This master-of-all-trades, whose adaptation of Aida is now playing to sold-out audiences at Constellation Theatre, has danced, directed and choreographed his way around half the theaters in D.C.
Michael J. Bobbitt. Photo courtesy of the artist.
In addition to his “day job” at Adventure Theatre—where he has been artistic director since 2007—Bobbitt’s work has molded productions at Arena Stage, Shakespeare Theatre, The Kennedy Center and Strathmore.
But never, until now, has he worked at Constellation, the tiny black box theater housed inside the Source building on Washington’s 14th Street, known as the “coolest corridor” in the District.
“Aida is my debut at Constellation,” he said, when we met for coffee just before the show’s opening. When I asked why it took so long, he laughed.
“I asked Allison”—that’s founder and artistic director Allison Arkell Stockman—“the same thing. Her answer was that she assumed I was too busy!”
Bobbitt, of course, is never too busy for a great show. And this particular Aida, a contemporary rock musical based on the 19th-century opera, was perfect for a man of his tastes.
Surprisingly, the story—about star-crossed lovers in ancient Egypt—seemed just right for a stage as intimate as Constellation’s.
“These are teenagers,” he reminded me. “Just like Romeo and Juliet.”
Shayla S. Simmons (Aida), and Jobari Parker-Namdar (Radames) in Aida, now playing at Constellation Theatre. Photo by DJ Corey Photography.
So even though he (the hero, Radames) is the future son-in-law of a mighty Pharaoh, and she (Aida) is the princess of Nubia—an African country conquered, according to historical records, by Egypt in 1500 BC—they are torn between obedience and passion.
“These two are caught up in the agony of first love. They’re innocent but rebellious,” Bobbitt said, adding that the Broadway stage is too big for this kind of deeply personal struggle.
Adapting the show, which was first produced by Disney at the Palace Theater in New York in 2000, took some doing. Bobbitt described the process.
“First we had to reconfigure the seats,” he said. This was in order to change the theater from in-the-round to proscenium style because, he added, “I think a musical just works better that way.” The new arrangement allows for 10 rows, all facing the stage.
The orchestra, normally much larger, was cut to six musicians—two keyboards, electric and bass guitar, drums, and wind—all hidden off to one side. The sound is spectacular.
Second, Bobbitt and his team decided to reduce the cast, using an ensemble of 14 players instead of the original 25. Moreover, “Everyone in the cast is a person of color,” he added, “regardless of whether their background is Asian, Latin American, African or Middle Eastern.”
Yet there is no racial component in this show. “Egypt and Nubia are two nations at war,” he explained. “Their differences are cultural. And they’re revealed through costume and lighting.”
According to Bobbitt, the show’s success owes a lot to the collaboration between A.J. Guban, Constellation’s managing director and resident lighting designer, and Kenann M. Quander, who created the ravishing costumes.
“Quander moved the clothing away from the usual clichés about Egypt. She uses rich, glitzy and intoxicating color and design. She’s a star,” Bobbitt said. “Her level of taste, creativity, interest in detail, storytelling, and knowledge of history, are all superb.”
The cast of Aida, now playing at Constellation Theatre. Photo by DJ Corey Photography.
Another change from the Broadway version—requested directly from Disney—involved cutting the somewhat creaky conceit of having modern actors bookend the show.
I was curious to know why this version of Aida—with music by Elton John—was chosen, rather than the original, written by Guiseppe Verdi and first performed in Cairo in 1871.
“Because Verdi’s Aida—being grand opera—is very elitist in a way,” Bobbitt said. “This adaptation makes the material more digestible. It’s a way of attracting a larger and younger audience.”
It works. The audience, when I saw the show shortly after its opening, was jam-packed. There was not an empty seat in the house.
More important, the audience was multi-racial and multi-generational. And those are two groups—people of color and those under 40—who are highly sought after in theater today.
Tickets for this version of Aida are selling fast. I checked with Sarah Anne Sillers, the development manager at the nonprofit theater, about availability.
Her advice? “Get tickets as soon as possible.” She recommends Sunday, Monday and Wednesday evening performances for the next four weeks. And then? “Once it’s gone, it’s gone.”
Running Time: Two hours and 30 minutes, including one 15-minute intermission.
AIDA plays through November 18, 2018, at Constellation Theatre, located inside the Source, at 1835 14th Street NW, Washington, DC. For tickets, call the box office at (202) 204-7741 or go online.
Click here for DCMTA’s review by John Stoltenberg, which raises the question of how a mammoth Broadway musical could fit into a modest black box theater on funky 14th Street.
Click here for DCMTA’s editor Nicole Hertvik’s feature story on prodigy—and music director—Walter “Bobby” McCoy.
Click here for our previous interview with Michael Bobbitt, who co-hosted—and helped choreograph—this year’s Helen Hayes Awards.
Many students use their high school musical to dip their toes into the theater world. Walter “Bobby” McCoy, used it to launch himself into the deep end.
Music Director Walter “Bobby” McCoy. Photo courtesy of the artist.
When McCoy was a freshman, the new theater teacher at Marshall High School let her talented Falls Church, Virginia students put on Stephen Sondheim’s adult-oriented Company. McCoy accompanied on piano, learning a score he describes as “notoriously tricky, and difficult to get under the hands comfortably.”
But when it came to music, McCoy was no ordinary high school freshman. He noticed that a nearby theater, the Little Theatre of Alexandria, was producing Company later that year. “I sent an email, just to find out if they were looking for any musicians, or really… anything,” McCoy said. “It just so happened that they needed a rehearsal pianist who would eventually go and play the show. Luckily, I had just played Company at my high school.”
At age 15, he got the job.
His first assistant music director position soon followed, on Keegan Theatre’s National Pastime, and before he was a junior in high school, McCoy had a steady career as a DC area music director.
Last year, at age 23, McCoy received an unprecedented three Helen Hayes Award nominations for music direction, taking home the award for GALA Hispanic Theatre’s breakout hit In the Heights.
“Perhaps he’s a prodigy,” Michael Bobbitt, Artistic Director of Adventure Theatre MTC, said of McCoy. “His age is astonishing.”
McCoy and Bobbitt are currently working together on AIDA, which opens next week at DC’s Constellation Theatre. As music director, McCoy is involved with the production from the very beginning, helping to choose actors and musicians who will give the show a certain sound, collaborating with the director and choreographer (Tony Thomas II) to create transition music that fits the production, and adjusting the scoring behind each dance number. McCoy describes his job as “making sure the story onstage is being told through the music.”
Bobbitt considers McCoy a vital part of this creative trifecta. “I think musicals have three directors, which include music director and choreographer,” he said. “Bobby is remarkably collaborative. He truly directs the music. He adds musicality and musical choices that bring out the story, character, and emotion. It’s thrilling to watch.”
Last spring, nominations for DC’s most prestigious awards, the Helen Hayes Award, were announced at a stylish party at the National Theatre. McCoy didn’t attend. Instead, he learned of his three nominations for outstanding music direction when a friend called as he was driving home from a rehearsal. “I had no words,” he said of the moment. “All I could do was pull my car over and scream at the top of my lungs.”
Walter “Bobby” McCoy accepting his award for Oustanding Music Direction (Helen) for In the Heights at GALA Hispanic Theatre. Photo by Mukul Ranjan Photography.
And the moment when he won his first Helen Hayes Award for GALA Hispanic Theatre’s In the Heights? “It was the most serious thing that has ever happened to me,” he said. “I felt really confident walking up to the stage and I got up to the podium and I was like… uh…. what’s my name? (laughs).”
Now 24, McCoy is looking for ways to give back to the next generation as the music director of the Levine School of Music. Levine offers area teens fundamental classes in acting, singing, and dancing that culminate in full-scale performances at Arena Stage.
“I’m really looking forward to digging in with training these young performers,” McCoy said. “Helping youths or teens find their voice helps reinforce things I’ve learned about myself and is also inspiring. I think it’s going to be a really great program.”
AIDA plays through November 18, 2018, at Source -1835 14th Street, NW, in Washington, DC. For tickets, go online.
Aidabursts onto the Reston Community Players’ stage in an explosion of color and sound. With music by Elton John and lyrics by Tim Rice, this show, directed here by Andrew JM Regiec, seems almost too timely despite having been written over a decade ago. Aida, whose book was penned by Linda Woolverton, Robert Falls, and David Henry Hwang, draws its inspiration from the Verdi opera of the same name.
Claire O’Brien Jeffrey as Amneris, Tara Lynn Yates-Reeves as Aida, and Brett Harwood as Radames. Photograph by Jennifer Heffner.
We open in Egypt. It is here that the Nubians have been brought to serve as slaves to the Egyptians, who invaded and ripped them from their homeland. Among these slaves is the Nubian princess Aida, played by Tara Lynn Yates-Reeves, whose fierce yet hesitant demeanor draws the attention of the Egyptian Captain Radames, played by Brett Harwood. Radames, in a way, is also not a free man, having been betrothed for nine years to the precocious Egyptian princess Amneris, played by Claire O’Brien Jeffrey. When sparks fly between the enslaved Aida and Captain Radames, the complications of their love affair give way to a tale that is both hopeful and tragic.
Tara Lynn Yates-Reeves as Aida. Photograph by Jennifer Heffner.
Tara Lynn Yates-Reeves is stunning as Aida. Her conviction in playing this character is obvious: she is, at times, strong, frightened, proud, defiant, and gentle- and convincingly so. She carries the ensemble numbers particularly well. “The Gods Love Nubia,” which is placed at the end of the first act, was an emotional moment which, in spirit, felt like a transformed anthem for today’s Black Lives Matter movement. We should not be afraid of drawing these connections, as art communicates to us within our current context as well as within the context in which it was created, and Tara Lynn delivers this art with aplomb. Her rendition of “Easy as Life” was also a high point, showcasing both her acting and vocal skills.
As Amneris, Claire O’Brien Jeffrey is the first to set the scene. Claire has a near-perfect handle on comedic timing, as evidenced in the big “runway” number “My Strongest Suit.” As Radames, Brett Harwood does bring an Adam Pascal-esque edge to the role, both vocally and in his looks. Each turns in spirited performances, though I felt they could have leaned in to the roles a bit more. The talent was there and neither should be afraid to let it shine.
The cast of Aida. Photograph by Jennifer Heffner.
Of note was Paul Tonden’s role as Zoser, the scheming Chief Minister and father of Radames. “Another Pyramid,” in this production, was a crowd-pleaser, and I found myself drawn in by Paul’s energy and enthusiasm.
