Getting Personal

For the next two weeks, Alexandra, one of our many talented Overtures students, is taking over our blog. Check back for daily updates and come to the Overtures showcase Saturday at 11 AM in Signature's MAX Theatre!

Overtures students work on blocking for "King of New York," one of the group numbers they'll perform at the showcase.

In the past week and two days, our Overtures company has worked so incredibly well together. We have made great strides as an ensemble, making beautiful music and putting together tricky choreography. But at the end of the day we all go home with our individual homework and challenges to overcome. Whether running lyrics until all hours of the night so we won’t flub a word the next day or daring to stretch our emotional range in order to perform a more truthful monologue, we all recognize the work that must be done is, ultimately, personal.

Overtures has been like a buffet table; we are given multitudes of approaches to the work, ways to find vocal placement, ways to act a monologue, ways to connect to text and lyrics. Then we must pick and choose which approaches fit best. My swimmer’s shoulders do not drop into proper posture as easily as others, a fellow company member may have old knee injuries and alignment difficulties, and still another might simply psych themselves out every time a pirouette shows up in choreography. But we all still need to land that double, so we practice in our down time and when we return home at night after our eleven-hour days. We push past our own fears and inhibitions in order to be better the following morning.

During this evening’s staging rehearsal I was reminded just how personal and individually meaningful the work is and must be. Though we all sang the same words - “I pull myself together, I’m focused on the prize” - they clearly meant something different to every one of us. Our prize could be Broadway, maybe a Resident Artist contract with a company here in DC, or perhaps just graduating high school and heading off to a stellar collegiate theater program. We gave meaning to those words with a knowing smile, a flicker of hope in our eyes, similar enough but still personal.

Performing requires ruthless bravery: the willingness to take risks, to push ourselves beyond boxes of “type”, to test our presumed limits is integral to our training and development as actors. While we can be technically proficient, there are skills beyond the physical that we will not learn from manuals or how-to videos. Instead, we exhaustively search our souls in order to better bare them under the bright lights of the stage. And thankfully, at least for another four days, we are surrounded by an encouraging and truly caring group of fellow artists all going through the same process of discovery and personal perseverance.

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We've Got Rhythm, We've Got Music

For the next two weeks, Alexandra, one of our talented Overtures students, is taking over our blog. Check back for daily updates!

Tuesday, June 18

Anyone passing by The ARK today was treated to quite the cacophony. There were, of course, the familiar sounds of songs being rehearsed, the shuffle-ball-changes of tap sequences, the occasional groan of frustration or sore muscles, the “Who are you talking to?” and “Where’s your focus?” of our first acting sessions with Andrew Long. But it was the sounds outside of dedicated class time that might have pleasantly surprised a few passersby.

After only three days together, the 2013 Overtures Company feels like a true ensemble. When we make discoveries and breakthroughs in group work there is applause and even resounding calls of “Werk girl!”. When we lose our balance in relevé or our flaps don’t sound quite right, our fellow company members are there to buddy up and go over the step one…okay, three more times.

So perhaps it was not all too strange that during much of today’s “down-time” we were found playing old-school theater games or jamming. Put 17 musical theater artists together in a circle and we will make music; improvising drum beats with hands, binders, water bottles and feet, riffing and rapping “Twinkle, Twinkle Little Star”. On a dreary day packed with demanding (and exhausting) classes and sessions, our scheduled breaks were much-appreciated moments of collective clarity.

As we ended our busy Tuesday by running through our first two company showcase songs, there was a palpable joy bouncing around the rehearsal room. Though it’s certainly easy to smile with lyrics like “My personal puss on a wooden nickel,” a dozen and a half artists finding a rhythm and groove will more than brighten any rainy day. There is some truly beautiful theater-making happening at Overtures, and we still have another ten days together!

Don't miss the Overtures Showcase! Saturday, June 29 at 11 AM in the MAX Theatre. Admission is free and seating is on a first come, first serve basis.

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Today in Theatre History: Re-Imagining the Past

TODAY IN THEATRE HISTORY: June 12th

In the “Today in Theatre History” series, we take a specific event in theatre history and use it as a starting point for discussion about aspects of theatre – past, present, and future.

