#Josh castille is such a fantastic actor | Explore Tumblr Posts and Blogs

sapienveneficus · 7 years

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And All Shall Know the Wonder

Finally, I wanted to repost the individual blurbs I wrote about each cast member.

Miles Barbee – Miles plays the role of Otto, one of the teenage boys in the show. Otto’s more of a supporting role, but Miles has definitely managed to make his presence known on stage. I think his greatest strength in this production has been his ability to circumvent expectations. His character is meant to be the youngest of the school boys; he’s even dressed in a sort of sailor suit to denote his juvenile status. And yet, he’s called upon to deliver some of the most audacious lines/lyrics in the whole show. He plays this contrast beautifully. Those moments in the show, where he does or says something unexpected, are always perfectly and wonderfully shocking.

Katie Boeck – Katie plays the voice of Wendla/guitar. Wendla’s the female lead, so Katie sings and speaks quite a lot throughout the course of the show, but one of her many gifts is the ability not to pull focus. She’s there to support the actress playing Wendla, and she does it seamlessly. She and Sandra Mae Frank, who work together to play Wendla, have developed an exceptional rhythm on stage. Their partnership is so well formed that, as an audience member, it’s easy to mistake them for the same person. And Katie’s voice, wow, I’ll do my best to explain just how incredible she is. The music of Spring Awakening is more pop/rock than your standard Broadway show. When casting the show, the producers and director sought out actors and actresses who had more of a singer/song writer sound than a more traditional Broadway sound. (more straight tone, less belt) Katie’s voice fits the music perfectly. Wendla’s solos are beautiful but understated. There’s a temptation to go too big. I’ve seen other actresses treat Mama Who Bore Me as their Mama Rose moment, but Katie lets the song be soulful and quiet, just as it should be. One of the great tragedies of this show is that it didn’t get its own cast recording. I would love to have a proper studio recording of Katie singing Whispering, but, as the Rolling Stones so wisely stated, you can’t always get what you want.

Alex Boniello – Alex plays the voice of Moritz/guitar. Moritz is one of the male leads so, like Katie as the voice of Wendla, Alex speaks and sings a great deal throughout the course of the show. Unlike Katie, Alex does not exist in the background. His stage presence is the opposite of understated. He’s the kind of actor who could be in the background of a scene holding a nondescript box, so far removed from center stage that he’s practically in the wings, and yet as an audience member you’d be thinking, “Who’s that guy with the box?” So he and Daniel Durant, the actor who plays Moritz, have worked out a different way to share the role. There are times when Alex is unseen while on stage, but he’s literally behind a physical object or turned completely around, back to the audience. There are times when he’s in the middle of the action, lightening scenes with his fantastic comedic timing. And then there are moments when he’s simply not on stage at all, and Daniel signs with no voice. This combination of varied approaches to the hearing/deaf partnership only adds depth to the already complex character of Moritz Stiefel. And what can I say about Alex’s voice? It has that rough rock quality perfectly suited to Moritz’s songs. I don’t want to sound like a broken record, but I am also in mourning for the studio version of Alex singing Don’t Do Sadness that we will never get.

Joshua Castille – Josh plays Ernst, another of the teenage boys in the show. Josh, like Alex, has an undeniable stage presence. So he’s been given more weight to carry in the show than an actor playing Ernst (a supporting role) normally gets. Josh, in addition to telling Ernst’s story, is there to show the audience what it would have been like to be a deaf teenager in 19th century Germany. There are dozens of little moments throughout the show where he does that to great effect. One of the show’s early scenes takes place in a classroom. The teacher is calling on each student in turn to recite passages from Virgil’s Aeneid. When Ernst’s turn comes, he begins to fingerspell as he speaks the Latin words out loud. The teacher quickly and harshly shuts him down. Later in that same scene, after the teacher speaks an instruction to the class, Ernst turns to his seatmate who has to write down the instruction on his slate because, naturally, Ernst can’t hear them. These are small moments, but they speak volumes to the deaf experience in a world dominated by oralism, as it would have been in the 1890s. And as Ernst is a smaller role, brought to life by such a dynamic actor, these small moments truly stand out. Ernst’s big scene takes place in the show’s second act. The scene is a comedic one, and as the show’s second act is rather heavy, this lighter scene is desperately needed to balance things out. That being said, Josh and Andy Mientus (his scene partner) have added dramatic layers to a scene that is typically just played for laughs. Josh allows Ernst to be simultaneously clever, prideful, innocent, hopeful, joyous, and vulnerable. Josh is one of the youngest cast members, he turned 21 during the show’s run, and I for one cannot wait to see whatever project he decides to tackle next.

