Here is Part 5 of a series of interviews with the director, producer, and cast of Reston Community Players’ production of Terrence McNally’s Master Class. Meet Richard Durkin.
Maria Callas.
Maria Callas, one of the most famous opera divas of all time, is teaching a master class in front of a live audience at Reston Community Center’s CenterStage from January 15-30, 2016.
Glamorous, commanding, larger than life, caustic, and surprisingly drop-dead funny, Maria is alternately dismayed and impressed by the three students who bravely enter the music studio at Juilliard, hoping for a gram of inspiration from the famed soprano. Maria frequently retreats into recollections of her own life and triumphs at La Scala with searing monologues about the unforgiving press, her affair with Aristotle Onassis, and her sacrifice taken in the name of art.
https://youtu.be/Jhh9BRhcNGI
Diane Jackson Schnoor: Please introduce yourself to our readers.
Richard Durkin. Photo by Traci J Brooks Studios.
My name is Richard Durkin, and I am playing the part of Stagehand in Master Class. I’ve had the honor of appearing onstage twice with Reston Community Players, most recently as Danny and Zeus in Xanadu, and as Underling the Butler in Drowsy Chaperone. Backstage, I’ve been on the mostly unseen tech crew for several shows – as Crew #5 in the musical em>Shrek, for example, I was a part-time “rat wrangler” — jobs like that don’t come up every day! I have also performed many times with Elden Street Players over the years.
What drew you to Master Class?
Master Class is an interesting play within a play, with music intertwined – not a common happening, so it engages audiences in a different way. Also, my role called for a minimal number of rehearsals during the holiday season; that means more time spent with my family (who support my theatrical endeavors).
Who do you play in the show and how do you relate to your character? What do you like most about your character? What do you like least about your character?
As the Stagehand, I am supposed to be seen doing some of the backstage work in this play, which is a change of pace. My costume will also be comfortable – jeans are much better than the carpet-weight costume I once wore in Love’s Labors Lost. My least favorite part of this role? Sitting around between my scenes. But the play really is NOT about me, so that is perfectly okay.
What is your favorite line in the show (yours or somebody else’s) and why?
My favorite line is Sophie’s “Oh” – it is amazing how much feeling can be conveyed with just one word. I think her “Oh” line certainly beats my “Hunh?” line any day!
What advice and suggestions has the director given you that you have found most helpful as you prepare for your role?
I like that Rosemary Hartman has given me specific direction to be snarky, something I don’t normally get to do. Snarky can be fun! Rosemary is also great at bringing out the backstory in the characters we play. It brings texture to the role when I think about the Stagehand’s life, the tiny apartment in which he lives, the number of demanding/petulant artists he has served over the years, where he wanted to be in his career versus where he ended up, and so on. And if we can add our own personal experience to the role, so much the better for us and for the audience.
What is your favorite scene in Master Class that you are in and why?
The scene in which I stare down Lisa Bailey, the woman who plays Maria Callas, after I say “I don’t have a supervisor” – that is my power grab. The Stagehand may not be as famous as Callas, but he can be just as feisty.
What is your favorite scene in Master Class that you are not in and why?
I like watching the scene where Maria reminisces about a past performance while listening to the music from her show. It takes excellent timing to talk, and listen, and pause for the right amount of time to make the scene work. Music and sound cues also have to be tailored to fit. It’s an art.
What makes Master Class special or unique?
Special or unique? I’d refer you back to the first sentence of my answer to question #2. There aren’t many shows like this.
What I admire most about this company is that we respect and like one another, and are dedicated to making this the best possible show for our audiences. That, and the singing. I have not listened to a lot of opera performances, but the quality of the singing in this show is delightful to the ear.
What is the most frightening or daunting thing about presenting Master Class?
Unlike a number of other productions at Reston Community Players, the set for this show is relatively sparse, so the attention will be on the actors. We’ll be drawing the audiences to focus on what we do, more than on how we look or what is happening around us. Challenging, but we are up to the challenge.
What do you hope audiences take away from seeing Master Class?
Good question. I’m hoping it will be an appreciation for seeing “behind the scenes” in the lives of characters who can appear bigger than life on stage, but who have their own human trials and tribulations offstage. And yet, when onstage, these big characters have to overcome their limitations. As Maria puts it so well, “Try isn’t good enough. Do. The theatre isn’t about trying. People don’t leave their homes to watch us try. They come to see us do.” So come see us, do!
Master Class plays from January 15-30, 2016 at Reston Community Players performing at CenterStage at the Reston Community Center – 2310 Colts Neck Road, in Reston, VA. For tickets, call the box office at (703) 476-4500, then press 3 for the 24-hour ticket ordering system, or purchase them online.
CenterStage is handicap accessible and offers listening devices for the hearing impaired.
Maria Callas is an opera icon. If you have never heard of her, think of the ultimate diva and that will give you a bare bones idea of the incredible talent, intense personality, and enduring influence of the woman the opera world called, “La Divina.”
Master Class, currently being performed by the Reston Community Players, was written by Terrance McNally and is loosely based on Maria Callas’ time spent at Juliard holding a voice master class toward the end of her career. Callas criticizes her students on their “look” (or, rather, lack of look) and unpreparedness, while berating them with invaluable points, less on vocal technique and more on the substance and raw emotion necessary for a genuine performance.
The students’ individual characters are mostly irrelevant to the play and serve only to give a taste of Callas’ infamous temperament and impeccable dedication to music, and the classroom scenes merely act as a vehicle for Callas to reveal varied anecdotes of her suffering childhood into her tremendous career, which sends her into extensive flashbacks where she reenacts a series of dramatic moments in her life.
https://www.youtube.com/watch?v=Jhh9BRhcNGI
Directed by Rosemary Hartman, the piece has a good pace and the set design, by Lawrence Gresko, is fitting and natural. Ken and Patti Crowley’s lighting design does a fantastic job of guiding the audience through the transitions from the classroom into Callas’ recollections.
Lisa Anne Bailey plays Maria Callas and wonderfully embodies La Divina’s strong personality and confidence. The role is a monster of a part and carries the majority of the dialogue for the show but Bailey never falters in her command of the stage and does dialect coach, David Segal, proud with her consistent accent.
Lisa Anne Bailey as Maria Callas. Photo by Traci J. Brooks Photography.
Bailey is engaging and her interactions with the students are at times hilarious. She perfectly captures Callas’ matter of fact confidence, which never quite turns into conceit. Callas’ respect and passion for music is inspiring, and Bailey is able to convey that it is the importance of this passion that Callas is trying to instill in her students. She is amazing in the role and commands the stage. It’s a tour de force performance.
Callas’ students, Sophie (Rosemarie S. Greger), Tony (Christopher Cosgrove), and Sharon (Molly Pinson Simoneau), beautifully perform arias from Bellini’s Sonnambula, Puccini’s Tosca, and Verdi’s Macbeth respectively. The voices of the three are beautiful and strong. Simoneau, especially, has a gorgeous tone and there was a moment of awed silence after her final note, before the applause began.
The shows demanding vocals no doubt benefitted from the guidance of Opera Consultant, Adriana Hardy, and Vocal Consultant, David Rohde. The arias are the most definitely the highlight of the show.
Terrance McNally’s Master Class has fascinating content and Reston Community Players put on a magnificent show. Baily’s Callas and the vocal performances are reason enough to visit Reston Community Center to witness this impressive production.
Running Time: 2 hours and 10 minutes, with one 15-minute intermission.
Master Classplays from January 15-30, 2016 at Reston Community Players performing at CenterStage at the Reston Community Center – 2310 Colts Neck Road, in Reston, VA. For tickets, call the box office at (703) 476-4500, then press 3 for the 24-hour ticket ordering system, or purchase them online.
CenterStage is handicap accessible and offers listening devices for the hearing impaired.
Here is Part 4 of a series of interviews with the director, producer, and cast of Reston Community Players’ production of Terrence McNally’s Master Class. Meet Molly Pinson Simoneau.
Maria Callas.
Maria Callas, one of the most famous opera divas of all time, is teaching a master class in front of a live audience at Reston Community Center’s CenterStage from January 15-30, 2016.
Glamorous, commanding, larger than life, caustic, and surprisingly drop-dead funny, Maria is alternately dismayed and impressed by the three students who bravely enter the music studio at Juilliard, hoping for a gram of inspiration from the famed soprano. Maria frequently retreats into recollections of her own life and triumphs at La Scala with searing monologues about the unforgiving press, her affair with Aristotle Onassis, and her sacrifice taken in the name of art.
https://youtu.be/Jhh9BRhcNGI
Diane Jackson Schnoor:Please introduce yourself to our readers.
Molly Pinson Simoneau. Photo courtesy of Reston Community Players.
Diane Jackson Schnoor:Introduce yourself to our readers.
Molly: My name is Molly Pinson Simoneau and I will be playing the role of Sharon in Master Class. This is my first capital-P Play since high school, since I have been primarily focused on opera for the last decade or so. In addition to singing, I also do a bit of writing, including writing theater and opera reviews for Washington City Paper.
What drew you to Master Class?
When I heard that RCP was doing Master Class, I was familiar with the play, but I’d never read or seen it. I knew that one of the characters sings an aria from Verdi’s Macbeth. It’s a piece that I was dying to perform, but I knew I wouldn’t have many opportunities to sing it in the context of the opera, especially at my age. The music is extraordinarily difficult, but it was a challenge I couldn’t resist!
Who do you play in the show and how do you relate to your character? What do you like most about your character? What do you like least about your character?
Sharon is a lot like me in many ways. We’re both young, ambitious singers, eager for any shot at a professional opera career. And we both take our work very seriously, to the point of becoming pretty emotional about it at times. I like Sharon because she’s bold. There’s a moment in the play where she almost decides to give up and leave but then she comes back because she knows that singing for Maria Callas is an opportunity she can’t let get away from her.
What I don’t like about Sharon is that she has this sense of entitlement. She sort of feels like she’s done a certain amount of work, and that because of that, she deserves to get the kind of opera career that she wants. But the world doesn’t work like that.
What is your favorite line in the show (yours or somebody else’s) and why?
The funny thing about working on a play like Master Class is that the play actually is a master class. So my favorite line is one that has taught me a lot about performing opera and that is when Maria says to Sharon, “Listen to the music. Don’t act. Listen.”
Sharon (Molly Pinson Simoneau) attempts to impress Maria Callas (Lisa Anne Bailey) with her portrayal of Lady Macbeth’s Letter Scene, an aria Callas herself made famous. Photo by Traci L. Brooks Studios.
What advice and suggestions has the director given you that you have found most helpful as you prepare for your role?
Most of what I’m used to doing is in the context of opera, where all your dialogue is sung, so everything you “say” is said in a specific moment, in a specific way. In a way, there are a lot more choices to make in a play. Rosemary has taught me a lot about pacing myself, and about how to use different emotional extremes to build an arc so that everything isn’t just at fortissimo all the time.
What is your favorite scene in Master Class that you are not in and why?
Maria’s soliloquys are my favorite. They basically tell her whole life story, which was pretty operatic in and of itself. And Lisa is doing amazing work with them.
I’m just in awe of Lisa Anne Bailey, who is playing Maria. From the first read-through, you could see just how hard she was working, how much research she had done on Callas, and just how much experience and expertise she has as an actress. She’s a perfectionist, and she’s constantly checking to make sure that this Italian phrase is right, and she won’t settle for anything less than the best possible performance. And I think that, as a result, the rest of the cast is rising to her level.
What makes Master Class special or unique?
In a way, Master Class is a biopic, but also it’s a treatise on what it is to be an artist. It’s an exploration of what it takes to succeed in a world where there are so many thousands of people who want to be opera singers, or actors, or writers, or painters. How do you rise above? Is it something that is learned or innate?
What is the most frightening or daunting thing about presenting Master Class?
The aria I sing in Master Class is easily the most difficult music I’ve ever sung. It’s like doing gymnastics, where, if you don’t make every move with exact precision, you will land flat on your face. And I have to sing it in front of Maria Callas!
What do you hope audiences take away from seeing Master Class?
I’m an evangelist for opera. So I hope that people who aren’t necessarily familiar with opera, or with Maria Callas, will see Master Class and be inspired to go home and look up Callas’ recordings or buy a ticket to the opera. Opera is such an exciting art form, and Callas was arguably the best singer of the 20th century. So I’m just happy to share my obsession with everyone.
Master Class plays from January 15-30, 2016 at Reston Community Players performing at CenterStage at the Reston Community Center – 2310 Colts Neck Road, in Reston, VA. For tickets, call the box office at (703) 476-4500, then press 3 for the 24-hour ticket ordering system, or purchase them online.
CenterStage is handicap accessible and offers listening devices for the hearing impaired.
Here is Part 3 of a series of interviews with the director, producer, and cast of Reston Community Players’ production of Terrence McNally’s Master Class. Meet
Maria Callas.
Maria Callas, one of the most famous opera divas of all time, is teaching a master class in front of a live audience at Reston Community Center’s CenterStage from January 15-30, 2016.
Glamorous, commanding, larger than life, caustic, and surprisingly drop-dead funny, Maria is alternately dismayed and impressed by the three students who bravely enter the music studio at Juilliard, hoping for a gram of inspiration from the famed soprano. Maria frequently retreats into recollections of her own life and triumphs at La Scala with searing monologues about the unforgiving press, her affair with Aristotle Onassis, and her sacrifice taken in the name of art.
https://youtu.be/Jhh9BRhcNGI
Diane Jackson Schnoor: Please introduce yourself to our readers.
