1 00:00:15,316 --> 00:00:22,756 Speaker 1: Pushkin. I don't normally have people introduce themselves here on 2 00:00:22,836 --> 00:00:26,196 Speaker 1: Backstage Pass, but I had to share this one with 3 00:00:26,236 --> 00:00:29,636 Speaker 1: you because well, in a second you'll see why. My 4 00:00:29,716 --> 00:00:33,556 Speaker 1: name is Stephanie Beatriz. I'm an actor. You might know 5 00:00:33,676 --> 00:00:36,916 Speaker 1: me from such programs as Brooklyn nine nine. I play 6 00:00:36,996 --> 00:00:40,596 Speaker 1: Rosa Diaz on there, and I also recently played Carla 7 00:00:40,676 --> 00:00:44,196 Speaker 1: and In the Heights and Eric is my voice teacher. 8 00:00:44,356 --> 00:00:48,396 Speaker 1: You left out one important thing. Oh what's that you said? 9 00:00:48,396 --> 00:00:55,116 Speaker 1: I'm an actor and I'm a singer. Yeah, oh my god. 10 00:00:55,796 --> 00:00:57,756 Speaker 1: Very hard to sort of wrap my brain around the 11 00:00:57,796 --> 00:01:00,916 Speaker 1: fact that I can sing still, but you can and 12 00:01:01,036 --> 00:01:07,596 Speaker 1: you've done two musicals. So yes, this is Backstage Pass 13 00:01:07,716 --> 00:01:11,756 Speaker 1: with Eric Vitrop. I'm Eric Vitro. I have to say 14 00:01:11,956 --> 00:01:14,716 Speaker 1: I love my job because I get to coach some 15 00:01:14,756 --> 00:01:18,276 Speaker 1: of the most talented and famous singers working today. On 16 00:01:18,316 --> 00:01:21,356 Speaker 1: this show, I talked to them about their lives, their craft, 17 00:01:21,436 --> 00:01:23,396 Speaker 1: and what it really takes to make it big in 18 00:01:23,436 --> 00:01:28,356 Speaker 1: the music business. I work with a lot of singers. 19 00:01:28,396 --> 00:01:31,276 Speaker 1: But as you heard, even though Stephanie's been in musical 20 00:01:31,316 --> 00:01:34,916 Speaker 1: features like In the Heights and the animated Disney musical Acanto, 21 00:01:35,436 --> 00:01:39,076 Speaker 1: Stephanie didn't consider herself a singer. She didn't call herself one. 22 00:01:39,396 --> 00:01:42,636 Speaker 1: To be honest, she was surprisingly apprehensive about her singing. 23 00:01:43,116 --> 00:01:45,796 Speaker 1: At first. She wasn't even sure she should audition for 24 00:01:45,916 --> 00:01:49,996 Speaker 1: In the Heights. I remember my friend Melissa Fumero from 25 00:01:49,996 --> 00:01:52,276 Speaker 1: Brooklyn nine nine saying, you have to audition for this, 26 00:01:52,436 --> 00:01:54,956 Speaker 1: you have to, And I was like, I'm not a singer. 27 00:01:54,996 --> 00:01:57,956 Speaker 1: They're going to choose singers like Adam, what am I doing? 28 00:01:57,996 --> 00:02:00,116 Speaker 1: I'm not a singer. Have you heard that track the 29 00:02:00,236 --> 00:02:03,756 Speaker 1: Carlo things? It's not easy. She was like, get a 30 00:02:03,836 --> 00:02:07,556 Speaker 1: voice lesson, get prepared, go in there and do your best. 31 00:02:07,876 --> 00:02:10,796 Speaker 1: So you called me yes, And then I remember calling 32 00:02:10,796 --> 00:02:13,116 Speaker 1: and being very nervous. So I was like, I don't know, 33 00:02:13,396 --> 00:02:17,436 Speaker 1: I haven't taken a voiceless in college like years. You 34 00:02:17,476 --> 00:02:19,796 Speaker 1: were a little like, you know, I'm not really a 35 00:02:19,996 --> 00:02:23,636 Speaker 1: real singer. They probably need great singers for this and 36 00:02:23,676 --> 00:02:26,636 Speaker 1: all of that, And in my head I'm thinking, if 37 00:02:26,676 --> 00:02:28,876 Speaker 1: I say yes to this person, it means I'm saying 38 00:02:28,916 --> 00:02:32,516 Speaker 1: no to that person, right, So I think I remember 39 00:02:32,636 --> 00:02:34,436 Speaker 1: the first half of the call going, oh, should I 40 00:02:34,436 --> 00:02:36,876 Speaker 1: recommend her too? Who should I tell her? She? Because 41 00:02:36,876 --> 00:02:41,116 Speaker 1: I don't have time but you were so charismatic, so funny, 42 00:02:41,276 --> 00:02:43,516 Speaker 1: you had such a great personality. I so enjoyed talking 43 00:02:43,516 --> 00:02:46,196 Speaker 1: to you. I was like, Oh, what the hell? And 44 00:02:46,356 --> 00:02:49,756 Speaker 1: then you came in and I don't get this feeling 45 00:02:49,836 --> 00:02:54,556 Speaker 1: all the time, but I kind of thought, Oh, this 46 00:02:54,636 --> 00:02:57,476 Speaker 1: is gonna work. She's gonna do it. Like I actually remember, 47 00:02:57,596 --> 00:02:59,836 Speaker 1: and I think I said it to you too, that 48 00:02:59,956 --> 00:03:02,356 Speaker 1: I have a really good feeling about this roll of 49 00:03:02,436 --> 00:03:08,436 Speaker 1: Carla in the Heights you did and boom it happened. Yeah, 50 00:03:08,476 --> 00:03:11,476 Speaker 1: what do you remember about that process? What I really 51 00:03:11,516 --> 00:03:14,396 Speaker 1: remember about the first lesson was that you talked to 52 00:03:14,436 --> 00:03:16,876 Speaker 1: me about singing the song like it was a monologue, 53 00:03:17,396 --> 00:03:20,636 Speaker 1: and it was so helpful to me because I was 54 00:03:20,676 --> 00:03:23,716 Speaker 1: so nervous about the sounds coming out of my mouth. 55 00:03:24,276 --> 00:03:26,156 Speaker 1: I didn't have a lot of technique at the time, 56 00:03:26,236 --> 00:03:29,276 Speaker 1: Like I was quickly learning from what we were covering 57 00:03:29,316 --> 00:03:31,916 Speaker 1: in the hour that I spent with you that first time. 58 00:03:32,756 --> 00:03:36,516 Speaker 1: But you talked about Emily Blunt and how you gave 59 00:03:36,556 --> 00:03:38,836 Speaker 1: her some notes that were the same notes that you 60 00:03:38,836 --> 00:03:41,316 Speaker 1: were giving me, which was like, think about what your 61 00:03:41,476 --> 00:03:45,956 Speaker 1: character desires in this song and why that might connect 62 00:03:45,996 --> 00:03:50,196 Speaker 1: to where the notes are going. And I was like dull, 63 00:03:50,436 --> 00:03:52,676 Speaker 1: you know, like it was like someone just opened a 64 00:03:52,716 --> 00:03:56,276 Speaker 1: door and was like, over here some new tools to use, 65 00:03:56,436 --> 00:04:00,996 Speaker 1: and it was really extremely helpful. I remember that being like, 66 00:04:01,756 --> 00:04:04,756 Speaker 1: oh my god, I'm way less worried about the sound 67 00:04:04,876 --> 00:04:08,356 Speaker 1: and I'm way more invested in what I'm doing as 68 00:04:08,396 --> 00:04:11,716 Speaker 1: an actor, and I think that's what got me the role. Well, 69 00:04:11,756 --> 00:04:14,196 Speaker 1: I'm so happy to hear that that was helpful. You know. 70 00:04:14,436 --> 00:04:17,876 Speaker 1: I say that truly everybody, because everyone's voice always sounds 71 00:04:17,916 --> 00:04:20,436 Speaker 1: better when they stopped listening and thinking about it, right, 72 00:04:20,916 --> 00:04:23,116 Speaker 1: and especially in your case, because I thought, well, she's 73 00:04:23,116 --> 00:04:25,516 Speaker 1: a really good actress, so she's going to respond to 74 00:04:26,756 --> 00:04:29,236 Speaker 1: thinking about this as an actor as opposed to as 75 00:04:29,236 --> 00:04:32,196 Speaker 1: a singer. And it's funny you bring up Emily because 76 00:04:32,236 --> 00:04:36,916 Speaker 1: she was even more reticent about auditioning than you. Or 77 00:04:36,996 --> 00:04:38,956 Speaker 1: she was like, what a waste of time. I'm wasting 78 00:04:38,996 --> 00:04:41,916 Speaker 1: your time, I'm wasting my time. And then she started singing. 