Why I‘ll Never Make It - An Actor‘s Journey

Two weeks ago we started preview performances for 42nd Street here at Goodspeed Opera House in Connecticut. I’ve been so grateful to continue on at this theater after the successful run of the Anne of Green Gables musical. And so far audiences have been loving 42nd Street and the plethora of talented tap dancers on the stage. During these previews we have continued to rehearse and make the show the best can be, not to mention understudy rehearsals as well (I'm covering the role of Julian Marsh). And I even had to go back to New York City for an in-person audition (though I didn't get a callback), all the while coming down with an actual cold, though not Covid thankfully.  So I come to you today asking for a bit of patience and understanding at the lack of a new episode this week. certainly one reason why I’ll never make it is my own inconsistent time management. Sometimes there aren’t enough hours in the day, and then sometimes there isn’t enough productivity in those hours. But as with everything I continue to grow and learn and am thankful for listeners like you who are on that same journey with me. There are some great guests coming up like singer songwriter Elaine Romanelli, dancer and actor Ricky Schroder, as well as lyricist and playwright Joe DiPietro from Broadway's Memphis and Diana the Musical. So enjoy your week and I’ll be back next Monday with a brand new episode of Why I’ll Never Make It.  Check out past episodes on your podcast app or at whyillnevermakeit.com.

Sometime before the pandemic, I auditioned for a small off-Broadway production of the Lerner and Loewe musical The Day Before Spring. It was at the York Theater, which is known for reviving or refreshing older musicals that may not be done very much. I wasn’t cast in that particular production, and like most failed auditions I put it out of my mind as soon as it was done. But I do remember the director behind the table, and so I finally reached out to bring him onto the podcast. Marc Acito is a playwright, novelist, and director. He talks about the work that he does in adapting older shows or contemporary works, bringing fresh set of eyes and perspective to creative process. Marc is also a writer of his own work from plays like Bastard Jones and novels including How I Paid for College: A Novel of Sex, Theft, Friendship and Musical Theater to short films like Mad/Woman. And through each of these mediums, he’s had his stumbles and failures, but he’d be the first to tell you how grateful he is for those lessons learned.  Learn more about WINMI Podcast at whyillnevermakeit.com  Subscribe to WINMI and get Bonus Episodes on Supercast  Donate to the making this podcast and its production efforts Follow Why I’ll Never Make It on Instagram or Twitter  Watch full episodes and special excerpts on YouTube  Get a free copy of WINMI’s collection of Creative Wisdom  ---------- Why I’ll Never Make It is hosted by Off-Broadway actor and singer Patrick Oliver Jones and is a production of WINMI Media, LLC. It is a Top 25 Theater Podcast on Feedspot and is also a part of Helium Radio Network and a member of the Broadway Makers Alliance.  Background music in the episode by John Bartmann and Blue Dot Sessions is used under a Creative Commons Attribution-NonCommercial 4.0 International License.     MAD / WOMAN Storm Large mostly writes about two subjects: female empowerment and mental illness. Applying her songs to Charlotte Perkins Gilman's feminist classic "The Yellow Wallpaper" felt as if they were written for the material. Storm and I bonded in 2007 over the shared experiences of being just commercial enough for everyone to wonder why we weren't more successful and just alternative enough to sabotage ourselves. Perhaps not coincidentally, we both survived mentally ill mothers. At least twice mine woke up in a pool of her own blood after being beaten senseless by a raging boyfriend. Because I wanted to create a subjective experience as liberated from the male gaze as possible, hiring an all-female crew proved essential. Their and Storm's input influenced innumerable decisions I never would have had the insight nor courage to make. I'll be forever grateful to them as well as the diverse group of post-production artists who essentially served as my film school for my filmmaking debut. Watch it on Film Freeway    Final Five with Marc Acito After this main conversation, Marc stuck around to answer the five final questions. He shares his definition of "making it" as well as what keeps most Broadway shows from doing the same. He also discusses minimum wage, happy marriages, and one of the best theater people around, Andre DeShields. Read it all on the WINMI Blog. Follow Marc: Website | LinkedIn   

