Calvin Leon Smith Says Immersive Cabaret Revival 'Doesn't Let the Audience (or Performers) Off the Hook'

In September the Broadway revival of Cabaret said willkommen, bienvenue, and welcome to Calvin Leon Smith, when he succeeded Ato Blankson-Wood in the hit revival at the Kit Kat Club (a.k.a. the August Wilson Theatre).

Smith stepped into the role of Clifford Bradshaw in the immersive Cabaret the same day Adam Lambert and Auli'i Cravalho joined the company as, respectively, the Emcee and Sally Bowles. The Juilliard graduate seems to specialize in conflicted characters, offering as compelling a take on American writer Bradshaw—whose relationship with Sally Bowles plays out as the Nazis rise to power—as he did for questioning gay soldier Larry in James Ijames' Pulitzer Prize-winning Fat Ham on Broadway and Off Broadway.

The Obie winner has also been seen on stage in The Animal Kingdom at the Connolly Theatre, Open Throat on Little Island, Sweat for The Public Theater’s Mobile Unit, and The Miser for Moliere in the Park. His screen credits include The Underground Railroad, The Deuce, High Maintenance, Benny & James, and Better Man.

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—Smith shares the challenges of stepping into an already-running production and why he is such a big fan of Maggie Gyllenhaal.

Calvin Leon Smith in *Cabaret* Julieta Cervantes

Where did you train/study?
Calvin Leon Smith: I studied theatre in undergrad at the University of Tennessee, Knoxville and completed the acting apprenticeship at the Actors Theatre of Louisville. A couple of years after ATL and hustling in NYC, I received my MFA from The Juilliard School, and the summer between my second and third years did the British American Drama Academy Midsummer in Oxford program.

Was there a teacher who was particularly impactful/helpful? What made this instructor stand out?
Honestly, there are so many, but one who really sticks out is Deb Hecht during my time at Juilliard. She taught voice and speech and was excellent at teaching it. Her passion fueled my love for those elements of the craft. I still use her warmups before performances, and her tools are all up in my work on stage.

What is it like performing in such an immersive production as Cabaret, where the audience is so close to the stage?
It feels like Broadway to me! I’ve only been in productions on Broadway that incorporate this kind of feel. With material like Cabaret, the lack of a fourth wall doesn’t let the audience (or performers) off the hook. It might be the strongest way to expand one’s capacity to empathize theatrically.

What are the challenges and rewards of stepping into a Broadway production that is already running?
The challenges for me were not being able to rehearse with everyone or run the show in the theatre only a couple of times. Now, the rewards far outweighed the challenges. We had an amazing support team with stage management, directing team, choreographers, music coordinators. Everyone was so incredibly kind, patient, and their excitement was infectious. I also got to bring so much of myself to Cliff. I was a little afraid I wasn’t going to have much creative freedom, but I did.

Marcel Spears and Calvin Leon Smith in *Fat Ham* Joan Marcus

You made your Broadway debut in Fat Ham. Can you share a favorite memory — backstage and/or onstage—from working on that production?
What a production! I had great relationships with everyone in the cast and finding time to just chat and speak life into one another and laugh! I probably cried from laughter more on that show than any other. Also, meeting Whoopi Goldberg… I mean… come on!

Do you have a dream stage role or roles or any role you'd love to revisit?
I would love to revisit Daniel from The Animal Kingdom. As far as dream roles go, I can’t wait to get old enough to play Uncle Vanya and hopefully soon can step into Andrey from Three Sisters.

What is the most memorable day job you ever had?
I was a busser at Del Frisco’s when I first moved to NYC back in 2012. It was absolute hell. I would get sick sometimes before work because I hated going. The closing shifts were the worst. I sometimes wouldn’t get home until 3 AM. However, I did meet one of my best friends there and got to meet all kinds of people from Ed Asner to Azealia Banks.

Calvin Leon Smith in *Open Throat* Julieta Cervantes

Is there a person or people you most respect in your field and why?
Ask anyone who knows me, and they’ll tell you: Maggie Gyllenhaal. Her work has such an ease, specificity, and care to it. I love how she talks about acting and have so much respect for the work she chooses to act in and direct. It’s a dream of mine to work with her one day.

Tell me about a job/opportunity you really wanted but didn’t get. How did you get over that disappointment?
I auditioned for Lt. Yolland in Translations at Irish Rep. I was hoping to play this part that is historically played by a white man, and to work on a British accent was also enticing. Luckily, I had a trip planned around the time I found out I didn’t get it, so I was unemployed, but on a beach! When it opened, I got to see two of my favorites, Mary Wiseman and Owen Laheen, absolutely kill it in the production.

What is your proudest achievement as an actor?
To date, I’d actually have to say getting Cabaret. What a catch! To be only the second Black man to play Clifford Bradshaw on Broadway. It’s a trip! I auditioned for the original cast and didn’t even get a call back, and then when it came back around for replacements, I gave it another shot. And here I am!