U of A’s Pippin Still Has Some Magic To Do

by Lena Quach

Pippin is a mysterious musical filled with memorable music, magic and simple joys. The story follows the young prince Pippin and his quest for fulfillment in life. Pippin originally opened in 1972 with music and lyrics by Stephen Schwartz and a book by Roger O. Hirson. The original production was directed and choreographed by the legendary Bob Fosse. Arizona Repertory Theater, directed and choreographed by Christie Kerr, had some rather large shoes to fill and unfortunately did not succeed. 

I was excited when I first came in and saw the rather impressive set. I have seen Pippin in a couple different forms and this looked promising. I was quickly let down by the ending of the song “Magic To Do”. The ensemble of players were all beautiful and sounded amazing but lacked the mystery and pizzazz that you usually see in the first number of the show. 

Tony Moreno as and Paige Mills as The Leading Player. Photo by Ed Flores, courtesy of Arizona Repertory Theatre.

Tony Moreno as Pippin and Paige Mills as The Leading Player. Photo by Ed Flores, courtesy of Arizona Repertory Theatre.

I did see some small homages to the original choreographer in the show but felt that maybe the choreography was too advanced for the cast. Yes, Fosse is an extremely hard dance style to perfect but there was a very large disconnect between the actors and the movement. It was especially noticeable in the isolations of the hips that looked more like twerking and the movements of the arms that looked more like a bird flapping then a directed movement coming from the back. These movements are essential that highlight and add levels to the catchy score. This was the productions biggest let down. 

I was also quite disappointed by Paige Mills in the role of The Lead Player. This role is so essential to the show and how the story is told. Mills has an agile and clear voice and I can see why she was cast in the role for that alone. The Lead Player should be more mysterious and should have more of an inner battle between herself and her sympathy for Pippin, in certain parts of the show. This rendition of the character seemed to plateau quickly and never see any depth until the end of the show. Mills put in a solid effort with choreography and blocking given to her but lacked grace and the showstopping quality that any Lead Player should posses. 

There were some highlights in the show including some very magical characters. Tony Moreno played the title role of Pippin. Moreno has a beautiful voice and gave the audience the perfect balance of his character that can sometimes come off as awkward and somewhat rude to completely charming and heroic. Moreno is definitely going places. I was also very impressed by Tristan Caldwell who added just the right amount of sass and comedy to the character Charlemagne. I was completely charmed by Marina Devaux as Pippin’s grandmother Berthe. Devaux gave me a Broadway-worthy performance and had me singing along during her number. Catherine, played by Sofia Gonzalez, was sweet, beautiful and organic just like any Catherine should be. 

In the end, Arizona Repertory Theater’s production of Pippin still has some “Magic To Do”. The ensemble gave an honest performance filled with magic tricks, great vocals, and some Broadway-worthy highlights but lacked the mystery, grittiness, and dancing with purpose. 

You can catch Arizona Repertory’s production of Pippin now through November 3rd at the University of Arizona’s Marroney Theatre. Tickets can be purchased via their website at theatre.arizona.edu or by calling the box office at (520) 621-1162. 

 

An Astonishing Production of Little Women

by Gabriella De Brequet

Little Women the musical, with book by Allan Knee, music by Jason Howland, and lyrics by Mindi Dickstein, is based on the 1868 novel of the same name by Louisa May Alcott. It is a coming of age story about sisters Jo (Erin Recuparo), Meg (Diana Ouradnik), Amy (Kelly Coates), Beth (Kate Scally Howell), and their Mother Marmee (Korby Myrick). While their Father is fighting in the war the girls find love, discover their callings, and evolve together as a family.

Kate Scally Howell as Beth, Kelly Coates as Amy, Erin Recuparo as Jo, Korby Myrick as Marmee, Diane Ouradnik as Meg. Photo by Brandon Howell, courtesy of Arizona Rose Theatre.

Kate Scally Howell as Beth, Kelly Coates as Amy, Erin Recuparo as Jo, Korby Myrick as Marmee, and Diane Ouradnik as Meg. Photo by Brandon Howell, courtesy of Arizona Rose Theatre.

