Cover Letter
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Writing this profile provided a lens through which I could connect with the broader course theme of language politics. Jacob’s personal journey illustrates the transformative power of language and it reflects the theme of language’s role in personal growth and identity. Moreover, his experience with adapting to different English dialects and languages highlights the language’s connection to cultural diversity. Jacob’s challenges with understanding complex and historical language exemplify the need for language adaption, echoing the theme of language evolution and the complexities of comprehending intricate linguistic forms. Jacob’s journey serves as a real-life testament to the multifaceted role of language in various aspects of life and aligns with the central themes of language politics.
What I’m most proud of with writing this profile was being able to gather enough information about my peer in order to really capture the person he is and what message he wants to convey. For this profile, I made sure to use rhetorical devices to craft an engaging and authentic portrayal of Jacob Hodes’ journey in the world of musical theater. Direct quotations were used to capture his authentic voice and emotions, providing firsthand insight into his experiences. Repetition was also used to emphasize the central theme of the transformative power of language. I added hyperbole to really highlight the challenges that Jacob faced and to add a touch of humor.
This profile’s intended audience is individuals who may have experienced feelings of self-doubt, discomfort with public speaking, or a sense of not belonging. This profile conveys a message of empowerment, self-discovery, and the idea that everyone’s struggle with language and self-expression is valid and significant, regardless of age or background.
Peer Profile
Language Through Musical Theatre
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During this insightful interview with 18-year-old Jacob Hodges, we explore the profound impact of his theatrical journey on his understanding of language and its significance. Jacob shares his experiences, challenges, and growth as a performer, highlighting the role language plays in his life on and off the stage.
Despite initially struggling with shyness and a reluctance to speak, he embarked on his theatrical journey at the age of 15. He candidly admits, “I was painfully shy and I didn’t want to talk,” and even found memorizing scripts to be a tedious task. Yet, it was precisely this challenge that set him on a path to discovering his love for performing. Jacob’s initial reluctance to speak and memorize lines led to a transformation where he not only overcame his shyness but also, sharpened his public speaking and reading comprehension skills.
Jacob Hodges had an early introduction to the English language, thanks to his mother who was an English teacher. His skill in English was remarkable, as he even completed kindergarten with a 2nd-grade reading level in English. Currently, Jacob is pursuing a college degree in musical theater, where he has encountered new language-related challenges, particularly when working on adaptations of Shakespeare’s works. He explores various English dialects, expanding his linguistic skills. Although he excelled in English, he has encountered difficulties in plays that involve complex language and often relies on tools to comprehend the meaning of certain words. With a touch of humor, he shares, “These works often use dialogue and text that I seriously don’t understand at all.” This candid confession underscores the ongoing journey of growth and adaptation that is integral to his career.
Jacob also highlighted the differences between performing on stage as a character and speaking in public as himself. On stage, audiences expect the unexpected, while in public speaking, every word and action is analyzed closely. He emphasized the distinct dynamics between these two forms of expression. Jacob shares an anecdote where a sound cue malfunctioned on stage. He demonstrated his ability to improvise and engage with the audience. His quick thinking and comfort with language allowed him to engage with the audience seamlessly, highlighting how language skills and comfort on stage are crucial in such unexpected situations.
Through his roles in musical theater, Jacob has learned how language is intertwined with character development. Perhaps one of the most intriguing aspects of Jacob’s narrative is his exploration of the connection between language and character development on stage. He mentions characters who undergo dramatic transformations during a performance, citing the example of Eliza Doolittle in “My Fair Lady.” This highlights the profound role of language not just in conveying a character but in shaping their evolution throughout a production.
Jacob’s growth as a performer is also intertwined with the advice he received from a director – to slow down his words on stage, emphasizing that his advice helped him combat nervousness and present a more composed performance. This simple but profound guidance helped him think more clearly and enhance his storytelling. He reveals how reading scripts enabled him to delve into a character’s psyche and understand the nuances of language, a skill that would prove invaluable in his journey as a performer.
In essence, Jacob Hodges’s narrative serves as a testament to the transformative power of language in the world of musical theater. His story reflects a young man’s journey who transcended shyness, embraced his passion for performance, and harnessed the magic of words to convey complex emotions and narratives. Jacob’s words, such as “It was just one of those moments where you had to improvise,” encapsulate the essence of his journey – a journey defined by language, resilience, and the art of storytelling.
FULL INTERVIEW:
MARIA CABRERA, INTERVIEWER: In the broader context of your life, how has your involvement in musical theater and your journey to becoming a performer influenced your understanding of language and its significance?
