An “Annie” tale

Anthem mom Sherry Henderson sent me this clipping about her performance (with her twin sister) in the original “Annie” on Broadway

When the newest revival of “Annie” on Broadway opens this fall at the Palace Theatre, Sherry Henderson of Anthem will know just how its youngest cast members feel. Henderson and her twin sister were cast in the original “Annie,” which opened in 1977 at the Alvin Theatre (now the Neil Simon Theatre). Henderson recalls being in the show for 17 months of its six year run.

Seems their mom, a dancer, thought that auditioning for “Annie” would be a good experience for her twin daughters. Henderson says about 1,000 girls auditioned, and both she and her sister got a callback. “The director, Martin Charnin, wanted to take us on tour,” recalls Henderson.

Henderson notes that their mom declined, thinking it’d be too tough to manage the logistics with her third child, just four years old at the time. So the director, recalls Henderson, asked their mom whether she’d be willing to take them to  Broadway. Soon they were headed to the Alvin Theatre, where one was cast as Molly and the other cast as Duffy (two of several young orphans in the show).

Two weeks later, says Henderson, they were performing in the show. Henderson and her sister were just eight years old, and in the third grade, at the time. She remembers driving two hours each way between Philadelphia and NYC every day, but says they still managed to miss 52 days of school. On weekends, they’d stay with their grandmother in Brooklyn.

Henderson is choreographing a Musical Theatre of Anthem production of “Annie” opening May 31 at Boulder Creek Performing Arts Center. Three years ago, she choreographed “Annie Jr.” for Anthem’s Starlight Community Theater. It’s clear the orphan tale holds a special place in Henderson’s heart.

“Annie is one of the best written and musically written shows ever done,” says Henderson. “It’s one of the first shows where little girls dreamed of being on Broadway.” The upcoming revival begins previews on Oct. 3, and opening night is Nov. 8. It’s directed by James Lapine, and stars Lilla Crawford (part of the closing cast of “Billy Elliot” on Broadway) as “Annie.”

“Annie” features music by Charles Strouse, lyrics by Martin Charnin and book by Thomas Meehan. The original production earned a Tony Award for best musical. The Musical Theatre of Anthem production is co-directed by Jackie Hammond and Henderson. It’s a “no-cut” production — so everyone ages 6 to 19 who tried out will be rocking their “Annie” vibe.

Nowadays Henderson keeps busy acting, dancing, choreographing and teaching at Dynamic Dance Motion Academy in Anthem — but says her greatest joy comes from “being in theater as a parent.” Her 6-year-old daughter Molly and 10-year-old son Jaden recently performed in the Musical Theatre of Anthem production of “Willy Wonka.”

“Everybody should try theater once,” says Henderson. “It’s so much more than song and dance.” Henderson notes that participating in theater boosts children’s confidence and self-motivation, and equips them for future life experiences like speaking in front of crowds. And those performing in “Annie” learn something more — the value of being optimistic during times good and bad.

— Lynn

Note: Click here for details about the MTA production of “Annie” and here for information on the upcoming revival of “Annie” on Broadway.

Coming up: Once upon a blue star, Comicon meets creativity

I am what I am

Christopher Sieber as Zaza and George Hamilton as Georges in the touring production of "La Cage Aux Folles" coming to ASU Gammage in May (Photo: Paul Kolnik)

Actor Christopher Sieber has done funny proud in plenty of Broadway musicals, from “Shrek” to “Spamalot.” Seems he was already rocking the comedy vibe during second grade. “I took being the class clown and turned it into a career,” quipped Sieber when we spoke by phone Friday morning.

He was happy to be in Dallas, the latest stop on the national tour of “La Cage Aux Folles” that hits ASU Gammage in Tempe next month. It’s a classic Broadway musical featuring music and lyrics by Jerry Herman, plus book by Harvey Fierstein — best known to some for songs like “I Am What I Am.”

Sieber knew early on that he was “the fat kid with the thick neck and thick glasses,” but he also knew how to work a crowd. “I had no fear,” he says — though Sieber’s parents hardly shared his delight. At first, he used “typical third grade material” like this little gem: What the difference between pea soup and roast beef? — Anyone can roast beef!

Parents, take heart. The annoying imps of today may blossom into actors whose idiocyncracies make them masters of the art. Sometimes with weird twists of fate along the way. Seems Sieber’s first foray into musical theater performance was landing the “Stanley” gig as a 10th grader in a community theater production of “Hello Dolly” in the tiny town of Wyoming, Minnesota. “Hello Dolly” also features lyrics and music by Jerry Herman.

"La Cage Aux Folles" cast members inside a birdcage that looks about the size of Sieber's first NYC apartment (Photo: Paul Kolnik)

Sieber first saw the bright lights of New York City when he up and moved there on Oct. 3, 1988. He was 18 years old, and recalls making the flight alone after “working all summer at a car wash” to save money for the “little closet of an apartment” located on Broadway near 73rd Street — inside the Ansonia Building, a renowned “grand hotel” in early 20th century Manhattan. While there, Sieber put himself through school — where I suspect he shared more sophisticated material with fellow theater students.