The musical is lead by Jo (Recuparo) the headstrong sister whose passion for writing drives the narrative. Themes of female empowerment and female camaraderie resonate throughout the play. Each Sister is uniquely different from one another and this allows the audience to find a little bit of themselves in each sister. It’s refreshing and timely to see dynamic female characters such as these headlining the narrative. This heart felt production will astonish you!

The vocal performances were impressive and well adjusted for the space. Recuparo’s Jo was passionate, dynamic, and strong. The audience had the great pleasure of watching her evolve from start to finish right before our eyes. Howell’s Beth was bright, kind, and humble. Her performance will break your heart. Ouradnik’s Meg was thoughtful and funny. Coates as Amy was hilarious and brash. Jeremy Vega’s Laurie was sincerely honest and youthful. Ruben Rosthenhausler’s Professor Bhaer was sweet, and comical. Perhaps the most poignant performance for me was Myrick’s Marmee. Myrick’s vocal performance brought me to tears more than once, and her characterization of Marmee was rich, and selfless. The entire ensemble really blew me away. There was not a single weak link in this strong chain of actors.

Erin Recuparo as Jo, Kate Scally Howell as Beth, Diane Ouradnik as Meg, and Kelly Coates as Amy. Photo by Brandon Howell, courtesy of Arizona Rose Theatre.

Erin Recuparo as Jo, Kate Scally Howell as Beth, Diane Ouradnik as Meg, and Kelly Coates as Amy. Photo by Brandon Howell, courtesy of Arizona Rose Theatre.

The set design was impressive considering the size of the small venue. The stage has a circular center which rotated. The rotating element helped illustrate the passage of time, growth, and change. The lighting design was vivid. At times I felt that it was too vivid for the space but it remained consistent throughout the play and it wasn’t too distracting. The costumes by Daniela Ayala were thoughtful and fitting. I was thoroughly impressed with Arizona Rose Theatre company’s production of Little Women. I encourage all musical theatre lovers to witness this local gem of a production.

Tickets are available at www.arizonarosetheatre.com or by calling the box office at (520)888-0509. Special tickets prices for students, children, seniors and military apply. Little Women runs from April 27th- May 5th

Costumes, Set, and Technical Design Breathe New Life into a Familiar Coming of Age Tale

by Marguerite Saxton

The 1800’s brought many influential things to Germany: Adolf Hitler, Nietzsche, The Brothers Grimm and the infinite creep factor of “Der Struwwelpeter” (Google it!). This is the backdrop for Arizona Repertory Theatre’s season finale, Spring Awakening.

Michael Schulz as Melchior and Rachel Franke as Wendla. Photo by Ed Flores, courtesy of Arizona Repertory Theatre.

Spring Awakening is based on the late 19th century play The Awakening Spring, A Children’s Tragedy by German playwright Frank Wedekind. This modernized version is an austere depiction of oppression, rebellion, and sexuality, featuring maturing kids finding their bodies amongst shifting roles – girls drool over guys who don’t care about anything but are good at everything, while the guys suffer explicit fantasies about their piano teachers. Typical.

Spring is “a time to be born, a time to die; a time to plant, and a time to pluck up that which is planted…” (Ecclesiastes 3:1-8). In this lusty season of rebirth we find ourselves sowing metaphorical seeds for the future. Spring Awakening’s director Hank Stratton has expressed that it’s necessary to have death in order to have new life. And what is a more fitting way to celebrate Eostre, the Germanic goddess of spring, than with awkward teenage S.E.X.?

This multiple-Tony winning musical features Steven Sater’s cringy, angsty songs about new ways to touch oneself. But Stratton, according to his recent interview in the Arizona Daily Star, is okay with that. He “expects some audience members to be uncomfortable.” And well, it is.

Yet, this is a show of contrasts. While hopelessness pervades, a spirit of dissent runs almost as wild as the hormones. Though conscientiously directed, the obvious opposites within the script create scenes that are confusing but, in a way, accurate to that time when seemingly everyone was mystified by human sexuality.