David Rohde.
I’m David Rohde, and I’m playing Manny Weinstock, the pianist who accompanies the opera students who sing for Maria Callas in her master classes at Juilliard in the early 1970s. Audiences usually see me, or at least hear me, in the orchestra pit, or wherever the orchestra for a musical finds itself in theaters around the Washington area. I’ve previously conducted RCP’s productions of City of Angels and Legally Blonde. As a theatrical musical director, I’m always happy to accept a bit of “business” in a show involving gestures or lines if the stage director thinks it works. But this is my first actual stage role in over a decade. Or maybe two decades. People will just have to guess on that one depending on how I do.
What drew you to Master Class?
I’m a multi-genre guy who can be happy playing a Bach partita on the piano one day and the synthesizer in a rock musical the next day. But there’s nothing I love better than accompanying singers. When Rosemary (the director) and Kate (the co-producer) were casting about for someone who could take on Manny, it turned out to be a great fit. Also, Lisa Anne Bailey, who’s playing Maria Callas, is one of my closest collaborators in local theater. We’ve done several musicals together as director and musical director, she’s been an actress in shows I’ve conducted with other stage directors, and I’ve played keyboards for other conductors in yet other shows that Lisa has either performed in or directed. I know the special quality and philosophy that Lisa brings to the stage, and to be there with her and literally playing off of her character in real time is a special privilege.
Who do you play in the show and how do you relate to your character? What do you like most about your character? What do you like least about your character?
Manny is a staff pianist at Juilliard who has a job to do. I like the fact that Manny thoroughly knows the operatic literature and is ready to play whatever the students presume to sing for Maria Callas. Because Juilliard is across the street from both the Metropolitan Opera and whatever the hall where the New York Philharmonic plays was called during the 1970s, I like to think that the guy gets a bit of work around town but hasn’t landed the big, glamorous concert position and probably never will. I pick that up from the fact that Maria forgets who he is a couple of times, as well as Manny’s own slight jadedness over the whole situation. Nevertheless, by the end of the play he has insinuated himself in the environment that Maria has created and she’s shared a private observation or two with him. All of the performing arts rely on the Manny Weinstocks of the world to fill positions without which no work would ever get done.
What is your favorite line in the show (yours or somebody else’s) and why?
The students in the master class complain at certain points that Maria contradicts herself, so you have to listen closely to understand whether she means things literally or not. At one point, a student comes on stage and dares to announce that not only is he a tenor but he’s going to sing a big Puccini aria from the opera Tosca – you know, the kind of thing you hear “The Three Tenors” do. Maria is already on guard against tenors, and she warns him not to hold the high B-flat in the next-to-last bar for longer than Puccini wrote it or she’s going to chop off his head. What’s funny about that line is that Maria Callas’ 1953 recording of Tosca is considered one of the greatest opera recordings of all time, and in that recording her tenor, Giuseppe di Stefano, holds the high B-flat for practically the rest of the decade.
I think what Maria means is that you can’t sing the note like that until you’ve earned the right to do so – not so much musically but dramatically. She then demonstrates through several pointed questions that the young tenor doesn’t know the specific locale and motivation of the song until she explains it to him. It’s a terrific moment where she’s employing a musical choice to fundamentally make a point about drama, even if the way she gets there frustrates her more literal-minded students.
What advice and suggestions has the director given you that you have found most helpful as you prepare for your role?
The idea of voice students singing for an opera star in a master class has a strong analogy to musical theater actors auditioning to get into a show. In that environment where I’m one of the people who is holding the auditions, I’ve been nice to people for years no matter who they are. But that’s not really Manny’s attitude. To him this master class is more like a day at the office and if these poor conservatory students’ feelings get hurt, hey, that’s just the way it goes. Rosemary tells me in rehearsal that I smile too much at the other people on stage in a way that Manny wouldn’t. I’m working on cutting that out!
What is your favorite scene in Master Class that you are in and why?
I should probably say it’s the scene with that luscious Puccini aria or one where a student sings of her lost love in a pearly set of floating vocal passages from the bel canto or “beautiful singing” era of opera. But in fact my favorite is this absolutely demonic music from the first appearance of Lady Macbeth in Verdi’s opera Macbeth. It’s one of the great scenes in opera and really challenging for anyone to pull off. Verdi alternates some mock-martial music with heart-pounding crescendos representing Lady Macbeth’s murderous resolution vs. her husband’s hesitation and doubt. The soprano gets to be the “bad guy” and in our show Maria pressures her student to go all the way with the music lest she be unfaithful to both Shakespeare and Verdi. Talk about a guilt trip! I hope this doesn’t make me a bad person to say that’s my favorite scene, but there’s some dark and disturbed stuff in a lot of the musicals I’ve done, so why should opera be any different?
What is your favorite scene in Master Class that you are not in and why?
In one of her monologues Maria talks about her own early conservatory days in Athens. There was a rival girl who Maria thought was prettier than her and who always brought oranges to school and who got all the roles and who no one ever heard from again. Maria herself couldn’t afford to buy both an orange and a pencil so she bought a pencil to write down everything in her opera scores, and she wound up performing at La Scala and Covent Garden and the Met. Today a student might not bring a pencil to music class but it’s not because they can’t lay their hands on one. It might sound ridiculous to us that a person has to choose between fruit and a pencil, but the deprivation in Greece in World War II and, even worse, in the years right after was incredible and what she says is true to life.
Last summer I visited the Harry S. Truman presidential library in Independence, Missouri, and among the filmstrips was a very telling one about the desperate conditions in Greece in 1946 and 1947 that basically led to a civil war. I can’t help relating that to Maria Callas’ stories about the choices and trade-offs she had to make as a young woman, even on something so simple as obtaining a pencil.
What makes Master Class special or unique?
There’s a strong play-within-a-play quality to it, something that you associate more with comedies than with something like this. In the play, when the students are singing, Maria is judging and critiquing them and, especially, stopping them. When we, the actual real people, are rehearsing Master Class itself, the same thing is basically happening in its outer shell. Are we executing the things that our characters are doing “wrong” and “right” with the correct timing? When someone says “stop,” is that in real life in the rehearsal hall or part of the play? In my case, does Manny keep playing or not? Working out that timing and spontaneity is very rewarding if we do it right.
What do you admire most about your fellow castmates’ performances?
Their commitment to the art form. Some of the specific attitudes and preconceptions of the students they are portraying may be dated, but their passion for opera isn’t. The characters’ devotion and knowledge and hunger for what opera has meant to people and could mean in the future isn’t something that can be faked, it’s something that our cast has brought right to the table. I’m sure the audience will feel that right from the start.
What is the most frightening or daunting thing about presenting Master Class?
The fact that I have to sing while I play the piano! It happens quickly at a couple of points as Manny is “marking” lines of incidental characters who intrude on the big songs with bits of plot information or sarcastic side comments about what’s being expressed. And he’s doing it in Italian, of course. We’ll see whether people think I sing all right or if I “sing like a conductor” which is kind of a standard insult in the musical world.
What do you hope audiences take away from seeing Master Class?
Nowadays in opera culture it’s a cliché that “the acting is really important” as opera companies compete with musical theater and everything else out there for attention and audiences. I think that’s great, but I don’t think that all opera singers or stage directors always know what “good” acting is. You can still go to an opera and sometimes see people self-consciously depicting or “pretending to be” someone else rather than actually inhabiting another person’s body and psyche and energy. Yet here’s Maria Callas from over 40 years ago to explain exactly that distinction, even if it’s in her own unsystematic, instinctual and even maddening sort of way. There’s a reason that the playwright, Terrence McNally, got fired up about opera and I hope that audiences absorb some of the history and philosophy of this unique mode of performance, and begin their own quest to find their own Maria Callas of today who they can work into their own diversity of cultural experiences.
Master Class plays from January 15-30, 2016 at Reston Community Players performing at CenterStage at the Reston Community Center – 2310 Colts Neck Road, in Reston, VA. For tickets, call the box office at (703) 476-4500, then press 3 for the 24-hour ticket ordering system. or purchase them online.
CenterStage is handicap accessible and offers listening devices for the hearing impaired.
Here is Part 2 of a series of interviews with the director, producer, and cast of Reston Community Players’ production of Terrence McNally’s Master Class. Meet Lisa Anne Bailey.
Maria Callas.
Maria Callas, one of the most famous opera divas of all time, is teaching a master class in front of a live audience at Reston Community Center’s CenterStage from January 15-30, 2016.
Glamorous, commanding, larger than life, caustic, and surprisingly drop-dead funny, Maria is alternately dismayed and impressed by the three students who bravely enter the music studio at Juilliard, hoping for a gram of inspiration from the famed soprano. Maria frequently retreats into recollections of her own life and triumphs at La Scala with searing monologues about the unforgiving press, her affair with Aristotle Onassis, and her sacrifice taken in the name of art.
https://youtu.be/Jhh9BRhcNGI
Diane Jackson Schnoor: Please Introduce yourself to our readers.
Lisa Anne Bailey (Maria Callas). Photo by Traci J. Brooks Studios.
My name is Lisa Anne Bailey and I am playing Maria Callas. I have been doing theatre in the Northern VA, MD, DC area for almost 40 years, not only as an actress, but as a director and choreographer. RCP was my home theatre for almost 18 years – it’s nice to be home. I have had some great opportunities as a performer playing such roles as Peter in Peter Pan, Fanny Bryce in Funny Girl, and The Drowsy Chaperone in The Drowsy Chaperone to name just a few.
As a director, I have been blessed to direct such shows as Oliver, Cabaret, A Funny Thing Happened on the Way to The Forum, and The Best Little Whorehouse in Texas (all of these at RCP) – just to name a few.
What drew you to Master Class?
The opportunity to play this role with all of its complexities is what drew me to Master Class.
Who do you play in the show and how do you relate to your character? What do you like most about your character? What do you like least about your character?
Maria Callas was an amazing singer and performer. She really believed in the truth and the emotions involved in performing. So many of the things that she shares in this production are words I have used with my own acting students (I moonlight as an acting coach). She had such a passion for her art and it is something I try to instill in my students.
What is your favorite line in the show?
I’m not sure I could pick one line – there are so many – she really had a great sense of humor and those moments shine thru in the script.
What advice and suggestions has the director given you that you have found most helpful as you prepare for your role?
Much biographical information and recordings of Maria were shared with me and there’s so much more to Maria Callas than will be shared in this production.
You are on the stage for the entire show. Do you have a favorite scene or moment? And were you an opera buff before you accepted the role?
I am in every scene – no specific favorite, but I enjoy very much the opportunity to interact with the three opera singers involved in the production – from them I have learned more about opera than I ever would have on my own. They are talented and have been so willing to share their gift and very supportive and patient with my lack of opera knowledge.
What makes Master Class special or unique?
Opera singers – true operatic singers are not utilized in live theatre very often and showcased in such a well written fashion – quite unique.
What is the most frightening or daunting thing about appearing in and preparing for your role in Master Class?
The daunting part of this production for me is the sheer number of lines – overwhelming!!! In addition I have had to learn a bit of Italian which has been challenging. Playing a real person who made such a mark on the opera world and doing it justice and with the right amount of humor, grace, and class has been an amazing theatrical experience.
In rehearsal: Sharon (Molly Pinson Simoneau) attempts to impress Maria Callas (Lisa Anne Bailey) with her portrayal of Lady Macbeth’s ‘Letter Scene,’ an aria Callas herself made famous. Photo by Traci J. Brooks Studios.
What do you hope audiences will take away from seeing Master Class?
Most people believe that what we do in community theatre is just a hobby but this story summarizes for any form of the arts – the great are just that because of their strong passion for every note, every word, every dance step, and every moment shared with the audience.
Master Class stars Lisa Anne Bailey as Maria Callas and features Rosemarie S. Greger as the 1st Soprano (Sophie), Molly Pinson Simoneau as the 2nd Soprano (Sharon), Christopher Cosgrove as the Tenor (Tony), David Rohde as the Accompanist (Manny), and Richard Durkin as the Stagehand. Master Class is directed by Rosemary Hartman and produced for RCP by Kate Keifer and Carol Watson.
Master Class plays from January 15-30, 2016 at Reston Community Players performing at CenterStage at the Reston Community Center – 2310 Colts Neck Road, in Reston, VA. For tickets, call the box office at (703) 476-4500, then press 3 for the 24-hour ticket ordering system. or purchase them online.
CenterStage is handicap accessible and offers listening devices for the hearing impaired.
Here is Part 1 of a series of interviews with the director, producer, and cast of Reston Community Players’ production of Terrence McNally’s Master Class. Meet Director Rosemary Hartman and Producer Kate Keifer.
Maria Callas.
Maria Callas, one of the most famous opera divas of all time, is teaching a master class in front of a live audience at Reston Community Center’s CenterStage from January 15-30, 2016.
Glamorous, commanding, larger than life, caustic, and surprisingly drop-dead funny, Maria is alternately dismayed and impressed by the three students who bravely enter the music studio at Juilliard, hoping for a gram of inspiration from the famed soprano. Maria frequently retreats into recollections of her own life and triumphs at La Scala with searing monologues about the unforgiving press, her affair with Aristotle Onassis, and her sacrifice taken in the name of art.
https://youtu.be/Jhh9BRhcNGI
Diane Jackson Schoor: Please introduce yourself to our readers.
