Volume 1, Issue 4 August 2016
Pasquale Valerio - Music Director
THE SHARON SCOOP
The Village Philharmonic Orchestra 2016/17 Season Rhapsody & Rhythm Scotty McCreery Don't Tell Nonnie Staff Spotlight The Sharon Schedule Theater Superstitions
A Word From
Volume 1, Issue 4 | August 2016
Whitney Morse, Artistic Director, The Sharon L. Morse Performing Arts Center
On script selection for the inaugural season of The Studio Theatre…. Script selection is a mammoth sized job. There are so many great scripts out there spanning 2,400 years of theatre history, and to pick just four for a season can seem quite daunting. So, in order to get this enormous undertaking accomplished I decided to form a team: our Script Selection Team. It's made of eight enthusiastic play readers from our staff and since the team's inception we have been hard at work. Step 1 – “Parameters”- Like any theatre company, we want to make sure we know who we are and what kind of work we want to be doing. So we spent half of our first meeting going over the parameters for play selection. We are very lucky to have our own space to perform in, not all theatre companies do, so we used that as our first parameter. Our space is quite intimate and lends itself to many different kinds of shows, but ones with huge casts are out of the question, simply because of size. The next parameter is “why now?” Why does this story need to be told now? How is it relevant to our lives today? Our mission is to inspire the residents of Central Florida to examine relevant issues by elevating them through intimate and innovative storytelling. Step 2 – “Gather” - We spent the first few weeks scouring our own personal play collections and memories. We were all looking for plays that fit all of our aforementioned parameters. Then we got together and shared all of our ideas. Our initial list was very broad and had roughly 100 shows on it.
Step 3 – “Edit” - We took a closer look at all of the plays on our list and began to make cuts. We looked at each show and researched if it had been produced in the area recently, if the set specifics were possible in our space, and we took another look at cast size. We were able to cut the list in half! Step 4 – “Familiarize” - We all educated ourselves on the shows we had not read, and also shared the information we had about the shows that remained on the list. Step 5 – “Edit Round 2” - In this stage, we cut the list down even more until we get to our top twelve choices. At this point, we all must read each play and really think about its pro’s and con’s. We discuss each play, and decide on whether or not we will keep them on the list for next year. Step 6 – “Finalize” - The last step is seeing how the remaining plays on the list talk to each other. We aren’t just trying to pick four great plays; we are trying to pick a full season of four plays that make sense together. This year our theme is “A Model Home: Peer Beyond The Façade.” Next year it could be anything. In my experience, many times a group of plays will jump out at you and it will all just click and make sense. Sometimes that doesn’t happen and you have to rethink plays you cut from the list. Hopefully at the end of this process we will have a tight knit, relevant, and highly compelling Season 2.
THE INAUGURAL SEASON
A MODEL HOME: PEER BEYOND THE FACADE
Subscriptions On Sale September 6th Individual Tickets On Sale September 20th All Seating Is General Admission The Studio Theatre - Tierra del Sol 806 San Marino Drive, The Villages, FL 32159 www.TheSharonStudio.com | (352) 751-7799
The Sharon is now offering: Acting Classes, Theatre History Classes and more! Classes currently instructed by Trevin Cooper and Whitney Morse, others to be announced soon! For questions and registration visit: The Sharon Box Office www.TheSharon.com/academy or call 352-751-7799
MASTER CLASS November 2nd â€˘ 6pm-8:30pm $50 for participants â€˘ $25 for observers Limited participant spots available On Sale September 21st
In a recording career that spans almost three decades and 23 albums, Grammy® Award-winning saxophonist Kenny G has grafted elements of R&B, pop, and Latin to a jazz foundation solidifying his reputation as the premiere artist in contemporary jazz. Since the early ‘80s, his combination of unparalleled instrumental chops and indelible melodies has resulted in sales of more than 75 million records worldwide (45 million in the U.S. alone) and more than a dozen climbs to the top of Billboard’s contemporary jazz chart. He’s partnered with incredibly talented artists over the years, such as Toni Braxton, Babyface, Michael Bolton, Lenny Williams, Peabo Bryson, and Frank Sinatra.
