Cocktails, gems & lifesavers

Nifty Times Square signage from the 2011 revival of Anything Goes on Broadway

There’s a slick bar facing three white stools when audience members first see the stage for “Anything Goes,” which is being performed at ASU Gammage in Tempe through Sunday, Nov. 18. Imagine it’s filled with the sorts of liquor served nowadays — many with nearly neon shades of orange, blue or green — and you’ll have the makings of the musical’s magnificent color palette.

After the opening scene, in which a monied wheeling and dealing type gives strict instructions to his Wall Street flunkie, the bar slides off stage as a curtain rises to reveal a pristine white ship with a trio of decks joined by two spiral staircases. It’s dotted with circular windows, and sports two chimney stacks rimmed with fat red and navy stripes.

Seems the flunkie forgot to deliver his boss’s passport the day before, so he’s forced to deliver it just as the ship is about depart New York for London. While on board, the young man spies a woman he’s smitten with and learns that another passenger hasn’t come to claim his ticket. Hence he assumes the missing man’s identity and decides to set sail in search of love and adventure.

Soon various passengers — many pretending to be someone they’re not — make their way across the stage. So begins the nearly non-stop parade of jewel-colored evening gowns that add another layer of color to the show. Think amethyst, blue topaz, emerald and ruby. Others look like pale pink pearls or glistening opals with a faint blue hue.

In typical farce fashion, doors on the first deck burst open and slam shut. People claim to be something they’re not. An intriguing continuum of con artists seek to force the hand of fate with tricks from stealing a pair of eyeglasses to morphing a mutt into bits of mustache. Song and dance abounds — all of it good, much of it spectacular.

There’s a reason talents like Ethel Merman, Patti LuPone, Sutton Foster, Hal Linden, Elaine Paige and Joel Grey have all signed on to perform in “Anything Goes.” True musical theater afficionados know it’s a “must see” work, featuring music and lyrics by Cole Porter. The Roundabout Theatre Company production earned 2011 Tony Awards for best musical revival, choreography and leading actresss in a musical.

This touring production features new book by Timothy Crouse and John Weidman, and stars Rachel York as Reno Sweeney, a woman who’s sweet on Billy Crocker (Erich Bergen), but nonetheless works to assure he snags the girl of his dreams — Hope Harcourt (Alex Finke). Never mind that Hope’s engaged to another, or sailing the seas with an overprotective mother.

York exudes a genuine joy that’s both rare and contagious. Fred Applegate (Moonface Martin) rocks the farce vibe with unmatched comedic talent. Finke delivers lovely vocals, and Bergen supremely graceful dance moves. In a world filled with pseudo-talented reality show performers, “Anything Goes” is the real deal. This “Anything Goes” ensemble can sing and dance the pants off most everything else out there these days.

“Anything Goes” is directed and choreographed by Kathleen Marshall. Howard Lindsey and Russel Crouse wrote the original book. Bill Elliott wrote additional orchestrations, and the “Anything Goes” orchestra is conducted Jay Alger. Several local musicians perform with the orchestra, playing quite beautifully together.

Original scenic design is by Derek McLane, and lighting design is by Howell Binkley. Watching everything from the sky above the ocean liner to the round windows along its decks turn to colors like cherry red, lime green and grape purple made me feel I was slowly unwrapping a giant roll of Life Savers candies.

Everything about this show — from costume design by Martin Pakledinaz to hair & wig design by Paul Huntley — feels crisp and polished. It’s filled with 1930s vocabulary, and references to gadgets that’ll leave you feeling a nifty bit of nostalgia. Though the show’s been around for decades, farce never felt so fresh. Or tasted so delicious.

— Lynn

Note: Click here to read the RTC guide for “Anything Goes,” which is an especially wonderful resource for students seeing the show. Click here to learn about RTC shows playing in NYC, and here for ASU Gammage info/tickets.

Coming up: The gospels according to Stephen Schwartz, Hauling out the party clothes

Catch him if you can…

Extra! Extra! Read all about D. Scott Withers joining the national tour of the musical Catch Me If You Can (Pictured: Withers in The Color of Stars at Childsplay)

How I managed to miss “Catch Me If You Can” in book, movie and musical form for all these years escapes me. I first stumbled on the film a few months ago while channel surfing with my tiny kitchen TV one day. Once you spot Leonardo DiCaprio and Tom Hanks on the same screen, it’s impossible to look away.

