"I take great pride in offering Paul the job where he quit his 'real job' and made the leap into the arts as a profession. His talent has played a huge role in the development of our summer stock season here in Platteville and I'm proud it is his summer home. Paul is an amazing professional, an unbelievable talent and a great friend. He has a great future as he grows and develops his skills in all areas of theater."
—John Hassig, Heartland Festival Producer
To meet Paul Helm is to be greeted with unconditional kindness and generosity. To see him perform is to experience a wellspring of abilities and talent. His on-stage presence commands your attention and his array of artistic skills seems limitless. He is a much sought after and appreciated actor, director, and musician. His versatility and seeming indefatigable dedication to the performing arts stage makes him a true slice of Milwaukee theatre.
How long have you been working in Milwaukee?
I've been involved with theatre since my freshman year of high school, both in school productions and community theatre. I started working professionally in 1999 when I was cast in a Florentine Opera production (I've been a member of the Florentine Opera chorus ever since).
What might we have just seen you in?
My last role in Milwaukee was Samuel in The Pirates of Penzance at the Skylight Opera Theatre. My other recent credits include The Magic Flute (Florentine Opera), Guys on Ice (Milwaukee Repertory Theater), The Happy Elf (First Stage Children’s Theater), and Sometimes A Song: The Music of Dan Fogelberg (American Folklore Theatre).
Tell us a little bit about your role(s) at the University of Wisconsin-Platteville Heartland Festival.
I've been involved with the Heartland Festival since 2004. In fact, the Heartland Festival was my first official "starving artist" job. I left my full-time office job to pursue a full-time career in the performing arts. Being hired by the Heartland Festival was what started it all. I first started out as an actor and music director for the Festival, performing in three different shows each summer that followed a rotating repertory schedule. During my second summer at UWP, the producer John Hassig asked if I would be interested in directing. I was grateful to be given such an opportunity, and now I've definitely caught the "directing bug." My directorial debut was the Heartland Festival's production of Seussical in 2007. Although I still continue to perform on stage at the Heartland Festival, I now direct at least one show each summer. This summer I directed You’re A Good Man, Charlie Brown and performed principal roles in Forever Plaid and The Producers. The production values and talent get better and better every summer and I am eternally grateful and honored to be a part of it.
What’s been the most difficult/interesting part of the Festival for you?
Learning three shows at one time has definitely been a challenge. Performing the shows in repertory has been an even greater challenge. But I don't know how to explain it— it all just works out. Muscle memory is pretty fascinating to me, and it's so great to be able to add three different shows to your resume at one time. Also, in a summer stock, you're working with quite an array of people. Some people do this sort of thing for a living, while others are still in school. Some have performed in a countless number of productions, while others are doing it for the first time. Regardless of how much talent you have, or how inexperienced you may be, it's fantastic to see so many people coming together for the summer to do what they love to do most: make art. Next year is the 10th Anniversary for the Heartland Festival.
How did you get started in music/acting/performing in the first place?
Well, to make a long story short, playing the piano is where it all started for me. A friend of the family's, who lived across the street from us, would baby-sit me when I was young. One day, we were watching Indiana Jones and the Temple of Doom and at the beginning of the movie, Kate Capshaw sings "Anything Goes" in Japanese. I told my babysitter how much I enjoyed that song; she pulled me over to the piano and asked me to try plunking it out. I picked up on it pretty fast, and that's when she urged my parents to enroll me in piano lessons. I took lessons through my sophomore year of high school, but continued to play piano in my high school band. Coincidentally, Anything Goes was the first musical I was ever involved with. I played in the pit orchestra. I never had the courage to get up on stage myself until my junior year, when I got cast as Albert in Bye Bye Birdie. From there I ventured into community theatre and started to perform professionally in the fall of 1999. I can't even imagine my life without the performing arts, and it's all thanks to my babysitter!
What’s been one your favorite roles/shows?
Seymour in Little Shop of Horrors is certainly on my list, with Snail in A Year with Frog and Toad close behind. Two roles that I could never grow tired of playing. I'm currently playing Max Bialystock in The Producers, which will definitely be added to my favorites.
