To celebrate its 25th anniversary, the very successful Encores! series threw us a party by offering its seven audiences (February 7–11) a potpourri of book scenes and musical numbers from eight musicals which had never been shown in their entirety on the Encores! stage at City Center. Jack Viertel and Rob Berman, the artistic and musical directors of the series, came up with the concept of “a musical within a musical within a musical.” Then with the help of casting director Jay Binder and his associates, they put together a company of fourteen leading players and an ensemble of seventeen top singers and dancers directed by Marc Bruni and choreographed by Denis Jones. If nothing else, it proves there is enormous talent in all departments in the ranks just below the legendary superstars who light up the skies each season.
Judy Kuhn and Reed Birney. Photo by Joan Marcus.
Among them are Bebe Neuwirth, Douglas Sills, Nancy Opel, Judy Kuhn, Mark Kudisch, Carolee Carmello, and Bob Martin who have all created leading roles on Broadway. Here, Ms. Neuwirth ripped into Noel Coward’s “Why Do the Wrong People Travel?” from Sail Away and reminded us how intoxicating lyrics can be when they are mouthed by a dancer/singer who can act. Carolee Carmello took the title song from Wildcat, which had once served Lucille Ball in her Broadway debut, and made it her own. Bob Martin wrote all his own material as “the man in the chair” who guided us hilariously through the entire performance. Douglas Sills was so impressive as Mack Sennett in Mack and Mabel, he made us wonder once again why that Jerry Herman musical did not attract large audiences when it opened in 1974.
In addition, Vanessa Williams has flourished in television and in the recording world where she’s picked up eleven Grammy nominations, four others for Emmys, and one for a Tony Award. Here, she stepped into original star Lena Horne’s shoes and brought her own talents to “Ain’t It the Truth” and “Push De Button,” two swell numbers from Jamaica. Reed Birney has joined the ranks of top character stars in such plays as The Humans, Casa Valentina, Bug, and many more. But Hey, Look Me Over! marks his very welcome debut in musical theater, to which he brought real star quality in three numbers from the near-miss musical All American.
Bebe Neuwirth and company. Photo by Joan Marcus.
One of the weaker scores was from the atypical Frank Loesser musical Greenwillow, but Clifton Duncan managed to raise the roof with the best piece in it, “Never Will I Marry.” In this Encores! production, Clyde Alves played small roles from Milk and Honey and Sail Away before stopping the show cold with his performance in a scene from the musical George M!, which ended the evening with a very exciting rendition of “Give My Regards to Broadway.”
The overall choreography by Denis Jones enhanced every number it laid its hands (and feet) on, and by the time the show was over, a huge majority of the audience remained for an animated 45-minute post-performance dialogue featuring members of the cast and the artistic team. All in all, this creative compilation got the new season off to a rousing start for Encores! In March and again in May, Encores! returns to the accepted formula of mounting revivals, and we’re fortunate that Grand Hotel and Me And My Girl are the chosen two to remind us once again of the Golden Age, when even with second tier shows, musicals were musicals.
Hey, Look Me Over! played through February 11, 2018, at City Center, 131 West 55th St., New York, NY.
There’s just no tune
As exciting
As a showtune
In two-four…
For Jerry Herman, the lyrics of this early composition, “Showtune,” represent a kind of mission statement. In song after song, in Broadway hits like Mame, La Cage aux Folles and Hello, Dolly!, Herman has made it his goal in life to send people out of a theatre humming his tunes. And while some may dismiss his style as antiquated or unsophisticated, there’s no denying that, most of the time, his relentlessly upbeat and melodic songs do the trick.
The revue Jerry’s Girls takes a bunch of Herman’s best songs and fits them into a revue format. It’s not always a smooth fit, but it’s a lovely way to spend a couple of hours, thanks to a solid production and a terrific cast.
Barbara McCulloh, Rebecca Robbins, and Adrienne S. Wells. Photo by Mark Garvin.
Barbara McCulloh, Rebecca Robbins, and Adrienne S. Wells are the trio of performers doing justice to Herman’s songs. They do most of their songs together, singing in unison (on “Put On Your Sunday Clothes”) or Andrews Sisters-style harmony (on “Kiss Her Now,” from the 1969 show Dear World). But they each get a chance to shine on some of Herman’s more tender material: Robbins does an emotional solo on “If He Walked Into My Life,” Wells does the same on “I Don’t Want to Know,” and McCulloh scores on “Time Heals Everything.”
And other numbers offer cheery pleasures: McCulloh and Robbins sparring in the sure-fire comedy number “Bosom Buddies,” Wells putting a jazzy spin on the title number of La Cage, and Robbins using her sterling soprano to get laughs (from movie lovers of a certain age) with her Jeanette MacDonald impression on “Nelson.”
“Nelson” is part of a movie-themed medley that flows naturally through songs like “Movies Were Movies” and “Just Go to the Movies.” But as conceived by Herman, Larry Alford and Wayne Cilento, Jerry’s Girls doesn’t always give Herman’s material the support it needs. Most of Herman’s songs were written to fit the plots of his musicals, and they often don’t make sense out of context.
A prime example is my favorite Herman ballad, “I Won’t Send Roses” from Mack and Mabel: changing the singer from a man to a woman doesn’t work, and adding the conceit of having the woman read the lyrics from a letter supposedly written by a man is just plain awkward. Even the jaunty title tune of Mame doesn’t work well on its own (the lyric “You make the cotton easy to pick” demands some explanation), and attempts to link songs together via props rather than dialogue are inelegant.
Barbara McCulloh and Adrienne S. Wells. Photo by Mark Garvin.
