C O N T E N T S
“BEHIND THE CURTAIN” SPRING ISSUE Michael Barnard Producing Artistic Director Vincent VanVleet Managing Director “BEHIND THE CURTAIN” CAST Lindsay Halvorson Director of Marketing & Communications Melanie Dillman Director of Visual Communications & Graphic Design Megan Mattox Marketing & Visual Communications Coordinator CONTRIBUTORS Rhiannon Helms Sydney Kreuzmann
FEATURED Director’s Note The Selection Process 2015-2016 Season Profile of Ron May Oki-Doki! New Works for All Ages Community Partnerships Donor Listing CONTACT US Box Office, Group Sales & Concierge 602.254.2151 Facility Rentals & Events 602.889.5294 General Administration 602.258.1974 BOX OFFICE HOURS: M-F 12-6P
SEASON HOST SPONSOR Robert Machiz MUSICAL SPONSOR Phoenix Theatre Guild COMMUNITY PARTNER Phoenix Office of Arts & Culture Arizona Commission on the Arts OFFICIAL PIANO SPONSOR Steinway Piano
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Director’s Note
Dear Patrons, It’s an exciting time here at Phoenix Theatre as we have premiered the hilarious one man show, Buyer & Cellar, are putting the finishing touches on the poignant End of the Rainbow and are deep into preparations for our final production of the season, the comedy smorgasbord, One Man, Two Guvnors. In addition to these fantastic productions, we are getting ready to invite hundreds of students back to the theatre for our Summer Camp, Master Classes and Musical Theatre Intensive. Our calendar is chock full of opportunities for your entire family to join us for an excellent arts experience. In this issue of “Behind the Curtain,” we take a brief look inside the thorough and conscientious process that is selecting a season. I’m excited to have this opportunity to share a glimpse of what that experience is like and how that development progresses. While we announced the exciting 2015/2016 Season, I had already started to craft the next; always ready to leap into the next opportunity. Phoenix Theatre is proud to be a part of the rich culture of Phoenix and to continue the advancement as a community committed to the arts, we have renewed our calling to be an incubator of original works. In this issue, we take a look at another opportunity to bring this mission to the next generation of artists with our new Musical Development Workshop for students 12-18. This workshop gives these students a chance to work with a playwright and director to experience working a piece from the ground floor — a truly unique and influential understanding on the development of theatre. Again, I thank you for supporting Phoenix Theatre and art in the Valley and I look forward to seeing you at the theatre! Best regards,
Michael Barnard Producing Artistic Director
You are talking to a man who has laughed in the face of death, sneered at doom, and chuckled at catastrophe. I was petrified. Then suddenly the wind changed... — The Wizard of Oz I don’t want to be an old man and look back and realize I never found my reason to be alive. — Avenue Q
You can only get to where you’re at by the way of where you been. It don’t matter if it’s good or bad, you wouldn’t be what or who you are now if you hadn’t been whatever you was way back when. —Lady Day at Emerson’s Bar and Grill
Every night, if you look up and tell one of those stars what you wish for, and if you believe with all your heart, then someday it will happen. — When You Wish: The Story of Walt Disney I have never had a problem with age, my dear. It has only ever had a problem with me. — Calendar Girls
I chose freedom, running around trying everything new, but nothing impressed me at all. I never expected it to. — Evita It was the same story every time — you’d seduce me and then you’d make me use science for evil. Well, damn it, I’m through using science for evil! Haven’t you ever seen “Planet of the Apes?!” — The Toxic Avenger In this town, murder is a form of entertainment. — Chicago
You must remember this, a kiss is still a kiss, a sigh is just a sigh. The fundamental things apply as time goes by. — The All Night Strut!
THE SELECTION PROCESS By: Rhiannon Helms When Phoenix Theatre announces the 2015/2016 season, Producing Artistic Director, Michael Barnard is already hard at work deciding the upcoming seasons for 2016 and beyond. The selection process to determine which shows will be performed within a season is a carefully thought out endeavor which requires patience, commitment, and proper planning. Some of the upcoming shows have been over five years in the process. Michael Barnard says, “Sometimes it’s about searching for the right opportunity. There are licensing companies that have to approve, and sometimes shows are restricted to perform because they are on a national tour. You have to bid in early.” With over fifteen performing theatres in wPhoenix, Michael Barnard has set Phoenix Theatre apart by choosing productions that will stand out in the Valley. “Musicals are our forte’ so we start there, and then choose a variety of plays. There are other theatres in town that do more dramatic plays, and I feel like that is how we separate ourselves and offer the community something different.” Knowing your audience and what the audience wants is a key component to deciding upcoming shows. “What I typically do is start looking at shows that would entice our audiences. Taking a look at past shows that have made audiences rave and make sure we include contemporary musicals that I believe we could introduce to our patrons and produce very well,” said Barnard. “Once a couple of selections are decided, we look at the diversity of the shows themselves. Are they different enough? Will they stand out?” says Barnard. However, choosing the perfect season without the cast to support it would not suffice. “As a regional theatre company special consideration is taken to how much we can cast locally with our extremely talented actors and dancers,” Barnard said. Although exceptions to that are sometimes made, Barnard says, “Some shows may be more difficult to cast, but if there is a really strong piece that we feel we must have, even though they may be more difficult to cast, we want to bring it on.” “Sometimes it’s good to cast from the outside of Arizona, for ensembles in musicals, and in some cases if we haven’t found the right person locally to fit a leading role. Bringing in actors and dancers from the outside of Arizona periodically is nice because they bring a new energy to the theatre,” Barnard said. This season, there is a strong emphasis on female empowerment. Dorothy, Roxie, Evita, Billie Holiday…they all go on adventures because of their strong personalities, and they end up becoming who they were really meant to be. According to Barnard the theme of this season is “Be who you are meant to be.” Ultimately, no matter what season or theme, Barnard says, “We always want to preserve our unique presence, and present work that we really believe in and love. We always put in our heart and soul and integrity into every production and every season.”
