AMERICAN PSYCHO doesn’t sound like a typical musical. With an EDM-infused score mixed with chorale arrangements of 80s classics, it takes us onto the dancfloor, into the night and inside the mangled mind of Patrick Bateman. It’s a show that throbs and vibrates, immersing the audience in a sensual sound. Oh, and it uses this thing called Ableton…

Music Director Heidi Joosten & Associate Music Director and Ableton Designer Tobi Osibodu take us into the mad musical machine of American Psycho.

Tell us a bit about yourselves! How did you each get started?

H: I grew up in the northwoods of Wisconsin in a musical family. Both my bachelors and masters degrees are in composition, and I’ve been working professionally as a musician in Chicago for almost a decade, as a composer, lyricist, orchestrator, music director, conductor, sheet music guru, pianist, vocalist, and harpist. I’ve worked around the country as a composer/music director/conductor/music assistant, but working on new theatrical shows/premieres is my favorite thing to do. I also have the cutest dog in the world.

T: I’m from the far west suburbs of Chicago. I was put into piano lessons as a kid and immediately quit after a few months, but still kept playing every day. Once I joined band and choir and learned what a conductor was I became fascinated with the job and would spend hours practicing conducting to movie soundtracks alone in my living room. Then, in high school when I got my first opportunity to music direct in a theatrical setting, something clicked and that became my dream. Now that I live in the city proper, I’m working to build up my career in music for the theatre!

What is your preferred title? 

H: Music Director is just fine for me.

T: Assistant Music Director and Ableton Programmer, please!

In your words, what does a music director do?

H: The music director’s job in any musical is to shape the music of the show according to the materials that have been given while also making choices and adjustments to better suit the production. Sometimes it’s rewriting/reworking vocal harmonies, frequently it’s changing keys to better suit actors’ voices, but I believe a music director’s primary responsibilities are making the cast vocals sound incredible and supporting them with an equally incredible band/accompaniment.

T: I think an MD’s primary role is facilitating the story through music the same way the director shapes the story through blocking and the overall vision of the show and the choreographer shapes the story through movement.

What then gets added for a show like American Psycho? Is it different than what might be expected with a more traditional musical? 

H: As is with any Duncan Sheik musical, the splashiness and typical song & dance of musical theatre is replaced with very dense, very artistic/poetic musical and lyrical choices, especially in this horror/thriller of a musical. One comment that several reviewers of this show have made is that the music isn’t memorable/hummable when they leave the theater, and I like to challenge that line of thinking by asking if the purpose of all music in musicals should be memorable or if it should serve the entire experience? Very often, the ensemble in this show functions as an extra synth/pad layer of sound but with words rather than the specific characters in the show singing in a group as their respective characters. Bringing an audience into that specific type of world of “this is different, but it shouldn’t be unfamiliar” is my favorite part of working on newer shows. 

T: In this show, we’re dealing with hyper individuality and late-stage capitalism and their effects on the psyche, right? Because of that, a lot of the ensemble vocals aren’t necessarily in support of Patrick’s thoughts, but rather an extension of his. Oftentimes they’re acting as if Patrick’s thoughts are another instrument in the orchestration, foreshadowing what’s to come.

What is the mark of good music direction? What should the audience be feeling or hearing?

H: Good music direction should serve the entire production as well as a well-fitted costume or beautiful light shift, and for me it’s all determined by how well the cast is supported vocally. I believe we’re witnessing a shift in the culture of music directors being good pianists who can lead a band and teach actors notes without shaping the vocals and supporting actors like the vocal athletes they are. If the music direction is good, the cast and band equally create a musical landscape that feels as flawless as tight choreography. Words are sung in a manner that feel natural and reflect the storytelling of the scenework, and all choices feel intentional and set up for success. If the music direction is good, audiences should find themselves lost in the moment of knowing great music is happening in front of them, but it’s only a part of the entire picture.