But if Jerry’s Girls is a bit of a bumpy ride, Herman’s lovely melodies and sunny attitude make the show easy to enjoy. And Director Ellie Mooney’s production gives it an appealing sheen. There’s an easygoing chemistry between the performers, and the pace never lags. Mooney’s only major misstep is to allow the audience to see many of the costume changes onstage, with the ladies singing in their lingerie for long stretches. It feels invasive and uncomfortable, and it’s out of step with the dignified, well-mannered bearing of Herman’s songs.
Those costumes are impressive, though. Each performer goes through multiple costume changes, with Mary Folino’s costumes and wigs encompassing everything from 19th century elegance for the Dolly numbers to short skirts and fishnet stockings for the La Cage numbers. Roman Tatarowicz’s scenic design, with alcoves for each performer that serve as onstage dressing rooms, are both functional and decorative, though the limited space doesn’t allow much room for Mooney’s choreography. Shon Causer’s lighting design (making shrewd use of the steps and proscenium as light sources) adds a touch of class. And Musical Director Dan Kazemi provides solid support with his energetic flourishes on piano and percussion.
The ladies of Jerry’s Girls are major talents who you’ll enjoy listening to for a couple hours. You probably know many of the show’s songs, and even the songs you don’t know may somehow feel familiar, which is part of Herman’s genius.
Jerry Herman’s songs make you feel good, and so will the Walnut’s Jerry’s Girls.
Running Time: Two hours and 10 minutes, including an intermission.
Barbara McCulloh, Rebecca Robbins, and Adrienne S. Wells. Photo by Mark Garvin.
Jerry’s Girls plays through July 2, 2017 at Walnut Street Theatre Independence Studio on 3 — 825 Walnut Street, in Philadelphia, PA. For tickets, call the box office at (215) 574-3550, or (800)-982-2787, or purchase themonline.
Last week, Shenandoah Summer Music Theatre opened the regional premiere of the practically perfect musical Mary Poppins to thunderous standing ovations. Mary Poppins continues its run through Sunday, August 3, 2014. In the final installment of a three part interview series, we meet two of the stars of Mary Poppins: Jack Rowles (George Banks) and Tara Michelle Gesling (Winifred Banks).
Tara Michelle Gesling
Jack Rowles hails from the Washington DC metro area (Maryland side). He’s performed with Shirley Jones, Debbie Reynolds, Jean Stapleton, Dean Jones, Carol Lawrence, Eddy Arnold, and Dorothy Lamour. An Equity actor, some of his credits include the national tour: Capitol Steps, American Movie Classics; NYC: Clue – the Musical, Finnegan’s Farewell; Regional: Li’l Rascals (Goodspeed); All I Really Need to Know (Asolo); Mack and Mabel, 1776 (Music Theatre of Witchita); Peter Pan, Sweet Charity (Kansas City Starlight); Oklahoma (Claridge, Atlantic City); Witness for the Prosecution, State Fair (Allenberry); Tribute to Rogers and Hart (Everyman); Music Man, Yes Virginia (Mill Mountain), as well as Company Member at Totem Pole (1991-2000); and more than 100 other productions nationally.
Tara Michelle Gesling originally hails from Avon, CT. She previously appeared on SSMT’s stage as Ulla in The Producers, followed by Mayzie in Seussical. An Equity actress, Tara has performed professionally across the country and some of her favorite roles include Velma in Hairspray, Mame in Mame, Pattie in Smokey Joe’s Café, Emma Borden in Lizbeth the Opera, The Wardrobe in Beauty and The Beast, and Catherine in Pippin. She has been involved with several NYC workshops (some original works) with several in motion for a possible Broadway revival.
What drew you to SSMT and Mary Poppins this summer?
Jack: I am a proud 1982 graduate of Shenandoah Conservatory, and always grateful to be a part of SSMT. I’m drawn to the charming and magical journey of a turn of the century family in England. Oh, and a beautiful score.
Tara: I am a Shenandoah Conservatory Alumnus, so I did a few summers as an ensemble member while still in school. I have always thought of Shenandoah as my second home so I didn’t even give it a second thought to come back as an Equity guest artist when asked! A few things drew me to Mary Poppins, including the childhood memories of watching Julie Andrews, and knowing that I too wanted to be in shows and sing like her one day. As an adult, what continues to draw me in is the beautiful and complex story that is set in Edwardian times, but yet it still relevant and relatable to today’s society. The day-to-day struggles the Banks family faces are still relevant with so many families today, and that really drove it home for me.
What drew you to your character?
Jack: Wow, I admire George’s drive and passion for his family.
Tara: I am more than excited to bring Winifred to life on stage! I absolutely love her music, which was added for the musical and is not in the movie. Her complex character and arc as a woman, wife, and the mother of the family is just so thrilling to create. The fact that I get to sing the gorgeous song “Being Mrs. Banks” TWICE each and every show really solidified that I wanted to be Winifred Banks!
What are your solos or ‘big numbers’ and what does the audience learn about your character when you sing these songs?
Jack:Hmmm…..George doesn’t have any big numbers. He has a lot of little moments which lead up to a wonderful discovery in the end. (I won’t spoil the surprise)
Tara: “Being Mrs. Banks” is the moment when you really get to see Winifred in her rawest moments. You really start to fall in love with her and are rooting for her to “get it right” with her family and restore happiness and youthfulness in her marriage. She talks of the days when she first met her husband, and that’s not the man that the audience is seeing, so I have an important job as I portray this character to remind the audience that Mr. Banks is a great man and he has just lost his way while getting caught up in the pressures of providing for his family.
What have been some of the challenges preparing for your role?