JACOB HODGES: So, when I began my journey in theater at the age of 15, I was painfully shy and I didn’t want to talk. Ugh (Laughter) I was too lazy to memorize scripts but having to do that constantly, I learned my love for it which led me to be able to speak in front of people. My reading comprehension skills significantly improved and I was able to analyze a character’s psyche just from reading a script.
CABRERA: As you continue your journey in musical theater, how do you see language continuing to play a significant role in your growth and success as a performer?
HODGES: Unfortunately, most theater productions are currently in English, at least in Western culture, especially in New York. So, I feel privileged to be fluent in English and comfortable with it. However, in a lot of ways I’m still growing, particularly when it comes to performing Shakespeare and Greek plays. These works often use dialogue and text that I seriously don’t understand at all (Laughter), and I find myself constantly having to Google Translate to understand the meaning of certain words.
CABRERA: What do you think are the key differences between performing on stage and delivering a monologue versus speaking in other public speaking situations?
HODGES: When you’re on stage as a character, the audience expects the unexpected, knowing that you’re following a script and directions. However, when giving a speech as yourself in front of people, everything you do can be analyzed differently. It’s perceived as more strategic and planned, but if it’s not, it might be seen as sloppy or lazy, leading to more backlash. In essence, being on stage as a character is very different from being yourself.
CABRERA: In your transition to college for musical theater studies, have you encountered any new language-related challenges or insights in your training?
HODGES: I’m currently involved in a musical adaptation of Shakespeare’s “The Two Gentlemen of Verona.” While reading the script, oof, I encountered some unfamiliar words, so I’ve been researching to understand them better. And we’ve been working on some heavier scenes and often the characters are not necessarily ones I would play in a full production. This has allowed me to explore various English dialects from different cultures, which has been so fascinating because I get to explore different sides of characters that I’ve never been exposed to before.
CABRERA: Your story includes a moment where a sound cue didn’t go as planned, and you had to improvise. How did your language skills come into play during this unexpected situation?
HODGES: That was a fun moment (Laughter). So, I was on the right side of the stage and the phone didn’t go off that was on the opposite side of the stage. I was told in rehearsals to cross the stage, go over to the phone, pick it up, and slam it down. I did exactly that, but the sound didn’t work. As I continued walking, the lights changed, and the audience had no clue what was happening (Laughter). I looked at them and said, “I can hear it, but you can’t.” (Laughter.) It was just one of those moments where you had to improvise and in any other language where I might’ve felt less comfortable or in a character that I didn’t know well, it could’ve been totally screwed up. So, I was very fortunate that it wasn’t too embarrassing.
CABRERA: What have you learned about the connection between language and character development in your roles on stage?
HODGES: In some characters, you can observe a distinct character arc. If you’re lucky enough to have a leading role or a significant role, you can witness a significant transformation from the beginning to the end of the story. For example, in the musical “My Fair Lady,” the main character Eliza Doolittle starts as a poor street flower seller with a really harsh accent that others consider improper and unrefined. By the end of the show, she has learned a new accent, speaks very properly, and has gone through a whole journey. Although it’s not one I’ve played, I’ve seen the show and the movie numerous times, and it’s just a fascinating example of how characters can undergo dramatic changes over the span of 2 hours.
CABRERA: Your director advised you to slow down your words while on stage. Could you share more about how this advice influenced your approach to performing and storytelling?
HODGES: I think when I was first learning how to be on stage — I’m not a natural performer or grew up on the stage — I would get nervous. I would start to speak so so fast, and even now, I catch myself doing it. It’s like my thoughts and words jumble up. And when I was physically told to slow down, it was a clear signal that I was nervous because, in my head, I was like “I’m not nervous, I’ve got this, I’ll be finee.” But your fight-or-flight instincts truly kick in when you have 100 sets of eyes on you, so when I slowed down my words, took deeper breaths, and thought more clearly, it just made everything so much better.
Jacob’s story is a beacon of inspiration for anyone who has experienced self-doubt or struggled with language. He is a strong writer who clearly captivates his struggles and invites us to witness the evolution of a young man who, despite initial challenges, has found his voice and, in doing so, discovered the transformative power of language on and off the stage. Jacob’s interview reflects the essence of his narrative – a story of empowerment, self-discovery, and the enduring connection between language and the art of performance. As Jacob himself eloquently puts it, “I was very fortunate that it wasn’t too embarrassing.” In his words, we find a powerful lesson that in the world of theater, just as in life, language holds the key to overcoming challenges and pursuing one’s dreams.