79 00:04:41,996 --> 00:04:44,156 Speaker 1: I was like, oh, she has a beautiful voice. Then 80 00:04:44,196 --> 00:04:47,236 Speaker 1: she did Into the Woods and then became Mary Pop 81 00:04:47,756 --> 00:04:49,996 Speaker 1: and with you you did Into the Heights and now 82 00:04:50,236 --> 00:04:54,156 Speaker 1: are Disney Princess. I mean, it just shows you that 83 00:04:54,356 --> 00:04:57,476 Speaker 1: you can't hold yourself back. You can't make those decisions. 84 00:04:57,516 --> 00:05:01,796 Speaker 1: If someone sees something in you, take it in, absorb it, 85 00:05:01,996 --> 00:05:05,516 Speaker 1: go with it, don't fight them on it. Yeah, your 86 00:05:05,636 --> 00:05:09,076 Speaker 1: voice has been such a huge part of your career obviously, 87 00:05:09,836 --> 00:05:13,436 Speaker 1: and so like when you're doing different people like Rosadeaz 88 00:05:13,516 --> 00:05:17,036 Speaker 1: or Carla, what do you think about beforehand? Do you 89 00:05:17,076 --> 00:05:19,836 Speaker 1: spend a lot of time thinking about what each character 90 00:05:19,956 --> 00:05:21,916 Speaker 1: is going to sound like? For me, at least it 91 00:05:21,956 --> 00:05:24,276 Speaker 1: comes more in the rehearsal process or like in the 92 00:05:24,356 --> 00:05:28,756 Speaker 1: process of starting to work with the other actors and 93 00:05:28,796 --> 00:05:31,596 Speaker 1: see like what the fit is. Sometimes I have like 94 00:05:31,596 --> 00:05:34,236 Speaker 1: a really strong take on it. Like I think for 95 00:05:34,396 --> 00:05:36,996 Speaker 1: Carla during in the Heights, I knew I wanted to 96 00:05:36,996 --> 00:05:40,436 Speaker 1: do something like much higher higher and pitch higher in 97 00:05:40,516 --> 00:05:43,596 Speaker 1: pitch yes, because she sort of lives in this place 98 00:05:43,636 --> 00:05:46,836 Speaker 1: of like she lives in the top of her head, right, 99 00:05:46,956 --> 00:05:49,636 Speaker 1: meaning that she kind of lives in this like floaty. 100 00:05:49,716 --> 00:05:52,316 Speaker 1: I'm involved, but I'm also like half of my brain 101 00:05:52,476 --> 00:05:55,596 Speaker 1: is maybe somewhere else half of this time. You know, Well, 102 00:05:55,636 --> 00:05:57,876 Speaker 1: there's a funny line in the song where she doesn't 103 00:05:57,916 --> 00:06:00,116 Speaker 1: get she doesn't get what's going on. Yeah, you know, 104 00:06:00,316 --> 00:06:03,196 Speaker 1: she doesn't always get what's going on? Yeah, I mean 105 00:06:03,236 --> 00:06:07,276 Speaker 1: that happens multiple times, right, Like it happens in the 106 00:06:07,276 --> 00:06:10,916 Speaker 1: beauty salon, it happens in the lyrics. Come on, I 107 00:06:10,956 --> 00:06:18,436 Speaker 1: don't think I know what you mean. And then it 108 00:06:18,516 --> 00:06:22,956 Speaker 1: happens where she she's been witnessed the same as everyone 109 00:06:22,996 --> 00:06:25,996 Speaker 1: else to Usnavi and Vanessa's relationship, and she has to 110 00:06:25,996 --> 00:06:30,876 Speaker 1: have it directly pointed out to her. And then she's like, wow, 111 00:06:31,636 --> 00:06:34,996 Speaker 1: now that you mentioned that's sexual attention, it's easy to see. 112 00:06:35,676 --> 00:06:37,996 Speaker 1: I love that. The way that he wrote it is 113 00:06:38,036 --> 00:06:41,636 Speaker 1: so indicative of what that character is. It's like totally 114 00:06:41,916 --> 00:06:43,636 Speaker 1: do do do do do do do do do do 115 00:06:43,636 --> 00:06:46,876 Speaker 1: do do? So she's like adding it. You can see 116 00:06:46,876 --> 00:06:48,836 Speaker 1: her doing a math, you know, and you can hear 117 00:06:48,876 --> 00:06:52,196 Speaker 1: her doing the math, which is really cool. Exactly exactly. 118 00:06:52,476 --> 00:06:55,196 Speaker 1: It's so sweet. There's something very sweet about it. So 119 00:06:55,236 --> 00:06:57,076 Speaker 1: for me, I was like, well, she probably lives and 120 00:06:57,076 --> 00:06:59,316 Speaker 1: like got much higher. Such a good choice, such a 121 00:06:59,356 --> 00:07:02,356 Speaker 1: good choice. Yeah, and for Rosa than Brooklyn ninety nine, 122 00:07:02,476 --> 00:07:05,836 Speaker 1: the opposite, right, I mean, yes, she does not suffer fools. 123 00:07:05,876 --> 00:07:08,316 Speaker 1: She does not. And also like side note, this is 124 00:07:08,476 --> 00:07:10,756 Speaker 1: something that I don't talk about very much. But when 125 00:07:10,756 --> 00:07:14,196 Speaker 1: I auditioned for the pilot, I was teaching workout classes 126 00:07:14,396 --> 00:07:19,516 Speaker 1: in Hollywood, and I was yelling and using my voice 127 00:07:19,516 --> 00:07:22,996 Speaker 1: a lot, and so it was raspy. When I went 128 00:07:23,036 --> 00:07:25,956 Speaker 1: in for that audition, it was raspy, and I thought, 129 00:07:25,996 --> 00:07:28,916 Speaker 1: how am I gonna like work with this a little bit? 130 00:07:29,036 --> 00:07:31,316 Speaker 1: And so it sounded better to me if I placed 131 00:07:31,356 --> 00:07:33,636 Speaker 1: it just a tiny bit lower, not as low as 132 00:07:33,676 --> 00:07:37,396 Speaker 1: I eventually placed the Rosa voice, but a little bit 133 00:07:37,476 --> 00:07:41,036 Speaker 1: lower in my register helped me sound stronger in the auditions, 134 00:07:41,196 --> 00:07:44,156 Speaker 1: because I auditioned originally for the Amy Santiago role, and 135 00:07:44,156 --> 00:07:46,116 Speaker 1: then they called me back for the Amy role and 136 00:07:46,236 --> 00:07:49,356 Speaker 1: for the Rosa role, so I wanted to differentiate between 137 00:07:49,356 --> 00:07:52,476 Speaker 1: those two two and so for Rosa, I just placed 138 00:07:52,516 --> 00:07:54,756 Speaker 1: it a little bit lower in my register. So she 139 00:07:54,956 --> 00:07:57,876 Speaker 1: talks a lot deeper than I do. She's very straightforward. 