Patrick Oliver Jones:

Well, welcome, Stephanie. It is so great to have you on Spotlight and to get to talk about Epic today. Thank you so much for joining me!

Stephanie Torns:

Thanks for having me.

POJ:

Now you have been a part of Broadway on on both Waitress and Wicked. You've toured both of those shows as well. And in each one, you understudied the lead character. And I'm, I'm curious about those first performances when you took the stage as both Jenna and Waitress and Elphaba in Wicked. What what were you feeling? What was it like going through both of those instances?

ST:

Yeah. My very first time on as Elphaba, because that was my first, union, job, was on the tour, and we were in Appleton, Wisconsin. And to be honest, I don't remember it. I left my body. I was just you know, I think when it was over, I was like, I can't believe that just happened. Did that really just happen? And then when I got moved to the Broadway company and had my Elphaba debut, I remember being, like, talking myself into, like, being present. Right? I was, like, you have done this role so many times on tour at this point. It's the same show, just a different stage, You know? And, like, tour, we go to different stages every month.

ST:

So I was like, this is just like being on tour again. And I just wanted to enjoy it, and I did, which was really cool. And I remember just being able to have fun, which which is such a rarity as a cover, you know, sometimes. And so it was so nice to be able to do it in New York, and that's where I'm from. So my whole family and everyone was there. So having that moment and being able to enjoy it and remember it was really awesome. And then for waitress, I had to do Jenna when I never had to put in, never touched a prop. Yeah.

ST:

And and we used to call waitress props on props the musical. And so the fact that I never touched anything, I was like, okay. Well, here we go. They didn't have a wig ready yet, so I had to wear my own hair. So it was, it was something. And I remember just just happy that I got through. Once again, the first show is always kind of like you leave your body and just make sure you're not gonna mess up someone else's show. Right.

ST:

And also make the audience happy. So that it's not Jesse Mueller. You know? And so that happened, and then I was on it was a 2 show day, so then I got to do it again that night, which was really nice because that never happens. And so I got to, like, actually experience being on stage, I guess, at that one. But, yeah, I guess both were just, I mean, dream roles for sure, and really cool experiences and a lot I learned from each of them about, stamina, myself, and what it's like to step into such a both are female roles that do not leave the stage. Like, they are it is a rarity that they are in the wings or off stage, and that is clearly what I just love doing. I don't know. One one day, I'm gonna get a track and I'll be like, what what is this? Where I get to just have a moment in my dressing room? Wow.

ST:

Yeah. It will it'll be a proven success track one day.

POJ:

Yeah. And those are always really enjoyable whenever you get, you know, a little backstage time. I one of my favorite things, and and it's probably my own laziness as a performer, but I love not starting a show. You know, everyone's running around. They start the show. Yeah. And he's like, well, I got 20 minutes, so I'll I'll see you guys later. You know? Yeah.

POJ:

Like like

ST:

Have a great first act. Like, yeah. Yeah. What's that like? That would be nice one day.

POJ:

And especially I mean I mean, obviously, Jenna and Waitress did very well on Broadway, and Jess and Mueller is is wonderful. And and then the the cast of stars that were cast in that role when she left. But but Elphaba is a special kind of beast of a role. I mean, it's it's vocally and physically demanding. Mhmm. Mhmm.

ST:

Yeah. It's it's I'm really happy and very lucky that I got to experience that in my early twenties. You know, when my vocal cords and my body are are able to just do those things a lot easier than they do now. Right? And, it but it really was, I mean, it is it is vocally, one of the most demanding things I've ever and will probably ever do in my career. Like, that is something that is just I mean, it's your only job, you know, and to have to take care of yourself like that. And, you know, it's a joke, like, with my my boyfriend now, you know, he's in the business. He gets it, but he's just like, would you ever go back? And I'm like, do you like me as a social person with you or no? Because that is a whole lifestyle change. That is a whole lifestyle change, and it is, to do the job and to do the job well, you have to kinda live this, like, hermit crab life, you know, and that is, like, all you do is eat, sleep, and breathe Elphaba because it's just physically I mean, it's so demanding on so many levels.

ST:

And that's why, like I said, early twenties, I was able to hang and go out and then do it. You know? Not anymore. Right. Right.

POJ:

Yeah. Yeah. Yeah. I've I've heard the same from Ben Platt when he talks about doing Dear Evan Hansen. It's just like Yeah. You have to kind of just not do anything else.

ST:

Yep. Yep. Like, you know when you just sign up for it, this is for, let's say, 9 months, whatever that is, whatever the contract is. 9 months, that is what your whole life is. You know? And every day waking up being like, how am I feeling today vocally? Can I do the entirety of the show? Right? And giving yourself enough time, especially before a matinee, to know if you have that, the ability. You know? I think a lot of people who aren't in the business don't really understand how demanding schedules are in general for Broadway come shows. And 8 shows a week with one day off. Every time someone hears that, they're like, what? And then on top of it with rehearsals and holiday schedules and all of that.