“Written in the Stars” claimed its place as the show-stopping duet between Aida and Radames. Their vocal skills were complementary and I was convinced by their performance, more so than I was for the first act’s “Elaborate Lives.” Aida does not have any musically weak or boring numbers and the actors rightfully earned a standing ovation for their- very obvious- hard work and passion.
What absolutely blew me away in this production was the set design, also by Director Andrew JM Regiec with Dan Widerski. The set pieces evoked the feeling of ancient Egypt without being overbearing or trite. The fact that they had so many moving parts, which changed for almost every number, was very much above-and-beyond the call of duty. It was colorful. It was fun, and the opening of the second act had me floored as they successfully shifted their palette to fit the darker tone.
Costume Designer Charlotte Marson delivered flash and pizazz for “My Strongest Suit,” which, for me, took on flavors of Ru Paul’s Drag Race quite effectively. The costuming for the rest of the show was fantastic and matched the strength of the set design. Lighting Designers Ken and Patti Crowley gave Aida a soft glow for romantic scenes, rays of sunlight, and darkness when the characters experienced a tragic moment. The spotlights were a bit overused and detracted somewhat from the natural feel of the other lighting design, but this is a minor complaint.
Coreographer Andrea Cook’s work is ambitious, but really shines in the ensemble numbers. Conductor Elisa Rosman leads the enthusiastic orchestra which provides the necessary music for this musical.
The cast of Aida. Photograph by Jennifer Heffner.
Reston Community Players’ Aida is a captivating romantic tragedy that delights and entertains. The emotional aspects of the musical which relate to current social justice movements- Aida and the Nubian’s strength under oppression, racism, and turmoil- are an obvious draw. For those who like romance, the love story between Radames and Aida will not disappoint. The action and comedy elements, along with the flashy set and costume design, will keep young and old enthralled to the end. This is a musical you will not want to miss.
Running Time: Two hours and 25 minutes, with one intermission.
Aida, produced by the Reston Community Players, plays through November 11, 2017 on the CenterStage at Reston Community Center – 2310 Colts Neck Road, Reston, VA. Tickets can be purchased by calling the box office at (703) 476-4500 or online.
Special Offer: RCP is offering a special promotion for the Friday, October 27 performance – use the password “NUBIA” at the box office to receive $10 tickets. This promotional offer is only good for tickets purchased in person at the box office or by phone at 703-476-4500 x3
Eternal, romantic love conquers all — even a jealous rival — in Verdi’s ravishingly melodic Aida, now being presented by the Washington National Opera with splendid work from all involved. Verdi’s soaring yet sensitive music pervades this production and is the prime reason for attending; indeed, the interpretation of this glorious music by the cast was the highlight of this timeless classic.
The themes of love of nation, fatalism, and the power of those in authority have never been as relevant as they are now, and director Francesca Zambello deftly accentuates these themes with the contemporary flourishes of the acclaimed graffiti artist Retna. Retna’s original sketches and conceptual design add colorful zest to the proceedings, and they add flavor to the beautiful, natural poetic imagery of the book by Antonio Ghislanzoni.
Zambello stages each scene with uncanny skill, from larger ensemble groupings to more intimate arias and romantic duets. Dramatic moments flow beautifully from one moment to the next.
Tamara Wilson as Aida. Photograph by Scott Suchman.
Conductor Evan Rogister sensitively conducts, eliciting tones of insistent yearning that, suddenly, thrill with dramatic crescendos. Rogister evoked the more militaristic pomp of the music with the more romantic style of Verdi’s music. The oft-performed succession of melodies in the Triumphal scene (“O Re, pei sacri Numi! Gloria all Egitto”) were particularly resonant.
The Washington National Opera Orchestra played with finesse, and the Washington National Opera Chorus was very effective.
Soprano Tamara Wilson delivers a definitive performance as the tormented Aida. Wilson strikes just the right balance between indignant victim and idealistic lover. Wilson’s aria “Ritorna vicitor!” was brilliantly devastating in its power. Wilson showed superior vocal control in many sustained passages; she transitioned from her upper register to an ethereal and softly delivered coda in many of her arias and vocal moments.
The robustly vigorous and passionate Tenor voice of Yonghoon Lee was captivating and enthralling from the moment he walked onstage. Lee took command of the stage with ease and moved with consummate authority as the warrior Radames. Lee’s opening aria, “Celeste Aida,” set the tone for the evening as he sang of his love for Aida.
As the Egyptian Princess Amneris, Mezzo-Soprano Ekaterina Semenchuk dazzled in a role that is much less archetypal than the characters of Aida and Radames. Semenchuk’s character changes emotions from jealousy to love and back again. Semechuk’s aria of defiance when she curses against the injustices of the priests is a standout: “Radames! Radames! Radames!”
In supporting roles, Baritone Gordon Hawkins as Amonasro and Bass Morris Robinson as Ramfis were very well-cast and sang with rich resonance.
Ekaterina Semenchuk (Amneris) and Yonghoon Lee (Radames) in Aida. Photograph by Scott Suchman.
Much needed merriment was provided in some very well-choreographed scenes with the Washington National Opera Youth Dancers. Choreographer Jessica Lang added a contemporary touch with the adult dancers displaying unique and disarming ballet movements.
Lighting Designer Mark McCullough worked wonders with innovative lighting that was stunning in effect. One scene was bathed in white light, another scene was lit in golden yellows and another was lit in multi-colored hues.
Costume Designer Anita Yavich designed a very edgy and tailored look for the cast and especially deserved laurels for the tailored military outfits.
The triumph of Verdi’s Aida, and a tribute to the prowess of Ghislanzoni’s libretto, is the victory of romantic love over nationalism, war, and authority. In this current political climate, the subjective appeal of individuals in love has never been more important. Director Zambello expertly focuses on the torment of the lovers rather than the pomp and ritual of this beloved opera. The haunting duet at the end of the opera as Aida and Radames embrace with the knowledge of death, “O terra addio,” leaves one weeping copious tears.
This is an Aida to cherish!
Running Time: Three Hours including one 25-minute intermission.
Aidaplays through September 23, 2017, at Washington National Opera, in the Kennedy Center Opera House – 2700 F St NW in Washington, D.C.. For tickets, call the box office at (202) 467-4600, or purchase them online.
This month we focus on two more shows that opened on Broadway this year and are currently running.
War Paint (Ghostlight Records)
War Paint is an old-fashioned show, in the best sense of that term. The craftsmanship of the script and lyrics is top flight, and the tunes are similar in style to golden age musicals. This suits the fact that the story is set in that era.
The music by Scott Frankel and lyrics by Michael Korie (the collaborators on Grey Gardens) are more sophisticated than what’s heard in recent Broadway shows. The plot looks to the past, as it portrays the rivalry between Elizabeth Arden and Helena Rubinstein, the two leading cosmetics entrepreneurs of the 20th Century.
This show is a display piece for the two performers who play Arden and Rubinstein — Christine Ebersole and Patti LuPone respectively. Even if you don’t care about the life stories of those two doyennes from the past, you can revel in the singing competition between the two divas.
This is the only show or opera I can recall that focuses on a competition between two women that does not involve a man (such as Aida and Amneris fighting for the love of Rhadames) other than, maybe, Queen Elizabeth and Mary Stuart fighting over the crown.
LuPone has the juicier role, with the over-the-top Rubinstein and her Eastern European accent. She digs into the essence of the foreign-born outsider, and Doug Wright’s script spotlights the anti-Semitism which Rubinstein experienced, giving it extra relevancy right now. Ebersole knows how to play an eccentric (as in Grey Gardens) but here she is more serene, singing her ballads with lovely richness. Her character is a single-minded businesswoman who made pink the color for every month of the year; pink, which represented every woman’s childhood, when youth sprang eternal.
Korie’s lyrics are delectable and, with the CD, you’re able to hear them even more clearly than when you attend a live show. He has Helena describe her use of estrogen in her facial crème: “Feminine quintessence / Cooked down to its essence.” He also demonstrates how to make perfect rhymes that disregard spelling and, correctly, rely on sound: “We’ll seduce new clients / By selling science.”
The rivals’ big duet is “If I’d Been a Man” where Arden complains that “A man doesn’t need to prove his worth / Knows his place from birth” and Rubinstein responds “I love only men I can’t caress / Two sons ashamed of my success.”
Those fine singers John Dossett and Douglas Sills play the men who were most important in the women’s lives. Dossett scores especially during the song “Step On Out.” As he gets drunk he sings “Win me one for the Gipper / I’m too blind to find my zipper.”
Frankel’s music successfully captures the flavor of the romantic and swing eras in which the story takes place. In “My American Moment” the music deftly blends buoyant Americana with the minor-key of an immigrant’s background. Alas, economics has prevented real big band sounds and the clever orchestrations by Bruce Coughlin are 12-piece arrangements.
Charlie and the Chocolate Factory (Masterworks Broadway)
Charlie and the Chocolate Factory has always focused on one character, and it’s not Charlie. The person who can make or break any production (musical or movie) is Willy Wonka. And in the Broadway production, available on a Masterworks Broadway CD, Christian Borle gives a superstar performance.
Borle is a two-time Tony Award winner and Broadway veteran known for Something Rotten and Falsettos, and here he surpasses those high achievements. As the chocolate confectioner, Borle achieves the monumental task of equaling Gene Wilder from the original 1971 film while not copying him. He dazzles with his song-and-dance hoofing, his energetic strutting and his winning smile, which I enjoyed greatly on stage.
All of that is irrelevant when we listen to this new CD, without any visual aids. Fortunately, Borle has a rich and versatile voice, with many different colors. He sounds alternately sweet, deranged, and malicious, and the recording is a testament to his talents. Borle tenderly croons “The Candy Man” and “Pure Imagination,” composed by Anthony Newley with lyrics by Leslie Bricusse for the 1971 film. Then he belts “It Must Be Believed To Be Seen” and “Strike That, Reverse It,” two excellent numbers by the team of Marc Shaiman and Scott Wittman, who wrote all the rest of the score. “The View From Here” is the tenderest song in the show, a lovely finale.
The rest of the talented cast have roles that clearly are subsidiary, and their songs are catchy but rather generic. One is Bavarian, one a samba, one a patriotic march, and so on. Veteran performers John Rubinstein and Jackie Hoffman deserved more. Nothing in the score resembles Shaiman and Wittman’s biggest hit, Hairspray. That shows their versatility and is an observation, not necessarily a critique.