140 00:07:57,916 --> 00:07:59,956 Speaker 1: She got and talks on this register, and she doesn't 141 00:07:59,956 --> 00:08:02,636 Speaker 1: suffer fools. She thinks everyone's an idiot. Well, I plans 142 00:08:02,676 --> 00:08:05,076 Speaker 1: on Saturday too, I'm having dinner with my parents. So 143 00:08:05,996 --> 00:08:08,596 Speaker 1: you don't even like your parents. You call them smiley, 144 00:08:08,636 --> 00:08:11,396 Speaker 1: moral and hug freaks. Plans or plans, I'm a badass 145 00:08:11,396 --> 00:08:15,036 Speaker 1: and I'm an anarchist. So once you determined that that 146 00:08:15,156 --> 00:08:17,516 Speaker 1: was Rosan, like you really go, Okay, this is who 147 00:08:17,556 --> 00:08:20,196 Speaker 1: she is. I love this, this is her. Do you 148 00:08:20,836 --> 00:08:23,556 Speaker 1: do anything vocally to prep for that or do you 149 00:08:23,636 --> 00:08:26,556 Speaker 1: just go in and it just happens. I did not 150 00:08:27,196 --> 00:08:30,236 Speaker 1: prep for it, and it caught up with me at 151 00:08:30,236 --> 00:08:32,756 Speaker 1: a certain point. It caught up with me. I think 152 00:08:32,836 --> 00:08:36,316 Speaker 1: like second or third season. It was like uncomfortable. Sometimes 153 00:08:36,916 --> 00:08:39,396 Speaker 1: I can slide into it really easily now because I 154 00:08:39,436 --> 00:08:43,836 Speaker 1: know where it lives comfortably, right, But there was a 155 00:08:43,836 --> 00:08:46,036 Speaker 1: point where, and I think it was like coming back 156 00:08:46,076 --> 00:08:48,836 Speaker 1: to the show after like the break, because we shoot 157 00:08:48,876 --> 00:08:50,396 Speaker 1: for x amount of weeks and then we have a 158 00:08:50,476 --> 00:08:52,276 Speaker 1: break while they decide whether or not they're going to 159 00:08:52,716 --> 00:08:56,436 Speaker 1: kill us or not, you know, and then coming back 160 00:08:56,476 --> 00:08:58,076 Speaker 1: it would be like, oh no, what is this voice? 161 00:08:58,116 --> 00:09:00,676 Speaker 1: Like where is it? Over time, I'd sort of tried 162 00:09:00,676 --> 00:09:03,396 Speaker 1: to like train myself to like slide back into it easily, 163 00:09:03,396 --> 00:09:05,836 Speaker 1: and now it's like second nature. I don't need to 164 00:09:05,836 --> 00:09:07,956 Speaker 1: do that. But there was a point where I realized, like, 165 00:09:08,396 --> 00:09:10,476 Speaker 1: you have to think about this a little bit more. Yeah, 166 00:09:10,596 --> 00:09:12,316 Speaker 1: I'm glad we talked about that because I do think 167 00:09:12,356 --> 00:09:14,596 Speaker 1: people need to think about that, Like, if you are 168 00:09:14,676 --> 00:09:17,876 Speaker 1: going to do an unusual character voice, sometimes you should 169 00:09:17,876 --> 00:09:21,796 Speaker 1: really warm up your voice, do exercises, practice doing it, 170 00:09:21,876 --> 00:09:25,036 Speaker 1: build up a strength and a stamina to be able 171 00:09:25,036 --> 00:09:29,276 Speaker 1: to do it totally, especially with I think accents, and 172 00:09:29,436 --> 00:09:33,756 Speaker 1: people don't think of accents as related to singing, but 173 00:09:33,876 --> 00:09:37,276 Speaker 1: they are because it's so much about sound. Where the 174 00:09:37,316 --> 00:09:40,596 Speaker 1: sound is in your mouth yea, and what sounds natural 175 00:09:40,596 --> 00:09:44,356 Speaker 1: to an audience, you know, like if you don't practice that, 176 00:09:44,596 --> 00:09:47,236 Speaker 1: you will say your hard are on stage when you're 177 00:09:47,236 --> 00:09:51,316 Speaker 1: not supposed to. I just will. Stephanie sounds confident about 178 00:09:51,316 --> 00:09:53,916 Speaker 1: her voice and her skills now, but she was insecure 179 00:09:53,996 --> 00:09:56,396 Speaker 1: about singing for a long time. She told me it 180 00:09:56,476 --> 00:09:59,036 Speaker 1: all started back in middle school. I went to a 181 00:09:59,036 --> 00:10:02,516 Speaker 1: public school in Houston, and my school had three electives. 182 00:10:02,516 --> 00:10:07,196 Speaker 1: They had acquire art and speech and debate. And art 183 00:10:07,236 --> 00:10:09,036 Speaker 1: was very expensive because you had to have money for 184 00:10:09,116 --> 00:10:11,676 Speaker 1: all these like supplies, So that was kind of out 185 00:10:11,676 --> 00:10:14,276 Speaker 1: of the question. Choir The first day that I was 186 00:10:14,316 --> 00:10:16,516 Speaker 1: in there, literally the first day that I was in there, 187 00:10:16,556 --> 00:10:18,356 Speaker 1: the teacher was like, I'm not sure that you have 188 00:10:20,156 --> 00:10:24,916 Speaker 1: the best voice, so I would consider switching your elective. 189 00:10:25,756 --> 00:10:28,996 Speaker 1: She literally pulled me aside outside that to me, so 190 00:10:29,076 --> 00:10:31,116 Speaker 1: I switched. I switched to speech and debate because I 191 00:10:31,156 --> 00:10:35,316 Speaker 1: was mortified. And in speech and Debate, that was the 192 00:10:35,356 --> 00:10:38,916 Speaker 1: first time that I sort of started acting. The speech 193 00:10:38,916 --> 00:10:41,916 Speaker 1: and debate class would do like a play, and they 194 00:10:41,996 --> 00:10:46,236 Speaker 1: did a melodrama and I was cast as the bad 195 00:10:46,276 --> 00:10:48,196 Speaker 1: guy in the melodrama. So I wore like a top 196 00:10:48,236 --> 00:10:51,676 Speaker 1: hat and a mustache and it was really fun. I 197 00:10:51,756 --> 00:10:54,436 Speaker 1: had a blast. I had such a blast. I bet 198 00:10:54,716 --> 00:10:57,996 Speaker 1: we had like three performances. You know, six and seventh 199 00:10:57,996 --> 00:11:00,636 Speaker 1: and eighth graders all go to the auditorium and watched 200 00:11:00,676 --> 00:11:04,116 Speaker 1: the performance. And I remember the next day at school 201 00:11:05,116 --> 00:11:07,156 Speaker 1: there was a boy in my science class who had 202 00:11:07,196 --> 00:11:09,156 Speaker 1: never talked to me before, and he came up to 203 00:11:09,196 --> 00:11:12,516 Speaker 1: my desk and was like, Hey, your brother was really 204 00:11:12,516 --> 00:11:15,356 Speaker 1: funny in that play. You gotta tell him. I was like, 205 00:11:16,076 --> 00:11:18,036 Speaker 1: and I didn't know. You know, that was my first 206 00:11:18,076 --> 00:11:22,876 Speaker 1: experience with like, oh, I fooled you. Wow, I really 207 00:11:22,916 --> 00:11:25,116 Speaker 1: deeply fooled you. Because you've been in classes with me 208 00:11:25,676 --> 00:11:29,156 Speaker 1: since sixth grade. Now we're in seventh grade. You've seen 209 00:11:29,236 --> 00:11:32,036 Speaker 1: me every day in your science class, and I fooled you, 210 00:11:32,116 --> 00:11:34,276 Speaker 1: and I made you laugh, and I made you come 211 00:11:34,396 --> 00:11:38,276 Speaker 1: up to me to communicate to my non existent brother 212 00:11:38,516 --> 00:11:41,356 Speaker 1: that you liked what I did in the play. What 213 00:11:41,476 --> 00:11:44,276 Speaker 1: a light bulb moment. Yeah, it really was doing a 214 00:11:44,396 --> 00:11:47,036 Speaker 1: movie like in the Heights and then becoming a latinox 215 00:11:47,476 --> 00:11:50,716 Speaker 1: Disney princess. What would you say to that teacher? Now? 216 00:11:51,636 --> 00:11:54,236 Speaker 1: I think I would take her a side gently and 217 00:11:54,516 --> 00:11:57,836 Speaker 1: not in front of her whole class, or like send 218 00:11:57,876 --> 00:12:00,276 Speaker 1: her an email or