One of the themes of this podcast has been actors figuring out ways to be successful, even when the industry isn’t making that path an easy one. It can require to go beyond our actor training and discover new and hidden talents within ourselves as we forge new paths or even new careers. Steve Harper is an actor, writer, and producer of the stage and screen. He shares his own real life actor’s nightmare in a Shakespeare production in Cincinnati. But we also discuss how he found himself without a plentiful array of shows and roles he could connect with, so he began writing and producing theater, which in turn led him into television and writing for superheroes like Stargirl as well. We talk about the collaborative process of TV writing versus his singular process of writing for theater. He has a new collection of his short plays recently published that leads us into a delicate yet important conversation of race and non-traditional casting and what it means to be a black actor in theater.  Learn more about WINMI Podcast at whyillnevermakeit.com  Subscribe to WINMI and get access to Bonus Episodes on Supercast  Donate to the production efforts in making this podcast Follow Why I’ll Never Make It on Instagram or Twitter Get a free copy of WINMI’s collection of Creative Wisdom   A Few Short Plays to Save the World by Steve Harper With a focus on inclusivity, humor, and insight, Harper brings current subjects to light in an enduring and entertaining way, much in the same way that his work does writing and producing for TV shows such as the CW’s “Stargirl”, “God Friended Me” and ABC’s “American Crime”.  The plays were originally performed at theaters such as The American Airlines Theater on Broadway, The John Houseman Studio (NYC), New Jersey’s Vivid Stage, The American Theater Company (Chicago), Baltimore Playwrights Festival, Northwestern University’s Wirtz Center and The Falcon Theater in L.A. (NBC Universal) to name a few.   Buy it on Amazon or at a book shop near you.   Follow Steve: Website / YouTube / Twitter / IMDB     

As noted in the previous episode, auditions are the backbone of this industry. It is the fundamental job of every actor to do as many jobs as we can and do each one to the best of our ability. But there is an important gatekeeper when it comes to submitting our self tapes or actually getting in the audition room, and that is the casting Director. You’ve heard from Actors and their experiences in front of the audition table. Well, now it’s time to hear from the other side of that proverbial table and what goes in to casting, and the vital role they play in the production for the stage or screen. Daryl Eisenberg, along with fellow casting director Ally Beans, works to create a comfortable space for actors, so they can take risks and really show their full potential as artists. You’ll hear Daryl’s thoughts on how actors can make their mark in the audition room or on a self-tape, and then you’ll get an in-depth, behind-the-scenes look at how she uses her position and expertise to make the audition process enjoyable and inclusive for artists on both sides of the table. Learn more about WINMI Podcast at whyillnevermakeit.com  Subscribe to WINMI and get access to Bonus Episodes on Supercast  Donate to the production efforts that make this podcast possible Follow Why I’ll Never Make It on Instagram or Twitter Watch interviews on WINMI's YouTube channel Read the Final Five with Daryl Eisenberg on the WINMI Blog ---------- Why I’ll Never Make It is an award-winning, top 25 theater podcast and is hosted by Off-Broadway actor and singer Patrick Oliver Jones. It is a production of WINMI Media, LLC. and is also a part of Helium Radio Network and a member of the Broadway Makers Alliance.  Background music in the episode is by John Bartmann (Public Domain) and Blue Dot Sessions (Creative Commons Attribution-NonCommercial 4.0 International License).     Audition Stories of Diversity and Inclusion Covid certainly has changed the way we now audition, with self-tapes and Zoom auditions becoming the norm. But the summer of 2020 also changed the way we think about who is coming to the auditions and what that creative team looks like. In this week’s bonus episode, Daryl shares a few of her own experiences as she advocates for more diversity on both sides of the table. You’ll also hear how she works with fellow casting director Ally Beans, who is both partner and collaborator in the casting process. Bonus episodes like these are only available to monthly supporters of Why I’ll Never Make It. So if you’d like to help this podcast as well, then please consider a monthly subscription and get access to bonus episodes like the Audition Stories.     