His “first professional gig” was performing in a Hilton Head, South Carolina production of “Singin’ in the Rain.” It paid $200 a week. Sieber shared that originating roles has been a particular passion through the years. “I love to create new things with people.” When summers find him back in NYC, Sieber enjoys sharing pearls with young performers through “Camp Broadway,” Broadway Artists Alliance classes and such. His advice for up and coming actors? “Be yourself.”

One night just a year or so ago Sieber got the call that landed “La Cage Aux Folles” in his lap. Turns out the invitation to see a performance of “La Cage Aux Folles” starring Harvey Fierstein was much more. A friend took Sieber backstage to meet Fierstein after the show — telling him that “Harvey would love to say hi.” But Fierstein had something else in mind.

Sieber recalls that a quick round of the usual “How are you?” type banter was soon followed by Fierstein asking “Are you gonna do it? Are you gonna do the show?” Seven days later, Sieber was in the show he describes as “a brand new production that’s more intimate and more focused on the two families.”

“It’s kind of a play,” reflects Sieber. “You get to know these people, you really care about them and it’s so fulfilling in the end.” The musical recounts the adventures of a gay couple at a time when folks were far from accepting such things. Sieber notes that even the most “conservative” audience members warm up to the musical, and its message — usually during the show’s second act.

“It doesn’t matter who you love,” says Sieber– whose marriage last Thanksgiving to longtime partner Kevin Burrows was made possible by NYC legislation granting marriage equality to gay citizens. “A family is a family,” adds Sieber. “You can’t legislate love or family.”

"La Cage Aux Folles" runs May 15-20 at ASU Gammage in Tempe

Though the “you’ll love us once you get to know us” thread is still there, Sieber says “the gay stuff is almost passé” in “La Cage Aux Folles.” Times have changed, though not enough, since the musical — directed by Arthur Laurents — opened on Broadway in 1983. Sieber notes that even the men who created the now famous “I Am What I Am” musical “took female dates to opening night” because they were “still afraid.”

The original Broadway production earned six Tony Awards, including best musical, score and book. Both the 2004 and 2010 Broadway revivials of “La Cage Aux Folles” earned the Tony Award for best musical revival. The touring production coming to ASU Gammage May 15, which stars George Hamilton as Georges and Sieber as Albin, is based on the latest revival.

Sieber clearly adores the musical’s finesse with farce, and its bevy of brilliant showtunes. The class clown has grown up. Sort of. I suspect there’s still plenty of boy inside the man — making him the perfect embodiment of “I Am What I Am.”

— Lynn

Note: When last I heard, there were just ten slots left for this summer’s “Camp Broadway” at ASU Gammage — you can click here to learn more. Before “La Cage Aux Folles,” ASU Gammage presents “Green Day’s American Idiot,” which opens April 24. Click here for details on their 2012/13 season. Also, watch for the May 1 announcement of 2012 Tony Award nominees here.

Coming up: Life happens, “Red” rules, The sound of success

Resurrecting a rock opera

The current revival of “Jesus Christ Superstar” is a sort of fourth coming for me. I’ve seen three previous productions of the classic rock opera featuring music by Andrew Lloyd Webber and lyrics by Tim Rice — starting as a tween who first fell in love with the concept album, then saw a touring production of the show many years later in California.

For a time, I lived and died by the record that felt like my generation’s version of Green Day’s “American Idiot.” Listening to the double album, with its mottled dirt-colored cover and gold logo depicting a pair of angels, felt like an act of supreme rebellion. I remember opening the folded album cover atop my bed, pouring over the matching booklet and kneeling nearly prayer-like on the floor while singing along to songs like “What’s the Buzz?” and “I Don’t Know How to Love Him.”

My daughter Lizabeth, who performs this weekend in the Pace Performing Arts production of “Our Lady of 121st Street” at the Lion Theatre on NYC’s famed 42nd Street, has joined me for two national touring productions of “Jesus Christ Superstar” performed at ASU Gammage in Tempe.

She admits to being too young to truly understand “Jesus Christ Superstar” the first time around, but I remember thinking at the time that I wanted her to experience the music that’d meant so much to me during a similar age and stage. Some things — like Springsteen concerts and favorite Broadway musicals — are important to share with our children along the journey.

During my last trip to NYC, we saw a preview of the Stratford Shakespeare Festival production of “Jesus Christ Superstar” directed by Des McAnuff (think “Jersey Boys“) — which has since officially opened at the Neil Simon Theatre. Lizabeth shared after the show that it was the first time she really understood the full measure of the story, based loosely on the last seven days of Jesus’ life.

Though some see blasphemy in the musical’s broad strokes, it’s clearly educating a whole new generation about geopolitical and religious issues of Jesus’ day. For kids not raised with Bible in hand, it’s as close as they may ever come to considering Jesus’ life and times — to witnessing a work within the “passion play” tradition.