I had that same feeling several times watching D. Scott Withers perform on Valley stages — where he’s recently been near-hubby to a histrionic stage mother and father of three grown daughters with a wife unsure about carrying a new pregnancy to term. I’ve marveled at Withers in director and playwright mode too.

A staged reading of Withers’ “Big Dreams,” a funny but frightening look at pageant world, was a hit this summer with audiences at Phoenix Theatre’s “Hormel New Works Festival.” And I suspect folks in Arkansas are still raving about his take on Edna in “Hairspray.”

Withers as Edna at the 2011 Arizona Awards

Withers has long been beyond-belief busy, but now catching up with him will be harder than ever. When a national touring production of “Catch Me If You Can” announced its cast, my daughter Lizabeth was all over it. She’s seen the musical twice on Broadway, and grew up watching Withers rock all kinds of roles for Childsplay.

Withers was cast as Roger Strong (and Character Man, plus understudy for Agent Carl Hanratty and Frank Abagnale, Sr.) in the “Catch Me If You Can” tour after a series of three auditions. He first read for a couple of “Catch Me If You Can” parts after getting a call from the agency that’d put him “on file” after a different tour he’d auditioned for got nixed.

While Valley audiences were watching Withers do his Herbie thing in Phoenix Theatre’s “Gypsy” last fall, Withers was wondering how to juggle his already hectic theater life with the prospect of taking on a national tour. His first audition for “Catch Me If You Can” happened the day “Gypsy” closed.

Withers will be doing the sabbatical thing with Childsplay while he tours, and had to turn down half a dozen directing offers here in the Valley to make the “Catch Me If You Can” schedule work. He’ll hit NYC on Sept. 7 for 16 days of rehearsals before heading to York, Pennsylvania to tech and preview the show.

“In one respect,” muses Withers, “it’ll be a lot easier focusing on one thing.” Withers first saw “Catch Me If You Can” in film form, and also saw a snippet of the Broadway production performed during the 2011 Tony Awards broadcast.

The Broadway production ran April to September 2011 at the Neil Simon Theatre. The original Broadway cast included Aaron Tveit and Norbert Leo Butz (whose performance earned him the 2011 Tony Award for best actor in a musical). Nick Wyman was Roger Strong.

The cast of the 2002 film, which was directed by Steven Spielberg, includes Martin Sheen as Roger Strong, plus plenty of other actors making headlines today — including Amy Adams and Jennifer Garner.

You’ve got to wonder, when seeing such incredible talent unfold several decades into life, why Withers hasn’t yet found his way to the bright lights of Broadway. “I’m an Idaho boy,” reflects Withers. “New York felt overwhelming in my twenties.” Withers says he appreciates NYC more now, thanks to maturity — and I fully expect to see him performing on Broadway one day.

Withers backstage during an Arizona Broadway Theatre production

Still, Withers considers himself a “one day at a time person” and Valley fans needn’t worry that he’s planning to pursue a myriad of touring musical theater gigs. “I don’t foresee wanting to spend my entire life on the road.” He’s just overjoyed to be working and doing the things he loves to do “in this business we call show.”

For now, Withers is plenty excited about seeing cities he’s never visited before as the show hits venues across the country. Chicago. Milwaukeee. Minneapolis. Houston. Charlotte. He’s eager to experience each one, and notes that although the show isn’t scheduled to stop in Phoenix, new dates in additional cities may get added to the tour.

The “Catch Me If You Can” tour itinerary includes 33 stops between October and June. Valley theater folk eager to plan road trips to see the show have plenty of good choices — including Los Angeles (Pantages Theatre in March), Las Vegas (The Smith Center for the Performing Arts in June) and Costa Mesa (Segerstrom Hall in June).

“Catch Me If You Can” is rooted in the real life story of a young con man whose fortunes turned on impersonating doctor, lawyer and jet pilot during the ’60s. Withers shares that his favorite part of the show is the music, noting that it’s got the same writers as “Hairspray,” and describes his part as “a little gem of a role.” Withers describes Roger Strong as a “stern, scary father figure” but adds that’s there’s “a great twist at the end.” Catch it if you can.

— Lynn

Note: Withers is nominated for several 2012 Arizoni Awards (two actor in a major role, one actor in a supporting role and one director award). Click here for 2012 Arizoni Awards information and tickets.

Coming up: Art in the city, The fine art of bumper stickers?

Tony watching

Jim Parsons (L) and Kristin Chenoweth announcing the 2012 Tony Award nominees. Photo courtesy of ASU Gammage.

