Among the principal cast is Elijah Ahmad Lewis, who stars as the Scarecrow; a role that carries deep personal significance. The Wiz was the first musical Lewis ever performed in, playing the Scarecrow in a school production, an experience he credits with sparking his love for musical theatre. Decades later, he returns to the character with the perspective of a seasoned performer whose career spans Broadway, national tours, television, and music.

This anniversary production, which runs through Jan. 25, infuses the classic story with contemporary movement and sound, blending ballet, jazz, and modern pop while honoring the show’s roots in Black culture and musical tradition.

Under the direction of Schele Williams and with choreography by JaQuel Knight, the production offers a reimagined Oz that feels both celebratory and urgent, while preserving the heart of the original.

Ahead of the Costa Mesa engagement, Lewis spoke with Backstage about revisiting the role that shaped his early artistic path, the physical and emotional demands of portraying the Scarecrow, and what audiences in Southern California can expect from this landmark revival.

What excited you most about taking on the role of Scarecrow in The Wiz?

What really excited me about playing the Scarecrow is that it feels like a full-circle moment for me. The Wiz was the first show I ever did at school, and I actually played the Scarecrow back then, too. That role and that production are what made me fall in love with musical theatre, so coming back to it now feels very special.

How do you personally approach this character? 

The Scarecrow was a character I really had to discover. Because these characters are fictional, you have to bring something of yourself to the role. He’s often portrayed as foolish or aloof, but I wanted to give him more dignity — highlighting that his first thoughts and gut instincts were actually right all along. And in this production, let’s not forget, he’s a scientist. In bringing this reimagined teenage version of the Scarecrow to life, I focused on grounding him in real, human cues that ultimately reveal he had his brain the entire time, while also paying homage to and incorporating small details inspired by those who came before me.

How physically demanding is playing the Scarecrow, and what has rehearsals been like?

The role of the Scarecrow is extremely physically demanding. We had five weeks to prepare for the tour, working on a six-day schedule from 10 a.m. to around 6 or 6:30 p.m., with one hour for lunch and one day off each week. After that, we entered a two-week technical process, during which all the elements — costumes, makeup, wigs, microphones, lighting, props, and the set — came together. This role requires full-body engagement, and performing it takes a great deal of effort, as well as consistent maintenance and conditioning to sustain eight shows a week.

You’ve worked with some of the biggest names in music: SZA, Usher, Ariana Grande, Madonna. How does that musical background influence the way you perform onstage in a show like The Wiz?

All forms of entertainment are a collaboration and share many of the same demands and technical skills. Working and performing alongside other artists — whether on stage or in different mediums — is very similar to theatre in that you’re always telling a story and transferring emotion to an audience. The discipline of musical theatre, in particular, translates seamlessly across all areas of entertainment, from consistency and storytelling to collaboration and technical precision.

What’s one moment in the Wiz rehearsal room that made you think, “Yeah… this is something special”?

Understanding that this production marks the 50th anniversary of The Wiz— a show that is deeply rooted in and belongs to Black culture — felt monumental to me. It’s a piece of history that I truly wanted to be a part of. The show is grand and deeply important to our community, having shaped so much of our cultural history and entertainment legacy. Generations have connected to it through shared stories and lived experiences. In the rehearsal room, hearing the harmonies we created and discovering new layers together confirmed that we were on the right path in honoring this celebration, and it made me even more excited to share it across North America once again.

What are you most excited about bringing this show to Southern California/Orange County audiences? 

What excites me most is sharing the pure joy this show brings. There’s an undeniable happiness that radiates off the stage. Theatre allows audiences to escape for two and a half hours and be fully immersed in an experience that makes you feel. This production, in particular, lifts you and sends you back into the world energized — telling the story through our lens while spreading a powerful message about being enough, and about finding peace and confidence in who you are and what you bring to the table. 

What has been your favorite moment of the tour so far? 

My favorite part of touring this show is going to the stage door, and seeing how inspired the kids are — hearing them excitedly talk about what they saw, what they heard, and how it made them feel. I also love seeing multiple generations of families come together, sharing their own memories of The Wiz while experiencing this new version together. Those moments really show the impact and longevity of the show, and how it transforms lives.

You’re also releasing new music with your album “Energy and Love.” How does your music intersect with your theatrical performances?

Sustaining an eight-show week is definitely not for the weary, lol. Building that kind of stamina and endurance on stage night after night really strengthens your “engine,” and it translates directly to being able to give more as a recording artist.

If someone is coming to The Wiz expecting the classic Wizard of Oz story, what do you hope surprises them the most about this production?

I always like to say: come with an open heart. This 50th Anniversary production is a reimagined celebration of the classic we love. The wonderful thing about The Wiz is that every iteration over the past 50 years has spoken to its own decade, yet the heart of the story has always remained the same. I encourage audiences to come with an open heart and embrace this new version of something we’ve all loved for so many years.

You’ve had an impressive journey across Broadway, national tours, television, and music. Looking back, what advice would you give to your younger self just starting out?

I would tell my younger self: you are enough. Stay the course, remember that your gifts and talents were given to you to exercise to their fullest, and never dim them for someone else’s comfort.

Elijah Ahmad Lewis, who stars as the Scarecrow

THE WIZ

Segerstrom Center for the Arts – Segerstrom Hall, 600 Town Center Drive, Costa Mesa, CA 92626

Run Dates: January 13–25, 2026

More info: scfta.org

The post Elijah Ahmad Lewis Brings ‘The Wiz’ to Costa Mesa in a Full-Circle Moment appeared first on Backstage Socal.

What if Juliet never picked up the dagger? 

That’s the playful premise behind & Juliet, the hit Broadway musical making its Segerstrom Center for the Arts debut in Costa Mesa Sept. 9–21, 2025. 

From the Emmy-winning writer of Schitt’s Creek and featuring the chart-topping hits of Grammy-winning songwriter Max Martin, this high-energy comedy reimagines Shakespeare’s heroine ditching her tragic ending for a bold new beginning.

With a soundtrack packed with pop favorites like “Baby One More Time,” “Roar,” “Since U Been Gone,” and “Can’t Stop the Feeling!,” & Juliet is a fun jukebox musical mixed with historical and hysterical pop culture references. 

Directed by Luke Sheppard and choreographed by Emmy Award-winner Jennifer Weber, the musical continues to break box office records from London’s West End to Broadway and beyond.

Taking on the role of Anne Hathaway—yes, Shakespeare’s real-life wife—is Broadway star Teal Wicks. Known for her powerhouse performances as Elphaba in Wicked, Mary Barrie in Finding Neverland, and Lady in The Cher Show, Wicks now brings wit, warmth, and a modern twist to Shakespeare’s partner-in-crime. 

A UC Irvine alum, she’s especially thrilled to return to Orange County for this run.

Backstage SoCal caught up with Teal to chat about coming full circle at UCI, why Anne Hathaway’s voice feels so fresh, and the moments in & Juliet that spark the biggest energy shifts in the audience.

Q: As a UCI graduate, what does it mean to you to bring this musical to Orange County?

