AN INTERVIEW WITH RICHARD WHITE OF THE JEKYLL & HYDE NATIONAL TOUR

This is the Moment for a New “Jekyll & Hyde”:

An Interview with J&H’s Sir Danvers Carew as the revised musical kicks off its Broadway-bound tour in San Diego

By Donnie Matsuda

We haven’t heard much of Jekyll & Hyde lately. 

The dark and dramatic musical, based on the acclaimed novella by Robert Louis Stevenson and first introduced as a concept album in 1990 featuring Colm Wilkinson and Linda Eder, started in tour form with a 1995 road show co-produced by the Alley Theatre, 5th Avenue Musical Theatre and Theatre Under The Stars prior to its Broadway debut at the Plymouth Theatre in 1997.  Once on the Great White Way, Jekyll & Hyde played for four thrilling, chilling years (till 2001) and then virtually disappeared from American stages.  It did, however become somewhat of an international sensation with tours in the UK (2004), Brazil (2010), and Manila (2012), and over a dozen recordings from Germany, Spain, Austria, Hungary, Sweden, the Czech Republic, and Japan, among others.

The Cover of the 1997 Original Broadway Cast Recording.

Now, the musical about a London doctor with an evil alternate ego, is back in a new production that promises to be far sexier and even more stunning than previous incarnations.  This exciting new revival, with music by Frank Wildhorn and book & lyrics by two-time Oscar and Emmy winner Leslie Bricusse, is directed and choreographed by Jeff Calhoun and stars Tony Award nominee Constantine Maroulis in the dual title role, as well as Grammy-nominated R&B superstar Deborah Cox as Lucy.  This newly revised Jekyll & Hyde is currently in pre-tour previews at the La Mirada Theatre for the Performing Arts and it will officially embark on a 25-week National Tour starting in San Diego, before returning to Broadway in the Spring of 2013.

And as the tour gets ready for its exhilarating premiere here at San Diego’s Civic Theatre starting October 2nd, I had the chance to chat with the man who plays Sir Danvers Carew, stage actor Richard White, who is perhaps best known as the voice of the villain Gaston in the animated Disney film, Beauty and the Beast.  In the years since his voiceover debut, he’s taken to many, many stages across the country, playing Lancelot in the National Tour of Camelot starring Robert Goulet, Joey in the Broadway production of The Most Happy Fella starring Giorgio Tozzi, and originating the title role of Erik in the world premiere of Arthur Kopit and Maury Yeston’s musical Phantom (his voice can still be heard on the show’s Premier Cast Recording). 

Richard White ... Then

Mr. White’s regional theatre roles include Jefferson and Rutledge in 1776, Fred Graham in Kiss Me Kate, Carl Magnus in A Little Night Music, Curley in Oklahoma!, Billy Bigelow in Carousel, and the Pirate King in Pirates of Penzance.  He has performed in New York City Opera productions of The Desert Song, The Merry Widow, Brigadoon, South Pacific, and The New Moon, and he also sang the role of Gaylord Ravenal in the Houston Grand Opera production of Show Boat.

Mr. White and I talked about a lot of random things, including how he got started in showbiz, his experiences filming Beauty and the Beast, the last show I saw him perform in (some sixteen years ago!), and his involvement in this most recent revival of Jekyll & Hyde.  Read on...

Richard White ... Now.

DONNIE: Where are you from and how did you get started performing on stage?

RICHARD: I was born in Oak Ridge, Tennessee and was raised primarily in Pittsburgh. I have lived longer in New York than anywhere else, though.  My folks met singing for KDKA radio in Pittsburgh.  I just assumed that everyone's family sang all the time.  Community theater and high-school musicals sealed the deal for me.  Study at the Oberlin Conservatory and the Indiana School of Music helped me to know what I was doing.  Then, ultimately, I took the leap to New York and started "casting the net." 

DONNIE: You’re probably tired of people constantly referencing your work as Gaston in the Disney animated film “Beauty and the Beast.”  But I have to ask…how did you get that coveted role and any interesting experiences while “filming” that movie?

RICHARD: On the contrary, I never get tired of Disney references.  I'm quite proud of "B&B".  They held blind auditions where everyone was put on tape and the tapes were sent to Disney.  I was thrilled to get the part.  You knew you were part of a magnificent tradition.  We would record, then they would draw.  Then we would record again.  And again.  Collaborating back and forth.  All this over a period of a couple of years.  I was working on stage most of that time, so wherever I was, they would hire a studio.  The experience is kind of like an actor's sandbox.  You're in a room by yourself and are invited to be as creative as you can be.  Anything you could imagine … they could draw!  When I finally went into the trailer where Gaston's animators were working and they heard my voice, they all poked their heads out to see the person attached to the voice they had been animating for a couple of years.

DONNIE: You’ve done a number of roles at Sacramento Music Circus (I last saw you on stage in “Kismet” about 16 years ago).  Any favorite productions under the green and blue canvas tent?  Anything you miss about performing there during the summertime?  (No doubt you do *not* miss the three digit temperatures with no air conditioning!)

