DAVID LEE DIRECTS AND DIRECTS: Musical theatre revivals are going strong in Los Angeles and Emmy Award-winning director/writer/producer David Lee (Frasier) presides over two of them. He begins 2010 at the helm of Camelot at Pasadena Playhouse Jan 8-Feb 7 and follows it with A Funny Thing Happened on the Way to the Forum at Reprise Theatre Company March 17-28. Lee previously directed Pasadena’s Ovation Award winning production of Can Can. When directing a classic, Lee explains, “The first thing I ask myself is, can I make this piece work exactly as written? If the answer is yes, then that’s what I try to do while making it my own through casting, design, etc. Maybe it’s the writer in me but I feel my first obligation is to make something work while being true to the original word. If the answer is no then two questions follow: What will it take to make it work and can I get permission to do that?”
David Lee
His version of Camelot will not be presented in the grand scale audiences have come to expect. “It occurred to me this could be done with only eight actors by trimming it down to the essential characters and presenting it ’story theater’ style. I pitched the idea to the estates and they allowed me to give it a one shot try. The approach is not an attempt to put my own stamp on it. Rather, I wanted to find a fresh way to tell the story and hear those glorious songs.”
However, you can expect Lee’s production of Forum to be “familiar” and with good reason. “I believe Forum is basically flawless. It needs no help. It doesn’t need to be fixed. It needs to be cast and staged well. And then the director needs to get the hell out of the way and let that great book and score work its magic. Spare us from directors who need to put their stamp on Forum.”
Lee will soon be casting the show and says, “I’m not looking for another Zero Mostel. I’m looking for Pseudolus. I always try to find someone fresh, not just to be different for difference sake, because it may lead to an insight previously missed. However, that is not the same as gimmick casting. And, truth be told, sometimes you realize there was a reason a role was cast with a certain type so you end up going with it. It doesn’t hurt to challenge expectations either as long as it is not forced on the piece and comes about organically.”
After much success in television, it appears Lee has re-embraced the stage. “I was trained in the theater as an actor and director. I did a lot of it before I ever wrote a word for TV. Then there was this 25-year detour away from my love of the theater. Granted it was a glorious detour but I was happy to get back. You never get over your first love.”
When he sits in the dark watching actors audition for an opportunity to be a part of his vision, what blows him away? “Talent. True great talent is rare. And I love it when I see it.”
CHAT BIZ NEWS: The Havok Theatre begins its second season with a two-man musical, The Story of My Life by Brian Hill with music and lyrics by Neil Bartram directed by award-winning Nick DeGruccio. It opens at the Lillian Theatre Feb. 25 and is expected to run (with possible extensions) to April 18. The show ran in 2009 on Broadway for only 18 previews and five performances with critics calling it “mundane.” DeGruccio says, “I didn’t see it on Broadway but from what I heard, it was over-produced. This is a very gentle and understated story I believe will truly come alive in a small space.” While there is currently a search for “name” actors to play the two roles, DeGruccio explains, “Yes, there are a few well-known actors I would love to work with on this project and, let’s face it, they do sell tickets. That aside, the Havok is not a company only interested in using names. Our first season we hired 25 performers and they all came from the incredibly talented community of LA actors. So, this production will move forward with the actors we feel are best for the parts.” The Havok Company operates in smaller 99-seat theatres but pays actors a salary under Equity contract. They received five Ovation nominations for Kiss of the Spider Woman and were honored with 23 awards and nominations from various groups (including the LA Drama Critics) during their first season … Additional exciting BIZ news reported by the Ahmanson: Mary Poppins, in the middle of its 13-week run, already has the distinction of being the highest grossing theatrical event of 2009 by having generated over $11 million at the box office.
NIGHTMARE AT THE GEFFEN: Nightmare Alley was a 1947 “film noir” starring Tyrone Power and Joan Blondell. In an effort to show the world he could expand beyond his romantic leading man roles, Power bought the movie rights for the 1946 novel of the same name written by William Lindsay Gresham to play a grifter called “The Great Stanton.” The producers built a full working carnival on 10 acres of the 20th Century Fox lot and hired 100 sideshow and carnival people to authenticate the setting.
