From Kat and Peter: Priya Mahendra is someone that we’ve been hearing about for over a year now. If you’re familiar with the Jen Waldman Studio, you’ve likely seen Priya, taken a class from her, or heard the saying, “The proof is in the Priya.”

She’s already had an interesting path: studying business at Syracuse, beginning her career assisting a music agent, and now, pursuing performing in the equal and diverse theatrical world we all dream of. And, as JWSers are prone to do, she’s creating that world with a project of her own. The Princess Possibility Project is a video series of Disney princess “I want” songs created to “raise awareness of the way universally known and loved characters are usually portrayed in Entertainment, and the need to expand it in a consciously inclusive direction.”

We enjoyed getting to know Priya, her work, and her vision through this interview. As we all use “I want” songs to convey our ‘hopes, constraints, dreams, and desires’, we hope Priya adds a swell of inspiration to your “I want” song.

Priya! Thank you for taking the time to chat with us! Would you introduce yourself to our readers with some “human facts”?

Thank you so much for having me, Kat and Peter! I am thrilled to be a part of one of my favorite blogs. 

Hi, everyone! I’m Priya. I’m a heart follower, theater artist, taurus, and jersey girl. 

You studied Entertainment Business at Syracuse University and started your career as an assistant in the Music division of ICM. What made you want to transition to the performing side of the industry? 

I grew up learning and performing Indian dance and singing intensively, so I had a strong connection to the arts through the lens of my culture and heritage. I also did a few musicals in middle and high school. My need to stay close to the arts led me to the business side for college. Working at ICM (which is something I am super proud of) helped me realize which side of the industry I was yearning to be on. I left to develop my artistic skills and start the path to being a performer. 

What is your take on what's in store for the future of the industry coming out of this movement and pandemic? What do you think the industry has the chance to change?

When I was little, I saw no one who looked like me on the Broadway stage in the shows I knew and loved. I’m sad to say that many years later, it’s almost the same story. South Asians are not represented almost at all on the Broadway or National Tour stage. Being made to feel that you are not right for a show based on just what you look like and who you are is extraordinarily painful. It often happens before, or in many cases instead of having the chance to audition and have a fair shot. I want to be the person that I needed to see on stage so many years ago, for people now. As Eliza says in HAMILTON, “oh, let me be a part of the narrative” - everyone needs to know that their humanity, identity, and dream can also be a part of the story. Theater is something that is vital for us to express through, grieve through, celebrate through, and connect through. 

I think during this time of pause, the industry has the chance to prioritize equality, artistry, and empathy in the decisions that are made at every level and on every stage. I hope to see the conscious inclusion of more marginalized voices, and a more level playing field for everyone in commercial theater. Our Broadway stages do not currently reflect the diversity of people and identities in New York City or our country. 

When it is safe for it to return, I hope Theater will be much stronger at heart and lead with an ethos of equality.

We became familiar with your name from folks involved with the Jen Waldman Studio. You are getting started with the JWS Fellowship program. Can you tell us more about this? What is the best thing about the JWS community?

Jen Waldman Studio is the place I am proudest to call my artistic home, and the place I’ve met some of my closest friends. It is one of a kind. The best thing about the community would be the way people prioritize their development as humans just as much as their development as artists. I see how much they go hand in hand, and who we are off stage matters just as much as who we are on stage. 

By doing the Coaching fellowship and facilitating Color Conscious Character Creation (a class for BIPOC artists taught by the incredible Billy Bustamante), I’ve recognized that while everyone’s journey is unique, we all share the desire to be represented and understood. 

The fellowship has also given me a chance to merge my interests in mindset coaching and artistic coaching. Mindset work, goal setting, and process oriented growth are things I’m obsessed with, and have spent years reading about and putting into practice. What I’ve found is that the way we talk about our work and how we approach it makes a big difference for the work itself. 

You recently created The Princess Possibility Project which is a seven part video series where you explore “I Want” songs from different Princesses. What are you hoping viewers gain from watching? What gave you this idea? 

The reason that I chose the Princesses is because I resonate so strongly with what they believe in and stand for, and how they navigate through hardship. They have played a huge part in my life and in shaping who I am. Most importantly, they fight to belong while being themselves. I believe that their hope, determination, and compassion in the face of struggle is paralleled strongly in those who need to fight to belong in our industry and world.  Their desire for more than they are expected to be or allowed to do, and the need to be seen, heard, and known for who they are is something I resonate with on an innate level. 

I would love the viewers (whether they are actors, casting directors, creative team members, or audience members) to first acknowledge the reality of the systems in our industry, and the barriers and walls that exist for marginalized voices. And then, to look at the possibilities that exist for us as an industry to explore, embody, and implement. 

We’ve used the metaphor of a mountain to be analogous to our career accomplishments, dreams, and changes. We feel a lot of our reader’s “climb” is on pause. Has your mountain ever changed? Is it changing now? What’s keeping you moving?

The way I look at it, everything is connected. A mountain you climb to the top of can bring you to a different or bigger mountain next. Sometimes on a climb, you need to pause and rest. And sometimes you just need to keep going even though you can’t see the path clearly or the top in sight.  

What is important is the pursuit. It’s all a process, with potential for progress, in pursuit of a dream. That’s what keeps me putting one foot in front of the other. And this Brené Brown quote: “Either you own the story or the story defines you. When you own the story, you create a brave, new ending.” 