Jack: Accents always present a challenge. A 12 day rehearsal period is especially challenging, especially with a huge production like Mary Poppins.
Tara: Just making sure that I did Winifred justice! It’s walking a fine line and easy to play Winifred as a victim, but we have to remember that the story is so much bigger and more complex than what’s just going on with her alone, and after all-it is a musical comedy and not a drama!
What do you love most about Mary Poppins?
Jack:The story and the flying.
Tara:I love how realistic and unrealistic the show is all at the same time. Down at the root, you have a family who is struggling with real world issues, and in the next breath you have a woman fly in with the wind. It takes you away to a different world for a bit, and makes you believe in magic, love and the strength of family!
What is it about the score or the book that most moves you?
Jack: The simplicity of Mary Poppins’ message.
Tara: Well when you have music like “Feed the Birds” it’s hard not to love this score. The orchestrations are just so full and musically fulfilling, and even during rehearsals when we just have pianos playing the score I still get goosebumps at certain moments hearing them play.
What surprised you most about the musical of Mary Poppins compared with the movie version?
Jack:George’s journey is much more fleshed out in the musical version.
Tara: What surprised me most was how different my character, Winifred Banks, was written in the musical. She also gets more songs and two lovely ballads, which are such important moments to establishing the dynamic that is going on in the Banks house.
Aside from your own characters, what character and/or songs in Mary Poppins are your favorites and why?
Jack:Can I have two? Jane and Michael. We see life through their eyes. And, they are so forgiving.
Tara: If I wasn’t playing Winifred I would want to be playing the Old Bird Woman singing “Feed the Birds”. It is, hands down, my favorite song in the show. Its melody is so haunting and so stunning that its tune draws everyone in each and every time your hear it, whether it’s the first time or the hundredth. I will never get sick of that song and each time we rehearse that scene, even though I am not in it, I still make a point to watch. The imagery that Carolyn has created with this scene is just stunning!
What is the best advice your director and musical director gave you about shaping your performance?
Jack: Carolyn Coulson has been wonderful. She has been throwing out these little gems every day of rehearsal. Actually, one day she mentioned to another actor that she wanted to give the actress some business to do during her song, but she resisted that temptation because she felt the song was about trying to figure out what to do with yourself…..so, she really wanted that tension of finding something to do with her life but not knowing what it is.
Tara: Dr. Thomas Albert and Carolyn Coulson are such an amazing team together! Dr. Albert has worked with us closely to make sure that we are singing our music properly as to not mess with the integrity of the score. He is such a genius when it comes to music, and he steers us in the right direction rhythmically and emotionally in our songs! And we have all loved working with Carolyn! Her advice about who these characters really are and their depth, besides just the lines and songs that you see performed in front of the audience, but who they really are off stage, and everyone’s relationship with one another, is really what makes these actors bring each one of their characters to life!
What do you want audiences to take with them after seeing Mary Poppins?
Jack: “Family First”and “Any one of us can change at any time in our life.”
Tara: I want them to take a trip down memory lane, remembering how much they loved to watch the movie when they were kids, and for the children joining us- a sense of magic and wonderment. Because after all, “Anything can happen if you let it.”
What are you doing next on the stage after Mary Poppins closes?
Jack:I will go back to my dream job of traveling the country performing political satire with the Capitol Steps.
Tara:After the show closes, it’s back to the NYC audition season for me. I am in callbacks for a few upcoming shows, including a long running Broadway production (it would be bad luck to share what show it is), so time will tell where I am placed over the next few months!
Jack Rowles
Mary Poppinsruns July 23-August 3, 2014 at Shenandoah Summer Music Theatre, performing at the Ohrstrom-Bryant Theatre, 1460 University Drive, Winchester, VA 22601. For tickets to Mary Poppins, call the box office at (540) 665-4569, or (877)-580-8025.
LINKS
Review of ‘Mary Poppins’ at Shenandoah Summer Music Theatre by Rick Schneider.
‘Searching for the Perfect Nanny: Meet the Supercalifragilisticexpialidocious Children of SSMT’s Magical Premiere of Mary Poppins’: Part Two: Ella Schnoor and Tyson Francis.
Last week, Shenandoah Summer Music Theatre opened the regional premiere of the practically perfect musical Mary Poppins to thunderous standing ovations. Mary Poppins continues its run through Sunday, August 3, 2014. In the final installment of a three part interview series, we meet two of the stars of Mary Poppins: Jack Rowles (George Banks) and Tara Michelle Gesling (Winifred Banks).
Tara Michelle Gesling
Jack Rowles hails from the Washington DC metro area (Maryland side). He’s performed with Shirley Jones, Debbie Reynolds, Jean Stapleton, Dean Jones, Carol Lawrence, Eddy Arnold, and Dorothy Lamour. An Equity actor, some of his credits include the national tour: Capitol Steps, American Movie Classics; NYC: Clue – the Musical, Finnegan’s Farewell; Regional: Li’l Rascals (Goodspeed); All I Really Need to Know (Asolo); Mack and Mabel, 1776 (Music Theatre of Witchita); Peter Pan, Sweet Charity (Kansas City Starlight); Oklahoma (Claridge, Atlantic City); Witness for the Prosecution, State Fair (Allenberry); Tribute to Rogers and Hart (Everyman); Music Man, Yes Virginia (Mill Mountain), as well as Company Member at Totem Pole (1991-2000); and more than 100 other productions nationally.