Teal Wicks:
It’s so exciting, really fun, and it feels very full circle. I loved my time at UCI and in Orange County. As a drama major, that’s where I was truly discovering my voice as an artist. It laid the foundation for so much of my career. The training I received there is something I’ve been building on for the past 20 years as a professional actor, which is wild to say!

UC Irvine also has this incredible program called the New York Satellite Program, which I did twice. We spent four to six weeks in New York taking classes, auditioning, and seeing as many shows as possible. I always loved the idea of New York, but living there during that program made me really fall in love with the city. It showed me I could handle it, and it gave me the confidence that I could actually pursue this dream. So UCI was very much the launchpad for the career I’ve been fortunate to have.

And now, bringing & Juliet to Orange County feels extra full circle because, when I was in college, we did a production of Romeo and Juliet with music. I was part of a girl group trio that sang in the background for a lot of the big scenes. So here I am again, back in Orange County, doing another musical inspired by Romeo and Juliet. It’s such a funny, special connection, and really, really fun.

Q: Anne Hathaway gets to be Shakespeare’s witty, opinionated partner-in-crime. What do you love most about how she’s written in this story?

Teal Wicks:
What I love most is that Anne is written as a mature woman. She’s a wife and a mother, yet she still gets to have such a strong voice and so much fun. David West Read, our writer, really gave a lot of freedom to these characters. He created space for us as actors to interpret, to play, and to bring as much of ourselves into them as possible. That’s such a gift.

I also love how playful Anne is. So often when characters in their middle age are written, they can come across as stuffy or overly serious. But that’s not real life. I know 90-year-olds who are silly, playful, and still have that youthful spirit alive in them. That’s exactly what Anne embodies: a woman who embraces her joy and humor, even as she carries the wisdom of her life experience.

And then there’s her dynamic with Will. It’s not perfect; they’re in a stage of life where they’re both in very different places emotionally and physically. In the play, they’re on a journey to rediscover each other. Not by trying to go back to who they were when they were young, and not by trying to reinvent themselves into something they’re not, but by meeting each other where they are now. They embrace who they are in this moment, and in doing so, they find a way to keep their relationship alive.

Q: What’s your favorite moment on stage in this musical where you feel the audience’s energy shift the most?

Teal Wicks:
There are a few, but I’ll give you two.

The first is in Act One, when we introduce the character of May. Up until that point, the audience is following along with characters they already know from Shakespeare’s canon; it feels like we’re still inside Romeo and Juliet. But then Anne Hathaway decides we need someone new in this play, and May enters. May is non-binary, and the show simply celebrates May as they are. There’s no big explanation needed, and it’s a beautiful moment.

You can feel the audience shift when May arrives. Even if someone doesn’t fully understand them at first, by the end of the show they do, and they love May. For non-binary audience members, it can be especially powerful. We’ve had people at the stage door share that May was pivotal for them, sometimes the very first time they felt truly represented onstage. That makes the moment incredibly special.

The second is in Act Two, when I sing That’s the Way It Is with Juliet. Up until then, Anne has been more of a storyteller, pushing the plot forward and guiding the audience. But in this song, she lets her walls down and opens up about marriage and relationships. It’s her most vulnerable moment, and it shifts the tone of the show.

Yes, & Juliet is a comedy, but here we dive into something very real: mature love, the challenges of it, the realities of what it means to stay together. It’s not just about young, star-crossed lovers anymore; it’s about love in all its complexity. You can feel the audience lean in during that moment, and it’s so fulfilling to share that with them.

Q: What do you hope your audience will bring home with them after seeing & Juliet?

Teal Wicks:
I hope they leave with love and passion for theater itself, because & Juliet is also a love letter to theater and the power of shared stories. Theater is such a special, ancient space where stage and audience come together, and I hope people walk away reminded of that magic.

I also hope they leave with full hearts; feeling empowered to forge their own story. It’s never too late to take control of your own narrative, to decide who you are, and to shape the life you want to live. If audiences carry that with them, along with joy from the music and the comedy, then we’ve done something really meaningful.

_______________________

& Juliet 

Dates: September 9 – 21, 2025
Location: Segerstrom Hall, 600 Town Center Drive, Costa Mesa, CA 92626

Tickets: Starting at $44.07

Online: scfta.org

The post From UCI to Broadway: Actress Returns to OC with Broadway’s Hottest Musical ‘& Juliet’ appeared first on Backstage Socal.

The winner takes it all — and this week, that winner is Orange County.

The feel-good musical phenomenon Mamma Mia! returns to Southern California as part of its 25th Anniversary North American Tour, landing at Segerstrom Center for the Arts in Costa Mesa May 13–18. 

The sun-soaked musical set in a Greek island paradise, features anthems by the Swedish pop group ABBA. 

For Christine Sherrill, who stars as the show’s beloved matriarch Donna Sheridan, the role is both a diva dream and an endurance challenge.

“Donna is 100% diva because she is modern and real. She’s a 10 on the diva scale,” Sherrill shares. “The ‘Donnathon’ is what we call the 20 minutes of the second act in which I perform three songs and three scenes without leaving the stage. It requires more endurance than Kate and about the same amount of energy and endurance as Norma. Best of all, Donna is fiercely independent and determined.”

Since the musical’s debut in London in 1999 and its Broadway premiere in 2001, Mamma Mia! has become a global hit, with more than 70 million people worldwide experiencing the show live, and over $7 billion grossed across 50 productions in 16 languages. 

The story — told through ABBA’s timeless catalog — has inspired two smash-hit movies and continues to bring generations of fans together for a night of love, laughs, and platform shoes.

“My favorite part is connecting with the audience,” Sherrill says. “There are different parts of Donna that appeal to different audience members. I honor her humor, regret and fortitude and hope I’m in turn honoring someone special in the audience.”

Behind the scenes, the cast has built a tight-knit, celebratory family — something that became especially clear to Sherrill during the tour’s Mother’s Day performance.

“I received so much love from the cast. Flowers, gifts, my favorite coffee and favorite whiskey, of course,” she says. “I felt like a queen receiving so many heartfelt words and cards. I am so supported on and offstage by this incredibly talented company. It wouldn’t be possible to do this job without their love.”

While Sherrill is no stranger to grittier screen roles — including FBI: Most Wanted and Red Dead Redemption — she says musical theater is where her heart lives.

“I’ll say the stage has always been easier for me,” she explains. “The energy the audience gives fuels my performance and sometimes can inform new choices. Audiences make me a better actor.”

And what should Southern California audiences expect when the lights come up on Skopelos Island?

“They can expect to escape the real world for the beauty and joy on the island,” she says. “Best of all, they can expect to be surrounded by their neighbors up on their feet singing and dancing by the end.”

According to Sherrill, there’s no mystery to what makes Mamma Mia! such a feel-good, multi-generational favorite — just a little ABBA magic and a lot of heart.

“First and foremost, the score. It’s been so rewarding on this particular tour to see three generations of women enjoying the show together,” she says. “The secret ABBA ingredient is magic to me. We have patrons who grew up with it, those who listened to it with their parents, and a new generation that discovered it through social media sound bites.