something and say I would think 219 00:12:00,316 --> 00:12:04,676 Speaker 1: twice about how you pose things to students that might 220 00:12:04,796 --> 00:12:09,436 Speaker 1: take them really seriously. But also thank you, because yes, 221 00:12:09,636 --> 00:12:12,916 Speaker 1: you booted me out of your choir and I found 222 00:12:12,956 --> 00:12:15,916 Speaker 1: my way to a theater. So yes, you probably got 223 00:12:15,916 --> 00:12:18,276 Speaker 1: so much more out of it I think I did. Yeah, 224 00:12:18,316 --> 00:12:20,316 Speaker 1: I'm just like thrilled you didn't let it hold you 225 00:12:20,356 --> 00:12:22,356 Speaker 1: back or stop you from singing the rest of your life. 226 00:12:22,396 --> 00:12:24,356 Speaker 1: Because if I could think of a few choice things 227 00:12:24,396 --> 00:12:26,436 Speaker 1: to say to her, and maybe I'll hunt her down 228 00:12:26,476 --> 00:12:30,516 Speaker 1: and say, well, you know, that just really struck to 229 00:12:30,676 --> 00:12:34,396 Speaker 1: my core, you saying that, because my father used to 230 00:12:34,396 --> 00:12:36,636 Speaker 1: always say he had heard me singing along with some 231 00:12:36,716 --> 00:12:39,236 Speaker 1: TV commercial when I was three and said I was 232 00:12:39,556 --> 00:12:41,956 Speaker 1: out of key, off key, I was out of tune, 233 00:12:42,516 --> 00:12:45,836 Speaker 1: and he wouldn't let go of it, like he held 234 00:12:45,916 --> 00:12:49,716 Speaker 1: onto that thing for years. And he did get me 235 00:12:49,756 --> 00:12:51,956 Speaker 1: a piano and gave me piano lessons, so I'll give 236 00:12:51,996 --> 00:12:54,156 Speaker 1: him that. But he was like, stay away from anything 237 00:12:54,196 --> 00:12:56,716 Speaker 1: singing because like, you don't have an ear for it. 238 00:12:57,116 --> 00:13:01,596 Speaker 1: And I don't know what inside of me got me 239 00:13:01,636 --> 00:13:04,516 Speaker 1: to keep going because he was so negative. And then 240 00:13:04,556 --> 00:13:07,636 Speaker 1: when I would watch people on TV sometimes because I 241 00:13:07,676 --> 00:13:09,996 Speaker 1: knew right away, I say, oh, I'd love to play 242 00:13:10,036 --> 00:13:12,116 Speaker 1: the piano for them, or I'd love to give them 243 00:13:12,196 --> 00:13:15,476 Speaker 1: some notes, like I'm thinking, like even as a kid, 244 00:13:15,556 --> 00:13:17,676 Speaker 1: I used to think that, and he go, what makes 245 00:13:17,756 --> 00:13:21,396 Speaker 1: you think You're gonna get to Hollywood and meet these people? 246 00:13:21,996 --> 00:13:25,596 Speaker 1: And somehow, if you have that thing inside of you, 247 00:13:25,596 --> 00:13:28,276 Speaker 1: you have to listen to it. Yes, it is about 248 00:13:28,356 --> 00:13:30,996 Speaker 1: honoring it and trusting it and allowing yourself to listen 249 00:13:30,996 --> 00:13:33,076 Speaker 1: to it and not let other people drown it out, 250 00:13:33,836 --> 00:13:37,796 Speaker 1: especially people who are these big figures in your life, 251 00:13:37,836 --> 00:13:40,996 Speaker 1: like teachers, like parents, like you know, like people you 252 00:13:41,036 --> 00:13:43,236 Speaker 1: look up to and say like, oh, it's not for you, 253 00:13:43,676 --> 00:13:46,756 Speaker 1: right if that is painful to you to have somebody 254 00:13:46,756 --> 00:13:50,636 Speaker 1: say like, that's not for you. If there's pain there, 255 00:13:50,956 --> 00:13:53,076 Speaker 1: I think that that's a sign of like, oh that 256 00:13:53,196 --> 00:13:55,516 Speaker 1: must be for me, because it's that it costs me 257 00:13:55,596 --> 00:13:59,236 Speaker 1: something to hear that. Oh that's a great point. Well, 258 00:13:59,276 --> 00:14:02,796 Speaker 1: I've observed with you that even when like the music 259 00:14:02,876 --> 00:14:05,516 Speaker 1: is challenging, like when you get a new song, like 260 00:14:05,836 --> 00:14:09,796 Speaker 1: for example, when Kantos songs were coming, you were always like, oh, yeah, 261 00:14:09,796 --> 00:14:12,876 Speaker 1: this is can be challenging, but you never backed away 262 00:14:12,876 --> 00:14:14,996 Speaker 1: from it in any way. And I thought that was 263 00:14:15,036 --> 00:14:17,956 Speaker 1: such an admirable quality that you were like, Yeah, I'm 264 00:14:17,956 --> 00:14:19,516 Speaker 1: gonna do the best I can. I'm gonna go for this, 265 00:14:19,596 --> 00:14:23,876 Speaker 1: and I'm gonna make it happen. Thank you, stay right there. 266 00:14:24,156 --> 00:14:27,196 Speaker 1: Next on Backstage Pass, Stephanie and I will talk about 267 00:14:27,236 --> 00:14:30,476 Speaker 1: the biggest challenge she faced while working on Disney's and Kanto, 268 00:14:30,916 --> 00:14:47,836 Speaker 1: singing with an unexpected partner. Welcome back to Backstage Pass. 269 00:14:48,436 --> 00:14:51,476 Speaker 1: So Stephanie and I worked together for In the Heights 270 00:14:51,676 --> 00:14:54,716 Speaker 1: and then we started working on Disney's and Kanto. In 271 00:14:54,756 --> 00:14:57,676 Speaker 1: the movie, Stephanie plays the lead role of Mirabelle, a 272 00:14:57,716 --> 00:15:01,436 Speaker 1: fifteen year old Colombian girl, but pretty soon after she 273 00:15:01,556 --> 00:15:04,796 Speaker 1: started recording, she found out she had a new singing partner. 274 00:15:05,556 --> 00:15:09,196 Speaker 1: I didn't know that I was pregnant until we I 275 00:15:09,196 --> 00:15:13,076 Speaker 1: had already done dialogue and stuff before I found out, 276 00:15:13,156 --> 00:15:15,476 Speaker 1: and then I found out and was like, like what 277 00:15:15,556 --> 00:15:18,716 Speaker 1: do we do? And it didn't affect me for a while, 278 00:15:19,436 --> 00:15:21,236 Speaker 1: at least singing wise. It didn't affect me for a 279 00:15:21,236 --> 00:15:24,956 Speaker 1: while until really like this last what they called the 280 00:15:25,116 --> 00:15:28,076 Speaker 1: third trimester, so like that's sort of when it started 281 00:15:28,076 --> 00:15:32,516 Speaker 1: really being like, whoa, this is different? Dumb, dumb? Yeah, no, 282 00:15:32,676 --> 00:15:34,676 Speaker 1: I know. You know, it's funny because I think of 283 00:15:34,716 --> 00:15:37,756 Speaker 1: it as you carrying two people along with you. You've 284 00:15:37,756 --> 00:15:41,236 Speaker 1: got this baby inside that you're carrying, but you've been 285 00:15:41,396 --> 00:15:45,516 Speaker 1: carrying and helping Mirabelle. Yeah to you know, so it's like, 286 00:15:45,876 --> 00:15:48,556 Speaker 1: how interesting that you're doing both at the same time. 287 00:15:48,676 --> 00:15:52,076 Speaker 1: It is really wild. You know, we should talk about 288 00:15:52,436 --> 00:15:56,596 Speaker 1: Obviously there were new challenges singing, yes, as the pregnancy 289 00:15:56,836 --> 00:15:59,396 Speaker 1: went on. Yes, So would you like to talk about 290 00:15:59,396 --> 00:16:03,076 Speaker 1: some of them because you felt them. I was, you know, 291 00:16:03,156 --> 00:16:05,316 Speaker 1: I was trying to be empathetic. Yeah, but I'm not 292 00:16:05,436 --> 00:16:07,916 Speaker 1: feeling and I don't know what it feels like. So 293 00:16:07,956 --> 00:16:09,596 Speaker 1: I would try to think if I ate a lot 294 00:16:09,636 --> 00:16:11,796 Speaker 1: one day and I'd be really stuff to go. Maybe 295 00:16:11,796 --> 00:16:14,196 Speaker 1: this is what feels like I'm having trouble breathing. This 296 00:16:14,276 --> 00:16:16,596 Speaker 1: is what it must be like very similarity to tell me. 297 00:16:16,876 --> 00:16:19,756 Speaker 1: I think one of the biggest things, and that was surprising, 298 00:16:20,676 --> 00:16:24,236 Speaker 1: was breath. One of the things that we work on 299 00:16:24,596 --> 00:16:29,396 Speaker 1: was like diaforumatic breathing, right like inhaling and then exhaling 300 00:16:29,516 --> 00:16:32,636 Speaker 1: while you're saying to allow the breath to support the sound. 