Cashae Monya

I’m asking veteran actors to name five dream roles and say why. The answers not only reveal aspirations, they may put an idea in the minds of artistic directors and producers — even choices that seem outside the box.

“What a daunting task! While some actors may have had a tough time narrowing down their picks, I struggled with conceiving a list at all. My love for theater is kinesthetic: I grow attached to stories and characters by experiencing them in rehearsals and performances. Without a visceral connection to the literature, I usually end up feeling disconnected from the story. Therefore, the shows on my list are ones that I have either performed in or have seen once before. Here goes!”

5) Marianna in Passing Strange, by Stew and Heidi Rodewald. “She sings a song called ‘We Just Had Sex.’ Enough said.”

Cashae Monya as T-Anne in Anton in Show Business (2008)

4) Little Sally in Urinetown, by Mark Hollmann & Greg Kotis. “Narrators are such interesting roles to play. I have yet to have that responsibility, but I imagine it would be difficult to juggle the complexities of a relationship with the audience and the players. Though she narrates, Little Sally’s perspective carries no more power than the ensemble or the audience. I love that she figures out the musical as she goes along. She is a lot like me: outspoken, inquisitive, and deeply empathetic. Overall I am mesmerized by the whimsical weirdness of this musical. I think I would fit right in.”

3) Juliet in Romeo and Juliet, by William Shakespeare. “Shakespeare scares the bejesus out of me. I performed the Bard once before in middle school and was too naïve to grasp the difficulty of such epic language. If I could perform Shakespeare again, I would treat the role with the upmost reverence and specificity. I am attracted to Juliet because she is so different from the type of characters I am usually cast to represent. Given the countless amount of times Juliet has been portrayed, it would be a remarkable challenge to play her in a manner that is unique, yet authentic to the intentions of the character. Wanting to play Juliet is truly a reflection of my competitive nature: I want to be thee best Juliet anyone has ever seen in their entire life!”

As Pecola Breedlove (on right) in The Bluest Eye (2012)

2) Felicia in Memphis, by Joe Dipetrio and David Bryan. “Memphis has become a foothold in my career that keeps me rooted, inspired, and confident. There is a moment in the show where a young girl — brilliantly played by me in the Playhouse’s world-premiere production — bumps into Felicia on the street while joyfully singing along to her song on the radio. The young girl bashfully runs away after marveling in Felicia’s presence. I did not need to do much acting in that regard; I absolutely was that young girl back in 2008, astounded by the opportunity to perform alongside some insanely talented and kind-hearted people. Playing Felicia would quite literally be a dream come true.”

1) Topsy Washington, in The Colored Museum, by George C Wolfe. “I discovered this play while attending a predominantly white school in a very affluent part of San Diego. While in the midst of a major culture shock that left me feeling isolated and angry, this play helped me to cope and find strength. What I find most appealing about Topsy: she no longer grapples with her identity. She has reached a level of self-adoration that is infectious and electrifying. Topsy is completely unapologetic about her heritage and the ‘madness’ that resides within her. I deeply admire her gusto and wisdom and would devour an opportunity to portray that level of sass onstage.”