Daniel Durant – Daniel plays the role of Moritz, one of the male leads. The actor who played Moritz in the original Broadway run, John Gallagher, Jr., won a Tony award for his performance, and I would be shocked if Daniel is not, at the very least, nominated for one as well this season. His performance is, I feel like remarkable isn’t a strong enough word, but it’s what’s coming to mind at the moment. Moritz is a teenage boy carrying the weight of the world on his shoulders. He struggles terribly in school, has a strained relationship with his parents, has never kissed a girl, and his best friend is smartest and most popular kid in town. And in this production, he’s also deaf in a society dominated the hearing. Moritz is typically portrayed with a sort of restless anger, but Daniel’s portrayal is softer, more introspective. His Moritz is desperate to find the good in whatever terrible situation life hands him, right up to the point where there is no good left to find. Daniel brings a degree of raw vulnerability to Moritz that is unlike any portrayal of the character I’ve seen before. One of Daniel’s strongest scenes takes place in the first act. Moritz has just received terrible news and has to share that news with his stern father. Now, in the Deaf West revival, both Mortiz and his father are deaf. So the scene is only signed, not spoken. The scene is painfully uncomfortable to watch because both actors on stage act it so authentically. The scene is almost too real. Daniel perfectly portrays Moritz’s fear, desperation, sadness, and shame as he speaks with his father. As I said at the beginning, I would be stunned if Daniel isn’t nominated for a Tony this season.

Treshelle Edmond – Treshelle plays Marta, one of the teenage girls. Marta is one of the supporting roles, and Treshelle plays her beautifully. She has the ability to blend into the group of girls during the ensemble numbers, and then shine when she takes center stage for her big number. Marta is deaf in this production, but unlike the characters I’ve discussed so far, she does not have a close relationship with her inner voice. In fact, Kathryn Gallagher, who plays the voice of Marta, and Treshelle never share the stage. This physical separation is heavily symbolic as it speaks to Marta’s profound feeling of isolation and brokenness. Treshelle balances Marta’s profound sadness with her desire to blend, to be a part of a group. She’s a character searching for love and kindness from a world that has, thus far, denied her both.

Sandra Mae Frank – Sandra plays Wendla, the female lead. I’m just going to say, right at the top, that Sandra’s portrayal of Wendla is the best I’ve ever seen. She’s the other actor in this production who will most likely receive a Tony nomination, and she couldn’t be more deserving. Wendla’s a complex character, and Sandra plays her with an unprecedented level of artistry. She perfectly balances Wendla’s innocence with her growing sexual awakening. I think that innocence, in its purest most child-like form, is one of the toughest qualities to act on stage. The actresses I’ve seen play Wendla in the past have all failed to portray Wendla’s innocence at the beginning in a believable way. They have all given in, in one way or another, to the temptation to over-act the show’s opening scene between Wendla and her mother. Sandra’s performance in this scene, by contrast, is brilliantly authentic. As an audience member, I believe that I am watching a teenage girl trying to have an uncomfortable conversation with her mother. I believe in her genuine desire to get the answers to her questions; to understand a part of the world that is being kept from her. Sandra also shines in her scenes with Austin McKenzie, the actor who plays Melchior. We see Wendla’s feelings for Melchoir evolve from school girl crush, to genuine love and affection in such a perfectly organic way. Again, I’ve seen so many actresses over-act these scenes, but Sandra’s performance is perfectly understated and authentic. Her best scene though, in my opinion, is the scene just before Whispering. This scene, as it mirrors the show’s opening, is set between Wendla and her mother. Wendla’s innocence from the beginning is all but gone as she doesn’t cajole, or beg, but rather demands honesty from her mother. In that moment, Sandra chooses to use her own voice as she asks, “Why didn’t you tell me everything?” Sandra uses her voice exactly three times in the show, and while each time packs such an emotional punch, there’s hardly a dry eye in the house as Whispering comes to a close. This woman deserves a Tony!

Kathryn Gallagher – Kathryn plays the voice of Marta/guitar. Much like Katie, Kathryn allows herself to exist in the background, so that her presence does not distract from Treshelle’s portrayal of Marta. Kathryn’s greatest strength is unquestionably her musicality. Her voice is strong and pure. She layers such raw emotion onto every line she sings, it makes the experience of watching Marta’s scenes that much more powerful. Kathryn is also a fantastic guitarist. I am in awe of the way that all of the voice actors are able to simultaneously sing their lines so that they mach perfectly with their counterpart’s signing while at the same time playing their instruments. I like to imagine that part of the Deaf West Spring Awakening audition process was the classic grade-school “rub your belly as you pat your head” test. Kathryn, I’m quite sure, would pass that test with flying colors.

