Month: April 2022

By Jeilianne Vazquez & Ethan Baez

The spring 2022 semester is coming to a close and seniors are preparing for graduation. We spoke to seniors Maleah Boyd-Gouveia (BFA Musical Theatre), Clara Woodfield (BFA Design & Technology for Theatre), and Joshua Daughtry (Bachelor of Interdisciplinary Studies with concentrations in Theatre & Philosophy) about what they have learned in their time with the program, their career prospects, and advice they have for GTA underclassmen.

How are you feeling about your upcoming graduation?

Maleah: I have mixed feelings! I used to be so ready to leave and get out there, but this past year I’ve made a lot of great friends and relationships. I’m going to miss seeing everyone everyday, but I’m ready to stop being a student and start being an artist!

Clara: I’m super excited! I’ve been so focused on school and nothing else for so many years now that it’s both exciting and terrifying to know that, come fall, I’m not going to have to worry about essays and class projects.

Joshua: Well, I’ve got a lot of stuff that’s definitely keeping me focused to the point where I’m not really focused on being absent in any way, shape, or form. As much as I’d love to be able to say that I set up the last couple weeks as a senior completely stress-free, I chose to not do that. Right now I’m working on Heathen Valley, which is my senior capstone, and a lot of students have very generously donated a lot of time and energy into that production and a lot of hard, hard work, so that’s been taking up a lot of my time along with other standard school final exams and projects.

How has your senior year been different than your previous years at GTA?

Maleah: 2 words: Michael Jablonksi. Not only did he quickly become my favorite professor, but a really big mentor to me. He put faith and trust in me like no one else has. He was confident in what I could do before I was. He saw so much in me that I didn’t even know I had. For the first time in all my years here, I felt seen. My growth this semester is all thanks to him, and Giovanna, my vocal teacher. I would not be anywhere close to ready for the professional world if it wasn’t for them. And I am so so so grateful that they came in my last year here, when I really needed them. I will forever hold them in my heart and in my life.

Clara: The people. I’ve both met new people and gotten to know people better this year and it has made so much of a difference in how happy I am in the program. I didn’t make that many friends my freshman year, but I’ve been putting myself out there more this year, and it has sure paid off. The GTA leadership has made a massive difference, too. I got to be Wardrobe Crew Head for The Secret Garden, directed by our lovely Dr. C (GTA Associate Artistic Director & Brenau Chair of Theatre, Dr. Tracey Brent-Chessum), and I loved getting to see the great leadership she’s shown us! GTA seems to be on a path of change from where it was my freshman year and I think it’s changing for the better (and I’m someone who hates change, so that says a lot!)

Joshua: My age! Yeah, My first year with GTA was back in 2009. So naturally, a lot of things have changed around here and in my absence, as well. I stayed for two years and took time off to get acclimated and get an understanding of other ways of the world, and I think the biggest change is how my curiosity has turned into passion. What once used to make me feel excited in a naive way is now excitement that comes from “I know what I’m doing.” I’ve also had time to become more of a patient person, which has led to a lot of close relationships with the people here.

What advice would you give to the “freshman you”?

Maleah: I would say, “It’s going to suck. It’s gonna be hard, I’m not gonna lie. You’re gonna want to quit, pack up, and go home. But I promise you, it will all work out at the end. If I were to tell you, you’d never believe me. Just know, you’re gonna make it. And it’ll all be worth it.

Clara: You don’t have to prove yourself to anyone, not even you. If you feel more at home in the costume shop, just change your major, don’t wait until halfway through sophomore year.

Joshua: Don’t settle for anything until you’re where you feel you need to be and if you’re somewhere you feel like you shouldn’t be, learn and be friendly as much as you can while you’re there. Let yourself be known. If there’s a project that you desperately want to work on, even if you weren’t cast, do what you can to at least sit in on rehearsals because just getting in the room and being in the audience finds you that much closer to what you want to do on the stage. I’d tell him to do all that with humility as well. Everything that you take part in is never beneath you, and that’s crucial to keep in mind as an artist.

What is your biggest takeaway from being at GTA?

Maleah: Control what you can control, and what is meant to be yours, will be yours.

Clara: Do what makes you happy, honestly.