Kenny G plays the Selmer Mark VI Soprano, Alto and Tenor Saxophones. He has created his own line of saxophones called "Kenny G Saxophones"
Kenny G’s best hits include… Songbird Don’t Make Me Wait For Love Brazil Going Home Sentimental Forever in Love The Moment Havana The Look of Love Baby G Even if My Heart Would Break Silhouette Missing You Now Sade Innocence
SEPTEMBER 3RD • 7PM • $70 - $150
2016/2017 SEASON • $21 -$39 5
The Sharon is thrilled to be hosting The Villages Philharmonic Orchestra’s 2016/17 season!
Under the baton of Maestro Pasquale Valerio the orchestra begins its second decade with a
Based in Florida's friendliest hometown, "The Villages Philharmonic" is a professional Orchestra presenting the highest possible standard for excellence in musical performance since 2003.
This professional orchestra will present musical masterpieces to our local community that will enlighten and entertain. Their purpose is to nourish the hearts, minds and souls of families with the glorious gift of music while inspiring the next generation to pursue this same noble tradition.
Under the musical direction of acclaimed Conductor Pasquale Valerio, the orchestra has grown in stature while enriching and shaping cultural life. The orchestra presents musical masterpieces to nourish the hearts, souls and minds of local music patrons.
move to The Sharon L. Morse Performing Arts Center with an opening Pops Concert on September 5.
“Playing at The Sharon L. Morse Performing Arts Center feels like we have finally come full circle. Oscar Feliu and I started out there years ago, when it was still Church on the Square, and so it only seems fit to dedicate this upcoming season in his honor. Oscar was a great friend and an even better musical companion. Our mission always has been and still is to bring music to this community, but the best part of this season is that we’ll be at The Sharon. We are honored and excited to be here!” - Pasquale Valerio -
Founder & Conductor Pasquale Valerio is the creator, nurturer, mentor and guiding light for the Villages Philharmonic Orchestra and Chorale. Pasquale was born in Naples, Italy and began his music studies at the age of 9. He began studying Trumpet Performance at The N. Piccinni Conservatory of Music graduating in 1985. His studies were not limited to trumpet but included Applied Complementary Piano Studies, Harmony, and Lectures from Maestro Filippo Veniero, who was his guide and mentor from 1976 to 1989.Â His adult musical career began during his national service as a member of the Carabinieri (Italian Military Police). Fortunately for his musical development most of this was with the Band. After his discharge he began playing trumpet at the Naples Opera House and he began studying conducting. Pasquale Valerio served as an apprentice under Sir Antonio Pappano for 6 years. Pasquale followed him all around the world from 2006 -2011 and learned directly from the Conductor of the Royal Opera House in London. To that end, Pasquale believes fully in the magic of education through music, and that children are never too young to start discovering the power of harmony. In 1996, Pasquale relocated to the United States continuing his conducting studies with J. Whitney and GĂźnter Schmidt. In 2004, he became the Founder and Music Director of The Villages Philharmonic Orchestra where he continues to serve today. Maestro Valerio was also the founder of Lake Sumter Chamber Orchestra as well as co-founder and conductor of The Florida Lakes Symphony from 2005-2006. Pasquale has been regularly invited as a guest conductor at the Orchestra Filarmonica 900', Teatro Regio, and the Viotti International Music Festival.
2016/17 Season Schedule Monday
Tuesday 11/22/2016 7pm Messiah Monday 12/19/2016 2pm Holiday Monday 12/19/2016 7pm Holiday Tuesday
Concert Series and Individual Concert Tickets On Sale Now | $21-$39
SEPTEMBER 10TH • 7PM • $20 - $40 7
A multimedia concert event that celebrates the ingenious music and legacy of George and Ira Gershwin
“Rhapsody & Rhythm” has been performed throughout North America to critical acclaim. The definitive Gershwin
experience is performed by incredible musicians who have an unparalleled understanding of why the Gershwin brothers will forever be the most beloved and respected songwriting team in history. Classically-trained pianist Richard Glazier, Two Time Grammy Award winner and regional Emmy Award winner Sylvia McNair, and bandleader Michael Andrew will bring the truly unique and entertaining Gershwin experience to life. The event includes performances of the most popular songs, such as, “I Got Rhythm,” “S Wonderful,” “They Can’t Take That Away From Me,” “Summertime,” and “Rhapsody in Blue.’’ In addition to the legendary music, the unforgettable concert includes rare Gershwin home videos, photos, special family stories, and more. Glazier’s love of George and Ira Gershwin’s music began at a very young age, when he penned a letter to famed lyricist Ira Gershwin at the age of 9. After corresponding with each other for three years, Ira invited his young friend to meet him in Beverly Hills. During their visit, Ira asked Glazier to play a Gershwin tune on the piano that once belonged to his brother, legendary composer George Gershwin. Fueled by Ira’s encouragement and interest, Glazier dedicated himself to the Gershwin repertoire and the American Popular Songbook, eventually becoming one of the genre’s leading authorities. Through the years, Glazier has performed at Carnegie Hall, the United Nations, Library of Congress, Smithsonian Institution, the Clinton Library and more distinguished venues.