By Irene Casey, Education Intern 

On June 12th, 1977 the original Broadway production of Pippin closed after 1,944 performances
 

The cast of the 1972 Broadway production of Pippin.Source: http://dramaleague.org/blog/2012/03/12/diane-paulus-to-stage-new-pippin-at-a-r-t-this-winter/ 

Broadway today is filled with "revivals." But what do people mean when they say that something is a revival? That the show has already been produced somewhere? Or that it has already been on Broadway? How different are revivals from the original production? Typically, a revival means a new production of an old show, which brings us to what happened today in theatre history: the original Broadway production of Pippin closing in 1977.

The original Broadway production of Pippin opened on October 13, 1972 (after a try out in D.C.). Pippin's book was written by Roger O. Hirson, with music and lyrics by Stephen Schwartz, and was originally directed by Bob Fosse. Fosse saw the musical, which follows a medieval prince as he becomes embroiled with a troupe of players on his quest to find his place in the word, as a surreal experience and wanted his production to disturb audiences.

Since its first production, Pippin has been performed all over the country and the world. This year, for the first time, Pippin returned to Broadway. The revival was developed at the American Repertory Theater (A.R.T.) and directed by Diane Paulus. Just this week, it won four Tony Awards including Best Revival of a Musical and Best Direction of a Musical. While the A.R.T. revival differed from the original production by trimming the first musical number and using an alternate ending, the biggest change was the way that Paulus envisioned the players. Instead of a troupe of actors, they became a troupe of circus performers, filling the musical with wild, bold spectacle. 

Paulus's revival of Pippin departs from the original in several ways. Major re-imaginings of shows are not out of the ordinary today. Whenever directors approach scripts, they think about how they want the story to be told. Each production is different because each production has different directors, designers and actors developing it. It's true that some productions stick fairly closely to the interpretation of the original production, while others take the musical or play in an entirely different direction, choosing to highlight or introduce different elements in the show. More and more productions of classic musicals and plays are closer to being adaptations than simply revivals, with directors re-imagining them to bring them into the modern day. 

Signature is know for taking big musicals and performing them in our black box theatres, creating intimate original stagings of shows that were often originally seen in giant proscenium theatres.

Signature's production of Les Miserables transformed the musical. Trevor Nunn's internationally acclaimed original production, relied heavily upon a turntable in its design. But director Eric Schaeffer used a 3/4 thrust stage that pushed the action into the middle of the audience, creating a grittier production happening just feet away from the audience. Chairs hung from the ceiling and set pieces moved on and off from the stage, entering as one thing only to re-enter a scene later as something completely different.

In 2006, the Washington Post described Signature's Assassins as a "startling new staging." Director Joe Calarco (a Signature regular) went beyond merely placing the piece in a black box and onto a way that had never been seen before. The set was a literal mirror image of the audience: rows and rows of chairs on risers, all identical to what the audience was sitting in. This brought the idea that these disenfranchised assassins and would-be assassins 
are just like the rest of us home in frightening and unsettling ways.

What dramatic re-imaginings of blockbuster musicals will be seen on Signature's stages next season? First up, will be an environmental production of Miss Saigon, meaning the entire theatre will become part of the set. As soon as the audience enters the theatre, they will enter the broken world of 1970s Vietnam. Check it out here.

 

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Page to Stage Recap: Sequins, the Season and the Art of Critiquing (Part I)

Our June Page to Stage had some very special guests.

It might even have been one of the best Page to Stage events we’ve ever had (sorry if you missed it). Luckily we’ve got this two-part blog series to get you all caught up!



What was meant to be simply a look at the past and the upcoming seasons turned into a fascinating discussion of marketing, social media and the role of the theatre critic. For today you’ll get a quick introduction to our two guests and a summary of their remarks about the 2012-13 season, which is drawing to a close, and the 2013-14 season, which will begin in just a couple months.

