The impossible could not have happened, therefore the impossible must be possible in spite of appearances! That feels a little like any given week of theatre in the Baltimore area theatre scene! At any one time it feels impossibly like 100 shows are opening, closing, mid-run, in tech, or about to start rehearsals! So it’s no wonder that we found the second person ever to be featured in our “Local Limelight” series— Kelly Rardon, a well-known area performer for quite some time— at the start of her tech-week for the show she’s currently performing in, Murder On The Orient Express with Just Off Broadway. Compliments of Director Joey Hellman, we’ve snagged Kelly away before tech-Sunday truly gets underway to sit down and talk with her about all things theatre, including this fun and exciting production she’s getting ready to open!

Thank you, Kelly— and a special thank you to Joey, who lent you to us today! And it’s Kelly Ra— I’m going to fail at officially pronouncing your last name—

Kelly Rardon: Rare-done. Like steak.

Ooh. I like that! Now, you’ve been in, on, and around the theatre scene here in Baltimore and communities surrounding for how long?

Kelly: This is my 39^th or 40^th year performing.

So basically, you came out of the womb, right onto the stage.

Kelly: Technically? My first theatrical experience was in Montana at the tender age of several month’s old. Because my mother is a pianist and she would play the school musicals and put the carrier with me in it on the piano bench on the stage with her. So I have been around theatre almost since the womb. I did my first show when I was five. I was in a children’s production of Babes in Toyland and I’m pretty sure I got the role of the ballerina doll that they pass down the line because my ballet teacher was the choreographer and she knew I had the costume!

That is absolutely adorable.

Kelly: I grew up doing children’s theatre from the age of five. I still remember the first show I ever saw— it was Anything Goes. My dance teacher was one of the Angels, so my parents took me to see it. And I remember saying, “Wow! They get to sing AND dance and play make-believe and I want to do that!”

That’s incredible. Have you ever done Anything Goes?

Kelly: I have not, ironically. I’ve auditioned for it several times but it has never worked out.

Tell us about the project that you’re working on right now.

Kelly: Right now, I’m in a production of Murder On The Orient Express, which I’m very excited about. It is only my third non-musical that I’ve ever done. And I find that I actually really like the challenge of not-singing. I’m a singer, primarily. When I’m in a non-musical, I feel like I actually grow as a performer much more because I can’t hide behind my singing voice. It’s a good challenge and I’m a mystery buff. I’ve read most of Agatha Christie’s books several times.

Do you have a favorite Agatha Christie?

Kelly: Actually, Murder On The Orient Express is my favorite! So when the opportunity came up, it was just too good to pass up!

That is fantastic. And who are you playing in this?

Kelly: I am playing Greta Ohlsson, who is the Swedish companion to the Russian Dowager Princess. She’s very quirky and not who you might expect her to be. She’s very in-tune with her faith, which makes the circumstances of the show very uncomfortable for her.

You mentioned this was only your third non-musical. What were the other two?

Kelly: Both mysteries, actually. The first one was a little play called The Plot, Like Gravy, Thickens (Fall 2012 at St. Gabriel’s Miracle Players.) That’s actually where I met Lenny (area actor and TheatreBloom reviewer, Leonard Taube) and I got to play the Southern Femme Fatale, which was very much a stretch for me but very fun. The second one was another Agatha Christie one called Towards Zero, at Cockpit in Court (June of 2016, Cockpit in Court, the TheatreBloom Review is here by Amanda Gunther) where I also played a companion, but a British companion. And Joey (director Joey Hellman) who is our director here for Murder On The Orient Express directed that. And that’s how he and I met and bonded over our love of Agatha Christie. We had a great time so we’ve been looking for another project for years to work on together. And now we’ve found it. It was perfect.

How are you finding this particular show? How are you getting on with the character, with the process, with the company?

