They say practice gets you to the stage, but having a strong educational foundation is certainly part of the equation. For these actresses, who star in some of Broadway‘s newest and brightest productions, their passion for pursuing a career in theater started with studying their craft. Whether they attended a prestigious drama school from across the globe or an arts high school made famous by the TV series Fame, here are the lessons learned that have helped these actors perfect their performances today.
Gabby Beans, Romeo + Juliet on Broadway
I always wanted to be an actor but didn’t have the courage to pursue acting wholeheartedly at first. I studied neuroscience as an undergrad with the intent of going to medical school and becoming a psychiatrist. When it came time to really commit, I heard the quiet, truthful voice of my intuition tell me that I wouldn’t be able to live with myself if I didn’t give acting a try. I applied to some acting MFA programs during my senior year and got into LAMDA. There, I got a couple of evenings of instruction in mediation, and the practice profoundly affected me. It has improved every aspect of my life by allowing me to observe my mind with neutrality and compassion. It also allows me to be more present on stage, and what I have to offer anyone as an actor is an honest presence. My first Broadway acting gig was Skin of Our Teeth, where I earned a Tony nomination. My character, Sabina, was a force of nature. Playing a role like that, where you’re asked to rise to the cosmic occasion of the character’s demands, expands you exhilaratingly.
My final play at LAMDA was Romeo & Juliet; I played Lady Capulet. It quite literally prepared me for this role: I was familiar with the text beyond high school English class, and it gave me a strong appreciation for classical text and respect for the technical facility needed to deliver Shakespearean language with clarity and color. I play Mercutio and Friar Lawrence, who are completely different guys, and that’s a trip. Our production is really ambitious in its vision, and a lot is asked of us physically and emotionally. Every day is a new opportunity to make good on the promise of transmitting the essence of this story to our audience, which is among the youngest in Broadway’s history. Unfortunately, in the 400 years since this play was first performed, generational hatred has continuously held back the world-building potential of love. So, we feel we have essential work to do in telling this story.
Romeo + Juliet on Broadway is playing at Circle in the Square in New York City.
Grace Hodgett Young, Sunset Blvd.
I studied at a place called Mountview, one of the leading drama schools in London. I auditioned to go there because they had a full scholarship, which I needed in order to train there. Luckily, after a few rounds of auditions, I was offered the scholarship in full! Looking back, the most important lesson I learned was that drama school can’t teach you everything. Many vital lessons, like how to get through an eight-show week or how to get through a show when you’re not 100%, are something you have to learn on the job!
My first job was Sunset Blvd on the West End. I was surprised to discover how nice everyone was in the industry! Don’t get me wrong; not every job has been like that! The Sunset company on the West End and the company here on Broadway are just exceptional; drama schools really try to scare you into thinking that everyone is nasty! I love being in this show because I feel so much responsibility and protectiveness over my character, Betty, as I created this version of her. She’s so strong and independent, and having that much ownership over a role originally written before I was born is pretty cool!
Sunset Blvd. is playing at the St. James Theatre in New York City.
Jennie Harney-Fleming, A Wonderful World: The Louis Armstrong Musical
“I loved attending LaGuardia High School [in New York City] because I was around a ton of creative kids who were all interested in the same things that I was; the creative classes gave us all such energy and inspiration. I wanted to stay in New York City, the epicenter of arts, and near my family, so the American Musical and Dramatic Academy (AMDA) was my best choice. My first professional job was a bus and truck tour. I earned every ounce of that equity card with 8 a.m. mornings and driving in blizzards to perform in school auditoriums. It was quite the experience! My Motown first national tour is what I consider my first real theatre job. I was a swing, so I had to learn six tracks and could be called to go on stage at any time. I learned a lot about the business side of theater, politically and logistically.
I love doing shows that share history, from performing in Hamilton, originating the role of Pearl Bailey in an off-Broadway musical Pearl, and now originating another real historical figure in Lil Hardin, Louis Armstrong’s second wife, in A Wonderful World: The Louis Armstrong Musical. I love playing unsung heroes and sharing stories of women who had so much influence, yet no one knows much about them. Creating this role of Lil alongside my husband, DeWitt Fleming Jr., who is the tap choreographer and plays several roles in the show, is really special. We know this is a tremendous accomplishment for our family and the legacy we are showing our two daughters.
Making the most of the tools you are given is the biggest advantage of attending school. For those who have access to a library, research time periods, techniques and recordings of performances that you admire. Access student rush tickets to see shows at deep discounts. No matter your skill level, you can always grow if you’re willing to do the work and make the effort.
A Wonderful World: The Louis Armstrong Musical opens November 11 at Studio 54 in New York City.
