Interview with the Editor: Karen Burthwright

My favorite part of the Kennedy Center American College Theatre Festival (KCACTF) is all the connections I am able to make with theatre industry professionals.

During the past three years at KCACTF, I have participated in the Musical Theatre Intensive where singers get three minutes to dazzle Broadway professionals in the hopes of moving on to the Top 20 Cabaret. While I never advanced on to the Finals round, the feedback I received from this month's featured artist, Karen Burthwright, was undoubtedly helpful in my career as an artist moving forward.

One of my biggest life mottos is, "People always remember how you make them feel." And I will never forget how kind, personable, yet constructively critical Karen has been during my various feedback sessions with her. She genuinely wants all of the students she works with to thrive in their careers, and her specific notes pinpoint the areas of improvement that need to be worked on in order for someone to be the most successful artist they can be.

I am so appreciative of all the notes she has given me during my KCACTF visits, and even more appreciative that she agreed to this interview with me.

Tell me a little bit about your theatre background. Where did you grow up? Where did you go to school? Where do you currently reside etc.?
I grew up in Toronto, Canada. I went to Claude Watson School for the Arts (CWSA) for middle school, and then continued my artistic training and education in high school at Earl Haig Secondary School in the CWSA program. I went onto McMaster University in Hamilton, Ontario, and I currently live in Jersey City, New Jersey.

In what ways did your training growing up prepare you for finding work in the industry post-graduation?
I think my training – and the structure of the programs at my schools at the time  – prepared me for the reality that everyone has their strengths. They differ, eclipse, mimic, equal, and are sometimes less than yours. We were all gifted, we all still had to get excellent grades, and we all had to get the work done. Being aware of who I was, what I brought to the table, and knowing that everyone had talent and potential was the most important gift that my teachers and the programs I was brought up in taught me.

Looking at your resume, I see you've worked all across North America, including shows in New York and a few national tours. Is there one show that stands out as your favorite experience? If so, what made that show special for you?
Yes, I've been blessed to have worked on Broadway, Off-Broadway, regionally, and all across North America.

My favorite theatre credit to-date has to be my 2019 Merritt Award winning performance as Shug Avery in the North American premiere of The Color Purple at Neptune Theatre in Halifax, Nova Scotia. It's the most challenging, all encompassing, meaningful, personable, multi-faceted character I've ever played. The story mattered. The themes, plight, and message were moving, relatable, and superbly inclusive. The musical score is simply gorgeous, and getting to sing it eight times a week was a spiritual experience. The equality in the rehearsal room, the respect, the quality of work that was finally required of me, and the standards set by that beautifully diverse room still gives me chills. Our director Kimberley Rampersad was the real McCoy!

In addition to your acting career, you travel the country teaching masterclasses and holding audition workshops through the Open Jar Institute. What is the most rewarding part of training students through the Open Jar Institute?
I love teaching! Oh my gosh, the rush of the energy in the studio! Seeing a room full of the future of musical theatre is thrilling for me. The process, and time spent sharing space is a wonderful, and constant exchange of experience, teachable moments, energy, and perspective for me. We are all forever students in this life, but the fact that I get to play a small part in giving back to this industry, and art form fills me with pride and purpose.

Looking ahead, the question on a lot of people's minds is: What will theatre look like once theaters are allowed to reopen? What are your thoughts on that question? Furthermore, what, if any, changes would you like to see American theatre embrace moving forward?
Theatre will look like the place that we will all be happiest to be back in that first time that we are able to. Short of seeing our families, partners, and loved ones that we haven't been able to see in person because of this pandemic that is. Theatre, art, and live music will heal us, and bring us back. It will revitalize, energize, and lift our burdened souls, and I cannot wait! Bring on the necessary healing, and release!

It will look like a staggered, well planned, spaced out, vaccine dependent, gradual return. I feel that regional theatres will bounce back first for reasons relating to space, capacity, running costs, time, tourism, money, and reaching the most audience members/theatre lovers who have dispersed or returned home during this pandemic. I believe that the public adherence to protocols, number crunching, changes to and the business/producing side of the industry in coordination with CDC guidelines, our unions, and the vaccination dispersion rates will all have to align and time out in a timely fashion to facilitate our healthy and triumphant return.

Theatre spaces must be relentless in their no-nonsense approach to dismantling spaces that thrived under reigns of racism, sexism, patriarchy, a lack of respect for all employees/artists/staff, that weren't safe for all, the blatant lack of inclusion and diversity at every level, and accountability! A complete overhaul of the old, dated, lazy, and ignorant casting practices, and a no tolerance harassment policy that is enforced one hundred percent! Egoless rehearsal rooms, theatre companies, and audition spaces are also a dream of mine that I want to come to fruition. We just have to raise the bar, dismantle what was convenient but unhealthy, and erase privilege at all costs. We need to pay our actors more, and make the theatre which is supposed to be for all, accessible to all. Change is good, inevitable, and right now beyond necessary for the best art, the healthiest working environments, and the safest spaces to produce without sacrificing integrity.

What are your career goals moving forward? What are some dream roles? What would be your biggest theatre dream come true?
My career goals are to do good work, grow, and give back. I want to contribute, and achieve more credits that move, represent, and foster greatness in me. I want to be more discerning with regard to who, and where I want to work. I want the work, and experience to move me! I want to make memories, and effectively change people's lives with the storytelling that I am blessed to do. More dream leading roles that make me a better actor, and propel me forward. Healthy hustles, and auditions that scare and excite me. Prioritizing self care even more in my pursuits, and that being an absolute! Taking better care of those around me as we all mature, climb, craft, and present the best work with the best qualified people in the room.

Some dream roles are to actually get to perform Leading Player in Pippin (I was in the third week of rehearsal for this role at Nebraska Rep when COVID cancelled everything last March), Velma Kelly in Chicago , Mrs. Neilsen in Girl from the North Country, Gollum in Lord of the Rings, Catherine of Aragon or Anna of Cleves in Six, any character in any August Wilson play...the list continues.

What was the best theatrical advice you ever received? How has that shaped you as an artist?
Des McAnuff once told us Jesus Christ Superstar 2012 Revival folks to not let New York or Broadway change us. That stuck with me. She's a tough city, and Broadway is a competitive and hard career choice. I've always loved who I have been as a person. I've never wanted to look like, or be anyone else. It was refreshing to hear someone who is so acclaimed in this business tell us to stay true to ourselves while admitting that that is something that we may have to work at doing in this path. I found it powerful, healthy, sage, and smart advice. I also agree with it wholeheartedly because great minds and stuff, right? LOL! The business is here existing for me to learn from, progress, and add to it. I'm here to make a deposit, not for it to withdraw my light!

Lastly, do you have any exciting projects in the works? Or has the COVID-19 pandemic made all of your plans up in the air?
I, like most actors, have had projects postponed, and then inevitably cancelled unfortunately. I did have some wonderful teaching, coaching, and speaking engagements with KCACTF, Orpheum Theatre Group, South Dakota State University, Iowa State University, University at Buffalo, and St. Lawrence College during the course of the pandemic.

Up next, I am very excited to announce that I will be joining the Entertainment Department as a performer at Shanghai Disney. I was a co-choreographer of the Mickey's Storybook Express parade five years ago for Shanghai Disney's opening, so it will be a wonderful experience and opportunity to be able to return to China again.