Exclusive Interview: Kevin McHale on Finding His “Magic Foot” and Taking the Stage in ‘The 25th Annual Putnam County Spelling Bee’

Kevin McHale is one of the greatest showmen of his generation, blending quick wit, versatility, and undeniable talent to captivate audiences. From his breakout role on Glee, where he seamlessly brought together music, dance, and acting, to his dynamic work as a host and performer, McHale consistently proves his ability to engage across different mediums. Whether delivering a show-stopping number or diving into complex characters, his work connects with audiences on a meaningful level. His fearless approach to new challenges, including his upcoming role in The 25th Annual Putnam County Spelling Bee, shows an artist who thrives on pushing boundaries.

Opening on October 11 at the Kennedy Center, The 25th Annual Putnam County Spelling Bee is a charmingly clever and touching musical that has been captivating audiences since its Tony Award®–winning debut. In this entertaining production, six quirky middle schoolers compete for the title of spelling bee champion, navigating tricky words while sharing their hilarious and heartfelt personal stories. Kevin McHale takes on the role of William Barfée, known for his unique “magic foot” technique, spelling words out on the floor before confidently delivering them to the judges. With only one winner, the show blends humor and emotion, offering a delightful and poignant look at the challenges of growing up.

Pop Culturalist had the pleasure of chatting with Kevin about finding his footing in The 25th Annual Putnam County Spelling Bee, embracing the challenges of theater, and much more.

PC: Something I’ve always appreciated about you is your openness to face challenges. That often plays a key role in deciding whether a project is worth exploring for you. How did The 25th Annual Putnam County Spelling Bee first come across your desk, and what specific challenge were you hoping to tackle with this role?
Kevin: Thanks for saying that. Honestly, the main factor in deciding to take on a project is whether it scares the sh*t out of me. I’m like, “Ugh, I guess I have to do it then.” Theater has always terrified me, which might surprise some people, given that I come from a TV show surrounded by musical theater pros. They’ve all been trying to get me into it for a long time.

Over the past year and a half, there have been so many random, out-of-left-field theater opportunities that came up, but none of them worked out until now. Plus, this show is so special. So many people love it, myself included. It’s comedic, heartfelt, and just overall incredible. It’s definitely my kind of musical theater, the kind I enjoy the most. I feel very lucky that I got the chance to be part of it, even if it’s just for a couple of days in D.C.

PC: You were made for the stage. I had the chance to see you on the Glee tour, and you and Amber Riley were absolute showstoppers. In this production, your character is known for his “magic foot” and spelling out words on the floor. Having had such a diverse and illustrious career, have you developed any unique techniques or approaches that influence your work across the various facets of your talent?
Kevin: It’s not necessarily a specific technique, but I always approach things as a fan first. I’m not someone who thinks too far ahead, which probably doesn’t serve me well in other areas of life, but being fully present in the moment has worked for me, especially in this process. It’s all about absorbing and constantly learning. That’s the beauty of this industry—there’s always something new to try. You never stop being a student, even now, watching people pick up harmonies at different paces during rehearsals.

I’m a bit of a nerd when it comes to observing people’s specializations. I love seeing how others learn, how they place different sounds, and their facial expressions. You mentioned Amber—watching her on stage and seeing how she performs is truly a gift. I absorb all of that and think about how it applies to me and what I can bring to my own performance. I love finding what feels organic to me while also enjoying the experience as a fan, even though I’m part of it.

PC: That’s so important—to always be a student of your craft. Once you stop learning, it might be a sign to consider a new career path.
Kevin: Yeah, exactly. Watching people who are really good at something makes me want to learn even more. There’s a double-edged feeling where I’m like, “Oh God, I’m out of my depth,” like I’ve been thrown into the deep end. But at the same time, I’m also thinking, “Wow, look how incredible these people are. What can I do to even remotely get on the same playing field?”

PC: You’re also very self-deprecating. I don’t think you give yourself enough credit for the talent you bring to this. This production also has such a fast turnaround from rehearsals to opening night, which I think works well for these characters. How does this fast-paced environment push you creatively? Given the demanding schedule you experienced on Glee, would you say this process has been more or less grueling?
Kevin: Glee was the perfect training ground for this, and for most things, really. While we were on it, you could ask any of us—the crew used to say, “Nothing you do after this will ever be as hard as this.” I’m not sure if that’s completely true, because everything has its own unique set of challenges. But you’re absolutely right—this show is ideal for such a fast-paced format. Putting it together with only twelve days of rehearsals is wild, but if any show can handle that, it’s this one. I don’t know how they’ve done other productions like Spamalot or Bye Bye Birdie with all the set and costume changes. We don’t have that. It’s the same set, no costume changes, and it’s 90 minutes. It’s quick, and all about the timing and jokes.

It’s been hard, for sure, especially since this is new territory for me and I’m learning quickly. On Glee, yes, it was fast-paced—we had to sing, film, and rehearse for dance scenes—but you get multiple takes. There’s an editor making sure everyone looks good, so you’re protected in that space. You can be a little rough around the edges because the production behind it will make sure it looks polished. On stage, though, there’s no safety net. You’re out there with your castmates, and you all protect each other. Once the lights go down and the audience is watching, it’s all on you. That’s the magic of theater—it feels like a little engine that could, because it’s a miracle every time all these moving pieces come together.

