Interview - Kres Mersky

Actress/playwright Kres Mersky’s solo plays include Isadora Duncan: A Unique Recital (currently touring the West Coast and Canada) and At The Codfish Ball. Her full-length, full-cast plays include Algerian Romance and Flag Day. She has also written numerous one acts. She has appeared extensively on stage, screen and television, and is a member of the prestigious stage company Theatre West. Mersky’s newly revised solo play The Life and Times of A. Einstein will open at Theatre West on April 10. In our talk, she discusses the play and what drew her to Einstein among other theatrical interests.

Q: When and how did The Life and Times of A. Einstein begin?

It’s interesting…this show has had a couple of different versions. The first version was in the 80s as a four character piece. Einstein wasn’t a character in it. It was sort of this play within a play, a high concept idea I had. It was a great idea that didn’t fully work. Over the years people were always so interested in the secretary character…I would put it away, come back to it…it eventually evolved into the one character piece with the secretary. I was always interested in Einstein like a lot of folks- just fascinated by this iconic man and just that face alone…stops you.

Q: So, you were not a science major in college or someone with a tremendous scientific curiosity?

Not at all. When I think back on it, it was more of an unconscious attraction initially. But, after a lot of reading about him and his life, trying to understand his work, which I don’t really…only to a small degree, I think it was the man’s amazing courage to be able to think in a new way, think differently about some of the basic principles of science that he rejected in order to find the Theory of Relativity. It took enormous courage and belief in himself, the ability…the courage to not be afraid to go against the ingrained accepted theories of Newtonian physics…the Newtonian mechanical principles of nature. I think it was that courage to go his own way that I related to, there being a kind of maverick and not really caring what people thought. All of this was attracting me more than I knew.

Q: What is the secretary’s real name?

The real secretary’s name is Helen Dukas. I renamed her Ellen. I was thinking, What can I do theatrically on Einstein? What would be interesting? …Something that I would also like to perform in. I began reading different biographies, and the secretary was always mentioned. They didn’t go into her life at all… “and his stalwart secretary Helen Dukas…” She was 17 years old when she came to work for him and moved in with them. She wasn’t just someone who came to work every day. She became a part of the family and stayed there for the rest of her life into the 80s. Einstein died in the 50s, but she stayed in the house in Princeton, New Jersey and managed his estate until her own death. What an interesting character!

Q: But, in the books you read, they never gave you an idea about her character other than the fact that she was loyal?

No. I thought, if I’m going to make this about Einstein through the secretary, I have to imagine a life for this woman, her conflicts, and her own feelings and emotional life. That’s how the piece evolved.

Q: It had to be challenging, because you were starting from the ground up!

It was. I took the bare facts and extrapolated on them as a writer. I did my own ‘psychologizing’. She was a German Jewish woman. I wondered why she spoke English, because Einstein didn’t speak English when he came to this country. I imagined that she worked for a publisher who translated material…I just made that up. Not very long ago I found out that indeed she was a secretary for a publisher who printed in English.

Q: Quite an intelligent guess!

A little spooky moment! I really channeled that woman! I got a kick out of that. Einstein’s son who was a mechanical engineer and taught at UC Berkeley believed that they had an affair at one time. There is other material out now that is suggestive of that. Even before that I had suggested it in the piece, but I didn’t want to make that a major issue in the story.

Q: Tell us about the structure of the play.

I was over in Pasadena at the second largest Einstein archives at Cal Tech. I came upon a little newspaper article, it was 1945…it said: Today is Albert Einstein’s birthday; he will be celebrating quietly with his friends; there will be no press conference…and I thought, “Oh! I like that, it’s his birthday and he has decided to give a press conference”…and that became the premise. He’s just arrived in the United States from Germany, he’s settling in Princeton, New Jersey; they’ve been here about a month and he’s in an interview. He was always hounded by the press. He was a huge celebrity. No other scientist ever captured the public imagination like he did. It’s an interview he’s granting to actually discuss matters in Europe: he would like our government to get more involved with helping Jews get assistance in getting out of Nazi Germany. Though the premise was really to say hello…and get the press off his back. He’s late in arriving, so the secretary is sort of filling in until he gets there. But…he never gets there. She fields questions, and it gets more complicated trying to explain his theories, and then in her own funny way she gets caught up in her own personal memories and frustrations of trying to run this household. Time changes during the piece and you go to two other press conferences. It goes through about 25 years, so it’s a little time travel piece in one act.

Q: Where did you do the original piece?

