A veteran’s take on “South Pacific”

Thanksgiving Follies scene from Rodgers & Hammerstein's South Pacific on tour, which comes to ASU Gammage in Tempe Jan. 10-15, 2012 (Photos: Peter Coombs)

When the touring production of “Rodgers & Hammerstein’s South Pacific” comes to ASU Gammage in Tempe in early January, Valley audiences will enjoy a cast that includes Vietnam veteran Robert John Biederman, who describes his portrayal of Captain Brackett as “a salute to all the veterans in the audience.”

Biedermann was a naval officer working in cryposecurity, and his father was a captain during World War II. He praises “South Pacific” for its portrayal of something central to the experience of serving in the military — camaraderie between service members, and shares that he wears his father’s military dog tags during every performance.

Hammerstein and original director Joshua Logan adapted stories from James Michener’s “Tales of the South Pacific” when writing the book for “South Pacific” — which features music by Rodgers and lyrics by Hammerstein. Biedermann praises the revival’s director for “taking the storyline so seriously” — treating the piece as “a straight show with music.”

Marcelo Guzman as Emile de Becque and Katie Reid as Nellie Forbush

“Rodgers & Hammerstein’s South Pacific” follows two World War II romances in which race plays a significant role. “Racial issues are front and center with this musical,” reflects Biedermann. “My favorite word in the show,” says Biedermann, “is when Nellie says colored.” Seems Nellie falls for an older man who’s been widowed, but gets cold feet after learning his children had an Asian mother.

Meanwhile, an island mother dubbed “Bloody Mary” lures a young sailor named Joe to court her daughter Liat. The song “Happy Talk,” says Beidermann, is actually the mother’s way of saying “I want you to take my daughter so she doesn’t have to go through what I went through.”

Cathy Foi Mahi as Blood Mary in Rodgers & Hammerstein's South Pacific

“Racial issues exist now as they did in World War II,” says Biedermann. “It should make you feel uncomfortable,” says Biedermann. “It’s all about how you were raised.” Apparently songs like “You’ve Got to be Carefully Taught” weren’t well accepted by some folks in the American South when the musical opened in 1949.

There’s plenty that’s lovely and light in the musical “South Pacific,” but those looking for deeper meaning will surely find it. And maybe it’ll serve to remind us all that only 1.7 million of the 16 million Americans who fought in World War II are still with us, and that there’s much we can learn from their stories.

Biedermann says he’d love to welcome WWII veterans who see the show backstage, but you’ll have to check with ASU Gammage on how they handle such things. Click here to learn more about the National WWII Museum in New Orleans, and here to learn more about the National WWII Memorial in Washington, D.C.

— Lynn

Note: “Rodgers & Hammerstein’s South Pacific” comes to ASU Gammage in Tempe Jan. 10-15, 2012. Click here for show and ticket information.

Coming up: Valley youth tackle “Les Miserables”

Beyond the Bard

The Utah Shakespeare Festival includes both works by Shakespeare and works by other playwrights in each season’s selections. While in Cedar City for the festival’s summer 2011 season we saw matinee performances of three non-Shakespeare works at the Randall L. Jones Theatre, built in 1989.

The Randall L. Jones Theatre (Photo by Karl Hugh. Copyright Utah Shakespeare Festival.)

The first was “The Glass Menagerie” by playwright Tennessee Williams, the tale of a mother and two grown children still living at home. It’s set in 1937 St. Louis, which might feel world’s apart were it not for the opening monologue delivered by Ben Jacoby, who performs the role of Tom Wingfield. He makes clear the parallels between then and now, including tough economic times.

Ben Jacoby as Tom Wingfield in the Utah Shakespeare Festival 2011 production of The Glass Menagerie (Photo by Karl Hugh. Copyright Utah Shakepeare Festival.)

The second was “Noises Off!” by playwright Michael Frayn, who breaks the tale of actors performing in a British adult farce into three acts — showing a different perspective of how the farce “Nothing On” unfolds in each act. We see the actors, each with a host of personal and professional shortcomings, stumble through a final rehearsal and two jumbled performances (witnessing one as it unfolds backstage).