That said, Danny [Mefford], our director, has been amazing at setting the perfect balance between playfulness and collaboration. Everyone’s input is welcome, and he knows exactly what he wants. In a twelve-day rehearsal process, you need someone at the top who has a clear vision. What’s surprising is how collaborative he is, even in such a short time. It’s been a wonderful creative experience, even though it felt daunting going into it.

PC: One of the beautiful things about theater is that every performance is unique to the audience. You also have experience directing music videos. Have you found that your work behind the camera has influenced how you approach your work on screen and on stage?
Kevin: I think a bit, yeah. If anything, I’ve started paying more attention to how a director works, because back in the Glee days, I wasn’t interested in that at all—it scared me. I couldn’t even wrap my head around it. But after doing a little directing myself, I’ve become really fascinated by how Danny works and how he tries different things. Communication and leadership styles are so important, and it’s tough to navigate that as a director or in any leadership role. Seeing how effective communicators work has been an insight into what makes a great director, and Danny is one of those people.

What’s impressed me most is how he balances structure with time for creativity, joy, and laughter. He makes space for us to play and experiment, which is so important. It’s not necessarily about thinking, “What would I do in this situation?” but more about picking up on things from others, like we talked about earlier. Watching how Danny communicates with us and with all the different departments has been something I’ve definitely been paying attention to throughout the process. He’s incredibly effective, super kind, and because of that, everyone wants to work harder for him. You trust someone like that.

PC: Isn’t it interesting how the industry has shifted? In the past, if you were an actor, you needed to focus solely on acting. Now, you have to be a multifaceted talent. You’re really “Benjamin Buttoning” with the characters you’ve played, and there’s a level of freedom that comes with portraying this particular age group, where they aren’t jaded by the world yet. How does that freedom allow you to take more risks in your performances?
Kevin: Your questions are very, very good. It was something we talked about pretty early on. I mean, we’re still early on, and it’ll still feel early on when it’s over! But there was a discussion between me, Nina [White] (who plays Olive Ostrovsky), and Danny about our reactions to things. We had to constantly remind ourselves that these characters are middle schoolers and elementary school kids. They don’t have the jadedness or life experience that adults do. Removing that from what we’re doing—making sure that we don’t let those adult experiences inform our performances—is hard. Every day has been a learning process in not overthinking things.

The special thing about kids is that so much of what they experience, they’re experiencing for the first time. They don’t have all the mechanisms—whether for better or worse—to filter their reactions in the moment. Especially in a show like this, where everyone’s searching for their place in the world and for connection, it helps to stay present and not overanalyze. The part of the show where the audience participates makes each performance different, and that helps me stay in the moment, be more childlike, and react naturally to what’s happening. It’s challenging, though, to take myself out of my own mindset. As a 36-year-old, I’m thinking, “Why is this kid reacting this way?” But then it’s like, “Shut up, Kevin. He’s twelve. Be cool.”

PC: This is such an interesting role because so many audience members will come in with a background of the production and your character. I don’t remember you being a huge musical theater fan during your Glee days. Has that changed? And how is your version of William uniquely your own?
Kevin: My musical theater fandom has definitely developed over the years. There’s no way you can be on Glee for so long and not gain some appreciation for it. Being surrounded by Jenna and my boyfriend, who’s been on Broadway, they’ve been teaching and training me for years. The number of different Elphabas I’ve heard! We even had a full week dedicated to Stephanie J. Block. I’ve been educated, to say the least.

When it came to this show, Jenna and Austin [McKenzie], who are huge fans of Spelling Bee, were especially excited. It’s one of their all-time favorite shows, and I trust their judgment implicitly. What’s really special about this production is the history of how it was developed. Each of these characters was almost entirely created by the original actor who played them. Stars in the House did a reunion during quarantine, and I watched it then and again before we started rehearsals. It’s been so interesting to learn how many people have done this musical and which parts they played in college or high school. It makes the experience more exciting but also a bit daunting because everyone has their own version of these characters.

As for William, I wish I had his ability to say exactly what’s on his mind and be that forthright—though he’s using it as a defense mechanism because he thinks no one likes him, and he can be pretty abrasive. That’s something we can unpack in therapy. But what I admire about him is that what you see is what you get. He’s a bit like a bull in a china shop—he knows what he likes and isn’t afraid to go after it. I find that really relatable. He’s very specific about why he’s there, and in that way, he’s really there for himself. But all the characters share that in some way.

When you have characters as well-defined as these, it’s about not being afraid to try new things and bring your personality into the role, which naturally happens. But at the same time, the script, the score, and how these characters were originally created are already pretty perfect. There’s a structure that works for a reason, and it’s about finding the nuances and the space in between to play. It’s been fun. Our voices, mannerisms, and appearances are all different, and that allows us to put our own spin on it, while still relying on the original text. If it ain’t broke, don’t fix it!

