Book to stage: The Great Gatsby

Last year at about this time, Stephen Wrentmore dug out his very old copy of “The Great Gatsby,” the F. Scott Fitzgerald novel published in 1925 — considered by many the “great American novel.”

He was talking at the time with David Ira Goldstein, artistic director for Arizona Theatre Company, about possible programming for the 2011-12 Arizona Theatre Company season. Wrentmore was named the company’s associate artistic director in January, and will be directing “The Great Gatsby” for ATC later this season.

The thrill of returning to “The Great Gatsby,” says Wrentmore, was greater than any other experience revisiting works he’d previously read. Reading it cold as an adult, he muses, beats being force fed the novel as a child. “It’s such complex and rich writing for a hungry mind,” shares Wrentmore.

This first edition of The Great Gatsby was sold at auction by Christie's for $163,500

American students are expected to read “The Great Gatsby” but that’s not the case for students in London, where Wrentmore was born and raised. “I read ‘Huckleberry Finn’ by accident when I was 11 or 12,” recalls Wrentmore. Seems immersion in the writings of modern American authors isn’t considered essential within the British education system.

Wrentmore discovered American novels shortly after taking his exams at age 16, and says he soon became “obsessed with American literature.” Wrentmore recounts reading American novelists like Hemingway and F. Scott Fitzgerald through the end of his university studies — when he finally got to visit America.

He first traveled to Arizona in 2000, and still marvels today at the differences between British and American culture. Comparing life in Arizona to life in London, he says, is like comparing two distinct languages. “I knew in my head that it would be different,” shares Wrentmore. But “the different energy levels” of Arizona life and London life are more stark than he’d imagined — by virtue, he says, of both climate and distance.

“Europeans walk everywhere,” reflects Wrentmore. “And there’s a greater sense of the outdoors in Europe.” In London, he says, you meet people on the pathways. “There are more opportunities for random encounters.” In Arizona, he’s observed, people seem to live in their cars. There’s no popping out to the market late at night unless car keys are involved, and it’s isolating.

Hence the added importance of arts and culture to Arizona communities, reflects Wrentmore. People who attend a concert or play have a shared experience. They develop a sense of community — something Wrentmore says we need more of. The arts, adds Wrentmore, forge a connection between “our common humanity.”

Wrentmore has been busy casting “The Great Gatsby” in Tucson, Phoenix and NYC — but says he’s only about 70% there so far. The Arizona Theatre Company production of “The Great Gatsby,” the final work in their “America Plays! Celebrating Great American Stories” series, runs Feb. 25-March 17 in Tucson and March 22-April 8 in Phoenix.

Cover of my daughter Jennifer's $12.95 copy of The Great Gatsby

“People have great expectations,” reflects Wrentmore. “We have to tell the story in a way that resonates with contemporary audiences.” Wrentmore recognizes that whatever they do, it’s likely to collide with various audience member visions of the work. “For every reader of ‘The Great Gatsby,’ there’s a different Gatsby,” says Wrentmore. “It’s completely liberating.”

“Some people won’t get it,” says Wrentmore, “and some will see a truth in it.” Wrentmore says he feels more freedom to choose historical periods and other elements when directing the works of Shakespeare. But “The Great Gatsby,” he says, must “relate with the period and how people remember the story.”

Still, Wrentmore says he’s observed that people’s memories of “The Great Gatsby” are hazy. You can ask anyone, he says, about “The Great Gatsby.” They all know it and they all have an answer — a different answer. Not all novels translate well to the stage, according to Wrentmore. But he sees “great theatricality” in the work, and is certain it’ll travel to the stage “with elegance.”

“The Great Gatsby” has been adapted several times for the big screen. The 1974 film starred Robert Redford and a 2012 film will star Leonardo DiCaprio. It’s being filmed in Australia and directed by Baz Luhrmann, and will be released by Warner Brothers Pictures in both 2D and 3D on Christmas Day 2012. But it’s rare, according to Goldstein, for the Fitzgerald estate to grant rights for theatrical adaptations. They’ll be performing an adaptation by Simon Levy.

