Tessa Ricci

December 7, 2009
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Magnifying Musical Theater

Theater is the ability to create something bigger than yourself. Brian Cordeiro

Prologue: Behind the Curtain

Darkness. My heart is pounding, my hands shaking, my teeth silently chattering. I peek out
through the curtain and see the lights dimming, people settling down into their seats. I take a
deep breath. And then it starts.
I can feel the rumble of the drums and the powerful hum of the music. I wait patiently while
observing the eager faces surrounding me. I squeeze the arm of the person next to me, silently
passing some of my energy to her. After one more deep breath, I step over the stages threshold
and leave reality at the door.
I have entered a new world filled with passion. A world where every word, every look, every
motion speaks volumes. I am no longer in my own mind, but the mind of a character. I try to
hold onto and savor every second I am on the stage the heat of the shining bright lights on my
face, the smooth surface beneath my feet. Simply stated: I love to perform.

Act One, Scene 1: The Early Years
I was always drawn to theater. Before I could even walk, I would attempt to recreate
musical showstoppers and recite lines from various plays. While I splashed water inside my
bathtub, I would belt out, O-K-L-A-H-O-M-A! Oklahoma! from the musical Oklahoma. At
three, I stepped up on a stool in front of my mirror, and, with a pleasant British accent, delivered
lines from A Secret Garden. I stared at my face in the mirror, trying desperately to become Mary
Lennox. My parents died in India of the cholera. At that moment, my mom walked in and
was surprised to find me saying such a sophisticated line with such intent. Despite my young
age, it was clear that I belonged in the spotlight.

Backstage: Childhood Actors
A workshop entitled Crying on Cue sits in the middle of the Oakwood Toluca Hills
apartment complex in Los Angeles. This workshop is geared toward helping families who are
interested in pursuing a Hollywood career for their children. It offers housing in addition to the
Child Actor Program. This program brings in professional actors, such as Trislia Simmons, an
actress who has appeared on Desperate Housewives and Will and Grace, to coach the
children. The mentality of Crying on Cue is that in order for a child to be marketable in the
acting field, he or she must be able to produce real tears. If youre a kid, and you can cry,
youre going to have a long road ahead of you lots of work (Hollywood Elementary). This
may seem simple enough; children often cry. But at Crying on Cue, the method in which they
work up their tears, however, is very unhealthy.
Jaysha Patel, a nine-year old from Bradenton, Florida, lives in Oakwood with her father,
Jay. When her father saw that she excelled in many different areas Indian folk dancing, soccer,
swimming, and karate he wanted her to choose only one activity so that she could start the
professional climb while she was young (Hollywood Elementary). Jay appears to be a loving
and supportive father, but the stories he hears from his daughter scare him on some level.
One day, Jaysha returned home confident and proud of herself. The previous day she
had managed to conjure up some tears on her own. She described to her father how she had
prepared herself. First, she thought about her dad dying. That wasnt enough. Next, she thought
of her mother dead. Still, it was not enough to trigger tears. Then she tried imagining her dog
dead. Again, no success. Finally, she tried both of her parents. That is what did it: Jaysha
pretended her parents had been stabbed (Hollywood Elementary). When her acting coach asked
Jaysha how this thought made her feel, she said it felt bad. Immediately after her eyes filled
with tears, her coach started clapping, followed by the applause of the other children. She cried
for a few more moments and then smiled as she looked up.
It is important for actors to have a strong sense of their own emotions, but a nine-year-
old being encouraged to picture her parents violently dying in order to cry is the farthest thing
from natural.

