Courtesy of Emily Kristen Morris
The musical chairs of Twin Cities theater have brought a green goddess to a beloved stage. While Chanhassen Dinner Theatres’ Sarah Masterson takes a brief hiatus to star in Theater Latté Da’s “My Ántonia” through July 12, Emily Kristen Morris has stepped into the missionary shoes of Sarah Brown in “Guys and Dolls,” which is playing at Chanhassen Dinner Theatres through September and features Morris through July 15.
Morris, a former Elphaba standby on the national tour of “Wicked,” brings serious vocals and a fresh, sparkling energy to the stage. I sat down with the coastal transplant to talk about trading Ozian green for Chicken Chanhassen, the secret Elphaba sisterhood she shares with “Guys and Dolls” costar Madeline Trumble, and the “system reset” of Minnesota Nice.
Welcome to the Twin Cities! Before we dive in, I have to ask the quintessential Chanhassen initiation question: Have you had the famous Chicken Chanhassen yet, or are you still working your way through the menu?
Morris: I have not, but I promise I will.
“Guys and Dolls” is such a pillar of the American musical theater canon. Did you have a history with the role of Sarah Brown, or perhaps the show itself, before arriving here, or are you discovering her “Save-a-Soul” spirit for the first time?
Morris: She isn’t completely new to me, though this is actually my first time fully stepping into her shoes. I had certainly sung some of the music before, which actually connects back to a wild story from my senior year at the Cincinnati Conservatory of Music.
The orchestra program had received a grant to send a conductor to Guangzhou, China, for a “Broadway Night” concert, and they needed four musical theater singers to come along. The repertoire was packed with Golden Age classics, and I ended up performing three of Sarah’s marquee pieces: “If I Were a Bell,” “I’ll Know,” and the big love duet. Getting to sing those melodies with a full orchestra in China was an unforgettable experience. It was really the exact moment where I thought, “Oh, I would absolutely love to play this entire role one day.” So, arriving here at Chanhassen feels like a beautiful, full-circle moment.
You have a fascinating professional history, including serving as the Elphaba standby on the national tour of “Wicked.” Since you are sharing the Chanhassen stage with Madeline Trumble (Miss Adelaide), who also covered the role of Elphaba, have the two of you had the chance to swap stories about the green paint?
Morris: Oh, we have absolutely been talking about it! We didn’t overlap on the road, we were in the show at different times, but there is an instant, unspoken bond there. Anyone who has entered the “Wicked” universe shares a connection, but to make it even more niche, the Elphaba sisterhood is truly something unique. There are only so many women who have ever worn that green paint.
When you meet another Elphaba, there’s an immediate, mutual understanding of, “Oh, you did that. You know exactly what that takes.” It requires a massive amount of vocal and physical stamina, so there’s a shared respect for the discipline and grit the role demands. It really does feel like a bit of a theatrical blood tie. Madeline is fantastic, and it’s been so much fun swapping stories with her behind the scenes here at Chanhassen.
What is the one moment you look forward to the audience seeing every night? It could be one of your own numbers or something you simply enjoy watching from the wings.
Morris: I love performing “Marry the Man Today.” It is such a perfectly written song, and getting to share that number with Maddy every night is a total joy. The underlying message is something modern audiences still find relevant, and, honestly, the whole sequence is just hysterical to play.
Beyond the stage, you’ve built a very successful vocal studio. For the young, aspiring performers reading this who dream of a career like yours, what is the most vital piece of advice you find yourself giving your students?
Morris: Oh my gosh, there are so many ways to answer that, but it always comes back to two distinct things: continuous training and a strong sense of self.
Courtesy of Emily Kristen Morris
First and foremost, I am incredibly big on technique. You’ve heard of the “10,000 hours” rule—well, you truly have to put the time in. One of my college professors used to call musical theater an “overpopulated field,” and it absolutely is. It is fiercely competitive. I grew up in San Francisco, but I really got serious during my training in Ohio, and when I moved to New York in 2017, I spent a solid year waking up at 4 a.m. just to stand in the cold, put my name on audition lists, and wait until 4 p.m., only to be told, “We aren’t seeing non-union actors today.” To survive that, you have to completely love it, and you have to be an expert in your craft. In my vocal studio, I love working with singers to help them truly understand their own instruments, identifying their strengths, recognizing their tendencies under pressure, and learning how to counteract them. You have to remain endlessly curious about your own growth.
But the second piece of advice, which might sound a bit cliche, is figuring out who you are beyond the theater. What brings you joy outside of this industry? Your career is going to ebb and flow; there will be mountain peaks and there will be quiet valleys. Having a life outside of the stage gives you a grounded sense of self that keeps you steady through the industry’s turbulence. And honestly? It makes you a far better actor. When you have a full, lived-in life, you simply have so much more truth to bring to the table when you step into the audition room.
So, who are you? What brings you joy besides being on stage?
Morris: Oh my gosh, so many things! Recently, I’ve gotten really into knitting. It’s been a wonderful creative outlet because it’s a hobby that has absolutely nothing to do with furthering my career; it just allows me to completely turn my brain off and focus on making something with my hands. I’ve realized I love a lot of art forms that have nothing to do with the performing arts, whether it’s painting, knitting, or just spending time outside moving my body and getting a good sweat in every day.
Beyond that, my joy comes from my family. I have a husband and a dog, both of whom I love, and spending quality time with them keeps me deeply grounded. I also make my friendships a massive priority. So much of the beauty of being an actor is having a tight-knit community of other artist friends. I love being there to celebrate their big wins, going to see their shows, and helping them prep for their auditions. Nourishing those relationships and finding beauty in the quiet, everyday moments is really what fills my cup when I’m not under the stage lights.
Minnesota Monthly is dedicated to the spirit of this state. Now that you’ve had some time to settle in, how have you experienced that famous “Minnesota Nice” since your arrival?
Morris: It has been incredible. I am a coastal person through and through, having grown up in San Francisco and lived in New York, but I love being in the Midwest. Minnesota is famous for its “Minnesota Nice,” though I think a lot of the Midwest shares this wonderful energy. I did a show in Chicago for a few months last year and felt a similar warmth there. People out here are just a little bit softer around the edges, less intense, and less guarded.
New York can be a tough pill to swallow sometimes. I am completely used to it now, but coming into the Minneapolis theater scene was a totally different experience. Walking into the Chanhassen rehearsal room and being met with so many compliments and genuine praise was really new to me. It just goes to show that you can create an extraordinary artistic product while still treating people with kindness. What a concept, right? Making theater here has been a system reset for me. It is really lovely.
“Guys and Dolls” plays at Chanhassen Dinner Theatres through September 26. Tickets at chanhassendt.com.
