Learn more about ‘Junk’ HERE

Follow Ben on Instagram or visit his website HERE

The post Backstage Broadway’s ‘Junk’ With Lighting Designer Ben Stanton appeared first on Theatre Nerds.

It’s so easy to wrap yourself in a blanket, grab your cuddle buddy and watch Sutton Foster in Gilmore Girls: A Year In The Life until you gracefully fall asleep. Don’t fall into that trap, though! Sure, enjoy your Netflix these next few months, but don’t skip out on the gym. Need some help to do so? The cast of A Clockwork Orange is here to help.

If you’ve heard or seen anything about the current off-Broadway production, then you’re well aware of how ripped this cast is. Seriously, #BodyGoals. You too can be just as fit, however, if you follow their guide to staying fit for Broadway despite the winter tundra ahead.

What is your current workout regimen?

Jonno Davies: Well, what’s nice about doing such an intense show is that I don’t have to do much cardio! Currently I’m focusing on heavy compound lifts (squats, dead-lifts, bench press etc.) to maintain size, then adding more isolated exercises to add definition. If I didn’t continue to lift big, I’d lose a lot of size as I’m burning a LOT of calories doing the show. I’m also trying to improve my callisthenics work, so I’ve been spending quite a lot of time on muscle ups and handstand variations.

Misha Osherovich: I hit the gym usually about 5 times a week—mostly full body/core strengthening with a lot of cardio (I love me some cardio).

Sean Patrick Higgins: I usually keep a six day a week rotating schedule. Currently I’ve had to tone that back because the fatigue and wear and tear of the show taking its toll.

Do you find it harder to stay fit during the winter months?

JD: It depends on how you define fit. Do I find it harder to stay lean? Of course. What with Halloween, Thanksgiving, Christmas and just the general NY food scene, it’s pretty hard to keep the carbs under control. The important thing is not to worry about it. Enjoy your roast dinner, pile on the trimmings—you can make up for it tomorrow, just make sure you do! Make the most of the increase in calories and put them to good use, like going for a Back Squat PB.

SPH: Yes! I have such a sweet tooth and it seems to be exacerbated by all the wonderful holiday treats. I am especially a sucker for pumpkin bread.

Does your workout regimen change during the winter?

JD: Definitely, that’s when I usually try to focus on strength work so typically the reps get smaller and the weights get bigger. There’s something quite appealing about the simplicity of lifting as heavy as possible, sort of caveman-esque, but without the grunting.

MO: If anything, I ramp it up over the winter months since I’m not as naturally active during the day like I would be over the summer.

What advice would you give to people looking to stay fit during the winter when it can be much harder to do so?

JD: There are a few adjustments you can make. Drinking green tea is great for fat burning as it increases metabolism. The main thing is to find an exercise you enjoy, that way keeping fit doesn’t become a chore. Set some goals! I always find it easier to stay motivated when I’m working towards something; whether it’s for aesthetics or performance is up to you.

MO: Definitely push through the urge to stay inside and watch Netflix. We all want to do it! Especially when it’s miserable outside. But do yourself the favor and get over to the gym (or fitness class or studio or wherever you find your favorite workout).

SPH: Just getting to the gym or yoga studio can be difficult when is slushy and gross outside! Getting there is 90%. So do it! No excuses.

What are some of your go-to in-home workouts in case you don’t have time to hit the gym one day?

JD: I’m a huge fan of bodyweight circuit training; not only is a great way to burn fat and add muscle, but you can get a pretty serious workout done in only 20 minutes. Plus I find it a much better way to improve general athleticism than constantly lifting weights at the gym.

Try this as an example:

1. Squat jumps
2. Push ups
3. Plank
4. Burpees

Perform each exercise for 55 seconds, back to back, with 5 seconds in between. Once you’ve completed all 4 exercises, rest for 1 minute. That’s 1 round. Aim for 3-5 rounds for a gym-free pump burn. Head over to my Instagram page (@thejonnodavies) to see some of my workouts!

MO: I love me some high-intensity ab circuits at home on my yoga mat. Great quick way to get the workout in, and you can add some other body parts to the circuit as well!

SPH: I like to do 45 minutes to an hour of yoga, usually a simple flow. Then cycle through a full body circuit: burpees, squats, push ups, lunges, abs, repeat.

To see Jonno Davies, Misha Osherovich and Sean Patrick Higgins slaying the stage, head over to New World Stages to catch A Clockwork Orange before it closes on December 2. You can also follow them on Instagram at @thejonnodavies, @mishaosherovich and @sphiggs.

