AN INTERVIEW WITH DAVID ELLENSTEIN AS MOONLIGHT STAGE TAKES TO THE FIDDLE

A Tevye for Our Times:

David Ellenstein steps out of his artistic director shoes and into the work boots of America’s most iconic milkman

By Donnie Matsuda

It is perhaps no surprise that the masterful musical FIDDLER ON THE ROOF has stood the test of time.  The beloved and poignant tale of a poor Jewish milkman named Tevye who fights to maintain his family intact and his Jewish religious traditions unscathed as the winds of change swirl about him is perhaps as relevant as ever in our current times.  But what is surprising is that actor, director, and artistic director of North Coast REP, David Ellenstein, has never tackled the role of the famed “Dairyman” – a role which he seems born to play.  Now, he gets that chance, as he carries on the tradition of Tevye (a role his father has played several times) and as he makes his debut on the Moonlight stage in the company’s second show of its 32nd Summer Season.

David Ellenstein as Tevye in Moonlight Stage Production's "Fiddler on the Roof."  Photo courtesy of Ken Jacques.

DONNIE:  I was surprised to see that you have not done FIDDLER (either as an actor or director) before.  Will this be your first time doing this show?  And will this be your first time working on the Moonlight stage?

DAVID:  My first FIDDLER and my first time at Moonlight.  I have known the show since childhood.  My Dad appeared in it several times and I have seen a number of productions.  I am excited to take on "the Dairyman" and to be debuting at Moonlight. 

DONNIE:  How does it feel being back on the “performing” side of things?  Is it hard to step out of your directing shoes and be back on stage?

DAVID:  I have been getting back on stage about once a year (MY NAME IS ASHER LEV and TALLEY'S FOLLY most recently at North Coast Rep.)

It is very good for me as a theatre artist to go through the actor’s process.  It makes me a better director, a better theatre person, and a more compassionate theatre employer.  When one takes on a large role like this you must trust your director and not try to impose on that side.  Acting requires a full commitment of being and there really isn't room for the "visionary" or the “critic” if you are fully inhabiting a role.

David Ellenstein as Tevye.  Photo courtesy of Ken Jacques.

DONNIE:  What aspect of Tevye’s character do you most identify with?  

DAVID:  His big heart.  His inability to be unjust or unkind to fellow human beings.  His ability to laugh at himself and question everything.  His innate knowledge that nothing is black and white, but that we live in a world that is ever changing and ever surprising.  His ability to overcome unpleasantness and forge on.

DONNIE:  In what way are you completely unlike the character you play?

DAVID:  He is a manual laborer and works extremely hard with his hands. I am an artist and run a theatre - the physical nature of our two selves is very different.  I grew up in an upper middle class home, whereas Tevye comes from poverty.

DONNIE:  What artistic challenges do you face stepping into such an iconic role?

DAVID:  Being true to the character and the situation.  Fulfilling what an audience expects and desires from the role, but still being unique and personal in how it is delivered.  Being satisfying and surprising at the same time for both the audience and myself.  Knowing that the enduring impact of the character is in its truth and trusting that.

DONNIE:  In your opinion, what is relevant about FIDDLER today?

DAVID:  Our world is ever in flux and change.  What is true today in absolute terms may not be tomorrow.  Our ability to adapt, accept, and move on with shifting perspective and acceptance - and still have room to dream and find joy in those we love and the world we live in.  FIDDLER is filled with this universal truth which is why it is a timeless show.  Not to mention how well written and structured it is.  Great songs help, too.

Kathy Brombacher first directed "Fiddler" as a student at the University of Redlands early in her career and now it will be the last show she directs as Artistic Director of Moonlight Stage Productions, a Vista-based company which she founded 32 years ago.  Photo courtesy of North County Times.

DONNIE:  How would you describe Kathy Brombacher’s artistic vision for the show?

DAVID:  Kathy wants to be true to the script, true to the historical context, and true to the needs of her audience.  She understands her space so well, and what needs to be done to communicate this show properly in its confines.  Her approach comes from a place of knowledge of the material and a breadth of experience, but is allowing of input and ideas from her artists.  I am delighted to be working with Kathy at the helm.

DONNIE:  What are you most looking forward to about Moonlight's production of FIDDLER?