RAPID FIRE:

Favorite Quaran-TV: Glow Up on Netflix

Quaran reads: The Sun and Her Flowers (Rupi Kaur’s poetry is my favorite in the world), The Autobiography of Martin Luther King Jr.,

Exercise routine (if you are into that): I’ve recently really gotten into hiking! The healing power of fresh air and nature is SO REAL. 

Favorite food: Ice Cream. 

Thing you have missed most since March: Wine nights with my friends. 

Network growing tip:  Be kind, be helpful, be yourself. 

People aren’t talking enough about _________: The Four Agreements by Don Miguel Ruiz. 

Religious, Spiritual, or Nah:  Spiritual 

Social Media Feelings: We need to use it much more responsibly and consider our impact on others and the world. 

Advice to your younger self: You’re not different, you’re unique; have the courage to be unique. 

Favorite princess you are portraying: Jasmine in ALADDIN (the words “I’m like a shooting star, I’ve come so far, I can’t go back to where I used to be” give me the chills every time). 

Social Media Handles: @priyamahendra 

Anything you’d like to promote?: The Princess Possibility Project (www.priyamahendra.com/tppp) 

From Kat: Tina is one of those people who, even if you just met, make you feel like an old friend. She is empathetic, hilarious, and talented to boot (Shameless plug for her Quaran-tunes with Tina on her IG). She's special. Every time I'm with her, I laugh, cry, and dream more. We were lucky enough to get to work alongside Tina at Disney Cruise Line where she became a permanent part of our story as she helped out with Peter's proposal. 

Since then, Tina has carved out a path for herself. Actor, Managing Director, Associate Producer, Stage Manager, Make-Up Artist... just to name a few of her business titles. Tina's life is one of hard work, but one we all dream of. She has managed to continue doing what she loves all while adding skill sets to become her badass multi-hyphenate artistic professional self. We are inspired and thrilled to introduce you to our dear friend, Tina. 

What were you looking forward to that you lost because of COVID-19?

Oh, man!  I was so looking forward to all of my new makeup clients I had lined up who were getting new headshots taken! But I think even more disappointing than that, I had been cast as a swing in Out of the Box Theatrics Off-Broadway revival of the musical “Baby” this spring.  My contract was supposed to start April 21st. :( 

What is something (a thought, a family member, a hope, a piece of art, a meme, a song, ANYTHING) that is getting you through?

Daily snap chats with my mom and sister and the Joni Mitchell radio station on apple music.

What do you think has an opportunity to change as a result of this time to reset?

I think there is an opportunity to change our mindset when it comes to realizing how important the arts are in our society.  Right now, we are relying so heavily on music, television, painting, writing...as therapy to get through this time. Even the puzzles we do to pass the time - an artist created the picture you are putting together!  We are realizing how vital the arts are to sustain our mental health and I believe we will see a second Renaissance when we come out on the other side of this.

Anything else you'd like our readers to know during this time?

If your apple watch tells you to stand up or move more - that’s harassment.

Quarantine Quickly:

Favorite snack: bourbon

Home workout routine (you know, if you're into that): OrangeTheory Fitness at home (free on youtube!)

What are you watching: Little Fires Everywhere and Mrs. America

What you are reading: Toil and Trouble by Augusten Burroughs

Yes or no… Out of pajamas before noon?: absolutely not

Photo by: Michael Kushner

From Kat: I worked with Anne Marie at Flat Rock Playhouse (YES- the same summer as fellow 'pathers' Ginna Claire Mason and Alex Hairston). Anne Marie was a "second-year" that summer. The theatre loved her so much her first year, that they asked her back to lead and mentor us "first-years". After five minutes of talking with her, it was obvious why they had her back. She is encouraging, welcoming, and talented to boot. Anne Marie shared so much wisdom with me that summer and became a wonderful friend as well.

We instantly thought of Anne Marie's story for The Obvious Path, because although it's filled with success, it's also not the typical one. It started under Jennifer Garner's skirt (she'll explain), a financially motivated college decision, and a few years finding footing in NYC. Through it all, Anne Marie has remained a risk-taker, a hard worker, and one of the most humble people I've ever met. Her path resonated deeply with us small town, small school folks. She gave us a lot to think about and we know she'll do the same for you. Meet our good friend, Anne Marie Snyder:

Anne Marie! My friend of nine years/The National tour Queen/one of the most humble people we know. Can you please introduce yourself to our readers?! 

Hi, Kat! Thanks so much for asking me to be a part of your amazing project. I’m truly honored. I was born and raised in Charleston, West Virginia. I started dancing at the age of four. Jennifer Garner was my first dance teacher. My “interesting fact” about myself is always that I’ve been under Jennifer Garner’s skirt. I don’t explain until people ask, but she played Mother Ginger in The Nutcracker, and I was a bon bon that appeared from under her huge skirt. I have it on film. So I danced my whole life, eventually focusing on ballet in middle school. I went to West Virginia University where I got a bachelors of science from the school of medicine. I have lived in NYC on and off since October of 2010, and I currently live in Astoria with my friend, Adrienne, and recent fiancé, Richard. We just got engaged the day before Thanksgiving! 

I have so many questions!! Starting off, you went to West Virginia University and majored in Exercise Physiology and Aquatic Therapy with a minor in Theatre and Dance. (You know... like most of us!) Can you talk to us about how you ended up there? Did you have a showcase of any sort out of school? What brought you to NYC? 