The post The Cast Of ‘A Clockwork Orange’ On Netflix And Getting Totally Ripped appeared first on Theatre Nerds.

Just like it’s fan base, Newsies has continued to live on with its first national tour and a filmed production that is now available for download. That’s not all: newsboys are now flipping their way into regional theaters all over the country, most recently at The Muny in St. Louis, Missouri. Among the tap-tastic cast is Daniel Quadrino in the role of Crutchie.

Quadrino’s journey with Newsies has been nothing short of amazing. He originally auditioned for the pre-Broadway production at Paper Mill Playhouse, making it to final callback before being cut. “I didn’t end up getting it, which was fine. Looking back on it, I wasn’t ready to be part of it yet. My dancing was not ready maturity wise.” he tells me during his lunch break on his final day of tech before opening at The Muny.

Far from giving up, Quadrino continued to audition for the musical as it transferred to Broadway at the Nederlander Theatre in 2012. A lesson in persistence and perseverance, he auditioned upwards of 20 times before booking it. Each time he was the cut, the show’s creative team continued to encourage him and motivate him to work harder. “They kept giving me feedback on what to work on, but the last time I went in I was like, ‘You know what? If this doesn’t happen, maybe I’m just not supposed to be in Newsies and I have to accept that.’ As soon as I let that go and stopped putting all that pressure on myself that I had to get the job, it happened.”

His final audition for the Broadway production is one that he’ll never forget.

“When I got the job, they called me back into the room after my final callback…and they were like, ‘We just have one more question. How would you like to be in Newsies?’ And I broke down and just started crying” Quadrino recalls, joy filling his voice.

Taking on the role of Albert while understudying Davey and Crutchie, Quadrino’s 11 months in the show were nothing short of spectacular. “My first performance was a blur, but it was definitely a dream come true.”

After the show’s closing, Quadrino’s career brought him roles in Wicked and NBC’s Peter Pan Live!, but his time with Newsies wasn’t over quite just yet.

This summer, Quadrino has had the pleasure of reprising the role of Crutchie twice: with the Pittsburgh Civic Light Opera in July and now at The Muny.

The fact that I get to play a role that is so close to my heart that was truly one of my dream roles is incredible,” he exclaims. “I love getting to do Crutchie’s song, ‘Letter From the Refuge,’ that was added because it was fun knowing Crutchie, but having new material to work on and make my own was really fun.

In the midst of musical theatre excellence, Quadrino is soaking in each moment with his crutch and gang of newsboys. “This group of boys is incredible; I’m in awe of watching them dance. Jay Armstrong Johnson, who is playing Jack, is so great and has a fresh new take on the Jack Kelly that we all know, which is so good. The whole cast is just so, so good. And it’s cool because I do know the show so well, but I kind of rerouted everything that I know and started from scratch to find Crutchie again.”

Especially now, with the current political and social state of the country, Quadrino is thrilled to be sharing this story with The Muny’s 11,000 seat house. “It’s really cool because it’s a whole new take on the show, but it still stays true to all the themes. It stays true to what the show is about: a bunch of people standing up to what is right. The story is so relevant and I’m so happy that we’re doing it here at the Muny this year with everything going on. I think that it will forever be relevant, and the fact that it will be in front of this many people is amazing.”

Looking back on his long path with Newsies and the persistence he showed over 20 times, Quadrino’s words of advice for his younger self are short, yet potent. “I always tell people this: it’s not a matter of if it’s going to happen, but when.”

For more information about The Muny’s current production of Newsies, visit www.Muny.org.

Follow Danny on Instagram & Twitter @dannyquad91

The post Carrying The Crutch Once More: Daniel Quadrino’s Inspirational Journey In ‘Newsies’ appeared first on Theatre Nerds.

A dancer from age 2, Bednarczuk always longed for a career on the Great White Way. When she endured trials, such as being rejected from college musical theatre programs, she pushed through and worked harder than ever to make it to where she is now.

Bednarczuk was kind enough to sit down with us at the Nederlander Theatre, the current home of “War Paint,” to talk about her road to Broadway, working alongside icons and the incredibly relevant story of this new musical.

Theatre Nerds: Before “War Paint” came to Broadway, you were involved with the Chicago production. What was your audition like?

Barbara Bednarczuk: I lived in New York for a while, but I felt the city wasn’t serving me, so I moved to Chicago. That was a year ago in January, and the first audition I went to was for “War Paint” at the Goodman Theatre. I booked it, and I was like, “Is this really happening?” So Chicago was where I needed to be for this to happen. So now I’m back here with purpose, and god, what a great purpose it is!