Those who’ve suggested the current revival of “Jesus Christ Superstar” is a tad over the top may have preferred tamer takes featuring Ted Neely as Jesus — but we’re not among them. The Stratford Shakespeare Festival production –performed at the La Jolla Playhouse in San Diego before heading to Broadway — is bolder by far, and much better for it. I loved “The Book of Mormon,” but can’t say that I adore “Jesus Christ Superstar” any less. God has been good to Broadway of late.

I spent much of “Jesus Christ Superstar” fighting the urge to get up and dance. Nobody wants their mom to have the musical theater equivalent of a “come to Jesus” moment in public, so I settled for a swift bit of toe-tapping and a silent sing-along in my head. This resurrection of “Superstar” is fresh, fabulous and fun. No apologies needed.

The “Jesus Christ Superstar” cast includes Paul Nolan (Jesus), Josh Young (Judas), Chilina Kennedy (Mary Magdalene), Tom Hewitt (Pontius Pilate) and Bruce Dow (King Herod). Also Marcus Nance (Caiaphas) and Aaron Walpole (Annas). Nick Cartell (Jonah/Swing) grew up in Arizona, where he performed with Valley Youth Theatre, Phoenix Theatre and more. Liz tells me he’s already rocked the role of Judas in understudy mode.

The creative team includes Andrew Lloyd Webber (composer), Tim Rice (lyricist), Des McAnuff (director), Lisa Shriver (choreographer), Rick Fox (music director), Robert Brill (set design), Paul Tazewell (costume design) and Howell Binkley (lighting design). Also Steve Canyon Kennedy (sound design), Sean Nieuwenhuis (video design), Daniel Levinson (fight director), Simon Fox (stunt coordinator) and John Miller (music coordinator).

It’s about time we had a “Superstar” laced with sensitivity and sass. Think sets featuring tall metal bleachers and a giant ticker counting down Jesus’ final days. Costumes in lush fabrics saturated with rich color or earthy materials muted with feminizing tones. Choreography with tent-revival fervor. And layers of glorious orchestration with a hint of folk fare. All bring modern scale to an ancient tale — making “Jesus Christ Superstar” a resurrection well worth the wait.

— Lynn

Coming up: “Rock of Ages” on Valley stages

Photos courtesy of Boneau/Bryan-Brown

From Phoenix to Broadway

Hometown boy Nick Cartell, a swing for the Broadway production of “Jesus Christ Superstar” opening this week at the Neil Simon Theatre in NYC, moved from Michigan to Phoenix at just six months old — where he lived until completing a BA in theatre performance at ASU in Tempe.

Cartell was a member of the Phoenix Boys Choir from third through fifth grade, and describes the experience as “the beginning of my training.” Back then, he was a boy soprano. Today he’s a high tenor, and one of several actors prepared to take over should a male cast member be unable to perform for some reason.

Nick Cartell performs in "The Sound of Music" during Valley Youth Theatre's 1998-99 season.

Between boys choir and Broadway, there were performances with several local theater companies. Cartell’s last show with Valley Youth Theatre (“West Side Story”) overlapped with his first show with Phoenix Theatre (“Man of La Mancha”), so the transition from youth to adult theater felt seamless. But it was three years performing with Disney in Tokyo that made the leap to Broadway feel natural. “If I can make it in Tokyo,” thought Cartell, “I can do a big city like New York.” Before landing the Broadway gig, he did several Off-Broadway productions.

We assume too often that someone who can sing, dance and act will nail every audition. Or think that being a great performer is enough. Not so, says Cartell. Auditioning is a skill, just like acting, that has to be honed. “I wish more schools would teach it,” reflects Cartell — who also shares that NYC is full of folks who can sing, act and dance. Making it requires something more — like hard work, preparation, ongoing training and a desire to improve at every juncture.

Teens interested in musical theater careers should get all the voice, dance and acting training they can, says Cartell, who notes that plenty of community-based options exist for those who can’t afford one-on-one vocal coaching and such. “Keep learning and working to get better,” urges Cartell. Sitting too pretty in pride over past accomplishments won’t set you apart in settings like Broadway that are filled with talented folk.

For some, it’s tough to balance training/performing demands with schoolwork and other responsibilities. But Cartell says he rarely struggled with such things. He knew what he wanted and he worked like the dickens to get it all done. Meeting and shaking hands with one of his musical theater idols, Andrew Lloyd Webber (composer for “Jesus Christ Superstar”), was one of many moments when it all paid off.

Cartell heard last October that the Stratford Shakespeare Festival production of “Jesus Christ Superstar” would be heading to Broadway, and spotted the Actors Equity audition posting in late December. Auditions began one January day at 9:30am, and several hundred people showed up. Cartell arrived at 7am, and ended up being the first to audition that day — singing Journey’s “Open Arms” for musical director Rick Fox and the casting director.