Watching the Tony Awards ceremony is a longstanding tradition at our house, and our daughter Lizabeth was especially excited about viewing this year’s awards after seeing eight of the shows nominated for one or more 2012 Tony Awards.

I’m fondest of the acceptance speeches, which so often include odes to parents, spouses, partners and kids. Remarks by Audra McDonald topped my list this year. McDonald assured her daughter that although winning the award made it a very special night, the more important day was Feb. 14, 2001 — the day Zoe was born.

Lizabeth once recounted meeting McDonald after attending one of her shows. She was eager to ask her a few questions, but noted that McDonald’s daughter was with her and decided to let the opportunity pass — figuring she’d want to get home at a decent hour on a school night.

When a pair of gentlemen accepted an award for “Newsies,” one offered a simple “Look mom, a Tony!” And Paloma Young, winner for best costume design of a play for her work on “Peter and the Starcatcher,” thanked her father for giving her “way too much adventure for one little girl.”

John Tiffany, winner of a Tony Award for best direction of a musical for his work on “Once,” thanked his family for giving him the gift of music. Another director, Mike Nichols, recalled being at the Beacon Theatre as a child. Nichols won a Tony Award for best direction of a play for his work on “Death of a Salesman.” Seems the site of this year’s ceremony was once his neighborhood movie theater.

Christian Borle, known to many for rocking the Tom Levitt role on the television series “Smash,” earned the Tony Award for best performance of an actor in a featured role in a play for his work on “Peter and the Starcatcher.” His remarks shared thanks for “making my mom so happy.”

James Corden, who won the Tony Award for best performance by an actor in a leading role in a play, thanks his “baby mama” and future wife for teaching him to say “us” instead of “I” and “we” instead of “me.” And Nina Arianda, winner of a Tony Award for best performance of an actress in a leading role in a play for her work in “Venus in Fur,” was ever so cherubic after Christopher Plummer handed her the award. “You sir,” she told him, “were my first crush.”

Most moving were remarks by Steve Kazee of “Once,” winner of a Tony Award for best performance by an actor in a leading role in a musical. Kazee lost his mother to cancer this past Easter, and shared something he recalls her saying — “Stand up and show them whose little boy you are.”

While most folks in Arizona were watching such moments on TV, others were enjoying the Tony Awards ceremony in New York. ASU Gammage organized a June 7-10 trip to NYC, with the option of staying an extra night to see the Tony Awards at the theater or in VIP seating in Times Square.

While in NYC, the ASU Gammage folks spent three evenings seeing shows and had several meals with Broadway professionals. Saturday’s itinerary included time with cast members from “The Book of Mormon,” “Priscilla Queen of the Desert,” “How to Succeed in Business Without Really Trying” and music types from both “Wicked” and “The Book of Mormon.”

They also spent time with both the president and vice president of Disney Theatricals Group — and I’m hoping all involved resisted the urge to break into a rousing chorus from “Newsies” or “Beauty and the Beast.” The latter is a “special engagement” for the 2012-13 season at ASU Gammage.

In addition, they toured several parts of NYC — a “renaissance” portion of 42nd Street, the Art Nouveau-style New Amsterdam Theatre (where presidents Obama and Clinton appeared just last week), parts of the NYC subway system, the 9/11 Memorial and Manhattan’s financial district. I’ve experienced them all, and was happy this time around to be tucked under a quilt sitting on the couch next to Lizabeth.

Now that she’s attending college in NYC, annual traditions like watching the Tony Awards on television are bittersweet reminders of the fact that she’ll soon be creating her own traditions far from the nest that nurtured her love for Broadway.

— Lynn

Note: The 2012 Tony Award winning play, “Clybourne Park,” is part of Arizona Theatre Company’s 2012-13 season — click here for details.

Coming up: Go “Jimmy” Go, “Les Mis” meets movie theater, Reimagining “Stage Mom”

Update: I’m now blogging as “Stage Mom Musings” at www.stagemommusings.com. Please find and follow me there to continue receiving posts about arts and culture in Arizona and beyond. Thanks for your patience as the tech fairies work to move all 1,250+ posts to the new site. For the latest news follow me on Twitter @stagemommusings.

What’s the buzz?

Cast of "Jesus Christ Superstar" on Broadway (Photo: Joan Marcus)

I enjoyed an amazing evening of Broadway trends in action during a preview performance earlier this month of the “Jesus Christ Superstar” revival that opened last week at the Neil Simon Theatre in NYC. Digital projections, folk flavor added to the pop/rock score and more.