Joshua: I mean, besides the knowledge that I should check my schedule before I make plans, the ultimate takeaway is that this place is here, and that’s a blessing in itself. You can get from it what you need, as long as you know what that is.

What advice do you have for upcoming seniors?

Maleah: UTILIZE YOUR CLASS TIME!! There was a time here where classwork did not matter much. But now it does, so USE IT! The best work that I’ve ever done here was in class. I know it’s your senior year and we all want to be involved in shows. As a BFA Musical Theatre major who was never in a musical, I know how hard it is to not be involved in shows. BUT you have some great professors here who can and will guide you to where you need and want to be. All you have to do is listen, and be fearless in the room. You got this.

Clara: For the love of all things, TAKE PROGRESS PICTURES OF YOUR WORK! Take pictures of that prop you’re making, get pictures of yourself in rehearsal and backstage, take pictures of that really straight line you sewed or painted

Joshua: Don’t take classes that don’t make you want to learn and if you’re in classes that you don’t necessarily care about just find something to make the best of that. Separate from that, I truly believe that mentorship is the most important thing as a senior. Find the time to go reach out to people that you’re working on projects with and offer them your perspective. You’ll often find they’ve been itching to give theirs and you could really learn something from that. The first time I came around I didn’t ask for one, probably out of how audacious I was, but even then I had a lot of really close friends that taught me a lot of things. In coming back, I’d definitely say that I’ve been more specifically mentored by (GTA faculty) Gay Hammond, Zechariah Pierce, and Jayme McGhan and I’m forever grateful for their eagerness to help me with my passions and loves regarding theatre.

What are your after-graduation plans?

Maleah: You know the life of an actor, always auditioning. At this present moment I am still waiting on casting notices from a few summer stock theatres. I am still sending in auditions. If I don’t get booked for summer stock soon, then my plan is to go to New York right after graduation to stay with my high school best friends and go on all of the open call auditions I can. And then depending on that, my wife and I will either head straight to New York, or they will stay and work their interior design job in Atlanta while I’m booked at summer stock. And THEN we’ll go to New York! OH, and we’re celebrating our 1 year wedding anniversary May 22nd!

Clara: I’m planning on moving to Kentucky with one of my best friends to pursue sewing somewhere that’s not as hot as Georgia and has more consistent weather.

Joshua: I relax with work that I like, because I’m a psychopath. You know, I have a couple of really great, fresh paperback spines that I am ready to break open, right? Eager to keep learning. This summer for me is not going to be a break from what I’ve been doing. It’s going to be a deeper dive into what I’m trying to get at from what I’ve been doing. So you know, I’ve been working for a couple tech internships and been hunting for jobs around the area and just continuing the hunger for producing more art. I think that one thing we’ve all learned after the pandemic is if we didn’t have art through the worst times in our life, it would just be a wild tangled ferment of darkness and sorrow waiting in the absence of life. To combat that I’m on a constant mission of feeding my soul, heart and mind.

Any last words you want to leave for us?

Maleah: Don’t be shocked when your playbill mentions me!

Clara: Thank you all so much for your support this year! I have so loved my time at GTA.

Joshua: For one thing, check out Heathen Valley, coming up on April 29th. That’s going to be a lot of fun. But I’d also say to never be shy about asking someone to let you into their life. And when somebody does let you into their life, I think you should let them know that that’s important to you. I like to live my life openly and for all, from any background, and it’s done wonders for me.

Be sure to check out Joshua Daughtry’s senior capstone, Heathen Valley by Romulus Linney, playing in UNG-Gainesville’s Ed Cabell Theatre April 29 at 7:30pm. Tickets on sale now!

By Jeilianne Vazquez & Ethan Baez

Senior BFA Musical Theatre major Allie Hill is jumping into the theatre industry head-first this summer at the Woodstock Playhouse Summer Theatre Festival. Woodstock Playhouse is a celebrated site of American Theatre history, established in 1938 as one of the first rural extensions of Broadway and is a popular theatre on the summer stock circuit. Prominent actors and actresses have graced the stage at Woodstock, including Larry Hagman, Anne Meara, Peter Boyle, and Diane Keaton.

