TheatreWorks

A little more "Little Princess" backstage gossip

2004-09-15T15:01:00.000-07:00

If you've ever done theatre, specifically musicals, you likely know what horrible things happen to the show's songs before the end of a run.

They get morphed into parody numbers, usually fairly filthy, before you're even one week into rehearsal!

Well, with a cast of young ladies, apparently filthy parodies are NOT the order of the day. Phew.

But the big habit in the dressing rooms and green room, at the moment, is "riffing." At any given time, you are likely to hear crazy belted r&b riffs enhancing whatever music is happening onstage. The cast can listen via a monitor, but the audience can't hear what goes on down in the dressing rooms.

I think 'American Idol' is to blame.

But it's better than X-rated versions of the songs, so I'll take it!

Another Little Backstage Tidbit

2004-09-13T08:53:00.000-07:00

So, you know there's a bunch of young ladies in "A Little Princess", but did you know they have to settle down and have an hour of school after any matinee?

And that a tutor has to hang around backstage with them?

Apparently their boundless talent doesn't start and end on stage.

From what I hear Lizzi Jones has been making some rather stunning portraits of people in the show when she gets bored.

And the girls collaborate to compose their own three-part ditties backstage in what was described to me as their
"wild sleepover of a dressing room."

Sounds like a lot of fun.

Also sounds like all that limitless energy would remind me just how old I am!

A Little Bird Tells Me This Funny Onstage Moment

2004-09-12T11:26:00.000-07:00

My unnamed source, okay one of the girls, but I won't say who...feeds me this great little tidbit:

"A few days ago, Will Chase (Captain Crewe), during the touching scene where he sends his daughter off to Africa, put her shoes on the wrong feet. I'm sure no one noticed from the house, but those of us watching from the wings found Sara's little gimp feet pretty hilarious."

I'm just trying to remember how long that scene is, and how long she had to walk around like that?

Little Princess is a popular theme

2004-09-10T15:11:00.000-07:00

Found this item about yet another show trying to make its way to Broadway, based on the Frances Hodgson Burnett tale, "A Little Princess."

This one has been modernized, and is about a group of girls putting on "A Little Princess."

There's even a little blurb mentioning our show at the very end.

Here it is.

Can a Blog Reader Help Out a Blog Reader?

2004-09-09T16:51:00.000-07:00

I've got a faithful blog reader who has 1 ticket available for the final Saturday evening (9/18) and 1 ticket available for the closing Sunday matinee (9/19) that he suddenly can't use. (Wow, what a fan! And he's already seen the show a couple of times.)

If anyone is interested, you can use the link to email the BlogMaster (that's me) and I will connect the two of you.

Something else the Internet is all about...connecting people.

(Yes, I know there are those wh think the Internet results in a bunch of isolated people in front of their screens, and in my cynical moments I say the same. But I usually stick to my story that it bring people together.)

Another review

2004-09-09T15:05:00.000-07:00

Here's the review from the regional reporter for Talkin' Broadway.

No spoilers at all.

It follows a common theme that recommends tinkering further with the story structure, while highly praising many of the other elements, from the score and lyrics, to the performers, to the choreography.

Read it here.

Mountain View Voice rave!

2004-09-08T18:25:00.000-07:00

Another great review.

Although a little spoilerish.
Read it here.

A Really Good and really Different review from the Metro

2004-09-08T16:37:00.000-07:00

I have to say this review isn't just interesting because it's so positive towards the show, it's interesting because the reviewer has turned the whole review into a comparison between "A Little Princess" and the book, "Women Who Run with the Wolves."

You just have to read it to get it.

(And I've never read that book, so I'm not sure I get it anyway.)

Here it is.

Random Coincidences

2004-09-07T13:30:00.000-07:00

It just occurred to me that the big hot hit from "A Little Princess" is Sara's solo, "Live Out Loud".

Meanwhile TheatreWorks' next production is "Living Out."

I'm searching my mind for something pithy to say about that, but perhaps someone out there in blog-reader-land can come up with something instead.

Another review

2004-09-07T13:12:00.000-07:00

This time from the Merc. (I think registration may be required.)

It's mixed in a similar way that other reviews have been. Praises the performers very highly, praises a lot of the visuals and choreography. Praises the score.

But like the others, suggests tinkering with the structure of the story.

What fascinates me is how reviewers choose their headline. Let's face it, a lot of folks probably read the headline and form their frame of mind to read the rest of any article.

I read plenty of reviews that choose a quite damning headline, but then the body of the review really isn't so bad.

I guess it must get more attention to be snarky. Well, I don't guess; I know!

When I lived in NYC it was John Simon reviewing for New York Magazine and Frank Rich at the Times that got all of the attention...mostly because they could be totally vicious. At least Rich stuck to being vicious about talent. Simon got vicious about people's appearance, or their ethnicity.

But, I digress.

Anyway. 2 more weekends to go for this world premiere production. Don't miss it. I love to be able to say I saw things first! It's been a great year or so for that in this area. First we had "Wicked" up in SF, now this.

Review Link

2004-09-05T19:07:00.000-07:00

Here's a link to the rave Palo Alto Weekly review (no spoilers at all really.)

Backstage Drama: But All's Well That Ends Well

2004-09-04T18:23:00.000-07:00

One of our blog readers posted a comment, wondering about why Kimberly King, our Miss Minchin, was using a cane at Friday night's performance, and whether she was OK.

Turns out Ms. King jammed her toe, but saw a doctor today who popped it back into place (yikes!)

She is wearing a protective boot, but given her costume has large hoop skirts, it's not even visible.

She went on for today's matinee, and is expected to be just fine.

Thanks for inquiring after her well-being. We appreciate your concern.

And I suppose if you're going to see the show tonight or tomorrow, you could try to catch a peek at her big boot, sort of like a game of 'I Spy.'

Another Blurb in the Press

2004-09-04T17:31:00.000-07:00

I'm surprised how many of these are popping up after we've opened.

Oh well, it's another glimpse of "Little Princess" rehearsals.

Interview with Miss Molly Bell

2004-09-03T17:29:00.000-07:00

The Cupertino Courier has a nice interview with our Miss Amelia, Molly Bell. Given that this paper probably doesn't get to most of you in the Bay Area, here is a link to it.

Molly describes the way she approaches a role, heavily informed by her experience as a dancer. It's a pretty clear, understandable description of one method for getting "into" a character.

The Road to Broadway

2004-09-03T17:16:00.000-07:00

Interesting reviews coming in. Most praise the cast, the orchestra, the visuals very highly. What's left, you might ask? Well, they think the piece itself needs more "tinkering."

Broadway musicals used to have one common path to Broadway...the out-of-town tryout. Sometimes in New Haven or some other city near, but not in NYC. And NYC critics generally didn't go and review those productions. You might recall the lyrics to "Another Openin'; Another Show" from 'Kiss Me Kate': "Another Openin'; Another Show. In Philly Boston or Baltimo'"

That became a rather expensive undertaking, so Broadway shows started having the endless Preview syndrome. Some shows extended their Opening Night date so many times it became a big Broadway joke before they even opened. I'm remembering that being the case for Marvin Hamlisch's "Smile" when I lived in NY. (And BTW I quite liked that show myself.)

