Interview with Del Shores

Del Shores' plays are unusual, and simultaneously funny and heartbreaking. Yellow has been extended again at the Coast Playhouse through September. In our chat he talks about the genesis of his plays including Yellow and a bit about the sad demise of the Logo Series Sordid Lives.

To what do you contribute your success as a playwright?

I write stories that I know and thankfully, it seems that my characters strike a chord with the audiences. I can't tell you how many times people tell me that they have an aunt like "Sissy" or their mother is "Latrelle". Lately, with Yellow, it seems that so many people have had the foundation of their family ripped from them by an unexpected life circumstance. I've never seen so many tears in a play.

What do you think audiences most enjoy?

I think they love the blend of comedy and drama. People love to laugh, but they also need to cry. And of course, the characters.

Yellow is advertised as your most dramatic play to date, but I found Southern Baptist Sissies just as dramatic and even shocking. How do you feel about that?

When we went out with that campaign, I wasn't for sure that it was right either. The tragedies of Sissies and in The Trials and Tribulations of a Trailer Trash Housewife.... both are very intense and dramatic. But I believe the blend of comedy that those plays have is throughout, where in Yellow, the comedy is much more uneven. It's in the first act, but sparse in the second act. But, Don, I'm not sure that if we debated this issue, that you wouldn't win.

Do most of the plot elements come from your own real life experiences or are they imagined?

They are a blend of my life, other lives, life observation and my imagination.

Separate and describe, if you will!

Let's take my last four plays. Sordid Lives was conceived because of my coming out to my Southern Baptist family. My imagination went wild and it got a little crazy. "Ty" and "Latrelle" are me and my Mom. I have aunts that I based "Sissy" and "LaVonda" on. Thankfully, I don't have an "Uncle Brother Boy." "Sissies" was me dealing with my upbringing. My Dad was a Southern Baptist preacher and all the "Sissies" were part of me, part of others I knew or know. "Peanut" and "Odette" were characters I created by observing a bar called the "Oasis" (no longer there) in the Valley.
I had a boyfriend who had a sister in an abusive relationship. Her story, then others I researched inspired Trailer Trash Housewife.
Yellow came to me by witnessing the lives of friends. I blended three stories that inspired the play and my imagination then took over. Once I create the characters, they seem to write the plays.

What happened to Sordid Lives the series on LOGO? It was so meticulously written, acted and executed! What's the bottom line?

The bottom line is that I was put in business with the wrong producer by my former agent. I'm trying to stay positive, so as the unions for the actors and myself try and collect the residuals that are owed us (over seven figures), we are moving in other directions. LOGO ordered a second season, the producer choose not to pay us. The series feel apart. Lessons were learned!

What's up next for Del Shores - the actor, playwright and director?

I'm looking to shoot a low budget feature of The Trials and Tribulations of a Trailer Trash Housewife in the fall with the original stage cast. It's coming together quickly. I'm going to continue to perform live my stand up and one man show. I'm playing the Rrazz Room in San Francisco, August 12-15 with some of my Sordid cast -- and I want to write more plays. I waited too long. The plays feed my heart and soul. I will of course pursue television and film, but I'm not going to worry to much about it. I may not have the money I once had, but I'm happy again. It was a rough couple of years with all the mess with the series, but I'm focused now, and Yellow has had so much to do with the healing. I would also like to return to the Sordid franchise in film and/or webisodes. The fan base is huge and I do love those characters and the actors. I will not replace Rue (McClanahan, who recently passed away). There is no other.

I commented in my review that most playwrights should not direct their own works, but that you are one director that can carry it off successfully without a third eye. Do you ever feel the need for that third eye?

And thank you for that. Many have said the same, a few have said I shouldn't direct. But directing is part of my writing process. I've directed all of my new work since 1996 and it seems to still be working.

Comment, if you will, about the film of SBS!

The film of "Sissies" fell apart when a major financial partner pulled out. I still want to make that movie, but this economy has not been helpful.

Anything else bursting to come out?

Let's talk about the kiss, shall we? First of all, thank you for such a glowing review. I love the way you write. The kiss scene in Yellow has become the most talked about scene, and the favorite with audiences and critics of the play. You said you "disagreed" with it. So allow me to explain. I wrote that kiss because there is something beautiful happening in this country with the new generation. "Gay" isn't a horrible thing. Many straight teens are very accepting and best friends with gay teens. I wanted to show in Yellow that change is happening. We have a Southern family that accepts this gay friend of their daughter, completely and unconditionally. Why? Because the father of the family has a gay brother. Putting a face on gay, so many coming out, is making a difference. And it's making a huge difference in teens (remember I have two daughters - 17 and 20). So, with "Dayne" (a straight boy) growing up with the attitude of "I'm cool with it. With you.", I wanted to show this very straight boy gives his friend a gift -- a kiss by someone he likes. "It's not fair you have to wait until you get to New York." So, there you have it.

