The Dive Podcast

14: The Power of Trusting Your Gut with Stefanie Jones

• Stefanie Jones • Season 1 • Episode 14

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🌟 Ever wondered what it takes to land iconic roles like Mary Poppins or Ronda in Muriel's Wedding?
In this episode, Stefanie Jones shares her journey in musical theatre, from childhood in Brisbane to studying at the Victorian College of the Arts. She discusses challenges in education, working in the industry, trusting instincts, and landing roles in productions like 'Mary Poppins' and 'Muriel's Wedding.' Stefanie offers insights into auditioning, self-trust, taking risks, and embracing opportunities in one's career. 
They talked about:

  • Stefanie's journey from Brisbane to Melbourne and her studies at the Victorian College of the Arts
  • The challenges and rewards of pursuing a career in musical theatre
  • Stefanie's insights into auditioning, self-trust, and embracing opportunities
  • The impact of effective leadership in the theatre industry
  • The continuous evolution and discovery as an artist

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Step Four: 🎥 Watch our MOST DOWNLOADED Podcast Episode with Luca Dinardo

Speaker 1:

I don't think I even realised that you could do musical theatre as a job until I was like much later into my teens that's when I actually was like, oh, you can be an actor. So pivoted it a bit and I really became quite serious. Sometimes you miss out on ones that you're convinced you're going to get, and that's happened a few times. I'm like this is I'm going to get this, and then you don't. And then sometimes you get jobs that you're like me, you, I'm going to get this, and then you don't. And then sometimes you get jobs that you're like me, you want.

Speaker 1:

Oh, so it's so, I'll pick it, just finding the literal energy to keep going, because auditions are so hard and draining and sometimes they make you prepare insane amounts of stuff, and sometimes you walk into a room and you feel like your resume maybe helps you in that space. And then sometimes you walk into a room and you feel like your resume maybe helps you in that space. And then sometimes you walk into a room where they don't care who you are or what you've done and you feel like you're just like back at level zero, having to start from scratch.

Speaker 2:

Hello everyone and welcome back to another episode with the Dive podcast, where each week we interview professional performing artists as we discuss their stories and dive deeper into learning how to navigate the challenges that we face as artists. I'm your host, taylor Scanlon, and today we have Stephanie Jones in the studio with us. We had the privilege of working on Mary Poppins together and she was the infamous Mary Poppins. We have a wonderful chat regarding how to keep going in the industry and persevering in the industry, and just a wonderful exploration of not only her training but also her career and the challenges that she faced along the way. I hope you enjoy the episode. Let's get into it, welcome to the show Stephanie Jones.

Speaker 1:

Hi Taylor, thanks for having me oh of course, and it's just awesome.

Speaker 2:

I love that we have our studio. If anyone's watching in, I'm in the studio, but Steph is in Sydney, I believe I'm home in. Sydney, in Sydney, playing zombie as a zombie. But before we get into all of that, I'd love you to just paint a picture of your training. And, yeah, start there for us.

Speaker 1:

Oh my gosh. Yeah Well, I studied musical theatre for three years at the Victorian College of the Arts, which was awesome. I'm actually a Brisbane girl, so I hail from Brisbane and I grew up there and had all my theatre experience growing up as a kid in Brisbane. So to move to Melbourne straight out of high school, to just be so deeply immense in that world sort of overnight, was like, honestly, I was the happiest kid alive because I was just surrounded by so many like-minded people and great teachers. I had a really good time there. A had a really good time. But I guess I first got my first theatre experiences when I was much younger. I did the 10th anniversary tour of Les Miserables as a kid in Brisbane, read Young Ifanine, and then the year after that I was Brigitte in the Sound of Music with Rob Guest and Lisa McCune and Jack Chambers.

Speaker 2:

There you go.

Speaker 1:

Yeah, we go way back. And then I just sort of did every high school musical that I could and every sort of holiday program that I could, and my parents were they spoiled me for opportunity with that sort of thing, like I was. Just they were always finding a program here or there for me to be part of, just to get all that energy out.

Speaker 2:

So yeah, oh, how sweet. So was it from like a very, very young age. It was always dance and theatre.

