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MIA PRICE
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Mia Price
Triple threat Broadway performer
Mia Price is a triple threat performer whose talents as an actor, singer and dancer have landed her roles in Broadway shows and International tours. Mia has appeared on Broadway in “Oklahoma” and “The Frogs” and has toured with the Tony Award winning musical “Thoroughly Modern Millie” , "Spamalot" and “7 Brides for 7 Brothers”. She can be seen in the made for TV, PBS production of “Crazy for You” and is a featured dancer in the blockbuster film version of “The Producers”. Along with Mia’s endless list of musical theatre credits she also appears on the “Great Stage” at Radio City Music Hall in NY where she has been a Radio City Rockette for 6 years. Mia took time from her busy touring schedule in Japan with the International Tour of “Chicago” to answer a few questions and give you some insight on the secrets to a successful performing career.
| Q: | At what age and why did you begin dancing? | | A: | I started going to summer dance school when I was 4, but I always cried. I officially stayed and enrolled in dance school when I was 7. |
| Q: | What do you consider your biggest success as a performer or your most rewarding theatre experience? | | A: | My biggest success has definitely been, being able to support myself solely from performing and dancing for the past 10 years. I have had so many rewarding experiences and they are all so different. From my first musical in the ensemble of "Damn Yankees" in my hometown (Uniontown) to my opening night on Broadway as Gertie in Oklahoma. (That was a definite milestone and accomplishment.) |
| Q: | Who is the person who has been the most influential in your career? | | A: | First and foremost, ME! Because showing up is 80%, always putting myself out there and going to auditions even with the chance of being rejected was the biggest step. Professionally, so far, Susan Stroman. |
| Q: | Was it easy for you to get work when you first started out in the business? | | A: | I began performing in Pittsburgh so I could get some experience and have something for my resume when I moved to NYC, so I was a bigger fish in a smaller pond. That helped me book jobs. And when I first started out, I waited tables during the day and taught dance classes to supplement my performing income. |
| Q: | How did you deal with any rejection you may have faced? | | A: | Sometimes I went out for lunch or shopping with other women who'd also been cut. That always helped me put this business into perspective. We'd make each other feel better after a particularly grueling audition. Sometimes I would cry if it was a show I really wanted. Usually the farther you get in an audition, the harder it is not to get the job! I remember I cried so hard when I didn't get the Chicago national tour because I thought I sang my (3rd) song so badly and now I am ON the Chicago National Tour!! |
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| Q: | Do you have any embarrassing audition stories? | | A: | Oh, I just hinted at one. I auditioned at an open call for Chicago’s first national tour and I was one of the last 12 women for the 6 available slots. 50/50 chance. I sang my 2 songs for them and they wanted to hear something else, so they dusted off "There Are Worse Things I Could Do" in my song book, which I hadn't sang in years. Well, as I like to say, there really weren't worse things I could have done besides sing that song!! I really cried over that, but it happens.... like I said, I am writing this interview from Japan where I am now doing The Chicago national tour, so I guess it all worked out. (By the way, I didn't sing that song for my audition this time around!!) |
| Q: | Do you approach all dance auditions in the same way? How do you prepare for an audition? | | A: | For the most part, I audition as a dancer for musicals, so I dress differently depending on the style of the show. I am convinced that approaching each audition as an ACTOR who dances has been the key to my success. Choreographers and directors really want believable characters that are versatile dancers as well. |
| Q: | Having worked on numerous projects with Susan Stroman, what would you say helped you to catch her eye early on? | | A: | Definitely making BIG choices. I always make big choices (as an actress) in auditions. Sometimes a director will take me in a different direction, but if they know I am not shy and I am willing to go to any lengths, they are happy to work with me. I can't remember the last job I got where most people in the room, including other dancers auditioning didn't LAUGH at me...that's how far I will go sometimes. But believe me, with 300 plus women auditioning for 6 jobs, you'd better be noticed somehow! |
| Q: | Once a dancer books a show do you think it is important that they continue training? | | A: | Without a doubt. One of the best jobs I have is being a Radio City Rockette. Radio City covers most of the cost for dance and voice lessons during the off season. I wish all producers offered the same because continued training is vital. Especially for a dancer doing repetitive movement 8 times a week, your body needs cross training of different styles (especially ballet.) |
| Q: | What one piece of advice would you offer to performers just starting out in the business? | | A: | Go to every audition! Networking is also a great thing to do. It's hard to break in sometimes because choreographers can be very loyal to performers who work with them. So, use contacts from your college alumni and your hometown theatres, etc. I did the national tour of Thoroughly Modern Millie for Rob Ashford who is an alumni of my college (Point Park College in Pittsburgh.) I know he likes to hire fellow "Pittsburgh-ers”. I am forever grateful for the blessings in my career. I know so much of it is LUCK, and I am still shocked when I land a job! |
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