From Broadway, Off-Broadway, and Regional theater in a variety of roles, Wallace Smith has done it all. Joining the cast of The Lion King and shortly working up to the lead role to the recent Off-Broadway summer hit Choir Boy, he continues to impress audiences with his amazing flexibility and acting talent. I got the chance to catch Wallace in his busy schedule and ask him some questions about the shows in his career, the ideas and themes behind these productions, and what lies in his future on stage.
When you were in The Lion King, you eventually became the replacement for Simba. What was that like stepping into the lead role in such a prominent show?
Stepping into the role of Simba was a bit intimidating at the time that I stepped into the role. It was 2004 when I joined the show and I started in the ensemble. Then after about three months into my contract, the role became available and I auditioned. It was a very, very hard audition process, filled with uncertainties but in the end the role was given to me. I was so grateful and so thrilled because it was a dream that was finally fulfilled. I initially saw the show when I was 20 years old and wanted to be Simba from that day forth. It was a wonderful experience and it helped me to grow in ways I never thought I could.
Shows like Hair and American Idiot have many cutting edge ideas and themes for a modern audience. Why do you think contemporary shows like these are necessary on Broadway?
I think that the contemporary shows that we are seeing like American Idiot are necessary because our world has become so vast and diverse, especially with the evolution of social media. Social media and media take what we say and do to heights that we never thought would be possible. American Idiot was about the youth of America truly searching for identity. We have to have shows that are more contemporary for the sake of our youth and an evolving media savvy society. There will always be good ole American musical theater but our world is changing. Broadway has to stay in touch with the time.
In Godspell you played the role of Judas. How was your experience in Godspell different from other shows you have done? What was it like working with such a tightly knit cast?
Godspell was one of the most creative shows I have done because it all depended upon the performers. We had to be a tight-knit group who trusted one another. We built that trust through trial and error and learning one another’s strengths and weaknesses. I don’t consider myself to be a great comedic actor but I learned how to put on the funny by learning from the other actors. It was daring, you had to be very courageous, we were very bare and naked in front of the audiences that came to see us because we were the show. So that was a brand new experience for all of us.
With Godspell being in the Circle in the Square Theater, how does performing in a show in the round different from a proscenium stage?
Performing in the square at Circle in the Square had it’s advantages and disadvantages but we overcame a lot of the latter. Our voices had to adjust to having to project in such an open space and you had to be so mindful of sight lines and angles. It was very very very tricky at first becoming comfortable but I miss it so much and truly loved that space. It’s a special place.
What was it like premiering Bare: A Pop Opera, in Los Angeles? Why do you think Bare should continue to be brought back to the stage?
I was 19 years old when I was cast in Bare in Los Angeles. The show was very much before it’s time in a lot of ways. So premiering it was amazing because it became so beloved so fast and word of mouth spread like wild fire in a very short amount of time. We were at a small 99 seat space called the Hudson Mainstage on Santa Monica Blvd. and it was all new for me. I was only a year out of high school and I had never heard nor experienced a show like Bare. Such a heartfelt story of love, loss, fear, questioning oneself, sexuality, it truly was groundbreaking.
I think people continue to revisit Bare and produce the show even now is because it is a perfect story. The issues are very relevant now than ever before but when we did it in ’99 those things weren’t as relevant because we weren’t hearing a lot about same sex marriage and relationships being a norm, like we are now. Bare was also called a pop opera rather than a show like Rent which was called a rock opera. But it was life changing for a lot of reasons. I just attended the memorial of Damon Intrabartolo who wrote the music for Bare. It was truly special and the show will live on.
This summer, you were in Manhattan Theater Club’s production of Choir Boy. How did you get involved with this show? Tell us about your character Bobby Marrow.
Choir Boy. What a wonderful piece. I was initially introduced about a year before I was cast. I met with the writer Tarrell Mccraney whose writing is just amazing. But I was reading for the lead role, Pharus, who I don’t think was the right part for me. So when the character of Bobby Marrow came along, Pharus’ nemesis, I felt that was a much better fit. Bobby is a troubled kid who just lost his mom and is the nephew of the Headmaster of Drew Boys Prep School. He’s a well put together kid but he can’t seem to get any breaks like he wants and of course is dealing with the loss of his mom. So he takes it out on this kid Pharus, who is struggling with his sexuality. Bobby says a lot of mean things but hurting people often say things they don’t mean. Choir Boy in my opinion should be seen by the masses and hopefully will be given a shot on Broadway.
The show had three extensions before it closed in August, why do you think this show was so popular among audiences?
Choir Boy was popular for many reasons. I don’t think we had ever seen a show that dealt with African American teens dealing with issues as it pertains to sex, class, etc. on the stage in the way that it was portrayed. I think a lot of people also felt the heart of the show is where a lot of our youth are right now. We were performing during the Trayvon Martin verdict and trial and it was amazing to see people come to the show just to hear our voices and the perspective of this piece. It’s very relevant and it is for all races because we all deal with these issues.
From all of your experiences on Broadway and Off-Broadway, what would you have changed about your career and what are you planning on doing in the future?
Honestly I wouldn’t change one thing. Everything that I have done has been a gift given to me from Heaven above. Things have not and are not always easy and they shouldn’t be, but one thing that has gotten me to see my life through the right lens is being thankful to God for what I have been given. So I wouldn’t change one thing. I can’t say just yet what project I will be working on next but I can say that I will definitely be back on Broadway for the 2014 season. You should hear a press release about the new musical really soon. It’s going to be an amazing show. I’ll give you a hint: it involves Boxing gloves. 😉
Finally, do you have any advice for young artists?
Love the art in yourself more than yourself in the art. Ego can always get in the way but remain true to who you are and if you don’t know who you are, ask yourself what do you think about the most cause that’s probably what you were truly made to do. But most of all…talk to God about it.