Side by side, they’re glorified! In the other half of our dueling-divas interview exclusive (if you missed part 1, you can click here or catch the link at the bottom of the page to read the interview with Katelyn Dixon who is currently playing Peggy Sawyer in 42nd Street) we get to sit down with Elizabeth Marion, currently playing the role of Dorothy Brock in 42nd Street at Scottfield Theatre Company. With some theatrical seasons under her belt, we had an in-depth conversation with Liz all about this show and what it’s like being the hardcore dancer who doesn’t actually get to do any dancing in the show!
Thank you so much for giving us some of your rehearsal time. Now we know you’re Elizabeth Marion and you’re playing Dorothy Brock. What was the yen, the drive, the desire to come out and want to do 42nd Street?
Elizabeth Marion: Being a life-long tapper, I have a great appreciation for 42nd Street. I was surprised where I landed but I do see a lot of myself in Dorothy so I think I’m in the right spot.
That is fascinating. Why do you see a lot of yourself in Dorothy?
Liz: As I am getting to be a— dare I say it— middle-aged theatre performer, there I said it, I’m a middle-aged theatre performer. And as a middle-aged theatre performer, that puts me in a group of people where we have to start to acknowledge our age. We really do. We also know that in theatre life, sometimes you make sacrifices and choose to do the things that you think will get you where you want to be but may not always make you happy. I see that in myself and I definitely see that in Dorothy.
Is there a personal connection for you with 42nd Street other than being a life-long tapper? Is this a show that maybe you and your mom went and saw or you grew up watching?
Liz: No. I have actually never even seen the show prior to watching it after we did auditions. I mean I know the music, it’s part of the musical theatre classics, but I had never seen the show.
That is wild!!! Now, as you are a life-long tapper— although it’s occurring to me as I’m saying this that the character of Dorothy Brock doesn’t actually do any dancing…
Liz: She never gets to tap. I don’t tap in this show! That’s what so funny because I never get to tap! I tap in my chair while we’re running the music at rehearsals.
Oh my! How are you coping with that?
Liz: I work really hard to help the dancing girls in the show and to support them. I’m also their costumer. So it’s very important to me to make sure that when I’m not on stage, the people who are on stage feel and look fantastic.
That’s an excellent thing to have— that level of investment and compassion. Now, you’ve told us a little bit about what you see of yourself in Dorothy, what about how you and Dorothy are different?
Liz: Ooh. Now that’s a tough one. Dorothy takes a really long time to fight for the love of her life. My fight for the love of my life was a little shorter. I think ultimately, Dorothy gets where she wants to be? It just takes her a little longer than I would have. It kills me when they say the line “But Dorothy can’t dance!” Because I— me, Elizabeth— have been dancing since I was three! That’s one big difference because I definitely dance!
Speaking of the dancing, even though you yourself are not doing any of it on stage, how are you finding the choreography that is happening in this show compared to other shows you’ve been a part of?
Liz: I cannot tell you how hard this cast is working. I am so impressed. We have so many new people who I have never had experience with; they all just came out of the woodwork and they are all amazing. These tappers are just splendid. They are just absolutely killing it. It reminds me of when I did Crazy For You in college and I was one of the chorus girls and I got to do all of the tapping. So I look back on it in a fond sort of “they’re here now where I was then” kind of way. It’s really awesome to be there and get to support them as they get to be the dancers for this. It’s a full-circle kind of moment for me.
What has been your biggest challenge for you personally with this show up to this point?
Liz: For me as an actress, I always try to find the realism in a character. A lot of Dorothy is way over the top. She’s overly dramatic. So it’s finding that balance between that diva side of her and understanding where that comes from. That’s what I’m still working on; finding that level of reality behind something that could be just fluff. But I don’t think it has to be. I think all of these characters have a huge backstory and I think that’s what’s going to make this show different. We’re going to find all of that. Becky (Director Becky Titelman) is really working on the acting in those scenes. It’s not just a dance show. It tells a story. These could have been real people in the 30’s. It does have a lot of dancing but if all you focus on is the dancing, all that in-between stuff just kind of falls flat. I think it’s just as important for those in-between scenes to find those characters. You have to care about these people, otherwise what’s the point?
That’s an excellent segue, Liz. Why should we care about Dorothy Brock? She’s a big ol’ diva.
Liz: She is a big ol’ diva! But she’s only a diva because she is unhappy. She’s made choices in her life to get where she thinks she needs to be. But again, it’s not ultimately what she wants. So yes, she gets success, she gets fame, she gets the show…but all she really wants is love. And she finally realizes that. Love makes the world go round.
As someone who is a very well-trained and very talented singer, what is it like for you getting to be this character who has to give that up for a good portion of the show, in addition to not getting to do any dancing as a life-trained dancer?
Liz: It’s so hard! I’m a soprano. I love singing up in the rafters. And Dorothy is a little bit more down in my alto range. It’s not that I can’t sing it— because I can. But finding the nuance and finding a way to bring that part of my voice to life has been a challenge but a really fun challenge. I’m enjoying that part.
I did ask Katelyn about the costumes and she mentioned one that really spoke to her. And you just told us that you’re doing costumes for this show, but have you found one that really speaks to you?
Liz: I have a gown for “Dames.” I come in for the last ten seconds before the number ends, because— you know— that’s what the diva does to the dancers. But I’m really excited about that dress. I’m also really excited about the girls’ dresses and I think it’s going to be beautiful. I’ve gone a little over the top for this one but it means a lot to me to be able to do so.
Is there a moment in the show that really defines what 42nd Street means to you?