Melinda Parrett (left) as Belinda Blair, Betsy Mugavero as Poppy Norton-Taylor, Ben Livingston as Lloyd Dallas, Ally Carey as Brooke Ashton, and Jeanne Paulsen as Dotty Otley in the Utah Shakespeare Festival 2011 production of Noises Off!. (Photo by Karl Hugh. Copyright Utah Shakespeare Festival 2011.)

The third was “The Music Man,” based on a story by Meredith Wilson and Franklin Lacey. The musical features book, music and lyrics by Meredith Wilson. It recounts the tale of a traveling con man who makes a living selling musical instruments to parents who fear their children might otherwise discover darker pursuits like playing pool.

A scene from the Utah Shakespeare Festival 2011 production of The Music Man (Photo by Karl Hugh. Copyright Utah Shakespeare Festival.)

In each case, the comedy was simply exquisite. It helps to start with great material, I suppose. Quinn Mattfeld, who performs the role of Garry Lejeune in “Noises Off!,” delivered one of the best comedic performances I’ve ever seen. I ran into Mattfeld before Friday evening’s performance of “A Midsummer Night’s Dream” (another comedy honed to perfection by festival actors and artistic staff) and asked about how such a fabulous bit of funny comes to be.

Quinn Mattfeld (L) as Garry Lejeune and Ally Carey as Brooke Ashton in the Utah Shakespeare Festival 2011 production of Noises Off! (Photo by Karl Hugh. Copyright Utah Shakespeare Festival.)

Mattfeld gives playwrights at least half the credit, noting that directors and actors make up the balance of the mix. True magic happens on stage when the best writing meets the best direction and acting. Other artistic elements contribute too — choreography, costumes, props, lighting, sound and such.

Laura Griffith (L) as Marian Paroo and Brian Vaughn as Harold Hill in the Utah Shakespeare Festival 2011 production of The Music Man (Photo by Karl Hugh. Copyright Utah Shakespeare Festival.)

Each of the six productions we saw at this year’s Utah Shakespeare Festival appeared both flawless and effortless. Attention to detail is evident at every level, as is thinking beyond the boundaries of what you might imagine for any given scene or production. It’s these qualities that make each work fresh, even for those of us who have seen them performed time and time again.

— Lynn

Coming up: More Shakespeare on Valley stages, Who let the “CATS” out?, National Youth Arts Awards, Bugged out!

Conversations with Cosette

“My mother is a music teacher and my dad plays bass.” So began my conversation with 10-year-old Katherine Forrester, one of two young actresses who’ll perform the role of “Little Cosette” during the touring production of “Les Miserables” coming to ASU Gammage Jun 7-12.

I’d asked about her interest in musical theater, and invited her to share a bit about how she got involved in performing. Forrester says she “began singing for free” at age three, and started “singing professionally” at age six — with her mom accompanying her on piano.

“When I was little I always asked for an agent,” recalls Forrester. “I got one when I was seven.” Her agent made the “Les Mis” connection and Forrester, who hails from Toronto, went to NYC to audition.

Katherine Forrester, one of two actresses performing the role of Little Cosette in the production of LES MISERABLES coming to ASU Gammage in Tempe June 7-12

“I didn’t think I’d get the part,” recalls Forrester. But she got the call the next day during the bus ride home. Forrester says she “came in” two or three more times. They had her perform “Castle on a Cloud” and sing various harmonies. “Then they measured four of us,” she recalls.

She learned by phone that she’d landed the role. “I was so excited,” recalls Forrester. “I needed to go into the bus washroom and squeal!” Nowadays she’s spending more time on the bus, and on stage. She hopes her dog “Daisy” will be able to join her on tour at some point.

After getting the call, Forrester called her grandmother first. “Everybody was so excited for me,” recalls Forrester, who dreams of a career in film or theater. For now, she’s being homeschooled “on the road.” She’s “doing a regular curriculm” for fourth grade, and her favorite subject is science.

Forrester says the touring life is better than she expected. “I get to see lots of new places and people.” Her favorite stop so far is Ft. Lauderdale, because that’s where she first saw the ocean. “It’s like summer every day,” she says of Florida. Forrester also enjoyed seeing the Liberty Bell in Philadelphia.

