Michael Bobbitt has placed in this production is ridiculous – director Michael Baron, choreographer Kate Arnold, music director Zak Sandler, and a cast that reads like a who’s-who’s of DC’s young talent, Andrew Sonntag, Mark Chandler, Jobari Parker-Namdar, Kurt Boehm, Emily Levey, and Lauren Williams. I’m almost remiss to mention my dates in the show, since I’d hate for anyone to miss any of these great actors. Almost remiss: I’m in the show on July 5. Come see me!

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Rich Eckhart as Young Confederate Soldier, singing, “The Old Red Hills of Home”, at Parade at St. Mark’s Players.

I was in NYC on opening night of Parade and fell in love with Jason Robert Brown’s gorgeous score and the opening number, “The Old Red Hills of Home”. The song sets the mood and climate for the story of a Jew – Leo Frank and his unjust execution, accused and sentenced to die for a crime he did not commit. When I arrived at the St. Mark’s Players production of Parade, and realized it was being performed in a small church, I wondered how they could pull it off? What set the tone for the evening and grabbed me and the audience immediately at this unique, intimate and powerful production, was Rich Eckhart’s powerful and yet sweet rendition of “The Old Red Hills of Home”. I still hear his gorgeous tenor voice ring out all through the church. I immediately believed that I was in Atlanta, Georgia in 1913, and that something bad was about to happen to my fellow Jew, Leo Frank.

Joel: Tell us about yourself.

Rich: Parade was my first production in DC. I have been here for about a year, after moving from New Mexico, where I performed as the Cat in the Hat in Seussical The Musical. Before that, I was Cliff Bradshaw in Cabaret with a community theater in Missouri. Ironically I didn’t start singing until high school when I auditioned for a jazz group called Jazz Limited. We performed at our high school often, but did several outside venues in Japan as well. I am pretty selective about which shows I’m in because I want to feel connected a character. The best parts are ones where – for good or ill – I as a performer can help the audience see life from that perspective. So I never mind attempting something vocally difficult because challenging yourself is me the only way to shine.

Joel: Please set up you scene stealing song.

Rich: “Prologue: Old Red Hills of Home” is the opening song in which a young confederate soldier is singing about what he is going off to fight for namely his love Lila, his traditional way of life being challenged by the North, and the “Old Red Hills of Home”. The gift of Jason Robert Brown is his ability to mingle devotion for Lila and misgivings for the North in the musical’s first composition. It is a reflection that occurs throughout the show – optimism mixed with despondency. It was a privilege to sing.

Joel: What does the song mean to you?

Rich: Well here is a character I am nearly diametrically opposed to, but I guess I can relate to his desire to defend the one he loves. Therefore, he is both tender and vengeful.  I guess with everything it is easy to look from the outside in and say this character is blinded by his love of the things he knows, but I prefer to think of him as a victim of his own surroundings.

Joel: What’s next for you?

Rich: Currently, I have no plans to appear in anything at this point however I have not ruled out Oliver or Lion in Winter at St. Mark’s or West Side Story in Rockville MD.  I have been overwhelmed by the quality of direction (Natalie Safely – the director of Parade) and the talent of all the St. Mark’s Players, and especially the Parade cast members.

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Malinda Ellerman as Jeannie Garstecki, singing “Panic”, at The Great American Trailer Park Musical at Kensington Arts Theatre.

What can I say about the talented Malinda Ellerman except that she has, for me, one of the most gorgeous voices on out local stages, and she’s hysterically funny! When she sang “Panic” at The Great American Trailer Musical, you just wanted to grab her and hug her, and help her down those stairs, so she could finally get some fresh air. It’s the first time I have ever fallen in love with an agoraphobic woman!

Joel: Tell us about yourself.

Malinda: Oh, Joel…where to begin? I am a 26 year old female who currently lives and works in Washington, D.C. I was born in Silver Spring, MD, grew up in Calvert County, graduated from Northern High School and got my BA in Theatre Performance from the University of Maryland, College Park in 2005. I can’t really pinpoint when I first got the “theatre bug”, but I do know that my interest in music and theatre started very early. On long car rides, I would often request to listen to the soundtrack to Cats or “John Val John” (also known as Les Miserables). There are several hours worth of audio cassette tapes somewhere in my Mom and Dad’s basement filled with the improvisational babblings of a 4 ½ year old. I set out to write and perform my first song at age five. I remember devoting an entire afternoon to this pursuit, and my tireless efforts culminated with the a capella performance of the hit single “Willow Tree” in the Ellerman family kitchen (lyrics below).

“I know you, you’re in a willow tree
My baby, my baby, my babe.
I know you, you’re in a willow tree
My baby, my baby, my babe”.
(Malinda Ellerman, “Willow Tree” © 1988)

My father said I was better than Mick Jagger, and I still believe it.