In 1982 or 83, in its four character state here at Theatre West. Then I rewrote it and it was done at Taper Too at the John Anson Ford Theatre. After that, I put it away for a long, long time. In the late 90s I revisited it…people were always saying “this is a wonderful idea, but what you’re trying to do just doesn’t quite work. The secretary is so compelling…why don’t you just stick with her?” So that’s what the work has been. In the last five years, I’ve been out on that booking circuit, at colleges and universities for one night or two night runs. I’ve done quite a few of those. I did put it on its feet, I think in 1999 at the Fremont Centre in Pasadena and it got a really good response. Then I put it away and five years later pulled it out again for rewrites. So, this new version will really be the first full run. It’s been a long process.

Q: Let’s talk about your other play about Isadora Duncan.

I was awfully young when I put that together. I saw the movie with Vanessa Redgrave; I was so inspired, I read the biography of Isadora. I wanted to take some of the writings from her autobiography and make a monologue out of it. I tried it out on workshop night at Theatre West and everyone said I should keep working on it. It worked into a 45-minute play that I put up for a couple of nights. I also tour with that. It’s a tough show to do, very physical. The last years of Isadora’s life were a real struggle, so it’s a challenge to play her.

Q: Your husband Paul Gersten is directing Einstein. Is this your first collaboration?

We’ve been working together the last seven years. Paul was a commercial food photographer for many years; now he’s teaching. He’s always directed theatre stuff, and it’s just been wonderful to do this together.

Q: Who is your favorite writer?

Playwright?

Q: Yes.

What jumps to mind right away is Samuel Beckett.

Q: Why? What makes him an inspiration?

I’ve always loved the absurdists. Many of my pieces tend to be absurd. I did a film with my son called Rope based on a short piece I wrote. It’s been out on the independent film circuit. It’s absurdist, very offbeat. I also love Chekhov, Anouilh, Pirandello. Sartre, No Exit. Since I was a young actress, I’ve always been attracted to the European writers and the more avant-garde stuff. I also love Christopher Durang, John Guare, Murray Schisgal.

Q: Do you have a preference for comedy or drama?

My sensibility is to find as much humor as possible. That’s my predilection. As an audience member, I love to laugh and to be moved. When you can do both, it’s really kind of wonderful. Einstein’s humor comes from the fact that Einstein was a very funny man. A real kibitzer, he loved a good joke. It’s very much in the spirit of him.

Q: In short, what do you want us to learn from The Life and Times of A. Einstein?

There was so much control over the Einstein image, kind of like over Tiger Woods currently. It’s now a known fact that Einstein was a womanizer. Who would have ever guessed? The secretary constantly shielded him and his personal life from the press. Her story is so impressive. She never married and took only one vacation during her whole lifetime. What devotion!
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THE LIFE AND TIMES OF A. EINSTEIN OPENS APRIL 10 AT THEATRE WEST
Written and performed by Kres Mersky. Directed by Paul Gersten. Produced by Jill Jones. Season producer: Jill Jones. Theatre West executive director: John Gallogly. Presented by Theatre West.
Theatre West is located at 3333 Cahuenga Blvd. West, in Los Angeles, CA 90068. This is in proximity to North Hollywood, Universal City and Studio City. There is FREE parking in a lot across the street.
The play runs April 10- May 16, 2010. Saturdays at 8 p.m. and Sundays at 7 p.m.
RESERVATIONS: (323) 851-7977.
ONLINE TICKETING: www.theatrewest.org

Interview with Director David Galligan

Prolific musical stage director David Galligan helms another S.T.A.G.E. benefit this year for one night only on Saturday, May 1 at the Luckman Theatre entitled Original Cast, featuring stars who originated their roles on Broadway or in LA. Galligan has been interviewed many times over during the past several years, so I was hard put to think of a question that has not been asked of him. Therefore, we got right to the bottom line of what makes this year's different from all the other S.T.A.G.E. shows.


How did Original Cast come about?
We were starting to repeat composers. To frankly put it, I was down to like the only ones who would be...oh, what a terrible thing to say... box office. I would love to do Harold Rome but I don't think anyone would know who that is. I repeated Gershwin last year. I don't want to go back and do Cole Porter...I mean I love Cole Porter, but...so I thought I could do Schmidt and Jones or Meredith Willson, but I decided to move on and do a show with people who orginated Broadway or Los Angeles roles.


Had that idea emerged before?
Not really. It popped into my head and I thought I would be interested in that, and I'm hoping people...and by the look at ticket sales... they are interested.


Wonderful! Anything new as to the format of the show?
No, except it will be different songs. I think I'm going to put in bows this year; I used to always wait until the very end.


