Drama Queens, a five-star arts journal focusing on female artists

Julia Fein Interview by Jen Bush

Julia Fein can be seen in the exciting new musical re-telling of Rip Van Winkle called Impossible But True.  Most babies first vocalizations are “ba ba ba”.  Ms. Fein’s were “la la la” followed by full-fledged songs.  Her academic studies at a highly prestigious university were both satisfying and practical.  “I was bitten by the acting bug early, singing melodies before talking and performing in my first musical at age six. I went on to study theater (& psychology) at Brown University. What I appreciated most about Brown’s theater program was that I left with an actor’s toolbox, which comprises a myriad of practices that I draw upon today.”  

In creating Ms. Fein’s character, she utilized details that dealt with the physicality of how people conducted themselves during the period in history in which the play takes place.  “Details are incredibly important always, but are especially so in historical pieces. On top of my own research, Cailín Heffernan directs with helpful specificity. She’ll say: “You would hold your skirt like this,” or “You can put your arm here, but not here,” for example. It’s fun to discover not only the differences, but also the similarities between the world of the play and the present day.”   

Ms. Fein’s creative process varies by project.  This musical maven is enjoying the fact that she can spend quality time working with the brilliant score.  “My creative process depends on the project! This show is mostly music, so I spend a lot of time digging into Dan Furman’s complex and gorgeous score. Cailín has cultivated a playful environment in the rehearsal room, in which I feel free to take risks. There’s no failing, because anything I try that doesn’t work for the show leads us to what does best serve the story.” 

  Impossible But True represents a specific time in American History being performed in a historic location.  Presenting the material could make the cast feel an added sense of responsibility in terms of authenticity.  “I always feel a responsibility to truthfully represent my characters and the time and place in which they live. In this case, Dan did most of the work in his book, so I can just focus on lifting his words off of the page. I’m so excited to perform in Old Stone House, as it will add such depth to the piece.

Ms. Fein would like the audiences to walk away from the show inspired, uplifted and a bit curious.  “The show ends with the beautiful song, Things Are Possible, and I think that’s a great ending note. While the song is uplifting, there is also room to wonder about the possibility of tragedy. The brilliance of Dan’s music is that, similar to the show’s title, and with real life, it contradicts itself.” 

When doing a play dealing with the American Revolution, one can’t help but think of the events that took place on January 6^th.  Ms. Fein has her own unique perspective on the similarities between the two events.  “My circle of family, friends, and collaborators are very left leaning, so it sometimes feels like I’m in a bubble. Staying in that bubble is naive and dangerous, therefore I try my best to pop it, whether I’m phone banking, writing letters, or simply reading the news. January 6 didn’t just randomly happen; it reminded me that there is no small election.”

Ms. Fein is doing all the right things to ensure future employment in the arts.  She is also availing herself of this artistic playground known as New York City.  Her creative toolbox is open and ready to be used at a moment’s notice.  “I’m currently looking for representation and keeping up with my voice and acting classes. I also try to see as much art as I can in this vibrant city!”