Christian Borle and Company. Photo by Joan Marcus.
Next month: the first-ever complete recording of Dreamgirls & Natasha, Pierre & the Great Comet of 1812.
I took me a busman’s holiday from September 20 to 30, 2016, by joining Playbill on its seventh cruise featuring Broadway stars and Broadway “Ambassadors” who are on board to mix, mingle and entertain some 290 ardent fans who have signed on for this unusual concept cruise. We had two nights in Rome on our own, to sightsee and brush up our Italian for the week of festivities ahead.
Our first night out, en route from Rome to Sorrento, the star attraction was Andréa Burns, on a short leave from Broadway’s On Your Feet! Her 90-minute act in the Silver Wind’s comfortable playhouse was of a caliber worthy of the Palace in New York.
Andréa Burns. Photo by Matthew Murphy.
Ms. Burns has been delivering smart and original performances as a variety of colorful characters in Guys and Dolls (Miss Adelaide), In the Heights (Daniela), The Full Monty (Vicki Nichols), The Nance (Carmen) and in her currently running show On Your Feet! (Gloria Fajardo). This attractive actress/singer with a voice that can extract magic from the shimmering beauty of Stephen Schwartz’s “Meadowlark,” to the teenage exuberance of “I Feel Pretty,” which she turned into a one act play covering the many years in which she’s intermittently played Maria several times. It’s funny and musically elegant. She is one soprano who makes every lyric land. Her take on Googie Gomez, a not very talented Latina from The Ritz is hilarious as she slithers and shakes, capturing every tacky moment in that second-rate tomato’s repertoire.
Seth Rudetsky’s stunning piano accompaniment added immeasurably. Andréa Burns – a star talent in need of an original starring role. She opened the cruise’s seven nights of entertainment with a bang.
Next day sunshine all over Sorrento. We took a tender to shore, hopped onto a bus to the top of the lava cliffed town, marveled at its bold beauty, but found ourselves surrounded by mobs of travelers from a much larger ship, so we turned right around and tendered our way back to our beautiful Sea Wind to prepare for a 5:30 dialogue between guest playwrights Douglas Carter Beane and Charles Busch, two distinctly different writers, each blessed with comically wise and witty tongues. We were treated to a conversation revealing how they found their ways to writing plays. A delightful hour, much more rewarding than fighting the mob on shore.
Laura Osnes provided the second night’s entertainment. Again backed by Seth Rudetsky’s deft ways with a piano, this leading lady brought her fresh charm to songs from Cinderella, Bonnie and Clyde, Anything Goes, and The Bandstand, which is being groomed for Broadway. Pert and perky, she has control over her lyrical voice, which she uses well. Hers is not so much a musical act as it is a spoonful of sweets to add to the ingredients of the week’s festivities.
It was raining in Taormina, so we sailed in, then scooted slowly on to Valetta, Malta. As the Taormina tours were canceled, Seth instantly arranged Seth and his Friends, a 90-minute variety show packed with the likes of Faith Prince, Lindsay Mendez, Charles Busch, and Jennifer Simard, who were merely “Ambassadors” on this cruise. But each delivered showstoppers.
This project, rehearsed and arranged in about two hours, could have opened on Broadway merely by adding costumes, lights, and scenery. With talents like these, who needs rehearsal? That was 5:30 to 7:00 on Wednesday afternoon. At 9:30, Adam Pascal took center stage to prove that he’s ripe for a role of his own to create. He’s first-rate and has star quality to spare. He did an exciting 90 minutes with Seth making his piano sound orchestral.
Adam is a likely lad, a Long Island city kid who looks like a Viking. He sang bits of “Music in the Night,” Radames’ aria from Aida (he played the role on Broadway), an eleven o’clock number as the lead Huey Calhoun in Memphis. This dashing leading man has created roles in some of his shows, but replaced in Phantom, Cabaret, Memphis, and Chicago so he’s not as well-known as some, but his recent appearance in a musical comedy (Disaster!) put him front and center on the list of leading men for the future. His looks and personality should make him eminently castable. His roles have shown him to be able to deliver classical, debonair, comical, cynical and rural characters with equal accuracy.
Monday night brought us Lindsay Mendez, unknown to me, but she already has under her belt a stint as Elphaba in Wicked on Broadway, and a well received performance in straight play Significant Other for the Roundabout. Lindsay is one of those rare performers who came to New York from Los Angeles; the traffic is usually the other way round. She made her Broadway debut as Jan in the 2007 revival of Grease, directed by Kathleen Marshall. She received an Outer Critics Circle Nomination and a Drama League nomination as Outstanding Actress in a Musical for her performance as Rose Fenny in off/Broadway’s Dogfight. Ms. Mendez, a talent with a very bright future.
Then it was gorgeous Kate Baldwin‘s turn to take center stage. She’d received a Drama Desk nomination for John and Jen, she’d led the cast in Can Can at the Paper Mill Playhouse, she starred in Big Fish on Broadway and again won award nominations for playing the Liz Taylor role in Giant at the Public Theatre. Dressed in a body hugging short skirt that looked a bit like armor with spangles, she and Rudetsky offered us a varied program, always well sung. On our fourth night at sea, she featured her fluid and powerful voice in “The Miller’s Son” from A Little Night Music by Stephen Sondheim. She tore into it with passion in the sexual sections, but returned to quiet resignation when needed for the lines that follow those in the title.
If all that weren’t enough for a jolly weekend, Philip Birsh, the owner of Playbill, arranged a Conversation with Charles Busch, and Douglas Carter Beane, and another with Andréa Burns and Brenda Blaxton. They all offered revealing talk about the path theatre artists take to sustain careers over a lifetime. The facts alone are fascinating, but these four, under Rudetsky’s excellent moderation, were able to spontaneously spout short cuts and insights into what really goes into sustaining and surviving in treacherous waters. Very useful talk, very entertaining.
Next morning I was slightly poorer, as I’d spent a difficult hour at the one blackjack table. All of us were wiped out, as the lady dealer was either very lucky or this was just a bad night for our side of the table. However, the Casino was tastefully designed, and cozy. I’m certain someone wins now and then, but if you visit, be careful.
Thursday was the final night of official performances, and it was properly reserved for the one called “legendary”– the incomparable Chita Rivera. This consummate artist has learned, in a 60 year career, to show us what is really big time and distinctive. Beginning in the 1950s as an ensemble dancer in Can Can, she moved to small principal roles in Mr. Wonderful and Seventh Heaven, she sidetracked into understudying Eartha Kitt in Archie and Mehitabel, and finally found a role that established her in West Side Story. Thus began her journey to Rosie in Bye Bye Birdie, Velma Kelly in Chicago, Aurora in Kiss of the Spider Woman, Liliane LaFleur in Nine (in which in her 70s she was still able to raise one leg to rest on Banderas’ shoulder!) and finally to Claire Zachannassian in The Visit, along with an international tour of Can Can, a national tour as Sweet Charity and two triumphant years in London with Bye Bye Birdie and West Side Story.
Chita Rivera. Photo by Laura Marie Duncan.
But at 82, she lives as she always has, devoted to the work that allows her to adapt to all ages, to adjust to each one by accepting all that comes attached. If her voice has grown huskier, she now chooses material that considers that an advantage. Her breathtaking agility and power as a dancer has been diminished but she’s totally able to express a wide range of emotions with a wiggle, a suggested high kick, even a walk. Her powerful emotional range pulls out all the stops on “Love and Love Alone” from her most recent outing in Kander and Ebb’s The Visit. Even her chit chat with Conductor/Host Rudettsky was filled with high humor and honesty. I’ve known her since the very start of her illustrious career and she’s nourished our connection through all of these 60 years. Her final night on this very special cruise did what all eleven o’clock numbers should do — it stopped the show several times and ended in cheers.
Back Row: L to R: Adam Pascal, Chita Rivera, Lindsay Mensdez and Andréa Burns. Front Row: L to R: Kate Baldwin, Seth Rudetsky, and Laura Osnes. Photo by William Megevick.
Final day in Corsica, an equally amazing end of our island hopping Superbly organized by Producer Philip Birsh of Playbill and supervised by Musical Director Rudetsky, a final extravaganza put to work Ms. Burns’ son Hudson Flynn, his dad Peter Flynn, the glorious Brenda Braxton, Faith Prince, Charles Busch, and Douglas Carter Beane, Seth Rudetsky’s husband and daughter in roles added to the luster of stars that sent us to bed each night hoping we can join up soon again for one of Playbill’s next adventures at sea. I hear there’s one planned to cover towns along the Rhine River. I think we should all start saving our pennies.
While there are amazing new Broadway hits like Hamilton and Fun Home, some things are classic for a reason. And may I say, they just don’t make musicals like The Sound of Music anymore. Celebrating the film’s 50th Anniversary earlier this month, the Tony, Grammy, and Academy Award winner Jack O’Brien (Hairspray, The Full Monty) brings Rodgers and Hammerstein’s classic, TheSound of Music, to life in a new and invigorating way.
The children. Photo by Matthew Murray.
This Tony, Grammy, and Academy Award winning Best Score features classics such as “My Favorite Things,” “Do-Re-Mi,” “Edelweiss,” and, of course, “The Sound of Music.”
O’Brien masters the innumerable amount of moving parts of this enormous show. From the lighting, costume, and scenic design to choreography and music, you can see O’Brien’s personal vision throughout; he has refined this show to perfect harmony.
The young Kerstin Anderson is charming as can be as leading lady Maria Rainer. Her charisma, love, and immense talent is the light in this dark World War II Austria. I could not take my eyes off of her any time she was on the stage. Maria’s first number is the title song: she was alone onstage with a backdrop of a mountain and a small bridge, but the stage felt so full and warm from her amazing presence.
Her onstage romance with Captain Georg von Trapp (Ben Davis) is one of the most heartwarming love stories in theater history. Working in tandem, Davis and O’Brien clearly articulate the Captain’s journey from a simple, closed off military man to a warm, loving father and husband. Watching him swallow his pride for his family’s safety during Act II was astonishing.
The von Trapp children are just as talented as the adults. Gretl (Audrey Bennett) got an audible “awwww” from the audience anytime she spoke or sang, and rightfully so. Jeremy Michael Lanuti (Friedrich), Maria Suzanne Knasel (Louisa), Quinn Erickson (Kurt), Svea Elizabeth Johnson (Brigitta), and Mackenzie Currie (Marta) are a talented bunch of kids, way beyond their years.
