Thanks to everyone who made Red, Hot & Soul 2010: Uniquely Austin such a huge success! We’ll be moving to the Austin Hilton next year on April 16, 2011 for Austin’s biggest party of the year. Photos below are by Tony Spielberg.
If you can’t view the gallery above, please visit http://www.zachtheatre.org/blog/?p=838
Scotty Roberts plays the harried producer Feldzieg, owner of the comedy troupe “Feldzieg’s Follies,” who is more put out than anyone by Janet’s plans to leave the stage. As the producer of the show Janet was meant to star in, he’s gotten mixed up with jovial gangsters posing as pastry chefs (played by Leslie Hethcox and Tyler Wallach) who threaten to bake up a real mean surprise for Feldzieg if Janet’s not the star and the mob cash they financed the show with is sunk with a theatrical flop.
Jamie Goodwin is the Latin lothario Aldolpho, a real ladies man, whose bumbling antics get the whole cast worked up. Say his name fast, slow, up-high or down-low, he’ll do anything to prove that no woman can resist his charms. Ravishing as they are, Aldolpho’s got a Don Juan-sized ego that’s no match for the show’s intoxicated enchantress …
Snubbing her nose at 1920’s prohibition, she manages to stay tipsy enough to do everything except what she’s supposed to – keep Janet out of trouble the day before her wedding. The Drowsy Chaperone will squeeze every last drop out of a bottle of booze, and poses perhaps many of the show’s most poignant questions. “Why would anyone put olives in a gimlet?” Good question, Drowsy.- The Man in the Chair (Martin Burke)
Martin Burke as Man in Chair in ZACH's THE DROWSY CHAPERONE
The ‘Man in Chair’ is a Broadway fanatic who plays host to THE DROWSY CHAPERONE musical as the vibrant production springs to life in his apartment. Martin Burke, who plays Man in Chair in ZACH’s production, tells us a bit about his role and what a thrill ride it has been for him and Austin audiences.
Martin has one of the best gigs in Austin live theatre: “It’s a joy to sit and watch the actors, dancers and musicians every night,” he said. “But I have to watch myself, too. Sometimes I’ll get caught up in the show and forget that I’m on stage, mouthing all the words to all the songs in the show and mimicking the choreography.”
“It feels like you’re catching me in one of those bathroom moments that I never meant for anyone to see.” Man in Chair starts the show complaining about all the things he hates in theatre: actors going into the audience, audience members getting up to go the bathroom; and the irony of it all, Martin said, is that “the Man in Chair does everything that he hates.”
Director Nick Demos, who recently won a Tony Award as producer of the musical MEMPHIS, and the wonderfully talented cast in ZACH’s production have made this show, Martin’s first performance in an Austin theatre musical, “very comfortable.”
“Nick has taught me a lot about acting and dealing with the audiences. From working in The Santaland Diaries for several years at ZACH, my tendency was to get really worked up when I got heckled. In this production, I’ve learned to just let them be, and it makes the show so dynamic and different from night to night.”
Jill Blackwood as Janet Van de Graaff with Man in Chair mimicking her every move
Martin recalls years watching Jill Blackwood raise the roof in other Austin theatre productions, particularly at ZACH, and now has a front row seat every night watching her “sing with her lips wide open but still moving just like Barbra Streisand.” He noted: “Do people really know that Jill (who plays Janet Van de Graaff) actually does play all the instruments in the musical number ‘Show Off’? Well, she does.”
“My favorite moments in the musical are when something goes wrong with the record and the show suddenly stops. It’s when I’m reminded that I’m actually an actor playing an actor who’s playing a man in a musical,” he said.
“I also love the line ‘It’s better to have lived than left’” when trying to figure out the words The Drowsy Chaperone (played by Meredith McCall) meant to say at a moment with the record of the musical accidentally skips. “It’s interesting that he doesn’t consider that she could’ve meant ‘love.’ It really adds poignancy and depth to the Man in Chair’s character.”
By popular demand, ZACH Theatre has extended THE DROWSY CHAPERONE run through August 29, opening up excellent seats for Austin live theatre audiences. Perfect for friends, family and out of town guests, tickets are available online and by phone at (512) 476-0541, ext. 1.
