Tina Marie Casamento
From Peter: I met Tina Marie as a part of the casting team on a show I was auditioning for through NETworks. That show ended up not going my way. I found myself at another audition of theirs, which also didn’t go my way. This time, however, Tina Marie chased me down the hall to give me some encouragement. That’s a gesture that sticks with you.
Later, I ended up in her musical theatre class where I fell more deeply in love with her artistry, teaching, and pursuit after lifting up the underdog. To this day, you’ll still find Tina Marie chasing the right things down the metaphorical hall. Whether it’s teaching her students, conceiving and contributing to the creation of the beloved new show Chasing Rainbows, or becoming that show’s lead producer, Tina Marie is pursuing the path of what she believes in. Giving all those things her talent, her immense effort, and that extra special spirit so few people have.
Here at The Obvious Path, we often wonder about the journey people take, especially when they wear so many different industry “hats”. Tina Marie maybe does it the most gracefully, just pursuing the doors that open and, in the case of Chasing Rainbows, telling stories that “deserves to be told with care.” We feel the same about her story. Enjoy.
Tina Marie! Director, Teacher, Producer, Casting Director AND Actor. To say we are lucky to have you would be an understatement! Can you please introduce yourself to our readers?
I am a self proclaimed Musical Theatre and Theatre geek. And of course, a recovering actress. I care deeply about telling good stories in a theatrical and compelling way. I was influenced in my early years by the “Great American Songbook”, Sondheim, Tennesee Williams and William Inge.
You attended school at Carnegie Mellon as an acting major and went on to have a very successful performing career leading First National Tours and working at incredibly respected regional houses. When did you know you wanted to shift to being on the other side of the table?
I honestly didn’t! I simply followed a path that kept me immersed in the craft that I loved, and I was not set on either side of the table. I do miss performing sometimes, but once I pitched my show to the music publishing company that carries a large portion of the music in my show, and was offered a development/collaboration agreement, it was clear I had to go for it.
Where did you land your first non-performing industry gig? What was the most important thing you did in your first year starting out?
I assume that you mean within the theatre industry? I had worked for the people at NETworks Tours as an Equity actress. I had a relationship with the casting department for many years prior to that. Casting was done “in house” at the time. They needed a monitor one day, and I was happy to make a little money helping out. I was soon asked if I would step into the audition room to read sides. I was hired as a reader and/or monitor for many more auditions after that because I worked well with the auditioning actors, and that meant a lot to the teams at NETworks. It eventually led to assisting more fully in casting, which I was fortunate to do in between acting gigs. The responsibilities grew as the relationship and trust grew. They would ask, and I would say yes, if I was available. That experience led to being chosen for an interim job as a casting assistant for a major TV network, which was a great window into another arm of the industry. All of this began in the mid 90’s. I continued performing until about 8 years ago.
Most recently, you conceived, wrote additional lyrics, and lead produced Chasing Rainbows at Paper Mill Playhouse. Anyone who knows you knows how important this project has been to you. Can you talk about wearing so many different hats in one production?
It was never my intention to be the lead producer. As the show grew and I naturally thought of the ways we could bring it to the stage, and sought those opportunities. I kept pushing it forward. That speaks more to the power of the show, than to my own abilities.
The show is simply a beautiful story about an American Icon who almost wasn’t, and the father she loved who happened to be a closeted gay man in an era that could not accept him. It’s an underdog story, really. Judy Garland was told that she was not pretty enough to be in the movies, and had to lose weight. Her voice and acting were well beyond her years. A natural talent. But no one knew what to do with her. Except Kay Koverman the “secretary”, and brains behind Louis B Mayer, and the studio musician Roger Edens. Without these two practically unknown heroes, we would not even know who Judy Garland is. It is a relevant story!
