IN THIS ISSUE: 10 Questions with Conductor Michael Neumann . . . . . . . . . . . . . . . . . . . . . 4 Helen Reddy Returns to the Stage . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14 The Life Changing Week For Theater Performers . . . . . . . . . . . . . . . . . . . . . 16
El Dorado Musical Theatre’s Summer Intensive at Folsom Lake College
An Evening with a Broadway Legend . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22 Guide for Upcoming Shows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
Great entertainment coming to Three Stages
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QUESTIONS CONDUCTOR MICHAEL NEUMANN
with
by Richard Wilson 7
AS THE ORCHESTRA FINISHES ITS FINAL NOTE, the audience comes to
attempt to fix or change something if it seems to be working very well? its feet with thunderous applause. What I mean by that is continuing The conductor turns, and with a to perform the type of works that I smile on his face, takes a bow. feel people will enjoy and come to, He is Maestro Michael Neumann, and to program the type of works the driving force behind the artistic that the orchestra will enjoy playing.
opportunity for them to play major symphonic works and play for a full house. And then the energy is there, and it’s the proverbial win/win.
Q. WHAT DO YOU SEE AS THE ROLE OF MUSIC IN THE COMMUNITY? WHAT DOES IT BRING TO THE LOCAL ENVIRONMENT?
I think part of THE ROLE FOR ‘‘ THE CONDUCTOR and the orchestra is to be respected for being very authentic and loving what we do.
’’
success of the Folsom Symphony since its inception in 2004. In music circles, the Symphony has earned a reputation for excellence. In the community, it has become one of the “hot tickets” in the region with most performances being completely sold out. I sat down with man behind the baton and talked about two of his favorite subjects: music and the Folsom Symphony.
Q. ONE OF THE CHALLENGES YOU FACE AS THE MUSICAL DIRECTOR IS SETTING THE TONE AND FEEL FOR THE ORCHESTRA. WHAT IS YOUR VISION FOR THE FOLSOM SYMPHONY?
To be honest with you, it is to continue what we’re doing. Why
’’
I have a saying, “energy never lies.” The members of the orchestra – the members of the audience – we’re all part of a big team, and we play off of each other. If I program music that 20 people showed up and say, “You know; I’m not sure if I’ll come again,” that would be the demise of the symphony. We exist to play concerts for people and hope that they really enjoy it. We just want to continue with high-quality performances, with music that I believe the audience will love. We have wonderful musicians – many of them very, very high quality, excellent musicians who have chosen to go into other fields for one reason or another. This is a great 5
This is a discussion that has been going on for a thousand years or longer. I think in times of joy music has had its place with celebration. It’s an addition to people’s lives. And the same is true in times of great turmoil. And I think our country – along with the world right now – is seeing a lot of strife, a lot of turmoil. Whether it’s a drought taking place in three quarters of the country, or terrorism, or war, or people battling each other, there is a need for the joy that music can bring. It’s a respite from the daily grind of life. No matter what the circumstances are in anyone’s life, there are people who appreciate music because it brings them something very special, even if it’s just for a couple of hours.
Q. THE ROLE OF THE CONDUCTOR IS AN INTERESTING ONE. THE CONDUCTOR MAKES ALL THE DIFFERENCE; YET HE OR SHE DOESN’T ACTUALLY PLAY A SINGLE NOTE. TELL ME A LITTLE BIT ABOUT THE RELATIONSHIP OF THE SYMPHONY AND THE CONDUCTOR. HOW DOES THAT MAGIC HAPPEN?
The role of the conductor is multifaceted. But in relation to the orchestra, itself, it’s like having a
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very fine coach coaching a team. A lot of it is inspiration by providing a role model people can look up to. And I don’t mean like idolize or anything of that nature, but respect. Back in the 1930s and ’40s things were very different. Orchestras played out of fear. “If I don’t play the right note, if I don’t play the right bowing, if I don’t play the right fingering, if I don’t play the right intonation, then my goodness, I’m going to get fired. I’d better do it!” Well, that’s coming out of fear. My vision is leading in a way which is the opposite of fear, leading out of love. I love what I do. I want to share this. We can do it together; we can
make music together and feel great about it. I want to impart that feeling to the audience, and they will love it. And here is where we have this win/ win. And so I think part of the role for the conductor and the orchestra is to be respected for being very authentic and loving what we do. People can sense very quickly whether that’s true or not. Usually, when somebody gets up on a podium, an orchestra will know within five minutes whether that person knows what they’re doing or not. They know whether they love what they’re doing or not. And that will have an effect on the entire organization.