Joel: Please set up your scene stealing song.

Malinda: In The Great American Trailer Park Musical, I played Jeannie Garstecki – an agoraphobic trailer park housewife who hadn’t let her trailer in 20 years. Yes, I was typecast yet again. Anyway, Jeannie endures a ridiculous amount of emotional trauma throughout the course of the show (I won’t regurgitate the entire plot in case any of your readers want to see it sometime). Right before “Panic,” Jeannie accidentally locks herself out of her trailer, basically…all T-H-E Double Hockey Sticks breaks loose emotionally and psychologically. And how does a troubled agoraphobic housewife (with GORGEOUS hair) experience a nervous breakdown, you might ask? By singing a loud, crazy rock number, naturally! I love musical theatre!

Joel: What does the song mean to you?

Malinda: I’ve never personally experienced a panic attack, but I can’t imagine it’s a good time for anyone (unless they get to sing through it like I did). “Panic,” quite literally, is a cry for help. Jeannie is begging, “Somebody stop this panic!” She is torn between her desire to be safe and comfortable in her trailer watching QVC and wanting to join the “real world” again. She really wants to be okay with being outside but, at the same time, she is most certainly NOT okay with being in the open air. She is going out of her skull. I enjoyed playing with multiple personalities and facets of Jeannie’s character that came out during this number. Since poor Jeannie is all alone, she can only rely on herself and her song. “Panic” is Jeannie’s attempt to empower herself after being a defeated shut-in for such a long time. Outside of the comfortable trailer, she is forced to look within, and she is not at all pleased with what she sees.

Also, this song was an excuse to rock out. Not gonna lie, Joel. I was following Adam Lambert’s American Idol experience throughout most of the Trailer Park process, and I was blown away by his performances. “Panic” provided a great excuse for me to unleash my inner “Glamber”. Never mind the fact that I was playing a frump! Jeannie’s got glam!

Joel: What’s next for you?

Malinda: As far as the stage is concerned, who knows? I haven’t done a straight play in a while, so that could be fun. This summer, I am working on a film project with ArtStream (a wonderful organization) called Knights of Glory. It’s a fun fantasy film that is being produced for a very good cause, so I’m very excited about it. After that, I am not sure what’s on the horizon, but I will be sure to keep you posted!

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Josh Matteo as Angel, singing “Today 4 U”, at Rent: School Edition at Act Two Performing Arts.

Here was a Angel with spunk! Josh Matteo’s performance was not only endearing and heartfelt, but it was funny and athletic. I have rarely seen a performance (since I saw Telly Leung perform the role in NYC) of Angel where the actor jumped and slid across the stage with such ease and confidence – as Josh did at Act Two’s production of Rent: School Edition. When Josh hit the stage running and sang “Today 4 U”, the audience cheered and laughed, and immediately – Josh had them eating out his hands. And, most important, you could see the joy on Josh’s face (or mascara) when he was performing the song, and every time he stepped on the stage as Angel. And, when he was laid out in his coffin, he really looked embalmed. He never moved. That’s great acting!

Joel: Tell us about yourself.

Josh: I recently graduated from Georgetown Prep and will be heading off to Fairfield University in Connecticut in the fall. I plan on majoring and/or minoring in Film Production and Theatre. I have always loved the theatre. My parents have truly blessed me by always exposing me to the arts in all their forms, and theatre is our favorite. From a young age, I participated in school plays whenever I could, including my 8^th grade play, The Pirates of Penzance, where I played The Major General. At Prep, I fully realized that the stage was truly the best place I could express myself, and a place where I had immense love and passion. Over the past four years, I starred in all of Prep’s twelve productions, which included 6 musicals, 4 comedies, and 2 One Acts. Some of my favorite roles include West Side Story (Baby John), You’re a Good Man Charlie Brown (Linus), A Chorus Line (Mike), and Godspell (Jesus).

In addition to performing in these productions, I was also given the opportunity to direct this past year’s One Act, Arthur Miller’s A Memory of Two Mondays – as part of an area wide Student Directed One Act Festival. Act Two’s production of Rent: School Edition is my first venture outside Prep’s theatre. After performing in Rent, I can now say that theatre will no longer be just any extracurricular activity. This is the business I want to be in, where I can express myself.

Joel: Please set up you scene stealing song.

Josh: Angel Dumott Schunard, one of the most memorable characters from Rent, is a gay drag queen with AIDS. He deals with his disease by standing by the “No Day But Today” credo. He lives life to the fullest, living every day as his last. He is energetic and animated, always with a smile on his face. He loves his friends, and more importantly wants to keep his friends forever together as a family. Angel and I both love the bond of family and friends dearly. Not only do we love to be with them, but we also make sure that they do not forget their love and abandon it or conflict with each other.