Sean Grandillo – Sean plays the voice of Otto/bass. Sean has an exceptional voice and is quite an accomplished musician. He plays both the upright bass and the electric bass in the show while managing to conduct the other musicians on stage. He also has an undeniable stage presence. I am sure that this fact presented somewhat of a challenge to show’s director, Michael Arden. Sean, after all, voices a supporting character who doesn’t really get his own standout scene or musical number. So what they’ve done, and I suspect this was intentional, is cleverly work Sean into several of the musical numbers and scenes. He’s been gifted these little moments throughout the show to show off his exceptional comedic chops and dynamic personality. I suspect that Spring Awakening will not be the last time we see Sean Grandillo grace a Broadway stage.

Russell Harvard – Russell Harvard plays all of the deaf adult males in the show. (The school’s headmaster, the village priest, and Moritz’s father) As each of the characters he portrays is quite unique, Russell has the opportunity through the course of the show to demonstrate his impressive range as an actor. As the headmaster, he gets to flex his comedic muscles. As the priest, he’s perfectly stoic and pompous. But it’s in the role of Moritz’s father where he truly shines. He embodies the cruelty, disinterest, and anger of that character in such a masterful way. He and Daniel Durant have worked so well together to let that big confrontation scene in act one evolve throughout the run of the show. The scene is so powerfully raw, that it never fails to leave me breathless.

Amelia Hensley – Amelia plays the role of Thea, one of Wendla’s best friends. She’s typically portrayed as a sassy little know-it-all, but Amelia plays her in a way that is more earnest than cruel. Thea does occasionally say the wrong thing at the exact wrong time, but in this revival those moments seem to come from a genuine place of concern for her friends, rather than a need to be right driven by Thea’s own sense of superiority. It occurs to me, as I write these actor paragraphs, that each actor really has found a way to breathe new life into these characters. These portrayals aren’t complete departures from the originals. Instead, these differences are more nuanced. They’re the kinds of interpretations that can only come from actors who have studied their roles for an extended period of time. (but back to Amelia) Amelia’s greatest strength is her ability to build relationships on stage with the other actors. You see it in the way she interacts with the actress who plays her sister, Melitta. There are times when it is difficult to tell where Thea ends and Melitta begins. They seem to effortlessly move and act as one. And you also see it in her scenes with Wendla. Her subtle teasing and the knowing looks they exchange go a long way to create a friendship on stage that we, as audience members, need to believe has existed for years.

Lauren Luiz – Lauren plays Melitta/voice of Thea. Melitta is a character who has been created for this revival. She is Thea’s twin sister. She speaks for Thea as Thea signs. So unlike the other hearing actors who play voice of (fill in the blank) as inner voices or imaginary friends, Lauren gets to play a real character who is meant to be seen. And she plays the part beautifully. I feel like I’m over using the word beautifully. I am, aren’t I? Oh well, it fits so I’m going to continue using it. Lauren has worked hard to form an incredible on stage bond with Amelia, it really is hard to believe these two aren’t sisters in real life. But Lauren’s greatest gift to the show would have to be her voice. It’s soulful but also strong. She has a voice that stands out. It’s a shame her character doesn’t get any proper solos. There have been rumors that she’ll take on the role of Ilse when the show goes on tour next year. I, for one, hope those rumors are true.