Allie will be originating a role in Gatsby: The New American Musical, which will get a staged reading during Woodstock’s summer festival. GTA audiences will remember Allie from her performances as Judy in 9 to 5, Martha in The Secret Garden, and Wallace in Living Out. We sat down with Allie to talk about the exciting opportunities she has coming up and how GTA has prepared her for her future in theatre.

How did you get cast at Woodstock Playhouse?

I auditioned for the A1 Conference back in January, and I got a callback for Woodstock through that. For the callback, I sang sides for certain shows in their season and sent them a vocal reel and a dance reel. They contacted me again and I had a phone interview. I got the offer around the middle of February.

What was it like auditioning at the A1 Conference? 

Well, it was virtual, so self-taping central. Funnily enough, I usually wear sweatpants or pajama pants or running shorts when I film, but I made myself put on a whole outfit, like shoes and everything just to make myself feel like I was really there and in person, which I think really helped. I actually had Covid when I first filmed my auditions, so I like to think that even Covid couldn’t stop me from getting the part. I was inside my house quarantining and drinking lots of fluid and trying to belt to this guy, but it all worked out in the end.

Tell us about the summer festival.

The festival runs from June 10 to August 21, and includes Footloose, Beauty and the Beast, Noises Off, Cabaret, and Gatsby. Gatsby is a new musical being adapted there, and I’m principally contracted under that show. I will be in the ensemble of all the other musicals and I have the opportunity to audition for Noises Off once I get there.

Are you excited to work on a new musical?

It’s really exciting to originate a role, but it’s also a little daunting to think about There’s all the music, all the lines, elements of a new show that people don’t really think of. But it’s also really exciting and creatively liberating to think about how I get to interpret it and not have any preconceived notions get in the way of that. Obviously I can consult my peanut gallery of friends and professors, but ultimately I get to make my own choices which is really freeing, especially considering the risks of imposter syndrome so it’s really nice to be able to do my own thing.

That’s a lot of shows in a short amount of time! What is the schedule like?

It is a lot. On one hand, we have to learn Footloose in nine days—it’s nine 10-out-of-12 rehearsals and then we open. On the other hand, the rush of theater is intoxicating. I want to eat musical theater for breakfast, lunch and dinner every day anyways, so I’m really grateful and excited to be a part of shows I love.

How has GTA prepared you for life after graduation?

I’m very grateful for all of GTA. I think this place is great, but the Audition Technique class with Michael Jablonski has really helped me learn how much work you need to do before bringing in a song or a monologue or even a side to an audition or callback. In class, we review three different sectors of analysis for a song, and the one that really helps me with the music analysis is where we look at the more technical elements in music, such as time signatures and verbiage, and how it kind of tells you how to act out a song. Growing up as someone who was primarily a singer I had in my head that I just have to sing what’s written and sing it correctly, but it’s really about your acting more than anything. It’s crazy actually, everything is literally laid out in front of you textually and musically and it’s up to you to decide how to interpret what you’re analyzing.

What is your advice for upcoming GTA students?

It’s cliche, but truly you’ve got to show up, be kind, and be thankful. I feel like we all sometimes fall into the trap of thinking it is our right to perform when it is an absolute privilege. Opening night could also be closing night, and we never know the last time we’re gonna be able to perform, so take every single opportunity as a gift. I think the passion speaks for itself, so, if you’re really passionate about what you’re doing, you’re gonna get there. That’s the attitude you have to bring to all the auditions you’ll be doing.

Do you have final thoughts about your time with GTA?

Not to make myself a tree and be sappy, but I am so grateful for GTA and all my friends and professors who have really poured into me and made sure that I was taking care of myself while also taking care of my art. It’s really important to me—I’m really going to miss it here. I’m excited to go to Woodstock but I’m not excited to leave the people I’ve created bonds with over the years. Still though, I am very thankful.

By Jeilianne Vazquez & Ethan Baez

On the opening weekend of The Secret Garden, we had the pleasure of speaking with seniors Alexis Trammell, Devin LaPointe, and Eric Nabeth about their experience with this final show of the season and their last semester in college.

Alexis Trammell is a BFA Musical Theatre major and is playing Mrs. Winthrop in The Secret Garden, and is the understudy for Mrs. Medlock.

Tell us about your role in the show?