CASTING OFFICES IN NYC Some of the biggest casting offices for stage and screen (like Eisenberg/Beans) reside in New York City, and at the top of the list is... The Telsey Office Formerly known as Telsey + Company, The Telsey Office is perhaps the best known casting office for commercials, film, television, and course, theatre. The company has bases in both New York City and Los Angeles. Recent Broadway: Waitress, MJ the Musical, Flying Over Sunset, Mrs. Doubtfire, Diana, West Side Story, Tina, The Sound Inside, Beetlejuice, Gary, Oklahoma!, Be More Chill, To Kill a Mockingbird, Network, The Cher Show, The Prom. Website: www.thetelseyoffice.com Contact: info@thetelseyoffice.com | 917-277-7520 Tara Rubin Casting Rubin began her company in 2001 after working for 15 years as a Casting Director at Johnson-Liff Associates. She is a graduate of Boston University and serves on the board of the Casting Society of America. Recent Broadway: Six, Ain't Too Proud, Summer, The Band's Visit, Prince of Broadway, Bandstand, Indecent, Miss Saigon, Dear Evan Hansen, A Bronx Tale, Cats, Disaster! Website: www.tararubincasting.com Contact: tararubincasting.info@gmail.com | 212-302-3011 Binder Casting Binder Casting was founded nearly 40 years ago by Jay Binder, who passed away in April 2022, and has been a part of RWS Entertainment Group since 2016. The office has cast 150+ Broadway, Off-Broadway, and National Touring productions, in addition to countless national and international projects spanning both stage and screen. Recent Broadway: The Lion King, In Transit, Dames at Sea, It Shoulda Been You, A Gentleman's Guide to Love and Murder, Nice Work if You Can Get It, Born Yesterday, White Christmas, Finian's Rainbow. Website: bindercasting.com Contact: info@bindercasting.com | 212-586-6777 Stewart/Whitley An award-winning office in New York City that delivers excellence and innovation in casting. Respect for the creative process: the artistic teams, actors and all who collaborate in it is paramount. Connecting creativity is at the cornerstone of what they do. Recent Broadway: Hadestown, The Lightning Thief, Natasha, Pierre and the Great Comet of 1812, Pippin, Chicago Website: www.stewartwhitley.com Contact: info@stewartwhitley.com | 212-635-2153 Wojcik Casting Team Wojcik/Seay Casting opened its doors in January of 2009 with the national non-union tour of Joseph and the Amazing Technicolor Dreamcoat and has also been featured in Season 2 of the podcast. But Gayle Seay has since gone to become Artistic Director of Stages St. Louis, while Scott Wojcik continues to cast shows in and out of New York. Recent Broadway: Jesus Christ Superstar, Motown Website: wscasting.com Contact: info@wscasting.com Jim Carnahan, CSA Recent Broadway: Moulin Rouge!, Kiss Me, Kate, Tootsie, Burn This, The Ferryman, Head Over Heels, Travesties, Harry Potter and the Cursed Child, Angels in America, Farinelli and the King, Time and the Conways, 1984, Groundhog Day, The Price, The Cherry Orchard, Long Day's Journey Into Night, She Loves Me, Noises Off, Fun Home. Stephen Kopel, CSA Recent Broadway: Moulin Rouge!, Jagged Little Pill; Kiss Me, Kate; The Play That Goes Wrong; Beautiful; Sunday in the Park with George; Amélie; She Loves Me; Noises Off; Violet; The Glass Menagerie; Harvey; Once; Anything Goes Caparelliotis Casting Recent Broadway: The Minutes, Who's Afraid of Virginia Woolf, In the Height of the Storm, Ink, Hillary and Clinton, King Lear, The Waverly Gallery, The Nap, The Boys in the Band, Saint Joan. Daniel Swee, CSA Recent Broadway: Pass Over, The Great Society, To Kill a Mockingbird, Six Degrees of Separation, Oslo, The Present, The Heidi Chronicles, The Audience Cindy Tolan, CSA Recent Broadway: Company, The Curious Incident of the Dog in the Night-Time, Betrayal, Macbeth, Rodgers + Hammerstein's Cinderella. Other standouts on the theatre scene: Bass/Valle CastingBob Cline CastingFranck CastingHBD CastingJamibeth Margolis CastingKlapper CastingLaura Stanczyk CastingMichael Cassara Casting  

