Spotlight On: Ana Calos

 

 

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

 

 

 

Introduce yourself to our audience.

Hi, my name is Ana Calos and I am in the ensemble of “Jesus Christ Superstar”. I am 18 years old and I have been doing theater since 2019. This is my first show with CTC, and when I’m not at rehearsal, you can usually find me babysitting or struggling to teach myself the guitar. I plan on attending Tunxis Community College for Nursing.

 

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?

I tend to “warm up” by singing in the car on my way to rehearsal, typically starting with quieter, less intense songs, and then working my way up to crazy-belty songs that I just let rip. By the time I complete the 30-ish minute drive, I feel like I am ready to sing the score.

 

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?

One way I feel the emotion throughout is by thinking about the story that we’re telling. Thinking about how the story progresses and how it eventually ends really makes you think about the feelings you have. I let myself feel the emotions throughout the show, and you can actually often find me crying backstage during particularly sad scenes of any show I participate in.

 

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?

This show still feels relevant to perform in front of an audience over 50 years later because it makes you think about how the world works and how people interact with each other and with their idols today. In addition, religion and Christianity is still insanely popular and prevalent to this day, and this show is one way to share the story of Christ in an easily digestible way for all audiences.

 

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?

There has been controversy regarding this show, but over time, i feel that it has shifted and faded. First, people were mad that Judas was being sympathized, and Jesus was humanized; a man with emotions and doubts. And more recently with the Hollywood Bowl production last summer starring Cynthia Erivo, Adam Lambert, Phillipa Soo, and Raul Esparza, there was controversy surrounding casting Cynthia Erivo, a black woman, as Jesus. I feel as if that controversy has since faded once people heard Cynthia’s rendition of “Gethsemane” and realized the role isn’t all about appearance and it’s more based on the performance the actor can bring.

 

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?

The rehearsal environment runs on higher energy, but we all get tired. Coming at the end of the day, there is already exhaustion from the day, and then we all crush all of our dances, especially the apostles. We, as a cast, hype each other up, bring treats for each other, and just try to bring the group energy up in any way we can, so we can truly enjoy ourselves.

 

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

It is a bit of a challenge when the rehearsal process gets started, but once you get into the flow of things, it just becomes a part of your personal routine. Rehearsal, in my mind, when I think of my schedule almost feels like a second job, in the way that it happens same days same time every week. (Not that I think rehearsal is boring like a job, rehearsal is my favorite part of the day!)

 

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

We all spend a lot of time together, so we get to know each other over time and just bond over being in the same space and being involved in the same deep, and intimate process of bringing a show, especially one like this, to life.

 

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?