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Interview with Guy Stroman, Original Creator of “Forever Plaid”

31 Mar

Q: How are you involved in Broadway by the Bay’s production of Forever Plaid?

Jim Gardia, Executive Director of Broadway by the Bay, approached me a few months ago with the idea of opening their new season at the Fox Theatre with a production of “Forever Plaid”. Jim is a great friend from Los Angeles, where we met during our long run of the show in Beverly Hills and Jim was our general manager.

We worked it out where I could supervise this production for Jim and Artistic Director Brooke Knight, so I came in for casting, finding four great actor/singers in the Bay area, spent a week teaching them the fundamentals and music of the show with my musical supervisor Steven Freeman, and turning the cast over to Chris Crouch, who has done the show for me (all four roles!) several times over the last six years. I continue to stay involved in all aspects of the production through the preview performances and opening.

Q: It’s been over twenty years since you started developing Forever Plaid. You’ve worked many different sides of the production since then (developing it, performing, directing, etc…). What has been your favorite moment of this 20-year process? Why?

I think two things among hundreds of wonderful experiences stand out. The first would be opening the show on the West End in London at the Apollo Theatre. There we were, with a “small” off Broadway show, and we were a big hit in England, appearing on all of the television and radio talk shows and even getting the opportunity to perform for and meet the Queen and her family.

The second would be the first time I directed the show, which was in the round in my home town of Ft. Worth, Texas, and I was lucky enough to be in it as well with my three castmates as a reunion a year and a half after we had closed in London. We sold out for three weeks, in a two thousand seat in-the-round theatre, performing as if we had just opened. It was an unmatched thrill.

Q: How many times have you performed in and directed Forever Plaid? How do you keep the material new and interesting?

I played the role of Frankie on and off for about four years, with breaks for other shows, and I have directed probably twenty-five productions. It stays “fresh”, or current for me, when I say yes to doing it again, by approaching the piece honestly and simply so that the four actors who are doing it can find their characters and relationships and own them for themselves and for the audiences they are sharing the story, music and humor with. The play is such an interactive and “real time” experience that the show is NEVER dull or repetitive. The audience from night to night always assures a new experience. As a director, the piece means a great deal to me and it is always exciting to discover it again and anew with a new cast.

Q: What’s your favorite song or moment in Forever Plaid?

For me, it is the final song, the coda, really, “Love is a Many Splendored Thing”, which is a great chart by our original musical director/arranger, James Raitt, and is the culmination of an evening-long series of great moments, music, and laughter.

Q: Out of all of the productions of Forever Plaid that you’ve seen/directed, what’s been the craziest or funniest thing you’ve seen happen on the stage?

Whenever you ask the audience into your live performance, anything can and does happen. If I started with one, I would be at it all night. Come to the Fox starting March 31, 2011 and I will bet there will be plenty to choose from. It is that kind of show.

Q: Forever Plaid is a theatre favorite (there are 23 active productions happening right now in the US). Can you give some words of advice to any potential performers that will be in upcoming productions of Forever Plaid?

Keep it simple and keep it honest. These guys are just guys who love to sing and love singing with each other. Learn the music, in that style, talk to each other, talk to the audience, listen and respond. Easier said than done, somtimes, but that’s the key to the heartfelt and funny musical journey of this work of love and commitment that the guys and I started out to take what seems like yesterday.

Q: Currently, there are two spin-offs from the original Forever Plaid — The Sound of Plaid – the new Glee Club Version and Plaid Tidings. Do you plan on working on any more “spin-offs”?

I have directed “Plaid Tidings”, and “The Sounds of Plaid” is a great way for large groups to present this music. Who knows what lies ahead for this material?

Q: What are you working on next?

I am working on an high profile performance of “The Guys”, the two character play about a freelance writer and an NYC fire department captain after 9/11. The performances will be this June with two stars playing the roles first done by Bill Murray and Sigorney Weaver in New York a month after the attacks. It will be presented at a theatre, the Mountain Playhouse, which is six miles from the site of the future memorial for Flight 93 in Western Pennsylvania, and presented by the official committee for that memorial, The Friends of Flight 93.

I am also preparing for an upcoming production of the farce, “Boeing-Boeing” and I am developing a new play about the singer Peggy Lee with music from Leiber and Stoller.

