Spotlight on Success: Dr. Mary Jo Lodge, Lafayette College

Welcome to the second post in my "Spotlight of Success" series!  I received overwhelming encouragement with the first post on singer/songwriter Leslie Powell and am so excited to be able to offer another interview with an entertainment professional.

I met Dr. Mary Jo Lodge when she was the head of the musical theatre program at Central Michigan University and I had the pleasure of being one of her students.  I wanted to interview Dr. Lodge to provide my students (and readers) with expertise from an academic standpoint.  Musical Theatre BFA programs are popular and acceptance is competitive so I was thrilled to get the opinion of someone who is truly, 'in the room where it happens' when it comes to college & university auditions.  

JD: Tell a little about yourself: name, age, current city of residence, current occupation.

     ML: Dr. Mary Jo Lodge, Easton PA, professor at Lafayette College and Director of Professional and College musicals and plays. 

JD: You are currently an Associate Professor of Theatre at Lafayette College specializing in musical theatre, when did you decide on a career path in teaching in higher education?  Why musical theatre?

Dr. Mary Jo Lodge

     ML:  I wanted to be a performer initially, and got a Bachelor of Music in Musical Theater in College.  I tried NYC for a bit, but kept getting told I looked young for roles.  I had directed a little in College, too.  I went to grad school really because I wanted to get a little more training and experience (and look older), but I found I really liked academia, especially in programs where there was also an active production program.  My MA in Theater from Villanova convinced me to try for PhD in Theater.  I liked that I could have the stability of a steady paycheck and doing what I love, and college teaching also leaves room for professional work outside of the college (and it’s typically encouraged), and the steady paycheck also helps see me through times when outside gigs are scarce.  As an added bonus, I found I LOVE teaching, and really enjoy the research and writing part of my life (especially because it is all about musical theater)!  Musicals have been my passion since I was a child and I am glad I have found a way to make them my life’s work.

JD: Did you study musical theatre performance in college?  If so, how did that prepare you for your current career?  If not, what did you study?  How did that help prepare you?

     ML: I did - in the highly rated musical theater program at Catholic University in DC.  It made me a well rounded, triple threat performer, which helps me to be a generalist in my current job.  I also minored in English, and wound up getting tenured through an English Department!  

JD: What do you think it takes to “make it" in musical theatre today? 

    ML: I think solid training, particularly in voice and dance, are needed.  While I think actors make the best performers (even if they aren’t the best singers!), I think developing the technique for voice and dance takes much longer.  I also think you need to be driven, but still a nice person.  (As a professional director, I won’t hire people who don’t bring a positive energy into the room.)  I also think you need a VERY thick skin because there is a lot of rejection.  Direct a bit, if you can, because you will discover very quickly that decisions where you didn’t get the job weren’t because you weren’t talented, but were because of some minor thing that made you not right for the role, which a director might agonize over!  

JD: Rank the musical theatre "triple threat" elements in order of importance in terms of 1) a high school student being accepted into a musical theatre program 2) a graduating college student booking jobs.  Why did you choose the order your chose?

    ML: I used to run a  BFA musical theater program, and there, we wanted students who could sing, first, then act, then dance.  Dance is great and makes you valuable, but definitely ranked third.  When you graduate, you want two of your skills to be VERY good and the third to be at least adequate.  The people I know who work the most are true triple threats, but if you are a great singer/actor who moves well, I think you can still get roles.  (Also, KNOW your type.)  If you are a great dancer, but have a quirky character look or body, you probably won’t use that dance skill as often.  

JD: Talk a little bit about the importance of "type" and "brand" in the musical theatre industry today.  How important is it for a new performer to fit an established type? 

     ML:I think that, as I said above, type IS important, but people are breaking barriers all the time in terms of type on Broadway.  I think talent, drive and good attitude are more important than type, but understanding your type will save you a lot of disappointment.  I’m 5’3 - I was never going to be a Rockette, and it made sense to come to terms with that sooner rather than later.  I think if you can’t imagine any roles you would be right for, a director will have a hard time doing that too.  Still, if you play a convincing but unconventional character from a classic show in your audition song, it would make me take note.  I think brand because important once you get more established.  Having enough Twitter followers, etc. today really is a thing in the industry, but it won’t matter for your first job.

JD: Talk a little bit about the importance of professionalism and networking in the musical theatre industry today.  How have the relationships you’ve made benefited your career path? 

    ML: Professionalism is KEY.  I can’t tell you how many people I haven’t hired (or have fired) because of a lack of professionalism - even in school productions.  Also, the theater community is VERY small - don’t burn any bridges, because you may need those people in the future.  Any directing I’ve done in NYC has been entirely because of who I knew and networking - those jobs were never advertised.  Also, I like to work with people who are talented and professional and that I connect with on many productions - I bring back people again and again because I know I will get good, consistent work, and we’ll have a good time doing it.

JD: For you, as a director and choreographer, what makes a great audition?  As a college professor looking for new MT majors? 

     ML: A great audition shows me right away what you can do.  I only need to see 30 seconds.  I want to trust you’ll be able to sing anything - and that you can act while doing it.  (And you won’t go to pieces if the accompanist plays a wrong note.)  I, of course, look for charisma, but I want people who are pleasant and interesting.  Theater actors are ALWAYS replaceable - I want to WANT to work with you.  The same is really true for MT majors, but I judge them more on potential.  In a professional audition, I want to know what you can do right now, not four years from now.  

JD: There is a shift, particularly in the vocal world, from only teaching "legit/classical" singing in MT programs to teaching contemporary vocal styles, including Pop/Rock.  What are your thoughts on this?  Do you think the shift is necessary?  (I do. ;) 

    ML: There simply isn’t enough legit material being doing in musical theater.  This current Broadway season has far more pop, rock, country and rap than classical singing.  While legit training provides a good foundation (AND EVERYONE MUST READ MUSIC!!!!), it’s not enough to master the stylistic demands of modern musical theater.

JD: What advice would you give aspiring MT performers and/or high school students debating studying musical theatre in college?

     ML: This is a GREAT time to be studying musical theater.  To quote “Hamilton" - “how lucky we are to be alive right now!”.  I think we might be coming in to another golden age!  Learn all you can, push yourself to grow, and get ready for a great career.

I would have to agree.  Thank you!!