September 8, 2024 • 42 mins
Join host Leesa Csolak in this exciting episode of "Making It Happen, A Career in the Performing Arts" as she chats with Kevin Csolak, now playing the role of Tulsa in the upcoming highly acclaimed Gypsy on Broadway and previous cast member of the Tony Award-winning show "The Outsiders." Recorded at the iconic Bernard B. Jacobs Theater in New York City, Kevin shares his experiences of returning to Broadway post-pandemic, his transition to film and TV, and the unique challenges performers face in maintaining their craft.
Discover Kevin’s journey from his early days on Broadway to his recent work in TV series like "Animal Kingdom." He discusses the adaptations necessary for self-taping auditions during the pandemic, the differences between performing on stage and on screen, and the importance of maintaining a balance between work and personal life.
Kevin also provides valuable advice for aspiring performers on finding their niche, the importance of continuous learning, and the realities of sustaining a career in the performing arts. This episode is packed with insights for parents, young performers, and anyone interested in breaking into the industry.
Don’t miss Kevin’s heartfelt stories and practical tips on navigating the performing arts industry. Tune in to get inspired and learn how to make your dreams a reality!
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Episode Transcript
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(00:00):
Music.
(00:06):
Welcome to Making It Happen, a career in the performing arts where we discuss
how to break into the performing arts industry for yourself or your child, teen, or young adult.
Guests include professionals who are passionate and share my vision of helping
talented individuals land professional representation and have successful careers in the arts.
My name is Lisa Solek and I was lucky enough to film and record this episode at the Bernard B.
(00:30):
Jacobs Theater on 45th Street in New York City this past week.
My guest is Outsiders cast member Kevin Solak.
Here we are, mom. At the Jacobs Theater in New York City, the exciting theater
where the Outsiders, the Tony Award winning Outsiders, Yeah,
the Tony Award winning. are performing.
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The stage door is a little crazy, I have to say.
The stage door is always crazy, but it's beautiful to see so many people that
are so affected by the show. Yeah, yeah, for sure, for sure.
So where have you talked to Kevin about what he's been doing since the last
time he's been on Broadway?
A little bit of that and a little bit about Outsiders and what it was like to
(01:12):
participate in a Tony Award winning show. Yeah.
So when was the last time you were on Broadway?
The last time was pre-pandemic. It was pre-pandemic right before March.
We were in, we were just finished three months of West Side Story Broadway at
the Broadway Theater, where The Great Gatsby is playing, where my brother or
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other son is currently performing.
But we had done three months of previews, did about two weeks of shows,
and then the pandemic hit and stopped.
So it's been about almost four years, almost five years since I had performed.
Yeah, so that I don't mess up my questions.
So yeah, it was in this 2020. And right before that, you had just gotten finished
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filming West Side Story, the movie, Steven Spielberg's West Side Story,
right before that. Yeah, the summer before I started for West Side Broadway was the film.
It feels a little bit like a blur, like these last four years,
I think for everyone. Yeah. Because of the pandemic.
But yeah, so what were you doing to keep yourself busy between then and now
being back on Broadway after four years?
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I mean, I think it's, yeah, I think as performers, we have to kind of like,
you know, if you don't use it, you lose it in a way. I think I've heard you
say that, and that's probably what I'm saying.
But I think it ebbed and flowed. I think when the pandemic started,
I think we were doing three months of previews, which you're doing rehearsals
during the day, you're doing a show at night.
And that was a lot. It was a lot. So I think when the pandemic hit,
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I think the first month I was like, freedom.
I don't have to move my body if I don't want to.
But then it started with, I think, you're teaching for StarMaker over Zoom.
Oh, that's right. I forgot you did that. Yeah, teaching for StarMaker over Zoom.
Wait, was there only- We were doing acting classes, acting on TV.
We were doing dance. dance there was only a week that
was only a week that we weren't doing classes and then we jumped in
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so jumping into that i think was really great to just keep that
muscle going because i know a lot of performers who like didn't dance
for like months and then like we're like right wait this
is so like you know i think when you know when you monetize something that
is that is something that you love i think you can forget what
it means to do it when yes when it's not for an audition or
for somebody so i think it kind of ebbed and flowed for me that
(03:21):
was that kind of started me off and then it was um
when i moved to la to the animal kingdom in the summer
of 2021 i think i
was taking class out in la a little bit to keep my body in shape i
think just like growing up in dancing school that's kind of my gym i don't love
to go to the gym but going to dance class is kind of my gym yeah and where i
can kind of feel where my body's at so i think it was just good old class yeah
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i did take a ballet class one time and the woman older woman who was teaching
thought it was It was my first class ever. She goes, is this your first class? Do you take sports?
And I was like, wow, I got to get back to it.
So, you know, I think it'd be interesting for everyone to hear about the whole
process right after COVID when things were still not even really fully open
when we were auditioning for Animal Kingdom and what that process was like,
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because obviously the pandemic has shifted us into this space of everything is self-chapes now.
And it's become a thing, which was on its way anyway, prior to that.
I really kind of saw the handwriting on the wall that was going to happen anyway. And.
Pandemic just locked that pandemic locked it
down and i think there's you know there's positives and negatives
to self-taping but yeah i mean it was just self-tape self-tape city
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you even did the chemistry if i recall chemistry i
did i did i think it was like i sent it to self-tape and
then i sent in another self-tape for a different character on animal kingdom because
i originally went out for baz got a tape
for pope and and then had a call
back with producers to the zoom chemistry read which
is funny thinking like okay let's see your chemistry on
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zoom which was weird but i
guess it went well and then i had one final audition and then they
wanted me to fly out two days later to la and we were like can you give us the
weekend because they wanted to start filming like this it's crazy with tv and
film yeah unless i think you're like booking a series regular or when you're
doing a guest star or even recurring guest star you can book you can audition
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for something and the next week you're in vancouver and you're in toronto and you guys
had an apartment to try to empty and all
the things so yeah i remember that now that we're talking about
it but yeah that was so so what do you think the big difference is
between performing on you know for tv and film versus because you did that and
now we're back on broadway so what is different about it for you oh i think
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it's one of those things where it's like everything's different but nothing's
different the approach is different obviously with tv and film you you,
I feel like everyone kind of goes into their own corners and does their homework
and then everyone comes together and then you kind of have this beautiful mash of like.
This is what I was thinking. Okay, what if I did it like this?
And you're kind of like having to live in the moment and you're holding your
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kind of emotions more close to your chest, right? Because the camera does so much for you.
But Broadway and TV, I mean, or probably in the stage and theater anywhere is
like you get to find it with everyone.
I think that's what I love. I think growing up in the dancing school,
like being able to train with everyone, see see people get better,
see people like find a moment.
I think that's what is, I think is so different. You kind of can come in day
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one with some ideas, but a little more raw.
Whereas with TV film, you have to come in with like all the ideas,
specific ideas on your character, but be malleable and still be raw in a lot of ways.
But then when you're on set, be able to be like, okay, we're just going for
it. And every take be a little different.
You have to be wary that you're not getting stuck in the same way of doing it
because the director might, you know, your idea, you know, to hold your shoulders
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a certain way or do this thing. They might be like, no.
Like my first day on Animal Kingdom, I was manipulating my voice in a certain way.
And the first director on that first episode was like, you have to get to go
like into a higher register, but keep the raskiness.
Like right before we didn't take, I had to just change it. And that's what was
like set for the whole season.
Wow. Which is fun, but a little bit like, you know, because it's play, right? We're playing.
(07:04):
I know. I like the stage. I like the space of being able to kind of share the
ideas and then watch it all magically happen and work on it together.
The collaborative side of it, you know, that's super fun.
Because I know you said to me, after you ended up back in the show yeah first
time i talked to him he said we did not.
(07:26):
Really remember how much he loves yeah because
it's been a while the next five years and like you know and you
know i it's something that i'm so comfortable with but
like yeah when you're in the show it's all the backstage things too that like people
don't get to see you don't get to see it like the things that we do like
the stage hands and the props like the funny jokes we have or like
while everyone's like focused on one moment of a scene we're back here like joking
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or like that's what broadway should be fun about i think it's like
you find so many connections not just on stage but
also because you're with each other so much because you're doing eight shows a
week that's how you get through the ancient it's like a family
by the time you're done so i get it so your first
time back on broadway back in the show how much time
did they give you to prepare because we everyone doesn't
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know what exactly happened the show opened like explain
the beginnings and how you ended up in outside so i did
a workshop of the outsiders last year in august
it was a dance workshop i booked i auditioned for that and then the broadway
show came to be and then i got a call about i think a week before the this outside
is open and someone got injured in the show unfortunately a good friend of mine
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but they called me and they were like we're thinking of you to come in just
for three months while he's on his injury leave.
Would you do it and I was like give me a day and I was like yeah so I came in
I started I really started my first day of like work was me just coming to the
opening night to see this to see it they I was a guest of the show and then
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to it I think opening night was like a Sunday on Tuesday I was in rehearsals I had two weeks.
And then I started the show end of that second week. That was fast.
I knew the show within like two weeks.
No, I mean, that's just like a testament to like Milena Como,
who was like the dance captain who taught me pretty much the majority of the show.
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And the socials have like kind of like three main numbers, but it's a lot of
like more like moving up the plank and different little things.