Kathleen Forrester as Little Cosette in LES MISERABLES (Photo: Deen van Meer)

Forrester alternates performing the role of “Little Cosette” with Anastasia Korbal. “When we aren’t Cosette,” she says, “we are little Eponine.” Forrester says she’d love to perform other roles in “Les Miserables” when she is older — and perform in “Wicked” too. She plans to attend college, with a focus on singing.

Turns out Anastasia Korbal has fond memories of Ft. Lauderdale too. That’s where she celebrated her 11th birthday with cupcakes, balloons and all the usual fanfare. But Korbal’s journey to the stage began around the age of three, when she began taking jazz, ballet and tap lessons.

“I kept asking to go,” recalls Korbal — who says her mom took her just to see what it was like. “I’ve been dancing ever since then,” muses Korbal. She remembers watching movies like “Annie,” then “picking a character and playing it at the house the next day.”

She auditioned for a community theater production of “The Sound of Music” at age five, landing the role of Gretel — a role she performed “several other times.” She went from performing in community theater to performing in regional theater.

Her first Broadway touring production was the 35th anniversary tour of “Annie.’ Korbal says she performed the role of Molly for nine months. Nowadays, she’s enjoying the “Les Miserables” tour and doing schoolwork with a tutor on the road.

“I love doing this because it’s getting to be a different person than who you are,” reflects Korbal. She says live theater is more fun than doing a movie or television because “every night is different” — and “anything can happen.” Good audiences are rewarding, she says, because they leave her feeling like she’s done her job.

Like Forrester, Korbal would love to perform an adult role in “Les Miserables” one day. She’d also love to do “Mary Poppins.” Korbal plans to study theater in college because “if you love something, that’s what you should do for a living.”

The company of the new 25th anniversary of LES MISERABLES (Photo: Deen van Meer)

Both Forrester and Korbal share that “Les Miserables,” though set during the French Revolution, is about something more. Forrester describes “Les Miserables” as “a lot of stories in one story.” Korbal says the musical “is really about getting through tough times.”

“It’s about taking what comes,” says Korbal, “and making the best of it.” She attributes the longstanding popularity of “Les Miserables” to its “strong message” and “phenomenal music.”

Forrester says that folks like me who’ve seen the show several times will love seeing the newest production because of the “awesome special effects.” The show is good for all ages, says Korbal, noting that young children can enjoy it without understanding it all — though she recommends telling children the story before they see the live production.

With any luck at all, older teens who see the show will run right home and beg their parents for a copy of the 1862 Victor Hugo novel that inspired the musical. Little ones will be inspired to try singing, dancing or community theater. And grown-ups will pause to reflect on the power of forgiveness.

— Lynn

Note: An open casting call (for girls ages 6-12) for the roles of “Annie” and the orphans in an upcoming production of “Annie” takes place June 12 in NYC, according to www.annieorphans.com.

Coming up: Women of Broadway, Musical theater memoirs

Jennifer’s marching orders

THE MUSIC MAN marches onto a Mesa Arts Center stage on May 27

If you’ve ever parented a teen, you know that some days feel like an endless parade of marching orders. And you’re not the one giving them. You’re the one getting them.

So it was last week when Jennifer announced I needed to cover a certain musical theater production in one of my posts. Marching orders from Jennifer are nothing new, though typically they involve instructions for cooking or teen taxi runs.

Jennifer is about as interested in musical theater as I am in plane geometry. But she’d run into someone at ASU who got to telling her about auditions for an upcoming production of “The Music Man” — and she offered to pitch a post on the topic.

Clearly, Jennifer did a masterful job of trumpeting this tale of music meets con man — because you’re reading about it now. It wasn’t such a hard sell, really, since the work is a classic in the pantheon of American musical theater.

It even features that most quaint of characters in the digital age — a librarian who helps people find and read books the old-fashioned way. There’s a whole other post in there somewhere, but I’ll save that for another day.

“The Music Man” is being presented by Mesa Encore Theatre May 27-June 12 at the Mesa Arts Center, but folks who purchase their tickets between May 9 and May 18 can see the show for just $10 (Use the promo code “RIVERCITY” when ordering online or through the MAC box office).