Wrentmore notes that “The Great Gatsby” is supremely relevant for contemporary American society. “These characters live in a bubble of privilege,” says Wrentmore. “They drink, lay about and engage in dangerous liaisons.” It’s hardly a reflection, says Wrentmore, of the Protestant work ethic in which folks work hard for money they then put to good use.

“I come from a society that believes in a sense of society and culture,” says Wrentmore. “We give back.” But the characters in “The Great Gatsby” don’t give back. Wrentmore notes that the Gatsy story “kicks us again about the elusive idea of the American dream.”

“These characters are, for the most part, the one percent,” says Wrentmore. Just a few of them “represent the 99 percent.” Fitzgerald’s tale reminds us all to ask ourselves what it really means to be successful. And to consider, once we’ve achieved wealth and status, what we ought to be doing with it.

— Lynn

Note: The West Valley Arts Council is featuring “The Great Gatsby” in “The Big Read,” a program of the National Endowment for the Arts in partnership with Arts Midwest. A visual arts competition for ages 12-22 closes on Dec. 8 so click here ASAP for details if you or someone you know might like to participate. 

Coming up: Musings on “Mozart’s Sister,” Visual arts classes for youth, Ethnic studies translated for the stage

Update: Arizona Theatre Company is seeking donations of new and used copies of the book “The Great Gatsby” — which can be dropped off at The Temple of Music and Art in Tucson or one of three Phoenix locations — the Herberger Theater Center, the ATC Phoenix box office and the Downtown Phoenix Partnership. Watch the education section of the ATC website for details coming soon. And click here to check out the NEA’s “Big Read” blog.  12/06/11

From Tevye to Tintin

My daughter Lizabeth discovered, after heading to Times Square in New York to see the movie “Paranormal Activity 3” the night it opened, that there were no more tickets to be had.

It’s just as well from a mother’s perspective since there are plenty of other good films these days that won’t scare the bejeebers out of you — including the Julianne Hough dancefest called “Footloose,” a remake of the 1984 film that many of today’s parents enjoyed during their teens.

Also “Sholem Aleichem: Laughing in the Darkness” — an intriguing documentary with special appeal for folks interested in the lives of writers, immigration history, modern Jewish identity or a work of musical theater called “Fiddler on the Roof.” 

Seems Aleihem is the writer behind the character we all know as “Tevye,” a man with several daughters who faced countless challenges to his fervent love of tradition.

Fans of Sesame Street should take note — next month’s Loft Film Fest in Tucson includes a screening of the film “Being Elmo: A Puppeteer’s Journey” — which offers a behind-the-scenes look at Sesame Street, the Jim Henson Workshop, and the work of puppeteer and father Kevin Clash.

“The Twilight Saga: Breaking Dawn – Part I” also opens next month, though it’ll be a bit easier to find — coming to not one Arizona theater but to nearly all of them. Fans of the “Twilight” series have long had the date Nov. 18 circled, in red, on their calendars.

Legendary storyteller and filmmaker Steven Spielberg, once a student at Arcadia High School in Phoenix, has two films being released this fall — the “The Adventures of Tintin” (coming Dec. 21) and “War Horse” (coming Dec. 25). Both promise to be visual feasts that bring some of the world’s best storytelling to life.

As we all gear up for the holiday season we allow so often to become all too hectic, we should remember the power of movies to deliver us from everyday worries, to create cherished memories with family and friends, and to inspire both dreams and wonder.

— Lynn

Note: Always consult movie websites to check film ratings and age recommendations before talking children to the movies.

Coming up: Spielberg tales

Mysteries take center stage

Parenting is full of mysteries. Why siblings raised in the same home have such different personalities. Why teenagers don’t recognize the infinite wisdom of their elders. Why toddlers find pots and pans more fascinating than all those fancy toys.

Natalie Schmidt as Mollie Ralston in the Hale Theatre production of The Mousetrap

But sometimes it’s nice to enjoy mysteries of other people’s making. Mystery writer Agatha Christie’s “The Mousetrap” is being performed at Hale Centre Theatre in Gilbert through Sat, Oct 8. The play follows guests at Monkswell Manor snowed in on a wintry night as one of them turns up dead and the rest work to uncover the killer.