So it was about three days where I kind of was like, OK, I know the show. Am I ready to go on stage?
Like emergency, maybe. But it was the two weeks was a really good like,
OK, I felt so comfortable.
Because it wasn't until like i was like all right curtain's going up for that
first show that i was like man i haven't done this in a while this
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is exciting and like do i know what i'm doing and luckily everything
kind of fell into place i understudy paul and bob and i've
gotten to go on for paul a bunch i'm going on for paul tonight just found out
got her a ticket and this is you're gonna be your second second to last show
second to last show i'm doing paul last show is tomorrow right and then i also
understudy bob but they have a lead for that so So that's the reason why we
(09:58):
get it. Okay. This all happened.
All right. So Outsiders won the Tony, which was insanely exciting.
Thank you for inviting me and letting me come and enjoy the excitement of all of that.
It's amazing to be there and not in the theater because it was small.
And that was a thing. We were, I was at the party that they had or the watch
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party where everybody watches.
And that was really cool. Yeah. So you've been in the Tony's before.
Yes. And I'd love you to talk about what it was like when you did it the first
time and how this was different.
Well, actually, you've done it twice before and this is the third time.
So maybe talk a little bit about that experience of being in the town is the
(10:45):
first time and how that felt because you were very young.
Yeah. And then moving on to what happened next. And then with The Outsiders,
three-part question, the preparation that went into that performance,
because it was definitely iconic.
If you have seen the Tonys, if you haven't seen it, go on YouTube and watch
it because it was a performance was insane.
So I'll let you talk. Yes, the first performance I was able to do on the Tonys
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with Mean Girls, and it felt like kind of a shot in a barrel because I feel
like I truly didn't really know what it was going to be.
But like you, you get dressed at your theater and then you are like rushing
to, they put you in a bus and then you get right to the, like outside the Tonins
and you wait in the bus and then they usher you, they're like, all right, you're next.
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And they usher you to a stairway and then you're waiting in the stairway and
then you go out there and you do it.
And then they put you right back on the bus and you come right back to the theater.
It's crazy how they do that. People always.
I mean, one month, like what do you, one month at the theater?
One month at the theater. So you come to the theater, you put your costumes
on, you get on a bus, you go over there and And they just sit you on the bus
and you wait on the bus and then you go in and perform. Yeah.
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And you do it twice that day. So there's a, there's a whole,
like, there's like a soundcheck rehearsal where like the entire Tony's happens in the morning.
So you like get to your theater at like 6am, you do the whole thing.
Then you go to your matinee or you, or you just go and then you go have a matinee.
So the first time was, was kind of crazy. I felt like I was just like,
I blinked and I was like, wait, it happened.
So I can imagine that. And that was great. And Mean Girls was fun.
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It was like, you know, it was a vibrant cast. and the second
time was performing last year on the opening number which is
a whole different experience because we were we were rehearsing at
the venue up in Washington Heights the day
of we got to get there early I got to the palace theater
I got to I got to we got to have a rehearsal room and a
dressing room we got to rehearse we ran
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through it once we got dressed we got to hang out take pictures and
then we got to like walk down and you know prep in
like the lobby to do that so that felt way or so
beautiful and different because it gets just kind of sick and be
like okay here we go this is where we're going to do it yeah
and then did they do have like a sound check where the camera was
the camera well it was so incredible yeah we had we had a sound check and was
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it just one run through with the camera people or was it something no we had
about an hour and a half of like camera sound check with that and carla garcia
the choreographer was amazing and she made sure all the shots were exactly what she wanted.
And yeah, so that one was, that was great because we got to kind of like just
kick it off and there was no air conditioning at the palace and it broke.
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So it was really hot. So we were like waiting in the lobby.
Yeah, you were there for that one. I was waiting in the lobby to go on and I
was like, I'm dripping sweat. So that was amazing.
So I think coming into now the Outsiders one, I think I kind of knew to take
the breaths and really take in the space.
But the same thing happened where we had to come here, rehearse.
We rehearsed for about, we had about four, three or four rehearsals with the
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cast in a rehearsal room before doing.
With all of your tech? No, that was just in the rehearsal room.
But they did have to, they did have to time. It's all about time.
You have like a four minute slot and that includes the prep work of rolling
out the mat and rolling out the little tarp that did like a trough that caught
the water so the day of it was it was kind of the same thing got here early,
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and had to go over there and wait in the bus and do the whole thing but i think
with this time around i think i just kind of was able to take my time i knew
just like be excited but just,
take it one step at a time and know that it's something that we've done this
eight shows a week it's nothing different you know a lot of the times i think
when these moments happen it's,
you have to kind of have this like the the butterflies happen
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but you have to just kind of like settle in the groundedness like okay how do i
ground myself and just know that like i got this it's really
just like a flip of a switch in your brain of like no i got this which is i
think similar to what you do in auditions true yeah true it's just tough because
it's on a high level well you have to channel my whole thing is you have i think
you have to channel it's energy right because it's hormones that are running
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through your body when you are let's call it nervous of us.
So when, if you can channel that energy into technique, into remembering your
lines, into all the things that you've done a million times, you know.
You have to mentally be able to put yourself there. And it's got to be difficult
because you are with all these different personalities, especially with outsiders,
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because the majority of this cast is young.
Yeah. And it was a lot of everyone's first time. So it was like it was it was
exciting to kind of see that and see all the nerves.
But like this cast is really good about feeling each other, like in this like
settling down, like feeling each other's energy and then like settling down
and like taking meditative breath.
Like on the bus ride over, we all took meditative breath together.
We'd be like, breathed in for four, we held five and we breathed out and we
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all kind of like, cause we were all buzzing.
We were like, you know, but then when we got up, we got there and we actually
got off the bus and we're waiting outside the venue before we walked backstage.
And we had a nice moment where like I started stretching and other people started
stretching and we kind of like, we're going through some things.
Like a focus moment. Yeah. But it was crazy. Cause like we got to theater to
prep for actual Tony's and we had, we got to theater at like eight o'clock and
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Tony started at six 30 cause we were the last performance. Oh, right.
But it was amazing. It was thrilling. It was gorgeous to be at Lincoln Center.
I think, you know, we had a great time and we did the thing.
Yeah, you did the thing all right. And the video that someone took back,
because you guys got on the bus, came back to the theater and then heard the announcement.
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So you must have been rushing, rushing to take off your puffs. Somebody took a video.
Of all of you celebrating in the oh that was me that's enough that you
took the video yeah cut to the video yes cut to
the video yeah no yeah we were in the dressing room changing for
the after party and we were like to be like we were hoping we
could like stay near the venue but they it's all protocol so
we were back here and we got to we got in and i was taking off my shirt as
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they were announcing director and then and then
sure enough we're sitting there and like half of the cast is like
in the basement half the cast in the hair department like everyone's
changing some people already changed i was like halfway changed and then
all of a sudden we heard it it was congratulations to you
and the entire cast yeah this cast it's a big deal
yeah and i feel like i kind of got plugged into this cast and i kind
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of like grabbed the torch from sean who got injured and like i feel like i just
kind of like held his space and the hard work that he put in and the whole cast
put in and i think you know i think this is a beautiful show i think this show
kind of it it takes the mold and kind of bends it in a different way and pushes
it and expands it as far as Broadway shows go,
but also holds true to what Broadway is and what musicals are.
(17:20):
Yeah. I'm really happy that Sean is going back in. Sean's going back in.
Yeah. Yep. He's coming back. Sean, we don't know. If you're interested in a
career in the performing arts for yourself or your child, teen, or young adult,
you're in the right place because I have helped hundreds of clients break into
the performing arts business on stage, in films, television,
(17:41):
commercial work, and more.
This podcast is supplemental to my groundbreaking online courses.
For more information, check all the ways you can benefit from my online courses,
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Go to lbctalent.com for everything you need to get started today.
Yeah. Okay. So can you give us a speed read of a typical week in the life,
(18:04):
in your life lately, in the life of Ketam Solon?
Typical week. Typical week. Okay. Like speed read.
Tuesday, you wake up, you get breakfast, you're going to go for a walk,
you have a moment to read a book, you try to do a little yoga at the apartment.
You come to the theater have fight call 5 45 do the show go home shower watch
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tv roll out go to sleep next day wake up as late as possible before i go to two show day,
waking up at like 11 leaving at 12 two
shows in between shows taking a nap or sometimes like watching cartoons with
bart or other guys in the show um between shows get a coffee or celsius do the
second show and then yep go home same thing watch the show just get right in
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bed try to pass out because the adrenaline the adrenaline stills are going.
What if like after the show we
should sometimes like go out or something or that's the end of the week we're
getting there end of the week yeah wake up wake up thursday if we have if we
have rehearsal i wake up try to cook a breakfast and come to the theater we
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have rehearsal just the theater's just like this with the lights work lights
on and we have understudy
rehearsal where we're either doing our own understudy work or
we're helping vacation swings or new people coming into the show which can
be exciting i think it's exciting it's fun
a thing to put in sometime i haven't done one yet because it's been a little
more serious and getting in the job all right continue so thursday we do the
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show thursday get out on the show thursday thursday night let's see if a friend
comes to the show maybe we'll go nearby and grab a quick drink but i always
try to leave wherever we are at like 11 30 just to get home to sleep
because like your adrenaline when you're doing a show is still pumping so like
i can't really sleep till 1 30 and then i wake up at like
10 yeah wake up friday we have probably rehearsal again if
i don't have rehearsal i try to like go out and do something in the world and feel like a person
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have some like you know handhold all my life this show friday night friday night's
always a fun crowd friday night's always a tricky one people always want to
go out for like if you want to like you want to meet up friday night you got
to go home it's saturday two shows it's good advice for new performers new performers
people are going to want to go out and it's fun it is fun.
