Interview: Theatre Life with Adelina Mitchell

Sometimes a young artist makes a big impression on an ornery arts reviewer first time out of the box. Today's subject Adelina Mitchell did just that to me and my wife a few years ago. More on that later on in the column. Now you can see her incredible talents for yourselves from the comfort of your own home Constellation Theatre Company's streaming presentation of The Last Five Years. The production is available from June 22nd through July 11th.

Adelina last performed at Constellation Theatre Company in their production of Little Shop of Horrors. Other area credits include productions at Signature Theatre (Gun and Powder and Blackbeard), Monumental Theatre Company (Head Over Heels), and concerts at the Kennedy Center, George Mason's Center for the Arts, and Museum of the Bible.

Ms. Mitchell is a 2019 graduate of George Mason University where she received her BA in Theatre. While there, she had the extremely good fortune of being taught by some of DC's best in the business artists. Can you imagine being taught by Erin Driscoll, James Gardiner, Edward Gero and other high-end professionals on a daily basis?

Adelina first caught my attention in a very unlikely venue. My wife and I had never attended a production at The Arlington Players community theatre before. We knew that Signature Theatre's founding Artistic Director Eric Schaeffer and longtime Musical Director Jon Kalbfleisch had both gotten their starts there and that was about it. When the company announced that they were going to produce The Hunchback of Notre Dame we knew we had to attend. The show isn't performed very much because of the sheer size. There is a full choir involved.

When I reviewed the production, I had said that I was very impressed with the fact that The Arlington Players employed a full orchestra and cast the show with some VERY VERY talented performers. Adelina played the gypsy Esmerelda. When she started her rendition of "God Help the Outcasts" my wife and I couldn't believe the pure sound coming out of this young lady's mouth. It was truly angelic. Sometimes you just never know where the next big thing in DC theatre will be found.

I know the whole virtual theatre thing is getting old as we are all anxious for live theatre to resume but if you are looking for a musical theatre lover's delight, then please consider purchasing a ticket to Constellation Theatre Company's streaming production of The Last Five Years. The show is a modern-day masterpiece and Adelina Mitchell's performance will truly hold you spellbound.

To paraphrase Jason Robert Brown's lyric in "Shiksa Goddess, "Hey, hey Adelina Mitchell, we've been waiting for someone like you!"

What would you say was the one musical that influenced your decision the most on becoming a professional performer?

There are so many musicals that have inspired who I am as a performer. It's so tough to choose just one! But I really resonate and am continuously inspired by Lin Manuel Miranda's work. I was born in New York City, so hearing the story of my neighborhood though the musical In the Heights led me to envisioning myself on stage as a professional career.

Putting a show together during a pandemic presents many challenges. Can you please talk about the process of putting together The Last 5 Years? Was it all done in person?

Creating during these times is certainly a challenge, but also an undeniable blessing. There's not a day that goes by where I don't soak in the creative process after the year we've had. Rehearsals have been very intimate with limited people in the physical room. There was a hybrid of in person and zoom collaborations for the beginning stages of the process. However, Alex Stone (Jamie) and I have always been safely creating in person along with the wonderful Kate Breyer (Director), Marika Countouris (Music Director), Tony Thomas (Choreographer), and Nick Martin (Associate Director). Our Covid consultant Julia Harris made a huge effort into ensuring ultimate safety for everyone involved. These safety measures include masked rehearsals, temperature checks, daily symptom forms, and weekly covid tests. I would say the biggest challenge would be collaborating on such an intimate show with masks during the rehearsal process, but with safety as the ultimate priority, it was the easiest challenge to overcome.

For those that don't know The Last 5 Years, can you please give us a brief overview of the piece?

The Last Five Years is a story of two young artists, Cathy and Jamie, who not only share a passion for their craft, but a strong love for each other. Cathy is an actress who is trying to get her big break, while Jamie is a writer who has found success quite early in his career. We see them struggle to balance their careers with their marriage, which ultimately leads to the end of their relationship. Don't worry, I didn't give anything away! The show is written where you view both perspectives in different stages of their relationship. The extremely talented Alex Stone who is Jamie tells his side of the story in chronological order, while Cathy shares her perspective starting with the end of their relationship.

For you as a performer, what is the best thing about singing Jason Robert Brown's material?