PC: So much of what you do as storytellers and artists involves seeing the world through your character’s eyes. William, as you mentioned, is someone who has been bullied in the past and really exemplifies the idea that “hurt people, hurt people.” As an actor, how did you connect with that part of him and bring his journey to life?
Kevin: It’s about realizing that he’s not mean—none of these characters are mean. It doesn’t come from a bad place. The question is, why has he been forced to act like this? Why has he adopted these traits to survive? They all have. That’s one of the wonderful things about rehearsing this show for two weeks—these characters have fully developed so quickly.

Growing up, we all encounter different personality types, and there have been times when I’ve acted like William, probably because I was trying to be defensive about something. I’ve come to realize that, for William, the spelling bee is his main focus, just like it is for the others. But the real through line of the show is the friendship between William and the other kids. You go into this chaotic, crazy, rambunctious group of kids, and it’s laugh after laugh, but underneath all that, what they truly need is friendship, companionship, and to be recognized and accepted for who they are.

That’s something we all need, really. It’s very relatable. And to see that dynamic boiled down to kids who can’t yet regulate their reactions is really wonderful. It brings out the heart of the show.

PC: Outside of this production, you’re also the co-host of And That’s What You Really Missed. When you watch that show, especially in the later seasons, it’s so clear that many of the reactions to the performances are genuine, really blurring the line between character and actor. How have you managed to dial that back for this production, especially when you’re working with such a star-studded cast?
Kevin: I don’t know yet! We’ve only had a couple of full run-throughs, and there are definitely moments when I look at Beanie [Feldstein] or Noah [Galvin], and we just give each other a look. But mostly, I’m looking at Taran [Killam] in these moments. If anyone knows how to survive Saturday Night Live without breaking character, it’s him.

When I feel like I’m about to lose it, and others are too, I watch him to see how he keeps himself from laughing because he’s a pro. Live shows are his bread and butter, and every one of our performances has some improv because new things happen each time. That’s actually what I’m most worried about—I don’t want to break character, but I haven’t made it through a rehearsal yet without breaking because everyone is so damn funny, and they just keep getting funnier. People are really finding themselves in these characters, and the humor keeps building. I’m like, “Oh, I’m screwed!” I’m on stage the entire time, too—spoiler alert: I’m there the whole time. It’s a long time! [laughs]

PC: But those are genuine reactions, and particularly on SNL, when people break, it’s a great reminder that you’re all there to have fun and play in the space. We talked earlier about being a student and finding fulfillment in the work. I know you like to live in the present, but have you started thinking about what you might take away from this experience? Could we see you on Broadway in the future?
Kevin: If they’ll have me! What I’ve taken away so far is just how incredible the people who love theater are—the ones who do this for a living and can handle eight shows a week, whether they’re in the ensemble, a lead, or a swing. I don’t know how they do it. You really have to love it. A lot of the time, it’s a thankless job because it’s the little engine that could. It’s not like TV, where they throw a lot of money at you, and you work a few days a week. These people are so talented and work so hard. It’s amazing to see what they’re capable of.

I brought my sister to rehearsal the other day because, as you know, I can be pretty self-deprecating and critical—my dream is to be the Simon Cowell of one of those talent shows. But I’ve always told her that theater people are different; they’re a different breed. The speed at which they learn and execute their craft is unmatched. She finally saw it for herself, and she was like, “I get what you’re saying.” It’s incredible to witness.

I’m doing my best and really enjoying it. This is a character that suits me, and I love playing him—it fits my voice well. But seeing how others come in and just nail it, I’m like, “How did you place that vowel sound there?” I’m not formally trained like a lot of these people, so I’m just in awe of their skill. I’m a fan, honestly.

What I’m really taking away from this is an immense amount of respect. Not to say that people in TV and film don’t work hard, because they absolutely do, but there’s a lot more room for happy accidents. In theater, there’s much less of that. I would love to do more theater—it’s definitely ignited a spark in me, and I’m happy to work hard to earn my place there.

PC: One of the exciting things about theater is that you never know who will be in the audience. Outside of Beyoncé and Ariana Grande, is there anyone you hope will attend during this run?
Kevin: We’re going to be in D.C., so if we can get some of those politicians in there, I’d love that. Elizabeth Warren was a teacher, and this whole thing is about education—come on down and watch! They work so hard and deal with so much sh*t. Come laugh for an hour and a half. Can we get the First Lady? I’m not asking for much, just the First Lady. I love politics, so if there are any politicians or news anchors, I’d love for them to come.

PC: Good for you for using your platform to raise awareness in this crazy world we’re living in right now.
Kevin: Ugh, I’m scared. We’re less than a month away from the election, and I’m ready for it to be over, but I’m also terrified.

PC: Same here. It’s been five years since we got your debut EP. Are we going to get more music in the future? And since you and Austin released projects during the pandemic, we haven’t gotten a proper tour for those. Is that something in the works?
Kevin: I don’t know. Austin’s definitely going to keep making music. I get the bug every once in a while, so maybe. I wouldn’t say no. There’s probably some more music in the future, but we’ll see.

To keep up with Kevin, follow him on X and Instagram. Pick up your tickets for The 25th Annual Putnam County Spelling Bee today.

Photo Credit: Maxwell Poth