Rosemary: My name is Rosemary Hartman and I am the director of Master Class. This will be my first time working with Reston Community Players and I am pleased to be working with such a talented and professional group of people. I have directed 50+ plays in most of the Northern Virginia community theatres and some of the smaller professional theatres in Washington, DC.
Director Rosemary Hartman. Photo by Traci J. Brooks Studios.
I have also done some acting, worked as a theatre business manager, and been an Artistic Director. I received a WATCH Award for direction of Three Tall Women at Elden Street Players and Best Director at The Little Theatre of Alexandria for Twigs. When I am not involved in a theatre production (which is rarely) I enjoy attending theatre, movies, and dining out with good friends, and spending quality time with my two daughters, two granddaughters and one adorable great-grandson.I am happily retired from Arlington County Department of Real Estate Assessments.
Kate: I am Kate Keifer and I am the co-producer for Master Class. I have been involved with RCP in various capacities for 15 years, although this is my first time as a producer.
What drew you to Master Class?
Rosemary: It is an extremely well-written script. Terrence McNally dispels some of the myths about Maria Callas and we get some real insight into who she really was. I love the music.
Kate: I am very excited that RCP has chosen to produce Master Class. We have been producing high quality musicals and plays for almost 50 years, but it is not often that we get to reach out to shake hands with our fellow artists in complementary genres for one of our productions. With the focus of this play being on the opera genre, we get to do just that. We have some fantastic operatic voices in this production that will knock the socks off of our audience members. However, the heart of this play is about Maria Callas, whose story is captivating and whose larger than life persona is perfectly captured.
What is your favorite line in the show and why?
Rosemary: In Maria’s first reminiscence monologue she is performing La Sonnambula at La Scala. She has finally arrived: “…Here I am, dead center stage at the greatest theatre in Europe singing roulades in full voice. Hurling notes like thunderbolts. Daring anyone to challenge me…People have stopped breathing. My revenge, my triumph are complete.”
What is your favorite scene in Master Class and why?
Rosemary: Maria’s reminiscence monologue where she converses with people in her earlier life, including Aristotle Onassis.
What makes Master Class special or unique?
Rosemary: It dispels some of the negative myths about Callas as a “Diva” who was unpleasant and uncooperative. McNally has given us insight into this musical genius who was satisfied with nothing less than perfection in herself and others in the work. We get to hear some of the most beautiful operatic music of Maria Callas.
What is the most frightening or daunting thing about presenting Master Class?
Rosemary: The absolute most daunting challenge was the huge amount of dialogue for Maria. Lisa Bailey, who is playing Maria, is doing a fabulous characterization of the role. She is also doing a yeoman like job in getting her lines, which constitute approximately 75% of the dialogue in the play.
Producer Kate Keifer. Photo by Traci J. Brooks Studios.
Another challenge was finding the right operatic singers. These people are not in the usual group of singers from which theatre directors draw. They are mostly working in their own milieu of opera and are difficult to find in community theatre.
Kate: This is not a big flashy show. The story rests heavily on the shoulders of the actors to grab the attention of the audience and hold it for the length of the production. Luckily for us, every member of our cast is extremely capable of doing just that and their beautiful performances are definitely worth seeing.
What do you hope audiences take away from seeing Master Class?
Rosemary: As referenced earlier, I want them to see a different side of Maria Callas than what they probably have heard about her being difficult, etc. Also, I hope they gain some appreciation for the gorgeous operatic music
Kate: I hope our audiences will walk away from Master Class with an appreciation of Maria Callas’ art and her dedication to it.
In rehearsal: Sharon (Molly Pinson Simoneau) attempts to impress Maria Callas (Lisa Anne Bailey) with her portrayal of Lady Macbeth’s ‘Letter Scene,’ an aria Callas herself made famous. Photo by Traci J. Brooks Studios.
Master Class stars Lisa Anne Bailey as Maria Callas and features Rosemarie S. Greger as the 1st Soprano (Sophie), Molly Pinson Simoneau as the 2nd Soprano (Sharon), Christopher Cosgrove as the Tenor (Tony), David Rohde as the Accompanist (Manny), and Richard Durkin as the Stagehand. Master Class is directed by Rosemary Hartman and produced for RCP by Kate Keifer and Carol Watson.
Master Class plays from January 15-30, 2016 at Reston Community Players performing at CenterStage at the Reston Community Center – 2310 Colts Neck Road, in Reston, VA. For tickets, call the box office at (703) 476-4500 then press 3 for the 24-hour ticket ordering system. or purchase them online.
CenterStage is handicap accessible and offers listening devices for the hearing impaired.
Award Ceremony Tickets $17.50 at the Birchmere Box Office or through Ticketmaster (plus service charge)
111 productions (34 musicals, 77 plays) were adjudicated in 2014. Thirty-one community theater companies participated in WATCH adjudication.
In each of the thirty-eight categories, five nominees were selected based on the average scores of eight judges. In some categories, due to score ties, more than five nominees are announced. Nominations are provided in alphabetical order by nominee. The nominations are provided by category and then by theater at the end of the document.
Nominations for outstanding technical achievements.
Outstanding Set Design in a Musical (5)
Bill Brown – My Fair Lady– Damascus Theatre Company
Mark Hamberger – Grease – Rockville Musical Theatre
Greg Steele et al – Les Miserables – Reston Community Players
Liz Mykietyn – Rumors – Providence Players of Fairfax
Outstanding Musical (5)
The Addams Family – Kensington Arts Theatre. Produced by Malca Giblin, Stage managed by John Nunemaker
Children of Eden – 2nd Star Productions. Produced by Jane B. Wingard, Stage managed by Joanne D. Wilson
Hello, Dolly! – 2nd Star Productions. Produced by Jane B. Wingard, Stage managed by Joanne D. Wilson
Monty Python’s Spamalot – Little Theatre of Alexandria. Produced by Rachel Alberts, Bobbie Herbst and Russell Wyland, Stage managed by Christine Farrell and Joan A.S. Lada
The Most Happy Fella – Arlington Players. Produced by Janet Bordeaux, Stage managed by Terri Carnahan
Outstanding Play (5)
A Few Good Men – Colonial Players of Annapolis. Produced by Beth Terranova, Stage managed by Ernie Morton
Of Mice and Men – Providence Players of Fairfax. Produced by Jimmy Gertzog, Stage managed by Mike Mattheisen
Other Desert Cities – Silver Spring Stage. Produced by Seth Ghitelman, Stage managed by Alika Codispoti
Proof – Little Theatre of Alexandria. Produced by Lynn O’Connell and Kevin O’Dowd, Stage managed by Mary Beth Smith-Toomey and Kira Hogan.
Rumors – Providence Players of Fairfax. Produced by Chip Gertzog, Stage managed by April Bridgeman
Congratulations to all of the nominees!
Nominations sorted by theatre and show.
2nd STAR PRODUCTIONS (21)
Outstanding Stage Combat Choreography – Casey Kaleba – A Soldier’s Play
Outstanding Costume Design in a Musical – Linda Swann – Children of Eden
Outstanding Direction of a Musical – Vincent Musgrave – Children of Eden
Outstanding Lead Actress in a Musical – Caelyn Sommerville as “Eve/Mama Noah” – Children of Eden
Outstanding Light Design in a Musical – Garrett R. Hyde – Children of Eden
Outstanding Musical – Children of Eden
Outstanding Set Design in a Musical – Jane B. Wingard – Children of Eden
Outstanding Set Painting in a Musical – Jane B. Wingard – Children of Eden
Outstanding Cameo in a Musical – Tim Sayles as “Rudolph” – Hello, Dolly!
Outstanding Direction of a Musical – Jane B. Wingard – Hello, Dolly!
Outstanding Featured Actor in a Musical – Nathan Bowen as “Cornelius Hackl” – Hello, Dolly!
Outstanding Featured Actress in a Musical – Pam Shilling as “Irene Molloy” – Hello, Dolly!
Outstanding Hair Design in a Musical – No Listing – Hello, Dolly! – 2nd Star Productions – 2014
Outstanding Lead Actress in a Musical – Nori Morton as “Dolly Levi” – Hello, Dolly!
Outstanding Music Direction – Joe Biddle – Hello, Dolly!
Outstanding Musical – Hello, Dolly!
Outstanding Properties in a Musical – Joanne D. Wilson – Hello, Dolly!
Outstanding Set Construction in a Musical – Bill Bagaria, Joanne D. Wilson, Marty Hayes – Hello, Dolly!
Outstanding Set Decoration in a Musical – Jane B. Wingard & Gail Bagaria – Hello, Dolly!
Outstanding Set Painting in a Musical – Jane B. Wingard – Hello, Dolly!
Outstanding Sound Design in a Musical – Garrett R. Hyde – Hello, Dolly!
ARLINGTON PLAYERS (17)
Outstanding Featured Actor in a Play – Derek Bradley as “Karl” – Clybourne Park
Outstanding Featured Actor in a Play – Derek Bradley as “Steve” – Clybourne Park
Outstanding Featured Actress in a Play – Rebecca Lenehan as “Bev” – Clybourne Park
Outstanding Cameo in a Musical – Quinn McCord as “Ciccio/Postman” – The Most Happy Fella
Outstanding Featured Actress in a Musical – Teresa Danskey as “Cleo” – The Most Happy Fella
Outstanding Lead Actor in a Musical – Jimmy Payne as “Tony” – The Most Happy Fella
Outstanding Lead Actress in a Musical – Heather Whitney as “Rosabella” – The Most Happy Fella
Outstanding Light Design in a Musical – B. Keith Ryder – The Most Happy Fella
Outstanding Music Direction – David Rohde – The Most Happy Fella
Outstanding Musical – The Most Happy Fella
Outstanding Properties in a Musical – Angie Anderson – The Most Happy Fella
Outstanding Set Construction in a Musical – Bill Wisniewski – The Most Happy Fella
Outstanding Set Decoration in a Musical – Angie Anderson – The Most Happy Fella
Outstanding Set Design in a Musical – Bill Wisniewski – The Most Happy Fella
Outstanding Set Painting in a Musical – Mary Speed – The Most Happy Fella
Outstanding Sound Design in a Musical – Stan Harris – The Most Happy Fella
Outstanding Choreography – John K. Monnett – The Wedding Singer
COLONIAL PLAYERS (16)
Outstanding Play – A Few Good Men
Outstanding Direction of a Musical – Beverly Hill van Joolen – Bat Boy: The Musical
Outstanding Lead Actor in a Musical – Ron Giddings as “Bat Boy” – Bat Boy: The Musical
Outstanding Light Design in a Musical – Frank Florentine – Bat Boy: The Musical
Outstanding Makeup Design in a Musical – Eddie Hall – Bat Boy: The Musical
Outstanding Sound Design in a Musical – Wes Bedsworth – Bat Boy: The Musical
Outstanding Special Effects – Terry Averill et al – Bat Boy: The Musical
Outstanding Stage Combat Choreography – Andrew Pecoraro – Bat Boy: The Musical
Outstanding Direction of a Play – Edd Miller – Coyote on a Fence
Outstanding Light Design in a Play – Frank Florentine – Coyote on a Fence
Outstanding Sound Design in a Play – Carl Andreasen & Theresa Riffle – Coyote on a Fence
Outstanding Cameo in a Play – Mary MacLeod as “Lady Boyle” – Superior Donuts
Outstanding Cameo in a Play – Ben Carr as “Kiril Ivakina” – Superior Donuts
Outstanding Lead Actor in a Play – Terry Averill as “Arthur Przybyszewki” – Superior Donuts
Outstanding Lead Actor in a Play – Darius McCall as “Franco Wicks” – Superior Donuts
Outstanding Sound Design in a Play – Ben Cornwell – Superior Donuts
DAMASCUS THEATRE COMPANY (6)
Outstanding Properties in a Musical – Nancy Eynon Lark & Maria Littlefield – My Fair Lady
Outstanding Set Construction in a Musical – Jim Korte & Bill Rippey – My Fair Lady
Outstanding Set Decoration in a Musical – Nancy Eynon Lark & Maria Littlefield – My Fair Lady
Outstanding Set Design in a Musical – Bill Brown – My Fair Lady
Outstanding Set Painting in a Musical – Maria Littlefield – My Fair Lady
Outstanding Sound Design in a Musical – Vitol Wiacek – My Fair Lady
DOMINION STAGE (1)
Outstanding Makeup Design in a Play – Larissa Norris – Bug
FAUQUIER COMMUNITY THEATRE (1)
Outstanding Set Decoration in a Play – Vicki Wade – Black Coffee
GREENBELT ARTS CENTER (1)
Outstanding Set Decoration in a Play – Heather Brooks – Come Back to the 5 & Dime, Jimmy Dean, Jimmy Dean
HARD BARGAIN PLAYERS (1)
Outstanding Costume Design in a Play – Priscilla Grow – Rebel Yells
KENSINGTON ARTS THEATRE (18)
Outstanding Lead Actor in a Musical – David Merrill as “Jean Valjean” – Les Miserables
Outstanding Makeup Design in a Musical – Eleanor B. Dicks – Les Miserables
Outstanding Music Direction – Stuart Y. Weich – Les Miserables
Outstanding Choreography – Nick Carter – The Addams Family
Outstanding Costume Design in a Musical – Eleanor B. Dicks – The Addams Family
Outstanding Direction of a Musical – Craig Pettinati – The Addams Family
Outstanding Featured Actor in a Musical – Chuck Dluhy as “Uncle Fester” – The Addams Family
Outstanding Featured Actress in a Musical – Camryn Shegogue as “Wednesday Addams” – The Addams Family
Outstanding Hair Design in a Musical – Stephen D. Welsh – The Addams Family
Outstanding Lead Actor in a Musical – Bobby Libby as “Gomez Addams” – The Addams Family
Outstanding Light Design in a Musical – Xena Petkanas – The Addams Family
Outstanding Makeup Design in a Musical – Scott Beadle – The Addams Family
Outstanding Music Direction – Stuart Y. Weich – The Addams Family
Outstanding Musical – The Addams Family
Outstanding Set Decoration in a Musical – Malca Giblin, Craig Pettinati, John Nunemaker – The Addams Family
Outstanding Set Painting in a Musical – Matt Karner – The Addams Family
Outstanding Sound Design in a Musical – Dan Caughran – The Addams Family
Outstanding Special Effects – John Nunemaker – The Addams Family
LAUREL MILL PLAYHOUSE (2)
Outstanding Cameo in a Play – Zach Pajak as “Charles D. Schmendimann” – Picasso at the Lapine Agile
Outstanding Cameo in a Play – Jed Duvall as “A Visitor” – Picasso at the Lapine Agile
LITTLE THEATRE OF ALEXANDRIA (35)
Outstanding Costume Design in a Play – Ashley Amidon – A Streetcar Named Desire
Outstanding Hair Design in a Play – Larissa Norris – A Streetcar Named Desire
Outstanding Light Design in a Play – Liz & Nancy Owens – A Streetcar Named Desire
Outstanding Costume Design in a Play – Jean Schlichting & Kit Sibley – Boeing Boeing
Outstanding Hair Design in a Play – Susan Boyd – Boeing Boeing
Outstanding Lead Actor in a Play – Patrick M. Doneghy as “Robert” – Boeing Boeing
Outstanding Makeup Design in a Play – Emma Baskir – Boeing Boeing
Outstanding Properties in a Play – Carol Coyle & Susie Poole – Boeing Boeing
Outstanding Set Construction in a Play – John Downing & Bill Glikbarg – Boeing Boeing
Outstanding Set Decoration in a Play – Carol Coyle & Susie Poole – Boeing Boeing
Outstanding Set Design in a Play – John Downing & Bill Glikbarg – Boeing Boeing
A number of orchestras and ensembles in the Washington suburbs are looking to graduate from pure local or community status to regional recognition. There’s nothing like using one of the biggest pieces of “ear candy” in the classical music repertoire to help move the process along, particularly when you have the right people to pull it off.