Will some performers be allowed to leave early?
No, they're not allowed.


What is the point of putting in the bows after each number?
Well, because then it makes it one complete number. Before they were all under the same composer's banner; now, they're performing numbers from different shows and different composers, so I thought I'd put a button on each of the numbers.


Are performers still signing up at this juncture?
I'm pretty much done. I added Davis Gaines and Ron Dennis. Ron is doing a number with Donna McKechnie. He was talking about a duet he had with Baayork Lee from A Chorus Line, a song called "Confidence" and it was in and out and never even made it to public performnce. He started humming it and said he had the music and lyrics. I called Baayork and she said she was not available, and so I decided to do it sort of schizophrenic with Ron doing both roles.


Tyne Daly is doing songs from Gypsy?
She and Jonathan Hadary are doing "Small World" and "You'll Never Get Away from Me" and then she's performing "Rose's Turn".

Great! What about Michele Lee?

She's doing the finale from Seesaw.

I saw her do that show on Broadway. She's sensational with that. Who else is on board?
Dale Kristien is doing "Think Of Me' from Phantom of the Opera. Carole Cook is doing "Before the Parade Passes By" from Hello Dolly. She's the original Australian Dolly Levi.


I have to compliment you on the Burt Bacharach tribute two years ago. I loved that the whole first Act was a condensed version of Promises, Promises.
Thank you. We worked so hard on that. With all the cuts, it had to get an OK from Neil Simon, who wrote the book, and he said he loved it. Now he owns it. But that was the deal. In order to get permission, he would own the abridged version...and that's fine.

Everyone did such an amazing job. Do you normally rehearse one full week or more than that?
More. I started rehearsals last Saturday (March 27). I'm rehearsing this week, because I'm leaving town. I have a show opening off-Broadway.

Tell me about that!
That's My Trip Down the Pink Carpet, Leslie Jordan's show. That's opening April 19th at the Midtown Theatre.

He's a hoot! You're a really busy director, Mr. Galligan. Who else can we talk about for S.T.A.G.E.?
John Lloyd Young is doing a medley from the second act of Jersey Boys.

Is Betty Garrett performing?
Betty fell in November and broke her hip, and when she was in the hospital recovering, her voice changed. Now she talks way up here, in a very high range. And so she can't really sing and I don't want to do the show without Betty. She's performed in it every year. So, what I'm going to do is to take her album and overdub it and put four backup voices - they're all her voices - have her pantomime to it and put four dancing boys with Betty Garret masks on, and since she's on a cane, I'll put a cane dance in the middle, and that'll be her number. It'll be fun!
Betty is 90 and Patricia Morrison is 95 now. She'll sing "So In Love". Charlotte Rae is doing something from Pins and Needles. Bill Hutton is doing a big production number of Joseph and the Amazing Technicolor Dreamcoat. Karen Morrow is singing "I Had a Ball". Nancy Dussault is doing "Make Someone Happy" from Do Re Mi.

Sounds like a terrific show! Any possibility of doing another show in the future like Bacharach, where Act I is devoted to just one show?
It always interests me and I've always wanted to do Funny Girl with Vicki Lewis, so...

Julie Styne with Funny Girl as all of Act I! I'd be there with bells on!

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In Original Cast, John McDaniel will serve as Music Director with Mary Ekler as Associate Music Director and choreography by Lee Martino and Dan Mojica. Jon Maher will do sign language interpretation.

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S.T.A.G.E. is the second fund-raising event ever created to fight AIDS, and it has raised millions of dollars for HIV/AIDS organizations throughout the Southern California over the last 25 years. One hundred percent of the net proceeds from ORIGINAL CAST will go to APLA, a community-based, volunteer-supported organization with local, national and global reach that provides bilingual direct support services, prevention education and leadership on HIV/AIDS-related policy and legislation.

ORIGINAL CAST is set for Saturday, May 1 at 7:30PM at the Luckman Fine Arts Complex, 5151 State University Drive, Los Angeles, CA, 90032. A VIP reception for Premium and Most Preferred ticket holders will precede the performance at 6:00PM at which time the silent auction will also open.

For ticket or sponsorship information, visit www.stagela.com, call 866-679-0958 or email mcacciatore@apla.org

Interview - Model/Singer Quentin Elias Bows in First Stage Play

Singer Quentin Elias makes a formidable debut in THE BLVD currently @ The Macha Theatre in WeHo. Visit more reviews to the right for my review of the show.
through April 18!

Q: Tell me about your background - about growing up in Marseille, France and how you got into the arts. Didn't it begin with dance?