As much as we actors wish it wasn’t so, auditioning really is our job. Performing it’s just an added perk, if we do that job really well. That being said though, there are times when we mail an audition and simply couldn’t have done any better, yet we still don’t book the part. Such is the life and labor of an actor. Welcome to the annual episode of Audition Stories…the good, the bad, and the hysterical. And today you’ll be getting a sampling of the bonus episodes available to monthly supporters of this podcast. You’ll hear from the following actors, directors, and choreographers as they share their most memorable auditions: Barton Cowperthwaite - actor and dancer from Tiny Pretty Things Misty Rosas - actress, singer and performance artist from The Mandalorian Carmen Cusack - actress and singer from Bright Star and Flying Over Sunset Jerry Mitchell - director and choreographer of Kinky Boots and Pretty Woman Al Blackstone - director and choreographer from So You Think You Can Dance Michael Learned - famed actress from The Waltons Kathryn Allison - actress and singer from Company and Aladdin Briana Packen - actress and coach from Movement 4 Everybody The Prom Tony Nominees - Caitlin Kinnunen, Beth Leavel, and Brooks Ashmanskas   I love sharing these stories and episodes, but it does take time and resources to do it. Currently, about 90% of podcast production costs come out of my own pocket. So I would greatly appreciate if you would consider joining Why I’ll Never Make It and support the ongoing efforts of this podcast: monthly subscriptions with access to bonus episodes and more yearly subscriptions at a $20 discount off the monthly options one-time donations to help the ongoing production of this podcast Learn more about WINMI Podcast at whyillnevermakeit.com  ---------- Why I’ll Never Make It is hosted by Off-Broadway actor and singer Patrick Oliver Jones and is a production of WINMI Media, LLC. It's an award winning Top 25 Theater Podcast on Feedspot and is also a part of Helium Radio Network and a member of the Broadway Makers Alliance.  Follow WINMI: Website | Instagram | Twitter | YouTube  

When it comes to “making it” as a performer onstage or on screen, it’s usually as an actor, singer, or dancer.  Most people tend to gravitate toward the one(s) they’re most comfortable with and can truly express their artistry. Barton Cowperthwaite is a dancer first and foremost, with performances ranging from the opera La Traviata to Travis Wall’s Shaping Sound dance tour. The esteemed choreographer Lar Lubovitch describes Barton as a “movement poet” and credits him with having what he calls musical visualization. “Rather than hearing the music, this kind of dancer has the impression of being the music.” But Barton has also been singing the music as well in productions at City Center Encores and in the national tour of American in Paris. He’s also been exercising his acting chops in a few movies and of course in his breakout role of Oren in the Netflix series Tiny Pretty Things. Through all of it, Barton has proven he’s much more than just a good mover and a pretty face. In this conversation, he shares both the joys and disappointments of working on a hit TV show that ended up being canceled, he opens up about realizing his own weaknesses as a performer and needing to constantly work at improving his abilities, and he talks about the time he went on for the lead role in An American in Paris with just 15 minutes notice.  Learn more about WINMI Podcast at whyillnevermakeit.com  Subscribe to WINMI and get access to Bonus Episodes on Supercast  Donate to the production efforts in making this podcast Follow Why I’ll Never Make It on Instagram or Twitter  Get a free copy of WINMI’s collection of Creative Wisdom    Ljósið (The Light) from Cylan Shaffer Before there was American in Paris, before Tiny Pretty Things, Barton was cast as the lead dancer in a wordless and moving piece from filmmaker Cylan Shaffer. It tells the story of a man who desires to overcome the restraint of his fears and then embarks on a journey towards discovery. Ljósið is an extraordinary performance piece of stunning emotion as two dancers (including Brandon Coleman) explore the boundaries of loss, love, denial, and acceptance. Watch it here.     Tiny Pretty Things Explores Sexuality on Netflix Fans of this show were ravenous in their love and affection for these characters. One such fan created a compilation video which highlights one of Barton's more vulnerable and intimate storylines in the show -- his character's relationship with Shane (Brennan Clost). Watch it here.     Final Five with Barton Cowperthwaite After our conversation on the joys of dancing and the struggles of being seen as more than just a dancer, Barton answers five final questions on the inspirations and advice he's received throughout his time onstage and onscreen. You'll find his answers and more on the WINMI Blog. Follow Barton: Website | Instagram | IMDb Follow WINMI: Website | Instagram | Twitter | YouTube 