“Secondly, the story of finding strength in friendship. So many folks at the stage door comment on how touching the relationship between The Dynamos is to them and how it reminds them of the goodness friends bring.”

And if Christine Sherrill ever headlined her own jukebox musical?

“It would be called Next to Norma and would be a score by Brandi Carlile,” she says.

Until then, one can find her center stage — belting her heart out and leading one of the most feel-good parties on any stage.

‘MAMMA MIA!‘

Segerstrom Center for the Arts – Segerstrom Hall

600 Town Center Drive Costa Mesa, CA 92626

May 13 – 18, 2025

Tickets start at $55.37

scfta.org

The post ‘Mamma Mia!’ Returns to Costa Mesa with Dancing Queens and ABBA Magic appeared first on Backstage Socal.

Born in San Francisco and now residing in Costa Mesa, Mijares said she was inspired to pursue ballet when she first saw “The Nutcracker” at 3-years-old. At a young age, she set her sights on performing the role of Clara, and is thrilled to return in the principal role for the second time with American Ballet Theatre (ABT). 

Trinity performed last year in Alexei Ratmansky’s “The Nutcracker” under the direction of Artistic Director Kevin McKenzie and Regisseur Susan Jones. She will return to the center stage on Dec. 9-18 at Segerstrom Hall at Segerstrom Center for the Arts in Costa Mesa. 

Congratulations on reprising your dream role of Clara in this year’s “The Nutcracker”! What does it mean to you to return to this lead role?

I’m so excited and honored to be performing Clara with American Ballet Theatre and getting to experience it again. It’s always so exciting to perform onstage, but performing with a professional ballet company and dancing with professional ballerinas is so surreal. It’s still a dream come true.

Every artist brings something different to the table. What would you say you bring to the role of Clara that is unique?

I love being able to perform Clara because I get a chance to share my interpretation of the role through my acting especially. I also get to share my love for dance and performing for the audience while I take them through the story. I hope to make them feel as if they’re on the stage and experiencing it with me.

Are there any new elements in this year’s “The Nutcracker”?

Since I’ve had experience with the role from last year, I now find ways to make a scene better and give it more meaning. I also try to find ways that I can surprise the audience and also myself so I can present a more exciting performance.

What are some challenges you have faced in this role?

The challenge with this role is acting and staying true to the character Clara while also performing.

How has your confidence grown since you performed as Clara last year?

I have definitely grown more comfortable with doing this role. Since I was able to perform the role last year, I’ve become more confident in the choreography and my acting has matured but has also melded to the role of Clara. Now I’m able to find different and better ways to improve my performance.

Can you share your thoughts on this year’s cast? Who are the standouts, and what makes them special?

I’m once again so excited to be performing with the ABT company and with some of my favorite dancers. I’m especially excited to be performing with some of the principal cast that I’ve previously shared the stage with last year. 

James Whiteside will be returning to his role as Nutcracker Prince this year after his injury that occurred at our last Nutcracker show together last year. He injured himself during the Grand Pas de Deux and wasn’t able to finish the show. I was in the wings in so much shock and crying, but I had to compose myself to finish the ballet. I’m so happy for him that he gets to perform this role again with Isabella Boylston.

In your experience, how is ABT’s “The Nutcracker” unique from other productions of the classic story?

The American Ballet Theatre version of The Nutcracker is one of my favorites. Not only do I enjoy Mr. Ratmansky’s choreography but I love the storyline (since it’s slightly different from the traditional version).

Two of my favorite scenes are the Snow scene and Grand Pas de Deux. ABT’s Nutcracker Pas de Deux is one of the most difficult pas de deuxs, but when executed well, it’s so entrancing and magical and I can just get lost in it. I hope to be able to perform it someday.

The Snow scene is also one of my favorites to both watch and perform. I love being able to dance alongside the company in this scene and also tell the story to the audience. It is unique compared to the other, more traditional Snow scenes.

What are your next goals that you hope to achieve as a dancer?

I would like to pursue a career in ballet and dance with a professional ballet company. I would like to perform in Nutcrackers and other ballets as a professional. My current favorites are Don Quixote and Romeo & Juliet.

‘The Nutcracker’

Where: Segerstrom Center for the Arts, Segerstrom Hall, 600 Town Center Drive,
Costa Mesa

When: Dec. 9-18, times vary

More info: https://www.scfta.org/events/2022/the-nutcracker

The post Young ABT dancer returns to dream role in ‘The Nutcracker’ appeared first on Backstage Socal.

It goes without saying that anticipation is almost palpable for the national touring, history-changing, Broadway spectacular Hamilton to return to Orange County.

The musical sensation first arrived in Costa Mesa for a run in 2018, performing to sold-out audiences at Segerstrom Center for the Arts (SCFTA). The production will return to the same stage for a two-week run, beginning Sept. 28 through Oct. 16. 

Written by multi Tony Award-winning writer and actor Lin-Manuel Miranda, the cultural phenomenon tells the story of American founding father Alexander Hamilton with a mix of addicting tunes that blend hip-hop, jazz, R&B and Broadway. 

Broadway actor DeAundre’ Woods will fill the boots of Hamilton. 

Born and raised in Louisiana, Woods earned a Bachelor of Music in Vocal Performance from Louisiana State University. Joining the ‘And Peggy’ company of Hamilton in 2018,  he worked as a standby for the role of Aaron Burr. 

On Aug. 9 during the Hamilton U.S. tour, Woods was called to the front of the stage to star in the lead role. He will continue to not throw away his shot as Hamilton, performing at SCFTA for the two-week run. 

Orange County is buzzing about “Hamilton” returning to Segerstrom Center for the Arts; you can truly feel the excitement.

Awesome. It’s the best when you’re on the way and you’re being welcomed, right? Like sometimes, when you got family coming over, and you’re like dreading it. Glad it’s not like that. (Laughs) I’m so happy. We’re excited to come.

Oh, no dread here. And I’m so excited for you! I’ve been scrolling through your Instagram posts and reading different interviews with you. You have to share, what was the first night like in the shoes of Hamilton?

My very first experience with Hamilton was the first night that I saw the show. I was not in it yet. I saw it on Broadway, but I have to go back to the first night that I saw Lin-Manuel Miranda playing Hamilton. We got to do the show with him in Puerto Rico and I was a standby at that point. 

This was in January of 2019 and when he came out the crowd went nuts. Like they went on for like two, three minutes. And,that’s when I realized, I was like, oh, this is real life. You know? Because I mean, I had seen it on Broadway. I’ve seen a bootleg. I’ve seen all these things. There was no Disney Plus yet, so I was still riding legal. Now I’m doing it, and having had that experience, you never forget what it feels like. Right? So I don’t get a two, three minute applause, but I do know that people really love this show and it’s a really great to be a part of something really, really phenomenal.

Now that you star as lead, what do you think makes Hamilton particularly magical from other musicals?