I am Algerian, not French. Marseille is the best city ever.. it's like LA .. dry weather and blue sky all the time. Food is great and people are very genuine. Then I went to NYC .. I consider NYC home for me since it's where I really grew up.. and learned everything I know. I started dance class when I was 6, so at an early age I was on stage.. it's the best years of my life..

Q: When did you make the transition to New York from Europe? Was it after you became a successful singer in France? Talk about that success!

I was living in NY when I heard about a casting for a "boyband" so I flew to Paris and got the job.. we were like the backstreet boyz in France.. sold 5 millions cds then I became like Justin Timberlake when I went solo.. after a solo album I decided to go back home to NY. I had enough and I was really home sick.

Q: When did the acting bug bite?

I never really thought about acting .. when Danny De La Paz asked me to be part of this project I had no idea what I was getting into .. once I started doing the reading and rehearsed I felt I was born to be an actor as well. It's a new experience and I learn a lot.. it's really hard work for me but I am getting better every night.. I love it.

Q: What great training to be onstage every night!

It's more difficult than tv or movies since you are onstage and once you step onto that stage you have to give your best every night for almost 2 hours straight with no cut. You have to be real focused and listen to the other actor that feeds you your lines and energy... I believe doing theater is the best acting class I could ever do.

Q: How is the music career going?

The music is good; the industry has changed a lot. I keep performing and recording new stuff all the time . I found a new style that fits me more now .. it's more soft rock . Just shot my new music video and posted it on youtube, and people really like my new direction.

Q: Have you done any film? If so, is that a goal?

Yes, I have done 4 feature films since I got here to LA . LA loves me and I love LA. I really want to pursue a career in acting .. that's my new goal.

Q: Who are your favorite film or stage actors? European or American.

I love so many .. but I'll say, I love Meryl Streep, Sandra Bullock - she is amazing, but of course I like many more...I love Christian Bale, Jack Nicholson.

Q: Do you have a favorite movie? Which? Why do you like it?

OMG .. I have so many favorite movies.. as far as comedy I love Mean Girls.. it's so funny and the writing is excellent; for a more serious but cool movie I love The Family Stones.. what a great movie.. About Family is a great movie.. and of course, Broke Back Mountain .. what a master piece!

Q: Tell me about your bodybuilding and modeling.

I started working out when I was 14, when I started doing kick boxing.. I love working out.. of course it maybe gives a wrong image of myself .. I am not that mean even if I look super tough and mean .. I am a real teddy bear.. as for modeling. I never thought I could take a picture when I was young .. if someone told me I will be a model when I was teenager I would have laughed so hard.. it still amazes me when people ask me to pose for them.. I guess I don't see what people see in me, which is a good thing.

Quentin Elias is definitely humble, but a go getter, nonetheless. Indeed, there's much pulchritude to admire when he's onstage, so don't miss him through April 18!
THE BLVD plays Thursdays through Sundays @ The Macha Theatre on Kings Road above Santa Monica Blvd in WeHo.

Interview with GRT's Artistic Director Ernest Figueroa

Artistic director Ernest Figueroa has been steadily making changes at Group Rep @ Lonny Chapman since he began the position September, 2009. “Ernest’s intent is to keep Lonny’s legacy alive while moving the membership of the theater forward with new and innovative ideas,” said Janet Wood, newly elected Board President. “With his vast theater experience as a producer, director, playwright and actor, Ernest has both a strong artistic sensibility and solid business savvy. In addition, he epitomizes an exciting energy and direction for our theater. Already, everything is moving forward at a fast clip, with a new board, a new season, new ideas and untold possibilities.” It is a rebirth of sorts for the 36 year-old theater company.
In our interview he talks about the changes and their overall effect on the progress of the company.

Q: What has been your greatest challenge in reshaping GRT?
I think the greatest challenges for The Group Rep at the Lonny Chapman Theatre this season have been the same challenges facing every theatre, finding and reaching our audience and updating our infrastructure to explore new media. With papers and other traditional marketing tools going by the wayside, it is imperative to position the theatre to take full advantage of social networking. It's all about the audience. Otherwise, why do what we do?


Q: Tell me about your vision for upcoming shows, particularly those with an emphasis on women.
Currently our Actors Company has more men than women. We also know that women comprise the greater part of the theater going audience.

I have felt a strong obligation to give our company members the opportunities to explore themes and characters to which they can relate. This is also why I have chosen such multi-generational pieces to showcase some of our older actors as well as the younger ones.

Plays written about and by women are still strangely few and far between. Many women's roles written by men are strong, but still the majority of plays are male dominant. I love AR Gurney and feel strongly that he belongs on our stage. He is also very balanced when he writes women's roles.