Back in the summer of 2020, the lockdowns were in full swing, there was so much uncertainty around Covid and what the pandemic would mean for the arts, and there was a new Netflix docuseries everyone was talking about, a little show called Tiger King. Well, in the midst of all that I sat down with composer and lyricist Andrew Lippa. He talked about a few of his bigger profile shows like The Addams Family, Big Fish, and of course The Wild Party as well as a Tiger King parody he did with Kristin Chenoweth. We discuss the years of writing and rewriting he's put into his various shows as well as the challenges and big budgets that come with creating a Broadway musical—something that I have seen firsthand this summer with Anne of Green Gables and its continuing creative journey. So join me as I take a look back at this insightful and honest conversation with my friend and fellow artist Andrew Lippa. (Recorded April 8, 2020) Website - https://andrewlippa.com Twitter - https://twitter.com/lippaofficial Instagram - https://www.instagram.com/lippaandrew Recent shows: The Man in the Ceiling, I Am Harvey Milk, Unbreakable Join Why I’ll Never Make It as a monthly supporterto get access to Bonus Episodes and also check out WINMI's YouTube Channel.   Thank you for your continued understanding through Anne of Green Gables rehearsals and performances here at Goodspeed in Connecticut. Due to limited time and resources I'm not able to to get out a new episode each week, but I hope you're enjoying the smaller bonus episodes and encore interviews like this one.  Donate to increase the production efforts of this podcast Follow Why I’ll Never Make It on Instagram or Twitter Get a free copy of WINMI’s collection of Creative Wisdom from former guests  

In the previous episode, I spoke with a musical writing team about their process of writing a full show for the stage with a cast and creative team bringing their story to life. But in today’s episode I’m speaking with a singular artist about her one-woman show and the long journey it took to go from thoughts and ideas in her head to an actual production and a dramatic podcast as well. Gina Harris has performed in theaters and jazz clubs in New York, Los Angeles, and San Francisco. She’s a veteran of the famous improv group The Groundlings and had a leading role in the Broadway and national touring productions of Beethoven’s Tenth. A show that you’ve probably never heard of, and Gina will share with us why that is. But she also talks about dealing with the loss of her parents and mentor, what led her to write a one-woman musical called The Magic of Ordinary Things, even though she’d never written a song before in her life, and how she went through 10 different directors before finally finding the right person to guide her creative efforts. Learn more about Why I’ll Never Make It at whyillnevermakeit.com  Subscribe to WINMI and get access to Bonus Episodes on Supercast  Donate to the production efforts in making this podcast Follow Why I’ll Never Make It on Instagram or Twitter Get a free copy of WINMI’s collection of Creative Wisdom    The Magic of Ordinary Things (stage show and podcast) How do you go on when the people you love die? If you could see them one more time, what would you say? What would you want to hear? Well, Gina Harris got the chance. The Magic of Ordinary Things is a musical memoir — a theatre piece, a dream, a Sufi Tale with original music.  It tells the story of how moments missed and things once taken for granted become the stepping stones to a new life. It reminds us that it's never too late. Written and performed by Gina Harris • Directed by Michael French   Final Five Questions with Gina Harris After our conversation on the inspirations and struggles of creating her one-woman show, Gina answered five final questions on the inspirations and advice he's received throughout her time in theater. You'll find her answers and more on the WINMI Blog. Follow Gina: Website | Instagram | YouTube Follow WINMI: Website | Instagram | Twitter | YouTube     

In the last episode, I spoke with composer Matt Vinson and writer Matte O'Brien about their new musical Anne of Green Gables. It was the first time I’ve spoken with a musical writing team here on Why I’ll Never Make It, and so for the two of them I thought I would bring back a bonus episode I haven’t done in a while: The Final Five. After that main interview they answered five final questions about what “making it” means to them, lessons they’ve learned both as individuals and as a writing team, as well as useful advice that has helped them creatively and personally. Learn more about WINMI Podcast at whyillnevermakeit.com  Subscribe to WINMI and get access to Bonus Episodes on Supercast  Donate to the production of making this podcast Follow Why I’ll Never Make It on Instagram or Twitter Get a free copy of WINMI’s collection of Creative Wisdom   