ZACH’s New Summer Musical THE DROWSY CHAPERONE is live on stage! Here are some stellar shots photographer Kirk R. Tuck took from the show. Please be sure to credit Kirk when you share them on Facebook, Twitter, Flickr, your blog or wherever they may land …
If you’re accessing this blog from a cross-posting, the original is here.
Congratulations to ZACH Theatre’s THE DROWSY CHAPERONE director Nick Demos for winning the 2010 Tony Award for “Best Musical” for MEMPHIS last week!
Seated 4th row behind the show’s star, Montego Glover, it was a short walk to the stage to accept the Tony — good thing too as he’d just finished his participation in a National Association of Musical Theatre panel two hours prior to the Tony’s after yo-yoing back and forth between New York and Austin nonstop for the last month. Quickly showering and putting on a tux: “It’s easy for a boy,” he said.
Now, he’s back in Austin putting the final touches on THE DROWSY CHAPERONE, which opens this week at ZACH. Coming full circle, this hit musical was also his first commercial producing gig in New York. “It’s just so much fun,” he said. “Watching was a far different experience than directing creatively.”
“For me ZACH’s production came together when I met Austin actor Martin Burke. He truly shaped the direction I chose to take with this staging.”
In the ZACH production, “Martin, who plays the Man in the Chair, is the facilitator of all the action. He makes it happen; it all comes from his head. He not only watches the musical unfold in his New York apartment, he participates and leads the audience in the most entertaining way.”
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Award-Winning Choreographer, Robin Lewis, Joins THE DROWSY CHAPERONE’s Cast this Week!
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Originally, THE DROWSY CHAPERONE was written by Bob Martin for his wife’s bachelorette party. Both are characters in the play, but when the show was first performed it was done with no set, no costumes and was done all in an apartment. A few clever producer friends were in attendance at this no-budget show, and said, “I think you have the makings of a Broadway musical here.” Eventually they did bring it to Broadway, where it won 5 Tony Awards in 2006!
Director Nick Demos wanted ZACH’s production to have a unique feel, reflecting both the worlds of the theatre and a New York apartment at the same time. For example, “Susan Branch Towne designed costumes to look as if everything could have come from the Man in the Chair’s own closet.”
“I also wanted the set and curtain-red apartment to feel like a stage, to at once reflect both worlds — the stage of THE DROWSY CHAPERONE musical and the apartment of the Man in the Chair where the musical springs to life.” Set designer Michael Raiford brought this vision to reality. Even the props (designed by Chris Cogswell) feel like they come from the Man in the Chair’s apartment.
Commenting on his cast for ZACH’s production: “There are really talented people in Austin, it’s amazing, tons of fine actors who are willing to do just about anything, with no attitude, no resistance and tons of panache!”
THE DROWSY CHAPERONE opens this week on ZACH’s Kleberg Stage, with previews today and Friday and a Champagne Opening this Saturday. Tickets are available online and by phone at (512) 476-0541, ext. 1.
Rue McClanahan with Artistic Director Dave Steakley
By Producing Artistic Director Dave Steakley
The first time Rue came to ZACH she called us from the Driskill Hotel to get tickets for I Hate Hamlet where she was seated next to Karen Kuykendall and John Whisenhunt. Rue was also here to look for a house for her son Mark, and of course you couldn’t sit next to Karen for two hours without falling in love with her and enlisting her as your real estate agent and that is exactly what happened. Karen found the perfect home for Mark and a good friendship ensued. The next night they were laughing uproariously at Boyd Vance in Shear Madness together. A couple of seasons later she was my date for the opening of Gospel At Colonus, which she especially loved, as she loved the gospel music combined with an ancient Greek tale.
Over the years Rue visited many times staying with dear friends Steve and Judy Franden and Dr. Francis McIntyre and she always made coming to ZACH part of her frequent Austin stays. On her final trip here last year my partner Tony and I had a wonderful time with her on the Franden’s brick patio with supper on our laps. Rue was developing a musical for herself called My Last Five Husbands based on her autobiography and we were hashing out some structural things about the piece she was struggling with. She had asked me to take a look at the script and meet with the producers on my next NYC visit to see if it might be a good fit for me to work with her collaborators. Her subsequent by-pass surgery and health concerns tabled all of those conversations.