Sylvia McNair lays claim to a three-decade, stellar career in the musical realms of opera, oratorio, cabaret and musical theater. Her journey has taken her from the Metropolitan Opera to the Salzburg Festival, from the New York Philharmonic to the Rainbow Room, from the Ravinia Festival to the Mormon Tabernacle Choir, from the pages of The New York Times and the Wall Street Journal to the London Times and the cover of Cabaret Scenes. Having appeared as a soloist multiple times with nearly every major opera company and symphony orchestra in the world, this songbird has flown the classical coop. She’s retracing her star route now with Gershwin, Porter, Bernstein and Sondheim. In 2016, Sylvia’s newest recording: SUBJECT TO CHANGE!, a cabaret show about her life in music, recorded “live” at the Aspen Festival, will be released. This release follows an indelible audio trail with over 70 recordings ranging from Mozart arias with Sir Neville Marriner and the Academy of St. Martin-in-the-Fields to the music of Jerome Kern and Harold Arlen with pianist Andre Previn. In 2011, Sylvia released a Christmas CD, PEACE, which sold out its first run
Michael Andrew in a matter of weeks. In 2012, ROMANCE, a disc of Latin American jazz standards was released to a rave review from Fanfare Magazine’s Lynn Rene Bayley: “… here the record is, and it’s fabulous. In fact, it’s the biggest surprise of its kind I’ve encountered since Diana Ross’s live album of Billie Holiday standards.” Michael Andrew was the headline singer and bandleader at the world famous Rainbow Room atop Rockefeller Center in New York City where he entertained audiences nightly and hosted the live radio broadcast, “Live from the Rainbow Room.’’ He was the band leader and singer at Merv Griffin’s Coconut Club in The Beverly Hilton in California. While on “Larry King Live,’’ Griffin called Andrew “one of the great singers of all time.’’ He has played a singer in the movies “Heartbreakers” and “Bobby Jones, Stroke of Genius,’’ and produced music for several films, including “Inglorious Basterds.’’
SEPTEMBER 16TH • 7PM • $25 - $100 9
SCOTTY MCCREERY After winning Season Ten of “American Idol” and capturing the hearts of millions of television viewers both nationwide and overseas, Scotty McCreery released his debut album, which was the best-selling solo album released by a country artist in 2011—and he was only 17 years old! Indeed, he became the youngest man and first country music artist in history to have his first album debut atop the all-genre Billboard Top 200 albums chart. That album, Clear As Day, was certified Platinum for sales of one million units in just thirteen weeks, and the first two singles from that album (“I Love You This Big” and “The Trouble with Girls”) have also since been certified Platinum. He won the New Artist of the Year Award at both the Academy of Country Music (ACM) Awards and the American Country Awards in 2011, and received the CMT Music Award for the USA Weekend Breakthrough Video of the Year for “The Trouble with Girls” in 2012. That same year, his Christmas album, Christmas with Scotty McCreery, was released. It debuted at No. 1 on the Billboard Top Holiday Albums chart and was quickly certified Gold.
Scotty McCreery quickly established himself as one of country music’s hottest new stars!
