Friday, March 27, 2015
BEHIND THE SCENES: From Oliver Twist to LA
How One Midwestern Girl Followed Her Dream Out West--by Tanna Frederick
I grew up in Mason City, Iowa, or, as the rest of the city knows it, River City with, “A capital T that rhymes with P that stands for Pool.” Oh, yeah. We had one of THE BEST MUSIC programs in the nation, let alone the state. We sang at Carnegie Hall, for example, my sophomore year. None of us had been to New York, and we were selected for our excellence under the guidance of award-winning choir director, Joel Everist. We competed all over, winning event after event. And boy, we were expected to represent. We were serious, we were competitive, and we were expected to work with each other. “An invisible thread connected us,” Mr. Everist used to say. “Work like adults; work like professionals.”
When I was in Girl Scouts in the fifth grade, growing up in this beautiful, progressive, serious artistic hub (that was a great big city for Iowa – population 35,000) in the middle of green oceans of cornfields, we did what people did as entertainment for our field trip. We went to see the musical Oliver.
I had heard about this children’s theater from my classmates; the ones who could afford to be in it. They were obsessed with it. Gary Ewing was the teacher, the master, the MAN. Five shows a year, classes every Saturday, auditions. They were always eagerly waiting to hear what the next season’s line up would be. The classes were a mix of 4th graders to seniors in high school, all in the same class; all treated the same, worked the same, and rehearsed the same amount of hours with the same intensity, the same expectations; all required to paint the scenery, scrims, run light boards, and sound cues.
When we auditioned, it was a brutal process. Imagine a 9-year old, sitting with 8-18 year olds in the audience and watching them compete with utter focus, trying to act cool as a cucumber while reading cold and brilliantly (the older ones had it down WAY better than the young’uns), while by process of elimination those that didn’t fit were asked to leave.
I learned to cry young. I learned to take a complete day and cry at 9. I learned to realize ‘no’ was a positive answer. That ‘no’ meant working harder, learning more, taking the smaller part and making the performance big and bold, even if your heart was breaking on stage through two months of rehearsals and performances. I learned ‘no’ was the best answer I could be given at nine years old because I went through my crying and disappointment days early, took them for what they were worth, felt the hurt deep down to my belly and all the way out to my fingers. I learned what rejection was and I learned I could handle it because right around the corner was a lead role that would knock my socks off and outshine any hurt and pain I had endured.
I was just a kid but I knew I had a knack for acting. As I sat there with my girl scout troop, not enough seats for an overflowing house, I knew my best friend was playing Oliver Twist, at nine, and I couldn’t really conceptualize, now having been moved to the hard-on-the-tush aisle steps because of the sold-out house, what it would be like seeing him on stage. Already a young prodigy in his own right, he was winning dance competitions at the Iowa State Fair. That may sound like small potatoes but put any professional in one of our state fairs and we’ll give them a serious run for their money. Remember there are three films titled State Fair which were all based on the Iowa State Fair, a mighty important event. Tait Moline, talented beyond belief, my hero, my best friend, by then we had watched all the Broadway plays we could on Iowa Public Television, and worshipped Bernadette Peters.
When the house lights went down and the stage lights came up, everything around me stopped. I remember every single second, detail, note, and position of that musical. I remember the adults’ faces, the kids’ hutzpah, the box steps, the smell of the lights burning dust and gel, the happiness and sadness of every character’s face, the tears, the smiles, and the suspension of disbelief. The commitment from the characters to play, to pretend, to pain, to joy. I must have been eight at the time, taking hardcore (for a first grader) classical piano lessons that my parents had scraped together for and I was thrown ahead into a timeless floating ether of ecstasy.
It was a rivalry of power and life and I wanted it. I wanted it forever.
I joined The First Act (now Stebens Childrens’ Theatre) the next year. It changed my life. It WAS my life. It IS my life. It taught me to follow my dreams and that dreams can turn into a reality through hard work, dedication, sweat, breakthroughs, teamwork, and tears.
Way Out West
My letter prompted a meeting and, pleasantly, a budding friendship. Henry had given me his play, A Safe Place to work on in my acting class but I thought I would do him one better and find a theater to produce it. Finally, that “no” was a “yes.” I got to get up on stage and transform the room. It was so exciting to feel the heat of the lights. It continued to fuel my desire for a life in show business.
After that, I continued to collaborate with Henry and I’m currently playing Katia Wampuskic in his play, Train to Zakopane, one of my most challenging roles to date. She is an anti-Semitic nurse who falls in love with a Jewish man. Every night I have to channel hatred from a place that isn’t present in my own life. It is a true story about Henry’s father, by far one of his most personal pieces yet.