You can keep up-to-date with Guy Stroman by checking his website.

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Broadway by the Bay’s “Forever Plaid” @ Fox Theatre, Redwood City

The 2011 season begins with the fabulous foursome of Forever Plaid, the musical-sensation that has been winning over audiences for the last two decades. Fantastically funny, and timelessly tuneful, this clean-cut musical revue features 50s-style crooning that will leave you in awe and hilarious antics that will have you laughing yourself to tears.

Only 12 performances.

Book by Stuart Ross
Music and Lyrics by Various Artists
Music Continuity Supervision and Arrangements by James Raitt

Entire Production Supervised by Guy Stroman
Supervising Musical Director Steven Freeman

Musical Director Ken Brill
Director Chris Crouch

Website | Get Tickets

 
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Posted by on 03/31/2011 in Bay Area Theatre, Interview

 

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Interview with Jim Bevan – Band Director of Cirque’s “Quidam”

16 Mar

Young Zoé is bored; her parents, distant and apathetic, ignore her. Her life has lost all meaning. Seeking to fill the void of her existence, she slides into an imaginary world—the world of Quidam — where she meets characters who encourage her to free her soul.

Quidam: a nameless passer-by, a solitary figure lingering on a street corner, a person rushing past and swallowed by the crowd. It could be anyone, anybody.

I had the opportunity to talk with Quidam’s band director, Jim Bevan. Check out the interview below!

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1. First off, how did you get involved with this Cirque du Soleil and how long have you been working on “Quidam”?

In November of 2001, I was looking for a touring Conductor/Pianist gig, and I found an add on a website for a Cirque du Soleil Bandleader position, for the 2002 North American Tour of Quidam.

2. Have you been on the side of developing the music or have you mainly worked just with the actors/musicians on learning & polishing the music?

I’m not the composer and I wasn’t there at the beginning, but I’ve tweaked like crazy – changed music I didn’t like, wrote music for new acts or new parts of old acts where needed, and changed little things now and then just to keep it interesting for everybody. The music will always be developing.

3. What’s your favorite part about working on “Quidam”? Least favorite?

My favorite part is performing the show, the “real-time” coordination of the sound and the visual. There’s no one least favorite part – anything that keeps me from music can be annoying.

4. Does the show ever change from city to city while you are on tour, or is it officially set?

The show changes every time we perform it! Somebody always has something they’re going to do differently today – they tweak their acts as much as I tweak the music. The music and the acrobatics are so connected that a little change for them is almost always a little change for me.

Jim Bevan, Band Director of "Quidam"

5. Is the cast the same from city to city?

Pretty much – artists sign a one-year contract.

6. What instrument do you play in the band?

Keyboards, including “left-hand bass” (there’s no bassist in the band), and mandolin in one song.

7. How long have you been on the road so far? And, where do you call home?

I toured steadily for about ten years, came off the road for about twelve when my kids were teenagers, and I’ve been back out here since I joined Quidam in 2001. I’m from Toronto; I’m a Canadian, but “I’m going home” means to Huntingdon Valley PA, just outside Philadelphia.

8. How does working on a Cirque du Soleil show compare to working in musical theatre or in the concert settings?

I’ve never worked in musical theatre, but a big difference for me, between Quidam and a concert, is the size of the “front”. Doing a concert with, say, a singer as the frontman, there’s still an awareness of projecting some degree of the visual aspect of my performance, even if I’m not the main focal point. In Quidam, the “frontman” is this huge circus! Winking at someone in the audience is useless!

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Show Schedule (March 24 – 27, 2011):
•  Thursday, March 24 at 7:30pm
•  Friday, March 25 at 3:30pm and 7:30pm
•  Saturday, March 26 at 3:30pm and 7:30pm
•  Sunday, March 27 at 1pm and 5pm

Ticket Prices
• Adults: From $40 to $115
• Children (12 & under): From $32 to $93
• Military, Seniors & Students: From $36 to $99

Website

 
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Posted by on 03/16/2011 in Bay Area Theatre, Interview, News

 

Interview with Tim Robertson – Musical Director of “Backwards in High Heels” @ SJ Rep

23 Nov

Hopefully, everyone is getting excited to see the Regional Premiere of “Backwards in High Heels – The Ginger Musical” at San Jose Rep. I had the opportunity to get some inside information from the musical director, Tim Robertson.

