2018 Interview with Mona Z. Smith and Traci Mariano

FIRE IN A DARK HOUSE opens tonight at the Whitefire Theatre in Sherman Oaks and runs every Thursday through November 15. Co-Creators Mona Z. Smith and Traci Mariano chat with us about the play and their collaboration.

 by Steve Peterson

You live on opposite coasts and have worked together before. How did you meet and how did this partnership come to be?


We met at graduate school, at Columbia University in New York. Mona was starting the MFA program in playwriting. Traci was in her second year in the MFA directing program.

Traci interviewed Mona for a job at the Miller Theater, and Mona showed up with her 10-month old daughter in a stroller. We got along like a house afire right from the start. Traci offered Mona the job, but Mona felt conflicted because Second Stage had offered her a work-study position. Traci said, "What? Are you crazy? Go with Second Stage. They do new plays!" So Mona took her advice, and she's been taking Traci's advice ever since!

That fall, Mona's first full-length play -- a very early, and very different version of FIRE IN A DARK HOUSE -- won Columbia's John Golden Award. This entitled her to a full production of the play in the spring. Mona really, really, really wanted Traci to direct that production. There were very few women in the theater department, and that first meeting with Traci made a huge impression on Mona. So, about six months after their first meeting, Mona showed up at Traci's door to make the ask. At the time, Traci was in the middle of tech rehearsals for an incredibly complex, brilliant, Brechtian version of Hamlet. Her first response was, "Are you kidding? No." But Mona was persistent, and persuasive, and a bit pitiful, actually, and finally Traci relented and agreed.

That was the start of a beautiful friendship and a rich and rewarding collaboration that has endured for 25 years -- through graduate school, jobs, a transcontinental move, marriages, children and more children! Aside from being with our families, our favorite place to be is with each other in the rehearsal room, creating work.

What was the genesis of this play?

Mona wrote a much different version of this play in graduate school at Columbia. The inspiration for the play -- then and now -- is a fascinating family story her grandmother told her many times when she was a child. That story, about Mona's great aunt Rose, was something of a mystery, and questions about Rose lingered in Mona's mind for many years. Fire in a Dark House imagines one possible answer to those fascinating questions. We can't answer them here: It would be a major spoiler!

What drew you to the subject matter, and why did you want to bring it to the stage?

We loved the idea of working on a wartime romance set during World War I. We believed it was important to stage Fire in a Dark House this fall for many reasons. We wanted to celebrate the 25th year of our collaboration, a rare and beautiful thing for two women in theater. We also are marking other milestones with this production. The true events that inspired this play happened almost exactly 100 years ago, including events that involved members of Mona’s family. This fall also marks the 100th anniversary of the World War I Armistice. And finally, we believe this story explores themes that resonate today, including what it means to be an American, an immigrant, a young Dreamer, and a patriot.

What do you want the audience' take away' to be? Is there anything else about FIRE IN A DARK HOUSE you want us to know?

This play is in part about waves of anti-immigrant sentiment that periodically sweep this nation. In World War I, anti-immigrant fervor targeted German Americans, throwing their families and communities into turmoil.

German Americans came here from many different countries. They practiced many different faiths – Protestant, Catholic, Jewish, Mennonite, Hutterite, Amish. Some were sophisticated city-dwellers; some were farmers; some helped to build small towns all across the nation. Some came in search of religious or political freedom; others for economic opportunities; and others simply for the chance to start afresh in the New World. Some had been in this country since colonial times; some were the first generation born here; some were immigrants fresh off a boat from Europe.

All of them were Americans. All of them spoke German, or had German-sounding names. And that made all of these “German-Americans” suspect once the U.S. declared war on Germany in 1917 and sent troops to fight in World War I.

Right now we are in a another period of American history where immigrant groups are under attack. We think Fire in a Dark House raises important questions -- about America, our freedoms, our principles, and what we want to stand for in the global community. And we think these questions are especially important to consider during this important election season. Our cast is hosting talkbacks after every performance, and we welcome everyone to please join in the discussion!

For tix and info call 800-838-3006 or visit fireinadarkhouse.bpt.me The Whitefire Theatre is located at 13500 Ventura Boulevard, Sherman Oaks. Please arrive early to find street parking.