Speaker 1:

Yeah, yeah. Well, my first thing was violin. So I was always big in music. I started that when I was four and my mum noticed that I had a pretty good ear as well for singing. So I would sing along to the radio in the car or I would harmonize from a really young age. So I think I've always had the singing thing.

Speaker 1:

And it wasn't until a few years later when my mum was meeting other parents and other people through Les Mis and Sound of Music. Those experiences they're like oh, if she's serious, maybe you should get her into dance. And so she asked me if I wanted to dance and I was like sure, that sounds good. So I think I started dance at about eight, maybe seven or eight, so yeah, and then I was just sort of doing as much as I could and exercising those muscles, but I don't think I even realized that you could do musical theater as a job until I was like much later into my teens. That's when I actually was like, oh, you can be an actor. So pivoted it a bit and I really became quite serious.

Speaker 2:

Did you train anywhere else? I mean younger. Was it just like in the high school, or was there a separate school that you went to when you were younger?

Speaker 1:

No, there wasn't. I just went to a regular high school. The high school had a really good music program for my violin studies, which is why my parents were keen on sending me there, but it wasn't an arts high school or anything like that. I just did all my classes outside of school hours. So I was a pretty busy kid, like going to dance or a singing lesson or speech and drama lessons. So, yeah, I just sort of did that all separately. So I was, yeah, busy, but I loved it all so much I feel like every new year that rolled around, my parents were like, are you sure you want to continue with this and this and this? And I was like, yes, please, I didn't want to quit anything. So, yeah, busy time, but I loved it.

Speaker 2:

Wonderful. And then VCA were you there two or three years Three?

Speaker 1:

years.

Speaker 2:

Yeah, three years.

Speaker 1:

For 2009, 10 and 11. And I graduated at the end of 2011. Yeah, it was an amazing three years. We were that year that people may have heard of at VCA, where they actually they stopped any new intakes into the course and some other courses at the VCA as well, because we were sort of like merging in a new way with Melbourne University, who had a new chairman who was sort of pretty drastically trying to alter the way that our courses were taught and that she wanted to make them a lot more like book-based instead of practical, which is completely absurd, because what was a very practical, physical thing, you can't really teach it from a book.

Speaker 1:

So the future of the VCA was very much under threat. So we were the first official bachelor degree and then we were the only year group there for the three years because they stopped, it's not knowing if there would be a future for the course. So, yeah, there was like 30 of us who was just us for three years. So we did get a lot of undivided attention. And then we were involved with one of the biggest rallies in Australian history in 100 years I think which was the Save the VCA rally, and we all marched up to Parliament House, we did save the VCA. Unfortunately, some courses, like the puppetry course, didn't survive, which is a real shame, like the like the circus, circus part of it too, like those sort of super niche things that you could study. So yeah, it still did change the fabric of the university, but but still I had a good time and I didn't feel like my education was affected, which is the main thing, so that's good nice over the three years.

Speaker 2:

I'm sure you had lots of challenges and bumps along the way, but was there kind of one or two challenges that maybe you went through during your studies? That was more prevalent.

Speaker 1:

So long ago now.

Speaker 1:

I feel like it was just the reality that like you're not here to have fun, like it was fun, but you're not here to have fun, you're here to like make an insane amount of progress. And I suppose the teaching style then was to really sort of break you down to build you back up and figure out your habits and your blocks and all those things and pull it apart to reform the creative person inside of you with all these methods of teaching and methods of acting and ways to approach your acting. So it was hard and I certainly understood in those three years how hard it would be to be in this industry. So like our teachers did not hold back with explaining to us how difficult this industry can be and what the stats are of people who actually do go on to work and make a living from it. So like we're probably a bit of an anxious bunch by the end of three years. But I would say that that's. It was just, I guess, a turning point for me mentally and how I was approaching it.

Speaker 2:

I guess yeah, for sure, and that makes a lot of sense. I love that you mentioned that, because a lot of people in full-time studying they're going through so much but really realizing, understanding that you're progressing and doing so many new things and uncovering so many parts of yourself that it is going to be hard A lot of the time. It's not joyous, and the purpose of that is wonderfully articulated by what you just said. You really need to discover who you are as an artist, or at least begin to. I feel like we're all still discovering so many different parts of ourselves, but those time, that time is so crucial for really progressing and enhancing our skills because, like you mentioned as well, it is really just a short statistic of who continues to work, so it's tough.