I’m part of the cast that starts out as the Dreamers. We become ghosts and we haunt the mansion. Then, I am Mrs. Winthrop later on in Act 2, who’s the headmistress, and she has her moment to shine because she’s trying to get married.

What’s your approach to play multiple roles?

It’s pretty simple for me because I’m a Dreamer for all of Act One, so I only have to focus on that role, and then Mrs. Winthrop for Act Two. Then, I go back to being a dreamer for the finale, so it’s actually not really that hard for me to go back and forth from character to character. For most of Act One, we’re just trying to scare Mary and we’re just kind of living our lives as ghosts. Well, I guess technically not living but, we really just get to float around and do our things. So it’s pretty simple. It’s a lot of fun.

What has the rehearsal process been like?

As we were doing the read-through Dr. Tracey gave us our blocking to speed up the process, then we had music with Paul (musical director, Paul Tate), and then we started putting the blocking and the music together. Hearing the songs so much, you pretty much catch on because we record it and listen to it all the time. Most of the songs I hadn’t even heard before, but I’m a really fast learner, especially when it comes to music.

How do you approach ensemble acting in a musical?

As the Dreamers, we had to figure out who we were before we died. Most of us are married in the show so we had questions to answer: What was our life like as a couple? Did we hate each other? Are we happy? In those moments, we’re supposed to be telling a story even though we’re completely still; while the principles are doing their thing. We have to figure out what story we are telling. Marcello Valencia is my partner and we decided that in the moment we go up the stairs, I’m losing my child. That story creates our still moment when we’re up on the platform. It’s things like that, just figuring out who I am and what my story is as a Dreamer, and how do I show that to the audience without taking away from the principal actor’s performance.

What’s your favorite part of the show?

I would say the song “Lily’s Eyes.” That’s Eric Nabeth and Sammy Nelson’s duet, and they sound absolutely beautiful. I just love being on stage getting to hear them sing it every night because I’ve always loved that song. I also love Savion Gates’ song, “Winter’s on the Wing,” because he’s just incredible and I cannot wait for everyone to see him. I’m a sucker for males that can sing! I feel like most of the recent GTA musicals have had female leads, so I’m glad that the guys get to have their time to shine. We have some really beautiful voices in GTA.

What should people expect from The Secret Garden?

The show challenges your sense of curiosity and imagination. I feel like the audience will be just like Mary, curious to see what the garden is and why it’s a secret. That’s just sort of who Mary is, she’s a child and she’s very curious. Most of us are. It’s not necessarily a feel-good musical but there are things to be happy about. So prepare to feel all kinds of different emotions throughout the show.

What’s it like being a senior?

Very stressful, to say the least. It just doesn’t feel real. It’s kind of weird, I definitely don’t feel like a senior, but graduation is getting so close now, so that’s really strange. It’s really stressful trying to figure out what you’re gonna do, like auditioning and marketing yourself to get booked, but it’s nice that we have faculty members with contacts and things like that so I’m not completely in the dark.

How have you grown as an artist in your time with Gainesville Theatre Alliance?

Just staying true to myself. I used to be scared when my professors or directors asked me about my character, because I felt like they wanted a specific answer, and if I didn’t give them that answer, then I was a failure or they were gonna think less of me. But since I’ve been in the program, I’ve discovered there’s not always a correct answer. Professors and directors really just want to pick your brain and figure out what you’re thinking, so they can share with you what they’re thinking and then you can collaborate. Before GTA I treated those questions like it was some sort of quiz and I got really nervous that I might give them the wrong answer. My confidence has definitely increased since freshman year. I still don’t have as much as I would like to have, but I’ve definitely grown a lot, especially when it comes to being confident in my responses and what I’ve discovered about a particular part that I’m playing. I’m more confident in sharing that with people and showing them how the research I’ve done affects my performance on stage.

 

Devin LaPointe is a BFA Design & Technology for Theatre major and is the the Assistant Scenic Designer for The Secret Garden.

What are your responsibilities as Assistant Scenic Designer?

I worked with our Scenic Designer, guest artist Dennis Maulden, on the creation and realization of our set. I got to create a digital Vectorworks model for the shop and a foam model for the director. I also sourced and edited the images for the doilies that hang at the top of the set.

What is your favorite part of the show?

I love how the lights make the set come to life.