“The Mousetrap” opened in 1952 in London, where it’s still performed today — making it the world’s longest running play. Folks favoring mysteries with a shorter run can follow the campaign foreplay of the Christie who calls New Jersey home. Or the trial of Michael Jackson’s so-called doctor.

Arizona Theatre Company opens its world-premiere production of playwright Jeffrey Hatcher’s “Sherlock Holmes and The Adventure of the Suicide Club” Thurs, Oct 13 at the Herberger Theater Center in Phoenix.

There’s nothing funny about suicide, of course — something Governor Christie seems to have overlooked in all that “I’m not running” rhetoric. But the topic has been treated by various writers through the ages, including Robert Louis Stevenson — whose trio of short stories dubbed “The Suicide Club” was first published in 1878 by “London Magazine.”

I read the online ATC play guide one night after attempts to watch a bloody crop of television crime series season premieres left me nauseous. I prefer murder and mayhem theater style. I crave food for thought more than I hunger for violence.

Arizona Theatre Company describes “Sherlock Holmes and The Adventure of the Suicide Club” as a “puzzling mystery that questions the boundaries of friendship, love and murder.” But the study guide hints at the work’s subtler themes — the evolution of war, citizen searches for justice outside the law, the nature of addictive personalities and more.

Mark Anders and Remi Sandri in the Arizona Theatre Company production of Sherlock Holmes and The Adventure of the Suicide Club (Photo: Tim Fuller/ATC)

My husband recalls reading plenty of Arthur Conan Doyle’s Sherlock Holmes stories as a child. If I’ve read even one, I don’t remember it. I get the feeling we’d both find plenty to enjoy in Hatcher’s work — which takes a playful rather than purist approach to the character of Sherlock Holmes.

I was intrigued to learn from the play guide that while Conan Doyle rarely has Sherlock Holmes use telephones or other technology of the day, technology was critical in helping Hatcher research Holmes’ character. Apparently Hatcher’s first foray into the Amazon Kindle was checking on whether certain words or phrases were used in Holmes dialogue written by Conan Doyle.

Like the play “War Horse,” which continues to enjoy galloping ticket sales in London and NYC, Hatcher’s “Sherlock Holmes” reflects the impact of changing technology on cultures in conflict. I get the feeling that the play’s reference to suicide speaks to something beyond isolated acts of desperation.

— Lynn

Note: Click here to learn more about Hale Centre Theatre, here to learn more about Arizona Theatre Company, here to explore the works to Agatha Christie, here to explore the work of Arthur Conan Doyle and here to visit London’s Sherlock Holmes Museum. Click here for suicide prevention resources.

Coming up: Valley visual arts offerings, Hedgehog meets goldfish, More NYC adventures

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.

Seeing red

It’s starting to feel like a bit of a conspiracy theory. Now that my daughter Lizabeth is readying to leave Arizona for college, several of the shows she’s most eager to see have started popping up around the Valley.

We were “seeing red” recently when we realized she’ll be well into her freshman year (at a college yet to be decided) before the Arizona premiere of a play that won six 2010 Tony Awards — including “best play.”

The work is John Logan’s “Red” — which is based on the true story of an artist grappling with “the commission of a lifetime.” The play is described as “a searing portrait of an artist’s ambition and vulnerability.”

Apparently matters are complicated by a new assistant who questions the artist’s “views of art, creativity and commerce.” Their master/novice dialogue explores an age-old query: “Is art meant to provoke, soothe or disturb?”

“Red” is the final work in the recently unveiled Arizona Theatre Company 2011-2012 season, which opens with a world premiere titled “Sherlock Holmes and the Adventure of the Suicide Club.” It’s a Jeffrey Hatcher work based on “The Suicide Club” by Robert Louis Stevenson and characters created by Arthur Conan Doyle.

The 45th anniversary season slate for Arizona Theatre Company also features the Southwest premiere of Yasmina Reza’s “God of Carnage,” which won the 2009 Tony Award for “best play.” Picture grown-ups trying to be civilized as they discuss their children’s misadventures on a playground — only to unravel as “political correctness” dissolves into “character assasination.”

The fact that bullying is such a hot topic of discussion these days makes this work especially intriguing. Perhaps it’ll answer one of my one burning questions: Why are parents (and politicians) who bully so suprised when children follow in their footsteps?