2018 Interview with Bert Emmett

A graduate of Northern Arizona University, Bert has taught, acted in, produced, written, and directed plays for over 35 years. Bert’s favorite acting roles in L.A. include Col. Armadillo in The Armadillo Necktie (Last Straw Award), Karl Lindner is A Raisin in the Sun (A Noise Within), Kanute in Don't Hug Me I'm Pregnant (Eddon Award). Other LA shows include Sherlock Through the Looking Glass, Lombardi, Someone Who'll Watch Over Me, Sherlock’s Last Case (Scenies Award), and Cobb. Film: "The Forsaken,” "Alien Hunter,” "Outside Ozona,” and “Our Next Caller” (with Eric Roberts). Member of SAG/AFTRA and AEA. This is Bert’s directorial debut at The Group Rep. 



Interview by Steve Peterson

When did you get interested in directing?

When I was in 7th grade, I found that I could boss my friends around as long as we were making a movie. We had my dad’s old 8mm camera and shot stories that were about as stupid as they could be, but we all enjoyed the collaboration. I couldn’t stop thinking of what to do next - orchestrating anything that told a story. I was interested in every facet of putting on some kind of show and still am.

Although I haven’t formally directed in Los Angeles, I directed plays and scenes in Flagstaff Arizona as a teacher of drama at Sinagua High School in the 1990’s. I have predominately spent my time in Los Angeles performing, but, as a director, mining for the gold in a well written script is one of the most rewarding experiences a theatre person can have.

The Group Rep is special in that it provides its members the chance to create and develop projects. We were blessed that Co-Artistic Directors Larry Eisenberg and Chris Winfield thought our “project” (presented to members on only one night after weeks of rehearsal) should be given the chance to be a full-fledged production in our own little theatre upstairs. The studio is a perfect venue for us at 32 seats, as the play is such an intimate experience.

How did this play find its way to you? What intrigued you about this particular play?

It wasn’t a bad idea for Hansel and Gretel to try to leave a trail in the woods so they could find their way home. The trouble is - breadcrumbs disappear! Jennifer Haley’s play came to me through a friend who has an ear for the eloquent and a heart for art that is redolent with the tender needs of fear, loneliness and loss. Breadcrumbs is an exceptional work, full of longing, metaphor, beauty, and humor. Told through the lens of Alzheimer’s (although the disease is not mentioned in the play), Breadcrumbs displays not only the painful tussles someone with a form of dementia might have, but also the effort that must be made by anyone who is braving the path towards personal truth. Many of us may have a loved one who is struggling to remember even the simplest of things, but I think we can all relate to the feeling of being lost in the woods, striving to pick up the fragile trail that can lead us back home.

What was your greatest challenge directing BREADCRUMBS?

There are 25 separate scenes in the play suggesting 11 different environments. We have a small stage! But, as Viola Spolin said, “constraints make it happen.” So, the very limitations of our modest but very serviceable space didn’t hinder us - it functioned as a crucible. Since much of the play is in Alida’s mind, we blend now with yesterday in the space with lights, sound, and most important, our talented actors’ performances.

What do you want the audience take away to be?

Although the play sets up what could possibly be the most terrifying thought one could have - what if I couldn’t find my words anymore? - I believe it has a message of hopefulness. I hope audiences feel encouraged to be honest with themselves and ultimately know that each of us is more than his or her own story.

Audiences will be touched by the creative power of Jennifer Haley’s minimalist exploration of what it means to struggle to find the “points of reference” that lead to personal truth. Dementia, longing, painful reality, and mother/daughter relationships are explored through scenes that are mystical, lyrical, funny, and tender.

Do you have an acting or directing project coming up, and if so – what?

What I am actually most excited about is an upcoming wedding for friends at which I will me officiating. Now THAT makes me nervous!

Is there anything you wished we had asked about you or BREADCRUMBS?

There are very few theaters that actually have the kinds of budgets that can present quality plays with the care they deserve, but I believe the Group Rep does more with the few dollars it has than many other higher end theaters do with more. Packed with passion for our craft, my team has truly put their blood, sweat, tears, and heart into making this happen. It takes patience, flexibility, hard work, and love for a special play such as Jennifer Haley’s Breadcrumbs to truly make moments audiences will be happy to experience.

