Monday, November 17, 2014

Interview with Michael Arden
























Actor Michael Arden is currently blowing audiences away at La Jolla Playhouse as Quasimodo in The Hunchback of Notre Dame, playing through December 14.

Interview here - next week!

Tuesday, November 11, 2014

Interview with John LaLonde

Actor John LaLonde, artistic director of Candlelight Pavilion Dinner Theatre in Claremont is preparing to mount his Christmas show It's Christmas Everyday at Candlelight, opening the weekend after Thanksgiving. In our chat, he talks in detail about the show, the upcoming season and some of his favorite musical roles.

Tell me about the creation of your Christmas show every year at Candlelight. Traditional? Edgy? I hear that it is extra special and original each and every year. Explain.

The annual Christmas show at the Candlelight has been a staple since the theater opened in 1985. It features wonderful sets, familiar holiday music and a family friendly story line. And we have never repeated a story line.


Without revealing too much can you give us a tease as to what’s on tap this year?

This year's production is called It’s Christmas Everyday. The year is 1949 and the setting is Walli’s Christmas Pavilion, a Christmas decoration warehouse that literally has Christmas everyday. The owners Barney and Betty are celebrating their 25th anniversary as a married couple and store owners. By all accounts it should be a very successful season for them except for some unforeseen circumstances that quickly put a damper on the normally festive owners.

Is there lots of singing and dancing? Familiar or original tunes?
There is a lot of singing and dancing. We use mainly familiar holiday standards. "Silver Bells", "Silent Night", "Winter Wonderland". And a few obscure tunes just for fun.

How long have you been on board as artistic director and how many Christmas shows does this make?
I have been the artistic director for seven years. And this is the seventh Christmas Show I’ve written and directed.


You do some wonderful work as director and actor there. Do you have a favorite role that you've played? Is there one you are longing to play?
It's very kind of you to say that. My favorite role is Quixote in Man of La Mancha. It is one of the best musicals ever written and it is a privilege to play that role. In the past few years the Candlelight has steered away from just doing the classics and ventured into the darker side of musical theatre with shows like Sweeney Todd in which I was fortunate to play the title role, Miss Saigon and currently Jekyll & Hyde. I’d love to play Ben in Follies someday, but financially it would be a miracle if we, or anyone ever produced that show. People often ask me what show are you going to be in this year at the Candlelight and honestly I never plan on doing any of them. As an artistic director I pray that new talent comes through the door each and every audition. If it means I don’t play a role because someone else is more suited for it, then so be it. I am happy to stay off the stage.

Which shows will you be directing or acting in in 2015?
As of now I don’t plan on being in any of the shows in our 2015 season. I will direct Buddy (Holly), Smoke On the Mountain and of course The Christmas Show.

Is Christmas a favorite time of year for you? If so, why?
Christmas is hands down my favorite holiday. I love everything about it, the music, the classic movies and TV specials, the decorations, the feeling of hope and renewal. And of course gathering with family and friends. I grew up in Niagara Falls and Christmas was always magical especially with all that snow.  

What is your message for audiences this Christmas?
I’d say the message of this year's show is that out of lemons you can make lemonade. By being able to adapt and bend to the crazy circumstances that life can throw us, we can come out on top and maybe even be a little wiser for it.

Anything you care to add?
In the past we have steered clear of any religious Christmas songs for fear of upsetting people. But I say if you don’t want to hear "Silent Night" then don’t go to a Christmas show. After all, Christmas is more than just Santa and toys. Now I am not saying our show is religious by any means, but to ignore the baby whose birthday we are celebrating seems odd to me. We also have included some fun things for the children. During dinner the children write little letters to Santa which he will read during the show. It's always a treat to hear what children have to say and it makes every show a little different. The children are also invited to sit on stage with Santa & Mrs Claus during the show and after the performance they and their families can take a picture with both of them. I write the show for the talent I’ve cast and this year we have some amazing talent. Jessie Parmelee a local ballerina who I’ve been pestering for years to be in our Christmas show is finally on board. Along with nine year old CJ Wright and Rashonda Johnson both from last year's Motown show. Beth Mendoza and Jeffrey Warden will play Mr and Mrs Walli. Frankie Marrone and Carlin Castellano will add some romance. Katie Lee Shore and Emerson Boatwright and Jonathan Arana add fun to the festivities. And Robert Hoyt and Janice Lee will play the jolly couple from the north pole.

