Less than two years ago, Jordan Tyson had never been on Broadway. In that short span of time, however, the talented actor has originated a role in a new musical and is currently starring in one of the most high-profile productions of the 2024–25 Broadway season.
The new musical, of course, was the recent stage adaptation of the beloved film The Notebook, which cast Tyson as Younger Allie, a character she shared with Tony winner Maryann Plunkett, who played Older Allie, and Joy Woods, who played Middle Allie. And, now, she has re-teamed with Woods, playing sisters June and Louise, respectively, in the critically acclaimed, Audra McDonald-led, George C. Wolfe-directed revival of Gypsy at the Majestic Theatre.
Tyson and Woods, in fact, share one of the many showstoppers of the evening, a thrillingly sung and intensely acted rendition of "If Momma Was Married," and never before has this duet been infused with such heartfelt, raw emotion. Tyson, who boasts an impressively rangy and powerful belt, also nails the humor of Arthur Laurents' script, and June's desperation to rid herself of her current situation is palpable.
READ: In Gypsy, Joy Woods Is Stepping Into Her Power
Tyson's other theatrical credits include Bulrusher at McCarter Theatre Center/Berkeley Repertory Theatre, Into the Woods at Pittsburgh CLO, The Notebook at Chicago Shakespeare Theater, Lempicka at La Jolla Playhouse, Streets of New York for the Irish Repertory Theatre, Folk Wandering for ART/NY, and I And You at the Weston Playhouse. Her screen credits include The Chair and Vampires vs. the Bronx.
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—Tyson reflects on a life-affirming trip to Italy, sharing the stage with co-stars McDonald and Woods, and the time she auditioned for Frozen on Broadway.
Where did you train/study?
Jordan Tyson: For
college I studied at Marymount Manhattan for two years before dropping
out—I never got to graduate. But I also credit a great deal of my
technical training to participating in NYSSMA [New York State School Music Association] All County/All State and
ACDA [American Choral Directors Association] All Eastern choral programs throughout my high school years.
Was there a teacher who was particularly impactful/helpful? What made this instructor stand out?
Too
many teachers… Kenneth Zagare, Brooke Haney, Ellen Orenstein, Vivian
Reed, Roberta Duchak, Timothy Johnson, Melissa Kollwitz, Drayton Hiers,
Ed Kresley, Lori Leshner, Emily Clark, Michael Montel, Christine Reilly,
Pat Simon… I name these people, but I’m sure I’m missing someone… There
are many more. They were all in my life at very formative times of my
life and artistry. They taught me how to prepare for a role, how to read
scripts, how to care for my voice and body. And the best of them taught
me how to love myself in the process.
Did you and Joy Woods know that you were both auditioning for this revival of Gypsy? When you both learned you had been cast, did you celebrate together?
I
keep things so close to my chest, so I kept it to myself that I was
auditioning (I get too nervous when auditioning to talk about them). But
it was so funny: One day she heard me laughing down the hall at Pearl Studios at a callback and came to find me… and the secret was out!
Once we found out we both were cast, we went to the Gypsy marquee to take sister pics to celebrate and make it real!
I always love "If Momma Was Married," but I don't think it's ever been
as powerful as it is in the current production, where there is such a
palpable sense that these two young girls have been mistreated. How did
you and Joy and George C. Wolfe approach the song?
George
really was clear on the fact that though these two young women are
sisters, it is only in this moment that they really get the chance to see each other, to meet each other, in a real way. They meet each other
here and find communion in this shared trauma they haven’t had the
courage to speak about until now. I think Joy and I as the sisters are
really trying to care for each other in our own ways starting at this
moment. It is grief, relief, care, rage, etc. etc. all at once.
What is it like sharing the stage with the history-making Audra
McDonald? Can you share a favorite moment working with her on or offstage?
Sharing
the stage with Audra is a true highlight of my life. For real. I grew up
memorizing every performance of hers I could get my hands on, wanting
to tell stories how she does—with such poise and abandon. My favorite
moments with her happen offstage when we are playing in character. They
feel sacred to me.
What do you think you learned about yourself as a person and/or actor playing Younger Allie in The Notebook?
Oh,
boy. I’ve learned a lot. But among the lessons I’ve learned from Allie,
one of the most touching for me was this: I am capable of showing up
and offering the unconditional love I dream of from myself, and for/from
my future partner. I, Jordan,
showed up every single day ready to hold whatever Allie needed to do to
find the bravery and hope she needed to trust her truest voice and
allow herself to love (if I’m honest, I think she did that for me
first).
Do you have a dream stage role?
I don’t have a particular dream role, but I’d love to work on something (probably anything) by Lynn Nottage or Paula Vogel.
Tell me about a time you almost gave up but didn’t.
I
was in one of my favorite places on earth, Italy, with one of my
dearest friends. I had an offer to stay in Italy as a sort of au pair
for this lovely family. For the first time, I found myself seriously
considering stepping away from the constant pursuit of a career in
performance—one that could sustain me in the ways I needed. I had never
had a plan B before, but I was burnt out by auditioning and constantly
overworking to make ends meet, so this was a real reckoning. My friend
sat with me in what felt like this enchanted Italian moment and helped
me make a decision by way of recommitting to my artistry. I decided to
return to New York, complete “The Artist’s Way,” and the latest chapter of my
journey seemed to take off from there.
What do you consider your big break?
It’s
funny… I don’t know if there’s a "big break." My journey in this
business has felt like a slow burn, not some sort of overnight success.
So many of my best and most connected performances have actually
happened in audition rooms with a select few directors and casting
directors. In a public sense, perhaps the "big break" is Gypsy, with
more people seeing my face?
What is the most memorable day job you ever had?
I
worked for years as a front-desk attendant at a spin studio. We had so
many Broadway performers come in and ride, so I felt my dream was so
close I could touch it. This is the job that introduced me to so many of
my dearest friends. It also allowed me a flexible schedule to audition
and leave town for gigs if I needed! RIP CYC, we love you.
Is there a person or people you most respect in your field and why?
Across
the board… Black women. To this day I spend much time devouring
autobiographies and videos and articles trying to soak in every bit of
wisdom that has been so graciously shared with the world both by
actresses who are now ancestors, and those who are here thriving and
doing their best work. The stories that strike me most are the ones of Black women who found their successes after 30, 40 years old. That level
of commitment to your vision is so under-appreciated by the world, but
so inspiring to me.
Tell me about a job/opportunity you really wanted but didn’t get. How did you get over that disappointment?
Oh
goodness, I remember pre-2020 I was getting so close to booking things.
I would get to final callbacks, but it just wasn’t my time, apparently.
I really wanted to book Anna in Frozen on Broadway and got very close, but it
didn’t go my way. I was really disappointed, but getting so close to the
“finish line” so-to-say, I felt encouraged and like I was on some sort
of precipice. Taking real stats of the progress I was making helped me
keep my head and spirit up.
In
such difficult times in this country and around the world, how do you
think theatre can play a positive role, either for yourself and/or
the community at large?
Participating
in theatre is how and where I learned how to be in community, to use my
voice, that my voice matters, and that I have an opinion—that I can
and must critically think, lead with curiosity, and act to incur reaction. This is at the core of revolution, healthy democracy, and
peace. So, if my performing is the key that leads another young artist
to awaken any of this…well, that is how theatre positively changes the
world.