Kelly: The character has been interesting because there is so much shrouded in mystery. How much of her is genuine? How much is she able to obscure? It’s a little bit of a challenge to find that balance. But the production is just fantastic. This cast is amazing. The cast is so generous and gives you a lot to play off of. Whenever everybody is giving 150%, it makes it that much easier as an actor to play off of them because they’re just giving so much. It’s just been a joy. And such a lovely experience with this group of people.

I love getting to hear that. Now is this your first Just Off Broadway show?

Kelly: It is. And actually, how I found out Joey was directing— well I knew he had done a show here. He was in Company. And I reached out to him, and I said, “I see they’re doing Murder On The Orient Express. How are they to work with?” and he said, “Well I hope they’re good to work with because I’m directing it!” And it’s truly been wonderful. I kind of said that I was backing off of the “church-basement” productions. I’ve been at this so long that now I’m kind of cherry-picking what I go after. But the opportunity to do this show, I thought, “Well, okay. I’ll do one of these ‘church basement’ shows.” And it’s so surprising, just the level of professionalism with this group. Yes, we’re in a church— well not a basement, it’s a church-school gymnasium, but the level of professionalism of the cast and crew and the founders of Just Off Broadway has been really impressive.

I’m so glad to hear that. Now, you mentioned you have a long and storied life with that fickle mistress we call theatre, what is— to date— your favorite role that you’ve played?

Kelly: Oh, well that one’s easy. My last role in She Loves Me playing Amalia Balash (Silhouette Stages production of She Loves Me October 2019, the TheatreBloom Review can be found here by Amanda Gunther) that was my number one bucket-list role of all time. It was a gorgeous production, I know you saw it! I know it’s not your favorite musical but it’s a part that’s very near and dear to my heart and it was a beautiful experience. I carry a lot of happy memories from it! I get the DVDs of my shows but I don’t like watching them myself, but that one, every Christmas, I pop in and relive the sweetness. I pair it with watching The Shop Around The Corner. I watch The Shop Around The Corner and then I watch our production of She Loves Me and remember all of the wonderful things that happened during that show.

Have you ever done the same role more than once?

Kelly: I have not! I’ve actually never repeated a show. I kind of space out my shows. I’m not one of those people who goes from show to show to show. I’ve done that a few times but I find it exhausting. I like to take a break in-between shows for a few months, or in some cases, a couple of years. I have a million hobbies.

Do you have any hobbies that you get to bring to the theatre?

Kelly: Some I do, actually. Like in Towards Zero, we had a very long scene towards the end where they’re doing the very big reveal of how the detective solved the case, and I was on stage for that whole scene with nothing to do and no lines. I do cross-stitch, and I figured, “well, she’s a companion, she’d be doing needlework in the corner.” So I brought it on stage and it was my busy-work. I find ways to keep myself busy but still in character. I’ve got a lot of hobbies to indulge. But honestly, as much as I love doing theatre, it is very exhausting and time consuming. I like to take some time after to get my life re-centered before I venture out to the next thing. But it’s been good getting back into it.

Is this your first show back on this side of the pandemic?

Kelly: Technically it’s my second. I did do Ragtime (Maryland Theatre Collective’s Ragtime in concert, Oct/Nov 2023, TheatreBloom Review here by Mark Briner) in concert, but I was only in the choral ensemble. No blocking, no lines, just standing on a riser with a notebook. So Murder On The Orient Express is my first full production since She Loves Me in 2019.

That’s five years! And it feels good to be back?

Kelly: It does. It does feel good to be back. It’s like feeling the muscles stretching again. It feels good.

Excellent. What would you say has been your most challenging role that you’ve tackled in your career to date?