Tara Michelle Gesling originally hails from Avon, CT. She previously appeared on SSMT’s stage as Ulla in The Producers, followed by Mayzie in Seussical. An Equity actress, Tara has performed professionally across the country and some of her favorite roles include Velma in Hairspray, Mame in Mame, Pattie in Smokey Joe’s Café, Emma Borden in Lizbeth the Opera, The Wardrobe in Beauty and The Beast, and Catherine in Pippin. She has been involved with several NYC workshops (some original works) with several in motion for a possible Broadway revival.
What drew you to SSMT and Mary Poppins this summer?
Jack: I am a proud 1982 graduate of Shenandoah Conservatory, and always grateful to be a part of SSMT. I’m drawn to the charming and magical journey of a turn of the century family in England. Oh, and a beautiful score.
Tara: I am a Shenandoah Conservatory Alumnus, so I did a few summers as an ensemble member while still in school. I have always thought of Shenandoah as my second home so I didn’t even give it a second thought to come back as an Equity guest artist when asked! A few things drew me to Mary Poppins, including the childhood memories of watching Julie Andrews, and knowing that I too wanted to be in shows and sing like her one day. As an adult, what continues to draw me in is the beautiful and complex story that is set in Edwardian times, but yet it still relevant and relatable to today’s society. The day-to-day struggles the Banks family faces are still relevant with so many families today, and that really drove it home for me.
What drew you to your character?
Jack: Wow, I admire George’s drive and passion for his family.
Tara: I am more than excited to bring Winifred to life on stage! I absolutely love her music, which was added for the musical and is not in the movie. Her complex character and arc as a woman, wife, and the mother of the family is just so thrilling to create. The fact that I get to sing the gorgeous song “Being Mrs. Banks” TWICE each and every show really solidified that I wanted to be Winifred Banks!
What are your solos or ‘big numbers’ and what does the audience learn about your character when you sing these songs?
Jack:Hmmm…..George doesn’t have any big numbers. He has a lot of little moments which lead up to a wonderful discovery in the end. (I won’t spoil the surprise)
Tara: “Being Mrs. Banks” is the moment when you really get to see Winifred in her rawest moments. You really start to fall in love with her and are rooting for her to “get it right” with her family and restore happiness and youthfulness in her marriage. She talks of the days when she first met her husband, and that’s not the man that the audience is seeing, so I have an important job as I portray this character to remind the audience that Mr. Banks is a great man and he has just lost his way while getting caught up in the pressures of providing for his family.
What have been some of the challenges preparing for your role?
Jack: Accents always present a challenge. A 12 day rehearsal period is especially challenging, especially with a huge production like Mary Poppins.
Tara: Just making sure that I did Winifred justice! It’s walking a fine line and easy to play Winifred as a victim, but we have to remember that the story is so much bigger and more complex than what’s just going on with her alone, and after all-it is a musical comedy and not a drama!
What do you love most about Mary Poppins?
Jack:The story and the flying.
Tara:I love how realistic and unrealistic the show is all at the same time. Down at the root, you have a family who is struggling with real world issues, and in the next breath you have a woman fly in with the wind. It takes you away to a different world for a bit, and makes you believe in magic, love and the strength of family!
What is it about the score or the book that most moves you?
Jack: The simplicity of Mary Poppins’ message.
Tara: Well when you have music like “Feed the Birds” it’s hard not to love this score. The orchestrations are just so full and musically fulfilling, and even during rehearsals when we just have pianos playing the score I still get goosebumps at certain moments hearing them play.
What surprised you most about the musical of Mary Poppins compared with the movie version?
Jack:George’s journey is much more fleshed out in the musical version.
Tara: What surprised me most was how different my character, Winifred Banks, was written in the musical. She also gets more songs and two lovely ballads, which are such important moments to establishing the dynamic that is going on in the Banks house.
Aside from your own characters, what character and/or songs in Mary Poppins are your favorites and why?
Jack:Can I have two? Jane and Michael. We see life through their eyes. And, they are so forgiving.
Tara: If I wasn’t playing Winifred I would want to be playing the Old Bird Woman singing “Feed the Birds”. It is, hands down, my favorite song in the show. Its melody is so haunting and so stunning that its tune draws everyone in each and every time your hear it, whether it’s the first time or the hundredth. I will never get sick of that song and each time we rehearse that scene, even though I am not in it, I still make a point to watch. The imagery that Carolyn has created with this scene is just stunning!
What is the best advice your director and musical director gave you about shaping your performance?
Jack: Carolyn Coulson has been wonderful. She has been throwing out these little gems every day of rehearsal. Actually, one day she mentioned to another actor that she wanted to give the actress some business to do during her song, but she resisted that temptation because she felt the song was about trying to figure out what to do with yourself…..so, she really wanted that tension of finding something to do with her life but not knowing what it is.
Tara: Dr. Thomas Albert and Carolyn Coulson are such an amazing team together! Dr. Albert has worked with us closely to make sure that we are singing our music properly as to not mess with the integrity of the score. He is such a genius when it comes to music, and he steers us in the right direction rhythmically and emotionally in our songs! And we have all loved working with Carolyn! Her advice about who these characters really are and their depth, besides just the lines and songs that you see performed in front of the audience, but who they really are off stage, and everyone’s relationship with one another, is really what makes these actors bring each one of their characters to life!
What do you want audiences to take with them after seeing Mary Poppins?
Jack: “Family First”and “Any one of us can change at any time in our life.”
Tara: I want them to take a trip down memory lane, remembering how much they loved to watch the movie when they were kids, and for the children joining us- a sense of magic and wonderment. Because after all, “Anything can happen if you let it.”
What are you doing next on the stage after Mary Poppins closes?
Jack:I will go back to my dream job of traveling the country performing political satire with the Capitol Steps.