301 00:16:33,076 --> 00:16:35,676 Speaker 1: At a certain point, it was holding the longer notes 302 00:16:35,916 --> 00:16:40,796 Speaker 1: and like very quickly, it was like I would inhale 303 00:16:41,076 --> 00:16:43,196 Speaker 1: and then when I would exhale and sing the note, 304 00:16:43,276 --> 00:16:46,516 Speaker 1: I could feel where the baby was inside me, which 305 00:16:46,596 --> 00:16:49,516 Speaker 1: was such a trip. I don't think I've ever heard 306 00:16:49,516 --> 00:16:52,476 Speaker 1: anyone say that. Because you said I feel an elbow, Yes, 307 00:16:52,756 --> 00:16:56,116 Speaker 1: I could feel like, oh, that's a shoulder, Like that's 308 00:16:56,116 --> 00:16:59,036 Speaker 1: a shoulder and that's an elbow. And sometimes when we 309 00:16:59,036 --> 00:17:01,836 Speaker 1: were doing those exercises, when we were holding those long breasts, 310 00:17:01,876 --> 00:17:03,876 Speaker 1: the baby would let me know like I don't have 311 00:17:04,036 --> 00:17:07,036 Speaker 1: enough space, and it would shove into a side or 312 00:17:07,156 --> 00:17:09,996 Speaker 1: move a leg. That was like please give me more space, 313 00:17:10,116 --> 00:17:14,756 Speaker 1: you know. Wow. So towards the beginning of singing the songs, 314 00:17:14,756 --> 00:17:17,596 Speaker 1: for in Gonto, it was really fun to sing through 315 00:17:17,716 --> 00:17:20,476 Speaker 1: the entire song during the recording session. You know, we 316 00:17:20,516 --> 00:17:24,036 Speaker 1: would break it up obviously, like do smaller chunks and 317 00:17:24,116 --> 00:17:25,916 Speaker 1: work on the smaller chunks and see what's going to 318 00:17:25,996 --> 00:17:28,676 Speaker 1: be best for storytelling. But then at the end of 319 00:17:28,676 --> 00:17:31,476 Speaker 1: the session we'll go through the whole song just for fun. 320 00:17:32,596 --> 00:17:36,036 Speaker 1: There's actually no way at this point in the pregnancy, 321 00:17:36,116 --> 00:17:39,396 Speaker 1: which is like quite late, there's actually no physical way 322 00:17:39,396 --> 00:17:42,516 Speaker 1: for me to get through the entire song because I 323 00:17:42,596 --> 00:17:45,556 Speaker 1: don't have enough breath to make it through the whole 324 00:17:45,596 --> 00:17:49,436 Speaker 1: song in one chunk, which is like, sorry for my language, 325 00:17:49,436 --> 00:17:52,036 Speaker 1: but it's a mind fuck because like you go, oh, Noah, 326 00:17:52,076 --> 00:17:55,836 Speaker 1: does that mean that I'm not good? Am I failing people? 327 00:17:55,956 --> 00:17:58,276 Speaker 1: Because I can't do the thing that I want to 328 00:17:58,276 --> 00:18:00,276 Speaker 1: be able to do so badly, which is like sing 329 00:18:00,276 --> 00:18:03,796 Speaker 1: this song from front to end and give the performance 330 00:18:03,796 --> 00:18:07,036 Speaker 1: that I want to fully give. And the answer is 331 00:18:07,076 --> 00:18:10,396 Speaker 1: like somewhere in the middle, which is no, it doesn't 332 00:18:10,876 --> 00:18:12,676 Speaker 1: let me speak up about Yeah, let me give you 333 00:18:12,716 --> 00:18:16,316 Speaker 1: the answer. No, it's ridiculous, But I'm glad you said that, 334 00:18:16,356 --> 00:18:18,836 Speaker 1: because I think people think those kind of things about 335 00:18:19,276 --> 00:18:22,716 Speaker 1: various things in their life, and the truth is it's 336 00:18:22,756 --> 00:18:26,236 Speaker 1: been the opposite. Everybody has been so impressed that you 337 00:18:26,316 --> 00:18:29,316 Speaker 1: have done such a great job. Well, I don't want 338 00:18:29,316 --> 00:18:32,476 Speaker 1: to say despite being pregnant, because that's kind of a negative, 339 00:18:32,516 --> 00:18:35,156 Speaker 1: but it's true. Everyone's so impressed that you were able 340 00:18:35,196 --> 00:18:38,036 Speaker 1: to do what you did do so instead of anyone 341 00:18:38,116 --> 00:18:40,356 Speaker 1: going out or disappointed, she's not saying it from top 342 00:18:40,396 --> 00:18:44,996 Speaker 1: to bottom, which very rarely do people record that way. Anyway, 343 00:18:45,196 --> 00:18:48,556 Speaker 1: you were doing big chunks of the song and it 344 00:18:48,596 --> 00:18:51,676 Speaker 1: was great, and I think everybody was so thrilled and 345 00:18:51,756 --> 00:18:54,076 Speaker 1: happy that you never you never canceled. You never said 346 00:18:54,116 --> 00:18:56,276 Speaker 1: I can't do this. You never said I need to 347 00:18:56,316 --> 00:18:58,636 Speaker 1: get a break. Oh what was me? I need to 348 00:18:58,676 --> 00:19:02,516 Speaker 1: sit down? Oh I need a break. Someone massaged my feet. 349 00:19:02,836 --> 00:19:05,956 Speaker 1: I mean, there was never a diva moment or anything. 350 00:19:06,316 --> 00:19:10,076 Speaker 1: If people didn't know you were pregnant, nobody would be 351 00:19:10,116 --> 00:19:13,596 Speaker 1: the wiser because you saying through it so beautiful, great 352 00:19:13,636 --> 00:19:15,956 Speaker 1: to hear. So yeah, so let me just put an 353 00:19:16,076 --> 00:19:21,036 Speaker 1: end in that game. I was amazed because I did 354 00:19:21,076 --> 00:19:25,956 Speaker 1: get to see you getting a little larger time did yeah, 355 00:19:25,996 --> 00:19:27,916 Speaker 1: And I was like, how is she? That's why I 356 00:19:27,956 --> 00:19:30,236 Speaker 1: would ask you, like, can you bend over on this 357 00:19:30,316 --> 00:19:33,276 Speaker 1: exercise because well, the truth was like toward toward the 358 00:19:33,356 --> 00:19:35,116 Speaker 1: end there like I couldn't been but I didn't want 359 00:19:35,116 --> 00:19:37,756 Speaker 1: to just take anything for granted, like, oh, she'll be 360 00:19:37,756 --> 00:19:40,036 Speaker 1: fine with dad. I was like, well, can you do this? 361 00:19:40,076 --> 00:19:43,236 Speaker 1: And yeah, and then we just worked around everything. I 362 00:19:43,276 --> 00:19:48,636 Speaker 1: think the internet