DAVID:  The joy of doing it.  Inhabiting and sharing Tevye with the audience.  Bringing a bit of my Dad onstage with me each night and knowing that my sons are taking it all in.  Tradition!

Things to know before you go: Fiddler on the Roof opens at Moonlight Stage Production’s Amphitheatre on July 25 and runs through August 11, 2012.  Performances are Wednesdays, Thursdays, Fridays, Saturdays, and Sundays at 8pm.  Gates open for picnicking and dining at 6:30pm.  Tickets are $15-$50.  For more information or to purchase tickets, call (760) 724-2110 or visit www.moonlightstage.com.

LA JOLLA PLAYHOUSE'S "PAGE TO STAGE" MUSICAL SPARKS CONTROVERSY AND DEBATE

For Immediate Release

Contact: Seema Sueko 858-761-3871
Lee Ann Kim 858-922-8383

CASTING CONTROVERSY HEATS UP AT LA JOLLA PLAYHOUSE, CRITICS ARE CALLING FOR PUBLIC APOLOGY

(July 20, 2012 San Diego, CA) -- Hundreds of community leaders, artists, and arts supporters are expected to attend a public panel on Sunday, July 22 at 3:45PM at the La Jolla Playhouse in response to the controversial casting of The Nightingale, a musical adaptation of a Hans Christian Anderson story set in feudal China. The majority of the cast is non-Asian.

The creative team behind La Jolla Playhouse’s Page To Stage production of THE NIGHTINGALE, running July 10 - August 5 in the Sheila and Hughes Potiker Theatre (L-R): Duncan Sheik (Composer), Moisés Kaufman (Director) and Steven Sater (Author and Lyricist); photo by Dana Holliday.

The casting decision, explained by the show’s director Moises Kaufman as intentional and “multi-cultural,” has drawn sharp criticism.  “This is a professional theater with a budget and access to any and every Asian American Actor in the country,” wrote Erin Quill, whose blog sparked national attention to the
issue. “There are no Chinese people in a show set in China.”

Sunday’s public panel follows a private meeting between local arts leaders and the creative team of the La Jolla Playhouse earlier this week, during which an apology from the Playhouse was requested.  Leaders of the Asian American Performers Action Coalition (AAPAC), who will be in attendance at the Sunday panel, say, “The idea that a play that takes place in feudal China can be cast with only 2 Asian American actors out of a company of 12, with the lead role of the Chinese emperor played by a white actor, is in step with a long history of appropriation and misrepresentation of Asian people that has consistently denied Asian artists a voice in shaping how they are represented.”

According to the AAPAC, 1.5% of all new roles were given to Asian American actors in the last five seasons on Broadway.

Kimiko Glenn (center) with Steve Gunderson and Matthew Patrick Davis in La Jolla Playhouse’s Page To Stage workshop production of THE NIGHTINGALE; photo by Craig Schwartz.

THEATRE REVIEW: "Dames at Sea" at North Coast REP

“Dames” Works Hard to Entertain:

North Coast REP pulls out all the stops in its tap-happy spoof of large and lavish movie musicals of the 1930’s

By Donnie Matsuda
 

Late in the second act of Dames at Sea, a young and impressionable chorus girl named Peggy Sawyer (I mean “Ruby”) must take the place of the show-within-a-show’s leading lady, Dorothy Brock (here named “Mona Kent”) after she falls and breaks her ankle (or rather, back).  As Ruby is forced to learn all of the show’s scenes, songs and choreography in a matter of hours, she’s told, “You’re going out on the poop deck a chorus girl, but you’ve got to come back a star!” 

(L to R): Jeffrey Scott Parsons, Roxane Carrasco and Luke Jacobs in "Dames at Sea" at North Coast REP.  Photo courtesy of Barron Henzel.

With a line and concept ripped (nearly) verbatim from the most tap-tacular of Broadway musicals, 42nd Street, it is clear that Dames at Sea exists merely to poke fun at the big, bold, tap-heavy tuners of the 1930’s.  And while it does an adequate job of capturing, perhaps even mocking, the carefree innocence and cheery optimism of the era, it doesn’t quite convey the spirit and savvy that made those mega-musicals sing and dance in the hearts of millions of theatre-goers in Depression-era America.  Perhaps part of the problem is the mediocre music by Jim Wise and the barely there book and lyrics by George Haimsohn and Robin Miller.  None of the shows fifteen musical numbers are very memorable (even the title number falls a bit flat) and the characters, while endearing and syrupy sweet, are so campy and cartoonish that they’re more distracting than they are funny. 