All things Victor Hamburger with ASU Gammage in Tempe alerted me to during a recent call to talk trends on Broadway. Turns out ASU Gammage is one of the country’s biggest markets for touring Broadway productions. Also professional home to Colleen Jennings-Roggensack, executive director for ASU Gammage and recipient of a 2012 Arizona Governor’s Arts Award.

ASU Gammage will unveil its 2012/13 Broadway Across America season next week, so we’ll all get the chance to see trends translated into action. Audience engagement via social media and other means is one of the industry’s hottest trends, according to Hamburger. So folks who follow ASU Gammage are among the first to get the scoop — and enjoy opportunites to offer feedback.

Hamburger says they always work to provide a balance of shows that’ll appeal to folks with different tastes. Some prefer revivals, others prefer newer works. Some like nostalgia, others like the here and now. Some favor mature fare, others favor family fare. So I suppose the best season has a little something for everyone.

Steve Kazee and the cast of "Once," which recently opened on Broadway (Photo: Joan Marcus)

Simply looking at the Broadway landscape, you might surmise that topics your parents always told you to avoid at the dinner table make for the best subject matter. Religion, sex and sometimes even politics. “Jesus Christ Superstar” is one of several works that factors God into the mix. Think “Godspell,” “The Book of Mormon,” “Sister Act” and such. Going retro, with shows like “Mamma Mia!” and “Priscilla Queen of the Desert,” seems to be a safe bet too. God is groovy, but dance is divine.

Bringing movies to stage is another biggie these days, according to Hamburger (although “biggie” isn’t really a part of his vocabulary). Think “Once,” “Ghost,” and “Flashdance.” Seems they help introduce audiences fond of the big screen to stories told on stage. I was skeptical until I started reading reviews of “Once” that landed it high on my list of shows to see during future trips to NYC.

Casting artists dubbed celebrities is also on the rise — as evidenced by the current cast list of “How to Succeed in Business Without Really Trying,” which includes Nick Jonas as J. Pierrepont Finch, Beau Bridges as J.B. Bigley and Anderson Cooper as Narrator. Jonas started out on Broadway, but that’s not the case for others who’ve finessed Finch — including Daniel Radcliffe and Darren Criss, both of whom my daughter Lizabeth loved in the role. Snagging tix to see Jonas is high on her wish list these days.

Touring production of "Green Day's American Idiot" coming to ASU Gammage in April (Photo: Doug Hamilton)

Lizabeth lives in NYC, where she most recently saw “Evita” with fellow students at Pace University, and sometimes sees things well before they make their way to Arizona. I’m eager to see “Green Day’s American Idiot,” the next Broadway touring production coming to ASU Gammage, so I can compare notes with Lizabeth — who has seen it performed on Broadway.

I started taking Lizabeth to touring Broadway productions at ASU Gammage when she was just a little girl. Over the years we’ve enjoyed everything from “Annie” and “August: Osage County” to “In the Heights” and “Avenue Q” together. It’s all good in our book — because whatever the buzz on Broadway, sharing mother/daughter time at the theater never gets old.

— Lynn

Coming up: Exploring the Brooklyn Children’s Museum, The fine art of cowboys, In good company

A tale of teen angst

We forget sometimes that the musical “West Side Story” is a modern-day take on Shakespeare’s “Romeo and Juliet” — a tale of young love thwarted by feuding families and the fickleness of fate.

I tend to think big song and dance numbers set against colorful sets and costumes — which is what I expect the touring production of “West Side Story” to deliver when it hits ASU Gammage Sept 27-Oct 2.

If I snap, will the West Side Story cast jump? (Photo: Joan Marcus)

But I was reminded, after chatting recently with cast member and seasoned television actor John O’Creagh, that it also delivers a powerful portrayal of “the difficulty kids have in defining themselves.”

ASU Gammage says the show is appropriate for ages 13 and up because it “deals with adult themes: violence, murder, rape and bigotry.” It includes “bad language, sexual innuendos and racial slurs.”

“It’s a very powerful work,” says O’Creagh, who describes “West Side Story” as “a very painful show in a lot of ways.” It’s a tough look at teens in rival gangs in New York City — and the challenge of making love survive in an atmosphere of hate.