BREADCRUMBS written by Jennifer Haley, directed by Bert Emmett, produced by Helen O’Brien for the Group Rep. September 8 – October 14. Saturday matinees at 2:00 pm, Sunday evenings at 7:00 pm. After matinee talk-backs Sept. 15 and Sept. 29. General Admission: $20. Seniors and Students with ID: $15. Buy tickets: www.thegrouprep.com

2018 Interview with Director Shira Dubrovner

Director Shira Dubrovner serves as the Artistic Director of the Mammoth Lakes Repertory Theatre and the Festival Director of the Mammoth Lakes Film Festival. As a past member of the Group Repertory Theatre she is excited to be back and thankful to Larry Eisenberg and Chris Winfield for giving her the opportunity to direct R&J. Some of her favorite past directing projects include Broken Glass starring Robert Picardo, GRT productions; Sylvia, Nuts, Veronica’s Room and And Then There Were None.

What was the genesis of the change-up of ROMEO AND JULIET?

I have always loved placing Shakespeare in different time periods and seeing what new breath gets infused into the text. Changing the time period and incorporating the events that go along with that time period can add a new level of meaning to the play, making it more current and relatable. Many purists may not enjoy this, but I always get inspired when I go to Oregon Shakespeare Festival and see what their twists and turns do to the bard’s work, which was written over 400 years ago. Coming from an Orthodox Jewish upbringing and being the black sheep of the family and being told that I would be disowned if I ever married someone non-Jewish has always stayed in the back of my mind. One day I was thinking about R&J and the most famous line - “But soft, what light through yonder window breaks,” and I pictured the Sabbath candles in a window and that was the beginning. I have also been obsessed with how the Holocaust came about and how one man convinced an entire nation that this was the right thing to do. It didn’t happen overnight. Then I started thinking about everything that led up to 1939 and all the warning signs. While doing research, I found so many moving images that I realized have not been seen by the public because the focus has always been on the images right before the Jews were taken into the concentration camps. There was so much more that led up to that event that I wanted to share these pictures with society to remind them. From that came the idea to add in a multi-media element of slides projected throughout the show that really places us in Berlin in the 1930s.

This version of ROMEO AND JULIET had its world premiere at Mammoth Lakes Repertory Theatre where you serve as Artistic Director. How was this version of the play received by the audience? Did this version bring up other talking points with audience members?

Even in Mammoth Lakes two years ago it was very relevant especially because it was right before the elections. And now with where we are in our present state of affairs it seems it is even more relevant. This show is not so much about the Holocaust but all the warning signs that led up to it. There was about a decade of hate propaganda that Hitler promoted, starting out by making promises of changing Germany into a better country. He took advantage of the country's fear and desperation as it was coming out of the depression after WWI. He promised to make Germany a better place with a better economy. It sounds all too familiar to me. People who attended the show in Mammoth were really moved by it and I hope that people are more moved this time as well.

I have added a couple of new elements in the multi- media portion of the play. There are slides that are projected during the show with facts from the 1930s that led up to the Holocaust accompanied by photographs from that time period. It really helps the audience go back in time and puts them in that era.

You have a relationship with the Group Rep that has brought you back to direct plays for the company. How did that come about?

I joined the GRT back in the late 90s while Lonny Chapman was still alive and the Artistic Director. I had just come from studying with Salome Jens and felt that working at the GRT was a place that supported artists and new directors, that wanted to develop works and get them up on stage. It is a true theatre company that is a supportive community and even though I moved out of LA 10 years ago, my heart still stays with the GRT. That is why I love to come back every so often and direct a show here. I would like to think that Lonny is looking down at me and saying, “ Good work, Kid”. He really supported artists taking chances and pushing limits and I think that is what this production is about.

Tell us a bit about this production of ROMEO AN JULIET as it relates to Shakespeare’s original play.

I think that R&J is at its core about the damage that hate causes, and unfortunately that hasn't changed. I think people will be producing this story for as long as humans exist because it is such a universal story that all human beings can relate to.

What do you want the audience take away to be?