Roy Miller was the first producer to see the potential, and he wanted to take the show forward. But sadly, he passed away quite suddenly and unexpectedly. I had to start all over looking for partners. I was lucky to have advisors and mentors like Nicole Kastrinos, Jack Viertel, Stacey Mindich and 321 Theatrical Management to offer some guidance and mentorship in the beginning. Although no one else came forward to “lead” the show, I was joined by Richard Winkler, Nancy N. Gibbs, Pro Bo Productions, and Rodger Hess as the core inner circle. It takes a village..and I have made a ton of mistakes along the way, but I learned as I went along and I just kept going.
Wearing so many hats has been challenging, mostly in that I think many people assumed that I want to be and do everything. I don’t. I only want the show to go forward in a manner that is respectful to the children and families of Judy Garland, because it is a story that deserves to be told with care. It is not unprecedented in our industry for someone to wear so many hats, but I am an untried, new, female, independent creative producer, and Broadway is big business. It has to be a very collaborative process making a new musical, and finding the right chemistry and group is important. I did not have immediate access to a large pool of respected professionals, so it was all about relationships. We have a fantastic team right now, and the show is blossoming because we all work so well together.
Judy said “The history of my life was in my songs” and since I was the one who conceived the show based on that quote, and the one who had obtained the music rights by pitching how we would use the music to tell Judy Garland's story, it was important that I stay involved in the story telling. Marc Acito is the book writer, and he insisted that both the music arranger/composer David Libby and I be active participants in writing the show, based on my outline. And our director, choreographer Denis Jones agreed. He has a true passion for the story too. We all see the same show.
I have heard from many many actors, including my husband, what an advocate you are for the actor in the room. What advice would you give someone walking into your casting room for the first time?
Be yourself! Find your confidence! Know that the people behind the table, WANT you to be the one to solve their problem. They NEED to cast the show and only want the best people for a particular project, and they all hope that you will be the one to solve that problem. You will not be able to understand the full scope of the needs. Look, height, age, matching a chemistry, matching vocal qualities. If you are not “right” for a role or a project, it is not about YOU or your talent. You have to go in, do your best, and let it go.
What has been the most difficult time in this career for you? Looking back, how has that shaped you to who you are now?
That’s a hard question, because there will always be difficult times and I have certainly had my share of difficulty But there has also been elation, joy, self pride and victories. This “business we call show” is hard and disappointing, and at times cruel. All of it has shaped me.
What’s something you wish you had done or wish you had known earlier?
That this is a business, and you can’t take it personally that everyone is climbing and competing for their own success. Take care of yourself, and find, cultivate and maintain your true friendships and business partners.
Where are you on your mountain?
I am on the summit! THIS CLOSE!
RAPID FIRE!
Favorite Broadway show of all time: Into The Woods
TV show that you love: British Baking Show
Favorite music on your commute: Sara Bareilles
Any other obsessions?: Sondheim, coffee and chocolate (oh my!)
Favorite part about teaching: Watching a group of students have a collective “AH HA” moment.
Social media is ________: Going to continue to get us all into trouble
Religious, Spiritual, or nah?: Spiritual
Coolest part of being married to a composer: Hearing the music come from the piano and the guitar at any given time.
Biggest beef with the business: Misogyny and cliques
Favorite ‘hat’ you get to wear in this industry?: Creative Artist
Things that feed my soul: Teaching musical theatre 2 days a week to kids at Rider University. I am incredibly passionate about passing on to the next generation.
I get inspired when _______: The underdog wins against all odds.
Social media handles: #ChasingRMusical, www.ChasingRainbowsMusical TinaMarieC.com
Anything you’d like to promote?:
Ruby singing Should I: Click here.
New Shoes YouTube: Click here.
Broadwayworld.com article: Click here.
Photo Credits:
1. Feature Photo
2. Freshman Students last year from ‘Acting Scene Study’ class at Rider University.
https://www.rider.edu/news/2019/04/05/musical-developed-rider-professor-track-broadway
3. Performing days! Into The Woods as The Bakers Wife at The Fulton Theatre with Randal Frizado as the Baker. It takes two!
4. Marc Acito, Ruby Rakos, Lorna Luft. Michael Wartella, David Libby and Richard Winkler opening night of Chasing Rainbows
5. Max Von Essen and Sophie Knapp from Chasing Rainbows