Ali Ewoldt and Kyle Harris of West Side Story (Photo: Joan Marcus)

The original production of “West Side Story” opened on Broadway in 1957, when Americans commonly judged one another based on skin color, language and the like — something that still happens all too often today. Something else was true both then and now, according to O’Creagh. “Adolescence is a nightmare.”

The original Broadway production of “West Side Story” featured music by Leonard Bernstein, lyrics by Stephen Sondheim and choreography by Jerome Robbins. The script was written by Arthur Laurents, who died earlier this year at the age of 93.

O’Creagh recalls that Laurents attended many rehearsals for this touring production of the show’s 2009 Broadway revival, exploring the show’s characters with cast members who include Kyle Harris (Tony), who holds a BFA from the University of Arizona, and Ali Ewoldt (Maria), who holds a BA in psychology from Yale University.

O’Creagh describes fellow cast members as “sensible, disciplined and hard working.” Not surprising given that they’ve studied at places like The Juilliard School, performed on Broadway in shows like “A Chorus Line” and “Les Miserables,” and worked with dancers like Merce Cunningham and Twyla Tharp.

Please control the urge to attempt these West Side Story moves until you get home after the show (Photo: Joan Marcus)

But when did O’Creagh first catch the acting bug? While playing Stage Manager in a high school production of “Our Town” — which left him feeling he’d spent his whole life preparing to do acting. “It was comfortable,” recalls O’Creagh. “Acting felt like a good old pair of sneakers.”

So what’s his advice for youth considering the acting life? “Read everything you possibly can,” he says. “Learn everything you possibly can.” Study grammar and language too — because acting is a craft born and carried by words.

— Lynn

Note: Those who attend the Thurs, Sept 29 performance of “West Side Story” at ASU Gammage can stay after for a free talkback with cast and creative team members presented by 99.9 KEZ. Fans of “West Side Story” can also see the Actor’s Youth Theatre production which runs June 26-30, 2012 at Mesa Arts Center.

Coming up: Fall break camps with an arts twist

Musings on “The Book of Mormon”

I headed out with my daughter Lizabeth Tuesday evening for opening night of “Les Miserables” at ASU Gammage in Tempe.

It’d been 24 hours since my last “Les Mis” fix — enjoyed Monday night thanks to another PBS broadcast of the 25th anniversary concert.

One can never have enough “Les Miserables” — as evidenced by the tear-strewn faces and standing ovation in Tuesday night’s packed house.

I feel the same way about a new musical titled “The Book of Mormon,” which I’ve adored since I first learned of its existence — long before it shot to the top of every critic’s list and became the toughest ticket to land on Broadway. We pre-ordered the CD, a birthday gift for Lizabeth, and I’m working my way through the complete book and lyrics for the show now.

By the time we snag tickets to the show, I’ll have memorized it a million times over. For now, the best I can do is experience it vicariously through Colleen Jennings-Roggensack, executive director for ASU Gammage and Arizona’s sole Tony Awards® voter. We chatted about the show by phone on Monday as she readied for a busy week of business in New York City.

I started by asking whether she’s a big fan of “South Park” despite suspecting her time for television viewing is nearly nil. “I have a 20-year-old daughter,” she reminded me. Seems she felt a bit saddened after Isaac Hayes left the show — reportedly a reaction to an episode about his religion, Scientology.

But she sounds like a serious convert to “The Book of Mormon” on Broadway — which features book, music and lyrics by Trey Parker, Matt Stone and Robert Lopez. Parker and Stone created “South Park” and Lopez is best known to many for his work on the musical “Avenue Q.” Parker serves as the show’s co-director, along with Casey Nicholaw (also its choreographer).

“The Book of Mormon” is nominated for 14 Tony Awards®, and Jennings-Roggensack expects it’ll “walk away” with ten awards. “There’s no way ‘The Book of Mormon’ isn’t going to win best musical,” she says. So I asked her why. “It’s a really well-crafted musical,” shares Jennings-Roggensack — describing it as “a musical on steroids.”

“Both directors did an amazing job,” shares Jennings-Roggensack. She’s also wowed by the show’s impressive dance numbers, describing the first two numbers in “The Book of Mormon” as “Disney-esque.” Still, the musical contains some seriously explicit material, so parents need to check age-restrictions and recommendations before attending.

The youngest of my three children — all shielded from “South Park” with the best of intentions — turns 18 on Wednesday. So we have lots of time to make up for in the explicit lyrics department, and I’ll share more thoughts in tomorrow’s post on my own journey “from Sondheim to South Park.”