Ron May in The Year of the Rooster. Stray Cat Theatre 2015.
RON MAY : ONE MAN, MANY TALENTS By: Rhiannon Helms
Toby Yatso Buyer & Cellar, directed by Ron May. Phoenix Theatre 2015.
Ron May in The Agony & Ecstasy of Steve Jobs, a one-man show. Actors Theatre 2014.
Ron May is the Founding Artistic Director of Stray Cat Theatre, the Patron Relationship Manager for Arizona Theatre Company, recently directed Pluto at Stray Cat and Christmas 2.0 at the Hormel Festival of New Works and Musicals. He is now directing the one-man show Buyer & Cellar, starring Toby Yatso, and will be acting as the “one man” in One Man, Two Guvnors, which will open May 20th. To say that Ron May is a busy man would be an understatement. Luckily, May has a good grasp on what he would like to accomplish within the theatre community in the Valley, and enough experience to do it. “At Stray Cat, I get to pick the projects I work on, so there’s a whole rolodex of things that draw me to selecting various [shows.] Outside of Stray Cat, it’s about the opportunity to work with artists I otherwise don’t get a chance to work with, opportunities to work with other companies, and opportunities to work on an exciting work. Any of those and you’re likely to at least peak my interest.” From grade school to college, theatre has been a quintessential part of Ron’s life. “I went to college initially for acting but switched to directing after taking time off from school to ‘try and do that thing you like that makes you money that isn’t theatre,’ and I was miserable.” After realizing that life without theatre isn’t what he wanted May moved to Arizona in 1997 to finish college and study directing. “Arizona has been very kind to me. My intention was never to stay. I’m a Chicago boy originally, but here I am.” When speaking of his thoughts on the theatre community in the Valley, May says, “We have world-class artists here, a lot of them – But it always saddens me when people opt to leave here for what they perceive to be greener pastures somewhere else. The only way a community strengthens is when the vibrant artists stay and make art. Greener pastures don’t need Arizona artists. Arizona does.” In 2012, May starred in the one-man show The Agony and the Ecstasy of Steve Jobs at Actors Theatre. “It is both exhilarating and terrifying at the same time. If you mess up, you have no one to cover for you. So that actor’s nightmare of forgetting your lines just magnifies ten-fold. But it’s also a huge rush playing with an audience all by yourself. There’s really nothing like it.” “I guess on a fundamental level, acting is kind of inside-out you’re inhabiting something and creating a series of actions to make an audience believe that something is actually happening.” Now, on the other side of the stage as the director for the one-man show Buyer & Cellar, he says, “Directing is sort of outside-in you’re corralling a bunch of people to portray a series of actions and making sure the actions are going to make the audience believe that something is going to happen from one moment to the next. “ As for what it’s like working on the one-man show Buyer & Cellar, May says, “traffic management is certainly a hell of a lot easier. And you only have one personality or temperament to deal with as opposed to like 11, or something. But the basic tenets are the same.” With as many projects that are underway for May, Buyer & Cellar was one of those shows that sparked a special interest. “I think the audience is going to fall in love with Toby. They’re going to fall in love with the character that he’s playing. They’re going to grow weirdly fonder of Barbra Streisand than they might already be. And they’re going to laugh. A lot. They’re going to have an insanely good time.” With this much passion and talent, there are no signs of May slowing down. He credits ‘possibility,’ for keeping him inspired. “Every day is full of a zillion possibilities. It’s exciting to see what’s around the corner.”
Oki-Doki! New Works for All Ages
On the heels of The Hormel Festival of New Plays and Musicals, Phoenix Theatre continues to emphasize and focus on the development of new works as a part of this year’s exciting Summer Camp lineup! Playwright Kevin Frei, also a past participant of the Festival, has developed a script and musical score geared specifically toward a teen audience and cast. His musical Oki-Doki! will be featured in this summer’s New Musical Development Workshop for ages 12-18.