But thankfully, North Coast REP’s sprightly production rises above the mediocre material and veteran director Rick Simas does a bang up job of packaging the show’s silly seafaring shenanigans so that they come across as fresh, fun, and fancy free as they possibly can.  His top-notch, tap-tastic revival goes off without a hitch and doesn’t miss a beat as it powers through countless showy tap numbers with the command and buoyancy of the U.S. battleship on which it takes place.  And at the heart of his production are six powerhouse performers who are not only impressive triple threats, but ace tappers as well.

Sarah Errington as Ruby.  Photo courtesy of Barron Henzel.

At the helm is Sarah Errington as the naïve yet enthusiastic Ruby (a role that launched the career of Bernadette Peters back in the 1968 Off-Broadway production).  Errington plays the bright eyed and bushy tailed ingénue to a tee and has some powerful vocal and dancing chops to boot.  As her love interest, the singing, dancing, and song-writing sailor Dick (don’t all sailors tap dance and write upbeat melodies on the turn of a dime?), Jeffrey Scott Parsons is a joy to watch.  He has an effervescent charm and clean cut good looks that often belie his incredibly impressive song and dance abilities.  

Natalie Storrs (most recently seen as Rosemary in How to Succeed at the Welk) is a hoot as Joan as she snaps her gum and taps her toes as only a Brooklyn-born moll can.  And as her love interest Lucky, Luke Jacobs is innocent and sweet and the two of them play off each other marvelously.  Broadway veteran Roxane Carrasco is outstanding as the broadly comedic and overly pompous leading lady Mona Kent and Spencer Rowe is a standout as both Mr. Hennesey and The Captain.

The company of "Dames at Sea."  Photo courtesy of Barron Henzel.

Choreographer Susan Jordan-DeLeon and Tap Choreographer Lisa Hopkins (who recently choreographed Dames at Sea at The Colony Theatre in Burbank) have done incredible work here, bringing the show’s large production numbers to life on what is probably the narrowest of sets seen in recent NCR history (fortunately, set designer Marty Burnett opens things up a bit with his splashy and spacious ship deck in Act Two).  As is to be expected, the dancing stays true to the good old fashioned Broadway style of tap - including paddle and rolls, wings, maxi fords, syncopated pullbacks, and time steps a plenty – but it is performed with such precision and panache that it is truly exciting to watch.  The sailors Dick and Lucky even get entrenched in a tap-off in the Act Two opener in which they get to show off some fancy footwork that builds nicely into a full-cast show-stopping number.

So, while Dames at Sea may be a more modest and muted version of the mega-musicals of the 1930’s, it still exists as a lovely (and at times charming) valentine to the Busby Berkeley extravaganzas of the era.  And in the hands of a game and energetic cast, a stalwart director, and of course, a couple of ace choreographers, NCR’s production sails high and mighty in an exuberant revival.  So get your boarding pass now…it’s a nautical adventure you won’t want to miss!

Things to know before you go: Dames at Sea plays at North Coast Repertory Theatre through July 29, 2012.  Running time is 2 hours and 20 minutes with a 15 minute intermission.  Performances are Wednesdays at 7pm, Thursdays – Saturdays at 8pm, Saturday and Sunday matinees at 2pm and Sunday evenings at 7pm.  Tickets are $32-$52 with discounts available for students and military.  For more information or to purchase tickets, call (858) 481-1055 or visit www.northcoastrep.org.

THEATRE REVIEW: "Legally Blonde, The Musical" at Moonlight Stage Productions

“Legally Blonde” Never Goes Out of Style:

Moonlight Stage Productions kicks off its summer season with a musical that’s fun, fluffy and full of energy

By Donnie Matsuda

From its effervescently rousing opening number “Omigod You Guys” to its inspiring and feel-good full-company finale “Find My Way,” Moonlight’s summer season opener Legally Blonde, The Musical is, like, totally awesome.  

Emma Degerstedt and Anthony Carillo in "Legally Blonde, The Musical" at Moonlight Stage Productions.  Photo courtesy of Ken Jacques.

