Debra Walton made a name for herself locally in the DCDC productions of Games, District Storyville, and the original cast of Vespers. She was also featured in The Human Race Theatre productions From the Mississippi Delta, Beehive, and Children of Eden.

Now residing in New York City, Walton is known on Broadway and off-Broadway for her roles in Chicago, Annie Get Your Gun, The Pajama Game, and more. Regionally, she’s had leading roles in Pippin, Ain’t Misbehavin’, The Color Purple, and West Side Story, just to name a few. Her credits also include television appearances on Law and Order SVU and Blue Bloods.

Walton has been recognized for her work with a Drama Desk Nomination, an Audelco Nomination, the Katherine Cornell and Barrymore Award for Cookin’ at the Cookery, and a Kevin Kline Nomination for Beehive.

Recently we had the opportunity to ask Walton about how she’s managed through the pandemic, her experience transitioning from actor to director, a favorite moment from the production of her directorial debut, Thoughts of a Colored Man, which opened October 13, 2021, at the John Golden Theatre, and more! 

Given the challenges in non-pandemic years of mounting a play on Broadway, what sustained and focused your efforts during the pandemic? 

“What sustained and kept me focused personally, was my husband. We were very fortunate that his work as a photo editor for The Associated Press was able to be done from home. It was very helpful to see and feel that some form of 'normal life' was continuing even though my artistic community was on complete lockdown. 

Regarding mounting a show during a pandemic, my belief was that we needed something uplifting more than ever, and the collective focus on reopening Broadway as safely as possible both sustained and focused us.”

What obstacles did you face?

“My biggest obstacles personally were trying to maintain my sanity and not falling into a depression because now there was no artistic interaction or applause. Being told you are no longer allowed to do the one thing you live and breathe for was more crushing than any of us could have imagined. 

Finding ways to stay creative and to deal with the absolute pain and confusion of being told you cannot perform, and not knowing when we would perform again, was the biggest obstacle for myself and many of my colleagues.”

Can you tell us about your experiences in transitioning from actor to associate director? What are some of your favorite aspects of each role? 

“It’s pretty wild that my two favorite things about acting have lined up with my two favorite aspects of directing.

I like to say I’ve not 'transitioned.' It's more like I’m straddling the fence. [laughs] 

I first started looking at Thoughts of a Colored Man six years ago as a show I wanted to help produce. So, I was extremely honored, excited, and a bit confused when I was asked to be the Associate Director.

Initially, I thought about how I guide and instruct others to do the very thing I’ve been longing to do myself for the last two years. I am an actor. Performing is what I do. How do I create theater without being on stage? 

But ultimately, my love of the collaborative process made it all make sense. As an actress, two of my favorite aspects of performing are: 

1. The applause [laughs], and more seriously
2. When a character reveals itself to me: how the character walks, talks moves through its theatrical world.

One of my favorite things I’ve discovered in this process of being an associate director is how much I love being able to utilize my training and experience as an actor to help others build and create characters that are rich and fully developed. 

My other, unexpected, favorite aspect of directing was the experience of what felt like a mule kick to the gut of emotional gumbo, at the final blackout of the cast's first performance!

All I could think was, 'Oh my God they did it! We did it. Look what God has done!'

Finally, for me, there is nothing like applause. It is truly one of the sweetest sounds that keeps me pushing past the pain, exhaustion, frustration, and the ups and downs of this business called show. So, on opening night to have my director, playwright, and cast show appreciation and applaud me for my contributions to the show, though I never stepped foot on the stage, was truly a favorite moment.”

We know that life in the performing arts always demands enormous amounts of energy. How do you practice self-care and spirit renewal?

“Ha! That is something I’m working on improving. I’ve come to realize my self-care and spirit renewal seemed to all be connected to performing. Performing and creating gives me life and rejuvenation; always has and always will. 

I’m trying to incorporate more journaling, tea drinking, and sitting out on our terrace. One of my new favorite books is 'The Collected Works of Florence Scovel Shinn,' a wonderful book full of spiritual and metaphysical writings guiding and reminding of the power of manifestation.” 

Please tell us about a favorite moment from the production of “Thoughts of a Colored Man.”

“There are so many! And they continue daily.

From the first day when I offered to help one of the actors, who was very nervously trying to smudge himself, I ended up smudging not only him, but the entire cast, creatives, and anyone who entered our space that first day. The smudging ceremony is a custom of Native American and other indigenous people. Smudging is often done by burning dried sage bundles. We used Palo Santo sticks. It’s a way to create a cleansing smoke bath that is used to purify the body, aura, energy, a specific space, and personal articles. The goal is to remove negative energy, bringing balance and healing. It bonded us all in such a way that I’ve never been as connected to a show as this one.

To sum up a favorite moment, I would say that the experience of my directorial debut has been one of indescribable joy!”