It's an urban legend that someone named Titzling invented the brassiere and that a Mr. Crapper invented the toilet, but here's a true entry in the appropriately-named-for-one's-occupation annals: Jenny-Lynn Suckling has played a vampire in two different musicals, Dance of the Vampires and Dracula.
Her surname notwithstanding, it's not entirely coincidental Suckling has ended up in two goth showsshe seeks out roles contrary to those in which 5-foot-10-inch blondes are usually typecast. "I believe in being involved in dark pieces," says Suckling, "because I get stereotyped a lot in this business and I try so hard to fight that. I don't want to be your tall showgirl kind of thing. I'm a dark person anyway, so I love the grittiness of the shows... It's really important for me to follow that path."
Suckling has lightened up for the time being, as she's currently singing and dancing to Elvis tunes in All Shook Up. And posing: In the scene at the museum run by Miss Sandra, Suckling is one of the sculptures (the Three Graces) that come to life to "Let Yourself Go." But her main role in All Shook Up is one of the repressed, depressed townspeople whose joie de vivre is unleashed by the arrival of hottie rebel biker Chad.
Each of those townspeople has a backstory, though the audience may not realize it. "[Director] Chris Ashley was so wonderful about taking each and every one of us and creating characters, so we had some story that we were telling," explains Suckling, who wears a red wig in the show. "My character's name is Velma, and she's pretty much the trash whore: I hate my husband, and I cheat, and I go back to him, and then I go back to this other guy..."
Being "Velma" allows Suckling to act as well as danceand at this point in her career, she'd be glad to forsake the latter for the former. She's been auditioning for parts in television and nonmusical plays while accumulating acting credits as an understudy in musicals. For All Shook Up, she understudies both Leah Hocking (whom she also understudied in Dance of the Vampires) as Miss Sandra and Alix Korey as the harridan mayor, Matilda. Covering Korey gives her a challenge as an actress because the ensemble doesn't interact much with Matilda, so Suckling doesn't get to watch her do the role. "It's been a really great step in my career because I'm creating Matilda all on my own, only hearing her from the side of the stage. I never see her." Plus: "It's fabulous because it's a great comedy role."
Prior to All Shook Up, Suckling was in the ensemble of The Producers and understudied Ulla, going on "probably over a hundred times" as the Swedish bombshell opposite Matthew Broderick, among others, as Leo. (She appeared in the episode of HBO's Curb Your Enthusiasm where Larry David performs in The Producers.) Her Broadway credits also include Annie Get Your Gun and Side Show. "I'm very proud," Suckling says about all her ensemble experience, "but on the other hand, I really want my own roles.
"I feel I've been very blessed," she continues, "to not cover a dancer who sings and acts. I've been covering actors who sing, except for Ulla." She also proved herself in a non-dancing role when she costarred in the 2003 off-Broadway revue Boobs! The Musical. "It was eight different characters and I created them all, and it was all comedy," says Suckling. "I went from a little child all the way to, basically, an 80-year-old. There was only three women and three men [in the cast]. It was a great start for me." The New York Times' enthusiastic review of Boobs! called her performance "impressive."
Revamping her professional goals is not new to Suckling; she did it, in fact, before she even had a profession. She was majoring in fashion merchandising when she left college to devote herself to dancing. Though she had been dancing since she was 3 (her mother was a ballerina), Suckling never thought about a future in musical theater while growing up in Mill City, Oregon, pop. 1,200. "I had no idea about Broadway. I mean, I knew about Chorus Line, that was it." She studied with Sally Mack, founder of a prestigious dance school in Portland; former Broadway hoofer Julane Stites; and the Oregon Ballet. In college she bounced from major to major, until a dean sensed why she was dissatisfied with all of them (her breaking down in tears in his office may have clued him in). "He said, 'I don't feel like you should be here at Oregon State. I think your true love is to be a dancer, and I don't know why you're here, trying to prove that you need to be in business, communications, broadcasting.' It wasn't my mother and father; I felt in order to be successful, that's what I had to do. He said, 'I want you to find an arts school'which I didn't know anything about because I came from such a small town, nobody talked about that. So I went up [to Portland] and I joined the Jefferson Dance Company and got really strong, and then came to New York... I came here specifically to be with the Alvin Ailey company. I auditioned and I didn't get it. I knew I had this really big voice, but I wasn't trained. I thought, I'm just going to continue to study, and one thing led to another, and I met Ann Reinking and she took me under her wing."