Before we announce the winners of our 2024 Critics’ Pick Awards, we’re proud to present our annual Nominee Interview Series.
In Doctor Bird Productions’ concert staging of Jekyll & Hyde, Outstanding Performance in a Musical nominee Emma Bergin stole our hearts with her complex and impeccably sung performance as Lucy. We caught up with her to discuss the role’s many challenges and learn more about what it takes to conquer them.
Do you remember your first experience with theatre?
A lot of my earliest theatre memories come from going to Disney World with my family and staring up at the character performers thinking, “wow, I want to do that!” So, it’s fitting that my first real theatre experience was in a production of The Jungle Book. I, very glamorously, played the baby elephant. But, by the time we started rehearsals, that one part was split up so that there were three baby elephants, and I had one tiny little line left at the end of that split – and I was ecstatic. I felt like a star! At that point, I was truly smitten with theatre and performing, that I couldn’t get enough!
When did you first start singing? Are you classically trained?
If you asked my parents, I’ve been singing since I learned to speak, and thankfully they didn’t find that annoying! In fact, they did everything they could to allow me to explore that love of being loud. I started lessons at 7 or 8, sang in the Hamilton Children’s Choir for 5 years, and was heavily involved in musical theatre throughout high school. But, when it came time to figure out what happens after graduation, my voice teacher at the time urged me towards studying classical voice – so that’s what I did! I ended up at the University of Toronto’s Voice Performance Program, and followed that up with a Masters Degree in Opera Performance. Those 6 years taught me so much about my voice, about the psychology and the physiology of performing, and in the end, showed me what I truly loved (and what I didn’t love) about that world. Training classically, and learning your voice in that way, is so important and I am a massive advocate for musical theatre performers prioritizing cross-training so that they have that knowledge in their back pocket.
What’s your go-to singing in the shower/in the car/doing the dishes song?
Oh, it changes day to day! If I’m working on something, it’s usually that, or something similar to keep it all in my body. If I’m not, then it’s definitely dependant on my mood. It’s usually some loud pop music that’s blasting. Right now, I can’t get enough of Chappell Roan – if you haven’t sang “Red Wine Supernova” at top volume, I 100% recommend it.
How did you get involved with Doctor Bird Productions?
I had just gotten back into theatre after deciding to step away from that world after I graduated, and that itch to perform was a constant in my life, so I was heavy on keeping an eye out for audition notices. I knew someone who was in their production of Sweeney Todd, so Doctor Bird Productions was circling around my orbit on social media. When I saw that they were doing Jekyll & Hyde (a dream show!) I took a chance and submitted a self-tape that I made in my living room with an old sheet as my backdrop. I think, at that point, I had only ever submitted 4 self-tapes in my life. I went into it just wanting to sing – in any capacity – so I had absolutely no expectations when I walked into (and out of) the callback room. I was just happy to be there! Looking back on it, having no expectations was the way to go, because that joy and adrenaline followed me throughout the entire process – something the team definitely heard over the phone when they called me a few days later!
Tell us about the character of Lucy. What’s the key to understanding her point of view?
Lucy is a complicated gal, honestly. She’s someone whose hand was dealt to her, with seemingly no chance to change cards and take control of her future. So, she deals the cards she has and makes the best of it – when she can. But, behind all of that, is a girl who wants to be free from it all, but who also accepts that it may never happen. That desire and belief informs every aspect of her character. From how she holds herself at The Red Rat, to when she holds the key to freedom in her hands.
The key to understanding her was to realize that she is so deeply human – she is not just good or just bad. There was never just one layer to anything she did. Sure, songs like “Someone Like You” and “A New Life” are pretty point-blank with understanding, but a lot of what I learned about her came from “A Dangerous Game”. One of the first things I did when I was cast was start to unpack the complicated feelings of desire that she’s faced with in that duet, which really helped inform everything else that comes before and after that encounter.
Lucy’s vocal track is incredibly demanding. How did you prepare for the technical challenges of the role?
For me, it was all about routine. I was actually playing Jesus in a production of Jesus Christ Superstar that closed a month before J&H opened, so I really had to be mindful from the beginning on how I was treating my body, and how I was building my stamina to get through two very massive – and very different – shows.
