Arts & Entertainment
‘If’ out, ‘Then’ what?
Broadway vet lets go of fear at home and on stage
Actress Jenn Colella in rehearsal for ‘If/Then.’ (Photo by Matthew Murphy; courtesy National Theatre)
‘If/Then’
Through Dec. 8
National Theatre
1321 Pennsylvania Avenue, NW
$53-$93
800-514-3849
Early in her acting career, Broadway’s Jenn Colella was counseled that it would be unwise for her to be out professionally. When casting directors see you as lesbian, her advisors reasoned, they become less likely to cast you in straight romantic leads.
There was a time, Colella says, when she would have been reluctant to portray a lesbian on stage much less talk about her sexuality openly. But in recent years her outlook has definitely changed.
Today Colella is out and proud. She’s also playing one half of a lesbian couple in the hotly anticipated Broadway-bound musical “If/Then,” currently premiering at National Theatre. Created by Tom Kitt (music) and Brian Yorkey (book and lyrics), and staged Michael Greif (the creative team behind the Tony Award-winning “Next to Normal”), “If/Then” tells the story of Elizabeth (“Wicked’s” green-faced wonder Idina Menzel), a woman on the precipice of middle age who returns to New York City to reboot her life. The heady cast also stars LaChanze, who won a Tony Award for her portrayal of Celie in “The Color Purple, and out actor Anthony Rapp (“Rent”).
“I’m thrilled to have the opportunity to play a gay character in ‘If/Then,’ especially someone like Anne,” says Colella, 39. “She’s a sassy fun-loving girl not unlike myself who’s in a relationship with Kate [LaChanze’s character]. Anne is madly in love and very sincere about taking it to the next level and actually tying the knot. It’s a very real look at a contemporary lesbian relationship. You don’t see a lot of that in musical theater.”
She says changing attitudes overall helped her loosen up.
“As I became older and wiser, and began noticing straight comrades realizing it was no longer fair to discriminate against gay and lesbian actors, being out got easier,” Colella says. “Also, I began to feel a responsibility to be out. I used to think it was entirely a personal choice, but now I think being out is also taking responsibility for others who may not have the courage to do so.”
Last year Colella was involved romantically with a male actor, but she doesn’t identify as bisexual because the vast majority of her relationships have been with women. Currently she is in a committed relationship with a woman who is studying for her master’s degree in midwifery.
Growing up in Summerville, S.C., Colella began singing early. She and mother frequently sang Barbra Streisand around the house, and while there weren’t many theatrical training opportunities in town, Colella took advantage of what was available.
“There was a woman who taught out of her garage, but my mom was a teacher and couldn’t afford the fees, so I traded odd jobs for classes. I was scrawny at 15 but I painted that lady’s entire house. And it was worth it. The group did ‘Oklahoma,’ and I got to play to Gertie.”
Before leaving South Carolina for the West Coast, she graduated from college and did some professional acting at the respected Trustus Theater in Columbia. She earned a master of fine arts in acting from the University of California, Irvine, and remained in L.A. determined to go the sitcom route. During this time, she got into standup.
“It was challenging. If you fail in standup you can’t blame anyone but yourself. But it definitely increased my confidence and now there’s really nothing that scares frightens me in terms of performance. Scarier were the fellow comics. They can be a dark bunch.”
Next Colella smartly reconsidered musical theater. In a high profile Broadway debut, she was cast as Sissy opposite Matt Cavenaugh in the musical “Urban Cowboy” in 2003. She went on to star in “High Fidelity,” and as Hedda Hopper in “Chaplin.” Her Off-Broadway credits include, among others, “Closer Than Ever” and “Slut.” She played Daisy in “Sideshow” at the Kennedy Center.
Prior to taking on “If/Then’s” Anne, Colella was cast as a lesbian just once before. In 2008 she starred off-Broadway as the title character in “The Beebo Brinker Chronicles” based on Ann Bannon’s pulp fiction novel about a young lesbian’s adventures in 1950s Greenwich Village.
“Beebo was a real butch,” Colella says. “I wore batteries in my front pockets to alter my center of gravity. My male and feminine energies are pretty equally balanced and in that way I’m more like Anne. But like Beebo, I have been accused of being a bit of a womanizer.”
Typically Colella does new work. Not by design, she says. It just happens that way.
“I’m honored that creators trust me to collaborate on their babies. It touches me deeply. Plus I get to start from a blank slate and play. Of all the characters I’ve ever played, Anne is the closest to who I am in the world. It makes me feel very vulnerable but I love it. I’m wide open to this experience.”