RICHARD: The Music Circus was great fun.  Summer Stock in the round in a tent!  It was a singular venue.  I think it may be the last tent in the country.  That “Kismet” with Michelle Pawk, a “Camelot” with Jimmy Brennan and Judy Blazer, and an “Oklahoma!” with Susan Powell (who has my heart to this day), come happily to mind.  You're right, though, about the heat.  In that “Kismet” I remember wearing satin and fake fur in 105 degree heat and the first rows getting soaked with my sweat. 

Richard White as Lancelot with Judy Blazer as Guenevere in Music Circus' 1994 production of "Camelot."  Photo courtesy of SS&T.

DONNIE: Out of the many roles you’ve played on stage (from Broadway to National Tours to regional productions), which are you proudest of and why?

RICHARD: That's always a very tough question to answer.  I will say that being involved in a new show as it is being written is very satisfying.  I'm quite proud of the work I did on the Yeston/Kopit "Phantom!" for that reason.

DONNIE: Where is “home” for you now?

RICHARD: New York

DONNIE: How did you get involved with this current tour of “Jekyll and Hyde”?  Is this your first association with the musical?

RICHARD: The old fashioned way.  I auditioned in New York.  This is my first association with this (Wildhorn) "Jekyll and Hyde," but I played Dr. Jekyll in the original production of a different musical called “Dr. Jekyll and Mr. Hyde” (music by Phil Hall).  Marc Kudish played Mr. Hyde.

Laird Mackintosh, Constantine Maroulis, and Richard White at opening night of the La Mirada pre-tour preview of "Jekyll & Hyde" on Sept 8, 2012.  Photo by Ryan Miller.

DONNIE: Tell me about this touring production (the third U.S. Tour of the musical which will kick off here in San Diego and end on the Great White Way in 2013) and about the character you play, Sir Danvers Carew.

RICHARD: This production is quite a bit different than any other of this show.  It is more streamlined, it rocks more, and the story is easier to follow.  We've kept all that was wonderful about the earlier productions and the creative staff has really juiced it up.  From my perspective, it is VERY juicy.  We're describing the atmosphere as "steam punk".  It is way cool.  Our director, Jeff Calhoun, is my new hero.  Sir Danvers has been described as the moral compass of the piece.  He's the chairman of the board of governors of the hospital where Dr. Jekyll works and the father of Jekyll's fiancé.

DONNIE: Anything interesting you can tell us about fellow cast members Constantine Maroulis and Deborah Cox?

RICHARD: They're two of the nicest, most accessible colleagues you could hope to work with.  Not to mention that it is impossible to keep oneself out of the wings every time they open their mouths.  It is simply thrilling.  They also ooze sex appeal.  No, really.  I mean it.  This production is VERY hot!

DONNIE: Why should San Diegans come see Jekyll and Hyde?

RICHARD: Be there or be square.  It is a raucous good time.  Cool to see, thrilling to hear!  And did I mention, VERY hot!

Richard White and Teal Wicks at opening night of the La Mirada pre-tour preview of "Jekyll & Hyde" on Sept 8, 2012.  Photo by Ryan Miller.

Thank you, Richard, for taking time to answer my questions!  Break a leg on the tour…

For more information about the "Jekyll & Hyde" San Diego engagement, visit www.broadwaysd.com.

THEATRE REVIEW: "La Cage aux Folles" at Broadway San Diego

“La Cage” is fun, fabulous, and (a little bit) frazzled:

Broadway veteran Christopher Sieber steals the show as the dazzling crown jewel of Broadway SD’s toned-down touring production

By Donnie Matsuda

Bedazzled in sparkly jewels, a gorgeous gown, and heels as high as Heaven, a fierce and fabulous club chanteuse Zaza tells us about the concept behind the bawdy San Tropez nightclub of the musical’s title.

“Here at ‘La Cage aux Folles,’” the drag queen formerly known as Albin bemusedly quips, “we live life…oh, how shall I put it...on an angle.” 

The Cagelles in "La Cage aux Folles."  Photo by Paul Kolnik.

That’s not just a fitting description of the nightclub itself (whose riff-raff patrons and cross-dressing chorus were perhaps more shocking in the 1970’s than today), but it is also a pretty good way to describe the most recent touring production of the tuneful and timeless musical, currently ruffling San Diego’s feathers through August 12 at the SD Civic Theatre.

The production – which features a dazzling star turn by Christopher Sieber as Zaza/Albin and a not-so-dazzling star turn by George Hamilton as Georges – definitely takes to heart the musical’s main message: that we should be proud of who we are and that we should not be ashamed of our faults and imperfections, no matter how blatantly obvious they are.  In many ways, this national tour dares to be different and makes no apologies for living a stage life that’s a little askew, a lot off-kilter, and totally “on an angle”.  From a scaled down chorus of Cagelles who work hard to stand out by putting their own personal spin on Lynne Page’s high kicking choreography (which itself is edgier, more macabre, and more masculine than previous revivals) to the technical elements of Tim Shortall’s hodge-podge set and Nick Richings less-than-glamorous lighting, to the toned down nature of Terry Johnson’s more intimate directorial vision, this is definitely a version of “La Cage” in which different is deemed better.