Now in his early twenties, the talented singer/songwriter has album sales approaching 3 million, and received both Platinum and Gold album certifications, debuted three consecutive albums at No. 1 on a Billboard chart, and achieved one Gold and three Platinum-certified singles as well as two Top Ten hits. McCreery has toured with Brad Paisley and Rascal Flatts, headlined his own tours, earned industry and fan accolades, and was named “Best American Idol” by the readers of The Los Angeles Times and “Country Music’s Sexiest Man” by the readers of NASH Country Weekly Magazine. He has amassed more than three million followers on Facebook and Twitter, and received
more than 150 million YouTube views. And with the release of his first book Go Big or Go Home: The Journey Toward the Dream in 2016, he can also add the title of author to his resume. His deep voice and irresistible sound create a perfect blend of contemporary and traditional country. With more than 400 live shows under his belt across the U.S., Canada, the Philippines and the Caribbean, McCreery has quickly become a crowd favorite appealing to all ages. His loyal fans – the McCreerians – are among the most dedicated and enthusiastic in the country music world!
"I Love You This Big" "Please Remember Me" "The Trouble with Girls" "Southern Belle" "See You Tonight" "Water Tower Town" "Feelin’ It" "I Don’t Wanna Be Your Friend" "Carolina Eyes" "Forget to Forget You" 10
SEPTEMBER 13TH • 7:30PM • $15
For our next Don’t Tell Nonnie Event on September 13th, we will have a special treat! Rebecca Morse will be our Guest Host for the evening! She will be engaging us with her own flare and sultry voice in between songs! Rebecca Morse is no stranger to the entertainment scene. In 1978, she began her career as a singing cocktail waitress, a “Honeybee,” at the original Brownwood restaurant in Northern Michigan. She performed with The Time Pilots on Pleasure Island at Disney, with the show band Carousel in the old blue and white tent in Orange Blossum Gardens, and at Teo’s in LaPlaza Grande in the 80’s. After semi-retiring from singing, she formed her own DJ business, Regal Entertainment, emceeing events in the Tri-county area. Since 2010, she has been heavily involved in all aspects of business with a strong focus on customer service, her first love! Currently working as the House Manager for The Sharon L. Morse Performing Arts Center, she oversees around 200 ushers for the esteemed theatre. Most show nights, you can find Rebecca working her magic at The Sharon greeting patrons, assisting all the Ushers, and warming the hearts of all the theatre’s regulars. Her genuine passion for the arts is contagious! And the apple didn’t fall far from the tree… while her talented daughter, Whitney Morse - The Sharon’s Artistic Director - is usually the host for the evening, Rebecca is very excited to have the opportunity to guest host September’s Don’t Tell Nonnie. Anyone that has ever heard her sing is anticipating an incredibly entertaining night!
See you at The Sharon on Tuesday, September 13th at 7:30pm; doors open at 7pm! 11
Whitney is handing over the reins to her mother for the eveningâ€Ś. see them here discussing host duties!
THE SHARON STAFF SPOTLIGHT
Dan hails from the great state of New Hampshire. He holds a B.A. in Theatre Arts from Plymouth State University and an M.F.A. in Theatrical Lighting Design from the University of Florida. He has been the Lighting Director at the Sharon L. Morse PAC since 2015 and is the resident Lighting Designer for The Studio at Tierra del Sol. His design credits include Sweeney Todd, Pippin, The Seagull, Little Shop of Horrors, The 25th Annual...Spelling Bee, Miss Witherspoon, and New England Tap Ensemble's Inspired!. Dan was also the principal designer on the Beacon architectural lighting install at the University of Florida on the exterior of the Nadine McGuire Theatre and Dance Pavilion. He has worked for companies such as The Asolo Repertory Theatre, Utah Festival Opera, Inter-Lakes Summer Theatre, Mt. Washington Valley Theatre Company, and Bunt Backline Event Services.
Can you tell us about your role in creating the lighting system at The Sharon? Stan Kaye, who was a Graduate mentor at the University of Florida, was the theatre consultant for The Sharon. I knew about the project but not truly of its scale until after the ground breaking. I was given the original repertory plot about 4 months before the building opened. It needed a lot of cleaning and a bit of my own flair added to it. I went through and in the course of about a week I redrafted the entire space and redesigned the entire light plot based on the inventory. Lights had originally been cut during the purchase phase and I fought for those to be added back into our original investment. We needed the fixture in order to house dance troupes and some tours that do not travel with their own lighting rig. Every light you see in the air was designed, plotted, and fought for by me so we could have a top notch lighting system that allows many designers to walk in and not need to add much for their own shows.
