Moms in musical theater

Patti LuPone as Mama Rose in Gypsy on Broadway-Photo by Joan Marcus. LuPone performs at Scottsdale Center for the Performing Arts March 3, 2012.

I got to thinking about mothers in musical theater the other day while looking forward to the return of “Mamma Mia!” to ASU Gammage this week, which my daughter Lizabeth is eager to see for a second time. Apparently watching a fictional parent prance around in bell bottoms has more appeal than living with the real thing.

Alice Ripley as Diana in Next to Normal-Photo by Joan Marcus

We’ve seen all sorts of parents portrayed on Valley, and other, stages. We saw Alice Ripley perform the role of “Diana” in “Next to Normal” at the Balboa Theatre in San Diego. Estelle Parsons perform the role of “Violet” in “August: Osage County” at ASU Gammage. And Rich Hebert perform the role of “Dad” in “Billy Elliot” at ASU Gammage as well.

“Mamma Mia!” follows the adventures of a young daughter, “Sophie,” readying to wed. She lives on an island with her mom, “Donna,” who isn’t quite sure which of three suitors from her own youth might be Sophie’s biological father. It’s all set to music by ABBA and it’s an especially fun show for folks who like their theater upbeat and awash with bright colors.

Madalena Alberto as Fantine in Les Mis-Photo by Michael La Poer Trench

A mother facing a more serious dilemma, the care of her young daughter in her absence, is at the heart of the next musical coming to ASU Gammage — Les Miserables. As a mom named “Fantine” who has sacrificed much for her child lay dying, an ex-convict named “Jean Valjean” vows to keep the child “Cosette” safe. It proves quite a task given his own past and stirrings of revolution in early 19th century France.

The perplexing nature of parenting seems sometimes to be the only thing fueling the future of theater craft. A quick review of shows coming to Valley stages during the 2011/12 season reveals a long list of works filled with mommy or daddy issues — some set to music, others just words.

Kaye Tuckerman as Donna and Chloe Tucker as Sophie in Mamma Mia!-Photo by Joan Marcus

Arizona Theatre Company presents the Yasmina Rez play “God of Carnage” in Tucson and Phoenix this fall. It’s the tale of two couples brought together by a playground fight between their 11-year-old sons. I’m delighted to learn that mothers and daughters aren’t always the ones under the microscope.

Phoenix Theatre performs a classic work of musical theater about stage mothering gone horribly wrong next spring. “Gypsy” is the story of “Mama Rose” and the two daughters forced to endure her insecurity and interference. That woman needs to cut the cord already.

Arizona Jewish Theatre Company presents “The Blessing of a Broken Heart,” based on a book in which Sheri Mandell shares experiences surrounding the murder of her 13-year-old son Koby and his friend Yosef. It’s been adapted for the stage by Todd Salovey, and reviews of other productions paint it as gut-wrenching.

While I suppose it’s tempting for some to relish all those ABBA moments without experiencing more sobering reflections on parenting, I’m looking forward to doing both.

— Lynn

Look to these nuns for some serious fun... (Photo: Scottsdale Center for the Performing Arts)

Note: Looking for an additional way to enjoy mother/daughter or grown-up friend time? Head to Scottsdale Center for the Performing Arts Sat, May 21 for the “Sing-Along Sound of Music.” $12/adults, $6 children ages 3-12. Warm up & costume contest at 2pm, film and sing-along at 2:3opm. Hosted by “Sister” Patti Hannon of “Late Night Catechism.” Click here for info on costume discount available from Mardi Gras costumes in Scottsdale.

Coming up: Summer dance classes, Ode to season tickets, Seuss meets symphony, Musings on photo I.D.

Musings on “Billy Elliot”

A boy, a chair and an irrepressible need to dance (Daniel Russell as Billy Elliot, Photo by Kyle Froman)

There’s a scene near the end of the musical “Billy Elliot” — when Billy stands alone on stage holding his simple blue suitcase — that’ll always remind me of a very special night spent with my daughter Lizabeth.

In just a few months, she’ll be the one holding the suitcase, saying her goodbyes and leaving behind her hometown to follow her dreams in another city — possibly even NYC.

We saw “Billy Elliot” together Wednesday night, as her deadline to choose a college theater program loomed. It might have seemed an altogether different show any other night.

But that night, it felt full of messages meant for one particular mother and daughter who know their everyday time together is coming to an end.

For a young woman faced with multiple paths, all leading to different variations on a theme: the future. And all with no roadmap in sight.

Early in the musical, life feels pretty black and white for Billy and his family. But Billy discovers dance. His dad discovers Billy. And a community discovers a rainbow of greys.

“Billy Elliot” comes close to being one of my favorite pieces of musical theater — falling short in part because of uneven pacing and staging that feels unnecessarily complicated at times.

Lizabeth and I agree that the music is a bit hit and miss. Our favorites are those you may be most familiar with — including “Once We Were Kings,” “Solidarity” and “Electricity.” “Dear Billy,” during its second incarnation, made both of us weep.

There’s plenty of dancing for ballet and tap fans, much of it delivered by tiny packages of power and pizzazz.

Scenes that couple the dancing of a young Billy (Daniel Russell the evening we attended) with his older, future self (Maximilien A. Baud, who has danced with Ballet Arizona) are particularly poignant — and beautiful to watch.

Those who see “Billy Elliot” will promptly get their politics, puppetry and pirouette fix. All served up with a heavy dose of teen angst and midlife musings. Plus a barrel of belly laughs — and a bit of cross-dressing.

Were it not for lots of language unsuitable for young children, I’d have to put “Billy Elliot” right up there with “Annie” at the top of the list for shows most likely to make kids fall in love with not just watching musical theater, but performing it as well.

I’d have worried, when my children were less than 12 or so, about exposing them to some of the language (and one particular gesture) in this show. Lizabeth missed her first opportunity to see a touring production of “Chicago” for just that reason.

But today I’d favor a different decision. Because, as Billy discovers when sent on an errand at a local dance studio, children don’t always know they love something unless given the opportunity to see it. 

For me, the sheer joy of watching young cast members dance forgives a whole lot of “piss off” type material. I may have to see the show again just so I can spend more time watching Billy. (Lizabeth is already planning to take her dad.)

I was rather captivated, my first time around, by the tiniest pig-tailed girl in the show — Cassidy Hagel (“Ballet Girl”). And Griffin Birney (“Michael”) is beyond-belief-funny.

Still, it was another child who really tugged at my heart Wednesday night. I hope she knows how terribly proud I am of her, wherever she decides to follow her dreams.

— Lynn

Note: “Billy Elliot” is being performed at ASU Gammage in Tempe through May 8. Click here for show and ticket information.

Coming up: Jennifer’s marching orders