Paige Sylvester (Leisl) deserves special note as the oldest of the von Trapp family. Her and Dan Tracy (Rolf) as the young star-crossed lovers exude beautiful chemistry in the well-known duet “Sixteen Going on Seventeen,” sung and danced beautifully by the pair.
While oftentimes when one thinks about The Sound of Music, you only think about the von Trapp family and children. While they lived up to the hype, the nuns of Nonnberg Abbey were equally incredible. Mother Abbess (Melody Betts) stole the show, opening and closing the first act. Betts’ strength as the Reverend Mother is irreparable, and her performance of “Climb Every Mountain” brought me to tears. In conjunction with a few of the other nuns (Carey Rebecca Brown, Julia Osborne, Elisabeth Evans), “Maria” was brought to life with exuberance and humor.
Max Detweiler (Merwin Ford) and Elsa Schrader (Teri Hansen) delight as the foils to Maria and the Captain in all things. Max’s one-liners are delightfully schticky, but the two enchant with songs excluded from the movie, “How Can Love Survive?” and “No Way To Stop It”.
The cast also includes Darren Matthias (Franz), Donna Garner (Frau Schmidt), Andrea Ross (Ursula/New Postulant), Brent Schindele (Herr Zeller), Ronald L. Brown (Baron Elberfeld), Kelly McCormick (Baroness Elberfeld), and Christopher Carl (Admiral von Schreiber).
The full ensemble is rounded out by Cáitlïn Burke, Christopher Carl, Patton Chandler, Donna Garner, Jenavene Hester, Brent Schindele, Jim Schubin, Daniella Dalli, Meaghan Hales, and Adam Hill.
Music director and conductor Jay Alger was flawless, guiding his 16 piece orchestra effortlessly through this famous music.
Ben Davis (Captain von Trapp), Kerstin Anderson (Maria), and the von Trapp Children. Photo by Matthew Murray.
Scenic design by Tony Nominated Douglas W. Schmitt is so intricate and specific. The white lace panels are smartly reconstituted in different configurations, locations, and lighting. Backdrop after backdrop wow with vibrant colors and the next location is always a stunning as the last.
Recipient of the 2014 Tony Award for Lifetime Achievement in Theatre, Jane Greenwood sets the stage with perfectly period costumes. The silhouettes, colors, and looks directly represent the characters and their place in this high-stakes world full of literal love and war.
The lighting design by Tony Award Winner Natasha Katz (Tony wins including An American In Paris, The Glass Menagerie, Once, and Aida), Katz does not disappoint in this picturesque world. With a stunning opening stained glass window to lightning effects and beautiful outdoor scenes, Katz truly completes these perfect stage pictures.
The Sound of Music is only here through the end of the week, and it is a must see before the von Trapps say “Auf Wiedersehen.”
Running Time: 2 hours and 30 minutes, including one 15-minute intermission.
The Sound of Music is playing through this Sunday, March 20, 2016 as a part of the Broadway Philadelphia series at The Academy of Music – 240 South Broad Street, in Philadelphia, PA. For tickets, call the box office at (215) 838-1999, or purchase them online.
Mainstream classical music commentary in Washington often complains about an over-reliance on the symphonies and concertos of Tchaikovsky and Rachmaninoff for the programming at the area’s major orchestras.
But the American ear loves the Russian sound. That’s one of the ironies of the frequent geopolitical struggles between the two nations. If it’s really a problem that big Russian music carries the freight for the region’s musical establishment, maybe the issue isn’t the popularity of the Russian composers, it’s the lack of exploration of their total work.
Problem solved: For that we have the Russian Chamber Art Society (RCAS), a unique institution not only here in Washington but possibly in all of America. The RCAS brings the amazing richness of the vocal music of the 19th century giant Tchaikovsky and the 20th century colossus (and Russian émigré to America) Sergei Rachmaninoff right to the capital city. The Society attracts top talent from a fascinating mix of Russian-born artists, other artists with roots in Slavic and Eastern European cultures, and native-born Americans who’ve made Russian vocal and chamber music their core repertoire.
All this was on display last Friday evening, October 2, 2015, as the RCAS celebrated its 10th anniversary with a gala concert at the Austrian Embassy. The embarrassment of musical riches started with Tchaikovsky and Rachmaninoff and moved onto such notable composers as Nikolai Rimsky-Korsakov, Modest Mussorgsky, Dmitri Shostakovich and others.
For me, three singers and one instrumental act stood out from the exceptional group of performers, although each of the 250 or more attendees in the festive crowd probably could name a different group and not be wrong at all.
Timothy Mix. Photo courtesy of IMG Artists.
I was first and foremost taken by the personally distinctive and attention-grabbing American baritone Timothy Mixas the closing act of the entire evening. Soon to appear in Albuquerque in Verdi’s Aida as the enemy king who is also the father of the heroine, Mr. Mix started with an arresting performance of an early Rachmaninoff song called “Oh Stay My Love, Forsake Me Not!”
His follow-up Tchaikovsky song, “On Golden Meadows Now,” has a strong tinge of emotional drama that goes beyond the vanilla-sounding title of the song in English translation, especially in Mr. Mix’s voice. That’s one of the reasons that hearing these songs in their original Russian is so meaningful. The Society handed out translations of everything, but the experience in the moment was best without consulting the translations, which served best as references later on.
Mr. Mix closed with a selection from a song cycle called Russia Cast Adrift by composer Georgy Sviridov, whose lifetime (1915-1998) almost exactly matched the period of the Soviet Union. The complexity of the Russian soul juxtaposed with its fate among nations is captured in this kind of music almost better than anywhere else.
Magdalena Wor.
Earlier in the evening, the crowd heard from a frequent visitor to the Washington area, as Atlanta-based mezzo-soprano Magdalena Wor sang three selections that matched her unique vocal timbre and dramatic skills. Rachmaninoff’s “The Fountain” painted the picture suggested by its title, with sung octaves and dynamic variations interplaying with waterfall-like arpeggios in the piano. A lovely ballad by composer Valery Gavrilin called “Forgive Me” was unmistakably tinged with Eastern European modalities, and Ms. Wor’s Polish-American identity – she grew up in a small town in southern Poland and moved to America at age 11 – absolutely informed the interpretation. It didn’t hurt that “Forgive Me” accesses Ms. Wor’s remarkably plush and wine-colored lower range as well as jumps to her relatively top range for a mezzo.
A Tchaikovsky song called “Delirious Nights” completed Ms. Wor’s set. She performs twice later this season with the National Philharmonic at The Music Center at Strathmore, first in February in Vivaldi’s Gloria and then in April for Haydn’s Lord Nelson Mass.
Grigory Soloviov.
Russian bass Grigory Soloviovsang selections from Rachmaninoff and Mussorgsky. The most striking was a song called “No Prophet I” that showed off Mr. Soloviov’s gratifyingly even tone for a bass, lending the higher parts of this Rachmaninoff song a pleasing heft from his strong voice. “No Prophet I” has a quasi-religious, humble but positive and hopeful air. It’s significant that it dates from 1902, the year after Rachmaninoff’s major triumphs with his Piano Concerto No. 2 and his Sonata for Cello and Piano, both of which have – quite justifiably – figured in recent area performances and recordings by Washington-based artists.
The instrumental act of the night was an ultra-entertaining pair that was familiar to some of the audience but new to me: Tamara Volskaya on the “domra” (a type of lute) and Anatoly Trofimov on the “bayan” (an accordion with a few extra bells and whistles). Within their set was Rimsky-Korsakov’s Flight of the Bumblebee, but not as you’ve heard it before. Ms. Volskaya navigates tiny spaces between the plucked strings of her instrument and finger-runs along its neck to produce intricate (and in this case humorous) counter-lines, while Mr. Trofimov plays his accordion-like instrument less like an oom-pah machine and more like a virtuoso pianist. I’d tell you to hire these folks for your next wedding, retreat, festive wake, or bar mitzvah, but they’re going to steal the show from the guest(s) of honor, so beware!
Vera Danchenko-Stern.
Everyone who knows the Russian Chamber Art Society will immediately associate it with its founder, leader and champion – Vera Danchenko-Stern. She is an evangelist in the best sense of the term. Her personality overflows the performances right from the piano (where she accompanies everything that requires a pianist) and she’ll want to grab you by the arm whether you’re part of the show, someone in the diplomatic community, somebody from another musical circle, or best of all simply an audience member.
Several of the performers I talked to said they were there largely because of Ms. Danchenko-Stern, who not only promotes Russian chamber music and song, but digs in to help the artists make their best selections and perform at a peak level. The next RCAS event is a “Tribute to Shostakovich” on December 4, 2015, with some of the same performers returning, including Magdalena Wor.
The entire season is worth checking out here. There’s really nothing quite like it anywhere around. I bet the Society’s 20th anniversary celebration in 2025 will be quite an event as well.
On the evenings of November 14, 15, 21, and 22, 2014 Isaac Solomon performed the role of Link in Hairspray at Eleanor Roosevelt High School in Greenbelt, MD. I had a chance to talk with Isaac about his theatre experiences.
Eric: What gave you the “initial push” to get involved with theater? Was it some event in your life that motivated you to step up on the stage or a family relative?
Isaac Solomon
Isaac: My first time performing onstage came when I decided to participate in a summer theater camp, known as Creative Kids Camp. My older brother Aaron had first decided to take part in the camp, and I happily followed in his footsteps, not realizing at the time how much theater would come to mean to me.
How old were you when you were given your first part and what was it? Do you remember any lessons learned from your first experience?
I must have been around 6 when I got my first part at the Creative Kids Camp. I believe it was a supporting role, that of a good-hearted pirate captain, who sang to the protagonists about an ancient pirate who fell in love with a mermaid, but the two couldn’t make their relationship work with the species barrier between them.
What shows have you appeared in your career so far?
I started my acting career in a number of musicals written and performed at the Creative Kids Camp. My roles in these shows were mostly in the ensemble, as the camp counselors generally got to take the lead roles. Starting in the 7thgrade I began performing in the Greenbelt Youth Musical, which took direction under Christopher Cherry, who also led the activities of the Creative Kids Camp. I performed in four Greenbelt Youth Musicals: Orlando Furioso (Rodomont), Homeward Bound (Telemachus), The Joy Gods Return (Dionysus), and Perseus and the Gorgon (Perseus). At my high school Eleanor Roosevelt, I have also been involved in many plays and musicals. I took part in three of the main stage musicals during my time at Roosevelt, starting with Aida (Mereb), followed by Grease (Sonny), and this past month I performed as the lead male in Hairspray (Link). Along with the main stage musicals at my school I have also performed as Mr.Green in Clue, Detective H.D. in Law and Order: Fairy Tale Unit, and the Dad in Cheaper by the Dozen.
