A Chat with Some New Female Voices

On Monday, January 10^th the first evening of "Monday Nights New Voices" will take place at the Duplex Cabaret Theater featuring some Broadway's up and comers. Taking a break from rehearsals, composer Scott Alan chatted with the girls about the concert, what it's like being a young female performer, and lots more.

Scott: Why are events like this important?

Lori Ann Strunk: I think it's important to bring different women, different types, different voices, who sadly, may never get the opportunity to work together to sing songs that we would probably otherwise only get to sing in auditions.

Zakiya Young: It's just nice to be able to get up and sing. Especially since auditions are so nerve racking, this is a little less of that, and it's just nice to be able to get up and sing an entire song without feeling the need to feel pressured to impress someone for a job opportunity. For people like me, who don't have the privilege of constantly auditioning, it's nice to be able to just perform.

Nikki, you were a vacation standby in the recent revival of Little Shop of Horrors and understudy in AIDA; how does it feel to stand on that stage, after years of wanting it? And, how much rehearsal time does a standby or swing get before they are pushed out there to face the audience?

Nikki Renee Daniels: Well, though I did the touring company of AIDA, I never had the opportunity to go on as AIDA on Broadway, but I did get to go on as one of the three doo-wop girls in Little Shop. For understudies, it's pretty hard, especially in a show like Little Shop. With all the principles, there is only a small amount of us who are filled as understudies, so I never got the feel of how it's going to be on the actual stage with them. You have a short rehearsal for just understudies in front of the set and then you're just thrown on. They take you through the things that are dangerous like going up on the riser. 

Sara, you're currently understudying in Brooklyn and have understudied one of AIDA's stars as well – Mandy Gonzalez. What was it like going on for Mandy?

Sara Schmidt: Well, actually I was the swing for five parts, and I had gone on for three of them before going on for Mandy. I hated going on for the ensemble because when you watched them it would be just a sea of costumes and when you're watching all thirty people on the stage, you don't really grasp where to go. Yet, when I went on for the fabulous Mandy Gonzalez, I had watched it so specifically, that it was much easier. There is a moment in the show where he goes to bite her neck and I had no clue which way my head was suppose to go, so things like that are funny, but I was ready. It was so exciting!

And what was the audition process like for Brooklyn ?

I had only two auditions. I had one that day, and then I had to go over to John McDaniels apartment and there were three of us. It was tough, and his piano is the size of this room, it was huge. I found out a few days later, and then two days after that I started.

Now Lori Ann, performing in AIDA was your Broadway debut- what was that like?

Lori Ann Strunk: It was fantastic…it was really beautiful. I had only worked through the scenes with other understudies. I had never worked with the leads, ever. If I wasn't on the stage in the role of Amneris, I was in the pit. My debut was opposite Adam Pascal (Radames) and Simone (AIDA). Right at half hour, I ran down to rehearse scenes with Adam and said "Hi, I'm Lori Ann, nice to meet you" and we did it. It's one of the coolest experiences, having your first time on the Broadway stage.

Kathy, you are now in the cast of Wicked, and Stephen Schwartz has given you his blessing to perform the "Wizard and I" on the 10^th, But what some people don't know is that you were also on the Rosie O'Donnell show... 

Kathy Deitch: Wow, you do your homework. Yes, I was. It was amazing. At that time she was hotter then hot and she was doing her "Chub Club," where she encouraged woman to join with three or five other woman. Seth Rudetsky had seen me in Footloose and called my agents and told them they wanted me to be a "Chub Club dancer." We were supposed to do the opening number from Footloose, but then Rosie called and decided to go with 'Lets Hear it for the Boy' which I was not in at the time. I eventually got to go back and do my own thing when she had us back. It was really awesome and Seth is amazing, crazy, and brilliant, especially with lyrics!

You've been with Wicked since San Francisco, that's a long time. What has that experience been like for you?

Well, we have our 500^th show coming up. 500^th …again …500^th ….And that's just from opening night …it was a beast. It had three and a half hours of material sitting down for our first reading and they were like, 'Ok, go do the show.' There was a lot of work to be done on it. It has 14 million dollars worth of set and costumes. It was a great process. Joe Mantello is just awesome, and just trusts you to bring your stuff to the table and he hired people who brought things to the table. This is the most talented ensemble I have ever worked with, both original and replacements. I have to say, I still love it. It feeds me, and I keep finding something new. I am the happiest of happiest doing this show. 