The motifs in the story are predictable: adults vs. kids, sex vs. chastity, pleasure vs. pain. A bit cliché. How many times have we seen this story? Girl has sex, gets pregnant, and has a terrible life while the boy basically gets to be the bad ass. Though the narrative starts out strong and funny, it unfortunately flickers out.

While the script leaves something to be desired, there are key performances that pack a punch: much of the movement is purposeful and well timed – a particularly satisfying scene features caustic schoolmasters, headbanging, and air-guitars. And there were stand out vocals by actors Jared Machado (Georg/Dieter) and Rachel Franke (Wendla).
Another gem in the script is the queer love story. Its nuanced vulnerability adds dimension to a predominantly straight tale. This was an astute detail to add to an otherwise familiar story.

Zach Zupke as Moritz and Gabriela Giusti as Ilse. Photo by Ed Flores, courtesy of Arizona Repertory Theatre.

Where this play really shines is with the set design, technical, and costuming teams. The design of the theater is such that some audience members sit only feet from a technician, but wouldn’t know it due to the team’s utmost professionalism. They execute their jobs efficiently and in perfect unison. And the design team finds new ways to tell an old story. The set explores space in funky ways thanks to Scenic Designer, Joe C. Klug. Chairs hang from ceilings and the floors become a place to take notes. Tori Mays, Lighting Designer, rounds out a visually creative production with unlikely textural choices, employing geometric gobos and infusing many scenes with disconcerting chartreuse. Costume Designer, Ryan B. Moore, goes for symbolic touches by stitching tiny crosses of Peter onto the boys’ uniforms. This cross is a common symbol in counter-culture scenes, serving as a sneaky reference to the defiant nature of the students.

Another great component of this production was the live musical accompaniment – a classy touch that fosters a multisensory opportunity to connect with the play’s ethos. In many other productions they’d be hidden in a pit, but in this production they are instead proudly displayed for the audience as an essential organ, pumping their feet in tune, plucking their fingers in a rhythmic heartbeat that circulates vital energy throughout.
The script is predictable, but the execution of the production is done with gusto and skill. It’s clear those working on Spring Awakening are truly invested in this piece. This season’s final show at Arizona Repertory Theatre may not have awakened all of the senses, but it energizes one into the next phase, however screwy that may be.

Spring Awakening is directed by Hank Stratton and shows at Arizona Repertory Theatre from 4/7 through 4/28. Tickets can be purchased at https://theatre.arizona.edu/shows/spring-awakening/.

 

Editor’s Note: We mistakenly credited Richard Tuckett as the costume designer in a previous version of this article. In fact, Ryan B. Moore, a second year MFA student, was the costume designer for this production of Spring Awakening.

The Music Man: Trouble With A Capital T

by Gretchen Wirges

The Music Man

Bill English as Harold Hill and cast of The Music Man. Photo courtesy of Arizona Theatre Company.

The Music Man opened for the first time in 1957. It went on to Broadway, critical acclaim, and nearly 1400 performances. Arizona Theater Company has taken on the task of staging this nostalgic musical as part of it’s 2018-19 season. The show is larger than life and has a history to match.

Let me start by saying that I grew up loving this musical. I loved the stage version and I loved the 1962 film adaption. When I sat down to view ATC’s production, I was excited, giddy even, to recapture the joy I remembered feeling from watching this show. So let’s dig into the good, the bad, and the “trouble” with a capital T and that rhymes with C and that stands for confused.

Let’s start with the good–the ensemble was incredible. The dancers were talented, the townsfolk were animated and lovely fun to watch. Among those I enjoyed most were the ladies ensemble which included the Mayor’s wife, Eulalie Shinn, played by Leslie Alexander, the character of Ethel Toffelmier played by Kara Mikula, Mrs. Squires played by Chanel Bragg, and Alma Hix played by Brenda Jean Foley. The scenes that included these actors were filled with joy and humor and memorable vignettes. Mikula’s hilarious facial expressions and deft physical comedy made me smile throughout the show.