Speaker 1:

Yeah, it is. And then you could really like feel the change, especially being studying in Melbourne. You're in this real sort of like arts hub and all the theatres are just up the road, the MGVs across the road, mtc behind us, so you have all these amazing teachers coming in who are working on professional shows. So you're just looking at them like nerve-wracking and you hang off their every word and you realise how good you have to be, how precise you have to be with your technique or your approach or your diligence and your commitment. So it was a real learning curve for sure, yeah.

Speaker 2:

And then when you finished, uh, vca, did you go into theater straight away, or was there a bit of a period where you weren't working?

Speaker 1:

yeah, there was definitely a period where I wasn't working. I think I was doing like okay in auditions. Maybe there were definitely a few where I sort of got cut straight away, but I think, percentage wise, I was getting callbacks, but it was almost two years before I actually booked my first gig. So I was working hard at the Village Cinemas on Chapel Street at the Jam Factory. That's where I worked in Gold Class and I met so many amazing friends there. It's a bit of a dark joke but we would joke that this was the actor's graveyard, because only sort of creative people would come to work there. But some of them are still my good friends today and some people who've gone on to do amazing things with their careers.

Speaker 1:

So, yeah, maybe there was something in the water at the jam factory, but it did take me almost two years to book my first professional job, which was South Pacific for Opera Australia, and I joined the second tour of that. It was so successful that they brought it back, but I think it did its first tour while I was still in third year. So it was amazing. I couldn't have been happier. And I say to the girls, the beautiful women who I met on that show, who are still some of my best friends today, I'm like I don't know how you could stand me. I must have been insufferable because I was just in the keenest there. But actually, before South Pacific, I booked a two-week workshop for King Kong and I was actually told that I had booked that show.

Speaker 2:

Oh, wow.

Speaker 1:

But please be patient with us. This is a brand new show. It's never been done before. We don't know where we'll slot Stephanie in, but we imagine she'll be just in the ensemble and maybe covering, and if she could come to our next workshop we're doing in Sydney for two weeks, we're helping to sort of fit everyone in where they're going to go.

Speaker 1:

So I had booked King Kong but I had only signed this little contract for the workshop and I didn't make the cut. I didn't get in, like I was in. But then I was devastated. Like I thought I'd essentially booked that show and we were just sort of waiting for paperwork. So that was a tough little learning curve. It's like you think you're in and then the rug can be pulled out from underneath you. I was really upset, I was really sad. I look back now and I'm like, oh, I was not right for that show. I wasn't the right kind of dancer. So like it's completely valid and fair, it just sort of set me back a little bit.

Speaker 1:

And then it was a few auditions later that I was auditioning for South Pacific and I remember being actually really depleted and really I'm such a vigilant person Like I really prepare for auditions. But I didn't prepare for South Pacific. I chose my song. I was over it. I was like I can't do this anymore, like that was energy. And then I went in and I did the best audition ever, and that's probably because I didn't care. I was just a bit more relaxed. So there's a lesson in that you can't make yourself not care when you know that you do. I just think maybe everything was aligning for that one and it was just sort of my fatigued energy that maybe made me quite relaxed and I sung really beautifully and I wasn't too in my head in that room. So when the director asked me to do something I was like, oh yeah, I can do that. So then it just sort of worked out.

Speaker 2:

But funny, funny how it happened, kind of like an in about a way of going towards auditions. Sometimes that form of not caring even though you do care just puts your body into that relaxed state, which is ultimately what we're looking for, and we can be more present and more clear and yeah, and sort of just shedding that.

Speaker 1:

I hate the word, but it's so true like I have been this desperate like shedding that aspiration for the gig because they can pick up on that when you enter the room. I guess it's so much easier said than done, but I do think back to that experience and I realize how I'm like hmm, that's interesting, I should try and do that more often oh gosh.