What are you looking forward to most after graduation?

I’m looking forward to using my skills in a professional environment and studying more about set design.

What is something you’ve learned about yourself in GTA, both as an artist and a person?

GTA has taught me how to be more confident as a learner, as a leader, and as a creator. I’m grateful that GTA has let me put my hands into as many mediums as possible. I’ve learned to embrace being a “jack of all trades.”

 

Eric Nabeth is a BA Theatre major and plays Archibald Craven in The Secret Garden.

How did you approach the role of Archie Craven?

This role has been one of my most challenging roles to fulfill so far at GTA. I always approach a role by finding something within the character that speaks to me the most in an honest and vulnerable way. This acts as the bridge that connects the character and me. The more things I fall in love with within the character, the more I can present myself through that character in the most honest way possible. Otherwise, I would be just speaking words and standing with no purpose. Once that purpose is found and channeled, it’s up to my presence and the given moment within the scene to take the audience on the journey that is my character within the show.

What has the rehearsal process been like?

The rehearsal process has been extremely enriching. My style of finding a character is always on the organic side. I believe it is the actor’s job to provide the gift of their individuality and creativity that drives the scene forward. The character is based on how well I did my homework and script analysis of the work, which is always a must. That mindset and attitude has been reflected in this rehearsal process quite nicely and the room is very open to the foundation of the work of the actor.

What do you love most about this show?

Its honesty and absolute beauty. It’s truly one of my favorite musicals of all time and is a strong love letter to the more classical style of musical theater. This show is truly a must see!

By Jeilianne Vazquez & Ethan Baez

Emmanuel Cologne is a senior BA Theatre major who recently made his professional debut as Paul in A Chorus Line at City Springs Theatre Company. We spoke to Emmanuel about the audition process, rehearsal process, and what learned from this experience.

What was the audition process like?

It started all the way back in October 2021 with an open call video submission to City Springs. I sent it in mid- to late-October, and I didn’t hear anything for a while. I saw that they were having the Atlanta callbacks the first week of December, and I hadn’t gotten called back at all for that. I was like, “well, that’s that’s weird,” but I remembered that on the sign-up sheet, there was a place to check if you’re a local, and I was like, “well, I live an hour away, so I guess I’m technically not a local,” so that was a stupid mistake. Essentially, I didn’t find out I got called back for the show until maybe a day or two after New Years. I got the email and I was like, “oh my god, I have to go to New York City!” That was a big thing, that the callbacks were in New York City, and I had no idea that they were in New York.

I called my dad and said, “Hi Dad, Can you loan me some money for a plane ticket?” and he did, so I just dropped everything. I went to New York, had my first professional callback experience at Ripley Greer Studios in New York City. You look out the window of the studio, and the Empire State Building is right there. Turn a couple blocks past Times Square, and you’re in the theater district. It was just really surreal for me to be there.

I arrived in New York a day before and then I prepped everything for the next morning. I go in to the audition and a lot of people who already know each other are there and I’m the only one that’s like, “I literally don’t know anybody here right now.” It’s my first time ever “breaking out into the industry.” So I sign in, I warm up and then we go into the dance call and there’s Baayork Lee with her four-foot-ten self just standing there ready and excited to teach us the opening combination and the ballet combination. I was like, “Oh my god, I don’t care what happens at this point. I’m just really excited to be here.”

We learn the opening and she works us to the bone. We do it over and over and over and it’s in this very encouraging environment. It was very exciting. That’s the first round and then they ask you to stay and sing. So I dance my heart out, did everything and we eventually had to do groups of two. We go to the holding room and we wait to see if they want us to sing for them. I got called back to sing and I said, “Oh great, made it pass the first round!” That’s fantastic. That’s what everybody wants. I went in and sang and it went great. After that, I just let it go. I said, “Whatever happens, happens.” Later, I got the email that I got called back for the role of Paul San Marco. I was like, “Well, this is everything that I wanted fully. Holy crap.”

So I get prepped with the sides, the whole monologue, the song, everything. I go in the next day, I’m not called until like five o’clock. Mind you, my flight is at like 7:30-7:45pm. I go in and they see us—it was me and two other guys called back for Paul. We go in one by one. We do the song, the monologue, everything. I thought it went okay, I did what I could do. I was really nervous because when Baayork was right there and you’re doing this iconic piece, you’re freaking out.

