Colton Ryan (‘New York, New York’ and ‘Poker Face’) on recreating the sound of the 1940s and working with legends [Exclusive Video Interview]
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“I’m a nerd first,” Colton Ryan quickly points out. In that sense, the actor is having the time of his life on his two recent projects which have connected him with legends in the industry. Ryan recently worked with auteur director Rian Johnson on the hit Peacock series “Poker Face.” He also currently stars in the new Broadway musical “New York, New York,” where he is directed by Susan Stroman while singing tunes by theater icons John Kander and the late Fred Ebb (with an assist from Lin-Manuel Miranda). “From my nerd perspective I’m just elated that I’m even associated with any of these songs,” admits Ryan. Watch the exclusive video interview above.
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“New York, New York” is set in 1947. War is over and the city is full of hope as artists flock to the metropolis in hopes of making a name for themselves. That includes Jimmy Doyle (Ryan), who has his sights set on becoming a successful musician. Ryan’s voice possesses the gentle floating quality of classic crooners of this era. “There is a portion of my soul that is completely dedicated to this kind of singing,” he admits. When he first began singing in his youth, his family’s interest would perk up when he embodied the likes of Frank Sinatra, Mel Torme and Chet Baker. So he continued to pursue their sound.
This period specific sound is perhaps most evident in the number “A Quiet Thing,” which Ryan is ecstatic to sing night after night. The tune is “the Rosetta Stone of Kander and Ebb” according to the performer. It requires him to croon in an almost-whisper for much of the song, quickly bringing the audience to rapt, silent attention. “I’m always obsessed with how sound is another storytelling craft in and of itself,” he explains. In a world where most Broadway show tunes sit in a singer’s chest voice for maximum belting, “A Quiet Thing” forces the audience to lean in closer and experience other vocal dynamics not often heard on the rialto. “It’s a little protest mission on my part to experiment with all that, all those other colors,” explains Ryan. “The whole musical is this big unapologetic return to what makes musical theater so timeless.”
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In addition to vocal specifics, Ryan is also focused on the physicality of his characters as well. In his episode of “Poker Face” (“The Night Shift”), the actor plays Jed, a mechanic who spends his nights longingly spying on a woman who works at the gas station across the road. One night, perched atop the roof of his shop, he pushes another late-night worker to his death in a fit of jealousy. ”I saw this little incel kid as really relatable in some ways,” notes Ryan, referring to Jed’s quiet desire for something he cannot have and struggles to express. The actor found himself slunk into a slouching posture which defined the “moody” and distant nature of Jed. The actor’s physical work has gotten easier the older he gets, as he learns to relax more instead of trying to force certain moments in a scene. “There’s something in the relaxation that’s just really connected me to my body over the years,” he describes.
Perhaps it’s easy to relax when receiving direct advice from distinguished creators like Kander or Johnson. “This man has given so much to this art form I love. So really anything he speaks is bible for me now,” Ryan says of Kander. “He is a guy who is relentlessly in pursuit of truth.” So what’s the best advice the composer has doled out? “A life in the theater is the best and most lucky life you could live,” reveals Ryan with a smile. “I’ve never seen someone so contented, so you just believe it.”
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