While Olaf is a externalized puppet paired with the actor’s body, Sven isn’t meant to show any sense of human form. So for Baja and Strand, they have to squeeze into a truly impressive puppet, contort their bodies for the whole show and never betray that there’s a human underneath. Between the two of them they do eight shows a week at the Hollywood Pantages Theatre.

Baja, who graduated from Juilliard, has appeared on Broadway in Hello, Dolly!, Spiderman: Turn Off the Dark and most recently in Gary: A Sequel to Titus Andronicus. Rather ironically, he made his Broadway debut playing the horse in Equus opposite Daniel Radcliffe. We spoke by phone just before the holidays about the challenges of portraying Sven, the physical toll it takes on his body and the complete lack of ego required to play the part.

You have a BFA from Juilliard. Did you think when you graduated you’d be inside a character like Sven?

To be perfectly honest I had no idea what to expect after graduation. But no, I did not think I would end up in some miraculous beautiful dream role. But I’m grateful because Juilliard was so intense it prepared me for anything.

In addition to acting you coach people and help guide them to what they truly want. How does Sven play a part in what you really want for your life and career?

That’s a beautiful question. I have a BFA in dance. Performing has always been an element of my life since I was two years old. My personal definition of happiness, which is all I can control, is making sure I’m still performing in some way shape or form.

Sven came into my world at a perfect time. I was divorced, I was doing other Broadway gigs and the opportunity to come in for Sven was miraculous because I said “no” to tours before. This aligned with needing to escape New York for a while and another new way to expand myself. Sven is the most physically demanding role I’ve ever done. I was ready for the challenge.

What are those physical challenges and what do you have to do pre- and post-performance so that your body won’t fail you?

All summer leading up I had to work up to 8-minute planks. Michael Curry created this beautiful puppet. Once you get in it all of your weight is forward from your shoulders down to your arms. If you have weight in your feet it cheats the illusion – it takes away the image of a natural reindeer. 

I immediately come off stage and grab a shoulder ice pack and tree sleeves you put on from shoulder to wrist. I put on the ice packs for twenty minutes. I’m cooling down and stretching. I have physical therapy, massage, acupuncture and more. Massages used to be this luxury every now and then. Now it’s just practical. It’s more necessity than luxury.

How does your dance training impact the work you do?

I don’t want to speak out of turn for anyone, but they discovered they actually needed dancers to play Sven or those with extensive dance training. There’s a different physicality and awareness of self. My dance training comes in, especially Juilliard, because that work was so glorious, but the work allowed for being trapped in a super hard role which required a certain mentality and I’ve been put through the ringer before in other parts of my dance career. The epic core strength and the grace and physicality dancers bring to the role has been crucial to make him fun, but also a more naturalistic reindeer.

Sven maintains an incredible personality throughout the show. How much of the Sven I saw on opening night is a reflection of you and your personality?

There are certain limitations that, not only the puppet has, but the direction and the way Michael Curry and [director] Michael Grandage wanted to go. There are parameters and making sure it stays natural. In the movie Sven is very comedic. I’m in real life a very jovial, touchy, fun person. I try to bring as much as I could to the mix. Evan and I do create our own versions of Sven. We do it very differently. There’s probably 75% that we found works best to maintain that Disney magic. The other 25% they’ve allowed us to incorporate different choices.

Part of maintaining that Disney magic is that you are not seen in your human form at all. Not even the curtain call. Most actors want to be seen and recognized for the work they do.

That’s exactly what excites me about this. It’s not about you. It’s not about showcasing your look or trying to get acclaim and credit. Inside the show there’s no potential for ego. You are focused on bringing this puppet to life and the magic and story and it’s not a part of you. I get to honor this creation and also make a bunch of choices in a whole new way. There’s no dialogue. No singing. It’s making everything come across to the back row in the physical moments. Those are great opportunities not to focus on Collin Baja the actor.

Does embodying this puppet allow you to do things you might not otherwise do as an actor?

I put on this elaborate and beautiful costume and being in control and not being seen as an actor allows me to be more free. It allows me to be more committed to exploring different choices. It allows me to be less trapped in my head and to be even more aware of my surroundings and the choices by other actors. The puppet takes away the inner voices that keep you self-involved or critical. It’s just bigger than you. 

Note: In the clip from this year’s Rose Parade, Evan Strand played the part of “Sven.” I felt it was important for you to see the physicality involved with the work he and Baja do in Frozen.

Main photo of Mason Reeves (Kristoff) and Collin Baja (Sven) in the North American tour of Frozen (Photo by Deen van Meer)/Photos courtesy of Disney Theatrical Productions and the Hollywood Pantages Theatre

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The musical is, of course, inspired by the Academy Award-winning film that gave us the song Let It Go. The film did not have enough songs to fill out a full stage musical, so songwriters Kristen Anderson-Lopez and Robert Lopez have added a dozen new ones. Michael Grandage, the director of Red and the revival of Evita, directed Disney’s Frozen. Jennifer Lee wrote the book and Rob Ashford is the choreographer.