ST:

You know? So it's it's, it's a full commitment. It's a full commitment, and those roles are very demanding. And if you wanna do them well, which I would assume you do, it's it's a it's a, you know, putting on life on hold for just, like, whatever that contract is for a little bit.

POJ:

Well, Elba is certainly a character who who is different, and much of Wicked centers around how she is different and how other perceives those differences. And and in much the same way, Epic is a theater company rooted in exploring, expanding opportunities for those who are perceived different. What how did you first learn about epic players?

ST:

Sure. So one of my, closest girlfriends, her name is Jamie Hayes, and she is one of the ASL interpreters for a lot of EPIC and, does their accessibility stuff. And she kept telling me about them and saying that they do these cabarets and that sometimes they bring in Broadway guests to sing with the players. And she felt like I would be such a great fit, and I was always always interested. Every time she told me about it, I was like, yes. Absolutely. But it never lined up with scheduling. And then finally, one of the cabarets, I was around and able to, and I was so excited to do it.

ST:

And I just fell madly in love. I fell so much in love with the players, with what they with the company, with what it represents, what it gives opportunities to. And I remember doing that cabaret and then instantly contacting Aubrey who is the, you know, founder. And I was like, how can I be involved? And I remember being like, that's so nice. What? And I was like, yeah. I'm obsessed. I'm obsessed. So, like, how can I how can I help in any way? How can I be involved? I I am just so invested, and I am now just on the board, which was something Aubrey brought to me, you know, years in now, to be part of the board.

ST:

And I'm just honored, and I love absolutely love working with Epic and getting to know the players, and it keeps growing and expanding, which is so incredible. So we have our first, what it's called, musical master class next week, which is I help, do that. And there's, like, I think 20 new players that are in the in this new class, and I'm like, great. Can we? Every time. New people all the time. So

POJ:

And And what exactly will you be teaching in these master classes?

ST:

Yeah. So what I do, I run a musical master class, which is I bring in a Broadway, actor friend, and we introduce them at the top, and it's on Zoom. And they get to see a video of, you know, the performer that they the performer sends in so that we can play for them. We read the bio. They get to have a q and a with that person. And then the players we have a theme for each musical masterclass. And so the players have to sing 16 bars from that theme, and then they get, feedback and with from me and the the Broadway guests that I bring in. And so that happens once a month for a musical master class.

POJ:

Is this to help with just, obviously, their own singing and performing ability, but is it geared more toward auditions or performance?

ST:

Yeah. Both. A little bit of both. You know? I think it's to help them, with self tapes, right, which is such a thing and knowing, like, camera focuses, all of self I mean, even when we, we when self tapes got bigger during the pandemic, I had to learn how to do them, like, well. Right? Like, I didn't know. And so it's about auditioning. It's about also teaching them cuts of songs that work. Right? So they bring in something.

ST:

And sometimes it's it's on us to let them know that, hey. So when you find a song you love, and if you only have 16 bars, you have to find the meat of it. Right? The juicy part where it's it's gonna showcase you quickly and to the best of your ability. Right? And so learning tips like that, and then and then moving that towards when they do get to be on stage. And we have a cabaret coming up in October at Joe's Pub and and trying to, bring what they learn in these classes to on stage performances. Right? And just learning how to act through song, which, you know, is such a specific thing.

POJ:

For sure. For sure. And you also teach musical theater at AMDA here in Yeah. New York City. Now are there differences between what you teach and and how you teach in both places?

ST:

Yes and no. I think the, with Epic, you know, it's it's a everyone has different needs and and accessibility. So learning each person individually and what, they how they receive feedback or, you know, how they need it, expressed to them or that is something that I have to navigate a little bit more, but not really because, you know, neurotypical is is or however you, you know, see yourself. I mean, at AMDA, it's the same thing I teach freshman musical theater, and some of them are coming straight from high school, you know, or some have never done this and this is, like, what they've decided to do. Right? Or some are coming from a different college. So there's different levels coming in and also different energies, different people, different ways of learning. Everyone learns differently. And so I think even with teaching at Amba, it's it's getting to know the person as an individual as quickly as possible and how I can help guide them in a way that they will understand what I'm trying to teach.

ST:

So there is very there's differences, but then there's also very much similarities.

POJ:

And what do you see through your teaching at both AMDA and also EPIC? What do you see as some of the typical roadblocks that that we as performers put in our way of performing a piece or singing a song or just auditioning in general?