TN: So, what was your reaction when the show announced it was moving to Broadway and you would be moving with the company?

BB: I was in Israel on a ship, and it was like 2 a.m. there, and I’m in the port trying to get decent internet connection to call back here to my agent, who was like, “I hope you’re sitting down. You’re going to be on Broadway.” I was literally in the middle of this abandoned port at two in the morning screaming my face off.

TN: As a swing, you’re ready at the drop of a hat to go on for any one of the roles you cover. What was it like the first time you got the call that you would be going on that afternoon?

BB: It was Easter Sunday, so I called my mom on my way to the train and was like, “Guess what the Easter Bunny brought me this year?” and I said, “My Broadway debut!” I got to the theatre at about noon, just for my brain, and walked through the staging just for myself so that it was in my body, then had to go to wardrobe and hair and have them tweak some things. Then, I talked through my costume changes with my dresser, since there are a lot in the show. Then, I got my face on and was ready to go. Everyone was so supportive, and it was just so amazing. When I was bowing, I was like, “I’m bowing on Broadway. Who am I?”

TN: The show centers on the cosmetic industry. Had you an interest in that world prior to being in the show?

BB: When I auditioned for the show, no one really knew much about it at all except for that these names were attached to it. So, I did a little research on my own before I went into that first dance call and found out a little about these two women and who they were, and that they had created these empires and created what is now a multibillion-dollar cosmetic industry that affects everyone.

TN: Let’s get real. What is it really like getting to perform with Patti LuPone and Christine Ebersole every day?

BB: Before the process began, it was like an idolizing kind of thing, because they’re amazing. Seeing them and working with and just talking to them over lunch, they’re just humans, and this is what they do, and they do it so, so well. Just to see them work has been a masterclass every single performance and every single rehearsal. The caliber of everyone’s professionalism and dedication is jaw-dropping, and I feel so at home within it. I guess the nicest part of working with them is that they’re human and they’re lovely, and they just happen to possess this amazing talent.

TN: Why does Broadway and the community need to hear the story of “War Paint” right now?

BB: Right now, it seems imperative for such a story to be told and for everyone to realize that this situation has been happening for a very long time. It’s about women in business and women who were the titans of their companies, and that was not heard of during that time period at all. So we really grapple with that as well as the fact that both of these women were immigrants. They were not American, yet they were all about the American Dream and what it means to be an American woman. It’s nothing new, but people are now starting to be incredibly vocal about it.

TN: What advice would you give to your younger self about pushing through roadblocks and making it to Broadway?

BB: Keep doing what you love, always. When something doesn’t feel right, find what does and keep doing it. I was never afraid to travel for jobs, and I always put myself out there. It’s not always easy, but it’s worth it.

The post Interview With ‘War Paint’s’ Barbara Jo Bednarczuk appeared first on Theatre Nerds.

When we think of careers on Broadway, we usually think about starring in a show, working backstage or creating a show. However, Laurence Maslon has taken a different approach: working as a Broadway historian on the NPR show “Broadway to Main Street” and teaching at Tisch School of the Arts (previous students include Oscar winner  Mahershala Ali and Tony Award winners Steve Kazee and Nina Arianda). He is also the co-author of the companion book to the documentary “Broadway: The American Musical.”

The History of a Historian

It was Maslon’s parents who introduced him to theatre, exposing him to William Shakespeare, George Bernard Shaw, Noel Coward and other playwrights. He didn’t see many Broadway shows, even though his family lived only an hour outside the city. Instead, Maslon directed, wrote and designed many plays and musicals, getting a lot of hands-on experience.

He started his education in the Directing and Dramatic Criticism program at Stanford University in the early 1980s before he left to work at a nonprofit theatre and then intern at various literary offices, including the Arena Stage.

‘Broadway to Main Street’

Maslon is best known for his radio show, “Broadway to Main Street, which “came out of my love of radio, musical theatre and popular performance,” he said. The show is devoted to music that originated onstage, but goes beyond cast album performances to include pop music performances from artists such as Frank Sinatra, Barbra Streisand, Judy Garland and genres such as cabaret and film. Maslon said he firmly believes there is a vast range of music from Broadway in popular culture that goes unnoticed and underappreciated.

