Alumni SpotlightJanuary 2011Shalita Grant,2006 YA Winner in Theater/Spoken and Presidential Scholar in the Arts

such as King Henry IV, The Crucible, Saturday Night Sunday Morning, and The Americans, in addition to being part of the NYC Fringe Festival Roxy Font. Shalita was always drawn to the work of Josephine Baker, who “served as [an] inspiration for what’s artistically possible.” Following graduation last May, she performed for the Public Theatre’s “Shakespeare in the Park” series, first in Winter’s Tale and then in Merchant of Venice, alongside acting legend, Al Pacino. Currently, she’s in a production of Measure for Measure, directed by Michelle Hensley, and will appear the short film, Empire Corner.

“At this stage in my career,” Shalita admits, “the experience is everything.”

WWe recently caught up with Shalita and asked her to share some insights about the YoungArts program and the life of an actor:

1) How has YoungArts prepared/affected your life?

YYoungArts was the sole event in my life that encouraged me to believe that not only was I on the right path in my life, but that many people loved and appreciated the work that came from me. Before YoungArts I was rather tentative about fully investing in a life in the theatre as an actress. And I also didn’t think I would be a YoungArts winner or even be recognized because I thought what I was doing was so small that no one would ever see it. When my teachers said that we would be competing with artists from all over the country, I knew I didn’t have a chance—or at least I thought I didn’t. As my teacher sent my audition tape, there was no way for me to back out of the potential embarrassment I knew I would be facing. of the potential embarrassment I knew I would be facing.

However, winning and the incredible week that I spent in Miami taught me that half the battle is showing up. The way I see the world, how I understand people and relationships is not only unique but can hold the interests of many—it’s inspiring and enlightening. Before YoungArts I didn’t think my voice mattered. And after YoungArts I understand the validity of my place in the world. My preparation from YoungArts has been one of much validation and appreciation. And the effect it had [on me] is still felt. When I walked into the doors of Juilliard, when I walked across the stage, and now, when I walk into a new audition room or rehearsal hall, I know that I am bringing somethingsomething unique to the table and that I am skilled and trained to recognize that the other artists are as well. And I do not have to be intimidated - I can embrace it!

2) What obstacles have you faced in your professional career? How did you overcome them?

WWell, my professional career is honestly just beginning. My first job was with Shakespeare in the Park this past summer. I played Emilia and Mopsa in Winter’s Tale and was in the ensemble for Merchant of Venice. I was surrounded by the talent and achievement of people like Jesse L. Martin, Al Pacino, Marianne Jean-Baptiste, and Jesse Tyler Fergueson, to name a few. And now I’m playing Escalus and Juliette in Measure for Measure with Rob Campbell, Meg Gibson, Carson Elrod, as well as others.

ObviouslObviously, one would think being in the room with artists of such stature and achievement is an obstacle. But what I have faced in the few months of working professionally is the rejection. After YoungArts and the amazing reception and validation I had after that week, and also, after four years of rigorous training at Juilliard—where I was encouraged to take artistic risks, stretch my talent—I’ve entered a in a world where all of that is challenged.

ThisThis new world is full of “They loved you but you didn’t get the job because they thought you were too short/your hair is too curly/ [or my favorite] they’ve decided not to go African-American for the role.” This new world is full of this kind of rejection, which is based not on my talent but because I didn’t wear the right thing, or I look too young, or they simply liked someone better; that rejection has been the hardest for me to stomach. However, I’ve known all along that I would face the rejection. I heard all about it while in the safety of my training program but mistakenly believed I was immune to this problem, that my talent and personality was too big to ever be rejected. AndAnd the fact that I was terribly wrong confronts me almost daily. Getting to the last round of callbacks to be told the prize is not mine or to walk into a room and intuitively know by the looks on the casting director or director’s face that they aren’t interested in what I am going to say before I even open my mouth - this is the new reality.

I would never say I’ve overcome the pain of rejection but I cope with it because I have an amazing support system. What this has taught me is that being an artist means I can’t live on the proverbial island. I have to depend on the strength of others and be willing to give of myself, whether it’s time or encouragement, even when I feel the most hurt and hermit-like.

What’s also comforting is the fact that this business is about building professional relationships. And the truth of the matter is, I’ve only just begun, and I’ve had great feedback from those that I’ve auditioned for. And I constantly have to see the bright side—the constantly have to see the bright side—the rejection isn’t because I’m not a good actress. I’m learning to stay professional and to always do my best, even when I feel the deck isn’t stacked in my favor. And so far, things are working out for me.

3) Who has inspired your work?

WhileWhile I’ve never had an idol per se, I have always admired the life and work of Josephine Baker. The way she cap-tured the attention of the world with her larger-than-life characterizations and beautiful voice, her service work and even her pitfalls, serve me as cautionary tales and inspiration for what’s artistically possible. But I’m often attracted to the work of those who breathe simple humanity into the characters they assume. Those who aren’t interested in getting it right but getting it real. When an artist does the transcendent act of being wholly themselves and someone else at the same time - that’s what I aspire to do. For me, that’s the true goal.

4) What are your future projects?

IWell, you’re asking an actress what my future projects are, to which I answer, “I have no clue.” I can tell you my goal is to be on a television show making people laugh from deep down in their bellies. But right now, I’m simply taking it as it comes, whether it’s theatre, TV or even film. At this stage in my career, the experience is everything.

Undoubtedly, Shalita Grant has accomplished more than the average actress since participating in YoungArts five years ago. “Before Young Arts I didn’t think my voice mattered,” the graduate of the Baltimore School of the Arts said. “But after Young Arts I came to understand the validity of my place in to understand the validity of my place in the world.” Following graduation, she was cast and prominently featured in the Oscar-nominated documentary, Rehearsing a Dream, which chronicles the learning experience of all the national finalists during YoungArts Week. The film aiThe film aired on HBO.

Shalita was accepted at the prestigious Juilliard School in New York, where she performed in historically renowned plays