Writing a musical is a long process, and once the writers are have finished that last page…that’s really only the beginning of their journey. By the time an actor comes along to audition for it, there’s usually been years of drafts, workshops, and revisions.  Listeners of this podcast know that this summer has been a welcome return to the stage for me in a new theatrical adaptation of Anne of Green Gables, my first musical since the covid shutdown. And it all started with a self-tape audition back in February of this year that then culminated in several callbacks with the creative team a few weeks later. Well today, I’m joined by two of the people who were in that audition room: composer Matt Vinson and writer Matte O'Brien. A transcript of this interview can be found here. While there have been individual writers and composers on previous episodes, this is the first time welcoming a musical writing team to the show. Matt and Matte have done several musicals together, but for this conversation we focus on the many years it has taken for Anne of Green Gables to get to Goodspeed Musicals in Connecticut, and how they are preparing for its potential future. Matt and Matte share three stories of its humble beginnings, learning to take (and not take) feedback from others, and how actors influence the rewriting and editing process.  Learn more about Why I’ll Never Make It at whyillnevermakeit.com  Subscribe to WINMI and get access to Bonus Episodes on Supercast  Donate to the production efforts in making this podcast Follow Why I’ll Never Make It on Instagram or Twitter Get a free copy of WINMI’s collection of Creative Wisdom      Anne of Green Gables Concept Album As this musical has gone through various readings and workshops, there have been a number of people taking on this characters and singing these songs. And throughout this episode you’ll hear samples of music from Anne of Green Gables, taken from a Concept Album and subsequent recordings. Those featured in this episode include: Oh, My Diana - Chris McCarrell Different Kind of Girl - Michelle Veintimilla The Asylum - Jenna Rubaii I Wanna Know You - Chris McCarrell Make a Move - Aurelia Williams Different Kind of Girl (Reprise) - Juliette Redden   The Queer Life of L.M. Montgomery Her 1908 novel about a red-headed orphan girl has sold more than 50 million copies and made her known throughout the world with generations of fans. But what is really known about L.M. Montgomery, who was called ‘Maud’ by close friends and family. She started out as a single schoolteacher, but went on to marry a minister, gave birth to two sons, and wrote many more books.  But in 1985, publication began of a journal Montgomery had been keeping for fifty-three years. It was quite a shocking exposé of a woman who was often depressed, dealt with a horrible marriage, yet found her greatest happiness from deep, intimate and meaningful relationships with female friends. And so for decades an undercurrent of Lesbianism has been debated not only for the central character of Anne Shirley but also the author herself. This came to a head in 2000 when professor Laura Robinson published a paper named “Bosom Friends: Lesbian Desire in L. M. Montgomery’s Anne Books,” where she argued that Anne had more passionate relationships with her female friends than her male love interest. This has not sat well with those who view Anne’s female friendships as both innocent and platonic. Read more about this ongoing debate… Bosom Friends Affair Professor suggests Anne of Green Gables was Lesbian The Gay Anne of Green Gables Scandal Netflix is at It Again…Homosexuality in Anne of Green Gables The Queer Life of L.M. Montgomery   ---------- Why I’ll Never Make It is hosted and produced by Off-Broadway actor and singer Patrick Oliver Jones in association with WINMI Media, LLC. It received the Communicator Award of Distinction in 2022 and is a Top 25 Theater Podcast on Feedspot. WINMI is also a part of Helium Radio Network and a member of the Broadway Makers Alliance.  The songs clips in this episode from the musical Anne of Green Gables are written by Matt Vinson and Matte O'Brien and used with their express permission. Outro Music is by Blue Dot Sessions and is used under a Creative Commons Attribution-NonCommercial 4.0 International License.