But i think you have to know yourself some people i know some people who do go
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out thursday friday saturday and they're fine they can do their job
i cannot know yourself so friday night
everyone okay everyone's in a blue moon in new york there's
a beautiful amazing dance night called soul in the horn and
it's like old it's you feel like you're soul in the horn
yeah tag them can i go there totally yeah
anyone can go but it's like a dance night that starts at like 11 and
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goes to like 4 a.m and like it feels like
church for the dancer because everyone's just dancing no one's like looking at
each other's dance circles so once in a blue moon i
will participate maybe this much that's pretty much what i do sometimes but
so once in a blue moon or friday night i'll be like okay i'm gonna go do that
because i need the release of that mostly fridays go home saturday two shows
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then saturday night same thing wake up matinee as late as possible sleep between shows saturday.
And then Saturday night is Snob, Saturday night on Broadway.
Yeah, most theaters, a good amount of them will be Saturday night on Broadway.
It's like everyone goes and signs out the stage door at the end of the second show.
And then we'll go up in the dressing rooms and we'll have a little drink.
And it's just a moment, I think, for the cast to kind of cheers the week and
(21:21):
be like, hey, we did this.
It was a hard week. It was a great week. But it kind of connects us because,
you know, a lot of times you don't see people until you're just like on stage
with them. Like, all right, here we are. It's the same thing.
So it's nice to connect with your cast or even your crew too.
The crew comes out for that or the band. and it's nice to just connect with everybody.
It's nice to connect with everybody. The separation with the performing,
I can stop going backstage. I was lucky enough to go backstage, which is always fun.
(21:45):
You can get a chance to do it at any show, do it.
Yeah, where the band is, you don't really, you can't interact.
And also, eight shows a week, you have to protect your energy.
You have to really make sure that you are giving yourself the space.
Sometimes I come to the theater and I try not to talk to anybody just because
I need my own space to be able to have the energy for the show.
And then you wake up Sunday, hopefully not hungover, and you do the show.
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And then you, Sunday and Monday, is truly just rest for me.
Some people like to go out and do things. I'll try to do a dinner on Sunday
or do something Sunday. So then Monday is just rest. Monday is laundry.
Clean the apartments. And then you just get up and you do it again.
See, but it's the little things that you try to do different every week.
Like going to a coffee shop and reading a book.
(22:30):
You have to take it in small wins as far as doing a show. It's a schedule.
So it's a lot to do eight shows a week. It is tiring, Ma.
It'd be nice to do it. Body is 28, 29 is different than doing a show when you're 22.
It's around the corner. In October. In October, yes. I remember that.
19 years as an Actors' Equity member from SAG. About two years. Remember?
(22:55):
You're definitely seasoned at this point. How does it feel to be this age and
have so much experience?
Do you notice that at all? When you're with auditions or with other people,
do you feel like you've got it together?
I think I know. Sometimes I do, sometimes I don't. I
feel like I feel it in the moments of the Tonys or the moments of like
(23:15):
the pressure of final callbacks or the pressure of opening night i'm kind of
like i think that's where my body kind of can click into like i got this because
i think it's just been a repetitive thing for so long not not like there's been
so many broadway opening nights but it's just like i think i'm just kind of
like no i trust myself i was born to do this,
but i don't know because i sometimes like you know 19 years but like i think the first like.
(23:38):
Eight was a lot of you i think kind of
guiding me along and you kind of being the one and me just kind of having a
good time having a good time and training and doing the right things
and it was tough it was tough yeah it was yeah oh let's
talk about that for the parents out there thinking about doing this it's yeah
i mean you have to be as a parent like middle manager because when they're children
(23:58):
and teens you don't want to share with them what's going on behind the scenes
you just want to let them have fun like kevin said let them have a good time
but also no one to tell to keep going.
And that too, especially if you know that they have the talent and you will
know, parents, you will know.
Trust me, you will know. If they're driving a bus, you do have to let them drive
(24:18):
it. But there are times with,
I think you know. I think when you first start out, it's a lot of like you want
to try to get yourself out there.
And I think it's like any job. When you first get a job in any field,
I think you want to be that good student and show up and stay late and do all the things.
But you know when there's a thing that happens, you're like,
okay, this is an important life thing to experience.
(24:40):
Go to the football game with your friends. Yeah, absolutely.
Because as actors, we want to be able to have a balance if you can.
Yeah, and that's what's tough about it because you never know when the
audition is coming you never know when the callback is coming so you
have to kind of like you're saying kevin take advantage or you
always have to be supposed to go on vacation or something yes you're supposed
to like go to where you're at the prom and they're like well i'm gonna
(25:04):
go to the audition do the self-tape at least now it's self-tape i think there's
a big difference people when you were young and kevin started for those who
don't know when he was 10 he was signed for representation and immediately was
doing film television There's a bunch of work, voiceover, Broadway.
All of it happened very, very quickly. And we looked them up and found out what that's all about.
(25:25):
But yeah, it's definitely a balance. And it's important to live your life and all of that.
But then again, too, you have to consider what the auditions are and what the importance is.
And understand what is important about the industry as you're going through that process.
You decide not to do the audition. Someone else is. Yes. Yes.
And that's okay. Some people don't even want to do it. They want to wait until
(25:47):
college. yes absolutely there's nothing wrong with it then when you go to college.
Grind yes you're nothing you definitely have to put the time you gotta really
love it as you do i think you found the things that suck today what day is it
yeah what day is saturday i love it talk to me wednesday,
(26:09):
You have been able to gracefully transition from being a child performer who
was quite successful to and through the teen years, which the teen years many
times are a difficult time and you continue to work during that time.
And now you're an adult and you're able to still do that. And that's very unusual
in this industry. I don't know if you understand how unusual that is, but it is very unusual.
(26:33):
And both you and your brother were capable of doing that. that
so i now that you're you're
a successful adult can you give us
your advice for someone who is starting out after say a collegiate program and
they're just going into the industry like what kind of just general advice might
(26:57):
you have for them or specific something specific and And also,
of course, it's going to depend on whether they're focused in Broadway versus
film and television or if they're trying to do all of it.
A lot of times, and I can say this from experience with many clients over the
last two years who are adults, they feel like sometimes they're falling off a cliff.
(27:20):
They've gone through high school
and they've done all their musicals and they've done their training.
Some of them are competition dancers and they've taken voice lessons and they
have all of this experience. And then they go to college and to a collegiate
program and things get a little bit maybe heavy in those spaces and sometimes
not, but that's part of the academia.
And then they get out of school and sometimes they're lucky enough to get an
(27:44):
agent, get professional representation through their collegiate program their
senior year, but many are not. And they feel like they fall off.
And that there's nothing for them. They don't know which way to turn and what to do.
So in that regard, any advice that you have for that person who's just getting
out of school and needs an agent?
(28:04):
I mean, I think the falling off a cliff thing I can relate to it.
Anyone in this industry can.
I mean, I feel like I was falling off a cliff before this happened.
I truly like the accounts were low.
And I was about to grab the day job, which I've done before.
And I think that's one thing. Don't be above that.
(28:25):
I think it's always like, get that settled, have the side thing,
whether I worked at a restaurant for a while, just to not have to worry about rent.
Because I think when money becomes a factor and then you're kind of gripping
at auditions or gripping at things and you're making it into this big thing
because of the money, it just makes it tough. So that's one thing.
One thing that Donya Tamor, the director of this musical, gave out a talkback
(28:48):
that I love, I'm giving that to everyone else now,
is find the specificity in what you love about the art form that you're going
into and really develop your taste.
So what kind of Broadway shows do you like? Do you like all of them? Do you?
Do you like Sondheim or do you like the golden age? What is, what are your things?
(29:10):
And for TV and film or even for plays,
just find the writers that you like i think agents
a lot of the time they want who they can feel confident in
and if you go into an interview with someone you're like i want to do
this i want to be a video game like you know voiceover actor
and i want to do this i want to do this kind of broadway it just helps
they're still going to send you out on every damn but it helps
(29:32):
them to be like oh this is kevin and he wants this you know he's a really good
physical actor and dancer who can sing as well okay like the outsiders kind
of fits perfectly for me with the bike choreography but i think it just helps
give of a direction and also give a direction for you when you want to start
creating things on your own,
you know when you love it all that's great but
(29:53):
then like what do you really love about it and what's your style and taste because you
know if you feel like the doors aren't opening for you then make your own door
we're in a social media age where like people there's people who are booking
broadway shows who have never went to school for this but they're one of these
tick TikTok or Instagram famous actors or singers,
(30:14):
which has been doing in the bedroom, but because they haven't had the clout
of that, they get pulled into this.
