Interview: Theatre Life with Rebecca Madeira
The extremely talented actress on performing in Arena Stage's current production of Inherit The Wind and more.
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Today's subject Rebecca Madeira is currently living her theatre life onstage at Arena Stage as part in the role of Rachael Brown in Inherit The Wind. The production runs through April 5th in Arena Stage’s Fichandler Stage space.
Rebecca is no stranger to working on DC theatre stages. She previously performed at Arena Stage in the world premiere of A Wrinkle in Time as Ensemble / u/s Mrs. Which and at Signature Theatre in A Funny Thing Happened on the Way to the Forum as u/s Philia and Sweeney Todd as a Swing.
Other regional credits include Anything Goes as Hope at Milton Theatre, Seussical as Gertrude at Light Opera of New Jersey, and Amadeus as Constanze at Algonquin Arts Theatre.
There are some plays that become dated very quickly. Inherit The Wind is not one of them. The themes of the story are as important today as they were when the show premiered almost 71 years ago. If you have not seen the play in a while, you should consider grabbing some tickets and giving it another look.
Rebecca Madeira is a very talented actress who is giving a standout performance in a freshly imagined production of a very important theatrical classic. She is truly living her theatre life to the fullest.
How did you get interested in performing?
I have my older sister to thank for that! Growing up, I wanted to do everything that she did, so seeing her in school plays made me want to start performing, too. The next thing I knew, my mom had signed us up for theatre summer camp, I played a napkin in Beauty and the Beast, and now I’m here.
Where did you receive your training?
I have a degree in music from Rutgers University, where my focus was primarily classical music and choral music. The majority of my formal acting training, funnily enough, came from the same community classes and workshops I took as a child, and the rest is from on-the-job experience. This is going to sound so corny, but I really do view every show as an opportunity to learn and grow and discover new things about myself as a person and an artist. I love to watch and learn from my directors and fellow actors. Honestly, I believe I’m a better actor today than I was even at the start of this show, because I get to be constantly inspired by this phenomenal cast every day.
2023 Signature Theatre production of Sweeney Todd.
Photo courtesy of the artist.
What was your first professional job as a performer?
I was a swing in Sweeney Todd at Signature Theatre in 2023! It was my first professional job, my first time swinging, my first time working out of town, and one of my all-time favorite musicals, so it was a doozy. I was frankly terrified, but I made some incredible friends on that production, and it opened up so many doors for me to work down here in DC. I’m very grateful for it.
For those not familiar with Inherit The Wind, can you please give us a brief overview of the show and also something about your character?
Sure! Inherit the Wind is based on the real-life Scopes Monkey Trial, where a school teacher was put on trial for teaching the theory of evolution. The play tells the story not only of the trial, but the way it shook this small Bible belt town and the people in it. I play Rachel Brown, the reverend’s daughter and romantic partner of Bert Cates, the teacher on trial. In the play, she’s forced to wrestle with questions of faith, identity, and community as she is pulled in every direction – by love, by family, by her own morals. I may be biased, but I think she is a conduit for the audience in a lot of ways, as she desperately just wants to do the right thing and protect the people she loves, in a world where standing up for what’s right can be costly. All the while, even her definition of what’s “right” is changing and being challenged before her very eyes.
of Arena Stage's production of Inherit The Wind.
Photo by Daniel Rader.
Inherit The Wind originally had a very large cast. Arena Stage’s production has a smaller ensemble of actors doubling multiple roles. Can you please tell us how the director chose who would play what?
One of the biggest challenges of Inherit the Wind, and part of the reason it is not often produced, is the fact that it typically has a cast of 30-60 actors. (In fact, the real-life Scopes trial had so many spectators, they moved the trial from the courthouse out onto the lawn, out of fear that the floorboards would buckle.) In our production, we have a cast of 10, divided into 5-character actors and 5 world-building ensemble members. The 5-character actors, which include myself, remain constant throughout the play, while the 5 ensemble members make up the rest of the world spinning around them.
There was a lot of experimentation throughout our rehearsals with Ryan, our amazing director, to build the rules of the world and how we could clearly convey the story to the audience this way. It was an incredibly playful process, where these large-scale scenes were staged and restaged, lines were reassigned, many hats were worn. There was even a brief period of rehearsal where I played a jeering townsperson in the courtroom, rather than just Rachel, and Jordan, one of our ensemble members, played an actual monkey, who sang blues riffs on a harmonica. (Neither of these made it to the final version of the show, but Jordan did make an excellent monkey.) The final players in the piece are the audience, who make up the jury. We’re surrounded by them on all sides, and it wasn’t until we began previews that we learned just how integral they were to the story.
in Arena Stage's production of Inherit The Wind.
Photo by Daniel Rader.
Almost 71 years after Inherit The Wind originally opened on Broadway, why do you think it’s important that it still be seen by modern day theatre audiences?
The story of Inherit the Wind and the questions it poses are timeless. We’ve had a number of people ask us what changes we made to the script to modernize it or make it more relevant to today’s political climate. And they are always surprised to learn that we haven’t changed or updated the script at all. Not only because we’re still debating the issues of the Scopes Trial 100 years later – but because we will always be challenged to do what’s right. To quote Inherit the Wind, “You don’t suppose this kind of thing is ever finished, do you? Tomorrow it’ll be something else - and another fella will have to stand up.” The play encourages us to think, to ask questions, and to be brave enough to stand up for something, even if we are standing alone.
After Inherit The Wind finishes its run, what is next for you workwise?
I’m looking forward to spending some time at home with family after this! But work wise, I’m getting back to teaching music, I’m touring New Jersey with an educational theater this summer, and playing music at a few Renaissance Faires! Then it’s back to the audition grind, so if you’re friends with any casting directors, give me a call.
Special thanks to Arena Stage's Public Relations Specialist Anastasia St. Hilaire for her assistance in coordinating this interview.
Theatre Life logo designed by Kevin Laughon.
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