So as I said before, I was a dancer and started focusing on ballet in middle school. I joined The Charleston Ballet, which is an amazing, semi-professional company in my hometown. We performed three different ballets a year, plus The Nutcracker, an end of year recital, a performance at the West Virginia Dance Festival, and a performance at Charleston’s FestivALL. I had amazing training and performance opportunities at a young age, and got a very small check at the end of the year. It mostly went towards paying for my classes, but it made me feel like a professional. Looking back on it, I definitely didn’t realize at the time how lucky I was to have all of those opportunities in such a small town. When it came time to look at colleges, I was uninspired. I loved what I had in my small town, but was going to go to college because I felt I had to. A few girls I had danced with went to Butler University to study ballet. I auditioned and got in and got an academic scholarship. Even with that, it was very expensive. I didn’t really apply for any other schools, but my heart just wasn’t in it. I loved ballet and was good at it, but I’m a little tall and curvy for a ballet dancer, plus I loved acting roles more than the technical ones. I always knew I would do musical theatre, but it seemed silly at the time to admit that because I’d never done it. At that time in West Virginia, there was The Promise Scholarship. Basically, if you had a certain GPA and got a certain score on your SAT’s, the state would pay for your college tuition. You just had to go to a school in WV, maintain a certain GPA, and take so many hours a semester. Plus, if you didn’t take it right after graduating high school, you lost it. That’s a lot of pressure to put on a 17-year-old trying to decide what they want to do with their life, but a great way to keep people in state. My parents basically told me I was going to West Virginia University right after graduation. They said if I hated it I could transfer, but I should start there and take the scholarship until I really 

knew what I wanted to do. I’m very bad at making decision, so I agreed. I sort of felt like a failure from the start. I studied Exercise Physiology and Aquatic Therapy because I was interested in physical therapy for dancers, and WVU only had a straight theatre major, and I’d never done that. I took a lot of very hard science classes, and hated it because I wanted to be doing theatre and dance. For the first time in my life I got a C in a class. I took dance classes at a local studio, but felt lost without my rigorous schedule of ballet that I’d had my entire life. It was a hard transition period for me. Fortunately, a lot of my friends from high school and growing up also went to WVU. I know it’s rare, but these are still some of my very best friends, so I was happy to have the college experience with them. I eventually found my stride in college. Classes became more interesting, I really enjoyed being in the pool doing Aquatic Therapy, I was performing with the local dance studio and making friends, plus going home to continue performing with The Charleston Ballet. I even took enough acting and theatre classes to get a minor in Theatre and Dance. I never switched schools or changed majors because I didn’t want to put in any more time or money for school. I was ready for it to be over, so I could move on. Not the best attitude, I realize. I am, however, incredibly grateful that my parents made this decision for me because I don’t have any student debt, and I have a degree in something outside of theatre. It’s not for everyone, though. I cried a lot. The summer before my junior year of college, I decided I wanted to audition for Charleston’s community theatre production of Anything Goes. Actually, the year before, I auditioned for Audrey in Little Shop of Horrors. I sang Maybe from Annie. I didn’t get it. This was my year, though. The director had been the owner of the dance studio where I danced with Jennifer Garner. She closed her studio when I was about eight to be the director of the community theatre, The Charleston Light Opera Guild. I had always wanted to do one of their shows. I danced for Anything Goes, and got cast as one of the Angels. That was my first musical. I attended the West Virginia Dance Festival every year. It’s a weekend where all of the dance studios of WV come to Charleston to take classes from guest artists and perform for each other. We always had a musical theatre teacher, Ronnie DeMarco. He brought guests like Ryan Kasprzak and Ashley Fitzgerald. Neither had been on Broadway at the time, but Ryan was in Bandstand and is now a Dance Supervisor for Hamilton, and Ashley was in The Cher Show where she won a Chita Rivera award. I was so in awe, and Ronnie told me they all attended and taught at a summer program called The Broadway Theatre Project. I auditioned and attended for two summers, and thus began my shift towards musical theatre. I graduated college and moved back home with my parents. I definitely had no sort of showcase out of school. In fact, I had to write and present a thesis on childhood obesity, which was depressing. I was so ready to be done with school, that there was no way I was going to Physical Therapy school for three more years. I got a job at a local gym as an Exercise Physiologist working with clients that had recently had gastric bypass surgery. I continued dancing and performing with The Charleston Ballet and Charleston Light Opera Guild. I saved money, took voice lessons, and gained confidence as a musical theatre performer. I heard about SETC, so I sent in a video submission as a dancer only. I got an audition spot, and from there got a job as a dancer in The Lost Colony. The next year at SETC, 

I got a job at Flat Rock Playhouse. I met a guy there who needed a sublet for his place in NYC, so I decided it was time to make the move. It was very scary, and I hardly knew anyone there, as most of my friends from summer stock were still in college. I was only there for a month before I went on my first tour, but it felt like so much longer. 

Can you talk us through how you landed your representation? 

I had several years with no representation. I honestly didn’t realize the importance or know how to go about getting representation. Not going to college for this or having any kind of showcase or connections, I feel like I’m constantly playing catch up. About three years ago, I saw an ad in Playbill for submission requests for Gregg Baker Management. I submitted and gained an audition spot. I danced and then sang, and have been with Gregg ever since. 

