Interview: Artist/Actor Austin Spangler On Performing All Over The World & IN THE MOON

The Broad Stage will west coast premiere the chamber opera BIRDS IN THE MOON September 1, 2021; outdoors on Santa Monica's Lot 27. With music by Mark Grey and libretto by Júlia Canosa i Serra, Elkhanah Pulitzer directs Maria Elena Altany and Austin Spangler, backed by the Friction Quartet.

Had the chance to throw out a few questions to Austin about his path to joining the BIRDS.

Thank you for taking the time for this interview, Austin!

What originally brought this production of BIRDS IN THE MOON into your radar? Someone you worked with previously? The chance to utilize some of your Cirque du Soleil training?

I originally met Mark Grey and Cath Brittan nearly ten years ago after they saw my performance and action choreography on ANDRE CHENIER at the Bregenzer Festspiel, Austria; and they approached me last year to join the BIRDS team. Having admired both their work for years, I was of course thrilled and blessed by the opportunity.

Other than Mark and Cath, have you worked with any of the BIRD IN THE MOON cast or creatives before?

This is my first time working with any of the wonderfully talented BIRDS team.

What would your three-line pitch of BIRDS IN THE MOON be?

Prepare yourself for one of the most ground-breaking productions ever created. Asking questions that need to be answered about values that affect us all, now, presented in a way which opens the mind, pulls you in and transcends storytelling in a way never seen.

Tell us about your character of the Ringmaster.

Complicated, nuanced, emotional and delusional, the Ringmaster embodies a familiar and terrifying reality of so much of the world we live. Typifying a truth that all humans have to face, while dazzling audiences with charm and magic he can't help himself but revel in greed and deception, unwittingly his own worst enemy while battling the imposter within, reflecting a base opportunism rife in his fellow man and an enemy to us all if he doesn't get what he wants.

You've performed in some of the biggest venues all over the world (i.e., Bregenz Fespiel, Austria, Royal Opera House and L.A. Opera). What's your favorite stage to perform on?

All of them in their own unique way have been fantastic, challenging and inspiring. The privilege of having such a blessed career has meant they stand alone as experiences and treasures. All incredibly, hard and enlightening while always learning from such hallowed halls of creativity to better myself as an artist and human.

This The Broad Stage production will be presented outdoors on Santa Monica's Lot 27. What other performances have you done outdoors?

Gosh. So many... From the world's biggest at the Bregenz Festpiel for four years to so many other companies in the UK & Europe that work in outdoor, found, installation and open-air environments creating brand new work in non-traditional spaces.

Are your performance preparations different for in-door vs outdoor performances? (We are aware that this is an amplified performance.)

This might sound strange, but not really. In preparation and in the moment, whether outside or indoors, the intention of my performances are grounded by the same roots; to honor my character in the most noble way by telling the truth. That's it. Whether in front of hundreds, thousands or millions, on stage or camera, the core of my motivations stay the same. Nothing more and nothing less. (But if it rains, bring an umbrella).

What first nudged you into taking stunt training with members of Cirque de Sole, De la Guarda and RC Annie? For a specific role? Desire for an added talent?

A mix of all those reasons, as well as a natural capacity from a very young age to be able to do it. We are all blessed with talents and for some reason Mother Nature and God gave me the ability to act and be physical at the same time - not as easy as one might think. At eight years old, I was trained for my first ever production to play a young King Arthur which I had to perform on horseback and do stunts while acting. This naturally led onto doing more work as I got older and then had the wonderful privilege to be able to train with these people. Skills I've had the delight in marrying together for BIRDS IN THE MOON.

You were born in Connecticut. What motivated you to move to London and graduate from Central St. Martins School of Fine Arts?

Whisked off at a very young age by my itinerant parents to all corners of the globe, I then settled in London to study, learn and be challenged by one of the most complex and creative cities in the world. In truth, logical thought didn't come into it, but intuition and a natural progression of my energy, while having faith in the universe that being an artist is what I'm supposed to do with my life.

When you were a youngster, what did you want to be as a grown-up? An actor? A singer? A director? A visual artist?

Ha... wow... what a question! The trials and tribulations of all youngsters when asked that question, spouting potential nonsense on the school playground or in the backseat of my parents' car at such young ages is often proceeded by pure fiction in a world of dreams. Mine ironically, and with no word of a lie, was to be an artist/actor that could do stunts. A laughable notion at the time (in which I actually laughed and so did everyone around me... followed by 'but seriously, what do you want to be when you grow up?') How weird and wonderful the way the world works that to this day I have to pinch myself that it came true and that I've had the career I've had. (The careers officer at school told me I should be a bus driver.... Go figure.)

What specific lesson do you always include in your teachings in the Young Artists Programs at L.A. Opera and Royal Opera House?

Respect, love, listen. Be kind, look after yourself, and each other. The universe will take care of us, if we in turn take care of it. Nothing is impossible if we work hard enough, and nothing is achieved alone. (But if I had to pick one, respect each other).

What similarities and differences do you view in your roles of as a teacher and as a director?

To teach my students good practice, professionalism, prudency, empowerment with joy and inspiration, while passing on knowledge and wisdom whenever needed. Mentoring the moment to honor the individual can often bridge both disciplines. While directing for me is guiding, co-creating and supporting the story and performer, as a performer, with compassion and openness. Working as a visionary and sculpture whenever needed.

What's in the future for Austin Spangler?

Hopefully a world tour of BIRDS IN THE MOON, while continuously asking questions of the world as an artist, demanding answers and pushing boundaries in all mediums to the best of my abilities, for as long as possible, in honor to all.

Thank you again, Austin! I look forward to seeing you Ringmastering.

For tickets for the live performance of BIRDS IN THE MOON through September 4, 2021; log onto thebroadstage.org