Joyce Kamdem
On Tuesday, February 20th, 2025, I stepped outside and was greeted by needles of ice disguised as snow. Shielding my eyes, I nonchalantly headed towards Compton-Goethals Hall where a rehearsal for CCNY Theatre and Speech Department’s musical Pippin was underway.
5:50 PM—The acting team hauls in music stands, chows on food, and sets up the chairs for rehearsal. I watch with curiosity.
6 PM—The actors sit and wait for the music director, Paul Rigano, to begin. “1 - 2 - a - 1 2 3 4.” Paul shuffles to the rhythm of his piano keys, leads the cast in song, and engages in meaningful critique to push the actors toward perfection; even I feel a yearning to be a part of the rehearsal. Unfamiliar with different aspects of theater, this behind-the-scenes perspective gives me a deep appreciation for the cast and crew as my curiosity becomes affection.
6:10 PM—The Guest Director, Alexander Casasnovas, takes me to an empty theatre. I set a chair across from him and he gets settled. Alexander was raised in the Bronx “not too far from Jenny on the block, JLo”. Inspired by Michael Jackson—particularly Thriller—Alexander's passion for musical theatre took shape early on: “When I memorized that dance break, I was like, hehehe, ‘I got it!’” As a CCNY alumnus, Alexander was drawn to the opportunity to return and contribute to the program that helped shape his artistic journey. He reflects, “I want to leave the audience electrified—sparked with questions, insights, and perspectives that fuel conversations for months to come.” He aims to achieve this reaction with his diverse cast and unique approach to directing: he emphasizes a collaborative approach that results in mutual respect from the cast and directors. This approach allows the cast to offer their perspectives during the performance while Alexander asks targeted questions to enhance their understanding of the production as a whole.
6:35 PM—I wave down Raven Torres to take a seat for her interview. Raven is from the Bronx and plays the character of Catherine—a widow and the love interest in the show. Pippin was originally scheduled for the fall of 2024 but was rescheduled to spring 2025, which proved to be advantageous for Raven as she learned more about her character and was able to bond with everyone in the cast. The additional lead time solidified bonds in the group and gave the cast time to get a deep understanding of their characters.
6:50 PM—Anaïs Escobar, a self-proclaimed “Queens girl born and raised” playing the character Frastrada—Pippin’s step-mother—takes her seat. Anaïs explained understanding her character as a journey in and out of rehearsal. Initially, in rehearsal, she took her character at face value, but with the delay of the show in the fall she reflects that: “We supported each other in a way that I wasn’t expecting to find family and support.” That experience enabled her to uncover the deeper, darker meanings inherent in her character. With this insight she hopes the audience can grasp whom she is talking to, and who she is talking as, while they watch her solo number on stage.
7:15 PM—Shawn G. Elliott gives a double twirl, with two hops on his toes, opening his arms wide with a bow. “I’m here for my interview!” Shawn, a native of Orlando, Florida, plays the lead role of Leading Player. Shawn grew up with an artistic spirit, always singing and dancing. At just eight years old he watched his mother perform in Hairspray, and as he took in the colorful choreography he knew: I have to do that. Shawn was initially drawn to CCNY by the campus’s aesthetic and, although he can name many landmarks on campus, the people are why he stays. Thinking back to my observation of the rehearsal earlier in the evening, goosebumps form on my skin. Shawn shoots both arms over his head in an arc and declares, “The people here… their passion for the art is unlike anything I’ve ever seen before!” That passion and willingness to collaborate is what cultivated a deeper understanding of his character.
7:45 PM—So caught up in the fascinating conversations I didn’t even notice the time, I speed back to the rehearsal room and wave down the musical director, Paul Rigano. Awkwardly interrupting the rehearsal, I usher Paul to the unofficial interview location. He begins. Coming from a theatrical family active in the 1970s and 80s, he was influenced by his parents who valued productions like Pippin, La Cage aux Folles, and Mack and Mabel. “This era of musical theatre holds a particular place in my heart,” Paul reflects with a smile. After graduating college, Paul worked on Be More Chill, an experience that significantly shaped his directing style. It taught him the importance of balancing the musical director’s leadership with the actors' creative input, emphasizing that “it’s a completely collaborative thing.”
The cast and directors’ collaboration on this performance is a story of collective resilience. The like-minded leadership style that Alexander and Paul implement, the trust that the cast has in each other, and the commitment that the team has to the art of musical theatre are destined to produce a magical experience—and all the more magical because we know the cast's meticulous preparation and the journey they undertook to bring this musical to life.
9 PM—As I step out of Compton-Goethals, leaving the rehearsal still in full swing, the final flurries of snow brush against my face. I call my wife, eager to share the excitement of such passion for musical theatre.
Now, weeks later, writing from a lively café in Harlem, I reflect on the energy and dedication of the Pippin cast and creative team. Their passion will shine on stage, making their upcoming performances of Pippin truly unmissable.