Maggie Boland, Managing Director

Maggie Boland (on left), Signature Theatre's Managing Director

Maggie Boland didn’t necessarily take the standard route to becoming one of a handful of female managing directors of regional theatre companies. Hailing from Scranton, Pennsylvania, she headed to Boston for school where she majored in English. After graduation it was off to New York City where she temped at a fashion design firm and Bechtel Corporation (the company that built the Hoover Dam). Somehow she ended up working at Roundabout Theatre in New York and eventually landed at Arena Stage in DC where she worked for ten years in a wide range of areas including marketing, finance, and development before coming to Signature as Managing Director five years ago.

As Managing Director, Maggie works hand-in-hand with our Artistic Director, Eric Schaeffer, overseeing the business side of things to ensure that Signature continues to run smoothly (a job which she does very well). If you asked the staff of Signature what they love most about Maggie they would probably say her hearty laugh, her get-stuff-done attitude and that sometimes she brings Dunkin' Donuts to the office.

Hunter Styles, Public and Community Relations Manager



Hunter Styles, Signature's Public and
Community Relations Manager

It turns out Hunter is a bit of a jack of all trades. You may have seen him around town managing the box office at Studio Theatre, heading up Artist’s Bloc, writing or directing plays for the Capital Fringe Festival or writing features for the American Theatre Magazine. He admits that he has a tendency to say “yes” to everything, but in doing so is learning what to say “no” to.

Hunter only recently began working at Signature – he started in September of last year – but since his arrival, he has become a unique asset to the Signature staff, contributing public relations expertise, fresh ideas and a very sharp sense of humor. His position covers press relations, outreach, developing relationships with businesses, the county, etc and talking on the phone. A lot. When we asked Maggie what she loves about Hunter, she commented that she loves that he thinks like a journalist and pitches projects like a writer.



23^rd SEASON: HIGHLIGHTS

This past season was pretty stellar and it took Maggie and Hunter a moment to sift through all of the good things that happened at Signature to select these highlights:

Dreamgirls

Dreamgirls
Photo: Chris Mueller

Not only was Dreamgirls a financial and artistic success, but it also “solidified that Matthew Gardiner is a rock star.” Maggie was beaming with pride as she talked about how Dreamgirls helped to make Matthew a sought-after and accomplished DC director. Dreamgirls was also one of Signature’s biggest and most technically-complicated shows to-date (many who saw the show were dazzled by the spectacle of light, sound and sequins the show offered). Hats off to all who made Dreamgirls a show to remember.

Hello, Dolly!

As Signature continued to stabilize operations in their new Shirlington space, Hello, Dolly! (a co-production with Ford’s Theatre) provided the Signature staff with some much-needed breathing room. Not only was Signature able to reevaluate certain programs like the cabaret series, but it also put Signature’s work in front of new audiences.

Other Items of Note

Signature’s production of Shakespeare's R&J was the first show ever to be performed in-the-round in the MAX theatre (and a pat on the back to director Joe Calarco who made great use of the space).

This season was also the first year in No Rules Theatre Company’s residency at Signature Theatre. Keep an eye out for their upcoming No Rules Show which brings their 2012-13 season to a close.

24^th SEASON: INSIDER INFORMATION

Signature’s 24^th Season is shaping up to be pretty exciting. In fact, when the season announcement came out we saw tweets like “the 2013/2014 season looks great. i'm excited & can't wait to see everything -- especially the world premieres. break legs!” and "13/14 season is most definitely squeeeeeeeeeeeee-worthy. Wow," not to mention a great article from Washington Post critic Peter Marks. Hopefully the insider information below will get you hyped up as well!

SPIN (July 9, 2013 - July 27, 2013)

Note: Spin is a SigLab production and therefore not really part of either season, but it hasn’t happened yet so we’re throwing it in with the rest of the upcoming shows.

It turns out that musical theatre is a big deal in South Korea, as is the producer Mr. Shin. Eric, who has earned an international renown as a director, was sought out by the producers of Spin to work on this unique project. Spin is a new musical based on a Korean filmed, Speedy Scandal, which will, following development at Signature, be translated into Korean and performed in South Korea. This summer you can check out the funny, family friendly SigLab production for only $30! Bonus? You might even see some of the cast members from Company on stage again.

