Center Theatre Group News & Blogs

Mourning, Minimalism & Motion

Center Theatre Group — Wed, 19 Feb 2020 13:08:00 -0800

“We wanted to capture the emotional conflict that the community was feeling, but we also wanted to create a clean visual for the audience,” said Kata. “So the set design is a gentler, more ritualistic reincarnation of the memorials that were actually in Ferguson.” Indeed, despite the play’s tumultuous subject matter, audiences will notice that there is a certain quietude in its scenic design. Surrounding the intimate stage are keepsakes seemingly pulled from the Ferguson memorials themselves. Yet, most of the stage is empty, leaving enough room for Orlandersmith’s poetics to remain in focus—an intentional decision by Kata, who also designed the scenery for Forever, Orlandersmith’s semi-autobiographical solo show that appeared at the Douglas in 2014. “In a way, a significant part of my role is to get out of the way, to let Dael and her language fill up the space—it’s important to allow the audience to imagine the story themselves,” he said.

Dael Orlandesmith in ‘Until the Flood.’ Photos by Craig Schwartz.

“Tak is an incredible set designer and wonderful collaborator—he consistently investigates the play thoroughly, and has a narrative acumen that always helps me better understand and articulate the core story behind a play,” said Until the Flood and Forever director Neel Keller, who is also Associate Artistic Director/Literary Director at Center Theatre Group. For Orlandersmith’s latest solo show—a performance inspired by the indignation and empathy surrounding a real-life event—Kata’s understanding is especially necessary.

In both Forever and Until the Flood, Kata’s set design features a sparse stage with few props: a wooden table here, a chair or two there. This minimalist approach reflects his aesthetic preference, a style that originated in his decades of work with the American Players Theatre, an outdoor amphitheater setting with little room to accommodate ornate scenery. However, he noted that for a show like Until the Flood—in which the performer, rather than a set, is mostly guiding the audience—the idea of stripped-back design was also an obstacle. “Because the set is so minimal, everything had to be placed with precision,” Kata said. “So a big challenge was finding the best place for Dael to be, in terms of her relationship with the audience.”

Keller compares Kata’s natural understanding of space to an architect’s feel for geometry and mass: “His designs always respond to the particular theatre space we’re working in to create a sense of magic on each stage.”

His designs always respond to the particular theatre space we’re working in to create a sense of magic on each stage.

From start to finish, Until the Flood glistens with plenty of visual stimuli—aside from Orlandersmith’s lyrical language and movement, complementing the production’s minimalist set are the arresting graphics that appear behind the actor. Projection designer Nicholas Hussong’s vibrant, textured images—the digital artifacts of his journeying to and photographing of different St. Louis neighborhoods in 2016—are cast upon a large canvas backdrop with a subtle, smoke-like detail symbolizing the tear gas used by police during the Ferguson protests. Kata recalled that Hussong was particularly inspired by the way St. Louis—located just 12 miles north of Ferguson—consists of disjointed, informally segregated neighborhoods. “Each area in the city has its own unique dynamic, and Nicholas wanted the projection to represent motion—the idea of moving from one place in St. Louis to another,” said Kata.

Orlandersmith’s composite characters inspired by St. Louis residents—each taking up their own space on the broad spectrum of privilege and on the stage—also capture the feeling of motion, along with their varying personal convictions surrounding the killing of Michael Brown. For Kata, watching these composites awaken on stage is the best part of working with Orlandersmith. “She’s such a strong performer and collaborator—she knows what she wants, but is always open to new ideas,” he said. “When you see her performing these characters, it’s almost like they’re coming through her—she’s conjuring them, in a way. So each time you see her on the stage, it’s like being introduced to a new person, and that’s so enthralling.”

'We Need More Women in Power'

Center Theatre Group — Fri, 14 Feb 2020 16:32:00 -0800

The women serving as pillars of fortitude in a small, shipbuilding town are Meg Dawson and Peggy White, respectively embodied by the multitalented Frances McNamee and Jackie Morrison. Outstanding actors and vocalists, these female artists, indeed, remind audiences that “we need more women in power.” So before The Last Ship undocks and sails away, we asked McNamee and Morrison about their creative influences, artistic processes, and how it feels to share a huge stage with an even bigger legend.

Frances McNamee

What inspires you as an artist?
The fact that every single person on this earth has a story to tell—a rich history that, more often than not, will go unreported and unseen. Art and songs and storytelling make the seemingly ordinary feel glorious. That’s why we need it, and that’s why I want to make it.

Sting has said “the agency of women” is a universal theme in The Last Ship—how does your character exemplify this idea?
Meg Dawson is a force of nature. She handles what life (and the play) throws at her with dignity and an unwillingness to go down without a fight. If you come and see the show you’ll see that those qualities are the ones that rise up and conquer. Coming from the North East [of England], I’ve been lucky enough to be raised by women like that, and I think they’re wonderfully represented in this show.