Q. AS YOU LOOK BACK OVER THE YEARS, WAS THERE A FAVORITE MOMENT YOU HAD IN A PERFORMANCE? IS THERE SOMETHING THAT STANDS OUT?
What stands out actually is the Beethoven 9th concert that we did recently. For me, that was a very spiritual experience because it is a monumental piece on many different levels. The amazing feeling that it produced was quite overwhelming. And I’m not the only one who thinks of Beethoven’s 9th as a pinnacle piece of music. But in my estimation, it is a pinnacle – nothing was ever the same after – I mean
Below: The Folsom Symphony serves greater Sacramento, Placer and El Dorado counties and is the premier orchestra of the Folsom Lake Region.
Beethoven is Beethoven. Each of the nine symphonies is totally different one from the other. But the 9th Symphony using the chorus, using soloists and the magnitude of the composition is special. Compositionally, technically, theoretically, musically, and also spiritually, it was a very big high point for many of us.
they know anything about music or not – they know very quickly whether somebody knows what they’re doing. So if they say, “Well, Maestro, what do I do about this,” and you go, “Yeah, geez, I really don’t know. I’ll look into that.” Well, too much of that means maybe you’re not the right person for the job.
what a conductor is ‘‘ That’s there for . . . holding things together, INSPIRING, and
LETTING EACH MUSICIAN PLAY TO THE BEST OF THEIR ABILITY.
’’
Q. I UNDERSTAND THAT YOU ALSO ARE THE CONDUCTOR OF THE SACRAMENTO YOUTH SYMPHONY.
Yes. I’ve been the conductor and artistic director of the Sacramento Youth Symphony for nearly 34 years.
Q. HOW IS IT DIFFERENT CONDUCTING YOUNG PEOPLE AS OPPOSED TO ADULT MUSICIANS?
There is a difference. Adults have already reached a certain level of playing and you don’t need to teach them. With young people, a lot of what you do is teaching. And many of them – because they are young – have much more open minds because they haven’t yet developed an opinion on a certain thing. With young people – whether
And that’s true with any field, not just music. I think there’s a certain relationship with the conductor and the audience as well. Do people like what they see and hear, or do they not? And if they don’t, word gets around. In our case, so far, I have received numerous positive comments from audience members, some of whom are strangers. The comments come through letters, or in emails to the Board. They feel that what I am doing is extremely authentic and very heartfelt. There seems to be a lot of very positive feedback. And again, when things are positive, then that’s good feedback; don’t change anything. If the 8
feedback is negative, that’s also good news because it’s clear that you need to change something.
Q. HOW DID YOU DISCOVER MUSIC? YOUR MUSICAL LINEAGE, I BELIEVE, GOES ALL THE WAY BACK TO DVOŘÁK.
I was actually born in South Africa. My parents fled Germany during the Hitler years, and they met and married. They took me to some concerts when I was young. At probably about six years old I just said, “I want to play the violin,” like a lot of kids do. They got me some lessons, and that’s how I started out – just being introduced to music by my folks. My second violin teacher in South Africa was Maria Neuss; that was her stage name. Her great-great grandfather was Dvořák. Of course, at 8 years old, that means nothing. It’s like being a kindergartener and somebody says, “Who’s your teacher?” “Let’s see, his name is Albert Einstein. Yeah, I think that’s his name.” “Oh, is he any good?” “Oh, yeah, he’s fine.” What do you know when you’re that age? You don’t know what you have until you’re older and can understand it and then appreciate it. I did an online search for her not long ago. I was trying to find some information about her, and I actually found a recording she had done with William Mengelberg who was the great conductor of Amsterdam’s Concertgebouw Orchestra. The recording was done around 1943 of her performing a Dvořák violin concerto. I immediately bought it, and
have a CD. She sounds wonderful. It’s one of the great orchestras with a great conductor. She was the soloist, and little did I know that she did this sort of thing. But she was a masterful concert violinist.