You’ve worked on the national tours of The Producers, Cabaret, and a few stints of The Wizard of Oz. Can you talk to us about the pros and cons of tour? 

Tour, like cruise ships, is a great way to save money. You get to see parts of the country that you would never think to go to on your own. I’ve performed in every state in the US except Alaska and Hawaii. Non-eq tours can be difficult because you often travel into a show, have one night, and move on to the next city. That being said, it allows you to perform in many different places. Often, these one nighters are in small towns where the theaters are small and old. I love performing in these theaters because they are often beautiful and have so much history. However, they are usually not equipped to handle the big shows of today. You will then have to cut set pieces from those performances, and the backstage life is less than ideal. It can feel like you aren’t giving the best representation of your show, and that can be disheartening. However, the audience usually does’t know the difference. This is the only theatre the people of some of these towns ever see, so you have to give the same performance you would with the entire set. That’s often easy to forget, so I have to check in with myself every now and then. The small towns are sometimes the most appreciative and become my favorites. An obvious con about tour is that it takes you out of the city and away from your family and home. You don’t get to audition everyday or take dance class, so when you come back, it kind of feels like everyone has forgotten you. Many people make self tape submissions from the road, but it’s often hard to find time and space. Non-eq tours obviously don’t give EMC points, so that’s a lot of work and time to not be getting points. It can be difficult to eat well, but you find ways. Hotel gyms can be awful and get crowded with the entire cast trying to work out at the same time, so you have to be creative about staying in shape. Laundry can also be a chore. It’s hard to make a hotel room feel like a home, but candles and small pictures can do wonders. Now, I am only speaking about non union tours. Equity tours are different. 

Do you find by being EMC that you have more options for work? Do you have plans for cashing in those points to join the union or do you prefer to stay EMC for the work? 

I wouldn’t say being EMC gives me more options for work. I usually go to dance calls, and EMC does’t count for anything at an ECC. I have gotten seen quickly at an EPA, which is nice, but I’ve also sat for eight hours at an EPA just to be sent home. I do feel it looks good on a resume as it often means you’ve worked at a great theatre. It makes me feel a little more professional. So even though I don’t think it’s gotten me a job, I would recommend it to everyone. Plus it’s nice to be able to go upstairs at the equity building. I currently have 24 points, so I am one point shy of having the option to join the union. That’s frustrating, but I am still torn about whether I want to join or keep my options open. I think I’m coming to the point where I have done a lot of non union work, so I need to push myself to the next level, as scary as that may be. 

What has been the most important thing you’ve done, personally or professionally, that has impacted your career? 

I would probably say moving to New York. It was very hard for me to leave my friends and family in West Virginia. For years, I would just fly up to NYC for auditions, but that is expensive, and you miss a lot. Being in the city has really allowed me to make connections and take classes that I can’t anywhere else. 

You’ve had such incredible career success including amazing regional houses and national tours. Not to mention, you are one of THE best dancers I know (y'all this girl does everything). How did you define success at the beginning of your career and how do you define it now? 

At the beginning of my career, I knew nothing. I just couldn’t believe I was actually doing it. I remember seeing the tours come through my hometown and think, “Wow. If I could just do one national tour, I’d be set.” Well, your goals change and grow as you do. I of course want to be on Broadway, but more so just want to be a working actor doing high quality work. I want to build my relationship with casting directors and choreographers, so I’m someone that comes to mind when they are doing a project. I want to be working on the same level as performers I admire, whatever that level may be. 

Where are you on your mountain? 

I’d say I’m somewhere in the middle. I’ve come a long way from where I started. That’s important for me to remember when I get frustrated that I’m not where I want to be. I still have a long way to go to reach my goals. I feel like my mountain is always growing, and honestly, I hope it always does, so I am continuously working towards something. 

RAPID FIRE:

Favorite Broadway show: A Chorus Line

TV show you binge: The Office and currently Schitt’s Creek

Podcasts you love: 10,000 No’s and The Dreaded Question

Dogs or Cats? Cats

Religious, Spiritual, or nah?: A little bit of all of that. I grew up in the Episcopal church, but we didn’t go religiously, haha. I don’t go anymore, but I still pray occasionally. I like to believe that everything happens for a reason and what’s meant to be will be, so spiritually there must be some kind of force behind that. I think all humans search for a reason things happen, and religion is often an easy answer. I do have my problems with religion, but that’s another interview.

Former side hustles: Lifeguard, Personal Trainer, Brand Ambassador, Retail, Hostess, Caterer, Water Vendor at Broadway shows, Assistant Show Supervisor for the Step One Dance Company for Holland America and RWS, and I work for a dance competition

Biggest tip for auditioning?: Be yourself as much as possible. It might not be what they’re looking for, but at least it’s yours and it’s real. You hear so many different things of what you should and shouldn’t do, but that is often someone’s opinion, and you can’t please everyone. It’s your time. Do what you want.

Favorite role you’ve done?: Sheila in A Chorus Line and Louise in Gypsy

Any bad audition stories?: A few. Some I’ve booked jobs from, though. I was auditioning for Dirty Dancing, and it was at a ballroom studio with very slippery floors. They said we could do the combo barefoot, but I didn’t think I would turn well, and it wouldn’t give me the feel and look I wanted. So I kept my heels on, and very cautiously danced the combo. There was a kick at the very end. I thought I was safe, and figured I’d at least give them a good kick. I really went for it, and my bottom leg slipped out from under me. I fell so hard. I was embarrassed, and it really hurt. To make matters worse, and had to immediately do the combo again when I just wanted to cry and go home. I didn’t book that one.