Art and songs and storytelling make the seemingly ordinary feel glorious. That’s why we need it, and that’s why I want to make it.

What has your favorite memory been so far working with Sting?
Performing on KTLA, singing “August Winds” [one of the musical numbers from The Last Ship] with him. And I have to say, it wasn’t my favorite thing while it was happening! I was very nervous, it was very early—but it’s a testament to his warmth and generosity, that focusing on him playing his guitar and harmonizing beautifully was what helped me keep it together. He’s a very special man.

What has your biggest challenge been in playing this role?
Meg is a big sing. The role requires a lot of vocal stamina but also a lot of raw emotion, and the balance between that and perfect technique don’t always mix, so achieving both is a constant challenge. But a great one.

What do you want The Last Ship audiences to take away from the show?
I want them to have heard a beautiful score sung really well, to have heard an important story about the past, and to take away the message that we are stronger together, into the future.

Jackie Morrison and the cast of ‘The Last Ship.’ Photo by Matthew Murphy.

Jackie Morrison

What’s your favorite thing about this cast and creative team?
The wealth of talent onstage and off is immense. The sound created onstage by the company and musicians is electrifying. There is a great sense of unity amongst the company which is reflected in the show. I feel privileged to be working with the incredible creative team that is Sting, Rob Mathes, and Richard John.

Where does the strength of your character, Peggy White, lie?
Peggy, to me, is the backbone of the community. She uses reason and peaceful negotiation, rallying the women together to defend the shipyard. The solidarity of women is a force to be reckoned with.

How did you prepare yourself for the role?
I’d love to tell you something more interesting, but I basically learned my lines, had several singing lessons, and went to rehearsals.

What has your favorite memory been so far of working with Sting?
At points when our voices lock together it’s the most fantastic, musical buzz.

What’s one thing you’d encourage audience members to think about after seeing The Last Ship?
I hope the audience leaves feeling inspired by the strength there is in community. And that the thrilling sound the company creates onstage stays with them.

When Love Takes Center Stage

Center Theatre Group — Wed, 12 Feb 2020 16:03:00 -0800

At the Ahmanson Jan 14 – Feb 16, 2020, the stirring musical—starring rock legend Sting and a talented ensemble of actors and singers—unveils a story of community and compassion inspired by the Grammy Award®-winning musician’s own coming-of-age in small-town, working-class England. But alongside its themes of family, friendship, and unity are two timeless love stories. And as The Last Ship tells its unique, romantic tales, we’re celebrating 10 big musical love stories onstage the Ahmanson that continue to make us want to burst into song and dance ourselves.

The Happy Time (1967)

Robert Goulet in ‘The Happy Time.’

Doubling as the Ahmanson’s first World premiere and earliest musical production, The Happy Time enjoyed a sold-out run during the start of the 1967/68 Season, heading to Broadway immediately after. Directed and choreographed by Gower Champion, the musical follows a world-traveling photographer—played by Robert Goulet—who faces trouble committing to his old sweetheart. With a whopping nine nominations and three wins at the 1968 Tony Awards®, this memorable tale was a musical rendition of Samuel A. Taylor’s original play of the same title.

They’re Playing Our Song (1978)

Lucie Arnaz and Robert Klein in ‘They’re Playing Our Song.’

The brainchild of the prolific Neil Simon, They’re Playing Our Song lives in history as a quintessential, feel-good musical about the wonky romance between a quipping composer and wacky lyricist. Abundant with laughs and, of course, romance, this World premiere opened at the Ahmanson in December 1978, and despite its petite cast of two characters—opposites played by Robert Klein and Lucie Amaz—the production wooed audiences with its wit and low-key musical numbers. The show then went on to Broadway, where The New York Times lauded Arnaz’s performance for its “energy, charm and humor.”

The Phantom of the Opera (1989)

(L-R) Michael Crawford and Sarah Brightman in ‘The Phantom of the Opera’ at the Majestic Theatre. Photo by Clive Barda.

A love story dressed in mystery’ horror, and forbidden romance, The Phantom of the Opera’s record-breaking run at the Ahmanson lasted a whopping 1,772 performances. The classic tale of stunning vocalist Christine Daaé and the enigmatic Phantom—embodied for the run’s first 11 months by Michael Crawford, who reprised his Tony- and Olivier-winning role—became the West Coast’s most commercially successful theatrical production of all time, triumphantly earning $130 million dollars over its four-year run.

Miss Saigon (1995)

Peter Lockyer and Jennifer C. Paz in ‘Miss Saigon.’