4. SONGS AND LYRICS
3. OUTLINE AND SCRIPT
2. CHARACTER DEVELOPMENT
1. START WITH AN IDEA
The initial germ for a musical can come from anywhere — a passage in a book, something in the news, or just hearing an interesting story.
Once I’ve got an idea, I put it in the queue and chew on it for a while, trying to think through the characters and basic plot points. I’ll jot down notes and record music ideas in my phone until I feel like I’ve got enough to work with.
I initially put placeholders where the songs will be. Sometimes it’ll be just a title or a lyric, or a description of the ground the song will cover.
After writing the dialogue, I go back and begin filling in the songs with lyrics and recording melodies into my phone. Reading and editing of the script happens through this whole process.
7. WORKSHOPS
6. FEEDBACK
5. ROUGH RECORDINGS
Once I have a general idea of the melodies, I make rough recordings of the songs for the arranger. These usually involve me singing to a click track while playing bare chords on a keyboard. The arranger takes these rough recordings and helps to produce piano accompaniment tracks.
At this stage I turn to my mentor, Craig Bohmler, to help in working through the musical numbers. I also try to hear the script read by actors. After receiving some feedback, I usually plunge forward with the arranger to make the music demo.
Sometimes I have to complete the thing to know what I want to change about it. Through the help of school productions and additional workshops, like this summer’s New Musical Development Workshop, I make additional tweaks and adjustments to the script and music as necessary.
ann m i z reu in Fre K ney y: Kev d y y: S ded B B i n itte s Prov r W ep St
The work is a stage musical inspired by Japanese role-playing games of the Super Nintendo-era. Its hero is a high school student bent on winning the Battle of the Bands who embarks on an epic adventure after his guitar is stolen by a troupe of robots from the future. We recently sat down with Kevin to find out more about his creative process and his approach toward creating enchanting and poignant new musicals for the stage!
PARTNERS THAT HEAL, A W.O.N.D.E.R. PROJECT In association with Phoenix Children’s Hospital, The Partners That Heal, A W.O.N.D.E.R. Project team is an exceptional group of theatre professionals who apply drama techniques and music to improve the quality of life for children and their families in healthcare and crisis facilities. Through the power of storytelling, improvisational games and song, these advocates give these young patients the opportunity to express their feelings, understand their surroundings and engage with their caregivers. “Smiles. There are so many smiles after a game or storytelling. It’s an amazing thing for parents, too, a moment to let their guard down and smile during a time of worry.” — Katie H., Child Life Specialist, Phoenix Children’s Hospital
Partners That Heal; A W.O.N.D.E.R. Project Cast.
Partners That Heal; A W.O.N.D.E.R. Project Cast.
ADVENTURE STAGE Developed by Phoenix Theatre in partnership with the Southwest Autism Research and Resource Center, Adventure Stage provides specially trained teaching artists to assist children with autism spectrum disorders. Through a specially designed annual workshop and immersive summer camp experience, Adventure Stage addresses the needs of this extraordinary group of children while giving them opportunites to be surrounded by their typical peers in an inclusive environment.
“The moment Conner finished camp, he’d say, ‘When can I go again?’ All a parent of a special needs child wants is for him to be happy and accepted wherever he goes, and the camp staff really impressed me. This is not just a special needs program. It boosted my son’s confidence and evolved his love of theatre. He wants to do more when he graduates.” — Kim B., Adventure Stage parent
DONORS Phoenix Theatre gratefully acknowledges support from our donors who made contributions between February 1, 2014 through April 3, 2015.
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Darlene Keller-Price Julie and Conrad Prusak Janice Robillard Denise and Richard Reed Ensi and Airi Riikonen Mr. and Mrs. Steven Robson Carolyn and Richard Ross Steve Schlosser Fred Schomer Marc and Tracy Schwimmer Thekla Shackelford Dina Shacknai Ms. Sharar Margo and David Shein Elaine and Robert Shower Tom Simplot Mr. and Mrs. Jeremy Smith Jodie and Peter Sorensen Theodore Stephan James and Janet Steven Maureen and Adolf Strom Ms. Sarah Suggs Noel and Neil Sutton Faye Tait Jeanne and Michael Tarr Michelle Taylor Daniel Tenn, Gail Tenn and Sheri Sender Kay and Robert Terkhorn Maxine Terman Bruce C. Thoeny Kim and Dean Thomas William and Kathleen Thomson Deborah Valenzuela Joyce and Gregory Watson Chris Watts Harv and Jolene Weisblat Nancy and Jeff Werner Susie and Timothy Wesley Bill Wintermute Dr. Judith G. and Edwin H. Wolf Leona and Ames Yee Dorothy Zusman Phoenix Theatre makes every effort to list accurate information; we apologize for any errors or omissions. Please contact Marisa Butler at 602-889-5288 if you have any questions.