Starring as sisters Elsa and Anna are Caroline Bowman and Caroline Innerbichler. Olaf is played by F. Michael Haynie; Mason Reeves portrays Kristoff; Austin Colby plays Hans and Collin Baja and Evan Strand alternate in the role of Sven. There is puppetry involved in the roles of Olaf and Sven with the realization of Sven being most impressive.

One key challenge of bringing a film like Frozen to the stage is how do you create the vast expanse of the world of the film on stage. The other key challenge is adding songs that have the magic of, not just Let It Go, but also songs like Do You Want to Build a Snowman?

Given the tremendous success Disney Theatrical has had on Broadway both in terms of box office and awards, it was rather surprising that Frozen received only three Tony Award nominations without winning any. Fans, however, are flocking to the show. Disney’s Frozen continues to run at the St. James Theatre in New York.

Disney’s Frozen runs approximately 2-1/2 hours which includes the intermission.

For tickets go here.

Photo: Caroline Bowman and Caroline Innerbichler in “Disney’s Frozen”/ Photo by Deen van Meer courtesy of Disney Theatrical Productions

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The musical depicts the last seven days in the life of Christ (Aaron La Vigne) and is seen, primarily, through the eyes of Judas (James Delisco Beeks). It features such well-known songs as I Don’t Know How to Love Him and Superstar. Lyrics were written by Tim Rice.

This production began its life at Regent’s Park Open Air Theatre in England where it won the Olivier Award for Best Musical Revival. Timothy Sheader, who directed the production in England also directs the tour. Choreographer Drew McOnie also returns for the tour.

Other members of the cast include Jenna Rubaii as Mary, Alvi Crawford as Caiaphas, Tommy Sherlock as Pilate, Tyce Green as Annas, Eric A. Lewis as Simon, Paul Louis Lessard as Herod and Tommy McDowell as Peter.

If you saw the live performance of Jesus Christ Superstar on television, this will be a more contained version since it is a stage musical. But if you loved that version, this looks to appeal on many of the same levels.

Unlike many of the shows that play at the Pantages Theatre, Jesus Christ Superstar will not be going to the Segerstrom Center for the Arts. However, it will play San Diego’s Civic Theatre November 12th – 17th.

For tickets at the Hollywood Pantages go here.

For tickets at San Diego’s Civic Theatre go here.

Photo of James Delisco Beeks and the company of Jesus Christ Superstar by Evan Zimmerman, Murphy Made/Courtesy of the Hollywood Pantages Theatre

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The film had seven songs written by Stephen Flaherty and Lynn Ahrens, the duo behind the Broadway musicals Ragtime and Once Upon a Time in America. With the number of Disney musicals successfully making their way to Broadway, it was only a matter of time before this film would also find its way there. Anastasia, which ran at New York’s Broadhurst Theatre for 808 performances, is now touring and is currently at the Segerstrom Center for the Performing Arts in Costa Mesa through November 17th

Starring as Anastasia is Lila Coogan. In the role of Dmitry, one of the two con men, is Jake Levy. Vlad, the other con man, is played by Edward Staudenmayer. The Dowager Empress is beautifully portrayed by Joy Franz. Her assistant, Countess Lily, is played by Tari Kelly.

In the film, the ghost of Rasputin was trying to track Anastasia down and kill her. Rather than employ a ghost, the musical has created the character of Gleb, a loyal servant to the Russian government. He is played wonderfully by Jason Michael Evans.

Darko Tresnjak (The Ghosts of Versailles; A Gentlemen’s Guide to Love and Murder) directs with choreography by Peggy Hickey. The book was written by Terrence McNally. Flaherty and Ahrens have expanded their songs for the film and added many new ones to make this a fully-fleshed out musical.

For tickets to Anastasia go here.

Main photo: Lila Coogan in “Anastasia.” All photos by Matthew Murphy/Courtesy of the Hollywood Pantages Theatre

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Blue Man Group was formed in 1987. From their humble beginnings in New York, this show, which features three performers with blue masks with no dialogue, has become a worldwide phenomenon.

Speechless is a 90-minute show without an intermission. Blue Man Group utilizes music and array of stage effects to entertain audiences. If there is one thing they are known for it is their paint drums.

Perhaps Speechless should come with a cautionary note about the possible exposure to paint and other products during the performance. (Balcony members need not be concerned.)

Cirque du Soleil purchased Blue Man Group a couple years ago. That probably factors significantly into this new tour.

For tickets to Speechless, go here.