After nearly nine months of renovation, the Ahmanson became the home of Claude-Michel Schönberg and Alain Boublil’s Miss Saigon for 10 months as a stop on the legendary musical’s first US tour after its Tony-winning Broadway run in 1991. Starring Peter Lockyer and Jennifer C. Paz as doomed lovers Chris and Kim, the Los Angeles Times lauded Lockyer’s “refreshing and vivid performance,” along with Paz’s embodiment of “fresh and honest emotion.”

Show Boat (1996)

The cast of ‘Show Boat.’ at the Ahmanson.

Called the “granddaddy of every great musical ever written” by the Los Angeles Times, Oscar Hammerstein II and Jerome Kern’s immortal Show Boat sailed onto the Ahmanson stage in 1996. Dazzling audiences just as much as the acclaimed 1927 original, this Tony Award-winning revival brought its revolutionary realism and influential melodies to Los Angeles for a six-month run that Variety critic Tim Gray said had just about everything: “melodrama, vaudeville, romance, and comedy shtick.”

Rent (1997)

The company in a scene from ‘Rent.’ Photo by Joan Marcus.

Perfectly capturing the “musical love story” concept is Rent—a Tony- and Pulitzer-winning show that not only spoke to ’90s audiences with its exciting rock opera personality, but bold awareness of social matters such as poverty, drug addiction, LGBT issues, and HIV/AIDS. Arriving at the Ahmanson in September 1997 after its West Coast premiere at the La Jolla Playhouse, the musical sensation moved Los Angeles audiences (and it also starred a young Neil Patrick Harris as Mark Cohen!).

Mamma Mia! (2002)

©McCabes

Big laughs, big weddings, and iconic love songs courtesy of ABBA—what more can be asked for from a jukebox musical like Mamma Mia!? Before the star-studded film adaptation of Catherine Johnson’s hit West End musical, Mamma Mia! graced the Ahmanson stage in 2002, winning over audiences with its lively dance breaks, beautifully performed pop masterpieces, and hilarious plotline: a bride’s search to find her real father.

The Drowsy Chaperone (2005)

Sutton Foster and the cast of ‘The Drowsy Chaperone.’ Photo by Craig Schwartz.

Amusing Los Angeles audiences before heading to Broadway—where it won five Tony Awards, including Best Book of a Musical and Best Original Score—The Drowsy Chaperone appeared on the Ahmanson stage for a short-but-spirited run featuring Beth Leavel (whose performance in the title role earned her both a Tony and Drama Desk Award for Best Featured Actress in a Musical) and Sutton Foster. Packed with musicals within musicals and four weddings, this comedy love story twinkles with parody, ingenuity, and of course, hysterical romance.

Spring Awakening (2008)

The cast of the ‘Spring Awakening’ national tour. Photo by Paul Kolnik.

After winning nine Tonys—most notably recognized as Best Musical—on the Great White Way in 2007, Duncan Sheik and Steven Sater’s Spring Awakening shook up the Ahmanson just a year later with its classic narrative of angsty teens and the troubles accompanying their sexual explorations in the 19th century: unexpected pregnancy, abortion, and suicide. Charles McNulty of the L.A. Times praised the show, saying the adaptation of Frank Wedekind’s 1891 play “moodily captures the jarring hormonal journey from adolescence to adulthood.”

The Gershwins’ Porgy and Bess (2014)

David Hughey and Sumayya Ali in ‘The Gershwins’ Porgy and Bess.’ Photo by Michael J. Lutch.

First adapted from a novel, then reworked into a play and later an opera, the story of the beautiful Bess and brave Porgy has continued to charm hearts no matter the medium. Following the burgeoning romance between an audacious beggar and pretty woman trying to break free from her scandalous past and ex-lover, the reinvented musical treatment of The Gershwins’ Porgy and Bess, directed by Tony winner Diane Paulus with book adapted by Suzan-Lori Parks and music adapted by Diedre Murray, hit the Ahmanson stage in 2014 after an successful run on Broadway, where its jazzy musical treasures and warm narrative introduced younger theatre-goers to a classic American tale.

The Last Ship (2020)

The cast of ‘The Last Ship’ at Princess of Wales Theatre in Toronto. Photo by Cylla von Tiedemann.

Called “poignant and powerful” by the Sunday Mirror, The Last Ship is a heartfelt tale centered on the value of human relationships—it’s also a musical double-stuffed with two identifiable-yet-contrasting love stories. One of these narratives involves Jackie White (played by the legendary Sting) and wife Peggy, whose resilient partnership is jeopardized in the face of illness; the other romance follows Gideon, a prodigal son returning home after 17 years, only to realize his beloved Meg has given her heart to another. After a well-received international tour, the show returned to US stages with a newly revised book with the Ahmanson as its first docking location.