Mesa Encore Theatre recently announced its 2011-2012 season — which features an eclectic mix of shows, including “Joseph and the Amazing Technicolor Dreamcoat,” one of my all-time favorites.

Other Mesa Encore Theatre offerings for 2011-2012 include “I Love You, You’re Perfect, Now Change,” “Proof,” “A Christmas Story,” “TBA,” “Ragtime,” and “Hairspray.” I love this line-up, which feels like an overflowing buffet of all my favorite comfort foods with some spicy new dishes thrown into the mix.

Resident companies of Mesa Arts Center also include East Valley Children’s Theatre — which presents “The Adventures of Pinocchio” June 16-26. And Actor’s Youth Theatre brings “Les Miserables School Edition” to the MAC stage June 28-July 2.

Mesa is also home to Broadway Palm Dinner Theatre — which performs “Smoke on the Mountain” through May 14 and opens “Seussical” on May 18. “Seussical” is an energetic bundle of charm that features favorite Dr. Seuss characters playfully proferring pearls of wisdom for all ages.

Mesa Arts Center welcomes several touring Broadway productions each year. Upcoming Theater League shows coming to MAC include “The Wizard of Oz” (Dec 6 &7), “The Rat Pack is Back” (Jan 10 & 11, 2012), “My Fair Lady” (Jan 31 & Feb 1, 2012) and “Rock of Ages” (April 10 & 11, 2012).

Jennifer will be thrilled that I’ve shared news of “The Music Man” and other Mesa happenings, mostly because I’m now free to fix her a bowl of pasta — just the way she likes it. Though Jennifer moved from teen to young adult with her birthday in April, she still likes giving marching orders in the kitchen. And I’m still happy to take them.

— Lynn

Coming up: “Stage Mom” picks for the 2011/2012 season, Spotlight on Desert Stages, Celebrating “International Museum Day”

“Fiddler” & family

Jewish father and milkman Tevye likens the balancing act of life to a fiddler perched atop a roof (Photo: Carol Rosegg)

Most of my favorite musicals focus on family-related themes. There’s “Les Miserables” — which portrays a mother’s sacrifice for her sick child, “In the Heights” — which recounts the experience of immigrant parents who send their daughter to college, and “Fiddler on the Roof” — which follows the frustrations of parents whose three eldest daughters struggle to find independence in a world defined by tradition.

The touring production of “Fiddler on the Roof” is being performed through Sun, April 3, at ASU Gammage in Tempe — the venue at which I first enjoyed the musical with my husband and three children many years ago. For all the fun I’ve had at “mature-theme” musicals, this “family-friendly” show is still among my favorites.

Its characters, including Tevye (the papa) and Golda (the mama), are human in ways many parents find familiar. We wonder how to balance the past with the future. Ponder the meaning of family and home. Fret about fostering values without forcing them upon our children.

Tevye and his wife live in Tsarist Russia. The year is 1905, and the country is on the brink of revolution. They’ve got five daughters and little means. And the three eldest daughters are begining to develop, and act upon, their own ideas about life, love and the world around them.

The original production of “Fiddler on the Roof” opened on Broadway in 1964, and won nine of the 10 Tony Awards for which it was nominated in 1965 — including the award for best musical.

But its themes are every bit as relevant today. Think religious versus secular life. Economic hardship. Political upheaval. Think roles of women and men in society. Gossip. Keeping and breaking promises. Learning to start over.

"Fiddler on the Roof" runs through Sunday at ASU Gammage in Tempe (Photo: Carol Rosegg)

“Fiddler on the Roof” is a feast of music and dance, full of rich color and texture on all sorts of levels. It’s tender and joyous, playful and profound.

You can take it all in without any appreciation for its more serious themes. Or you can embrace it as a vehicle for bittersweet reflection on the many ways our personal, family and collective histories are moving forward.

In either case, it’s a classic musical that no parent should miss — and a fine choice for folks eager to introduce their children to the magic of musical theater.

— Lynn

Note: Tickets for “Fiddler on the Roof” at ASU Gammage start under $25. The show runs through April 3 and there are both matinee and evening performances on Saturday and Sunday. Visit the ASU Gammage website to read reviews by “Gammage Goers” and learn about special offers and opportunities (including a “talkback” with cast/crew and a special brunch at the ASU University Club).

