Spotlight On: William Moro

 

 

Connecticut Theatre Company’s “Spotlight On…” series continues with a look into the cast of Jesus Christ Superstar. Get to know William Moro who is portraying Annas in our production!

 

 

 

Introduce yourself to our audience.

Hello! My name is William Moro (but everyone knows me as “Billy”) and I am playing in “Jesus Christ Superstar” as ANNAS.

 

The score for Jesus Christ Superstar is notoriously taxing. What are your specific vocal warm-up routines or rest-day rituals to maintain your voice?

Normally, I don’t do too many traditional vocal warm-ups aside from pre-rehearsal/show warmups. Most of the time, my warm-ups consist of singing various songs within my range while driving to and from work while being mindful of not pushing myself too hard to strain my voice.

 

This show is largely a non-stop, sung-through rock rollercoaster. How do you maintain the dramatic arc and emotional stamina from the overture to the curtain call?

The music is what really brings it together. It’s fun with its moments of changing time signatures, the fun harmonies with the cast, and the passion the group has to put this show on the stage.

 

The musical has been thrilling audiences for over 50 years. What do you think makes this sung-through rock opera still feel contemporary and relevant to modern audiences?

Aside from the catchy numbers throughout the show, its material on religion feels universal to perform at any time. The show provides a unique perspective on a specific part of Jesus’s life, especially through the eyes of Judas.

 

Historically, this show has faced protests and intense debate regarding its content. Does that legacy of controversy cross the cast’s mind today, or has the cultural perception completely shifted?

I would think it has shifted over time. It was written at a special time during the 70s, and you would still have highly religious groups still having issues with its handling of Jesus. That being said, some notable people (including a Pope!) said it would bring in more people into Christianity.

 

From the opening overture to the final curtain, the show rarely stops for a breath. What is the rehearsal environment like trying to maintain that high-octane energy?

I would say continuously being involved with the dance choreography and singing rehearsals, taking breaks in between just to catch our breath.

 

How do you balance full-time jobs, school, or family commitments with an intense community theater rehearsal schedule?

I don’t live too far from the theater, so as long as my work doesn’t let me out late I have plenty of time for extra-curricular stuff before/after and around rehearsals.

 

Community theater casts often become incredibly tight-knit very quickly. How did this specific cast build its chemistry and trust during rehearsals?

We bonded pretty quickly, usually by familiar faces, either by going to the same theater or working on other projects outside of this one. By rehearsing together singing and dancing (set building also), we get to know each other more and connect with our common interests and passions.

 

When local theatergoers leave the venue and head to their cars, what is the main conversation or feeling you hope they take home with them?