I ran all the way through midtown Manhattan to get to the airport. I didn’t hear for two days and then I got the call that I had gotten a part as a swing and understudy for Paul, Mark, and Larry. I was like, “Oh great, I’m in the show!” I get to be in the opening and I get to understudy three principal roles. Then, a week later, I got a call and they asked me if I would like to take on the role of Paul. Like, are you kidding me? Yes! Oh my god. It was crazy. I was freaking out, I had my dream role.

I was so nervous about the process. You get what you’ve been asking for for such a long time, but now I’m having this huge case of imposter syndrome because I’m gonna be in a room full of people who’ve been in Broadway shows and they’ve been in national tours. They’ve done the thing. I’m this random guy from Gainesville, Georgia, who’s never done anything like this before. I’ve been wanting it for a long time, particularly this show. I’m prepping mentally and everything. Then we have the first day rehearsal and I’m so, so nervous. But everyone was really nice and welcoming and I just ease myself into the process.

What an incredible story! How did you celebrate your achievement?

Well, when I initially got the swing understudy contract, I remember I was at Allie Hill’s apartment with Grace Deedrick and Abby Hand (all GTA students) and we did a toast and it was cute! But then when I got the call that I got Paul, I was in the car. I was in the parking lot of the Hosch and the first person I tried to call was my mom but she was at work, so she didn’t answer. I called Allie Hill and I said I got Paul! She was on her way to go to Michael Jablonski’s tap class and she went to the Hosch saying, “Where are you? We’re gonna go tell Michael!” So we ran to Michael’s class and I was like, I got the part! Then I took the tap class.

How was the rehearsal process different from your classes or being in shows with GTA?

I would say that GTA prepares you for professional setting. However, these were very professional people that were on top of their game. The good thing is that Baayork allowed us room to make mistakes. She really made it clear that this is rehearsal, and it’s okay to make choices. If you make a mistake, you’re in rehearsal for a reason. There was this huge sense of professionalism that was really inspiring and really motivating. It made you really want to step up your game every time you were in rehearsal. But of course, we’re still theatre people. During our breaks we joke around, laugh, talk. It wasn’t all super serious.

How long was the rehearsal process?

It was a really, really quick rehearsal process. I think we had maybe three or four weeks until we went into the theatre. It was super quick to get all the material in. It was really nice because we learned everything and then we had time to clean everything up.

Did you feel that GTA prepared you to work professionally?

I felt pretty prepared. The only thing that was in the way for me was just those nerves and imposter syndrome. But, once you get through those hard days, I realized I do belong here and once you get through that and you do the work and you do all the preparation. I feel like GTA, and the faculty especially, really prepared me to carry myself as a professional versus just a student.

What have you learned from this experience?

I wanted this role for the longest time and I resonate so much with a role like this. This is one of the hardest things I’ve ever had to do, I was very vulnerable. I’m on stage by myself for like 10 minutes, and it feels like centuries, in one of the few moments in the show where it’s complete silence and it’s just me speaking. I learned how to be very vulnerable and very okay with flooding my emotions out to thousands of people and being comfortable with that. I’m sure there will be roles in the future where I will have moments of, “Should I even be doing this?” But I think now I feel very confident going out there and getting what I want in terms of auditioning and just pounding the pavement. Of course, there’s always still gonna be those nerves, right? For an audition, they’re always will be. But I feel very confident and where I’m going in life in terms of being an artist.

Do you have any advice for your fellow students who are looking to work professionally?

I think one thing this experience has taught me is to trust your gut. If you have that burning feeling inside of you that there’s something that you want to do and there’s something you want to pursue, it’s possible. Just remember that you have to be your biggest advocate, and no one’s gonna put in the work but you. You need to go into the studio, go into the practice room, and use all the resources that we have on campus. Read books about theatre, engulf yourself in what you love to do. Do the work and great things will happen. Talent is great, but it’s not enough. Once you go out there into the real world, talent is the bare minimum. Many people are talented. But are you a hard worker? Can you put in that work? Are you a nice person? Are you kind and get along with people? That’s what matters. Just stay inspired. Keep going.