Christopher Sieber as Zaza and George Hamilton as Georges.  Photo by Paul Kolnik.

The success and staying power of “La Cage” is evident in its impressive history on the Great White Way. The original 1983 Broadway production ran for four years and won six Tony Awards, including Best Musical, Best Score, and Best Book.  And the glitz and glamour continued to sparkle in a West End production in 1986.  But, what is most intriguing (and impressive) about “La Cage” is its popularity and accolades on the revival circuit.  The 2004 Broadway revival won the Tony Award for Best Revival, the 2008 London revival garnered the Laurence Olivier Award for Best Musical Revival, and the most recent 2010 Broadway revival (on which this current national tour is based) was nominated for eleven Tony Awards and won the Tony Award for Best Revival of a Musical.    

Overall, this newest touring production succeeds in keeping Harvey Fierstein’s masterful book and Jerry Herman’s sublime score bouncing along for nearly three hours without too many rough patches.  Most of the credit is due to Sieber’s tour-de-force performance (one of the best Zaza’s this reviewer has ever seen) in which he mines every gesture, maintains every expression, and delves deeply into every emotion of his multi-faceted character.  Not only does he nail the many comedic and heartfelt nuances of the role, but he also boasts some incredibly powerful, pitch-perfect pipes that simply soar in his amazing anthem “I Am What I Am” and delight in his rousing and inspiring “The Best of Times (Is Now),” the latter being the best number in the entire show.  It is perhaps unfair to pair Sieber’s monumental talent with that of Hamilton, a film and television actor who has little to no credits in the realm of musical theatre.  But, despite his talky-singing with little to no sustained notes and his attempts to dance on an injured ankle, the 73-year old Hamilton does pull out the stops in the charm department and manages to delight his audience with his dashing good looks and slick showmanship.

Christopher Sieber as Zaza.  Photo by Paul Kolnik.

The rest of the cast is solid and each turns in some genuinely fetching performances.  Most interesting is Jeigh Madjus as the small but mighty butler…er, “maid,” Jacob.  While he is rather unconventional for the role in both looks and attitude, he still manages to extract plenty of laughs from his fierce and fabulous one-liners.  As Jean-Michel, Michael Lowney boasts a lovely tenor and is nicely paired with a delightful Allison Blair McDowell as a sweet-voiced Anne.  Gay Marshall adds plenty of zest and “joie de vivre” to the role of restaurant owner Jacqueline, while Bernard Burak Sheredy as M. Renaud/M. Dindon and Cathy Newman as Mme. Renaud/Mme. Dindon provide plenty of comedy in their foppish roles.  And let’s not forget the terrific ensemble cast of Cagelles: Matt Anctil as Angelique, Logan Keslar as Bitelle, Donald C. Shorter, Jr. as Chantal, Mark Roland as Hanna, Terry Lavell as Mercedes, and Trevor Downey as Phaedra.  They deserve special mention here for their eye-popping high kicks, jump splits, and acrobatic flips (all executed in heels, no less!).     

So, even with this smaller, more eclectic staging, “La Cage” still manages to pack quite a musical punch…even “on an angle.”  It is a show with a lot of heart and soul and it is truly wonderful to see it is still kicking up its bedazzled heels and flaunting its feather boas for generations to come.

George Hamilton and Christopher Sieber (center) with the company of "La Cage aux Folles."  Photo by Paul Kolnik.

Things to know before you go: La Cage aux Folles presented by Broadway San Diego plays at The San Diego Civic Theatre at 3rd and B Street through August 12, 2012.  Running time is 3 hours with a 20 minute intermission.  Ticket prices vary.  For more information and to purchase tickets, visit TicketMaster.com, call (888) 937-8995, or visit www.BroadwaySD.com.

AN INTERVIEW WITH WILL MANN AS "MEMPHIS" RETURNS TO ITS ROOTS IN SAN DIEGO

 

“MEMPHIS” Mann:

As janitor turned singing sensation Bobby Dupree, Will Mann gets the airwaves buzzing in the first national tour of that roof-raising, revolution-starting, rock ‘n’ roll musical MEMPHIS

By Donnie Matsuda

Will Mann

This week, the touring cast of MEMPHIS will rock the souls and touch the hearts of thousands of San Diegans, as the electrifying tale of a white DJ falling in love with a thrilling black singer amid the backdrop of the segregated 50’s returns to the city where it (almost) all began.  MEMPHIS had a workshop staging at the La Jolla Playhouse back in 2008 and went on to Broadway in 2009 (directed by La Jolla Playhouse Artistic Director Christopher Ashley), where it won the 2010 Tony Award for Best Musical.  It is still playing on the Great White Way, with plans to close on August 5th.  Meanwhile, the first national tour has already begun and it kicked off its run in October 2011 at the Orpheum Theatre in (where else?) Memphis, TN.  Now, the tour finally makes its way back to San Diego and is being presented for a limited six-day engagement at the San Diego Civic Theatre, courtesy of Broadway San Diego.    