A series of callbacks followed, each requiring that Cartell learn and perform more material. As I interviewed Cartell in a diner near the Neil Simon Theatre, he gleefully recounted each step in the process — recalling, along with wife Christie Bettes Cartell, the exact date and time of each. Dance callback — Jan. 30 at 3pm. Final callback — Jan. 31 at 1pm — before director Des McAnuff, choreographer Lisa Shriver and two others.

Cartell recalls choosing an order for the songs he’d been asked to prepare in case he was told to just run with it. Instead, they asked first for the most difficult piece — “Gethsemane.” Cartell felt afterwards that he’d given the best audition of his life. There was nothing more he could do. It was in the show’s hands. By 3pm the call came in. He was chosen for the role of swing. A formal offer followed on Feb. 1, and he began rehearsing Feb. 9 for his first preview on March 9.

Cartell admits that it all feels a bit “surreal” at this point, adding that he’s “so proud to be part of this show.” Cartell notes that the “Jesus Christ Superstar” story is appealing “regardless of what you believe” — suggesting that most are familiar with the story, and empathize with the challenges faced by Jesus the man.

“Jesus Christ Superstar” focuses on the last seven days of Jesus’ life, so key players include Judas, Mary Magdalene, Pontius Pilate, King Herod and others. But there’s something new in this production, according to Cartell, who says there’s a bit of a love triangle vibe between Jesus, Judas and Mary Magdalene. Seems there’s magnetism between both men and Mary, and perhaps both men as well.

When I asked Cartell to share audition tips with young actors back home, he first recounted a piece of advice received as an 18 year old fresh out of high school — Listen to soundtracks. “Sing along,” Cartell suggests, “but find your own voice with it.”  The advice, by the way, came from Matt Bogart — then performing the role of Chris in “Miss Saigon,” and now performing the role of Nick across the street from Cartell in “Jersey Boys” at the August Wilson Theatre.

Sometimes the gig goes not to the best performer in the room, but to the one with the most passion. “If you connect with what you are singing, even if you are not the best singer, they will go on that journey with you.” Auditions start before you ever begin to sing, says Cartell. It’s also about how you handle yourself in the room — and even the hallway where you’re waiting to be called. “You never know,” shares Christie, “who the monitor is.”

Have your music cut correctly, adds Cartell. You may only get 8 or 16 bars, so prepare your music accordingly. Nobody wants to fuss over your music at the piano. Stay in shape, recommends Cartell, because musical theater requires plenty of stamina. “Get into dance, acting classes — anything and everything.” Do voice lessons too if you can swing it financially. Time spent learning tap, jazz, ballet and theater makes you more marketable, says Cartell. At the end of the day, adds Cartell, it’s a business.

Previews for “Jesus Christ Superstar,” which had a San Diego run before heading from the Stratford Shakespeare Festival to Broadway, end March 21 — and the show officially opens March 22. If you’ve been toying with making the trip from Phoenix to Broadway, consider getting tickets to “Jesus Christ Superstar” so you can support our hometown talent. Who knows, it might be your own child making the journey from Phoenix to Broadway one day.

— Lynn

Note: Spring performing arts classes at VYT start Sat, March 24. Click here to explore both weekday and weekend options.

Coming up: More adventures with VYT alumni, A way with words, Quilting for a cause, Art contest for kids

The swing and I

Little did we know, when Lizabeth performed with Nick Cartell in "The King and I" more than a decade ago, that we'd one day witness his Broadway debut in "Jesus Christ Superstar," currently in previews at the Neil Simon Theatre

My daughter Lizabeth performed more than a decade ago in a Greasepaint Youtheatre production of “The King and I.” So did Nick Cartell, now a swing with the Broadway revival of “Jesus Christ Superstar” currently in previews at the Neil Simon Theatre. If an actor who performs the role of Jesus, Judas or Annas (or one of ten ensemble tracks) can’t go onstage for any reason, Cartell is among those ready to run with it.

Cartell graciously invited Lizabeth and I to join him for a bite to eat before Wednesday night’s show, and we were delighted that his wife Christie joined us as well. Seems they met several years ago while living in Japan. Cartell performed for Disney in Japan for three years, and Christie quips that she was “friends with lots of the princesses.” Each shines, but together they sparkle.

Cartell graciously answered all sorts of questions between bites of burger sans bun, raw veggies and cottage cheese. Best to be buff when working on Broadway, and this show in particular. Heaven forbid the call might come to don a loincloth when you’ve more flab than abs. Not something Cartell needs to fret, but his work ethic is admirable.

Stay in shape. Continue acting training. Seize opportunities to learn more. Honor fellow performers. Be grateful for the chance to do what you love. And remember those who helped along the way. For Cartell, it’s family, friends and a pair of Arizona directors — Bobb Cooper, producing artistic director for Valley Youth Theatre and Michael Barnard, artistic director for Phoenix Theatre.

We saw a preview performance of “Jesus Christ Superstar” Wednesday night after Cartell made his way from burger to backstage, and he graciously treated us to a backstage tour after the show — where it became clear just how much gets accomplished in small pockets of space. Everyone we met who had anything at all to do with the show was incredibly generous in spirit.

