The Incomparable Josh Rhodes Discusses Building a Career, Not a Competition!
Everyone has influences and inspirations in the industry, and I can truly say that Josh Rhodes checks off both of those boxes for me. I had the honor of meeting Josh when I was privileged enough to be performing in a show he was directing and choreographing in Guys and Dolls at The Asolo Repertory Theatre several years back. To this day, that is truly an experience I have kept near and dear to my heart. Josh has directed and choreographed for film and television as well as theatres all across the world. On Broadway, Josh has choreographed Rodgers and Hammerstein's Cinderella, First Date, It Shoulda Been You, and Bright Star. He was also the Assistant Choreographer for the Drowsy Chaperone on Broadway. Overseas, he has choreographed Carousel on London's West End, the European tour of Doctor Dolittle, and worked with the European National Opera.
Josh has worked as a director and choreographer for renowned theatres such as New York City Centre Encores, the Muny, The Asolo Rep, and the Old Globe. His most recent director/choreographer credits include Mack & Mabel at New York City Centre Encores, Sound of Music at the Asolo Rep, and Paint Your Wagon at the MUNY; He has also recently served as choreographer for Scotland Pa at Roundabout Theater and Beau at the Adirondack Theater Festival. Prior to Covid-19, Josh was choreographing “Knoxville” at the Asolo Rep. with director Frank Galati. Up Next, he will be directing and choreographing Seven Brides for Seven Brothers at The Muny and Hair at The Asolo Repertory Theatre. As a performer, Josh has been seen on Broadway in Urban Cowboy, Sweet Smell of Success, Bells are Ringing, Fosse, and Chicago. He is a proud graduate of The University of Michigan.
I am so beyond honored to have the chance to feature such an amazing artist and even better person!
How old were you when you knew you wanted a career in the performing arts?
Somewhere around 10, I started dancing and became obsessed with musicals. I saw the national tour of Annie, and I wanted to be on the stage. I even thought I could play Annie. I assumed they would be okay with changing it to Andy if I ever got to audition. My voice was very high, and I could mimic Andrea McArdle perfectly. (Something voice teachers would have to deal with later.)
When did Choreography and Directing come into the picture?
Casey Nicholaw took notice of me in preproduction for “Sinatra” at Radio City, and at a show at Encores. I would run around the room and offer suggestions, or try to read his mind to make him happy with the creation. I was just having fun. He then called me and asked me to be his assistant on The Drowsy Chaperone on Broadway. It was my first time being on the other side of the table, and it gave me a front row seat to crafting a Broadway musical. That show opened up so much for my choreography career.
Directing jobs came after I choreographed Bright Star. Barry Edelstein, the artistic director at The Old Globe in San Diego, watched rehearsals and pulled me aside and said, “ You’re a director.” I am always so grateful when people see movement as another form of storytelling. Barry observed my process, and then offered me my first play to direct in the next season, and it really changed my career path.
Are there any teachers, mentors, or people in your life (past or present) who have truly help you become the amazing, all around artist you are today?
My “Dance Dad” is Gary Shull. He taught me in Decatur, Illinois where boys were not taking dance classes in a blue-collar town in the 80’s. He was the person who pushed me to dream big. He also taught me a lot about working with kindness. He is one of the kindest humans.
As a director, I would say that Michael Edwards at the Asolo Rep has been a contemporary mentor. I truly feel like he has given me a grad degree in directing with his constant analysis and encouragement. He has shaped so much of what I do on stage.
The past 18 months have been tough for everyone, and it definitely has left a level of uncertainty for artists of all genres. What were some things you did to keep your spirits up, and how does it feel for you to see the light at the end of this tunnel getting brighter?
This year was definitely a roller coaster of emotions. At my best, I was able to turn to nature to be present. I am lucky that I have a cabin by a mountain. I watched birds, planted green things, cooked like it was a career choice, and remained calm. At my worst, I was agitated, grouchy, forlorn, and stuck.
Another bit of grace came from the writers in my life who were constantly working on their next product. As a director, the long process of analyzing, encouraging, and noting new work is a full-time job. I am so happy with some of the work that continued through the shutdown, and I am happy I was able to be a small part in pushing the work forward when we all felt like we were stranded.
Your career is truly inspiring on and off the stage. Are there any shows (performed in, directed, and/or choreographed) that you have done in your career that stick out and will always be near and dear to your heart?
My first big dream was to be on a Broadway stage. I think you can’t beat the first time it happened for a performer. For me it was Fosse. It was the biggest dance show, and it made me into the Broadway performer I always hoped to be. It was a LOT of work and drama as it went out of town for years, but it built a foundation for something that I will use for the rest of my career. There is probably something from the Fosse experience in everything I do.
What advice would you give any young aspiring artists who want a career in theatre?
Build a career, not a competition. If you love being in the career of theater, you will find a path. When you only want the job to win something, you won’t actually love DOING it.
A wise Broadway veteran told me backstage while gearing up to do a performance of Man of La Mancha, “ Don’t let 'em fool ya, buddy boy. This is blue collar work.” The magnificent Gregory Mitchell was passing down the knowledge that the art is in the repetition. The art is in the chance to work, and it is work. The show, the stage, the director, the theater’s reputation is not going to give you anything when it is the 8th show of the week and your 10th month of shows. You have to be able to tell yourself, “This is the magic. This is what I trained for. This, oddly, is the dream.”
To learn more about Josh, make sure you visit his official website at https://www.joshrhodes.org