Do you have a favorite type of character that you like to play? Does it seem you are always typecast in all your roles?
I do not have a favorite type of character to play, as I enjoy taking on a variety of roles, which helps me experience a range of different feelings and emotions. I do prefer playing darker types of characters, as it allows me to learn about and express the type of character that my normal persona doesn’t usually display in real life. I’m not always typecast in my roles, in fact it has only happened on two occasions I’d say. I’ve been able to enjoy playing a wide range of characters.
Now that you are moving on from high school to college, what are your theater expectations when you are in college, and what lessons learned in high school are you bringing with you?
Moving into college I’m not completely sure what to expect. I hope to be able to involve myself with as much theater as I can along with my classes and the rest of my activities. I have learned that one does not always get what they wish for in the theater world, and that persistence is key.
Do you intend to major in theater at the college, and if not, have you decided on your major? How do you intend to use your previous theater credentials while in college to advance your academic career?
I’m not sure as of yet what I would like to do in college, I may major in theater, but I have to consider a lot of factors before I make that choice. I have also considered majoring in something else while having a minor in theater.
Who is your theater idol and why?
I currently wouldn’t say I have a theater idol. Unfortunately I haven’t been able to delve into the theater world and its members as much as I would like to. However, during the shows I’ve performed in I’ve met many amazing performers, and I admire many of them.
Isaac Solomon (Link) (center), Kaisa Nichols-Russell (Tracy) (right), and Magdalena Kowalska (Tammy) (left) n ‘Hairspray.’ Photo by Diane Russell.
If you were allowed to perform one role on the stage – what role would it be? And why this role?
If I could take on any role, I’m not sure I’d be ready for one of this magnitude, but to be one of the characters in Buried Child would be a very meaningful experience I think. My father took me to see the show when I was very young, and I think the complete darkness enveloping the story had a particularly strong emotional impact on me compared to all the other shows I’ve seen, especially since I saw it at such a young age.
What skills do you still need to work on to make you better on stage than you are now?
I need to work on everything about my acting. I think everything can always be improved, because no one has used their skills in every show ever, and I think with every show the actor gains a little more knowledge and gets a little better.
What advice would would be other college-bound actors who are considering a career in the theater?
I would advise someone else entering their freshman year of college and is interested in theater to pursue it as far as they would like. College offers lots of great opportunities for those involved in the theater world. I think what all actors have to remember is that theater is a difficult realm to find success in, but it’s rewarding, nonetheless.
The Washington Chorus, marking the 200th anniversary of Giuseppe Verdi’s birth with a series of concerts, offered the sixth on Sunday evening, with a program of arias, scenes and choruses from his most popular operas and liturgical music conducted by Music Director Julian Wachner, and featuring 10 accomplished soloists.
The concert opened with the storied “Va, pensiero” from Nabucco, a choral work that transcended its operatic origins to become, and remains, even now—just five years ago, an Italian senator proposed replacing the national anthem with it—a hymn of patriotism and liberation in Italy. While it was competently done, the dynamics correctly observed, the performance lacked the emotional component one might expect it to have in view of the work’s musical and historical context.
“La donna è mobile” from Rigoletto is another piece whose popularity has crossed musical and cultural borders, having been recorded by everyone from Luciano Pavarotti, to Alvin and the Chipmunks. (Plus some Scrubbing Bubbles). Placing anyone who attempts it implicitly up against some very . . . varied expectations. And tenor John McVeigh met most of the best of them, caressing and sustaining the G# in “muta d’accento,” ending the phrase in a fine diminuendo (a popular approach, though the score is marked forte, and there’s no fermata). In addition, McVeigh’s rakish demeanor was dramatically persuasive, helping carry the day at the end.
Introducing the “Libera me” from the Messa di Requiem, also known as the Manzoni Requiem, Wachner offered an affable but scholarly insight into the complicated genesis of the piece, originally composed as part of a collaborative effort of Italian composers, suggested by Verdi to commemorate the recent death of Gioacchino Rossini. Although the effort fell apart at the eleventh hour—“When you get a bunch of composers in a room . . .” observed the conductor drolly—Verdi continued with his own part of it, which five years later would become part of his own musical commemoration of the death of the writer and humanist Alessandro Manzoni.
As the “Libera me” began, the soprano, Corinne Winters, took full command, her voice clear and sure, the chorus, under Wachtner’s careful control, responding sotto voce in Verdi’s deceptively lulling echo, or—for those who know the work—breath-holding harbinger of what was to come. The harrowing “Dies irae” would not, however, come into its own until the recapitulation, when chorus and orchestra came together in terrifying unison, the timpani crashing with apocalyptic force, Wachner attentive and assertive as he swept them into compelling form, the chorus singly superbly and articulating the words with precision. Winters was especially effective in the concluding high B-flat, “Requi-em!”, the note soaring ethereally.
The Washington Chorus.
The mood was quickly broken—although, for some of us of an earlier generation, not without some of our synapses snapping—with another operatic popcorn favorite: The “Anvil Chorus” from Il trovatore, which was brought off enthusiastically, the singers, orchestra and conductor all getting into its steady, rhythmic pulse. It was followed (although not in the program) by a thrilling performance of Azucena’s fiery “Stride la vampa” by mezzo-soprano Ola Rafalo, whose imperious manner and dark, sultry chest voice, exploding in a ravishingly focused high G, captured the character’s passionate fury.
In another musical/emotional disconnect, this was followed by the “Sanctus” from the Requiem, then: a series of selections, choral and solo, from La traviata. The women seemed to enjoy singing the gypsy song, “Noi siamo zingarelle,” but it wasn’t exactly idiomatic in sensation—i.e., musical sensibility—or pronunciation. Corinne Winters returned for “Follie! Delirio vano è questo,” and did it well; though she didn’t milk it for its powerful emotional quotient the first time, she absolutely nailed it on the recapitulation, sailing the high E-flat out of the ballpark. (A magnificent tenor voice, which this writer later found out belonged to one Peter Scott Drackley, popped up in the chorus to respond as Alfredo in the “Sempre libera.”)
Wachtner, who seemed to enjoy educating the audience almost as much as conducting the chorus and orchestra, greeted us upon our return from intermission with a verbal précis on Verdi’s musical sophistication. Classical music instruction here being rooted in the Germanic musical tradition, we are trained to view the Italian—if only by dint of its not so being—as somewhat less significant, he said, then invited us to contemplate the fugual structure of Falstaff should we wish to rethink that assumption.
While Falstaff was not on the program, the “Te deum,” the fourth and final piece of Verdi’s Quatro pezzi sacri, was. Here the chorus and orchestra, in precise alignment, followed a barely audible sempre pp with a fortissimo eruption that fairly blew the rafters off the Concert Hall, the chorus following up with a positively (in both senses of the word) ear-splitting “coeli et terra maies-taaaaa-tis!”
The final selections of the evening were from Act 2, Scene 2 of Aida. The trumpet and flute soloists excelled in the Triumphal March, playing with verve and precision. Basso Peter Volpe was a richly voiced, solemn King, while baritone Stephen Salters was a lyrical Amonasro and tenor Isaachah Savage a stunningly dramatic Radames. Othalie Graham’s voice rang out in declamatory style as Aida. (As did her attire; her fire-engine-red gown with silver-studded bodice below a plunging, silver-framed neckline was a knockout). The chorus joined the six singers in a robust reading as the Act, and the concert, concluded.
Tengo familgia! In English it doesn’t translate to anything more than “support your family” but in Italian it means so much more. Prince George’s Little Theatreis proud to present Over the River and Through the Woods, a heartwarming comic story of love and family. All of the important life lessons come to us from the most important people in life, and this production reminds us of that. Directed by Frank Pasqualino, this touching tale has something that everyone can relate to— even if you aren’t Italian, even if you didn’t grow up in an enormous family. There is a true family feel to the production, the acting is divine and really drives the message home to everyone in the audience, regardless of your nationality or how many first cousins you have.
(l to r) Nick (Brian McDermott), Caitlin (Elizabeth Heir), Aida (Lois DeVincent), Nunzio (John Shackelford), and Frank (Ken Kienas). Photo courtesy of Prince George’s Little Theatre.
Set in 1998 in Hoboken, New Jersey, the Gianelli home lives up to the stereotypical expectation of an Italian family home compliments of the show’s Director, Frank Pasqualino, who also serves as the show’s Set Designer. The furnishings are comfortable but modest and there are crosses and Catholic religious paraphernalia tastefully donning the walls. The warm orangeish yellow wall tones, offset by the bright pea-olive green kitchen, practically radiate heat creating that sweltering atmosphere that Nick so often describes.
Pasqualino’s vision for the family is actualized with the talented cast he recruits into the production. Putting on the Italian-by-way-of-Jersey accents is no small feat, even more so to execute it in a fashion that doesn’t sound contrived or melodramatic and the cast succeeds greatly in this endeavor. A further successful achievement from those cast as the grandparents is their ability to be consistently loud and boisterous in their generic conversations; an homage to the Italian way of life. While some might find this approach obnoxious, it was fitted perfectly into the story and gave the characters even more robust character.
The momentary outsider, Caitlin O’Hare (Elizabeth Heir) held her own a performance filled with loud commotion-driven characters. Heir played the quiet and polite Irish girl come to dinner as a ploy to keep Nick in town. While Heir’s appearance throughout the show is brief she makes her moments memorable with her genuine approach to her dialogue with Nick and her overall mild mannerisms; a perfect foil to the ceaseless noise coming from inside the Gianelli home.
The four grandparents are truly character; pieces of fine Italian woodwork honed into memorable representations of everyone’s grandparents while still having the zesty Italian flare to their personas. The kinship they share is easily spotted; bright and brilliant, radiating love and compassion toward one another. The quartet creates moments of burbling commotion when they all start discussing (and often complaining) to each other all at once, talking over each other and shouting loudly to be heard. It is these little moments of verbal action that really drive home their family ties, grounding the performance in their passionate lifestyle.