But of late, something new has been happening. Shows that open in quite far away regional theatres, and work their way to Broadway a little more slowly.

"Into the Woods" opened in La Jolla first. It underwent some major tinkering (including the replacement of original Witch Ellen Foley with Bernadette Peters) before making its way to NYC.

Much more recently "Wicked" opened here in SF first. And yes, underwent some major tinkering itself.

It's a different road to Broadway, but as both of those examples show, it can be a successful one.

Nice Article on Inside Bay Area

2004-09-01T09:29:00.000-07:00

Nice article, featuring significant Andrew Lippa quoting, on the Inside Bay Area web site.

Also looks a bit at the history of bringing this piece to the stage.

What Andrew Lippa Is Up To Next

2004-08-31T08:41:00.000-07:00

In the grand tradition of 'Annie', there's a new musical being developed about the character Betty Boop. And Andrew Lippa has revealed to a Bay Area newspaper that he has been signed on as composer.

Here's the item as picked up nationally in Playbill.com.

Kristen Chenoweth as Boop? Sounds like perfection to me!

Remaining Performance Schedule for "A Little Princess"

2004-08-30T10:25:00.000-07:00

So, you haven't gotten your tickets yet?

Not that I'm judging of course.

But did I mention how ecstatic those early audiences were?

Anyway, you still have three, count 'em three, weekends to see the show, and here are the details:

Here's a link to the Calendar on the TheatreWorks web site.

Each weekend isn't exactly the same, so it's a lot easier to check out that online calendar.

Once you have chosen your date, go to this link to buy tickets, either online or via the phone.

The show closes Sunday September 19th at 2pm, so you've got plenty of time. But not too much time!

When Art Shouldn't Imitate Life!

2004-08-30T09:37:00.000-07:00

One thing I didn't mention in my mini-review of "A Little Princess" is a spine-tingling moment in Act II.

I'm hoping someone gave this note, but if not, then I am doing you all a favor by bringing it up.

There's a scene in Act II where the two Minchin sisters are having Christmas dinner. Somehow one or both of these fine actresses (Kimberly King and Molly Bell) managed to make the most consistent scratching cutlery sounds on their plates while they were "eating."

I'm getting goosebumps just writing about this.

All I know is I was squirming in my seat until the eating stopped and the conflict of the scene began.

Please, please, perhaps some felt affixed to the plate? I don't know, I've never been a Props person. There must be some trick that can prevent that? Any fine scenic folks out there who have dealt with this?

Or maybe it's just me? I'm particularly sensitive to the fingernails on chalkboard syndrome? See I just got goosebumps writing that phrase!

Anyway, if any of you see the show and find that the scratching noises are notably absent, let me know!

New Live Shots from "A Little Princess"

2004-08-30T09:31:00.000-07:00

Tiny little blurb in Playbill.com today.

But it is notable for having several new photo shots taken, I believe, on one of the Preview nights.

Check them out here.

Andrew Lippa in concert (but not until January)

2004-08-28T08:49:00.000-07:00

In case you're not an obsessive program reader like I am, I wanted to highlight something I saw in there..."Little Princess" composer Andrew Lippa is performing in concert with Broadway star Judy Kuhn up in San Rafael in January.

Here's a link to the event calendar. You have to scroll down; there isn't a direct link to this event.

[Kuhn, in case you're not familiar, has been a major Broadway player for a while now. She's the original Cosette in "Les Mis" on Broadway, the original Florence in "Chess" on Broadway. She was also the singing voice for Pocahantas in the Disney movie.]

Anyway, if you listened to the audio clip I posted of Andrew singing, you now that between the two of these performers, it's going to be a great night of singing.

Another blogger's LP Review

2004-08-27T15:23:00.000-07:00

Ah, the blogosphere.

So this blogger commented on my blog review, and provided a link to HER blog review. I went and read it. And now I'm going to link to HER blog review here!

The circle of blogging life.

Anyway, she loved the show, but beware, she is even more of a plot spoiler than I am.

Do NOT read it if you don't want to know some major stuff about how it all turns out.

Top 5 reasons to See "A Little Princess"

2004-08-26T23:27:00.000-07:00

Having had some time to reflect since last night's show, I have come up with my contribution to the world of Listmania, the Top 5 Reasons to see "A Little Princess."

The problem is that I don't want to reveal any spoilers for those of you who haven't seen the show yet.

I know that sounds counterintuitive, since this whole blog is about giving you a behind-the-scenes look.

Nonetheless, I know that some people don't like to read reviews before they see a show (no preconceived notions, you know?)

So, for those of you who want to see my list, here is a link to it:

The Top 5 Reasons to See "A Little Princess" (Warning: Minor Spoilers!)

I'll just throw you a little teaser:

I praise somethings visual, some things auditory and some things emotional. That narrows it right down, huh?

Big Preview Audiences...Buzz Buzz Buzz

2004-08-26T10:43:00.000-07:00

So, my theatre companions and I were a bit surprised when we walked into the theatre last night and found nearly a packed house for the 1st Preview night. I know, I know, this blog has created so much buzz with its 1/2 price offer (still good for tonight I might add) that I shouldn't have been surprised at all!

The thing you should know, though, is that this preview audience was wildly enthusiastic. There was much leaping to the feet and shouting of 'bravo', and you know what that means...word of mouth and positive buzz.

And you know what that means: ticket sales.

I was sitting outside the theatre waiting for my friend to move his car after the show, and I heard one lady walking by saying:

"The score! The lyrics! Everything!"

You can bet she's going to tell two friends.

You can still see tonight's preview for half price.

And otherwise you can click on the box office link in the left hand side bar of this blog to review all the performance times and get your tickets. Don't delay...I'm smelling a break-away, sell-out hit here.

"Striking 12" in Concert in NYC

2004-08-24T10:24:00.000-07:00

Here's a link to a Playbill.com story about a concert performance of "Striking 12."

As the article states, the concerts will be the only chance for East Coasters to catch "Striking 12", and apparently they're recording it, in order to have CDs ready in time for its opening here at TheatreWorks.

Check it out.

"Little Princess" featured in today's Merc

2004-08-23T12:52:00.000-07:00

If you didn't see it, here's the feature article that was in this morning's Mercury. [Free registration is required.]

8/23/04 Mercury News Feature

The article also has a couple of pictures from rehearsal:

Here's a shot of that monkey you already may have read about.

And here's a candid rehearsal shot of our choreographer, Andy Blankenbuehler.

Don't Forget: Half-Price Previews THIS Wednesday & Thursday!

2004-08-21T13:20:00.000-07:00

The buzz is positively deafening for this show. I'm on national theatre-related chat lists where people are begging to hear first word about how the show is.

And you lucky Bay Area folks are the ones who get to see for yourself. Don't forget this awesome 1/2 price preview offer for blog readers:

When the Previews Are: Wednesday/Thursday (the 25th/26th) at 8:00PM

Where the Shows Are: The Mountain View CPA on Castro Street

What To Do:
Call the box office at: 650.463.1960
Use Promotion Code: BLOG

How Much It Will Cost: Half-price is $14, plus a $2 facility fee for the MVCPA. (Total=$16)

No online orders and no walk ups.