T: All of that^^^ No notes. To add: much like any technical element in a show, the music direction should feel so integrated into the show, that you almost don’t know it’s there.

Ok, so Ableton. Please explain. Bc it’s not just “keys and a computer” over there. 

H: I’m SO glad we get to talk about this! When you license this show from Concord Theatricals, band parts are not available. There’s no drums book, no guitar book, no bass book – it is an entirely electronically designed production via a live performance DAW [digital audio workstation] called Ableton. And when Concord sends the Ableton file, it isn’t even remotely performance ready as it’s the entire “kitchen sink” of American Psycho, including archival material that could or could not be relevant to our production. From a music director perspective, deciding the keys and tempo for each song as well as how the piano/synth score they send us fits into the texture of the electronic design is incredibly similar to the typical storefront MD experience of figuring out how to turn a 13-piece orchestration into a functional 4-piece orchestration because that’s all the room we have. There are also vocal sweeteners that we had the option of using or not using (we cut them all because our cast sings like a dream without them), and that all falls under the purview of “music director”. Having Tobi right by my side to make joint decisions on how to make this sound as good as possible and also having their incredible skills in adjusting the massive Ableton file to work best for our production was such a major asset to our show. Tobi is a God.

T: Heidi you’re too kind, however I’m no god, I promise. The thing is, the keyboard rig we’re running isn’t too different from your typical musical theatre keyboard rig. The primary difference is we’re also triggering playback cues rather than just changing our keyboard sounds. The way we’re running this rig is kind of like a Frankenstein’s Monster of Mainstage and QLab. The great thing about Ableton, is that it has all the plugins that you’d use in music production (because its a music production tool) so you can get some really wacky stuff going on. I will admit, the file we were sent was a little messy so I had to do some cleanup, but it had a lot of really juicy stuff in there. There was originally a vocoder (think Daft Punk robot voice) in the file which adds a really cool texture to the show that we unfortunately couldn’t add to our show. But that’s the kind of thing you can only accomplish with a tool like Ableton in your show. More and more Broadway productions are integrating Ableton into their shows in some way and I can’t wait for that to start bleeding into regional, storefront, and community theatre more.

How is this show different from other projects you’ve worked on? 

H: For me, the addition of Ableton as a live accompaniment design is new, but this show is also incredibly chorally dense. The cast is singing music that is as hard as the pieces I was singing in college, and designing that sound in a space as intimate as the basement of the Chopin was an incredible challenge and experience.

T: Same for me. I’ve directed shows that are tracked, and I’ve even used Ableton to run tracks before, but this is the first time that I’m integrating live playing with Ableton. It presented itself with some unique challenges but It was very fun to figure out how to make it work in our context. While Ableton was built from the ground up with live performance in mind, I don’t think it was designed for the specific needs of musical theatre. Because of that, sometimes you have to trick it into doing what you want.

Getting into the specifics of American Psycho, any favorite moments or work you’re most proud of? Talk us a bit through the process of creation! 

H: Okay, without spoiling anything, there is a crucial moment in act 2 where the ensemble performs an EXTREMELY difficult a cappella choral number, and they do it with their eyes closed and completely physically detached from each other. I do absolutely no conducting – the cast trusts each other and breathes with each other and creates true theater magic. Moments like that only happen when you have a cast that came on Day 1 to achieve greatness with each other. It’s stunning, it’s breathtaking, and it’s moments like that which remind me why we do what we do. And I would be remiss to spend this entire time talking without acknowledging the unbelievable vocal work of Kyle Patrick as our Patrick Bateman. Kyle gets to leave stage a total of twice in a 2.5 hour show while belting his face off on a rock score. This role is so vocally demanding, and he handles it like an absolute champion.

T: My absolute favorite spot in the show is the chunk of the show from True Faith into Killing Time into In the Air Tonight. I think the transitions between those numbers are stellar and our cast is just absolutely killing (ha!) it.

Anything else? 