“Today 4 U” is an energetic chapter in the early part of Act One. While we have met Angel briefly before when he met the wounded Collins, this is the first time we see Angel in his glorious drag form. Collins introduces Angel to his longtime friends Mark and Roger, and Angel warms up quickly telling them that he earned a large amount of money by playing his drums until a dog jumped off the apartment building. He shares the cash as he dances and energetically engages the men in his story.

Joel: What does the song mean to you?

Josh: When asked by director Kevin Kuchar what “Today 4 U” means to the context of the story, I originally thought, “Well, Angel killed a dog, and he tells about it”. While that is technically true, I missed the point about what the song tells us about Angel. “Today 4 U” shows Angel’s energetic and animated personality, and in addition, it shows the flirty, friendly, and compassionate person he can be. He has never met Mark or Roger before, but he instantly gives them some of the cash he has earned and quickly warms up to them, engaging them in a story, and flirting a bit with them too! I was inspired by some of my friends who instantly light up the room when they enter, friends who are warm and bubbly to all, even those they have just met. Angel is the kind of person who will be friends with everybody, and who everybody wants to be friends with.

Joel: I recently interviewed Telly Leung who has played Angel on Broadway and in the Broadway Tour of Rent, which stopped here last month at The Warner Theatre. He offered you some advice on playing Angel:

Telly: Practice A LOT with your heels and your lashes – especially the lashes! I had never put lashes on in understudy rehearsal. The first time I went on for the role on Broadway was the first time I’d ever worn fake lashes – and it really threw me off how much it hindered my vision. But, at the end of the day, by biggest piece of advice would be to focus on Angel’s place in this group of friends. He is, in many ways, the glue that keeps that family together.

Joel: Do you agree with Telly? And how did you prepare to play the role of Angel?

Josh: While I cannot comment on Telly’s eyelash advice (we decided to use a heavy amount of mascara as opposed to fake lashes), I agree one hundred percent on his other advice. The heels are most definitely something to practice frequently with.  However, it is not just a matter of balance but also getting the “walk”. I had no problem getting used to walking without falling, but I was walking, well, like a man!  I take giant steps when I walk, and heels only exaggerated that, so I had to practice a lot getting the perfect feminine strut with the heels. Most importantly though, Telly hits the nail on the head when he says Angel is the glue of the family. He loves his friends, and he will do anything to make sure they remember their love for each other, keeping them closely together, and preventing them from breaking up over conflict. His “No Day But Today” mentality and his lack of fear in expressing his love for Collins and his friends, inspire the family. By knowing this, the actor playing Angel will realize exactly how to interact with the other actors on stage, and give a true intention and emotion to their actions.

I took several preparations for the role of Angel. There are quite a few aspects to prepare for the role. I drew upon my own personal experiences and struggles to develop the character of Angel. Kevin (Director Kevin Kuchar) effectively prepared us to fully understand the world of someone who is HIV positive. It is not an easy struggle, and knowing this, one truly realizes how strong a person Angel is for being able to hold his head up high to his sickness. Through personal experience and Kevin’s direction, I was able to develop Angel explicitly and thoroughly.

As I said, I also worked long and hard to get the Angel walk. Everything from the way the body moves, what I did with my hands, and how I walked in the heels. It was not just being effeminate, but it was being a woman. After all the preparation I was able to become Angel physically and mentally.

Joel: What’s next for you?

Josh: I plan to perform in productions at Fairfield during my four years at college, but I also plan on participating outside college, where that is I am not sure yet. One thing is for sure, after being truly touched by the magic of Jonathan Larson’s show and the role of Angel, I can say someday and somewhere I will be in this role again. Playing the role of Angel in Rent is one experience that has left a mark on me, and one which will never be forgotten.

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Janice Rivera, as Lucille Frank, singing, “You Don’t Know This Man”, at Parade at St. Mark’s Players

The first time I heard Carolee Carmello sing, “You Don’t Know This Man” on opening night at Lincoln Center on December 17, 1998, the song brought me to tears. When I heard Janice sing the song at the St. Mark’s Players production, it again brought me to tears. Not only did she sing the song beautifully, but she brought power and assertiveness, resolve, hope and dignity to her performance, so you could actually watch Lucille Frank mature and resign herself to saving her husband – right in front of your eyes. It was a magnificent performance of a very powerful song.

Joel: Tell us about yourself.

Janice: I majored in Mass Communications at Towson State University and began a career in Film & Video Production. After engaging in many areas of the field, I eventually settled into video editing which I did full time/freelance until starting a family. Now that my kids are older, I am getting back into the field via a home editing studio in progress right now.

I started performing in my elementary school choirs. When I was in 6th grade, my school was putting on Snow White & the Seven Dwarfs. I auditioned for Snow White but instead got the Wicked Stepmother. After nights of sobbing in my pillow over not getting the role I wanted, I realized it was much more fun playing a witch vs. a goodie two-shoes princess any day.