Pianist Thomas Pandolfi.
On Saturday night the McLean Orchestra opened its season with a program featuring Washington-based piano virtuoso Thomas Pandolfi, who delivered an exhilarating performance of Sergei Rachmaninoff’s magnificently tuneful Piano Concerto No. 2 in C minor. Chock full of melodies that are by turn dramatically declarative and achingly evocative, the 1901 “Rachmaninoff Second” is a warhorse of piano competitions that tests the limits of both a pianist’s sheer physical prowess and his or her innate musicianship. It features a nearly continuous display of dense writing that requires the pianist to pull each melody out from within a line of notes flying around the keyboard both above and below the melody itself.
What Pandolfi achieved with the McLean Orchestra was a rare mix of technical accuracy and cool confidence that created a masterful path through the concerto, shorn of the nervous tension that often accompanies watching highly “trained” young pianists attempt the most difficult music. Typically Pandolfi would begin a line with a powerful bass pulse that would impel the music forward and finish major passages with an easy flourish worthy of a ragtime or pops performance. Pandolfi and the orchestra’s charismatic conductor Miriam Burns also clearly planned major touch points of the Rachmaninoff concerto to preserve its start-to-finish drama rather than produce disjointed pieces of “business” just to display the pianist’s chops.
In one notable moment near the end of the concerto’s first movement, Pandolfi deftly tucked a four-octave piano countermelody into the full orchestra’s restatement of the first half of the concerto’s opening theme. On recordings, this moment often features the pianist pounding away at the countermelody in full show-off mode, leading to a delay in the listener’s recognition that the orchestra is reprising the main opening theme. With the way Pandolfi and Burns handled it, the orchestra’s dramatic presentation of the melody shone through so that when the piano switched from countermelody to take over the second half of the main melody, the effect was seamless, comprehensible and satisfying.
Pandolfi also managed a trick that eludes even some celebrated pianists with Rachmaninoff’s music, which is to avoid transferring the power of the concerto’s thunderbolt concert-grand bass notes to the top notes, which can lead to harsh pings as lines fly up to the highest of the 88 keys. By gracefully teasing out melodies and countermelodies, as well as luscious rolling chords in a late passage of the concerto’s gorgeously lyrical second movement, Pandolfi kept what could otherwise come across as percussive playing within the melodic structure of the full concerto.
Maestra Burns assisted by continually leading the orchestra’s brass instruments, especially its French horns, in apt swells and retreats on long notes accompanying some of Pandolfi’s most virtuoso passages. When the third and last movement closed on one of classical music’s most iconic moments, a monumental final restatement of the Rachmaninoff tune that later in the 20th century became the Frank Sinatra hit “Full Moon and Empty Arms” (later covered by Eddie Fisher, Robert Goulet and Sarah Vaughan), the effect was one of logic and completeness.
The Rachmaninoff piano concerto keynoted a Russian-themed program that also included Tchaikovsky’s sixth and last symphony, also known as the “Pathetique” Symphony, and an opera prelude (or overture) by Tchaikovsky’s 19th century contemporary Modest Mussorgsky. At the top of the program, Maestra Burns tied the entire program together for the audience, noting some of the distinct personal struggles against which both Tchaikovsky and Rachmaninoff composed some of their most representative music.
She also diplomatically gave the audience some important clues to listening to the program, pointing out that Tchaikovsky’s Pathetique Symphony goes from some of the highest highs to the lowest lows of emotional content, poured into an unusual structure where the third of four movements sounds like it ends the entire piece on a triumphant note, only to surrender to a dramatic new theme which pulls the composition into a devastating final movement.
Her commentary paid off as the audience was prepared for the “false ending” of the Tchaikovsky and later waited in hushed silence for about 20 seconds at the actual dying-away end of the piece before surrendering to applause. Along the way were special passages worthy of note by the orchestra’s viola and cello sections, some terrific “anchoring” of the brass sections by bass trombonist Dana Landis and tuba player David Porter, and some especially beautiful flourishes by one of the orchestra’s most noted members, principal flutist Amy Thomas.
The McLean Orchestra does face a challenge, as it freely admits in the program, with its current performance space at the Oakcrest School in McLean. The unusual, hexagon-shaped stage and semi-circular, wraparound house of Oakcrest’s concert hall requires some odd stage set-ups and creates some slightly squirrelly acoustics. In this environment the violin section often does not quite deliver the creamy sound that this Romantic-era and (very) early 20th century music begs for, and the percussion instruments, under the long-time, versatile leadership of Craig Teer, sometimes “pop” too much against the orchestra compared to the orchestra’s past venues.
Perhaps some anxiety about securing another space helps explain the one truly discordant note of the evening, which was an opening monologue by the president of the orchestra’s Board of Trustees, Paul Frank, clocking in at an excruciating 14 minutes. From introductions of everybody involved with the orchestra except the musicians (such as the entire board of trustees), to pushy demands that the audience participate in an intermission auction, to hawking tables at an expensive gala set for much later in the season, the underlying theme of Mr. Frank’s soliloquy was trying to everybody to spend more money than they already had to buy tickets in a way that vastly exceeded the usual, light funding pitches at the top of performing arts programs. The extensive delay before a single note of music was sounded even seemed to lead to some bobbles in the opening moments of the Mussorgsky prelude from instruments that may have gone “cold.”
If classical music is going to make it in our area, it will come from young people of moderate means who become fans of the McLean Orchestra and other ambitious groups who are there to hear the music for the first time, not to be upsold to other products. I might suggest to Mr. Frank that while there are plenty of other times and places to do major fundraising, an orchestra’s concert evenings should be about the music and not the money – even in McLean, Virginia.
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David Rohde.
David Rohde is a local pianist, conductor, arranger, vocal teacher and writer who has worked extensively in Washington area musical theater. Most recently he appeared as musical director and conductor of The Arlington Players’ April 2014 production of The Most Happy Fella. David particularly enjoys watching musicians and actors he’s worked with “make it” when they pursue regional and national performing arts careers. David is a seven-time nominee and two-time recipient of the WATCH Award for Outstanding Musical Direction.
Who doesn’t like a good, touching love story? If you are also fond of musicals-especially the grand old fashioned Broadway productions of the 1950s-seeing The Most Happy Fella at The Arlington Players is simply a must!
The cast of ‘The Most Happy Fella.’ Photo by Peter Hill.
“Wanting to be wanted, needing to be needed, that’s what it is…” and that’s what Heather Whitney (Rosabella) dreams about as she sings about her yearning for love and happiness, and later with her co-star and admirer and husband-to-be Jimmy Payne (Tony), she sings beautiful duets including “My Heart is Full of You.” Frank Loesser’s most challenging musical, is by no means a ‘boy meets girl and they live happily ever after’ cliché. Expect the unexpected. There’s a large age difference, hurtful disappointments, jealousy, and more. Does the fellow end up happy? Does the audience end up happy? Judging by the standing ovation bestowed on the performers after the finale – most definitely!
Entering the auditorium, seeing the orchestra pit with the conductor ready to begin , and a spacious stage by Scenic Designer Bill Wisniewski, which hat has been turned into a San Francisco Chinese restaurant, I was so excited with anticipation. Within minutes after watching and hearing the first performer – beautiful, talented, and funny Teresa Danskey (Cleo)-I was transported into the world of 1950’s Broadway-esque magic, with a score that marvelously fused American and Italian cultures and musical styles together. What followed was a display of amazing singing, acting and dancing, and a great visual and musical feast in 3 acts, 11 scenes, and 27 musical numbers. Not that I was counting, because I was too busy with my eyes and ears ‘glued’ to the stage, lost in time.
By the end of the first act, I was familiar with all characters and performers, enchanted with the songs, dance, and superb performance of David Rohde’s talented musicians. I was so moved by the story of two lonely people; Tony, an Italian middle aged wine farmer and a much younger Rosabella, who dreamed of marrying Tony, despite his sister’s objection.
Jimmy Payne is perfectly cast as a the romantic farmer with a good heart and a strong disposition, and his unique ability to attract a younger woman. Apart from the impressive stature and his handsome face, Payne has a special twinkle in his eyes that adds to the attraction. Combine this with a powerful singing voice and an ability to generate laughs with a thick Italian accent and you have a compelling stage presence. Heather Whitney, also a talented singer, is equally convincing as the younger, modest woman craving love and stability and she performs memorable (among others) renditions of “Somebody, Somewhere” and “Warm All Over.” And Payne is superb on “Rosabella,” and “Mamma, Mamma.” Christopher Overly in the role of Joe sings a wonderful rendition of “Don’t Cry.”
Like every classic story, this one also has a villain, Tony’s sister Marie (Linda Wells), is the only character dressed in black, for a reason. On the surface Ms. Wells is a perfect embodiment of an Italian Mamma, full-bodied and warm, just like Marie, yet she easily transforms into a possessive, scheming, and vicious woman that she portrays.
Most of the laughs in the show are generated by three groups of characters; a trio of cooks, Pasquale (Tom Mirenda), Ciccio (Quinn McCord) and Giuseppe (Jerrod Laber); the pairing of vivacious and flirty Cleo (Teresa Danskey) and good-hearted, always smiling Herman (Joseph Wilson), and a foursome of farm boys; Herman, Jake (Jerrod Laber), Clem (William Shingler), and Al (Derek Marsh), whose comedic talents go hand-in-hand with their singing and dancing skills. Look out for the farm boys singing the bouncy “Standing on the Corner,” the cooks’ song “Abbondanza”and “I Like Everybody,” and “Big D” by Cleo and Herman. The Ensemble lends their singing and dancing skills to many scenes, enriching the action and adding to the feel of the 1950s with their colorful costumes and characteristic hairstyles.
Staging The Most Happy Fella is a dream come true for its Director, Gloria DuGan, and Musical Director David Rohde. Both have always wanted to do the show, despite its scope and challenges. The musical score is very extensive and thus demanding on both the singers and musicians.
There are 26 performers in the show, including 13 members in the ensemble, several set changes, and a live orchestra. It took seven weeks and 1,100 hours of volunteer time to prepare the beautiful backdrops supporting the scenes; a colorful backdrop of Napa Town depicting shop fronts and a back drop depicting the rolling hillsides of Napa Valley. All in all it took 5,300 hours of volunteer time to put the production together. And what a success!
The cast of ‘The Most Happy Fella.’ Photo by Peter Hill.