H: I want to make sure credit and acknowledgement goes to the rock star associate conductors of this show who have learned a very delicate and intricate show, making sure that the show goes on while we continue to try to make theatre while the air is lava and COVID is still very much around. Special thanks and shout outs to Bryce Halliday, Michael Oldham, and Bailey Banks!!!

You can hear Heidi & Tobi’s work through November 26.

AMERICAN PSYCHO is a sleek and stylish musical, based on the best-selling novel by Bret Easton Ellis and set in the epicenter of excess. It also has one of the most infamous axe scenes this side of The Shining. To talk all things glam, guts and gore, we caught a moment with the amazing Kate Lass (she/her), whose fight choreography is integral to ensuring we all have a safe and bloody good time. 

Tell us a bit about you! How did you get started?

I took my first stage combat class in 2011. I was an acting major at Columbia College Chicago, which has a robust stage combat program. I graduated with certifications in every weapon offered by the Society of American Fight Directors, a minor in stage combat, and my first bit of choreography experience.

Since then, I have choreographed and taught stage combat all over Chicago and around the country. And I’ve continued to train with stage combat teachers from around the world. It’s very important to me that I keep learning and growing. I’ve seen the art form grow and shift even in the time I’ve been a part of it, so I want to continue to learn in order to bring the best work I can into my classrooms and rehearsal rooms.

What is your preferred title? Thinking about the range of billing from Fight Choreographer to Violence Designer. What do you prefer and why? 

My go-to is always Fight Choreographer. I tend to go with Choreographer because it highlights the fact that I’m directing movement, but I’m fine with Fight Director too because there is definitely an acting element to performing fights as well.

I have a friend who always says that designers work with things, while directors and choreographers work with people, and I can get on board with that broad definition.

In your words, what does a fight choreographer do?

In the simplest terms, we choreograph moments of violence on stage.

Of course, there’s more to it than that. I have choreographed sword fights and knife fights and ax murders, but I’ve also choreographed falls and rolls. When choreographing larger moments, I’ll have a lot of conversations throughout the process. I’ll find out what the director wants: How long is the fight? Is it brutal or more stylized? What is the story arc? I come into the rehearsal room with a vague idea of the shape of the fight, but I also want input from the director and the actors. I take into account what they think their characters would do, their own physical abilities, and any blocking they have already worked into the scene. As I’m shaping the fights themselves, my first question is the story we want to tell and the actions we want to show. It’s then my job to make sure the actors can perform those actions in a way that is safe and sells the story to the audience.

What is the mark of good fight work? What should the audience be feeling or seeing?

It depends!

If a show is meant to be gritty and realistic, the fights might feel a little uncomfortable. They might make you squirm in your chair. If it’s supposed to be brutal and bombastic, you might be shocked. If the show is a comedy, and the audience isn’t supposed to actually fear for the characters on stage, the fights should support that. People can laugh at Sir Andrew in Twelfth Night, but they probably shouldn’t laugh at the end of Hamlet. So as a choreographer, it’s my job to find ways to tell those stories differently, and help the actors understand how their choreography supports that storytelling.

In terms of what the audience is seeing, people often refer to fight choreographers as magicians. I never want an audience to see air between a weapon and a target if the story says they were supposed to touch. So we work in odd angles sometimes to cover all those sightlines. And in cases where a sound has to accompany that impact (which we call “knaps”), I’m distracting the audience’s eyes so they don’t see the magic trick.

What are your top tips for actor safety?

Do it slow now so you can do it quickly later. When you slow down, you can be really controlled and precise about every movement. Sometimes covering those angles requires us to get pretty close to one another. I’d rather see an actor perform a fight at half speed and with all the right placements than at full speed and out of control.

And make sure your weapons are safe to be used on stage!

Any unexpected challenges or surprises in working on a musical? How is it different from other projects you’ve worked on? 

Timing! When you have a dance choreographed with eight blank spots for kills, there are pretty specific guidelines you have to follow when choreographing those kills.

