Interview: Crawley, De Maria, Klopach, Tijerina Discuss Lyric Studio Theatre's EDGES
By: Matt Tamanini Sep. 08, 2015
There is no more popular rising musical theatre writers than Benj Pasek and Justin Paul. The duo, who met as undergraduate musical theatre students at the University of Michigan, were nominated for a Tony in 2013 for the score of their first Broadway show, A CHRISTMAS STORY: THE MUSICAL. In addition to this movie to musical adaptation, they have received both critical and public praise for their shows DOGFIGHT, JAMES AND THE GIANT PEACH, and DEAR EVAN HANSEN; the latter of which will open Off-Broadway in the spring after a sold-out run at Washington DC's Arena Stage.
Now, Atlanta's only professional musical theatre, the Atlanta Lyric Theatre, is producing Pasek and Paul's first show, EDGES. Written after the pair was disappointed by casting decisions at Michigan, the show speaks to the yearning, the excitement, and the fear that often overwhelmes individuals as they transition into adulthood.
The show will mark the first fully-staged production in the Lyric's new studio space in the Marietta Square, and features a phenomenally talented group of Atlanta's finest young musical theatre talents; Galen Crawley, Jessica De Maria, A.J. Klopach, and Austin Tijerina, who is also directing the production.
EDGES runs for only four performances at the Lyric Studio; September 18th, 19th, 25th, and 26th; so hurry and get tickets. Recently, I chatted with the cast about the show, the importance of producing new musicals in Atlanta, and how and why they individually connect to the piece.
BWW: Describe what EDGES is. Is it a musical, is it a song cycle? Also, talk about what the larger theme to the show is.
Jessica: EDGES is a song cycle. Which to me, means that it's a collection of songs that all agree thematically. There's no book scenes or anything like that to connect them. But, when performed together like this, a story naturally unfolds and relationships between the characters take shape. I imagine those relationships are different with every company.
I think the theme here is identity. These four people are trying so hard to make connections, with lovers, with the world at large, with themselves, because those connections are what they need to continue to formulate who they are. They are looking for a person, a career, an event, a love to identify with.
Galen: It's a song cycle about twentysomethings dealing with life after college. It's a strange time for a lot of people; you still feel like a teenager, but the world expects you to be a grown-up.
A.J.: EDGES is a collection of songs that all revolve around the same theme... coming into adulthood. It harps on real-life situations that most people in their younger years experience to some degree. It focuses on the development of young relationships and discoveries of self-worth. While not following a through line, the collection of songs is broken into vignettes that shape the development of the characters.
Austin: EDGES is a song cycle where young people encounter life problems from complicated relationships to finding meaning and purpose in the time post-college when life is at its most unstable.
Is there a moment in the show that specifically speaks to your real-life experience; whether it is something you sing or not?
Jessica: Probably "Lying There," which I do sing. This is a woman who has so much anxiety and doubt about the relationship she is in that she can't sleep. Being able to sleep peacefully with this man is just about the only thing she wants, but she can't, because she knows deep down that she doesn't love him.
I've been on both sides of that story. I think what breaks my heart the most about it is, I don't think you ever really know if she stays with him anyway. Does she settle for this life of what she's supposed to love, while compromising what she wants to love? Or does she leave him heartbroken? Either option is pretty rough, but also just profoundly authentic.
Galen: I get to sing, "I've Gotta Run," which is about jumping from relationship to relationship without ever really being invested in a future with anyone. Our generation takes relationships so seriously; in middle school, I had friends who had "boyfriends," and by high school we were all obsessed with finding someone to date long-term. But I think a lot of that is just like playing house. When you're young, you think that having a partner will give you a certain status, or that it will fill a hole. But, until I was in my mid-twenties, I had no idea what it meant to really be in a relationship; that being with someone means so much more than going on dates and liking the same movies.
A.J.: There are actually a lot of moments in the show that I relate to directly. In "Along the Way," a lot of his life experiences and mess-ups are similar, if not the same to my own past mistakes. I have accidentally killed my pet rodent before from being careless and stupid like the character in the song.
Austin: The song "Monticello" hits super close to home with me. It touches on how we all have dreams, but sometimes life gets in the way, and we stay stuck for longer than we'd hoped.
I moved to New York City when I was 18, fresh off of a contract that enabled me to save a good chunk. I was young and squandered my savings exceptionally fast. (I) moved back to my hometown after two and a half-three years of living there.
Since then, my dream of returning has been put on hold several times for different financial surprises. Like the song, I still plan on going back. Atlanta has helped me grow and learn as a performer and I will take it with me!
Atlanta has a fantastic theatre scene, and many metro-area theatres often do new, cutting-edge plays. However, most of the musicals produced in town are more of the classic or family-friendly varieties. Why is it important for musicals like EDGES that speak to a younger theatre-going crowd, to be staged in Atlanta?