Intelligently and passionately defended by Del Shores whose controversial new plays are the most anticipated in Los Angeles. Catch Yellow @ the Coast Playhouse through September...and perhaps beyond!

Interview with Fritz Coleman

Popular KNBC meteorologist/funny man Fritz Coleman brings his new show An Evening with Fritz Coleman/On the Fritz to the El Portal Theatre in NoHo August 19-22 only. Coleman certainly needs no introduction to Angelenos as he has been reporting the weather three times daily in his own inimitable style for the past 27 years on Channel 4. In our talk, he discusses the new show, his roots, his favorite comics and even explains a little about the whys of the fantastic summer weather we've been experiencing.

You did a hilarious show about a wedding at the Victory Theatre Center. How long ago was that? Five years back?

FC: Yes, and thank you for your positive response to that. I took that around and then I had another show after that called Tonight at 11 which was about the news business that I do.

I wish I had seen that. Tell me about the new show that you are about to open.

FC: This is an evening with Fritz Coleman. Before I wrote the plays I was a standup for many years. When I would do a standup set - an hour or an hour and a half, an hour and fifteen minutes - I would open it up to questions and answers, which was a lot of fun. Not only am I a comedian, but people know me from the news business and everybody has a passionate opinion about the media these days, for better or worse. Opening up for questions and answers at the end was awesome, and it would go anywhere from fifteen minutes to an hour depending on how long I could hold people's attention. Just asking about the nuts and bolts of the business, how it works and why we do things, and "Damnit, stop doing it that way!"... so it was a lot of fun. It was an organic birth. When I was invited to do these speaking engagements, a corporate event or a nonprofit event, the question would come "Do you mind taking questions and answers?" So it was born from that.

How did you develop the show?

FC: Tweaking this to where I've got it now happened at the Hermosa Beach Playhouse. I did two weeks down there a couple of months ago. I did two acts. The first act was the performance and the second, questions and answers. We may experiment with going straight through here so that I don't lose the momentum. No intermission, but we'll see.

Is the first act about your career?

FC: It's a monologue. It's everything: the news, about being a parent, about the new world that we live in, digital technology; there's stuff about religion, life in Southern California...(pensive) the odd nature of being a weatherman.

(laughing) You've been doing the weather for 27 years. How did that come about?

FC: I always enjoyed performing and being the center of attention as a child. In college I got involved in readers' theatre, learning how to use your voice in performance, not going off script with actors onstage reading off the music stand. I got an award for that...I went to a small college in West Virginia...after the navy and another round of college, I was in the radio business for 15 years as a dj (disc jockey) and talk show host. Part of the job of being a dj is you get invited to host events everywhere. I got this recurring job as an MC at a night club in Buffalo, New York.

You introduced the acts?

FC: Yeah, I was the concierge for the club. In jazz clubs, jazz bands are on their own time schedule. So even though the show was scheduled to start at 8 o'clock and you had paying customers in the seats, if the vibe was not right, the band would not go on until maybe 8:30. The club owner wanted to start at 8 o'clock, and so purely as a defense mechanism, I would write myself material to fill time. After a while, I developped a five, ten, fifteen minute block of material. At the Tralfamadore Cafe in Buffalo, a jazz club, the owner decided to give me my own night, a dark night, like a Monday night and we were packing the joint every week. I'd conquered Buffalo, New York, so I came out to LA in 1980 to pursue a career. I quickly had my self-esteem dashed by how ill-prepared I was. I did the open mic nights at the Comedy Store, and finally became a paid performer. One night my friends who worked at NBC brought their boss to see me perform, a director at NBC at the time, Steve Antonetti. Onstage I talked about doing radio and weather forecasting during vacation spots and made self-deprecating jokes about it. After the show he and his wife came up to me in the hall of the Comedy Store and said "This is a very weird question, but would you have any interest in vacation relief for me? I have a weatherman Kevin O'Connell who hasn't had a vacation in a year, and I need someone to fill in for him. Would you be interested?" And since I was making $45 a night at the Comedy Store, I said "When do I start?" I auditioned and did fill-ins for two years and then was bumped up to the main job. It's just a great stroke of show business luck. And that's how it happened.

And you've made thousands of fans who will now come and see you in this show at the El Portal.
(we laugh)
Who is your favorite comedian? Any mentor or someone from the old school that you love?

FC: No mentor. Comedians are deathly insecure and are not magnanimous enough to bring up this young comedian onstage "who hopefully one day will replace me". I have many friends and I have many heroes. (thinks) George Carlin and Robert Klein, who are heroes to 80% of the comedians out there. And of course, Richard Pryor. I love different guys for different reasons.