Getting into the specifics of American Psycho, any favorite moments or work you’re most proud of? Talk us a bit through the process!

I was very excited to do this show, and very nervous. Because people know American Psycho, and they know that ax scene.

We spent more time on that fight than any other in the show. We played with the length of the fight, how many hits there would be, how to cover angles, whether there would be blood effects, where on the stage the majority of the fight would happen, and more – mostly while rehearsing with a roll of wrapping paper while we waited for our ax to arrive.

And this is where I’m going to brag about our cast, and especially Mr. Bateman himself, Kyle Patrick. Because the biggest challenge of choreographing for this show was choreographing for the space. Those magic tricks become much trickier when you have to cover angles for audience members seated all around the stage. So we originally staged the ax fight to happen far to one side of our alley, in order to mask what I thought would be open sightlines. But as we got into the space, and I saw how precise Kyle’s work was with the ax, I realized that the seats directly next to the actors, which I initially thought would see nothing but air, were actually the best seats in the house. Those few people were getting the show I wanted everyone to see. So now, every one of those hits happens center stage, where the whole audience can see them.

It has been very exciting bringing the audience in to these moments. In the movie, all you see is an ax and a blood splatter. In our show, you see every hit. You see every hair pull and choke. And you see every way I could think to kill someone with a knife that would work in alley staging.

It’s hard to identify one moment in the show that is my favorite because I got to play with different weapons and different feelings, and every time I watch the show, especially looking at things from different angles, I enjoy different things more every time.

What I can tell you is that my favorite thing about working on this show was the creative collaboration and exploration. I loved working with everyone to create these horrifying stories in the most open and trusting way, and I loved watching the actors become more and more comfortable and take care of each other on that stage every night. I’m very proud of my work in this show, but I’m especially proud of the work they are all doing to make my choreography look good.

Anything else? 

Go see American Psycho!! The entire creative team and cast have put so much into this show, and you’re going to have a killer time.

You can see Kate’s work through November 26.

Alec—tell us about you!

Oof and a half! I have never been good at answering open-ended questions about myself! I’m still figuring it out and hate to present incomplete or inaccurate information. I know I love my dog, my family history, and the athleticism in collaborative storytelling. 

What draws you to Hundred Days?

I love the way The Bengsons kind of ignore the rules of Musical Theatre and chase the authenticity of their lived feelings with weird sounds and weirder poetry! I love how Time is confirmed to be totally subjective and how much sense that makes. 

What’s it like being back in the rehearsal room? Any advice for others who are starting to create again?

Wild! It’s wild. I feel so privileged and so lucky that this rehearsal process is the first real step of my “re-entry” into society after being derailed by quarantine. The space created by the creative team and ensemble is so soft and so blessed. Everyone is re-entering from a different angle, even if we all now share one very big collective trauma, so my advice is to be patient and generous and very clear about your boundaries. 

“I know I love my dog, my family history, and the athleticism in collaborative storytelling.”

– Alec Phan

Is there anything about the show that you’re most excited about? 

Singing with people I love is always an experience I look forward to! I’m also excited to discover how the elements of theatrical design will work together to elevate the story we’re constructing in the rehearsal room. 

Why should people see the show?

Death and Love and Time and Commitment and Anxiety about all of the above are all major themes in the story and are also things I think many folks (myself included) reevaluated in depth over the course of the last year and a half. What heartstrings it may have touched before the pandemic, it will surely strike with more precision now. 

Anything else you’re working on? Or things you’d recommend?

Currently, I’m working on learning to better differentiate between the good stresses and bad stresses in my life. In terms of other creative projects, I’m co-writing an EP for a feature length film. I am not watching Squid Games, and am listening to a lot of James Blake.

Describe yourself in three words…

Uncertain. Muddy. Tender. 

Describe Hundred Days in one…

Raw.