And that's also a whole nother grind that I can't even really get into that
I have some friends who do that I respect fully.
But I think, yeah, really hone in on your taste and what you really like,
because I think that'll just help everyone else help you when you're trying
to get into this industry and might help you sing. But also,
(30:37):
yeah, don't let the ego be too good for a day job.
As a seasoned performer, while you're in shows.
You're continuing, you're talking about trying to, you know,
keep the jobs coming as things are moving through.
And maybe talk a little bit about how you have auditions being thrown at you
by the agents and managers while you're in another project, while you're involved
(31:00):
in another project, whether that's like animal kingdom and you still having
to keep self-tape, blah, blah, blah.
Maybe talk about that a little bit and what that's like, because I don't think everyone understands
how that works because your agent
and your manager they only get paid
a commission when you are booking
things and they're going to try to curate your career they're
(31:22):
going to try to help figure out exactly what you're saying finding that niche
that's going to be a happy place as well as match with their talent and ability
because you could love something but if your talent and ability doesn't fit
into that space and they're going to either help make sure that you're heading
in that direction or guide you that way.
They're also going to make suggestions regarding training, that type of thing.
(31:44):
You want to also be open to new instructors and new teachers that might be available
to you as you move through the business.
But I think talk and touch a little bit about that self-tape space that happens
while you're doing something else.
Yeah. I mean, like you think that like, you know, when you're trying to juggle
a day job and then do a self-tape is annoying.
(32:05):
Then like you do a show you're doing eight shows a week and you're like okay
now i have to wake up before this two show day and do a self-tape it just i
don't know it really just tests you i think it just tests your work ethic it
tests like you know i think this industry just does that it's like over and
over again it just feels like when you're like oh now i have this and now i can chill,
(32:26):
it's like no and here's another thing that just like reinstills the same kind of work ethic.
Challenges i guess here's the thing there are people out there who are
you know just starting out you are young adults whatever or
older adults just wanting to do this and they're like hanging on that one self-tape
that they get and that they you know that they're loving every minute of it
because they're acting they're playing a character you're having to analyze
(32:49):
the script and do all of that so you are doing you're performing when you're
auditioning in that way you're doing your thing.
I think like when you're busy, then it makes it a little bit more difficult to fit it in.
But once you fit it into your schedule, once you block your schedule,
how does it feel for you when you're actually doing the work?
(33:11):
Then it's great. Is it fun, exciting to do once you're in?
I think I throw myself under the bus sometimes because if I don't put in the
work prior to the time that I have to do the tape.
Then I'm frustrated to do the tape because I'm pushing
through this thing that i didn't prep for that makes
sense which sometimes is like fine let's just take two hours and
(33:32):
just go for it but i think if you really just go okay
i sent the tape in i have to get it even in like two or three days okay
that means right now i'm gonna sit down and read it five ten times and
i'm gonna write it out i'm gonna like you know i think the three
of the coaches i've worked with it's like find the play in the
training or in the work in like the preparation for this tape
you know like because i think the moment
(33:53):
that like i think even what every night that i find and doing the show
is like we're doing this we're doing
this thing that's so serious it's broadway it's like the highest
level of this thing this theater you
know in the world but at the same time as as
seriously as you can take it it's also fun like
we're playing dress up like we're just like we're literally just
(34:13):
playing dress up like there's not too much different and i think that childlike quality
is where you kind of have to ride that line and i think
trying to ride that line even with self-tapes and like it can be
something think they're hard because you know you have to find a reader with
like you know that's someone that wants to be there and like but i
think the more fun you can have with it when when you do
the prep work and the prep work for someone might be just like reading
(34:35):
it and be like all right i can let's just try it and that could be fun or
the prep work is like you memorize it days before and you have
that time you know you have to find it and know it but yeah.
I think it's a balancing act i think that's where i think
you can lead yourself in a kind of slow steady
cruise to keep yourself going is just that play and have fun with it okay i
did it like that let me try like this now let me like completely all right we
(34:57):
were this maybe if i whisper the whole scene like just keep yourself ebbing
and flowing in that play i think is where the longevity comes and also knowing
when you're like no i can't do this self-tape i need to like hang out,
with a family member or a friend like go watch a movie and get inspired yeah
because the inspiration you know you need to stoke that inspiration so favorite
moment as a child actor what do you
(35:19):
recall okay three things really quick Grinch I vividly remember like I don't
know if it was my last shows when I was bowing I remember like looking to my
right and my left mirror on that arch and like seeing one of the older cast
members and just like seeing them smile at me I remember that.
I remember greeting my family outside of the theater at Grinch,
(35:41):
nannying, and like, like there was something, the whole family came to see me and my Broadway show,
just like, it was like, right, this is what we're, this is what it's about is
the, is the family aspect of it and the support and like getting there.
And then Wintuck, Cirque du Soleil, turning around. And when you, you,
you reminded me of this, of like the director told me to like bow to the stage
or to the audience and then turn around and bow to the, to the cast,
(36:06):
my last show and that was just really i remember
watching the video back i did it so fast but it was it was a
beautiful thing and just like it brought my heart to my team yeah how
about as a team what do you remember when you were a team that would
have been um i think the team was boardwalk empire meeting steve buscemi i think
as far as like as far as like celebrities that i had met like i knew a lot of
(36:27):
people but he was someone where i was like oh are you i know who you are i think
as a child actor a lot of the times like i'm just having fun who is that and
you're freaking out And I'm like, I don't know. Hi.
And then I would go away to the crafty table and get snacks.
And you're like, I'm sorry, my kid, but you're amazing.
I think he was the first person that I was like 16, 17. I met him and I was
like, sir, it's nice to meet you. Thank you very much.
(36:50):
I had one or two. We're sitting next to him and going, he needed,
I was, I need to get something for you. I'm going to craft you.
And I said, did you want to get me something?
I knew he had me going to a candy bar. So what is happening?
Yeah. We all need a mom. Yeah.
This is true. And then as an adult. finishing the opening number for the Tonys
and the entire United Palace Theater jumping to their feet, that was crazy.
(37:13):
Because also a lot of people who were in that were from the West Side film.
The West Side film, the audition, Steven Spielberg sang, I gave him chills.
And he goes, in the final audition he went, I was singing Jet Song.
And he went, well, I believe him. He gave me chills. And then the lead producer
went, yeah, I believe him too. So that was pretty crazy.
(37:33):
Also just doing Krupke filming that with Steven Spielberg was
everything and like shaking his hand like before
we started that whole that whole week of shooting and at
the end of it you meeting him on set I remember that
I remember him like whispering something in your ear and he's being like he
was talking to me about you and so was Janice Janice was also mentioned a few
(37:54):
things and that was very exciting he was very kind yeah so so those things and
I think and in this show I think I'm sure that from tomorrow doing the last
show here are they going to like hit me?
Getting rained on in the rain, but yeah, those things, there's always like,
you know, flashes of things, but I think whenever, whenever someone's going
on as like a, for the Broadway debut, where we always just say like,
(38:15):
take a breath and just take yourself out of it for one second and just take it.
Whether it's someone looking at you or seats, like just like take yourself out
of it. So you can remember the moment.
Cause it will blink. It will slap me in the face and you'll be like, what happened?
Yeah. It's exciting. Yeah. To just have all these exciting moments that you didn't expect.
(38:36):
I'm all here because of this lovely woman.
Because of the passion and love that you ushered into.
It's so funny coming to all these Broadway shows and auditioning for things.
I'm like, oh, this is what this song's from?
Because we'd just be listening to that in the house. Or you've been teaching
that at a dancing school.
It's crazy. I was doing a lot of choreography. And you learned.
(38:57):
You knew all of the music between age three and five.
Every single show that I was working you knew all the songs just from me playing
it in the car and playing it at the school and doing the choreography solos
you knew solos Brianna Mastro's solo to Life at the Party oh yeah you had no
idea what that was from no.
Or like don't tell me not to live just sitting by different funny girl and then
(39:19):
Kurt doing that it's incredible it can happen it really can it's tough it's
difficult it takes up family but like It takes a lot of support.
It takes a lot of support.
But like, if you love it, just keep loving it. And like, it's not a linear journey. Not, it never is.
So falling off a cliff might be the best thing to kind of bounce back up.
(39:41):
Because there's lessons in that, you know? And next time you do something where
you have to do a role where you're feeling hopeless or you're feeling like you're
falling off a cliff, you know exactly how to do it. Yeah, that's so true.
That's the reason we steal from life. You know, good acting is good living. Yeah.
So have a great show. Thanks for watching. I know I'm going to be two more performances
on that stage right there yes and you're going to be seeing both of them I know
(40:04):
I'm going to see both of them and tonight you're going on for the for the,
for the leave searches and then tomorrow.
Tomorrow will be the last show yeah the last show and then on to the next thing
tune in next time for the next thing yeah for the next thing who knows thank
you so much yeah thanks guys I love you I love you I love you do you have to
do a sign off or anything no I'll do that I'll do it,
(40:27):
Thanks for watching the Making It Happen, A Career in the Performing Arts podcast.
Tune in on Sundays at 8 p.m. Eastern. And if you'd like to connect with Kevin, go to kevinsolak.com.
And you can follow him on socials at Kevin Solak.
Need more info and details about the professional performance industry?
