A classically-trained singer and actress with a strong musical theatre background, Jennifer Roberts has also appeared on television and in film. About her versatiity, the late critic William Wolf said of her, she “excels at ballads, and in a jazz or swing mode, and can even have fun with country.” Roberts holds a BFA in Theatre and later studied acting with Uta Hagen. She has created three cabaret shows in NYC, showcasing her wide vocal range and musicianship. Her first CD, An Evening with Jennifer Roberts received a 2019 MAC Nomination, and is enjoying much airplay in the US and abroad.
NiteLife Exchange (NLE) asks Jennifer Roberts (JR) Six Questions:
NLE: Where were you when it became apparent that the COVID pandemic was shutting everything down? What was your initial reaction?
JR: I had been on the road quite a bit before the shutdown, just leaving cities including Las Vegas, Chicago, Cleveland, Detroit and Kansas City, as cases were multiplying and making national news, so I knew it was just a matter of time before our state took a stand. The Friday before the official announcement our state was closing businesses, I headed north to Grand Rapids to enjoy an early morning breakfast with several guys I went to High School with. We were all aware of the hand-shaking, personal space warnings, but things were still up and running, and the restaurant was full to capacity. From there, I drove to Kalamazoo to work a few hours, and close to my destination, my boss called and said, “All work has been canceled until July—go home.” I was able to work Monday, at another location, but it was like a graveyard; no one was out and about, and by Tuesday, everything was shut down. My initial reaction was: “Good, we need to take this very seriously.” Michigan was near the top in the nation, at 2nd and 3rd highest cases and deaths for quite awhile.
NLE: Much of your career has taken place close to your home base: Michigan, namely Detroit. From a career and personal point of view, how has corona quarantine differed, if it has, from many fellow artists living in New York City and its environs?
JR: Well, I haven’t lived near Detroit, for many years, so I haven’t pursued performance opportunities there for sometime, but even after purchasing my home in West Michigan (my retreat from the world) I continued to travel back and forth for years for symphony and other singing gigs, to work a few more times at the GEM Theatre, and for film and TV opportunities. I also drove to Chicago often for many years for auditons and work. I do have agents who will call me in, or request a self-tape film or voiceover submission, but those have all disappeared, since the lockdown took effect. When I’d moved back to Detroit years ago, it was ranked 2nd or 3rd in the US for SAG and AFTRA work, so you could make a decent living if you were fortunate to be cast in training videos, voiceovers, commercials and occasional TV and film. Much of that work has now gone non-union, so there are few opportunities anymore for union talent. I’m not sure how much of our work was affected by the state lockdown, except for bringing what was left of union work to a standstill.
I live between Detroit and Chicago, and I know the theatres around here have canceled their seasons, and live concerts and performances—and I know the same is true in Detroit and Chicago.
I think Detroit artists, singers, actors and musicians (and all of Michigan and the Midwest) have suffered the same as New York artists. There are no venues open, and no way for musicians and singers to make a living right now. Fortunately, as in New York, aid and unemployment has been made available for contractors, artists and those who could not qualify in the past. And many of us living in the Midwest rely on other work and opportunities to make a living, but all of those have also come to a complete halt.
From a personal perspective, I believe Michigan lockdown restrictions were as severe and serious as New York, and I am grateful for that, for this state was near the top in cases and deaths for a couple of months. What has saddened and frustrated me, however, has been how casual so many people have been on this side of the state, in treating this as a serious health threat. So many people continued to meet without social distancing, walking around grocery stores and even the post office without masks. Though small numbers compared to NYC and Detroit, the cases around here continue to rise.
NLE: You’ve had the boon of being able to continue promoting your CD, An Evening with Jennifer Roberts. How much of your time does that activity dominate right now? Would it be the same if we weren’t covid-restricted?
JR: At the beginning of the quarnatine, I sent my CD to a couple of people who came to mind, not knowing when I’d be able to get back to the post office. Stephen Mosher was one. I was thrilled a few weeks later to find a beautiful review by Stephen pop up on Twitter, and in my email, from Broadway World.
So, that was simply amazing,for the review was so positive and affirming, and reminded me, in a rather bleak time, to keep the focus on my CD, and moving forward as an artist. A couple of other reviews had shown up a few weeks before, and a lot of continued airplay, so that has kept my CD alive these last few months. I was also contacted about doing an interview with Pamela Kuhn, that we recorded in the middle of the quarantine, and it just aired a couple of weeks ago. I was able to share it on social media, this week, as well. And, Marilyn Lester wrote a beautiful review of my CD just last week, for Theater Pizzazz, so I have been most encouraged and inspired to keep going, to keep moving forward. I have been sharing this review, also, on all platforms of social media.
Promoting my CD is not taking up much of my time, right now, but I do try to keep what has been written about it out there, as well as airplay and interviews on social media.