Join us at HUNDRED DAYS and let your heartstrings be struck! Our first preview is Sunday, November 7 at The Chopin Theatre. Regular performances begin Thursday, November 18. The show runs Wed-Sat at 8PM, Sun at 5PM. Tickets are available HERE!

Royen — what are you all about?

I’m a gay ol’ goofball and a jack-of-all-trades kind of guy. I’ve always had a passion for the arts, and ever since I was young I took any opportunity to perform. Most recently, my passions for makeup and wig design led me to become a drag queen! (My drag name is Jenn der Fach.)

What drew you to Hundred Days?

Because of my talent with lots of musical instruments, I’ve done many shows where the actors are their own band or orchestra, so that was my way in. I got hooked by the uniqueness of the story, as it’s based on true experiences, and the themes are deeply serious. Death! Grief! Trauma! Commitment! Punk rock! It’s all there.

You are playing Shaun Bengson. What’s it like portraying a real person? 

It’s a pretty intimidating struggle between making the role your own and getting to the roots of Shaun’s truth and mentality. Mostly out of fear, I honestly haven’t done much research on the real Shaun. But the beautiful, expressive text so lovingly crafted by the Bengsons and Sarah Gancher tells me that he is a big, cuddly teddy bear/ baby seal/ hybrid person. Getting to that truth inside myself and then lining it up with my costar Emilie Modaff has been my main focus (and also such a joy).

Is there anything about the show that you’re most excited about? 

The songs are just gorgeous. Some are driving and engaging, others are heartbreaking and fraught, and others are transcendent and effervescent. Altogether they make something weird and wonderful. I’m obsessed!

Why should people see the show?

What we as a cast and crew want most for our audience is for them to feel comfortable leaning in and being baptized by the powerful message of this story. What’s great is that this message is applicable to all our lives: we can choose to rebel against fear and death by giving love anyway.

Describe yourself in three words…

Genuine, cuddly, hungry

Describe Hundred Days in one…

Raucous!

Come get raucous at HUNDRED DAYS! Our first preview audiences were spectacular, and we can’t wait to continue sharing this incredible piece of music and theatre! Regular performances begin Saturday, March 14. The show runs Wed-Sat at 8PM, Sun at 5PM. Tickets are available HERE!

Emilie, tell us about Emilie!

Hello! I’m Emilie Modaff. I use they/them pronouns. I believe in failing big, queering the narrative, radical honesty, body neutrality and Gillian Anderson.

What drew you to Hundred Days?

Have you HEARD the cast recording? I WEEP!!!!! This show makes grief and trauma tangible through music. It welcomes healing in the face of fear and it is unapologetic in its vulnerability.

You are playing Abigail Bengson. What’s it like portraying a real person?

It’s such a thin line I’m walking playing Abigail. I want to honor her story and her voice but I don’t want to imitate her, right? And the Bengsons don’t want us to recreate their performances (pro tip: nobody can). They want us to tell the damn story and bring ourselves, our truths, our experiences to it. When I find myself thinking “Abigail sings this riff like this, she delivers this line with a different cadence,” I hold onto what they told us. I feel deeply honored to play this part. I feel connected not only to the material but to the real Abigail Bengson. The intimidating responsibility I started out feeling has quickly shifted into a comforting blessing.

What are you most excited about?

I’m excited to face fear 5 nights a week. That’s what this play encourages me to do – to be afraid and live anyway. I can’t wait to see audiences be inspired to do the same. I also can’t wait to fake-marry Royen Kent.

Why should people see the show?

To heal.

Describe yourself in three words…

Expanding, terrified, resilient.

Describe Hundred Days in one…

Purifying.

Join us at HUNDRED DAYS and be purified! Our first preview is Friday, March 6 at The Chopin Theatre. Regular performances begin Saturday, March 14. The show runs Wed-Sat at 8PM, Sun at 5PM. Tickets are available HERE!