MISS SAIGON (August 15, 2013 - September 22, 2013)

To open our 24^th Season, Signature will be presenting an environmental production of the hit musical, Miss Saigon. What’s an “environmental production”? It basically means that the entire theatre will be integrated into the scenic design. You won’t want to miss what Maggie is calling a “thick, full, exciting, 360º” production.

PRIDE IN THE FALLS OF AUTREY MILLS (October 15, 2013 - December 8, 2013)

If you loved Paul Down Colaizzio’s Really Really, you’re going to love this new play of his! The writing is similarly gritty and revealing, but more mature and even a little stylistically absurd. Directed by Michael Kahn (Artistic Director of the Shakespeare Theatre Company), this production promises to shine the light on the hidden shadows of the seemingly perfect suburban family.

CROSSING (October 29, 2013 - November 24, 2013)

In the past couple of years, Signature has produced a workshop and a concert version of this new musical by Matt Connor. While in the past it has had more of song cycle feel (think Jason Robert Brown’s Songs for a New World), the book, written by Grace Barnes, brings the story together, connecting songs and strengthening character relationships. Keep an eye out for the cast album which will be released prior to the production.

GYPSY (December 17, 2013 - January 19, 2014)

What did Hunter and Maggie have to say about this Joe Calarco-directed classic? Children. There will be lots of children (the entire season, really, is full of children). Also, Donna Migliacci, Tracy Lynn Olivera, and Sandy Bainum as the three strippers? Enough said.

BEACHES (Feburary 18, 2014 - March 23, 2014)

That’s right, Signature is bringing that famous tear-jerker to life on stage next season in the form of a world-premiere musical. The script follows the novel closely (as opposed to following the film) and is even being penned by the original author, Iris Rainer Dart. To all you hard-core Beaches fans, Hunter reassured us that “Wind Beneath My Wings” was in the most recent draft of the script, although it’s inclusion has not yet been finalized. According to Maggie, “It’s a weepie,” so be sure to bring your Kleenex!

TENDER NAPALM (March 18, 2014 - May 11, 2014)

This two-hander show is not for the faint-of-heart theatre-goer. Coming from stellar runs in New York as well as London, this abstract piece discusses the inner workings of a marital relationship using imagery and non-linear story-telling. Matthew Gardiner will be directing and Maggie feels that he is a perfect fit for this movement-heavy piece.

THE THREEPENNY OPERA  (April 22, 2014 - June 1, 2014)

True to form, Signature is celebrating a number of “firsts” this next season, including their first piece of Brecht. Hunter and Maggie explained that this will be an “de-sanitized” production; much dirtier, grittier and, hopefully, closer to how Brecht intended the piece to be performed. If you’re looking for a standard musical theatre story, keep in mind that Brecht was always more about politics than plot.

CLOAK & DAGGER (June 12, 2014 - July 6, 2014)

It just so happens that Ed Dixon is not only an actor (you may have seen him as Max in Sunset Boulevard), but also a writer and composer! Dixon’s new musical was inspired by The 39 Steps and similarly includes a cast of few actors playing many, many, many roles (Maggie and Hunter estimate four actors and 40+ characters). Needless to say, it will be a fast-moving, riotous musical that all will enjoy.

CABARETS (Dates TBA)

Let us not forget Signature’s amazing cabaret series. Patrons can look forward to enjoying many evenings of show-stopping entertainment and maybe even an additional fall cabaret series…



As you can see, it's going to be a season you won't want to miss!

For synopses of next season's shows, click here. You can purchase season tickets here.

Don't forget to check out Part II of this recap on Friday!

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Summer at Signature: Stage One and Overtures

It's generally acknowledged that it's in the theatre industry's best interest to nuture the next generation of talent: The best way to ensure the quality of your future shows? Provide top-notch training. Signature is no stranger to this principle. In fact, Signature has been hosting summer musical theatre programs for young performing artists for over ten years. In both Stage One Workshops and Overtures, students are given the opportunity to further develop their performing skills in a professional and focused environment.

