Category: UnCovered


Jeigh Madjus’ Triple Threat

As the office is abuzz with preparations for UnCovered: Sting & The Police, we check in with Jeigh Madjus for our final UnCovered Triple Threat. Hot off of the Public’s Here Lies Love, the David Byrne and Fatboy Slim immersive musical about that matron of moxie and footwear, Imelda Marcos, Jeigh returns and we’re so pumped to have his signature tenor vocals to round out the top of what is promising to be the best backup trio yet. Today, Jeigh chats Guettel, Whitney and Miss Saigon:

What musical’s score will you always remember?

Anything that Adam Guettel writes moves me to the point of tears. I could listen to anything from Light in the Piazza to Myths and Hymns on repeat. His melodies and chord progressions actually make the hairs on my body stand. It’s crazy. His music is just so beautiful that it wakes me weep every time I listen to anything he writes- especially Piazza.

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Kelly Holiff’s Triple Threat

Kelly Holiff: Acting Up Stage UnCovered perennial  cabaret superstar and voice of Heart & Stroke Canada. Can you get more impressive than that? With her signature belt, her vivacious presence and mesmerizing acting chops, we look forward all year to that time when Kelly takes the stage in UnCovered. Haven’t seen her? Why not come to this years UnCovered: Sting & The Police? And just to whet your appetite, here’s her perspective on the genre which she holds so close to her soul. 

What musical’s score will you always remember?

Les Mis. The music haunts me. I could listen to the instrumental part without the vocals forever. So brilliant.

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Jeff Madden’s Triple Threat

This week Jeff Madden joins us with his Triple Threat. International star of Jersey Boys and veteran of the Shaw Festival, Jeff clearly knows a thing or two about musical theatre. Also, as you’ll soon see, the guy’s as good a writer as a performer – so have a read below, and then check him out in UnCovered: Sting & The Police on November 18!

What musical’s score will you always remember?

I am a fan of many, many shows which makes this a very difficult question to answer. Some of my absolute fav scores include Adam Guettel’s Floyd Collins, Sondheim’s A Little Night Music and Sweeney Todd, Bernstein’s West Side Story, Ahrens and Flaherty’s Ragtime, and Kander and Ebb’s Chicago. But if I had to choose one for its lasting impression on me, it would have to be Floyd Collins. The material is challenging to the ear on a first or second listen, but the more time you invest with it, the more miraculous it becomes. There is literally nothing else like it out there; it’s a mixture of modern classical/operatic and country/folk styles, with some musical theatre punch thrown for good measure.

I played Floyd’s brother Homer Collins in the Canadian premiere of Floyd at the Shaw Festival in 2004 and it was a life-changing event. Just listening to the first seconds of each track now brings back such vivid memories of not only our production, but of my many visits down to Kentucky’s Mammoth Cave National Park and it’s surrounding areas. And I challenge anyone to name a more satisfying piece of musical theatre song-writing than this shows “The Riddle Song” and “How Glory Goes”. Even Sondheim himself is quoted as saying he wished he’d written “The Riddle Song”. That’s good enough for me.

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Sara Farb’s Triple Threat

For someone so young, Sara Farb has achieved great success in the musical theatre world, including multiple awards for her portrayal of Natalie in Next to Normal. This November, she returns to Acting Up Stage’s annual concert in UnCovered: Sting & The Police after a very successful season at Stratford, including playing Jessica in The Merchant of Venice.  Next season, she’ll return to the Festival as Lear’s stalwart daughter, Cordelia, but in the meantime we caught up with her to give us the lowdown on what defines her musical theatre tastes.

What musical’s score will you always remember?

Ragtime. I listened to that album relentlessly as a kid, and it still holds up as some of the most powerful and memorable music I’ve heard in a show. I mean from start to finish. A lot of times I lose interest somewhere after the Act 1 finale of many shows, but Ragtime’s score holds me the whole way. 

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Trish Lindstrom’s Triple Threat

We are so pumped to have Trish Lindstrom in UnCovered: Sting & The Police! With a resume comprised of straight theatre, musicals and other performance genres, she is the essence of a true triple threat. In fact, she loves musical theatre so much, she had an amazingly difficult time of settling down on just one answer below – so we made a few exceptions for her!

What musical’s score will you always remember?

There are too many.  The scores that are most thrilling to sing, are those whose composers and lyricists who understand how to marry intention with melody:  West Side Story, Into the Woods, Company, Light in the Piazza, The Last Five Years, anything by Jonathan Monro, Leslie Arden, Allen Cole…

As a side-note, I’m flummoxed by how often punctuation is ignored in lyrics of a score or script.  To me, these markers are just as important (if not more so) in a song and tell me that the lyricist understands intention and is not just writing words that rhyme, but attempting to convey a story through the changing actions of a character.  

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