HUNDRED DAYS is an uncensored, exhilarating and heartrending true story about embracing uncertainty, taking a leap, and loving as if you only had 100 days to live. We caught up with director Lucky Stiff (they/them) to learn more about the show, their style, and why audiences should join us more than once…

Hey Lucky, tell us all about you!

I’m just a clown for the people trying to tell stories about rage and hope with song and dance!

Everyone is asking about your name. What’s the story?

I’m a Drag performer in addition to being a director and one of the hallmarks of being a Drag person is you have to come up with a witty name so people can remember you. The phrase “Lucky Stiff” is generally used to describe someone who has great things happen to them despite just being an ordinary schlub – so it’s both a hopeful name (please let great things happen to me) and a reminder to stay humble. Although it started out as a Drag name, I’ve adopted it in the rest of my artistic life as a way of validating being gender-nonconforming. 

I’m not going to lie though, the name came to me in a bar when the DJ played Britney Spears’ “Lucky.”

What drew you to Hundred Days?

Hundred Days uses musical storytelling in a concert style, and I tend to direct plays that feel like experiences more than direct narratives so it felt like a good fit. It’s also a story (in the words of one of our performers) about “how punk it is to love someone knowing we’re all going to eventually die,” which is a fun way of saying it encourages us to radically believe in Love. And I work hard every day at believing that so it helps to know we’re all going through it.

Is there anything about Hundred Days that you’re most excited about?

Getting to watch people watching it once we open. Also I could listen to these songs a million times and not get tired of them – I think people are going to want to come twice. 

Why should people see the show?

The music will take you to another place and the story will bring you Home. It’s joyful and sweet and nostalgic, and sad all at the same time. And it all really happened. 

Describe yourself in three words…

Hopeful Bog Creature.

Describe Hundred Days in one…

Ecstatic.

Ready to see Lucky’s work? Be sure to join us at the Chopin Theatre for the Chicago premiere of Hundred Days! Performances begin on Thursday, March 6. Tickets available here.

The world of Arcadia is built on a BEAT — the gorgeous pop/rock rhythms of The Go-Go’s! The dynamic divas lent their songbook to Head Over Heels, making for a truly unique jukebox experience! Kyra Leigh, the music director of the Chicago premiere of Head Over Heels, tells us more…

Kyra, what’s the 411? Give us the hot goss!
 I’m a freelance actor and musician originally from Shreveport, Louisiana but now living safely above the Mason-Dixon line. I am classically trained, but I’ve done pretty much every genre, and I try to stay active as a composer and writer as well (check out my CD, Transfigure: store.cdbaby.com/cd/kyraleigh ). It’s super fun for me to be on both sides of the equation whether it be in the caster on the creative team. I think it helps me have a more fully rounded understanding of the process. 

Tell us more about the Head Over Heels band!  
The band is awesome! We have the amazing Cesar Romero on guitar; the fabulous Corey Strode also on guitar; the fierce Chuck Evans on bass; and, the incredible Mark Linley on bass. I wanted the band to reflect the diversity and talent we have in the cast, and I’m so proud of us. We might just go on the road after this!

How would you describe the sound of Head Over Heels? 
It’s a total 80s explosion but with a modern twist! I wanted us to put our own original stank on it.

Were you a Go-Go’s fan before working on the show? 
HUGE Go-Go’s fan! When I was a director at School of Rock Chicago, I wanted to do a Go-Go’s vs Bangles show (which sadly never happened). So, getting to do this show is a dream come true.

Do you have a favorite song/part in the show?
I have two actually:The first is Our Lips Are Sealed because I love the way the song is used as an homage to coded language in the queer community. As a queer person who had to grow up doing that, I appreciate that the show honors that and how you can still find ways to be yourself even when society doesn’t let you. I find it extremely empowering.The second is Heaven Is A Place on Earth mostly just because I love that song. Also, that scene is awesome! Being a person past a certain age, it’s nice to see a couple displayed of a certain getting down and dirty! Bonus, during the dance break you can hear me playing a mashup of another popular 80s tune. Listen closely….

