Interview: Theatre Life with Teal Wicks

Today’s subject Teal Wicks has what is known as the WOW factor. Every time I see her onstage in something, I can’t help using that expletive to describe her performance. Currently, Teal is living her theatre life onstage at Signature Theatre playing the role of Mother in Ragtime. The production runs through January seventh in Signature MAX space.

Teal’s Broadway credits include one of a trio of Chers in The Cher Show, Finding Neverland with Kelsey Grammar, the revival of Jekyll and Hyde (also on tour including Kennedy Center), and the belting green faced witch Elphaba in Wicked (also L.A. and San Francisco companies).

She has also had the privilege of working at some of the top regional theatres in the country including Goodspeed Musicals, ART, Broadway Sacramento, and more.

You might have also seen her on TV in The Good Wife, Chicago Justice, or NCIS: New Orleans.

Ragtime is technically not the first time Teal has worked at Signature Theatre. You might recall that the company was to produce Frank Wildhorn’s musical Camille Claudel which Teal was slated to star in. Unfortunately, the world shut down as the show was going into tech. Over three years later, Teal finally gets to perform for audiences at Signature and trust me my fellow readers, once you see Teal onstage on Ragtime you will realize that very long wait was well worth it.

Teal Wicks gives unforgettable performances each time she steps on a stage. Her performance of Mother in Ragtime adds to her already impressive body of work. She is a prime example of an artist living her theatre life to the fullest. Grab some tickets and see for yourself.

If you have seen Ragtime in previous productions, you need to go “Back to Before” for Signature’s version. “Journey On” with Teal Wicks and a stellar cast all under the helm of Signature’s Artistic Director Matthew Gardiner. It’s a perfect theatrical experience for all and at this time of year, between the dancing Sugar Plums and Scrooges it is definitely most welcome.

At what age was it apparent to you that performing was going to be your chosen profession?

Not really until college. I loved performing and all things theater growing up, but it wasn’t until I was in college as a Drama major that I truly embraced the possibility of pursuing this passion as an actual career.

Where did you recieve your training?

UC Irvine

What was your first professional performing job?

It was the absolute best first professional performing gig! I played Catherine in Pippin at Goodspeed Opera House. And then they sent the production on a short National Tour. It was a great summer in Connecticut with the loveliest group of people and then we all went road tripping across the US (and Canada) together! I don’t know how I lucked out with that being my first professional experience, but it was truly special.

For those not familiar with Ragtime, can you please give us a brief overview of the show, and also can you please tell us about your character of Mother?

Ragtime is a story about America at the turn of the century. We meet 3 very different families in New York- a wealthy white family in New Rochel, a black family from Harlem, and a Jewish family immigrating from Latvia- who’s lives intersect along with a variety of key historical figures of the time.

Mother lives a privileged and protected life in her “house on the hill in New Rochel” surrounded by her family of men. As she encounters the other characters of the play, her sheltered little bubble cracks open and she is moved by the real world around her. She finds courage in trusting her instincts, the power of using her own voice and the freedom of choice.

What’s so exciting about doing a show here at Signature is the intimacy of the theater space. And although this isn’t the biggest company of Ragtime, it is definitely not the smallest with a cast of 33 and an orchestra of 16. So, just the sheer energy and sound coming off this stage charges the whole space. The orchestra is completely visible and our director, Matthew Gardiner’s staging has most of the cast on stage throughout the show so that we are all bearing witness to this story. Which I feel just heightens the magic that is unique to theatre- all of us together in this space, throwing our energy back and forth, witnessing and sharing this experience in real time together.

Your big number “Back to Before” was made famous by our dearly departed Marin Mazzie. Does your take on the song honor her memory in any way or is it a totally new approach?

I think it’s impossible to play Mother without honoring Marin in some way. Mother would not be the beloved character she is without Marin’s special blend of warmth and strength, complexity, and vulnerability. “Back to Before” is such a thrilling part of Mothers journey, there is nothing else you need to do with the song except know exactly what you’re saying and just open up your heart to ride out that musical journey.

You performed the role of Elphaba in Wicked for almost three years. Can you please talk about how you kept your voice in shape, so you were able to make it to the end of the last show of the week?

With my almost 3 years of Elphaba in different environments, there was always a learning curve on how to stay physically and vocally healthy for an eight-show week. Rest and hydration are the key things for me- getting enough sleep, resting the voice and body outside of the show, drinking enough water, using humidifiers at home and in the dressing room. Also, being very honest with myself if I wasn’t in show shape it’s better to take a show off than try to muscle through and risk actually hurting myself. I started my Wicked career as an Elphaba stand-by, so I have huge respect for our stand-bys and understudies. And let’s be real, Wicked has some of the best stand-bys and understudies in the biz ready to make the show go on, so let them do their brilliant work.