is helpful sometimes you learned a lot research. Yes, 363 00:19:48,916 --> 00:19:51,596 Speaker 1: I sent you a study that I found. I found 364 00:19:51,636 --> 00:19:55,556 Speaker 1: some exercises, and you know, I started going to physical 365 00:19:55,596 --> 00:19:58,356 Speaker 1: therapy just like on the side for the pregnancy, and 366 00:19:58,436 --> 00:20:01,516 Speaker 1: I asked the physical therapist. I was like, I'm worried 367 00:20:01,556 --> 00:20:04,196 Speaker 1: about She was like, no, you're fine. Like I've been 368 00:20:04,236 --> 00:20:07,716 Speaker 1: watching you. We've been working on stuff. Your abdominal muscles 369 00:20:07,716 --> 00:20:10,596 Speaker 1: are strong, you can handle it. Go for it. Don't 370 00:20:10,596 --> 00:20:13,876 Speaker 1: worry about like someone's gonna snap or break, you know, 371 00:20:13,996 --> 00:20:18,076 Speaker 1: like it's not. Your body's built to do this. You're strong, 372 00:20:18,436 --> 00:20:20,756 Speaker 1: you can do it. Yeah. Well, I kept saying I 373 00:20:20,836 --> 00:20:23,316 Speaker 1: was convinced it was helping you. I thought it might be, 374 00:20:23,596 --> 00:20:27,196 Speaker 1: but I certainly feel like way more connected to my body. 375 00:20:27,236 --> 00:20:32,156 Speaker 1: I think that's the thing about singing lessons. They connect 376 00:20:32,196 --> 00:20:35,116 Speaker 1: you to yourself, you know, they really do, Like some 377 00:20:35,156 --> 00:20:39,316 Speaker 1: people connect in yoga. Some people connect through sports, but singing, 378 00:20:39,356 --> 00:20:41,756 Speaker 1: I think, is like there's so many parts of your 379 00:20:41,796 --> 00:20:45,796 Speaker 1: body that are working together in unison to create sound, 380 00:20:46,436 --> 00:20:50,756 Speaker 1: and you become really aware of what your body is doing. 381 00:20:51,276 --> 00:20:53,916 Speaker 1: Why are your shoulders up by your ears? Like? What's 382 00:20:53,956 --> 00:20:56,156 Speaker 1: going on with your chest? You know? Like how come 383 00:20:56,276 --> 00:20:59,956 Speaker 1: your neck is all tight? Like right? You know, it's 384 00:20:59,956 --> 00:21:02,636 Speaker 1: like all of it starts to make you go like, oh, 385 00:21:02,636 --> 00:21:05,196 Speaker 1: why am I doing that? Wow? I'm carrying tension in 386 00:21:05,236 --> 00:21:08,076 Speaker 1: a lot of places. You know. Well, By the way, 387 00:21:08,116 --> 00:21:10,796 Speaker 1: if you do feel like you're going into labor, I 388 00:21:10,836 --> 00:21:13,116 Speaker 1: will drive you right now to the house quid. But 389 00:21:13,156 --> 00:21:17,556 Speaker 1: I'm going to keep recording because fantastic with I was 390 00:21:17,596 --> 00:21:19,796 Speaker 1: thinking this point, if she goes into labor, that'd be 391 00:21:19,836 --> 00:21:22,396 Speaker 1: great for the podcast. Oh my god, that's so funny. 392 00:21:22,516 --> 00:21:24,556 Speaker 1: That's what I was thinking. But so I don't want 393 00:21:24,596 --> 00:21:26,636 Speaker 1: you to force it, but in case, just in case. 394 00:21:27,236 --> 00:21:31,556 Speaker 1: So in end Conto, you played Mirabelle. She's fifteen years old. 395 00:21:32,036 --> 00:21:34,756 Speaker 1: Now in real life you're not fifteen. You're correct woman, 396 00:21:35,276 --> 00:21:38,636 Speaker 1: and you're pregnant and you're married. Yes. What was it 397 00:21:38,756 --> 00:21:42,516 Speaker 1: like though, channeling or going back to your inner team 398 00:21:42,756 --> 00:21:45,796 Speaker 1: for her? It was really fun. I mean, I think 399 00:21:45,996 --> 00:21:52,196 Speaker 1: in true Disney tradition, she is like a combination of 400 00:21:52,236 --> 00:21:54,716 Speaker 1: a lot of things that I love about Disney heroines 401 00:21:54,916 --> 00:21:59,756 Speaker 1: and Disney sidekicks. It's almost like she's both at once. 402 00:22:00,516 --> 00:22:02,796 Speaker 1: And I say that because a lot of times the 403 00:22:02,836 --> 00:22:07,276 Speaker 1: heroines in Disney movies have not been written funny. The 404 00:22:07,396 --> 00:22:10,676 Speaker 1: sidekicks are often the edic support, you know. I think 405 00:22:10,716 --> 00:22:14,436 Speaker 1: that's changed in the last few years with films like 406 00:22:14,516 --> 00:22:19,996 Speaker 1: Frozen and Mowana, where the actors are much more free 407 00:22:20,116 --> 00:22:24,076 Speaker 1: to make fun and funny choices. And I'm so grateful 408 00:22:24,116 --> 00:22:26,516 Speaker 1: to them for sort of paving that way, because I 409 00:22:26,556 --> 00:22:29,676 Speaker 1: think that's the thing that I loved about helping create 410 00:22:29,676 --> 00:22:32,116 Speaker 1: this character of Mirabelle is like, you know, in the 411 00:22:32,156 --> 00:22:36,396 Speaker 1: world of Encanto, her entire family has magical powers except 412 00:22:36,476 --> 00:22:41,036 Speaker 1: for her, and so she's in this space in which, 413 00:22:41,116 --> 00:22:44,836 Speaker 1: like everyone in town knows them, everyone depends on them. 414 00:22:45,076 --> 00:22:48,796 Speaker 1: Her grandmother is like this matriarch of this magical family. 415 00:22:49,596 --> 00:22:52,196 Speaker 1: Nobody's paying attention to Mirabelle a lot of the time 416 00:22:52,276 --> 00:22:56,756 Speaker 1: because people are focused on the magic and the familial 417 00:22:56,876 --> 00:23:00,676 Speaker 1: performance that has to happen, because like, in a way, 418 00:23:00,716 --> 00:23:03,356 Speaker 1: they're like the famous people in town, right, like they 419 00:23:03,436 --> 00:23:07,156 Speaker 1: are the magic family, and so like, who cares about Mirabelle? 420 00:23:07,196 --> 00:23:11,076 Speaker 1: You know, I'm not super strong like Louisa, but Donkey's 421 00:23:11,116 --> 00:23:17,596 Speaker 1: gone out of your money or effortlessly perfect like Sabella. 422 00:23:18,516 --> 00:23:21,636 Speaker 1: But Mama, why am I the only one that didn't 423 00:23:21,636 --> 00:23:25,276 Speaker 1: get a gift? You're just as special as anyone else 424 00:23:25,276 --> 00:23:29,476 Speaker 1: who is Mamma, you just heeled my hand with a 425 00:23:29,556 --> 00:23:34,996 Speaker 1: nat I think for her, some of her comedy comes 426 00:23:35,076 --> 00:23:38,596 Speaker 1: from covering that feeling, and some of it just comes 427 00:23:38,636 --> 00:23:42,396 Speaker 1: from being allowed to be whoever she is because no 428 00:23:42,396 --> 00:23:45,876 Speaker 1: one's paying attention. So what that allows me able to 429 00:23:45,916 --> 00:23:49,036 Speaker 1: do is like kind of figure out maybe who she 430 00:23:49,276 --> 00:23:53,516 Speaker 1: is or she's trying to And that to me is 431 00:23:53,756 --> 00:23:57,436 Speaker 1: something that like I really deeply understand because like as 432 00:23:57,476 --> 00:24:01,756 Speaker 1: a teenager and as a young person, I was really 433 00:24:01,916 --> 00:24:06,636 Speaker 1: trying to figure