So what does the popularity of “The Book of Mormon” signal for the wider world of musical theater? “There’s a lot of different territory for new musicals,” reflects Jennings-Roggensack. She’s seeing “a growing focus on new works” with “less emphasis on the re-creation of existing musicals.”

Jennings-Roggensack hails the “big multiracial cast” of “The Book of Mormon” — reminding theater goers that there’s more to the storyline than the lives of two young Mormon missionaries. Their travels take them to Uganda, and “there’s the whole issue of Uganda and Africans — and the delicateness of that whole topic.”

Lizabeth’s great fear is that the original cast will leave the show before we get to see it. Our one chance for a while will be the last week of June, when we’re there for college orientation. But even single tickets are hard to come by for shows before August, and I’m pretty sure James would frown on me staying in NYC that long.

Conversations with “The Book of Mormon” cast members during a Tony Awards®-related luncheon presented by MTV Networks lead Jennings-Roggensack to believe that they’re committed to staying with the show at least through the end of the year. She even suggested that Josh Gad (Elder Cunningham) — nominated for a best actor Tony Award® — seems open to joining the show on the road.

But how likely, really, is an Arizona stop for such a controversial show? Arizona is second only to Utah in number of Mormon citizens, obesrves Jennings-Roggensack. Still, she thinks “The Book of Mormon” could succeed here — assuming enough community outreach took place ahead of time.

When “Angels in America,” a controversial work set during the early years of the AIDS epidemic, was touring the country, it enjoyed a well-received run at ASU Gammage — after Jennings-Roggensack and her colleagues had 68 different conversations with community groups sensitive to some of its content.

The more folks know about “The Book of Mormon,” the less concerned they may be, suggests Jennings-Roggensack. Though she describes the musical as “wickedly funny” and “very irreverant,” she says that “in the end it’s all about faith, finding your faith and faith sustaining you.”

— Lynn

Note: While Lizabeth celebrates her 18th birthday on Wednesday, the character “Stan” from “South Park” will be celebrating his 10th birthday. Tune in to Comedy Central for the new “South Park” episode titled “You’re Getting Old,” which promises to “change everything” for Stan and the South Park gang.

Coming up: From Sondheim to South Park

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

Got Spam?

"Spamalot" opens tonight (Feb 15) at the Mesa Arts Center

You can “Spamalot” this week as Theater League brings the 2005 Tony Award winner for best musical to Mesa and Phoenix stages.

“Spamalot” creators say the musical — complete with cows, killer rabbits, show girls and french people — is “lovingly ripped off from the classic film comedy Monty Python and the Holy Grail.”

It’s a very grown-up take on the legendary tale of King Arthur and his knights of the Round Table, though the legend may be fading fast in the absence of disco versions of knight battles made for various home and pocket entertainment systems.

Even worse perhaps, is the fact that so few of our children have ever met a can of actual Spam, a product of the Hormel Food Corporation. It faded from popularity as things like sushi and arugula marched in, but I think a Spam-sushi mash up of sorts might be fun.

The fine folks of “Spamalot” will gladly take you through the tale of King Arthur’s quest in a little online ditty titled “What is all this rubbish?” They also make a convincing case for “Spamalot” as the world’s oldest musical.

The “Spamalot” you’ll see on Valley stages this week features book by Eric Idle and score by Eric Idle and John Du Prez. Hence you’ll enjoy both words and music in addition to dancing knights in tights.

But what, you may be wondering, is a Monty Python? And has it anything to do with that “Flying Circus” of yore? It does indeed, as explained ever so eloqently by a BBC piece you can enjoy by clicking here.

Whether you’re a lover of musical theater, of British comedy or of unadulterated genius, check out the touring production of “Spamalot” at the Mesa Center for the Arts and/or the Orpheum Theater in Phoenix.

And always look on the bright side of “Spam.”

— Lynn

Note: Click here for an overview of the legends of King Arthur by Michael Wood for the BBC.

Coming up: Reflections on Rosie’s House, The fine art of stage combat, ASU Gammage readies to unveil its 2011-2012 season, Tales of Tom Chapin

One singular sensation

Mesa and Phoenix welcome a touring production of "A Chorus Line" this week

Actor Michael Douglas reclaimed the headlines recently after sharing that his throat cancer has been successfuly treated. It’s a great relief to Douglas’ many fans, and wife Catherine Zeta-Jones — who won the 2010 Tony Award for best lead actress in a musical for her performance in “A Little Night Music.”