We can’t share a formal review because “Jesus Christ Superstar” is still in previews, but I don’t see the harm in simply telling you that we both loved it big time. I’ve seen four different productions of “Jesus Christ Superstar” since my teens, and this is my favorite by far for all sorts of reasons I’ll happily share after reviewers have a chance to see the show post-previews and give their opinions. Lizabeth is already talking about seeing the show again, but I suppose it’ll be James’ turn to tag along next time.

Cartell’s on-stage time is relatively brief, but it’s delightful all the same. His heart is clearly in it — really in it. And his smile lights up the theater as cast members take their bows. When the Arizona heat feels too much to bear, just head for the bright lights of Broadway. Cartell will surely be there.

— Lynn

Note: I’ll be sharing more of Cartell’s journey to Broadway in future posts, plus his insights for young actors on things like training and auditioning — and his thoughts about trends in Broadway theater.

Coming up: NYC museum adventures, Building a better portrait

Getting the scoop on “Godspell”

Cast members from Godspell on Broadway participated in Broadway Remembers in NYC's Times Square on 9/11 last year (Photo: Liz Trimble)

Our daughter Lizabeth flew home from NYC during winter break for Pace University, where she’s a B.F.A. in acting student. We spent her last night in Scottsdale at the Sugar Bowl, where I got both a scoop of ice cream surrounded by a cream puff and the scoop on “Godspell” on Broadway.

Lizabeth loves the show, her first exposure to anything resembling a gospel of any sort, and I wanted her take before seeing a junior production being performed through Sun. Jan. 29 at Spotlight Youth Theatre in Glendale. Basically it’s a giant song, dance and lovefest featuring pearls from the New Testament book of Matthew.

“Godspell,” originally conceived and directed by John-Michael Tebelak, features new lyrics (the Bible and an Episcopal hymnbook had first crack at it) and music by Stephen Schwartz — whose works from “Pippin” to “Wicked” are also high on Lizabeth’s list of favorites. The current revival of “Godspell” on Broadway opened at the Circle in the Square Theatre last October, and Lizabeth would see it over and over again were money no object.

Performance of Godspell at Spotlight Youth Theatre in Glendale

We compared “Godspell” notes via Skype after I saw the Spotlight Youth Theatre production of “Godspell,  Jr.” on Sunday — and I was quick to share my delight with both sets and costumes. Each reflects the hippie vibe associated most often with a 1973 film adaptation of the show, but the production stops short of taking all things “hip” and “groovy” too far. Bless them.

“Godspell, Jr.” works particularly well as a youth theater production because it’s less linear than most storytelling, and is easily adapted to all sorts of settings and skill levels. I loved the back-alley feel of Spotlight’s show — complete with graffiti-laden red brick wall, chain link fence and Salvation Army donation bin. Graffiti art is by Juan Evan Macias.

The script for “Godspell” leaves plenty of room for director deviations and actor ad lib, and Spotlight’s production takes full advantage of both. It’s infused with humor, but doesn’t go over the top. Most is the work of director Kenny Grossman, but he’s quick to credit the actors for improv elements that traveled from rehearsal to final production.

I was especially charmed by Samantha A. Isely’s comedic timing. Isely is “an avid performer of Spotlight” who attends Arizona Conservatory for the Arts and Academics in Peoria and sometimes seems to be channeling Carol Burnett. Ally Lansdowne and Carly Grossman delivered two of the best vocal performances, and ensemble vocals were quite beautiful.

I was thrilled to see a nice mix of new and veteran Spotlight performers in the cast. It’s always a good sign when youth theater companies routinely welcome new members into their family. Still, some loyal Spotlight fans in the audience left me feeling like a little girl peering over the fence at a really fun party. Some folks are put off by seeming self-adoration, so a bit of curbing the enthusiasm might be warranted for the high-pitched whistling types.

Performance of Godspell at Spotlight Youth Theatre in Glendale

The show’s main characters include Jesus, played by Brophy College Preparatory student EJ Dohring, who recently played Otto in the ACAA production of “Spring Awakening.” Costume designers Tamara and Leigh Treat nailed it by putting Dohring in white denim jeans and jean jacket — plus black FDNY t-shirt. I appreciate their homeage to modern day saviors of the non-celestial sort.

Also Judas, played by Arizona School for the Arts student Bransen Gates, recently seen as Ernst in ACAA’s “Spring Awakening.” Goodman shared that the great chemistry between Gates and Dohring was an important factor in casting the show. Gates shines with angst-filled scenes like the betrayal of Jesus, while Dohring excels with upbeat expressions of pure joy.

The Spotlight production of “Godspell, Jr.” features choreography by Amanda Paige. It’s fun, youthful and fresh — and succeeded in showcasing the movement talents of the entire cast. I also enjoyed the music direction by Mark 4Man. I don’t understand  the numeric name thing, but his fans are quick to laud  it.