Rue with the FOREVER PLAID cast
When Ann Richards died Rue sent a tree to ZACH to be planted in Ann’s memory because she so admired Ann. They had met through Karen, of course, and Rue knew that Ann was also frequently in the ZACH audience. There is a plaque at the base of the tree which reads “For Governor Ann Richards, this tree is planted in loving memory by Rue McClanahan.” The tree is just outside my office window so I pass it every single day and I always think of that trio of outstanding and memorable women. When Karen passed, Rue became a contributor to the Karen Kuykendall stage in ZACH’s new Topfer Theatre.
Rue was a true woman of the theatre, and even though she had an extraordinary TV and film career, the theatre in all its forms was her passion, with a particular fondness for musical theatre. She had this great way of sizing up a person or a comment through her half-closed gaze that fully relished the person and what was being said, savoring every detail. She was smart, quick-witted, thoughtful and completely genuine — an Oklahoma gal who maintained the honesty and hard work values of her roots. She was extremely proud of her son Mark, a musician and music instructor here in Austin, and he is one of the great joys of her life. I’ll miss her charm and intellect and joie de vie.
Three years ago when Rue was on her book tour she came to Austin and was our guest at our Red, Hot & Soul gala when Karen made her last cabaret appearance. The next day Rue delighted ZACH’s audience who packed the Kleberg Stage SRO in an interview I conducted on the set of Take Me Out. When asked by an audience member if she was like Blanche she responded, “Well, Blanche was an oversexed, self-involved, man-crazy, vain Southern Belle from Atlanta — and I’m not from Atlanta!” Golden indeed.
The Drowsy Chaperone - Always with a cocktail in hand! (Played by Meredith McCall in ZACH's production of THE DROWSY CHAPERONE)
In THE DROWSY CHAPERONE, Janet Van De Graaff (played by Jill Blackwood) is a 1920’s showgirl who is about to give up the stage for love. But a lot of money is riding on her to bring in crowds as star of the upcoming production of “Feldzieg’s Follies.”
Feldzieg (played by Scotty Roberts), the show’s producer, has a lot riding on him too — chiefly two gangster investors threatening bodily harm if Janet doesn’t perform. Good thing Janet has a chaperone, “The Drowsy Chaperone” to be exact, who’s just tipsy enough to stay weary of the world and practically everything except her next drink!
Actress Meredith McCall stumbles on stage to play the Drowsy, specializing in rousing anthems, but there’s nothing more rousing to her than a good ol’ fashioned cocktail, which brings us to our first Drowsy Drink:
The Old Fashioned
THE OLD FASHIONED
Speculated to be the very first drink called a cocktail, when prohibition hit this drink stayed in style. To mix one up, make sure to use an old-fashioned cocktail glass and add:
There’s some muddling and mixing involved too, but the Drowsy swears if you just throw it all in a glass the formalities of the drink won’t matter by the time you get to drink number two. Moving on … The Drowsy Chaperone never minds going:
A "Between the Sheets" Cocktail
BETWEEN THE SHEETS
Heck, when booze was outlawed, the more risque the drink name the better! Mix one of these up using:
If that doesn’t make you drowsy, try moving on to the drink that’s the namesake for our favorite cocktail accoutrement, the swizzle stick, known in the 1920’s as:
The Gin Swizzle
THE GIN SWIZZLE
Our Drowsy is definitely 3 sheets to the wind right now: Attagirl! Help a dame out by logging on to ZACH’s Facebook page and posting your favorite prohibition-era cocktail recipes!
Several local Munchkins have been cast in the upcoming Broadway Across America production of THE WIZARD OF OZ. Directed by
ZACH's Munchkins
Jaclyn Loewenstein, these local Munchkins are 9 to 13 year old students from the Pre-Professional Musical Theatre Program at ZACH’s Performing Arts School:
They also play the Witch’s Winkies in the 2nd Act!
Over the past four years, they have performed in many ZACH family musicals, including Everything About a Day (Almost), Call It Courage, Willy Wonka and Golly Gee Whiz! (with Tony nominee David Bologna.) Many of the Munchkins also appeared on ZACH’s mainstage in Caroline, or Change and Our Town. They also study dance and voice with ZACH instructor Adam Roberts.