Coming up: Get your fringe on!, Reflections on a glass house, Tips for choosing a college theater program

“A Chorus Line” meets college auditions

Eric Carsia (Don) holds a B.A. in Drama from Ithaca College

It’s one of those “must see” musical theater classics — and it’s here in Phoenix, at the Orpheum Theatre, through Sun, Jan 16.

My plans to attend Thursday evening with my daughter Lizabeth have been foiled by a lovely cough I know better than to share with others during a live performance.

Of course, I still have “A Chorus Line” on the brain — so I pulled out my notes from a recent interview with Karley Willocks, knowing she offered plenty of pearls I have yet to share.

I’ve also added a mini-review from a fellow RAK blogger, mom and theater-goer following the end of this post — so you can still get a taste for the show itself.

Willocks is performing the role of Maggie in the national touring production of “A Chorus Line” — a musical crafted from the real-life stories of dancers auditioning during the 1970s.

Jessi Trauth (Val) holds a B.F.A. from NYU

Those of you parenting a high school student who aspires to work in theater may find her thoughts of special interest.

Willocks shared with me that preparing for BFA program auditions “is a hard, hard process” — calling it “one of the hardest things I have done.”

The college admissions process is plenty time consuming. Think school research, campus visits, application forms, personal essays and financial aid paperwork.

Gina Duci (Diana) holds a B.F.A. in Musical Theatre from Penn State University

But students who aspire to BFA (Bachelor of Fine Arts) programs must also audition with the schools they hope to attend. Some schools hold joint auditions, but many don’t.

So this time of year, plenty of BFA hopefuls fan out across the country ready to act, sing and dance to earn a coveted spot.

Arizona babies who’ve never lived in snow often find East Coast schools appealing, leaving parents to smile at the thought of care packages brimming with wool socks and ice scrapers.

Willocks recalls picking about ten musical theater programs with her parents, then doing eight auditions — which meant lots and lots of driving.

While all of this is taking place, high schools seniors with BFA aspirations still have their usual load of classes, homework and after-school activities.

Karley Willocks (Maggie) holds a B.F.A. in Musical Theatre from Shenandoah University

The very process seems to give a taste of what life with a touring musical theater production must be like — hard work, long hours and lots of trekking to and fro.

If your teen is readying for auditions, you already know that most auditions involve monologues and vocal selections.

What specific audition panels prefer varies from school to school — so check specifics carefully and follow directions.

Willocks urges students to choose something they are “comfortable with” rather than something they think is “the right choice.”

“Choose something you can actually connect with,” says Willocks — and be sure the material is age appropriate.

Netarrel Bellaishe (Larry) graduated from AMDA NY

“Be confident,” she adds. “Know that you will do your very best and have fun.” Willocks says that in general she found panel members to be “warm and understanding.”

There are, of course, auditions best described in other terms — which brings me back to “A Chorus Line” and the self-doubt that plagues so many of the dancers. 

All come to the stage with their own special brand of baggage.

Remember the dreams of the aspiring acting and musical theater students in our midst as you’re enjoying “A Chorus Line” during its Phoenix run.

Before long, it’s their faces we’ll be seeing on stage.

— Lynn

Note: Click here to learn more about “A Chorus Line” at the Orpheum Theatre. And please feel free to comment below if you have audition experiences or advice to share with our readers.

Coming up: More audition tips for BFA candidates, Art meets MLK Day, Symphony in the schools

Photos: Phil Martin

Thanks to Mala Blomquist, RAK blogger of “Blomquist Family Adventures” and RAK Directories and Calendar Editor, for sharing this comment on Thursday’s “A Chorus Line” at the Orpheum Theatre in Phoenix: I took a girlfriend and neither of us had ever seen the show before. It was spectacular! There was no intermission and when it ended we both turned to each other and said “That went by so fast!” It was both funny at times and very moving to see the raw emotion of what those kids go through. In the elevator back to the parking garage an elderly gentleman was whistling “One singular sensation…” and I commented that that song will be in our heads for weeks and he smiled at me and said “Yeah – but it’s one of the best!” Click here to read Mala’s blog, which describes a recent adventure involving astronaut William Gregory.