What stands out about George Carlin?

FC: His word play. His ability to maipulate the language. The first time I ever saw a standup comic perform live was George Carlin at the Valley Forge Music Fair in suburban Philadelphia, Pennsylvania. I don't know if theaters do this anymore, this summer tent thing, quite high tech with a rotating stage. It was a transformative moment in my life. I was a freshman in college. Not only the humor, but a man's ability to walk out on stage, and for an hour and a half, talk to the audience with no notes and seemingly flawlessly and being able to manipulate the emotions of this crowd. This is the greatest amount of power you can have over a group of people. I was blown away and then became a student of it.
Robert Klein had this confidence and this charisma onstage. And Robin Williams, his speed and the ability to access parts of his mind in a split second. Richard Pryor for his bravery to talk about things that at first frightened and then convulsed people. And then of course there are my TV heroes: Carson (Johnny), and Hope (Bob) because of their charm and warmth and ability to make everyone like them.

Anything else you care to add about your show?

FC: I just want people to come out and have a good time. We'll share some common frustrations and you can beat up on the weatherman if something irritates you.

Speaking about the weather, why have we had such mild temperatures so far into August in Southern California? Does it mean we'll have a hot Christmas season? Does it have anything to do with environmental issues?

FC: We've had a cooler than normal first and middle part of summer. What comes later is not necessarily connected to what we have now. We're in what's called the La Nina syndrome. The eastern Pacific Ocean is cooler than it is supposed to be by five or eight degrees. And that changes the weather patterns over the water. When the ocean is cooler than it has to be, the air that sits over the top of the ocean is warm, and the contrast between the cool ocean air and the warm summer air causes this cloud cover called the marine layer. That marine layer hangs around in the morning... like the window shade keeps the summer sun away ... that keeps the temperatures five to ten degrees cooler. La Nina is the opposite of El Nino which causes wetter winters. It's weird.
Here's a problem too. Weather patterns can be a millenium long. And we have to look in hindsight to see if this is like part of a major change. I do believe in global warming because there's scientific evidence that the atmosphere is getting warmer. If you're asking me if it's manmade or not, I am not in a position to say that. This could be one of those cyclical things that we do over a period of time. But the beautiful thing about El Nino, La Nina and global warming is that it gives weathermen three good excuses when they blow the forecast. "It's La Nina, sorry it ruined the weekend for you." It's like pleading the fifth.

So there you have it folks, straight from the horse's mouth. Let's end with some more talk about comedy. Comedy styles have changed, don't you think? What do you think about the newer comedians?

FC: Well, I'm out of the clubs, but Chris Rock is obviously the Richard Pryor of this era. His bravery and his intelligence. I just love him; he's so good. You're right, humor is changing. I think the opening of the film Dinner For Schmucks is a great example of people's flavor. We're in a darker society now. The premise of that movie where you invite a man to dinner so you can beat him up and make fun of him, is a change. If you listen to monlogues on talk shows, we're much crueler than we used to be. Woody Allen once said "I'm OK, you're OK. This comedy is what we have in common." Now comedy has become "I'm OK. You're an asshole. And here's why you're an asshole." It's no longer what we have in common, but "You're different from me and I'm better than you."
Larry Miller and Jerry Seinfeld are pristine practitioners of the art that I appreciate so much.
Seinfeld is the perfect example of a comedy minimalist and we can all learn from him.

Happy to be performing at the El Portal again?

FC: I love working in theatres that have a wonderful history. It was a movie house and a vaudeville house. I love that ... and all the spirits that are flying around. I'm really looking forward to it. We'll have a good time.

With Fritz Coleman's intelligence, gentle nature and sharp delivery, the show will be guaranteed GREAT. Don't miss it! August 19 -22 only! Get tix now!
For Box Office and Ticket Sales, call: 818-508-4200.

Interview with Beyond's Aurelien Roulin

Actor, producer, director Aurelien Roulin is an opinionated Frenchman, to be sure, but also a very talented one. His Beyond plays the El Portal mainstage through August 1. In our interview, he tells us how it all came into being. He also shares his thoughts about American versus French culture.

The story about your niece that you told the audience before the show is heartwarming. Tell us a little bit about her struggle with cancer and why you decided to build this show Beyond to help her?

When you hear stories about families going through cancer you think that you know how hard it must be or how they feel , but I can tell you that it's wrong; it's only when you experience it on your own that you realize the impact it has in your life.
My niece was 6 1/2 when the day before my sister's wedding she came down and complained about stomach pains; the next thing we knew was that the wedding was cancelled and she was at the hospital fighting for her life.
Kids are so pure and innocent and when something like that happens to them it makes you realize that life can be shorter then you think; things could be taken away from you and that is why Beyond came alive, following your dream, going beyond your beliefs and not being afraid. My niece helped me grow as a person and Beyond is dedicated to her and to those kids out there who may never get the chance to go beyond....
She is now a healthy 8 year old girl and we hope that she will stay that way ...........