Overtures students rehearse for their final showcase.

Stage One Workshops: A Musical Theatre Intensive for Ages 14-17

In Stage One Workshops, high school students go through two weeks of all-day training in singing, dancing, and acting. An audition-based admission program, Stage One is competitive and those admitted have their work cut out for them. Trained by some of the best in the DC Metro area, students learn what will be expected of them as theatre professionals.

Overtures: Signature Theatre's Musical Theatre Institute 

Overtures in the next step in a musical-theatre hopeful's training. It is designed to benefit college students, recent grads, and early professionals seeking to advance their performing abilities. While two weeks in length like Stage One, Overtures requires longer hours, includes mock auditions in front of real casting directors and master classes with NY actors, provides individual as well as group coaching, and concludes with a public showcase performance. Overtures is grueling, but ultimately rewarding: "I have gotten some of the best training I have ever received here at Overtures... I really love that we are pushed out of our comfort zone... I can feel my growth as a performer" (2012 Overtures participant). Students leave Overtures with a better understanding of the business and more mature as artists.

 

"It's amazingly complete... I feel like I learned more that was practical for a life in the theatre than I did in four years of college." (2011 Overtures participant)
2011 Overtures Showcase. Photo: Dennis Deloria

Auditions 

Auditions for Overtures and Stage One typically occur in April and May, although this year we're having an additional day of auditions for Stage One on June 1 (read more here). For both programs, auditioners are asked to prepare to contrasting vocal selections and demonstrate their movement abilities in an open dance call.

The Pay-off

Do these programs really produce "good" performers? We'll let you be the judge:

• Matthew Gardiner: Associate Artistic Director at Signature Theatre. 
• Michael Mainwaring: DC actor currently in Thunder Knocking at the Door at Creative Cauldron, recently in Signature Theatre's Dreamgirls.
• Florrie Bagel: NYC actor, recently in the US National Tour of Sister Act.
• James Gardiner: DC actor currently in Company at Signature, book writer for the musical Glory Days. 
• Hannah Willman: DC actor, recently in My Fair Lady at Arena Stage.
• Nick Blaemire: NYC actor, recently in the Broadway revival of Godspell, lyricist and composer for the musical Glory Days.
• Aaron Reeder: DC actor, currently in Show Boat at The Kennedy Center.

Looks like Signature should simply keep up the good work!

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BIRTHDAY CAKE! I mean, COMPANY STUDENT NIGHT!

One Night Only!

COMPANY Student Night
Friday, May 31, 8 PM-1PM

Grab your student ID and get yourself a $25 ticket to student night!

It's a birthday-themed extravaganza, complete with a birthday party photo-op, themed non-alcohol drinks, music and dancing, and of course, complimentary birthday cake* (generously provided by Cakelove).

We'll also be having a scavenger hunt-type competition with cool prizes like an autographed poster, a COMPANY t-shirt, and two tickets to an upcoming Signature show.

Find out more about Student Night activities by checking out our Facebook event.

Tickets can be purchased online, over the phone (703 573 9771), or at our Box Office. Use the code "EDU25" and present a valid student ID** to receive our discounted student price!

Whether or not it's actually your birthday, be sure to come celebrate "Being Alive"!

*must present student ticket to receive piece of cake

**when purchasing in person or picking up will call tickets

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Today in Theatre History: The Mystery of the Long-Running Show

TODAY IN THEATRE HISTORY: May 8th

In  the “Today in Theatre History” series, we take a specific event in theatre history and use it as a starting point for discussion about aspects of theatre – past, present, and future.

The cast of Signature's Dreamgirls.
Photo: Chris Mueller

Today in theatre history:

-         “Rise and Fall of Little Voice” closes at the Neil Simon Theatre after 9 performances (1994)

-         “Earl of Ruston” closes at Billy Rose Theater  after 5 performances (1971)

-         “Shuffle Along” opens at Broadway Theater for 4 performances (1952)

-         “Funny Thing Happened” opens at Alvin Theater for 965 performances (1962)

All shows must close. The question then is how long will the show survive?

