BWW Blog: Mark Price of Off-Broadway's A CHRISTMAS CAROL - Comfort Zones, Operas for Turtles, and Playlists

When first asked if I had any musical skills for this show, I said I could rock a mean triangle and kick it with the maracas, but after meeting with the gifted and saintly Mary-Mitchell Campbell (check out her organization, I found myself agreeing to learn how to play a large Irish drum called the bodhran. Steve Pacek, who originated the same role in Delaware last year, was kind enough to give me my first official lesson. We played with a children's drumstick in my living room until he sent me a tipper stick a few days later. His first tip was to not watch videos on YouTube for fear I'd become intimidated. I nodded in agreement, but ran to my computer as soon as he left to search for examples. A few minutes of watching these incredible musicians resulted in a deep shame spiral with the gnawing fear being found out as a complete fraud. Luckily, I could carry a handful of rhythms weeks later, thanks to the endless hours of banging out tribal drumbeats at home (apologies to my neighbors and to my cats) and the support of people like Campbell.

I've always marveled at how some actors can play instruments brilliantly, giving equal value to both their acting and musicianship skills, which is why I chatted this week with Jessie Shelton, who plays violin, and Franca Vercelloni who rocks the accordion in our show. Both are insane talents as well as being amazing individuals who I have the distinct honor of watching onstage nightly until our play closes on Jan. 4th. Here we talked about early musical influences and the pros and cons of possessing multiple artistic skills.

M.P. So you both come from crazy music backgrounds. What were your first influences?

J.S. My mom was a musician and teacher who practiced all the time. There was one day we had a violin ornament on the tree. I grabbed a pencil and started mimicking her with this tiny plastic violin. She thought, "Okay, let's give it a try." So at three and a half, I started on the smallest size, and grew from there. I used to practice two hours a day, then when I got into theater and dance, my playing fell to the wayside. But mom kept it going just enough, saying, "If you want to play a wedding once in a while for some extra cash, you'll have the ability to do that."

M.P. Smart Mom!

J.S. So here I am and now it's coming more and more into what I do.

F.V. My grandfather was an opera singer and an accordion player and he had his own radio show in central New York where I grew up. My whole family always had an appreciation for music and studied instruments ever since they were kids. I started studying piano when I was four, enjoyed it and had an aptitude for it. As I grew older, I began doing competitions and recitals. I excelled at classical piano but at the same time, I was also doing a lot of acting. I loved both for different reasons. As creative as I was able to be as an actor, I could express something I didn't know how to express otherwise as a pianist. As an adult, I realized that the musician's mind was very similar to an actor's mind, and that the preparation for both acting and music performance could be related.

M.P. Awesome, love the idea of approaching storytelling from different angles.

J.S. Yes, to add to that, I was in a pit for a musical in high school, and the only reason anyone ever talked to me in the musical was because I had been in other plays. I realized there was no respect for players in the pit, which is why I now have a higher appreciation for stagehands, designers, and everyone else. I have a broader view because I'm not just limited to one thing.

F. V. It gives you a greater sense of what has to happen for everything to come together

M.P. What was your earliest recollection of musical influences? For me it was an album of Bozo the Clown, I have little recollection of what those songs were like, but the first album I really remember was Rush's 2112.

F.V. Mine was a Woody Woodpecker album that my Mom and Aunt had when they were growing up. I loved the music and the comedy and the idea that there was this crazy radio show that people listened to instead of seeing live.

J.S. My parents had a VHS of Leonard Bernstein's Music for Early Audiences and I remember my brother saying, "I don't want to watch Lemonade Birdstock!" I also had a turtle sandbox growing up in our backyard, and according to our neighbors, I would compose quite the sandbox opera for them when I was as young as two years old.

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Guest Blogger: Mark Price MARK PRICE Broadway: Mary Poppins (Robertson Aye), Wonderful Town (Ensemble), All Shook Up (Dennis), Rocky Horror Show (Riff Raff), Mamma Mia! (Pepper), Dance of the Vampires (Boris), You’re a Good Man, Charlie Brown (Snoopy u/s), Paul Simon’s The Capeman (Anthony Krzesinski), Chicago, Beauty and The Beast (Lefou). Regional: Sherlock Holmes & The Suicide Club (Alley Theater), Lend Me A Tenor (Paper Mill Playhouse), Assassins (Milwaukee Rep), The 39 Steps (George Street Playhouse), Into The Woods (Alliance Theater), Sondheim Celebration at Lincoln Center, Our David (NY Premier/Kitchen Theater), Sweeney Todd (Tobias) at the Kennedy Center, for which he received a Helen Hayes Award nomination, and 70, Girls, 70 for City Center Encores! Film & T.V.: Law & Order, Broadway’s Finest, The Tony Awards, and The Rosie O’Donnell Show. He is a BFA graduate of Ithaca College and has taught workshops and classes for AMDA, NYFA, The Performing Arts Project, as well as college and training programs around the country. Visit, @aboutmarkprice