For more information on the show, please go to http://www.sjrep.com

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1. First off, how did you get involved with this production and how long have you been working on “Backwards in High Heels”?

Believe it or not, I sent a resume to Michael Donald Edwards, the artistic director of Asolo Repertory Theatre in Sarasota.  That is where this show was first being produced.  I had often wanted to work at Asolo Rep and my parents have a house in nearby Bradenton so I was very familiar with the area.  Miracle of miracles, I actually got a response from Mr. Edwards asking me to schedule an interview and I got the job! That was before it was going to be a co-production with the the other theatres but when I found out that the show was going to carry on after Sarasota, I was more than happy to stay on board.

2. Since this a brand-new musical, have you been on the side of developing the music or have you mainly worked just with the actors/musicians on learning & polishing the music?

The show itself was already pretty well structured when I started.  It had already been staged at quite a few other regional theatres before the production at Asolo Rep so there was not too much restructuring to be done on the score — only some minor tweaking and adjustments to suit the choreography or underscoring or scene shifts.

3. What’s your favorite part about working on “Backwards in High Heels”? Least favorite?

My favorite part of this show is working with such a talented cast and working with live musicians. So many theatres, in an effort to reduce expenses, choose to cut the musicians first.  It is really disheartening to me to know that there are theatre companies that would choose to use pre-recorded tracks rather than live musicians.

 

My least favorite part of working on a show like this is the amount of time I spend away from home.  While it is definitely exciting to be working on a great production it is very easy to get homesick when you are out of town for weeks or even months at a time.

Tim Robertson, Musical Director

4. This is a co-production with Arizona Theatre Company, Asolo Repertory Theatre and The Cleveland Play House — how do the shows differ from theatre to theatre? Or do you strictly keep everything the same?

There might be some slight changes from theatre to theatre in order to accommodate the difference in the actual theatre spaces. If the stage dimensions vary or there are sightline concerns for the audience but the show pretty much stays the same. There might also be some changes made for pacing or perhaps a line of dialogue might be rewritten but nothing major changes with the show from theatre to theatre.

5. What ways have the show changed since your last production?

Again, no major changes will be made to the show between Arizona and San Jose — just some fine tunings so the show will be best suited for the theatre at San Jose Rep.

6. Is the cast the same from theatre to theatre?

We lost two of the original cast members from the production at Asolo Rep.  When the show show closed at the end of May there was a period of three months before we resumed in Arizona. That is a long time to try to keep a cast together while the show is not performing but since the show resumed in Arizona the cast will remain the same for the rest of the tour.

7. How long have you been on the road so far? And, where do you call home?

I have been with this show since it started rehearsals in April. We rehearsed for the first two weeks in New York then we moved down to Sarasota to finish rehearsals and get the show on stage. I was with the show in both Tucson and Phoenix with the Arizona Theatre Company for September and October and then San Jose for November and December.  I will also be with the show in Cleveland in January. Right now home for me is just outside of Boston although I am in the process of moving to Bar Harbor, Maine.  So when I finish the run in San Jose I will be living in a new place!

8. Any shows/theatres that you are dying to work on/with?

BOTH of those lists would be way too long but I will say that I am always excited to work in a new city and I am very happy to be here in San Jose. Having lived in San Francisco for over 7 years I have lots of friends and family in the area, so while this is the first time I have worked in san jose, it is nice to be in familiar surroundings.

 
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Posted by on 11/23/2010 in Bay Area Theatre, Interview, Preview

 

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Interview with Adam Barry – starring in “Becoming Britney” @ Center Rep

26 Oct

Adam Barry, playing Man 1, in the new production of Becoming Britney, had some time in between his busy work and rehearsal schedule to answer a few questions for us about his upcoming role in the West Coast premiere of Becoming Britney. It opens this Saturday at Center Rep in Walnut Creek.

Make sure you get your tickets soon; I hear it’s selling really well!

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Adam Berry's Headshot1. How did you get involved in this project?
During the run of RENT at City Lights, I was approached by our lovely choreographer Amanda Folena, who had already been cast in Becoming Britney.  They were looking for another male actor to round out the six-person cast, so she put me in contact with the director.  As it turns out, the co-writer/director Daya Curley and I had worked on a project several years earlier; I set up an audition with her and co-writer Molly Bell, who also plays Britney, and was brought on-board.

