Cristen Paige

If you attend Chicago theatre on any kind of a regular basis, you will no doubt run across the name Cristen Paige.  In just a few years, this bubbly and talented young lady has enjoyed a steady stream of high profile roles, working with some of the industry's brightest talents and most regarded venues.  And while she has really earned her niche in Chicago's musical theatre, Cristen never set out to be a musical actress.  "I didn't go into musicals in college," says the Boston University grad.  "The culture at B.U. at the time really looked down on traditional musicals, which I used to think were pretty cheesy."

The New Jersey native took voice lessons, though, on the side and made her way to the Big Apple to pursue straight dramatic roles.  After 4 years in New York, Cristen couldn't find work and eventually relocated to our fair Metropolis.  Well, New York's loss has definitely been Chicago's gain, as Cristen has steadily risen from supporting roles to leading lady, and has been recognized twice with Joseph Jefferson (Jeff) nominations for her roles in “Dames at Sea" and “A Funny Thing Happened on the Way to the Forum."  “This has been an exciting, hopeful and busy time for me."

Where did her Chicago career begin?  No less than The Goodman Theatre's World Premiere of “The Visit," which proved to be the final collaboration of legendary composer John Kander and lyricist Fred Ebb.  “I was overwhelmed by all of the talented people there, we all were," Cristen confesses her awe.  “I had loved the original play, which I read in college, and watching this musical come to life was truly an honor.  We didn't see Fred Ebb very often, and when we did you could see he was very ill.  But watching John Kander jump up at the piano to work something out with the musical director was something I will never forget."

“The Visit" was also the kind of “dark and provocative" show Cristen really loves doing.  Another such work was “James Joyce's The Dead" at Court Theatre, which Cristen says “was really my cup of tea."  And recently, she has won acclaim for serious acting roles in Court's productions of “The Importance of Being Earnest" and “Travesties."  But don't expect her to give up on musicals anytime soon.  She is gearing up for the opening of “Loving Repeating: A Musical of Gertrude Stein," which is being honed by her “Visit" director and Tony Award winner Frank Galati in a World Premiere collaboration by About Face Theatre and the Museum of Contemporary Art.  And no sooner will she complete putting the poetic words of Stein to music than she will begin rehearsals and performances for the Chicago company of “The 25th Annual Putnam County Spelling Bee," opening for previews March 28 at Drury Lane Water Tower Place.  Her contract will take her through fall of 2006, although word has it the theatre has a two-year lease.

As a working actor, Cristen has been fortunate indeed, but those lean years in New York have kept her remarkably humble.  “When it rains it pours," she admits.  “I recently had four months without work, so it all goes in cycles.  I've also had to turn down a lot of things I've really wanted to do because of other commitments, but overall I've been very lucky."  One really lucky role was Ruby in “Dames at Sea" at Drury Lane Oakbrook, a part that first catapulted Bernadette Peters to fame and won Cristen her first Jeff nomination.  “I am not a dancer, and I didn't think there was any way they would have cast someone like me in that role.  But (Choreographer) Marla Lampert really worked with me.  I started working with Marla a week before the rehearsals began to get a jump-start on the tap dance routines.  And before every performance I went through my little dance routines."

The challenge of singing and “selling a song" was a huge challenge from everything Cristen learned in college.  “Being present, making decisions based on the music and tempos, and telling the story as opposed to just singing notes," are all elements a singing actor must deal with.  “When I studied classical music, it was all about technique, technique, technique.  Now I am much more interested in telling a story through music."

Working on an original piece, such as her current assignment, “Loving Repeating" gives Cristen and her fellow performers “so much room to make choices.  The ensemble serves in many different capacities, both as a Greek chorus as well as Gertrude Stein's subconscious, another extension of her writing.  It's really esoteric.  We act out stories she wrote and at one point I have a character name.  The show is about an hour and a half and we're working nonstop.  Everyone in the ensemble is onstage all the time."  Working on “The Visit" she witnessed plenty of changes during previews, which is common in new shows.  “Performing a piece 5 times knowing it would not be in the show gave me mixed feelings, some nostalgic, some sad."

Even with an established show like “Dames at Sea," actors are expected to come into auditions with their own ideas about the character.  “I usually prefer to come into rehearsals with a part already off-book (memorized).  In “Loving Repeating,” I didn't know exactly what part I would be playing, so that was different.  This is also a 3 ½ week rehearsal contract, compared to the 2 weeks we normally have at the Marriott or Drury Lane.  Depending on the space and the director, those theatres usually expect you to have developed your own character by audition."

Cristen's youthful look and petite size have made her a natural for younger roles, although she is now in her early thirties.  She has played everything from Little Red Riding Hood in “Into the Woods" to Dainty June in “Gypsy" and even Dorothy in “The Wizard of Oz" at Chicago Shakespeare Theater.  Of the latter role, she says that while she enjoyed her summer at the Navy Pier theatre, she has always considered movies such as “Singin' in the Rain" and “The Wizard of Oz" perfect as they are, and doesn't envy anyone following in Judy Garland's ruby slippers.  Regardless of the character's age, Cristen looks at the character, the play and “where is it" in choosing her roles.  The three people Cristen admires the most in the industry are Peggy Roeder (“an amazing acting coach and a fantastic actress"), Mary Beth Fisher (“another terrific coach") and her “Forum" costar Guy Adkins (“a font of creative energy; the wheels never stop").  She says that Adkins taught her to “do your homework and then come in and play."

The sit-down Chicago production of “The 25th Annual Putnam County Spelling Bee" has been one of the more in-demand shows around, and it took 4 grueling auditions for Cristen to make the cut.  She says that she's really excited to be doing another “smaller, provocative show," and the opportunity to work with seasoned pros such as author/director James Lapine and composer/lyricist William Finn will no doubt add to her prestige in the theatre community.  The all-Chicago cast also includes Bill Larkin, Eric Roediger, Jen Sese, Lucia Spina, Derrick Trumbly, Brad Weinstock, Christine Werny, Christine Bunuan, Robin Alexis Childress, Julius Thomas III and George Andrew Wolff.

Having already worked with Galati and Chita Rivera (“an incredible, down to earth person"), she has put a lot of the star worship into perspective.  “There is a reason that these people have earned big names, not only for their talent but because people really want to work with them.  It's rare to find a big ego."  One show Cristen hasn't done yet and one that she would seemingly be ideal for is “Wicked."  She's been up for it, she says, and she loves the part of Glinda, but “the producers weren't looking my way."  Rest assured, though, that plenty of others are.

 
Joe Stead
Theatre In Chicago News Contributor Joe Stead has spent over 20 years as a critic, director, designer and performer. His reviews currently appear online at www.steadstylechicago.com.