Featured in the touring cast is Will Mann, who reprises his Broadway role of humble janitor Bobby, who sings in the washroom until he is given his big break on Huey Calhoun’s rock ‘n’ roll variety show.  Mann is no stranger to the stage as he obtained his Bachelor of Music from Oklahoma City University (studying under Florence Birdwell) and has tackled a variety of roles on the regional circuit, such as Coalhouse in RAGTIME, Jesus in GODSPELL, and Richie in A CHORUS LINE.  Mann is also no stranger to the touring circuit, having completed first national tours of both BILLY ELLIOT (Mr. Braithwaithe & Big Davey) and WONDERFUL TOWN (Valenti).  Recently, he took a break from his rigorous touring schedule to answer my questions about how he got involved in musical theatre, how he connects to the character of Bobby, and what message he hopes audiences take away from the powerfully poignant musical, MEMPHIS.

Felicia Boswell (Felicia), Rhett George (Gator), Bryan Fenkart (Huey), Will Mann (Bobby) in the national tour of MEMPHIS.  Photo by Paul Kolnik.

DONNIE: Where did you grow up?

WILL: I grew up in Southern California, born in LA County, but was raised in Ontario, California.  During the middle of high school, my family moved to Dallas, Texas where they still reside.

DONNIE: How did you get involved in musical theatre?  Any special mentor or role models you admired?

WILL: When transferring to Duncanville High School in Texas, I was required to take an art credit and took choir because of my background in church.  My choir teacher (Maria Green) required everyone audition for the school musical.  My senior year, I played Judd Fry in OKLAHOMA! and became hooked on the stage. 

DONNIE: How did you get involved with MEMPHIS?  Were you part of the workshop cast when it was developed here at La Jolla Playhouse?

WILL: No, but I was in the final callbacks for it.  I auditioned for MEMPHIS for about 2.5 years before I actually booked it.

Julie Johnson (Mama), Rhett George (Gator), Will Mann (Bobby) & Quentin Earl Darrington (Delray) in the national tour of MEMPHIS.  Photo by Paul Kolnik.

DONNIE: How would you describe the character you play, Bobby?  Are there specific aspects of his character that you relate to?

WILL: Bobby is the mediator.  He naturally puts himself in the middle to stop conflict.  I'd say his joy is what is most infectious about his character.  He never misses an opportunity to laugh his heart out, and I think that is what I admire most and relate to the most about him.

DONNIE: Since there’s no movie or book on which MEMPHIS is based, how did you prepare for the show (historical research of the time and place, personal interviews, documentaries)?  And how was it working with director Christopher Ashley to bring this story to stage life?

WILL: My parents lived this time in the South, and I feel like growing up I learned so much from them, not only about the racial tension in the country but how music shaped a generation.  I mimicked how they talked and how they danced from a very small age.  I'm known to a lot of my friends as “the old man,” so I had a lot to draw on as far as portraying someone from that time.  Christopher Ashley is a very smart man.  I'm grateful to him because he let us be ourselves.  We brought our own energy to all of these characters and what you see on stage is the combination of our work and not a replica of what someone did before us.  It is rare that directors let this happen with a vehicle that has already proven so successful.

Felicia Boswell in between her handsome co-stars Quentin Earl Darrington, Rhett George, Bryan Fenkart, and Will Mann at the opening of the MEMPHIS national tour in Memphis on October 16, 2011.  Photo by Bruce Glikas.

DONNIE: I understand this is not your first national tour.  How does this tour compare/contrast to the last time you toured the country with the company of BILLY ELLIOT?

WILL: Well, it is very different.  The 1st national tour of BILLY ELLIOT sat down in Chicago for 11 months.  I literally lived in Chicago for almost a year and most of the cities on its contract were only 1 week long.  I was not at all prepared for the travel schedule.   My featured parts in the shows are a little more similar.  I'm the big guy with surprise talents.  Only, in BILLY ELLIOT, it wasn't just dancing - I had to jump rope, tap dance, and play the accordion on top of all the crazy dancing singing and hilarity.

DONNIE: And how does doing the tour version of MEMPHIS compare to doing the Broadway production of the same show?

WILL: I think for me the biggest difference is the comradery.  I walked into the Broadway company after they'd already been running for a year and a half and they'd already built their relationships and had homes to go to after work, with real lives.  Don't get me wrong - I was welcomed whole heartedly and they were some of the loveliest people in the world.  But, with this [tour] group, we started together and learned and grew as a unit.  Not to mention when on the road, you not only work together but you live together, too.  You don't have your spouse or your best friends here to run away with, so you become really close with your coworkers.  Family bonds begin to form.

Will Mann at the opening of the MEMPHIS national tour.  Photo by Haik Katsikian.