2. Who are you playing in Becoming Britney?
I play the part of Man 1.  The show takes place in a rehab facility shortly after Britney’s head-shaving debacle, and through a series of “flashbacks,” we tell the story of her rise and fall.  In rehab, Man 1 is like Britney’s right-hand gay, but he also assumes a variety of different roles throughout Britney’s flashbacks, ranging from pageant coordinator or interventionist.  Getting to rapidly switch between personas makes the part really fun to play.

3. You mentioned that this role has been recently developed in a more significant way compared to the production at the New York Fringe Festival. What’s the biggest difference?
Well, all of the characters have been fleshed out a little bit more in this production.  It debuted at [New York] Fringe Festival in 2008 and hasn’t been performed since, so there’s been time for the material to simmer.  The characters in rehab with Britney have begun to represent facets of her own personality, and Man 1 represents her fabulous, playful and slightly sane side, and really has her best interest at heart.

4. Your last role, Angel in City Light’s production of RENT, is quite different from this project. What’s it like to go from an emotional Rock Opera to a parody of the pop star, Britney Spears?
Well, being in RENT and playing Angel was an absolute dream come true.  Waiting ten years to play a part and finally getting the chance to was an amazing experience.  RENT has been in my bones for so long that the luxurious six-week rehearsal period made the intense material easier to tackle.  Although the story and music in Becoming Britney is much more light-hearted and tongue-in-cheek, the two-week rehearsal period itself is pretty intense.

5. What has the rehearsal process been like? Has there been a lot of revisions since starting the rehearsal process?
Rehearsals for this show move FAST.  There’s a lot of material to learn, and not a lot of time to learn it in.  Because the show is still relatively new, the rehearsal process has really felt like we are re-developing the show – in fact, we just added a brand new dance segment two days ago.  There have been restaged scenes and we’ve reworked lines to smooth out the show.  I can’t remember exactly, but when they did it at Fringe, they put the show up in something like two or three days, so having two weeks is a lot more generous!

6. What’s your favorite part to perform? What’s the biggest challenge?
I love the hip-hop numbers.  It feels like I’m fulfilling my destiny as a Britney Spears backup dancer – the choreography is awesome.  I feel like I’m in high school again, dancing in my bedroom…only an adult.  Also, we recently added a dream ballet to the show, which, personally, I think is brilliant.  The biggest challenge is absorbing all of the material – I had never heard any of the songs before rehearsals began, and the vocals can get pretty tricky.  But the process has been wonderful and the cast is so talented, I can’t say I’ve been all too worried or stressed about it.  I think it’s going to be a really fun, memorable experience for theater-goers.

7. What’s your favorite Britney Spears’ song? album? video? dance move? outfit?
That would require some serious dissection.  I will say, however, that her 2007 album Blackout, recorded during her stint as a crazy-woman, is BRILLIANT.

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Becoming Britney
Book, Music & Lyrics by: Molly Bell & Daya Curley
Directed by: Daya Curley
Choreography by: Mandy Bell, Lisa Navarro & Molly Bell

How does a Pop sensation wind up bald and trapped in her own musical? Becoming Britney is a caustic (but loving) PG-13 fable that chronicles the rise…the dip…and the salvation of a foolhardy celebrity phenom.

The hit of the New York Fringe Festival – “It’s a production that oozes sass!” – raved NYTheatre.com – the Bay Area’s own sensation, Molly Bell, brings Britney home for it’s West Coast premiere. It’s a new Musical, y’all!

October 28 – November 14, 2010

Get tickets here

 
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Posted by on 10/26/2010 in Bay Area Theatre, Interview

 

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Interview with Chris Smith – Director of “Lady Be Good” @ 42nd Street Moon

20 Apr

This interview is a little delayed, especially since this particular production just closed over the weekend, but I thought I would publish it as it was fun getting to learn more about Chris Smith, the director of the Lady, Be Good! at 42nd Street Moon. I wasn’t able to check out this production, but I heard that it was stellar – some of 42nd Street Moon’s best work yet. They were selling out and heard it was hugely successful! Congratulations to everyone who worked on this production. I’m very sad I missed it!