Photo of Blue Man Group courtesy of the Hollywood Pantages  Theatre

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Miss Saigon sets the story of a young girl who falls in love with a soldier in Vietnam. Kim (Emily Bautista at most performances; Myra Molloy at others) works for an insidious man at a club named The Engineer (Red Concepcíon). He puts on a “contest” called Miss Saigon with the winner to be the prize for a Marine. One of those Marines, Chris (Anthony Festa) becomes smitten with Kim and after a night of sex (her first time), he offers to bring her to America. When he leaves Vietnam, due to the imminent fall of Saigon, he goes without taking her. She holds out hope that he will one day return for her and honor his promise.

Three years go by and lot has changed for both Chris and Kim. When they are reunited those changes lead to a tragic ending that won’t be revealed here. (Not everyone knows Madama Butterfly – no reason to give it all away.)

The original production opened in London in 1989. It was soon followed by a Broadway production in 1991. In both productions, Lea Salonga played Kim and Jonathan Pryce played The Engineer. They both were awarded the Olivier Award and the Tony Award for their performances. In the 2017 revival, Eva Nobelzada (who is currently in Hadestown) played Kim and Jon Jon Briones played The Engineer.

Musical staging and choreography for this production is by Bob Avian, who collaborated with Michael Bennett on A Chorus Line, Dreamgirls and more. He was the original choreographer of Miss Saigon.

Laurence Connor is the director of this production, as he was of the revival. He was also the director for new productions of Les Misérables and The Phantom of the Opera.

It should be noted that Michael Mahler is also credited with additional lyrics.

For tickets at the Pantages go here.

Tickets at Segerstrom Hall had not gone at sale at press time.

Main Photo: Anthony Festa & Emily Bautista in “Miss Saigon” (Photo by Matthew Murphy)

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When we spoke on the phone he paused for a moment after taking in these statistics. “The time goes by so fast on tour,” he says, “because you are counting time in terms of cities, not months. I’m always moving around.”

Wirick’s first exposure to the show came in 2004 when he saw the musical in New York starring the original cast. When it was announced that there would be a sit-down production in Los Angeles in 2006, he wanted more than anything to be a part of the show.

“A year later in August 2007,” he says, ” I auditioned for Wicked in LA. I made it to the end and I think I was just put into the files for whatever track I was right for. I got a phone call a couple months later. I had started [a job] at Radio City. It was my opening night when I got the call. I didn’t want to burn any bridges, so I turned the show down.”

A couple offers to join the show in Europe came his way, but again, he was previously committed to other projects (including a tour of West Side Story in Asia) that precluded him from accepting.

“Then a spot opened on the second national tour. ‘Would you like that?’ I said, ‘Absolutely.’ I could tour the States. I got my Equity card. I understand what a golden opportunity this was. And that hasn’t gone away. I love this show so much.”

Wirick has been in the same role during his entire time with Wicked. “My track is called the ‘Tumble Track’ because there are two parts in the show where I tumble. I get to a be a flying monkey, a student, an Ozian guard and a citizen of Emerald City.”

His first night – in 2010 – was probably not unlike many others who have stepped into an already-running Broadway musical. “I remember running into people twice. I kind of remember being anxious and wanting to get it over with.” Though he did have the usual rehearsals when someone new joins a show, it felt to Wirick like, “they are pushing you out there and you have to figure it out.”

No matter how passionate one is about the work they do, it would seem that there’s a major challenge in keeping motivated day after day. “This past year, for the first time, I’ve been experiencing some physical things – neck stuff and back stuff. But the majority of it is mental and psychological. On the days when I’m tired or really not feeling it, all I have to do is think about the witches and what they are doing out there.  I’ve worked with so many witches. I’m on my 21st or 22nd green girl. For some people it’s just a job. For me, I’ve dedicated my entire 20s to this show. I’m staying here for a while.”

Being at the Pantages is the realization of a dream for Wirick who also saw the show there in 2008 and hoped to one day be on that stage. “It’s surreal. I don’t think it’s actually hit me. I went out into the audience the first night after the theatre was all cleared and tried to find the vicinity of where I sat. I have specific memories of the show and thinking, I want to be up there so much – more than anything. Ten and half-years later, here we are.”

Wirick is a regular organizer within the company of special events and fundraisers for organizations such as Broadway Cares/Equity Fights AIDS and The Actors Fund. Though they only do 2-3 benefits a year, they didn’t want to pass up a chance to hold one here in Los Angeles. “This is definitely a special event,” he reveals. “We all love the holidays, so we always love doing the holiday-themed benefit. It’s called A Wicked Wonderland.”

The show, which takes place on Monday, December 10th at the Montalban Theatre on Vine Street, gives the cast an opportunity to stretch muscles that aren’t used in Wicked, while still being of service to the community. “It makes us feel talented again. We get to dance different choreography or sing something different and we get to watch each other show off our own specific talent that isn’t used in the show. It’s a reset button and it’s great for company morale. This is our 38th benefit.”