There is so much genius storytelling in Jason Robert Browns work. Because there's hardly any dialogue in The Last Five Years, the story is being told primarily through the music. Meaning the show is FILLED with numerous easter eggs lyrically and musically, making my job to find them all very fun. All that being said, I do have to say the best part about performing this material is simply hearing the band play the score. I will never forget when I heard them live in the theater for the first time. Chills all over! Our stellar Music Director Marika Countouris has put together an ensemble of extremely talented musicians who are making JRB very proud. We have Jeffrey Thurston (Violin), Tim Thulson (Cello), Aron Rider (Cello), Alec Green (Guitar), Cyndy Elliott (Bass), and Marika Countouris (Piano). This band is playing with their hearts and it's very touching to hear live. I feel incredibly lucky to be able to sing this iconic score with these fantastic musicians. There's no doubt you will be able to hear the love that goes into performing this score from everyone involved. As a performer, you couldn't ask for much more than that.

You are a graduate of George Mason University's theatre program. That program boasts some high-powered professors that work regularly in the DC area theatre scene. Can you please talk about your experiences of being taught by the talents of Erin Driscoll, James Gardiner, Edward Gero, and any others you would like to include?

Yes, I am! Go Patriots! There are four professors I want to highlight who were essential to my time at GMU. That is Erin Driscoll, James Gardiner, Stefan Sittig, and Edward Gero. They are a huge part of the reason I was prepared to take the next steps in my career after graduating.

Erin Driscoll was not only my professor, but my first voice teacher. She took the time out of her schedule to help me understand the fundamentals of my voice while also being a great "go to" for any questions I had regarding professional moves in my career. While at Mason I loved being in her class so much that I took her course not one, not two, but three times. Erin is undoubtedly an integral part of that program!

James Gardiner has such a special way of connecting with his students and is a huge reason for my confidence post grad. After directing me in GMU's cabaret he suggested that I audition for Signature Theatre's Overtures program. From there I was able to use the tools I learned from Overtures to have a great start to my professional career. My senior year James and Erin co directed Merrily We Roll Along, where I finally got to spend time collaborating with them in a rehearsal room. That show was the highlight of my time at Mason. It is very clear that they both love what they do. There's nothing better than working with people like that!

Stefan Sittig teaches various courses at GMU, but was sure to whip me into shape with his dance classes. I normally wouldn't voluntarily add an extra dance course to my schedule, but the joy that Stefan brings into a room is like no other. He is an phenomenal dancer and brings a crucial curriculum to the School of Theatre. He is also a strong advocate for his students outside of the classroom. We saw a Broadway show together the year after I graduated and after the show Stefan confidently said "see you on stage next time!" That kind of support just goes to show how much he believes in his students.

Edward Gero is someone I didn't work with as much as I wanted to while at GMU, but to this very day is someone I know I can call to help me with material. As busy as he is in the DC area, he always makes the time for his students- no questions asked. His expertise at GMU was always highly valued by every one of his students. You can hear a pen drop during his lessons because Ed has such a gift of captivating his students on and off stage. He even started his own series of monologue masterclasses for current/past students during quarantine just so we had something to look forward to. The passion Ed Gero carries for his will always inspire me. He is the definition of a giving artist!

The love each of them have for their work and their students is undeniable. They are continuously growing GMU's School of Theatre into a program where students like myself are not only challenged, but motivated to step out into the real world.

What would you say was your biggest take away from going through the theatre program at George Mason University?

My biggest take away is how important it is to uplift the people around you. This industry is filled with big circle moments, so I have always put an emphasis on making sure the people around me feel encouraged and appreciated. I still keep touch with people who are currently in the program and am sure to root them on because I know how much I would have meant to me to hear from alum. I left that program meeting some of my best friends who cheer me on as much as I cheer them on. There's nothing better than knowing you have positive people in your corner who are also pursuing their passions along the way!

You performed the role of Esmerelda in The Arlington Players production of The Hunchback of Notre Dame which featured a deaf actor playing Quasimodo. Can you please talk about what that was like? Was the rehearsal process any different?

That production is one I will always hold near and dear to my heart. Alex Bryce, who played Quasimodo, is such a fun person to work with. He always made me laugh! As far as rehearsals went, we had an interpreter come in from time to time and our director (Rich Farella) was sure to provide a safe and collaborative environment for everyone involved. I learned a lot from Alex about the deaf community in the theatre scene. Being a part of a production that highlighted the importance of representation on stage was an absolute privilege.

What are you most looking forward to when we are able to gather again for live performances?

While I miss cheering audiences as much as I miss being a part of one, I am most looking forward to the collaboration that happens in a rehearsal room. There's just something about being in a space with artists and simply creating. I'm always looking for an opportunity to grow and there's no better way than to learn from your peers. It's always so rewarding to look back at the progress made before releasing the work just in time for an audience.

Special thanks to Constellation Theatre Company's Development Manager Sarah Anne Sillers for her assistance in coordinating this interview.

Theatre Life logo designed by Kevin Laughon.

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