Speaker 2:

And then, when we do really want it, we're like oh you know, putting so much weight behind just the audition itself yeah, exactly hey, listeners, if you're interested in yoga, pilates or even becoming a yoga teacher, I highly recommend you come and check out the australian yoga academy. It's located in the heart of chapel street in melbourne, with daily yoga and Pilates classes as well as yoga teacher training to get you prepared to step onto the other side of the map. Whether you're here to be a teacher or not, you can come to the Australian Yoga Academy and find something for you. They also house Reiki, osteo and physiotherapy, and they're really just revolutionizing the way that we look at our bodies and also connect together as a community. Whether you're a beginner or a daily yogi, the Australian Yoga Academy has something for you. The Dive podcast is also filmed here and houses our sound therapy sessions each and every Monday To receive up to 28 days of unlimited yoga and Pilates, go onto their website, wwwaustralianyogaacademycom today to check out their generous intro offers for yourself.

Speaker 2:

Now that's enough for me. Let's get back to the episode. So then, three years of BCA, then nearly two years Village Cinemas. Gold Class then started into your career. I know every single show gives you something different, and we had the privilege of meeting each other on Mary Poppins. Has there been like a running challenge that you found along the way, or maybe a few different challenges that you discovered in maybe each of the shows that you've done, that you kind of experienced and maybe how you kind of got through that, because a lot of this podcast and episodes are based around the challenges that we do face as artists and maybe the challenges that not everyone sees. So do you have anything to kind of talk about that?

Speaker 1:

I would say the biggest challenge is that, like inner monologue and dialogue you are always having with yourself about like just finding the literal energy to keep going, because auditions are so hard and draining and sometimes they make you prepare insane amounts of stuff, and sometimes you walk into a room and you feel like your resume maybe helps you in that space, and then sometimes you walk into a room where they don't care who you are or what you've done and you feel like you're just like back at level zero, having to start from scratch, and so that's the thing with this industry is that there's no linear trajectory. And having just done Mary and I know I'm gonna hop on and do Mary again, but when my time as Mary is over, like I'm not under any illusion that the next job I will do will be as big or as cool as Mary Like I'll do a supporting or it'll be so different and just trying to mould yourself for each new little role that you're auditioning for, because I think everything I have done is so different and it's not so much well, it is moulding yourself, but pulling from other parts of your training or your technique to like, oh, this is really going to require this thing. So I'm going to put all that sort of Mary stuff that I can do this way to do this. So it's like you have to be pretty malleable, I guess, as an artist in the room, but also just as like a person existing in the industry, trying to move through it and navigate it. You just have to sort of be water and like not let the hardness of it like get to you because that ultimately I feel like I know that what is meant for me will not pass and also I'm always going to get the job that's meant for me.

Speaker 1:

And sometimes you miss out on ones that you're convinced you're going to get, and that's happened a few times. I'm like this is I'm gonna get this, and then you don't. And then sometimes you get jobs you're like, but me you want, oh, so it's, so I'll pick it no, you can't pick it.

Speaker 2:

oh my gosh, that's so true. I couldn't agree and more. And yeah, you had such an amazing career and I actually remember watching you in Muriel's wedding, which was just so awesome. And I actually remember watching you in Muriel's Wedding, which was just so awesome, and I actually watched it in Sydney. It's all about Sydney, so it was super special. What was your experience like on that? I mean that when you're looking at the other side inspection from Mary they're two very, very different roles and we'll get into Mary a little bit. Yeah, what was that experience like in Muriel's Wedding?

Speaker 1:

Oh yeah, I think Rhonda was like a little bit of turning point where I actually that's the role I felt like I had to prove myself most for, like in the industry, like I really had to prove that I can do something different to like Liesel von Trapp, so like the ingenue, the sweet sort of mezzo-soprano, like I really had to prove that I had something else to give. And again, muriel's was a really talk about like trusting your gut instincts, because I actually was desperate to do that show and I hadn't been able to get to Sydney to see it so I never saw it when they did it first at STC. But I was like listening to this cast recording and I was like I love this, I love this and I really wanted to be a part of it. And the auditions we sort of heard that it was coming but no auditions had been announced. And then I had actually been offered a role in School of Rock. I'd been offered that to go on tour like to China and I was like I have a role, like I can play a role in this show.

Speaker 1:

I haven't had a role for a few years Like I'd done Lidl and then I'd sort of gone back into the ensemble and covered and done some other things. I was like I can't believe I'm going to. I just knew, I just had a feeling about Muriel's wedding and if I took this job I wouldn't have been able to do that job. And I had also said yes to a co-op at the Hayes that would have classed with School of Rock and I just it didn't feel right and I tormented myself over it for like a week and I actually turned it down and I cried because I was like who do I think I am? I cried because I was like who do I think I am turning down a role in a show. I just knew that it wasn't right. So then I went and I did this co-op at the Hays where I met some pretty amazing people who are actually still a part of my life today, and someone in particular who took me under their wing during COVID and gave me a job in their office. So that sort of saved my butt.