I think, if it were not for Covid-19 restrictions, YES, I’d be sending the hard-copy CD out more, but you can do so much via internet these days, I can contact radio stations and reviewers, via internet regardless of restrictions. I would be doing more LIVE performances and booking more shows to promote my CD, and work, if it were not for the restrictions in place.
NLE: What else occupies your time during this time?
JR: Oh, my—I have definitely wasted time, I am sad to say, but I have been working on my yard. I just planted some grass seed, and have been cutting down a lot of treelets and overgrowth around my home. I was on the road for four summers, in recent years, and my yard is showing signs of great neglect. I also planted flowers, cleaned up my patio and have been cooking and exercising most days. I’ve been trying to spend time reading every day, reflecting and regrouping.
I have been reconnecting with old friends and family, through phone calls and emaiI, touching base with my parents a few times a week. I have been organizing and cleaning my house, one room at time—a very slow process, for I am going through files and piles I haven’t looked at for a very long time. A thrill has been to discover VHS recordings of old performances, and slowly post some to Facebook and YouTube. There’s been great feedback on work I’ve done over the years, some I only vaguely remember doing. Also, going through old newspaper articles, reviews, photos and correspondence. Good for the Soul—It’s been nice to reflect and revisit what people have said to me, about me and my work over the years.
It has been a motivator, and confirmation to continue creating and sharing with the world my voice, talents and unique point of view. We all have one,and each is unique to our life experience—what we want to say with our music, what we want to share with the world.
I have also recorded a few voiceovers and a song written by my friend, Bob Levy, from home. And, I’ve been on several weekly social-media gatherings, Including Richard Skipper’s Bookclub and Interviews, Jill and Rich’s Legends Radio Happy Hour, Church Prayer and Share groups, and many online concerts. It’s been really wonderful to see so many of my artist friends sharing their gifts and talents.
NLE: What are your thoughts about virtual performing at this time? You’ve not been engaging in that at this time. Might that change?
JR: I have held-off posting virtual performances—at least for now, for there are so many out there, I find it overwhelming. I have tried to be online and support a few friends each week. I’ve seen some wonderful and inspiring songs and shows, but there are just so many. And, with most people asking for donations, I, for one, can’t support them all. Everyone is hurting; everyone is struggling, and I just don’t have the funds to donate each time I watch someone’s online performance. Nor, would I want people to feel they’d have to donate/contribute to watch something I posted. Having done so many self-tape auditions and submissions over the last few years, I know how to film, light, etc. It’s just something I’ve chosen not to do, at the present time.
And, when you self-record, from home, even if you have your wonderful accompanist playing for you at the same time from another location, you lose the sense and experience of creating live—in the moment, for an audience—with give and take, and spontaneity. You are singing to a wall, a camera, a computer in an empty room, without a living, breathing audience and without a living, breathing band or pianist.
I’ve chosen to wait. I won’t rule it out in the future, especially if it’s the direction we are heading, but I’d rather broadcast a concert with at least my musicians with me in the room, and perhaps a few audience members. In fact, a friend living in Mexico asked me a couple of years ago to run a feed through, say Concert Window ( I think they are no longer here) to stream my live shows to audiences who couldn’t make it to, say, New York City, but who wanted to see the show. I would definitely be open to that!
NLE: Are you actively planning for a post-pandemic future? What is your game plan for the time when live performance resumes?
JR: I am creating a couple of new shows, and doing early research on those. I’m also trying to vocalize most days—so easy to lose your range and breath control after sitting around a few months. And, I had interest from someone who was going to start booking my show(s) all over the country, right before the world shut down, so I will resume with them, or someone else to book us anywhere and everywhere.
What is so different with NYC Cabaret (and all Cabaret) from much of the work I’ve done in the past is that the artist/singer is also the producer, the leader of the creative team and often the publicist—meaning, we pay for everything. We fund the rehearsals, the room, the salaries, the rehearsal space, the arrangements, the photos, the advertising, etc. So, there is so much cost, consideration, time and attention that has to go into every new show. I have to know I have a good job lined up (usually a contract position) to know I can move forward with a new show.
My wonderful Musical Director, Tedd Firth, and I had just started to meet and go through new music for our next show, when I was in NYC last November for a performance of our Sheldon Harnick show. I thought for sure I’d be back in NYC at least in February and April for work, and also to work on the new show, but all the work was canceled, as was all travel. So, I sent him a few ideas from home, but all is at a standstill, until I know I can move forward again. However, with all the positive press and reviews, and reactions to my vintage videos—we so appreciate the support—you can be assured we will be back, and we will continue to create and move forward.
I also look forward to heading to the recording studio to record our Sheldon Harnick show, at some point in the near future. We will schedule another Sheldon Harnick show, or two, when the Cabaret and jazz rooms open again in NYC, for people have been requesting it. And, we will get back to booking our show(s) at venues around the country!
Experience a sample of Jennifer Robert’s talent here, with Tedd Firth at the piano.
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