Stephanie J. Block Biography
Stephanie Janette Block popularly known as Stephanie J. Block is an American actress and singer famous for her work inBroadway musicals. she is a Tony Award nominee who was nominated for best actress in Musical in 2013. Stephanie was born in Brea, California to her mother Rosemarie Bullock who was a local worker in the school district while her father Steven Bulock was a welfare fraud investigator.
Stephanie attended school at St. Angela Merici Parish school and also all-girls catholic private school. She later finished her high school years at the Orange County High school of Arts.
Stephanie J. Block Age
Stephanie was born on September 19, 1972, in California, USA. As of 2018, she is 46 years old.
Stephanie J. Block Height
She stands at a height of 1. 75 m tall.
Stephanie J. Block Marriage | Husband
She got married to actor Sebastian Arcelus on October 25, 2007. they met while starring in the first National Tour of wicked in 2006. They also play as a couple in the political series Madam secretary on CBS TV.
Stephanie J. Block Career
Stephanie’s career kicked off professional when she played Belle in the Disneyland production of the Beauty and the Beast in 1992. From there she made her Broadway debut in the 2003 original production of The Boy from Oz. She then completed playing the part of Elphaba in the first reading of wicked in 2000.
Stephanie was then made to play the leading role of the US touring production where she won the Helen Hayes awa5rd for Best actress in a Non-resident Production. From there she received Drama Desk nominations for the Off-Broadway from 2013.Stephanie J. Block Photo
Stephanie J. Block Cher
Stephanie J. Block Wicked
This information still under review.
Stephanie J. Block And Sebastian Arcelus Bab
Stephanie and her husband Sebastian have a child by the name Vivienne Helena Arcelus who was born in January 2015.
Stephanie J Block Anything Goes
Stephanie J Block 9 To 5
Stephanie J Block Net Worth
Her estimated net worth is still under review.
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Stephanie J Block Interview
An Interview with Stephanie J. Block
Many years ago, at some event or another, I ran into Stephanie J. Block in a bathroom. Or, more aptly: I was hiding from people I didn’t want to talk to in a bathroom and proceeded to ambush Stephanie J. Block, who seemed like someone I did want to talk to. She was very gracious about it. And she’s used to it. Stephanie is one of those actresses who people are excited to see on stage and off. She made her Broadway debut in The Boy From Oz playing Liza Minnelli; did the original readings and workshops of Wicked as Elphaba (and later played the role on tour and Broadway); starred in The Pirate Queen, 9 to 5, and Little Miss Sunshine (among others), and received a Tony nomination for Best Actress in a Musical for The Mystery of Edwin Drood. And now she’s back on Broadway as Trina in Falsettos, casting that the theatre world was, once again, excited by. Shortly before the start of previews, we talked with her in her dressing room (much better than a bathroom) at the Walter Kerr Theatre about her rehearsal process, parts for women in theatre, why there seems to be more interest in the off-stage lives of women, and much more.
Let’s start with the show and your process for the character. You got the script for Falsettos, and?
The script, meaning the score, because I think there are only about half a dozen or ten different lines that are spoken, the whole show is sung through. I was called by James Lapine about a year and a half ago with the idea that they really wanted to bring back Falsettos. I loved working with James and Bill [Finn] on Little Miss Sunshine. When this project was being bounced around and they were threatening to bring it back, threatening I say lovingly, of course, I was totally interested because of the role and because of the creative team. It sounds so silly, but when I was on the phone I was painting my nails, which I do to just veg out, and the little nail polish bag that I had was called Trina. I swear, it had a little label on it, on the outside of the bag that I had never seen before, and this is a bag I’ve had for at least ten years. There it was: Trina. And I thought, “I know this is ridiculous but this is a sign from the universe. The nail polish gods know I’m supposed to be a part of this.” Then Jordan Roth came on board, then all of a sudden we were postponed a little bit, and then Lincoln Center came on board. It’s been about a year and a half of me marinating in this idea of playing Trina. When I was first approached, it was February of 2015 and I had just given birth the month before, so I wasn’t quite sure if my spirit, my physical person, my mental person, would be ready to jump back into work, but now it being 2016 it timed up perfectly. I think that has greatly helped my process with Trina. I’ve played mothers in the past, but I can tell you that having a little person of your own, you hear every line differently. I’ve heard the score for 20 years, and things that used to perk my ear, now it’s something different that makes my eyes well up and my chin quiver, and it’s because I have a child of my own.
What was the rehearsal process like?
The process had been awesome with this because it is a revival, and it’s such a well-known piece, we jumped in headfirst. Within a day and a half we were singing through all of Act One, within three days we were singing through Act Two, and at the end of the week we were stumbling through the entire show off book. It was scary. We made huge fools out of ourselves. Also, the beauty of Act One only having five actors, and Act Two having seven actors, is it gives that sort of trust and allowance to be playful and moronic and make huge mistakes. Everybody just was so loving, but in a kind of a big brother sense. We constantly tease each other, but it was through that process that we found who these characters are and [developed] this really awesome rapport. I love these guys. I love Christian [Borle] and Andrew [Rannells] and Brandon [Uranowitz] and Anthony [Rosenthal]. We spend most breaks together. Even on our days off we’ll text each other and say, “I miss you.” As corny as it sounds, I think it’s really helping us, to use a phrase from the show, become a really tight-knit family.