Sweet Sue (opening March 19) explores many of today's themes. For a long time, drama has dealt with the male mid-life crisis… Death of a Salesman being the most famous, but few plays have explored the angst or passions of women of a certain age. Sweet Sue is not only funny, but honest in its depiction of the ongoing struggle we all have to define ourselves. Is Susan a wife, a mother, an artist, or lover? She is all these things.

Sweet Sue also explores the themes of love and lust, men and women, older generation and the younger generation, what A.R. Gurney calls the "tragic gap." This is something I think is of great interest to our audiences and our membership. Our future offerings will also try to explore these universal themes and try to bridge that "tragic gap".

We are also excited about the play we have picked for the Group Rep summer musical - Maltby and Shire's BABY. We are so excited we have decided to offer it as our NEXT production instead of waiting until mid-summer. Although this is a change from what was previously announced, BABY is such a charming and fun musical we feel it has the potential to last all summer and is a topic to which many people of all ages can relate to. Three couples explore their relationships in light of their newly expectant parenthood. It is light, charming and poignant.

Q: And the rest of this season?
I had really hoped to launch a new play this season and I do feel that The Redemption of Mrs. Satan by Julie Daniels will be a great show. But the play might be better suited for a charged election season like next November since the play deals with Victoria Woodhull, the first woman to run for President of the United States. Historical dramas are wonderful to produce, and this one is great exploration of women's themes. I hope we can see it come to our stage sooner rather than later.

What has been exciting as well has been the sudden flurry of activity within our own company. Two company generated projects, A Walk in the Woods and String of Pearls were so excellently presented as company projects that we hope to include them on our stage soon. The freedom that has developed in the Company to create wonderful art has been inspiring and I am sure it will continue.

Q: Anything else you care to add?
It has been inspiring to see the devotion and creativity which is continually demonstrated by our company and I'm looking forward to the summer and especially creating our next season.

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Sunday, March 21st, at 7:00 p.m., the Group Rep will hold a Bingo Fundraiser at Hamburger Mary’s in West Hollywood to raise money with proceeds going towards refurbishing the Lonny Chapman Theatre’s ninety vintage theatre seats.

Bingo festivities begin at 7:00 p.m. The evening includes Bingo Games with fabulous prize packages for winner and auction items including tickets to The Broad Stage, The Colony Theatre, Crown City Theatre, the Group Rep, & the Laugh Factory; Dinners at Morton’s Steakhouse, Eclectic, Cheesecake Factory, and Maggione’s; Gift certificates/giftcards to: Beverly Hills Cheese Store, Bodies in Motion Studio City, Golfsmith, Dr. Jay Silverman (Eye Dr./Beverly Hills), Hypnotherapy Session with Barbara Brownell Cht., and more!
The suggested donation for the event is $20, which includes 10 rounds of bingo.
Donations are tax-deductible.

Hamburger Mary’s is located at 8288 Santa Monica Blvd at Sweetzer in West Hollywood.
Valet Parking is available. Some street parking available. Please read posted signs.

For more information please call (818) 700-4878.

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Upcoming as well:
The Group Rep Presents
YARMY’S ARMY One Night Only Fundraiser Event
Wednesday, April 21 at 7:30 pm

Lonny Chapman Theatre 10900 Burbank Blvd. North Hollywood 91601
Tickets: http://www.thegrouprep.com/ or (323) 822-7898

Performers will include as available: Shelley Berman, Sam Denoff, Pat Harrington, Jr., Steve Landesberg, Jim MacGeorge, Peter Marshall, Jack Riley, Howard Storm, and Jonathan Winters among others.
The group of comedians is named after the late actor-comic Dick Yarmy (brother of Don Adams) and was formed by his comedian pals in 1995 to honor him and to raise money for performers who may have need of financial help. The group is donating their time and talent for this very special Group Rep Fundraiser.

Lonny Chapman Theatre 10900 Burbank Boulevard, North Hollywood 91601
Lot & Street parking
Wednesday, April 21 7:30 pm Reception to follow
Tickets are $30.
Seating is very limited!!!
Pre-purchasing tickets is recommended http://www.thegrouprep.com/ .
For information please call 323-822-7898

Interview with Director David Lee

(CanCan @ the Pasadena Playhouse)

David Lee is a nine-time Emmy-Award-winning director, writer and producer for television with Frasier, Wings, Cheers and The Jeffersons as major credits. On stage, he has directed productions of Light Up the Sky, Do I Hear A Waltz?, 110 in the Shade, Diva, Can-Can (at Pasadena Playhouse), How I Fell In Love (Williamstown Theater Festival), On The 20th Century, Assassins, Company, A New Brain, Applause, Working, Zorba, and Elegies .His writing for the theater includes a concert adaptation of Can-Can (Encores! with Patti LuPone) and an entirely new book for Can-Can, which he directed at the Pasadena Playhouse (Ovation Award-Best Director).