These are General Admission seats, so on the evening of performance the seats are first come, first served. But if you've been to the MVCPA you know there's not really a bad seat in that house.

See you there! I can't wait!

What "A Little Princess" Means To You

2004-08-18T09:13:00.000-07:00

I've been having some conversations with friends about "A Little Princess." After posting my own story about how much I loved this book as a child (and when I read it again as an adult) I've been asking other people about their own memories of the book.

I found out I'm not the only one who loved it. I'm not even the only one who read it again as an adult. I received this lovely story that captures the poignant and uplifting quality of "A Little Princess."

"Oh my, that was and still is one of my favorite books. My children watched the video over and over.

Specific memories? I just remember reading that book over and over from when I was about 8 to when I was about 12. Every time I went into a Victorian-type house, I would imagine it was Miss Minchin's Academy! And here's something else: when I was in my mid-30s, my father died. I was searching for comfort, of course, and turned to a number of my favorite children's books, in addition to "A Little Princess." It wasn't until after I'd finished "A Little Princess" that I realized why I had felt a strong need to read it again at that time. Sara Crewe learns that there can be comfort and love again after great loss."

Show Hoppers

2004-08-16T14:33:00.000-07:00

Saturday night I went to see "Ragtime" at Foothill Music Theatre (for the second time...great show.)

After the show, I was standing out in the courtyard talking to my friends in the show. "Ragtime" isn't a short show by any means, so it was after 11:15 PM by then.

I noticed three people, cast members back in street clothes, working on some dance steps in the courtyard.

I was thinking, wow, they close tomorrow, and they're still woodshedding their numbers?!

But no, these were some "Ragtime" cast members who also happen to be in "A Little Princess", and were working on some steps from rehearsal.

I think that's a pretty good definition of "dedication"!

[For those of you who don't know the term "woodshedding": it means working on or practicing something outside official rehearsal time. And it often carries the connotation of going over something over and over to get it down right.]

Awesome Online Interview with Andrew Lippa, featuring performance of LP song!

2004-08-15T11:17:00.000-07:00

I found this terrific interview with Andrew Lippa on Playbill Online.

It starts out with some talk about his previous show "The Wild Party", but mentions "A Little Princess" and then he sings a number from it, "Live Out Loud".

Wow. First of all, Lippa needs to take his show out on the road...he has a great voice.

And the song is beautiful.

Take a listen.

Breaking News: Half-Price Preview Tickets for Blog-Readers

2004-08-12T16:53:00.000-07:00

Just got word from TheatreWorks that they're offering half-price tickets to you, my faithful blog readers for next week's two Preview nights of "A Little Princess"!

When the Shows Are: Wednesday/Thursday (the 25th/26th) at 8:00PM

Where the Shows Are: The Mountain View CPA on Castro Street

What To Do:
Call the box office at: 650.463.1960
Use Promotion Code: BLOG

How Much It Will Cost: Half-price is $14, plus a $2 facility fee for the MVCPA. (Total=$16)

Unlike the "Red" previews: you cannot order online and you cannot just walk up.

These are General Admission seats, so on the evening of performance the seats are first come, first served. But if you've been to the MVCPA you know there's not really a bad seat in that house.

See you there! I can't wait!

New Link to Andrew Lippa's Web Site

2004-08-12T14:16:00.000-07:00

If you look in the left hand side bar of this blog, you will see a new addition.

"A Little Princess" composer Andrew Lippa happens to have his own web site where you can keep track of all of his activities.

Not only that, his site was designed by local actor David Curley, who just happened to have also designed my Worker Bees web site!

That's the 'circle of life' or 'it's a small, small world' factor in action or something!

Check out Andrew's site. II was impressed, for instance, to read about his upcoming collaboration with Kristin Chenoweth at Carnegie Hall!)

Do Girls Still Read "A Little Princess"?

2004-08-10T19:18:00.000-07:00

I remember A Little Princess as one of my favorite books growing up. That and The Secret Garden, both written by Frances Hodgson Burnett, were staples for my generation of young girls. Funny how they both were turned into musicals huh?

In fact, some time in my 30s I decided to buy some of the books I remembered loving as a child and to read them again. I thought it would be interesting to see if certain fondly remembered books still struck a chord with me. I bought the Burnett books first thing, along with the Chronicles of Narnia, The Phantom Tollbooth and others.

And I loved those books all over again!

I think in many cases I loved the books with very vivid descriptions, not only of events, but of people and their feelings, of places and their atmosphere, of things and their meaning.

I can still picture Sara Crewe's attic as I pictured it back then. And her doll. And the monkey. I can still picture the two sisters who ran the school.

I know someone out there will disagree, but I never really fell in love with the Ramona books, because they seemed very anecdotal. First this happened; then that happened and so on. Give me inner monologs. Give me small details. Give me a little flight of fantasy too.

I wonder if girls of a certain age still read the Burnett duo of books as I, and other girls my age, did? I certainly hope so. As a adult I can appreciate that they subtly imparted wisdom about helping others and about being perseverant. Still good lessons.

TheatreWorks in the News

2004-08-08T11:09:00.000-07:00

Here's an item I saw pop up in the news on TheatreWorks:

A story on the upcoming "Crowns" in Variety, talking about it being a "sleeper hit." [Registration required for full story.]

If you're doing a season of premieres, show selection is everything, and it looks like we've picked another winner!

8/26/04: Free Discussion with Andrew Lippa & Brian Crawley

2004-08-06T16:59:00.000-07:00

Ever wonder how a new musical goes from imagination to stage?

Obviously you do. That's why you visit this blog!

Join TheatreWorks Director of New Works, Kent Nicholson, in conversation with Brian Crawley (book and lyrics: "A Little Princess") and Andrew Lippa (music: "A Little Princess".)

How TheatreWorks, this free public speaker series, will be held Thursday, August 26 from 6:15-7pm at Books, Inc at 301 Castro Street in downtown Mountain View.

You do not need to attend the Thursday preview performance to participate. Discussion will break in time for ticket holders to arrive at the theatre for the general admission performance.

Space is limited so please arrive early.

I think you can tell by their interview that these guys are quick-witted and quick on their feet, so it should be a lively and illuminating discussion!

Excerpt from An Interview with "A Little Princess" Creators, Lippa & Crawley

2004-08-04T15:57:00.000-07:00

Dateline: July 20, 2004
Andrew Lippa (Composer) and Brian Crawley (Book & Lyrics)

TW: How did the show come about?

Brian: It started with Heidi [Ettinger, set designer and producer] and Susan [Schulman, the director] who both worked on "The Secret Garden" in the same roles. That production got remounted in Australia and did extremely, extremely well for the Australian producers, who eventually decided they were interested in trying to generate a new project.

Andrew: I think Susan also directed something else with those guys.

Brian: They took her [Susan] over there to direct some other stuff, and also Heidi without Susan had done an opera and "Big River." On one of their trips to America, the Australian producers happened, just by coincidence, to see Heidi and Susan both on different days. They went up to Stratford to see Susan's production of "Fiddler on the Roof..."

