BWW Interviews: Tom Hewitt & Melanie Waldron of CHICAGO

The National Tour of Chicago is Set to Razzle Dazzle Omaha this Weekend.  BroadwayWorld recently spoke with Chicago stars Tom Hewitt and Melanie Waldron to discuss all things Chicago and theatre.

Q&A: Chicago National Tour

Tom Hewitt and Melanie Waldron

First of all, thank you for taking time out of your schedule to do this interview.

Both: No problem. Thank you.

So, how/when did you both first become interested in theatre and music?

Tom: I came into the theatre pretty early on. I'm from a small town in Montana and I remember seeing my first play at Summerstock in Montana and a light went off in my mind and I just sort of fell in love with it. Even then I knew it would be a difficult business, but that didn't deter me. I was very fortunate enough to have very supportive parents who supported me and came to everything I did. The amount of faith they had in me was remarkable.

Melanie: For me, it was definitely at an early age. I started dancing when I was 3 and at age 7 actually went to a professional ballet school. It wasn't until I was 10 that I did my first musical and started veering into the musical Theatre World with singing and acting. I did a local community production of Annie and was bit by the bug then.

Growing up, what kinds of training did you receive? Did you participate in theatre in school or community theatre?

Tom: I got a lot of practical experience in Montana. I got to work a lot doing Summerstock. I also toured with a Shakespeare company from Montana and that was invaluable. That experience early on helped e get my feet wet and helped build my confidence for auditions later on. I went to college for a couple of years and then auditioned for acting schools. I eventually ended up studying at the University of Wisconsin (Milwaukee).

Melanie: I grew up in Long Island and took classes at the American Theatre Dance Workshop. And my high school had a theatre department so I took dance instead of gym and performed in different shows throughout the year. And I graduated from a college in Washington DC with a major in musical theatre.

Tell me a little about moving to NYC and what the process of jumping into theatre there was like for you.

Tom: I left acting school in the 80s and things were different back then. I remember jumping right into regional theatre. Being classically trained, New York was not at the top of my list. It seemed very commercialized. And now I'm on Broadway!

Melanie: Well, they had a great theatre scene in DC and I spent 4 years there, but I knew I wanted to put myself in the New York pool and that is there all the auditions are. It was probably easier for me to make the move because I grew up right outside of NY in Long Island. It was after finishing the national tour of In the Mood that I took the leap and I sublet an apartment in Queens, got a day job as a hostess, and just hit the ground running.

What was your first big audition in NY? Any stories?

Tom: You know, it's weird. I never get shows when I audition and nobody knows me. There has to be a couple people that know me before I get the job. Even at the first audition for a show I booked, I knew the casting director and the director of the play. It helps when people are familiar with your work.

Melanie: After graduation I went straight into regional theatre and then booked my first tour, which was In the Mood and toured with that show for 3 months.

What was your audition process like for Chicago?

Tom: Honestly, the casting people knew me and the producers knew me as well. They just kind of called me and asked if I was available and I said yes. They just kind of gave me the job. I've been very fortunate with that.

Melanie: I've been with this show for over 2 years. I've done 2 different productions. My first audition with Chicago was a normal "cattle call" audition, and from that production I was asked to join this current company.

How would you compare (from an actors perspective) the Broadway production vs. the Broadway tour production?

Tom: With the exception of being in a different town and performance space every few days, there is no difference regarding the show or the quality. I've played Billy Flynn both on Broadway and on this tour and it's the same show. A lot of the Chicago company members have played these roles both on tour and on Broadway as well. In fact, our Amos is taking over the role on Broadway this week to cover for a member of the company out there. Once he finishes there he will jump back on tour with us.

What's a typical 1-show day on tour like for you?

Tom: It really depends. There are usually those 2 or 3 days where you have to get up early and do those early morning talk shows and interviews, and that's hard sometimes. Naps are great on those days. And honestly, it really depends on your role. I'm really lazy, so HBO is great for me. Oh, and Netflix! HBO and Netflix are great.

Melanie: You know, it's different each week with every new town. But every town you just try to find your little niche --- food locations, your local coffee spot and gyms. You just try to find your home and not wear yourself out for the show.

Can you tell me a little bit about what it's like to both play one role, as well as understudy another? Do you ever get confused as to which role you are playing?