What inspires you in 2-5 words?: hard workers and creators

Job you didn’t expect to book: Most of them. The ones I think I’m perfect for, I usually get cut immediately. I’ll never understand this business. I auditioned for White Christmas and The Producers at The Fulton. Tap isn’t my strongest, and you had to do a hard tap combo for White Christmas and an easier one for The Producers. I got called back for The Producers. I got cast in White Christmas. I’m still not positive they didn’t make a mistake, but I had an amazing time doing White Christmas.

Biggest beef with the business: Not getting feedback most of the time after an audition. I know agents can sometimes get that for you, but I haven’t had that experience. I would love to know what I can improve on or what I maybe got right. Instead, I just make up reasons in my head, and I’m not very kind to myself sometimes.

Social media handles?: @annemarizzle - Instagram www.annemariesnyder.com 

Photo Credits:

Top photos are by Justin Patterson

First lower, James Jin

With fiancé, Richard Lafleur

From Kat: Katie and I's orbits crossed briefly when she monitored my first audition for Hong Kong Disneyland, a job she had previously held. I was in my first year of NYC auditions. You know the type- a ball of stress, carrying the pressures and anxieties of auditioning with the immense talent of a big city. Then, in that room, Katie somehow made that all go away. She doesn't know this, but I credit her warm and calming spirit as one of the contributing factors that helped me book that elusive first NYC job.

Kind and generous spirits stick with you. Katie has those in spades. She has the kindest heart and is one of the hardest workers I've come by. She's worked hard to make the pivots in her career that can feel impossible and, in doing so, has created a path to success all on her own. She is positive, encouraging, and mega-talented. I hope reading Katie's feature calms your spirit like she calmed mine all those years ago. So, without further ado, Katie McCarty.

Katie! One of the KINDEST people I have ever come across in an audition setting. We are insanely happy you agreed to talk to us! Can you please introduce yourself to our readers?

Kat, thank you so much! I really appreciate that and you are also one of the kindest people I’ve met! I’m so happy to be able to talk to you and flattered to be featured in your blog! 

Well, I was born in Lancaster Pennsylvania and then lived in Delaware when I was a young kid. After moving around quite a bit, my family eventually moved back to Lancaster PA. So, from sixth grade all the way through high school I lived in Lancaster and most of my family are all still there. From the time I was a kid, I loved singing and dancing and knew from a very young age I wanted to be an actress! 

Where to start?? I have so many questions!! Okay, you graduated from Lebanon Valley College with a BA in English with a concentration in Theater and a Vocal Performance Minor. Can you tell us how you ended up in NYC? Was acting always your dream?

Yes, acting was always my dream! I was always in love with performing from the time I was a very young kid. My first performances were on the fireplace mantel with my Fisher Price recorder and microphone at age three, my four-month-old sister being my first audience member! Haha I say this because I really think I knew at that age! I started by doing all of the school plays and musicals, singing in chorus, performing in community theater productions, and productions at our regional theater in Lancaster, the Fulton Theater. I always knew I wanted to be an actress professionally and had a strong interest in eventually doing on-camera work, as I was always fascinated with TV shows and movies. Theater and musical theater was the world I knew and grew up in and my desire after high school was to get a BFA in musical theater. My parents were very adamant about me getting a degree that was not in musical theater or acting, which ultimately led me to be an English major at Lebanon Valley College. When I realized I could switch my concentration from mass communications to theater, I did so immediately and minored in music with a concentration in vocal performance. I’m very grateful looking back because my whole collegiate experience actually taught me an invaluable lesson and skill that has really helped me along the way. I learned to really think outside of the box. I kind of created my own musical theater program for myself there and studied dance off-campus and am grateful to have acted in every production possible at LVC, while also doing summer stock theater every summer. I also, though admittedly against my will originally, learned that I do love to write as well! After graduating, I worked regionally, abroad and Off-Broadway and moved to NYC in between two of my contracts abroad. 

How did you find your first representation? Are you still with your first rep?

I was teaching dance classes and theater to kids as one of my many, “survival jobs,” at that time, and one of the other teachers worked with Daniel Hoff Agency. She was kind enough to refer me and that was my very first agency for theater and musical theater! I had always wanted to do on-camera work and thought that focusing on musical theater would eventually lead me there. One day I realized that although I do have such a passion for musical theater and live performance, I needed to be making more of a concerted effort toward also pursuing TV and film work. So, I switched lanes and now primarily do on-camera work. With that said, I’ve freelanced with several agencies throughout the years for both commercial and print work as well as TV and film work, but am not currently signed across the board with any one agency in particular. 

What do you think is the hardest part about this industry? How do you deal with that?

I would say that what’s most difficult is just staying in the right mindset and staying hopeful and positive. The roundabout and often random way that things play out in this industry can be discouraging, due to the inconsistency and the unknown, the roller coaster ride so to speak! I actually find this to be incredibly inspiring because you never know what opportunity is around the corner. There really is not one direct way to achieve your dreams in this industry. I remember at the very beginning of my first musical theater class in NYC, the wonderful Jen Waldman said, “To compare is to despair,” and she could not have been more spot on! No two actors ever have the same exact path. As an actor, one never knows where things will lead and I find this to be so inspiring! Reminding myself often of this realization honestly helps me to stay motivated and encouraged. In this business, we truly never know what will lead to what or how things will play out. Not only do I find this incredibly exciting, but I also find this notion to be instrumental in fueling my determination. 