DONNIE: There’s a lot to take away from this powerful and moving musical.  What message do you hope audiences take away from their time in MEMPHIS?

WILL: I hope people realize that what we see as common place today, the things we assume should have always been accepted, weren't so, and not that long ago.  I hope it allows us to reflect on the things that we find unacceptable today on a national or state wide scale.  I want people to be entertained, but there is also a strong argument for equality here and it still applies today, just with different players.

Things to know before you go: MEMPHIS presented by Broadway San Diego plays at The San Diego Civic Theatre at 3rd and B Street from July 24-29, 2012.  Ticket prices vary.  For more information and to purchase tickets, visit TicketMaster.com, call (888) 937-8995, or visit www.BroadwaySD.com.

THEATRE REVIEW: FIVE REASONS TO LOVE "THE ADDAMS FAMILY" AT BROADWAY SD

All in the “Family”:

Broadway San Diego brings out the best in their creepy and kooky musical revival

By Donnie Matsuda

There’s a lot to like about the current national tour of The Addams Family, which spooks its way through San Diego for a week long run, through June 3.  Here, let me count the ways (and the reasons) why this musical will steal your heart … and maybe your soul, as well:

Patrick D. Kennedy (Pugsley), Pippa Pearthree (Grandma), Sara Gettelfinger (Morticia), Douglas Sills (Gomez), Tom Corbeil (Lurch), Cortney Wolfson (Wednesday) and Blake Hammond (Uncle Fester) in THE ADDAMS FAMILY.  Photo by Jeremy Daniel.

First, is the darkly delicious and morbidly tongue-in-cheek humor of America’s most eccentric family, based on the sleek and sinister one-panel cartoons created by Charles Addams.  Here, the family’s gloomy outlook on life and their deathly demeanor are brilliantly brought to life by Marshall Brickman and Rick Elice’s slick book which is filled to the brim with clever concepts, kooky characters, laugh-out-loud one-liners, and silly side plots that all pay homage to the masterfully macabre family of its title.  Their main plotline here concerns daughter Wednesday as she falls in love with a (gasp!) “normal” boy named Lucas.  This wouldn’t be so bad, except that Lucas’ parents are on their way to the Addams mansion to “meet the family” and they have no idea what they are in for.  Of course, there are further complications with said family as we find out that dad Gomez has been keeping a secret from his wife Morticia, Pugsley is scheming to sabotage Wednesday’s relationship, and Grandma is high on life (and a few “potions” of her own).  It’s all a recipe for disaster, but thankfully for us, things work out perfectly fine in the end - this *is* a musical, after all - and we are treated to some crazy conflict and some hilarious high jinks along the way. 

Second, is Andrew Lippa’s sharply tuneful score, which runs the gamut from a zesty tango-inspired “When You’re An Addams” to a soaring up-tempo in “Pulled” to a full Broadway-style song-and-dance extravaganza in “(Death is) Just Around the Corner” to a pop/rock inspired “Crazier Than You.”  Lippa has a great ear for catchy melodies and he peppers his eclectic score with a number of meticulous metaphors and highly effective wordplay.  Best of all, he ensures that each one of his eighteen originally composed songs has a reason for being sung and is appropriately linked with the style and flair of the character who sings it.  

Cortney Wolfson (Wednesday) and Patrick D. Kennedy (Pugsley) in THE ADDAMS FAMILY.  Photo by Jeremy Daniel.

Third, this touring company cast is filled with Broadway veterans who show off their acting (and singing) chops with the most delectably devilish of delights.  Tony nominee Douglas Sills is appropriately suave and skillful as Spanish patriarch Gomez and Sara Gettelfinger is every bit his equal as the deliciously droll and deadpan Morticia.  Together, they are a perfect pair with just the right amount of sexiness, silliness, and savvy.  As Wednesday, Courtney Wolfson supplies some powerhouse pipes and a compelling stage presence that brings life to her deathly Goth-inspired get-up.  San Diego native Brian Justin Crum is easy on the eyes and ears as Wednesday’s love interest Lucas while another San Diegan, Tom Corbeil, brings hilarity (and a lot of height) to the role of towering butler Lurch.  And rounding out the uniformly first-rate cast are Blake Hammond as Uncle Fester, Pippa Pearthree as Grandma, Patrick D. Kennedy as Pugsley, Martin Vidnovic as Mal Beineke and Gaelen Gilliland as Alice Beineke.   They are all backed up by an incredibly talented song and dance ensemble of ghost-like creatures collectively termed “The Ancestors,” who are old Addams family members who have come back from the dead.

Fourth, the technical elements and inventive stagecraft add a great deal of quirkiness to the piece and each and every slick trick goes off without a hitch.  From a bed that transforms into a monster to a gold tassel that surprisingly comes to life (and indulges in some romantic antics with Cousin It) to a stratosphere-stretching pas-de-deux between Uncle Fester and the moon, there is definitely no shortage of wacky and wildly fantastic imagination here.  Add to that some ghoulishly grand sets by Julian Crouch and Phelim McDermott, some out of this world lighting by Natasha Katz, and some lurking puppets by Basil Twist, and you’ve got one heck of a show that will knock the socks off even the most lifeless of corpses.