Austin McKenzie – Austin plays the role of Melchior Gabor, the male lead. Melchior is smartest and most popular teenager in this small German village where the play is set. In every production of the show I’ve seen, the actor playing Melchior owns this fact and dials up his arrogance accordingly. But, that’s not how Austin plays the part. His Melchior has a dash of humility mixed in with the arrogance. Actually, now that I really stop to think about it, the word arrogance has a connotation that doesn’t truly fit. Melchior is arrogant in the sense that he thinks he knows better than the adults in his life, but that’s more the arrogance of youth than something specific to this one character. He also doesn’t treat his peers as if he’s superior to them. He does, though, act as their defacto leader. Signing instructions to his classmates when the teacher’s back is turned, teaching his best friend about sex, and ultimately being chosen by the headmaster as a scapegoat when a terrible scandal threatens to ruin the school’s reputation. Austin’s Melchior is a leader, an imperfect leader, but not a pompous one. Austin performs the role with such a fierce intentionality. That’s actually what stood out to me the most, the first time I saw the revival. I remember thinking, “I have never seen an actor speak and sign with such intensity, in a way that demands to be both seen and understood.” I should probably explain that Austin is a hearing actor who is also fluent in ASL. In fact, you should know that Spring Awakening is not just his Broadway debut, it’s his theatrical debut. Which means that Spring Awakening is his first production of any kind, ever. I’m talking no off Broadway shows, no regional theater, no community theater, not even a kindergarten production of Winnie the Pooh. Two years ago, while this production as still very much in the development stage, Austin applied to be an ASL interpreter for the Deaf West Theatre Company and was instead asked to audition for Melchior. I wanted to briefly share his backstory for two reasons, first because it’s an amazing story, and second because it explains why he was chosen for the part. The character of Melchior serves as a bridge between the worlds in Spring Awakening. He’s the glue that holds the show together. In a typical production, he serves as a link between the children and the adults, the boys and the girls, the cast and the audience, and finally between the present and the future. It’s a demanding role for any actor to take up, but the Deaf West production demands even more. Because Deaf West’s Melchior must also be a bridge between the world of hearing and the world of the deaf. It’s true that all of the cast members sign at least a little throughout the course of the show. Everyone signs along with the songs as the signs have been seamlessly woven into their choreography. Obviously, the deaf actors sign all of their dialogue while their hearing counterparts speak it. And the hearing actors with stand-alone roles sign and speak their dialogue, but there isn’t much of it for them to sign because these roles are smaller. So the burden on the hearing actors having to learn ASL for their parts isn’t too great. It’s maybe 7 or 8 lines of dialogue over the course of the entire show. But, Melchior is the lead. He has monologues, multiple solos, and long, complicated scenes with several different characters, both hearing and deaf. Melchior has to be that bridge, connecting those two worlds for the audience. I think that this explains why Austin speaks, sings, and signs with such intensity. As Melchior he is desperate to be both heard and understood, but as a hearing actor working with a deaf cast, performing in front of a mixed audience, he is determined to reach everyone. And he succeeds. This entry is already way too long so I don’t have time to say much about his vocal performance. As you might imagine, it’s amazing! I do want to very briefly highlight the song I believe Austin does best. As I’ve already stated, Melchior has several solos throughout the course of the show. And each actor I’ve seen take on the part has had one signature number; one number that has stood out, at least to me, as THEIR song. Jonathan Groff’s was Left Behind, Jake Epstein’s was The Mirror-Blue Night, and Austin McKenzie’s is Totally Fucked. From the first note to the last, he OWNS that song. I think it’s a combination of timing and hubris. He’s got the timing of, “There’s a moment you know (pause) you’re fucked,” down perfectly. It always draws a big reaction from the crowd. And then there’s the way he acts the song. As I said up top, Austin’s Melchior is more intentional and earnest than the other’s I’ve seen. This song, though, is a departure from that. It’s as if he saves all of his pure, unadulterated, self-assuredness for this number alone. And the effect is, well, fantastic! I think the elderly woman sitting behind me during a matinee last month summed up his acting in this song perfectly. “That Melchior! He’s a real cad!” Austin’s the other cast member who deserves a Tony nomination, but as I suspect that the Hamilton cast will crowd Austin’s category, I doubt he’ll get one.

Andy Mientus – Andy plays the role of Hanschen, the school’s obnoxious brown-noser . Andy is a force of nature on stage. He’s a brilliant comedic actor with an impressive set of pipes, but first and foremost, he is Spring Awakening’s biggest fan. He saw the original run during his senior year of college. He loved the show so much that he made his own Spring Awakening Facebook fan page, where fans from around the world could gather and discuss the show. Spring Awakening’s producers loved his page so much that they made it the show’s official fan page. Then, after graduating from the University of Michigan (Go Blue!), Andy auditioned for Spring Awakening’s first National Tour and was cast as Hanschen. Fast forward to 2014, Andy and Michael Arden (the director) approached the Deaf West Theatre Company about translating and putting on a production of Spring Awakening, and now that production is on Broadway. Andy is acting in a revival of his favorite show, a revival that he helped bring about. He is living every fan’s dream. And I, for one, couldn’t be happier for him.

Patrick Page – Patrick plays all of the hearing adult males in the show. (the teacher, the doctor, a priest, Hanschen’s father, and Melchior’s father) Patrick is a classically trained actor with a Broadway career spanning decades. Unlike the other adults in this show, who already had connections to or are members of the deaf community, I suspect Patrick took this role because it presented him with a fresh challenge. Having worked for so long in the theater, there’s probably very little he hasn’t done . As you might expect, Patrick brings his vast experience as a Broadway actor to the show. He knows how to project, how to play to the back of the house, and how to keep a show from getting stale week in and week out. I’m sure the cast has enjoyed having someone with his unique professional experience in their company.