You can be seen on many TV shows, films, numerous commercials. You have also worked internationally as well as in Off-Broadway productions. (she is killing it, you guys) What is the biggest difference when auditioning for theatre vs on camera?

Kat, thank you so much!! I really appreciate that! I would say the biggest difference is that theater is larger than life, whereas less is often more with on-camera work. The smallest expression, movement or choice is so big on-camera. So, preparing for theater auditions, particularly musical theater auditions, is a whole other ball game. I love playing with subtleties when preparing for on-camera auditions and work! 

How were you able to break into on-camera work? What was the biggest hurdle getting started?

I started by taking some on-camera classes and just began submitting myself for projects every day on Actors Access and Casting Networks. In my pursuit of trying to find representation for TV and film work, I found the world of commercial and print work and began working with agencies. I’m so grateful to have found this world because it enabled me to go full time with acting and modeling. I would say that the biggest hurdle with getting started with on-camera work was honestly starting at the bottom all over again. I had been an Equity member for years and had reels and the right headshot for theater and knew how to audition for theater work, and I had to basically start all over. Once I realized and then accepted the fact that I was having to start over, step by step I was able to build up to where I am today. Making that decision to essentially start at the bottom all over again was the most challenging part initially. 

Looking back to when you graduated, are you where you thought you would be? What’s been the biggest twist in your story that you didn’t expect to happen?

Starting my career pursuing musical theater, I was able to accrue years of training and experience on stage that I feel have served as a strong foundation for my career. My journey hasn’t been what I had anticipated, in that my hope was to first achieve a certain level of success in musical theater and theater that would then have led me to the world of TV and film. I arrived at a certain point in my career and life and looked around and realized that I hadn’t done any on-camera work yet. As much as I had always had a passion for live performance, I was no longer willing to take the gamble as to whether that would lead me to where I ultimately always dreamed of being, which was in TV and film. So, that’s when I realized that it was time to start all over. Along the way, I found this whole world of on-camera commercial work, print work and voice-over work, which enabled me to become a full-time actress and model while building up my TV and film credits. I grew up thinking that modeling entailed editorial and runway work and that you had to be a certain height for that, so one of the twists was realizing the existence of and then falling into the world of lifestyle modeling! I guess one of the biggest twists for me was also realizing that I could walk away from singing, dancing and live performance, something I never, ever thought I would do, but realizing I could never walk away from acting. I realized that acting was actually my greatest passion. There was a part of me that always knew that, as I would envision the end goal being on camera. With that said, I would still love to do stage work and musical theater work again one day, but have been focusing primarily on TV and film work. 

Where are you on your mountain?

That’s such a great question and a wonderful analogy! I feel as though I’m on the right path on that mountain. I still feel I have a bit of a climb to reaching and achieving my ultimate dreams and goals, but I feel a level of contentment now that I hadn’t always felt in the past. In the past, I felt like I had been struggling to get to the point where I am now. Almost floundering at times having no idea what steps to take next, I didn’t always feel as though I was necessarily moving in the right direction. Somehow the “random dots,” have connected and looking back, I can see that every step up that mountain has been instrumental in leading me to where I am now. So, now I have a sense of excitement in feeling like I found my way to the right path on that mountain. I feel as though I’ve reached certain checkpoints along the way, and now know that I’m heading in the right direction in continuing the climb!! 

RAPID FIRE:

Favorite Broadway show: Thoroughly Modern Millie 

TV show you binge: Friends over and over again lol (Thank you Netflix) 

Podcasts you love: Oprah’s Super Soul Conversations, Armchair Expert w/ Dax Shepard, Meaningful Conversations and also want to give a shout out to my friends’ Maggie and Spiro’s podcast that I absolutely LOVE; Niko Frank Productions’-The Cool Kids Table 

Former side hustles: Babysitting, promo work, teaching dance and theater to kids and bar mitzvah dancing (party motivator-hype person)...the fave by far haha 

Biggest tip when being on set?: Be over-prepared and always bring a book! :)

Any bad audition stories?: One time I was called back for a show and had to tap, but the tap routine was way too advanced and I basically had to just leave, BUT that was only after making the mistake of trying to stick it out for way too long at which point it made a turn from bad to much, MUCH worse...Extremely embarrassing experience lol 

Favorite audition song: Gimme Gimme

Favorite print ad or commercial you have booked?: Raymour and Flanigan commercial campaigns 

Job you didn’t expect to book: Amish book cover shoot...twice haha Equally as confusing both times as my type is basically, “Ethnically ambiguous”

On Camera class you recommend?: Bob Krakower

Biggest beef with the business: Hmm, that’s tough, but I would say fixation on age perhaps...

Place to go for inspiration: Honestly, listening to podcasts while on the elliptical and when I make time to meditate...trying to make that a habit! Haha 

Social media handles?: IG: @katiemccartyofficial 

Anything you’d like to promote?: I was just cast in a pilot for a TV show called, “Wellness Inc.,” a comedic show about a luxury spa, so I guess maybe just keep an eye out for it!! 

