10 Questions
Take Ten: Erika Rose
This week’s Take Ten finds ERIKA ROSE prepping for the world premiere of Caleen Sinnette Jennings' Queens Girl in Africa, at Mosaic Theater Company January 4-February 4. Drawing early inspiration from Harolyn Blackwell’s performance in Candide and dreaming of quiet times with Gene Wilder, Rose urges us to “follow the path, wherever it may lead.”
1) What was the first show you ever saw, and what impact did it have?
I can't remember. Is that bad? I love theater, I swear, but I can't remember. I think it was Candide on Broadway in 1997. I saw, African American lyric coloratura soprano and actress Harolyn Blackwell play Cunegonde. I don't recall another brown face on that stage. And she was the lead on Broadway! That struck me. A Black lead in this all white play, in this all white space was significant for me. Don't ask me what Candide is about. I have no clue.
2) What was your first involvement in a theatrical production?
I was the fairy, Mustardseed in A Midsummer Night's Dream at High Point High School in Beltsville, MD. My brother was Lysander. I did everything he did. I discovered I was pretty good and that was that. Fun fact: Paula Vogel went to my high school. When I met her for the first time back in 2004 or so, we discovered our shared history and sang the alma matter together. I geeked out.
3) What’s your favorite play or musical, and why do you like it so much?
I don't have a favorite play or musical. I say that because a play that sliced straight to the bone ten years ago might not do the same thing to me anymore. I don't have a favorite song. Favorite sounds so final. I'll tell you the play that made me weep in my chair for at least half of the play and not want to talk afterwards was Nina Simone: Four Women directed by Timothy Douglas at Arena Stage. I have needed courage as of late to stop silencing myself and my thoughts for the benefit of others. I marvel at Nina and her straight-from-her-heart truth-telling. There were words spoken in that play that I've only said in front of a mirror or in my head. It felt terrifying and freeing to have an unapologetically Black play in a mostly white theater space. It was a gift.
4) What’s the worst day job you ever took?
I'd say it's a tie between a catering gig in NY where the head waiters were jerks and made everyone feel like crust on the bottom of a shoe or doing hard labor outside of Mets Stadium in the dead of winter for a stupid credit card company's inflatable interactive station. Ugh...#fairwageonstage yall!!!
5) What is your most embarrassing moment in the theatre?
I was playing Charity in Sweet Charity in high school. I had to read the line, "Ciao, Vidal!" I did not know French. I had never seen "ciao" spelled. I literally said, with confidence, "c"-"i"-"a"-"o" really fast. Do you know what I mean? I wish I could put a link here so you can hear me say it. It was ridiculous. Everyone, my awesome theater teacher included, busted out laughing. I could tell then that it was wrong, but I had no idea what it was supposed to be. They told me why they were laughing. Lord. If I had the capacity to noticeably blush, I would've been beet red.
6) What are you enjoying most about working on Queens Girl in Africa at Mosaic Theater Company of DC?
I am enjoying living in this beautifully rich world that Caleen Sinnette Jennings has created. Her story is incredible. There was so much going on in 1965, when this play begins. There is so much happening in our world and in our country that scares the crap out of me but when I think about some of these periods in history that were just as scary, if not more so, I find comfort. We can get through this. We might lose people and some battles along the way, but we can get through this. It feels healing to get to dive into this right now. AND, I'm working with my girl, gifted director and solo performing artist, Paige Hernandez. We went to UMD together but this is the first time we've really dug deep. She's such a smart director. I can't tell you how happy I am that she's helming this ship. I have such confidence in her and her expertise. She is really helping me shed excess baggage in each moment and get down to the essentials of movement and thought.
7) Other than your significant other, who’s your dream date (living or dead) and why?
I'd choose Gene Wilder to start. He's a genius. I'm drawn to him because of how genuine and raw he seems on film and in interviews. He channels pure comedy gold with the simplest choices but he's also terrifyingly honest. He rides that line of comedy and insanity or something. He's fascinating and freaking hilarious. I'd love to just be in a room with him. I wouldn't even need him to be funny. I think I'm most drawn to his quietness.
8) What is your dream role/job?
I'd like to find a way to get paid to do artist advocacy, teach 3-5 year olds and do a play that speaks to me on occasion. Anyone know the title of that job?
9) If you could travel back in time, what famous production or performance would you choose to see?
Since this didn't specify that it had to be theater related, I'd say I want to see a Michael Jackson concert during his Thriller years.
10) What advice would you give to an 8-year-old smitten by theatre / for a graduating MFA student?
For the graduate student I'd say, "Life is long, if you're lucky. Go for it. Follow the path, wherever it may lead. Unexpected doors will appear. Some will lead you further down the path you imagined or intended and some will lead in other directions. But, it's still your path. What if there was no such thing as, "off the path"? There is no comparison with another's path when they're reading your Eulogy. What did you dare to do while you were here? And lastly i'd say, Invest in your craft, but keep your heart on your friends and family. You need them more than the theater."
ERIKA ROSE's credits include: An Octoroon, Mr. Burns: A Post Electric Play, Lenny & Lou and The Mineola Twins at Woolly Mammoth Theatre Company where she is a proud company member; Unexplored Interior (This is Rwanda) at Mosaic Theater Company; The Father at Studio Theater; Falling Out of Time and In Darfur (Helen Hayes Award) at Theater J; Pretty Fire (Helen Hayes Nomination) at the African Continuum Theatre Company; The Brand New Kid, Knuffle Bunny, Oliverio!, As You Like It and Alice at The Kennedy Center; The Soul Collector and Stick Fly at Everyman Theater; The Book Club Play and Pippin at Round House Theatre; The Bluest Eye at Theater Alliance; The Taming of the Shrew and Much Ado About Nothing at The Shakespeare Theatre Company. Other theaters include: Project Y; Hangar Theatre; Arden Theatre Company; Philadelphia Theatre Company; Pioneer Theater. Erika studied at The University of Maryland, College Park and The London Academy of Music and Dramatic Arts. www.erikarose.com
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