For one, I think it’s the substance and the content of what we’re saying, right? Like, this story is about love and forgiveness and loss and hope. And these are ideas and beliefs that we all share and that we all sort of want in our own lives. It is already so special. The material is so, so great, the music and the choreography and the way they’ve been able to design the show. 

And then another aspect is, just being a person of color and knowing that at the time that this story was happening in real life, that my ancestors weren’t even considered human beings, like people in general. So to be up there telling the birth of America and of a nation, I think it’s really touching to not only the actors, but to the kids and to the people who are watching this. I think there’s a little something for everybody from all backgrounds in all ages.

And it’s rap. It’s American history, but in hip hop form. So I didn’t learn much in school about history, but now I know so much because of this show. So it’s also just a lesson in humanity and also in history,

Love that. Now I’m sure that you’ve been asked this a billion times, but what are some unique aspects you bring to the role?

Well what most people don’t know is that Hamilton was actually like a man of faith, right? Like he was a very spiritual person. I think specifically because he came from an area that had been hit by a hurricane, which was why Puerto Rico was so special because they had just been hit by hurricane Maria. And in the show, they talk about the hurricane that hit the Caribbean islands.

Me and my friends were talking about this, and how natural disasters like that are an act of God, right? Like that’s not something that a human put into place. I’m from Louisiana and have those experiences, like Hurricane Katrina, which hit Louisiana the day after my birthday, and I know what a hurricane, or a natural disaster, could do to a city, to a family.

And being a man of faith, being a young man as well, I know what it’s like to be young and scrappy and hungry. So I think I just bring a fire and a passion to it that I won’t say that not everyone has, but that I feel like is pretty unique and special because I love it so much. I love what I do. I love the people around me too. So it’s just that passion and you can’t really train that. I went to school to study music, but you can’t study passion. Like it’s just something you come with. And so I think that’s a pretty special source and something I call on every day.

What are some challenges you have faced in this role?

Ooh, many actually. For one, just doing it every day. Like, I was a standby before this, and so only recently, like five weeks ago, I took over for the role full time. So before, I covered Aaron Burr in Hamilton. 

Before this, I did the Motown musical, where I understudied other roles. But this show is so vast. The material is so dense and the roles are really challenging because of the depth that Lin wrote. I didn’t have those life experiences, So it was definitely a little bit of a challenge. But I just kind of had to learn as I go and try to apply and include anything that is helpful from my life that may be helpful for the show and the world.

Vocally, it’s tiring and physically, I don’t dance as much, but I know the dancers in the show work their butts off. It’s just a really demanding show, but it’s such a rewarding show. It’s not like we’re out there doing a show that we hate. We really love this thing.

So even when we’re tired, we know that someone’s coming and seeing it for the first time. And so we try to give our all, and try to give our hundred percent, because it could be our last time performing. I talk about that with my friends all the time. Like you take life for granted, like it’s gonna be here tomorrow. And sometimes that’s not the case for everyone.

So whatever we have left in the tank, we’re giving. Even if it’s a challenge, it’s just not always about us. It’s definitely about the people that are there that may need to hear words of encouragement and receive some joy. So yeah, it’s helps with the challenges, but it’s very rewarding.

‘Hamilton’

Where: Segerstrom Center for the Arts, Segerstrom Hall, 600 Town Center Drive, Costa Mesa, CA 92626

When: September 28 – October 16, 2022

7:30 p.m. Tuesday, Wednesday, Thursday and Friday; 2 p.m. and 8 p.m. Saturday; 1 p.m. and 7 p.m. Sunday. Special Thursday Matinee September 29 at 1:30 p.m.

More info: scfta.org

The post Backstage with DeAundre’ Woods, lead of Broadway sensation ‘Hamilton’ appeared first on Backstage Socal.

Your “Back to School Rant” video continues to be a hit school year after school year. My sister, who is a 4th grade teacher, said it actually helped her receive school supplies and thank you cards from parents.

My sister is a teacher as well, she teaches fifth grade. And so I think it was a culmination of a bunch of things. I’ve seen her spend her own money and parents complain about buying supplies. When I made it, I wasn’t even gonna post it. I said to my girlfriend, ‘Is it that funny? I don’t know if it’s that funny.’ And she thought it was a little funny. We didn’t really think anything of it, but now you see how much all of that apparently needed to be said. Like people, just so we’re clear, you don’t have to teach your own kids, but these nice ladies over here will and could use a little help. Let’s do this. 

How has that hit video changed your life?

It was crazy. I was actually in a conference when it first came out and started going crazy. And then I actually had to come home and go school shopping and it was so weird because I couldn’t find yellow binders anywhere, because I said in there that if teachers want a yellow binder, I was gonna get it. So people bought them all. When I was standing in line, one lady saw me and she was like, ‘You’re the drunk lady from the internet.’ And I was like, ‘Oh wow. Yep. No, I am. I’m that lady.’ We actually ended up going out to Target and buying all the things I talked about in that video. I put all my kids’ teachers’ names into a hat and we picked out winners for each one and brought it to the school. 

How have people connected with you and your family since you started streaming content?

I think the pandemic really changed a lot for us. Pre-pandemic, we were just kind of making some really silly videos and I couldn’t really appreciate how much these videos helped people or connected with people. And when the pandemic hit, all of our touring stopped. So all entertainment stopped, and I just didn’t really have anything left except for Facebook. And we spent the next year and a half really kind of creating this really wonderful community online and our immediate family that was there. So we started making one video a day for the first hundred days of the pandemic. Most of them are funny. Some of them I might have been just openly crying, I don’t remember. 

By summertime, we started doing a morning show. My kids were like sleeping until 11 a.m., and I was up at 6 a.m. like a dumb dumb with nobody to talk to. So I started going live, and in the middle of the pandemic, we might have had 50 or 60,000 people watching every morning. I started to realize how important it was to just be around other people. And there were tons of people watching us who were living alone, so we were just like a voice. And then there were a ton of people that were around their family and just couldn’t stand them anymore and were like, I wanna talk to anybody but them. And so it became this great retreat.  

What does it mean to you to be a headliner at Segerstrom Center for the Arts?

I feel very blessed to be able to do what I’m doing and to have theaters like them believe in this type of entertainment, and believe that entertainment can take on a lot of different forms. Being able to speak about something like motherhood, that in the past maybe has not been so admired for how hard it is, is so great. And the pandemic just made it like we are warriors and we have survived. So to have a theater get behind our show, this is really lovely. 

Want to give a little teaser of what your audience is going to experience?

So this is a play all about motherhood. It’s the story of my journey going from being single with no kids, to being married with three kids in less than five years, and how much life changed. So the whole first part of the show is the changes that happen. The second part of the show is the importance of girlfriends and how they get you through. Like I say in the show, the friends that you make during the beginning part of motherhood are most likely the friends you have for the rest of your life, and how important those relationships are. And I talk all about marriage and how much it changes and how much you wanna kill him and love him at the same time. So it really is my story, and there’s some improv in the show as well. It’s just a fun night. Hopefully when you leave, your face will hurt from laughing. It’s a funny show with some great messages, and a good time all around.

