Summati n Weekly
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THE
T h i s C o m mu n i t y N ew s p a p e r is a publication of Escambia / Santa Rosa Bar Association
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February 10, 2016
An Evening with Molly Ringwald
STOMP Into the Saenger
By Kayla Glaze
By Kelly Oden We all know Molly Ringwald as the redheaded darling of iconic 80s movies like The Breakfast Club, Sixteen Candles and Pretty in Pink, but what you may not know is that Ringwald is also an accomplished author and jazz musician. Often regarded as the muse of the late, great director John Hughes, Ringwald was a jazz lover long before her big break into mainstream cinema. Her first album, Except Sometimes, features songs from Great American Songbook as well as one very special track—a nod to her director/mentor and to her own exceptional youth. I recently caught up with Mrs. Ringwald to discuss her movie career, her music and her upcoming show at Vinyl Music Hall on Feb. 19.
received. What is it about the writing process that you enjoy? I enjoy getting into the heads of my characters, figuring out what motivates them, and building stories around their desires and conflicts. I also like how writing uses every part of my brain -the creative part, the analytical part, the language part, even the musical part. I believe you live in the U.S. now, but you lived in France for many years. How does everyday life differ between the two countries? Slowness. Maybe it’s because I’m comparing it to NYC, where the daily pace is notoriously fast, but life in France has a much slower pace. There’s a kind of languor to it. People don’t take their coffee to go, for example. The idea is to sit and drink it. Take a moment, savor it, think your thoughts. In the U.S., it’s gogo-go. Are the John Hughes movies still as culturally relevant overseas as they are in the U.S.? I haven’t really lived overseas in a long time (and only in a couple countries) so I couldn’t say with any authority. Though I don’t imagine they’re as culturally relevant, since other countries have their own classic films chronicling the coming-of-age experience. The Breakfast Club recently celebrated its 30th anniversary. Do you keep in touch with any of your fellow John Hughes movie actors from the 80s? We catch up here and there, usually at events. I talk to Ally most often. Do you have a favorite of your movies from the 80s? If so, why? My favorite changes up every once in a while. Right now, it’s The Breakfast Club. It’s such a strong script, and it holds together very well.
Although most people know you as an actor, you are also a writer and a jazz musician. What project are you most proud of? It’s hard to pick just one -- or even a couple. Invariably I’m most excited about what I’m working on at the moment (or just finished) and that enthusiasm very often translates into a kind of pride. I will say I was very proud when I finished writing my first book, because I was pregnant with my twins at the time, and the effort involved to hit the delivery deadline (before I literally delivered) was intense. Tell me a little about what draws you to jazz. I’ve loved jazz since I was a little kid. My father is a jazz pianist and I grew up with it all around me, it was the soundtrack to my childhood. I love lots of styles of music, but jazz is my musical “comfort food.” Your two books, When it Happens to You and Getting the Pretty Back, have been well
I loved your version of The Breakfast Club song “Don’t You (Forget about Me).” Was it your idea to include it on your album, Except Sometimes? What inspired you to do so? I recorded the album not long after John passed away, and he was on my mind a lot at the time. So the song was a way for me to integrate the past into who I am today. I didn’t know how it would be received, since it’s the only song on the album that’s not from the Great American Songbook. But it’s gone over very well -- if I don’t perform it during a show, the audience starts demanding it (that’s what the encore is for!) What can fans expect from your show at Vinyl Music Hall on February 19? Do you banter or tell stories during your set? Yes, I talk to the audience between songs, telling stories and giving some background about the music. I don’t have a script or anything like that, it’s off the cuff, so both the audience and I never know what’s coming. If something memorable or entertaining just happened that day, or comes to mind (and it’s relevant) I share it. I think it’s more fun that way - it’s a live show, after all.
Many modern dance and musical movements were born in the streets as raw depictions of struggle and triumph. Since then, break dancing and hop-hop have morphed and evolved into a cultural phenomenon, but one famous touring group is bringing the art forms back to their roots and back to the streets, literally. STOMP is an international rhythm production band that uses nonconventional items as instruments. The idea for the band came to Luke Cresswell and Steve McNicholas in 1991 in Brighton, UK. Four years later, STOMP made its debut in the U.S. Nowadays, the show is primal and rhythmic, the product of everyday objects with which many can identify. Downtown Crowd spoke with one of STOMP’s performers, Jeremy Price, who has been with the production on and off for 13 years. Jeremy gave us some insight on the processes of the production. There is not a lot of melody or words and the magic is based in movements and rhythms,” Jeremy said. “That is why so many different people can identify with it. This production reaches a vast diversity of people, because everyone understands rhythm.” There are legions of street performers out there, though, so what is the secret to STOMP’s success? “It’s primal in its rhythm, and we make rhythm out of everyday objects that everyone has,” Jeremy said. “We make rhythm with pots and pans, brooms, coffee containers—all kinds of things. The other thing special with the show is there is not a lot of melody and there are no words. Both of those things can be culturally specific, so this is something that doesn’t have too much of that. It is all just based in rhythm and movement, so it appeals to everyone.” As there is no set language in rhythm, no translation is needed. But, that doesn’t mean the crew doesn’t relentlessly rehearse for the big performances. In fact, the practices are just as physically grueling as the show itself. “When you get hired, you generally spend about six weeks in the rehearsal process,” Jeremy said. “STOMP is not something people do naturally. It’s not like you can be a trained dancer and be a great STOMPer or be a trained musician and be a great STOMPer. You can come into STOMP and have those attributes but you still have to be cultivated and learn what it is to STOMP. It’s usually a mixture of movement and rhythm. The show is about an hour and 30 minutes to an hour and 40 minutes and if you do that every night it is a workout in itself. We have a rehearsal the day of the performance then right before the show we have someone come in and lead a warm up just to get our muscles warm and ready.” STOMP’s shows are ever changing and “organic,” according to Jeremy, and the show incorporates humor, which is “the secret weapon” of STOMP. Expect to be completely absorbed in this unique production of rhythm and humor. Jeremy wants each member of the audience to walk away feeling as if he or she is part of the production. More than anything, STOMP is a chance to escape real life, forget all your worries and just enjoy the show. When asked what his favorite part of the show is, Jeremy responded with “the audience, seeing them interact with the show and enjoy it is the best part of the whole thing.” STOMP will be at the Saenger Theatre on Feb. 23 at 7:30 pm. For more information, visit pensacolasaenger.com.