I was hooked on musicals and drama henceforth. I performed all through school into college and thought I’d hit Broadway one day until my parents put the kabash on that notion insisting I get an education and “real” job. Too enthralled with the arts to give them up, I went “behind the scenes” and got into film & video production. This field more than fulfilled my creative impulses while providing a decent living. I kept my acting chops sharpened through community theatre as much as my schedule would allow.

I started CT in my hometown Annapolis (ASGT) and then Alexandria (LTA, SCT) and DC (SMP, CHAW). Theatre is my soul food. I love the performing, the people and the community spirit it nourishes.

Joel: Please set up you scene stealing song.

Janice: Lucille Frank is a demure, prim, “mousy” Southern woman who until the tragedy befalls her husband, is in the shadows and dreams of a more intimate relationship with her workaholic husband. When her husband is falsely accused of murder, this inspires another side of Lucille to emerge: a Steel Magnolia. She puts forth all her strength to save her husband Leo from this wrongful conviction. This transition in character just begins to blossom during the song “You Don’t Know This Man”. She is defending her husband (even though at the time I don’t think she is 100% sure of him – this happens later during the trial) to the reporter Craig. I think she surprises herself. It is her instinct, but it had never been put to the test before. Don’t mess with Lucille.

Joel: What does the song mean to you?

Janice: This song is so powerful because I think everyone can relate to being misunderstood. It is especially hurtful to see this happening to someone you love who is unable to defend him/herself. In this case, not only is her husband misunderstood, but he is being libeled and slandered. Particularly in this early 1900’s era and culture, this is intolerable to a woman like Lucille. She finds her voice and ultimately her strength. I actually could relate to this by way of recalling how I have felt seeing my children experiencing the growing pains of dealing with their peers at certain ages. Children are not always kind to one another, and the instinct to protect one’s kids from the negative influences they encounter is a strong one indeed.

Joel: What’s next for you?

Janice: Not sure yet. Need to take a break in between shows or my family will disown me! Something in the fall, I hope. Because of my technical background, I often will run sound at LTA as an “in between” performances theatre fix! It is wonderful and helpful to get the experience from the other side of the footlights.

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Carley Rosefelt as Millie Dillmount, singing, “Gimme Gimme” at Thoroughly Modern Millie at Act Two Performing Arts.

“Gimme Gimme” is one of the most difficult 11 o’clock numbers to sing, even for a most seasoned and well-trained Broadway veteran (like Sutton Foster, who won the Tony for her performance as Millie). But, director Kevin Kuchar cast a young veteran of Act Two and MTC musicals –  Carley Rosefelt – to knock the ball out of the park with her rendition of “Gimme Gimme, and she hit a home run! Standing center stage with a white spotlight beaming on her, Carley squeezed every emotion out of the song, hit all the difficult high notes with ease, and had the audience screaming, “Gimme  Gimme More!”And, all this from a 12 year old -7^th grader. Unreal!

Joel: Tell us about yourself.

Carley: Thank you so much for this amazing opportunity! Right now, I am attending Herbert Hoover Middle School and will be in the 8th grade this coming year. Although I’d rather spend all my time on the stage performing I enjoy studying chorus, social studies, and math. I began studying voice and dance at a young age. However, I did not realize my strong passion for it until these past few years. I study dance with Debbie Clark and Diane Hamilton who are both fabulous teachers! Recently I began studying voice with Rosie Dyer, who has been an amazing mentor and has helped me improve greatly. In the past few years, I participated in Spotlight on Broadway with Upbeat Unlimited at the Musical Theater Center, Taylor in High School Musical at the Musical Theater Center, Aysha/Snake in Children of Eden at Act Two, and am now playing Millie in Thoroughly Modern Millie at Act Two.

Joel: Please set up you scene stealing song.

Carley: Millie is confused. Should she be happy with a life of paperclips and washing dishes, or should she give up true love in order to pursue her plan of marrying well and living the life of a “modern woman?” “Gimme Gimme” explains this frustration and confusion. At the end of the song, Millie realizes that what she really wants is love, and she wants it bad.

When performing “Gimme Gimme”, I thought about everything I had experienced throughout my teen years so far dealing with love, whether it was crushes, rumors, or relationships. I used all the anger and emotions these memories brought, and put it into Millie’s frustration and longing for true love. She is only too blind to realize that she has already found it.

Joel: What’s next for you?

Carley: Playing Millie was not only a great learning experience, but it was so much fun. I have had such an amazing adventure in theater so far, and have no plans to slow down! I’m planning on participating in more shows when school resumes and cannot wait to see what’s next in my performing career!

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Congratulations to all the Scene Stealers! I look forward to seeing all of you on the stage in the near future!

Scene Stealers is a regular series by Joel Markowitz