“Godspell, Jr.” was orginally adapted and produced by Edgar Lansbury, Stuart Duncan and Joseph Beruh. Given its unqiue adaptability to the sensibilities of youth, I hope other youth theaters in the Valley will mount the work in coming years. Who doesn’t love material that leaves room for considering the mysterious ways of God — like Taylor Swift snagging the role of Eponine in an upcoming “Les Miserables” flick.

Performance of Godspell at Spotlight Youth Theatre in Glendale

Spotlight Youth Theatre previously performed “Les Miserables School Edition.” The next school adaptation on their plate is “Sweeney Todd School Edition,” which features book by Hugh Wheeler plus music and lyrics by Stephen Sondheim. They’ll also present “James and the Giant Peach” and “Annie, Jr.” this season.

Click here to learn more about Spotlight Youth Theatre auditions, camps, workshops and productions. Then get ready to enjoy the best pies in London.

— Lynn

Note: “Godspell, Jr.” at Spotlight Youth Theatre features hair and make-up by Angel DeMichael, properties managment by Vicki Grossman, stage management and lights by Vinny Jordan, and sound by Kenny Grossman.

Coming up: I’ve got something in common with Johnny Depp…

This post was updated with photos (by Craig Ross) and corrections on 1/18/12

Another night with “South Pacific”

South Pacific runs through Jan. 15 at ASU Gammage

It’s been more than fifty years since my mother-in-law saw a revival of “South Pacific” at the New York City Center. Neither my husband James nor his sister Julie had been born yet. And the work, which raises themes of racism, was much closer in time to everyday clashes between Americans taking different sides on race-related issues.

The musical, which is based on a 1947 James Michener novel titled “Tales of the South Pacific,” premiered in 1949 and won the Pulitzer Prize for drama the following year. A “South Pacific” film was released in 1958, which Glenna also enjoyed. But she wasn’t in the house for the “South Pacific” concert held at Carnegie Hall in 2005. That production starred Reba McEntire as Nellie and Brian Stokes Mitchell as Emile.

My daughter, Lizabeth, has long been a Broadway buff — and I think we may have watched the Tony Awards with James’ parents in 2008, the year a revival of “South Pacific” earned seven Tony Awards, including best musical revival. The ceremony that year included a cast performance of three songs from the show — “Nothing Like a Dame,” “Some Enchanted Evening,” and “A Wonderful Guy.”

The 2008 revival played at Lincoln Center’s Vivian Beaumont Theatre, where I saw “War Horse” with Lizabeth just last year. Its opening cast included Kelli O’Hara as Nellie, Paulo Szot as Emile and Matthew Morrison (now known to tweens as Mr. Schuester on FOX’s “Glee“) as Lt. Cable.

I first saw a live production of “South Pacific” with Lizabeth many years ago, during an earlier tour that included ASU Gammage in Tempe. The current tour of “Rodgers and Hammerstein’s South Pacific,” recommended for ages 8 and up, is being performed at ASU Gammage through Sun, Jan. 15.

Marcelo Guzzo (Emile) and Katie Reid (Nellie)

Both Glenna and Tom attended the opening night performance, so I asked Glenna to share a few thoughts about the show. With so many lawyers in the family, I wasn’t surprised by her description of the sets as “effective.” And though she felt some of the acting was a bit stiff, Glenna shared that she really enjoyed the music.

I suspected as much knowing that Emile is played by Marcelo Guzzo, who has a long list of opera credits. Glenna shared that Cathy Foy-Mahi’s performance as Bloody Mary was “really good.” She’s a Hawaiian actress whose stage credits include “Les Miserables” (Mdme. Thenardier) and television credits include ABC’s “Lost” and CBS’s “Hawaii 5-0.”

Folks who attend tonight’s performance can stay after the show for “TalkBack Thursday” with 99.9 KEZ — enjoying insights from cast and crew members. Families who prefer afternoon to evening performances have both Saturday and Sunday matinees to choose from.

When you attend, watch for 7-year-old Cole Bullock from New Jersey, who makes his professional theater production debut in the role of Jerome. Also 8-year-old Hannah Isabel Bautista, from San Francisco, who plays Bloody Mary’s assistant. Kids love seeing other children perform on stage.

Glenna tells me they’ve already got tickets for the Feb. 15-March 11 run of “Wicked” at ASU Gammage, but confessed that she’ll need to do a bit of homework before attending. I have a friend, Alan Handelsman, who can help with that. He’s seen “Wicked” eleven times in seven cities — and he’s written a guest post for the “Stage Mom” blog that’ll  go up later this month.

— Lynn

Note: Other shows coming to ASU Gammage this season include “Green Day’s American Idiot,” “La Cage Aux Folles,” and “Million Dollar Quartet.” Click here for details.

Coming up: Rock & roll — for a cause

Wistful for “West Side Story”

My daughter called from New York City just as I was heading out the door for opening night of “West Side Story” at ASU Gammage. The musical is set in the Upper West Side of NYC. My daughter’s living in Lower Manhattan, and she can jump on a subway and hit a Broadway show any time she wants to now. Assuming, of course, that she’s finished her homework. 

