BWW Interviews: Terra C. MacLeod from CHICAGO Shares Experiences as Velma Kelly

Terra MacLeod has been performing since she was a young girl. She started with dancing but quickly realized she wanted to do it all becoming a triple threat by the time she was 11 years old. Terra has been in many productions including BLOOD BROTHERS, KISS OF THE SPIDER WOMAN, WEST SIDE STORY and THE PRODUCERS. But the role she has enjoyed the most is that of Velma Kelly in CHICAGO. Currently touring throughout the United States, Terra shared with Broadway World many experiences that lead her to where she is today.

How did you get introduced to performing?

I'm one of those stories. You know, my parents put me in ballet school. It was one of those things that I saw early on that I had this need to also utilize my voice and my expressions. As amazing as the dancing world was, I really wanted to act as well so it became, "How about we put you in acting lessons and then some voice lessons." I got into film and TV as a child, as a teenager. Then I discovered voice and I thought I want to combine all 3. After high school, I went to New York where I studied all 3 disciplines and musical theater. Dance was my first introduction to the world of the performing arts and from there I just explored every option there was; what it meant to be onstage. What I could do with that. I was dancing, I used my voice, I could act and discover all the amazing pieces that I could explore through all the art forms.

What was the first show you were ever in?

The Nutcracker was my first taste. The Nutcracker Ballet LES GRANDS BALLETS CANADIENS DE MONTRÉAL one of our big ballet companies up in Canada. I think I was like 11 years old and that was my first professional dance job. The crazy thing is, fast forward how many years later and I'm actually standing back on the stage as Velma Kelly in the French production of CHICAGO. Talk about a full circle moment. And having that exposure so young; that electricity that went through my body, I thought, "I have to do this more and more." And that's where is all started for me.

I know you have been in various movies and on television over the years. What have you learned from them that are different from live theater?

I have come to appreciate both disciplines both art forms. There's nothing like live theater. The other night up onstage and literally blanked and started making up words and the adrenaline that rushed through my body, I think it must be what it feels like to jump out of a plane. You just panic. I thought, "That's live theater. You just gotta go with it." It was so exciting and the high that you have from the pure rawness of live theater that's there's something very organic in that experience. In TV, I love the intimacy how you really have to create this world with all these technical equipment around you. You see the mics over your head. You see the director to the left and yet you still have to create this intimate real world shutting everything out that you can actually physically see. I love that challenge and I appreciate the art of filmmaking and how the camera can do so much of the work for you as well and really tell the story with you. Both of them have really taught me a lot about the discipline required in that art form whether it's acting on film or acting onstage.

You have played many roles over the years. Besides Velma in CHICAGO what role stand out more than others and what did you like about playing that role?

A couple of years ago I played Mrs. Johnstone in BLOOD BROTHERS and I remember when I was offered the part I thought Petula Clark played that role. I'm not there yet. I thought I wasn't age appropriate. When the director called me and said, "No starts the whole first act in her 20's." And then as the show goes on with acting choices. She has to start young so right away I was, "OK this will be a challenge and the layers I have to unravel. But what I loved about it is she's the complete opposite side of the spectrum to Velma Kelly. There was nothing glamorous about this character. What I loved about her was how raw and vulnerable and what a fighter she was and it was a really big acting...probably one of the biggest challenges I ever faced. It reminded me of TV, the rawness of it. The director said, "Although this is a musical, I want you to treat it as if it was a play with music." And that was a very different approach. And I loved that and it was a real challenge. I'm really grateful for that experience. It changed something in the way that you perceived yourself. You actually have to do these dramatic roles that have layers to unravel.

I know you have had a lot of opportunities to play Velma in CHICAGO over the years, can you tell us about some of the other productions that you were involved in?

I started with the Montréal Company in 2003 and this was after the movie has come out. All these international producers were teaming up with New York saying, "We want the rights. We want to bring CHICAGO to our country and France and Montréal Canada, they were really big on bringing a full French company, the full translation to Montréal and if that turned out they would bring it to Paris. And it did. It worked out. We were very well received and then we went to Paris. So I opened as the original Velma. No one else had sung it. I was there for the 5 scripts they played with so that was an amazing experience. Someone said, "I think you've done the most international companies." There are a few of us who've done some of the international ones. But with the national tour that's where I think I got a lot of exposure. We went to Bangkok, Taiwan, Japan, we're going to Dubai. I'm going for the 2nd time. You don't know how they are going to receive it. Are they going to get the humor, the American humor. In Dubai, there's this certain line where they laugh at where in America it gets a chuckle but in Dubai, it went over like it was the funniest line in the show. I thought it was interesting but they're dying of laughter. I love seeing the different things that come out.