Andrew: Which got rave reviews...

Brian: ...and they said, "We'd love to work on a new piece with you." And Susan and Heidi and I were working on a different piece that we were all ready to abandon, and they said "are you working on anything new", and Susan said, instead of talking about that, "Well, Heidi and I were talking about doing something based on "A Little Princess"." But really, I think her conversation with Heidi had been about 2 minutes long. As it happens the Australians were going next to New York to see some Broadway shows and they went to an opening, and they happened to be seated next to Heidi. They said, "Well we hear you're working on A Little Princess, we want to be involved", and she said, "Ok, why don't you be the principal." So, it was something that occurred because there was a market for it without anybody trying. So, they came to me because I was already working with them and...

Andrew: ...and you had already worked with Susan on "Violet..."

Brian: Right. And before even talking about composers they wanted me to read it and respond to it. My initial reaction to it was not positive, only because I had seen a preview for the movie A Little Princess that had come out...

Andrew: The Alfonso Cuarón one.

Brian: Oh you naughty minx.

As you can tell we didn't have to ask much to get these two rolling. There's more to the interview, and it will be published in the TheatreWorks e-newsletter, In the Works.

Click here to receive the newsletter and read the rest of the interview with the creators of our world premiere production of "A Little Princess."

Insight into Casting with Leslie Martinson

2004-08-02T15:14:00.000-07:00

The casting process of "A Little Princess" was a different species than your usual musical casting.

Or course there were many of the usual challenges, such as ability to do dialect work and intense, physical dance, not to mention the casting of young children (many of these talented girls have traveled from the far ends of the Bay Area!)

But the unique difficulty in casting "A Little Princess" was found in its script, in that it was still evolving when auditions took place. So the greatest challenge was casting singers for solos that hadn’t been created! Fortunately, this challenge turned into an advantage once the play was cast, because solos were created or fitted to the strengths of the specific cast member.

"But we didn’t want it too individualized" said casting director, Leslie Martinson, "we wanted a musical that would hold up for many years and future productions."

TheatreWorks collaborated with Jay Binder Casting in New York and between them and their knowledge of earlier readings of the script in both Palo Alto and New York - the job was done.

In a season of premieres, casting is just another of those areas where the production and design staff get a rare chance to approach something nearly from scratch. Challenging, but exciting. Just like the 2004-2005 season!

An Interview with "Red" Director: Robert Kelley

2004-07-31T13:05:00.000-07:00

As you might know, "Red" is closing August 8th, and if you haven’t seen it - buy your tickets now, because they are going fast!

We were able to snag some time with director Robert Kelley (who is also, of course Artisic Director for TheatreWorks.).

When asked why "Red" is an important piece of theatre to produce today, Kelley was eager to talk about the cultural, political and artistic reasons to produce this piece of art:

"It's a play about the value of art in society and specifically theater art - the art of the Beijing Opera. It’s a political world in opposition to and devaluing art of all kinds while at the same time trying to harness them...the acknowledgement of the power of arts and then trying to control them. This is a danger in our own country."

Beyond the political story, though, Kelley is interested in the script's ability to tell a powerful human story and show people under incredible pressure. He also mentioned that working again with Francis Jue, who has had much history with TheatreWorks in productions such as "Cabaret" and "Kiss of the Spider Woman", was amazing.

The "Red" script does represent a huge challenge for a director. While many directors might see this play on a blank stage with the variety of different scenes Kelley remarked: "I tended to see it visually...I wanted the set to keep changing, so the production could have a lot of different looks."

Kelly also commented. "I was worried whether I would have enough energy and creativity to work on back to back plays." (Kelley just recently directed Tom Stoppard's "Arcadia".)

Given the challenges and the opportunities, how does Kelley think it all turned out? When asked about the results he remarked finally, "I'm very proud of the production. It came out beautifully...there are very challenging, dark, political themes and very inspiring human themes...the actors are superb, and the design is exceptional."

See it in its remaining 8 days...and don’t miss Kelley's next directing event - "Shakespeare in Hollywood" by Ken Ludwig!

One More Great "Red" Review

2004-07-30T17:09:00.000-07:00

Here's a review I just heard about from the Palo Alto Weekly.

Warning: There is a major plot point spoiler in this. If you haven't seen it, beware.

Now, maybe some folks weren't as surprised by this twist as I was, but on the premise that I'm about the average bear, don't say you weren't warned!

Here it is.

An Interview with "Red" star Francis Jue

2004-07-29T09:34:00.000-07:00

"Red" plays for two more weekends at the Lucie Stern Theatre and stars the critically acclaimed Francis Jue as Beijing Opera Diva, Hua. If you haven't seen this visually and emotionally compelling show yet, click on the link to the left and get your tickets now. To intrigue you even further, be sure to read this entry, an interview with Jue.

We asked Jue about the art and the craft behind "Red". I think you'll find his responses thoughtful, articulate and fascinating:

Q1. Had you any exposure to the movements and style of Beijing Opera before you first performed in "Red"?

A1. My first exposure to Beijing Opera was when I understudied in the Broadway production of M. BUTTERFLY. Jamie Guan, our choreographer for RED, was also the original choreographer of M. BUTTERFLY. So it has been fantastic working with him again, and building on what I'd begun to learn from him way back in 1989. Since then, working on touring and regional productions of M. BUTTERFLY, I have worked with a couple of other Beijing Opera choreographers, but Jamie has been my strongest teacher.

Q2. After such a long run on Broadway, what's it like to be back in the regional world, and for a short run?

A2. I am so grateful to TheatreWorks for bringing me back home to do RED. I'm glad I got to leave THOROUGHLY MODERN MILLIE before it closed. I was emotional enough leaving after over 2 years of doing that show on Broadway, but I would probably have been a sobbing mess if I'd had to close the show after having worked on it from workshops, to its pre-Broadway tryout, to its successful Broadway run. Originating a role in a huge Broadway musical was certainly a dream, and my experience was fantastic. But my commitment to the work is the same, whether it's on Broadway or elsewhere. I have loved working at TheatreWorks, which is one of the most supportive and adventurous environments I've experienced. Doing a long run gave me a great deal of confidence, and has helped me learn faster with the shorter process and performance schedule here.

Q3. You've done some amazing roles in both musicals and straight plays. That's pretty rare. Does it feel the same to you? Do you approach the role the same? Do you prefer one style over the other?

A3. For me, the proverbial "grass is always greener." When I'm doing a musical, I often wish I were doing a play, and vice versa. When I'm doing a drama, I often wish I were doing a comedy, and vice versa. It's not that I get bored, so much as I am endlessly curious about all sorts of theatre, all sorts of roles, all sorts of people. TheatreWorks has given me fantastic opportunities in many different kinds of roles and genres, and I have worked hard to honor the intentions of each script. In many ways, it's the script and the director's vision of the production which guide my approach to each role, since different scripts have such different demands, styles, use of language, etc. I was an English Literature major in college, and so I have a deep respect for text. Script analysis is usually where I begin my process, building upon a show's themes and storyline, figuring out my character's role within that scheme, using the language to help identify physical, emotional, even aural clues to the character. I like all kinds of musicals and plays, from fluffy entertainments to difficult dramas. If I have any preference at all, it is for roles and scripts that allow me to be most human, rather than simply functionary.