Be sure to catch The Christmas Show It's Christmas Everyday at the Candlelight Pavilion, Claremont starting the day after Thanksgiving and running through December 27.
http://www.candlelightpavilion.com/

Saturday, November 1, 2014

mini-Interview with Laurie Okin


Each week we spotlight a member of the "Melissa Arctic" cast. This week we spoke with Laurie Okin, a Road member since 2012.

Who do you play in “Melissa Arctic”?

My character is Mina (the Hermione character).  She is the mother of baby Melissa and for months has been dealing with her rapidly unraveling husband as well as the new baby.  She is highly maternal and loving, but has her own breaking point, and finally draws the line when she feels that Lenny's volatility is a threat to the physical safety of her daughter.  

 What do you feel she contributes to the play?

I feel that what she contributes to the play is in setting the emotional tone of regret, loss and then ultimately redemption and forgiveness.  Her character provides the echo of actions that cannot be undone and the reverberations they cause for the people left to grapple with what has happened, and also the will to not only survive but flourish in the life that is left to be lived.

Describe how you prepared for this role.

I am a mother myself, so finding the heart of Mina has been a matter of simply looking at my own feelings about my child and remembering back to when she was a helpless, nurture-seeking baby.  Apart from that, it's been about trying to nail the elusive Minnesota accent!

How are audiences reacting to Mina?

I think the audience will relate to Mina, as we can all relate to someone who is trying her hardest to keep it all together with patience and love.  If I'm doing my job, they will feel sad about what happens to her but they will see the hope that her presence will have inspired in those she was closest to to carry on and forgive one another.

What do you hope audiences will take away with them?


I hope that what they will take away from the play is that as long as there is love, there is hope.  There is connection.

mini Interview with Tom Musgrave

Each week we spotlight one of the cast members of “Melissa Arctic”. This week we spoke with Tom Musgrave, who has been a Road member since 2012.


Tell me about your character.

Lenny is a husband, new father, and owns a barber shop in the town of Pine City, MN.  At the opening of the play, it is revealed that the town minister has built a new mall next to Lenny's barber shop which includes a brand new hair salon.  Lenny had been fighting the idea and the construction of the mall, but was not successful in stopping it.  We learn it is threatening his livelihood as a business owner, bringing him much stress and fear, which in turn starts his mind in a spiral of (for lack of a better term) madness.  The specifics of that madness deal with how he believes he is seen by the town, his friends, but much more importantly, his wife.


 What do you feel he contributes to the play?

Lenny is the engine that makes the story go.  The events in the world of Melissa Arctic would not have happened if Lenny could have gotten a hold of himself, his fear, his rage, his jealousy.  


How are you preparing for this role?

This has been one of the, if not THE, most challenging role I've had the blessing to live through.  With Lenny, I've tried not to be general in terms of 'he goes mad.'  I've tried to look at the reasons for the actions, rather than a broad sweep of 'crazy.'  And in looking at those reasons, I can relate to the worries and tribulations of a man who is just trying to do his best to provide for his family, love his daughter, and love his wife.  He feels rejected on all fronts, I believe we've all felt rejection, so I've done my best to just live in that space.  I also could not have done this role without the tender help of our director, Scott Alan Smith.  He has cemented it into my head that this journey needs to be done with ease, if that's possible.  It's been an incredibly fun challenge.


What will be the audience reaction to the play and your character?

I don't know.  I really don't.  I hope they see the love, forgiveness, and redemption that Craig Wright offers in this play.  As for the reaction to Lenny, I do hope people see that while the actions he takes are horrific, in a way they really do come out of love.  He loves his wife and daughter tremendously.  I cannot overstate how much that plays into what Lenny's actions are tied to.  I also hope the audience gasps from time to time, as there is a lot of "What the Heck?" going on during the performance.