Visit lbctalent.com and schedule your free no-obligation consultation.
(40:48):
And follow me on socials at lisasolak underscore lbctalent. By sharing our stories,
we can help talented individuals land the career of their dreams.
If you're enjoying this podcast, please like and subscribe below and hit the bell.
Music.
Music.
(00:06):
Welcome to Making It Happen, a career in the performing arts where we discuss
how to break into the performing arts industry for yourself or your child, teen, or young adult.
Guests include professionals who are passionate and share my vision of helping
talented individuals land professional representation and have successful careers in the arts.
My name is Lisa Solek and I was lucky enough to film and record this episode at the Bernard B.
(00:30):
Jacobs Theater on 45th Street in New York City this past week.
My guest is Outsiders cast member Kevin Solak.
Here we are, mom. At the Jacobs Theater in New York City, the exciting theater
where the Outsiders, the Tony Award winning Outsiders, Yeah,
the Tony Award winning. are performing.
(00:52):
The stage door is a little crazy, I have to say.
The stage door is always crazy, but it's beautiful to see so many people that
are so affected by the show. Yeah, yeah, for sure, for sure.
So where have you talked to Kevin about what he's been doing since the last
time he's been on Broadway?
A little bit of that and a little bit about Outsiders and what it was like to
(01:12):
participate in a Tony Award winning show. Yeah.
So when was the last time you were on Broadway?
The last time was pre-pandemic. It was pre-pandemic right before March.
We were in, we were just finished three months of West Side Story Broadway at
the Broadway Theater, where The Great Gatsby is playing, where my brother or
(01:34):
other son is currently performing.
But we had done three months of previews, did about two weeks of shows,
and then the pandemic hit and stopped.
So it's been about almost four years, almost five years since I had performed.
Yeah, so that I don't mess up my questions.
So yeah, it was in this 2020. And right before that, you had just gotten finished
(01:56):
filming West Side Story, the movie, Steven Spielberg's West Side Story,
right before that. Yeah, the summer before I started for West Side Broadway was the film.
It feels a little bit like a blur, like these last four years,
I think for everyone. Yeah. Because of the pandemic.
But yeah, so what were you doing to keep yourself busy between then and now
being back on Broadway after four years?
(02:19):
I mean, I think it's, yeah, I think as performers, we have to kind of like,
you know, if you don't use it, you lose it in a way. I think I've heard you
say that, and that's probably what I'm saying.
But I think it ebbed and flowed. I think when the pandemic started,
I think we were doing three months of previews, which you're doing rehearsals
during the day, you're doing a show at night.
And that was a lot. It was a lot. So I think when the pandemic hit,
(02:39):
I think the first month I was like, freedom.
I don't have to move my body if I don't want to.
But then it started with, I think, you're teaching for StarMaker over Zoom.
Oh, that's right. I forgot you did that. Yeah, teaching for StarMaker over Zoom.
Wait, was there only- We were doing acting classes, acting on TV.
We were doing dance. dance there was only a week that
was only a week that we weren't doing classes and then we jumped in
(03:01):
so jumping into that i think was really great to just keep that
muscle going because i know a lot of performers who like didn't dance
for like months and then like we're like right wait this
is so like you know i think when you know when you monetize something that
is that is something that you love i think you can forget what
it means to do it when yes when it's not for an audition or
for somebody so i think it kind of ebbed and flowed for me that
(03:21):
was that kind of started me off and then it was um
when i moved to la to the animal kingdom in the summer
of 2021 i think i
was taking class out in la a little bit to keep my body in shape i
think just like growing up in dancing school that's kind of my gym i don't love
to go to the gym but going to dance class is kind of my gym yeah and where i
can kind of feel where my body's at so i think it was just good old class yeah
(03:45):
i did take a ballet class one time and the woman older woman who was teaching
thought it was It was my first class ever. She goes, is this your first class? Do you take sports?
And I was like, wow, I got to get back to it.
So, you know, I think it'd be interesting for everyone to hear about the whole
process right after COVID when things were still not even really fully open
when we were auditioning for Animal Kingdom and what that process was like,
(04:09):
because obviously the pandemic has shifted us into this space of everything is self-chapes now.
And it's become a thing, which was on its way anyway, prior to that.
I really kind of saw the handwriting on the wall that was going to happen anyway. And.
Pandemic just locked that pandemic locked it
down and i think there's you know there's positives and negatives
to self-taping but yeah i mean it was just self-tape self-tape city
(04:32):
you even did the chemistry if i recall chemistry i
did i did i think it was like i sent it to self-tape and
then i sent in another self-tape for a different character on animal kingdom because
i originally went out for baz got a tape
for pope and and then had a call
back with producers to the zoom chemistry read which
is funny thinking like okay let's see your chemistry on
(04:53):
zoom which was weird but i
guess it went well and then i had one final audition and then they
wanted me to fly out two days later to la and we were like can you give us the
weekend because they wanted to start filming like this it's crazy with tv and
film yeah unless i think you're like booking a series regular or when you're
doing a guest star or even recurring guest star you can book you can audition
(05:14):
for something and the next week you're in vancouver and you're in toronto and you guys
had an apartment to try to empty and all
the things so yeah i remember that now that we're talking about
it but yeah that was so so what do you think the big difference is
between performing on you know for tv and film versus because you did that and
now we're back on broadway so what is different about it for you oh i think
(05:36):
it's one of those things where it's like everything's different but nothing's
different the approach is different obviously with tv and film you you,
I feel like everyone kind of goes into their own corners and does their homework
and then everyone comes together and then you kind of have this beautiful mash of like.
This is what I was thinking. Okay, what if I did it like this?
And you're kind of like having to live in the moment and you're holding your
(05:57):
kind of emotions more close to your chest, right? Because the camera does so much for you.
But Broadway and TV, I mean, or probably in the stage and theater anywhere is
like you get to find it with everyone.
I think that's what I love. I think growing up in the dancing school,
like being able to train with everyone, see see people get better,
see people like find a moment.
I think that's what is, I think is so different. You kind of can come in day
(06:18):
one with some ideas, but a little more raw.
Whereas with TV film, you have to come in with like all the ideas,
specific ideas on your character, but be malleable and still be raw in a lot of ways.
But then when you're on set, be able to be like, okay, we're just going for
it. And every take be a little different.
You have to be wary that you're not getting stuck in the same way of doing it
because the director might, you know, your idea, you know, to hold your shoulders
(06:43):
a certain way or do this thing. They might be like, no.
Like my first day on Animal Kingdom, I was manipulating my voice in a certain way.
And the first director on that first episode was like, you have to get to go
like into a higher register, but keep the raskiness.
Like right before we didn't take, I had to just change it. And that's what was
like set for the whole season.
Wow. Which is fun, but a little bit like, you know, because it's play, right? We're playing.
(07:04):
I know. I like the stage. I like the space of being able to kind of share the
ideas and then watch it all magically happen and work on it together.
The collaborative side of it, you know, that's super fun.
Because I know you said to me, after you ended up back in the show yeah first
time i talked to him he said we did not.
(07:26):
Really remember how much he loves yeah because
it's been a while the next five years and like you know and you
know i it's something that i'm so comfortable with but
like yeah when you're in the show it's all the backstage things too that like people
don't get to see you don't get to see it like the things that we do like
the stage hands and the props like the funny jokes we have or like
while everyone's like focused on one moment of a scene we're back here like joking
(07:47):
or like that's what broadway should be fun about i think it's like
you find so many connections not just on stage but
also because you're with each other so much because you're doing eight shows a
week that's how you get through the ancient it's like a family
by the time you're done so i get it so your first
time back on broadway back in the show how much time
did they give you to prepare because we everyone doesn't
(08:10):
know what exactly happened the show opened like explain
the beginnings and how you ended up in outside so i did
a workshop of the outsiders last year in august
it was a dance workshop i booked i auditioned for that and then the broadway
show came to be and then i got a call about i think a week before the this outside
is open and someone got injured in the show unfortunately a good friend of mine
(08:32):
but they called me and they were like we're thinking of you to come in just
for three months while he's on his injury leave.
Would you do it and I was like give me a day and I was like yeah so I came in
I started I really started my first day of like work was me just coming to the
opening night to see this to see it they I was a guest of the show and then
(08:52):
to it I think opening night was like a Sunday on Tuesday I was in rehearsals I had two weeks.
And then I started the show end of that second week. That was fast.
I knew the show within like two weeks.
No, I mean, that's just like a testament to like Milena Como,
who was like the dance captain who taught me pretty much the majority of the show.
(09:13):
And the socials have like kind of like three main numbers, but it's a lot of
like more like moving up the plank and different little things.
So it was about three days where I kind of was like, OK, I know the show. Am I ready to go on stage?
Like emergency, maybe. But it was the two weeks was a really good like,
OK, I felt so comfortable.
Because it wasn't until like i was like all right curtain's going up for that
first show that i was like man i haven't done this in a while this
(09:35):
is exciting and like do i know what i'm doing and luckily everything
kind of fell into place i understudy paul and bob and i've
gotten to go on for paul a bunch i'm going on for paul tonight just found out
got her a ticket and this is you're gonna be your second second to last show
second to last show i'm doing paul last show is tomorrow right and then i also
understudy bob but they have a lead for that so So that's the reason why we
(09:58):
get it. Okay. This all happened.