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Theater
‘Inherit the Wind’ isn’t about science vs. religion, but the right to think
Holly Twyford on new role and importance of listening to different opinions
‘Inherit the Wind’
Through April 5
Arena Stage
1101 Sixth St., S.W.
Tickets start at $73
Arenastage.org
When “Inherit the Wind” premiered on Broadway in 1955 with a cast of 50, its fictional setting of Hillsboro, an obscure country town described as the buckle on the Bible Belt, was filled with townspeople. And now at Arena Stage, director Ryan Guzzo Purcell has somehow crowded Arena’s large Fichandler space with just 10 actors, five principals and a delightful ensemble of five playing multiple roles.
Inspired by the real-life Scopes Monkey Trial of 1925, Jerome Lawrence and Robert E. Lee’s fictionalized work pits intellectual freedom against McCarthyism via the imagined trial of Bertram Cates (Noah Plomgren), a Tennessee educator charged with teaching evolution. Drawn into the fracas are big shot lawyers, defense attorney Henry Drummond (Billy Eugene Jones), and conservative prosecutor, Matthew Harrison Brady (Dakin Matthew). On hand to cover the closely watched story is wisecracking city slicker and Baltimore reporter E.K. Horneck (played by nonbinary actor Alyssa Keegan).
Out actor Holly Twyford, a four-time Helen Hayes Award winner who has appeared in more than 80 Washington area plays, is part of the ensemble. In jeans and boots, she memorably plays Meeker, the bailiff at the Hillsboro courthouse and the jailer responsible for holding Cates in the days leading to his trial.
Twyford also plays Sillers, a slack jawed earnest employee at the local feed store who’s called to serve on the jury. And more importantly she plays Brady’s quietly strong wife Sarah whom he affectionately calls “Mother.”
When Twyford makes her memorable first entrance as Meeker, she’s wiping shaving cream from her face with a hand towel. With shades of Mayberry R.F.D., the jail is run casually. Meeker says Cates isn’t the criminal type, and he’s not.
“There’s a joke among actors,” says Twyford. “When an actor gets his shoes, they know who their character is. And it’s sort of true. When you put on boots, heels, or flip flops, there’s a different feeling, and you walk differently.”
Similarly, shares Twyford, it goes for clothes too: “When Mother slips a pink coat dress over her cowboy boots, dons a little hat and ties her scarf, or Meeker puts on his work shirt, I know where I am. And all of that is thanks to a remarkable wardrobe crew.
“Additionally, some of the ensemble characters are played broadly which is helpful to the actors and super identifying for the audience too.”
During intermission, an audience member loudly described the production as “a proper play” filled with beautifully written passages. And it’s true. Twyford agrees, adding “That’s all true, and it’s also been was fun for us to be a part of the Arena legacy as well. Arena took ‘Inherit the Wind’ to the Soviet Union in the early ‘70s when the respective governments did a cultural exchange. At the time, the iron curtain was very much in place, and they traveled with a play about a man with his own thoughts.”
When the ensemble was cast, actors didn’t know which tracts exactly they were going to play. “What came together was a cast, diverse in different ways. Some directors, including myself when I direct, are interested in assembling a cast that’s a good group. No time for egos. It’s more about who will make the best group to help me tell this story.”
At one point during rehearsal, ensemble members began to help one another with minor onstage costume changes, like jackets and hats: “We just started doing it and Ryan [Guzzo Purcell] picked up on it, saying things really began to come alive when we helped each other, so we went with that.”
“For me, it was reminiscent of ‘The Laramie Project’ [Ford’s Theatre in 2013] when we played five different parts and we’d help each other with a vest or jacket in a similar way. It worked so well then too,” says Twyford.
“Inherit the Wind” isn’t about science versus religion. It’s about the right to think, playwright Jerome Lawrrence has been quoted as saying. And it’s a quote that makes the play that much more relevant today.
Twford remembers a chat in a hair salon: “I was getting my hair cut and the woman next to me shared that she was tired of message plays. Understandably there are theater makers who believe that message plays are the point, while others think it’s all about entertainment. I feel like ‘Inherit the Wind’ sits in a nice place in the middle.”
She adds “the work is a creative way of showing different opinions and that, I think, is what we should be paying attention to right now. Clearly, it’s not right or wrong to express what you think.”
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‘Inherit the Wind’ isn’t about science vs. religion, but the right to think