Kelly: Wow, that’s tougher. I’m not entirely sure. I know playing Louise in Ruthless at Dundalk (Dundalk Community Theatre’s Ruthless, Oct/Nov 2015, TheatreBloom Review here by Jason Crawford) was a big stretch for me. The song that I had, “Penthouse Apartment” was a vocal stretch for me. It was much more belt-y than I was used to. Louise wasn’t a sweet ingenue role, which is what I usually play. Then, having to play her as single-white-female-crazy was a challenge! It wasn’t a character that I fully connected with. But it was ultimately a good challenge and pushed me out of my comfort zone. I would say that one was my most challenging. It was good but it was tough.

Now you’ve achieved bucket-list roles along the way, I’m sure, can you tell us some more of those?

Kelly: I have. As I mentioned, Amalia Balash in She Loves Me, and the production I did before She Loves Me, was my number two bucket-list role. Pheobe in Gentleman’s Guide. (MST’s A Gentleman’s Guide to Love and Murder, April 2019.) It was a dream to play that role. I had seen the show on Broadway and on the national tour several times. Loved it. Love the music, love how clever it is. I got to hit all the high notes, which of course makes my little soprano heart soar. It was at Milburn Stone, which is the theatre I grew up in. I grew up in Cecil County. The first show I ever saw was with Covered Bridge Theatre, which was the precursor to Milburn Stone. I grew up in Covered Bridge Theatre from the age of five.

It was kind of weird, because I had been away for so long, and then I came back and they were like “oh you’re a first timer,” and I had to inform them, “Oh no. I was here long before any of you were here. I grew up here. I remember standing in that theatre space before they had the seats installed. When I was growing up, the theatre was in another location. But I remember it!

That’s wild. Now, do you have bucket-list roles that remain?

Kelly: Oh absolutely! I would love to play Lilli Vanessi in Kiss Me, Kate. That has been a long-time dream role of mine. I love the show. I have done the show— in Delaware. I was just in the ensemble but I would love to play Lilli Vanessi, she’s such a fun character and has excellent music. Aldonza in Man of La Mancha is on the list. But I’ve kind of hit that point where I’m too old for the ingenue roles but too young for the matronly roles. When you’re in your 40’s there’s kind of a void for sopranos. The roles that are available for women of my age tend to be the belters. There are still some roles out there that I’m starting to age into, but I’m also grateful that I don’t look my age. Which means I can maybe stretch out a couple more years in those ingenue roles.

Absolutely and you do not look your age. I’m surprised that Reno Sweeney isn’t on your bucket-list.

Kelly: No, not really. Although I would love to do a good tap show. I grew up tapping, I love it, and nobody really does tap-shows anymore.

What about non-musicals? Do you have a bucket-list for roles in any of the non-musical plays?

Kelly: I don’t really have a bucket-list for non-musicals. I do love The Importance of Being Earnest. I would love to do a good period drama. I think it would be super fun to do The Women. I’m really open to anything that’s a good challenge. Steel Magnolias would be another good, fun show to do and I do have a pretty decent southern accent from my years in South Carolina.

I feel like you would be seated right in that M’Lynn bracket where you are now.

Kelly: I think so. Although I would enjoy playing Truvy.

And you can get away with playing Truvy because she can slide a little younger or a little older depending on the cast around her.

Kelly: One that is on my bucket-list but I don’t want to play for another 20 years, and I can’t really play the role I want for probably another 20 years is Arsenic & Old Lace. I really, really want to do one of the aunts. Easily 20 years before that one comes along.

Why is theatre so important to you? What makes it such an important part of your life?

Kelly: You know, it’s been part of the fabric of my life for as long as I can really remember. I come from performing stock, with my mother being a musician and my brother being a musician. It allows you the freedom to explore parts of yourself that you might not be comfortable exploring without the impetus of theatre. And believe it or not, I use a lot of theatre in my work, which sounds very strange. I do marketing for an engineering firm, but I have to coach engineers that are interviewing for jobs and I use a lot of my theatre exercises and it really comes in handy. They all laugh when I bring up theatre, but the tools actually work. It has a lot of practical applications in my life as well. It’s a fun outlet to explore other characters that you wouldn’t necessarily connect with and find out new things about yourself. It also pushes your limits. “I am not comfortable being all wild and crazy in my real life but then I can get on stage and I’m not me anymore so I can do anything.” It’s a good release, it’s a good outlet.