Have you been an aerialist/circus performer since childhood?

Yes. I was born by the swiss border and I was 6 years old when I started to do gymnastics and many other outdoor sports. Growing up by a lake with a 10 meter diving platform, I soon started to feel very comfortable in the air diving and all. I did gymnastics for many years, then started dancing. I moved to Paris at the age of 18, to go to circus school and performed for various dance companies doing dancing and acrobatics combined, so it has been part of my life for now over 24 years.

What was your experience with Frecnh cabaret like? Compare it to American cabaret.

I was 19 when I was hired to go on tour with a company named "les oiseaux de paradis" who by the way are in LA right now and are the ones who created the costumes and more for us.
It was an amazing experience and I learned a lot throughout this journey. It was a dream come true already ..... I moved to the US shortly after and didn't do as much musical work here; it was more about aerial and acrobatic work, less cabaret. American cabaret is a little bit more conservative, so that is why our show is a little more modern with that French touch ....


Are there other shows like Beyond in France?

No. I don't think so. It's so original; I have been working on it for a long time; it brings such a variety of dance styles, people, costumes and music that it is so unique, and I really think that it is one of a kind ........


Who are your favorite performers - American or French? Stage or screen?

Of course, for me it would be Gene Kelly, Fred Astaire; I am a little old school. On screen I admire Meryl Streep for her ability to own whomever she is playing with so much conviction and belief. I get inspired by many people the moment you can tell they are doing all of it with so much love and passion.


Tell me about the Bollywood or Persian segment of the show.

Well, LA has so much Bollywood culture, and I've always been attracted to it. I love the style, the rhythm; the energy is so high. The costumes are so colorful, so I had to have a piece ..... but I was also in a play called The Ramayana directed by Robert Prior, and we ended up performing for 3 years, went to NY and got nominated for many Drama Desk Awards; it was a great show and it played a role in my life that I wanted to pay tribute to in my show.

The aerial act - the birth - is so beautiful. How did that become a part of the show?

A very good friend of mine who is known as a song writer, composer and singer in France offered to write some original music for me, which he did for the opening and closing and also new birth.
I fell in love with Avatar on a spiritual level and I wanted to create a piece very organic and pure. When I told Emmanuel Moire what I wanted, he gave me this amazing piece of music and the creativity came instantly; it's like he was in my head putting notes on my movement and vision. It's so cool. It's my favorite piece I think...... it's very special ... and combined with amazing talented dancers, you can't go wrong .....

What are your plans for Beyond?

We would love to go on tour, but most of all we want to create something unique and special, go beyond with our choreography and see where life will take us. It's a show for a lot of people so our target for now is to spread the word.

Talk a bit about French and American culture. The similarities and differences you see.

So, as far as culture goes, I have been here 11 years and I consider the US my home.
It's different from Europe, for sure, but what I like is that I am able to have both some of my culture heritage and the freedom of the US, land of the free - and it's true, you can do whatever you want, your dream can become reality. French are more abrupt, more direct; Americans are more gentle and polite. That would be more of my observation on the culture .....

Is it easier for you o produce musical theatre here than in France?

Well, for sure, theatre is bigger here than any other places, and that is why I was able to create and produce Beyond; in any other place it would have been more challenging, for sure!

Voila! See Aurelien Roulin and Company in Beyond on the El Portal mainstage until August 1. It's unlike any show you have ever seen! Oui, j'en suis sur!

Natalie Toro Interview

Natalie Toro, the brilliant co-star of In the Heights recently played Broadway in A Tale of Two Cities and has also played Les Mis and A Christmas Carol in New York. She has a mile-long list of credits in tours of shows such as Evita, Jesus Chrsit Superstar, West Side Story and Cats. She's equally at home on the theatrical stage, at Carnegie Hall and in the recording studio, having released several solo CDs - her latest entitled simply Natalie Toro. In our interview, she discusses her role in Heights, her new cabaret show - which will premiere in LA at the Magic Castle on July 12 - and other roles and theatrical passions.

Compare your role in In the Heights to other shows you've done. Is it challenging? If so, how?