In our interview, he talks about the Reprise Theatre Company, his direction of their upcoming A Funny Thing Happened on the Way to the Forum and other theatrical favorites.

Q: I loved your production of Camelot. Was the staging based purely on economics, or did you have other reasons for scaling it down?

DL: Not at all based on economics. I fell in love with the show because of the score but always seemed to be disappointed in it when I saw it--and I saw several incarnations. I always wondered why it always seemed like such a slog to get through despite that score and what at its core is a great story. And I was not alone.As I studied it, it seemed like there was just a lot of extra "stuff". Well intentioned and well written stuff, but nevertheless extra, that made one lose track of the emotional thru line. Even though CAMELOT has big ideas it basically is about the relationship of three people. So just for fun I went through and eliminated everything that didn't directly relate to that core story. What I had left was the same emotionally strong, beautifully written story, a lot shorter show, and room for songs often left out. The discovery that it could be told by only eight actors on a minimal set was a found opportunity. From there it was all theatrical fun figuring out exactly how to do that. I think if my initial goal was to find a cheap way to do CAMELOT I would not have found the piece I ended up with. That it now happens to be economically more feasible for a lot of theaters-is a nice side effect, though.

Q: Can you give away any surprises about your staging of A Funny Thing...?

DL: I am using the book from the 1973 revival (the one with Phil Silvers,directed by Shevelove) , so it will include the song Sondheim wrote for Nancy Walker in that version, "Farewell", and "The Echo Song" , which is usually not heard.

Q: What is the favorite show you've directed so far?

DL: CAN CAN, which I also co-authored a new book for, was a blast. Did it at the Pasadena Playhouse a couple of years ago, and now a national tour is in the works. Loved my "CAMELITTLE" too.

Q: Any show you really want to helm that you haven't yet?

DL: The show where I have a workshop and then eight weeks of rehearsal and a month of previews.

Q: I also loved Do I Hear a Waltz? Hardly ever done. Talk a little about that show.

DL: Like CAMELOT, I had fallen in love with this show because of its score. I had heard, as many had, of the animosity between its authors during production, and because each of them (Sondheim, Rogers, and Laurents) had spoken of their experience with such vitriol, I assumed the show was no good. Then I finally sat down and read it. I thought it was terrific but needed a few tweaks. Just about that time I heard that Laurents and David Saint had done a rewritten version at the George St. Playhouse. I got the script, thought they had totally fixed it, and did it. It's a lovely little show. We did a nice recording of it too which is still available I believe.

Q: Talk briefly about the challenges of doing stage versus film or TV!

DL: In TV you have an idea in January, pitch it in February, write it in March, film it in April and it's on the air that fall. Do you have an example of anything in the theater that has moved faster than molasses in winter?

Q: What is your favorite musical show of all time? Why?

DL: I think SWEENEY TODD is a masterpiece. Not a wasted word or note. About big themes and little people.

Q: You seem to prefer directing musicals to straight plays. Any particular reason?

DL: I always find myself at some point when I direct a play asking "Where's the orchestra?" I like the extra excitement music brings to the theater.

Q: Talk about working with Reprise!

DL: I'm so thrilled I have Reprise as a home base. Not that FORUM fits in this category, but I do tend to like what I call "orphan" shows. Shows that are lacking a bit of attention because they are not perfect or may be a bit too old. Reprise is one of a couple of places that lets me revisit those shows for better or worse. And that's a treasure to have.

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A FUNNY THING HAPPENED ON THE WAY TO THE FORUM
@ The Freud Playhouse at UCLA conveniently located in Macgowan Hall
March 16 to 28, 2010 (Press Opening: March 17)
Tuesdays through Fridays at 8:00pm, Saturdays at 2:00pm & 8:00pm, Sundays at 2:00pm & 7:00pm
UCLA Central Ticket Office: 310/825-2101 March 16 (preview) $60.00; Opening night - $75.00; Tuesday through Thursday Evenings - $70.00; Fridays, Saturdays and Sundays, (all performances) - $75.00. Student/Senior rush $20, 15 minutes before showtime (subject to availability).
More Info: www.reprise.org

Festival of New American Musicals Hosts Master Class with Composer Stephen Schwartz

On Monday, February 15 The Festival of New American Musicals' newly formed Academy for Young Professionals presented day-long master classes in vocal performance and auditioning at the Edgemar Theatre in Santa Monica. 42 high school and college students, ages 15-22, participated in this exciting new program that helps theatrically talented students prepare how to best market themselves for a very competitive musical theatre career. Casting director Michael Donovan, choreographer Joe Schenck, and musical theatre veterans Amanda McBroom and Karen Morrow presented classes from 10:00am to 3:00pm.