Nunzio (John Shackelford) is perhaps the quietest of the four, if such a word could be used to describe them. Shackelford has animated eyes and uses this to make his stories entertaining. His particular lament about senior bus trips is highly amusing, especially when he starts adding flailing gestures to highlight the details. There is a more somber side to Shackelford’s portrayal, however, a story and a series of feelings that really swell the tears to your eyes.
His marriage to Emma (Millie Ferrara) is quite the unusual union as Ferrara makes it clear from the start that her character wears the pants in the partnership. Ferrara is a powder keg ready to crack at any moment, a pistol of a person that really plays her character to the epitome of over-the-top. As the queen meddler, Ferrara wrangles a great deal of laughter from the audience when her plots— that she never even attempts to disguise— are unveiled. The give-and-take relationship Ferrara creates with Shackelford adds further comic moments to the production, each knowing the other as if they really had been married all fifty of those years.
Frank (Ken Kienas) and Aida (Lois DeVincent) are of a similar nature in their relationship, each complaining at the other, fighting for who is right in any given situations, both thinking that they are. Kienas is a kindly character that has a great deal to complain about, his complaining only outdone by DeVincent’s character. The love they share not only between each other but for their grandson Nick (Brian McDermott) is truly inspiring. Kienas and DeVincent have a sharp understanding of comic timing, popping in at just the right moment to deliver a line or a joke, and reacting in kind when the other does so. Their portrayals are both sagely and entertaining; teaching us that there is perhaps just a little bit more to life than just food.
Brian McDermott serves as the show’s narrating force. While still in the play with the grandparents, McDermott’s character is often addressing the audience with little asides or full soliloquies. His accent is stronger when he’s in-scene with his grandparents; just like anyone who has moved away from their family and goes back for a visit. But it’s his relationship with them— growing and evolving as the show progresses to its bittersweet conclusion— that is worthy of praise. McDermott can be just as loud as the rest of them, especially when he’s unable to get a word in edgewise, and finds the more subtle mellow moments to thrive in as well. A great performance, our Italian translator as it were, giving us a chance to experience life the way it was meant to be; with great food (and a lot of it) and a loving family.
(l to r) Nick (Brian McDermott), Nunzio (John Shackelford), Aida (Lois DeVincent), Caitlin (Elizabeth Heir), and Frank (Ken Kienas). Photo courtesy of Prince George’s Little Theatre.
So ask yourself, can you ever truly put a price on someone’s love and devotion? How much would you pay to spend time with your family? Seeing the PGLT production of Over the River and Through the Woods might help you answer those questions.
Running Time: Approximately two hours, with one intermission.
Over the River and Through the Woodsplays through January 25, 2014 at Prince George’s Little Theatre performing at The Bowie Playhouse—White Marsh Park Drive, in Bowie, MD. For tickets please call the box office at (410) 415-3513 or purchase themonline.
American University staged a very special reading of a very special musical Signs of Lifeabout an important part of our history. It was billed as a drama with music, and that is the simple truth of this extraordinary piece.
A woman named Virginia Criste travelled to the Czech Republic to learn more about Terazin or Teresienstadt in German), a unique ghetto set up by the Nazis for the artists, painters, and “privileged” Jews where her Grandparents died. She commissioned this musical to remember. Music is – and I think always will be – how we tell our most difficult and painful stories. Ms. Criste was in the audience for this performance.
Peter Ullian wrote the book – a tight script layered with meaning and many moments of subtle humor and solid impact. He explores all the ways people cope – by obeying, fighting, subverting, or working the system, both in acts of selfishness and selflessness. He weaves together the stories of his characters so well. It is an ensemble piece about two German officers and seven Jews and spans a time in Terazin just before and after a visit by the Red Cross as they attempt to beautify everything, including staging a play within a play, and trying to survive by staying off the transport trains “East.” East of Terazin is Auschwitz and the powerful song “Home Again Soon” as they discover just what that means is heart-wrenching.
Len Schiff wrote the lyrics and Joel Derfner wrote the music, a combination of jazzy, and 40’s, (at one point people were scat singing in Yiddish in “Golemspiel”), mixed with ballads like “Find a Way to Live” and complicated sung conversations more reminiscent of a rock opera than a musical in “City for the Jews” as the Red Cross visits and “Seder.” I hope they release a CD as I found myself wanting to listen again.
The play opens with the ensemble song “Something Out of Nothing” exploring both the art of survival and the art of making art. This production, directed by American University Professor Gail Humphries Mardirosian, truly made something out of nothing from the first affecting moments of two soldiers offering a silent “Heil Hitler!” to the sound of a train pulling into the station, to an almost complete staging of the work with only a week of rehearsal. Musical Director Christopher Wingert played the piano, and a few recorded sounds rounded out the atmosphere. A narrator (James Randle) reads out locations and stage directions to paint a more complete picture of the work.
Two video screens with pictures of real art from Terazin play silently in the background. Izzy Bartolotta, who also plays Berta Pluhar, designed the set. She sings “I Will Forget” at the end in a nuanced performance of this difficult role.
The production received some tips from veteran Broadway Director, arranger and composer Paul Bogaev, who won his first Grammy Award for Aida. He consulted on the project and staged a Master Class with the cast.
The cast members are all talented singers and actors. They are American University students and alumni, plus 12-year-old Ethan Miller (Wulfie Schumann) from the local program BRAVO@KAT, training for young actors with Kensington Arts Theatre. Miller is as precocious as his character with a beautiful singing voice and great poise.
Ben Gibson (Officer Heindel) and Shannon McArdle (Commandant Rahm) play German officers with slightly over-the-top accents, but bring excellent menace in their roles as bureaucrat and believer. Gibson has a very powerful voice for his song “Good,” where he justifies what he’s done. Matt Rubbelke and Lisa Michelle (Simon Muller and Lorelei Schumann) play young lovers in the camp who get caught up in resistance through art. They are sweet together with good chemistry and strong voices. John Fritz (Kurt Gerard) plays a famous celebrity who must grow a conscience in his powerful solo “To Make a Man.” Joel Iscaro plays a Jew, a Soviet, and an American Red Cross worker, transforming for each role. Tony Cohn (Jacob Schumann) is the patriarch who easily summons the gravitas of a much, much older man.
From here, members of the production will travel to the Czech Republic and perform at Terazin itself. This musical is an important addition to the vital work of remembrance and a beautiful, worthy piece of art all on its own. The residents of Terazin showed how vital art is to being human, and watching these young actors explore the humor, heart, and heartbreak made for the most inspirational piece of theater I have seen in a long time.
Running Time: Two hours, with one 15-minute introduction.
Signs of Lifeended its run today at American University’s The Katzen Arts Center – 4400 Massachusetts Avenue, NW, in Washington, DC. For future events, check their calendar of events.
Adam Pascal, Broadway singing and acting sensation of such past hits as Rent, Aida, and Cabaret, walked out on to the stage of The Kennedy Center’s Terrace Theater and held the audience in the palm of his hands, with a combination of full-throttled singing, edgy banter and a distinctly urban New York City demeanor and flair. Currently starring on the Great White Way in the long-running revival of Chicago, Pascal is a very versatile and audacious talent. From the moment he sauntered onto the stage casually dressed in a form-fitting shirt, jeans and sneakers, Pascal had an assured yet laid-back manner. Pascal admitted he felt slightly out-of-place in such a hoity- toity venue and then launched into an interesting adaptation of a song he loved from a show he hated, namely a very striking interpretation of the song “Memory” from the musical Cats.
Adam Pascal. Photo courtesy of The Kennedy Center.
After some very amusing patter concerning his narration of a Discovery Channel special on the hippopotamus, Pascal was joined on stage by his Musical Director, Co-Writer and Pianist Larry Edoff and Gary Selligson on Drums. Edoff and Selligson backed Pascal up as tightly and fluidly as any back-up combo I have ever seen on The Kennedy Center cabaret stage. They very solidly abetted Pascal in fusing theatrical, rock, and jazz tones to the musical numbers in this intimate and engaging evening.
Pascal has a very broad range and can reach almost falsetto-like tones and, then, jump down to a much lower register within micro-seconds. He takes each line of a song and caresses it with this almost precocious vocalizing and. then, boldly empowers and enriches his interpretations with confident careening from crooning to belting with a mix of theatrical bravado combined with a subversive and iconoclastic hard rock edge. This amazing one-hour set of songs continued with a medley of the song “Love” and Stephen Sondheim’s moving “Johanna” from Sweeney Todd. Pascal then sang an intriguing piece he had written about his child entitled “Beautiful Song.”
A standout in the evening was a tender and jazz-infused version of Sondheim’s “Maria” from WestSide Story. Even more of a standout in an evening of high-points was a dynamic medley of the song “I Don’t Care Much” from Cabaret interspersed with Elton John’s raucous “Rocket Man.” There were some members of the audience standing up to applaud this infectious and captivating medley.
This lively evening continued with a mesmerizing medley of Sondheim’s “Not a Day Goes By” from the musical Merrily We Roll Along intermingled with the evocative song “Fade Out.” Pascal had a very funny bit of patter about his enthusiasm to attend the premiere of Howard Stern’s new film and what ensued as he and his friend trod the red carpet. This was followed by a plunge into the haunting tones of the song “Single Drop.”
The Grammy-nominated song “Love Will Always Come Back” had Mr. Edoff playing and singing solo at the piano with intensity and feeling to be joined by Pascal at the echoing refrains to very resonant effect. As the show propelled to its’ conclusion, the audience applauded wildly and rose to its’ feet to demand an encore and Pascal satisfied one and all with a beautiful and rousing encore of the song “Glory” from his famous hit Rent.
Adam Pascal is a singular and unique talent and he – indeed – confirmed it with this engaging evening.
Running Time: 70 minutes, with no intermission.
Adam Pascalperformed as part of Barbara Cook’s Spotlight Series on May 10, 2013 at The Kennedy Center – 2700 F Street, NW, in Washington, DC. For more information on future Kennedy Center events, visit their website.
In our final interview and article about Young Artists of America and Maryland Classic Youth Orchestras’ joint production of Madama Butterfly & Miss Saigon on Sunday, March 10th at 4 PM at Strathmore, Kristofer Sanz takes us behind the scenes of conducting over 130 musicians and singers while preparing for this Sunday’s performance.
Joel:We have already heard from the singers, so now we’d love for you to share some perspective from the orchestral point of view. This production is a collaboration between Young Artists of America and Maryland Classic Youth Orchestras. You are the conductor of the MCYO Philharmonic Orchestra. How did rehearsing for Madama Butterfly &Miss Saigon differ from a regular rehearsal at MCYO?