This is the first time I am playing a "Mom". Not having any children myself, I had to pull from my mom. She is a strong, vibrant and take no bullshit, kind of woman. She raised my brother and I all alone. She had the resilience that I can only dream of having if I had a child. She put me through college. That was huge since I was the only one in my family to go and finish and get a degree. I couldn't imagine for a second, after all the hard work and sacrifice she had to endure, coming home and telling her I flunked or quit college. With Camila, my character in In The Heights, she is strong. But she is a different kind of strong. You see, they have a family unit, and they have had to learn to work together to even have a successful business. She is not the stay at home and cook and clean mom. But the one that would work all day at her own business, then come home and cook and clean. Pretty much they work together, and when they don't, she feels betrayed.
I only felt it challenging in the beginning because I wasn't sure how to play a mom. But now, it's a comfort zone which also comes with playing a role for 9 months now.

What is the favorite show you've done to date? Why?

That is a hard one. All the shows I've done are pretty much epic musicals with sweeping scores and vocal challenges. But I have to say, that my favorite two, can I have two? My favorite two are Les Miserables and A Tale of Two Cities. I performed both of these on Broadway and had two of my favorite roles. In Les Miz, I played Eponine. And in Tale, I played Madame Defarge. I'd say two roles on the opposite side of the spectrum. One a waif, who wears her heart on her sleeve and the other, an evil, vengeful woman who would kill your kid if she thought she had a reason. LOL

Your Evita was sensational. What is your opinion of this show vocally? Patti Lupone has said it ruined her voice doing it 6/8 times a week.

Thank you. So glad that you were able to see it. I LOVED playing her!
I don't know what Sir Andrew Webber was on when he wrote that score! LOL It goes from the bottom of any female range to the highest belt one could imagine all in a couple of measures. And Evita is only off stage like 15 minutes throughout the show.
In my contract, I was slated to do it only five times a week and that was grueling. I had NO life on the road. I stayed in my hotel room most days not talking to anyone until the show. But again, it's hard in the beginning, then your body gets used to the material and it gets easier as long as you have good vocal technique.

Who is your favorite composer?

I studied at The Manhattan School of Music and was trained with classical music. I LOVE Chopin and Rachmaninoff. But Leonard Bernstein and Sondheim are my favorites.

What is your favorite musical of all time?

West Side Story!

What role do you really want to play that you haven't so far?

Well, that's a little thorn on my side. I've always wanted to play Elphaba in Wicked. Think it will ever happen? (She laughs, knowing full well she is past the age to play that character.)

Tell me about your cabaret show.

I am very excited about debuting my new show The Broken Road here in LA. I've spent most of my career doing Broadway National Tours that it was a no brainer to write about it and sing about it. People don't REALLY know what goes on with people like me who live out of a suitcase to pursue your dream and to play your dream roles. It's not glamorous. But you learn different things about yourself and people and places that you might not ever get to experience. I want to share that with the public. Not to mention that it's funny as hell too!

Catch The Broken Road at The Inner Circle of The Magic Castle in Hollywood on Monday July 12 only! Also, see Natalie Toro in In the Heights at the Pantages through July 25 only.

For all things Natalie, visit:

http://www.natalietoro.com/

Interview with director Gregg T. Daniel

Three Sisters After Chekhov opens July 9 @ The Lost Studio in Hollywood. Its director Gregg T. Daniel has a diversified and well-known career as director/actor of stage and television/film actor. His stage direction includes 2009's critically-acclaimed production of Tom Stoppard's Heroes at the Group rep and Sybyl Walker's Beneath Rippling Waters presented by the Company of Angels @ the Fremont Center in Pasadena in 2006. As actor, he currently has a recurring role as Reverend Daniels in HBO's True Blood.
In the following interview Daniel discusses the newly formed Lower Depth Theatre Ensemble that is about to present Three Sisters After Chekhov.
Tell me about The Lower Depth Theatre Ensemble and its mission. Since this is its inaugural production, what does it expect to bring to the Los Angeles theatre community that is decidedly different from what most other groups bring?

Lower Depth Theatre Ensemble (LDTE) was formed out of a passion of several mature theatre professionals to continue to grow. Our genesis as a company is unique in that our founding members did not recently graduate together from a theatre training program who then decided to form an ensemble. Rather, we’ve been doing theatre for decades, have ongoing careers while currently raising families. Our desire is to take the maturation and experience we’ve gained over a lifetime in
the theatre and reflect it in our choices on the stage.
Since our members work in classical, contemporary and new plays, we wish to include those in our repertoire. However, we may look to non traditional choices and places to supply the raw material. We’ve done a reading of a retelling of the Phaedra myth by playwright Nicole Brooks set on the island of Haiti. Our inaugural production of Three Sisters After Chekhov by Mustapha Matura sets the story on the island of Trinidad circa 1941. We envision an opportunity to interpret plays in the theatrical canon in unexpected and unique ways.

Why was Three Sisters After Chekhov selected as the first production? How does its message reflect the theatre group's overall and specific goals?