Sara Gettelfinger (Morticia) and Company in THE ADDAMS FAMILY.  Photo by Jeremy Daniel.

Fifth and finally, the direction by the trio of Phelim McDermott, Julian Crouch, and Jerry Zaks really pops on the large stage (aided greatly by a sleek red velvet show curtain that sweeps back and forth, scallops up and down, and conceals set changes).  And adding to the slick staging, Sergio Trujillo provides some delightfully inventive choreography that fits the nature of the piece but still has a whole lot of exuberant fun with some unexpected dance styles, including a couples tango, a “death rattle,” and even a good old fashioned Broadway kick line.

So there you have it.  Five rock-solid reasons why The Addams Family is a musical that will continue to delight and devour audiences for years to come.  Better catch it while you can … because as Morticia warns us, death is just around the co-ro-ner!

The Company of THE ADDAMS FAMILY.  Photo by Jeremy Daniel.

Things to know before you go: The Addams Family presented by Broadway San Diego plays at The San Diego Civic Theatre at 3rd and B Street through June 3, 2012.  Running time is 2 hours and 25 minutes with a 15 minute intermission.  Ticket prices vary.  For more information and to purchase tickets, visit TicketMaster.com, call (888) 937-8995, or visit www.BroadwaySD.com.

AN INTERVIEW WITH TOM CORBEIL AS "THE ADDAMS FAMILY" MAKES ITS WAY TO SAN DIEGO

Leap of Fate:

Professional opera singer (and native San Diegan) Tom Corbeil makes the move from arias to “Addams Family”

By Donnie Matsuda

Tom Corbeil.

Tom Corbeil is not afraid to take on new ventures. 

For the past eight months, the 34-year old opera singer – who has tackled such roles as Leporello in “Don Giovanni,” Colline in “La Boheme,” and Don Basilio in “The Barber of Seville” – has been touring the country as Lurch, the larger-than-life butler in the first national tour of The Addams Family.  It’s a bit of a stretch (pun intended) for him to be stepping into such big shoes and the physical demands of the role required him to extend his 6’6’’ frame to a towering 6’11’’ with the aid of lifts in his shoes.  On top of that, he doesn’t get to showcase his powerful pipes, but instead has learned to communicate by mostly grunting, grumbling, and hitting one single note – a low E-flat – that resonates well with his shambling but mostly silent character. 

Corbeil doesn’t so much mind because he’s always up for giving his booming bass-baritone a rest and this tour (which creeps into the San Diego Civic Theatre starting this Tuesday for a week long run through June 3rd) is a great way for him to break into the world of Broadway musicals – one giant step at a time.  Here, he’s surrounded by a bizarre and beloved cast of musical talents and Corbeil (a newly-born Broadway baby himself) says he’s learned a lot just by watching them work their macabre magic each night on stage. His ghoulishly gloomy co-stars include: Douglas Sills (The Scarlet Pimpernel) as Gomez, Sara Gettelfinger (Dirty Rotten Scoundrels, Nine, Seussical the Musical) as Morticia, Cortney Wolfson (Les Misérables, The Addams Family on B’way) as Wednesday, Blake Hammond (Sister Act, Billy Elliot, Hairspray, The Lion King) as Uncle Fester, and Pippa Pearthree (Boeing Boeing, Titanic) as Grandma.

Tom Corbeil in 2012.  Photo by Jörg Meyer.

Before going Gothic, Corbeil - who has an undergraduate degree in statistics from the University of California at Davis and a master's degree in Old Testament studies at Regent College in Vancouver - worked for the U.S. Navy as a data analyst in San Diego and joined the chorus at San Diego Opera, which started him on his modern-day musical journey.  He soon quit his day job, and within the next few seasons, Corbeil practiced his craft as a young artist at Opera North, Palm Beach Opera, Florida Grand Opera and Santa Fe Opera (among others), spent a summer in the Merola Opera Center at San Francisco Opera, and made his New York debut with Gotham Chamber Opera singing the role of Enrico in Haydn’s “L’isola disabitata.”   

Now, he’s taking a break from the world of opera and indulging his inner-Addams.  (Although his is scheduled to return to the Canadian Opera Company for “La boheme” and the Florida Grand Opera for “La sonnambula” and will make debuts with Alabama Symphony in Handel’s “Messiah” and Michigan Opera Theater in Rossini’s “Il barbiere di Siviglia” in future seasons.)  For now, amid a crazy whirlwind tour schedule, Corbeil had time to escape his butler duties and answer some questions about how he constructed the character of Lurch, his take on The Addams Family score, and what he’s most looking forward to as he returns to his hometown of San Diego.

DONNIE: Where did you grow up in San Diego?  Did you know at an early age that you were blessed with a professional-grade bass-baritone?