It’s her first year in the B.F.A. in acting program at Pace University. This was the first time, in a long time, that I’ve attended a show at ASU Gammage without Lizabeth– and I missed her. It was odd, after the show, to actually get in my car and drive home alone. No waiting at the stage door hoping to get cast member autographs. No late night mother/daughter “In-N-Out Burger” run. 

You can enjoy West Side Story at ASU Gammage through Sunday, Oct 2

Still, I had a great time at the show — which felt like one giant music and movement fest. Theater buffs know it as a classic piece of musical theater — the work of Arthur Laurents (book, director), Leonard Bernstein (music), Stephen Sondheim (lyrics) and Jerome Robbins (choreography). But it’s a “must see” for music and dance afficionados too.

“West Side Story,” originally directed and choreographed by Jerome Robbins, opened on Broadway in 1957. The revival on which this tour is based opened on Broadway in 2009 — and had 748 regular performances. Reading the cast and creative team bios for this production reveals a truly stellar team with some serious street cred. That’s not the case for every touring show, but it was evident Tuesday night.

The strength and consistency of Kyle Harris’ (Tony) performance translates into a powerful production overall. Without a top-notch Tony, it’s hard to find the story believable or compelling. Harris’ Tony feels innocent and earnest. He commands the stage with a robust yet tender vocal performance.

Ali Ewoldt’s (Maria) comedic skills were evident early on. And while many in the audience were clearly wowed by her operatic vocal performance, there were times it felt like too much of a good thing. I enjoyed Harris’ and Ewoldt’s solos more than their duets. The mix just didn’t work for me every time.

The dancing is remarkable throughout — but especially fun to watch during “Dance at the Gym” (Company), “America” (Anita, Rosalia and Shark Girls) and “The Rumble” (Company). All those dance teachers who must have harped through the years about pointing those toes deserve a slew of thank you notes.

The scenic design by James Youmans, which is perfectly lovely to begin with, grows more impressive as the show unfolds — becoming a real visual feast of line and color during “The Rumble” (Act I) and “Somewhere” (Act II). Lighting design by Howell Binkley feels a bit distracting during Act I, but is truly stunning during Act II. Think rich hues of purple and blue, and a bright white light as youth once divided begin to envision a world without hate.

Still, I could have closed my eyes throughout and been perfectly satisfied with my evening — thanks to a captivating performance by the “West Side Story” orchestra, which features music director and conductor John O’Neill plus associate conductor Paul McCaffrey. Also Daniel Bailey and Kyle Norris on keyboards, Rick Donato on drums and Michael Meza on trumpet.

Although the show is recommended for ages 13 and up, a few people did bring younger children along. The use of bad language and such is minimal in my book, but there are several sexual gestures that some parents won’t take all that kindly to. Best to follow the age recommendations unless you see the show first and then decide it’s okay to take your kids along for a second run at it.

Just pretend, if you take a teen along, that you’ve never heard any of the lingo used in the show. Hoodlum. Dame. Creep. Dig it. Daddy-o. So few of us have yet to come to terms with being on the planet long enough to see classic shows through multiple revivals.

Parents who take teens may find the show’s depiction of bigotry and bullying helpful in launching discussions about whether and how these occur today. As I drove home from “West Side Story” Tuesday night, I heard Anderson Cooper interviewing Alyssa Rodemeyer, sister of 14-year old Jamey Rodemeyer, who killed himself after being harassed about his sexuality.

Apparently she was taunted about her brother’s suicide at a recent homecoming dance, proving that some things haven’t changed all that much in the last fifty years. Ignorance and fear still breed hatred. Now, more than ever, we need people who embrace the differences that make every person precious and unique.

— Lynn

Note: Learn more about preventing suicide in LGBTQ youth at www.thetrevorproject.org.

Coming up: A playwright’s journey

In good company

The musical Company comes to six Arizona movie theaters this month

I wasn’t in New York City during April of this year. But neither, I suspect, were most of you — so I’m in good company. Turns out we all missed an April 7-9 run of the concert version of the musical “Company,” performed with the New York Philharmonic in the Lincoln Center’s Avery Fisher Hall.

But a special performance of the concert was recorded live, and it’s headed to select movie theaters starting June 15 thanks to a Screenvision, New York Philharmonic, Ellen M. Krass Productions partnership. Six Arizona theaters will be showing the concert at 7:30pm on Wed, June 15.

Screenvision lists them as Gateway 12 Imax in Mesa, Chandler Fashion 20, Arrowhead Fountains 18 in Peoria, Scottsdale 14 in Phoenix, Tucson Spectrum 18 and Surprise Pointe 14. Tickets are available online at www.screenvision.com.

Fond as I am of experiencing musical theater on stage, I’ve found that seeing it on the big screen makes for a mighty fine alternative. We’ve seen “Rent” and “Memphis” this way, and the 25th anniversary “Les Miserables” concert too.