I wanted material which had a classical feel about it without feeling obligated or dictated to by the classics. Part of the company’s mission is to present material, “through the lens of the
artist of color.” Sounds great, but what does it mean? Well, with Three Sisters After Chekhov, I have an Afro- Caribbean playwright adapting a Russian Classic with largely African
American actors in the roles. It’s the perfect synthesis of material, race and setting which challenges our perceptions of the world. What did it mean to be a bourgeois Caribbean family living under British rule in 1941? I was also taken by the unusual resonance the story attains from the playwright’s transposition. I’ve seen many productions of Chekhov’s Three Sisters but saw the material with fresh eyes in Matura’s work.

As director, what is your main goal and perhaps underlying goals in the mounting of this play?

My main goal is to open up the richness of the play’s culture and setting in a way which is familiar, appealing and urgent to audiences. I don’t mean familiar as in a Frommer’s guide to the
Caribbean. Rather, I want audiences to identify with the internal struggles of this family to achieve happiness. In our adaptation of Three Sisters, Cambridge, England stands for Moscow. But no matter the city, it still represents an idealized world of freedom, happiness and hope. It’s the human condition for fulfillment we’re exploring… wherever it’s set.


What is your most challenging direction of a play to date?

They’re all challenging, whether I’m directing a solo performance piece or a twelve character ensemble. Every play has its own unique set of needs and peculiarities. I love tackling plays which intimidate me, plays which feel insurmountable to me. That’s when my work really begins. How do I give shape and meaning to the disorderly world of the play? My next directorial challenge is in mounting a staged reading of Lorraine Hansberry’s Les Blancs. It’s scheduled to be part of the Antaeus Company’s annual Classicsfest (of which I’m a member). Talk about big ideas, Les Blancs deals with pan africanism, racism, independence, and ultimately identity.

Do you have a favorite director - either stage or film - that perhaps serves as a mentor to your work?

There are a multitude of directors I like for various reasons. Some are adept at excavating the text for meaning, some create startling visual images. Ann Bogart of the SITI company based in
New York has been a major influence on my work. I had a chance to study with her in Spoleto, Italy a number of years ago. What Ann suggests can be done with two actors occupying an empty space charges it with possibility. I always read her book, A Director Prepares before I direct a show. Ann’s ideas push me beyond my perceived comfort zone.

I see a great change in the direction that casting of plays is taking not only in LA but everywhere. African American, Asian, Hispanic actors are cast in all roles, without differentiating race, color or creed, as it should be. Am I perhaps fantasizing this change or am I correct? Are you personally satisfied with this? Do you think most African American actors and directors are?

I do agree the palate for casting roles in plays, film and television has changed. There appears to be an acknowledgement we are living in a vast multicultural city, nation and world. I’m excited to see reflected on the American stage and screen, the faces of people I interact with daily. Coincidentally, Trinidad where our play takes place is considered one of the most ethnically mixed cultures in the world as a result of the sugar trade. However, I don’t necessarily feel we should seek to erase differences of race, color or creed in our work. It’s just incumbent
upon us not to use those differences in exclusionary ways. In our search for material, Lower Depth Theatre Ensemble has tapped into a wealth of diverse playwrights and stories from playwrights of color around the world. These stories are as rich and varied as ones written by O’Neil, Chekhov or Strindberg. These are the stories LDTE hopes to bring to Los Angeles audiences.
_________________________________________________
US Premiere
THREE SISTERS AFTER CHEKHOV
Previews: Wednesday, July 7 at 8 pm; Thursday, July 8 at 8 pm
Run: Fridays, July 9 – Sundays, August 8, 2010
Fridays and Saturdays at 8pm; Sundays at 4pm
Guest production at The Lost Studio 130 S. La Brea, Los Angeles, CA 90036
Street parking available. Meters free after 8pm Monday – Saturday, and on Sundays
General Admission: $25; Group tickets $20
Previews tickets: $15 Preview Groups: $12
Tickets: http://www.lowerdepththeatreensemble.org/ or (800) 838-3006
Information: 213-413-6177
Website: http://www.lowerdepththeatreensemble.org/
Email: info@lowerdepththeatreensemble.org

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Interview with Keala Settle

Keala Settle is the best Bloody Mary I have seen...ever! In Bartlett Sher's South Pacific at the Ahmanson, she gives a truly amazing performance . To my compliments, her response came back laughingly and lovingly, "That's my job!" In our talk she discusses her burnout from the biz, how she came back via this show and her gigantic passion for the theatre. And..she has a terrific sense of humor, as you will witness.

Your Bloody Mary is incredible. Tell me about how you play her. Is there anyone she is patterned after in your own life?