Prior to performing Train to Zakopane, I got to perform Amiri Baraka’s The Dutchman directed by Levy Lee. It was a theatre marathon; an emotional ride that could and maybe will never be matched in my performing career.
Before each new project, I take a moment to remember the Girl Scout sitting in the aisle of the children’s theater watching my future peers perform. I remember the magic that comes with transforming the mood of an audience, the magic of baring your heart on stage. It is a rush that cannot be matched with anything else in the world.
When I lose myself, I think of Oliver Twist...what I knew then and what I know now: that I love what I do, that I want to keep learning, that I never turned back, never gave myself a safety net, and never will. Times are hard, times will be hard, the sweat doesn’t stop, the hard work doesn’t stop, but I learned how to cry at nine and get on with it.
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Train to Zakopane: A True Story of Love and Hate has been extended and is currently playing at Edgemar Center for the Arts, 2437 Main Street, Santa Monica, CA 90405 through June 28, 2015. For tickets go to www.edgemarcenter.org.
Photo credit: Leslie Bohm
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Labels: behind the scenes, edgemar center
Thursday, October 2, 2014
BEHIND THE SCENES: Staging a Cole Porter Classic
Bringing Kiss Me, Kate to Life
--by Jeffrey Polk
My involvement with Kiss Me, Kate began in early May and a conversation I had with Sheldon Epps, Pasadena Playhouse’s Artistic Director. Sheldon talked to me about creating an all-African American cast for Kiss Me, Kate and he also asked me to stage some of the musical numbers. I quickly realized that this project involved more than just staging songs. This is a very unique musical that incorporates a variety of different dance styles. And it’s choreographing an American classic, a Cole Porter American classic.
Sheldon started talking about some of the productions in that era of Negro theaters that had performed around the world. There was Voodoo Macbeth, created by the playwright and director Orson Welles. It was the most popular theater performance of the Negro Theatre Project’s New York unit and was performed at Lafayette Theater in Harlem, New York, in 1936. The original Macbeth took place in Scotland, but Welles set his version in the Caribbean. There was also a swing version of Gilbert and Sullivan’s operetta The Mikado which became Hot Mikado featuring Bill “Bojangles” Robinson.
During his research, Sheldon also found a musical version of the Bard’s A Midsummer Night’s Dream called Swingin’ The Dream, starring Louis Armstrong supported by Benny Goodman’s band that featured a beautiful up-and-coming movie star by the name of Dorothy Dandridge in the chorus.
So in some ways we are not doing anything that’s new with our production; we’re just adding to the rich history of African American theater that already exists. Sheldon also added creator and musician, Rahn Coleman, to the team. Rahn has been musical director for many great shows including Purlie and Ain’t Misbehavin’ and he has worked with some of the vocal greats like Patti LaBelle and Aretha Franklin.
Creating a Company, or How to Cast a Classic
As Sheldon and I started building the show, we discussed different ways we could make it our own. We talked about the two thugs and the General being white: Brad Blaisdell (Thug 1), David Kirk Grant (Thug 2), and Pat Towne (The General). It made sense to cast it that way.
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| Wayne Brady and Merle Dandridge |
Sheldon already had a beautiful leading lady in mind to play Lilli/Kate - Merle Dandridge. Merle has worked in theatre, television, and film, and the voice that comes out of her is pure heaven. Wayne Brady, (Fred/ Petruchio) got wind of our African American Kiss Me, Kate and was also very interested in the project. As luck would have it, it fit into his very busy schedule with “Let’s Make A Deal” and “Whose Line Is It Anyway,” among so many other gigs. I’ve known Wayne for years, and I cannot think of a better person to be around, or anyone more professional to work with. He’s a great father and an angel of a man so to have him be part of this project was like being in Heaven.
The rest of the company members also needed to be stellar performers. We knew it was going to be a small cast, so we had to make sure everybody was more than a triple threat. (And they had to also be wonderful people!) As we were casting, I was looking for actors who would make a good theatre company, not necessarily just be great for a part. They needed a cornucopia of individuality, strength, greatness, pride, and flexibility. And it didn’t hurt if they looked good also!
I asked one of my best friends to recommend someone to help me out through this project. Kye Brackett, choreographer extraordinaire, has worked with many professional people, in addition to serving as Barry Manilow’s choreographer. He had the time off to join me and I was in Heaven. He’s one of my oldest and dearest friends.
Another Op’nin’
Sheldon and I then started talking about the opening, the top of show. The first song in Kiss Me, Kate is “Another Op’nin’, Another Show.” The words in that song mean a lot to everyone who’s ever been a part of the theatre.
“The overture is about to start, you cross your fingers and hold your heart, the curtain’s up and away we go, another opening of another show!” To the average person working in theatre that’s almost like a prayer, or even a spiritual awakening - knowing that we’re getting ready to do a show again; not knowing where our next show will be; will this one close or stay open? We don’t know what’s next but what we do have is the now.