I remember marveling at the mom and daughter who shared a blanket while watching the “Les Miserables” concert together at a Mesa movie theater. Something tells me fuzzy blankets and popcorn aren’t embraced quite that readily on the “Great White Way.”

Though “Company” isn’t anywhere near the top of Lizabeth’s “all time favorite musicals” list, I hope she’ll tag along to see it with me. “Company” opened on Broadway in 1970, and was nominated in 1971 for 14 musicals (a record at the time). It won six — including best musical.

It’s one of composer-lyricist Stephen Sondheim’s earliest full-scale musicals. There are 15 of them (so far) — including “Follies,” “A Little Night Music,” “Sweeney Todd” and “Into the Woods.” Sondheim wrote lyrics for “West Side Story” and “Gypsy.”

Major songs in “Company” include “You Could Drive a Person Crazy,” “Another Hundred People” and “Being Alive.” The 2006 Broadway revival of “Company” won the 2007 Tony Award® for “Best Revival of a Musical.” It was taped for the PBS “Great Performances” series, a little gem you can now enjoy on DVD.

The staged concert production of “Company” that’s headed to movie theaters features all sorts of “television and stage heavyweights.” Think Stephen Colbert and Neil Patrick Harris, Patti LuPone and Katie Finneran — and plenty more. Click here to enjoy rehearsal photos and here to read a related article from The New York Times.

Those of you who’ve yet to experience the joys of eating, drinking and breathing musical theater might feel ill equipped to recount the premise of “Company.” But it’s easy to follow. Think five couples and a bachelor friend living in NYC. And read Stephen Sondheim’s “Finishing the Hat” if you want to delve deeper.

You can click here for a bit of background from PBS, and here for a delightfully brief but comprehensive look at “Company” (and Sondheim) from New York Philharmonic program notes.

The April 2011 “Company” concert played to a full house that’s much larger than your average movie theater. So don’t delay in getting tickets to enjoy this classic work of musical theater. Feel free to bring your blanket along. Something tells me you’ll be in good company.

— Lynn

Note: This post is part of a “Countdown to the Tony Awards®” series that will run through Sun, June 12, when the 2011 Tony Awards® will be broadcast on CBS.

Coming up: Touring productions of Tony Award® winning shows coming to Arizona during the 2011/12 season

Broadway tales

After years of seeing touring Broadway shows at ASU Gammage in Tempe, Lizabeth will soon be enjoying shows on Broadway (Photo: James Trimble)

While Lizabeth and James were back East a while back for college theater program auditions (hers, not his), they faced plenty of tough choices. Which pizza joints to frequent. Which tourist attractions to explore. Which Broadway musicals to take in.

They ended up seeing a straight play off Broadway one night. Their other two choices, dictated in part by what they could snag last minute tickets to, were “Jersey Boys” and “American Idiot.”

It never occured to us that “Green Day’s American Idiot” might be making its way to Arizona, but we learned just recently that the rock musical is part of the 2011-2012 “Broadway in Arizona” series at ASU Gammage in Tempe.

Lizabeth saw American Idiot on Broadway -- but I'll be enjoying it during April 2012 at ASU Gammage in Tempe (Photo credit: James Trimble)

“We always like to have something new,” explains Colleen Jennings-Roggensack, executive director for ASU Gammage and Assistant Vice President of Cultural Affairs at ASU.

Other “new” offerings in the 2011-2012 “Broadway in Arizona” season at ASU Gammage include the “Blue Man Group.”

You might say Gammage is poised to “rock our world” this season.

But there’s also more sentimental fare — including “Irving Berlin’s White Christmas,” “West Side Story,” and “Rogers and Hammerstein’s South Pacific.”

Lizabeth will be thrilled that one the shows she missed on Broadway, “Million Dollar Quartet,” is also coming to town. “La Cage Aux Folles” should prove equally fabulous and fun.

Thanks to three 2011-2012 special engagements (shows that aren’t part of the season ticket package), your gift-giving decisions just got a whole lot easier.

For winter holidays, give tickets to “Stomp” (Dec 28-31, 2011). For Valentine’s Day, think “Wicked” (Feb 15-March 11, 2012). Trust me — a change in theme from pink to green will be ever so appreciated. And for Mother’s Day or year-end teacher gifts, there’s “RAIN: A Tribute to the Beatles.”

Especially during tough economic times, reflects Jennings-Roggensack, people appreciate the familiar. She sees the season as a perfect blend of the new and exciting with the familiar and comforting.

Lizabeth was thrilled when she learned of the 2011-2012 ASU Gammage line-up, because we’re longtime season ticket holders who rarely miss a show. At some point, however, the bad news struck her. She’ll likely be in New York — either studying or auditioning — when these shows hit Arizona.

But we’ll have a great time swapping “Broadway in Arizona” and Broadway in New York stories…

— Lynn

Note: ASU Gammage offers “Camp Broadway” June 6-10, 2011 for youth ages 10-17.

Coming: More new season announcements