Q4. How does the story of "Red" resonate personally with you and your background?

A4. With our production of RED, I want to honor those who suffered during the Cultural Revolution, both the oppressed and the oppressors, honor the idealism and artistry it took to maintain a way of life while dreaming of a better one. I want to understand through the play how we make families and how we deal with the families into which we are born. Like Master Hua, I am in awe of the power of art to transform and elevate, even in the face of destruction and brutality. With this show, I want to celebrate the creative impulse, the instinct to endure, in the face of feckless, violent circumstances. The show doesn't say that ideals are possible. It merely suggests that hope is all we've got.

TheatreWorks in the News

2004-07-28T16:27:00.000-07:00

Today's San Francisco Chronicle carried an item giving its own sneak peek into bringing "A Little Princess" to the stage.

Check it out at the link above.

London circa 1838; the Different World of "A Little Princess"

2004-07-28T14:07:00.000-07:00

"A Little Princess" takes place in London, England and Timbuktu, circa 1838.

Every aspect of a theatre production is impacted by knowing where and when a play takes place. Clearly the costume designers must research an era and locale to determine how the particular characters in a play would dress. The scenic designers do the same, trying to approximate the how the interiors of the day would look.

One could say: well, most people in the audience won't know the difference..why go to the trouble? But it's about more than pleasing the few in the audience who might be experts in a particular historical era. It's also about providing the actors more tools with which to build their characterizations and assist the director and cast in creating another world up on stage.

London 1838 was a very different social setting that our own casual Silicon Valley culture in 2004. Frankly it's even quite different from the London of today, starting with the fact that a major setting is a school for young women. This kind of school was actually a rarity - typically women were only educated so that they could become good wives. Much was said about how women should be conversant only insofar as they could please their husbands with conversation and appreciate exactly how knowledgeable their husbands were.

London society was built on rules. Everything from appropriate dress to how many times a lady should stir her tea had a rule for it (twice if you want to know.) Those who ignored these rules were considered vulgar and lower class. In a cast where most of the young ladies wear jeans and tank tops - there will be a lot to learn...and get used to!

For example, coming back to costumes, from the outside it might not be easy to tell if a woman is actually wearing a corset underneath her period-looking dress. So why bother? It's certainly not the most comfortable thing for an actor to wear through a two-hour show. But that's partly the point. When you wear a corset, it changes your posture, it makes you more aware of your breathing (and certainly makes it clear why women of the era fainted a lot and needed smelling salts!)

The city of Timbuktu is a large part of this production (I won’t tell you how for fear of spoilers) and something to remember is the word "globalization" was not around in 1838. Timbuktu was a crossroads of many trades in Africa but barely known to Europeans and had a mystique to it. Many French and Englishmen had ventured out to see if the rumors of gold were true but almost no one had succeeded.

This look at a society and world no longer familiar to us should be fun to see, and the design staff do their homework to make sure you're seeing a fair representation of it (even if most of us wouldn't know the difference!)

Behind the Scenes at the "A Little Princess" Design Meeting

2004-07-26T10:21:00.000-07:00

Last Tuesday Theatre Works HQ was abuzz, as the staff attended the eagerly anticipated "A Little Princess" Design Presentation meeting.

All of the production team members presented to both the cast and the TheatreWorks staff.

From composer Andrew Lippa ("The Wild Party") to director Susan Schulman, the team was incredibly excited. This production has evolved from being presented by a few people sitting on stools, score laid out in front of them on music stands, to the full blown production that will be opening at TheatreWorks in late August.

Broadway director Susan Schulman ("The Secret Garden") spoke about how dear this musical is to her heart; how it’s about an individual surviving, in a world that urges you not to be an individual.

Choreographer Andy Blankenbuhler reminded the cast that this production isn’t just going to be an emotionally touching story - but a physically challenging experience! The entire cast is on stage for nearly the whole show. Blankenbuhler predicted a strenuous rehearsal and production shedule, and therefore urged all cast members to take better care of themselves than usual and to stay healthy! Sounds obvious, but you'd be surprised at how hard it is.

Stay tuned for a more formal introduction to those involved artistically in "A Little Princess."

The Good Reviews for "Red" Keep Coming In

2004-07-25T08:42:00.000-07:00

Check out the one from the Mountain View Voice here.

The consensus has been really positive for "Red", and the praise being heaped on Francis Jue's star turn is lavish.

You still have two more weekends in which to see the show, and all of these critics seem to be urging you to make it.

But let me tell you the reaction of my companion the night I saw the Preview, so you can also get the Everyman view.

This companion is a woman in high tech here in the Valley, originally in engineering , now in marketing. Hailing originally from Israel, she has been dealing a lot with Asian clients in her work, including several trips to Asia in the last couple of years. Although someone who generally appreciates the arts, as a 12-hour-day high tech worker and a mother of two, it's not like she gets out to live theatre all that often.

After the show ended, her first comment was "It was beautiful. I loved it."

But her next comment was very interesting. She remarked how the show gives you a perspective on the recent historical context of people who we deal with now as adults, who may have grown up in the time period depicted in the play. It fosters an understanding of their background.

I thought that was an illuminating comment, and one that confirms the power of art to transform reality!

More "Red" Reviews Are In

2004-07-23T22:54:00.000-07:00

Here's one from the Examiner. Check it out here.

And here's one from the popular web site: TalkinBroadway.com

If you haven't bought your tickets yet (Box office link is in the left hand side bar...hint...hint) these reviews should convince you!

Although I don't know why MINE wouldn't!

So Who Is the "Revered" Joel Fram?

2004-07-22T10:31:00.000-07:00

We threw a lot of sterling adjectives Joel Fram's way in our earlier entry, so we figured we would take a step back and introduce you formally to the Musical Director for "A Little Princess."

It’s not a coincidence that Fram is so good at working with the young ladies that have been in music rehearsal for the last week. He has had a lot of experience working with kids on Broadway in shows such as "The Secret Garden" and "Falsettos."

As Fram himself put it: "For a while there, I felt like I worked with every little boy and girl in show business." Despite having worked with many a professional young performer, Fram has a special respect for our "Little Princesses".

"These girls are a particularly talented lot - they are all very warm, interesting performers, but each girl has a distinct personality, which makes for an intriguing group. They pick up music very quickly, and happily, they seem to grasp the need not just to learn the notes, but to perform them in a very, very specific way."

Fram never patronizes his younger colleagues, simply believing that honest critiques enable good learning and improvements. And the ladies have risen to his challenge, taking each notes without defensiveness or discomfort.

Fram has worked on "A Little Princess" before, but he says "I try not to refer to my old scores - I like to keep my ear open to new thoughts and spur-of-the-moment ideas. If an idea is worth repeating, your ear will hear it again...but your mind is free to come up with better ideas in the moment."

The cast of "Little Princess" is not only getting to work on a world premiere piece, but with a world-class team, including our revered musical director, Joel Fram!