How are The Sharon's lights different from the lighting youâ€™re designing for The Studio? The Studio is a very different beast than The Sharon. Unlike The Sharon, where the audience seating never moves, The Studioâ€™s seats can be in a different configuration for every show. The lighting for The Studio will vary in position, focus, color, and size from show to show. This will allow every play in the same space to have a very different mood and look.
What is the most complicated light scheme you’ve ever had to do? I’d say there have been a few. The most complicated one I’ve ever been involved with, was when I was the Principal Designer on Sweeney Todd. The stage had almost 30 acting areas and three different levels at multiple depths. The most complicated I’ve been involved with as a non-designer in a theatrical sense, would be the repertory season at the Utah Festival and Musical Theatre in Logan, Utah. We did a four show season in rolling repertory; meaning that every day we had two different shows of our four performances. The most complicated from a concert sense was a one-off show for the Electronic Dance Music artist Tiesto at the Borgata Hotel in Atlantic City for New Years Eve.
Can you give us any scoop on how The Studio will be set up from a lighting perspective? Lighting wise the system will be 90% standard tungsten-halogen (essentially what your household light bulbs are but filled with halogen gas and a tungsten filament) drawing between 575 and 2000 watts. The other 10% will be LED wash fixtures. Though the industry is shifting towards LED, I am choosing to still install standard dimmers to allow for the use of traditional fixtures. The dimmers will allow me to expand and add LED fixtures as their price drops and their optical output climbs. Some wireless DMX and dimmers will be employed on different shows as well as some different lighting accessories that we haven’t used at The Sharon before.
How do you move around the lights when the seating moves from show to show in the black box theatre? The lights will be moved simply with man power! We will strike (or take down) the lights after each show closes and then based upon my plot, or my assistant's plot, we will rehang all of the lights for the next show and refocus them around the space. All of this will be done from a standard A-frame ladder on a custom wheel cart, built by our scenic department.
What is your favorite part of a show? My favorite part of a show is hearing people’s reactions during and afterwards; shock, awe, happiness, sadness, or cool things people saw. I designed 25th Annual Spelling Bee before graduate school, my parents came to see it and my dad said during the “I Love You Song” that their acting combined with the color, movement, and intensity of lighting made him cry. I love how what I do is so intangible yet can affect people so deeply on an emotional level that even they didn’t think was possible.
THE SHARON SCHEDULE
Theatre Superstitions From the Sharon’s Staff
RACHEL WHITTINGTON, Customer Relations Liaison: Always leave the "Ghost Light" on when the theatre is empty to keep the ghosts happy. Much like "every town has a witch" from Big Fish, the movie: "every theatre has a ghost!" Never say "Good Luck" to a performer. Always say "break a leg" (reverse psychology).
DAN HOPPER, Lighting Director:
You don't whistle in a theatre because back in the day that's how the riggers (who were sailors because they knew ships rigging well and applied it to theatre) would communicate or give G-O on a fly cue. So if you whistled they may fly in a piece of scenery at the wrong time.
GRACE PETTY, Assistant House Manager: Shakespeare's play Macbeth is said to be cursed, so actors avoid saying its name when in the theatre (the euphemism "The Scottish Play" is used instead). Actors also avoid even quoting the lines from Macbeth before performances, particularly the Witches' incantations.
ELIZABETH CONSTANT, Booking Coordinator: If you did say Macbeth's name, we used to have to spin around 3 times counter clockwise and spit over your left shoulder, leave, and ask for permission to return inside the theatre. It's been said that if you have a bad final dress rehearsal that opening night of the performance will be great. Same in reverse, if the final dress goes smoothly, the first performance might be lousy.
WHITNEY MORSE, Artistic Director: One of my personal ones: I must run all my lines every show day prior to performance. Here is one I’ve heard of through the years: Having a lucky “show box” with all of your show needs in it like make up, hair spray, etc. It’s usually decorated with photos and memorabilia.
The Sharon L. Morse Performing Arts Center has a mission to provide quality entertainment to The Villages® and its surrounding communities.
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