Booked & Scene

For this edition of Off Book & On the Record, I sat down with actor Paul Melendy, who’s currently taking flight in the world premiere of Featherbaby. Known for his sharp physicality, quick wit, and fearless approach to audience interaction, Melendy has built a reputation as one of Boston’s most inventive performers. In our conversation, he talks about embodying a half-man, half-parrot, the thrill of originating a role, and why sometimes the scariest parts end up being the most rewarding.

The director mentioned that they really couldn’t see anyone else being Featherbaby but you. What was your first reaction when you read the script?
When director Weylin Symes first read the play over two years ago, he said he immediately pictured Paul in the role: “The physicality that Featherbaby demands is perfect for Paul’s skill set. He has this unmatched ability to find a very specific physicality that’s funny but also emotionally real. And because the character serves as our emcee, Paul’s gift for connecting directly with an audience made him the only person I could imagine leading them through this wild story.” Paul laughed at the memory: “I know Weylin, and we’ve worked together a bunch of times. We did Legend of Sleepy Hollow, which was just me alone for 90 minutes, so I think he knew I could take on something unusual. He also knows I’m a very physical actor and I like to play with my voice a lot, which is exactly what parrots do. It was flattering that he thought of me immediately. Still, when I first read the script, I thought, ‘Oh, this isn’t an easy one to imagine yourself in.’ A lot is left to the imagination. But that’s where I lean in — making fun choices on stage and seeing how far they can go.”

If you’re on a hot streak, do not get complacent — it’s always about what’s next.

-Paul Melendy

How did you work to develop the physicality for Featherbaby?
We didn’t get to go to a parrot sanctuary, so a lot of my research was just me watching videos, especially on Instagram, and going down rabbit holes. That really informed a lot: the musicality of their voices, how they’re able to replicate sounds, even how they move and watch things sideways. Our movement coordinator helped refine things, like how I hold my hands and arms or how I keep my chest lifted the way parrots do when they’re proud. Featherbaby is half bird, half man, so I tried to split the difference — keeping some birdlike ticks and movements, but grounded in something human. I usually try to take inspiration from either a real-life person or a character from media. For this role, it was two-fold: my five-year-old son, Malcolm, whose childlike wonder and exuberance felt like a perfect fit, and Jim Carrey as Ace Ventura, who, not so famously, based that character on birds. His facial tics, his gait, his brightly colored peacock-ey attire, even little details like fighting a bird mascot while looking for a bird — those all became a springboard for me. It’s subtle because I wanted to make it my own, but a springboard always helps…and always works.

You clearly riff and improv a lot onstage. Is that something you’re drawn to, and do you remember a moment where you first knew that was your niche?
I get a kick out of it. It doesn’t make me nervous. If an audience member says something crazy, that’s great: I will go with it. I make sure not to go too long with people; keep it quick in and out. But I will make a whole other show with just one person if they let me. I’ve had so many opportunities for audience interaction, Sleepy Hollow, Drowsy Chaperone, so I enjoy a variety. I like connecting with the audience. I can usually tell pretty immediately if someone wants to play or not. When they do enjoy it, they love it whether they’re involved or watching. It means the show will be different from night to night, and I like to react to that.

Is there a role or type of role that still scares you — that gives you pause before taking it on?
Of course there are roles that are scary. The scariest roles have been the most life-affirming and memorable. There’s something about a role that scares you that pushes you. Featherbaby was terrifying when I first saw the script… it’s a good script but terrifying. You don’t know audience perceptions, expectations, or assumptions. The script has a lot of screaming, swearing, talk about sexy, sexy… you wonder, are they going to believe me? You have to do a lot of work ahead of time so, in rehearsal, you can focus on the work and not the words. Come in with ideas and work off them. Some scripts are tight and you know the arc; others you have to make sense of odd punctuation and capitalizations. I was really scared about this one, but I feel much better now after the [opening] weekend.

What’s it like to step into a brand-new play and originate a role?
That’s the dream for me. Nobody’s seen anything like this, so there aren’t expectations about how it should be done. There’s no famous voice in audiences’ heads, so you’re freer when preparing and rehearsing. There’s an energy in a new show: talking with the playwright, them seeing their work and the words “world premiere” pique people’s interests. It’s pretty great.

The scariest roles have been the most life-affirming and memorable.

-Paul Melendy

If Featherbaby could give one piece of life advice to the world, what would it be?
They say at the end: the longer you live, the more people you get to love. I cried thinking about that. The world is a mess right now, so ask yourself: what do you want to do with your life as you get older? Where do you want to put your attention? Who do you want to spend your time with? What do you want to spend your time doing? Just think about it for one second and ask yourself what’s important. Be like a parrot: make it simple for yourself. Hold on to the ones you love and try to treat each other with some modicum of respect.

Hold on to the ones you love and try to treat each other with some modicum of respect.

-Paul melendy

If someone is just starting out in acting, fresh out of school or beginning their journey, what advice would you give them?
I graduated college in 2006 — the game’s different now. For me, I wanted to get out and work. If you’re lucky enough to land a role at a good theater and work with great actors, ask them questions: ask about their life story and how they got to where they are. If you’re on a hot streak, do not get complacent — it’s always about what’s next. Right out of college I got a great role and felt like I’d made it, but then things can go away and you have to keep working. For auditions, put everything into it: learn it so that when you walk in the room you don’t have to think too much. Have some ideas. Don’t be late. That will get you through a lot and boost your confidence.

If you had to give an elevator pitch for Featherbaby to someone who has never walked into a theater before what do you say?
Is it a man? Is it a parrot? It’s neither. It’s Featherbaby. They’ll feed you numnums and they’ll steal your heart.

If you could replace “Break a leg” with a new phrase, what would it be?
Don’t fuck it up.

Featherbaby runs at Greater Boston Stage Company through September 28, 2025.

📸: Nile Scott Studios