Sure, there are some staid and stagnant moments, a couple of romantic relationships that are a few flames short of burning love, and a handful of “did they really just say that?” jokes, but overall, they are mostly forgettable “blonde moments” in a mostly cute and charming musical.  What audiences will probably remember most about Legally Blonde, The Musical are its never-ending string of bright and bubbly song and dance musical numbers, its solid cast of over-the-top personalities played to perfection, and its intriguing-enough storyline that bounds along over two and a half hours with plenty of sparkle and sass.     

Emma Degerstedt and Company.  Photo courtesy of Ken Jacques.

Actress Emma Degerstedt (herself a former UCLA sorority girl) plays a very pert and perky Elle Woods, though she fortunately doesn’t camp up the role with too much giddy girlish charm.  Instead, her Elle remains surprisingly grounded and it is not completely far-fetched that she would respond to her boyfriend dumping her (a handsome and golden voiced Anthony Carillo) by cleverly working her way into Harvard Law School and to the top of her class, with some help from her friend and mentor Emmett (a scruffy, low-key Brandon Joel Maier).  But, it takes an entire village to try and help this modern-day golden girl make good – or at least graduate - and, fortunately for Elle, she’s got a lot of folks on her side.  Most notable are her gaggle of sorority sisters turned Greek Chorus (a spunky and well harmonized trio of Alexis Henderson, Tiana Okoye, and Stephanie Wolfe) and her hilarious, scene-stealing hairdresser, Paulette (a Jersey-licious and appropriately over-the-top Julie Cardia).

And amid a strong supporting ensemble, Jessica Bernard as Elle’s rival Vivienne, strong voiced Cris O’Bryon as Professor Callahan, Kim Zolozabal (last seen as Tracy in Moonlight’s 2011 production of “Hairspray”) as lesbian law student Enid, and Jenn Simpson as Brooke are all standouts.  Add to that two adorable and well-trained pooches – Ness as Bruiser and Ali as Rufus – making several crowd-pleasing cameo appearances, and you’ve got a cast that’s eager and energized to entertain.

Brandon Joel Maier and Company.  Photo courtesy of Ken Jacques.

Director and choreographer John Vaughan provides a lot of zippy interludes to keep this girl-power glam-fest going strong and his choreography, while not technically impressive, manages to delight with its dizzying array of cheer-inspired formations and poses.  His buoyant staging is further enhanced by some spiffy and sparkly technical elements, which include many massive drops and sliding set pieces rented from Chinchilla Theatrical Scenic, some splashy wardrobe creations from Upland’s Theatre Company, and some colorful lighting designed by Christina Munich.  Music Director Dr. Terry O’Donnell leads a nine piece orchestra through the tuneful and mostly pleasant – though somewhat forgettable – score. 

So, if you’re looking for a silly but solidly entertaining musical, then get in touch with your inner valley girl, grab your nearest blinged-out bag, and get thee to the Moonlight.  Seriously, you’ll be, like, totally tickled pink.

Things to know before you go: Legally Blonde, The Musical plays at Moonlight Stage Production’s Amphitheatre through July 14, 2012.  Running time is 2 hours and 40 minutes with a 15 minute intermission.  Performances are Thursdays, Fridays, Saturdays, and Sundays at 8pm.  Tickets are $15-$50.  For more information or to purchase tickets, call (760) 724-2110 or visit www.moonlightstage.com.

AN INTERVIEW WITH RICH LITTLE, MASTER IMPERSONATOR

LAUGH A LOT OR A “LITTLE”:

An Interview with Rich Little, the Man of A Thousand Voices, as he brings his one-man show to the Jewish Community Center in La Jolla for one night only

By Donnie Matsuda

Master mimic Rich Little has had an impressive career spanning over 50 years and including impersonations of over 200 people.  This Canadian-born impressionist (who recently became a U.S. citizen in 2010) currently resides in Las Vegas but tours the country with his one-man comedy shows in which he lampoons everyone from U.S. Presidents (John F. Kennedy, Ronald Reagan, Bill Clinton, and both George Bushes) to famous actors (Arnold Schwarzenegger, Sylvester Stallone, Jack Nicholson and Clint Eastwood) to Baby-Boomer friendly characters (Edith Bunker, Kermit the Frog, Robin Leach and Dr. Ruth Westheimer). 