When it comes to theatre there are two terms used to define the "run" of the show (aka how long the show plays for):


The Broadway cast of The Phantom of the Opera
Source: http://bit.ly/12RbB2D

In an open-ended run there is no set end date. The greater the demand for tickets, the longer the run. When there is no longer a demand for tickets or when it becomes more profitable to license the show to other producers, a closing date is picked. Shows like The Phantom of the Opera,  Cats and Wicked all had open-ended runs on Broadway. Because Signature Theatre only has two performances spaces and produces up to eight fully-mounted productions a season, open-ended runs are simply not feasable. 

Signature shows therefore have what is called a limited engagement run. This means that there is a specific end date set for the show before performances even start. If the show is selling very well towards the end of the run, sometimes a show will receive an extension, meaning that another week or two of performances are added. While this is one way for patrons to gauge whether or not a show is selling well, there are times when a show is selling well but there is no extension because the space is needed for another production.

So why do some shows get extended and others don't? Why do some open-ended runs only last for five performances and others 5,000? In looking at Signature Theatre's production history, some themes became apparent:

Star Power

Big names have a tendency to draw big crowds. A popular actor's fan base will fill a surprising number of seats. In Signature Theatre's recent production of "Dreamgirls" actress Nova Y. Payton garnered an impressive amount of attention for her phenomenal performance of Effie. By the end of the show many people were coming to see Payton perform because they had heard great things and tickets were in such high demand that the show was extended. 

Nancy Robinette and Sherri L. Edelen in Walter Cronkite is Dead. Source: http://bit.ly/18Uh2kF

Signature's production of Walter Cronkite is Dead was extended before the show even opened because the show's two actresses, Sherri L. Edelen and Nancy Robinette, were (and still are) both DC area stars.

Known Titles

The barricade in Signature's production of Les Miserables.

Source: http://bit.ly/109oKXg

Unless you've been living under a rock, you've probably heard of Les Miserables, The Phantom of the Opera or Sweeney Todd. In today's economy the average person is less-inclined to spend money on a show they've never heard of, as unfortunate as that is. Tourists in New York are more likely to spend money on a ticket to The Phantom of the Opera than a ticket to Return to the Forbidden Planet (the irony being that Phantom started off as an unknown show - but that's a discussion for another blog post). When Signature produced Les Miserables tickets sold incredibly well and the run was extended

because of the combination of a quality product

and also a well-known show.

An Overall Good Production

Fiona Shaw in The Testament
of Mary.
Source: http://bit.ly/11QOAxy

Then there are the shows that don't have a star or a well-known title and still manage to be incredibly successful. Shows like Really, Really that had a young cast and a young playwright but would have been extended if not for another show needing the space.

And let us not forget the shows with great casts and great scripts which, artistically speaking, deserve a longer run; shows like The Testament of Mary that managed to nab several Tony Award nominations but will shortly be closing.

Statistics show that three out of four shows on Broadway are a financial failure. Who gets the open-ended run? Who gets the extension? Who closes after four performances? The ticket-buyers will ultimately decide.

Sources
http://www.tdf.org/tdf_servicepage.aspx?id=103
http://en.wikipedia.org/wiki/List_of_the_longest-running_Broadway_shows
http://www.artsjournal.com/aboutlastnight/2013/01/tt_the_one_good_reason_to_take.html



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Call on Dolly!

Opel and the cast of Hello, Dolly!, a co-production between Signature Theatre and Ford's Theatre.
Photo: Carol Rosegg

Opel as "Mama" in Memphis.
Source: http://bit.ly/qxu3KL

It's been a while since Dolly Levi has been on the scene in DC - 18 years, to be exact. It's only fitting that her return should be performed by a Broadway veteran like Nancy Opel. A Kansas native, Opel has spent most of her career in New York City on Broadway performing in shows like Evita, Sunday in the Park with George, Memphis and  Urinetown (for which she garnered a Tony Award nomination for Best Performance by a Leading Actress in a Musical).

