Jon Michael Hill continues to cement his status as a powerhouse performer on stage. Fresh from his role in Brandon Jacobs-Jenkins’ “Purpose,” Hill now takes on the character of Leroy in “Leroy and Lucy,” a production penned by Ngozi Anyanwu. The play, running at Chicago’s Steppenwolf Theatre from Oct. 26 to Dec. 15, promises to showcase Hill’s versatility through a compelling narrative. In an exclusive interview with rolling out, Hill discusses his latest role, his motivations for accepting it and the unique experience of incorporating music into his performance.
What initially drew you to the role of Leroy?
I had been thinking about Robert Johnson for years and listening to his records. I knew the legend that most people know about the crossroads and selling the soul to the devil for musical talent. I was at a writer’s retreat working on a screenplay, and Ngozi got to talking about Robert Johnson. She said she had this play about him, and we ended up organizing a reading at this retreat in Indiana. We read it for people out at night under the stars, in this beautiful garden amongst these trees and it casts a spell. That’s when theater is at its best.
I just did Purpose by Brandon Jacob-Jenkins. … When everything comes together, you can capture people, hold their attention, [and]make them forget about everything else but what’s going on on stage. I think that is the most powerful. I feel like the words Ngozi has put down on the page do that. It’s very rich. The potential is there to be something really special. So, that’s what really got me into it.
How has working with the music director impacted your approach to becoming Leroy?
Jeremy Jones has done something really interesting with the music because we’re meeting Robert in this story at a time when he’s not a blues god. He’s not a virtuosic guitar player yet. Much as his actual journey he was a harmonica player and would follow around Son House and all these guys to the juke joints and steal the guitar when he had a chance — and people used to hate hearing him play. So a lot of the music comes from Lucy in this piece, and as her character is representative of a lot more than just a woman at the crossroads. He’s pulling the African roots of the blues. He’s merging future musical techniques that weren’t around at the time because she’s this sort of an omniscient being. She’s got the past, present and future all encapsulated in her being. I think he’s done a very clever thing, musically, and I’m always a collaborator.
What has been the most enjoyable or challenging aspect of preparing for this play?
There’s dialects; there’s music; there’s movement. So we’re putting a lot of things together, and it’s tough to hold it all in your head. Those are the dog days of rehearsal. So, that is the tough part. The rewarding part is getting to witness Britney’s process in this play. She’s a true intellectual artist with a lot of soul and dedication.
What would you like for the audience to walk out with after seeing this production?
I hope people come to this and leave sort of like they just had a great meal because there are a lot of different things we’re doing in this one. I think, no matter what you come to the theater for, there’s a little bit for everyone. If everybody leaves being like I have been thoroughly entertained — this thing made me laugh; it made me cry; it’s got me thinking about forgiveness and all these other large concepts — I’d be happy. That’s all I want.