But did you know that Douglas, perhaps best known for roles in “Fatal Attraction” with Glenn Close and the television series “The Streets of San Francisco,” was in the 1985 “A Chorus Line” film?

“A Chorus Line” is the tale of diverse dancers auditioning for a role in a Broadway musical. Douglas played Kurt, the director auditioning these 17 dancers on a bare stage that leaves them feeling various degrees of vulnerability.

It’s a story with true staying power — as evidenced by its current national tour, produced by NETworks Presentations, which stops this week in the Valley. A final Mesa performance takes place Wed, Jan 12. “A Chorus Line” hits the Orpheum Theater in Phoenix Jan 13-16, thanks to the Theater League.

It’s a “mature audiences only” production with a single act that runs about two hours  — but I consider it perfectly fine for teens, and even some children who are experienced in musical theater. Individual parents are always the best at judging such things.

Lizabeth and I are excited about seeing the show while it’s here, especially since she’s readying to travel from coast to coast to audition for musical theater college programs.

A year or so ago we enjoyed the work of documentary film makers Adam Del Deo and James D. Stearn, who shot more than 500 hours of footage as auditions and casting were underway in New York for the 2006 Broadway revival of “A Chorus Line.”

The resulting film — titled “Every Little Step” — presents a singular glimpse into the rigors of musical theater training and performance. We enjoyed seeing it at the Harkins Camelview 5 near our home, which often features films you can’t easily find in mainstream movie theaters.

Karley Willocks plays "Maggie" in "A Chorus Line" in the Valley through Jan 16

“A Chorus Line” originally opened on Broadway in 1975, and was the longest-running musical in Broadway history until eclipsed by “Cats.” Personally, I favor dancers in leotards over cats who sing and dance — but that’s just me.

The book for “A Chorus Line” was written by James Kirkwood, Jr. and Nicholas Dante. Edward Kleban wrote the lyrics and Marvin Hamlisch composed the music. It’s a “must see” musical for musical theater aficionados — and those who love them.

“It’s really a musical about us,” shares dancer and actress Karley Willocks — who performs the role of Maggie in the touring production now on Valley stages. She’s been dancing since her parents enrolled in her tap and ballet classes at the age of three.

Willocks auditioned for her first theater role when she was eight years old, following the lead of her best friend at the time. Her friend wasn’t cast, but Willocks landed the role of orphan “Duffy” in the musical “Annie.”

She spent many years performing with “The Talent Machine” in Annapolis, Maryland — where her favorite shows included “Brigadoon,” “Anything Goes,” and “Pippin.” Willocks also did high school theater before entering the musical theatre program at Shenandoah University in Virginia, where she earned a B.F.A.

Willocks first performed the role of Maggie in a Tennessee production of “A Chorus Line” the summer right after she graduated. “I grew up listening to the soundtrack,” she recalls — and had also seen the movie.

She recommends the musical for anyone whose life is touched by dance or theater — including families with budding performers in their midst. But “A Chorus Line” also appeals to a wider audience.

“It helps to know that these are real stories or real dancers in the ’70s,” reflects Willocks. For her, “A Chrous Line” is about “putting yourself out there — no matter what it takes.”

— Lynn

Note: Watch for a future post offering Willocks’ insights into the college theater program audition process — plus tips from Halley Shefler of The Arts Edge, which offers educational consulting for visual and performing arts students

Coming up: Art-related resources for bullying prevention

Update: Click here to read part two of my interview with Karley Willocks, and to read a “mini-review” of “A Chorus Line” by Mala Blomquist of Raising Arizona Kids magazine.

Winter awakening

 

Snow Flower by Kitty Rogers

While feeling the sun’s rays soak in through my kitchen window Monday afternoon, I picked up the phone and dialed Paris Bradstreet, an actor, singer and dancer currently touring with the musical “Spring Awakening.”

Turns out she was sitting at her own kitchen table, in Massachusetts, watching a slow and steady stream of snowflakes fall to the ground.

Bradstreet has plenty of experience with both sunshine and snowstorms. Though born and raised in Massachusetts, she earned her B.F.A. in musical theatre at Ithaca College in New York and her M.F.A. in acting at California State University, Fullerton. And she’s had acting gigs in all sorts of places — including Nebraska, Utah and Arizona.

At her very first audition, she landed the lead role — playing “Peter Pan” in a school production. “I was the only one they trusted to learn the 100 lines,” quips Bradstreet. She was in third grade at the time, and recalls this as the moment she “first caught the acting bug.”