it. So I do spend a lot of time listening to music with some sort of critical ear, wondering, “Would this be a good piece to play?” I enjoy a little bit of travel when I have time and money. I am married
Q. WHAT DO YOU ENJOY OUTSIDE OF MUSIC?
I enjoy getting together and taking part in discussions with people about world philosophy. I love animals and I’ve done quite a substantial amount of camping, backpacking, and that sort of thing. Although to be honest as I’m getting a little bit older, sleeping on the ground is less appealing to me than it used to be. Some years ago I got a blue belt in karate. But it’s been a while since I’ve done that. I spend much of my time studying music scores which is great fun for me. It’s not that this is a chore, but it’s part of my duties. I love doing
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to a wonderful lady who is very, very supportive. We’ve been together for 10 years now. Two years ago, we went to the Cook Islands in the middle of the South Pacific and spent 10 days on a
Above: Maestro Michael Neumann has been the music director and conductor for the Folsom Symphony since its first performance in 2004.
little tropical island in the middle of nowhere. It was wonderful. The only thing we had to worry about was whether or not a coconut was going to hit us on the head. There was really quite a bit of down time and serene time and ability to read books and other materials. In this particular case, I did bring a couple of scores with me, and I took time sitting with them on the beach. It was very vivid, sitting on a chair on the beach overlooking the ocean with a pair of headphones on listening to the Beethoven 9th Symphony with a score in my lap.
Q. IN MANY WAYS THE CONDUCTOR HAS THE BEST SEAT IN THE HOUSE. YOU’RE RIGHT IN FRONT OF THE ORCHESTRA, AND YOU CAN FEEL THE ENERGY AND SOUND THAT COMES FROM THEM.
That’s true. It’s also a great deal of responsibility. It’s not “sit back and listen.” It is very proactive. It’s not directing, but leading them. A lot of times people will ask me the question, “What does the conductor really do?” And for somebody who doesn’t know much about it, it’s a great question because what they see is somebody up there 10
waving their arms around. Nobody in the orchestra is really looking at them anyway, right? That’s partly true and partly not true. Out of the peripheral vision, the orchestra is absolutely paying attention to the director, especially during critical moments. So it’s very proactive — you need to always be leading. That’s why in so many orchestras — especially in Europe — the conductor is what looks like quite a bit ahead of the beat, but the orchestra is playing behind the beat. There are reasons for that, but you’ve got to be on top of the music and always
inspiring and leading. That’s what a conductor is there for— holding things together, keeping things together, inspiring, and letting each musician play to the best of their ability.
Q. WHAT DO YOU ENJOY MOST IN
is just a microcosm of the big picture, but it’s true. And so when I get to work with people who appreciate me, when I get to work with people who love what they do and are totally into it for the good of the entity, that’s a wonderful situation. I feel that this is
true for the Board and for the players of the Symphony. It feels like a very copacetic team, so it brings me a lot of happiness.
Q. WHAT DRIVES YOU AS A CONDUCTOR?
What drives me? It’s probably
WORKING WITH THE SYMPHONY?
The only thing I really would say— and this is very, very true and very heartfelt — is the joy that I have of working with the folks on the Board and the musicians. It is a really joyful experience working with people who are very supportive, very nurturing. I really believe it’s a team effort. Everybody involved — even the audience — are members of this team. Working with a team that works well together for the common good is a joyful experience because there are many symphonies that don’t work that way. There’s derision and divisiveness going on within the board of directors. There’s divisiveness going on between orchestra members. And this is true in humanity. This
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best illustrated by the Beethoven 9th Symphony performance we did back in March. There was a was a very talented string bass player in the Sacramento Youth Symphony. He performed with us in Salzberg, Vienna and Prague during our summer tour a few years ago. He had a real passion for music. Tragically, he contracted cancer of the brain and had to drop out of school and the Youth Symphony which he so dearly loved. He ended up in a wheelchair, and things were getting worse and worse. I got word that the one thing that this young man wanted before he died – his wish – was to hear Beethoven’s 9th played live. Two weeks later, the Folsom Symphony played Beethoven’s 9th Symphony. His parents brought him to the concert in his wheelchair. It was a magical performance of an amazing piece of music. Several days later, he died. But his dying wish was fulfilled. All of us knew that we had done much more than simply play music that day. I can’t tell you how grateful his parents were. Making a difference in people’s lives is the big picture for me. It’s the bottom, bottom line outside of even music and is my goal and purpose. I want to leave this world a better place than I found it. I do it through music, through the Youth Symphony, and through the Folsom Symphony. When I am able to bring joy into people’s lives and sometimes have some part in a magical moment, then I feel a sense of satisfaction that I’m doing what I truly need to be doing in this world.