Congrats to Producer Janet Bordeaux, Choreographer Jeannie Torres, Scenic Designer Bill Wisniewski, Lighting Designer B. Keith Ryder, Sound Designer Stan Harris, Costume Designers Laura Fontaine and Holly McDade and Hair and Makeup Designer Kendel Taylor for their brilliant work on this production.
If Frank Loesser was in the audience last night, he would have been thrilled with The Arlington Players’ gorgeous production of The Most Happy Fella. Abbondanza!
Running Time: Approximately two hours and 30 minutes, with one intermission.
Here’s the third video of Claire O’Brien’s ‘Behind the Scenes’ videos for The Arlington Players’ production of The Most Happy Fella, which opens this weekend.
In this video meet the cast.
Meet Director Gloria DuGan
Meet Musical Director David Rohde.
The Arlington Players’ production of The Most Happy Fellaplays through April 19, 2014 at the Thomas Jefferson Community Center – 3501 Second Street, in Arlington, VA. Purchase ticketsonline.
Here are the choices for our Favorite Music Direction and Choreography of 2013 by the staff of DCMetroTheaterArts. Congrats to our honorees and to every Musical Director and Choreographer who worked on our local stages in 2013.
Please leave your list of designers and their work you would like to personally honor in the COMMENT BOX.
BEST MUSICAL DIRECTION of 2013
(1) Jay Alger for Anything Goes at The Kennedy Center.
A breathtakingly stunning and hauntingly dramatic musical takes to the stage as Kensington Arts Theatre launches their fall season. Directed by Craig Pettinati with Musical Direction by David Rohde, Parade is a thrilling dramatic musical, with Tony Award-winning music and lyrics written by Jason Robert Brown, and book by Alfred Uhry, that tells the true tale of a man wrongfully accused of murder in America’s sordid southern past. This pivotal musical keeps you on the edge of our seat with anticipation and is stirring; teeming with emotions and powerful voices that will shock you to the core from the pristine and polished beginning to the dramatic and mind-blowing end. Truly a musical gem, this production is stellar with incredible voices and thrilling emotions constructed deep into these finely tuned and sharply honed characters.
Bobby Libby (Leo Frank) and Emily Zickler (Lucille Frank). Photo by Ernie Achenbach.
Scenic Designer Matt Karner, working in tandem with Lighting Designer Ben Levine, creates brilliant visual moments on the stage, particularly with the way that Director Craig Pettinati blocks the actors. Karner’s design is simple; two connecting turrets with a bridge drawn between and a blank open space beneath. A faded Old Glory backdrop hangs behind the scene with an American flag drawn over one column and a Confederate flag draped over the other. Levine’s lighting keeps actors in sharp focus during more emotionally intense moments and the overall simplistic approach to this design allows the performers to really hone in on telling the story of the musical rather than being caught up in the notion of staging a spectacle.
Pettinati creates a believability among the cast that draws the attention to the time period of the show. Dialect coaches Eric Jones and Emily Zickler imbue the cast with the authentic sounds of the slower Georgian tongue; some more elongated and drawn than others. Jones and Zickler draw the distinction between the Georgians and the lone Jewish man from Brooklyn (New York) with a sharply cut line; the speech mannerisms and sounds carrying through into everyone’s songs. This is a rare technique that is often glossed over in musicals, the ability to carry the carefully crafted accent of the character into the actor’s singing voice and it is something at which the entire cast succeeds.
Musical Director David Rohde creates incredible sounds from the ensemble as well as the featured soloists in this production. The sheer magnitude of the sound they formulate when singing company numbers like “The Old Red Hills of Home” and “Real Big News” is superb – a fulfilling swell of emotions that surge forth to greet the audience’s ear and deliver the raw exposed nerves of this little town and how shook up they are because of what’s happening.
Two cutting and distinguishing voices that the audience is presented with straight away are the Young Soldier (Harrison Smith) and the Old Soldier (Michael Nansel) when they open the show with a stirring number, “Prologue: The Old Red Hills of Home.” Smith’s sweet youthful voice juxtaposes perfectly against Nansel’s rich seasoned baritone blends to make this a truly haunting and beautiful way to start the show.
Smith later appears as young Frankie Epps, suitor to Mary Phagan (Catherine Callahan) with whom he shares a delightfully flirtatious, albeit innocent, duet, “The Picture Show.” Smith’s character possesses a rich depth, however, as witnessed during “There is a Fountain/It Don’t Make Sense” a harrowing song which is fully loaded with a heavy woeful sorrow and fierce inconceivable anger. Smith infuses these emotions flawless into the song without compromising the vocal integrity of the number, his crystalline voice echoing with a pure resonance that sends shivers up the spine when he collapses to the ground in this number. A stunning performance all round, this talented young actor gives a tremendous rendition of this versatile character.
Nansel, appearing later as Mayor Hugh Dorsey, portrays a wretched sleazy character that makes your skin crawl. His barking belt during “Something Ain’t Right” is the epitome of a sinister snake that strikes from the shadows like a viper on a mission. Softening the caustic nature of his character, Nansel gives a stellar rendition of “Twenty Miles from Marietta,” that delivers a swift thrust of justice to the ears of the audience.
The most versatile performer in the show is Ian Coleman, taking on three different characters with major songs and making them uniquely distinguished from one another. Coleman starts the show as Newt Lee, the night watchman — giving a spine-tingling rendition of “I Am Trying to Remember,” filling this number with the essence of an eerie soul creeping out the truth from amidst the shrouds of mystery that surround the murder. He later takes on the role of Jim, a much more flavorful and bumptious character that intends to make his version of the truth known. Coleman’s soulful voice duets well with Eben Logan, playing Minnie/Angela, during “A Rumblin’ and a Rollin’.” Logan’s voice is exceptional, particularly when she belts out “Minnie’s Testimony” and lets her presence be felt upon the stage.
Carrying the principle lead roles of the show are Emily Zickler and Bobby Libby as Lucille and Leo Frank. The pair have a sensational chemistry together, even if it is strained at the beginning of the show— appropriate given the nature of their relationship. The duets they share, “This Is Not Over Yet” and “All the Wasted Time” are sublime. Their voices create perfect harmonies and are brimming with authentic emotions that really drive the message of the story home to the audience. Zickler as the strong wife figure really nails her convictions to the feet of her character and delivers unwavering confidence every time she is on the stage, particularly during “You Don’t Know This Man.” Her voice is pristine; sweet yet powerful and laced with visceral feelings that she is unabashedly unafraid to share.
Bobby Libby (Leo Frank). Photo by Ernie Achenbach.
Libby crafts a tremendous presence upon the stage. His meager initial existence is merely another layer of this finely-constructed character; creating a richly fulfilling man on this journey throughout the show. His voice is filled with determination and forceful optimism during “This Is Not Over Yet,” when he belts out his beliefs from the bottom of his being. Proving himself to be a versatile performer, Libby gives a rather intriguing jazzy rendition of “Come Up To My Office,” the complete opposite of the nervous character he has constructed to that point in the show. His performance of “It’s Hard To Speak My Heart” presents the audience with a vulnerable exposed man. Libby delivers a magnificent performance.
Parade is dark and hauntingly beautiful and the efforts of all involved are well worth commending. The best way to do so is to go and see this magnificent production of Parade at Kensington Arts Theatre before it closes.
Running Time: 2 hours and 40 minutes, with one intermission.
Paradeplays through November 16, 2013 at Kensington Arts Theatre at Kensington Town Hall – 3710 Mitchell Street, in Kensington, MD. For tickets, call the box office at (206) 888-6642, or purchase them online.
Kensington Arts Theatre will hold additional auditions for Parade this Saturday, August 17, at the Kensington Town Hall / Armory, from 11:30 AM to 1:00 PM. All roles are open.
Anyone coming to these auditions should be prepared to remain for callbacks, which will take place immediately following the regular auditions.
It sounds like a cliché, but there are truly no small roles in this show. With the exception of the performers depicting Leo Frank, Lucille Frank, and Mary Phagan, each performer will play multiple roles. Each role offers vocal and acting challenges, and each character propels the story to its grim conclusion.
Music/Lyrics by Jason Robert Brown Book by Alfred Uhry Directed by Craig Pettinati Music Direction by David Rohde Produced by Malca Giblin
Performances October 25, 26, November 1, 2, 3, 8, 9, 10, 15, 16 Fri/Sat @ 8:15pm, Sun @ 3:00pm
ADDITIONAL AUDITIONS: Dates/Time: Saturday, August 17th from 11:30 AM to 1 PM Place: Kensington Town Center – 3710 Mitchell Street, in Kensington, MD 20895
CALLBACKS: Date/Time: August 17 (1:00pm) Place: Kensington Town Center | 3710 Mitchell Street | Kensington, MD 20895
Characters (age range): vocal range Leo Frank (30-39): Tenor/Baritone to a clear G Lucille Frank (20-29): Mezzo Mary Phagan (15-18): Middle range with good projection Mrs Phagan/Sally Slaton (30-49): Alto or mezzo Hugh Dorsey (30-49): Baritone
**Minnie McKnight/Angela (20-29): Mezzo or middle range Frankie Epps/Young Soldier/Guard (20-29): Tenor Judge Roan/Old Soldier/Guard (40-49): Baritone/Tenor Governor Slaton/Britt Craig/Mr. Peavy (20-49): Tenor/Baritone Officer Starnes/Tom Watson (30-49): Bass/Baritone Officer Ivey/Luther Rosser/Guard (20-49): Any range
**Newt Lee/Jim Conley/Riley (20-39): Tenor or wide vocal range Iola Stover (20-29): Standard chorus soprano Monteen (20-29): Any voice, willingness/ability to harmonize Essie (20-29): Any voice, willingness/ability to harmonize ** (African-American)
Prepare a song from musical theater that best shows off your vocal and dramatic ability.
For more audition information, please visit our Facebook event page.
Music/Lyrics by Jason Robert Brown Book by Alfred Uhry Directed by Craig Pettinati Music Direction by David Rohde Produced by Malca Giblin
Performances October 25, 26, November 1, 2, 3, 8, 9, 10, 15, 16 Fri/Sat @ 8:15pm, Sun @ 3:00pm
AUDITIONS: Dates/Time: August 13, 14 (7:30pm) Place: Kensington Town Center | 3710 Mitchell Street | Kensington, MD 20895
CALLBACKS: Date/Time: August 17 (1:00pm) Place: Kensington Town Center | 3710 Mitchell Street | Kensington, MD 20895
Characters (age range): vocal range Leo Frank (30-39): Tenor/Baritone to a clear G Lucille Frank (20-29): Mezzo Mary Phagan (15-18): Middle range with good projection Mrs Phagan/Sally Slaton (30-49): Alto or mezzo Hugh Dorsey (30-49): Baritone
**Minnie McKnight/Angela (20-29): Mezzo or middle range Frankie Epps/Young Soldier/Guard (20-29): Tenor Judge Roan/Old Soldier/Guard (40-49): Baritone/Tenor Governor Slaton/Britt Craig/Mr. Peavy (20-49): Tenor/Baritone Officer Starnes/Tom Watson (30-49): Bass/Baritone Officer Ivey/Luther Rosser/Guard (20-49): Any range
**Newt Lee/Jim Conley/Riley (20-39): Tenor or wide vocal range Iola Stover (20-29): Standard chorus soprano Monteen (20-29): Any voice, willingness/ability to harmonize Essie (20-29): Any voice, willingness/ability to harmonize ** (African-American)
Prepare a song from musical theater that best shows off your vocal and dramatic ability.
For more audition information, please visit our Facebook event page.
Next to Normal is the story of the Goodman family as they try to survive despite the fact that things are not normal, or even close to normal. It is a story of love, loss, commitment, worth, survival, and hope in the face of darkness. It is a compelling story about what it means to be alive and I strongly recommend that you see the McLean Community Players’ production of this show that won three 2009 Tony Awards and the 2010 Pulitzer Prize for Drama. It is truly outstanding.
As the show opens, we meet the Goodmans who appear to be a typical suburban family. Mom Diana (Nicky McDonnell) worries about her son (Nick DuPré) who has missed curfew and her snarky, overachieving teenage daughter (Catherine Callahan) who is anxiously studying late into the night. Finally, her husband (Brent Stone) persuades her to return to bed. The next morning, though, we learn that things are not normal in the Goodman home as Diana prepares sandwiches, not on the kitchen counter, but on the floor. It seems she has suffered from bipolar disorder coupled with hallucinations for more than sixteen years. Her illness, with its manic highs and miserable lows, has taken a toll on the entire family and we see how it effects each one in diverse ways.
Cast of McLean Community Players’s Next to Normal (from L to R): Alex Stone (Henry), Brent Stone (Dan), Catherine Callahan (Natalie), Nick DuPre (Gabe), Nicky McDonnell (Diana), and Quinn McCord (Doctors Fine and Madden). Photo courtesy of Lisa Anne Bailey.
Be advised, however. Next to Normal will surprise you as it tackles its themes in an unexpected style…as a rock musical. With little spoken dialogue, the musical could be dreadful in the wrong hands but Brian Yorkey, (author of book and lyrics) and Tom Kitt (music composer) have handled the topic of mental illness with intellect, artistry, and sensitivity. And don’t let the show’s “rock” label turn you off. There is a range of musical styles that include both driving beats as well as haunting ballads. The cast was especially clear in articulating the song lyrics so we can easily follow the story.