To be aware of society When it doesn’t feel right you must stand up and speak against injustice. The Holocaust was not that long ago and so much is happening in the world today that shows us we haven’t learned our lessons from history. It can easily happen again. We need to remember the past and stop repeating it.

The Group Rep’s production of ROMEO AND JULIET runs August 31 – October 14. Fridays and Saturdays at 8:00 pm.Sundays at 2:00 pm. Talkbacks after Sunday matinees September 9 and September 23. General Admission: $25. Seniors/Students with ID: $20. Groups 10+: $15. Buy Tickets: www.thegrouprep.com or (818) 763-5990. Lonny Chapman Theatre, 10900 Burbank Boulevard, North Hollywood 91601.

2018 Interview - Desi Oakley

Broadway veteran actress/singer Desi Oakley is essaying the role of Jenna in Waitress on tour, currently at the Hollywood Pantages through August 26. Oakley took time from her busy performance schedule to discuss the show and what it means to her.

I have not seen Waitress. Tell our readers if your character Jenna is a waitress, where she works and specifically how the plotline develops in the show. Does she have a romance with her boss? She must champion some cause for women, or does she?

Jenna is the girl next door, born and still living in a small town. She is in a loveless, abusive marriage and finds out she’s pregnant. As an expert pie-maker at a diner, she has developed a bad habit of baking her problems into her pies instead of facing them. She is kind down to her bones, and has a big heart. But her circumstances have only pushed her dreams further from reality. Between her two best friends at the diner, the owner of the diner and even her gynocologist — she slowly starts to recognize her reality. Waitress is the story of Jenna’s eyes being open to her potential and her journey of taking the risk to fight for more in her life.

What is the most fun for you to do in this show?

Perform with the band onstage. I love that our band is on stage with us. It makes the music really come alive. The band isn’t hidden beneath the stage, they are a part of this story. Since they’re right up there with us, they can help us tell this story and connect with us and the audience in an awesome way.

What is challenging about playing Jenna?

Jenna is a complex character, with many layers. It is a challenge to portray such a real human without allowing myself to integrate into the characterization. Separating myself from Jenna is a difficult task because I relate to her in many ways. But on the flip side, her struggles are different than mine, and it's hard not to carry those home with me each night.

Is this your favorite role so far in your career? Why this choice?

Yes it is. Jenna is down to earth, real, and tangible. The story is an important one that I believe people need to hear, especially now.

Tell us briefly about playing Evita and Elphaba in Wicked.

I’ve been really fortunate to be a part of some iconic hit Broadway shows.  It is both exciting and humbling to make a small splash in Broadway history.

Who is your favorite composer of all time? Do you have a favorite show? Explain your choices.

My new favorite music theater composer is Sara Bareilles because she’s a genius. She was the perfect person to compose the score of Waitress because of her tounge and cheek lyrics and sarcastic wit.

Any role on stage that you are just longing to play?

My dream role is Millie in Thoroughly Modern Millie.

I understand you recently sang "Frozen" at a concert? How thrilling was that for you?

I sang "Let it Go" at a Broadway Princess Party concert at 54 Below. I did the Demi Lovato version to switch it up, and it was a blast.

Back to Waitress...tell us why audiences should see this show.

Audience members will love Waitress not only because of the wonderful music and dynamic characters, but also because this is a real story that will make audiences think. It is a down-to-earth story that allows audiences to be introspective -- considering their lives and others'. It's a deeply-connected story of hope, self-acceptance, and love accompanied by Sara Bareilles' brilliant score and served with the aroma of pie. What's not to love?

WAITRESS
August 2 - 26, 2018
Hollywood Pantages Theatre
6233 Hollywood Blvd
Los Angeles, CA 
Tickets: www.hollywoodpantages.com

2018 Interview with Playwright Aruna Harjani

Famous Indian journalist/playwright Aruna Harjani has written a new comedy West Bollywood that will play at the Matrix Theatre for 4 performances only beginning July 27. Due to its controversial subject matter about two gay men, one American and one Indian - who become a couple, the play has been banned in many countries. In our conversation Harjani talks about the highlights of her illustrious career and tells of her excitement at finding what she feels is the perfect place to produce West Bollywood.

Tell us in your own words about your play West Bollywood, its plot and characters, and why it was banned in seven countries.