“Every episode has a theme or a topic or a tribute or a take,” he said. “It might be the score to ‘Gypsy’ but told through many different versions or singers. It might be the survey of a great performer’s work — Audra McDonald or Elaine Stritch or Al Jolson. It might be a combination of singer and songwriter, such as Fred Astaire sings Gershwin. It might be a topic that interests me, like the most popular Broadway songs on the pop charts or great comedy songs from musicals.”

“I’ve also been lucky to have some great folks in the studio, such as Steven Pasquale, Marin Mazzie and Jason Danieley, Lewis J. Stadlen, Veanne Cox, Danny Burstein and Rebecca Luker,” he said. “I don’t know another show or podcast like it anywhere — it combines the history of Broadway with its popularity in a fun way. We’re on iTunes, Stitcher, NPR One and our own site, so folks can listen to a bunch of different ways. There are over 200 original and unique broadcasts and counting.”

‘Fan Moments’

Today, Maslon gets to work with many theatre actors and actresses, but he isn’t immune to “fan moments,” saying one person stands out in his mind: Julie Andrews.

“I guess the most compelling ‘fan moment’ I ever had was working with Julie Andrews on the Broadway documentary,” he said. “I’ve never seen anyone who exerted such a compelling presence over people — fans, co-workers, Teamsters, you name it. So many people discovered her at a seminal time in their lives — when she was Mary Poppins or Maria von Trapp — that they feel as if she were family. Grown men felt, really. She hosted and narrated the Broadway documentary I co-wrote, and I came up with a line for her to say toward the start of Episode 1, about the Ziegfeld Follies: ‘So let’s start at the very beginning — which we all know is a very good place to start.’ I wasn’t sure she’d go along with it, but she’s a game gal and a total pro. The line always gets hoops and hollers when I play the DVD for my class.”

What’s Next?

Maslon also has a book coming out based on his show, called “Broadway to Main Street: How Show Music Enchanted America,” which will be the story of how music from Broadway reached the American public from 1893 to “Hamilton,” in sheet music, on the radio, in recordings, on cast albums, on television, in movies and online. There will also be lots of behind-the-scenes information, including how a cast album works.

Another project to check out will be Maslon’s upcoming documentary, “Sammy Davis, Jr.: I’ve Gotta Be Me,” which looks into the life of Sammy Davis Jr.

“It’s the first real look at Sammy as a cultural force, trying to create his art and form his own identity in the middle of some tremendous social and political pressures,” he said. “And you can’t beat him as a performer. It began by creating a format — in this case, the many different lives he led — and interviewing folks. Sammy left behind an enormous amount of material on film, and we also had access to some very rare personal effects and photos that no one has ever seen, thanks to a connection with his heirs. His story couldn’t be more timely, and we were also able to celebrate his Broadway career, which was pretty impressive.”

His advice for theatre nerds?

“I’d advise enthusiasts to look into graduate programs but always be on the lookout for professional theatres to work in, even as an intern or volunteer,” Maslon said. “Theoretical knowledge without practical application is useless. Follow your passion. If you dig obscure 17th-century British tragedies (there aren’t many), go for it.”

Download the latest episodes of “Broadway to Main Street” here, and click here to check out one of Maslon’s classes through Tisch.

The post Telling Broadway’s History With Laurence Maslon appeared first on Theatre Nerds.

Lucky for us Theatre Nerds, we caught up with the 37-year-old superstar a day before he hopped on the magic carpet for the first time. Check out our interview with Broadway’s newest Aladdin below:

Theatre Nerds: Congratulations on stepping into Aladdin! How has the journey compared to the many other shows you’ve worked on? I imagine being under Disney is magically different.

Telly Leung: This is my seventh Broadway show, and my second time replacing. I replaced Robin De Jesus in “Rent” on Broadway in 2006. Most of my Broadway experience has been originating roles, which has its own challenges: the pressure (and joy) of creating something from scratch, the constant changes during previews (what song is cut? What are the new lyrics? What joke are we trying out tonight?). But, there is a certain ownership of the material and the process that comes with originating a role.

Replacing in a show, especially in a role this big, has been a challenge. An actor always feels this constant pressure to play catch-up with the rest of the company. Luckily, I have a wonderful, warm, patient company at Agrabah, and everyone has been so supportive throughout the process. It’s truly a top-notch company. I feel very lucky.

TN: That’s wonderful! The “first look” pictures of you are awesome! Does it feel wild to be entering the world of such a beloved film?

TL: Thank you! Bravo to Matt Murphy, one of my favorite photographers in New York. There is certainly pressure to not disappoint all those people who have such a soft spot in their heart for the 1992 film. I count myself as one of those fans! All I can do is bring my sense of truth and honesty to the show, moment to moment, and attempt (to the best of my ability) to fill the big shoes left to me by the amazing Adam Jacobs, who originated the role.