All right. So Outsiders won the Tony, which was insanely exciting.
Thank you for inviting me and letting me come and enjoy the excitement of all of that.
It's amazing to be there and not in the theater because it was small.
And that was a thing. We were, I was at the party that they had or the watch
(10:20):
party where everybody watches.
And that was really cool. Yeah. So you've been in the Tony's before.
Yes. And I'd love you to talk about what it was like when you did it the first
time and how this was different.
Well, actually, you've done it twice before and this is the third time.
So maybe talk a little bit about that experience of being in the town is the
(10:45):
first time and how that felt because you were very young.
Yeah. And then moving on to what happened next. And then with The Outsiders,
three-part question, the preparation that went into that performance,
because it was definitely iconic.
If you have seen the Tonys, if you haven't seen it, go on YouTube and watch
it because it was a performance was insane.
So I'll let you talk. Yes, the first performance I was able to do on the Tonys
(11:08):
with Mean Girls, and it felt like kind of a shot in a barrel because I feel
like I truly didn't really know what it was going to be.
But like you, you get dressed at your theater and then you are like rushing
to, they put you in a bus and then you get right to the, like outside the Tonins
and you wait in the bus and then they usher you, they're like, all right, you're next.
(11:29):
And they usher you to a stairway and then you're waiting in the stairway and
then you go out there and you do it.
And then they put you right back on the bus and you come right back to the theater.
It's crazy how they do that. People always.
I mean, one month, like what do you, one month at the theater?
One month at the theater. So you come to the theater, you put your costumes
on, you get on a bus, you go over there and And they just sit you on the bus
and you wait on the bus and then you go in and perform. Yeah.
(11:50):
And you do it twice that day. So there's a, there's a whole,
like, there's like a soundcheck rehearsal where like the entire Tony's happens in the morning.
So you like get to your theater at like 6am, you do the whole thing.
Then you go to your matinee or you, or you just go and then you go have a matinee.
So the first time was, was kind of crazy. I felt like I was just like,
I blinked and I was like, wait, it happened.
So I can imagine that. And that was great. And Mean Girls was fun.
(12:11):
It was like, you know, it was a vibrant cast. and the second
time was performing last year on the opening number which is
a whole different experience because we were we were rehearsing at
the venue up in Washington Heights the day
of we got to get there early I got to the palace theater
I got to I got to we got to have a rehearsal room and a
dressing room we got to rehearse we ran
(12:33):
through it once we got dressed we got to hang out take pictures and
then we got to like walk down and you know prep in
like the lobby to do that so that felt way or so
beautiful and different because it gets just kind of sick and be
like okay here we go this is where we're going to do it yeah
and then did they do have like a sound check where the camera was
the camera well it was so incredible yeah we had we had a sound check and was
(12:55):
it just one run through with the camera people or was it something no we had
about an hour and a half of like camera sound check with that and carla garcia
the choreographer was amazing and she made sure all the shots were exactly what she wanted.
And yeah, so that one was, that was great because we got to kind of like just
kick it off and there was no air conditioning at the palace and it broke.
(13:16):
So it was really hot. So we were like waiting in the lobby.
Yeah, you were there for that one. I was waiting in the lobby to go on and I
was like, I'm dripping sweat. So that was amazing.
So I think coming into now the Outsiders one, I think I kind of knew to take
the breaths and really take in the space.
But the same thing happened where we had to come here, rehearse.
We rehearsed for about, we had about four, three or four rehearsals with the
(13:39):
cast in a rehearsal room before doing.
With all of your tech? No, that was just in the rehearsal room.
But they did have to, they did have to time. It's all about time.
You have like a four minute slot and that includes the prep work of rolling
out the mat and rolling out the little tarp that did like a trough that caught
the water so the day of it was it was kind of the same thing got here early,
(14:02):
and had to go over there and wait in the bus and do the whole thing but i think
with this time around i think i just kind of was able to take my time i knew
just like be excited but just,
take it one step at a time and know that it's something that we've done this
eight shows a week it's nothing different you know a lot of the times i think
when these moments happen it's,
you have to kind of have this like the the butterflies happen
(14:25):
but you have to just kind of like settle in the groundedness like okay how do i
ground myself and just know that like i got this it's really
just like a flip of a switch in your brain of like no i got this which is i
think similar to what you do in auditions true yeah true it's just tough because
it's on a high level well you have to channel my whole thing is you have i think
you have to channel it's energy right because it's hormones that are running
(14:46):
through your body when you are let's call it nervous of us.
So when, if you can channel that energy into technique, into remembering your
lines, into all the things that you've done a million times, you know.
You have to mentally be able to put yourself there. And it's got to be difficult
because you are with all these different personalities, especially with outsiders,
(15:06):
because the majority of this cast is young.
Yeah. And it was a lot of everyone's first time. So it was like it was it was
exciting to kind of see that and see all the nerves.
But like this cast is really good about feeling each other, like in this like
settling down, like feeling each other's energy and then like settling down
and like taking meditative breath.
Like on the bus ride over, we all took meditative breath together.
We'd be like, breathed in for four, we held five and we breathed out and we
(15:29):
all kind of like, cause we were all buzzing.
We were like, you know, but then when we got up, we got there and we actually
got off the bus and we're waiting outside the venue before we walked backstage.
And we had a nice moment where like I started stretching and other people started
stretching and we kind of like, we're going through some things.
Like a focus moment. Yeah. But it was crazy. Cause like we got to theater to
prep for actual Tony's and we had, we got to theater at like eight o'clock and
(15:53):
Tony started at six 30 cause we were the last performance. Oh, right.
But it was amazing. It was thrilling. It was gorgeous to be at Lincoln Center.
I think, you know, we had a great time and we did the thing.
Yeah, you did the thing all right. And the video that someone took back,
because you guys got on the bus, came back to the theater and then heard the announcement.
(16:15):
So you must have been rushing, rushing to take off your puffs. Somebody took a video.
Of all of you celebrating in the oh that was me that's enough that you
took the video yeah cut to the video yes cut to
the video yeah no yeah we were in the dressing room changing for
the after party and we were like to be like we were hoping we
could like stay near the venue but they it's all protocol so
we were back here and we got to we got in and i was taking off my shirt as
(16:37):
they were announcing director and then and then
sure enough we're sitting there and like half of the cast is like
in the basement half the cast in the hair department like everyone's
changing some people already changed i was like halfway changed and then
all of a sudden we heard it it was congratulations to you
and the entire cast yeah this cast it's a big deal
yeah and i feel like i kind of got plugged into this cast and i kind
(16:58):
of like grabbed the torch from sean who got injured and like i feel like i just
kind of like held his space and the hard work that he put in and the whole cast
put in and i think you know i think this is a beautiful show i think this show
kind of it it takes the mold and kind of bends it in a different way and pushes
it and expands it as far as Broadway shows go,
but also holds true to what Broadway is and what musicals are.
(17:20):
Yeah. I'm really happy that Sean is going back in. Sean's going back in.
Yeah. Yep. He's coming back. Sean, we don't know. If you're interested in a
career in the performing arts for yourself or your child, teen, or young adult,
you're in the right place because I have helped hundreds of clients break into
the performing arts business on stage, in films, television,
(17:41):
commercial work, and more.
This podcast is supplemental to my groundbreaking online courses.
For more information, check all the ways you can benefit from my online courses,
my how-to videos, webinars, in-person seminars, and free guides.
Go to lbctalent.com for everything you need to get started today.
Yeah. Okay. So can you give us a speed read of a typical week in the life,
(18:04):
in your life lately, in the life of Ketam Solon?
Typical week. Typical week. Okay. Like speed read.
Tuesday, you wake up, you get breakfast, you're going to go for a walk,
you have a moment to read a book, you try to do a little yoga at the apartment.
You come to the theater have fight call 5 45 do the show go home shower watch
(18:26):
tv roll out go to sleep next day wake up as late as possible before i go to two show day,
waking up at like 11 leaving at 12 two
shows in between shows taking a nap or sometimes like watching cartoons with
bart or other guys in the show um between shows get a coffee or celsius do the
second show and then yep go home same thing watch the show just get right in
(18:48):
bed try to pass out because the adrenaline the adrenaline stills are going.
What if like after the show we
should sometimes like go out or something or that's the end of the week we're
getting there end of the week yeah wake up wake up thursday if we have if we
have rehearsal i wake up try to cook a breakfast and come to the theater we
(19:10):
have rehearsal just the theater's just like this with the lights work lights
on and we have understudy
rehearsal where we're either doing our own understudy work or
we're helping vacation swings or new people coming into the show which can
be exciting i think it's exciting it's fun
a thing to put in sometime i haven't done one yet because it's been a little
more serious and getting in the job all right continue so thursday we do the
(19:32):
show thursday get out on the show thursday thursday night let's see if a friend
comes to the show maybe we'll go nearby and grab a quick drink but i always
try to leave wherever we are at like 11 30 just to get home to sleep
because like your adrenaline when you're doing a show is still pumping so like
i can't really sleep till 1 30 and then i wake up at like
10 yeah wake up friday we have probably rehearsal again if
i don't have rehearsal i try to like go out and do something in the world and feel like a person
(19:55):
have some like you know handhold all my life this show friday night friday night's
always a fun crowd friday night's always a tricky one people always want to
go out for like if you want to like you want to meet up friday night you got
to go home it's saturday two shows it's good advice for new performers new performers
people are going to want to go out and it's fun it is fun.