But times have changed, as evidenced by the casting protocol for her “Spring Awakening” gig. Like most actors looking for work, she’s aways on the hunt for casting calls — searching audition notices on websites like www.backstage.com and www.playbill.com.

She learned of “Spring Awakening” opportunities online and got her adult woman understudy gig after sending in a video with readings from various sides she’d been sent for the show. “Sides” are pages or scenes from a script used during the audition process.

Today’s young actors contend with more than video technology, muses Bradstreet. Thanks to Twitter, Facebook and other online offerings, actors experienced and aspiring can really make a mess of things — with lasting results. “People now have the opportunity to respond instantly without thinking,” reflects Bradstreet. “Consider the consequences,” she warns, “because they can be permanent.”

Having recently turned 40, Bradstreet says that for the first time she’s actually old enough to be a parent to many of her fellow cast members. She’s amazed at their collective knowledge of all things pop culture — and marvels at the way “they are all so connected to the whole world” and “live in a universe populated with information.”

As we spoke, I found myself wishing we were sitting at the same kitchen table. Bradstreet has much wisdom to share with actors of all generations, but offers it with a lovely humility rather than an inflated sense of self-importance. I suspect those snowy afternoons, so condusive to contemplation and conversation, have left their mark.

I asked Bradstreet about what it means to be a “character” actress — a topic she started to tackle by sharing that she’s “not what most of the media or people in our society call conventionally attractive.” Bradstreet says she knew from a young age that she would most often play someone’s mother or grandmother. “I was never the pretty ingenue,” she quips.

Every actor has a look, a type, a build and “an essence of who they are,” reflects Bradstreet. Finding a career path, and actually getting ongoing work as an actor, requires a delicate balance of “knowing who you are and knowing how others will perceive you.”

In some ways, shares Bradstreet, not having to worry about the “pretty angle” is refreshing. There’s tremendous competition, she says, for roles for attractive women. “I get work,” she says, “not because of how I look, but because of the way I do my job.”

“I’ve always been happy to play the roles I do,” says Bradstreet, “because they’re very satisfying.” Think Cathness in “Macbeth” at the Utah Shakespeare Festival and Louise in “Always…Patsy Cline” at the Allenberry Playhouse.

Turns out Bradstreet earned a 2005-2006 AriZoni award nomination for actress in a supporting role in a contracted musical for performing the role of Aunt Eller in a Broadway Palm Dinner Theatre production of “Oklahoma!” in Mesa.

We chatted a bit about her path from “Peter Pan” to “Spring Awakening.” Bradstreet recalls doing drama in high school, but working hard at academics too. “I tried to excel at academics so I could pick the school I wanted to go to.” Better grades, more options. Sometimes it’s that simple.

Bradstreet describes the younger “Spring Awakening” cast members as a mix of those with B.A. degrees and those with B.F.A. degrees. Students like Bradstreet typically choose a B.F.A. because they want to spend more time studying the arts and less time on other academic classes.

“If I was going to spend all that money,” recalls Bradstreet, “I wanted to get the most training for my dollar.” Still, she sees benefits of both options. B.F.A. students may enjoy a more intense, focused study of the craft of acting. Yet, the intensity and focus that works in building a career isn’t always the best vehicle for driving a life.

“Acting is a difficult career to succeed at,” admits Bradstreet. Actors are constantly looking for work. They’re lucky if a job lasts even two months. And your acting skill set can only get you so far — since so many other factors influence director choices.

Still, Bradstreet offers this perspective to those considering an on-stage career: “If this is the thing that makes your life worth living, then you have to do it.”

— Lynn

Note: “Spring Awakening” comes to ASU Gammage Jan 27-28, 2011 — and tickets are now on sale. Watch for a future post with Paris Bradstreet’s reflections on why this show, often dubbed controversial, makes for such great conversations between parents and children (ages 12 & up) who see it together.

Coming up: News from the Arizona Commission on the Arts, Real high school musicals take the stage, Free outdoor concerts, Peace and Community Day in Scottsdale, Sculptures in the park

Update: ASU Gammage has just announced special pricing for certain tickets to “Spring Awakening.” Use the code “SPRING” when ordering tickets in price levels 1-3 (excludes balcony seating; additional fees apply). Offer not valid on previously purchased tickets or in conjunction with any other offers. Tickets available from ASU Gammage and Ticketmaster. (Updated 1/24/11)