What’s been one of your favorite rehearsal/performance moments?
I was music directing a production at the Milwaukee Rep for the Stackner Cabaret. Pam Kriger was choreographing. During one of our breaks, I was chatting with Pam and mentioned that I enjoyed running. She gave me a look and said, "YOU run?" Later on that day, we're back in the rehearsal hall, and I had to step away to use the bathroom. I walk over to Pam and said, "Pam, I'm gonna RUN to the bathroom," and the smartass I am began slowly running toward the door. But, to get to the door I had to pass through a black curtain, and unfortunately I was not aware of the recycle bin that was conveniently placed behind the curtain. So, well, you can just guess what happened. Just like a movie— CRASH! Completely humiliating. You could hear me putting the recyclables one by one back into the bin behind the curtain, as Pam and the other actors had a good laugh. A good, LONG laugh. Nonetheless, I adore that Pam Kriger.
Do you have any sort of pre-show routine?
Not really. I'm not the most adventurous actor. Vocal warm-ups are a must, and perhaps some stretches if the role is more physical, but nothing too extravagant. Things that help with my singing: apple juice and lemon drops (not together of course), especially if I have to reach some ball-busting high notes. And I'm a "card guy”. More often than not, I carry index cards with my lines and song lyrics on them during the rehearsal process.
What do you do when you’re not performing?
Sleep. Since the performing arts consume most of my daily schedule, it's rare that I'm not doing something that isn't arts related. But when I do have those moments of free time, I enjoy spending time with my family and friends, I love to run, see movies, travel, and sometimes, just a night at home with absolutely nothing to do is priceless.
What’s the weirdest / funniest / most awful thing that’s ever happened to you onstage?
I was doing a production of Seussical. I played a Wickersham Brother, one of the monkeys, at First Stage Children’s Theatre. A few minutes before the show started, I realized that the zipper on my leather pants, yes, I wore leather pants, was broken. Only having a few minutes before I had to go onstage, one of the costumers suggested to just close my pants with a few safety pins, and she would fix/sew the broken zipper the next time I'm offstage. So there I am, singing and dancing in front of all these kids, and, well, the safety pins didn't hold too well. It suddenly wasn't a show for kids anymore. Anyhow, as soon as I got offstage, I ran to the costumer to see if she could fix things before I went on stage again, which was only a few minutes later. She grabbed a needle and thread and began to sew. I was still wearing the pants. Times running out, and my entrance is in just a few seconds. I had to run to make my entrance only the costumer wasn't finished. I made my entrance just in time, but as I'm dancing, I feel something hitting the inside of my leg. There, dangling from my zipper, is the thread and needle. I had to perform the entire number with such caution, or else the needle would fly into the audience. I can still remember the costumers watching from the wings, barely able to breathe they were laughing so much. Talk about being on pins and needles!
What is it that excites you about Milwaukee Theatre?
I think the support for the performing arts in Milwaukee is extraordinary and highly professional. Every time I've performed outside the city and/or state, I've always said, "We've got it good in Milwaukee." The performing arts in Milwaukee are incredibly strong, both in support from the community and the quality of the productions. Plus, there are SO MANY outlets to perform, direct, choreograph, etc. in Milwaukee, both amateur and professional. I've been very blessed to work as much as I do in Milwaukee, but I never take it for granted. Most of all, the Milwaukee theatre community is really like a family. Being a part of this family has been invaluable, and I truly believe that the closeness and tremendous support within this family really separates Milwaukee from most other theatre communities.
What show/performance is next for you?
When I return to Milwaukee I'm actually taking a much-needed break before I start music directing Junie B. Jones and a Little Monkey Business at First Stage Children's Theater, playing piano in the pit orchestra for Concordia University's production of The Will Rogers Follies, and performing the role of Jinx in the Skylight Opera Theatre’s Plaid Tidings. I learned that to survive in this business, you've got to wear many hats.
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