Sneak Preview of "Striking 12"

2004-07-21T13:12:00.000-07:00

Do you like to have the inside scoop before everyone else? Probably you do, or you wouldn't be reading this blog. Well, we're about to give you a 6-month head start on knowing about TheatreWorks' December show: "Striking 12."

Oh sure, you could go to the TheatreWorks page on the show found in the link above. There you would learn that "Striking 12" is a "rewired version of 'The Little Match Girl' by Hans Christian Andersen'" featuring the band GrooveLily. This is their third season presenting "Striking 12", and last year it was a big hit at San Diego's Old Globe Theatre. This year they're bringing it to the Lucie Stern in Palo Alto. GrooveLily is a trio comprised of Valerie Vigoda (vocals/violin), Gene Lewin (drums/ vocals) and former local guy Brendan Milburn (piano/vocals.)

But if you want to be even more plugged in than that, you can get a sneak preview of their awesome brand of music in three local gigs in August. Here are the dates/venues:

Thursday, August 5, 2004, 8:30 - 11:30 PM
GORDON BIERSCH (GrooveLily Duo - Brendan & Valerie)
33 E. San Fernando in downtown San Jose
FREE at the door
408-294-6785.

Friday, August 6, 2004; Doors: 7:30 PM. Showtime: 8 PM
FREIGHT & SALVAGE COFFEE HOUSE (GrooveLily Duo - Brendan & Valerie) Opening for Lowen & Navarro
1111 Addison St. in Berkeley
Tickets: $15.50 Advance Purchase, $16.50 At the Door.
510-548-1761
Email: info@freightandsalvage.org.

Saturday, August 7, 2004; 7:30 PM
HALFLAB HOUSE CONCERTS (GrooveLily Duo - Brendan & Valerie)
Santa Clara, CA
Tickets: $15-20 sliding scale, advance purchase.
650-814-4355
Email: concerts@halflab.com.
Advance reservations and payment required. To make a reservation, send email (preferred) or call and leave a message. Halflab will contact you with directions and payment options.

Oh, and for those of you who read all the way to the bottom? Here's some of their tunes you can listen to online:

Live Through This
Apocalyptic Love Song
It's All Right

Another Peek: The Ladies in "A Little Princess"

2004-07-20T10:52:00.000-07:00

"A Little Princess" includes many roles for the young girls who play Sara Crewe's classmates. If you walked into music rehearsal a few days ago, however, you might easily mistake these young ladies as professional adult actors.

Given away only by the occasional tell-tale exchange of stickers, these ladies keep their excitement quietly to themselves and are focused in a way that most teachers can only wish their students might be.

When asked if there were any guidelines set down for rehearsal, we learned that Musical Director Joel Fram is "a compelling presence; he expects his associates to be as quick on the uptake as he is, and because he is charismatic and extraordinarily talented, he tends to get the results he wants."

These actors are definitely doing all they can to keep up with Fram- some of the girls tape-record the rehearsal, and all of them take notes to make sure they don’t disappoint the revered music director. The next time they run a number, they are doing their best to get the notes or the phrasing just the way Fram asked for.

Of course there is the incredible pride in working on a world premiere. Cast member Linsday Faye remarked "we're all tremendously excited because the material is so good. It's one thing to work on a new show you feel iffy about, one that has structural problems or musical problems...but this show is just so absurdly good. It's ridiculous, really. We love it."

I'm kind of admiring her vocabulary myself! Perfect for a young lady at an exclusive private school like the one in "A Little Princess."

"Red" Opens, Capturing the Critics' Imaginations

2004-07-19T08:00:00.000-07:00

"Red" opened Saturday night.

I was raised on movie scenes of shows opening, and casts/directors waiting up into the wee hours of the morning to read the reviews. If that was ever the reality, it's not anymore, or maybe just not here.

While it would have been nice to get the reviews into the most widely-read paper of the week, the Sunday edition, they came out today. Both the Merc and the Chronicle give "Red" very positive reviews, commenting on its sweeping themes, its grand performances and its intriguing plot construction.

Spoiler Alert:

Like most reviews, these do mention plot points. If you like to be completely surprised by plot twists, then I would wait to read the reviews until after you see the show. the you can see if you agree with the critics!

The San Jose Mercury review

The San Francisco Chronicle review

Don't Forget Tonight's $10 Offer

2004-07-18T09:26:00.000-07:00

The show is open, and reviews (other than mine) should soon start pouring in.

And that is when tickets get harder to come by.

So don't miss out on tonight's special offer of $10 seats for the 7PM show.

Buy them online at TicketWeb or print the offer and bring to the Lucie Stern box office.

TicketWeb.com

Don't Miss This SJ Mercury Feature on TWorks

2004-07-18T09:11:00.000-07:00

If you didn't see it, The Merc had a great feature on TheatreWorks and Kelley yesterday.

This, after all TheatreWorks' 35th year in business, quite an achievement.

Here it is: The SJ Mercury Article

I just thought I'd share my earliest memory of TheatreWorks. I went on the TheatreWorks site to figure out what year this was. (They have a listing of every season dating back to the beginning here.)

So back in 1978 my parents had these friends whose son had written the incidental music for this wacky production of Shakespeare's "Twelfth Night" in Palo Alto. I think at that time TheatreWorks may have been performing in the City Council chambers!

I recall this long stage with seats on each side, and I think we might have been sitting on the floor, although I'm not sure. To be honest my primary memory is that they had this big inflated beach-bally-type set piece on stage. And when Olivia was going on in one of her speeches about her lust for Viola she was leaning up against the ball at least for part of it.

Granted this was 26 years ago, so my memory may be a little off.

I do remember it all felt very modern; very avant-garde. And I don't think that was only to me, a little 13 or 14 year old, but also to my parents.

Anyway, feel free to share your earliest memory of a TheatreWorks production. I'm sure some of you have a much better memory than I do.

Another Sneak Peek

2004-07-16T10:11:00.000-07:00

TheatreWorks is soon to mount their biggest production ever, the world premiere of a new musical version of "The Little Princess".

Technical design work is already underway, the props people are pondering parasols.

There will be many highly decorative handheld parasols, large and small. It's a little early to be sure, but parasols could be a useful symbol in the production, as they were traditionally a sign of royalty in Africa. If you owned a parasol- you could always make your own shade in the hot sun.

When talking with Caela Fujii about the design of these parasols she said that that the main two designs would be parasols in African patterns and Colonial patterns, and that they will be used for a dance number in the production. Fujii will have quite a lot of freedom picking colors and designs, as she has noted that the set does not have many colors that stand out and are difficult to meld with.

So, to give you an idea, here's a couple of pics of potential parasols being considered:

My "Red" Review

2004-07-15T16:21:00.000-07:00

I've had more time for my impressions of "Red" to sink in, but I also realize that not everyone want to see a detailed review before they go see something. So as a compromise, I have posted a review in my personal blog, and you are free to click on the link to read the entire review.

Elisa's Personal Review of "Red"

Now if you'd like just a teaser, here are a couple of excerpts from the review:

"The set and lighting combine to help the stage resemble something once beautiful, but long forgotten."