At 3:00pm multi-award winning composer, lyricist Stephen Schwartz, whose tremendous hits Wicked, Godspell and Pippin have placed him at the top of his game, offered a master class in vocal performance.

After a brief introduction by Festival co-executive producer Marcia Seligson, Schwartz poroceeded to randomly draw 10 names from a bowl that contained the names of all 42 participants. He explained that he would draw 4 names, that they would then perform consecutively and afterwards be critiqued. He would then proceed with 3 more, and then a final 3. So that all students would feel some degree of comfort and support one another, each performer sang and then sat with the others in a group, after which Schwartz gave individual comments, one at a time, to the members of that group (see photo above). Then, if time allowed, students were given the chance to rework their song based on the comments made. Accompanists were Gerry Sternbach and Brent Crayon. There was a very bright array of talent performing songs way beyond their young grasp, but in a very courageous manner, such as "100 Easy Ways to Lose a Man", "Something Beautiful", "Broadway Baby" and "It's Hard to Speak My Heart" from Parade.

Schwartz is a very good teacher with a droll sense of humor, putting the students at ease and making them aware of how important it is to know to whom you are singing and why. A good singer must be a good actor. One young lad named David chose a very difficult song from Parade where the man accused of murdering a young girl must prove he is not guilty or face death. Emphasizing what is at stake, Schwartz told the boy "You must convince me you're innocent or...die!" After successfully reinterpreting the verse, the boy asked "Am I going to die?" Schwartz paused and caringly replied "No!" to the delighted applause of the entire audience.

When the performance was technically right on target, Schwartz was praiseworthy, but still offered some constructive criticism. Alex Fragoso has a lovely soprano voice and did well with "Something Beautiful" by Ahrens and Flaherty. Schwartz made her aware of the repetition of the word 'silent' in the song and how a good singer must be aware of all the different nuances of a word.

There followed a short Q and A with the students after which Schwartz told them to persevere, quoting Woody Allen, "The secret to life is showing up". He then lovingly performed one of the closing tunes from Wicked "Changed For Good" (see photo above) to a standing ovation, bringing down the curtain on a wonderfully successful day for The Festival of New American Musicals.

Interview with Heather Lee

(Top photo: from 1941 film Tom, Dick and Harry - Ginger Rogers, center and far right, Lee's great aunt Jane Seymour; bottom photo: Lee as the detective's mother in the Colony's 2009 production of No Way To Treat a Lady)

Actress, singer, dancer Heather Lee has been nominated for an LADCC award for her outstanding performances as all the ladies in No Way to Treat a Lady

at the Colony Theatre in 2009. She is currently preparing to play Ginger Rogers' mother in Backwards in High Heels at ICT in Long Beach.
A very interesting bit of trivia is that Lee's Great Aunt Jane Seymour was a highly regarded Broadway actress. She did mostly theatre and early television. She only did a couple of films: one of them was Tom, Dick and Harry for RKO in 1941 in which she played Ginger Rogers' mother.... so the family actresses have come full circle so to speak.

Q: What is it like playing Ginger Rogers' mother? She was a classic Mama Rose, right? How have you been preparing for this role?

HL: Lela Rogers is Mama Rose-Lite. Lela was a stage mother and a very significant influence on Ginger’s career but was not quite as hungry/driven as Mama Rose. First of all she had her own career. She was a writer, initially for newspapers, then a screenwriter and after Ginger’s Hollywood career took off she became Head of New Talent at RKO Studios. Like Rose she was a survivor, a working woman and even though she was married twice, she basically was a single mother and raised Ginger on her own -quite a feat in those days.
As far as my research, I have been reading Ginger’s autobiography, digging around online and at the library and recently watched the one movie Lela appeared in with Ginger The Major and the Minor.

Q: What is your favorite role to date?

HL: That is a tough question. There have been many roles that have resonated with me for various reasons at different points in my career. Tessie Tura is certainly a highlight, the whole experience of doing the revival of GYPSY was a dream come true and I loved playing Tessie. April in Company, Cinderella in Into The Woods, Eustacia Fitch in Palm Beach….They are all unique and complex in their own ways. But I would have to say that Miss Adelaide in Guys & Dolls is right up there at the top. She is funny and strong and vulnerable and she can make you laugh and cry all at the same time.

