Interview: Theatre Life with Marika Countouris

Today’s subject Marika Countouris is currently living her theatre life onstage at Signature Theatre as Musical Director/Keyboardist for Hedwig and the Angry Inch. The show runs through June 22nd in the ARK.

Hedwig is not the first time Marika’s musical talents have graced the stages of Signature’s spaces. Previously she assistant musical directed and conducted Private Jones and was the musical director for Passing Strange.

Other area credits include playing in the pit at Ford’s Theatre for Grace, MDing and playing Professor Woland’s Rock Show at Spooky Action, Rehearsal Pianist and Associate Conductor for the pre- Broadway run of A Strange Loop at Woolly Mammoth, and MDing/playing many productions for Monumental Theatre Company.

As an actress, Marika has performed in (title of show) and Side Show at CenterStage Theatre Company, We’re Gonna Die at Flying V, and Brooklyn at Monumental Theatre Company.

When not performing, Marika is a music educator. She is currently on staff at two different area institutions and is also a private piano and voice teacher.

Marika Countouris is one of the area’s most passionate artists. Her drive is awe inspiring and her energy onstage is unbeatable. I highly recommend you grab some tickets to Hedwig and the Angry Inch at Signature Theatre so you can witness Marika’s incredible talents for yourself.

Marika Countouris is truly living her theatre life to the fullest and that my fellow readers is always a good thing!!

Was piano your instrument of choice as a child or did you switch over from another?

I wouldn’t exactly say taking piano lessons was my choice. As a kid, I hated practicing and was very good at coming up with excuses to skip. But in my household, piano lessons were non-negotiable until you turned 13.

Now, singing? That was my jam. I started in a children's choir— imagine tiny me, living for the harmonies—and began voice lessons in middle school. Eventually, I decided maybe piano wasn’t so bad. I realized it could actually be fun, especially when I could accompany myself to belt out my favorite pop songs and musical theatre anthems in my living room.

Where did you receive your training?

Catholic University. I have a BM in Musical Theater Performance.

What was your first professional job as a musician and also as a musical director?

My first professional gig was with the Pittsburgh Opera in 2006. I was in the children’s chorus forPagliacci. Very high drama, very few lines.

While I was a sophomore at CUA, I landed my first music directing gig: Footloose at Gonzaga College High School. Nothing says trial by fire like teaching teenage boys how to rock out to ‘80s dance breaks and having to take “The Girl Gets Around” down a 4th because of course we had no tenors lol.

Can you please give us a brief overview of Hedwig and the Angry Inch?

The show feels like the wild love child of a rock concert and a stand-up comedy set. It’s explosive, hilarious, and raw. Sawyer Smith (Hedwig) and V Sterling (Yitzhak) are powerhouse performers who throw themselves into their roles with fearless intensity and heart.

But let’s talk about our band—the Angry Inch. This crew absolutely shreds. We’ve got a powerhouse group of musicians who not only play in their own bands but also bring serious chops from the musical theatre world: Alec Green (guitar), Joanna Smith (bass), Sam Carolla (drums), Oliver Dyer (guitar & bass swing) and, of course, myself (keyboard & keytar).

Not only did they crush the challenge of memorizing the entire show (no small feat), but they’re also pulling double duty, singing backup vocals while playing. Their energy is electric, their musicianship is off the charts, and honestly, they’re just cool as hell.

How do you best describe the score of Hedwig and the Angry Inch?

A riot of classic punk and glam rock. This score doesn’t care about theatre rules. It’s loud, raw, and unapologetically anti-musical theatre. Meant to be blasted, not politely applauded.

Many of the shows you have musical directed/played have pop/rock scores. Is this a coincidence or a preference?

Both! Contemporary scores are definitely for me. I’m all about shows where the band isn’t hidden in the pit but part of the action onstage. I’ve been lucky to work on a handful of productions in recent years that let me bring all the pieces of myself to the table: music directing, singing, acting—and diving into some seriously gritty, electrifying music. That’s where I feel most at home as an artist.

You have worked on a few productions at Signature Theatre now. What do you enjoy the most about working there?

Signature is such a special place. I still have moments where I can’t believe I actually get to work there. Being involved in new works has been one of the most rewarding parts. Private Jones was unforgettable. I learned so much about how the many positions of team music collaborate on a brand-new musical. It’s a machine that makes some real magic.

Earlier this year, I also got the opportunity to be part of a workshop for Benjamin Scheuer’s A Mountain for Elodie. He’s a genius. It was incredible to watch him write a handful of perfectly constructed, very real, folk/rock tunes about fatherhood in just a few days. I could talk about song structure and musical dramaturgy with that team all day.

Music departments for new works live for Dropbox. RIP Finale.

Here is a scenario for you. You are offered a chance to choose and conduct a large scale golden age musical with the full orchestration. What show would you like it to be?

I don’t think I can pick a golden age musical at this moment. But if I had the chance to do a contemporary show with a full “large scale” orchestration, I’d go with Natasha, Pierre & The Great Comet of 1812 by Dave Malloy. This score is a beast in the best way possible. It’s got folk, electro-pop, classical, Russian choral moments, jazz, EDM, and actor musicians—all woven into one wild, electrifying sonic experience.

Or probably Phantom of the Opera, OG orchestrations + prog rock style. It just feels right.

When not MDing or playing shows, you are a music educator. Why do you think music education is so important and why does it NEED to stay in school curriculums?

It gives kids a voice. Literally. In a world that’s often chaotic and overwhelming, music gives students a way to speak, to feel, to be heard. That’s everything.

After Hedwig and the Angry Inch closes, what is next for you in 2025 and into 2026 workwise?

Up next, I’m music directing Lizzie at Keegan during spooky season 2025. Also looking forward to making time to play more gigs with my cover band, Scrumptious. Hit us up if you need a wedding band!