Another good note about this show is the diverse representation in the casting. Bravo to directors who cast people of color in roles that have traditionally gone exclusively to white actors. Every step toward diversity is important. As many contemporary shows have shown us, taking bolder steps toward diversity by casting the leading roles with such awareness is a win for everyone. I hope ATC moves further in that direction. We want to see ourselves on stage. The stories will support it and so will the audiences.

Okay, the bad. While the sets are beautiful and expansive, they are also numerous to a fault. It may sound counter intuitive, but I think the over-abundance of sets moving in and out was distracting. It took away from the magic and the burden of the material and the performance to create the world we’re watching. I think that the show relied too much on this aspect of the production, and not enough on the performances itself.  As a whole, the show felt lacking in joy and energy for me.

Harold Hill, the lead character, is arguably one of the most charismatic and over-the-top musical characters of all time. Hill, played by Bill English, was played way too flat for my tastes. The charisma and power just wasn’t there. And honestly I don’t fault English, I fault the director. Many of the songs, led by English, were choreographed in a subtle way that didn’t capture the joy and excitement of the script. 76 Trombones, one of my favorite Broadway songs EVER, felt like more of a throw-away number than a showstopper. The Wells Fargo Wagon song was almost boring, save the fantastic bright spot of Winthrop’s solo by local Nathaniel Wiley. There needed to be more fun, more joy, more reckless abandon in this show. As whole, it was just a buttoned up version that needed to break loose.

The Music Man

The cast of The Music Man. Photo courtesy of Arizona Theatre Company.

And finally, the “trouble with a capital T” of this show really is the story and the script, which of course is no fault of the these particular performers in this particular staging. I think this is a show that needs to be retired. Frankly, it is incredibly misogynistic, to the point where more than a few people in the audience audibly gasped at many of the horrifically offensive lines. Much like the recent debate over the holiday song Baby, It’s Cold Outside, I’m sure the show wasn’t written with this sensitivity, but we know better now. And when we know better, we need to do better.

The Music Man

Manna Nichols as Marian. Photo courtesy of Arizona Theatre Company.

In the anvil salesman scene, the character makes several leering, disgusting, predatory comments to Marian. Her response to this is to seduce him in order to keep him from chasing after her lying, cheating love interest, Harold Hill. Hill himself  basically stalks her throughout the majority of the show trying to win her over so he could distract her from his illegal pursuits. She says no, many many times, and he continues to follow her.

Many of us have watched movies that we once saw as kids, only now realizing the “adult” jokes that we didn’t understand at the time. This was my experience with listening to these songs 20 years later than the last time I’d seen it.  “The Sadder but Wiser Girl” was especially cringe worthy:

A girl who trades on all that purity
Merely wants to trade my independence for her security.
The only affirmative she will file
Refers to marching down the aisle.
No golden, glorious, gleaming pristine goddess–

I snarl, I hiss: How can ignorance be compared to bliss?
I spark, I fizz for the lady who knows what time it is.
I cheer, I rave for the virtue I’m too late to save
The sadder-but-wiser girl for me.
No bright-eyed, blushing, breathless baby-doll baby
That kinda child ties knots no sailor ever knew.
I prefer to take a chance on a more adult romance.
No dewy young miss
Who keeps resisting all the time she keeps insisting!
No wide-eyed, wholesome innocent female.

The song Shipoopi includes the following lyrics:

Now a woman who’ll kiss on the very first date is usually a hussy
And a woman who’ll kiss on the second time out is anything but fussy

Walk her once just to raise the curtain
Walk around twice and you’ve made for certain

Squeeze her once when she isn’t lookin’
If you get a squeeze back, that’s fancy cookin’
Once more for a pepper-upper
She will never get [mad] on her way to supper

To have a man sing these lyrics in 2018 is a bit mind-boggling. To be honest, it was mind-boggling for 1957 as well, but that sort of inappropriate behavior was accepted, even applauded. However, I’ll say it  again, now that we know better, we should do better. This show is antiquated and does not hold up to modern awareness. Let’s put it to rest and find new stories to tell.

The Music Man plays at Arizona Theater Company through December 30th. Tickets can be purchased through arizonatheatre.org or by calling the box office at (520) 622-2823.