So we designed our opening to be more of a spiritual awakening for all of us in the theatre and then staged it to fit the troupe of Negro players led by Hattie, the dresser (Jenelle Randall). We took the liberty of starting it off with a little jazz, and then moved into the classic opening, on to a gospel awakening, and back to the original opening.
On with the Show
Next we had to figure out how to open the second act and make it our own. “Too Darn Hot” is the number that begins Act II and it really has nothing to do with moving the story along, but it’s a great song nonetheless. It takes place during intermission of the play within the play. Sheldon wanted a little drumbeat break in the number, and we both somehow wanted to capture the feel of that backstage experience.
I was trying to figure out the best way to do that without being campy or crazy and I decided to use Africa as my inspiration. I had pretty much sketched it all out in my head and was ready to present it during the first rehearsal. Then I realized that Rogelio Douglas, Jr., who was playing Paul, was an excellent tap dancer. Since it’s his song, I knew I needed to merge the two. In continuing the backstage antics, the dressers find that it’s hot and start it off - kind of tap meets Africa meets tap meets musical theater. I also wanted to respect it. The song says it’s too hot to do anything with anybody right now, so I staged it accordingly.
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| Rogelio Douglas, Jr. and Jenelle Lynn Randall |
Playing to their Strengths
We incorporated each individual company member’s strengths into the different songs. In “For Thine That Special Face,” we added a tableau dance behind Wayne Brady as he is singing. Sheldon adjusted scenes so they made sense because we didn’t have a big ensemble and I had to think outside the box with staging. Some numbers became shorter, like “Tom, Dick or Harry” with Joanna A. Jones (Lois), Terrance Spencer (Bill/ Lucentio), Eric B. Anthony (Gremio), and Jay Donnell (Hortensio). I added more athleticism in the number to show what all of them can do. Anything is possible and everything you need to create something special is within the song.
Our dancers are incredibly talented. We have a beautiful six-foot tall woman by the name of Shamicka Benn-Moser. We have some very skilled ballet dancers (Theresa Murray and Armando Yearwood Jr.) and excellent actor/dancers (Kimberly Moore, Saudia Rashed and Carlton Wilborn). We literally built the show from the ground up with these people and it has it all. There’s a parade, grape stomping, barrel rolling, and everything else that can possibly fill the stage.
Design Inspiration and the End Result
Sheldon talked about Archibald John Motley, Jr. an African American artist, whose style of painting fits into the 1930’s and 40’s motif, and how that would inform the visual design. John Iacovelli, the scenic designer, had an excellent idea about how to make the set work and he gave us a mini version to let us know what we had to play with. And using the back wall of the stage as part of the set for the opening is stunning.
Our costume designer, David K. Mickelsen, picked up some wonderful pieces from a Shakespeare company in Utah, along with an authentic 40’s look for the opening and everyone looks gorgeous.
I couldn’t be prouder of this production of Kiss Me, Kate. Just seeing the way it has come together, and knowing that it’s Sheldon’s passion piece, makes it a spectacular, heartwarming experience for me. It has been one inspirational moment after another.
I do recommend that people who have never seen the show, or are just interested in seeing a great, classic, golden age musical, come out and experience it. There really is something for everyone!
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| Wayne Brady |
KISS ME, KATE
Through October 12, 2014
Pasadena Playhouse
39 South El Molino Avenue
Pasadena, CA 91101
Tickets: 626-356-7529 or
www.pasadenaplayhouse.org
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Labels: behind the scenes, jeffrey polk, pasadena playhouse
Monday, August 11, 2014
BEHIND THE SCENES: What I Learned Becoming Yoko
Becoming Yoko
--by Anzu Lawson
Little did I know during my first class with the Jocelyn Jones Acting Studio how my life would change. Every new studio member is required to perform what is known as an “Environment exercise*” where the actor creates and lives in a personal space, complete with personal objects, designed to get the actor involved in a true-to-life experience.
I chose the act of putting on makeup in front of a mirror. The first thing Jocelyn asked me was, “have you ever thought about playing Yoko Ono?” Ever the stand-up comedian, I quickly joked, “the woman who broke up the Beatles?” A few laughs came from the audience.
I flashed back to growing up half-Asian/half-white in Cerritos, CA, wanting desperately to be blonde and blue-eyed like all the happy people on TV. There was only one famous Asian woman in that era of pop culture and that was Yoko Ono. My step-dad was a sound engineer for rock bands, and growing up with musicians around all the time, I didn’t exactly understand why but I knew that Yoko wasn’t liked. So that was the beginning of my obsession with Daisy Duke shorts and forgoing identification with my Asian heritage.