Watch the original Broadway cast of Urinetown perform at the 56th Annual Tony Awards:

Hello, Dolly! is actually Opel's first show in the DC area and she certainly arrived with a bang:

"Nancy Opel is glowing, crowing, and going strong. Taking on the titular role of Dolly, Opel brings an impish stage presnece to Ford's Theatre, and she handles her considerable duties with ease and charm. Dolly fits Opel like a well-tailored glove."

- Broadway World

"Nancy Opel, who has a touch of Debbie Reynolds' winsomeness about her, plays Dolly in a refreshing, straightforward way. She can be very funny, without underlining things, and she allows a vulnerability to peek through"
- The Baltimore Sun

Did you also enjoy Opel's performance? Tweet her a compliment @NancyOpel.

If you haven't seen the show yet, buy your tickets here. Only 22 performances left!

Hear what Dolly! director Eric Shaeffer and Opel have to say about this unique production:

Tomorrow's Brown Bag Thursday guest will be Opel's incredible co-star Edward Gero, currently playing Horace Vandergelder in Hello, Dolly!

Be sure to join us on Thursday, May 2nd at 1pm in the Mead Lobby.

Can't make it in person? Follow @sigtheatre on twitter and use #sigbrownbag to ask Gero your questions.

COMING UP
For our May 6th Page to Stage, we'll be have a special movie night where we will be showing the 1969 film adaptation of Hello, Dolly! starring Barbra Streisand and directed by Gene Kelly. Please note that we will begin at 6:30pm instead of 7pm and as always it will be held at the lovely Shirlington Library.

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Celebrating Signature's Sondheim Award Gala

Source: http://bit.ly/17X0VVS

Sondheim. Signature's signature. Since 1991 Signature has produced at least one Sondheim musical as part of their season. This past Monday evening marked the fourth annual Sondheim Gala, an event where Signature Theatre presents the Stephen Sondheim Award to "an individual for his or her career contributions to interpreting, supporting, and collaborating on Stephen Sondheim’s music works." This year's award honored 21-time Tony Award-Winning director Harold Prince. In honor of this incredible event, the award and these two incredible men, we have a few videos and pictures below celebrating their numerous collaborations.

In 1979 Sondheim's musical Sweeney Todd hit the stage with direction by Harold "Hal" Prince. The musical took the Tony Awards by storm, garnering nine nominations and eight wins, including best direction for Prince and best original score for Sondheim.

Be sure to check out this clip from Signature's 20th Anniversary production of Sweeney Todd as well!

Source: http://bit.ly/10zBObr

While Sweeney Todd may be one of Sondheim and Prince's better known collaborations, it was neither the first nor the last. Together they worked on such shows as Follies, Pacific Overtures, Merrily We Roll Along and Company, many of which have enjoyed productions at Signature Theatre.

Of the opportunity to present Prince with the award, Sondheim said, “After nine major collaborations over a period of 55 years and a friendship that is even longer, it seems somewhat redundant, not to say bizarre, that I should be giving an award in my name to Harold Prince. But any award that acknowledges Hal’s skills, inventions, and generosity is an award worth giving. His achievements range well beyond his contributions as a director and a producer.”

Check out the video below to see Sondheim and Prince at work on Company:

Signature Theatre's upcoming production of Company begins previews on May 21st. For more info, click here.

SOURCES
http://en.wikipedia.org/wiki/Sweeney_Todd_(musical)
http://www.playbill.com/news/article/177112-Harold-Prince-Receives-Stephen-Sondheim-Award-at-Arlingtons-Signature-Theatre-April-22

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Company Seminar: Sondheim's Secrets Revealed

Source:http://bit.ly/14z2N8u

DID YOU KNOW?

• The original title of Company was "Threes."
• Dean Jones, who originated the role of Robert on Broadway, was shortly thereafter replaced by Larry Kert, who is also famous for originating the role of Tony in West Side Story.
• Company is considered one of the first "concept musical" - a musical where the show's central imagery, metaphor or message takes precedence over traditional narrative structure. 
• The recording session for the Original Cast Recording of Company stretched into the wee hours of the morning. Elaine Stritch, who played Joanne, was the last to leave. A critically acclaimed documentary, following the recording sessions for Company, was created by D.A. Pennebaker. 
• The first FOUR HOURS of rehearsal for the original production were spent on just the first page of the show.
• The final song of the show was changed three times before it was finalized.