TN: Did your “Allegiance” costar Lea Salonga, who is, of course, famous for voicing Jasmine and Mulan in the animated films, offer up any advice?

TL: My show-sister Lea didn’t offer any advice, but I loved hearing her talk about her wonderful experience being not one, but two Disney princesses. She had the most wonderful things to say about Alan Menken and what a warm person he is. I got to meet Alan recently at an event in Los Angeles, and it’s always a relief when you meet your heroes and they end up being as warm and down-to-earth as you hope they’d be!

TN: When you first watched the musical, what moment were you most excited to get a chance to do?

TL: Of course, I was excited to fly on that magic carpet. It’s a moment of pure stage magic that truly takes your breath away. But I was also excited to tackle “Proud of Your Boy,” Aladdin’s big “I want” song in Act 1. It’s a song that was cut from the movie, but it’s beautifully written by Alan Menken and Howard Ashman — and it has found new life in the stage production. It’s such a great exploration of Aladdin’s character, and I enjoy singing it every night!

TN: Aladdin is quite a demanding role, both physically and vocally. What measures have you been taking to prepare and to maintain stamina for the run?

TL: Aladdin is a beast of a role. One must stay healthy, hydrated and in shape to tackle it eight times a week. I eat right. I exercise. I rest. I drink lots of water. I take voice lessons. It’s a very disciplined life, but it’s worth it.

TN: I’m sure! Fresh off your incredible turn in the a-capella musical “In Transit,” have you taken anything you’ve learned from that experience and applied it to this one?

TL: Yes! I learned so much about myself vocally in “In Transit.” We all had to be vocal athletes in that show, and it was a lesson in stamina and preservation while still giving a full performance. I’ve certainly taken those lessons with me to the New Am!

“In Transit” was also a tight-knit company — a family — where everyone depended on each other. There was no lead. We were all part of an ensemble. I think this is an important dynamic to have in the theatre — even if the show has a lead. I’m playing the title character of “Aladdin” — what you may call the lead — but I don’t like to think of myself as the lead. I like to think of myself as part of a large ensemble of about 100 people — made up of dancers, actors, dressers, crew, stage, managers, ushers — that all make up the show that is “Aladdin.” That “little show,” family mentality is something I’d like to maintain and encourage during my time at Agrabah, even though it’s an enormous show.

TN: What are you most hoping your portrayal of Aladdin will give audiences?

TL: When I was in rehearsal, I had the pleasure of watching the show every night. I got to experience the emotional magic carpet ride the audience feels night after night at the New Am. The show itself is beautifully constructed, with great songs and a great story. All I have to do is take the audience with me on a little emotional rollercoaster and have them get on that ride with Aladdin.

TN: Although you’re living the dream right now, if you had a Genie suddenly poof into your life, what would your three wishes be?

TL: 1. I’d wish for the ability to fly like Superman.
2. I’d wish to go back in time and see all the Broadway shows I was too young to see! Can you imagine seeing the original productions of “Gypsy,” “Mame” and “Carousel?!”
3. I’d wish for a new president in the White House.

TN: What’s your best piece of advice for aspiring performers?

TL: Theatre is an art that doesn’t happen in a vacuum. It’s not like you’re a sculptor or a painter who can create art by himself or herself. It takes a village. Treat everyone in the collaborative process with respect, because no one job is more important than the other. The lead of the show is just as important as the person who does props or whose sole job is to sweep the stage every night.

TN: To end on a rather “Theatre Nerds-esque” note, I’m wondering if you’ve ever had a moment when you totally geeked out over a Broadway performer upon meeting them?

TL: I met Carol Channing once. I was in the presence of greatness. She was warm, charming, funny and made everyone around her feel like they were an old friend. That’s a star!

Thank you, Telly! You can catch him flying over Broadway now at the New Amsterdam Theatre in “Aladdin.”

The post Interview: Telly Leung On Stepping Into Aladdin, His Three Wishes And More! appeared first on Theatre Nerds.

Read on to find out how his creative process goes from page to stage.

Theatre Nerds: What led you to scenic design?

David Gallo: I was 10 years old when the movie “Star Wars” came out, and I was blown away by the completeness of the world and the design. I just thought that it was extraordinary that people figured things out. This was made apparent because George Lucas did something that not a lot of people had done: He had released books that you could buy in the bookstore that showed all of the design. Lucas really promoted what went into making those films so you could see the evidence of the men and women who created that alternate universe. I was captivated with the design based on those books that I procured, and I started doing high school theatre, and the rest is history.