Tara:After the show closes, it’s back to the NYC audition season for me. I am in callbacks for a few upcoming shows, including a long running Broadway production (it would be bad luck to share what show it is), so time will tell where I am placed over the next few months!
Jack Rowles
Mary Poppinsruns July 23-August 3, 2014 at Shenandoah Summer Music Theatre, performing at the Ohrstrom-Bryant Theatre, 1460 University Drive, Winchester, VA 22601. For tickets to Mary Poppins, call the box office at (540) 665-4569, or (877)-580-8025.
LINKS
Review of ‘Mary Poppins’ at Shenandoah Summer Music Theatre by Rick Schneider.
‘Searching for the Perfect Nanny: Meet the Supercalifragilisticexpialidocious Children of SSMT’s Magical Premiere of Mary Poppins’: Part Two: Ella Schnoor and Tyson Francis.
In our final interview and article about Young Artists of America and Maryland Classic Youth Orchestras’ joint production of Madama Butterfly & Miss Saigon on Sunday, March 10th at 4 PM at Strathmore, Kristofer Sanz takes us behind the scenes of conducting over 130 musicians and singers while preparing for this Sunday’s performance.
Joel:We have already heard from the singers, so now we’d love for you to share some perspective from the orchestral point of view. This production is a collaboration between Young Artists of America and Maryland Classic Youth Orchestras. You are the conductor of the MCYO Philharmonic Orchestra. How did rehearsing for Madama Butterfly &Miss Saigon differ from a regular rehearsal at MCYO?
Kris: This concert rotation focuses on a different style of music and playing than the Philharmonic is used to doing for their concerts. We have spent much time in rehearsal not only preparing the music but also taking time to discuss and fully understand the different roles an orchestra can play. Through this open discourse, we have realized how emotionally powerful playing vocal music can actually be for both audiences as well as the musicians playing. Any time one adds the human voice to the awesome power of a full symphonic orchestra, a new organic, living and breathing musical creature is created. With the addition of the professional and student voices, the orchestra is no longer bound to strictly instrumental notes and rhythms, but instead is part of a symbiotic relationship which truly allows music to be conveyed on a different level.
Since Miss Saigon is a musical and Madama Butterfly is an opera, how difficult was it for you to merge the scores for music written in such different times and in such different styles?
These two scores were actually not very difficult to weave together. Much thought was put into the merging of these two works and the orchestra. Because both works are scored for full symphonic orchestra, the orchestra is able to flow seamlessly back and forth between both lush scores. Even though the scores are separated by about 80 years, both composers were masters of melodies and truly portraying deep human emotions in their work
How familiar were the musicians with these two scores prior to this production?
When we first began this journey, very few of the musicians were familiar with the scores. While many knew one or two songs from either Saigon or Butterfly, few understood the while story or the magnitude of emotions that they were going to be in charge of creating with their playing.
What are some of the challenges you have had training musicians to perform with singers?
The main challenge involved with preparing this work is that many of the young musicians have never performed with singers. While symphonic orchestral works are self-sufficient and use a wide range of instrumental colors to portray different themes and moods, when singers are added, a new living breathing element is added. When orchestral musicians perform with singers, string players especially need to be focus on the breathing and phrasing of their musical lines since, unlike singers, they are able to sustain sound endlessly. When performing opera, instrumentalists not only need to perform their part perfectly in terms of pitch and phrasing but they need to watch the conductor more closely, listen to how their sections fit in to the texture of sound, and need to listen and match singers to make sure that they are creating the right atmosphere to help support the text and melodic lines.
Kristofer Sanz rehearsing with harpists Monika Vasey, Vivian Franks, and Nora Kelsall.
This is a unique production because YAA is collaborating with MCYO. On an ongoing basis, how can talented young instrumentalists become involved with future YAA concerts and productions?
Every September, YAA holds auditions for its Colla Voce Orchestra which performs two concerts a year. If students are interested in performing more music like Butterfly & Saigon we would love to have them come out and audition for our program. Because the Colla Voce Orchestra performs in the fall and spring semesters, we also welcome instrumentalists to join us halfway through the year for our Spring concert.
What it is like for you and for your musicians to know that all of your hard work, preparation, and rehearsal ends with one single performance? What will all of you be thinking about on the downbeat?
I believe that one single performance allows our musicians to experience what it feels like to give all of themselves emotionally and physically in one afternoon While the excitement has been building up each week at rehearsal, we are all getting very anxious for that moment of release which will come with the first downbeat. Once that first downbeat is given, all of our pent-up angst and passion will flow out in one gang buster and emotionally charged performance. This is going to be a very powerful event and I can’t wait to walk out on March 10th, greet the orchestra, greet the audience, smile, touch my heart (my signal to the orchestra to remember to play from the soul), and open the floodgates!
Madama Butterfly & Miss Saigon will be presented on the main stage of The Music Center at Strathmore at 4 pm on Sunday, March 10, 2013. For tickets, purchase them by phone (301) 581-5100, or online.
LINKS Meet The Student Vocal Soloists of YAA & MCYO’s ‘Madama Butterly & Miss Saigon’ on 3/10/13@4 @ Strathmore by Joel Markowitz.
Meet The Guest Soloists of YAA & MCYO’s ‘Madama Butterly & Miss Saigon’ on 3/10/13@4 at Strathmore by Rolando Sanz
Rolando & Kristofer Sanz on Young Artists of America’s Concert: ‘Madama Butterfly & Miss Saigon’ on 3/10/13@4
Meet the the student vocal soloists (who are high school students) who will be singing the roles in Miss Saigon at Young Artists of America and Maryland Classic Youth Orchestras’ production of Madama Butterfly and Miss Saigon, which will be performed at The Music Center at Strathmore on Sunday, March 10th at 4 PM.