ST:

You know, what I love about Epic players and, the community and the players themselves is that there is no guessing. There's no filter. Right? And I think what I learned from them is I am somebody who very much has to feel like I have to put on a face. Right? Or, like, say, I'm I'm nervous. I I don't tell anyone, but I'm just, like, trying to get through it. Right? There's no guessing with with them. Right? It's like they're like, I'm nervous. And I'm like, great.

ST:

Thank you for letting me know. Or, like, I didn't look at this. I'm not ready. Great. Thank you for letting me know. Right? All things that, as a former, I have a hard time doing. Right? Like, admitting those things or expressing myself and finding that how they express so honestly is just so beautiful. And then I think what I also really fell in love with when I first, experienced Epic was the cabaret.

ST:

And the joy the joy they have on stage that as a performer who has been in this business for a long time, looks, yes. I love what I do clearly because that's why I'm still doing it. But it's a business. Right? We get very much into our business brain, into, like, our hustle brain and our little bit of jadedness, like, you know, we've been doing this a long time kind of brain. But with watching the the players have so much joy just reminds me of why I chose to do this. Mhmm. And that is, like, one of the most beautiful things to watch is to watch people just beam from the inside doing something and and watching them feel really proud about what they're doing. And I think a lot of that time, we lose that as as as I I shouldn't say we.

ST:

I lose that when I get on stage and I feel like I'm exhausted or I hope that people won't hate my my voice is tired, and I hope that the they're not gonna, like, hate this. Right? None of that happens. Like, it's just pure joy of performing. And I'm like, that's what it should be about. Because as an audience member, I'm I'm on board. Like, I'm not I'm fully moved, like, in every capacity. So, I learn constantly from them.

POJ:

Yeah. That sense of freedom, that sense of of no filters, as you say. Yeah. That I mean, that's that's what we I think that's what we all strive for in performances, especially when we're on stage of giving that vulnerable, honest performance of of authentically coming from us, not not just putting on a character, but really becoming the person. Yeah. And and and that that can be so difficult when we when we hear those voices in our head saying, your voice isn't really there. Oh, oh, oh, oh, I think you missed a line or oh, oh, you know, all the little things that can happen in the show can really stand in the way of our performance.

ST:

Yeah. Which doesn't say that they don't have those moments because they do, you know, but they're much more vocal and honest about it. Right? Instead of, like, I, like, fully just, like, deep with myself. Yeah. And so just, like, they if if if there's if there's an a mess up, they they they they say it, and then move on. Right? And I'm like, it's so it's just it's so beautiful to watch.

POJ:

And you say that you joined the the epic board of directors directors the earlier this year. What what exactly are your duties within the board? A lot of it is connections through,

ST:

the Broadway community. You know? So many people I've gotten to introduce to this organization that did not know it existed and then want to continue on helping doing things. Like, same thing that happened to me. Right? Like, I got brought in and then was like, what can I do? I'm obsessed. Right? And so the amount of times that I've had friends, coworkers, colleagues come and do a a cabaret and sing with them or master class and or come see their productions, their, stage productions, their musical stage production in the in the spring. And text me being like, how can I be involved more? Or thank you for introducing this company to me. I'm just so blown away. So that's been part of what I do and connections in the industry, whether that's even, you know, casting directors, inviting them to things, agents, inviting them to things, introducing just the private community to them.

ST:

That's kind of been my heavy lifting.

POJ:

Yeah. And with with the work that you've done both as a as a teacher, but also now on the board of directors, what is it about Epic that to you makes it makes it stand out, makes it so special that brings these people in, that these people want to just help and be a part of it so much?

ST:

I think because, 1, giving the neurodivergent community a space to do something that may not be offered, as as frequently as it should be. Right? And seeing that they also what I love about Epic is that no one gets babied. Right? No one's being treated differently because they're they they're neuro, you know, divergent. It's it's about teaching them what it is like because they want to. This is these are these are individuals who want to do this, like, who want to go in the real world, right, to do this craft. And so they've crafted this wonderful organization that does so many classes and teaches and teaches them the real the realness of it. Right? Where it's not like sugarcoating anything. It's not Also, I I just did an interview recently about this, and it what I love too is that they're all allowed to be themselves and not trying to, like, fix change anything about them individually.

ST:

Right? It's about learning what that individual is really good at and and and strengthening those things. They can take the extra classes of, like, whatever interests them. Right? So whether that's they have, you know, writing classes or whether it's, they do a stand up comedy where they write their own stuff. Right? Like, all of these extra things, but finding what is your purpose in this in this in this, business. Right? And what what what sparks that joy. And so I think that's really cool is that it's a space where they are allowed to be fully and authentically themselves, and no one is trying to change that or tell them they can't do this because otherwise you can't do that. Right? It's about teaching them this is how it is, but how how do we find what you do really well and and and strengthen those things so that way when you do audition, you're doing you are just knocking it out of the park. Right?