The Folsom Symphony in rehearsal. You can next hear the Folsom Symphony perform on Saturday, October 20, 2012 at 7:30 p.m. Tickets are available at www.threestages.net
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For more information about the Folsom Symphony please visit www.folsomsymphony.com
EL DORADO MUSICAL THEATRE WELCOMES
AS THE ORGANIZATION’S LEGAL COUNSEL WE APPRECIATE MR. SANDERS’ WILLINGNESS TO ASSIST US IN MEETING OUR LEGAL NEEDS ABOUT ROBERT SANDERS Mr. Sanders is a local attorney who focuses his law practice on:
ESTATE PLANNING Living Trusts, Wills, Probate BUSINESS LAW Corporation.LLC Formation & Governance Contracts, etc. COMMERCIAL REAL ESTATE TRANSACTIONS Purchases, Leases, Financing Robert Sanders resides in El Dorado Hills with his wife and four children. He is a strong supporter of the community and is active in his Church and the El Dorado Hills Chamber of Commerce.
PLEASE CONTACT MR. SANDERS WHEN YOU HAVE LEGAL NEEDS IN HIS AREAS OF EXPERTISE. 5170 Golden Foothill Parkway, El Dorado Hills, CA 95762
916.235.6840 • w w w. rsanderslaw.com
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Helen Reddy
HELEN REDDY RETURNS TO THE STAGE I am Helen. Hear me roar. With music too good to ignore. There is excellent news for people who enjoy and remember popular music from the ‘70s, ‘80s and ‘90s. Helen Reddy is back on stage. But don’t expect some predictable rerun of the hits from her numerous gold albums. Helen has always been unafraid of doing things the way she feels they should be done. She’s doing this concert her way. If you are unfamiliar with Helen Reddy. Here’s a little background. Reddy, now 70, has been singing since she was a young girl when she was part of a well-known showbusiness family in Melbourne. But she didn’t score hugely until her 1971 hit cover of “I Don’t Know How to Love Him,” the big ballad from the musical Jesus Christ Superstar. Over the next decade, she produced 15 top 40 hits, with three reaching No. 1. In theater, Helen has starred in London’s West End and on Broadway in New York. As a solo concert artist, she has played at Carnegie Hall and Lincoln Center in New York, as well as the Royal Albert Hall and the Palladium in London. Locally, she starred as Reno Sweeney in Sacramento Music Circus’ 1985 production of Anything Goes. Later she returned to Sacramento Music Circus in their production of Call Me Madam as Mrs. Sally Adams. But Helen is best known as
a singer/songwriter. Her biggest song was the feminist anthem “I Am Woman” — which ultimately inspired her to retire from live performance in 2002. “That was one of the reasons that I stopped singing, when I was shown a modern American history high-school textbook, and a whole chapter on feminism — and my name and my lyrics (were) in the book,” she recalled. “And I thought, ‘Well, I’m part of history now. And how do I top that? I can’t top that.’ So, it was an easy withdrawal.” Fortunately for music lovers, Helen recently rediscovered the joy of performing. After singing a duet with her sister at her sister’s 80th birthday party, Helen decided to come out of retirement and return to the stage. In addition to some of her hits, she
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now treats audiences to songs from her vast catalog of numbers she had never before performed live. “I have very wide-ranging interests,” she said in a recent interview. “So, singing ‘Leave Me Alone’ 43 times per song lost its charm a long time ago.” That’s why each show in her current tour is unique. Each features different songs in an almost unlimited number of combinations. Audiences are grateful she decided to take her own advice and “Keep on Singing,” to quote the title of her 1974 hit. You can see An Intimate Evening with Helen Reddy at Three Stages in Folsom. Mon Oct 1; 7:30 PM $29-$39; Premium $49 For tickets go to www.threestages.net
THE LIFE CHANGING WEEK F El Dorado Musical Theatre’s Summer T IT WAS A BOLD IDEA. The plan was
to hold a five- day intensive of master classes for young performers who were serious about performing on stage. The instructors would all be top-level professionals with the highest credentials. They would provide a real-world view of performing at the Broadway level. The first day began with eager anticipation. The instructors had flown in the night before from Los Angeles and New York. They wondered what the next five days working with young performers was going to be like. They were about to find out. The students waited out in the lobby. There was a buzz in the air and nervous laughter floated above the conversation. They were about to spend a week working with some of the top people in the industry.
