Before we announce the winners of our 2024 Critics’ Pick Awards, we’re proud to present our annual Nominee Interview Series.

 

Outstanding Performance in a Musical nominee Taylor Long has quickly become one of the most recognizable faces in Toronto’s thriving indie musical theatre scene. He’s nominated this year for his role as Marvin in Bowtie Productions’ tender and complex Falsettos. He took the time to answer our questions about that demanding role while already in the throes of preparing for his next.

 

Do you remember your first experience with theatre?

My first experience with theatre was either in grade primary or first grade in Halifax, NS. We performed a live adaptation of Abiyoyo, the children’s book by Pete Seeger. I was part of the team operating the giant Abiyoyo puppet, which was a thrilling experience for a kid. Even at that age, I remember feeling the excitement of bringing a story to life on stage and the energy you get from performing in front of an audience. It was my first taste of the magic of theatre, and I think it’s clear that it stuck with me.

 

When did you first start singing?

I think I first started singing in church?! I was raised Roman Catholic, and my father is a Wesleyan minister, so I was exposed to two very different styles of music at church, and I remember singing in both settings.

 

My first experience singing musical theatre, however, came in grade 7 or 8 when I performed in Fiddler on the Roof Jr., playing Motel the Tailor. It wasn’t until grade 11 that I truly fell in love with musicals. I was cast as one of the three suitors in Kiss Me, Kate, and from that moment on, I knew that performing would be a major part of my life.

 

You have an opera background. How does that come into play when working on musical theatre? How do the two mediums compare and contrast?

I didn’t originally plan to study opera—my focus was always on musical theatre. In my final year of high school I was looking at different musical theatre programs like Randolph and Sheridan. However, I knew I wanted to go to a university, and at that time classical voice was the only option available in an undergraduate program. I’m actually very grateful I received that classical foundation. I recommend it to everyone because classical training provides so many invaluable tools for a singer. You learn how to use your voice efficiently and safely, developing a technique that keeps your voice healthy for longer.

 

In terms of singing in both mediums, I appreciate the flexibility that musical theatre offers compared to opera. Opera tends to have a more rigid vocal approach and it can be really challenging for opera singers to break out of that box and sing other styles. Whereas in musical theatre, I can adapt my sound depending on the demands of the show. I have the freedom to mix in more or less of a classical tone, shaping my voice to fit different roles and styles. That versatility is something I really enjoy.

 

What’s your go-to singing in the shower/in the car/doing the dishes song?

Oh, this is a tough one. I love singing “Why, God, Why” from Miss Saigon. My dog, Rylan, however, does not love it as much. He tends to run as far away as possible when I start belting.

 

How did you get involved with Bowtie Productions?

I first got involved with Bowtie Productions in January 2024 when I was cast as Marvin in Falsettos. As soon as I saw the audition posting, I sent in a tape immediately—I’ve always loved the show, and the score is absolutely incredible. I knew I wanted to be part of it.

 

From the very start, working with the team at Bowtie was an absolute joy. They’re such talented, kind, and passionate people, and the entire process was filled with so much care and dedication. I think that that love and effort really came through for the audience–you could feel it watching our show.

 

Tell us about the character of Marvin. What’s the key to understanding his point of view?

Marvin is a deeply complicated man (which is very fun to play with as an actor!). He spent years in the closet, married a woman, and had a child, trying to create the life he believed he was supposed to have. When Falsettos opens, we see the aftermath of that conflict—his family is split up, his marriage has ended, and he’s moved in with his male lover, Whizzer.

 

I think Marvin’s key struggle is his very complex relationship with love. At the start, he sees love as something to be controlled, even conquered. He wants the perfect, “tight-knit family” on his own terms, but the harder he tries to hold onto love, the more it escapes from him. And tragically, just as he finally starts to understand the depth of love that is already in his life, circumstances take a heartbreaking turn.

 

Falsettos is actually two one-acts smashed together, picking up the action from a third one-act that’s not produced anymore. How did you approach jumping into Marvin’s story already in progress and navigating the gap between parts 1 and 2?

So, yes, Falsettos as we know it today is two one-acts combined—March of the Falsettos as Act 1 and Falsettoland as Act 2. There’s also a third one-act, In Trousers, which serves as the prequel, I guess.

 

Stepping into Marvin’s story already in progress is a fun challenge. For me, navigating Act 1 meant really understanding the emotional weight Marvin carries on his back. By the time we start the show, he’s already been through a lot. He’s like a ticking time bomb, full of emotional baggage—especially when it comes to his relationships.

 

When we hit Act 2, two years have passed over the intermission, and we see a much more mature Marvin. He’s still flawed, still imperfect, but he’s starting to approach his relationships with more openness and humility—especially with Whizzer and his ex-wife, Trina. It was really fun to play with that shift in demeanor as Act 2 opens.

 

Marvin’s vocal track is incredibly demanding. How did you prepare for the technical challenges of the role?

I try to get the score into my body as early as possible. When I’m starting a new role, there’s always a mix of anxiety and excitement that really motivates me to learn the music before rehearsals begin. For Falsettos, I was singing the score constantly leading up to performances because I had to build up that endurance. If you’re one of the five characters in the first half of the show, you’re basically singing non-stop for two and a half hours.

 

I was also very strict about maintaining my vocal health throughout the run. I steamed my voice before and after performances, took lots of vitamins, drank plenty of water, and avoided alcohol. And I’m always meticulous about my vocal warmups.

 

Do you have any dream roles you’d love to tackle some day?

Right now I have my eyes on Georg in She Loves Me and Bobby in Company. Somebody cast me, please. I recently played Emcee in Cabaret, which initially terrified me, but ended up being one of my favourite experiences on stage. I definitely don’t think that will be the last time I play that part.

 

What are you working on now/next? Anything to plug?

I’m currently in rehearsals for my second show with Bowtie Productions! They’ve announced a concert version of Jason Robert Brown’s The Bridges of Madison County—one of my dream shows—so I submitted right away. I’m really excited to bring Robert to life. The score is stunning and it’s a huge sing!

 

Bridges of Madison County runs from April 3-7, 2025 at the Canadian Stage Berkeley Street Upstairs Theatre, and tickets are on sale now at bowtieproductions.ca.

 

Is there anything you’d like to add?

Thank you so much for the work you do. As a performer in indie theatre shows in the city, it means a lot reading a review of your show and performance. Also, I have to say it’s been such an honour to be nominated for these awards. It’s kind of wild to see my name alongside so many talented performers—I’m incredibly grateful.