Tell us about the National Tour of CHICAGO.

It's a great melting pot of some of the veterans who have been on tour for a few years. A lot of the principles are from the Broadway Company. Many of us have worked together for the last 10 years on and off. And there are some new people. Some of these players, it's their big national tour or it's a dream show for them. You have a great mix of excitement of those who have been doing it off and on, passing on our passion of the show to these people coming in saying, "I've wanted to do the show." And they're bringing something new and fresh and vibrant. We're able to have this great show, this great exchange. I love watching them because I love seeing the convergences and finding the nuances, their own styles. I believe in this kind of show everyone has something so unique. It's not a cookie cutter type of show and I love seeing that. The principles are great. I've worked with every single one of them in the past 10 years. It's almost like a reunion. We have our rhythm and we know each other and we have a great time onstage. They're all super talented. I'm very lucky. I have a great time with this cast.

How do you keep it fresh every night?

You just tell the story. You tell the story. People ask me, "Do you have fun at work?" I said, "Yeah. I have a lot of fun at work." I really enjoy what I do. I love telling the story, I love introducing people to the show. I love people that come and say, "I've seen it 5 times. I'm coming back for more." I don't think you can ever perfect this. You can't. When it's comfort, you're done. And every single time I go out there I give myself a little objective. I say, "OK what are we going to work on a little bit more today?" And that for me keeps it new and exciting and also just telling the story. You gotta start from square one because there are people out there who have never seen it. And people that want to experience it. I have a responsibility in that and we all do. That's my job. That's what I'm supposed to do is pass along this masterpiece for the people. It's brilliant. I'm very, very proud and honored to be part of this, so I just keep it fresh keep that in mind. What a gift and blessing it really is.

If you had not gotten into show business what do you think you would be doing now?

I do love teaching. When I'm not working I love to give master workshops. I love teaching. I've taught people who have never danced before and then I've taught Jazz 101. I love to teach people how to do great things and I get joy out of people using dance as a way of expressing themselves. In saying that, would I be a dance teacher? I definitely think I would be in something with education. And then my dream job would be a National Geographic photographer. That's something I do on the side. I am a photographer and I think I can probably just walk away from it all and go take photos throughout the year. Something creative and really exciting. I can never see myself doing something where I could never be creative about work. I'm just not wired that way. It's just in me to create something.

Do you have any advice for people thinking about getting into show business?

When I started, and not to get all like, "When I was young..." We didn't have American Idol, the Voice or reach out on the internet. If I wanted to find out (about people) I had to go to the library and read about them. And take classes from people who are master teachers. I've really worked hard. That's what I remember the most. You've gotta take classes, you've gotta study voice. It's not something that's just going to come easy to you. In studying the disciplines, you realize that these are the people who have done) the hard work, the stamina and I think it's the same in the performing arts. I love these shows that are exposing people the talent that's out there but there's also an immense amount of work that goes on out there. To do 8 shows a week, there's a huge reality in that. It's not just like you're on stage and then you're done. No, you need to go home, you need to rest, you need to take class, you need to be good to yourself because you have 5 this weekend. That's when the reality sets in and you go, "Well this is lifestyle." And I tell people to make sure you're passionate about it. Because if you have the passion and you have the drive and you have the focus and there's a little luck on the side, it does happen. I see this with my little nieces. They know more about musical theater than I did when I was their age because they are exposed to everything. I think there are some wonderful aspects about that because it exposes our industry. But, you gotta work hard. That is the truth. Can you get a lucky break? Absolutely. Everybody has a chance at a lucky break but if you want to do Broadway and you go to these castings, you are aiming for the gold. Your evenings are gone. Your weekends are gone. You are just studying to be the cream of the crop, get noticed. And have fun. Make sure you love it; really love it because it's an amazing ride. If it's what you wanna do, and it's what drives you, you gotta give yourself a chance. And also be realistic about it. It doesn't happen overnight. For some, they go to New York and first show, boom, NEWSIES. That's amazing, that's wonderful. But the journey still continues. You still gotta keep going. Shows close and you're back out there pounding the pavement. Some people say go to university, some people say go to New York. I say it's such a personal decision what people want to do that it has to come from you. Make sure you love it. If you love and you have that drive, you've got something to work with.

Tickets for the show are available by going to the Texas Performing Arts website. The show runs from Tuesday, November 19 to Sunday, November 24, 2013.

PHOTO CREDIT: Paul Kolnik

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