I blame Bart Sher. Four years ago, I left this industry forever. I said I would never come back because I was too burned out. I was finishing up the tour of Hairspray, playing the lead, which I had played for two and a half of those three years. I was tired, I was done; the dream was no longer. I had a lot of health problems. Unfortunately, I was addicted to stupid things and they had made my mind crazy. I felt I needed life, because I had lost it. It was my first big show and I had no clue. I walked away and kind of became a stagehand. I didn't fully walk away because I still loved the whole idea of theatre. I love every aspect of it and what makes it happen. It goes beyond the person that's on that stage. You've got to be able to see him, to hear him; you've got to step on some kind of set. What enhances the entire show is all or naught. I fell into that world willingly and became a stagehand for about 3 years. Then (she pauses and thinks)...I had done South Pacific twice before.

Not Bloody Mary? (incredulous)

Yes. Once for a university and the second time for a community theatre project in Vegas. I saw an ad online, and I live out of Dallas, Texas now. The announcement was for a new production company for a theatre opening in Dallas for South Pacific and they were only doing it for 3 weeks. I thought maybe I can put my foot back in and see what happens. I called and they said it was a New York production. Last season I went to New York, right before the Tonys for 2009, it was pouring rain, I had thrown myself back into this whole world again, and it was nervewracking. I auditioned for Bart, he looked at me and said, "Where have you been this whole time?"

What song did you sing?

They asked me to do "Bali Ha'i". I couldn't believe I was doing it again, and they actually liked it. Bart kept playing with me, asking me questions to find out who I was. At the time I was doing tech week at the Old Globe Theatre in San Diego for Catered Affair. I was freelancing as a sound engineer.

You were born in Hawaii. So you are an island girl. Is there anyone from your past, any relative, that was anything like Bloody Mary? How did you piece her together so well, because you really know who she is?

I guess it's because ...it's a way of life...who she is. Unfortunately, it's a way of life that will never change. Whether you're Vietnamese, half Polynesian - which is what I am: my father's from England and my mother's from New Zealand. If you're part Asian, or fat or skinny, it doesn't matter. It's survival of the fittest. And that's what you do. As a human being, you find a way to survive moment by moment every single day of your life. That's what she's about. At that time in WWII, everything that was happening around her and the life she had led up to that point...she had struggled to leave Viet Nam or somewhere there abouts to come to the south pacific to get closer to freedom. And ended up learning how to make...she became the first entrepreneur kind of woman; she became her own boss. On top of that, she was trying to get her daughter into the game by marrying her off to even more freedom. That's the way it still is, unfortunately. Nothing's changed. It's just a different view.

The miraculous thing is that the show still holds up.

And it will. The music is obviously timeless, as are most of the messages that are in it that can now be brought to the surface. Whereas when the show first came out, people weren't ready. Society wasn't ready for anything near to that kind of issue.

And this production is as fresh after 9 months as when you started.

Thank you, but that's our job. It's not a movie. You can't call "cut!" and then do it again. For every performer every moment has never happened before. (she laughs)

You do it beautifully!

When I first saw the show, I sent Bart (Sher) an e-mail and tried to quit. I told him "There's no way in hell I can do this show, because I'm not that good. Either I'm quitting right now or you will have to literally work very hard with me so I don't look like a friggin' Asian Chris Farley". May he rest in peace, but that's not what the show calls for. It's not Saturday Night Live. And I didn't want to screw it up. I still struggle with that every day, which I'm grateful for, because it always keeps me in check.

Why do you think playing Tracy in Hairspray wore you down?

Tracy Turnblad in that show has a total of maybe 10 to 15 minutes of down time in a 2 hour, 40 minute show. She starts the show at 100 miles per hour and ends it at 100 miles per hour. And if you really want to do your best, which every single Tracy did and probably will until the show dies out, which is probably never due to the tremendous energy behind it, they will always give their hundred million percent. Those in that role have that spark, energy and life to go the distance. And when you continue to go the distance, you get tired. (she lets out a riproaring laugh) The show is wonderful, and when I was onstage, all the pain in my body just melted away, but I'd come offstage and was just a wreck, because I didn't know how to balance the two out. But, looking back, it was the best experience in my life and I wouldn't change it.

Which is your favorite role? Tracy or Bloody Mary?

I don't really look at it in that way. It's how much I've learned. I've learned more about myself in this show (SP) than I did when I was Tracy. I was covering everything up then; I was hiding. It was too much for me and I didn't think I could handle anything. So I chose to not handle it. In this situation because of the creative team and because I spoke to Bart, there's not a day that goes by without support. I need that support and I learned that from being on this show.

Did you have a mentor growing up, someone you just adored?