Besides the nail polish and the sign from the universe, what was your way into the character? Do you look for ways that she’s similar to you?
She’s on the verge of a nervous breakdown for most of Act One. Any new mom can tell you that you get no sleep, you have tears that settle at the base of your throat 24 hours a day, so it’s very easy for me to connect with this character. Maybe not because my family is fracturing and my husband has left me for another man, but because all of my emotions. I’m very sensitive and it’s all very raw, and it’s all at my fingertips. When I embodied this woman, even though her circumstance may be different, that emotional fragility is very much a part of my life. When James offered me the role I said, “Hey, I’m going to be messier than I’ve been in the past, and I’m going to be a little more scattered and I’m going to be on the verge of tears.” He’s like, “Bring it, that’s exactly what we need.” And I said, “Well, have you told Christian and Andrew this? Because it’s going to change the way I work in the room,” and it has. I am a bundle of emotions, and I do think about Vivienne half of the day. Not that I’m not in my work when I’m in my work, but to be divided in such a way creates, to use a word I’ve used before, a bit of a fracture in a person. I’m a little fractured right now.
It helps with the neurotic Jewish aspect.
It really helps.
Do you like to come into rehearsal with a lot prepared?
I made a lot of big choices right away. I think James likes that about me. Now of course, half the times he says, “Oh, that’s great, okay, you can save that for your sitcom when you get one.” He’s very attuned to the way I play, and I try to give 150% right off the bat, and then you can start paring me down. That’s my process. If I come in tentative, I won’t find who this woman is until six weeks into running the show, and by then it’s a bit too late. You’ve had thousands upon thousands of people see the show, and it’s not fair to your fellow actors. It can be jarring, I think, for some who work with me to see that, “Oh my gosh, she’s already made choices.” They’re not the right choices. I’m not assuming they’re the right choices, but I have to go big, and then I pare and peel away and say, “That’s not right, that’s not right,” and find other things along the way. I can’t half-ass it or else it will take me too long to find her. Especially in this rehearsal process. With most musicals, when you’re starting them you’ve got about six weeks in the rehearsal studio and then you move into tech. We had three and a half weeks in the rehearsal studio. It was a shorter process, so I knew that a lot of homework had to be done before. I also knew, since this was my first time back as a mom, that when I got home I wasn’t going to be able to sit down for three hours with my script and really dissect and figure things out. I was going to have to make meals, get her in a bath and put her to bed. I made sure a lot of that work happened at least two, three months before we even walked into rehearsal.
I’d think coming in with big choices would be helpful in a short rehearsal process.
It is. Christian is just a genius. His choices have been different all along the way, and then he connects to something that’s right and then we move from there. Andrew kind of just walked in looking perfect, sounding perfect. I think the end of Act Two is a little more difficult for him because he’s such a vibrant and gorgeous and full of life man, that when half of his act is lying in a hospital bed, that’s where his challenge begins. We all took it differently, but we were all so respectful of what each other’s process was, and we fed off each other. I think that is attuned because when there’s five of you on stage, it’s going to start bleeding into one another.
Do you find that sometimes rehearsal rooms are more or less receptive to actresses coming in making big choices rather than actors coming in making big choices?
I have found that in this workspace, especially with my co-actors, they have been so on my side, so beautifully protective, if I can use that word. Not that I need protecting. But if I did break down into tears, they would either give me space or feel the energy to see if they needed to come to me to console. If ever somebody was a little feisty and I seemed to be the target of that prickly energy or whatever, they would really come to my aid. I never looked at it as, “I couldn’t take care of myself,” I really looked at it as a family. They saw what I needed at certain points of the day, and they were so aware and paying attention. They were there. I can’t say that that’s ever happened in the past. It’s kind of to each his own and fight for yourself. Now, James is collaborative in a sense that he trusts his actors, and I am very lucky and proud to say that because we have worked together in the past he does trust me, and I think he likes my big choices. He also—and this went across the board, it had nothing to do with female or male—constantly said, “Please play to this room.” If we were doing a run-through in the rehearsal room, not the Walter Kerr, he asked us to constantly adjust our performances for the space. But to say that perhaps my big choices were welcomed differently than the men’s, I don’t believe so. It may lend itself because this character is so not over the top, but she’s frenetic. She really is not a meek little thing that’s going to just be sitting in the corner making these small, nuanced things. I’d like to think that my bigger choices have nuance to them, but she’s not a minutia character.
Was being confident in your choices something that you had to learn?
Yeah. I think I’ve lost a lot of jobs because even in auditions I try to do that. I feel like if you’re just saying the lines without making bold choices they may think, “Oh, she was good,” but somehow you get lost. If you’re working in a room with whoever is behind the table and [they] see that you’ve made choices, and they’re willing to work with you and see that you’re malleable and direct-able, then to me, whether I get the job or not, those are some of the most fruitful and best auditions I’ve ever given. Tina Landau, I’ve never worked with her on a project but I’ve auditioned for her, and she stands out in my mind because she’s one of those directors that really is going to go with the best idea in the room. Whether it comes from the producer or herself or an actor or the actor’s mom that happened to be there one rehearsal and says, “Well, I wonder if she were to do…” She’s very open in that regard and it makes for such a beautiful, sort of artsy-fartsy workspace, but you culminate these ideas when there’s no ego involved and you’re just going for art, and you get the best product.
Adopted from Interval.com