University of Central Florida STARS Electronic Theses and Dissertations, 2020- 2020 Just A Number: A Cabaret Exploring the Roles My Age Prevents Me From Playing Monica Andrews University of Central Florida Part of the Theatre and Performance Studies Commons Find similar works at: https://stars.library.ucf.edu/etd2020 University of Central Florida Libraries http://library.ucf.edu This Masters Thesis (Open Access) is brought to you for free and open access by STARS. It has been accepted for inclusion in Electronic Theses and Dissertations, 2020- by an authorized administrator of STARS. For more information, please contact [email protected]. STARS Citation Andrews, Monica, "Just A Number: A Cabaret Exploring the Roles My Age Prevents Me From Playing" (2020). Electronic Theses and Dissertations, 2020-. 9. https://stars.library.ucf.edu/etd2020/9 JUST A NUMBER: A CABARET EXPLORING THE ROLES MY AGE PREVENTS ME FROM PLAYING by MONICA RAE ANDREWS B.F.A. University of Central Florida, 2011 A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts (Musical Theatre) in the Department of Theatre in the College of Arts and Humanities at the University of Central Florida Orlando, Florida Spring Term 2020 Major Professor: Earl Weaver © 2020 Monica Rae Andrews ii ABSTRACT Learning your type in the entertainment industry is not an easy lesson for many young performers. This is especially true if you are already being cast as the ‘older woman’ or ‘witty sidekick’ at 13 years old. A wise professor once told me, at the ripe age of 20, that moving to New York City after graduating with my Bachelor of Fine Arts degree in Musical Theatre would be a mistake. He told me that as a character actress my time will come and that I am too young to play the roles I am right for. These words were not easy to hear and took time to accept, but it helped me shape my future. Knowing I had time to spare before pursuing a professional career as a performer, I have been teaching theatre in middle and high school to inspire other students to refine their craft and continue their own path to a career in the theatre industry. I also got married and started a family, so by the time I am ready to pursue a career as a professional actress, my children will be older and more independent and not need mommy around 100% of the time. This also gives me plenty of time to research and continue to perform (as my teaching schedule allows) for when that time comes. It occurred to me I should explore those mature women roles and create a one-person cabaret titled Just a Number: A Cabaret Exploring the Roles My Age Prevents Me From Playing. I wanted to explore and develop performance roles I will age into. This cabaret allowed me the opportunity to explore those roles, but also how my life has and will continue to prepare me to play these strong characters. Most of the characters have gone through major life experiences. By the time I am at the right age to tackle those roles professionally, I will have already experienced marriage, motherhood, loss of loved ones, moving jobs and homes, and who knows what else! Those experiences will allow me to bring more life and authenticity to the roles iii that this cabaret featured. I also took a moment to reflect on my career as a young performer who was not the right type for roles I was up for. This was a tough reality to accept as a young performer, and I came to terms with that truth; taking a moment to poke fun at that time in my career added some levity to a potentially heavy subject that many actors must face. For the material, I looked at the works of major musical theatre composers and lyricists whose material features strong female characters of a certain age. I incorporated songs that chronicle the life of a character actress and highlight major life events that someone my age needs to go through to truly understand what the character has experienced. iv ACKNOWLEDGMENTS To Earl Weaver, for being my voice of reason and serving as my thesis committee chair. It was your knowledge of the industry and understanding of who I am as a performer that set me on a course of self-discovery. This journey has been so rewarding and continues to teach me in ways I never thought possible. To Belinda Boyd and James Brown, for their guidance and expertise in serving as my thesis committee members. From my undergraduate to graduate studies, you have offered words of wisdom that inspire me. To my husband and sons, Steven, Henry, and Benjamin Andrews, for being my biggest cheerleaders throughout my graduate classes and thesis development. Henry and Benjamin- thank you for reminding me to laugh and have fun every day. Steven- thank you for pushing me and never letting me forget why I started this fulfilling process. To my parents, Richard and Teri Reiken, for their support in an uncertain industry. From driving me back and forth to lessons and rehearsals to allowing me to study something I truly love; I am eternally grateful of all you sacrificed to help me succeed. To my uncle, Howard Olah-Reiken, for introducing me to musical theatre and the business that would inspire my dreams. You brought me to my first Broadway show when I was four years old and a passion for musical theatre was the best possible trait you could have passed onto me. To Melody Herzfeld, for stirring something within me during my high school years and continuing to be inspirational as a mentor, colleague, and friend. Your tough love and honesty helped shape my life in unmeasurable ways and I hope to be half the teacher you were for me. v TABLE OF CONTENTS CHAPTER ONE: INTRODUCTION ............................................................................................. 1 CHAPTER TWO: HISTORICAL RESEARCH ............................................................................ 4 Type and Branding ...................................................................................................................... 4 How the Industry Views Actresses of My Type ......................................................................... 7 Well-Known Actresses of My Type.......................................................................................... 11 CHAPTER THREE: SCRIPT AND SCORE ANALYSIS .......................................................... 16 Song Selection ........................................................................................................................... 16 Songs in Context of the Musical ............................................................................................... 18 Songs in Context of the Cabaret ................................................................................................ 37 CHAPTER FOUR: THE PROCESS ............................................................................................ 42 Ideas for Cabaret ....................................................................................................................... 42 Writing Process ......................................................................................................................... 44 Rehearsal Process ...................................................................................................................... 49 CHAPTER FIVE: CONCLUSION............................................................................................... 53 LIST OF REFERENCES .............................................................................................................. 55 vi CHAPTER ONE: INTRODUCTION Learning your type in the entertainment industry is not an easy lesson for any young performer. Especially if you are already being cast as the ‘older woman’ or ‘witty sidekick’ at 13 years old. This happened for me all throughout my formative years. I recall one particular instance in high school when this harsh reality hit. It was the summer before my senior year of high school. Our theatre department was producing How to Succeed in Business Without Really Trying that Fall and all I wanted was to play Rosemary. I had never played the love interest or leading lady, and it was my last year of high school, so I felt I had earned it and knew I could sing the role. I met with my high school theatre teacher, Melody Herzfeld, and told her I was auditioning for Rosemary. She very bluntly said, “You are going to be Smitty.” I was heartbroken, but she was adamant on having me cast as (once again!) the witty sidekick. Regardless of her preconceived casting choices, I came to the auditions in an outfit that resembled Rosemary and even sang a cut of her solo “Happy to Keep His Dinner Warm.” I didn’t even get a callback for Rosemary and was, of course, cast as Smitty. It was bittersweet though. I didn’t get the role I really wanted, but knew I’d have a blast playing a role I was truly right for. This performance got great reviews and led to a South Florida Cappie Award, which recognizes excellence in high school theatre, for Featured Actress in a Musical. This was one of my first lessons in type in the theatre industry that started my journey into finding out who I am as a performer, owning it, and making it into a successful career. When I got to college, I was faced with a similar lesson. A wise professor once told me, at the ripe age of 20, that moving to New York City after graduating with my Bachelor of Fine Arts degree in Musical Theatre would be a mistake. While my classmates were all making their 1 way in the theatre industry, he told me that as a character actress my time will come