Act One, Scene 2: July 2001
Tessa Ricci? Youre next. Its my turn. Im starting to feel the butterflies bouncing
off the sides of my stomach. I walk down the aisle, up the stairs, and onto the stage, my feet
dragging beneath me. I keep telling myself, You ARE Snoopy. You can do this. But no matter
how many times I repeat this mantra, my nerves do not calm down.
What I do begin to notice, however, is that my current feeling is different then the nervous
feeling I have right before I get a shot at the doctors office. Its different than the feeling
immediately before a big math test. Instead, it closely resembles the emotion I feel on Christmas
morning, anticipating excitement and gifts, or the feeling I experience while talking to the boy I
secretly have a crush on. As I step onto the big X taped on the floor of center stage, this
newfound feeling disappears and I am able to sing my heart out without hesitation.
Later that night, I sit by the phone, waiting patiently for a call from the director. However, after
hours of answering the phone, there is still no call. I am starting to worry. Terrible thoughts
begin to run through my mind. They arent even going to put me in the show. I had a terrible
audition. They dont like me. I decide to give up.
I return back to my room, tears silently forming in the corners of my eyes. As I cry softly, I hear
the phone ring once more; this time, I dont run to answer it. A few seconds later, I hear my
mom yell up to me, Tessa! Telephone! I still dont want to get my hopes up. Just because I
have a phone call does not mean it is the director telling me I am cast as Snoopy. Even if the
director is on the other end of the line, there is still a possibility that I will simply be playing
Child #4.
Hello? My voice is shaking, still trying to hold back tears.
Hi Tessa. This is Christine OGrady from Fantasy Works. I just am calling to let you
know Please, please, please. I am holding my breath. that we would love for you to play
to role of Snoopy in Charlie Brown! I am stunned, absolutely ecstatic.
Practically speechless, I manage to squeeze out the words, Oh my gosh! Thank you so
much! I am beaming as I hang up the phone. Mom! They cast me as Snoopy!

Act One, Scene 3: December 2003

I button up my ruffled shirt and tuck it into my long gray striped skirt. I spray one more
burst of hairspray onto the French braid that extends down my back. It is closing night of the
fourth and fifth grade play, The Music Man. I take one last look in the mirror and leave the
bathroom ready for the last chance to be Marian the Librarian.
When places are called, I walk up the stairs slowly, one step inhaling, the next
exhaling. I stand behind the black curtain and listen for the first song to finish. Then, as I hear
the applause, I push my way through the cloth and make my way onto the black stage.
I have reached my element. Stepping out onto the stage makes all my problems
disappear. It is as if I have an alter ego, another life that is so close to being perfect. The on-
stage chaos blurs around me, and the only thing I am focused on is my character. The first time I
speak, I am sure to make my voice articulate and crisp. With flowing and graceful movements, I
remain in the mind of Marian Paroo.
Although I am only eleven years old, I have developed the mindset of a smart,
composed twenty-six-year-old. From this production, I have gained maturity. Not only has the
character herself enhanced me, but also the opportunity has transformed me.
It was a big step for me when I found out I was playing the lead role in the fourth and
fifth grade play. I gained a huge responsibility: I had to memorize an immense number of lines,
deliver them with emotion, and convince the audience that I no longer was Tessa Ricci. This
role was a stepping-stone for me it helped demonstrate that I had the confidence to successfully
undertake lead roles.

Backstage: Casting Secrets
There are many differences between on-screen acting and on-stage acting, but one thing
they have in common is the castings unpredictable nature. No matter what, a director, on
Broadway or in Hollywood, will be looking for a distinct attitude, voice, or appearance.
Alex Etel, from Manchester, England, was new to acting. He showed up at a casting
search of schools around his town. The casting director, Danny Boyle, saw his wide-eyes and
angelic face and immediately was drawn to him. Although he did not have to most talent, Boyle
was more interested in his persona. I didnt really want an actor. I was looking for an
innocence, a simplicity and a beauty, said Boyle (Acting Their Age).
Casting an untrained actor, however, is a great risk. Despite the appeal of a naivety, he
could forget his lines, or become overwhelmed by the new and huge project that is partially
resting on his shoulders. A directors strategy to keep a child actor in the mindset of a scene is
very important. They must have fun, but at the same time, maintain a serious attitude so that the
child remains focused. After a few filming attempts, a child may begin to get bored, but Boyle
says it helps to act very stupid. Im an encourager, so Ill say Very good, everyone! Lets do it
again! However, that doesnt always work out. Children do not understand why they must
keep repeating the same scene over and over again if it was very good. Once the child is
reminded that they are going to be in a film, they remember what a remarkable experience it
is. Then, they want to do a good job (Acting Their Age).

