Alex Gibson

From Kat: I had the pleasure of getting to know Alex while I was working at DDO Artists in the Voiceover department. He has one of those 'voices' that you can't forget. He then made the leap over into our commercial department right around the same time I switched divisions as well. I actually think Alex booked his first commercial audition, which is not surprising when you see this guy perform. If you saw Dave Malloy's Octet this past year, you know what I'm talking about. He's as kind as he is talented, and as joyful offstage as he is on. 

Getting to hear about Alex's journey was such a joy. He is honest, vulnerable, insightful and offers a surprising look at what it takes for talent, even if they're on Broadway, to get representation. He has a lot of gems of wisdom in here, so I'll let him take it from here.

Alex! One of my favorite clients EVER who had a bit of a hard time recognizing me after a show! (*Insert crying laughing face emoji here*) Can you please introduce yourself to our readers?

Hi, I’m Alex Gibson! I’m an actor, improvisor, and occasional writer. I’ve been in the city for a bit now and went to school at NYU. I was in Natasha Pierre and the Great Comet of 1812, SpongeBob SquarePants: The Broadway Musical, and this past summer I was in Octet at the Signature Theatre. Andddd that’s me!

You attended NYU and were in the inaugural class of the Tisch School of the Arts’ New Studio on Broadway. How did you end up there? Can you talk to us about how/if the program set you up for the career?

It was crazy being in the inaugural class because we became the guinea pigs for everything they were developing! In hindsight, it was one of the most amazing opportunities I could have had because they were so willing to try so many different things. We got an incredible amount amount of masterclasses and opportunities that I wouldn’t have had without the program. Something else that was amazing about this program was that they treated us seriously as actors and as individuals. It’s pretty groundbreaking when you are eighteen, in a new environment just trying to figure out where you fit in the mold, and then you find out that there is no mold! They didn’t want me to ‘fit’ any type of mold, and that was life changing. They gave me permission to be an actor first, and tell a unique and powerful story on my own. Very grateful for that program.

I actually did not showcase out of school. At that time, NYU didn’t have an official showcase, so we had various productions that industry folks would come to instead of a showcase.

We had the pleasure of seeing you perform in Octet at The Signature (so good y’all). What is it like to have a part written FOR you? Can you talk to us about that rehearsal process and what is was like harmonizing every night together? 

Ah! I love Octet. I am in love with Dave Malloy (Writer and Composer) and Annie Tippe (Director). They are both thoughtful and down to earth people, so getting to be in that environment was such a dream for what the creative process should be like. It was incredible on a number of reasons. One, being that Dave has a gift for writing for voices that are not his own and really delves into what those voices are. He wrote a real bass part! So many composers write for their own voice and what fits comfortably for them. So, to get to be in a show where I was singing in such a comfortable range for myself and at the same time, getting to be funny was such a gift. So many bass parts usually just feature a ‘basso profondo’ speaking voice, but in this show it was so freeing to be able to be both. 

There were two workshops, which I luckily got to be involved in those which was helpful to get to work on the music. The music is so incredibly dense and I definitely had some ‘brain melting out of my ears’ moments! But, he is such a smart writer, once I heard what the song was as a whole, it just clicked. I understood how it worked, and it just stuck. We had three weeks of rehearsals for the production, so we had to be so specific with working. We were incredibly lucky to have the Music Director, Or Matias, who is one of my favorite music directors to ever work with. He is a genius and would be able to dissect incredibly difficult music and pick out one little part that was off in the entire 8 staff sheet music. We owe so much of the quickness and accuracy to him. It was my first time working at the Signature too, which exceeded my expectations. They created such a great environment for everyone involved and it was such a beautiful space for the creative process to take place. It was really special. 

How did you find your current representation? (If my memory serves correct, you were in SpongeBob before you found your current rep right?) Can you talk us through that timeline if you don’t mind? We love agent/manager stories!

So... it's not immediately great for the hope aspect haha but here we go. I had gotten Spongebob out of an EPA and was actively looking for representation at that point. I was sending out postcards, going to "pay for plays" - you name it I did it. And nothing was quite working. So when I knew I was going on for Squidward I bought tickets and would offer agents free tickets to come see me perform. And even then I had a great deal of difficulty getting people to come. Which at the time felt crazy given how many times I had heard to just let people know when I was finally in something they could come see!  But ultimately, it's a good reminder to not beat yourself up - agents are just busy! They aren't going to be able to come to every random show they get invited to. I have to check myself on this all the time, but theater is - at it's best - about creating and perpetuating empathy, compassion, and imagination. It's surprising how frequently we forget that agents and other industry folks are people too! They have lives and busy schedules and all that.  We are all just people working together to try and make stuff happen.