‘One Funny Mother‘

Segerstrom Center the Arts – Samueli Theater

December 18-19; 2 and 7 p.m.

Tickets: start at $49, available in person and phone

600 Town Center Drive, Costa Mesa, CA 92626

More info: scfta.org or call (714) 556-2787

The post Comic and viral sensation Dena Blizzard brings ‘One Funny Mother’ to Costa Mesa appeared first on Backstage Socal.

The fun love story features all of Buffett’s most famous hits, including “Fins,” “It’s Five O’Clock Somewhere,” “Why Don’t We Get Drunk,” “Son of a Son of a Sailor,” “Changes in Latitudes, Changes in Attitudes,” “Volcano,” “Cheeseburger in Paradise,” “Come Monday” and of course the title number “Margaritaville.”

Shining in the lead role of “Rachel,” the driven scientist who falls for the singing and songwriting beach bum Tully during her week stay at Margaritaville, is Upland-grown and Orange County School of Arts alum Sarah Hinrichson. Hinrichson shared her love for the show and excitement to return to her roots.

I saw you perform on Tuesday evening and you were wonderful.I’m so glad you enjoyed the show! Thanks for joining us!

As someone who grew up in the IE and OC, what does it mean to you to return to your roots to perform “Escape to Margaritaville”? A: Both of my parents are in theatre (they actually met playing Harold and Marian in The Music Man at a theatre in CA!), so I feel like the theatre community here raised me. I’ve been living away from this coast for school and work for almost 7 years now, so getting to come home, and seeing family, friends, teachers, and fellow performers that I’ve looked up to since before I can remember is the ultimate cherry on top of an already dream theatrical experience.

What challenges did you face in this particular role? A: Maybe I’m biased, but Amy Corcoran, our director, is the best director of our generation. She helped me shape Rachel so much, and I trust her opinion so much, that any concerns I had when we first started out immediately disappeared.

What is your favorite number to perform in this production? A: That’s tough! It really changes every night. I think my favorite song Jimmy performs doubles as my favorite song to perform onstage. It has to be Coast of Marseille – It’s a deeper cut from Jimmy’s songbook, and my favorite recording of it is from one of his live albums. It’s so sweet and simple. The version we do in the show is actually a duet between Tully and my character, Rachel. Our orchestrator, Chris Jahnke, outdid himself on the arrangement. He turned it into a duet, with a huge music swell and I think it’s the perfect musical end to the love story between our characters. Fun fact: it actually was the last song added into the Broadway show before it opened, replacing Come Monday. (Come Mondayis still in the show, just a bit earlier!)

What do you feel you bring special to the role of Rachel? A: I love Rachel because she’s so SMART. She’s funny, quick witted, and a great friend to Tammy. Then on top of all that, she’s also an award winning scientist who never gives up on her goals. The best nights for me are when he have mini Jimmy fans (children) come up to me and say “I want to be a scientist now because Rachel’s a scientist!” I’d like to think that I have some of those qualities as well – I hope I make Rachel proud!

Prior to this production, were you a fan of Jimmy Buffett’s music? Which song do you feel particularly fond of performing? A: I knew the obvious hits. I think I used to think it was all just background beach music – but since working so closely with his songbook, I’ve discovered that there’s a Jimmy song for just about every moment in life. Our ensemble is made up of some of the most incredible dancers I’ve ever worked with, and Cheeseburger in Paradise is a huge 11 o’clock production number. Shelly Walsh and Peter Michael Jordan play Brick and Tammy and lead that number with vocals. I sit in the wings and watch every night – you can’t help but smile and dance along with them.

Is there a Broadway production that you dream to be a part of? A: I’ve always love Music Man because of the connection my family has to the show. The revival that’s coming to Broadway looks amazing. We’ll see what comes to Broadway in the future! I always say my dream role hasn’t been written yet because I love getting to work on creating a new character in new work.

What inspired you to pursue musical theater? A: I can’t remember a time when I wasn’t surrounded by theatre. I remember driving to preschool with my dad and begging him to play the cassettes of Ragtime and Carousel on loops. I love the community of people that create theatre, and I love that it’s such a collaborative art form. We get to tell stories through song for a living – who doesn’t dream of doing that?

What was your experience like as an OCSA student? A: I am OCSA’s biggest fan. Jeff Paul was the head of the Musical Theatre Conservatory during my time there and he was the most incredible leader, teacher, and now lifelong friend. OCSA creates this magical environment where you feel safe enough to figure out who you are as a person and an artist. I was lucky enough to play some incredible roles and work with some unbelievable Broadway actors who have been amazing contacts for me in New York. While we were playing Segerstrom Center for the Arts, I stopped by the 9^th grade acting class to visit a former teacher and was blown away by the students and the school in general – it somehow feels completely different and simultaneously like nothing has changed since I left.

‘Escape to Margaritaville’

Segerstrom Center for the Arts: https://www.scfta.org/events/2020/escape-to-margaritaville

Dolby Theatre: https://dolbytheatre.com/events/details/escape_to_margaritaville

The post Magic of ‘Margaritaville’: SoCal-grown lead Sarah Hinrichsen appeared first on Backstage Socal.

Accompanied by his magician partner Strange, the duo will perform spectacular illusions as part of the international Champions of Magic show. The production presents a world-class lineup of five magicians, mind reader Alex McAleer, levitator Kayla Drescher, and death-defier Fernando Velasco. Their skills have been seen around the world, including appearances on The CW’s “Penn & Teller: Fool Us,” NBC’s “Caught on Camera with Nick Cannon,” “The Today Show” and “Access Hollywood Live.”

We caught up with Richard Young before he hits the Costa Mesa stage: 

Do you remember the first magic trick you learned? If so, how old were you and who/what taught you?  

I do! It was the ball and vase trick from a box of tricks I received at Christmas when I was 8 years old. A huge part of why I stuck with it was the fact that my parents played along and pretended to be fooled by my dreadful tricks for the first couple of years before I started to get good.

What influenced or sparked your interest in performing magic? 

Magic changed from a hobby to an obsession for me when I was taken to see David Copperfield when he toured the U.K. in the mid 1990’s. The night I saw his show changed my life forever, his magic connected with an 11-year-old me way in every possible way. That night I found my hero, the hero every 11-year-old boys need in their life. For many, it’s normally a sportsman; for me it was David Copperfield. We are so excited to do our show in Costa Mesa on Nov. 23rd as it’s where Copperfield filmed his Niagara Falls TV Special back in the 90’s (https://youtu.be/fLCAlGLf3WY). For me and the British producer of the show who is also a huge Copperfield fan, we can’t quite believe our magic show which started life in the UK now plays the same rooms Copperfield played in the USA.

Do you have any pre-stage routines to warm up or “get in the zone”? 

Yes, stretches and vocal exercises including pulling very silly faces in the mirror to loosen the facial muscles. I also take a moment to remind myself that my nerves are actually excitement. This was a great tip given to me by my friend the actor Andy Nyman who is currently playing the lead in “Fiddler On the Roof” in the West End of London. By simply telling yourself that you’re not nervous, you’re excited, it can totally change how you feel emotionally and remove anxiety. It’s an amazing tip for any performer who struggles with nerves.