Act One, Scene 4: March 2009
Take my love, for love is everlasting.
A tradition is a way of staying connected to the people who came before you. It is a
way for those who will take your place after you to witness an experience they will soon be
familiar with. In Hendricken Theater, a tradition is a way to express the bond each person shares
with the rest of the community. [We] are keeping alive something that is much bigger than a
show. We stand on the shoulders of those that came before us. [We fill] in the footsteps of the
person who came before us and [keep] open treads for someone to walk behind (Cordeiro).
I will never forget the Les Miserables production. Not only was it one of the most
powerful musicals I have participated in because of its content, but the people with whom I
shared the experience, is what makes Les Mis so memorable. Theater is, in general, a very social
event, as each production is, at its core, a communal project. We stood in a circle, with our arms
around each other; somehow, everyone was connected. I looked around, my vision hazy from
the tears pouring from my eyes. It was the last time we would all be together in the same place.
Mr. Brian Cordeiro, the director of the Arts at Bishop Hendricken High School, stepped
into the center of the circle. He was proud of us. He was proud of our hard work and
commitment. The show was ours now. He told us,
Theater, like many art forms is a way of expressing what we know, but dont
necessarily have the words forit comes out in story, it comes out in music, it
comes out in dance, it comes out in spectacleand we create a really unique
momentin which the audience, the actors, and the whole ensemble is somewhat
suspended, is somewhat brought to a place in which we are all part of community.
At the end of the show, I stood at the top of a platform in the center of the stage. I
would look down, and with two others, sing the words, To love another person is to see the face
of God. There was something about these words that deeply touched the people who heard
them. They were moved by the story, the epic play and music that brings out really expressive
and somewhat tragic emotions in us (Cordeiro). As the entire cast reentered from many
different directions, all pointed toward center stage, I looked out at the audience, the lights bright
enough for me to observe the wide range of emotion. Each night, people would weep, chills
running up and down their spines. Their hearts would pound as they experienced a feeling of joy
mixed with sorrow. Mr. Cordeiro explains, The audience saw young people and loved how
hard they were working for and with each other and how much depth they brought to these roles.
Traditionally young people arent given the credit for actually feeling that depth or being able to
express that depth.
We, the cast and I, sang the last powerful note, raised our arms up, and heard the
thunder of applause as the audience sprung to its feet. I stepped off the platform and ran
backstage, preparing for the final sequence of bows. In the darkness, a group of us embraced
thrilled by what we had just accomplished. Together.
After the show was finally complete, I hurried to the dressing room and changed back
into my own clothes, back into real life. I walked out into a sea of people, all in some way
transformed and stunned by the performance they had just witnessed.
Les Miserables is a musical filled with war, love, honor, loss, and dreams. Each
character has a different story a story of passion and hardship. Every performance was
emotionally taxing for each cast member. This challenge, however, brought us closer to one
another. Once we had revealed our deepest, strongest emotions, there was nothing left to
hide. We grew closer by showing our true selves. Les Mis created a bond stronger than
most. We were all entirely invested in this show, and together, we created a performance that
was thoroughly life changing.

Act Two, Scene 1: Theater in the Real World
Theater enhances the lives of many. From on stage, in the audience, or behind the
scenes, theater creates another world, a place to escape and become someone else. Theater is
about creating a community, unifying a group of people to form a beautiful piece of art. It is
about reaching out to others, and impacting those who can relate to the innumerable stories that
are told on the stage.
Despite my love for the theater, I often question the practicality of being a professional
actress. Over the course of my seventeen years, I have gained so much from performing:
confidence, enthusiasm, creativity, the ability to think on my feet, and more. Acting
professionally is a lot of hard work constant rejection, the overbearing feeling of not being
good enough. The benefits of theater, however, are extremely valuable in life. Performing is
worth the difficulties, but pursuing a career in the arts is not necessary in order to gain the
confidence and strength acting instills.