Kris: This concert rotation focuses on a different style of music and playing than the Philharmonic is used to doing for their concerts. We have spent much time in rehearsal not only preparing the music but also taking time to discuss and fully understand the different roles an orchestra can play. Through this open discourse, we have realized how emotionally powerful playing vocal music can actually be for both audiences as well as the musicians playing. Any time one adds the human voice to the awesome power of a full symphonic orchestra, a new organic, living and breathing musical creature is created. With the addition of the professional and student voices, the orchestra is no longer bound to strictly instrumental notes and rhythms, but instead is part of a symbiotic relationship which truly allows music to be conveyed on a different level.
Since Miss Saigon is a musical and Madama Butterfly is an opera, how difficult was it for you to merge the scores for music written in such different times and in such different styles?
These two scores were actually not very difficult to weave together. Much thought was put into the merging of these two works and the orchestra. Because both works are scored for full symphonic orchestra, the orchestra is able to flow seamlessly back and forth between both lush scores. Even though the scores are separated by about 80 years, both composers were masters of melodies and truly portraying deep human emotions in their work
How familiar were the musicians with these two scores prior to this production?
When we first began this journey, very few of the musicians were familiar with the scores. While many knew one or two songs from either Saigon or Butterfly, few understood the while story or the magnitude of emotions that they were going to be in charge of creating with their playing.
What are some of the challenges you have had training musicians to perform with singers?
The main challenge involved with preparing this work is that many of the young musicians have never performed with singers. While symphonic orchestral works are self-sufficient and use a wide range of instrumental colors to portray different themes and moods, when singers are added, a new living breathing element is added. When orchestral musicians perform with singers, string players especially need to be focus on the breathing and phrasing of their musical lines since, unlike singers, they are able to sustain sound endlessly. When performing opera, instrumentalists not only need to perform their part perfectly in terms of pitch and phrasing but they need to watch the conductor more closely, listen to how their sections fit in to the texture of sound, and need to listen and match singers to make sure that they are creating the right atmosphere to help support the text and melodic lines.
Kristofer Sanz rehearsing with harpists Monika Vasey, Vivian Franks, and Nora Kelsall.
This is a unique production because YAA is collaborating with MCYO. On an ongoing basis, how can talented young instrumentalists become involved with future YAA concerts and productions?
Every September, YAA holds auditions for its Colla Voce Orchestra which performs two concerts a year. If students are interested in performing more music like Butterfly & Saigon we would love to have them come out and audition for our program. Because the Colla Voce Orchestra performs in the fall and spring semesters, we also welcome instrumentalists to join us halfway through the year for our Spring concert.
What it is like for you and for your musicians to know that all of your hard work, preparation, and rehearsal ends with one single performance? What will all of you be thinking about on the downbeat?
I believe that one single performance allows our musicians to experience what it feels like to give all of themselves emotionally and physically in one afternoon While the excitement has been building up each week at rehearsal, we are all getting very anxious for that moment of release which will come with the first downbeat. Once that first downbeat is given, all of our pent-up angst and passion will flow out in one gang buster and emotionally charged performance. This is going to be a very powerful event and I can’t wait to walk out on March 10th, greet the orchestra, greet the audience, smile, touch my heart (my signal to the orchestra to remember to play from the soul), and open the floodgates!
Madama Butterfly & Miss Saigon will be presented on the main stage of The Music Center at Strathmore at 4 pm on Sunday, March 10, 2013. For tickets, purchase them by phone (301) 581-5100, or online.
LINKS Meet The Student Vocal Soloists of YAA & MCYO’s ‘Madama Butterly & Miss Saigon’ on 3/10/13@4 @ Strathmore by Joel Markowitz.
Meet The Guest Soloists of YAA & MCYO’s ‘Madama Butterly & Miss Saigon’ on 3/10/13@4 at Strathmore by Rolando Sanz
Rolando & Kristofer Sanz on Young Artists of America’s Concert: ‘Madama Butterfly & Miss Saigon’ on 3/10/13@4
Meet the the student vocal soloists (who are high school students) who will be singing the roles in Miss Saigon at Young Artists of America and Maryland Classic Youth Orchestras’ production of Madama Butterfly and Miss Saigon, which will be performed at The Music Center at Strathmore on Sunday, March 10th at 4 PM.
The production will feature over 130 performers in various roles. The orchestra is the Maryland Classic Youth Orchestras Philharmonic, made up of 85 of the brightest and talented young instrumentalists in the DC Metro area. The cast from Young Artists of America consists of 30 young vocalists from over 14 schools in Maryland, DC, and Virginia. The concert also features 15 members of the Women’s Chorus of the American Center for Puccini Studies who will lend their expertise in the operatic selections. All in all, over 130 performers will take the Strathmore stage on Sunday, March 10th at 4 PM.
Meet Wesley Diener (John), Gillian Han (Gigi), Eitan Mazia (Chris), Adam Settlage (John), Nicole Sergeyko (Ellen), and Chani Wereley (Kim).
Wesley Diener (The Engineer)
Wesley Diener (The Engineer).
How did you feel when you were selected for this role? What did you do to prepare for your audition?
When I initially received the role, I was so excited, but also surprised because there are so many talented people who auditioned. I was extremely honored to be granted the opportunity to perform as part of such a prestigious organization. To prepare for the audition, I practiced the audition excerpt repeatedly and researched the show itself, as it was previously completely unknown to me.
How have you been preparing for your performance? Are there any particularly challenging aspects of this piece?
The Engineer requires a lot of energy and characterization. At first, it was challenging to embody this larger-than-life role, but now I love to let loose and embrace the Engineer’s flaws. I was also initially wary of some of the higher notes in the score, but Rolando helped me build my confidence and ease out the more difficult sections.
What kind of training have you been receiving?
Singing has always been a major part of my life, but I have only been taking voice lessons for a year. I also have a strong instrumental background; I play violin and piano, and my mom and grandparents are talented musicians as well. In regards to acting, I have been performing since I was eight years-old, so I really feel at home when I am on the stage.
Is this your first YAA production? What is unique about Young Artists of America?
I performed in YAA’s fall concert Martyrs, but this is my first main stage with the organization. My favorite part about YAA is the professionalism that is always present. Each rehearsal is conducted with efficiency and direction that makes the learning experience so beneficial. I also appreciate that YAA allows students to participate in mature musical theater productions with a focus on vocalization because so many organizations prioritize the other aspects of theater.
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Wesley Diener, a junior at James Madison High School in Vienna, Virginia, is pleased to be part of a production of this calibre. Wesley has been involved in the performing arts since the age of eight and has been on stage and in the pit for many school and community productions through the years. Favorite musical theatre roles include Charlie and Augustus Gloop in Willy Wonka, Luther Rosser in The Theatre Lab’s Parade, and Mr. Twimble/Mr. Womper in Madison’s How To Succeed in Business, which culminated in a performance at the Kennedy Center for the Cappies Gala and the Cappie for Best Song. He will be appearing as Horton in Seussical with Pied Piper Theatre in April.
At Madison, Wesley is a member of the Philharmonic Orchestra, president of Model UN, clerk of the Thespian Honor Society, Set Crew Chief and Cappie Critic. He would like to thank his family for their support, including his grandparents who attend all of his performances; his violin teacher, Alex Morrison for starting his musical journey; and Rolando Sanz for giving him this opportunity and for all of his guidance.
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Gillian Jackson Han (Gigi Van Tranh).
Gillian Jackson Han (Gigi Van Tranh).
How did you feel when you were selected for this role? What did you do to prepare for your audition?
I was completely elated and so anxious to begin rehearsing! To prepare, I listened to my audition piece on repeat and practiced it over and over until I had it down.
How have you been preparing for your performance? Are there any particularly challenging aspects of this piece?
Listening to and reviewing the music every day. Especially the Italian parts of Madama Butterfly. The Puccini is some of the most challenging music I’ve ever had to learn, but it is quite rewarding when we finally get it.
What kind of training have you been receiving?
I’ve been taking private voice lessons for several years.
Is this your first YAA production? What is unique about Young Artists of America?
This is my second YAA production! Young Artists of America is definitely unique. No matter what the casting, everyone always feels important to the show and we as students have the opportunity to partake in spectacular productions unlike what any other youth organizations provide. Working with YAA is an incredible experience.
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Gillian Jackson Han (Gigi) is 16 and currently a sophomore at BCC High School. She has been in various productions at Imagination Stage, most recently Pippin (Catherine). At the French Woods Festival, she has been in Mack and Mabel (Sennett Bathing Beauty) and Merrily We Roll Along (Dory). School productions include Bye Bye Birdie (Kim McAfee) and The Music Man (Zaneeta Shinn). With YAA, she is proud to have been a cast member of The Phantom of the Opera. She thanks her supportive family, amazing cast-mates, and the team that went above and beyond in making this production possible!
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Eitan Mazia (Christopher Scott).
Eitan Mazia (Christopher Scott).
How did you feel when you learned you were selected for this role? How did you prepare for your audition?
While I was extremely excited to have been given the opportunity to play Chris in this boundary breaking production, I was also a bit nervous knowing the “pop-rock tenor” vocal style the role usually entails. I worked diligently with my voice teacher, Rosemary Dyer, in order to comfortably sing and act the assigned excerpt of “Why God Why.”
How have you been preparing for your performance? Are there any particularly challenging aspects of this piece?
I have been trying my best to apply Rolando’s notes quickly during rehearsals, and spending time during my school classes brainstorming how I want to portray Chris rather than actually paying attention to my teachers (fortunately, I still manage to do fine in school). This is a fantastic opportunity for me, and I want to make the best of it. The most challenging aspect of this role has definitely been a section of the song “Ellen and Chris.” While the song is rhythmically confusing, singing up in the stratosphere for a few pages doesn’t help much. Thankfully, with the help of Rolando, I am able to sing the entire role comfortably from start to finish.
What kind of training are you receiving?
I take voice lessons with Rosemary Dyer, and hip hop, jazz, modern, and ballet classes with CityDance at Strathmore.
Is this your first YAA production? What is unique about YAA?
No, my first YAA production was The Phantom of the Opera, where I fell in love with all this unbelievable organization offers. Even when I thought YAA couldn’t get any better, it continues to surprise me by giving me this opportunity to sing at Strathmore, and introducing me to brilliant musicians. I can never believe the talented people I work with are all around my age. Their dedication and talent is way beyond their years, and YAA’s ability to find all these fantastic young musicians and bring them together to create real music is amazing. The combination of musical theatre and opera training has never been offered to this calibre. What young musicians can learn in this program cannot be found in most other places.