Speaking of Wicked, Jenna you're going to hit the road in the first national tour playing Nessa Rose. What was the audition process like for you?

Jenna Leigh Green: I had three auditions before I got the role.  Something that many people don't know, is that they had seen me once before to play the role of Glinda, months ago, when Kristin was leaving. I didn't think it was a perfect fit for me, but they brought me back for this role. Just like Kathy said, Joe was amazing in the auditions. He really works with actors who sing, and it was a joy to be there.

Kathy: I don't know how you feel about it, but it was the most unbelievable atmosphere walking into the audition for the first time. It was…seriously. I had never felt like people wanted me so badly and it was the best auditioning experience I have ever had.

Jenna: Absolutely. I have nerves. Even to get up in a benefit and perform, I struggle with nerves all the time. When I walked in there though, Joe could tell, he could see the potential and he relaxed me, and it was so nice. So I had the three auditions and then they were very kind and called me the very next morning. 

And how long will you be on tour?

Jenna: My contract is for one year. 

Lauren, being a full time actress is hard work. How has your perception changed from when you were little until now?

Lauren Thomas: Growing up I would look at Broadway performers as "stars" and larger than life. It's different now being in the industry. When a show is done, many of these "stars" go back to being a waiter or doing temp work. 

Your experience is in regional theater, so let me ask you, is it important to be on Broadway, or just be on the stage?

Lauren: It doesn't matter. For me, my dilemma has been, since graduating from college, everything flip flops. I did theater a lot as a kid. I decided to go to a school for theater (NYU Tisch). When I graduated I wasn't expecting things to happen. Also, I didn't get placed in the industry night they (NYU) had which was wonderful for many of my friends who got there agents through that. It was like going out on my own, and making it without really grasping how to do so. It was difficult. 

Just recently (don't laugh) I got that book "Making it on Broadway." I don't know if any of you have read it, but it has such amazing stories of people who have made it on Broadway, and it all comes down to - you have to follow your dreams. Now, with this showcase, it gives me an opportunity to perform, be seen and exposed to those who may have never known my talent before hand. I am grateful for the experience.

Ok, so Nikki, after Little Shop ended, where did you go from there?

Kathy: This girl is always busy, busy, busy and for good reason. Ms. Thing over here (refers to Nikki), has had like four regional shows in a row. She lands in NY, does her stint, gets another, and then returns to bless New York with her talent. Then she's off again!

Nikki: You're crazy. Anyway, yes, I did Little Shop in January, and it was kind of on and off, cause I was the vacation swing, and then I came back in March, and then another time in April and May to cover the other woman during there vacations. So, between now and then, I have done many readings and workshops.

That brings us to a great question. How important is it to do readings?

Sara: Huge. Many people don't realize that sometimes, even with Equity contracts, the actors aren't making a cent off of this, and yet, you're doing it for the excitement of a new path.

Nikki: It's so important, because you get to meet the industry, and the next time you're in an audition room, it's one more person on your side. It gives you that extra pull for the next job.

Kathy: I'm doing a new reading now of 'Best Little Whorehouse' at Roundabout. It's so essential and important to also be supporting the new stuff. I saw so much stuff at the New Musical Theater Festival this year, and there is so much amazing work out there. Stephen Schwartz hosted a night and he said "I just want to say to you producers who are watching this, this is the work, and it's out there, and you need to step up." He let people have it that night, and it was amazing. 

Dare I ask you all about star politics?  How frustrating is that for you guys?

Nikki: Ok, let me talk. It's frustrating, because I have a degree in musical theater. It's worthless, because many of those on the stage, who are getting jobs, don't have BFAs. I mean, you see people like Toni Braxton, who they change the keys for…

Jesse Vargas: Chiming in here, she was in a baritone key. Horrible. 

Nikki: They have no training and know nothing about theater and you have to be their understudy and you know you do it for the passion, not for the money that comes rolling in at the end of the night. 

Lori Ann: What happened to what theater was in the 70s and 80s? When there was new stuff, and even if it sucked, it was fresh and new and brought new faces to theater. You see Avenue Q and Brooklyn, and thankfully they aren't star vehicles and it's a step. I hope we are going back to that. Producers also have to see beyond the budget, which is hard.

Fostering new works is always important. Any suggestions on how you, as performers can assist in making that happen?

