Last year, Maya Boyd stepped into the title role of Broadway's & Juliet at the Stephen Sondheim Theatre, succeeding Tony-nominated original cast member Lorna Courtney.
Boyd's first leading role on the Main Stem follows her Broadway debut in Maria Friedman's Tony-winning revival of Merrily We Roll Along, where she appeared in the ensemble while understudying the role of Gussie and acting as a swing for several other tracks. She accomplished all this while simultaneously completing her BFA in musical theatre from the University of Michigan.
Boyd is now approaching a year in the hit jukebox musical & Juliet, which was nominated for nine Tony Awards and flips
the script on the William Shakespeare classic, imagining what would
happen next if Juliet hadn’t ended it all over Romeo. Featuring a book by David West Read, the score includes a
mix of tunes by Max Martin and more, including “Since U Been Gone,”
“Roar,” “I Want It That Way,” and “Confident.”
In the interview below for the Playbill series How Did I Get Here—spotlighting not only actors, but directors, designers, musicians, and others who work on and off the stage to create the magic that is live theatre—Boyd shares the challenges of performing the same role for an extended period of time, how performing as a swing enhanced her abilities as an actor, and why she has a deep appreciation for classical ballet.
Where did you train/study?
Maya Boyd: I studied at the University of Michigan
Was there a teacher who was particularly impactful/helpful? What made this instructor stand out?
I
am incredibly thankful for my voice teacher Caroline Helton. Her
dedication to my growth as a vocalist and performer allowed me to
blossom in a way that I could have never imagined. Not only did she
always meet me where I was at, but she also encouraged me to embrace the
challenges I experienced with my voice. Because of that, I learned so
much about my voice and how to support it and take care of it. I have a
foundation to really grow as a singer and performer, which I am so
grateful for.
You've been playing the title role in & Juliet for about nine months now. What have you discovered about the rigors or demands of
leading a show for an extended period of time?
I
love this question because this was something that I really had to
learn through experience. I had many trials and errors, but the lessons
I’ve learned from them are tenfold. I discovered how important it is to
prioritize your health. It took a lot of growth for me to learn that I
don’t benefit from constantly pushing myself past my limits. I had to
recover from two different vocal injuries since starting this role, and
it was difficult to let myself fully rest and take the time my body
needed. However, once I did really focus on resting, I was able to
recover and save myself from having to leave the show for a longer
period of time.
I also experienced just how crucial and impactful it is to have a pre- and post-show ritual/practice to get into and out of character. There aren't a lot of moments where I get to rest in this show on and off stage; most times when I am not on stage, I am changing into a different costume. I didn’t anticipate having to always be on, and I realized how draining that demand can be at times. Therefore, I needed to find ways to restore my energy, so I could do that eight times a week to the best of my ability. A show is as new and exciting as you are willing to make it, especially doing a show for an extended period of time. I am constantly looking for ways to stretch my curiosity and find opportunities to discover more about the show and Juliet. It’s really special having the opportunity to practice your craft every night.
How do you think your performance has changed during this time? What
are some of your favorite moments in the show for Juliet?
Nine
months in, I know the show inside and out, where I can now be fully
present in the story and with my scene partner(s). It makes the time I
have on stage so much fun because I am fully experiencing that moment. A
favorite moment of the show would be the number “Confident” when I
dance with almost the whole cast on stage. But my absolute favorite
moments are the scenes that I’m not in because I love to watch my
amazing castmates and the show when I can.
In Merrily We Roll Along, you also understudied the role of Gussie. What are the challenges/rewards of understudying on Broadway?
Another
great question! Understudying and swinging is so hard but is extremely
rewarding! There is a lot of trial and error learning how to
simultaneously learn multiple roles and performing them at a moment's
notice. I was an “onstage swing” in Merrily, meaning I was
actively on stage as part of the ensemble with my own track, while also
learning other ensemble tracks in addition to understudying Gussie. I
had to find a method of remembering changes to my role, while also
keeping track of any changes regarding the five other roles I was
covering. That often took the form of having five different scripts at hand
and writing down whatever notes my colleagues received as though they
were being said to me.
Swinging improved my ability to develop a character, as well as my memory skills. The faster I memorized the script, the more time I had to work on the quality of my storytelling and who my character was. It was important for me to find authenticity in each role while also being exact in what has been set and rehearsed by the creative team and the actors. Swings have to try and recreate chemistry that actors have weeks and months to develop, but it is also such a beautiful thing because when you share the stage with such incredible actors, they are right there with you. We are now both being present with each other and thus find our own chemistry that is specific to us. So yes, it can be very stressful, but you get to experience such great moments and learn such useful skills that are priceless.
Tell me about a time you almost gave up but didn’t.
I
grew up training pre-professionally in a Russian classical ballet
program, and it was very hard for me to believe in myself. There were
very few examples of Black girls and women like me in this specific
field, and there was one image that a successful Russian classical ballerina looked like that was quite the opposite of me. I
often questioned why I kept training and trying so hard. The answer was
that I held out hope that my work would at some point pay off, even
though I struggled so badly to notice and accept any progress. I
couldn’t see any growth because I had given doubt a voice
that invalidated any small accomplishment I had. I had to actively
practice identifying that voice as doubt and continue trying my best
anyway. I also had to learn and accept my limits, as well as understand
the unrealistic expectations this style of ballet placed on me.
Reframing ballet in a way that honored my strengths and weaknesses allowed me to appreciate the art for the discipline and resilience it gave me. If I gave up, I would have never learned such valuable things about myself and my body. I also began to love my body for what it could do, rather than dislike it for what it couldn’t do. Today, although I no longer train in ballet pre-professionally, I have a deep appreciation for it and the invaluable lessons it taught me.
What is the most memorable day job you ever had?
I
volunteered in Haiti after the earthquake in 2012 with my family, and
my job was essentially to play with the kids who were my age, and it was
one of the best experiences I’ve ever had. I made such meaningful
relationships by connecting through music, dance, and playing games. It
was so special being greeted with such love and reciprocating that
despite our language barrier. I don’t know if I will ever experience
something quite like that.
Tell me about a job/opportunity you really wanted but didn’t get. How did you get over that disappointment?
I
think it's incredibly important to not internalize rejection,
especially in an industry where I will face it time and again. I always
told myself that what is meant for me will find me. If I don’t get an
opportunity, it simply wasn’t meant to happen. I also believe auditions
are always worth something no matter who gets the offer. Whether it's
the opportunity of introducing myself to a great creative team or making
a new friend, I feel like I have always gained something, which prevents
any feeling of loss or disappointment.
Do you have a dream stage role or stage acting partner?
I don't have a dream role, but I would love to work with Cynthia Erivo at some point in my life/career!
What is your proudest achievement as an actor?
I
think my proudest achievement as an actor is being trusted by my cast
and crew to lead a show and tell its story. It has meant the world to me
to have actors—from theatre veterans to those just starting like I
was—who all trust that I am handling this responsibility with care and
dedication. I also would like to add having kids and aspiring performers
say that I have inspired them in some way. I am so happy that I am a
role model for some, and that my work/story resonates with people.
Do you have any other projects in the works?
Just some personal projects that give me joy!