The production will feature over 130 performers in various roles. The orchestra is the Maryland Classic Youth Orchestras Philharmonic, made up of 85 of the brightest and talented young instrumentalists in the DC Metro area. The cast from Young Artists of America consists of 30 young vocalists from over 14 schools in Maryland, DC, and Virginia. The concert also features 15 members of the Women’s Chorus of the American Center for Puccini Studies who will lend their expertise in the operatic selections. All in all, over 130 performers will take the Strathmore stage on Sunday, March 10th at 4 PM.
Meet Wesley Diener (John), Gillian Han (Gigi), Eitan Mazia (Chris), Adam Settlage (John), Nicole Sergeyko (Ellen), and Chani Wereley (Kim).
Wesley Diener (The Engineer)
Wesley Diener (The Engineer).
How did you feel when you were selected for this role? What did you do to prepare for your audition?
When I initially received the role, I was so excited, but also surprised because there are so many talented people who auditioned. I was extremely honored to be granted the opportunity to perform as part of such a prestigious organization. To prepare for the audition, I practiced the audition excerpt repeatedly and researched the show itself, as it was previously completely unknown to me.
How have you been preparing for your performance? Are there any particularly challenging aspects of this piece?
The Engineer requires a lot of energy and characterization. At first, it was challenging to embody this larger-than-life role, but now I love to let loose and embrace the Engineer’s flaws. I was also initially wary of some of the higher notes in the score, but Rolando helped me build my confidence and ease out the more difficult sections.
What kind of training have you been receiving?
Singing has always been a major part of my life, but I have only been taking voice lessons for a year. I also have a strong instrumental background; I play violin and piano, and my mom and grandparents are talented musicians as well. In regards to acting, I have been performing since I was eight years-old, so I really feel at home when I am on the stage.
Is this your first YAA production? What is unique about Young Artists of America?
I performed in YAA’s fall concert Martyrs, but this is my first main stage with the organization. My favorite part about YAA is the professionalism that is always present. Each rehearsal is conducted with efficiency and direction that makes the learning experience so beneficial. I also appreciate that YAA allows students to participate in mature musical theater productions with a focus on vocalization because so many organizations prioritize the other aspects of theater.
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Wesley Diener, a junior at James Madison High School in Vienna, Virginia, is pleased to be part of a production of this calibre. Wesley has been involved in the performing arts since the age of eight and has been on stage and in the pit for many school and community productions through the years. Favorite musical theatre roles include Charlie and Augustus Gloop in Willy Wonka, Luther Rosser in The Theatre Lab’s Parade, and Mr. Twimble/Mr. Womper in Madison’s How To Succeed in Business, which culminated in a performance at the Kennedy Center for the Cappies Gala and the Cappie for Best Song. He will be appearing as Horton in Seussical with Pied Piper Theatre in April.
At Madison, Wesley is a member of the Philharmonic Orchestra, president of Model UN, clerk of the Thespian Honor Society, Set Crew Chief and Cappie Critic. He would like to thank his family for their support, including his grandparents who attend all of his performances; his violin teacher, Alex Morrison for starting his musical journey; and Rolando Sanz for giving him this opportunity and for all of his guidance.
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Gillian Jackson Han (Gigi Van Tranh).
Gillian Jackson Han (Gigi Van Tranh).
How did you feel when you were selected for this role? What did you do to prepare for your audition?
I was completely elated and so anxious to begin rehearsing! To prepare, I listened to my audition piece on repeat and practiced it over and over until I had it down.
How have you been preparing for your performance? Are there any particularly challenging aspects of this piece?
Listening to and reviewing the music every day. Especially the Italian parts of Madama Butterfly. The Puccini is some of the most challenging music I’ve ever had to learn, but it is quite rewarding when we finally get it.
What kind of training have you been receiving?
I’ve been taking private voice lessons for several years.
Is this your first YAA production? What is unique about Young Artists of America?
This is my second YAA production! Young Artists of America is definitely unique. No matter what the casting, everyone always feels important to the show and we as students have the opportunity to partake in spectacular productions unlike what any other youth organizations provide. Working with YAA is an incredible experience.
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Gillian Jackson Han (Gigi) is 16 and currently a sophomore at BCC High School. She has been in various productions at Imagination Stage, most recently Pippin (Catherine). At the French Woods Festival, she has been in Mack and Mabel (Sennett Bathing Beauty) and Merrily We Roll Along (Dory). School productions include Bye Bye Birdie (Kim McAfee) and The Music Man (Zaneeta Shinn). With YAA, she is proud to have been a cast member of The Phantom of the Opera. She thanks her supportive family, amazing cast-mates, and the team that went above and beyond in making this production possible!
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Eitan Mazia (Christopher Scott).
Eitan Mazia (Christopher Scott).
How did you feel when you learned you were selected for this role? How did you prepare for your audition?
While I was extremely excited to have been given the opportunity to play Chris in this boundary breaking production, I was also a bit nervous knowing the “pop-rock tenor” vocal style the role usually entails. I worked diligently with my voice teacher, Rosemary Dyer, in order to comfortably sing and act the assigned excerpt of “Why God Why.”
How have you been preparing for your performance? Are there any particularly challenging aspects of this piece?
I have been trying my best to apply Rolando’s notes quickly during rehearsals, and spending time during my school classes brainstorming how I want to portray Chris rather than actually paying attention to my teachers (fortunately, I still manage to do fine in school). This is a fantastic opportunity for me, and I want to make the best of it. The most challenging aspect of this role has definitely been a section of the song “Ellen and Chris.” While the song is rhythmically confusing, singing up in the stratosphere for a few pages doesn’t help much. Thankfully, with the help of Rolando, I am able to sing the entire role comfortably from start to finish.