Krysta Rodriguez – Krysta plays the role of Ilse, the show’s outsider character. Ilse’s presence is felt in the show’s first act, but she doesn’t appear properly until the second. Krysta is an incredible actress, and she has a remarkable voice. She also has a rather impressive Spring Awakening backstory. Krysta was a member of the original ensemble cast and understudied several of the female roles, including Ilse. When Deaf West’s Spring Awakening first opened in LA, it was playing in this tiny 95 seat theater, and a different actress had the role of Ilse. But when the show transferred to a bigger theater out in Beverly Hills, that actress had to drop out to because of a prior commitment. Andy knew that Krysta was living in LA at the time, and that she was available. So he recommended her to the director, and the rest, as they say, his history. Well, not quite. There’s one more part of her story that I didn’t know about until the holiday season. Around Thanksgiving, Broadway does a big charity drive. So after each show, a few actors will share with the audience a little about the charities they’re supporting that season, one of which is a charity that helps actors pay for health care. I’d heard these charity speeches before because, before moving to the city, the holiday season is when I typically would be in town to see a show. So when Krysta got up to speak after a performance of Spring Awakening, I expected to hear the standard speech about the importance of giving generously to support the Broadway community. What I did not expect to hear, is the story that she shared. Last year, Krysta was diagnosed with breast cancer. The actor’s fund helped pay for her treatment. Treatment that she finished just a week or so before starting rehearsals for Spring Awakening. So Krysta is an actress I’ve come to respect for her talent but also for her courage.

Daniel David Stewart – Daniel plays the voice of Ernst/piano. The relationship between Ernst and his inner voice is the closest of any of the deaf/hearing counterparts in the show. The actors have both explained in interviews that this closeness is intentional. Ernst is one of the few characters who gets to retain some semblance of childlike innocence and optimism, despite all of the terrible things that happen so many of the characters around him. Daniel, despite staying close to Josh (who plays Ernst) throughout the course of the show, never detracts from Josh’s performance. Daniel, like Katie, has found a way to be present without being a distraction. Daniel also is an incredibly talented musician. His voice is pure and clear, and he plays the piano beautifully. He also does a lot of work in the background of several musical numbers to provide cues for the deaf actors. Daniel truly is a remarkable, multitalented young actor.

Ali Stroker – Ali plays the role of Anna, another of Wendla’s close friends. Ali has an impressive voice and an undeniable stage presence. She is also, and I can’t believe I’m typing this in the year 2016, the first actress in a wheelchair to act in a Broadway show. Most Broadway theaters, for those who have never been to one, are not ADA compliant. There are steps to enter and exit the theaters, the tiny bathrooms are either a floor above or a floor below the orchestra level and are accessible only by stairs, and very few rows have wheelchair seating. In fact, New York City itself isn’t really ADA compliant either. Coming from the DC area, that was big shock to me when I first moved here. Did you know only 18% of the city’s subway stations are handicap accessible? That’s less than 1/5! New York City has an appalling record when it comes to universal accessibility and access, and this is just one of the issues that this production of Spring Awakening has brought to light. (but back to Ali) Ali brings a light and joyful spirit to the show’s first act. Her optimism in the role of Anna is infectious. But as the show darkens, Anna’s optimism and joy all but disappear. Ali has some serious dramatic chops. I certainly hope that her first Broadway show won’t also be her last.

Alexandra Winter – Alexandra plays Greta/Harp. Greta is a new teenage character, added to help strengthen the sound of all of the ensemble numbers. She doesn’t really have a role in the story so I can’t speak to her acting abilities. I can say that she has a lovely voice and plays the harp beautifully.

Alex Wyse – Alex plays George, a geeky teenage boy hopelessly in love with his piano teacher. Georg, as a character, is there to provide brief moments of comic relief to help balance out such a dark and dramatic show. Alex does this brilliantly. He has such natural, effortless comedic timing. He also has an amazing voice. I’ve already spoke briefly about the show’s casting process, how the director wanted actors with more of a coffee house voice than a standard Broadway voice. Well, Alex is the exception to that rule. He needs to be, because George has a powerhouse solo in Touch Me, and Alex kills it each and every night. He stands up on a classroom chair, towering over his cast mates, and belts his heart out. He never fails to bring the house down with his solo. Alex is also a bit of a titan on social media. Between his hilarious tweets and clever periscope performances, I have no doubt he could make it as a stand-up comic. If he ever decides to take a break from Broadway, that is, which I hope won’t be happening any time soon.

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