This story does get better tho! I have a friend who was able to get me a meeting with reps who I auditioned for and then signed with. They are amazing and it happened to come at the perfect time where I really knew I needed an agent. I had been going it by myself for a bit but at that point I really needed someone to help me have the sometimes difficult conversations with casting offices and navigate some of the stuff that was coming my way. So it was a long journey but I'm incredibly happy with where I've ended up!

You are SUPER versatile and have been on Broadway, worked at some wonderful regional houses, performed in celebrity concerts, done voiceovers, commercials and have taken tons of classes at UCB. Looking back to your first year out of school, what is the most important thing you did that help set you up for success? If you could go back and change something from that first year, would you? If so, what would that be?

I had a moment of fierceness, that I try to remind myself that this actually happened…. but I did My Fair Lady at The Guthrie, and it was such an incredible experience. I loved working with this theatre and really wanted to try and go back whenever I could. I saw that they were doing A Midsummer Night's Dream, and I really wanted to be considered, but knew it was a long shot since they had really only seen me sing and dance for My Fair Lady. SO...I  reached out directly to the artistic director and explained that he had only really seen me sing and dance, but that I was trained in Shakespeare and asked for an audition. Turns out he gave me a shot, and I booked it! 

When looking back, that is sooo out of character for me, but I am really proud that I took that leap. Of course, I only recommend this when you are really right for something and your skill set fits perfectly. Confidence is at it’s best when it is the result of a cultivated sense of self and experience. 

If I could change one thing, it would be how I handled a tour I did in Japan during my first year out of school. I was so worried about what was next in my career and about what I was missing in NY. Looking back, I wish I could have chilled out and realized how cool it was that I was in Japan!

What’s been the biggest surprise of this industry? 

When looking back at the history of show business, I am constantly reminded that this has all happened before! It’s kind of freeing to think about. I think about this with just how quickly things happen in this industry. Amazing things and devastating things. Shows open and close. Shows sometimes go to Broadway and many times they don’t.  So, at the end of the day, its freeing to know that I’m not the first person to experience all of these things- good or bad. We have all had the rug pulled out from under us, and that’s comforting to know in those times.

Has there ever been a moment where you felt like giving up or that this career wasn’t for you? If so, what did you do to get through that time?

Constantly. All the time. BUT I think it’s healthy to engage with that lightly. Therapy. Therapy. Therapy. For me, I try and think about why I got into this in the first place and try and work out if those same reasons are still serving me or helping me in the way I thought they would. At this point, I feel very lucky that I get to make a living doing this and that I have a group of collaborators that I enjoy working with. At the same time having in the back of my head that this is my job and it doesn’t need to be something that makes or breaks my existence.

Where are you on your mountain?

Right now, I am in a rocky mountain spot! I think career wise, I feel excited and that I am getting to work with incredible collaborators and feel like I am moving in the right direction. Personally, I feel like I am in the midst of figuring out a lot of stuff that has been confusing and very complicated. So when you put them together, I think I am moving up, but all I can do right now is  focus on the little rocky parts right in front of me.

RAPID FIRE:

Favorite Broadway show: Sunday in the Park With George

Three pieces of advice to 13 y/o Alex?: Start meditation and work on stress reduction, take ballet now, and you don’t need everyone to like you all the time to be worthy.

TV show you binge: Big Mouth

Podcasts you love: Las Culturistas (college buddies of mine!)

Religious, Spiritual, or nah?: Spiritual (ish)

Former side hustles: In college I graded papers in the computer science department.

Biggest tip for auditioning?: Wear something that you would feel cute in on a date!

Fav SpongeBob character?: SpongeBob...sorry if that is lame! 

Any bad audition stories?: omg all of them. So many. I used to have a habit of forgetting words, but I wouldn’t stop singing. So, one time I sang ‘You’re a Mean One Mr. Grinch’ which is all ‘seussisms’. So I forgot all the words and decided to start making up the lyrics. I ‘improv'ed’ the entire song. It was not okay. Shockingly, I did not book it!

Favorite audition song: Folsom Prison Blues, by Johnny Cash

What inspires you in 2-5 words?: Those before and yet to come.

Job you didn’t expect to book: SpongeBob

Biggest beef with the business: That so many theatres are dusty and moldy. So, if it’s an old theatre, you are sick all the time! It’s completely at odds with being able to perform well.

Social media handles?: @alexgibby on IG and Twitter

Anything you’d like to promote?: I’ll be doing The Unsinkable Molly Brown! Come see it!