Is Life In The Theater Just Like Any Other 9 To 5?
1776, a musical by Peter Stone, has just been revived by the Roundabout Theatre Company. The show follows the American founding fathers and the events which took place prior to the Declaration of Independence. John Adams is our protagonist, and he goes through the course of the story trying to convince his fellow patriots to sign the document. The show first opened in 1969 to rave reviews; it won three Tony awards, including best musical. This most recent 2022 revival has not been welcomed back as warmly on the Great White Way. The show has been met with controversy since its inception.
Roundabout is known for putting on revivals with a twist to them. With this show’s main characters being based on cis white men, that is typically how it is always cast, but not here. The whole show is put on by those who identity as female, trans, and non-binary. As this decision was met with pushback, it is not the leading controversy which has plagued the musical. The standout, and most controversial, cast member is Sara Porkalob (she/they).
Porkalob plays Edward Rutledge. Rutledge has the biggest number in the show, “Molasses to Rum.” When one typically has the 11 o’clock number, they take on the role with honor and respect. A sacredness is thought to be had. However, in a recent article in Vulture, Porkalob opens up about her experience in the show and what it means to be a performer on Broadway in her opinion. In the article released in mid-October, Porkalob shares how she sees this job just as that…a job. She states that most nights she is operating at 75%, not giving all her energy to the role. For most, Broadway is the end all be all, yet Porkalob views it as simply a stepping stone to further her career. After being asked if they are artistically fulfilled, they explain, “No, I’m not. The salary is good. My favorite thing in the whole process is my cast. So the social aspect and the salary aspect are fulfilling. The creative aspect, not so much. I feel like I’m going to work.”
On top of being a performer, Porkalob is a director and writer, as well. Being more on the creative side is where her heart lies. With a lead role on Broadway, doors that were once shut are now open wide. This job is a gateway for other work. Many took offense to this way of thinking, and discourses burst out on Twitter, Instagram, and Tiktok. How can one get to Broadway and not savor the moment? How can you get there and already be thinking about how this will help you get the next job? Why perform if you are not going to give it your all every night?
As previously stated, Broadway is the end all be all for musical theater performers. It is the Goldmans Sachs for a finance bro or Met Gala for a fashion designer. Yet, are we, the audience, expecting too much from the actors? Are they allowed to experience burnout and work fatigue just like the rest of us? Or, since we are paying top dollar to watch the shows, is 110% expected for every performance? I ask with no definite answer in my mind– I see both sides of the argument. Of course these actors need to pace themselves throughout the show, or else 8 performances a week is unsustainable. However, when I go to see a musical, I would hope the actors are performing to their highest capability since I did pay to see their talents.
On the topic of quickly moving onto the next job, I see Porkalob’s reasoning. The theater is a job about hustling. Nothing lasts forever, and you must be auditioning nonstop in order to keep working steadily– the next job should be lined up before the current one ends. Still, I would not be so vocal about my readiness to depart from a job right after its beginning. That is one area of the interview where I feel Porkalob could have held back her feelings and not shared how willing she is to leave for bigger and better things. That statement was confusing and infuriating to the readers.
This debate has been taking place on social forums, and the reactions have been very mixed. Audiences cannot deny the talent displayed on stage, but after discovering Porkalob’s “holier than thou” mindset, it is hard to sit through the show and enjoy it without her public image being tainted. There are also a few accounts which praise her speaking out and sharing her opinion. Conditions in which Broadway performers are expected to perform could turn dangerous with the “show must go on” mindset. Setting boundaries between the job and personal life are discussions which are starting in the community, and Porkalob is the first to speak out in such a major way. In doing so, criticism is destined to come.
There does not seem to be a clear-cut answer for this issue, which keeps the discussion going. With Broadway being an institution since the inception of American culture, there are many who want it to keep with tradition and hold it on a pedestal as the top stop for performers to go. Yet, others see that institutions need to change with the time and update to fit the lives of people in that current moment. It is a fight of tradition vs modernity.
If you feel so compelled to do so, please share in the comments how you view this issue.
