Interview: Shenandoah's Jake Emmerling Says 'Hello'

EMMERLING third from the left

It's always a comfort knowing that alumni from your Musical Theatre program are working and doing great things in the entertainment industry. Jake Emmerling is doing just that, currently spreading the good word across the country in The Book of Mormon national tour as Elder Michaels.

After returning to his alma mater for an afternoon to teach a choreography masterclass, I was lucky enough to sit down with the performer and hear about his experience being on tour with such a big Broadway hit.

Christopher Castanho: Why don't you tell us a little bit about yourself, where you're from, where you went to school--

Jake Emmerling: I am originally from Derry, Pennsylvania. I graduated from Shenandoah Conservatory in 2011 with a BFA in Musical Theatre and minor in Dance. Currently, I am touring across the country with "The Book of Mormon", I've been with this production since 2012, so it's been over four years now. Auditioning for Mormon was kinda vigorous, I was living in Chicago at the time and went to the open call. I had about six callbacks and within that time frame, it started with just the casting director and then ended with the creative team.

CC: Since you've been on tour for four years what's been your favorite stop?

JE: I have a lot of favorite cities, so it's hard to just pick one. But I definitely love the vibes of Chicago, Seattle, Philly was a lot of fun, I also love the smaller towns like Greenville and Norfolk. It's been great.

CC: What was your favorite part of the rehearsal process as you were a part of your tour's original company?

JE: We had roughly three weeks of rehearsal in New York City, we were in the new 42nd Street Studios--we had the entire show up on its feet under a week and a half--and then we started cleaning it like crazy. After that, we moved from New York, had about two and a half weeks in Chicago: teching. It was fun because we would have rehearsal set pieces and most of the props, but then we went from that to the stage with the actual set that was moving with the lights and the costumes and the makeup and sound, everything was thrown at you all at once. It was always "Here we go!" We would just do it. The vest change- that everyone would always ask about- in Turn It Off was never rehearsed, we just did it. It was extremely efficient in that sense.

CC: Now that you've been in this show for a while, how many current cast members remain from the original company?

JE: There are now only three of us. All of the new people add a great new energy to the show. Whenever new people come in it adds a fun dynamic to the performance, especially when we get new leads. It's fun to experience that, even though the show feels the same, the energy, the inflection and the laughter or comedy comes from different areas because of what people are bringing to the production. It's always harder for new cast members to come into the show because they have to fit into the current production that's already been going. We always say 'Shove with love' because whenever we get someone new we make sure that they fit into the show the best they can, and it's always been a success.

EMMERLING on the far right

CC: What's it like being in a big, huge, Broadway musical on tour that is a Tony-Award winning production? What's it like being a cog in this big machine?

JE: Good question! [Laughs] I actually kinda forget about it once and awhile. But I always remember 'Oh yeah, I'm in The Book Of Mormon.' It's just everyday life now, but it's incredible. It's obviously a very rare show to be a part of and I'm having a very rare experience. That's what makes it cool: I get to experience the life of the show across the country, and since it's been going on for so long that I get to see how different locations react to the show over time. Like when we went to Omaha for the first time I got to see people go 'What is Book of Mormon?' and now we're coming back and they say 'Oh my god Book of Mormon!' and it's become this big thing like 'Wicked' or 'Lion King'. The hype of the show is interesting because it's just the show that I love doing. I always appreciate every show that I've done, but for this one I look around and there's a lot of fans and excitement around the show, which is really cool.

CC: That must be interesting: going to work but then stepping back and realizing that where you work is a large part of musical theatre pop culture. So you mentioned Omaha, what's it like going back to tour stops you've been to already?

JE: It's fun--we were just in Greenville and I think there were only four of us in the cast now that were there last time, so it's fun to reintroduce the city to new cast members. Saying 'Oh my gosh, you need to go out to lunch here.' Or go to this bar or cafe. It's fun to experience with your cast, and it's also great because you know the city and understand the vibe. You get comfortable with each place and then to be reintroduced to that is nice. 'I know exactly how far the walk to the theatre is' or being familiar with neighborhoods. I love coming back to tour stops from before.

CC: When Mormon does end for you, because all shows eventually close, will you move back to Chicago?

JE: It's going to be between Chicago and New York. I think I might give New York a run and see what happens, but I also love Chicago as a city, it has an incredible theatre community as well. I've been pushing off that thought as it's a hard decision to make. [Laughs]

CC: I know that Book of Mormon is this big flashy show, with crazy characters and explicit lyrics, but I remember hearing that your director, Casey Nicholaw, is very story driven. What does the core story of "The Book of Mormon" mean to you?

JE: Basically no matter what you believe, what your faith is, as long as you have faith in yourself and in your life and surround yourself with good people- that's all that matters. Of course the show takes on a very delicate topic of religion, as that's where most often the pressure points are pushed with people, but I think that this show has such heart. There's a beautiful, emotional arch that goes through it, and most people don't realize until they see it. It can switch from comedy to a very emotional standpoint. With this show--I love the message: no matter what you believe, as long as you believe in something good and morale and it drives you to be the best person you can be- that's all that matters.

CC: What advice or what you say to people who have "The Book of Mormon" as their dream show or desire pursuing a career in the arts?

JE: No matter what: preserve. Believe in yourself. The hardest things that we as artists do is we don't give ourselves permission. We don't let ourselves take those risks or make that choice or go to that call. As much as we as artists have to analyze ourselves and understand who we are so we can present ourselves best in the [audition] room, I think at the same time we have to let it go because you'll get in the way of yourself. As actors we're used to listening to the director but in real life we have to be our own directors and we have to be the ones to say to ourselves 'Go to that open call.' or 'Put that new song in your book.' Trust that choice you made. It's such a subtle thing in this career that people don't think about, but it does make a huge difference.

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The Book of Mormon, winner of nine Tony Awards including Best Musical, is currently playing at Broadway's Eugene O'Neill Theatre (230 West 49th Street). The show features book, music and lyrics by Trey Parker, Robert Lopez andMatt Stone. The production is choreographed by Casey Nicholaw and is directed by Nicholaw and Parker.

The Book of Mormon is the winner of nine Tony Awards, including Best Musical, Best Score (Trey Parker, Robert Lopez, Matt Stone), Best Book (Trey Parker, Robert Lopez, Matt Stone), Best Direction (Casey Nicholaw, Trey Parker), Best Featured Actress (Nikki M. James), Best Scenic Design (Scott Pask), Best Lighting Design (Brian MacDevitt), Best Sound Design (Brian Ronan) and Best Orchestrations (Larry Hochman, Stephen Oremus); the New York Drama Critics Circle Award for Best Musical; five Drama Desk Awards including Best Musical; the 2011 Grammy Award for Best Musical Theater Album; four Outer Critics Circle Awards, including Best Musical, and the Drama League Award for Best Musical.

The Book of Mormon features set design by Scott Pask, costume design by Ann Roth, lighting design by Brian MacDevitt and sound design by Brian Ronan. Orchestrations are by Larry Hochman and Stephen Oremus. Music direction and vocal arrangements are by Stephen Oremus.

Catch Jake on tour with The Book Of Mormon by getting tickets HERE.

Be sure to follow Jake on all of his social media: FaceBook, Instagram, and Twitter. In addition to his Website.

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