Here are a few press quotes:

“Better than Broadway” – Janos Gereben, SF Examiner, for the complete review click here.

“Fine family entertainment” – Linda Ayres-Frederick, Bay Times, for the complete review click here.

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Up next at 42nd Street Moon in May…

Here’s more info on this:

A Giddy romp with a glorious score! Very Warm for May takes the old “barn musical” plot and turns it on its head: an amiable screwball Long Island matron sponsors an avant-garde musical theatre director and his troupe of performers on her estate, with wildly comic consequences.

Kern and Hammerstein’s score soars with “All the Things You Are” (heard in a stunning arrangement unique to the musical), “All in Fun”, “In the Heart of Dark”, “Heaven in My Arms”, and “That Lucky Fellow”.

Buy tickets here

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INTERVIEW WITH CHRIS SMITH – DIRECTOR OF LADY, BE GOOD! @ 42nd STREET MOON:

1. 42nd Street Moon’s mission is to perform rarely seen musicals. Why and how was “Lady Be Good!” chosen to be in this year’s season?

Lady, Be Good! is a show that Greg, Stephanie and 42nd Street Moon audiences really respond to. It’s a seminal piece from 1924 which both launched and cemented the Gershwin Brother’s creative teamwork, it’s bold jazzy sensibilities helped transform the musical theatre form, and it represents the start of a multi-season celebration at 42nd Street Moon of the works of Ira Gershwin. I was not part of the selection process, but it seems a logical and lovely choice.

2. 42nd Street Moon presented this musical back in 1996. How is this production different from 42nd Street Moon’s first time producing, “Lady, Be Good”? Also, were you involved in the 1996 production?

Our production is fully realized, with all-out dance numbers in addition to physical comedy and staging. The earlier presentation was a “concert reading.” I was not involved in the 1996 production, but have heard wonderful things about it. Another special link to it is that Bobby Weinapple, who played “Watty Watkins” in ’96, is stepping into the show to cover Charlie Boyer for a night.

3. The script has some glaring racial slurs? Have you updated the script in any way or did you keep it in its original form? Any other adaptations to the music or dance?

There are a number of small cuts, keeping in mind our modern multicultural sensitivities, primarily around the Mexican gangster storyline. We’ve made a more significant change by shifting the setting from East Coast New England to right here in the Bay Area. The first act takes place in Nob Hill and the second in Napa Valley. It required a small change to the second act opener “Linger in the Lobby,” changing “East Harbor” to “Napa Valley.” We’re fortunate to have good relationships with the Gershwin Trust, which authorized this adjustment. We’ve had tremendous freedom in terms of choreography and vocal arrangements, since they are not notated in a formal way. Dave and Zack, our talented MD and Choreographer, did a wonderful job and everything is true to its period roots yet feels fresh. “Little Jazz Bird,” “Swiss Miss” and, of course, “Fascinating Rhythm” are showstoppers in my opinion.

4. What was the most exciting thing about working on this particular show?

I’ve been thrilled to work with this talented company, they are fantastic to collaborate with and a joy to watch. Working alongside Greg has been a wonderful experience, his knowledge of musicals is encyclopedic! Then there is the joy of being with this material. It’s bold, funny, jazzy and engaging.


 
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Posted by on 04/20/2010 in Bay Area Theatre, Interview

 

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Interview with Jason Hite – star of “Girlfriend” @ Berkeley Rep

05 Apr

(Photo courtesy of kevinberne.com)

“Girlfriend is the breathless testimony of a fool for love,” raves Rolling Stone, “a rock ‘n’ roll valentine that delivers subtle wisdom with an exhilarating kick.”

Fall in love with the boy next door at Girlfriend. Performances begin April 9 and continue through May 9 on Berkeley Rep’s intimate Thrust Stage starring Jason Hite and Ryder Bach.

I was able to check in with Jason Hite and got a little insight on his experience working at Berekley Rep, what it’s been like to create a new character from scratch and his dreams for the future. Read the full interview below.

Be sure to check out the great ticket discounts at the bottom.

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How did you end up working on the Girlfriend at Berkeley Rep? Did you audition (if so, what was the audition like)?