I started perfecting this routine far before rehearsals started so that it was second nature when I really needed it. By the time rehearsals were in full swing, I had it down to a science. In terms of the music, I took it slow and steady, making sure every bar and line felt comfortable and solid in my voice. I prioritized connecting and listening to my body by taking yoga and pilates classes, I was singing daily to build stamina, and I made sure I was feeding my body in a way that focused on maintaining strength and decreasing inflammation. Hydration was also key – I don’t think I’ve ever drank that much water in my life, and my nebulizer was used so often that it was dead by the end of the run. My days were planned out by the minute, and that’s what I needed to feel confident in the demand of it all – I felt like an athlete preparing for the olympics in a way, and I enjoyed every minute of it.
Corsets: love’em or leave’em?
Love’em! Love them, love them, love them.
Honestly, I was terrified when our amazing costume designer Rachelle handed me the costume, so much so that I turned to them and asked “no shirt?”. To exist in a bigger body – especially in theatre – is to be so aware of how you’re perceived in front of others. Your body is always going to be a topic of conversation, or a point of consideration. So, to be faced with nothing but a skirt and a corset felt, for a brief moment, like a nightmare. The team at Doctor Bird was so kind and so supportive that I knew if I spoke up and asked for it to be adjusted, they would have done anything to make me feel comfortable. But, I wanted to challenge myself – Lucy would not care one bit about a skirt and a corset, so why should I? I put it on, and the rest was history. I felt good. I felt sexy. I felt more free than I ever had. From that point on, I didn’t consider my body, or how it looked, or if I was showing too much skin for someone who looked like me. That was never an issue, and I am so thankful for that experience. I loved that corset so much that handing it back at the end of the run felt more like a nightmare than I did when I was first handed it.
Tell us about developing your key chemistry with co-star Carlos Bastarrachea.
I think I can speak for everyone in Jekyll & Hyde when I say that Carlos was the most generous and giving leading man. Everything he did was filled with kindness and love for the show and the people that he shared the stage with, and we are so lucky to have been on the receiving end of that. The three of us were extremely fast friends, with one common goal in mind – playing these characters with as much humanity as possible.
The chemistry between Lucy and Jekyll/Hyde is detrimental to the story, and we knew that going into this. It’s carnal desire, but it also has moments of sincere and honest tenderness that are just as important. Establishing trust early on was vital – and thankfully – very easy. Most of what Lucy does is with Jekyll/Hyde, so a lot of my rehearsal period was just with Carlos, and the creative team, so we had a lot of time to really grow that trust. We talked a lot about our characters, what each moment meant to them, which all helped develop that chemistry. But, all in all, Carlos is a brilliant friend, and I can’t thank him enough for being the most wonderful stage partner throughout this entire process. He made it so easy.
What are some of the challenges of performing a concert version rather than a traditionally staged show?
Obviously, there are some challenges that come with a concert version. A lot of the time, you lack a set and variety of costumes and props that help establish location, time, and tone. Without that, it’s up to the people on stage to make that clear. It’s a different kind of vulnerability! We were lucky to have gorgeous costumes that helped set the tone, but the rest of it was truly up to us. Every sound and movement is bigger and louder, so it all has to be done with intention, and everything had to have meaning. There’s also a huge focus on the music in a concert version – in most cases, it’s the top priority! So there is a lot of pressure to make sure it is as absolutely perfect as it can be. But, you have to remember that you’re acting too! It’s definitely a balancing act.
Do you have any dream roles you’d love to tackle some day?
Sooooo many. As I’ve figured out my voice the last few years, roles like the Witch or the Bakers Wife in Into the Woods, or Mother in Ragtime are up there, and there will always be a little girl in me who wants to check Tracey Turnblad off the list (does anyone do Hairspray anymore?). I also need to do Les Mis before I die. Really, I’ll play anyone – give me the flag and I’ll happily stand in the back of “One Day More” and wave it with pride.
What are you working on now/next? Anything to plug?
Yes! There a couple things in the works which is exciting! First up is three nights of concerts in Hamilton from March 13th-15th with Curtain Call Performing Arts Company – a group I’ve been so lucky to be a part of. Then, some exciting things happening at Toronto Fringe this summer!
Is there anything you’d like to add?
There was a time in my life where I thought I’d never sing again, and the past two years have given me back something that I thought I lost. I’m a lucky girl! I hope it’s a reminder to everyone to follow your joy, listen to your heart, and do something that fills your cup everyday.