Brandon J. Dirden, Waiting for Godot: My mother helped out with the plays at my elementary school, and in my first show, I got to play Jack in Jack and the Beanstalk. I don’t remember much, but I do remember that I got to rescue the goose that laid the golden egg (who I had a major crush on), and that pretty much sealed the deal for me.
Luke Evans, The Rocky Horror Show: Without question, it was Michael Crawford on the original cast recording of The Phantom of the Opera. I never actually saw him perform it live—I heard the music on an LP when I was young, growing up in Wales, and it completely transported me. I became obsessed with it. There was something about his voice that felt cinematic, emotional, and dangerous all at once. I remember lying there listening to it and being able to visualize the entire world purely through the music and storytelling. It felt so grand and theatrical, but also incredibly intimate. That album opened up my imagination in a massive way.
Marla Mindelle, Titaníque: Annie! I was belting Tomorrow from Annie at age three. I was a screaming redhead who wanted to be a screaming redhead, so it was musical theater inception as early as I can remember.
Layton Williams, Titaníque: Billy Elliot was the first musical I ever auditioned for and I played the title role for two years, making my West End debut. It was almost 20 years ago and I’ve never looked back.
Christopher Abbott, Death of a Salesman: Nathan [Lane]’s line, “Is there any cheese?” I don’t know why, I think about it every morning.
Susannah Flood, Liberation: Oh, God, well, this is going to sound so corny—so actor-y—but my parents were acting teachers, and my dad taught from The Seagull, and so I often think of the Nina line from Act 4: “When I think of my vocation, I’m not afraid of life.” Ugh, God. I’m annoyed with myself, but I stand by it.
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