It's been a busy season for Tony nominee Daniel Breaker, who was seen on Broadway this past fall as the Jester in the limited engagement of the Sutton Foster-led revival of Once Upon a Mattress.
Breaker is now playing the narrator Hermes鈥攖he role created by Tony winner Andr茅 De Shields鈥攊n the Tony-winning Best Musical Hadestown on Broadway. Singer-songwriter Ana茂s Mitchell鈥檚 folk- and jazz-infused musical, which layers the myth of Orpheus and Eurydice with that of Hades and Persephone, also currently features Phillip Boykin as Hades, KC Dela Cruz as Eurydice, Merle Dandridge as Persephone, and Carlos Valdes as Orpheus.
Breaker received a 2008 Tony nomination for Best Performance by a Featured Actor in a Musical for his work as Youth鈥攁 young, Black musician on a quest to find himself鈥攊n Stew and Heidi Rodewald's Tony-nominated musical Passing Strange. His Broadway credits also include Hamilton, The Book of Mormon, The Performers, Shrek the Musical, Cymbeline, and Well, while his Off-Broadway work include Loves Labour鈥檚 Lost; By the Way, Meet Vera Stark; Fabulation; and Pericles.
On screen Breaker has been seen in Sisters, Limitless, Red Hook Summer, Passing Strange, Billions, Girls5eva, The Good Fight, Unbreakable Kimmy Schmidt, and Mozart in the Jungle.
In the interview below for the 半岛体育 series How Did I Get Here鈥攕potlighting not only actors, but directors, designers, musicians, and others who work on and off the stage to create the magic that is live theatre鈥擝reaker reveals how replacements can reinvigorate long-running shows and the actor who saved him during a difficult time.
Where did you train/study?
Daniel Breaker: The Juilliard School.
Was there a teacher who was particularly impactful/helpful? What made
this instructor stand out?
I鈥檝e been fortunate to have had many great
teachers in my life. They encouraged me to push myself beyond my
perceived abilities. I have to give a shout out to the folks at Douglas
Anderson School of the Arts in Jacksonville (Michael Higgins, Simone
Aden-Reid, Jan Wickstrom, and Dr. Lee Beger). Attending that school was a
game changer, sparking me to audition for Juilliard, which changed my
life entirely.
What are the challenges/rewards of stepping into a Broadway musical
that is already running?
It can be a challenge to match the overall tone
and energy of a long-running show, especially when you have limited
rehearsals on the stage. The rewards are boundless though. A new actor
stepping into a role adds a natural reset and refresh to a production. I
played Aaron Burr over 1,000 performances, and each time a new Hamilton
stepped in, a new dynamic was born, charging my character鈥檚 narrative.
Do you have a favorite moment in the show for Hermes? What makes that
particular part special?
New favorite moments keep arising. Hadestown is
a multilayered tapestry. Lately, I鈥檝e been loving Hermes鈥� relation to
the Fates. The Fates bring a sense that one鈥檚 decisions in life are
inevitable. My Hermes challenges that idea, believing people can change,
that there is hope for the forgotten. Also, Ana茂s is a hell of a
writer.
Excluding your current role, when you look back on your Broadway
career, is there a production that was the most memorable for you?
Passing Strange. Full stop.
Do
you have a dream stage role or stage acting partner?
Any of the big
Shakespeares. Hamlet, Iago, Prospero, Lear, etc. I would鈥檝e loved to
have worked opposite Andre Braugher, but sadly he left us all too soon.
Kara Young is fire; I鈥檇 gladly do a two-hander with her, like [Athol] Fugard鈥檚
Boesman and Lena. Or if Branden Jacobs-Jenkins wants to write something
for us (hint hint).
Tell
me about a time you almost gave up but didn鈥檛.
I have endless pride
for my three-plus years working on Passing Strange. But I was also dealing with
deep depression at the time. As the musical developed, I knew this was
potentially going to be my big break. That potential intimidated me
greatly. I wanted to run away, scared of being rejected by a cynical and
judgmental New York arts community. When Passing Strange was downtown
at the Public Theater, I was on the verge of burning out. The schedule
was intense, the pay was disrespectful. I鈥檇 stay up til 6 AM, wandering
the streets. Thankfully for me, my dressing roommate was Colman Domingo.
His support pulled me out of the mire. And I鈥檓 honored to mark him as
one of my closest friends.
What
is the most memorable day job you ever had?
The summer I worked for
the census in Jacksonville in 1999. I spoke to hundreds of people, from inner city to the swampy outskirts of town. I witnessed joy, poverty, paranoia, racism. An extraordinary experience that enriched me with understanding and empathy.
Is
there a person or people you most respect in your field and why?
I met
Brian d'Arcy James on Shrek the Musical. Not only is he a deeply
skilled performer, he鈥檚 also a profoundly kind man. Gavin Creel taught me how to lead with grace and enthusiasm, both on stage and backstage. George C. Wolfe is the last of the great directors, pulling bold, nuanced performances out of actors in stage and film. And my friend Eisa Davis is the epitome of an artist, bringing style, intelligence, and form to everything she touches.
What advice would you give your younger self or anyone starting out?
What people think of you is none of your business. Be bold with your creative self. Take artistic risks, set the trend of what art should be. Art is
built by the artists, not the reviewers.
Hailey Kilgore and company of Hadestown
Hailey Kilgore, Daniel Breaker, and Carlos Valdes in Hadestown
Carlos Valdes in Hadestown
Carlos Valdes, Hailey Kilgore, and company of Hadestown
Merle Dandridge and company of Hadestown
Merle Dandridge in Hadestown
Daniel Breaker in Hadestown
Daniel Breaker in Hadestown
Tom Hewitt in Hadestown
Carlos Valdes and company of Hadestown
Carlos Valdes and company of Hadestown
Tom Hewitt and company of Hadestown
Merle Dandridge in Hadestown
Hailey Kilgore and Carlos Valdes in Hadestown
Tom Hewitt and Merle Dandridge in Hadestown
Merle Dandridge and Tom Hewitt in Hadestown