Liz: I honestly think it is the finale. During “42nd Street.” There is a very dramatic moment that happens and then all of the sudden the New York beat comes back. That is the true defining point of what 42nd Street is. What New York is. All of these crazy things happen but we just keep going. And that’s life, really. That’s what this show is really about, it’s about life. It’s not easy, it’s not open and shut, there’s a lot of gray area. But you find a way to pick yourself up and you just keep moving on. As a former New Yorker, this show just really speaks to me.
I had no idea you were a former New Yorker! But the real question is— have you ever been to Allentown, PA?
Liz: So I am actually from 20 minutes outside of Allentown, PA. So that line that she has— “I learned everything I need to know about men from Allentown.” It’s hilarious, because actually, I kind of did! And then I married Becky and moved out of Allentown! It always makes me laugh— “Allentown?” and I say, “I’m from Allentown…I grew up there…” it’s just so funny.
That is pretty hilarious. Now, up to this point in the rehearsal process, what has been your big personal takeaway— as you’re leaving rehearsal on any given night, you’re saying, “Wow, I now know this about myself.” What is that thing that you’re learning?
Liz: That for as long as I’ve been doing theatre, I can still continue to grow. There is never a stopping point. Just like in life. You can reinvent yourself; you can reinvent the characters that you play. And that’s what’s amazing. I feel like sometimes, again— getting to be a slightly older actress— you can either say “I’m too old, I can’t play parts anymore, and I don’t want to do it.” Or I can say, “You know what? I now have the chance to play parts that I couldn’t play before.” As much as I would love to play a Peggy? That’s not who I am at this time in my life. But I get to be a Dorothy. There are positive things if you choose to embrace them and grow from them.
Speaking as a slightly-older-actress, who is finding the positive footing in roles that you couldn’t play before, are there bucket-list roles out there that you’re still waiting to achieve and what are they?
Liz: Yes! Fantine in Les Mis. Also Mother in Ragtime. I did do Ragtime professionally and I was the understudy for Mother but I never got to play the part. Also, if ever, ever it gets released— Sylvia from Finding Neverland. Somebody needs to do that show. I love her in that show. It is a beautiful show.
I agree with you on Finding Neverland, it is a beautiful show and now I am curious as to why that’s never been released. Now what about bucket-list roles that you’ve achieved already?
Liz: Favorite, favorite of course is Bea in Something Rotten. So much so I’ve done it twice and I would do it a thousand times over. One of my other favorite roles is Chairy in Barnum, nobody ever does that show. And again, I’ve done it twice. I have a couple of shows like that where I’ve played the same role twice over, but that was one of my big ones. And honestly getting to do A Chorus Line twice— I was Val the first time and Cassie the second time— I never thought that I could be Cassie. She’s supposed to be in her 30’s and I was 38 at the time so that was a huge blessing…stupid pandemic taking away my second weekend. But we did get one weekend and that was super important. So those three— for sure. Bea, Chairy, Cassie.
That’s a pretty impressive list so far! Now, if you could choose to play any role in 42nd Street, regardless of age, talent, vocal restrictions, gender, etc. but not Dorothy, who would you be?
Liz: I think I’d actually be one of the ensemble girls. I would love to just dance. I’ve probably been dancing more than I’ve ever been a singer. I’ve been dancing since I was three. It’s funny, my parents put me in dance class because I was clumsy. They thought maybe teaching me to dance would help me not be clumsy. But no. Now I just fall gracefully instead of badly. There’s something to be said for the parts in any show where— they may not have solo songs or lines but this show would not be a success without those tappers and those dancers. They are working their butts off. They just impress me every single rehearsal.
What is it that you are hoping people will take away from coming to see 42nd Street?
Liz: I’m always one of those weirdos thinking, “I just want the cast to be applauded for all their hard work.” I want people to leave the show feeling like they enjoyed their time, they got to see something that maybe they had not gotten to see before. My co-worker’s mother actually got to see this show on Broadway, it was the very first Broadway show that she took her son to see, so he is bringing her to see this show here. And I am excited that she gets to see it! I think there are so many little stories that happen throughout the show and I hope everyone finds a character that they can identify with, whoever it is. No matter what age, no matter what part they play, I’m sure everyone will watch the show and find someone that they watch or follow and they say “I could do that. I want to be that person.”
Why should people come on out to the Opera House and see 42nd Street with Scottfield Theatre Company?
Liz: Because we have the most fantastic, hard-working, and amazing corps and director ever. And I’m not just saying that because she’s my wife, honestly! All she wants is for people to have a good time at rehearsal and feel successful on that stage. And to bring some joy to someone’s life. That’s what Scottfield is about. Scottfield is family; I know we talk about that all the time but we really do mean it. Whether you’re a part of our family for just one show, part of our family for all seven shows— it doesn’t matter, you’re still our family. The rehearsal process is just as important as the final product we put up on that stage. It’s all the experience, it’s the love and the caring and the being there for each other. That’s why you should come see 42nd Street. Because hopefully everything that we feel as a cast you’re going to see on stage.
If you had to sum up your experience with Scottfield Theatre Company’s 42nd Street up to this point using just one word, which word would you use?
Liz: Ooh this is a tough one! Love!
42nd Street plays April 12th 2024 through April 21st 2024 with Scottfield Theatre Company currently in residence at the Cultural Center at The Havre de Grace Opera House— 121 N. Union Street in historic downtown Havre de Grace, MD. For tickets call the box office at 667-225-8433 or purchase them online.
To read the interview with Katelyn Dixon on playing Peggy Sawyer, click here.