out who I was. I didn't feel 434 00:24:06,636 --> 00:24:11,956 Speaker 1: like I fit in. I didn't feel like I looked right, 435 00:24:12,236 --> 00:24:16,116 Speaker 1: sounded right, was right. I didn't fit what I saw 436 00:24:16,196 --> 00:24:19,556 Speaker 1: around me as like the standard of beauty, especially in 437 00:24:19,556 --> 00:24:23,876 Speaker 1: Texas at that time, which was you know, white, blonde, 438 00:24:23,916 --> 00:24:26,876 Speaker 1: beautiful that takes a toll on a kid. I think, 439 00:24:27,436 --> 00:24:31,996 Speaker 1: and also I felt like, well, my family's different. My 440 00:24:32,076 --> 00:24:35,156 Speaker 1: mom and dad speaks Spanish at home, and we don't 441 00:24:35,196 --> 00:24:38,196 Speaker 1: have a lot of money, and I don't feel like 442 00:24:38,316 --> 00:24:42,316 Speaker 1: I fit in, or I don't feel understood, or I 443 00:24:42,356 --> 00:24:45,196 Speaker 1: feel like I'm in these like smart advanced classes and 444 00:24:45,236 --> 00:24:47,396 Speaker 1: it makes me feel like a nerd and I just 445 00:24:47,436 --> 00:24:52,476 Speaker 1: feel like I stick out. My parents were well, they 446 00:24:52,476 --> 00:24:55,956 Speaker 1: were trying to get us to assimilate, and my sister 447 00:24:55,996 --> 00:24:59,636 Speaker 1: and I they were really worried about us being accepted 448 00:24:59,676 --> 00:25:03,476 Speaker 1: and assimilating quickly. And that was kind of the way 449 00:25:03,676 --> 00:25:06,716 Speaker 1: that things were happening back then in the eighties and nineties. 450 00:25:06,756 --> 00:25:09,596 Speaker 1: It was like, have your kid fit in, don't let 451 00:25:09,636 --> 00:25:11,876 Speaker 1: them stick out so much so that my sister doesn't 452 00:25:11,916 --> 00:25:14,156 Speaker 1: even speak Spanish. She can understand that, but she can't 453 00:25:14,196 --> 00:25:18,476 Speaker 1: speak it with your dad being Colombian, right, Like, what 454 00:25:18,556 --> 00:25:23,596 Speaker 1: does this role like mean to you? It's really I mean, 455 00:25:23,676 --> 00:25:26,636 Speaker 1: and it's I have no words, really, I will say. 456 00:25:26,796 --> 00:25:29,916 Speaker 1: My dad is on a WhatsApp chat with all of 457 00:25:29,956 --> 00:25:32,876 Speaker 1: his family in Colombia and the day that the news broke, 458 00:25:33,716 --> 00:25:37,876 Speaker 1: my phone was exploding, like they were all losing their minds. 459 00:25:38,436 --> 00:25:40,836 Speaker 1: One of the things I think that they've done really 460 00:25:40,876 --> 00:25:45,316 Speaker 1: beautifully is they've kind of created this world in which 461 00:25:46,876 --> 00:25:50,396 Speaker 1: multiple regions of Columbia are represented in this film in 462 00:25:50,436 --> 00:25:52,516 Speaker 1: the way that they can be in an hour and 463 00:25:52,516 --> 00:25:56,796 Speaker 1: a half animated film. But I think visually, visually they've 464 00:25:56,796 --> 00:26:00,876 Speaker 1: done something that I've never seen before in a Disney film. 465 00:26:01,036 --> 00:26:05,836 Speaker 1: The visual style of this film is really really rooted 466 00:26:05,916 --> 00:26:10,836 Speaker 1: in magical realism, which is a deeply Colombian literary thing, 467 00:26:11,236 --> 00:26:14,556 Speaker 1: you know, And I think it pays homage and pays 468 00:26:14,716 --> 00:26:20,676 Speaker 1: respect to Colombia, but also the people of Colombia and 469 00:26:20,756 --> 00:26:26,956 Speaker 1: the myriad of different ways those people came to Colombia, 470 00:26:27,196 --> 00:26:31,436 Speaker 1: what they've dealt with as Colombians, and the wave look, 471 00:26:32,356 --> 00:26:35,476 Speaker 1: and I think all of those things are subtly layered 472 00:26:35,516 --> 00:26:39,116 Speaker 1: into the film, but they're also really important. Yeah, and 473 00:26:39,156 --> 00:26:42,116 Speaker 1: it's not just the visuals, it's the music too. It's 474 00:26:42,116 --> 00:26:46,436 Speaker 1: so peppy and like welcome to the Family Madrigal, the 475 00:26:46,636 --> 00:26:51,036 Speaker 1: home of the family Madriga. I know it sounds a 476 00:26:51,076 --> 00:26:55,756 Speaker 1: bit fantastical, the magical, but I'm part of the family Mariga. 477 00:26:56,956 --> 00:26:58,716 Speaker 1: One of the things I'm so excited about is seeing 478 00:26:58,716 --> 00:27:01,876 Speaker 1: it with people, because like I've only seen little clips 479 00:27:01,876 --> 00:27:03,876 Speaker 1: of it, so like, what's gonna happen when there's like 480 00:27:03,916 --> 00:27:06,196 Speaker 1: little kids in their seats, like, are they gonna be 481 00:27:06,276 --> 00:27:09,996 Speaker 1: moving around? What are they gonna do? Dancing? Yeah? I 482 00:27:09,996 --> 00:27:13,876 Speaker 1: can't wait, I can't wait. God. So, my earliest memories 483 00:27:13,876 --> 00:27:17,596 Speaker 1: of music actually were and it's funny because it's very 484 00:27:17,636 --> 00:27:21,436 Speaker 1: full circle, but they were Disney. They were us with 485 00:27:21,476 --> 00:27:25,516 Speaker 1: the VHS tapes, watching them over and over and connecting 486 00:27:25,676 --> 00:27:29,116 Speaker 1: really deeply, really quickly to these Disney songs. I loved 487 00:27:29,156 --> 00:27:34,636 Speaker 1: Sleeping Beauty, I loved Cinderella. I can remember standing in 488 00:27:34,676 --> 00:27:39,356 Speaker 1: the bathroom with the door locked, acting out the solo 489 00:27:39,436 --> 00:27:42,476 Speaker 1: from Mulan, Who's that girl? I see You're kidding? And 490 00:27:42,516 --> 00:27:45,836 Speaker 1: then recently, when we were recording in Gunto, one of 491 00:27:45,836 --> 00:27:48,036 Speaker 1: the things that Lin Manuel Miranda, who wrote the music 492 00:27:48,036 --> 00:27:50,116 Speaker 1: for in Gunto, one of the things that he texted 493 00:27:50,156 --> 00:27:52,076 Speaker 1: me was, you know, I'm really trying to write a 494 00:27:52,116 --> 00:27:54,516 Speaker 1: song that little kids will want to sing to themselves 495 00:27:54,516 --> 00:27:56,676 Speaker 1: alone in the mirror. And as soon as he sent 496 00:27:56,716 --> 00:27:59,356 Speaker 1: that text, I started bawling because I thought, that's exactly 497 00:27:59,356 --> 00:28:02,756 Speaker 1: what I did. That's exactly what I did. Do you 498 00:28:02,836 --> 00:28:04,876 Speaker 1: have a piece of advice you would give to a 499 00:28:04,996 --> 00:28:13,396 Speaker 1: younger Stephanie Beatriz. Oh ah, I would say, trust yourself, 500 00:28:14,516 --> 00:28:17,756 Speaker 1: trust yourself way more than you are already. You can 501 00:28:17,836 --> 00:28:22,876 Speaker 1: allow yourself to believe even more. And I think I 502 00:28:23,636 --> 00:28:25,796 Speaker 1: wish I could just go back and sort of like 503 00:28:25,996 --> 00:28:27,836 Speaker 1: stand her in front of a mirror and be like, 504 00:28:28,036 --> 00:28:31,516 Speaker 1: look a she's so great, Like look at what she 505 00:28:31,636 --> 00:28:34,876 Speaker 1: has to offer, Like, don't be so hard on yourself. 