The process of getting the job at Berkeley Rep was pretty interesting. I trained at the Young Rep program in Walnut Creek at the Lesher Center for the Arts, which is the educational program offered by Center Repertory Company. Berkeley had auditioned a few guys but hadn’t found what they were looking for so they were calling around trying to find more options. They eventually contacted Michael Butler (artistic director of Center Rep) and he gave them my info. I ended up coming in three times before I got the job. It’s definitely the biggest thing I’ve done in my career so far, so I was extremely nervous and excited.

Since this is a brand new musical, you’re creating a brand new character from scratch. What’s it been like?

Creating a new character has been so rewarding. It’s very freeing being the first person to take a crack at it. Nobody is going to see the show and say “That’s not how whatshisname did it”, ya know?

What’s your inspiration for your character?

My character Mike is very similar to me and yet not. I was a jock since I was a little kid all the way up till my sophomore year of high school. I played Baseball, Football and Basketball. Then, I caught the acting bug and gave it all up. Mike is the same way. He’s played sports his whole life but secretly has had this love of music. His relationship with his Dad is very stressful, basically nothing is ever right or good enough. So, from a young age, Mike has had to hide his feelings which makes any form of expression difficult. But put on some music and he comes to life!

Also, the show is set in the Midwest which plays a huge part in are show. The people are generally more reserved and conservative. So whenever Mike and Will are out in public, they need to be very careful about how they act, or the consequences could be severe.

What’s it been like to work with pop star, Matthew Sweet and book writer, Todd Almond?

Matthew Sweet has not been apart of the process. He gave us his blessing to do the show and basically stepped away. Todd Almond, on the other hand, has been in the room almost every day with us. It is such a blessing to the have the writer in the room. If a scene or line isn’t working, Todd will tweak it or cut it. He is so open to suggestions from other parts of the team as well.

Has there been a lot of revisions throughout the rehearsal process?

There have been various tweaks here and there. We’ve changed lines and cut lines. Probably the biggest changes we made were cutting an entire scene and a song. Again, it is so rewarding to be in a new piece where you can change things if it isn’t feeling right.

Were you familiar with Matthew Sweet’s album, “Girlfriend” before auditioning?

I was not familiar at all with Matthew Sweets music, but when I listened to the album for the first time I recognized that early 90′s pop/rock sound.

What’s your biggest challenge with working on the Girlfriend? And the most rewarding?

The hardest part is that the script is deceptively simple. In saying that, I mean, it is so conversational and real that it’s easy to put your own words into it or feel like your saying the line correctly when you’re not. Also, it’s just myself and Ryder Bach on that stage. So that can get quite exhausting. But those are just little tiny negatives in this otherwise amazing journey we’ve been on.

The whole team and staff here at Berkeley Rep are so on top of their game and make you feel overwhelmingly welcome and taken care of.

Describe your dream role, dream theatre & dream director.

My goal for my career is to never be pigeon-holed into one type of character. So anything that reinvents how future employers look at me is where I wanna be. I also want to continue doing new work and working with as many people as I can. My dream director is one that has a clear vision on what he wants but is still very open to the creative process. Also, I love a director that doesn’t say much about a scene. If a scene is ‘over-talked” or “over-analyzed” it can just make things confusing and the actor can start to second guess his instincts.

What do you want the audience to take away after seeing the Girlfriend?

I hope the audience leaves the theater realizing that this isn’t a “gay” specific show. Yes, The two main characters are gay, but the emotions and the awkwardness we share are so universal. The teenage years are extremely awkward and uncomfortable no matter who you are or where you come from.

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SPECIAL TICKET OFFER!

It’s always sweeter when shared. Buy one ticket and get the second ticket at half price! (Ticket must be of equal or lesser value.) Good for evening shows April 10, 11, 13, 17, and 18. Call the box office at 510 647-2949 and use the promo code 5306. Tickets are subject to availability. This offer expires Wednesday, April 14.