POJ:

Yeah. And it seems like because I in speaking with Aubrey earlier, it seems like that there's 2 tracks. There's the the track of the, the typical neurotypical world of learning and adjusting, but also recognizing that these are performers just like anyone else. So there's a bit of that. There's on that side of it. But then there's also the side of having these performers and gearing them up for what it's like to audition in these other spaces and what it's like to perform on these other stages. And it seems like that you're a part of helping, both of those tracks come together.

ST:

Yeah. Yeah. And, I think it's also a community that, like, if you're not heavily involved in or I think people don't really understand it sometimes, and which I think is really awesome when I get to introduce people into this. They're just like they're learning as well. Right? Where where what makes each of them, in quotes, different is what also makes them the coolest and and beautiful and and awesome. Right? Sometimes I'm like, man, I wish I lived that authentically. Right? Like, I wish I was that way. And my you know? And so it's it's been really cool to see how, you know, watching the opportunities grow for all of them, but also the opportunity when they do get to work with someone who is in the business and and have great questions, you know, and and trying to understand the business because that's a whole another thing, right, which a lot of times we're not even taught, right, until we're in it.

ST:

And I'm like, what? So, giving those opportunities just creates more space.

POJ:

I totally agree. And as far as working with Epic, what do you hope that your your teachings, your being with them, how do you hope that you can help them and further their mission as the years go on?

ST:

I hope that I think more and more that just that the community as a whole gets valued more and that their talent is brought to so many more people's attention. I mean, I'm I'm when they do their full stage musicals, I mean, I'm just totally blown away. The first one I got to see was not this the last one, the following year they did Into the Woods, the entirety, which is 3 hours long, song time, which I don't even know. It would take me a very long time to be like, is this where I come in? I can't hear it. Right? Because it's like, you could tap tap tap tap tap

POJ:

tap tap tap tap tap tap tap tap tap tap

ST:

tap tap tap. I'm like, oh gosh. It was no one missed a beat. It was it was remarkable. It was remarkable. And I was just blown away because I've already seen so many of them do wonderful work already, but to watch them in a full stage production, like, just blew my mind. And I just want I want Epic to to have more of a following in the community. And I think, you know, though I have connections and, you know, friends who then I will reach out to and be like, hey.

ST:

So could you now that you've worked with me with this company, you know, the type of also human that I'm looking forward to bringing. Right? Like, I'm like, can you, give me any friends that you think might be a great fit? And then I do. Right? And then I need new people in the community, which is kinda cool. But I hope that someday it just becomes so big that, like, the heavy hitters wanted to come do things. Right? Like and I think they would. I think it's just that it's not something that people are aware of. Right? Or what it actually is. Right? Instead of feels you know, it's not like this, like, I don't know, tiny little thing that they're just like, we put on a play.

ST:

Right? No. There's so much work constantly going on. Like, constant classes, constant work that it doesn't stop. It doesn't stop. It's not like 2 month program, like a little camp or something. You know? Like, it's so involved and the entire everyone who is involved with this company on the regular is so fully committed to this company, which is just, like, so beautiful to see too. Like, no one is in it just to be like, I'm on the board of you know? It's like every person on that board is just so invested. Every person that is an advocate or a, you know, for a player is is so invested.

ST:

Right? It's not just to, like, boost their resume. You know? And I think the players are invested. And, you know, when they audition for things and they don't get in it to see that that and dealing with that and teaching, like, yeah. That happens. I'm like, look. I I would say 96% of my auditions, I don't get. Right? And so it's part of the learning process and really showing them what it's like to wanna do this and to and giving them that opportunity to experience it, you know, and deal with their feelings and emotions and express them and and be sad and angry. And, you know, but at the same time, they're also just so excited still for the person who got it, which is, like, also really beautiful to watch.

ST:

Right? So I think that is my my my hope and dream for is that it just becomes such a well known thing that becomes such a respected organization that people really know about and understand it.

POJ:

Yeah. Yeah. It really comes down to understanding that, that that that those who who may be different from us, those who are following a different path, whatever it may be, that they can be a part of this huge theater community that we have here in New York and elsewhere.

ST:

Right. And it's funny. And it's interesting too is that, like, I think because there is a lack of understanding, so many times people are like, oh, like, how was the kids? And I'm like, they're not kids. They're not kids. Like, they are grown adults wanting to do this. Right? And just I think people just have no idea, and they identify it as, like, some, like, cute camp program. Right? And and and I'm like, come. Come visit.

ST:

Come see things. Yeah. Yeah.

POJ:

Well, this has been a joy to talk to you. Thank you so much for talking about EPIC and the work that you do. It's really appreciated.

ST:

Yeah. Thank you. I love that you wanted to talk about it. I always do, so it's exciting.