They’ll also present the Southwest premiere of “Daddy Long Legs” — a musical that’s based on the novel by Jean Webster. It features book by John Caird (who also directs), and music/lyrics by Paul Gordon.

“Daddy Long Legs” couples coming of age saga and love story. Told “through a series of letters,” it’s described as “a testament to the power of the written word.”

Valley theater-goers might have had more experience with the next show in ATC’s 2011-2012 season — “Alfred Hitchcock’s The 39 Steps.” Lizabeth and I first saw this one at ASU Gammage, then at the Utah Shakespeare Festival.

“The 39 Steps,” which features four actors in well over 100 roles, is described by some as “spy novel meets Monty Python.” It’s the tale of a mild-mannered man who finds himself tangled up with murder, espionage and a dash of flirtacious misadventure. When well cast (which I certainly expect to be the case with ATC), it’s one of the funniest shows around.

An additional offering in the ATC 2011-2012 season is Simon Levy’s adaptation of “The Great Gatsby” — based on the F. Scott Fitzgerald novel of the same name. It explores a world of wealth and privilege during the “jazz age” of 1920s America.

It’s hard to imagine a stronger season. And while Lizabeth is truly disappointed she won’t be here to experience these shows, ATC’s 2011-2012 offerings will serve me well by providing poignant, powerful fare and a much needed distraction as I miss my favorite theater companion.

— Lynn

Note: Arizona Theatre Company presents their “Curtains Up Cabaret 2011” Sat, April 30 at the Herberger Theater Center. Click here to learn more.

Coming up: Musings on “message” movies, Valley teen does comedy

Talkback time: Spring Awakening

After enjoying the touring production of “Spring Awakening” at ASU Gammage last night, Lizabeth and I joined about 100 other audience members at a post-show talkback.

As folks waited for actors to trade in costumes for jeans and make their way back out to the stage, a member of the ASU Gammage team spent some time interacting with the audience.

It led to the discovery that for three people attending the talkback, this was their first time seeing a “Broadway” show. He gently put them on the spot — asking each to offer a 1 to 10 rating of what they’d just seen.

The first person to offer a number said “nine or ten,” while the second offered just the “nine.” The third offered an enthusiastic “twenty” and the crowd clapped in agreement.

By this point, most of the cast was sitting with legs crossed or dangling over the stage — and murmured comments like “I’m in love with Melchior” were being exchanged between smitten fans.

The cast was asked to go down the row and introduce themselves, and to share the names of their hometowns. Answers ranged from Golden, Colorado and Los Angeles to NYC and Philadelphia.

We learned that two members of the cast are just 18 years old — including one who auditioned for the touring production of “Spring Awakening” while in NYC last spring for a college theater program audition.

He was called for the tour just a week after auditioning, and the school he might have attended is no doubt wishing they’d gotten to him first.

It’s a very young cast that includes students still finishing theater degrees and recent graduates of college or conservatory programs. It felt surreal seeing them next to my own daughter who’s making her first audition trip next week.

Audience members asked all sort of questions — from “How did you get your hair to do that?” to “How have audiences in different parts of the country reacted to the show?”

The cast was gracious, staying for quite a few questions — then hanging around to talk with people who approached the stage to snag autographs and photos.

You have just one more evening — tonight at 7pm — to see this touring production of “Spring Awakening” at ASU Gammage. It’s “mature content” fare best for older teens and above.

It’s an important piece of musical theater — and something every Broadway fan should see. If you’ve experienced puberty, you’ll get it. If not, you’re likely too young to attend.

“Spring Awakening” garnered several 2007 Tony Awards — for Steven Sater (best book and score for a musical), Duncan Sheik (best orchestration and score for a musical) and several others. It also earned the 2007 Tony Award for best musical.

If you saw last night’s show, feel free to comment below to share your reflections — or to send me any photos from the talkback that you wouldn’t mind me sharing with readers.

— Lynn

Note: Click here to learn about tonight’s (Jan 28)  7pm show at ASU Gammage. If you missed the show at ASU Gammage or just want to see it for a second (or third…) time, click here to learn about the Feb 1-6 “Broadway in Tucson” run.

Coming up: A cat lover’s take on a dog-friendly musical

Photos: Lynn Trimble