Melanie: You definitely have to shift your thinking. I was fortunate enough to have played Velma Kelly on my first tour with Chicago, so I kind of channel that and go back to that character I know well. Obviously that's not always the case. Once you've switched into the mindset of another character, it's not that confusing. They're just different tracks. It just takes a little time. Normally they try to give you a couple hours notice if you are taking over a role, but that's not always possible. Just the other day our Velma couldn't continue with the performance after intermission, so I had to jump out of Annie and into Velma. But that's your job. You need to be on and ready at all times. It's live theatre, and anything can happen.

What is it like to portray a character played by so many different actresses over the years, including the lead on this tour? Do you have your character pretty much set for you? Or is there room for you to make her your own?

Melanie: I mean, you definitely have to stay within the confines of the show, but you also get artistic liberties. Yes Velma is always tough and sexy, but you have to bring a bit of yourself to the role to make her a true character.

Billy Flynn is a character that has been played by numerous actors over the years (including foreign productions). What was it like for you creating your characterization of Billy Flynn? Was it set for you or did you have come say in your characterization? How would you compare that developmental process to the process of creating and originating the leading role of Dracula on Broadway? Do you prefer one to the other?

Tom: Well you know you're right. A lot of really different people have played this role such as Patrick Swayze and Usher to name a couple. And I am so glad Usher played this role because he "tricked out" Billy Flynn's dressing room on Broadway. I mean, it's awesome thanks to Usher. But yeah... Our director is really wonderful in that he's very clear about what the character needs to do to tell the story. Once you have come to the same basic understanding of the role, he really lets you go from there and be creative with the character. That's something that makes the show so magical is the fact that so many different personalities have lived in these characters. It's really fantastic. I've replaced a lot of people in different shows (such as the Lion King) and even with the technical requirements I've never felt completely trapped by a character. I've been very fortunate. But I think that any actor would prefer to be in the creative process and really contribute to the creation.

In the musical Theatre World today, it's becoming more and more rare to find successful productions that don't contain lavish scenery and costuming. Chicago (now the 6th longest running show on Broadway) is one of the exceptions - relying solely on the performances given by the actors. What do you think it is about Chicago that makes it such a successful show today?

Tom: I think that we are in a very interesting time with technology and performance and that this is the time for theatre to redefine itself. What theatre comes down to is humans watching other human beings interact with each other, and I think Chicago is a perfect example of that. It is unapologetically theatrical. You know? There's nothing on the set that even suggests a place or time, and that allows the audience to use their imagination. That's also the great thing about The Lion King. Yes, it is grand, but it is a show that has no intent of disguising the human beings maneuvering the puppets. You see the people, but also the animals, and that's magical. It allows the audience to be an active participant in the creation of the show, just like in Chicago. And beyond that, Chicago is great material performed by really talented people, and that's really all you need to make an audience happy.

Melanie: I think people can appreciate the fact that it's not about the glitz and the glam. It's something different to go see. It's simpler. And because it doesn't have the grand scenery and costumes people can focus on and really get the story --- and the story is good. It's well written and is a timeless story. It resonates with people today with all the hype around celebrities and the media attention. The idea that "any press is good press" is still applicable today. That's what's happening in this story with Velma, Roxie and Billy.

Melanie, any advice you would give to performers wishing to pursue theatre as a career?

Melanie: Know how to market yourself. Know what look you have and what to go in for. Take classes, get feedback and audition so you know what package you are putting across. Are you a dancer or singer or actor? I mean, we're all very versatile and there are lots of things you can do. But to be unique --- have something different and own it! Sometimes people can't imagine what you could be, but if you show up and show them "this is what I am and what I can do" they will get it. Know what you're going for and know what you're bringing to the table.

Anything else you would like the readers to know?

Tom: The quality of the show is Broadway quality. I know because almost everyone on that stage has performed on Broadway. The show is in wonderful shape and I'm really, really proud to be a part of it. So, come check it out!

Melanie: Come see the show. You won't be disappointed.

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Chicago, now the 6th longest running musical on Broadway, is making its way to Omaha and is sure to make a splash. This timeless tale of lies, greed, lust, murder and betrayal will be playing at the Orpheum Theatre in downtown Omaha this weekend. Performances start tonight at 8 pm, with more performance Saturday and Sunday, Feb 13-14. Tickets start at $25 and can be purchased by calling (402)345-0606, or online at www.ticketomaha.com.

 

 

 

 

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