A sense of awe filled the group. Many of the instructors had performed in shows like Wicked, Les Misérables, and West Side Story on Broadway. They had succeeded at the highest level of the profession. Now, these veterans were helping develop the next generation. Unlike most typical dance or music camps, the Summer Theater Intensive was designed to stretch performers in all three areas of stage performance: singing, acting, and dancing. This was both exciting and terrifying for many of the young performers. Many thought of themselves as actors, but not as dancers. Some believed they could dance and act, but didn’t really sing well. Over the next five days, they would be challenged to do it all. 16
THE ORIGINAL VISION BECOMES A REALITY
It all started a number of years earlier. The Summer Theater Intensive was the brainchild of El Dorado Musical Theatre’s Artistic Director Debbie Wilson. Her many years of working both on stage and through teaching allowed her to develop close friendships in the Broadway and entertainment world. These ties heralded the possibility of recruiting amazingly talented instructors. Folsom Lake College was selected as the ideal location for the intensive. Under Dr. Thelma Scott-Skillman’s original vision, the college is becoming a center for the performing arts in the region. Three Stages at Folsom Lake College is a $50 million facility dedicated to the performing and visual arts.
FOR THEATER PERFORMERS Theater Intensive at Folsom Lake College With the college and Three Stages firmly on board, the next step was to assemble an exceptional group of instructors. The goal was to create an experience that would be unique in the region. RECRUITING AN EXCEPTIONAL STAFF OF PROVEN PERFORMERS
The staff needed to include experts in singing, acting, and dancing. Each had to be a top-level professional in their area. Just as important, they had to integrate with the core idea behind the intensive: all singing and dancing is also acting. And a complete stage performer is skilled in all three areas. While this is understood at the top levels of the profession, it is not always clear to young performers who are being trained in only one or
two of these areas. To cover the acting duties Jim and Tamra Meskimen were brought in from Los Angeles. Tamra is the founder of The Acting Center in Hollywood. It has earned a reputation as one of the top acting schools with students coming from all over the world to take classes. Jim is a master of presenting characters instantly. You may recognize him from his movie, television, or commercial work. His YouTube video Shakespeare in Celebrity Voices has over 850,000 views. Both Tamra and Jim are highly skilled in improvisation which quickly became a favorite activity with students attending the intensive. To guide the vocal side of things, Pierce Peter Brandt was added to the team. He has performed leading and 17
Above: (L to R) Pierce Peter Brandt, Chris Schlagel, Tamra Meskimen, Jim Meskimen, Harvey Evans, and Andrew Palermo. Below: Olivia Kaufmann warms up at the beginning of an advanced-level dance class.
featured roles in the acclaimed final company of the original Broadway production of Les Misérables, the original Broadway cast of Martin Guerre, and the national tour of Jesus Christ Superstar to name just a few. As an instructor, Pierce is on the teaching staff at American Conservatory Theater in San Francisco, and is
Vocal Instructor Pierce Peter Brandt focuses on interpretation with the students when singing in a musical theater production.
highly sought after to teach master classes and workshops. His real-world approach to interpreting songs brought out some amazing performances from intensive attendees. One of the most exciting choreographers today is Andrew Palermo. As a performer, he was in the original Broadway companies of Wicked; Annie Get Your Gun as Tommy Keeler, the revival); and the closing Broadway company of How to Succeed in Business Without Really Trying. Andrew’s choreography credits include Kristin Chenoweth at Carnegie Hall and The Frank Loesser Songbook with New York Philharmonic at Lincoln Center. He is the Artistic Director and CoFounder (along with childhood best friend Taye Diggs) of dre.dance, the highly acclaimed contemporary dance company. He now teaches at U.C. Irvine. He has an easy ability to demand the best out of a student and gets them eagerly wanting more. Rounding out the staff was Harvey Evans. He has had a 50+ year career on Broadway and has been
involved in many of the classic shows from Broadway’s Golden Era. He was in both the original Broadway and movie casts of West Side Story. Other notable shows include: Gypsy, Redhead, Hello Dolly, George M!, The Boy Friend, Follies, Oklahoma!, Barnum, La Cage Aux Folles, Annie Get Your Gun, Damn Yankees and Sunset Boulevard. Name just about any significant choreographer or actor involved in musical theatre and Harvey has worked with them. Most of them are still good friends. Even more important, he brings an infectious enthusiasm to rehearsals. It’s one thing to be in the presence of living Broadway history. It’s quite another to find that they are willing to share and have fun too. Having a staff comprised of so many formidable professionals, the students couldn’t help but have the experience of a lifetime. THE INTENSIVE EXPERIENCE
When the Intensive began, the students were divided into three groups based on their age and experience.
