WE SAT DOWN WITH MATT DEANGELIS,
ONE OF THE PERFORMERS FROM THE NATIONAL TOURING COMPANY AND THIS IS WHAT HE HAD TO SAY.
I like to ask actors for their own synopsis on the show, sort of a personal “spin” on the production. For me, Once is all about the music. It’s a story about
two musicians lost in their lives, who are in a relation- ship not just in the typical sense, but based totally on their music. The other thing I enjoy about this show is that it’s not sealed up nicely with a bow. Real love and real life just aren’t like that. I think that most people can relate to meeting somebody wonderful, who you connect with in a re- ally deep and profound way, but the timing isn’t quite right, or there are obstacles and difficulties around making it work. I think our show does a really great job of telling the story of that part of love. That is absolutely my take on the show; there is something very real about the relationships and the circumstances the characters find themselves in. I think that’s what makes it so relatable. As an actor, it
is such a wonderful thing to be in a show that touches people in such a tangible, very special way. I think every single person in the audience can relate, every- body knows what that sense of “almost” feels like. Musicianship is the lifeblood of the show, you all sing, dance, act and play the accompanying instruments, something unique to this production. Yes! There is something inherently unique and special about music and its ability to communicate. Music is an inexplicably linked part of our human- ity and our culture. You can try to fight it, but there is something deep down in our souls that can only be fed by it. It has been such a privilege to be a part of that with this show.
I imagine that the audition process for Once was a unique one, can you please talk about what it was like? It really was. They wanted to be sure that you were
a real-live bad ass musician first, but then, of course you still had to be a killer actor too. They didn’t want a show full of musicians who could “sort of” act, or actors who could “sort of” play. It definitely comes across, each of the actors are musically solid. You just can’t fake playing an instrument properly, that each of you are so accomplished is part of what draws you in. Our creative team was very adamant about that
concept. They wanted it to appear like whomever got each part had grown up playing their instrument. When they auditioned the guitar players, of which I am one in the show, if you looked at your hand while playing even once, you didn’t get called back. I think that concept is a really important part of the show and adds a great deal of authenticity to it. It makes sense if you look at reviews and commentary; everyone has such wonderful things to say about it. I was hard pressed to find anything negative. It’s a little show, with little moments that started
in the New York Theater Workshop and then went to the 900-seat Jacobs Theatre. Nobody knew what it was going to be like in places like the Fox in Atlanta, which seats 4,700. The show’s director, John Tiffany, always says, “We’re trying to make it like the world’s slowest moving snowball… a collection of little tiny moments and idiosyncrasies that show well in intimate settings.” There is some unspoken truth with this show and some sort of psychic connection that allows those moments to read through to the audi- ence, even in larger venues. Your career has been pretty steady, American Idiot, Once and Hair. You have chosen roles that have some meat to them and have all had very successful runs. I have been very lucky in that I have been involved
with shows that I feel really matter. I think that the three shows I’ve been fortunate enough to be involved with, have been the kind of theatre that helped to really change people’s hearts and minds. I have also been very lucky with my career to have worked with people like Joey Parnes and Bob Cole and this creative team has been as good as anybody I’ve ever worked with. You have also established a strong community service outlet through them, especially within the LGBT community. Are you still involved with Broadway Impact? We just did an event in L.A. recently. The shows
have definitely given me a platform, even before my little sister came out, to advocate for gay rights. It has allowed me to raise money and to work with other charities and do outreach. If it weren’t for Broadway Impact, we wouldn’t have marriage equality in New York State. Brilliant, it’s so encouraging to see it happening across the country. What’s right will always come through in the end.
I’ve said this from the beginning, it’s not just a gay issue, it’s a civil rights issue. Until straight people start getting angry about it, things won’t change. Civil rights can’t just be a Black problem, it can’t just be a LGBT problem, it is an “everybody” problem. Change happens when the larger community gets bothered by inequality and assists with the process of changing it— that’s the most important role that I feel like I have.
Once is at the Civic Theatre in Downtown San Diego Tuesday, August 12 through Sunday, August 17. For tickets and more information call 619.564.3000 or go to
broadwaysd.com.
The next stop for Once is Segerstrom Center for the Arts in Costa Mesa, from Tuesday, August 19 through Sunday, August 31. For tickets or more information call 714.556.2787 or go to
scfta.org.
AUGUST 2014 |AUGUST 2014 | RAGE monthly RAGE monthly
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once tour company © joan marcus
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