Jenna: By continuing to stick with theater you love and believe in. Take BARE for example. I was involved with it for five years, and I fell into it. I came to New York three or four other times, before it ever had an actual production, on my own dime, just because I wanted to remain a part of the production. We did BARE as part of the New York Theater Workshop, and so many others. Every time we kept inviting more and more producers to see what we all saw in it. 

BARE, now, is almost unrecognizable to what it started off as. Sometimes you never know what the final product will be. You need to see the potential at the first stage, and BARE was the most fulfilling production I have ever been a part of. And, let me say, as far as star names go, there are many, yes, who haven't been able to pull it off, BUT, there have been some who can. Antonio Banderas was beautiful in Nine. 

My past wasn't off limits to the naysayers. I read the message boards on BroadwayWorld.com. "Why is this girl from Sabrina, the Teenage Witch doing theater now?" Everyone wants to judge. Why is little TV girl doing theater now. I grew up loving theater, and I fell into television, but I started in theater. 

Nikki: Antonio was fantastic in Nine, and Deborah Cox was great in AIDA.

Zakiya: Material is so important as well. Sorry to bring this up. So many shows are run by money and the material isn't there. I haven't been on Broadway, but I was offered one of the biggest tours, which will not be named. I turned it down because the material wasn't there, and it wasn't exciting for me. It wasn't theater anymore, it was run more by politics and I couldn't see myself connecting to the material. It was tons of money, put together to make a product. Everyone thought I was crazy, including my parents, but I had to trust in myself that there was something out there for me. That casting director will never see me again, but I felt like I was going to sell myself out. I couldn't do it. 

I wouldn't do this if I thought it was frivolous. I am here for a reason, and I am ready, and I know we all are, and we can't sit back and watch everything go back, and if I didn't see a chance for me, then what is it all for ?

Thank you everyone for your time. Before we end this, four quick questions. What show introduced you to theater? What actor inspired you as a child or inspires you now? What show should you be seen for?  And finally (whew) what composers excite you? 

Zakiya : West Side Story. Audra McDonald. Ohhh, hearing her in Carousel. What a voice!

Nikki: Audra in Carousel .. I'm stealing your answers…

Zakiya. And, I'd love to play Sara in Ragtime.

Nikki: The Wizard of Oz, at my elementary school. Go figure. Audra McDonald. Beyond words. I got to see her in Marie Christine.  I love Adam Geuttel and I love Stephen Flattery. 

Let me interrupt for a second here...What is it like to have Michael John LaChuisa joining you on stage on the 10^th to play "Way Back to Paradise" from Marie Christine?

Nikki: I screamed when you told me. I love him. His shows have something to say, and aren't just like, well, Mamma Mia! I am nervous though.

Lauren: Annie. Who didn't love Annie? As far as an actress - Natalie Wood, and though she wasn't a singer, she was an actress who brought you in. I'd love to play Gypsy Rose Lee one day. I love Larry O' Keefe, and I must say, Scott, I love you.

Jenna: I have to say Les Miserables. Don't hate me. It was the tour, and I started crying when Fantine died and I never stopped. For an actress, there are so many, I can't pick just one, but I have to be honest, I am so impressed by all these woman in the room, they really give me something. Oh, and I'd love to be Eponine or play Violet in Side Show.  As far as composers, I love Sondheim. You can't sing his songs at auditions, but he is a genius. 

Sara: Mine is worse Jenna. I wanted to be a cat after seeing Cats when I was ten. I would sit in my house, wearing little white muffs, and think I was the white cat, singing Memory. Oh, and I want to be Belle in Beauty and the Beast. Stephen Sondheim is amazing. I must say I love Damon Intrabartolo as well. BARE was incredible. 

Lauren: Me too.

Lori Ann: West Side Story. Audrey Hepburn was the actress that touched me so much. Oh, and I think they should bring me in for Dreamgirls. Come on …think outside the box. And composers? Definitely Jason Robert Brown. 

Kathy: The touring company of

42^nd street

and Les Miserables. With Les Mis, I thought the first act was the entire show, and I was crying and actually walked out. To think, there was a second act. Barbra Streisand is incredible. As far as parts, I don't think the part has been written for me yet. Yet, I'd love to play Elphaba. I connect to the part, and I hope one day they look outside the box as well. And, I love Maltby and Shire. I also love Jason Robert Brown and Andrew Lippa.

Reserve tickets now by calling The Duplex at 212.255.5438. The show will start at 7pm sharp on Monday night, January 10th and there is a $7 cover charge.