In fact, the entire cast is superb. Ms. McDonnell is mesmerizing in the role of the mother – Diana. From the first moment, we are drawn to her and ache for her pain. Through her, we are frustrated with a medical system that seems incapable of successfully treating her tragic illness. As Diana tells her daughter that she loves her as best she can, we see how much she wants to be able to give her daughter a more normal life. She is aware of how life can change in a moment and the best she can do in committing to attend her daughter’s piano recital is to say, “Put it on the calendar.” The expressive McDonnell is able to communicate a world of emotion through the slightest tip of the head or the smallest wince. She is at her best as she sings “I Miss the Mountains,” declaring her desire to go off her medications so she can feel something again.
A newcomer to community theater, Nick DuPré plays the Goodman’s son Gabe. It is Mr. DuPré’s first role of this size and he is to be congratulated on his achievement in creating a complex, three-dimensional character who is, at the same time, his mother’s confidant and adversary. DuPré’s singing is strong and riveting, especially as he demands to be acknowledged in “I’m Alive.”
Brent Stone plays Dan, the father, who is trying to keep the family together, yet seems so disconnected from his own life. In the song “Who’s Crazy,” Mr. Stone brings a vulnerability and poignancy as he asks, “Who’s crazy, the husband or wife? Who’s crazy to live their whole life believing that somehow things aren’t as bizarre as they are? Who’s crazy, the one who can’t cope? Or maybe, the one who’ll still hope?”
As the Goodman’s smart, musically talented daughter Natalie, Catherine Callahan inhabits the role of the teenager who is, despite her academic and musical achievements, invisible to her parents. Natalie wonders if she could literally fly away from the family chaos in the powerful song “Superboy and the Invisible Girl,” which showcases Ms. Callahan’s remarkable vocal skills.
We see another side of Natalie when she meets Henry (Alex Stone). Henry is, as described by the show’s director in a recent DCMTA interview, “the best boyfriend a lost soul could have – one who listens, supports and loves no matter what is thrown at him and how much Natalie tries to push him away.” Only a high school sophomore, the other Mr. Stone (son of fellow cast member Brent Stone) exhibits a maturity and skill far beyond his years. His honest portrayal of a guy who just wants the girl, even if she is a broken girl, is charming and sweet.
The final member of the cast, Quinn McCord, plays Diana’s two doctors, Doctors Fine and Madden. As Dr. Madden, Mr. McCord portrays a man who, like Diana’s husband, wants to see Diana cured, even as he knows medicine is not magic.
There are no easy answers here. In fact, there really aren’t answers at all. Just a pile of questions asked by people trying to survive and love for just another day. Ultimately the show ends with hope. Not the Pollyanna-ish, unrealistic cheeriness often found in stage musicals, but rather the world-weary hope of people unwilling to give up.
Producers Patti Green Roth and Linda Stone have assembled what must be the dream team of community theater given the high quality of the production. Director Lisa Anne Bailey has made some brilliant choices in staging the show. In aDCMTA interview, she characterized the story as, first and foremost, ‘a love story.’ Her deft hand keeps the show from becoming maudlin.
The cast is top notch. The music is quite challenging and, even though they might not always hit the high notes spot on, their voices have an energy and rawness of emotion that lends an authenticity that I don’t believe would be conveyed by more “perfect” vocals. Music Director David Rohde and the six-piece orchestra must also be congratulated. If I had not read the program, I would have thought the music was a recorded sound track because the musicians cannot be seen by the audience and their performances are superb.
Set Designer Michael Schlabach has created a flawless set for the story. Much simpler than the Broadway or touring company sets, we still have the sense of the family home with distinct rooms but the action is brought closer to the audience using the full space of the Alden Theatre stage. This brings an intimacy to the show not found in bigger productions. Lighting Designer Jeffery Scott Auerbach effectively uses lighting to direct our attention and create a mood in subtle and interesting ways.
Kudos as well to the Sound Designer Stan Harris, Audio Assistant Linda Stone, and the Sound Support team. Given the nature of the music, I was impressed by how well the voices and the music mixed without one drowning out the other.
The entire cast and production team are to be congratulated.
The cast of McLean Community Players’ Next to Normal.’ Photo courtesy of Lisa Anne Bailey.
Let me, in closing, make the case once again for community theater. We are lucky in this area to have 84 professional theater companies, but we are even more blessed to have an overflowing bounty of community theater companies who give of their time and talent to create affordable theatrical events. As I stood outside the theater yesterday following the finale and watched friends and loved ones congratulate the actors, I was reminded how it is a very special thing to produce theater not because it pays the bills but simply because you love it.
Please support community theater and please get your tickets for this wonderful production. Even if you’ve seen it before, you must see McLean Community Players’ production of Next to Normal.
Running Time: Two hours and 30 minutes, with one 15-minute intermission.
Next to Normalplays through February 16, 2013, at McLean Community Players at The Alden Theatre – 1234 Ingleside Avenue, in McLean, VA. Tickets may be purchased online or at the Box Office, by calling OvationTix at (866) 811-4111, or calling the Alden Theatre box office at (703) 790-9223. Box Office hours are: Wed & Thur: 5-9 pm Fri & Sat: noon-9 pm.
LINKS
Part One of ‘Putting Normal Together’ at McLean Community Players’ by Lisa Anne Bailey.
Part Two of ‘Putting Normal Together’: Meet the Cast at McLean Community Players: Brent Stone by Joel Markowitz.
Part Threeof Putting Normal Together’: Meet the Cast at McLean Community Players: Nicky McDonnell.
Part Four of ‘Putting Normal Together’ Part 4: Meet Alex Stone, Catherine Callahan, Nick Dupre, & Quinn McCord.
This is the final article of our behind-the-scenes look at McLean Community Players’ production of Next to Norrmal. Today, meet cast members Alex Stone, Catherine Callahan, Nick Dupre, & Quinn McCord.
Alex: My name is Alex Stone and I am playing Henry in the McLean Community Players’ production of Next to Normal. I am a sophomore at McLean High School (MHS) and a proud member of the school’s Madrigals group and Theatrical and Choral Department. I recently played Enjolras in Les Misérables (MHS), Frankie Epps in Parade (The Theatre Lab School of the Performing Arts), and Dickon in The Secret Garden (St. Mark’s Players).
Catherine Callahan and Nick DuPre. Photo by Traci J. Brooks.
Catherine: Hello! My name is Catherine Callahan; this is my 2nd show with Mclean Community Players after Joseph and the Amazing Technicolor Dreamcoat about two years ago.
Nick: My name is Nick DuPre and I play Gabe. My theatre experience includes a few small roles when I was in high school, but I have to admit at 17, I was much more concentrated on chasing the pretty girls in the cast than caring about the intricacies of my performance. This is by far the biggest role I have ever been cast. For my day job, I am a Captain in the greatest Air Force in the world.
Quinn: I was born and raised in Bethesda, MD, and while I’ve done several shows with Montgomery County theatres, my last three shows, including this one, have been with MCP. My favorite roles to date have been those with great melodies for tenors to sing: Jesus in Godspell, Dickon in The Secret Garden, Cornelius in Hello Dolly, and Jack in Into the Woods.
My last two roles at MCP were Gangster #1 in The Drowsy Chaperone and Aaron/Dewey in Legally Blonde the Musical, both at MCP. Those shows had their own challenges, of course, but it’s also true that you’re generally on safer terrain with comedies than dramas. To be clear, those were complex shows too, hardly idiot-proof, and we worked hard to get them into great shape. That said, it’s pretty hard for a musical comedy to land like a lead balloon on a receptive audience, but dramas are a different animal. Creating wacky, fun characters is relatively easy, but for a musical drama like Next to Normal, it’s far more challenging to achieve the level of subtly needed to portray realistic members of a suburban family and the people with which they interact.
Joel: Why did you want to play these roles?
Alex: I wanted this role for a couple of reasons. First, the musical itself is exciting and intriguing to listen to and understand as it unfolds. It would have been a loss to miss the opportunity to audition for a show like this. Second, the music is a challenge and a challenge is always exciting.
Catherine: Natalie is a one of those roles where 50 girls all really want the part. I was just finishing a show and trying to figure out what to do next, and it seemed everyone was doing Next to Normal. I researched the part of Natalie and decided to audition at each theatre doing Next to Normal first at Mclean and I ended up only auditioning for Mclean. I saw that I can relate to Natalie on many levels and went for it.
Nick: My good friend introduced me to Next to Normal two weeks before the audition and I was instantly hooked on the music. She thought Henry suited me and after singing through Perfect for You and Hey #1-3 a few times, I agreed. So when I received a callback I had every intention of trying to play Henry (not even considering Gabe). Then a funny thing happened. During callbacks, Catherine Callahan and Alex Stone sang “Hey #3” together and after watching them sing together for just the first time, I was 99% sure they were it. After seeing the immense talent pool at callbacks, I knew I HAD to be a part of this production somehow. So after the Henry/Natalie auditions, Lisa gave us a quick break and I found a remote stairwell in the MCC and sang (read belted) through Gabe’s rock song, “I’m Alive,” a few times. I was very nervous to sing an unfamiliar song at the top of my range in front of all the talent in the room and breathed a sigh of relief when my voice didn’t crack. So with all that said, I wanted the role of Gabe because I knew Alex had the role Henry already locked down!
Quinn: I’m very methodical in how I choose to audition. I keep tabs on all the theatre websites, looking for shows within their upcoming seasons that I know and enjoy. With shows that I’m unfamiliar with, such as Next to Normal, I usually order a cast album CD and just listen to it for months in my car. When I started listening to Next to Normal, I quickly realized that there were some great pop/rock tenor roles, including two for adult men, and I knew it was a show I would want to go out for.
Catherine Callahan and Alex Sebastian Stone take a break during a rehearsal. Photo courtesy of McLean Community Players.
How do you relate to your character?
Alex: On the surface, Henry and I aren’t very much alike. Yes we both go to high school, but, despite my last name, I am not a Stoner. In addition, I am more energetic whereas Henry is much more chilled. But, Henry has a good heart. We are both determined and care for the people close to us.
Catherine: Natalie is a young girl hoping to just get the heck out of her house. I think most teenage girls feel that way, I recently just moved out of my house for the first time ever. The feeling of wanting to just leave just eats at you. Natalie is also trying to make her life perfect. She feels she lives in the shadow of her “Super Boy” brother. I have 8 brothers and 4 sisters so I can relate to Natalie’s perspective of trying to be perfect and receive attention.
Nick: Personality-wise, I can relate to Gabe’s character very well. I was also happy to learn Gabe played sports because I can definitely get into that aspect of the role. Also, in the show, one of the Gabe’s main traits is the closeness he has with his mother Diana (played by Nicky McDonnell). I can easily relate to that because I am very close with my mom. Nicky plays a great mom for me too due to the fact she looks like she could be my sister, and in real life, my mom is routinely mistaken for my sister…those young genes.
What were some of the challenges you faced learning the your role?
Alex: My main issues with learning the role are turning my energy down a couple of notches and learning how stoners act and smoke. Not something you exactly learn ever day.
Catherine: I think we all have parts of these characters in all of us and letting those parts out can be a challenge. Natalie is mentioned as a freak in the first song. Letting Natalie’s freak out has definitely been challenging. Breaking down the show during the first few rehearsals was a challenge as well. I was not familiar with bipolar depression.
Nick: Four words… “High Tenor 1 Range.”
Quinn: My first challenge is that I actually play two different doctors, Fine and Madden, and without proper precautions, it would be very easy for the audience to end up confused if they just think I’m the same doctor in different clothes. So we’re very deliberately working to ensure that the appearance of the two doctors are quite different, and I’m also focusing on making sure my characterizations vary. Dr. Fine is only in one scene, and I currently view him as something of a car-salesman type doctor. Madden is my primary role, and the challenge with that character is something akin to the one I faced playing Jesus. You don’t want to come across as a lecturing scold, but at the same time, you would undermine the character’s authority by portraying him as a touchy-feely, new-age type who can’t be firm with his guidance.
What is it like working with Director Lisa Anne Bailey?
Alex: From the start of working on Next to Normal, Lisa has made me give my absolute best. She has encouraged me to show my emotions so that the audience better understands Henry’s background and character growth through the show.
Catherine: Lisa is one of the best directors I have worked with. I really feel I understand her vision for the show. It is very beautiful. We have all been able to sit down and talk about our characters in great detail. After all our discussions, I can go through the show and understand why Natalie is doing everything she does, as well as all of the characters. Lisa has an incredible challenge and is doing it justice wonderfully.
Nick: Lisa has been amazing to work with. I owe her so much for the patience she has shown with me throughout this entire process. If the role of Gabe lands on its feet in February it is largely due to the invaluable direction she gives me during every rehearsal. Lisa clearly cares about every single cast member involved in this show. One of the things I like best about Lisa’s way of directing is her openness to offered suggestions coming from the cast members. It makes the creation and tweaking of every scene a true team effort. She would actually make a great Air Force General. I would also pay big money to see that.