How often do you learn or discover new tricks? And how long does it take to feel confident to incorporate it into your show?  

Our show is constantly evolving, so we are always looking for new material. We have a new illusion going into the show at the moment that has cost over a hundred thousand dollars and has been built in the USA and the UK by some incredible people. New material and the excitement of putting something on a stage for the first time is what we live for; you just know when it feels right to try it in front of an audience for the first time – that feeling comes at a different point with every different piece.

What was the craziest/oddest place you have performed your tricks? 

When I started my career in the UK, I helped make ends meet financially by performing close-up magic at events and parties. I was hired by Europcar car rental to perform in their waiting room at Heathrow Airport in London. It was absolutely dreadful, people hated me. They just want to get the car and leave, not see a card trick!

What trick(s) do you do that you feel gets the most energy from your audience? 

Without question the finale of Champions of Magic but I can’t say too much! We pay tribute to a bygone era of magic in a completely bombastic and over the top way with loads of huge illusions and a ton of pyro. You just have to come and see it! 

What does it mean to you to be performing with the Champions of Magic? 

I’m living my childhood dream, I’m from a council estate in Oxford in the UK; how I have gone from there to playing huge venues in the USA even, I can’t quite comprehend. I feel so lucky and almost every day myself, the other magicians and the producer of this show take a moment to appreciate how incredible it is that we get to do this. If you come to this show, you will meet a cast of performers who absolutely love what they do and appreciate you coming to the show and buying a ticket. We really do give it 100 percent every night, no exceptions. 

What has been your most treasured career moment thus far? 

For the last few years I have had a side project called The Magicians’ Podcast where I have gone and interviewed other magicians about their career. I built it up over 100 episodes and for the big season finale, I finally got to sit down with David Copperfield and talk to him face-to-face about his incredible career and tell him how he changed my life that night I saw him perform in the UK all those years ago. Sitting and talking to him for over two hours was something I will never forget: The Magicians’ Podcast

What do you want people to know about the Champions of Magic show? 

This show is special. If you’ve never been to a magic show before or you have kids who haven’t, it is the perfect first magic show for the Instagram/YouTube generation as you will see every type of magic from five very different magicians. You’re going to see a recreation of Houdini’s famous water torture cell, unexplainable mind reading, stunning close-up magic performed right in the middle of the audience put up on a huge screen so everyone feels like they are inches away and huge state of the art modern stage illusions that fill a 55 foot long truck. The whole show is packaged with loads of pyrotechnics and incredible lighting. The producer of the show went around the world looking for the best magicians and he’s bringing them all to Costa Mesa on Nov. 23rd! Hope to see you there! 

CHAMPIONS OF MAGIC

Segerstrom Center for the Arts – Segerstrom Hall
600 Town Center Drive, Costa Mesa, CA

Saturday, November 23 at 4:00 and 8:00 p.m.

Tickets – Start at $39

Online – SCFTA.org

Phone – (714) 556-2787

The post Richard Young on what it takes to be one of the ‘Champions of Magic’ appeared first on Backstage Socal.

Based on the 1997 film with the same name, “Anastasia” features catchy and memorable dance numbers to the movie’s original score, gorgeous stage settings and costumes, and the gripping story of the Grand Duchess of Russia and her search to find where she belongs. 

Excited to return to her hometown, Sareen chatted with us about her favorite OC stomping grounds and the magic of the classic story told on stage. 

What does it mean to you to be performing in the touring production of “Anastasia”?

I used to do musical theatre as a kid before I went the full ballet route and being part of a show that involves both musical theatre and ballet has been so fulfilling, not to mention a perfect transition into the theatre world. I’ve expanded as an artist and I feel like I’ve rediscovered myself through Anastasia which happens to be a story about self rediscovery too!  

Where did you go to school in OC? 

I went to Pegasus from preschool to 8th grade and Edison High school for a year before switching to online schooling.  

Growing up, what were your favorite Orange County spots? 

One of my childhood favorite things was taking the ferry to Balboa Island for trampoline bungee jumping at Balboa Fun Zone…I wonder if that is still there.  When I wasn’t at Southland Ballet Academy I loved going to the beach in Huntington and then either Ruby’s on the pier or TK Burger on Main Street. And you can’t beat Fashion Island or South Coast Plaza for shopping!  

What challenges have you faced going from professional ballet to musical theater? 

The audition process is so different and while I felt confident in dance calls, I had to fake my confidence in singing by myself–but with time that has improved! All in all the transition has been a joy. The theatre world has been so accepting and supportive in my experience so far and I feel so lucky to be part of such an amazing show straight from the ballet world. 

What elements of “Anastasia” make this production unique in the musical world? 

“Anastasia” is unique because even though it is a fictional princess story, it is based on real historical events and people. Also instead of searching for a prince, Anya is searching for herself within. The effects of our video screens are incredibly realistic and give an awesome edge to the production too.   

What does it mean to you to be performing in your hometown (Segerstrom Center for the Arts)?

It’s totally surreal to be performing at the Segerstrom. I went to almost every touring musical that played there growing up and to now be performing in one is a total full circle dream.  

What part of this production is especially special to you? 

The cast and crew are especially special to me. There is definitely a family vibe in the company and I’ve developed friendships that I know will last forever.  

Why do you feel people should see “Anastasia”? 

People should see Anastasia because they will be thoroughly entertained. You’ll be charmed, touched and tickled, not to mention the music is beautiful and it is very aesthetically pleasing to watch.

‘Anastasia’

Segerstrom Center for the Arts – Segerstrom Hall

600 Town Center Drive, Costa Mesa, CA

November 5 – 17, 2019

Tuesday – Friday at 7:30 p.m.
Saturday at 2:00 and 7:30 p.m.
Sunday at 1:00 and 6:30 p.m.

More info: scfta.org

The post Faces of OC: Sareen Tchekmedyian chats about starring in Broadway musical ‘Anastasia’ appeared first on Backstage Socal.

1. She loves rock ‘n’ roll. 

When you performed at the Segerstrom Center a couple of years ago, you performed Radiohead’s “High & Dry” which made me wonder, who are your favorite bands?  

One of my favorites for sure is Steely Dan. Donald Fagan and Walter Becker. Yeah, I have all of their albums, they are my favorite, favorite band. And then beyond that, The Doobie Brothers, Led Zeppelin, The Rolling Stones. I covered “Don’t Take Me Alive” and “Any Major Dude Will Tell You” by Steely Dan, and of course, I like Radiohead too. 

You know, I live in Texas on a ranch and those are two of my favorite driving songs when I’m driving about country roads, I’m singing at the top of my lungs. I’m a rock and roll singer at heart. I’m a child of the ’60s and I really wanted to go to Berkeley to be a part of the whole music scene out there and go to college. And my father was like, ‘No, you will go to TCU (Texas Christian University) and you will like it.’ So I had to do that, but Janice Joplin was from Beaumont, Texas, so I figured I could eventually do that. But my mother of course had aspirations for me to be more like Julie Andrews. So the truth of me lies somewhere between Janice Joplin and Julie Andrews. 