Speaker 1:

So I met this person during Aspects of Love. I met my now husband when I was in Sydney doing Aspects of Love and then I got to audition for Muriel's wedding and I got it. So like I knew and I was just I can't explain the feeling, but I think we've all had that feeling and, honestly, just like, trust your gut, trust your way you might be supposed to go, because it was a real like fork in the road moment and I think back. I mean I like to think I would have met Aaron anyway in some other way, but like I met someone who really helped us during COVID by giving us work, I met my husband and I got to play my dream role in my dream show. So it was a real pinch me like I feel so lucky but also grateful that I knew myself well enough. Back I had to make that decision that I was like I really think I have a feeling I had such a strong feeling about it. So that's a crazy story, that one.

Speaker 2:

Crazy gosh. Talk about trust your gut. Yeah, for sure, it's always right. It's always right. We got to work together, like I mentioned on mary poppins. It was awesome to meet you and work together for almost two years, I think it was, or more. What was it like? I mean, I was there with you, but what was the whole experience? First of all, being offered such an iconic role and then going to play it together around all the different cities it was really special. What was that like for you?

Speaker 1:

It was so, so special Gosh. I mean I just feel like it's a perfect show and Mary is a beautiful role, the songs are stunning, it's such a beautiful book as well, and we had the Dreamcast of Dreamcasts and not that it wasn't like hard like we all knew how hard it is. It's a big show, it's a really big show. But I just felt like it was one of those things that was meant for me because not that it wasn't like hard on a lot of days, but also, at the same time as it being hard, I found so much of it really easy, or at least easy for me to approach and execute, because I think so much of what was required for that show and that role was innately something that I guess I had trained for my whole life All of my training has influenced and informed this. Like it just felt, yeah, like a really clear path of all that ballet training, all that singing, sort of just really.

Speaker 1:

All aligned sort of just really all aligned yeah, really aligned for mary, so I just had the best time. So I'm absolutely chuffed I get to have another go at it overseas. But it was hard. It presented like new challenges. I mean not simple, it sounds simple but like singing in a corset is not the best. It's really hard and the cold like really restrictive. When everyone would sort of say, oh, your posture, and I'm like, yeah, but the costume really sort of forces you in it into the wig prep.

Speaker 1:

There are people performing on stage right now, alphabarian wicked with the green, or like ben mingay having to do shrek like the. The prep for that I can't even imagine. But yeah, on this show was the putting the wig on because it was partly my hair as well, so like to interweave them all together, just like the. Getting ready was like a long process.

Speaker 2:

It was like a show in itself.

Speaker 1:

Yeah, and that's when, like when you're having those tired days, you're like I can't even think right now about having to do a whole show. I'm just one thing at a time. We're just putting the wig on that's all it is.

Speaker 1:

That's all it's just a wig, oh, now it's just a corset, now it's just a smart little boot. Okay, I'll go out there and I'll do scene one, like you have to sort of think of it like that a bit. But it was just fantastic. I think, like I was so nervous throughout that audition process because this is one of those ones where I was like I really want this and I know I want it and I'm not going to pretend that I don't, I really want it. And then when I got the job, I started, because it's always a bit of time, isn't it, when you get the job, and then when you actually start I think I said this to you all at our closing little circle when we were doing little speeches and Liam read his beautiful poem and I got the poem. Oh Christ. So come on, think about it. I think I said to you all I think what I was most nervous for coming into this was how to be a good company leader, because I felt like I'd been on shows where I'd had great company leaders and then maybe people who hadn't so much embraced that role, and I don't think I knew at the time what the overall difference was in the feeling of the company.