Free 30-Below post-show party!
 If you’re under 30, your tickets to the show are half-price, and on Friday, April 9, you can attend a free post-show party. Enjoy complimentary beer, wine, soft drinks, and snacks. Groove to DJ Pauline’s early ’90s dance party. Do you remember the smell of teen spirit? Do you know how to shoop? Got a song you think should be included on the mix tape? Send it to: pluppert@berkeleyrep.org

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Berkeley Repertory Theatre
2025 Addison Street,
Berkeley, CA 94704-1103
Administration 510 647-2900 / fax 510 647-2976
Box office 510 647-2949
Box office hours Tues-Sun, noon-7pm
Groups save up to 20% — call 510 647-2918

 
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Posted by on 04/05/2010 in Bay Area Theatre, Interview

 

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Interview with Ted Kopulos – writer of “The Poptimists”

23 Nov

The Poptimists, a world premiere, opens at Tabard Theatre Company on December 4th and runs till the 12th. “There was a time when clean-cut young American singers toured the land, spreading optimism and patriotism through the pop music of their generation…this is not their story. Meet The Poptimists, a 1970s-era traveling pop group, in this satirical but affectionate musical poke at the politics and perspectives that defined a decade.” Check out the interview below with Ted Kopulos, the writer of The Poptimists.

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Q: The Poptimists’ story comes from a high school memory from the 70′s when The Spurrlows came and visited Leigh High School. Why do think The Spurrlows had such an impact on your life that you would actually write a musical based on them?

A: I think it was the first time I had ever heard a big band in a gymnasium. From the first note of the assembly, it was loud and incredibly energetic. And I couldn’t believe the energy and pearl white smiles of all these clean cut kids. Of course the “Breck girls” were gorgeous to a 14-year-old male adolescent. And since I had been into popular music my whole life, I liked the selection of songs they performed. It was like an avalanche of sound and sight. And yet odd as well. Even at that age I knew there was something just slightly off (and a little scary) about a bunch of kids who were so square yet so intensely sincere.

Q: What’s your writing process like? How long have you been working on this project?

A: Unlike a lot of writers in most formats, I actually start with a title and general idea first–especially for my songs. The title suggests what style and type of work the piece will be. I rarely use a detailed outline. I like to let the work carry itself along and then I step in when it hits a snag. The Poptimists was written in about a month. I started in early March and finished the score in early April. The songs came incredibly fast because the character types were so clearly defined so quickly. The book was written in two sittings. Sometimes shows come this fast, but usually not. This idea had been in my “mental crock pot” off and on for a number of years. I did add a completely new song in August for the male cast members.

Q. Is the musical poking fun of current politics and themes, or is it strictly based in 1970′s?

A: It takes place in Spring 1970, and on the surface it’s a period piece. But certain jibes are timeless. Self-importance, happiness through ignorance, unabashed willingness to go along, believing things are perfect because others say they are. The Poptimists is not heavy-handed in the least, but I suspect a lot of audience members will like a lot of the material on different levels. At least I hope so!

Q: With your expansive theatre background in the South Bay, how/why did you decide to work with Tabard Theatre Company?

A: I absolutely LOVE the space. Theatre on San Pedro Square is just the most unique performing space in the South Bay. Over the last ten years I’ve had a number of musical revues and read-throughs of my musicals and plays produced there. I still love watching people’s faces when they come up the stairs and see it for the first time. In many ways, it’s like a classic New York cellar theater, but on the second floor of a classic San Jose building. The brick walls and the beautiful cherry wood bar are just two of the amazing elements that create an intimate and fun ambiance. Tabard is the diligent keeper of this space and fills it with fascinating and entertaining fare.

Q. What’s it been like to see your vision and story come to life with your actors/production team at Tabard Theatre Company?

A: After 30 years of playwrighting and composing, I’m still amazed each time a work of mine is mounted. Tabard has enthusiastically welcomed me and been incredibly helpful in getting this show mounted. This is one of the larger shows of mine that has been produced and there’s no way I could have gotten it on the boards without Tabard.

Why are you excited for audiences to see The Poptimists?

A: For the same reasons I like audiences to see any of my shows. They’ll have a good time and see something a little off the beaten path, but in a good way. I’m no Arthur Miller or Neil Simon, but I write theater for the sole reason to give the audience, the cast, and the crew a fun time and a few funny hours away from the outside world. The Poptimists is a lovingly warped recollection from my high school days. And everyone had one or two school assemblies which stuck with them. I think the flavor of the time period, the energy and talent of my cast, and hopefully the affectionate satire of my material will combine for a really fun evening. And that’s what it’s all for. Fun.

More tickets and more information, please visit Tabard’s website.

 
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Posted by on 11/23/2009 in Interview

 

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