Renowned pianist, playwright, and performer Hershey Felder returns to the stage with his mesmerizing portrayal of Frédéric Chopin in Monsieur Chopin at People’s Light. Known for his immersive solo performances that bring legendary composers to life, Felder masterfully blends storytelling, music, and history to transport audiences into the world of the great Polish composer. In this interview, he shares insights into the challenges of embodying Chopin, the artistry behind his performance, and the timeless beauty of Chopin’s music.
[People’s Light, 39 Conestoga Rd, Malvern, PA] April 25- May 18, 2025; peopleslight.org
Debra Danese: Monsieur Chopin has been a staple in your repertoire for many years. How has your interpretation of the character and music evolved over time?
Hershey Felder: The piece has had several iterations. Conceptually “illustrious piano teacher teaches a piano lesson during French 1848 Revolution” has remained the same – but the internal workings of the piece have changed, and I believe deepened, as you suggest in your question. I began the production in 2004. Twenty one years later, I know a lot more about theatre, performance, acting, acting while playing, playing while acting, and above all, complete honesty on stage in order to present a believable characterization.
My thinking has also quickened which means acting while playing and playing while acting no longer has “seams.” My sense is that it now feels to be a whole – which I hope feels that way for the audience. Because it is a “piano lesson” so to speak, albeit a hyper-theatrical one, originally it was a teacher talking with his students (the audience). Now it is a teacher “engaging” with his students, which I have to say is the most fun part for me, and I am told the most fun part for the audience as well. It is theatrical improvisation on a cliff – risk taking of the nuttiest order, and I think that makes it a great deal of fun. For me, anyway, and hopefully for the crowd too!
DD; Are there any particular challenges in embodying Chopin—his mannerisms, speech, or artistic temperament?
HF: The fundamentals are always challenging. How to realistically portray a character that lived almost two hundred years ago- a Polish immigrant to Paris, experiencing the city, a delicate ethereal pianist who had a particular way of playing. These fundamentals take a lifetime of work, and the work to perfect and humanize these things never stops. A characterization of this sort is never “finished.” The work may be polished, but never finished. The challenge is daily, keeping things alive and fresh, human and believable at every turn.
DD: You often interact with audiences in your performances. What is the most memorable audience reaction you’ve received while playing Chopin?
HF: Many funny things happen, and I have countless memories of audience reactions over the years. There have been amusing questions—some not repeatable here (if one can imagine, people seemed to be interested, or shall I say far too interested, in these composers’ sex lives).
But there was one night in Los Angeles that stood apart. A young man, 19 years old, a special needs individual who had trouble walking and coordinating body movements—developmentally challenged and suffering from disabilities both obvious to the audience and others I learned about later—was there with his mother. She asked if he could “play” for “Monsieur Chopin.”
She helped him onto the stage. I helped him find his place at the keyboard – sitting was difficult and communication almost impossible. And then he lifted his hands and played a Chopin nocturne with honesty that many professional pianists can’t accomplish. The audience was stunned, and the collective tears were significant, imagining what it must be to have that mind, in that body and have so much to say. I simply stood on stage behind the young man and watched him. The whole place was in a puddle by the end of this.
The standing ovation was the most significant I had ever witnessed anywhere for anything. And I was beside myself with all the questions, about God, humanity, gifts, the inexplicable, the miraculous. The young man’s mother standing by me then simply looked at me and whispered. “Thank you.” Well, there was nothing left to do after that. I just cried and applauded the young man, and that was the most moving closer of any show I have ever been part of or have seen.
DD: Have you ever had to improvise or adapt based on an unexpected audience response?
HF: Always and a huge part of the fun. I know it. They know, and we egg each other on. It’s a good time.
DD: Is there a particular Chopin piece that resonates with you the most when performing Monsieur Chopin, and if so, what makes it especially meaningful to you?
HF: I have always said and abided by this rule: “The most important and meaningful piece is the one you are playing the moment you are playing it. There is never any place for less than a thousand percent.”
Monsieur Chopin plays at People’s Light April 25- May 18, 2025. [39 Conestoga Rd, Malvern, PA] https://www.peopleslight.org/
This was the most fascinating play I have ever seen. Hershey’s playing was beyond excellent. Thanks again for excellent theatre!