While in his 20’s, Little was discovered after submitting an audition tape of himself doing impersonations (what else!?!) to The Judy Garland Show.  Ms. Garland thought he was great and he was immediately signed to the show.  He continued to make appearances on TV variety shows, including Ed Sullivan, Jackie Gleason, Glen Campbell, and Dean Martin, and on such TV series as Laugh-In, The John Davidson Summer Show, and The Julie Andrews Show.  Named “Comedy Star of the Year” by the American Guild of Variety Artists, Little has been the perpetrator of nine comedy albums and three HBO comedy specials, and was the host of his own variety show in the 70’s.  

Rich Little and Judy Garland.  Photo courtesy of www.richlittle.com.

Now touring the country with his two one-man shows – his stage play “Jimmy Stewart and Friends” and his nightclub act “Laugh A Little” – Little seems to have found another way in which to show off his comedic chops and impress with his penchant for spot-on imitations.  Recently, as he was in between his recent Welk Theatre run of his Jimmy Stewart play and his upcoming night act at the Jewish Community Center in La Jolla, I had the chance to chat with Little and we talked about everything from his favorite impersonations to his extracurricular hobbies to what he enjoys most about his profession.

DONNIE: When did you first learn you had this gift of doing impressions of other people?

RICH: When I imitated my teachers at school and then saw the other kids laughing.  They thought it was great and I became very popular doing it because the poor teacher didn’t know I was doing them.  If they’d ask me a question, I’d usually answer it in their voice and it was usually the wrong answer  - so that even got a bigger reaction. 

DONNIE: How do you come up with ideas for new people to impersonate?

RICH: It must be somebody I’m interested in.  It helps if I like them.  You won’t see me doing Bill Maher at any time.  It has to be people that I watch a lot, that fascinate me.  I have to watch them quite a bit to get the mannerisms.  Sometimes it comes, sometimes it doesn’t. It’s tougher these days to impersonate people because we don’t have the voices that we used to in the past.

Rich performs at the Las Vegas Hotel & Casino in 2012.  Photo courtesy of Scott Harrison.

DONNIE: Over the years, approximately how many people have you done impressions of? 

RICH: I’d say roughly around 200.

DONNIE: Which one is your favorite? 

RICH: I have a couple of favorites.  I like Ronald Reagan because I knew him so well and spent a lot of time with him.  Same with Jimmy Stewart.  We were good friends.  I think they’re two of my best.

DONNIE: Which one is the most challenging?

RICH: Probably the one I can’t do.  <chuckle>  There are a lot of people I can’t impersonate.  I do a very bad Brad Pitt.  I don’t do George Clooney.  I don’t do Matt Damon.  And I don’t think anybody will.  

DONNIE: Which one do you think is the funniest?

RICH: The one I get the most reaction from is probably Andy Rooney of “60 Minutes” because they’re all short little jokes.  If I do Andy Rooney for 3 minutes, I can get maybe 20 laughs.  Whereas some voices maybe just one joke and one laugh.  So Andy Rooney, Johnny Carson and Paul Lynde - those kinds of people I get a lot of laughter from.

Rich and his 2005 Star on Las Vegas Blvd.  He also has a star on the Canadian Walk of Fame and the Hollywood Walk of Fame.  Photo courtesy of www.richlittle.com.

DONNIE: Any current celebrities you would like to impersonate? 

RICH: Well yeah.  I’d like to do a lot of current movie stars.  But I think there are a lot of current movie stars that are impossible to do because they don’t have distinctive voices like they did back in the 40s and the 50s and so very few current movie stars can be imitated today.

DONNIE: Any impersonations currently in the works?

RICH: Yes.  Mitt Romney’s in the works.  I’m working on him, taping him a lot, and trying to get some of his mannerisms.  I think it’ll come.   I don’t know whether it’ll be a great impression, but I think it’s one everybody expects me to do because he’s going to be our next president.

DONNIE: I understand that you have put your talent to use filling in for celebrities’ voices on soundtrack and film.  Tell me more.