TOM: I grew up just north of downtown San Diego, near the Mission Hills neighborhood. I sang quite a bit as a kid, in church and in school, but I didn’t ever think I’d end up using my voice to pay the bills!

DONNIE: How did you get involved with the first national tour of “The Addams Family”?  It seems like quite a change (and a huge leap) from your career as an accomplished opera singer.

TOM: It’s a funny story actually – the role of Lurch came up in several disparate casual conversations with friends (and a few strangers) in San Diego, Miami, Toronto and New York – all at completely different times. After about the fourth or fifth occurrence, I thought maybe it was time to look into it and see if I might be able to get an audition.

Tom Corbeil transforms from handsome hunk to lanky Lurch.  Photo by Lori Kane for timesunion.com.

DONNIE: Tell me more about the character you play, Lurch.  How did you prepare to tackle this role of the family’s towering, hulking butler?  

TOM: Lurch is a tricky character to pin down – it can be very easy just to try to imitate performers who have played him in the past, whether that’s in the TV show, the movies or the Broadway production of the musical. In the rehearsal process, we went back to the original Addams cartoons from the New Yorker and looked at Lurch’s posture and demeanor to provide a foundation from which to build the rest of his character. It was definitely a great challenge, but the result is something that is much more personal for me while still adhering to traditional expectations about this iconic character.

DONNIE: How well does the concept of the Addams Family translate from TV screen to the stage?  Is the musical version as creepy and kooky as we would expect?

TOM: Honestly, I think we exceed what most audience members expect when they enter the theater. The artistic team that put this show together did a phenomenal job of creating the Addams Family ambiance (if you will), and the finished product is just as hilarious as it is heart-warming.

DONNIE: How would you describe the Andrew Lippa composed score?  I’m assuming it’s a far cry from the astounding arias or beautiful ballads you are used to singing.

TOM: The score is really beautifully done, actually – with pop-driven melodies for the younger characters, tango-inspired harmonies and rhythms for Gomez, a great classic Broadway number for Morticia, and lots of really gorgeous, lyrical lines throughout.

Pippa Pearthree (Grandma), Tom Corbeil (Lurch), Douglas Sills (Gomez), Cortney Wolfson (Wednesday), Sara Gettelfinger (Morticia), Blake Hammond (Uncle Fester) and Patrick D. Kennedy (Pugsley) in "The Addams Family" national tour.  Photo by Jeremy Daniel.

DONNIE: How has the show been received by audiences across America?  Any surprises?  Any funny stories?

TOM: We’ve all been really happy with the response we’ve been getting – there’s nothing like watching an audience of thousands rise to their feet after the final notes have been played. And of course there are some great moments that we laugh about backstage – I’ve been accidentally punched in the face a few times!

DONNIE: What are you most looking forward to as the show tours through your hometown of San Diego?

TOM: It’s always great to be home. I’m mostly looking forward to seeing my family and friends. And the sunshine isn’t going to be taken for granted, I promise you that!

DONNIE: Any more aspirations for breaking out of your comfort zone once the tour is over?  Ballroom dancing or Cirque-inspired acrobatics, perhaps? 

TOM: Well, I started my singing career after working as a data analyst in Point Loma for three years. So, who knows? Maybe I’ll move on to something completely different in a few years.

For more information about The Addams Family at Broadway San Diego, visit: http://www.broadwaysd.com/theaddamsfamily.php

For more information about The Addams Family tour, visit: http://www.theaddamsfamilymusicaltour.com/

THEATRE REVIEW: "ROCK OF AGES" at Broadway San Diego

"Rock of Ages" Can't Stop the Best

Broadway SD will rock your socks off with a pulse-pounding, electrifying homage to the 80’s

By Donnie Matsuda

By modern day musical standards, Rock of Ages doesn’t do anything right.

The tribute to the 80’s musical boasts a paper-thin plot, features one-dimensional low-brow characters who are much more rockstar casual than musical theatre refined, and tops it all off with a score that evokes nostalgia with its recognizable radio tunes that do little to further its plot. But in spite of itself, the jagged pieces of the Rock of Ages puzzle somehow come together brilliantly to create a hilarious and highly entertaining jukebox musical that raises the rafters with its soaring guitar licks, heart-pounding drumming, and layers upon layers of blazing, ball-busting pop infused rock. So, if you're a big fan of vintage rock and don’t want to miss this totally rad musical trip down memory lane, get yourself down to the San Diego Civic Theatre, where the Rock of Ages national tour is currently rocking the house for a short time, now until April 1st.

Dominique Scott as Drew. Photo by Scott Suchman.

The barely-there book by Chris D’Arienzo and the spine-tingling score (which borrows some of the greatest songs of the 80’s by iconic rockers Journey, Styx, REO Speedwagon, Foreigner, Pat Benatar, and Whitesnake) should totally work against the success of the show. However, it is because of these elements that Rock of Ages works so well as its brazenly self-aware characters and hokey script are more than endearing enough to fuel the tuneful, sing-along-with-your-favorite-hits score. And at the end of the day, that’s really why we’re all there: to soak in the rock concert vibe, raise our hands in the air, and bounce to the beat of one chart-topping tune after the next.