Do you have a favorite musical that maybe doesn’t have anything in it for you or you can’t see yourself in but you still love it regardless of whether or not you could or have been in it?

Kelly: I am madly in love with Come From Away. I don’t know that there’s anything specific in it for me. But I love that show. I think it’s phenomenal and I cannot wait for it to come to community theatre. It is such a meaningful piece of theatre. I would also desperately love someone to do City of Angels. I love City of Angels. I’ve loved it since it came out. And it just doesn’t get done. It’s a hard show to cast. I’ve been really trying to nudge MTC (Maryland Theatre Collective) for even just the concert slot. I’ve dropped hints several times.

You’re going to have to start acting like Ralphie Parker from A Christmas Story and start sneaking flyers advertising City of Angels into their daily mail!

Kelly: Maybe I’ll try that! But again, I don’t know that there’s really a part for me in that show, but the music is so spectacular, I would happily sing in the background, just to be a part of it!

Do you have any other projects upcoming on your roster or is this it for now?

Kelly: This is it for now. In part because a lot of companies haven’t yet announced what they’re doing in the fall. Or what they’ve announced is not suitable for me. I spent a lot of years auditioning for things that I know I could have done but was not the best choice for. And now I try and reduce my stress level in preparing auditions and really just try and go for the things I know I can do. I have a lot more travel coming up soon as well.

Ooh. Tell us where you’re going!

Kelly: Shortly after this show closes, we’re going to Punta Cana as a family for my sister-in-law’s birthday. Then I am going to Salt Lake City, UT for work this summer. A friend is coming out with me and we’re going to hike the national parks in Utah. Then I have a wedding to go to in October which will be up in New England. Then I will go straight from that to Kansas City to visit my grandmother. And I just went to Iceland back in February. This is my big travel year. And now I have to start thinking about what I’m going to do next year.

Any particular reason people should come on out and see Murder On The Orient Express here at Just Off Broadway, other than it might be the only chance to catch you live on a stage this 2024 year?

Kelly: They should absolutely come and see this little engine that could. This cast truly is bringing every ounce of energy and creativity that they have. It would be a shame to miss out on all the fun. Honestly, the source material is so spectacular, it’s 100 years old at this point. And it still stands the test of time as one of the greatest mysteries ever written. And this adaptation, although it has changed some things, it hasn’t changed anything fundamental about the story. It’s a lovely blend of Agatha Christie’s most famous work with bits of the humor of Ken Ludwig, who wrote the script. It’s a great, great show.

Is there anything else that you’d like to say about being a person in the theatre community in this area, how and why theatre is important to you?

Kelly: I would just say that anyone who is thinking about doing theatre? Take a chance. A girl that I was in Ragtime with, I ran into her at Falsettos the other night and we sat together. Ragtime was really her first venture into the theatre community, and she had been scared to audition because she hadn’t done it before. She just wanted to do choral ensemble. But she enjoyed it so much that now she’s talking about putting herself out there and auditioning to actually be an active part in a show. She’s very nervous but she’s going to do it. I would say to anyone who is thinking about it, just take the chance. It’s a very warm, caring community and you discover things about yourself. Like what you’re capable of.

Thank you, Kelly! This has been so lovely to chat with you and for you to be the second person ever in the “Local Limelight” series, an on-going series featuring local performers from all over the Baltimore and surrounding theatre community.

Murder On The Orient Express plays April 26^th 2024 through May 5^th 2024 with Just Off Broadway at Epiphany Lutheran Church— 4301 Raspe Avenue in Baltimore, MD. Tickets can be purchased at the door or in advance online.

To read our first Local Limelight feature, Paul Ballard, click here.