What do you hope they will take away from the play?

Once again, I hope they see the love, forgiveness, and redemption.  During Act 1 you would think those things are impossible, but this play shifts you upside down, and shows you beautifulness amongst ugly.  It is a pure joy from an actor's standpoint, and I hope the audience enjoys the ride too.






Wednesday, October 29, 2014

Mini Interview with Michael Dempsey

Each week we spotlight a member of the “Melissa Arctic” cast. This week we spoke with veteran Road member Michael Dempsey, who plays Lindy.


Tell me about Lindy.

My character is Lindy. My wife Cindy and I are good friends with Mina and Lenny. We’re older, and we've raised kids. Lindy ran a steady business, an apple orchard, for years.

What purpose does Lindy serve in the play?

I am an older, wiser person who is able to listen to Mina and Lenny and their struggles without prejudice, and yet also be tough when I need be.

How are you preparing for this role?

Remembering my childhood in a small town. The way neighbors knew each other, helped, challenged, supported, celebrated and mourned. A lot of my work as an actor is in Craig’s (Wright) writing. Much like Shakespeare, there are a lot of clues to your character in what you say and what others say about you.

How are audiences reacting to the play?

Audiences love the immersion into this "world". There is a lot going on (projections, puppets, songs, etc.), but it all beautifully supports the story.

What do you expect audiences to take away?


A sense of forgiveness, family and community. 

Tuesday, October 7, 2014

AFTERMATH OF TITANIC EXPLORED IN NEW PLAY

A new play by award-winning playwright Luke Yankee will receive its world premiere at UC-Irvine this November.  The Last Lifeboat is the untold story of J. Bruce Ismay, the owner of the White Star Line at the time of the sinking of the Titanic, whose decision to save himself rather than go down with the ship made him the scapegoat for one of the greatest disasters of all time.  An ensemble cast playing multiple roles tells this epic tale which explores not only the tragedy itself, but the sensationalized trials and aftermath of the night that changed the world forever.  The production will be directed and produced by Don Hill, Vice Chair of the UCI Drama Department. 

Yankee, an award-winning playwright and director said, “The idea for the play came to me while I was on a cruise in Nova Scotia, which is the closest land mass to where the ship sank.  I did an all-day Titanic tour and the guide spoke about how the disaster shattered Ismay’s life, because his survivor’s guilt was so intense.  After the inquiry into the shipwreck, he was forced out of his company and became a Howard Hughes kind of recluse for the rest of his life.  I thought, ‘With everything that’s been written about the Titanic, here’s a fascinating story that’s never been told.”  Yankee spent the next several months doing research before he began writing a screenplay version and finally, the play.

When Yankee approached Stephen Sultan, who was then the President of Dramatists Play Service (the largest publisher of plays in the world), Sultan was initially reticent to produce a play that was so new, it had not yet received a major production.  But, given the universal fascination with the Titanic, coupled with the fact that The Last Lifeboat is performed by an ensemble cast playing multiple roles on a practically bare stage, Sultan immediately saw the potential, particularly for regional theatres, schools and amateur groups. He contacted Yankee and said he’d be happy to publish it.

Yankee then contacted nationally syndicated critic Rex Reed and asked him if he’d be willing to read the script and give him a quote.  Reed wrote, “Imagine the epic story of the drama behind the sinking of the Titanic, revealed with easy, minimal staging on a bare stage.  Luke Yankee has written a surging drama that is riveting, dramatic, educational and entertaining all at the same time.  THE LAST LIFEBOAT is destined to become a theatre classic!”  

Luke Yankee developed a screenplay version of  “The Last Lifeboat” at the DreamAgo Writer’s Workshop in Sierre, Switzerland.  He was one of ten writers chosen internationally for the week-long program in the Swiss Alps, where five Oscar nominated screenwriters mentored him on the project. “While I am very excited about the screenplay,” says Luke, “it’s a big, epic story in the vein of ‘The King’s Speech’. I wanted to see if I could tell the story as simply as possible, on a practically bare stage with a small cast playing multiple roles.