And who doesn’t love a predictable 80’s romance? This one is between big-city dreamer and wannabe rockstar Drew Boley and small-town girl turned aspiring actress Sherrie Christian (and yes, both Steve Perry’s “Oh Sherrie” and Night Ranger’s “Sister Christian” feature prominently in the show’s playlist of iconic 80’s hits). These two bright-eyed youngsters fortuitously meet in L.A.’s most legendary rock club, The Bourbon Room, and suddenly, they want to know what love is. Sure, there are some minor complications thrown in for good measure (and to provide more excuses to insert more hit songs), but do we really think that a sleazy fling with Arsenal superstar Stacee Jaxx or the threat of gentrification by a German father-and-son development team will halt this made-up-for-the-musical romance? Don’t stop believing, people.

Dominique Scott as Drew (center) surrounded by the tour company of "Rock of Ages." Photo by Scott Suchman.

As rocker Drew, Dominique Scott brings a fresh face and some powerful pipes to the “innocent boy makes good” role. He is blessed with a soaring tenor that cuts through both his beautiful ballads and his angst-ridden anthems with an equal amount of fire and ice. Not only does he dazzle with his vocal pyrotechnics (which include some impressive solo riffs and soaring sustained notes), but he also adds some much needed-nuance to an otherwise bland and boring character. As his love interest Sherrie, Shannon Mullen delights with a perfect rocker-chic look and makes her transition from bright eyed ingénue to sassy stripper to wholesome leading lady as convincing as she possibly can. She’s also got one heck of a voice that imbues her bluesy ballads with a vibrant tone, and she fearlessly goes full force in her powerhouse duets with Drew, matching her man in both power and pizzazz.

In supporting roles, Justin Colombo is a hoot as the all-knowing show narrator Lonnie (he reads a book titled “Musicals for Dummies” and schools us on the appropriate use of “jazz hands”) while Matt Ban puts his droll deadpan to good use as club owner Dennis. When these two men can’t fight their feelings anymore and indulge in a full-fledged on-stage bromance over a fog machine, the show’s silly shenanigans reach an all-time high (or is it low?). And not to be upstaged in the camp department, Stephen Michael Kane really hams it up as the hair-tossing, lithe leaping, not-gay-but-just-German Franz, while Katie Postotnik nails the role of hippie protestor Regina (pronounced Reg-eye-na).

Shannon Mullen as Sherrie. Photo by Scott Suchman.

Director Adam John Hunter (who adapts Kristin Hanggi’s original direction for this tour) doesn’t miss a beat in his brisk staging and he keeps the energy high and the volume turned up so that his high-octane show has plenty of juice for its action-packed two and a half hours. And choreographer Marcos Santana (who recreates Kelly Devine’s original work here) amps up the energy with some incredibly erotic moves delivered with pulse-pounding panache by a talented ensemble of strippers, rockers, and free-spirited protestors.

In the design department, wig master Tom Watson keeps the hair as high as the sky while costumer Gregory Gale keeps everyone looking, like, totally 80’s in their outrageously colorful and outlandishly retro fashion fads. And set designer Beowulf Boritt captures the grungy look of The Bourbon Room and the surrounding streets of the Sunset Strip with his serviceable single set design that is greatly aided by some splashy projections created by Zak Borovay. Last but not least, lighting designer Jason Lyons blasts the stage with an impressive lighting grid filled with bold, eye blinding colors and special effects that enhance the show’s rock concert vibe, while sound designer Craig Cassidy tries to keep the dialogue heard above the roar of the show’s rock band (which doesn’t always happen).

The Company of "Rock of Ages." Photo by Scott Suchman.

But all these technical elements take a back seat to what truly powers this exhilarating musical revival: the over two–dozen legendary rock hits from the 80’s that are as timeless as they are tuneful. Here, these 31 songs are given truncated versions, but music director Darren Ledbetter and his totally radical five piece band (with mad props to guitar soloist Chris Cicchino) render the well-orchestrated and explosive score with all the power and passion it demands.

So, even if you’re only a moderate fan of 80’s rock or if (like me) you are too young to remember what the era was all about, you’re still guaranteed to have a rocking good time. That’s probably because Rock of Ages is a musical that knows exactly what it is and is so sure of itself, it unabashedly takes all the bad elements of a modern musical and does a bang up job of turning them into one highly entertaining night of theatre. The final product is, in the words of legendary rocker Poison, “Nothin’ But A Good Time.”

Things to know before you go: Rock of Ages presented by Broadway San Diego plays at The San Diego Civic Theatre at 3rd and B Street through April 1, 2012. Running time is 2 hours and 35 minutes with a 15 minute intermission. Ticket prices vary. For more information and to purchase tickets, visit TicketMaster.com, call (888) 937-8995, or visit www.BroadwaySD.com.