Stephanie J. Block Biography
Stephanie Janette Block popularly known as Stephanie J. Block is an American actress and singer famous for her work in Broadway 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.
J. Block Age
Stephanie was born on September 19, 1972, in California, USA. As of 2018, she is 50 years old as of 2022.
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Stephanie J. Block Height
She stands at a height of 1. 75 m tall.
Stephanie J. Block Marriage
Block 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.
Janette Block Children
Stephanie and her husband Sebastian have a child by the name Vivienne Helena Arcelus who was born in January 2015.
Stephanie J Block Net Worth
Her estimated net worth is 5 Million dollars.
Stephanie J. Block Career
Janette’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.
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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.
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.
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.
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