What makes Head Over Heels special?  
So, as a composer of original music and theatre, I’ve never been the biggest fan of jukebox musicals. However, somehow this musical managed to really make the songs work within the narrative as if they were composed specifically for the show. I also love that the show takes so many disparate elements and combines them for the perfect show. If you told me you were going to take a classical play set to 80s tunes and queer it up, I would tell you you’re crazy, but somehow it works so perfectly and is so relevant to today. It’s the magic of Arcadia, I suppose.

If an audience member loves HOH and The Go-Go’s, what other listens would you recommend? 
Definitely listen to The Bangles for sure! If you want to go even more punky and girl power, check out Bikini Kill and Le Tigre.

There are only four more chances to see Head Over Heels — and to hear the pop-rock magic of The Go-Go’s fantastic score! Come see Kyra and the rest of our Arcadian rock stars this weekend at Theater Wit! A few tickets remain – get them HERE!

Kokandy Productions’ HEAD OVER HEELS just extended through September 8th — marking the end of a four month journey to Arcadia! Co-director Elizabeth Swanson takes a look back at the rehearsal process, the hit show, and all the quirks that made this artistic vacation so special…

Hey Elizabeth — tell us about you!

Most labels have never sat easy with me, but one label I’ve always been happy to wear is ‘theater director.’ I think it’s because directing is a vocation, not an identity. I feel so fortunate to have a trade – something I’ll spend the rest of my life learning and working to master. The most exciting part of directing for me is finding ways to clarify and accentuate characters’ journeys over the course of a play. And it’s a wonderful reminder that everyone has the capacity for change and growth.  

And how about Head Over Heels?

**Bill Hader’s Stefon cups hands over mouth**

This show has EVERYTHING. Singing, dancing, Uriel Gomez’s drag-chic costumes, sword fighting, love making, references to the Marvel universe, (okay, one reference to the Marvel universe), pissing sfx, iambic pentameter, Liz Norton, a sheep chorus line, and that one Go-Go’s song that you didn’t think you knew but you totally know. 

Added bonus: debates at the bar afterwards about how this show is – or is not – basically Mamma Mia. 

Did you have any specific inspirations when creating this world? Any touchstones or references?  

Derek and I had a phrase we kept repeating during the rehearsal process: ‘more is more.’ Where usually you’re trying to pair back and aim for subtlety, this show wants to be louder and brasher and, well, more. Whenever one of us started pitching an idea with, ‘okay, this is so stupid, but…’ that’s usually what we did.  

Do you have a favorite song or moment the show? If so, do tell why!

My favorite song in the show is definitely “Good Girl.” Princess Philocea is so scared to take up space and so desperate for approval. She sings that all she wants “is for everyone to love me!” But over the course of the song she realizes how unhealthy this desire is. Her realization sparks a journey of self discovery, and Philoclea emerges in the final scene no longer a ‘good girl’ but a woman who’s strong enough to be brave and vulnerable. And Caitlyn Cerza, the actor who plays Philoclea, just completely nails every moment. 

What makes Head Over Heels special?  

Head Over Heels teaches us that to be your best self you must be your truest self. By following our passions openly and honestly, we gain greater capacities for leadership and forgiveness, kindness and empathy. But the best thing about Head Over Heels is that it manages to explore this beautiful message without being at all didactic. Instead, the musical sweeps you along a rosé wave of queer, frothy joy. What’s not to love?

Head Over Heels has been extended, and is now playing through September 8th! Don’t miss your chance to enjoy Elizabeth’s work, and see the hottest musical in Chicago this summer! Get tickets HERE!

Parker Guidry (they/them) is currently starring in Kokandy Productions’ smash-hit musical Head Over Heels, now playing through September 8th at Theater Wit. Parker is earning rave reviews in the role of mystical oracle Pythio, a character originated on Broadway by Rupaul’s Drag Race star Peppermint. We gabbed with Parker about the show, the shoes, and all that goes into being a Vision of Nowness…

Parker, tell us a little bit about you!
I’m originally from Lafayette, LA – a Cajun, through and through. I moved to Chicago in 2010 to go to Roosevelt, where I studied musical theatre. I’ve had the joy of working on many shows here in the city since then, though this one has been my absolute favorite (shhh, don’t tell anyone)!