2. She paints and plays the guitar.

Your music tastes are as diverse as your career — singing, acting, writing, dancing. Do you have any hidden talents we might not know about?

I can sketch pretty well. I used to paint and sketch and I fantasize a lot about starting my sketching back up and painting, but I never seem to have the time. But now that I live on this ranch, I come back here in between jobs and I have all these sketchbooks that are unfilled and every now and then, I’ll get the urge and grab my charcoal pencils and sketch one of my animal’s faces or something. I don’t do it on a regular basis and I really should because it was one of my great loves. 

The other real aspiration of mine is to learn to play the guitar, which I’ve dibble dabbled in because I had to play the guitar in the musical “Promises, Promises” when I was 22 years old. So I took guitar lessons to learn how to play and I could play rudimentarily, but the guitar player in the orchestra pit filled it in and made it sound like I was really playing. And then for a while I got to work with a brilliant record producer and guitar player, Stuart Scharf, who produced “Spanky & Our Gang” and produced a recording for Roberta Flack, and he became my guitar teacher for a brief period of my life. And I got this beautiful guitar I was learning to play. I would go to him for lessons and he would get really mad at me because I hadn’t practiced enough. And he was like, ‘I want you to come with coffee spilled on your music sheet so that I know that you’re really practicing it.’ One day I went in and I actually had a glimpse that I could play when he was playing with me. We were compiling a blues thing and I was so excited I was actually playing the guitar and creating music, and I composed this piece of music called ‘If I Remember You Right,’ with chords that I’d selected with my guitar, which took me hours because I had such rudimentary skills (laughs). And it came out really nicely and he was very impressed with that so he kept me on as his student. I kept going back to my guitar class and one day he was like, ‘You haven’t practiced.’ And so he fired me! I was humiliated. I was fired by Stuart Scharf as a guitar student (laughs). But that beautiful guitar sits in my home, and I keep thinking one of these days I’m going to learn to play it again. 

3. She enjoys good TV.

Do you have any Netflix or television shows that you’re currently bingeing? 

I just finished bingeing “The Politician,” which I thought was great. And “Schitt’s Creek,” my new favorite. Unbelievable. It’s the best, I can’t wait for season six. Those two have been my latest favorites. 

4. She has “staircase karma.”

What was the most difficult numbers you have had to perform? 

Oh, wow. I think the levels of difficulty are kind of relative to where you’re at at that moment in time. Most recently though, learning to do the “Hello Dolly” number because it had all the things that challenged me most. I have staircase karma. The stairs in “Sunset Boulevard”, I ran up and down in high heels and heavy beaded gowns, probably 12 times a night in eight shows a week for two years, a year in London and a year on Broadway, which compromised my knees. I still have a lot of knee pain from that. And then I did the show “Grey Gardens” and Michael Wilson directed it and I was like, ‘Are you kidding me? There’s a staircase.’ And he was like, ‘Yeah.’ And I was like, ‘I had my karma with staircases.’ And then ‘Hello Dolly’ has the staircase. They took me to the Shubert during rehearsals right before the show closed in New York, so I could walk the stairs and get used to them before it went out on tour. I was like, damn, these staircases, what is that about? 

5.  She meditates before every show.

Do you have any pre-show superstitions or routines? 

I have a whole set of rituals I go through before every performance, whether it’s in a show or shooting a film or doing a concert, it’s all pretty specific. For “Hello Dolly,” my day was always get up, have breakfast, read the paper, answer whatever emails I have, and then go work out, take a shower, eat an early supper, meditate and then go to work. And then at the show, I would put on my makeup, my costume, and then do this little pre-show ritual with my assistant, my wig dresser, and my dresser. And then they leave me alone in the dressing room. Then I’d get the five minute call, and I would do this little ritual where I read the key words of things that’s been told to me about the character. And then things I discovered about the character, about where she’s at and what she’s thinking. And then I do my little meditative ritual after reading those key words and prayer. And then I’d go and sit backstage or in my quick change booth and meditate until it was time to get on the cart to go on for the opening. 

6. She is living her lifelong dream of owning cutting horses on a ranch in Texas. 

When you were young, what did you want to be when you grow up? 

Well, first I wanted to be the world champion barrel racer and that didn’t work out. So then I wanted to be successful in show business so I could have a ranch and ride and own cutting horses. And I forgot that that was my goal. And then after 9/11, I remembered that. Beyond the grief that we all felt as the world changed after 9/11, was the sense of, ‘Oh my God, none of us know how much time we have left now.’ What was it I wanted to do? So I went on this quest to find my first cutting horse and I connected with one of the top trainers in the sport, a man named Bill Freeman, who at that point had won more money than anyone in the sport and had trained some of the most remarkable horses in the business of cutting. And he said I wasn’t too old at 55 to learn to do that because I had ridden as a child; I had a barrel racing horse and competed in junior horse shows and junior rodeos and stuff. So he took me on as a student and I was commuting from New York to take lessons with him and try different horses. And then within a period of months, he found my first cutting horse, who was a brilliant champion horse named Purple Badger. So I bought that horse and continued for a while to commute from New York and stay at my mother’s and then drive to the trainer’s ranch and ride my horse.

And then I started traveling with him and his wife to cutting horse competitions all over the country. It was so much fun. I did that for about six years with him, and it was amazing. I had my horse for three years and they were really blissful. And then as soon as I got my horse, I realized that I needed to live where my horse sleeps. So I sold my New York apartment and bought this lovely ranch an hour west of Fort Worth. I used to ride my horse around my property and say never was a horse so well loved as you Badger. I bought this property for you. I live in that house and I built this barn for you and I built these fences and these pastures for you. 

My friendship with him caused me to change my life and it’s given my life a lot of meaning to have this beautiful place. He passed away three years after I got him from an anomaly, like a brain aneurysm. He was very young, eight years old. It shouldn’t have happened, but it did. And that was a huge loss. But I had two other cutting horses and it’s been a great thing. I used to just practice, practice, practice, study, study, study, practice, practice and work. And now the work is to provide me with this life.

7. Her Tony Award for Best Featured Actress in A Musical (“Cats”) sits on her piano at home.  

Where is your Tony award at this moment? 

Currently I have a little black upright Steinway piano that’s so beautiful. I’ve been hauling it all over the world from apartment to apartment. I had a pianist friend go with me to these various piano stores and play these little upright pianos for me and Steinway had this beautiful little black ebony upright that has the sweetest voice. So I bought it and it’s been going with me from apartment to apartment in New York, and finally sits in my music room at my ranch, and my Tony sits on top of it.

8. She struggles with insecurities, and her heavy-handed father did not approve of her going into show business. 

What advice would you give to 20-year-old Betty? 

