When you look at her you think one thing, then she opens her mouth and it’s some- thing you wouldn’t expect. I loved her in Sweet Charity on Broadway. Gwyneth Paltrow is another one that I have my eye on because she is fearless at breaking any image you might have of her. She took guitar lessons to be an authentic country star. She’s never afraid to try something new and different. Like on Glee, she was silly, goofy and sophisticated; sexy and kind of raw. She did not worry about what people thought. It could have flopped and it didn’t. What excites you most about being in this production of Cabaret? Well, it’s Cabaret. Everybody knows it, loves it. I have known these songs my whole
life. But truly, this is going to be unlike any Cabaret you have heard, seen or experienced. Our first task was to unlearn everything we knew about this play –the way it is sung, treated. We are building this play up like it has never been done before. I am so excited for what’s to come. It’s special; it’s own thing. The Emcee is unlike anyone else. Sally is unlike any other Sally. Where did you grow-up? I came here from New York where I taught high school theater for five years. I’ve been
in San Diego for two and a half years now. Teaching was a love that consumed me, but I missed the theatre and acting. When I moved to San Diego I knew it had a strong theatre community. I jumped right in with auditions and I’ve been working solidly. Do you sometimes miss teaching? Fortunately, I’ve been able to do some teaching through the Playwrights Project. I
Karson St. John as Emcee Tell me about some of your other local roles.
Last year I did Title of Show with Diversionary Theatre; a four-person comedic musical.
It reminded me how much I loved musical theatre and that it is time to get back into it. I was doing Shakespeare, playing Rosalynn in As You Like It when I auditioned for Cabaret. It’s a dream play. I loved it when I worked on it in college. Did you come to the auditions intending to nab the role of Emcee? No, actually, I was very surprised at the outcome, I think even Sean was surprised, [Di-
rector Sean Murray] it evolved organically. I went in auditioning for Sally, it all was going great. At the third round of auditions all the girls were singing and dancing together. Sean said, “Hey, I want you in the show but I have an idea and I want you to think about it. When you are up there dancing with all the women, you have this strength about you - use that strength, come in again and read for the Emcee.” At first I said, “What?” Then I said, “yes.” When I got home, it struck something in me— this has never been done, never been seen. This is perfect, it jived with me. I came back to auditions dressed for the part with red lipstick, leather pants and knee high boots. I did a couple songs, took some direction and feedback. We shifted the keys a little bit. I have a strong lower register. Sean then said, “I want to do this, do you want to do it?” It’s so exciting, uncharted territory. What inspirations or muses are you drawing upon to play the Emcee? I have random inspirations, for different reasons. Amanda Palmer, who has done this,
she’s the only female I could find that has played the Emcee. She’s got this masculine and powerful femininity about her. That’s one of the things I am discovering; how to alternate hyper- masculine and hyper-feminine. Androgyny that is obviously both. On the total other end of the spectrum, I admire Christina Applegate, her comedic talent. Comedy is an element that I really enjoy and it comes pretty naturally to me.
was acting for them and when I came to understand the mission of the organization it was a great opportunity to continue teaching. It’s not full-time, but I teach playwrit- ing in five to six weeks residencies at different schools. I’ve worked with fourth grade public school students and an honors drama class of eleventh and twelfth-graders at a private school. Why teach playwriting versus acting? We are using playwriting as a method for kids from troubled backgrounds to write monologues and short scenes, to work through hardships and challenges. I have im- mense respect for what the project is doing, empowering kids to use their words as tools to navigate the world. That’s awesome. To get them thinking about dialogue—both sides of a conversation, what moti- vates the character’s response. I can see how that would build conflict-resolution skills. Sounds like life keeps you busy. How do you stay balanced? I’m a Yoga instructor, which links to my teacher and coaching side. Yoga keeps me
integrated with who I really am, no matter what character I might play. It helps me maintain a strong sense of myself. I teach at the Little Yoga Studio in San Diego and at Namaste in Ocean Beach. I do some private classes too. It’s a selfish love, it keeps me whole, centered—I don’t apologize for it. Every month of my life is different, Yoga helps me keep a strong thread through my life. I’m getting married this summer, my fiancé and I are really enjoying the experience
of preparing for a wedding. We enjoy nature and walking along the beach together. You’re only engaged once.
“Cygnet is doing this show at the theatre in Old Town and they are transforming that space. From the second you walk in the door you are in the club.
That’s it, you are on the ride, if you have a problem with anything, too bad.
– Joy Yandell MARCH 2011 | RAGE monthly 19 “
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