Artist Profile: Peter Fernandes, Actor
Interview by Hallie Seline
It was a complete joy to connect with the wonderful and uber-talented young actor Peter Fernandes and chat about acting and what he is currently working on. We discussed what drew him to acting as a kid, how Passing Strange has impacted him both as an artist and as a young black man, and about how now, more than ever, it is extremely valuable for an audience to touch base with their relationship and their biases towards music and art. You can catch Peter rocking out on the stage in the Toronto premiere of Passing Strange at the Opera House from now to February 5th.
Hallie Seline: First things first – what drew you to acting?
Peter Fernandes: My parents had me and my siblings start singing for community events at a very young age, so performing was always an important part of growing up. For theatre specifically, I had just moved to Edmonton and auditioned for the grade 6 production of The Wizard of Oz. I was so nervous at the audition that I got cast as the Cowardly Lion. There was a scene where I had to faint and on the first night we performed, when I fainted I heard the audience laugh. I said to myself “Yeah, I want to do that again.” So from then on I kept looking for opportunities in the community or through theatre school programs to perform.
HS: And now here we are, performing at the Opera House! Tell me a bit about your current show Passing Strange.
PF: Passing Strange is a semi-autobiographic musical created by Stew and Heidi Rodewald. Through a range of Rock, Punk Rock, Gospel and Blues, it follows a black youth through Los Angeles, Amsterdam and Berlin during the 70s on his journey to find “the real”. It looks at his relationship to music, his identity, blackness and family. It’s also about someone looking back at their choices and reflecting on how they became the person they are today.
HS: Why is it your favourite musical at the moment?
PF: I remember seeing it on Broadway and being immediately blown away by it. I hadn’t seen anything like it and the music made everyone in that theatre jump up and rock out, which was also an unfamiliar sight. Both as an artist and a young black man, I found myself finally being able to relate to a piece in a way that I hadn’t before. Youth’s journey made me reflect on my own relationship to family, and my identity, and then, to top it all off, it had exhilarating music – it was a real rock show.
It’s also one of those musicals that I have revisited often: First on Broadway, then multiple times through the soundtrack, the filmed version and now finally being involved in the Canadian premiere. Each time it has had a profound effect on me. Your relationship with this piece will change each time you see it. The way you connect to this musical grows as you grow and reflect on the stupid or profound choices you made as a teenager.
HS: What has surprised you the most about the show that you’ve discovered while working on it?
PF: Naively, I thought I knew this show inside and out – that I knew everything at the core of the show. But the entire cast discovers new things the more we delve into the piece and the more we give time to the words, thoughts and ideas that Stew and Heidi have infused into the music.
There’s an incredible section in the show that continues to move me. The Narrator describes someone’s words “washing over [you] like a Bach Fugue … you know how when the music goes right over your head and straight into that part of you which is most beautiful.” That’s what happens to you in this musical. Despite having seen the original and listening to the soundtrack over and over again, this still happens to me. Sure you’ll be able to come back to it later with more understanding, and you’ll be affected differently, but some things will still only exist in this indescribable place for you.
Because of the stellar cast and creative team behind this production, every rehearsal gives you the opportunity to hear something new and that’s the best kind of surprise you can ask for when you’re working on a show.
HS: Why do you think Passing Strange is important for audiences right now?
PF: It is incredibly important to give opportunities to underrepresented communities on the stage, and this show provides the unique chance to explore a black story and black storytelling in a way that audiences have not seen before. It breaks down a lot of the barriers and biases that have been created about our identities and about the way people create.
Now, more that ever, it is extremely valuable for an audience to touch base with, not only their biases, but their relationship to music and art. Passing Strange gives you the chance to do that.
HS: If your audience could listen to one song or album before coming to see the show, what would it be?
PF: Album – “Woodstock: Music from the original soundtrack and more” (If you don’t have time to listen to it all before the show, I would focus on Jimi Hendrix)
Rapid Fire Question Round
Favourite spot in Toronto: Rooftop at Spadina and Bloor overlooking the Annex.
What are you listening to right now? The Two Dope Queens Podcast.
What is one song that you wish you wrote? “Sunday” from Sunday in the Park with George by Stephen Sondheim.
Who inspires you? My Parents.
Best advice you’ve ever gotten: On risk-taking: “The answer is always no if you never ask.”
Describe Passing Strange in 5 words: Music is a freight train OR Love is more than real.
Co-Produced by Acting Up Stage Company & Obsidian Theatre Company
directed by: Philip Akin
music directed by: Bob Foster
choreographed by: Kimberley Rampersad
starring: Jahlen Barnes, Divine Brown, Beau Dixon, Peter Fernandes, David Lopez, Sabryn Rock, Vanessa Sears
set & lighting design: Steve Lucas
sound design: Peter McBoyle
costume designer: Joanna Yu
production manager: Adrien Whan
stage manager: Jessica Severin
apprentice stage manager: Jordan Guetter
Passing Strange is a bold coming of age story told through sex, drugs and rock ‘n’ roll. In the late 1970s, a black teen is driven from Los Angeles to Amsterdam and Berlin in search of himself and a place to call home.
Fusing punk rock, R&B and soul, and performed at Toronto’s preeminent music venue the Opera House, Passing Strange is unlike any musical you’ve seen before. Winner of the 2008 Tony Award for Best Book of a Musical and three Drama Desk Awards including Best Musical, don’t miss the show that has been universally applauded for its originality, authenticity, and powerful score.
The Opera House
735 Queen Street East
January 24-February 5, 2017
by phone: 1-888-324-6282
*Featured Image of Peter Fernandes by Nathan Kelly