Gil Cates
In 1966 Jonathan Bridle wrote book, music and lyrics for a “musical drama in two acts” based on the Gresham book. It opened Off-Broadway at Primary Stages and closed after 15 performances and one preview. The Geffen will present a new musical version (based on the novel), with book, music and lyrics by Jonathan Brielle. Although the last name of both writers is similar they are two distinctly different creators. Brielle wrote music for Foxfire, his first Broadway show, which garnered Jessica Tandy a Tony Award.
Director Gil Cates pilots Nightmare Alley’s evening full of special effects and wondrous feats as he brings the world of carnies and clairvoyants to the Geffen. “I love the story. It is a cautionary tale. In other words, be careful what you do. You can make good choices for your life or bad choices. But you can make them. I think Nightmare Alley tells us we control much of our own fate. The show revolves around a carnival and a church during the dust bowl and the Great Depression. Both are traveling shows and have audiences looking for relief of one kind or another. Also, since they both generally operated under tents, you can be sure the show will reflect that juxtaposition in an interesting manner.”
Brielle’s score is described as “wild as a funhouse.” The world premiere musical, about a young carnie couple who tempts the fickle hand of fate, previews April 13 and could extend to May 30. Casting is currently underway for rehearsals beginning in early March.
I LOVE LA: Artistic Director Michael Ritchie once again delivers what promises to be a grand coup for CTG’s audience by ending their upcoming 2010 season with the world premiere of Randy Newman’s new musical Harps and Angels directed by four-time Tony Award-winning Jerry Zaks. Conceived by Jack Viertel (former Los Angeles drama critic), it is described as a compelling and humorous commentary on what it is like to be born, grow up, fall in love, live and die in America. Some of Newman’s well-known songs included in the piece are I Think It’s Going to Rain Today, Sail Away, You’ve Got a Friend in Me and of course, I Love LA.
HIP HOP BROADWAY:
Moya Angela, Syesha Mercado and Adrienne Warren in Dreamgirls.
When the latest version of Dreamgirls opens at the Ahmanson (Feb. 24-Apr. 4) it will have Broadway director/choreographer Robert Longbottom (Taper’s Flower Drum Song) at the helm. In an effort to add a bit of hip-hop to the mix Shane Sparks, best known from his Emmy-nominated work on So You Think You Can Dance, is on board as co-choreographer. Sparks says, “I had the opportunity to see the original show. It blew me away. I’m happy to be part of something with so much history. Being from the hip hop world, I thank the producers for welcoming me. It has been a life-changing event for my career.”
THE SUBJECT WAS MARTIN: Martin Sheen who appeared as the son in the original Broadway production of The Subject Was Roses (as well as the 1968 film version), returns to Frank D. Gilroy’s Pulitzer-winning drama 46 years later as the Father. He shares the Taper stage with Frances Conroy (Six Feet Under) as the Mother and Brian Geraghty (The Hurt Locker) as the Son. Neil Pepe who made his Broadway debut last season with the hit revival of Mamet’s Speed the Plow directs. Coincidently Roses replaces the previously announced Plow as the first production of the 2010 season at the Taper and runs Feb. 10-Mar. 21.
CHIT CHAT: Broads! The Musical by Jenny Fahn with music and lyrics by Joe Symon has set its cast and will open at the El Portal Feb. 19. It stars June Gable (B’way Tony nominee, Candide), Leslie Easterbrook (Police Academy, Laverne and Shirley), Cindy Benson and Ivonne Coll with voiceover cameos by Kaye Ballard and Shecky Greene. Jules Aaron directs with Kay Cole choreographing. Cole follows Broads with The Rose Bowl Queens, a musical by Barbara Hart and Cheryl Foote Gimbel where she will wear both hats of director and choreographer. The world premiere musical opens March 6 at the Lounge Theatre…Boston Court has booked an entire season of world premiere plays in 2010. First on the agenda is Luis Alfaro’s Oedipus El Rey directed by Jon Lawrence Rivera. The play is set in the modern kingdom of the barrio of East LA with Oedipus arriving straight from federal prison…Why Torture is Wrong and the People Who Love Them by Christopher Durang is a raucous and provocative satire about homeland “insecurity” directed by Daniel Henning. The Blank Theatre Company presents this West Coast premiere at the Stella Adler Jan. 30-Mar. 14.
Article by Connie Danese
Dreamgirls image by Joan Marcus