506 00:28:34,916 --> 00:28:37,516 Speaker 1: You know it's like it's honestly the same conversation I'm 507 00:28:37,516 --> 00:28:40,436 Speaker 1: having with myself all the time. Still, you know, That's 508 00:28:40,436 --> 00:28:48,276 Speaker 1: what I would say. Trust, trust yourself, trust yourself, trust yourself, 509 00:28:48,596 --> 00:28:51,876 Speaker 1: trust your instinct, and always trust your heart. That's what 510 00:28:51,956 --> 00:28:54,916 Speaker 1: I did. I had a knowing deep down inside that 511 00:28:54,916 --> 00:28:56,916 Speaker 1: this is what I was meant to do, despite all 512 00:28:56,916 --> 00:28:59,716 Speaker 1: the negative comments my father had, I sold you it 513 00:28:59,796 --> 00:29:02,276 Speaker 1: on and I'm so glad I did because I have 514 00:29:02,356 --> 00:29:05,396 Speaker 1: a career, I truly love in treasure, and if I 515 00:29:05,436 --> 00:29:08,156 Speaker 1: hadn't trusted myself, I would have missed out on all 516 00:29:08,196 --> 00:29:16,196 Speaker 1: of it. Stay tuned, we'll be right back after the 517 00:29:16,236 --> 00:29:23,836 Speaker 1: break with this week's vocal tip. Here's our vocal tip 518 00:29:23,876 --> 00:29:33,196 Speaker 1: of the week. One aspect that sets apart a really 519 00:29:33,236 --> 00:29:36,996 Speaker 1: fantastic performance from kind of a mediocre one is dynamics, 520 00:29:37,396 --> 00:29:40,916 Speaker 1: the variations of volume from soft to loud. If someone 521 00:29:40,956 --> 00:29:43,836 Speaker 1: sings with very little variation and the whole song is 522 00:29:43,836 --> 00:29:46,516 Speaker 1: either just loud or just soft, it will usually be 523 00:29:46,596 --> 00:29:49,796 Speaker 1: a bit boring. Of course, there are always exceptions, like 524 00:29:49,836 --> 00:29:53,756 Speaker 1: a really soft, beautiful lullaby or a quiet, intimate love song. 525 00:29:54,636 --> 00:29:58,516 Speaker 1: Dynamics can completely create or even destroy the mood of 526 00:29:58,516 --> 00:30:01,676 Speaker 1: a song. I always have my students practice singing in 527 00:30:01,756 --> 00:30:04,316 Speaker 1: a wide range of dynamics to prepare them for when 528 00:30:04,356 --> 00:30:07,836 Speaker 1: they're performing or recording, to achieve the most compelling and 529 00:30:07,956 --> 00:30:12,196 Speaker 1: powerful performance as possible. An easy way to start practicing 530 00:30:12,276 --> 00:30:15,956 Speaker 1: dynamic exercises is to pick a musical pattern, for example, 531 00:30:16,156 --> 00:30:24,556 Speaker 1: this one. Try singing it twice, first soft and then 532 00:30:24,636 --> 00:30:31,596 Speaker 1: loud like this me me maybe me me me maybe 533 00:30:31,836 --> 00:30:36,876 Speaker 1: mey me. Bases, baritones and tenors start on a sea 534 00:30:36,916 --> 00:30:40,356 Speaker 1: below middle cea, transposing down by half steps and then 535 00:30:40,396 --> 00:30:42,356 Speaker 1: back up by half steps to go to your lowest 536 00:30:42,396 --> 00:31:21,516 Speaker 1: note and then to your highest note. Sopranos and altos, 537 00:31:21,756 --> 00:31:24,076 Speaker 1: you try starting on a B flat below middle C, 538 00:31:24,596 --> 00:31:27,436 Speaker 1: again transposing down by half steps and then back up 539 00:31:27,436 --> 00:31:29,756 Speaker 1: by half steps to go to your lowest note and 540 00:31:29,796 --> 00:32:02,236 Speaker 1: then to your highest note. For example, if that pattern 541 00:32:02,276 --> 00:32:05,036 Speaker 1: seems too complicated and it is a little tricky, try 542 00:32:05,076 --> 00:32:08,676 Speaker 1: a simpler one like this bases baritone antennas. You start 543 00:32:08,716 --> 00:32:18,076 Speaker 1: on a C below middle C for you sopranos and alto's, 544 00:32:18,316 --> 00:32:28,076 Speaker 1: try starting right on a middle C and there you go. 545 00:32:28,876 --> 00:32:31,836 Speaker 1: If you want to share how you practice your vocal dynamics, 546 00:32:31,876 --> 00:32:35,236 Speaker 1: I'd love to hear you. Use the hashtag Backstage Pass 547 00:32:35,276 --> 00:32:38,876 Speaker 1: pod on Twitter, Instagram, TikTok, or wherever you like to post. 548 00:32:39,116 --> 00:32:41,676 Speaker 1: I can't wait to see your videos. I'll see you 549 00:32:41,756 --> 00:32:49,316 Speaker 1: next week. Maybe maybe me maybe maybe me me, me, 550 00:32:49,316 --> 00:32:57,356 Speaker 1: me me. Backstage Pass with Eric Vietro is written and 551 00:32:57,436 --> 00:33:00,956 Speaker 1: hosted by me Eric Vietro and produced by Morgan Jaffee. 552 00:33:01,716 --> 00:33:06,796 Speaker 1: Katherine Gerardou is our showrunner. Emily Rosstek is our associate producer. 553 00:33:07,276 --> 00:33:11,196 Speaker 1: Kate Parkinson Morgan is our edit. The show is mixed 554 00:33:11,196 --> 00:33:15,156 Speaker 1: and mastered by Ben Tolliday. Additional engineering help is from 555 00:33:15,196 --> 00:33:20,036 Speaker 1: Jacob Gorski and Martin Gonzalez. Mia Lovell as our executive producer. 556 00:33:20,316 --> 00:33:23,836 Speaker 1: Our development team Litl Mulat and Justine Lange helped create 557 00:33:23,916 --> 00:33:28,236 Speaker 1: the show, thanks also to Jacob Weisberg. Heather Fame, John Schnarz, 558 00:33:28,316 --> 00:33:33,276 Speaker 1: Carl Migliori, Christina Sullivan, Eric Sandler, Maggie Taylor, Nicole Morano, 559 00:33:33,476 --> 00:33:37,996 Speaker 1: Daniela Lakan and Royston Basserve. The original theme music is 560 00:33:37,996 --> 00:33:41,516 Speaker 1: by Jacob and Sita Steele for Premier Music Group. We 561 00:33:41,596 --> 00:33:45,756 Speaker 1: record at Resonate Studios. Fred Talkson does our videography and 562 00:33:45,836 --> 00:33:49,796 Speaker 1: the photography is by Ken Sawyer. A very special thanks 563 00:33:49,836 --> 00:33:52,836 Speaker 1: to Michael Lewis for his inspiration and the best guidance 564 00:33:52,876 --> 00:33:56,356 Speaker 1: anyone could ask for. Backstage passed with Eric Vitro as 565 00:33:56,356 --> 00:33:59,556 Speaker 1: a production of Pushkin Industries. If you like the show, 566 00:33:59,876 --> 00:34:03,236 Speaker 1: please remember to share, rate and review it. I mean 567 00:34:03,276 --> 00:34:07,196 Speaker 1: that really share, rate, review it, and if you love 568 00:34:07,276 --> 00:34:10,996 Speaker 1: the show and others from Pushkin Industry, consider subscribing to 569 00:34:11,036 --> 00:34:15,356 Speaker 1: Pushkin Plus. Pushkin Plus as a podcast subscription that offers 570 00:34:15,396 --> 00:34:19,116 Speaker 1: bonus content and uninterrupted listening for four ninety nine a month. 571 00:34:19,596 --> 00:34:23,876 Speaker 1: Look for Pushkin Plus on Apple Podcasts subscriptions. To find 572 00:34:23,996 --> 00:34:28,556 Speaker 1: more Pushkin podcasts, listen on the iHeartRadio app, Apple Podcasts, 573 00:34:28,636 --> 00:34:30,636 Speaker 1: or wherever you listen to podcasts.