TN: How does the creative process/conceptualization of the design differ depending on the medium you are working in (i.e., Broadway, TV, film, etc.)?

DG: Honestly, when you are creating different things, the process is similar. I want to empty and free my mind and start off with a blank page, and then I develop things from there. Where “Sesame Street” was concerned, I wanted to honor the past and retain certain things but bring it toward the future, so the process was more streamlined than that. For plays, it can be a little bit different, but it is still a similar creative process.

TN: Do you have a team of people to help you with your process in creating the set design?

DG: Yes, I have quite a number of people that do all sorts of jobs, from helping with design to building the models. I do all the painting and design documentation that gets created. I then have shops creating and painting the actual sets and teams of people that load them into the theatre. There is an awful lot of people involved before the show opens onstage. I’m also in the theatre from the time the show loads in through previews.

TN: Congratulations on your Tony nomination for scenic design for “Jitney.” Can you tell us a bit about how you came to work with August Wilson?

DG: It was pretty early on in my career, and I was looking around for things that interested me, and I sort of pursued and fell into doing a lot of African-American plays. I don’t even really know how that happened, but it was something I wanted to do. One thing led to another, and I very quickly met Marion McClinton, the brilliant director, and he and I did a brilliant production together of a Lorraine Hansberry play, which was quite successful. Marion was then brought on board to direct “Jitney,” and that’s when I started working directly with August. And while “Jitney” wasn’t a new play, this production was being looked at anew to be created as a definitive production.

TN: What impact as a designer do you have on set design once you receive the confines that are created in the script?

DG: The scenic designer (with the help of the director, hopefully the writer and the rest of the creative team) establishes the style of the play. When the curtain goes up, it’s the first thing the audience sees that tells them what the play is about. If it’s an empty theatre, it’s one thing, and if it’s a stage full of scenery, it’s another. One of the tricks to being a scenic designer is that you are committing to design a certain form, tone and shape to the production very early on in the process.

TN: Do you have any advice for those who want to be a scenic designer?

DG: There are so many things that people can do in the theatre. Scenic design is a fascinating one. My advice is to learn as much as you can about it before you commit to it completely, but it is certainly a very interesting thing to explore. Scenic design also requires a level of commitment that not a lot of people are ready to make because it requires many different sets of skills. There is also a staggering artistic responsibility for getting things right well before rehearsals have even begun.

Learn more about David Gallo at davidgallo.com

The post Interview With Tony-Winning Scenic Designer David Gallo appeared first on Theatre Nerds.

Theatre Nerds: What led you to lighting design?

Japhy Weideman: I’ve always been interested in how we, as humans, perceive the world. When I started undergrad at the University of New Mexico in Albuquerque, I had never been exposed to live theatre. I was sampling an array of disciplines such as sociology, political science, English literature, painting and photography, and I needed an elective credit, so I decided to take a course called “Intro to Stage Lighting.” My professor, John Malolepsy, proved to be far beyond anything but a normal teacher. He is not only an amazing set and lighting designer, but he is an advanced philosopher of all things related to light. He taught me to dissect everyday reality into an experience defined by the light that inhabited each moment. The key is to become a keen observer of your emotional state and connect that to the visual information generated by the light surrounding one’s experience. If you watch closely at all times, you will begin to learn about how light affects everything you feel. I began applying some of these teachings into my own practice while designing student shows (theatre and dance) and experimenting in the lighting laboratory. In the summer, I did an apprenticeship at the Santa Fe Opera. Five seasons there proved to be fertile ground for professional learning, allowing me to build relationships with new peers and to work with world-class designers.

TN: Can you explain a bit about the creative process with regards to lighting for a Broadway show?

JW: In the early stage of design, I always begin with reading the text and listening to the music prior to having a meeting with a director or other designers. It’s very important to get one’s own impression of the piece before being influenced by others. In some projects, I am brought in before a set design has been created, and in others, there is already a design in process. Once I see a geography of the environment we are working in, we create a lighting plan that contains a lot of flexibility. There will be clear ideas that get implemented in the beginning, but there is always a need to create unknown visual images yet to be discovered. Whether lighting a Broadway show, a downtown show or any other piece of theatre, the real creative process for me begins when we start focusing lights onstage. I never really know what a particular piece is going to look like until I get in the room and start experimenting. While I begin with a system of light that I feel will provide a piece with the right quality and variety of light, I find there is always a secret visual code waiting to be unlocked. Often I will see strong images revealed through a mistake. For example, I might turn on a light that happens to be pointed down into a corner of the room, not where it’s intended to go, but in this accident, it may create a haunting halo around the back edge of the set or possibly a strong shadow. The result will be something unique and beautiful, which in turn leads me down a different path of how to shape that particular environment. It’s a process of discovering clues that lead to the essence of the visual language.