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Eitan Mazia (Chris) is a 17 year-old Junior at Walter Johnson High School. Recent credits include Phantom in The Phantom of the Opera (YAA) (won 2012 “Best Performance by Lead Actor in a Musical’ on DCMetroTheaterArts); Tom Collinsin Rent, Narratorin Blood Brothers, Woof in Hair, Emmett in Legally Blonde, Pippinin Pippin and Otto/Ulbrechtin Spring Awakening (Act Two@Levine); Adamin Children of Eden (CCTA Teen Prof. Theater); Emcee Cabaret; Chip inSpellingBee, Sid inThe Pajama Game, Gaston inBeauty & the Beast (MTC);George inSchool House Rock – Live(KAT); many school productions and more. He also sang in Young Artists of America’s Martyrs concert last December. Eitan is thrilled to be a part of this amazing production and wants to thank Rolando and Kris Sanz, along with Alan Paul, for their excellent mentoring. He thanks his family for their support, and especially the brilliant musicians of MCYO, and his fellow YAA actors, for bringing the best out of his performance.
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Adam Settlage (John).
Adam Settlage (John).
How did you feel when you were selected for this role? What did you do to prepare for your audition?
I felt nervous to be taking on a lead role in a kind of show I had never done before. To get ready for my audition, I prepared the audition selections and studied them until I had them memorized.
How have you been preparing for your performance? Are there any particularly challenging aspects of this piece?
I have been preparing twice a week with the rest of the cast to learn the music, but have taken time at home to memorize as well. This show is a very interesting show seeing how something like it has never been done before, but overall I would say the music is really great and a challenge to learn well
What kind of training have you been receiving?
About the same time that I joined YAA, I also started taking vocal lessons, so my official vocal training only consists of a little more than a month, but Rolando Sanz has taught me things as well that are so important for me to have learned to be able to perform this difficult role.
Is this your first YAA production? What is unique about Young Artists of America?
This is my first YAA performance, and when I came to the first rehearsal, I noticed right away that it was a great environment to be in and yet we get so much work done in one rehearsal, unlike most high school level productions.
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Adam Settlage (John) is a junior at Winston Churchill High School, and is excited to be part of his first “non-school” production! After being coerced into auditioning for the middle school production of H.M.S. Pinafore in 8th grade, Adam was bitten by the stage bug and immediately decided to audition for the choral department at Churchill. His freshman year found him singing in two choirs, including Churchill’s premier show choir, Showstoppers. He added even more dancing to the mix that year with a small part in the CHS musical, Anything Goes. But it was his sophomore year that solidified his love of song and dance, with a hands-down-favorite winning performance in “Churchill’s Got Talent,” an a cappella National Anthem solo for Churchill’s first football playoff game, solo and supporting performances in Blast-Revolution, and the leading male role of Emmett Forrest in last year’s stellar production of Legally Blonde.
This year has been a non-stop ride from one production to another, as Adam continues to broaden his experience and repertoire. From a hard rockin’ solo of “Love Somebody” (Blast-American Bandstand) to his return performance as reigning champion of Churchill’s Got Talent (channeling Michael Bublé with “Feeling Good”), to the challenging vocals of John in this glamorous production of Madama Butterfly/Miss Saigon, Adam is exactly where he wants to be: onstage with a mic. He can be seen next in the upcoming CHS production of Peter Pan.
Adam would like to thank his family and friends for their love and support, and both Sanz brothers for the opportunity to be a part of this amazing experience.
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Nicole Sergeyko (Ellen).
Nicole Sergeyko (Ellen).
How did you feel when you were selected for this role? What did you do to prepare for your audition?
I was so excited when I found out I was cast as Ellen! I’ve always wanted to play the role because I feel that beneath the surface of “Chris’ wife” or “the other woman” that the audience expects, there is so much potential for depth, and I feel so fortunate that I get perform my take on it.
To prepare for the audition, I struggled a bit in choosing between the lower or higher keys for the audition repertoire, because I felt like in order to get the role I wanted (Ellen) I would need to present myself in a very particular way. I ended up choosing the piece that flattered my voice best, even though it wasn’t “quintessentially Ellen.” In the end it proved to be the right decision! The directorial team worked with me to see how I would fit any role they had me in mind for because I showed them the best my voice could sound instead of trying to mold into what I thought their expectations for the role were.
How have you been preparing for your performance? Are there any particularly challenging aspects of this piece?
Since I found out I was cast as Ellen I’ve been so excited to start preparing for this role. Madama Butterfly was the first opera I saw as a child and I’ve been completely obsessed since. Before I heard Miss Saigon I didn’t think the music would be anything like Butterfly, but it’s so stunningly beautiful and quite difficult. I started preparing for my role by listening to the Saigon cast CD alongside the score. I wanted to understand the show entirely before diving into my character. After that, I looked at my individual pieces and wrote out the emotions line-by-line. It’s been my goal to be as thorough as possible in playing this role. During the group rehearsal process, we speak the text in rhythm before adding music, which makes memorization much easier, and really helps when working with such a large orchestra. The rhythms in this show are among the most difficult I’ve ever had to work through, so it’s nice to be able to go so in depth during the rehearsal process while we have experienced musicians like Rolando and Kris to train us.
What kind of training have you been receiving?
I take voice lessons and coach my repertoire regularly. I’ve been operatically trained for most of my singing study, and Ellen doesn’t call for that at all. While at YAA, Rolando has taught me how to safely use the lower part of my voice efficiently without interfering with my classical training. My coach, George Peachey, has been very helpful with emotional connection to the text, diction, rhythm, etc. I definitely have them to thank for all of my technique!
Is this your first YAA production? What is unique about Young Artists of America?
This is actually my fifth production with YAA. I started out in Villains as a soloist last year, and then moved on to play Madame Giry in The Phantom of the Opera. YAA is an absolutely amazing organization. Singers have the opportunity to perform huge works with full orchestration under the direction of the best musicians in the DC area. We are trained like professional musicians and are expected to conduct ourselves as such, (i.e. having our pieces memorized as soon as possible, being very efficient during rehearsals). I’m currently in the process of auditioning for conservatories for classical vocal performance, and after two years with YAA I feel totally prepared to enter college level training for the “real world” of performance.
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Nicole Sergeyko (Ellen) s a senior at Richard Montgomery High School. She has been performing with Young Artists of America since Fall 2011. Recent credits include Marian Paroo in The Music Man, Rose Lennox in The Secret Garden, Rona in The 25th Annual Putnam County Spelling Bee, Madame Giry in The Phantom of the Opera, as well as performances as a soloist in concerts of the Rutter Requiem, YAA’s Villains, and YAA’s Martyrs. She plans to pursue classical vocal performance in college next year.
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Chani Wereley (Kim)
Chani Werely.
How did you feel when you were selected for this role? What did you do to prepare for your audition?
When I saw the cast list with my name next to Kim, I was more than ecstatic. I have always dreamed of playing Kim and I was so happy that I would have the opportunity to not only perform the role, but also perform it at the main stage at Strathmore. To prepare for my audition, I learned, analyzed, and memorized. the music and lyrics; then I just got into the mindset that I could only do my best and go from there. I sang “I’d Give My Life For You,” the act one finale, at my audition.
How have you been preparing for your performance? Are there any particularly challenging aspects of this piece?
I have been doing textual analysis of the music ever since they gave us the scores. Miss Saigon is a very rich score, both musically and lyrically, so I looked at everything and tried to make sense of the character in my mind. The challenging aspect of Kim is that she is so complicated as a person. She is emotional but sometimes reserved and is so tender but strong, and on top of that she’s gone through so much that I can’t even imagine happening to me. I think it’s difficult for a person my age who hasn’t felt any of the pain or true love that Kim has felt – to truly capture each emotion. I’m still working hard on that.
What kind of training have you been receiving?
I have been taking voice lessons on and off since my sophomore from a couple voice teachers. Currently, I am studying with Marilyn Moore, and she has helped me a lot both with the technical and artistic aspect of singing. During rehearsal, Rolando has pushed me outside my comfort zone to get the best sound and emotional take on the music.
Is this your first YAA production? What is unique about Young Artists of America?
This is not my first YAA production. I’ve done every YAA production, except Martyrs, since the very first Inaugural Concert a while back. I love the fact that students around my age get the change to work with a full orchestra and professional singers on very difficult music. The first concert, we got to sing with Eleasha Gamble. I talked to her afterwards and she really inspired me to at least try and pursue this. I’m sure she doesn’t remember but that’s the magic of YAA. It’s a totally different experience than any school or community theatre.
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Chani Wereley (KIM), 17, is a senior at Winston Churchill High School and has been performing in school and community productions in the DC area since she was in middle school. Having been in several operettas of the Gilbert and Sullivan variety at Hoover, at the Opera Naples company in Florida, and in the Fringe Festival during middle school, she auditioned for show choir her freshman year and was invited to be in the all-female choir, Simply Irresistible, and her junior year she was invited to the mixed choir, Showstoppers. Her four-year Churchill stage career has included appearances in these musicals: Chicago, Anything Goes (Reno Sweeney), and Legally Blonde (Vivienne Kensington), and the annual production of Blast From the Past as both a soloist, featured dancer, and Vocal Captain. Having been Vocal Captain for the show choirs and for Blast the past three years, she has since decided to become involved with the spring production of Peter Pan solely as the student vocal music director.
Outside of school, Chani has performed at Montgomery College as a part of their Summer Dinner Theatre company for the past two years. Acting as both a performer and as waitstaff, Chani has been seen in Aida and in Hairspray! (Dynamite). At the same time, she has worked part-time for the aerospace department at the University of Maryland building and refurbishing model wind tunnels for educational use. She hopes to pursue musical theatre in college, but would love to maintain her interest and knowledge of aerospace engineering. After years of performance, her parents have always stood by her for constant support, and she would love to thank them for always believing in her.
Madama Butterfly and Miss Saigon will be presented on the main stage of The Music Center at Strathmore at 4 pm on Sunday, March 10, 2013. For tickets, purchase them by phone (301) 581-5100, or online.
Charlie and the Chocolate Factory (Masterworks Broadway)
The production will feature over 130 performers in various roles. The orchestra is the