Want to know more of the secrets behind Sondheim's Company? Or find out how Signature is putting their own spin on the show?

Register for Signature Seminar: Side by Side with the Creative Team of Signature's Company

Sign up today for a special six part look into Signature Theatre’s 2013 production of Company. This unique opportunity will take you right into the center of this timeless musical examination of marriage, loneliness, and commitment. This production is brought to life under the direction of Artistic Director Eric Schaeffer.

For more information about Signature Seminar or how to register, click here.
REGISTRATION CLOSES ON MONDAY, APRIL 22nd!

Enjoy a taste of this classic musical:

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The Last Five Years: What's Not to Love?

If you’re a musical theatre person, you’ve probably heard of Jason Robert Brown’s The Last Five Years, and if you’ve heard of it, you’ve probably listened to it and subsequently become obsessed with this show.

The Last Five Years has enjoyed more than 500 productions in America (many in colleges and high schools) and thousands more overseas. The question then is, “Why is everyone so in love with this show?”  What is it about this story that has people lining up outside theaters around the world?

In search of an answer, we checked out blogs and talked to people within our own offices:



Credit: Teresa Wood

"I love The Last Five Years because the songs show such masterful musical theatre songwriting, but at the same time they feel fresh, simple, and catchy. I also love the show because its modest scope allows for the poignant moments to come across in a clean and elegant way… the show doesn’t hit us over the head with how sad it is."

– Hunter (Signature Publicity and Communications Manager)

“I think people find Jamie’s enthusiasm and artistic success inspiring and inviting. Artists like it because it’s at least partially about the experience of being an artist (both succeeding and failing). Actors like it because it is full of great audition songs. Anybody who’s ever been unsure about dating someone likes it because it speaks to a lot of common difficulties in relationships.”

– Joan (Signature Education Intern)

“As much fun as it is to see shows about people who sing and escape Nazis (The Sound of Music) or free flying monkeys (Wicked) sometimes it’s therapeutic and personally enlightening to see a show that feels like it’s about your life.”

– Kari (blogger)

New York Post blogger Elisabeth Vincentelli believes that for the younger generation, it comes down to the show's “specific yet romantic depiction of life in New York City. Brown might as well have written an open letter to creative small-town kids who can’t wait to graduate and move to the big city.”

– Elisabeth Vincentelli (NY Post Blogger)

Credit: Teresa Wood

“There’s a warmth to that voicing and orchestration that just draws you in from the start, and for the next 90 minutes, I sat there watching a master class in how to construct an intimate chamber musical about what it is to love and lose… I wouldn’t experience the pain of romantic heartbreak for the first time until three years later, but The Last Five Years was the only thing I wanted to listen to during that period, because there was something so universal about the storytelling that it was the only thing with which I could identify.”

– Gregory Jacobs-Roseman (blogger) 

Regarding Signature's production, Washington Post reviewer Nelson Pressley remarked "[The show]hurtles with energy: The story-rich songs soar with youthful expectation and cut with the fury of thwarted desires... Both characters have abrasive qualities — it’s a strength of Brown’s writing — yet Weaver and Gardiner (who ages convincingly) are appealing enough to keep your rooting interest high."
Read the full review here.

What do you love about the The Last Five Years?

Tell us by tweeting @sigtheatre and using the hashtag #sigL5Y.

Credit: Teresa Wood

Signature is lucky to be working with a fantastic team of actors, designers, musicians, director, etc on this production. Click here for some of James Gardiner's thoughts on his character and check out "A Quick 5 with Erin Weaver."

 

P.S. If you enjoyed his performance, give a shout out to James on twitter: @jamesdgardiner. As for the talented Erin Weaver and Aaron Posner, you’ll just have to give your regards in person.

Watch the video of Signature Theatre's Page to Stage at the Shirlington Branch Library with guests Aaron Posner (director) and wife Erin Weaver (Cathy).

To find out how to purchase tickets, click here.



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