What kind of training are you receiving?
I take voice lessons with Rosemary Dyer, and hip hop, jazz, modern, and ballet classes with CityDance at Strathmore.
Is this your first YAA production? What is unique about YAA?
No, my first YAA production was The Phantom of the Opera, where I fell in love with all this unbelievable organization offers. Even when I thought YAA couldn’t get any better, it continues to surprise me by giving me this opportunity to sing at Strathmore, and introducing me to brilliant musicians. I can never believe the talented people I work with are all around my age. Their dedication and talent is way beyond their years, and YAA’s ability to find all these fantastic young musicians and bring them together to create real music is amazing. The combination of musical theatre and opera training has never been offered to this calibre. What young musicians can learn in this program cannot be found in most other places.
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Eitan Mazia (Chris) is a 17 year-old Junior at Walter Johnson High School. Recent credits include Phantom in The Phantom of the Opera (YAA) (won 2012 “Best Performance by Lead Actor in a Musical’ on DCMetroTheaterArts); Tom Collinsin Rent, Narratorin Blood Brothers, Woof in Hair, Emmett in Legally Blonde, Pippinin Pippin and Otto/Ulbrechtin Spring Awakening (Act Two@Levine); Adamin Children of Eden (CCTA Teen Prof. Theater); Emcee Cabaret; Chip inSpellingBee, Sid inThe Pajama Game, Gaston inBeauty & the Beast (MTC);George inSchool House Rock – Live(KAT); many school productions and more. He also sang in Young Artists of America’s Martyrs concert last December. Eitan is thrilled to be a part of this amazing production and wants to thank Rolando and Kris Sanz, along with Alan Paul, for their excellent mentoring. He thanks his family for their support, and especially the brilliant musicians of MCYO, and his fellow YAA actors, for bringing the best out of his performance.
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Adam Settlage (John).
Adam Settlage (John).
How did you feel when you were selected for this role? What did you do to prepare for your audition?
I felt nervous to be taking on a lead role in a kind of show I had never done before. To get ready for my audition, I prepared the audition selections and studied them until I had them memorized.
How have you been preparing for your performance? Are there any particularly challenging aspects of this piece?
I have been preparing twice a week with the rest of the cast to learn the music, but have taken time at home to memorize as well. This show is a very interesting show seeing how something like it has never been done before, but overall I would say the music is really great and a challenge to learn well
What kind of training have you been receiving?
About the same time that I joined YAA, I also started taking vocal lessons, so my official vocal training only consists of a little more than a month, but Rolando Sanz has taught me things as well that are so important for me to have learned to be able to perform this difficult role.
Is this your first YAA production? What is unique about Young Artists of America?
This is my first YAA performance, and when I came to the first rehearsal, I noticed right away that it was a great environment to be in and yet we get so much work done in one rehearsal, unlike most high school level productions.
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Adam Settlage (John) is a junior at Winston Churchill High School, and is excited to be part of his first “non-school” production! After being coerced into auditioning for the middle school production of H.M.S. Pinafore in 8th grade, Adam was bitten by the stage bug and immediately decided to audition for the choral department at Churchill. His freshman year found him singing in two choirs, including Churchill’s premier show choir, Showstoppers. He added even more dancing to the mix that year with a small part in the CHS musical, Anything Goes. But it was his sophomore year that solidified his love of song and dance, with a hands-down-favorite winning performance in “Churchill’s Got Talent,” an a cappella National Anthem solo for Churchill’s first football playoff game, solo and supporting performances in Blast-Revolution, and the leading male role of Emmett Forrest in last year’s stellar production of Legally Blonde.
This year has been a non-stop ride from one production to another, as Adam continues to broaden his experience and repertoire. From a hard rockin’ solo of “Love Somebody” (Blast-American Bandstand) to his return performance as reigning champion of Churchill’s Got Talent (channeling Michael Bublé with “Feeling Good”), to the challenging vocals of John in this glamorous production of Madama Butterfly/Miss Saigon, Adam is exactly where he wants to be: onstage with a mic. He can be seen next in the upcoming CHS production of Peter Pan.
Adam would like to thank his family and friends for their love and support, and both Sanz brothers for the opportunity to be a part of this amazing experience.
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Nicole Sergeyko (Ellen).
Nicole Sergeyko (Ellen).
How did you feel when you were selected for this role? What did you do to prepare for your audition?
I was so excited when I found out I was cast as Ellen! I’ve always wanted to play the role because I feel that beneath the surface of “Chris’ wife” or “the other woman” that the audience expects, there is so much potential for depth, and I feel so fortunate that I get perform my take on it.
To prepare for the audition, I struggled a bit in choosing between the lower or higher keys for the audition repertoire, because I felt like in order to get the role I wanted (Ellen) I would need to present myself in a very particular way. I ended up choosing the piece that flattered my voice best, even though it wasn’t “quintessentially Ellen.” In the end it proved to be the right decision! The directorial team worked with me to see how I would fit any role they had me in mind for because I showed them the best my voice could sound instead of trying to mold into what I thought their expectations for the role were.
How have you been preparing for your performance? Are there any particularly challenging aspects of this piece?
