BWW Q&A: Rodolfo Nieto Talks ALL IS CALM: THE CHRISTMAS TRUCE OF 1914 at Asolo Repertory Theatre

The Western Front. Christmas. A German soldier sets down his rifle and steps into No Man’s Land, singing “Silent Night”. Thus begins an extraordinary night of fellowship, music, and peace, told in the words and the songs of the men who lived it. Peter Rothstein’s salute to unsung heroes of The Great War returns to the Historic Asolo Theater after a sell-out run last season.

Since 1958, Asolo Repertory Theatre has been recognized as one of the premier professional theatres in America and one of the largest in the Southeastern United States. Asolo Rep presents up to eight productions each season, including classics, contemporary drama, musicals, and world premieres. A theatre district in and of itself, Asolo Rep is committed to expanding its reach into the community, furthering its collaboration with leading theatre-makers, and cultivating the next generation of artists through its affiliation with the FSU/Asolo Conservatory for Actor Training. Under the leadership of Producing Artistic Director Peter Rothstein and Managing Director Ross Egan, Asolo Rep’s ambitious theatrical offerings, commitment to new work, and groundbreaking education and engagement programs ensure the company’s lasting legacy for future generations.

RODOLFO NIETO is excited to return to Asolo Repertory Theatre where he was last seen as Dr. Carrasco in Man of La Mancha. As a performer he is a frequent presence on the Twin Cities Theater stage, appearing with Theater Latté Da (All Is Calm: The Christmas Truce of 1914, Hello Dolly, La Bohème, A Little Night Music, Assassins), History Theatre (Dirty Business, Buddy), Mixed Blood Theatre (Safe at Home), Minnesota Opera (Cruzar la Cara de la Luna, Werther, Silent Night, La Bohème), and Artistry (The Sound of Music, A New Brain). 

How does it feel to return to Asolo Repertory Theatre?

It feels wonderful to be returning, especially for this show. This will be my third time performing at Asolo Rep, the first time being Man of La Mancha in 2023 and then All Is Calm in 2024. In each case, the company's staff and crew were immensely supportive in our collaborations, and the audiences received our work enthusiastically. Bringing back All Is Calm is a delight since, for so many, last year was their first time engaging with this show, and both crew and audiences were effusive in their appreciation of the work.

Can you elaborate on your role as an Ensemble Member for this production?

It is perhaps one of the most challenging, exhausting, and satisfying pieces I have ever been involved with. We are a tightly knit group of nine performers, many of whom have performed this show together in numerous productions over the past 10 years (this will be my 7th production). What makes it unique is that for the entirety of the show - which runs only about 64 minutes - we are ever-present with our bodies and our voices, either in song or with spoken words taken directly from those who were involved in WWI. Since the music is sung "a capella" without a conductor, and because of the way citations are interwoven with the music, there is never a moment for us to rest; we are always "on". For me personally, that means I am occasionally setting starting pitches, checking my own musical intonation with the group, and flipping between different European accents depending on the individual I am citing, all while engaging with the ensemble as needed to bring the audience into this incredible story.

What unique elements do you bring to this role in 'All is Calm: The Christmas Truce of 1914'?

I have a solid background in choral singing from college, and that helps me immensely with the styles of music found in this show. I also began my training in classical vocal performance, which, due to the focus on Western European repertoire, gave me a foundation in those languages that are present throughout the piece. All that, along with my broader musical theater stage experience, gives me the comfortability to flow through the show with all the flexibility needed to appropriately tell this story.

Can you share your thoughts on the show's message and its relevance today?

There are so many messages that one can find in this show. For me, one of the biggest themes is the shattering of assumptions for many of the soldiers when they engaged one another in a moment of peace. Many of the things that they were told about "the enemy" were either grievously incomplete or completely untrue. It took extremely brave individuals to go against everything they were being told and instead follow their own experience to chart a new course of understanding. Our current society, being so deeply fractured and divided as it is, needs the reminder that even "the lowliest of the ranks" can find the shared humanity with another they've been taught to hate. It takes great courage to do so, but the results, even if only temporarily, are powerful enough to stop a war.

How does your experience as a composer and songwriter influence your acting?

Fascinating question! I haven't considered that until now. The practice of writing lyrics and music arose predominantly as a way to say things I couldn't say before, or perhaps even to bring up things I didn't even realize I needed to say. As I navigate that creative process, I find that when I come upon the lyric or melody that I had been searching for I either laugh or cry a little. It's a sign that I touched the right nerve: one that is deepest and most personal. So then, by sharing that music I am inviting others in to witness something precious to my own experiences. Perhaps they will resonate with it and perhaps not, but the offering is mine to give. To bring this to acting, through this vulnerable work I've become more at ease letting people into my creative world (collaborators) and my performing world (audiences). In live theater, rather than simply trying to project outward, I offer the invitation to come inward into my discoveries. And when I find that genuine little laugh or tear, I know I've found the spark of connection that the audience can also feel, and it's exhilarating.

What elements of this production do you think will resonate most with the audience?

It is, of course, the combination of things. First, audiences might be struck by how little is present in terms of scenery. We begin the show with a bare stage, and then comes the effort of, in essence, "calling these spirits from the past," with the music of our voices being our most powerful tool. As we sing and flow from moment to moment, narrating some of the shared experiences from those first few months of the war, I believe audiences will be captivated by the directness and simplicity of our production. And the MUSIC! It metamorphoses from gleeful and cheerful, to somber and devasting, to cacophonous, to precious, and everything in between; it is the tapestry in which we weave these real stories. The realization sets in quickly these soldiers truly existed, and that our "show" is so much more than a song-and-dance event: it is a remembrance and a blessing of humanity.

Why must audiences come and see the show?