Backstage: An actor should explore himself, and characters outside himself. Patrick
McGilligan
All people have a distinct and individual character within themselves. Every
individuals persona is to some extent a mask, or a form of acting (What is Great
Acting?). Because of this, do great actors, celebrities who make a living based on their
performances, actually emit talent? Or is their success simply based on their charismatic and
familiar personalities?
After an actor has developed a certain persona, they begin choosing roles that only fit
that prototype. Robert De Niro, for example, plays roles that are familiar to him and that parody
his own personality traits. However, this restricts his versatility and he remains within a single
realm of acting (What is Great Acting?).
There is a difference between actors who play themselves and actors who make a
conscious effort to convey their versatility (What is Great Acting?). A successful actor
must convince the audience that there is no truth but the story being told. He must stay
committed to his role. Additionally, an actor must have natural talent. Just as with many other
things in life, sometimes effort isnt enough. An actor must have an inherent passion to perform
and create theatrical art (Top 10 Qualities of a Great Actor).

Act Two, Scene 2: An Aspiring Actress
My sister, Felicia Ricci, is an actress in New York City. She has been performing since a
very young age. From the beginning, Felicia has had a natural connection and love for the
theater. I owe so many of my personality traits to theater, Felicia admits. Her upbeat and
charismatic personality is just one of the many positive attribute she can call her own. Acting,
she says, taught her to interact with other people, as well as to understand her own
emotions. Theater also helped Felicia develop her ability to take the floor a skill that, in many
people, often provokes great fear and anxiety. Actors are frequently confident when speaking in
front of others, and this confidence is a necessary life skill. It often comes in handy for job
interviews or even just meeting someone for the first time.
When Felicia wakes up in the morning, it is exhilarating for her to think of all the possibilities
that sit at her fingertips. Acting is a form of giving, Felicia says passionately. Generosity is
possible in other professions, but actually performing, feeling the rush of the applause, hearing
the audiences melodic laugher, is the most fulfilling thing you can do.
But being an actor, Felicia notes, is not all glamour and fame; it is often full of rejection and
takes a long time to fully adjust. Felicia, like all actors, could have a job one day, and lose it the
next. Last winter, in fact, Felicia found herself about to abandon acting. She stopped attending
auditions, didnt have an agent, and found herself at an apparent dead end. She had almost
stopped trying. The constant rejection had led her to believe that she didnt have what it took to
make it on Broadway. The following April, however, she cautiously got back on her feet. As
May approached and the first year anniversary of living in New York was around the corner,
Felicia began to put herself together again. She auditioned for everything she could. She lived
by a new philosophy: Instead of pursuing only high-paying acting jobs, she strove for every
performance gig she could, even if it was non-paying. With her day-job as a marketing associate
to keep her afloat financially, her transformed sense of momentum in the theater restored her
confidence and allowed her to identify as a working actor. She realized that pursuing a career in
acting was not just about success, but also about the learning experiences. She understood that in
order to reach her original goal, she might have to fight her way through the difficult and
stressful moments. I had to keep reminding myself that in the end, all of my hard work would
be completely worth it. With her newfound determination, she discovered her agent, and, from
there, the rest snowballed. Now, she will never again be ashamed to call herself an actor.