From Kat: I met Alex one glorious (and also exhausting) summer as an acting apprentice at Flat Rock Playhouse. Our particular group had some glorious bright spots: Michael Luwoye (Bluff City Law, Hamilton), Ginna Claire Mason (Wicked), Adam Kaplan (Newsies, A Bronx Tale), and MORE. (I’m not saying you’re going hear from more of these folks later in the blog, but I’m also not saying you won’t.)

And then there’s Alex. This young, shy, beautiful, and sickly talented resting stick of dynamite. Part of me felt like I got to watch the first ‘explosions’ of Alex’s career in Hairspray (Yep, she PLAYED a Dynamite- see what I did there??) and at midnight studios that summer, but I have a feeling she was shining WAY before that. She’s already had a career one can only dream of, yet you’ll find her humble, generous, and full of insight for folks that didn’t come out of a big school or didn’t feel like their school understood them. She’s already on the dance floor, so let’s get out there and disco with her!

Alex! We feel so excited that “Disco Donna” is one of our first posts. Can you introduce yourself to our readers?

Hi! I’m Alex Hairston. I grew up in a small town in North Carolina and now I call NYC home. I started acting at age 6 in Film and Television and found my way into the world of live theater in my early teens. Now, after 20 years in the business -woof!- I have been blessed to have traveled the world on 3 different cruise ships, spend a year on Broadway, and perform in 2 national tours; one of which I’m currently on and have the honor (and dream) of portraying Legend and Disco Queen, Donna Summer. 

You’re a fellow cruise ship performer. Did you find value working on cruise ships out of school? Did you ever make the decision to stop doing cruise ships to stay in New York?

Cruise ships are such a love-hate relationship. Traveling the world, rent free, performing 3-4 days a week, and making more money than a broke college kid could ever dream of seeing in their bank account?! It all looks and sounds so glorious. And a good bit of it is. I guess it had to be for me to go back so many times. But there were hard times as well, things people don't always talk about. There are a lot of restrictions, simple things that after a while become big things; a nightly curfew, not being able to leave your room for a cup of coffee or a snack without being dressed up in business casual attire, bi-weekly weigh ins, weekly room inspections and daily security inspections, being away from your friends and family for months, and not having phone or internet for days at a time to contact them. It can be rough. But that’s the price you pay for the ‘glamour’. I had been to 8 different countries by the time I was 23 and every night I watched the most incredible sunset on the Atlantic ocean. It was like that line in Forrest Gump- “I didn't know where the earth ended and heaven began.” 

I booked my first ship contract during my last semester of college. It was heaven sent because how many times do you graduate with a job already? I really enjoyed my cruise ship time for the most part. The opportunities it brought, both professionally and non-professionally, were incredible. I had a hard time in my college program. I didn't feel like they really understood me or what I had to offer. I was the only ethnic girl in my entire program, my voice was more pop than Disney princess. My vibe was more Hamilton than Music Man, and I don’t feel they really knew how to encourage or nurture that. So when I started working on ships and they encouraged me to tap into that side of me- to belt my heart out, to take center stage and live all the way out loud- I was in heaven! It’s because of that heaven that I enjoyed performing on cruise ships so much. I did 7 contracts (3 rehearsal swings, and 4 onboard) before the ‘glamour’ rubbed off and I started to wonder if I’d ever be more than a cruise ship performer. My dreams were much bigger, but was my talent? I was living in NY, working 3 days jobs, not booking a single performance contract, and I got the offer for another ship. I was a blessing and curse. I needed to money. But my soul did not want to be back on the ship. I knew that I had to make the choice to go hard for what I truly wanted, or go home- neither of which included a cruise ship- so I clinched my jaw I turned down the offer. When I hung up the phone I wanted to cry and throw up at the same time, but I also knew deep down that I made the right decision. 

I have a friend who said something to me once that I remind myself of weekly- “Life is too short to be where your heart is not.” I knew my heart was not on a ship. As hard as life in NYC was, my heart was somewhere near 42nd street and Broadway, and that’s where I needed to be. The irony is, 2 years later I made my Broadway debut in a theater one block away from that very corner. I had 10 days to get fitted and rehearsed before my debut in Beautiful. It was crazy and terrifying and wonderful. It’s also something I wouldn’t have been able to do without having trained my body and brain in the art of high-speed retention during all those cruise ship rehearsals. 

I know your story a little bit, Alex, but could you tell us about how you found your representation in New York? 

My first NYC theatre agent was an absolute fail. He didn’t truly understand what I wanted or who I was and he made a lot of shiny promises that never came to fruition. I searched for 2 years looking for an agent and I was desperate so I believe everything she said and signed on the dotted line. In the end, I learned a lot about what I didn't want from that relationship. Last year I decided not to renew my contract with that agency and it ended up being a closed door that opened an amazing window. I was in final callbacks for Moulin Rouge and the casting director liked me so much that he reached out to an agency that he trusts and recommended me. I didn’t book the show, but I did end up with an incredible new Musical Theatre agent that truly care about shaping my career and who I am as an artist. 

Simultaneously, Kat, who I worked with on a summer contract in 2010, reached out as a Voice Over assistant asking if I’d be interested in auditioning for DDO. The Industry gods smiled on me once more with another incredible agency. I started with VO, and it was a slow start indeed. I’d never done it before and it was a whole different world from the commercial auditions or theatre auditions I was used to. I’m still learning  something new with every audition and recording, but it’s been about a year since my first VO audition and I’ve already done a few projects and have a reoccurring role in Dinobots!