But i think you have to know yourself some people i know some people who do go
(20:16):
out thursday friday saturday and they're fine they can do their job
i cannot know yourself so friday night
everyone okay everyone's in a blue moon in new york there's
a beautiful amazing dance night called soul in the horn and
it's like old it's you feel like you're soul in the horn
yeah tag them can i go there totally yeah
anyone can go but it's like a dance night that starts at like 11 and
(20:37):
goes to like 4 a.m and like it feels like
church for the dancer because everyone's just dancing no one's like looking at
each other's dance circles so once in a blue moon i
will participate maybe this much that's pretty much what i do sometimes but
so once in a blue moon or friday night i'll be like okay i'm gonna go do that
because i need the release of that mostly fridays go home saturday two shows
(21:00):
then saturday night same thing wake up matinee as late as possible sleep between shows saturday.
And then Saturday night is Snob, Saturday night on Broadway.
Yeah, most theaters, a good amount of them will be Saturday night on Broadway.
It's like everyone goes and signs out the stage door at the end of the second show.
And then we'll go up in the dressing rooms and we'll have a little drink.
And it's just a moment, I think, for the cast to kind of cheers the week and
(21:21):
be like, hey, we did this.
It was a hard week. It was a great week. But it kind of connects us because,
you know, a lot of times you don't see people until you're just like on stage
with them. Like, all right, here we are. It's the same thing.
So it's nice to connect with your cast or even your crew too.
The crew comes out for that or the band. and it's nice to just connect with everybody.
It's nice to connect with everybody. The separation with the performing,
I can stop going backstage. I was lucky enough to go backstage, which is always fun.
(21:45):
You can get a chance to do it at any show, do it.
Yeah, where the band is, you don't really, you can't interact.
And also, eight shows a week, you have to protect your energy.
You have to really make sure that you are giving yourself the space.
Sometimes I come to the theater and I try not to talk to anybody just because
I need my own space to be able to have the energy for the show.
And then you wake up Sunday, hopefully not hungover, and you do the show.
(22:08):
And then you, Sunday and Monday, is truly just rest for me.
Some people like to go out and do things. I'll try to do a dinner on Sunday
or do something Sunday. So then Monday is just rest. Monday is laundry.
Clean the apartments. And then you just get up and you do it again.
See, but it's the little things that you try to do different every week.
Like going to a coffee shop and reading a book.
(22:30):
You have to take it in small wins as far as doing a show. It's a schedule.
So it's a lot to do eight shows a week. It is tiring, Ma.
It'd be nice to do it. Body is 28, 29 is different than doing a show when you're 22.
It's around the corner. In October. In October, yes. I remember that.
19 years as an Actors' Equity member from SAG. About two years. Remember?
(22:55):
You're definitely seasoned at this point. How does it feel to be this age and
have so much experience?
Do you notice that at all? When you're with auditions or with other people,
do you feel like you've got it together?
I think I know. Sometimes I do, sometimes I don't. I
feel like I feel it in the moments of the Tonys or the moments of like
(23:15):
the pressure of final callbacks or the pressure of opening night i'm kind of
like i think that's where my body kind of can click into like i got this because
i think it's just been a repetitive thing for so long not not like there's been
so many broadway opening nights but it's just like i think i'm just kind of
like no i trust myself i was born to do this,
but i don't know because i sometimes like you know 19 years but like i think the first like.
(23:38):
Eight was a lot of you i think kind of
guiding me along and you kind of being the one and me just kind of having a
good time having a good time and training and doing the right things
and it was tough it was tough yeah it was yeah oh let's
talk about that for the parents out there thinking about doing this it's yeah
i mean you have to be as a parent like middle manager because when they're children
(23:58):
and teens you don't want to share with them what's going on behind the scenes
you just want to let them have fun like kevin said let them have a good time
but also no one to tell to keep going.
And that too, especially if you know that they have the talent and you will
know, parents, you will know.
Trust me, you will know. If they're driving a bus, you do have to let them drive
(24:18):
it. But there are times with,
I think you know. I think when you first start out, it's a lot of like you want
to try to get yourself out there.
And I think it's like any job. When you first get a job in any field,
I think you want to be that good student and show up and stay late and do all the things.
But you know when there's a thing that happens, you're like,
okay, this is an important life thing to experience.
(24:40):
Go to the football game with your friends. Yeah, absolutely.
Because as actors, we want to be able to have a balance if you can.
Yeah, and that's what's tough about it because you never know when the
audition is coming you never know when the callback is coming so you
have to kind of like you're saying kevin take advantage or you
always have to be supposed to go on vacation or something yes you're supposed
to like go to where you're at the prom and they're like well i'm gonna
(25:04):
go to the audition do the self-tape at least now it's self-tape i think there's
a big difference people when you were young and kevin started for those who
don't know when he was 10 he was signed for representation and immediately was
doing film television There's a bunch of work, voiceover, Broadway.
All of it happened very, very quickly. And we looked them up and found out what that's all about.
(25:25):
But yeah, it's definitely a balance. And it's important to live your life and all of that.
But then again, too, you have to consider what the auditions are and what the importance is.
And understand what is important about the industry as you're going through that process.
You decide not to do the audition. Someone else is. Yes. Yes.
And that's okay. Some people don't even want to do it. They want to wait until
(25:47):
college. yes absolutely there's nothing wrong with it then when you go to college.
Grind yes you're nothing you definitely have to put the time you gotta really
love it as you do i think you found the things that suck today what day is it
yeah what day is saturday i love it talk to me wednesday,
(26:09):
You have been able to gracefully transition from being a child performer who
was quite successful to and through the teen years, which the teen years many
times are a difficult time and you continue to work during that time.
And now you're an adult and you're able to still do that. And that's very unusual
in this industry. I don't know if you understand how unusual that is, but it is very unusual.
(26:33):
And both you and your brother were capable of doing that. that
so i now that you're you're
a successful adult can you give us
your advice for someone who is starting out after say a collegiate program and
they're just going into the industry like what kind of just general advice might
(26:57):
you have for them or specific something specific and And also,
of course, it's going to depend on whether they're focused in Broadway versus
film and television or if they're trying to do all of it.
A lot of times, and I can say this from experience with many clients over the
last two years who are adults, they feel like sometimes they're falling off a cliff.
(27:20):
They've gone through high school
and they've done all their musicals and they've done their training.
Some of them are competition dancers and they've taken voice lessons and they
have all of this experience. And then they go to college and to a collegiate
program and things get a little bit maybe heavy in those spaces and sometimes
not, but that's part of the academia.
And then they get out of school and sometimes they're lucky enough to get an
(27:44):
agent, get professional representation through their collegiate program their
senior year, but many are not. And they feel like they fall off.
And that there's nothing for them. They don't know which way to turn and what to do.
So in that regard, any advice that you have for that person who's just getting
out of school and needs an agent?
(28:04):
I mean, I think the falling off a cliff thing I can relate to it.
Anyone in this industry can.
I mean, I feel like I was falling off a cliff before this happened.
I truly like the accounts were low.
And I was about to grab the day job, which I've done before.
And I think that's one thing. Don't be above that.
(28:25):
I think it's always like, get that settled, have the side thing,
whether I worked at a restaurant for a while, just to not have to worry about rent.
Because I think when money becomes a factor and then you're kind of gripping
at auditions or gripping at things and you're making it into this big thing
because of the money, it just makes it tough. So that's one thing.
One thing that Donya Tamor, the director of this musical, gave out a talkback
(28:48):
that I love, I'm giving that to everyone else now,
is find the specificity in what you love about the art form that you're going
into and really develop your taste.
So what kind of Broadway shows do you like? Do you like all of them? Do you?
Do you like Sondheim or do you like the golden age? What is, what are your things?
(29:10):
And for TV and film or even for plays,
just find the writers that you like i think agents
a lot of the time they want who they can feel confident in
and if you go into an interview with someone you're like i want to do
this i want to be a video game like you know voiceover actor
and i want to do this i want to do this kind of broadway it just helps
they're still going to send you out on every damn but it helps
(29:32):
them to be like oh this is kevin and he wants this you know he's a really good
physical actor and dancer who can sing as well okay like the outsiders kind
of fits perfectly for me with the bike choreography but i think it just helps
give of a direction and also give a direction for you when you want to start
creating things on your own,
you know when you love it all that's great but
(29:53):
then like what do you really love about it and what's your style and taste because you
know if you feel like the doors aren't opening for you then make your own door
we're in a social media age where like people there's people who are booking
broadway shows who have never went to school for this but they're one of these
tick TikTok or Instagram famous actors or singers,
(30:14):
which has been doing in the bedroom, but because they haven't had the clout
of that, they get pulled into this.
And that's also a whole nother grind that I can't even really get into that
I have some friends who do that I respect fully.
But I think, yeah, really hone in on your taste and what you really like,
because I think that'll just help everyone else help you when you're trying
to get into this industry and might help you sing. But also,
(30:37):
yeah, don't let the ego be too good for a day job.