Speaker 1:

But looking back I felt like I was able to identify that it was a leadership thing can really influence everyone's overall happiness. I mean not that my presence there is the be-all and end-all for all of you. You were such a good, amazing group who were able to lead yourselves so wonderfully, there was no problems. We were so lucky. But I wanted to be a good leader and and then I just realized I was like I think being myself and being chill as much as you can be chill, doing that role just and having fun, is like going to breed happiness, I guess. Yeah, I felt so proud of us all that we had done such a long run and had lots of challenges, like all the new sets of kids or new cast or bouts of COVID and all of that stuff and we just a bunch of champions and we had a creative team as well. Just so amazing Stage manager, dream team.

Speaker 2:

It was a little dream for two years and I mean you get to now relive the dream going overseas and playing Mary once again. What was that like kind of lead up like? I mean, probably not as long as when you first were getting potentially offered Mary, did it kind of happen quick or was it still like a long process?

Speaker 1:

It happened really quick. I got my first email two weeks after we closed.

Speaker 2:

Wow.

Speaker 1:

And I was almost like I was not ready.

Speaker 2:

You were still grieving. Probably You're like it's over.

Speaker 1:

I'm still recovering. My whole body was just, and I think Jack got his email around the same time as well, but I wasn't sure if Jack had an email and Jack wasn't sure if I'd had an email and I didn't want to contact him in case he hadn't. So I just sort of sat with this information and, yes, I was very excited and instantly just chuffed to even be asked. My agent and I had a lot of questions because initially with that email there were no dates or no sort of prescribed length to us. So a little bit of me was like, is it going to be as long as Australia? Because I don't think I can do that again yes yes, but yeah, it won't be nearly as long.

Speaker 1:

But I'm also now I've had such a break from it and I still have six months to go before we start, so plenty of time to recover and just have fun doing some other things and then approach it fresh. But I'm pinching myself once again. My dad was actually born in Ireland and I have my Irish passports, but I've never actually been, so. I'm so excited to see that part of the world and to perform there and yeah, it's just going to be an amazing adventure, for sure.

Speaker 2:

Well, we can't wait to support you and we'll be sure to share it all over the dive when you're out there and doing your thing. And we all send you love, I mean on behalf of our cast. I'm sure we all wish we could be with you.

Speaker 1:

Yeah, that's the one thing I wish. I wish we could all go. I saw young Will the other night, who was one of our Stop. He came to see Zobby and she was like are you all going? And I was like no, I wish, I wish. I was like, no, I wish. But look I'm. Obviously I'm going to just widen my Mary Poppins family and I'm going to meet amazing talented people over there, so I can't wait to just like add them to the family. Yes, it'll be so much fun.

Speaker 2:

Well, I'm wishing you so much luck with it all and big chookers, and it's been awesome speaking with you. I know that a lot of people are going to get a lot out of hearing from your journey and your story and just to kind of like finish off and wrap it up. I always love asking at the end of the show if you could give any advice to younger steph when you were maybe training or you. Maybe you're having yourself doubt whether this is going to actually come true or happen. You're on your low days. What advice would you give yourself back then?

Speaker 1:

I, I think, because I am so immensely like, grateful and satisfied to be where I am right now, I wouldn't want to say anything that would alter that course. Of course, that apply effect. I would probably actually just say trust yourself. Trust yourself, because I maybe did have those few moments of doubt and I was like maybe I should do something else with my life. But I did always correct that and I stayed on course. And, yeah, just a little voice to empower me to keep doing what I'm doing, I think.

Speaker 2:

Yeah, that's wonderful advice. Well, thank you so much for being on today, steph. It was awesome chatting with you you too, and if anyone has any questions for myself or Steph, you can email us at info at the divecomau.

Speaker 1:

Yes, love answering questions. Sounds good, thank you, bye.

Speaker 2:

Thank you all for watching another episode with dive podcast. I hope you enjoyed it. If you enjoyed it that much and you wish to share it with a friend, please share the love, as this exact episode may be the thing that that person, your friend, may need. As always, you can like, comment and send us your review, and you can also email us at info at thedivecomau if you have any questions, want to share your highs or lows for the week? If you haven't already, head to our website at wwwthedivecomau, where you can find a whole bunch of resources, all the other podcast episodes and more to come. And if you haven't already, if you're watching or listening to this recording at the time recording tomorrow, we will have our dance masterclass with luca donato and myself at patrick studios or patrick school of the Arts at 7pm here in Melbourne the 2nd of April, so please come along if you're here. Otherwise, I hope you had a wonderful Easter and I'll see you on the next episode.