Open Letter To Musical Theatre Majors

Sunday into Monday, I attended WestConn's orientation for the School of Visual and Performing Arts (aka VPA, as I will refer to it). While in attendence, I soon realized that I was the only person in the Musical Theatre department that has not been "the favorite" or "the one that gets the leads". Heck, in Mary Poppins (which the Trumbull Youth Association is producing this summer), I'm the Park Keeper. In Trumbull High School, I was Lead Munchkin #3, or The Cowboy Wyatt, or Squeegee Man, or Stanley. These roles aren't well known at all, and are small featured parts that come off as insignificant. While some people think that I have been "snubbed" from getting large roles, it was a blessing to have been cast.

If you have been graced with a lead every year, congrats. However, what happens when you get a two-line part? Would you freak out and think "I am better than this", or would you take it because it's a job? Most of the people that do the college shows are more than likely to be in the same situation as you: always the lead. How about that kid that got ensemble, made one of the top 10 BA in Musical Theatre programs in the country, and auditions for a show? If they get cast, that's an accomplishment. If they get a featured part, than that's where they were. If they get the lead, then that's an experience that they've never had before. But let's go back to those that get leads. I think that they deserve them as much as everyone else. However, they should get ensemble too. In the professional world, the odds of actually landing a Broadway show are one in a million. So many things can attribute to that. Hollywood stars are getting roles just so people see the show.

Look at Side Show, and Doctor Zhivago, and even Pippin. These shows weren't name grabbing, and part of that was the leads. As fantastic as they may be, it's hard to draw an audience without a name like Disney or some Hollywood Actor. Also, they might not have won any Tony Awards, which would cause the show to suffer (except the few that didn't win many- including Best Musical- and are still hits, like Wicked and Beautiful). On the contrary, Fun Home had low ticket sales, but won the Tony and the rates are even higher.

Broadway used to be the home of opportunity. In some ways, it still is. When Jonathan Larson began RENT, he didn't want anyone who has been on Broadway. He wanted people to make their Broadway debut and were artists. Names like Idina Menzel and Adam Pascal came out of this show. Sutton Foster got her big break in THOROUGHLY MODERN MILLIE, and Carol Channing rose to stardom after HELLO, DOLLY! while Patti LuPone earned her spot in the original run of EVITA. In Fun Home, the more famous person in the show is Michael Ceveres. Everyone else is either making their debut or not well known.

The point I am trying to make is that we never know where the theatre will take us. We could be like Ivy Lynn on Smash and take 10 years to land a lead. We may always be in the ensemble. We might find success in creating a show. We don't know, but we need to be ready. If you have an idea for a play or musical, WRITE IT. Keep editing it. One day, you could see it on Broadway. One day, you could make your Broadway debut. It could be in the ensemble (which isn't bad. The average Equity ensemble member makes $1,600 a week), or in a starring role. Never give up on your dream. If you made it this far, why would you?

-Nathan Clift, 18
Incoming Freshman to Western CT State University
BA in Musical Theatre