From Stage to Screen and Back Again: Milo Manheim's Balancing Act

Creative directed and shot by Megan Clark, assisted by Morgan Holland, Styled by Amanda Lim, Grooming by Marissa Machado, BTS by Sammi Smith, Produced by Lucy Ivey, shot at MSA Studios

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Milo Manheim, the effervescent actor widely known for his roles in the Zombies franchise, School Spirits, and soon, Little Shop of Horrors, is a whirlwind of creative energy.  He juggles a multitude of projects – film, television, and theatre – with a seemingly boundless enthusiasm. "My life does not feel real," he confesses, a charming mix of disbelief and pure excitement bubbling in his voice.  As he navigates these diverse artistic landscapes, Manheim remains grounded, deeply appreciative of the opportunities he's given, and utterly passionate about his craft.

I caught up with Manheim just as his newest role in Little Shop of Horrors was announced.  He spoke about the almost serendipitous way this dream role materialized, a chance encounter with Michael Mayer, the Tony Award-winning director of the revival, leading to this incredible opportunity.  "It just happened so magically," he marvels, a hint of childlike wonder in his tone.  You can almost picture his 13-year-old self, the theatre-obsessed kid who used to make his family sit through his living-room performances, doing cartwheels of joy. While he's still in the beginning stages of preparation, Manheim is already deeply immersed in the quirky, carnivorous world of Little Shop, listening to the iconic score on repeat, revisiting the delightfully campy movie, and anticipating the unique challenge of the show's intricate, often tongue-twisting lyrics.  "It's a jam-packed show," he explains, his energy rising as he talks about the production, "very high energy and the music is just so infectious." He mentions a particular fondness for "Feed Me," recalling the visceral impact it had on him when he saw a previous production of the show.  "That song just stuck with me," he says, "it's so raw and powerful."

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Manheim's journey, however, hasn't been a straightforward, perfectly paved path. He spoke candidly about the inherent differences between stage and film acting, acknowledging the valuable lessons he's learned in each medium. "I started with theater. I love theater. It’s my passion. I moved to film. And, you know, film is completely different, and it took me a long time to figure out those differences, and I'm still figuring them out," he admitted. His early experiences in theatre were all about performing for the immediate gratification of the audience, feeling that live connection and the energy exchange. But stepping into film required an entirely different approach—where scenes are repeated multiple times in front of a crew, demanding him to make each take feel fresh. "I think I needed the time away first because I also think when I was younger, I was performing for the audience," he reflected. "And I think that stepping into film where you do a scene like 20 times, there's like 100 people watching you, and you have to make it new every time, you really gotta find a way to do it for yourself."

Returning to the stage for American Idiot after years of working primarily in film and television allowed him to beautifully integrate these two seemingly disparate approaches. "Going back to theater now, like five years later, I could perform for me and my cast, and then anything that we got back from the audience was just like a cherry on top. And I think that I needed to go through that as an actor first," he shared. The experience reinforced his equal love for both mediums, which he likened to playing two different sports. "But now I have equal love for theater and the film world, but they're completely different. I consider them different sports, but I hope to play both of them for the rest of my life, right?" His return to the stage was a powerful demonstration of his artistic growth and adaptability—he learned to perform with an internal focus honed by his film work while still embracing the dynamism and immediacy of live theatre.

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He spoke warmly of his American Idiot experience, emphasizing the profound and unexpected connections he forged within the Deaf community. He described the invaluable experience of learning American Sign Language, not just as a skill, but as a way to connect with a vibrant and expressive culture.

His role as Wally in School Spirits also holds a special significance for him.  He described the cast reunion for the second season as an almost instantaneous reconnection, like slipping back into comfortable shoes and picking up right where they'd left off.  He teased Wally's complex arc in the new season, hinting at a compelling internal conflict.  "He's really stuck in this version of himself that he thinks he needs to be," Manheim explains, adding that the ever-increasing pressure of the supernatural situation forces Wally to confront these deeply ingrained aspects of his personality, whether he's ready or not.  He hinted at a deeper exploration of Wally's past and the events that shaped him, promising some poignant revelations for the audience.

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Manheim's enthusiasm is undeniably infectious, but he also speaks with refreshing honesty about the inherent challenges of the entertainment industry.  He acknowledges the inevitable "peaks and valleys" of an actor's life, the periods of intense creative activity interspersed with moments of quiet anticipation.  He spoke openly about the post-project blues that many actors experience, comparing it to the bittersweet feeling of leaving summer camp.  He finds solace and a sense of purpose in his work, admitting, "I can stay sane when I'm working. I go insane when I'm not working.  I need that creative outlet, that place to channel my energy."

When asked about his artistic inspirations, Manheim's answer is thoughtful, nuanced, and characteristically multifaceted.  He cites his mother as a constant and unwavering source of inspiration, both personally and professionally. He speaks of her influence with deep respect and affection. He also mentions the versatile Hugh Jackman as an actor whose career he particularly admires, citing his ability to seamlessly transition between Broadway showmanship and gritty superhero roles.  He's clearly impressed by the sheer talent and drive of his fellow Gen Z actors and creators, recognizing the transformative power of social media to showcase emerging talent and provide a platform for diverse voices.   

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Offering advice to aspiring actors, Manheim emphasizes the crucial importance of self-reflection and staying true to one's artistic vision.  "It's really hard in this world not to listen to everybody else," he cautions, "but you have to learn to tune out the noise and trust your own instincts."  He encourages young creatives to diligently identify their unique strengths, cultivate their individual voices, and to nurture a sense of "ridiculous optimism" about their goals.  "You have to believe in yourself, even when things get tough," he asserts, "because your thoughts and your actions are inextricably linked."

Milo Manheim's journey is a compelling testament to his talent, his unwavering work ethic, and his genuine passion for the performing arts.  As he prepares to take the legendary West Side Theater stage in Little Shop of Horrors, he embodies the true spirit of an artist, constantly evolving, always learning, and gracefully embracing the challenges and opportunities that come his way.  We, along with his ever-growing fanbase, can't wait to see what he does next.