West Bollywood is a story of two men Pratap and Daniel who fall in love and get married. What Daniel didn't know was that he had to adapt to the Indian culture. So the cross cultural exchanges between an American and an Indian become the platform for the play. It is banned in many countries because the play is about a marriage between two men and many countries and its people haven't accepted the issue.

Is this your first play as an adult? I understand you wrote 3 or 4 plays as a young child. Tell us about your love of writing, how it started, and how it progressed.

This is not my first adult play. I have been writing and directing plays over the years and most of them have been successful. I have been writing since the age of ten. I started with a short story and won first place in my class. When I was gifted with a notebook and a pencil, it triggered me to continue. Our school didn't have an auditorium so our plays were held in classrooms. I would direct plays and my teachers and classmates would look forward to watching them. I took a course on Mass Communications and for my thesis I made a documentary film on a prison camp in Manila. The thesis won third place at the Experimental Cinema of the Philippines.

I understand that you have been a freelance journalist in Indonesia. Tell us about that. Do you have a favorite story?

Yes, I am a freelance journalist and write profile stories on well known celebrities. One of my favorite ones was the interview with Cipurtra who is known for his ardent desire to build Indonesia. His life story inspired me because once upon a time he used to walk miles to go to school but from sheer hard work, he is now riding in the best cars.

At this point in your life, why is playwriting more heartfelt than journalism?

In playwriting you share your story of how your perceive life. I can relate lessons in life to teach the audience and inspire people. When it is staged the audience can see what your are trying to say, In journalistic writing you can bring in emotions but the reader can't see it, thus the style of writing differs.

West Bollywood sounds quite humorous. How did the idea come to you and what made you decide to turn it into a comedy?

Something just popped up in my mind when I was writing the play. It just struck me why not not have a gay marriage for a change. It was a comedy already when I wrote it because having two men with two different backgrounds get married is already hilarious.

Tell us in detail about your award-winning documentary feature in the Philippines.

I was only 18 years old, and we were told to compose a thesis. My brother gave me an idea to use the topic of the prison camp in Manila, When I consulted my two other partners, they both agreed, There it was, the content was the edge of the film, because we had prisoners explaining their plight inside the prison.

Based on your documentary experience with film-making, do you have any desire to possibly turn your play into a film?

Yes, of course.

Talk about Los Angeles and why you feel it is the perfect place to present West Bollywood.

West Hollywood is a prominent place for gays, and there is easier access for them to watch the play. Many gays can relate to it.

Yes, I agree. And you should receive helpful comments from those industry related gays who see it. This brings me to ask whether you like criticism. What is your process as a writer? Do you like to constantly rewrite and revise or are you more than satisfied with your first draft?

When I write an article or play, I write it and then leave it for the next few days. I go back to it then and conduct a rewrite. My works have a lot of revisions.

Do you live in Indonesia?

Yes I live in Indonesia.

Would you consider living in the US if career opportunities come about?

I will decide on living in the US when the time comes.

What cultural difference is the most inviting and exciting for you in this country?

Americans are more broadminded in their outlook on life. Thus there are more opportunities here to express oneself.

Tradition is turned upside down, and chaos ensues in this Cinderella spoof with plenty of Bollywood music and dancing. The 4 show limited engagement runs Friday, July 27 – Sunday, July 29. Friday and Saturday at 8:00 pm; Sunday at 3:00 pm and 7:00 pm. $25 General Admission tickets are available at https://www.plays411.com/newsite/show/play_info.asp?show_id=4841 Reservations and information: (323) 960-7822. Matrix Theatre, 7657 Melrose Avenue, Los Angeles.

Actor/director/writer Michael Arden needs no introduction. He was nominated for a second Tony this past season for directing Once On This Island and is the first Artist.In.Residence at the Wallis Annenberg Theatre here in Los Angeles where he has directed Spring Awakening among other productions. In our conversation he talks about directing Annie at the Hollywood Bowl and why the show is still a popular revival.

What is the most interesting aspect of Annie for you as a director?

I am most excited by the prospect of doing something that is incredibly beloved on such a large scale and with such talent. It's a show that almost everyone has a personal connection with, so I want to honor that feeling as well as shed a little new light on the material. 