Director Don Hill has been the head of the graduate stage management at UC-Irvine for the past ten years. Prior to that, he was one of the chief negotiators for the western region of Actors Equity Association, associate producer at the Long Beach Civic Light Opera (one of the largest musical theatres in America), and production manager at the Geffen Playhouse. He has directed and produced all over the country and was a protégé of the late John Houseman at USC, where Mr. Hill received an MFA in directing.

The leading role of J. Bruce Ismay will be played by Noah Wagner.  No stranger to Southern California stages, Mr. Wagner is the recipient of three DramaLogue Awards and an LA Stage Scene Award for Best Actor.  He has appeared in leading roles at The Matrix, The Celebration Theatre, The Knightsbridge, Theatre Banshee and the Long Beach Playhouse. His television credits include guest starring roles on NBC, PBS and the Disney Channel, among others.

The Last Lifeboat is being designed by Emmy winning set designer, John Iacovelli.  One of the most sought after designers in America, his more than 300 set design credits include Cathy Rigby’s Peter Pan, production designer for the TV series Babylon 5, the recent production of Kiss Me, Kate at The Pasadena Playhouse starring Wayne Brady and numerous shows at the Mark Taper Forum, The Geffen Playhouse,  South Coast Repertory and many others. He is also on the faculty of the Theatre Department at UC-Davis.

In addition to the students at UC-Irvine in the ensemble, other guest artists in the production include Los Angeles and Orange County theatre veterans George Almond, Harriet Whitmyer and Tom Juarez.

Luke Yankee’s other plays have included The Jesus Hickey starring Harry Hamlin (which premiered at the Skylight Theatre in Los Angeles) and the award-winning A Place at Forest Lawn, which has been presented at several regional theatres and is also published by Dramatists Play Service. He is also the author of the critically acclaimed memoir, Just Outside the Spotlight: Growing up with Eileen Heckart, which is published by Random House, with a foreword by Mary Tyler Moore.  Critics have praised the book as “One of the most compassionate, illumination showbiz books ever written.” He is currently in the graduate program at UC-Riverside (Palm Desert), where he is working towards an MFA in Writing for the Performing Arts.

The Last Lifeboat will be presented at the Experimental Media Performance Lab (xMPL) in the Contemporary Arts Center on the campus of UC-Irvine. Production dates are Friday Nov. 14th and 8 pm, Saturday, Nov. 15th at 2 & 8 pm, Sun. Nov. 16th at 2 pm, Thurs.  & Fri, Nov. 20-21st at 8 pm, Sat. Nov. 22nd at 2 & 8 pm and Sun., Nov 23rd at 2 pm. Tickets are available through the UCI Box office at 949-824-2787 or online at 
http://drama.arts.uci.edu




Thursday, October 2, 2014

Interview with Randy Harrison


Actor Randy Harrison, best known for playing Justin Taylor in Showtime's Queer as Folk (2000-2005) is rehearsing Amadeus Mozart for the play Amadeus to bow in Santa Barbara at the Ensemble Theatre on October 11. In our chat he talks about the play, his role, his tastes in music, as well as a bit about Queer as Folk.


What was life like, briefly, during Queer As Folk? Did you know at first that this show was unique and groundbreaking? You guys had so many fans. I know because I interviewed Gale Harold when he did Orpheus Descending a few years ago, and the fan response to the interview was incredible. I had comments from all over the world. 

My life during Queer as Folk was pretty hectic.  I was in my early 20s, which I think tend to be a chaotic time for most people, especially young artists.  I was living half the year in Toronto and the other half in New York, which were both new cities to me at the time, attempting to create some kind of stability in my life.  I was trying to figure out what I was most interested in as a performer while simultaneously working and shooting this very personal, emotional and intimate material and becoming some kind of poster boy for something I didn’t understand at the time. I knew very much that the show was unique and ground-breaking.