Quinn: My first expectation of any director is that he or she has a passion for the property, and isn’t one of those types who simply enjoys directing for directing’s sake. I also think it’s important for any director to avoid the extremes of micro-managing every movement on the stage, or conversely, to just let the actors move around based on their own instincts with no guidance. I appreciate the amount of time Lisa has put into thinking about Next to Normal in the months leading up to the auditions, and the fact that she clearly has firm views on what each scene needs to accomplish, while at the same time encouraging the performers’ tinkering and experimenting during the reheasal process. In the past, I’ve been a bit disappointed when I’ve felt directors knew less about a show or a scene than even I did as a performer, and it’s a relief to have a director and artistic staff who really know the property inside and out, its pitfalls and potential.
What have you learned about yourself as an actor and singer from Lisa?
Alex: I have learned that I am most comfortable playing a character who is full of energy and enthusiasm. Lisa helped me understand that this role calls for a more calm, understanding presence while also helping me achieve that goal. This lower-key presence extends beyond my acting through to the musical phrasing during the songs.
Catherine: By being able to go into great detail about our characters during table talk, it is so much easier to express myself while singing and acting. I have also already learned so much from the other cast members. This cast has excellent, experienced actors from the area that are brilliant role models. As a young person in the theatre area, that is very helpful. Lisa has helped me understand that Natalie has manic moments and is such a perfectionist. She is really guiding me throughout the process of putting the show together.
Nick: I really learned through rehearsals to think about the words I am singing and not just try to sing every song like I am performing a concert.
Quinn McCord and Nick DuPre during a rehearsal. Photo courtesy of McLean Community Players.
What were some of the challenges your faced in the space where you are performing the show and what has been your MCP experience?
Alex: My MCP experience has been a blast. Every one in the cast is understanding, cooperative and a full of fun. We all help each other work through the music and any problems we have with the show.
Catherine: Lisa made our space challenges easier by explaining the set and showing us diagrams of where we will be. I really like the Alden Theatre – it is beautiful. I have had a great experience with McLean so far and I always have. It is one of my favorite community theatres to work with because everyone is very nice.
Nick: MCP has been an extremely professional experience. The amount of effort, organization, and coordinating needed to put on a show like this has been truly eye-opening.
Quinn: I like performing at MCP’s Alden Theatre. It’s a legitimate musical theatre performance space, big enough to have an orchestra pit, even if it isn’t always used as such, but at the same time, it’s not one of those cavernous high school auditoriums you sometimes find in MontgomeryCounty. It’s far more comfortable for an audience than, say, an all-purpose room, but at the same time, most of the seats are close enough to the performers to ensure a nice level of intimacy.
Have you ever seen or appeared in a Next to Normal production?
Alex: I saw the National tour at the Kennedy Center. I specifically liked the staging for Gabe – he was very present in scenes, interacting with all the characters while only receiving responses from Diana. An engaged audience member would notice this. This is one example of how the show opened my eyes to unique staging to help tell the story more effectively.
Catherine: I have never seen or been in Next to Normal before. I have listened to the cast CD a few times now though!
Nick: This is my first time.
Quinn: I’ve never seen a professional production of Next to Normal, and my introduction to it was via the original cast album in preparation for my audition. I was basically able to follow the plot, but I assumed there was also a fairly extensive “book” interwoven with the songs. When I finally saw another community theatre production of the show, I was surprised at how little dialogue there actually was connecting the songs. That being the case, it’s vitally important that we ensure that what limited dialogue does exist (and the lyrics) come across crystal clear to the audience, and that our characterizations contribute to the clarity of what’s occurring on-stage at all moments of the show.
What is your character is going through when you sing your songs in the show?
Alex: Although he has all of his issues with being lazy and a stoner, Henry’s “Perfect for You” shows that he is determined to prove to Natalie that he will do what he has to so he can be perfect for her.
Catherine: “Everything Else” is a song Natalie sings while in a practice room of her high school. She is desperately trying to get out of her parents house and graduate early to leave for college. Natalie wants to move on and leave her past behind her. She is a genius at school and on the piano. Natalie wants to “play till its perfect” because she is a perfectionist.
“Perfect for You” is a song that Natalie sings with Henry. Henry is a new friend Natalie has made who may possibly be interested in her. She is having trouble with accepting that someone actually likes her but she likes Henry too, and he helps her get over her trouble.
“Superboy and the Invisible Girl” takes place after Natalie’s mother has completely embarrassed her in front of Henry. Natalie is angry and upset because her brother always comes first in everything. She wants her mother to notice her before she “fades away”.
“Hey 1,2,3” The “Heys” are between Henry and Natalie. Henry is trying to get Natalie to have fun and go to a dance with him. Natalie is harsh and does not want anything to do with a dance, and Henry is really worried about her. Natalie has been taking her mothers pills and is going overboard. Henry really wants to help Natalie.
Nick: The songs Gabe sings really span the spectrum from up-tempo rock to softsational ballad. The songs really show evolution of Gabe and how he views the rest of his family members, and most centrally Diana.
Quinn: I think what we learn from Dr. Madden in his songs is that he never gives up. Indeed, I think his philosophy is pretty well summarized by one of his final lyrics: “Is medicine magic? You know that it’s not. We know it’s not perfect, but it’s what we’ve got. It’s all that we’ve got.” He knows mental illness is a chronic disease this is often not fully cured, just treated. But I don’t think he ever loses his fundamental faith in medical science and that that he can help anyone given enough time and cooperation.
What were some of the challenges you had trying to learn Tom Kitt and Brian Yorkey’s score?
Alex: The score contains some of the hardest harmonies, entrances, rhythm counts and notes I have seen in my theatrical experience. The words themselves were not hard to learn, mainly because I listen to it in every moment I can.
Catherine: There are two books filled with music.There is a little bit of everything in this show. It was definitely a challenge to learn all the tight harmonies and group numbers.
Quinn: Musically, I approached this show with some trepidation, since the music veers into complex six-party harmony on several occasions. I don’t really read music beyond the rudiments, and while I can learn melodies from cast albums, I’m always unsure how quickly I’ll pick up harmonies by ear during the rehearsal process. I recall having a pretty good ear in high school madrigal class, but I’m always a bit worried my ear has degraded in the years since without the benefit of singing on a daily basis. So I’m pleasantly surprised I haven’t fallen behind the other fine member of our cast, and I think we sound pretty good when we’re blending.
What makes this production of Next to Normal unique?
Alex: In the Broadway production, they had three levels and fluorescent lights covering the stage. Our plan is to use the entire space more evenly and with less levels.
What are you doing next on stage?
Alex: Hopefully more theatrical productions at my school.
Catherine: I have no idea! I usually like to focus on the show I am in and then when the show goes up I will take a look at auditions coming up.
Nick: Hmm…Hopefully something.
Quinn: Sometimes I’ll go directly from one show to another, but I’m just as likely to wait a year and a half before I get the itch again. There’s really nothing on my radar screen right now, and for a variety of reasons, it may be quite awhile before I audition for another show. It’s just one more reason why I want to make sure Next to Normal is as great as possible!
What do you want audiences to take with them when they leave MCP after seeing Next to Normal?
Alex: A sense of hope and understanding to those affected by the type of problem Diana has and that in today’s society, we can help and make a difference.
Catherine: I think that audiences should take one family in particular’s struggle and recognize the illness that Diana suffers from. It is important in today’s society that we recognize what is going on and have the urge to help out in any way we can.
Nick: I want audiences to bring their own life experiences to the theater and just see where the story leads them. As Lisa has emphasized from the beginning, this is a story of love and the most spell-binding aspect of this musical is way that almost everyone can relate to a specific theme or character as the story unfolds. Of course, I want audiences enjoy the music, but most of all, I hope they come to Alden Theatre and form their own unique perspective of what this Pulitzer Prize- winning musical is all about.
Quinn: Since the show as written doesn’t offer a neat-and-clean resolution, I think it’s very easy for an audience to leave unsatisfied with the ending. I think it’s our challenge to carefully imbue the final scenes with enough promise and hope that the audience DOES leave satisfied. Moreover, we’re mostly portraying flawed characters, to one extent or another, so we’re also challenged to portray these characters realistically, while at the same time making sure none of them are abrasive to the point where they become unlikable.
Cast of McLean Community Players’s Next to Normal (from L to R): Alex Stone (Henry), Brent Stone (Dan), Catherine Callahan (Natalie), Nick DuPre (Gabe), Nicky McDonnell (Diana), and Quinn McCord (Doctors Fine and Madden). Photo courtesy of Lisa Anne Bailey.
Next to Normal begins performances tonight February 1-16, 2013, at The McLean Community Players at The Alden Theatre -1234 Ingleside Avenue, in McLean, VA. For tickets, purchase them online. Tickets may be also be purchased at the Box Office, by calling OvationTix at (866) 811-4111, or calling the Alden Theatre box office at (703) 790-9223. Box Office hours are: Wed & Thur: 5-9 pm Fri & Sat: noon-9 pm.
LINKS
Part One of ‘Putting Normal Together’ at McLean Community Players’ by Lisa Anne Bailey.
Part Two of ‘Putting Normal Together’: Meet the Cast at McLean Community Players: Brent Stone by Joel Markowitz.
Part Threeof Putting Normal Together’: Meet the Cast at McLean Community Players: Nicky McDonnell.
My name is Nicky McDonnell and I will be playing Diana in MCPs production of Next to Normal. I have a BFA in acting from Emerson College in Boston and have been performing for many years in The Washington Metro Area, New York City, Los Angeles, and Boston. In 2003 after my first son was born I opted to move into another career and enjoy doing theatre as much as time permits. I keep my eyes open for roles that speak to me and Diana definitely is one of those roles.
Nicky McDonnell, Brent Stone and Nick DuPre. Photo by Traci J. Brooks Photography.
Why did you want to play the role of Diana?
I try to pick roles that are already a part of me in some way. I grew up in a home where two of my immediate family members had depression/bipolar and it’s something that’s part of my blood stream. I don’t have to reach very far to understand it. It’s a part of me. Coupled with many of my very painful memories are days of elation and manic excitement. Diana is a beautifully written character and I hope to do her justice based on my own experiences. I prefer art when it has something to teach us. The work that I really go after are the pieces that take us further into our humanity, into our compassion for one another. I like a good tap number as much as the next person but if I can touch my own spirit deeper and connect with the audience in a more substantial way…that’s when theatre comes to life for me personally.
How do you relate to Diana?
I relate to Diana in almost every way. My life completely changed when I started my family. I love them and hold them close and can’t imagine a day without them. My greatest fear in life would be the loss of either of my children. I feel I could survive most things but that one thing is something I’m not sure I could endure. Diana holds up a light to that fear. It’s difficult work but meaningful and even healing in some ways. In the face of her bipolar (that was likely brought on by the traumatic event of the loss of her son) I admire her tenacity to survive the unimaginable.
What were some of the challenges you had learning the role?
I would say the biggest challenge in playing Diana is singing her and staying in control of the emotion. The score of this musical is one of a kind. It is an epoch two book score with difficult rhythms, harmonies, styles. It is chock-full of heartbreak and also has a wicked subtle sense of humor. Finding all of that and being able to sing the score at the same time is really quite a climb.
What it is like working with Lisa Bailey, your director?
I love working with Lisa because she truly is an actor’s director. She is open to the organic evolution of the piece. So many directors are stagers and they get a fixed idea in their mind. So much is missed when this happens. Lisa is smart and sensitive to this and is willing to fix what’s broken, revise or rework etc. She is refreshingly honest and insightful and has the personal depth and history to take this show where it needs to go emotionally without creating a maudlin display. She is great to work with!
What has your MCP experience been?
My experience thus far with MCP has been terrific and I think the Alden Theatre is a fantastic space for this particular show. It’s just intimate enough for the story and big enough for the score and the sound that will be coming from the stage. I love what Lisa and the production team have decided about the set. So little is needed to tell this story as far as set design and props. We have a nice, clean minimal design going with well-defined simple areas. There is quite a bit of stage time that is split but I think our set makes it easy to read and understand.
What makes this production unique from other N2N productions that you have seen?
What I really like about our production is that Lisa and David went after the heart of the show when they put the cast together. Every single actor makes sense in their role. It’s an honest cast of characters…age appropriate, character appropriate, and each one of us has a good solid connection with the role. It already feels like a family. There is trust already established between us all and that is a real gift. On a show with this much emotional excavation it’s a requirement in order for it to succeed.
Did you see the NYC show or any other production, and what your reaction was to that experience?
Brent Stone (Dan) and Nicky McDonnell (Diana). Photo by Traci J. Brooks Photography.
I did not see N2N on Broadway but I’ve watched it on You Tube. It’s phenomenal. Many people had mixed feelings about Alice Ripley. I thought it was a beautiful performance. What impresses me most though, at the end of the day, is Kitt and Yorkey. The writing is over the moon. It’s so good that even at the moments when I feel I’m lost with what they were trying to convey – I have to trust that what is there is there for a reason. My job is to find it, go with it and make it right.
Set up your songs in the show and what we learn about her when the songs are sung.
Diana sings almost constantly in this show. The vocals are tough but very exciting. It starts with Just Another Day which gives us a little background on the family and Diana and then the score moves on to tell us a little more bit by bit. We learn about her medications, we learn about her memories, we learn about her relationship with Dan and Natalie, we are heartbroken when she finally sings How Could I Ever Forget? with Dan….finally remembering that her young son died. Each song is a journey of its own through the road trip of their lives. Diana ultimately ends up leaving Dan and Natalie. We don’t know if she is leaving for good or merely taking a much needed respite from a broken world.