I did, I did. There were...I used to be a pop singer, well, not used to be, I am an R&B singer. My emphasis was on Stevie Wonder and Chaka Khan and Aretha Franklin...and then when I was in high school - they put me in theatre to keep me out of trouble - I went back to the fabulous 40s, watching all the American movie classics. Seeing how these people walked and moved. The comic work of everyone on The Carol Burnett Show...watching Betty Grable and how she would dance. That's how I learned how to dance. I would record her movies on the VCR, watch it the next day and play it again and rewind and play it again and practice every single dance movement. That kind of entertainment is very rare today.

So are you telling me you loved Betty Grable?

I did. All the good of her; all the bad of her. Just the drive that she had. The fact that she got her first movie and it was illegal. She wasn't supposed to be in it, because she was lying about her age. I love the drama about her family and how her mother treated her. Growing up in Hawaii with my mother Polynesian and my father from England, it was the ultimate American dream idea for me, what she encompassed. It was the idea of becoming famous, trying to be a star, having a specific passion and sacrificing no matter what and anything to get there. She'll always be an icon.

Do you have a favorite Broadway show?

Play is Noises off, because I love watching it. It's in improv mode and it's great seeing what the actors can do, guided by it. Musically I'm a huge fan of Stephen Sondheim and I love, love Sweeney Todd. The music is so haunting and it takes people away from the whole idea of a musical being... happy, happy, joy, joy! For someone who's never been to the theatre before, it's like a horror flick in front of their face with music on it. To see people witness that for the first time is astounding.

There's no in between. You either love that show or you hate it.

I love people that go the distance. I hate things that are lukewarm. They've got to be one way or the other and go all the way.

The great thing about Keala Settle's outstanding work as an actress is that she goes all the way and never lets down. Don't miss her as Bloody Mary in Bartlett Sher's South Pacific at the Ahmanson until July 17!

Interview with Director Jeremy Aldridge

Jeremy Aldridge most recently directed the World Premiere of Savin' Up For Saturday Night at Sacred Fools Theatre, for which he received a Best Director Nomination from LA Weekly. Previously he directed the award-winning and critically acclaimed Louis and Keely Live at the Sahara (Sacred Fools and Matrix Theatres), for which he received an Ovation Nomination and LADCC and Garland awards for Outstanding Direction.

In this second interview with the creative team of Priscilla's Perfect Day @ GROUP rep in NoHo, Aldridge as director of the play describes his challenges in working on it.

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What was the greatest challenge in putting together a children's play? Particularly as opposed to regular adult fare?

I think the greatest challenge is making sure that we create something that is meaningful, accessible and most of all fun for children. As Diana mentions, we do not want to pander to kids- however we know that the two biggest hits in our show are probably our six foot five lobster and a walking and dancing dog Roscoe! It is a balance. Priscilla's Perfect Day really succeeds at this by reflecting children's wonderful imaginations, while teaching a nice little lesson about expectation and what is important in life.

Most children's shows I've seen disappoint me, because they do not allow kids to interact with what's going on onstage? How are you surmounting this problem? Is there interplay with the audience?

We do have a really fun chase scene that takes place throughout the audience and sing along for everyone at the end of the show. Characters, especially Priscilla herself, regularly break the fourth wall and engage the audience. Additionally, the kids will have the opportunity to interact with the characters after the show during our Pancake Breakfast. (It doesn't get much better than a show and character breakfast for $12!) However, Priscilla's Perfect Day was actually created with a companion educational package that helps children learn about traditional forms of theatre. Our aim is to introduce the kids to the experience of theatre and have them enjoy themselves so much it becomes a viable entertainment option for the whole family. We hope the kids will leave and really be hungering for another theatrical experience.

I really feel that adults are nothing more than big kids. You have to entertain them as well, since they bring the kids to the show and are also a part of the audience. How do you feel you have achieved this with Priscilla...?

Each and every rehearsal we are finding more and more what we are calling "Pixar" moments in the show- moments that will satisfy both sides of the equation. Dads and Moms will laugh because they identify with the parents in the show and at the same time the children will totally get the relationship that Priscilla and Billy have as brother and sister.
The songs themselves also work on many layers. As an adult, while watching and listening to "Perfect Day" it truly has a profound effect. The song really touches you on an emotional level. At the same time, on its face it is about a little girl drawing pictures in her scrap book and imagining the rain away. Really wonderful song writing! I feel blessed to be working with Diana and Richard on Priscilla- the cast and crew have been great- as well as all the folks we have partnered with at Group rep.

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Priscilla’s Perfect Day, directed by Jeremy Aldridge, plays Saturday mornings at 11:00 am June 12 through July 17 at the GROUP rep @ the Lonny Chapman Theatre, 10900 Burbank Boulevard in North Hollywood.Call 323-822-7898 for tickets or visit:http://www.thegrouprep.com/

Running time: one hour, followed by Pancake Party and craft making at noon.