TN: Congrats on your Tony nomination for “Dear Evan Hansen!” I would imagine this show, in particular, was quite complex as far as designing the lights, considering it involves many projections as well as really making the audience feel what it was like to go inside the mind of Evan. Can you talk a bit about how you came up with these ideas and how you can manipulate lights to create such strong feelings within the world of the musical and influence the audience’s feelings as well?

JW: The lighting, working hand in hand with the music, is a very important, symbiotic relationship for the design. There is a unique scientific connection between frequencies of light and sound that has been explored by scientists and artists throughout history. Basically, I interpret the emotional frequencies of the music in Paul and Pasek’s score into a visual picture. It cannot be explained as to how this is done, other than emotional instinct. I manipulate the angle and quality of the light until it most closely reflects the feeling of the musical tones.

One of the strong elements that can be seen in the design is that we use many shades and sizes of intense beams of light from above during special moments in the music. The beams range from piercing tight blue-white pinpoints (like the iconic moment in “Waving Through a Window” when all the characters create a circle around Evan and are suddenly revealed in a circle of interconnecting beams), to intense thick golden columns of sunlight (“For Forever”). The beams sometimes form geometrical intersections, creating a kind of aerial architecture that weaves the interrelationships of the characters together. While these light beams serve as a way to draw the eye directly to the actor, they also serve to connect them to the divine and mysterious, always emanating from above. The result of this multifaceted approach generates an evocative atmosphere that results in an unforgettable, visceral audience experience.

TN: What inspires you to pursue specific projects?

JW: For me, it’s about working with fellow collaborators who inspire me. It’s less about the type of show or subject matter that interests me; it’s all about the people. The process of making theatre is collaborative. It’s all about sharing ideas with fellow artists and bringing out the best in each other’s talents in order to sell stories.

TN: Any advice for those wanting to become a lighting designer?

JW: Learn to observe the light of your everyday experiences and how they affect you. Watch and listen always, wherever you are. Don’t spend all of your time in the theatre or studying design. Become infinitely curious about life and all things art. Travel the world. Be a passionate lover. Make friends everywhere you go.

Learn more about Japhy at www.japhyweideman.com

The post Interview With Tony-Nominated Lighting Designer Japhy Weideman appeared first on Theatre Nerds.

We at Theatre Nerds are thrilled to feature an interview with costume designer Paloma Young, especially since she was just nominated for another Tony Award! Young currently has two shows running on the Great White Way: “Natasha, Pierre and the Great Comet of 1812” (for which she was nominated) and the recently opened “Bandstand,” which has a very unique accolade. Young’s inspiration behind “Bandstand” is truly personal, and her candor about her work process and advice for both costume designers and actors is not to be missed.

Theatre Nerds: What led you to costume design?

Young: A love of history and storytelling. I’m a really bad actor.

TN: Can you explain a bit about the creative process and research needed in designing for a Broadway show?

Young: Every show calls for a different approach, but in general, I do a lot of research. I look for books of museum catalogs for real period details or portrait collections. I also look at art and photographs to start to put together a certain mood and palette for the show. I sometimes do collages to have these to reference as I build the show.

For build items, I do a rendering. For shopped looks, I sometimes only have a collage and a shopping list because I know the look is going to be designed on the actor in the fittings. I also work with drapers and tailors who suggest certain period details like seaming or hidden pleats that might be a nice additions to the design. I really like to have an open dialogue with all my makers.

TN: I would imagine working as a designer requires a great team of helpers. Do you have assistants that help bring your vision to life?

Young: Absolutely! Usually, one who does all the paperwork and assists with shopping for an Off-Broadway show, and four to six assistants for a big Broadway show. Often, reams of responsibility are given to specific people: shoes (for a dance show), swatchers*, shoppers.

*  “Swatchers” is costume language for those who go out and look for fabrics to use in building the costumes.

TN: What inspires you to pursue specific projects?

Young: If it’s a musical, will I want to hear the music over and over again? If it’s a play, do the characters feel like people I’m interested to know more about?