Oh, poor, poor young Betty. Well, 20-year-old Betty was in college and having a grand ol’ time. I guess it’s the 22-year-old Betty who was living in London all alone. It was my first time being alone and I was a leading lady in “Promises, Promises,” and I was very, very lonely. I was learning how to take care of myself, which I had no real skills to do. So learning to be on my own, take care of myself, cook for myself, and pretty much all I did was try to figure all that stuff out and then go do my show at night. So that was a real growth period. I was pretty lonely and really insecure for a long, long time in my 20s. It took me a long time to grow up, and I was really conflicted as a kid because my father didn’t want me to be in show business. He was a pretty ruthless dad, a tough guy; which in the end really prepared me for a lot of weird guys in show business, in terms of producers and stuff that can be ruthless. In my heart of hearts, I’m like, “I’m not scared of you. I had my father who was was tougher than any of you guys know how to be; so if I can survive him, I can survive you.” That’s been basically a kind of mantra. 

So it was good that he was my dad in some ways, but it was also difficult. I’ve spent a lot of years in analysis, getting a sense of self and giving myself permission to be who I am and to develop and choose my talent and choose my chosen path without the fear, insecurity and self-doubt. Even at my age of 72, I can still, in a certain set of circumstances, be thrown back into my own insecurities and self-doubt. So it’s kind of a perpetual thing I have to work on. And fortunately I have a brilliant psychologist that I work with. So I would tell young Betty not to be so scared. And I would also encourage her to pick better boyfriends; the ones I picked, wow, I didn’t do too good in that department. 

9. She seeks to inspire joy in the world, so she is picky with her TV & film roles.

So, what’s next for Betty Buckley? 

Well, I’ve got these lovely concerts at the Segerstrom Center and The Saban in LA coming up. There’s also a new set of concerts coming up that’s going to be announced pretty soon that I’m really excited about in New York, and then I’ve got a two week engagement at The Carlyle in New York in March. Fortunately, several projects have crossed my path since ‘Dolly’ was done. I’ve been offered several film and TV things. I haven’t come across the thing I want to do next, so I turned those down, which took some courage. When you’re an actor between jobs, you’re like, ‘God, I hope they’ll remember I’m still here.’ 

Fortunately all those offers came and it was like a very nice vote of confidence, but none of them were something I wanted. I think the world is in a really difficult place right now and it’s really important to bring messages of hope and truth and joy to the world. Like “Hello Dolly” was a complete immersive experience of joy and hope. And some of these projects, I turned down because they’re without hope and truth. So I’m looking for that thing. Well, I’m not exactly looking, I’m on the lookout for it. I hope that kind of project comes to me where I can really help people to feel better. That’s what I’m doing in the concert work that’s coming up.

BETTY BUCKLEY

Segerstrom Center for the Arts – Samueli Theater

• Oct. 17 – 19, 2019 at 7:30 p.m.
• 600 Town Center Drive, Costa Mesa, CA
• Tickets – Start at $89
• (714) 556-2787; scfta.org

The Saban Theater – The Canyon

• Nov. 2, 2019 at 6 p.m.
• 8440 Wilshire Blvd, Beverly Hills
• Tickets — Start at $58
• wheremusicmeetsthesoul.com

The post 9 fun, inspiring stories from Broadway queen Betty Buckley appeared first on Backstage Socal.

In one of the most iconic roles on Broadway, actress Emma Grimsley will step into the shoes of “Christine Daae,” the female protagonist of Gaston Leroux’s 1910 novel and theatrical phenomenon “The Phantom of the Opera.”

Grimsley has performed as ‘Princess’ and as an understudy for Christine on tour, but was recently announced as the North American tour’s new lead — taking on the role in several performances during the tour’s stop at Segerstrom Center for the Arts in Costa Mesa (July 10-21) before taking over officially for the Honolulu stop in August.

The tour will return to Orange County for a two-week stop. Before she graces the Segerstrom Hall stage, Grimsley chatted with Backstage SoCal:

How long have you been involved in theater, and what inspired you to get into this industry?

Grimsley: My parents are both opera singers, so I grew up traveling with them and watching them work. Sometimes I was lucky enough to get to be in shows with them–the first one at three years old. So I’ve been on stage most of my life. Getting to watch shows take shape as a kid and falling in love with the theater from such a young age made it pretty impossible to avoid as I got older. 

What does it mean to you to perform this iconic theater show?

Grimsley: We’re in a cultural moment right now that is so dominated by screens and text and binge-watching content which can all be really isolating activities–it really is a thrill to bring a whole theater full of strangers on this story’s journey together. To spend the evening forgetting our devices and experiencing something with each other in real time. And the fact that Phantom is such an iconic show just adds to that thrill because we know that there are people in the audience who’ve loved this show for thirty years. Maybe they saw it with their parents years ago, and now they’re passing it down to their kids. It’s pretty cool to be part of a legacy like that.

In what ways is this tour run of “Phantom of the Opera” production unique from other productions?  

Grimsley: The production on Broadway right now has stayed the same since it opened in the Eighties, whereas our production incorporates new sets and a new approach to the characters while preserving the music and story and costumes you know and love.

What are some exciting elements about this theatrical production? (set, choreography, costumes, etc.)

Grimsley: We’re particularly proud of our set. It’s quite a thing to behold with lots of tricks hidden up its sleeves. Paul Brown designed our set to really capture what it would feel like to go backstage in a 19th century opera house where much of the story is set. And the iconic costumes were designed by Maria Bjornson and have been a part of Phantom from the very beginning. And keep an eye out for our chandelier. It’s massive and beautiful and it comes with us to every city.

Are there any changes or updates to the original story?

Grimsley: The story and the music are the same, though Laurence Connor directed our production to focus on who each of these characters are as individual people. So you may walk away thinking about Christine’s journey from the beginning of the show to the end of the show or how the Phantom became the Phantom and how that impacts the way he interacts with the people in his world. 

What is your favorite scene in the musical?

Grimsley: I love “Masquerade” at the beginning of Act II. Act I is a roller coaster, and when you come back from intermission, “Masquerade” throws you right back into the action. It’s big and colorful and shows off all the elements of our production that make it so exciting. 

What part of the musical do you feel generates the most excitement from the audience?  

Grimsley: There are so many, and it changes from city to city–from audience to audience, really. But the way we use pyrotechnics is definitely something nobody in the audience forgets.

Is there anything else you would like readers to know?

Grimsley: This is the second time The Phantom of the Opera North American Tour has come through Costa Mesa, and we cannot wait to share this story with you again!

THE PHANTOM OF THE OPERA

Where: Segerstrom Center for the Arts, 600 Town Center Drive, Costa Mesa

When: July 10 – 21. Tuesday – Friday at 7:30 p.m. (Thursday July 11 at 2:00 p.m. and 7:30 p.m.); Saturday at 2:00 and 7:30 p.m.; Sunday at 1:00 and 6:30 p.m. The 2:00 p.m. performance on Saturday, July 20, 2019 will include audio description, open captioning and sign-language interpretation.

How much: Start at $35.75

Phone: (714) 556-2787

Online: SCFTA.org

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