Why do families everywhere continue to love it so?

I think there’s something incredibly unifying about the forging of an unconventional family. So many families are made by love and out of a sense of moral responsibility, as opposed to simply blood relation. It’s a story about love being bigger than political, social or circumstancial differences. 

What challenges do you foresee for the Bowl stage?

It’s enormous! There are very intimate book scenes and moments that I want to make sure come across as honest and true, all while making sure the audience at the back of the Bowl feel like they are in the scene as well. 

What are you adding or taking away in this production?

You’ll have to come and see! I am hoping to reflect back, with this production, the incredibly beautiful and diverse tapestry that is Los Angeles. 

Talk about your casting and about your individual cast members.

It’s really an embarrassment of riches here. We have Broadway vets, comedic geniuses, bold new talent, and a spectacular bunch of kids. I can’t wait to get in a room with them all. 

Congrats on your Tony nomination! If you remember, I told you you would have won a Tony for playing Quasimodo if Hunchback had gone to Broadway. Now I hear you are leaving acting behind. Tell me that is not true. You are too good to abandon acting, even though you are an excellent director.

 I haven’t been getting the calls as much these days for acting roles. Perhaps I was spoiled in playing Quasi, who is such a layered and beautiful character. I would absolutely perform again. Let’s see if anyone asks. I’ve been fortunate to stay incredibly busy as a director the past few years, and that’s one way to play all of the roles at once. 

What else is in the wind? What's up for you at the Wallis? Any singing engagements/cabaret performances planned?

I am thrilled to be developing a new version of A Christmas Carol starring the incomparable Jefferson Mays at the Geffen this Fall.


Annie will take place at the Bowl on July 27, 28 and 29th. It will be helmed by director Michael Arden ... and conducted by Todd Ellison, and choreographed by Eamon Foley. Annie's book is by Thomas Meehan, music by Charles Strouse, and lyrics by Martin Charnin.

Annie, the classic story of a young girl overcoming adversity, features a beloved score of hits (including "Tomorrow" and "It's the Hard Knock Life") and is a delightful experience for the entire family.

Subscriptions and single tickets for performances during the Hollywood Bowl 2018 summer season are available at hollywoodbowl.com, 323 850 2000, or in person at the Hollywood Bowl Box Office.

2018 Interview with Susan Egan

Triple threat performer Susan Egan is no stranger to theatre audiences. She originated Belle in Beauty and the Beast on Broadway and is now reviving it 20 years later for 5 Star Theatricals. She took time out of her busy rehearsal schedule to discuss the role and explain why it means so very much to her and her career.

How do you feel playing this role again?

It's such a wonderful surprise having the chance to play this role again.  It's funny - it honestly feels like I've come full circle - playing 'Belle' all those years ago - breaking that princess image with roles like 'Sally Bowles' in Cabaret - and now coming back to where it all began for me.  I think I had to travel far from this in order to have a better perspective of it.  I'm wiser now and get to bring that into the character. But I did wonder - and worried - it might feel odd, but it doesn't at all.  It feels like the most natural thing in the world!!! This character has been hibernating, but woke right back up in me, and playing her feels like the most comfortable pair of jeans you've ever worn!

Is it your favorite role? If not, what is?

When I worked with director Sam Mendes in Cabaret, he said to me that every actor seems to have the perfect role at the perfect time in their lives:  there is always something in the actor's life that can uniquely inform that character, AND there is always something in the character's story that can teach the actor something about their life. I've always found that to be true, so my honest answer is, my favorite role is whatever I'm playing at the moment!  I try to mine each character and discover as much as I can, and that's still the case. Even after almost 800 performances as 'Belle,' there is more to learn and I'm loving that process!

Talk a bit about your costars and your director. Are any familiar to you or is it a completely different cast this time around?