With over 6300 performances so far on Broadway and countless performances on the road, Wicked has inspired millions of people. But what inspires someone like Wirick to spend nearly a decade of his life in the show?

“It’s a magical thing that only those of us in the show can understand. When we are on the stage we are in the world we create. I often forget the audience is there. I think we all do. Even nine years later, I’m coming up with new character choices. We all do create this world that feels very real on stage.”

Before we conclude our conversation, I ask him about a quote by L. Frank Baum, the man who wrote The Wonderful Wizard of Oz, the novel that inspired the film and also inspired novelist Gregory Maguire to write the book that became this musical. Baum said, “Never give up. No one knows what’s going to happen next.” I wondered if that was Wirick’s mantra as well.

“It’s a scary thing having had this consistency with the show and always moving around. I don’t know when or how I’m ever going to settle in one place. I don’t know what’s going to come after this. I think Wicked will probably be the end of my performing career. I want to do something else. Anything is possible. Yes, things may be scary, but you have to give it a chance.”

Main Photo by Joan Marcus

All other images courtesy of Justin Wirick from his Facebook Page

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School of Rock – Pantages Theatre

Now-May 27th

When this musical adaptation of Richard Linklater’s film opened last night at the Pantages Theatre, the show’s illustrious composer, Sir Andrew Lloyd Webber was in attendance. This musical tells the story of a man who still dreams of being a rock star, Dewey Finn (Rob Colletti). He pretends to be his best friend Ned (Matt Bittner) when an offer to teach at Grace Academy arrives for Ned. Dewey suddenly finds himself a school teacher. Rather than teach the traditional curriculum, (after all, he’s not really a teacher,) he schools them in the ways of rock ‘n’ roll. The school isn’t happy. The parents aren’t happy. But check out that band! All the kids in the show are actually playing their instruments. No faking it.

Angélique Kidjo Remain in Light – The Theatre at the Ace Hotel/CapUCLA

May 5th

When The Talking Heads released their landmark album Remain in Light in 1980, they gave the world such great songs as “Once in a Lifetime,” “Crosseyed and Painless” and “Seen and Not Seen” and “The Great Curve.” Now the phenomenal Beninese singer Angélique Kidjo has put her own spin on this album and she will be performing live on Saturday night at the Theatre at the Ace Hotel. Kidjo is always a force of nature on stage. Her taking on this great album is both inspired and will certainly make for one of the best concerts of the year.

If this combination seems unusual, it’s best to keep in mind what Kidjo once told me during an interview: “I like unpredictable settings and pairings. Life is too short to be boring. Every music deserves to be heard and every truth of the music diverse to be heard. Expose people to that diversity of music that is part of the diversity of the human family that we all are. That’s all that matters to me.” No need to ask “How did she get here.”

Noises Off – A Noise Within

Now – May 26th

This backstage comedy by Michael Frayn continues to be one of the most popular shows presented by A Noise Within. Each time they stage the show it gets extended and the calls for another revival grow louder. If every show had the goings on that Frayn’s comedy depicts, nothing would ever work on stage. Thankfully the laughs reign supreme here because productions are more buttoned up. Noises Off is the perfect show to use to forget the world and laugh your butt off.

Quetzal with Flor de Toloache – The Soraya (Valley Performing Arts Center)

May 5th

Why stand in line at your local Mexican restaurant on Cinco de Mayo to prove you can celebrate like everyone else? Instead, head over to The Soraya to hear Quetzal perform. They are a local band from East LA who put jazz, rock and R&B into their musical blender to come up with a tasty blend. Flor de Toloache is an all-female mariachi band. They shatter stereotypes and impress with their music. And if that isn’t enough, there will be taco trucks at the venue serving up a wide array of gourmet tacos.

Honeymoon in Vegas – Musical Theatre Guild – Alex Theatre

May 6th

Jason Robert Brown’s musical adaptation of the film Honeymoon in Vegas was one of the most purely delightful shows to hit Broadway in a long time. Brown perfectly captured the wit and joy that Andrew Bergman brought to the 1992 film. Thankfully shows don’t have to disappear forever. Musical Theatre Guild is performing, for one night only, this utterly charming show (which, of course, has skydiving Elvis impersonators.)

I once asked the composer why the show didn’t succeed on Broadway. “We did get great reviews. The music was so much fun. People will appreciate Honeymoon in Vegas. I’m so grateful that it got done and it got done exactly the way we wanted it to. What can I tell you, our producers sucked.” He went on to say that “It will get licensed and it will be all over the world.”

The show is wonderful and I recommend you make your way to Glendale on Sunday to check it out. Here’s a montage from the New York production:

Angelia Kidjo photo by Danny Clinch. Courtesy of Shore Fire Media

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