Q: Do you prefer musicals to straight plays? If so, explain why. There are certainly more challenges involved!

HL: I love the musical theatre; it is probably my favorite medium. I love the people -There’s no people like show people- and I love the art form. That said, I love doing plays, especially well written comedies, but I have not had as much opportunity as I have in musical theatre. And you are correct; there are more challenges, which makes getting it right an even bigger reward.

Q: How difficult is it to do a show like Gypsy 8 times a week for such a long period of time? What do you do to keep it fresh night after night?

HL: I feel so very fortunate to have had the opportunity to originate the role Tessie Tura in the 2003-2004 Broadway revival of GYPSY starring Bernadette Peters and directed by Sam Mendes. It was a magical experience for me and I will cherish it forever. We ran for 14 months for a total of 484 performances and it felt too short. I could have done it forever. There was something new to discover in every performance. Part of that comes from our rehearsal process and the amazing cast and creatives. Lead by Mendes, we approached the show like a play with music. We did extensive scene work during rehearsals and I was fortunate enough to be working with some of the finest and funniest actors on Broadway. We had great respect for each other and no one ever phoned in a performance. We all continued to discover new things throughout the entire run of the show.

Bernadette is the most gracious leading lady in the business and a consummate professional and we all felt honored to share the stage with her at every performance. John Dossett, the quintessential leading man went to everyone in the cast and crew before every performance to wish them a good show. Brooks Ashmanskas, playing various roles, kept us all on our toes (and in stitches) with his ever changing choices each night. My fellow strippers Julie Halston and Kate Buddeke are brilliant actress/comediennes. We were an unlikely trio, which made both our on-stage and off-stage relationships that much richer. And we three were fortunate enough to be photographed by Richard Avedon for New York Magazine before he passed. The whole GYPSY experience was a dream come true. We had a very happy cast and are still extremely close today, which is very unique in my experience.

Q: That's super! Talk a little about No Way to Treat a Lady. You played about 6 different roles in that, right? Like Meryl Streep, you had the accents down to a tee. Was it a lot of fun?

HL: No Way To Treat A Lady was a welcome challenge for me. I actually played 5 characters, all different from each other and different from anything I had ever done. And yes, several accents were used in the making! Very sweet of you to compare me to Ms. Streep. The challenge for me was to make all five characters very distinctive, so that Heather was unrecognizable. I felt I had accomplished that when at a talk-back with the audience one night, a patron asked where the other actresses were who played the other roles. I assured her that I was all the other actresses. She insisted that I was not… I suggested she read her program….

Q: What is your all time favorite musical? Play? (You need not necessarily have done them!)

HL: Wow, that is tough. I think GYPSY is probably the finest crafted musical we have in terms of book, lyrics and score. I love almost everything Stephen Sondheim writes. Kaufman & Hart, Tennessee Williams..that question is too difficult to answer!

Q: Who are your favorite actresses? Film or stage!

HL: Billie Burke, Myrna Loy, Vivian Leigh, Goldie Hawn, Meryl Streep, Meg Ryan…Again, too difficult to answer!

Q: Do you yearn to play a certain role? Which one and why?

HL: I have been fortunate enough to play many of my dream roles. One that comes to mind that I have yet to play is Desiree in A Little Night Music and of course I would love to create a role in anything new.

Q: What do you believe is your mission as a truly great performer?

HL: Make ‘em laugh, make ‘em laugh!

Q: You were great as part of a cabaret at Sterling's about a year ago. You should do your own show. Are you considering that?

HL: Thank you. Many people have asked me that same question and I have been considering it but no plans for the immediate future!

Whatever is in store for Heather Lee she will take it and make it a tremendous success. She is one triple threat that you cannot affort to miss in Backwards in High Heels when it opens next week at ICT in Long Beach.

Backwards in High Heels Previews: February 23, 24 & 25 at 8 pm Performances: February 26 through March 21 Thursdays at 8 pm: February 25; March 4, 11, 18 Fridays at 8 pm: February 26 (Opening Night); March 5, 12, 19 Saturdays at 8 pm: February 27; March 6, 13, 20 Sundays at 2 pm: February 25; March, 7, 14, 21

@ INTERNATIONAL CITY THEATRE Long Beach Performing Arts Center 300 East Ocean Blvd.Long Beach CA 90802

(562) 436-4610 or http://www.internationalcitytheatre.org/