"There's an art to withholding enough to keep people intrigued, but revealing enough to keep them satisfied. Yew has mastered that particular art."

"Somehow I wasn't expecting to laugh, but I did...often."

"Truly a wonderful performance."

Check it out.

See the show.

Post your comments here.

Great, Big Audience at Tonight's Preview

2004-07-14T23:19:00.000-07:00

Just got home from seeing the preview of "Red."

I need a little more think-time before writing all of my impressions of the show (first impression, in case you're really impatient: really good. Really rich with unexpected humor and some stand-out, I mean first-rate performance. And it was SO cool to see all of the technical aspects come together as we've been describing them separately in this blog.)

Anyway, I did want to say the house was pretty close to completely full, so I hope a lot of blog readers took advantage of the $10 offer.

If you didn't, get moving on buying your tickets for Sunday's $10 performance (the 7Pm show.) If tonight was any indication it is going to be well-sold.

$10 Ticket Offer Also Extended For Sunday Evening's Performance

2004-07-14T16:59:00.000-07:00

Great news!

Tonight's preview is still available for $10, but now so is the Sunday at 7PM performance.

Same drill as the last offer. Buy them online at TicketWeb or print the offer and bring to the Lucie Stern box office.

TicketWeb.com

Make sure any of your friends who love theatre but sometimes don't love the price are aware of these great offers!

Another Peek at the Visual Splendor of "Red"

2004-07-14T09:20:00.000-07:00

We've talked to the scenic designer, the lighting designer, the costume designer...and in those stories we relied on words to help you imagine what you'll be seeing on stage.

But, as they say, a picture is worth...etc. etc., so let's not talk about the intricate make-up design required to recreate the Beijing Opera, let's show you:

Here's a before shot: (That's costume designer, Jill Bowers, by the way.)

And here's the after:

NEWS FLASH!!! COME SEE THIS WEDNESDAY'S PREVIEW OF "RED" FOR $10!!

2004-07-12T13:16:00.000-07:00

This is great news. They just released this last minute offer for Wednesday evening's Preview of "Red."

There are two ways to purchase $10 tickets:

Order online at
TicketWeb.com

(It's the first performance on the list.)

Print out this offer and bring to the Lucie Stern box office before the show.

Seating is General Admission, and this offer is subject to availability.

And you can feel perfectly free to pass this offer along to your friends/fellow theatre buffs.

Actually, I'm going that evening myself, so I'm sure I'll blog about it the next day...and expect at least some of you to comment on what you saw!

One down...

2004-07-12T12:15:00.000-07:00

Just a brief note: Saw season opener "Arcadia" this weekend (it closed Sunday.)

Tom Stoppard is a modern-day Shakespeare. His language is so complex and rich. The play skips from mathematics to physics to poetry and literature to affairs of the heart in quite nimble fashion. It's very rare that a play ends, and I immediately want to go read it. But this was one of those occasions. I wanted to experience the dialog again.

I went with my step-dad who builds set for the high school where he used to teach. He was incredibly jealous of the high quality production values. There are lots of scenes with doors opening and closing, and sometimes quite forcefully. He especially oohed and ahhhed over how the walls around those doors didn't shake after each slam!

So, let's see...a tough and brilliant work, tackled with high quality? Sounds like TheatreWorks!

Lighting It Up

2004-07-10T09:33:00.000-07:00

More in our continuing series on what goes on behind the scenes to put a show together:

Each of the "Red" designers has agreed on two things:

1. Compromise is a huge part of being a successful designer
and
2. The set design is the first component to consider in a production’s overall blueprint

Meet lighting designer, Steve Mannshardts:

"Think of the set design as a canvas and the lighting design as the paint. The set designer gives me a shape, texture and base color and I add many things to the visual look to create more imagery."

I guess when you thrown in costumes & make-up, you're talking about muti-media art!

So, where does compromise come in? When you're reconciling artistic vision with physical reality.

Here's an example to look for when you see "Red."

Upstage you will see what we're calling the "opera box." It's literally an enclosed box with only the fourth-wall open to the audience, a "theatre" up on stage. Set designer Ching -Yi Wei envisioned this theatre to be lit, just as the actual theatre, with beautiful colors and textures.

But how would the light get in to this closed space? If you look around the Lucie Stern theatre you will see lights everywhere, but this "opera box" has only the one side open to access that light. Ultimately, to light this box as desired, there will need to be secret openings in the box to allow light in. The challenge is to maintain the impression of a closed box, yet have it lit with beautiful colors.

Yes, this presents Mannshardt with a challenge, but also the opportunity to really tap into his most creative impulses. And how are those creative impulses coming along? Well, in his own words:

"Imagine me, at this point in time, as a painter, standing in front of a blank canvas. I am laying out my work table with the various tubes of paint and brushes that I intend to use as I create these pictures. Right now, there are hundreds of images flashing through my mind that I want to create onstage. Only after ten days of technical rehearsals when I am painting, carving and sculpting with light, will I be able to answer that one. And that night, of course, would be opening night."

A "Little" Sneak Peek

2004-07-10T08:33:00.000-07:00

TheatreWorks is presenting a World Premiere later this season.

Even the grandest events start with a few small steps, and here's the very birth of the show's scenic design in the shop:

We'll show you more as the bits & pieces come together for what promises to be a lavish and lovely production!

Take a Walk on the Technical Side

2004-07-08T16:25:00.000-07:00

"Red" covers a lot of ground, and a lot of time. Considering that, one might imagine the set of "Red" as a blank stage with different set pieces flying or rolling in to represent the many different locales within the play.

Theatre Works, however, has gone in a completely different and creative direction. When asked about her vision for her set design, Ching- Yi Wei said she wanted to "bring the viewers to the world in Sonja's mind instead of the real locales." (Sounds like Jill and the costume design process too!)

Last week the three primary actors were brought into the shop to see what would happen when this vision met reality. "Red" is a very physical play, and the actors needed to test if they could move among the faux rocks that the shop had finished. It’s a good thing that the actors scheduled this into rehearsal because some of these rocks were judged a little too slippery to jump upon and the shop is working on roughening them up. The devil is in the details.

Besides these rocks, there is also a big, red, raised box in the center of the stage. Wei commented that she wanted this box "in the center of the scrim wall to indicate the importance of this place in Sonja's heart. The color on the scrim is gold and patina. I want to create the nostalgic feeling by the combination of these color and the material itself. So the red box is like a precious jewel in her mind…”

The scenic painting and construction taking shape in the shop are already quite breathtaking. Come check out "Red" which begins previews July 14th.

Remember the link to the box office is in the left hand bar of this blog.

Keeping It Authentic...Meet Jill Bowers, Costume Designer

2004-07-06T20:09:00.000-07:00

If you were to see two productions of Shakespeare’s Romeo and Juliet you might find that the two Mercutios donned entirely different styles of clothing - yet you would still easily recognize each of them as the braggart Mercutio. The sartorial style of even traditional opera has been played with of late, as anyone who saw Baz Luhrmann's "La Boheme" can tell you.