As a seasoned performer, while you're in shows.
You're continuing, you're talking about trying to, you know,
keep the jobs coming as things are moving through.
And maybe talk a little bit about how you have auditions being thrown at you
by the agents and managers while you're in another project, while you're involved
(31:00):
in another project, whether that's like animal kingdom and you still having
to keep self-tape, blah, blah, blah.
Maybe talk about that a little bit and what that's like, because I don't think everyone understands
how that works because your agent
and your manager they only get paid
a commission when you are booking
things and they're going to try to curate your career they're
(31:22):
going to try to help figure out exactly what you're saying finding that niche
that's going to be a happy place as well as match with their talent and ability
because you could love something but if your talent and ability doesn't fit
into that space and they're going to either help make sure that you're heading
in that direction or guide you that way.
They're also going to make suggestions regarding training, that type of thing.
(31:44):
You want to also be open to new instructors and new teachers that might be available
to you as you move through the business.
But I think talk and touch a little bit about that self-tape space that happens
while you're doing something else.
Yeah. I mean, like you think that like, you know, when you're trying to juggle
a day job and then do a self-tape is annoying.
(32:05):
Then like you do a show you're doing eight shows a week and you're like okay
now i have to wake up before this two show day and do a self-tape it just i
don't know it really just tests you i think it just tests your work ethic it
tests like you know i think this industry just does that it's like over and
over again it just feels like when you're like oh now i have this and now i can chill,
(32:26):
it's like no and here's another thing that just like reinstills the same kind of work ethic.
Challenges i guess here's the thing there are people out there who are
you know just starting out you are young adults whatever or
older adults just wanting to do this and they're like hanging on that one self-tape
that they get and that they you know that they're loving every minute of it
because they're acting they're playing a character you're having to analyze
(32:49):
the script and do all of that so you are doing you're performing when you're
auditioning in that way you're doing your thing.
I think like when you're busy, then it makes it a little bit more difficult to fit it in.
But once you fit it into your schedule, once you block your schedule,
how does it feel for you when you're actually doing the work?
(33:11):
Then it's great. Is it fun, exciting to do once you're in?
I think I throw myself under the bus sometimes because if I don't put in the
work prior to the time that I have to do the tape.
Then I'm frustrated to do the tape because I'm pushing
through this thing that i didn't prep for that makes
sense which sometimes is like fine let's just take two hours and
(33:32):
just go for it but i think if you really just go okay
i sent the tape in i have to get it even in like two or three days okay
that means right now i'm gonna sit down and read it five ten times and
i'm gonna write it out i'm gonna like you know i think the three
of the coaches i've worked with it's like find the play in the
training or in the work in like the preparation for this tape
you know like because i think the moment
(33:53):
that like i think even what every night that i find and doing the show
is like we're doing this we're doing
this thing that's so serious it's broadway it's like the highest
level of this thing this theater you
know in the world but at the same time as as
seriously as you can take it it's also fun like
we're playing dress up like we're just like we're literally just
(34:13):
playing dress up like there's not too much different and i think that childlike quality
is where you kind of have to ride that line and i think
trying to ride that line even with self-tapes and like it can be
something think they're hard because you know you have to find a reader with
like you know that's someone that wants to be there and like but i
think the more fun you can have with it when when you do
the prep work and the prep work for someone might be just like reading
(34:35):
it and be like all right i can let's just try it and that could be fun or
the prep work is like you memorize it days before and you have
that time you know you have to find it and know it but yeah.
I think it's a balancing act i think that's where i think
you can lead yourself in a kind of slow steady
cruise to keep yourself going is just that play and have fun with it okay i
did it like that let me try like this now let me like completely all right we
(34:57):
were this maybe if i whisper the whole scene like just keep yourself ebbing
and flowing in that play i think is where the longevity comes and also knowing
when you're like no i can't do this self-tape i need to like hang out,
with a family member or a friend like go watch a movie and get inspired yeah
because the inspiration you know you need to stoke that inspiration so favorite
moment as a child actor what do you
(35:19):
recall okay three things really quick Grinch I vividly remember like I don't
know if it was my last shows when I was bowing I remember like looking to my
right and my left mirror on that arch and like seeing one of the older cast
members and just like seeing them smile at me I remember that.
I remember greeting my family outside of the theater at Grinch,
(35:41):
nannying, and like, like there was something, the whole family came to see me and my Broadway show,
just like, it was like, right, this is what we're, this is what it's about is
the, is the family aspect of it and the support and like getting there.
And then Wintuck, Cirque du Soleil, turning around. And when you, you,
you reminded me of this, of like the director told me to like bow to the stage
or to the audience and then turn around and bow to the, to the cast,
(36:06):
my last show and that was just really i remember
watching the video back i did it so fast but it was it was a
beautiful thing and just like it brought my heart to my team yeah how
about as a team what do you remember when you were a team that would
have been um i think the team was boardwalk empire meeting steve buscemi i think
as far as like as far as like celebrities that i had met like i knew a lot of
(36:27):
people but he was someone where i was like oh are you i know who you are i think
as a child actor a lot of the times like i'm just having fun who is that and
you're freaking out And I'm like, I don't know. Hi.
And then I would go away to the crafty table and get snacks.
And you're like, I'm sorry, my kid, but you're amazing.
I think he was the first person that I was like 16, 17. I met him and I was
like, sir, it's nice to meet you. Thank you very much.
(36:50):
I had one or two. We're sitting next to him and going, he needed,
I was, I need to get something for you. I'm going to craft you.
And I said, did you want to get me something?
I knew he had me going to a candy bar. So what is happening?
Yeah. We all need a mom. Yeah.
This is true. And then as an adult. finishing the opening number for the Tonys
and the entire United Palace Theater jumping to their feet, that was crazy.
(37:13):
Because also a lot of people who were in that were from the West Side film.
The West Side film, the audition, Steven Spielberg sang, I gave him chills.
And he goes, in the final audition he went, I was singing Jet Song.
And he went, well, I believe him. He gave me chills. And then the lead producer
went, yeah, I believe him too. So that was pretty crazy.
(37:33):
Also just doing Krupke filming that with Steven Spielberg was
everything and like shaking his hand like before
we started that whole that whole week of shooting and at
the end of it you meeting him on set I remember that
I remember him like whispering something in your ear and he's being like he
was talking to me about you and so was Janice Janice was also mentioned a few
(37:54):
things and that was very exciting he was very kind yeah so so those things and
I think and in this show I think I'm sure that from tomorrow doing the last
show here are they going to like hit me?
Getting rained on in the rain, but yeah, those things, there's always like,
you know, flashes of things, but I think whenever, whenever someone's going
on as like a, for the Broadway debut, where we always just say like,
(38:15):
take a breath and just take yourself out of it for one second and just take it.
Whether it's someone looking at you or seats, like just like take yourself out
of it. So you can remember the moment.
Cause it will blink. It will slap me in the face and you'll be like, what happened?
Yeah. It's exciting. Yeah. To just have all these exciting moments that you didn't expect.
(38:36):
I'm all here because of this lovely woman.
Because of the passion and love that you ushered into.
It's so funny coming to all these Broadway shows and auditioning for things.
I'm like, oh, this is what this song's from?
Because we'd just be listening to that in the house. Or you've been teaching
that at a dancing school.
It's crazy. I was doing a lot of choreography. And you learned.
(38:57):
You knew all of the music between age three and five.
Every single show that I was working you knew all the songs just from me playing
it in the car and playing it at the school and doing the choreography solos
you knew solos Brianna Mastro's solo to Life at the Party oh yeah you had no
idea what that was from no.
Or like don't tell me not to live just sitting by different funny girl and then
(39:19):
Kurt doing that it's incredible it can happen it really can it's tough it's
difficult it takes up family but like It takes a lot of support.
It takes a lot of support.
But like, if you love it, just keep loving it. And like, it's not a linear journey. Not, it never is.
So falling off a cliff might be the best thing to kind of bounce back up.
(39:41):
Because there's lessons in that, you know? And next time you do something where
you have to do a role where you're feeling hopeless or you're feeling like you're
falling off a cliff, you know exactly how to do it. Yeah, that's so true.
That's the reason we steal from life. You know, good acting is good living. Yeah.
So have a great show. Thanks for watching. I know I'm going to be two more performances
on that stage right there yes and you're going to be seeing both of them I know
(40:04):
I'm going to see both of them and tonight you're going on for the for the,
for the leave searches and then tomorrow.
Tomorrow will be the last show yeah the last show and then on to the next thing
tune in next time for the next thing yeah for the next thing who knows thank
you so much yeah thanks guys I love you I love you I love you do you have to
do a sign off or anything no I'll do that I'll do it,
(40:27):
Thanks for watching the Making It Happen, A Career in the Performing Arts podcast.
Tune in on Sundays at 8 p.m. Eastern. And if you'd like to connect with Kevin, go to kevinsolak.com.
And you can follow him on socials at Kevin Solak.
Need more info and details about the professional performance industry?
Visit lbctalent.com and schedule your free no-obligation consultation.
(40:48):
And follow me on socials at lisasolak underscore lbctalent. By sharing our stories,
we can help talented individuals land the career of their dreams.
If you're enjoying this podcast, please like and subscribe below and hit the bell.
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