Jessica: Oh man SO important. I think as performers, we are hungry for stories that resonate specifically with us, with the things we are struggling with, and with the kinds of music we want to sing. Austin and I were actually just talking about how singing or performing music is a fundamental way he and I express the real passion behind what we're feeling. I think that telling those stories can be so cathartic and helpful to us as we grow as actors.
In terms of the audience, it feels to me like we're at a point where the audience base in Atlanta is sort of aging out, and there's not enough being done to engage the young people coming in. In order to stay strong and relevant, and in order to thrive financially, we have to, as a community, start doing work that's going to get young artists, young professionals, future board members passionate and excited.
A great way to do that is to show people how much musical theatre can really wail; that it can be dangerous and grungy and hard, you know?
Galen: EDGES was written by students in a conservatory program who were unhappy with their casting, and if that's not the quintessential experience of my generation of musical theatre performers, then I don't know what is.
It's only been in the last 15 years or so that college acting programs have taken off, and now there are thousands of programs all over the country. The songs speak of a yearning and uncertainty that is really native to our generation; just look at Buzzfeed and the amount of lists and quizzes about how lost and confused people are.
I can't say for certain that this is true, but it definitely feels like my generation is the first to stand up and say, "I am twenty-five and I have absolutely no idea what that means." The Greatest Generation were proud to be adults in their twenties, my parents had full-time jobs at twenty-five, and here we are, stumbling along and screaming about how confused we are by life. EDGES absolutely nails this uncertainty, and I think it's very telling that its songs are staples in cabarets, audition rooms, and workshops; when you're twenty and hear "Coasting," it makes you want to flip a table and yell, "THAT'S MY LIFE!"
A.J.: Atlanta has a continuously growing theatre community. The more variety we can produce, the greater number of audiences we will impact on a large scale.
Austin: I personally believe it is important because this style of musical theatre is what speaks to our generation. They generally are riskier to produce, as they are typically less known by our core audience, but expanding their theatre vocabulary is a very important responsibility.
The Lyric Studio space used to be part of Theatre in the Square, now that the Lyric has taken it over, what is the vision for the types of shows that will be performed there?
Galen: I think the studio space is the perfect place to do shows with smaller casts; something like SPITFIRE GRILL, or edgier material like REEFER MADNESS. The Lyric has pretty much perfected the classic musical' their shows are always lovely, feature amazing dancers, and have all the spectacle and glamor you could hope for. I think it's great that they're investing in a different kind of musical theatre now.
A.J.: I am excited for what is to come in the studio space on the square.; lots of cabarets and smaller cast musicals. Maybe even larger scale productions that don't require as much dance. Hopefully there will be more song cycles around the corner!
Austin: The vision is still currently in the gestation phase. As of now, it is a venue for cabarets and solo acts. With EDGES being our first full production in the space, we hope to bring audiences smaller scale musicals with all of the quality expected of the Atlanta Lyric Theatre!
What is your favorite song in the show that you do not sing?
Jessica: "I Once Knew." Not only because AJ sings it beautifully, but because it's about valuing a woman for so much more than we typically hear about. He's singing about his mother who is ill, on her deathbed in fact. He remembers things like going to breakfast with her, and how strong she is, and how her hands feel. Just really lovely simplicity in that kind of love and appreciation. She's beautiful to him in such a unique way. But, he unapologetically tells her to hold on... for him. It's selfish, but it's also an admission to saying, "I don't know how to be without my mother yet."
I think we are all so eager to say "GET OFF MY BACK" to our parents, but I think we need them always, just the ways in which we do evolve.
Galen: "Lying There" rips me to shreds. Jessica absolutely slays me with it.
A.J.: "Lying There" is a beautiful song and Jessica De Maria brings an incredible performance that you cannot miss!
Austin: "Lying There" is constantly stuck in my head. I think we all have this situation in relationships throughout our lives. The desire to fit into what you think is the perfect relationship, but the feelings do not back up the ideals. Jessica De Maria gives a lovely rendition of this song that I always enjoy!
If you could describe EDGES in three words, what would they be?
Jessica: In. Your. Face.
Galen: "What's an adult?"
A.J.: Edges, Hedges, Ledges
Austin: Fresh, beautiful, youthful
Photo Credit: Jamie Wood Katz
While I won't be able to see this show, I could not more highly recommend it? So, get your tickets NOW, then, let me know how much you loved it in the comments below, or by "Liking" and following BWW Atlanta on Facebook and Twitter. You can also chat with me about the show on Twitter @BWWMatt. If you want to follow along with my "366 in 366" articles, you can check out #BWW366in366 on Twitter.
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