Since I found out I was cast as Ellen I’ve been so excited to start preparing for this role. Madama Butterfly was the first opera I saw as a child and I’ve been completely obsessed since. Before I heard Miss Saigon I didn’t think the music would be anything like Butterfly, but it’s so stunningly beautiful and quite difficult. I started preparing for my role by listening to the Saigon cast CD alongside the score. I wanted to understand the show entirely before diving into my character. After that, I looked at my individual pieces and wrote out the emotions line-by-line. It’s been my goal to be as thorough as possible in playing this role. During the group rehearsal process, we speak the text in rhythm before adding music, which makes memorization much easier, and really helps when working with such a large orchestra. The rhythms in this show are among the most difficult I’ve ever had to work through, so it’s nice to be able to go so in depth during the rehearsal process while we have experienced musicians like Rolando and Kris to train us.
What kind of training have you been receiving?
I take voice lessons and coach my repertoire regularly. I’ve been operatically trained for most of my singing study, and Ellen doesn’t call for that at all. While at YAA, Rolando has taught me how to safely use the lower part of my voice efficiently without interfering with my classical training. My coach, George Peachey, has been very helpful with emotional connection to the text, diction, rhythm, etc. I definitely have them to thank for all of my technique!
Is this your first YAA production? What is unique about Young Artists of America?
This is actually my fifth production with YAA. I started out in Villains as a soloist last year, and then moved on to play Madame Giry in The Phantom of the Opera. YAA is an absolutely amazing organization. Singers have the opportunity to perform huge works with full orchestration under the direction of the best musicians in the DC area. We are trained like professional musicians and are expected to conduct ourselves as such, (i.e. having our pieces memorized as soon as possible, being very efficient during rehearsals). I’m currently in the process of auditioning for conservatories for classical vocal performance, and after two years with YAA I feel totally prepared to enter college level training for the “real world” of performance.
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Nicole Sergeyko (Ellen) s a senior at Richard Montgomery High School. She has been performing with Young Artists of America since Fall 2011. Recent credits include Marian Paroo in The Music Man, Rose Lennox in The Secret Garden, Rona in The 25th Annual Putnam County Spelling Bee, Madame Giry in The Phantom of the Opera, as well as performances as a soloist in concerts of the Rutter Requiem, YAA’s Villains, and YAA’s Martyrs. She plans to pursue classical vocal performance in college next year.
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Chani Wereley (Kim)
Chani Werely.
How did you feel when you were selected for this role? What did you do to prepare for your audition?
When I saw the cast list with my name next to Kim, I was more than ecstatic. I have always dreamed of playing Kim and I was so happy that I would have the opportunity to not only perform the role, but also perform it at the main stage at Strathmore. To prepare for my audition, I learned, analyzed, and memorized. the music and lyrics; then I just got into the mindset that I could only do my best and go from there. I sang “I’d Give My Life For You,” the act one finale, at my audition.
How have you been preparing for your performance? Are there any particularly challenging aspects of this piece?
I have been doing textual analysis of the music ever since they gave us the scores. Miss Saigon is a very rich score, both musically and lyrically, so I looked at everything and tried to make sense of the character in my mind. The challenging aspect of Kim is that she is so complicated as a person. She is emotional but sometimes reserved and is so tender but strong, and on top of that she’s gone through so much that I can’t even imagine happening to me. I think it’s difficult for a person my age who hasn’t felt any of the pain or true love that Kim has felt – to truly capture each emotion. I’m still working hard on that.
What kind of training have you been receiving?
I have been taking voice lessons on and off since my sophomore from a couple voice teachers. Currently, I am studying with Marilyn Moore, and she has helped me a lot both with the technical and artistic aspect of singing. During rehearsal, Rolando has pushed me outside my comfort zone to get the best sound and emotional take on the music.
Is this your first YAA production? What is unique about Young Artists of America?
This is not my first YAA production. I’ve done every YAA production, except Martyrs, since the very first Inaugural Concert a while back. I love the fact that students around my age get the change to work with a full orchestra and professional singers on very difficult music. The first concert, we got to sing with Eleasha Gamble. I talked to her afterwards and she really inspired me to at least try and pursue this. I’m sure she doesn’t remember but that’s the magic of YAA. It’s a totally different experience than any school or community theatre.
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Chani Wereley (KIM), 17, is a senior at Winston Churchill High School and has been performing in school and community productions in the DC area since she was in middle school. Having been in several operettas of the Gilbert and Sullivan variety at Hoover, at the Opera Naples company in Florida, and in the Fringe Festival during middle school, she auditioned for show choir her freshman year and was invited to be in the all-female choir, Simply Irresistible, and her junior year she was invited to the mixed choir, Showstoppers. Her four-year Churchill stage career has included appearances in these musicals: Chicago, Anything Goes (Reno Sweeney), and Legally Blonde (Vivienne Kensington), and the annual production of Blast From the Past as both a soloist, featured dancer, and Vocal Captain. Having been Vocal Captain for the show choirs and for Blast the past three years, she has since decided to become involved with the spring production of Peter Pan solely as the student vocal music director.
Outside of school, Chani has performed at Montgomery College as a part of their Summer Dinner Theatre company for the past two years. Acting as both a performer and as waitstaff, Chani has been seen in Aida and in Hairspray! (Dynamite). At the same time, she has worked part-time for the aerospace department at the University of Maryland building and refurbishing model wind tunnels for educational use. She hopes to pursue musical theatre in college, but would love to maintain her interest and knowledge of aerospace engineering. After years of performance, her parents have always stood by her for constant support, and she would love to thank them for always believing in her.
Madama Butterfly and Miss Saigon will be presented on the main stage of The Music Center at Strathmore at 4 pm on Sunday, March 10, 2013. For tickets, purchase them by phone (301) 581-5100, or online.
The production will feature over 130 performers in various roles. The orchestra is the