Tell us more about Pythio and the world of Head Over Heels! 
Head Over Heels starts in Arcadia, where King Basilius rules with a firm grip on tradition. No one else, however, seems to be on quite the same page. Enter Pythio (most fabulously), the new Oracle of Delphi, who delivers four prophecies and warns the king that if all four are fulfilled, his kingdom will fall. So naturally, the king orders all of Arcadia to join him on a journey to prevent Pythio’s divinations from coming true. The rest, well – you know how it goes when kings try to avoid prophecies. We’ve all seen Macbeth, yes? Except unlike Macbeth, we have Go-Go’s music and celebrate genders and love of all kinds!As for my character Pythio – they are an absolutely delicious role to play. Pythio is the first explicitly non-binary role in a musical that has been on Broadway. So while it is an absolute thrill to play a role that makes me feel so seen and genuinely represented, it is also an honor to play what feels like such a monumental character for the trans and non-binary community. 

Rumor has it that you’re DIVINE in the role of Pythio. Could speak a bit to  your connection to the role and the show?  
Well, those rumors are very kind! I think my success in playing this role is rooted in my joy to play a character that I so deeply connect with. At the top of the show, Pythio has the strongest sense of self – and they are the only character to use magic. I like to think that these qualities are linked. Because for me as a person, it was in discovering and exploring my own gender identity that I found my own “magic” and power in being my authentic self. It was a journey for me, and we learn it was a journey for Pythio, too. So the way I interpret Pythio, the powers and the magic come from this greater understanding of gender, individuality, and purpose – and all I’m trying to do is guide the people of Arcadia to that greater understanding, as well. But like – I’m gonna have a little fun with them, first. 

Do you have a favorite song/part in the show? If so, do tell why!
My favorite scene to do in the show is my scene with Jeremiah, where Pythio introduces Musidorus to the Amazon disguise. Musidorus sees himself in the wig and dress for the first time, and something is unlocked from within him. And that’s where I think the meaning of Pythio’s “Vision of Nowness” is fully explained – Musidorus disguised as Cleophila is a vision of what the world can be when we let go of the boundaries that society has created through gender roles. And what Pythio knows is that ‘Cleophila’ is less of a disguise, and more of a guiding light on Musidorus’ path to self discovery. It reminds me of a moment I very distinctly remember in my own gender-journey. I was in a costume fitting for Priscilla: Queen of the Desert, and they put me in this gorgeous mermaid gown. And the moment I first saw myself in the mirror, I felt like something inside me clicked into place – and I was forever changed. So it’s very cool to play my scene with Jeremiah as if Pythio is giving Musidorus that moment to click into place. 

What makes Head Over Heels special? 
I think what makes it so special is that it’s so accessible! It’s sort of disguised as another silly, feel-good jukebox musical (and it *is* all of those things), and that’s how it lures audiences into joining these characters on a journey to discover some very deep truths about themselves and the world around us. The fluidity of gender identity and sexual orientation can be a dense and sometimes daunting topic – so we set it to 80’s girl group bops and say “Hey, come join the party!”

Anything else we should know?
I am having the absolute time of my life in this show. Queer and trans characters are always given tragic story lines in plays, so it’s such a blast to turn the tables and be the fabulous, all-knowing, all-powerful figure that truly most trans people see when they look at each other. Also, don’t tell Uriel, but I’m making a run for it with all of my costumes as soon as we close, because I don’t want to part with any of them!

Head Over Heels has been extended, and is now playing through September 8th! Don’t miss your chance to see Parker in action, and see the hottest musical in Chicago this summer! Get tickets HERE!