INTERVIEW: Irish Rep heads to ‘St. Louis’ for some holiday cheer
Photo: Shereen Ahmed stars as Esther in Meet Me in St. Louis. Photo courtesy of Irish Rep / Provided by Matt Ross PR with permission.
In 2020, when theatergoers are unable to congregate in person, virtual productions have proliferated on the theater scene, showcasing the thinking-outside-the-box creativity of actors and directors. The Irish Repertory Theatre may be based in the off-Broadway scene in New York City, but during the holiday season this year, they are heading to St. Louis … well, at least virtually. The respected theater company is currently presenting a digital production of Meet Me in St. Louis, the beloved musical, as a “holiday special in song and on screen.”
The online mounting of this musical is thanks to adaptor, director and Irish Rep co-founder Charlotte Moore. She leads a cast that consists of Shereen Ahmed, William Bellamy, Rufus Collins, Kerry Conte, Melissa Errico, Ali Ewoldt, Kathy Fitzgerald, Ian Holcomb, Austyn Johnson, Jay Aubrey Jones, Kylie Kuioka, Ashley Robinson and Max Von Essen.
Moore actually has a history with this Hugh Martin-Ralph Blane musical, set in the days before the 1904 World’s Fair. She performed as Anna Smith in the original Broadway cast.
For Meet Me in St. Louis, audience members can expect an abridged version of the musical, but the classic tunes are intact, including “The Trolley Song,” “The Boy Next Door” and, of course, “Have Yourself a Merry Little Christmas.” The production has already been filmed (amidst COVID-19 restrictions and social distancing), and tickets are pay-what-you-can, with a $25 suggested donation. Performances continue through Saturday, Jan. 2.
Recently Hollywood Soapbox exchanged emails with Ahmed, who plays Esther Smith in the production. Before this show, she played Eliza Doolittle in the national tour of My Fair Lady. Questions and answers have been slightly edited for style.
How different was this theatrical experience compared to in-person acting?
Performing on a stage where there are curated costumes, massive sets and beautiful lighting takes most of the guess work out for actors to imagine the atmosphere of the world we’re trying to create. I found performing with only a green screen alone in my basement with only the intention of the scene to lean on forced me to get back to the basics and really use my imagination to its fullest potential. It was absolutely terrifying and thrilling at the same time.
What I missed most, however, were the silent conversations that happen between the actors and the audience in a live, in-person performance. The most beautiful thing I miss about that is experiencing real-time reactions and allowing it to fuel my performance. Sometimes the audiences challenge me to turn new corners I haven’t turned before, and sometimes the audience allows me the freedom to play. There is nothing like experiencing one story and one moment in time that will never be again. It is unreal.
How did rehearsals run?
We had two days of rehearsals on Zoom where the cast and crew came together to discuss the creative aspects of the show. This was our time as artists to explore our characters and our story, and check in with each other on our scene-work. I had a few musical rehearsals with our incredible musical director, John Bell, where he would play the piano and I would sing along to him through Zoom. I don’t know how he ever managed to hear if I was singing the right notes, though, because the delay between the piano and my voice was wild! So most of the musical aspect of the show was very much based on conversations John and I would have about each piece.
Once we began shooting, we would all be on Zoom constantly checking in with each other. Is everyone’s mic plugged-in? Is everyone’s phone in the correct frame and format? It required a lot of patience and a lot of precision.
How do you approach the character of Esther Smith?
Esther is such a delicate and iconic character to portray. I was so excited to dive in! She was portrayed by the iconic Judy Garland, and so the pressure was on. I resonated very much with her endless determination and perseverance, and her deep love for her family. I think the moment she realizes everything she knew as ‘home’ is being threatened to disappear, she has a revelation that all she has ever yearned for or needed was right there all along — within the people she loves and cares for, and in her own backyard.
When I learned ‘Have Yourself A Merry Little Christmas,’ it all made sense to me. She sings: ‘Have Yourself A Merry Little Christmas, make the yuletide gay, next year all our troubles will be miles away // Someday soon we all will be together if the fates allow. Until then we’ll have to muddle through somehow.’ It hit me to the core. With all of the sadness and trauma of 2020, we must stay present through hope.
Why do you think this musical has become such a beloved classic?
How can you not love ‘The Trolley Song’ or ‘Have Yourself A Merry Little Christmas’? They are such amazing classics! Aside from the incredible music and witty writing, I believe the message of this musical is to always, always, always live in gratitude for the wonderful people in your life and the place that life has led us to now. There is so much to be grateful for, despite the challenges of this year. I am grateful for the opportunity to create and perform this classic, even though it may look a bit different this year.
Do you feel like the New York theater scene will ever be the same again?
I don’t believe the New York theater scene will ever be the same. There have been many enlightening and tough conversations taking place as the theater community reflects on how far we have come. It has become overwhelmingly clear: we have not come far enough.
My dream for the New York theater scene is more inclusivity and representation of all people, including the BIMPOC community and the LGBTQA+ community. I also believe audiences and artists alike have realized just how essential we are. The stage is the place people run to for escape, for laughter, for conversation. It is the place where dialogue can exist, and we can tackle exciting new ideas. It is a place of solitude. I don’t think any of us will ever take the sacredness of the stage for granted ever again. The first show back will be a very special one.
After this historic year, what are you most thankful for? What are you most upset about? What are you most hopeful for?
I am most thankful for me and my family’s health. That is first and foremost. I am also thankful for the opportunities to be a creative. They have been few and far between; however, when I do have that opportunity, it feels like a gift. I am most upset about the sadness and trauma the world has endured this year. It has been a challenging and tough one for all of us, but my hope is we can all emerge from this closer, more connected and more resilient. We literally cannot get through this without each other.
By John Soltes / Publisher / John@HollywoodSoapbox.com
Meet Me in St. Louis, featuring Shereen Ahmed, plays through Saturday, Jan. 2 online. Click here for more information and tickets.