Act Two, Scene 3: Making the Music
Sam Carner, a lyricist and music composer, lives in New York City. Writing always
played a huge part in Carners life. When he was young, his creativity sparked when he wrote
long stories for children. In addition to developed characters and unique plot lines, he
incorporated descriptive songs. I always assumed I had a knack for writing little ditties almost
without trying, Carner recalls.
In the theater world, life is full of risks, and at the age of twelve, Carner took his first leap of
faith. With much encouragement from his father, he entered Maines Young Playwrights
Festival. He had adapted one of his stories, about a rabbit that runs for president, into a musical,
called Frank the Rabbit. He was deliriously proud when he won the contests first place
prize. A dream of his lifetime, he was given the opportunity to witness his story unfold on a
stage. Carner beams and widens his eyes as he explains, It was a very empowering
experience. Not only did I enjoy the actual writing process, but I enjoyed the collaboration, I
enjoyed the community, and I enjoyed the chance to reach out to this whole group of people,
hundreds of people, who came to see [my show] who Id never met before.
Sam continued his steady climb on the ladder toward professionalism. He was unaware
that this upward slope would eventually lead to a sharp cliff. In 2007, Carner had the
opportunity to have another one of his musicals, Unlockd, appear in the New York Musical
Theater Festival. This was an extraordinary chance to showcase his talents. After a great deal of
planning and rehearsing, it was finally opening night. Carner couldnt wait to see his story
performed for the first time in a New York venue.
Theater is very unpredictable and there are always so many intangibles. There was an obstacle
with the sound system and only the first three rows of the theater could hear crisply. It was too
late to fix the problem in a timely fashion. In addition to the sound crisis, Carner was not
entirely satisfied with some of the structural aspects of the production: for example, the staging
and the dialogue in the opening scene. He was devastated by the audiences bland response to
the opening night performance. After battling the inclination to abandon writing, he quickly
rebounded with limitless determination to transform Unlockd. I hate seeing my show and not
liking it. It was awful. It wasnt the show I wanted to see. Carner spent the entire day in
between shows hunched over a desk, tightly grasping his pen, and frantically making marks all
across his script. After spending twenty-four hours blinded by the glow of his laptop, he had
tweaked Unlockd and was proud of the result. The next day, he presented the thoughtful
additions to the actors only a few hours before the second performance. The actors scrambled to
memorize their new lines up until the very start of the show. In addition, Carner and his fellow
production staff members miraculously obtained a superior sound system barely a few hours
before the opening of this performance. With these vital improvements, the change on
Wednesday night from the top of the show was astounding because people were with it in such a
different way. It was such a relief and so joyful to have people connecting with it. I was
terrified they wouldnt have that chance.
The obstacles that stood in Carners way are commonplace in the life of a musical theater
lyricist. Despite the hardship, Carner remained completely committed to pouring his heart and
soul into the words and music of musical theater. In the end, working hard, staying focused, and
not giving up led to many more opportunities.
It is evident that refining and perfecting a musical, despite all thoughts to quit, is truly worth all
the intense labor. The writer observes his audience: smiles glowing, applause thundering,
emotions surging through the crowd, tears spilling, laughs echoing. Musical Theater is really
about communityand there is something really rewarding when you finally nail that. It takes a
whilebut after that, while watching the audience connect with [the show] during the emotional
moments, you feel like youve truly reached out. Sam Carner would ask for nothing more in
life. Even through the difficult times, he has found contentment in his life and in his job, and he
wouldnt have it any other way musical theater has been my most rewarding experience.

Act Three: In Years to Come
I have learned so much from acting and I continue to grow from each theatrical
experience I am a part of. Theater will forever be a hobby of mine, but unlike my sister and the
thousands of people who have moved their lives to Hollywood, pursuing a career in theatrical
arts is most likely not in my future.
Within my short life, I have already experienced rejection from the theater
world. Those are moments that I would not like to relive. Theater on Broadway is like a jungle;
it is highly competitive and there is never anyone to turn to. Everyone is in it for him or
herself. I wouldnt have the emotional stability to accept the constant rejection.
The transition from my participation in regional theater, where the pool of people is
much smaller than Broadway, to the major league of theater would be daunting, overwhelming,
and almost too much to handle.
On the other end of the spectrum, I have not ruled any options out of my future. I often
wonder what I might do besides theater. I certainly have other interests, but none are as fulfilling
and exhilarating as performing on the stage.
My earliest memories are in the lights, in front of an audience. The sound of applause, the soft
patter of shoes on the velvety surface of the stage, the rush of adrenaline, heart pounding
immediately as the curtain parts. All of these thoughts are comforting, familiar, warm, a second
home. I cannot imagine a life without performing. It has offered me so much: life-long
friendships, inventiveness, and the chance to be a leader. Theater will always hold a big place in
my heart no matter where it takes me.