TN: How do you look for work as a designer? Do you pitch? Do people find you?

Young: Usually, I get called in by a director who I’ve worked with or had a colleague recommend me. Sometimes, I know the producers and creative team have been given a handful of designers to look at, so I read the script and might pitch them with a few images and general ideas about how my aesthetic might be a good fit for the show. There are no open calls for designers. You have to just work with as many people as possible, so as they move up in their careers, they’ll bring you along.

TN: What/who inspired your designs on ‘Bandstand?’

Young: My grandfather, Hal, was a Navy Pilot in World War II and also a trumpet player/music lover. Even though the musical has a poetic shape and dancers who sometimes represent things other than people (survivor’s guilt, musical instruments, confidence, etc.), I really wanted to make a world where everything felt authentic to these characters who were representing the experience of real veterans. I looked at photos of VA halls and old LIFE magazines to look for details that made these actors feel unique, imperfect and real. I’m really thrilled that “Bandstand” is the first production to be “6 Certified.” “Got Your 6” bestows this seal to pieces that contain a representative and balanced depiction of veterans.

TN: Any advice/inspiration for those wanting to become a costume designer?

Young: Do other things first! Study people, study art, study history, be a waiter or any kind of office role. Without a round life experience, it’s hard to slip into so many different kinds of mind — you need to be a master of understanding why people wear what they wear, not what they should wear to look pretty. It’s real-world knowledge you can apply to kings and janitors equally.

TN: Any advice for actors when they are in a show and working with a designer making costumes for them?

Young: Always be polite. Ask questions about choices you don’t understand instead of saying, “My character would never wear this.” If we know you are trying to understand how we’ve been picturing the character, then we will be willing to hear you might have arrived at differing motivations and be interested in collaborating and finding the character (and their costumes’ looks) together. Always tell a costume designer when any element of your costume is really working for you, that it helps you step into the role or that it makes you feel beautiful, etc. Positive feedback is always good in collaborations! And finally, don’t think shoes that pinch a little will get better in performance. So many green actors want to be a people-pleaser and try to make uncomfortable things work. It can lead to injury and grumpy designers who don’t have money for a new pair of shoes.

More About Young

Young was born and raised in Southern California and off the coast of Maine. While studying American Social History at the University of California Berkeley to be a librarian or an academic, she designed the costumes for a series of Beckett Shorts as an extracurricular. Seven years later, she graduated from the University of California San Diego with a MFA in costume design under the tutelage of Judith Dolan.

New York-based since 2008, Young designs costumes for plays and musicals locally and globally. Her work has been described as “witty, period-scrambling” and “marvelously inventive.” Thematically varying by show, her designs are strongly built on collage and steeped in the “something old, something new” ethos of punk irreverence. She balances modern dress projects with period and fantasy pieces, with a strong focus on character psychology and historic sociological influences in every genre.

Some of her work includes “Peter and the Starcatcher,” for which she received a 2012 Tony Award, “Natasha, Pierre and the Great Comet of 1812” (now running on Broadway and the recipient of the Lucille Lortel Award and Drama Desk nomination for earlier incarnations Off-Broadway) and “Bandstand,” currently running at the Bernard Jacobs Theatre.

Regionally, she’s collaborated with many companies, including the Oregon Shakespeare Festival, The Old Globe, American Repertory Theatre, South Coast Repertory, San Diego Repertory, Mixed Blood Theatre Company, Berkeley Repertory Theatre, Dallas Theatre Center, La Jolla Playhouse, Center Theatre Group, Hand2Mouth, California Shakespeare Theatre and the Actors Theatre of Louisville. In New York, she has worked at Second Stage, MCC, New York Theatre Workshop, Playwrights Horizons, The Vineyard, Ars Nova and Colt Coeur.

Other honors include a Bay Area Theater Critics Circle Award, Boston’s Elliot Norton Award, TDF/Kitty Leech Young Masters Award, Henry Hewes Design Award nominations and a Column Award nomination. Her work has been featured in several print publications: Chance Magazine, American Theatre Magazine, Lighting and Sound America and Manor House Quarterly.

In education, Paloma has taught several courses on costume and production design while supervising undergraduate designers at UC San Diego. She also developed curriculum for a new class about technology and the body in performance. She has been a university guest lecturer and participated in lectures about design and sustainability for educators and elementary students.

Her work and process can be seen at www.palomayoung.com

Follow Paloma on Instagram @secondpigeon

The post Q&A With Tony Award-Winning Costume Designer Paloma Young appeared first on Theatre Nerds.