The Honest Truth About Living In New York City During The COVID-19 Pandemic

New York is being hit the hardest by COVID-19, with more cases and more related deaths per capita than any other state. As of April 24, there have been 141,754 known cases in New York City, leading to at least 10,290 confirmed deaths (not including an estimated 5,121 probable deaths from the disease).

For some performers with residency in NYC, it was a no-brainer to escape the Big Apple. For others, it wasn’t so black and white.

So I caught up with fellow performer, Emily Ashton Meredith, on why she chose to stick it out in New York City, how she’s coping in isolation, and what’s on her mind for the future of the theatre industry.

Read our conversation below.

Where are you currently spending your time in quarantine?

I made the choice to stay in NYC and wait it out here. My parents actually live in the city as well, so it’s been nice being near them even though I can’t actually see them. I will say, the longer this goes on the more challenging it is to be here. Just seeing the city change it’s usual vibrant self has been very challenging. I initially was pretty optimistic that this would only last a few weeks to a month at most. If I had known what this pandemic would turn into I would have tried to get out of the city pretty early on.

How has the pandemic changed your way of life? How are you coping?

I wish I could say that I’m coping super well, but that wouldn’t be entirely truthful. I’ve found it to be extremely challenging -especially being isolated here in the city away from my loved ones.

As an actor - the switch from daily in person auditions, classes and coaching to virtual EVERYTHING has been odd and unsettling. I’m grateful for the self tapes because it gives me something to do and an outlet to be creative, but it doesn’t feel the same as performing live. I will say, that I have been amazed and inspired by the way this community has come together. I truly believe the arts heal and this is evident by how many people are turning to them to get through this pandemic. I’m also constantly reminding myself that I am extremely lucky for a myriad of reasons, the biggest one being that I have my health and so do my loved ones and for that I am so grateful.

Did you lose any contracted performance work due to the pandemic?

I was super excited to be in finals for several shows when the pandemic hit. I never learned whether or not I booked those gigs because production was shut down quickly on all of them. I’m certainly grieving what might have been, but my heart mainly breaks for the actors who lost contracts. This career is already incredibly unpredictable without adding a pandemic into the mix!

Do you still have any other sources of income that are helping sustain you through this crisis?

I’m REALLY lucky that I have a babysitting gig that is a five minute walk away from my apartment and since childcare is deemed “essential” I have been able to continue working for them a bit.

Have you had to file for unemployment? Have you had any success?

I’m one of the lucky ones who hasn’t had to file for unemployment. I know how fortunate I am to say that.

As a member of Actors’ Equity, do you think the union is doing enough to serve and protect its members given the circumstances? If not, what would you like to see happen?

I am a proud member of Actors’ Equity. I think they’re doing everything they can to keep us safe. I’m interested to see how the pandemic will change the union moving foreword.

What are your biggest concerns with the theatre industry moving forward?

I’ve been trying not to spiral into the “what if’s” too heavily because the truth is that no one can predict how this will change the industry. Perhaps in some ways it will change for the better— I think we will see a significant change in audition set up and my hope is that when we ARE allowed to return to work, everyone will have a renewed sense of love and appreciation for every different aspect of the industry and for every person who keeps it going.

I’m mainly concerned about the smaller regional theaters across the country. I believe that eventually Broadway will bounce back - it always has. But for those of us just starting out in our careers, we rely heavily on regional theaters for work. If those theaters struggle or remain closed, it will be even more difficult to get work as an actor.

Emily Ashton Meredith is a NYC-based, AEA actor and recent graduate of the University of Cincinnati- College Conservatory of Music (CCM) with a BFA in Musical Theater. Emily grew up all over the East Coast, but eventually landed in Boston, MA where she attended the Walnut Hill School for the Arts studying both classical and musical theater. Favorite regional credits include: Sophie in Mamma Mia! (Totem Pole Playhouse)c Leisl Von Trapp in The Sound of Music (New Bedford Festival Theater), Ermengarde in Hello, Dolly! (Texas Family Musicals), Belle in Beauty and the Beast (Bristol Theater Company), and Sarah in Runaways (The Know Theater of Cincinnati)