Interview: CABARET's Andrea Goss

In the world of today, political campaigns and day-t0-day news stories are all at once both entirely new and modern and also seem like we have not advanced in 50 years (or more). Likewise, Minneapolis audiences are being treated to revival shows this season that are similarly showing us just how little has really changed with Latte Da's RAGTIME and now the national tour of Roundabout Theatre's CABARET. People still have prejudices, fights to fight and selves to find. We don't really change that much -- it's all human nature.

The female lead of CABARET is also teaching for something and learning a lot. Sally Bowles is played in this latest production by Andrea Goss, who was in the Broadway cast and now can be seen touring the country. She gave BWW Minneapolis a few minutes of her busy schedule to answer 6 Questions & a Plug:

CABARET is a show that's been done here and elsewhere a lot; there's a film and it's been running on Broadway for a long time now. What does this tour bring to the show, and is there anything that differentiates it from the other productions?

This tour is the same production as the Tony Award-winning revival the Roundabout Theatre produced at Studio 54. I think what this particular production brings is a grittiness and a real understanding of what was happening in Berlin at that time. I think that Sam Mendes and Rob Marshall who directed the Broadway production, really knew how to incorporate the club numbers to seamlessly comment on the action and reflect what was happening politically at the time. I think people are very surprised how different the movie is from the stage show. Also, this specific production was one of the first to have the members of the cast also double as the band. Our ensemble is one the most talented group of people I have seen. They not only dance, act and sing, but they also are required to play at least one instrument and several people play multiple instruments. It is really a unique, brilliant show.

How is a show that takes place in the late 1920s/early 1930s Nazi Germany still relevant today? With the current political climate, do you think people are attaching more meaning to it?

This show is very relevant to today's world. "Cabaret" asks the question: how did the Nazis rise to power? It shows how ignorance, apathy, denial and fear all helped the Nazi party rise to power. I think any time there is discrimination and prejudice, this show will sadly still be relevant. I think a lot of people are comparing our show to what is happening to today's political world. I believe that theatre has the power to really change and affect people and I think people are definitely walking away from our show and thinking about our current time.

You were an understudy for the role of Sally on Broadway -- how long did you watch the show before getting to take on this role as your own, and what was that like for you?

I was really lucky to be a Kit Kat Girl and understudy Sally in the New York production at Studio 54. I went on pretty quickly during previews for Sally when our brilliant lead got sick. I was incredibly lucky that I was given a lot of freedom to make her my own. As an understudy I think it is rare to be given that much room to play. I got to see three incredible women play Sally and each of them interpreted the role completely different, but what I found was that they still had the same powerful impact regardless of their take. Watching such different interpretations was freeing for me.

Sally is noted to be a 19-year-old (as I read about the show); in past productions I've been, Sally was played by much older actors, which gave it a different feel entirely. Do you play up her youth and is that part of the character for you?

I really went back to the Isherwood novel, "Goodbye to Berlin," that the show was initially based off of and chose to play her as 19. I love the description of her in the book. I think it was a natural way for me to go because I do look younger. I also think that this material lends itself to be played as a younger girl trying to survive in the world. She tries to pretend that she knows what she is doing and has all of the answers, but underneath it all she is a scared child. For me it also helped with understanding her choices throughout the show.

Your background includes stints in ONCE and RENT - tell us more about your roles and experiences in those iconic shows, including what it was like to be a part of the filmed last Broadway production of the original RENT.

I have been really lucky to be a part of some incredible shows. My first professional union show was "Rent." I played Alexi Darling and Roger's Mom in the show. I am forever grateful to start my career out with that show, not only because it is such an iconic and brilliantly written piece, but because I met some of the most talented and thoughtful people. As someone so new to the business I was welcomed so warmly into that company and they were such a family to me. A few years later I joined the Broadway company of "Once" as an understudy for three principle roles. It was the first time I had ever understudied multiple roles so for me it was a great learning experience. I also had to learn new instruments so it was a challenge.

When did you get your start in theatre and what was the moment you knew you would make a career of acting and pursuing Broadway?

I didn't start doing theatre until I was in high school. I had started piano lessons when I was three and also started dancing at a young age, but it wasn't until I randomly decided to audition for the high school Christmas show that I really got into theatre. It was with that show that I realized I could do everything that I was passionate about in one career. After that it all came together for me and I decided to go to college for musical theatre. To be honest my ultimate goal has never been to be on Broadway. I think it is one of the goals, of course, and I have been truly lucky to have had the opportunity, but I think my ultimate goal is to work consistently as an actor and work on material that I am passionate about.

How long will you be touring, and then what's next for you -- do you have another gig planned after CABARET or goals for future roles?

The tour goes through August of 2017. As of now I am not sure I will be continuing for the second year as it is always an actor's goal to continue growing and changing and working on new projects.

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Bio:

Andrea Goss (Sally Bowles). Broadway: Cabaret, Once, Rent. Regional: Zorro (ALLIANCE THEATRE), A Civil War Christmas(Baltimore Center Stage), Striking 12 (TUTS), A Christmas Carol (McCarter), Tarzan (North Shore), Venice (Center Theatre Group/KC Rep), High School Musical (St. Louis MUNY), The Sound of Music and Big River (Syracuse Stage). Readings: Zapata, K-Pop, Little Did I Know, Casanova Returns, Freckle-Face Strawberry. Film: Rent: Filmed Live on Broadway. Thanks and love to my incredible family and CGF.

More info:

CABARET plays the Orpheum in Minneapolis Oct. 18 - Oct. 23. Tickets start at $39 and are available online at www.hennepintheatretrust.org or call 800-982-2787. You can also visit the State Theatre box office at 805 Hennepin Ave. Monday -Friday, 10 a.m. to 5 p.m. and Saturday noon to 3 p.m.

Photos:

• Headshot: Andrea Goss (Sally Bowles), courtesy of Hennepin Theatre Trust.
• Production Photo: Andrea Goss (Sally Bowles) in the 2016 National Touring production of Roundabout Theatre Company's CABARET. Photo by Joan Marcus.

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