The folks on Fleet Street

So we head into tech on Monday and I have been really bad about blogging. It's a big show so most of my time is spent working on the show or on other projects coming up. And I haven't talked nearly enough about the cast. We did a run through of the show yesterday morning. Well actually we still hadn't staged the last 7 pages, so we ran right up until the half dead judge is clutching on to Mrs. Lovett's skirts. Talk about a tease. It was tough for me to still not be fully staged. I like to have a show fully on its feet 5 to 7 days before tech. That wasn't possible here because the show is a beast, and since it's being done at a university, you just have less rehearsal time. Actually the time we've had in terms of hours equals two and a half weeks under normal rehearsal circumstances. So when we ran yesterday I was thinking, "God it feels like years since we touched the first act of this show. I hope they remember it 'cause I'm not sure I do." LOL. Well they remembered it brilliantly. Not only did they remember it but they were able to give some really full bodied performances. In the afternoon we finished the show and now we're on to tech!

So as you can tell, I think this cast is pretty damn amazing. They come in so prepared, so willing to try anything, and they play it full out.  One thing I've noticed is that they never mark emotionally. Of course when you are rehearsing a musical, actors have to vocally mark at times. If they don't, they'll blow their voices out. I have to say I often find that when actors vocally mark, their "acting wattage" can diminish significantly as well. That never happens with this cast. They're always in it to win it even when they have to be gentle with their vocal chords.

And here they are:

Denver Milord as Sweeney Todd

Lucia Roderique as Mrs. Lovett

Abdiel Vivancos as Judge Turpin

Corey Cott as Tobey

Jessie Ryan Shelton as Johanna

Marrick Smith as Anthony

Grey Hanson as Beadle Bamford

Lindsay Spangenthal as The Beggar Woman

Noah Plomgren as Adolfo Pirelli

And then there's the "ensemble." Since they are part of the "parlor world," they never leave the stage-- well, except for during A Little Priest. Sweeney's Epiphany sends them "running for the hills" or in this case running into the audience. Their commitment to making the entire conceit of the production work, is what actually makes it work. And their concentration is spectacular. 

Nick Rehberger

Casey Anderson 

Taylor Helmboldt 

Olivia Harris

Stephanie Hogan

Jon Jorgenson

Whitney Houston

I sort of can't believe that I'm about to write a post about a tragically cut short pop star's life. I have to say that I usually find such behavior odd if not downright silly and sad.  I certainly didn't have an overwhelming response to Michael Jackson's death. I remember his music vividly. Thriller was the soundtrack of my youth. I remember sitting in the small cafeteria at Irondequoit High School. That was my homeroom and the school's radio station would play music in the morning. And one morning they played Beat It. I can see the details of the room and the windows and kids starting to dance to it while sitting in their chairs. It did truly thrill. But somehow his otherworldly life kept me from feeling any kind of emotional attachment to him or his music. I'm sure the fact that I was up at the O'neill Musical Theater Conference when he died contributed to my dispassionate response to his death. It's a cocoon up there with no tv and spotty wireless service so the overwhelming response to the news that he died was very muted. I didn't see a paper, didn't have tv to watch, and could only get on Facebook sporadically. 

But Whitney Houston is a whole other story. First of all her voice is just one of the greatest of all time. And interestingly I didn't really appreciate it when I was younger. I mean I loved her music, but I don't think I understood how monumental a talent she was from just listening to her records. It wasn't until I discovered videos of her live performances that I understood her unbelievable talent. Besides that voice-- that once in a lifetime (if not several lifetimes) -- incredible voice, it was just her absolute command of her star presence. Seeing her live in person or a live performance on video-- you realize how much recording kept her reigned in. Recorded she sounded amazing, flawless, stunning. Live she was primal, unbridled, thrilling, and devastating. And yes she riffed, but not nearly as much as the younger singers who idolize her do. And when she did any stylization, it seemed to come from her gut and her soul. It didn't come from her vocal chords just to show off. (Note: I think you're amazing Christina Aguilera but most of the time you're just getting off on your own voice). If you watch the following video, I dare you not to be overwhelmed. This video beyond any (in my opinion) is incredible evidence that she is more than the best voice of her generation. She is one of the greatest voices of all time.

This next clip not only shows her extraordinary voice, but it is a crazy demonstration of her understanding what it means to be a star. She just knows what the audience wants and she gives it to them-- basically fueling them into a frenzy. And just watch what she does in the second half of the song around 4:30 or so. Any other singer doing those over the top theatrical gestures would be laughed off the stage. Not her. She thrills with it. She must have known she had the voice of a goddess, and I think she knew that her audiences expected her to be one. So that's what she gave us.

RIP indeed. 

I Got A Great Sister

A lovely interview with my wonderful big Sis below.

An Interview with Renee Calarco