There’s a saying in the business that ‘It’s not who you know, but who knows you’ and that’s been very true for me. I searched for years for representation and in the end, it found me—from connections I made through projects completely unrelated. Always aim to do good work, no matter what the project is. You never know when it’ll come back to you. 

Was there ever a moment where you felt like giving up? What did you do to get through that time?

So. Many. Times. This business is insane. I mean, what sane person bares their soul and subjects themselves to judgement by strangers daily, while working a job they probably don’t like just for the mere sliver of a chance of getting a job they can’t live without? Actors are crazy. But so is life. Do what makes you happy. That doesn't mean you’ll be happy every minute of every day, but after a bad day, if you still dream this crazy dream then isn’t it worth giving it a shot?

How do you prepare for the big auditions?

I try to become as comfortable as possible with the material. Research. If it’s something they've given to me I solicit friends to help. Get an accompanist to record the music so there are no surprises in the room. Find a friend to be your scene partner and bounce ideas off each other. And then treat the audition like a rehearsal, not a performance. Be comfortable with what you're doing that you can take risks on the first go, but also be flexible enough to take direction. Getting direction in an audition is a really good thing- but to do that you have to give them choices strong enough to receive direction. If it’s a cold read or something that came about last minute, be a human. That sounds a little strange but at the end of the day, most characters are just normal people in extraordinary circumstances, so when you're approaching material that you may not have a lot of background with just be a person. Find what you can relate to your actual life and then heighten the circumstances. 

What was the most important thing you did to get where you are?

One of the most useful things I learned audition in the city is to show your best self. So Step 1. Figure out your best self. What makes you unique. Not what your college or that masterclass last month said you should do or be. What is your strength? Your passion? The part of you that makes you: you? Make them (casting) believe that they need that and no one but you can bring that to the table. 

Also, Make adjustments that work for you. If you're not feeling 100 percent, show style and technique in place of that super high note. If they ask for 16 Bars, give 16 bars that show you and what you have to offer, and that doesn’t always translate into belting the highest note in your range. Make them interested in what else you can do; what makes you special. Your job is to get the callback, not to get the job. There are too many factors that are out of your control that go into booking the job. If you can get yourself back in the room, you did your job. 

One of the many reasons we admire you is your gradual climb. You were a swing on the Motown tour before taking over roles full time. You debuted on Broadway as the featured character Janelle Woods in Beautiful: The Carole King Musical. And here you are LEADING a tour… Can you walk us through your thought process on that journey?

I believe that each step informed the next. Playing a variety of roles in college and regionally, plus Swinging for NCL prepped me for the Motown Tour. Swinging involves a lot of versatility and hard work. They say it’s the hardest working person in the cast because you have the least amount of rehearsal and have the most amount of material to memorize. (Props to all the swings out there!) I auditioned for Beautiful while I was on the Motown tour and I truly believe it helped me book the job because I had been living the ‘1950’s doo-wap girl group harmony’ life for months. The transition from Janelle in Beautiful to the legendary Donna Summer was as seamless, but the things I learned on Broadway the confidence I gained were vital. I wanted Summer so bad. I ate, slept, and breathed it. And when I finally got it, I questioned whether or not I was capable of such responsibility. I had never been a lead professionally and not I was about to portray a mega star and lead a first national tour. A good friend, that I solicited to be my scene partner ;) said to me “They need someone to lead a multimillion dollar show. You’ve got to go in there and make them believe that you are that person”. That was the exact thing I needed to hear. It’s not always easy to just believe in yourself all the time. Sometimes you have to go for it as if you know you’ve got it all -even if you don’t fully believe it- and then push yourself to live up to it.

Are you at the top of your mountain?

I am at the top of a mountain for sure. In fact, I’m literally writing this from an Air B&B in the Hollywood Hills. We open Summer tonight in Hollywood. What?! I’m so grateful, but I don’t want to get stop climbing. I’m so proud of myself. My dream was always to be on Broadway. And then it happened and it was incredible. It’s crazy when something that seemed so far away, so unattainable, is suddenly right in front of your face. I’m so blessed to have climbed that mountain, and then to have been presented with another mountain of opportunity. I always said that I never aimed to be famous; I want to do the work, to create, because that’s what makes me happy. So I’m currently reveling in every minute of it the peak, while still dreaming of more mountains to climb. Have bigger dreams, you’ll grow into them. 

RAPID FIRE:

Favorite Broadway show: Ever- Sunday In the Park with George. Currently- Ain’t Too Proud. 

TV show you binge: NCIS 

Podcasts you like: I never got into podcasts *eye ball emoji*

Religious or nah?: YES! “You down with G-O-D? Yeah you know me!”

Former side hustles: Waitress, coffee shop cashier, children’s b-day party leader

Any bad audition stories: Being the only black girl auditioning for Sandy in Grease. I also had the wrong audition packet. And the female reader pretended to be a man with a long island accent. It was tragic. 

Favorite audition song: “Someone Like You” Jekyll and Hyde. Don’t judge me, I slay those 16-bars.  

Job you didn’t expect to book: Honestly, Summer lol. 

Biggest beef with the business: Gimmicks. 

Anything you’d like to promote?: Kindness. Stop using plastic straws. And recycle.

Interview by: Kat Hargrave