RICH: I’ve dubbed for people that have lost their voice or have passed on, like Peter Sellers -Inspector Clouseau and David Niven for a couple of movies - Pink Panther movies.   I filled in for Gene Kelly when he lost his voice for a Christmas special.  And Tony Curtis for a movie he walked off on.  I did his voice.  And Stacey Keach one time for Mike Hammer.  I did him.   I’ve done a fair amount of that over the years.

DONNIE: What is it you enjoy most about your profession? 

RICH: The fact that I’m able to make people laugh and have a good time.  Help them forget their problems.  Just bring a little joy into somebody’s, perhaps, humdrum life. 

Rich Little performs at The Riviera Starlite Theater in 2011.  Photo courtesy of Stardust Fallout.

DONNIE: Do you have other talents and hobbies you indulge in? 

RICH: I’ve always sketched.  I’ve been an artist since I was 12.  I work in charcoal and do portraits.  I’ve got hundreds and hundreds.  I started out doing my family and gave them away.  Then I moved on to celebrities and gave a lot of those away…and neighbors and all kinds of people.  I sell authenticated replications of the celebrities I’ve done on my website and at some of my shows, but I have probably in my collection today about 60 originals.

DONNIE: You were most recently seen here in San Diego doing your show “Jimmy Stewart and Friends” at the Welk in Escondido.  Why did you choose Jimmy Stewart as your prime target?

RICH: Because I knew Jimmy quite well.  I knew him better than almost any person I impersonate.  I spent a lot of time with him, did a lot of charities with him, worked the Dean Martin roasts with him, did the Julie Andrews show with him, as well as some socializing.  So I got to know him and his career pretty good.  When I went to do a one man show, he seemed to be the ideal choice; not only knowing him, but because he worked with so many great movie stars of the past that I impersonate.

DONNIE: Now you are returning to San Diego in “Laugh A Little” at the Jewish Community Center in La Jolla.  How will this show be different than your Jimmy Stewart show?

RICH: My nightclub act is a lot different.  It has varied segments to it.  I’m doing a game show at the moment with various celebrities competing (<sneeze> “That was me sneezing as John Wayne…Achoo!”) And the show is just different because it’s a lot of impressions just thrown together with no real theme.  It isn’t a play like Jimmy Stewart and I do a lot of singing impressions which I don’t do in “Jimmy Stewart and Friends.”  I do Tom Jones and I do Neil Diamond.  I do Willie Nelson, Dean Martin, Frank Sinatra, and Tony Bennett, so there are a lot of singers.  People like the music, like the songs and if the impression is good, they’ll react.  These are all the singers I grew up with.  You won’t find me doing any rock stars….now or ever!

Promotional graphic for Rich's show "Laugh A Little" at the Jewish Community Center in La Jolla.  Image courtesy of the JCC.

DONNIE: In the promo materials for “Laugh A Little” it says there will be a live band.  How will that work?

           

RICH: I will do a lot of singing and the band will also play catch themes and punctuate certain jokes.  I used to, back in the 60s and 70s, work with a 30-piece orchestra.  Today I’m working with four pieces: bass, drums, guitar and piano, of course.  It’s not as great as a big, full orchestra, but one has to cut down with the economy so bad.  Theaters don’t want to pay for a large orchestra anymore.  If the economy gets any worse, I may just be working with piano.  Who knows?  Or maybe a harmonica!  <chuckle>  I think the days of the big orchestras are pretty well over, with the exception of  somebody like a Tony Bennett or Johnny Mathis or somebody that can afford a huge orchestra.  But I’d say most acts today have reduced the size of their band mainly because of cost.

DONNIE: Last but not least, is it “impressions” or “impersonations” that you do?  Or is it simply a question of semantics? 

RICH: I always say I don’t do impressions.  Van Gogh, Monet…they do impressions.  I do impersonations.  But yes, it’s pretty much just semantics.  The terms “impressions” and “impersonations” are often used interchangeably when describing what I do.

Things to know before you go:  San Diego Center for Jewish Culture’s Look & Listen Performing Arts Series presents “Laugh Out Loud with Comedian Rich Little” on Saturday, June 30 at 8pm in the David and Dorothea Garfield Theatre at 4126 Executive Drive in La Jolla, CA.  Tickets are $35-$42.  For more information and to purchase tickets, call the box office at 858-362-1348 (open 9am-5pm, Monday through Friday) or visit http://www.lfjcc.org/.