Jaclyn Loewenstein (Austin’s Munchkin Director) has been actively developing ZACH’s Pre-Professional Musical Theatre Training Program since 2005. For her first ZACH Family Musical, The People Garden, she was awarded the 2006 B. Iden Payne Award for Direction. Since then, Jaclyn has directed talented Austin youth in: Wanda’s World, Everything About a Day (Almost), Willy Wonka Jr., Golly Gee Whiz!, Dear Edwina, The ZACH Showstoppers and many more. For the past 19 years, she has worked as an acting teacher, director and audition coach for a variety of institutions, including The Children’s Acting Academy in NYC and the Piven Theatre Workshop in Evanston, IL. In NYC, Jaclyn was a casting assistant for numerous long-running Broadway musicals, including Chicago, Cats and Les Miserables, and she assisted director James Lapine on The Diary of Anne Frank, starring Natalie Portman. Jaclyn holds a BA in Journalism from UNC-Chapel Hill and an MFA in Directing from Illinois State University.
Costume designer Susan Branch Towne delivered these costume renderings to ZACH for its upcoming production of THE DROWSY CHAPERONE. Inspired by “the shameless theatricality” of the show, Susan said she was led to create renderings based on Erté, a 20th Century Russian-born French artist and designer. “I wanted to idealize the time, so I looked more at drawings than at photographs,” she said. “The costumes carry the great responsibility of establishing the mood of the show, since all the action essentially happens in the Man in the Chair’s apartment. Even more than usual, the costumes have to supply the color, change of scene, and overall progression of the story and characters.” Here’s a sneak peek at the fabulosity that awaits THE DROWSY CHAPERONE audiences:
(Click here to view the original blog if images do not appear.)
THE DROWSY CHAPERONE opens at ZACH Theatre on June 24, 2010; additional show info, including a link to buy tickets, is at http://www.zachtheatre.org/show/drowsy-chaperone.
KUT's John Aielli
John Aielli passed along the following letter from a listener who caught his interview last Thursday with OUR TOWN star Jaston Williams:
John,
How timely that you’d be talking about a production of “Our Town” this morning. Last weekend, my wife and I (who grew up in the same small town in Massachusetts) returned for our 40th high school class reunion. You can imagine the nostalgia and wonderful spirit of shared pasts and memories.
Over the weekend, we visited the 4-room school house, where my wife attended elementary school. We visited my ailing father and I wondered whether I’d ever see him again. We went be the town cemetery and visited the graves of our families, our friends and our neighbors. We watched a video memorial to our deceased classmates. And I saw friends, gone for 40 years in some cases, come back to life, aged to be sure, before my very eyes.
And then, we just decided to take a drive through New Hampshire. Without thinking about it or planning it, we found ourselves in Peterborough, NH for lunch. Only after we got there, did we realized that Peterborough was the inspiration for Grover’s Corners, the setting for “Our Town”. Ironic, or what?
And, then … when I returned home to Virginia on Tuesday morning, after my run, I went to yoga class, where the focus was concentrating on THIS moment, THIS breath. After the class, I could only think of how in the play, Emily is allowed to return to earth, to Our Town, to re-live just one day, and realizes just how much life should be valued, “every, every minute.” She asks the Stage Manager whether anyone realizes life while they live it, and is told, “No. Saints and poets, maybe. They do some.”
It’s all so moving, I just can’t stand it. I’ve probably seen that play 5 or 6 times, but, you’re right – age brings a new depth of understanding. I hope you enjoy the production that you’ll see this weekend.
The show’s in its final week, and most shows are close to sold out. Don’t miss this chance to see the show everyone in our town has been talking about.
A twelve-year Broadway and national Broadway touring veteran, Robin Lewis will be on stage for the first two weeks only for ZACH’s production of THE DROWSY CHAPERONE. The show’s choreo-grapher, Lewis has also choreographed Porgy and Bess, Urinetown: The Musical, High School Musical, Jesucristo Superestrella/Jesus Christ Superstar and The Rocky Horror Show at ZACH. His national credits include Broadway’s Fosse, Dance Captain of Disney’s Beauty and the Beast and Dance Captain of A Christmas Carol at Madison Square Gardens. He toured with the first national tour of The Producers with Jason Alexander and Martin Short in Hollywood, and he has toured in A Chorus Line, Hello Dolly, Beauty and the Beast, as well as performances at The Kennedy Center and Carnegie Hall. Robin is currently on faculty at Texas State University and heads the Musical Theatre Dance program for the new Musical Theater B.F.A. program. Lewis is the Co-Founder/Producer and Artistic Director of