But such a concept - changing the time or locale and particularly the costumes - is non-existent within the Chinese Opera. Each costume within the Chinese Opera is specifically associated with a single character and every time you see that character on stage they would look exactly the same. (It's similar to the commedia dell arte tradition where characters such as Harlequin, Pierrot and Pantalones always looked and behaved the same way.)

This historic tradition presented both challenges and opportunities for "Red" costume designer, Jill Bowers.

Take the traditional opera costume which the character Hua will wear in "Red." It is authentic, just one of the pieces rented to achieve an accurate depiction of the Chinese Opera. The head dress that accompanies this gown weighs around five pounds, which may not seem like a lot, until you find out that the actor must dance in this costume. (Remember the earlier post about rigorous physicality?)

This production also features realistic Red Guard uniforms. Actual characters wear these, but stagehands will also be wearing variations of such uniforms. Bowers and director Robert Kelley agreed that the stagehands should at times be "invisible" while handling props and set pieces, but will sometimes become part of the action on stage.

Bowers stated that many things influenced her on this design- she used books, information from other productions of "Red", and aspects of other designs. For example after seeing the set design, Bowers honed her color choices. The red background of the set is a strong choice and dictated what colors would help a character "pop out" against the background and what colors would help them blend.

Designers look at their design issues from many different angles, and Bowers is no exception. When in a quandary about a costume choice, Bowers "thought about how the costume would look in Sonja’s mind". (Sonja being the modern-day Chinese-American novelist protagonist, of course!)

When production designers have done their job, the audience may not even be aware of the amount of research, thought and imagination that goes into their design. But now you may have just a small inkling.

Getting a Workout Doing "Red"

2004-07-02T08:02:00.000-07:00

The physical rigors involved in rehearsing "Red" are substantial.

When you hear "opera" you might not be thinking of a lot of physical activity, especially if you're most familiar with such opera stars as Pavoratti (who hardly looks like he's ready for a work-out.)

But the "Beijing Opera" is a different story. The genre involves lots of movement and dance.

To achieve authenticity, TheatreWorks has brought Jamie Guan, a former member of the revolutionary opera in China, to work with the cast on the dance sequences. Jamie is ably assisted by his son, Nick.

Each dance sequence takes both flexibility and coordination...and an ability to manage a pole. A five foot long bamboo pole, that is. And a pole that is an integral part of the choreography. And sometimes is used to punctuate the starts and stops of dance sequences. Overall, the poles enhance the graceful nature of the dances, but the learning process can be somewhat less than graceful, and can be frustrating. Poles have been dropped, and cast members sometimes have to dodge getting hit with someone else's pole.

But when it all works, and the cast is concentrating and in synch, the poles add a beautiful fierceness to the dance.

The poles aren't the only difficult aspect of learning this new art form. When asked what was most difficult, Rinabeth, understudy for the role of Ling, said, “picking up the details, a sudden flick of the hand or the subtle position of the fingers is what makes it so interesting…and Jamie is so graceful and good at it.”

Returning the compliment, Jamie and Nick say that the cast "is doing exceptionally well considering all of the stances are new."

But they add, "sometimes they are also afraid of the poles."

I know I would be!

Publicity Shot of Francis Jue for "Red"

2004-06-30T14:12:00.000-07:00

So far I've mentioned that Francis Jue is starring in "Red" and that the show will feature some recreation of Beijing Opera productions. Here's a photo that lets you get a look at both:

Kelley Keeps It Mellow

2004-06-29T20:32:00.000-07:00

The rehearsal atmosphere for "Red" is surprisingly mellow, considering the intense subject matter and the level of work being accomplished in fairly short order.

And director Robert Kelley, or simply Kelley as he is known to the Bay Area theatre world, is to thank.

Kelley sets a comfortable and collaborative mood, asking questions out loud to anyone and no one in particular. He isn’t afraid to answer a cast member question with "I'm sorry, I don’t have an answer for that right now", betraying the fact that yes, indeed he is human like the rest of us. He may even give a line reading or two (gasp!) He is confident enough to try ideas on stage and then cast them aside.

This allows the actors to be comfortable trying new things too. Grace was even spied holding a tea pot top in her mouth while balancing other various props and her script, as she explained- "You said you wanted funny!" Perhaps that's a visual you had to be there for to really appreciate!

Although Kelley may casually joke "Are we getting behind again?" - it is clear that it's the artistic quality of the work, not the clock, that is foremost in his mind. This enthusiasm and searching seems to inspire the cast, so that even during breaks, you can find actors reviewing their notes or lines, or rehearsing blocking! Of course these are people for whom this is their occupation, so it's not too surprising that the work is treated like serious business.

The cast and artistic team of "Red", led by Kelley, are presently creating the moment-to-moment blocking of "Red." What is emerging from this work is more than just empty physical movement around the stage; it's really forward movement of the plot and characters of "Red." Sometimes it's hard to feel that momentum so early in the rehearsal process (early blocking rehearsals can entail a lot of starting and stopping and changes) but, with "Red", there's definitely a sense of calm progress already.

Stay tuned for an interview with Robert Kelley sometime in the next weeks!

Chay Yew's "Red"

2004-06-28T09:58:00.000-07:00

Before we start giving you all those inside peeks, it might be helpful to learn a little bit about the production currently in rehearsal, Chay Yew's "Red."

We've given "Red" the tagline, "An Intimate Epic". "Intimate" because there are characters dealing with the very intimate act of coming to terms with themselves, their cultural and historical identity, and their art. "Epic" because it spans history to take a look at the turbulent days of the Cultural Revolution in China. Yew has done a masterful job of weaving together the story of a modern-day Chinese-American writer and a Beijing Opera diva from long ago.

The show features segments recreated from the world of Beijing Opera, which are visually stunning and probably completely new to most audience members.

Francis Jue returns to TheatreWorks to star in "Red." For long-time TheatreWorks audience members, this is a particular pleasure, as they will remember Francis' memorable turns in such TheatreWorks shows as "Cabaret" and "M. Butterfly". Francis recently closed out a lengthy run on Broadway in "Thoroughly Modern Millie", and we're happy to have him gracing the TheatreWorks stage again.

TheatreWorks continues to produce shows that explore the Asian experience, from "The Joy Luck Club" to "Pacific Overtures" now to "Red."

Welcome to the TheatreWorks Blog

2004-06-27T08:36:00.000-07:00

Welcome Blog-Readers!

For those of you who are part of the blogosphere? You know the drill. We'll be blogging; we look forward to your comments and questions, and we hope you'll add us to your news reader, blog roll or at least bookmark us and visit us often.

To those of you for whom the previous paragraph was a foreign language? This is going to be the place where you can find inside information, tasty tidbits, TheatreWorks interviews and artist profiles and a general behind-the-scenes look at what is going on as we bring each TheatreWorks production to the stage.

You are welcome to add your comments to any entry we post. We welcome hearing from you as you see the shows, for example.

We'll be updating this blog at least 3x per week, so we encourage you to keep coming back, finding out what's new, and getting to know TheatreWorks in an entirely new and different way.

We'll start by giving you the download on the Northern Californian premiere of "Red" by Chay Yew.

Stay Tuned!