Jocelyn assigned me a “Picture exercise*” in which the actor finds a photograph and then recreates it exactly, from the clothes to the expression to the pose.
A few weeks later, I was back on that stage, in my practiced Yoko pose and half smile while the book was passed around to my fellow students for them to critique. I could see wonderment on their faces from the stage.
Jocelyn asked me to say something as Yoko. I hesitated, but then, I spoke the words… and something happened to me. A different energy took over and I began to move differently. Yoko pauses and ponders in her speech, interjecting “Mmm… you know” frequently, so I did that. I had an out-of-body experience; the kind of timeless feeling I had only been able to experience singing, my first true love.
In my acting career, I embraced my ethnic ambiguity playing Chinese, Japanese, Filipino, Korean roles; even a Latin doctor on Criminal Minds, but I had never attempted anything like this before! I bought every book on Yoko Ono I could and found that she was completely misunderstood.
I began to fall in love with this woman who was made a public scapegoat, still hated by many people who hadn’t taken the time to understand her. I loved her brazen and rebellious spirit. I related to feeling like an outsider living in Japan. I knew the trauma of parental-child kidnapping at the hands of a narcissist because I was kidnapped as a child. I was taken by the thoughtfulness of her art installations, impressed with the inner strength it took to be authentic, even if it meant she would not make a single penny as an artist.
Initially, I was confused by this, because when the Japanese record company I was signed to at 16 years old told me my songs weren’t melodic enough, I would have to change them so that my family would eat.
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| Anzu Lawson as Yoko Ono |
Maybe I would educate people and maybe the scarlet letter would fall off Yoko’s chest. Maybe I would embrace the closet Asian person hiding inside of me.
I started writing a screenplay but hit a wall because I couldn’t capture John’s “voice.” John had this fast, mercurial, dry, candid sense of humor that was uniquely his. I kept asking myself, how am I going to do this?
Then a light bulb went off. A musical!
Although it had been many years, I called up Joerg, my musical cohort, and said “hey…want to write a musical with me?”
I walked into the studio Joerg was renting and on the wall was a framed original vinyl LP of TWO VIRGINS, with the infamous picture of John and Yoko standing naked together. I took that as a sign. We wrote the first song that day, “I Know War,” in a matter of an hour. We looked at each other after it was done in disbelief. This was bigger than me and I felt divinely guided.
Over the course of two years, I kept thinking, am I crazy? Why am I spending so much time writing about a woman I never met? What if she hates it? What if all this time is wasted? But every time I wanted to quit, I would get another sign… my iPhone, buried at the bottom of my purse, would randomly start playing a song, and it would be a John Lennon song I don’t remember ever listening to. Little things like that kept me going.
I finished the script and I couldn’t get any producer in town to read it or take it seriously. People wanted Beatles music and my project was a story told through original music. I asked the universe for a sign and next thing I knew I was rear-ended on the 134 Freeway and my car was totaled.
The Hollywood Fringe Festival deadline was a week away and the car insurance gave me $3,000 more than I expected, so I put that money towards the theater and hired a director, my friend Nell Teare. We cast our John Lennon, scrambled to finish the writing/recording of songs and jumped into rehearsals. I had never done theatre before … especially a musical. I have only seen five musicals in my life.
It was thrilling, scary and frustrating. I felt I was being tested and expanded on so many levels.
After only four performances, I had a nomination for Best Female Performance for the Spirit of Fringe in my role as Yoko Ono in Rock and Roll’s Greatest Lovers. People cried and gave us standing ovations, and word traveled so fast we were “standing room only.”
The best part was when strangers came up to me after the show and said “you changed my mind about Yoko,” or, “I didn’t know that about her,” and especially, “I had no idea.”
The more people know about the musical the more people believe in its message. I hope one day even Yoko will get to experience what we’ve created. I know she will see the love that went into it.
As for my journey, by “Becoming Yoko,” I have come to realize all I have to give as an artist, my purpose, and most importantly, my responsibility as a proud Asian woman storyteller to give voice to this story.
*exercises are from Milton Katselas’s book ACTING CLASS-Take A Seat
Want to be part of the next step in the evolution of Rock and Roll’s Greatest Lovers? Click Here for more information about the show and check out the video below.
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| Pictured right: Anzu Lawson and her niece Kohana Porter recreating the iconic photo of Yoko, John and their daughter Kyoko |
BEHIND THE SCENES is a unique “behind the scenes” look at the creative process of artists in Los Angeles. If you would like to submit a pitch for BEHIND THE SCENES, please contact Ellen Dostal at the email address listed Here or visit the profile section.
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Labels: anzu lawson, behind the scenes, yoko ono