Almost everyone in this cast is new to me and I'm LOVING it!!  Listen, I was spoiled in the original cast, working with the best actors in the world in each and every role. I was nervous doing another production, and honestly, THAT is what has kept me from doing the role again!  BUT Yvette Lawrence Bishop is directing, and for me that was the reason to have faith and say, "yes."  She and I were the only two actresses to play 'Belle' in the Los Angeles company of Beauty, so I knew I'd be in wonderful hands.  Well, she has outdone herself in casting!!!!  I am THRILLED with this company - from Beast and Gaston to every enchanted object and my papa, Maurice - any one of these actors could have (and should have!) played these roles in New York!  They are marvelous, as is our extraordinary ensemble; and the nuances Yvette is bringing in her direction are truly magical.  These rehearsals feel exactly as they did all those years ago!

Tell us about the changes at Cabrillo. Is Patrick Cassidy taking an active part in this production?

I have never worked at 5 Star Theatricals before - other than a one-night concert last February - but already this has been a lovely experience. It was a bonus that Patrick Cassidy stepped in; he and I have been pals for too many years to count, and it's wonderful having him support this show!!!  The experience at 5 Star is truly the best of both worlds: absolute professionalism mixed with the warmth and humor of community theatre.  The result for audiences, is that this production will have all the spectacle and pizazz to rival any Broadway tour, and the heart that emanates from a company who truly loves what they do.  It's a perfect combination for this show in particular!

What is your favorite musical of all time? Why?

I cannot narrow it down! I love shows that are jewels for what they are - whether a large cast with lots of special effects, or an intimate two-person show that melts your heart.  I do happen to have one daughter who is Hamilton obsessed, and so I've loved sharing that show (and it's brilliance) with her.

Who is your favorite composer?  Why?

Again, I appreciate the writers who excel in their genre and particularly those who move the medium forward - Lin Manual Miranda, Pasek and Paul - I love where musical theatre has been heading. I've also been lucky enough to become close with so many writers, and I love and am grateful for them all from Alan Menken to Jason Robert Brown. As an actress, I take something from the page and hopefully bring it to life, but the writers .... they bring something into existence from thin air.  I'm dazzled and inspired by that! 

Talk a bit about doing Putting It Together a few years back...and working with Carol Burnett and John Barrowman...

Only very, very lucky people get to meet their heroes, and it's nearly impossible for those icons live up to the expectation - but Carol Burnett surpassed every hope and dream I could have had.  I went to UCLA and won a Carol Burnett scholarship, so to have the chance to work with her (as the only two women in the show!) was beyond anything I could have hoped for.  And then, to learn first-hand how warm, gracious, generous, and hilarious she could be .... sigh. She's brilliant, yes, but she's also a cheerleader who celebrates if YOU get the laugh. She's there if you've had a bad day; she congratulates you on a success... I hope I can be a fraction of Carol.  As for John Barrowman ....bring it on!  He is just about the craziest, most-wonderful person to work alongside - a practical joker and a light.

Anything you care to add about this new production of Beauty?

I seldom take jobs these days that don't have some obvious, strategic reason for doing them - otherwise I'd rather be with my kids! This job I took on a lark, not sure where it would lead - nervous how it might look to the industry - but trusting that it was meant to be.  The timing is funny, because I just started a partnership with Broadway's Cinderella Laura Osnes and musical director, Benjamin Rauhala, producing our Broadway Princess Party concerts across the country and beyond.  I had thought my princess years were behind me, but because of Laura and Benji the door opened again in my heart, then 5 Star called and offered me this job. 

At first I laughed and politely said, "no thank you."  I mean it's been 20 years!  But I was sitting with my pal, Bambi at lunch and she said "you could totally still do it." I laughed it off, but called Benji in New York and he said, "Do it!"  I talked with my husband (who didn't know me yet when I was playing 'Belle' the first time) and his eyes lit up; and my daughters (age 8 and 11) told me to go for it.  So I took a leap of faith .... but still not quite sure why. I mean, I had thought I might have an opportunity to share with this cast and crew a bit of how the show originally came together, maybe help bridge the community theatre world and the professional world for them. How silly I was!!! (Oh, the hubris, Susan!)  Yvette is currently staging the prologue of the production - her own, new vision of the prologue.  It's magical.  

She's creating - channeling the spirit of our production from years ago, but taking it to the next level, and the dedication of this cast and crew is marvelous to watch. I love it.  THAT'S the reason I'm here. I see it now.  To be surrounded by a group of people who love this, and then share that love with audiences.  Like the show itself, it's all about love.

http://5startheatricals.com/