The show culminates with the song Light. I personally love this song almost more than any other in the show. It’s not a warm and fuzzy happy ending. The lyrics are powerful…. “ When we open up our lives, sons and daughters, husbands, wives, and fight that fight. There will be light.” We have to fight for light in our lives. It’s not a negative statement…it’s just a fact. It’s so honest and not shrouded by any Hallmark clichés. And I do believe that is what life is about….fight the fight whatever that is for you.
What do you want audiences to take with them after seeing your performance as Diana?
I’ve had a few great opportunities in my life. This is one of them. It’s an honor to play her and I truly hope that what the audience walks away with is hope. As a cast we really don’t want to convey a dark, depressing show about mental illness. That’s not what this is. It’s a show about family, surmounting struggles, falling and getting up, mania, boredom, brilliance, grief, loss and ultimately love and how love still wins out over all. That’s what I hope to convey to the audience.
Cast of McLean Community Players’s Next to Normal (from L to R): Alex Stone as Henry, Brent Stone as Dan, Catherine Callahan as Natalie, Nick DuPre as Gabe, Nicky McDonnell as Diana, Quinn McCord as Doctors Fine/Madden. Photo courtesy of Lisa Anne Bailey.
What are you doing next on the stage?
….As far as what’s next for me as an actress I really don’t know! I’ve got my eye on 33 Variations at LTA – but we shall see!
Next to Normal plays February 1-16, 2013, at The McLean Community Players at The Alden Theatre -1234 Ingleside Avenue, in McLean, VA. For tickets, purchase them online. Tickets may be also be purchased at the Box Office, by calling OvationTix at (866) 811-4111, or calling the Alden Theatre box office at (703) 790-9223. Box Office hours are: Wed & Thur: 5-9 pm Fri & Sat: noon-9 pm.
LINKS
Part One of ‘Putting Normal Together’ at McLean Community Players’ by Lisa Anne Bailey.
Part Two of ‘Putting Normal Together’: Meet the Cast at McLean Community Players: Brent Stone by Joel Markowitz
My name is Brent Stone and I am playing Dan in McLean Community Players production of Next to Normal. After taking a hiatus from theater after college, I caught the stage bug again more than ten years ago and haven’t stopped since. With a primary background in dance, I pursued more well-rounded roles beginning about five years ago and have found them to be a wonderful challenge. My introduction would be incomplete without a mention of my family – two of whom join me in this production – while our oldest, Nicholas, studies Theater at Muhlenberg College.
Brent Stone (Dan) and Nick DuPre (Gabe). Photo by Traci J. Brooks Photography.
Why did you want to play Dan?
The role of Dan offered several challenges that intrigued me. I was excited to explore depth and range of the character’s emotions – the overwhelming sense of responsibility of holding the family together, the commitment to a wife he loves and even the battling of his own ghosts. From a performance standpoint, I was challenged and intrigued at the prospect of taking on the rock musical genre. Finally I was hoping for an opportunity to working with director Lisa Anne Bailey and music director David Rohde.
Dan and I are similar in ways – we are both married, very much in love with our wives, have a strong commitment to family and, for the lack of a better term, appreciate the normal conventions of life. I also relate to Dan on the level of juggling work and home life.
What are some of the challenges of playing Dan?
The show is made up of music pieces interspersed with short and sometime very intermittent pieces of dialogue. The sheer navigation of this make up offered its own trial. Dan’s unique path also provided a unique test. When I saw Next to Normal at The Kennedy Center, I found myself distinctly upset at the production’s conclusion. For me, the show’s “resolution” flew in the face of what I understood to be hopeful. And yet, the show’s final piece, Light, clearly was intended to offer some measure of hope to an otherwise fractured conclusion. To navigate the end path for Dan – that of utter disappointment comingled with optimism – and to honestly convey these two emotions – has offered a singular test.
How have Director Lisa Anne Bailey and Musical Director David Rohde helped you shape your performance?
From the beginning, director Lisa Anne Bailey has provided the grounding in character development essential for a fully-rounded story. She has encouraged and challenged us to create fully developed characters and to explore relationships with each fellow character. For a production as challenging as Next to Normal, this grounding and development is essential for the production’s success. Lisa has also been more than a willing and able sounding board open to guiding us in exploring our characters. In short, it has been a joy to work with Lisa.
Lisa, along with Music Director David Rohde, described and guided the casts’ understanding that the telling of the story through the song is paramount. This story’s preeminence supersedes even that of singing show’s challenging pieces exactly as written. So audiences may well hear nuanced changes to meter or even notes within pieces that help to tell the story more completely.
Brent Stone (Dan) and Nicky McDonnell (Diana). Photo by Traci J. Brooks Photography.
The intimate nature of the Alden Theatre will provide a compelling complement to this show’s challenging story. Audiences will come face-to-face with the struggle that confronts this family. Paired nicely with the beautiful space, MCP has stepped up to the plate by assembling one of local theatre’s strongest production teams. Joining Lisa and David, producers Linda Stone and Patti Green Roth have brought on the talents of Joan A.S. Lada, George Farnsworth, Michael Schlabach, Stan Harris, and Jeff Auerbach.
From the beginning, Lisa has stressed that Next to Normal, at its core, is a story of love, family, challenge and growth. While other productions have made mental illness central to the story, Lisa has guided us in the understanding that mental illness is the method of bringing those deeper themes to the fore.
What do we learn about Dan when you sing your songs?
While participating in 16 of the show’s pieces, three stand out in helping understand Dan. In “It’s Gonna Be Good,” we get a sense of Dan’s optimism and striving for the normal. As described in this song’s lyrics, even though Diana has only been on a good path for two weeks, Dan is well convinced that things are indeed going to end well. His past experience with his wife should have provided more warning that this was not true.
In “I’ve Been“, we get a small sense the internal test Dan is facing. While confronting Diana’s exacerbating problems, Dan wrestles with his exhaustion, commitment to responsibility while, at the same time, struggling with this fears. And in “A Promise,” we get a picture of Dan’s commitment to Diana even when all that holds them together is indeed his word that he will stay with her.
Cast of McLean Community Players’s Next to Normal (from L to R): Alex Stone as Henry, Brent Stone as Dan, Catherine Callahan as Natalie, Nick DuPre as Gabe, Nicky McDonnell as Diana, Quinn McCord as Doctors Fine/Madden. Photo courtesy of Lisa Anne Bailey.
What challenges have you had learning Tom Kitt and Brian Yorkey‘s score and challenges you may have had in learning it?
With its rock genre, the Next to Normal score is well outside of my musical comfort zone. It was clear that the fuller voice used in more traditional musicals was not appropriate for this show’s rock stylings. David Rohde provided invaluable guidance in adjusting vocal placement and tone to that more appropriate for this show’s modern sound.
What are you doing next on the stage?
If a local theatre company puts up Parade, I will be at auditions.
What do you want audiences to take with them after seeing Next to Normal at MCP?
MCP’s Next to Normal will leave audiences excited, perhaps exhausted and certainly contemplating the nature of love and commitment and if there is a “too far” when it comes the nature of that love.
Next to Normal plays February 1-16, 2013, at The McLean Community Players at The Alden Theatre -1234 Ingleside Avenue, in McLean, VA. For tickets, purchase them online. Tickets may be also be purchased at the Box Office, by calling OvationTix at (866) 811-4111, or calling the Alden Theatre box office at (703) 790-9223. Box Office hours are: Wed & Thur: 5-9 pm Fri & Sat: noon-9 pm.
LINK
Part One of ‘Putting Normal Together’ at McLean Community Players’ by Lisa Anne Bailey.
This the first of a series of behind-the-scenes articles on McLean Community Players’ production of Next to Normal. Today, Director Lisa Anne Bailey introduces the show and her cast.
Director Lisa Anne Bailey working with the ‘Next to Normal’ cast. Photo by Traci J. Brooks Photography.
The average musical gives us a series of characters that must overcome some dramatic conflict or complication, but in general flourishes triumphantly by the end of Act 2 – all accomplished via the music, lyrics and book; these continue to entertain the theatergoer. Some of the newer musicals of today have a darker edge to them, taking on current day issues and problems.
Next to Normal revolves around a family coping with the mother, Diana and bipolar disorder that she has been struggling with for 16 years – since the death of her 18- month old son. This son Gabe, now 16 years later, helps to tell his mother’s story. The entire family deals daily with normal family issues complicated by something far from normal.
The challenge of the piece as a director is in making sure not to lose sight of any of the layers and to tell the “truth” about bi-polar disorder and how it affects each member of the family, the good, the bad, and the ugly.
The excitement of telling the story of Next to Normal is that it is a multi-level story almost completely sung through. I believe that there are four layers – the first being that at its very root this is a story of love, especially the love between husband and wife. The husband in this story has one of those perfect loves – no matter what he will be there for his wife. The second layer of love is the love for a child, and the third layer of love is what to do when you don’t feel loved – the experience that the daughter contends with.
The second layer of the story is that of family and the survival of that family. The third layer of challenge combines love and family and what happens when challenge threatens the love and the family dynamics. The final layer of the story is that of growth and we see each member of the family grow and ultimately survive.
Director Lisa Anne Bailey and Musical Director David Rohde in rehearsals. Photo by Traci J. Brooks Photography.
Auditions for this production proved that this show is very popular and has quite a following – 87 people auditioned for 6 roles and the level of talent was overwhelming. Musical Director David Rohde and I had the challenge of whittling that down to the right combination of actors with depth and singers that could handle a difficult score.
Nicky McDonnell captured the challenging role of Diana, the mother dealing with bi-polar disorder including moments of manic and depressing behaviors – with suicidal tendencies and hallucinations. Just your average female lead!
Brent Stone will play Dan, the ever-faithful husband who just wants everything to be normal again. Dan juggles a job, a daughter lost in her own world, a household, his own emotions and Diana – a daunting undertaking.
Catherine Callahan plays 16 year-old Natalie, very bright, extremely talented pianist who basically has been without a Mom for her entire life. Catherine has her Dad to turn to but because of his distraction with Mom, Natalie turns to a boyfriend and drugs to find her way.
Cast of McLean Community Players’ ‘Next to Normal’: (from L to R): Alex Stone (Henry), Brent Stone (Dan), Catherine Callahan (Natalie), Nick DuPre (Gabe), Nicky McDonnell (Diana), and Quinn McCord (Doctors Fine/Madden). Photo by Kathryn Brais.
Newcomer to community theatre Nick Dupre takes on the role of Gabe, the son who died 16 years ago. Gabe exists because his mother can’t let him gon. One of the hardest stories to tell because he really doesn’t have one, Gabe becomes Diana’s confidante and support system.
Alex Stone plays Henry, boyfriend to Natalie – a loner and a bit of a stoner. Henry is the best boyfriend a lost soul could have – one who listens, supports and loves no matter what is thrown at him and how much Natalie tries to push him away.
Quinn McCord plays the dual role of Doctor Fine and Doctor Madden. It is through the doctors that we learn the basics of the disorder as well as all of the medications and treatments available.
These six actors have agreed to tackle this emotional roller coaster of a ride and I for one, can’t wait to watch their story.
Next to Normal plays February 1-16, 2013, at The McLean Community Players at The Alden Theatre -1234 Ingleside Avenue, in McLean, VA. For tickets, purchase them online. Tickets may be also be purchased at the Box Office, by calling OvationTix at (866) 811-4111, or calling the Alden Theatre box office at (703) 790-9223. Box Office hours are: Wed & Thur: 5-9 pm Fri & Sat: noon-9 pm.
Here are DCMetroTheaterArts writers’ choices for their favorites designs of production in the the DC Metro Area in 2012. I always felt that Designers never received enough ‘ink’ or credit or respect in reviews and were usually ‘clumped together’ in one sentence. I am very proud to say that the writers of DCMTA give designers ‘equal coverage’ in their reviews. We are also sharing with you our choices for our favorite concerts, cabarets, dance performances and university productions of 2012. Thanks to everyone who were honored by our writers. You can read all of our lists of 2012 honorees here.
BEST COSTUME DESIGN OF A PRODUCTION
The cast of ‘Hairspray.’ Photo by Kirstine Christiansen. Costumes by Lawrence B. Munsey.
Jessica Welch and Meghan O’Beirne forA Christmas Carolat Arts Collective@HCC
BEST LIGHTING DESIGN OF A PRODUCTION
Maugrim the Wolf (Dylan Keane – center) and the White Witch’s minions taunt Aslan in ‘The Lion, The Witch, & The Wardrobe.’ Photo by Scott Suchman. Lighting Design by Colin K. Bills.
James Long about to be Power-Bombed by Chad Deity (Shawn T. Andrew). Photo by Stan Barouh. And can you hear the bodies slamming? Sound Design by Christopher Baine.
(l to r) Charlie Brown (Conor Scanlan), Linus (Kevin Mori), Lucy (Awa Sal Secka), Snoopy (Jonathan Miot), Schroeder (Michael Mainwaring), and Sally (Mili Diaz). Photo by R. Scott Hengen.
In each of the thirty-eight categories, five nominees were selected based on the average scores of eight judges. In some categories, due to score ties, more than five nominees are announced. Nominations are provided in alphabetical order by nominee. The nominations are provided by category and then by theater at the end of the document.