Throughout each morning, these groups had an intense session with instructors in acting, singing, and dancing. After lunch, there were special sessions ranging from Broadway history to auditioning at the professional level. A favorite session included improv acting which got everyone up, involved, and exploring the art of creating characters and scenes right on the spot. “I never knew I was funny before,” said one of the attendees. “It was a challenge and a blast.” Other favorites involved learning original choreography from shows such as West Side Story, Pajama Game, Follies, as well as other numbers choreographed by Jerome Robbins and Bob Fosse. By day three the students were moving slowly as they arrived. Sore muscles paired with huge grins told the story. Each said they had gotten their “butts kicked” in dance class, but were grinning as they said it. Although physically tired, there was sense of eager anticipation each day. Somehow they had achieved a state of slow moving exhilaration.
Above: Built to focus on the performing arts, the Three Stages facility easily accommodates a large number of students. Right: An accomplished local youth performer, Matt Surges awaits instruction as the afternoon improv class begins.
By the end of the week there was no question but that everyone had been a part of an amazing experience. There was a genuine sadness to see it end. That was true for both the students and the instructors.
The evaluation forms turned in by the attendees said it best: “I enjoyed it a lot and the things I’ve learned really benefited me. I feel like this intensive has opened my eyes to a whole new side of musical theatre. It’s really cemented my
decision to go into this career. I feel a privilege to learn from such amazing instructors. Thank you! =)” “Harvey is amazing and inspired me so much. Improv was so fun, dance was butt-kicking and awesome. Pierce is brilliant. I loved my time and wish I could do this 10 times a year!” “This was an amazing week. “
“This was an amazing week that has made me certain that this is my path.”
Note: Yes. El Dorado Musical Theatre and Three Stages will be holding the Summer Theater Intensive again next summer. Registration will begin in late January. You can get more information at www.
“It. Was. Fantastic. Definitely an experience I will never forget. I hope I’ll be able to do it next summer as well! Thank edmtsummerintensive.info/ you!”
“This truly was one of the best experiences Class photos courtesy Marc Dubin. in my life and I will remember this forever.” Staff photo at beginning of article courtesy
“Truly enjoyed the experience! I learned “This has been such an inspiring and so much and enjoyed the opportunity to fantastic intensive. I have loved every work with Harvey, Pierce, Andrew, and minute of it and wouldn’t change it for the Meskimens.” the world. Thank you for giving us this “Please do this every year!“ opportunity.”
Rick Wilson: (L to R) Pierce Peter Brandt, vocal instructor; Chris Schlagel, accompanist; Tamra Meskimen, acting instructor; Jim Meskimen, acting instructor; Harvey Evans, performance instructor; Andrew Palermo, dance instructor
Clockwise from top left: Lindsay Alhady and Avery Speel pay close attention to instructions about giving a professional level audition. Acting instructor Jim Meskimen gives students insight into improv technique. Dancer Anjie Rose Wilson refines her dance technique from Andrew Palermo. Not an afternoon nap, but serious vocal technique is being addressed by vocal instructor Pierce Peter Brandt.
AN EVENING WITH A BROADWAY LEGEND Performer Harvey Evans not only shared his experiences of a Broadway career spanning decades, but he also taught throughout the week of El Dorado Musical Theatre’s inaugural Summer Theater Intensive.
WALKING INTO THE THEATER, you
could hear a mixture of songs from many of Broadway’s famous, classic shows. The stage set-up was simple and intimate. There were two comfortable chairs set on an oriental rug. It was a perfect setting for the audience to hear story after story of what it was like to perform on Broadway with the top directors, choreographers and stars from Broadway’s Golden Era. The guest being interviewed was Harvey Evans, one of the most loved and delightful artists in show business. Evans, a spry 73, has appeared onstage, in film and on TV regularly since the 1950s. He can still sing, cut a rug and kick up his heels as he recently
did in the large dance ensemble for Disney’s Enchanted. He made his Broadway debut in 1957 under his real name, Harvey Hohnecker, opposite none other than Gwen Verdon in New Girl in Town. He proceeded to dance in classic musical after classic musical, including West Side Story, again opposite Verdon in Redhead, as Tulsa in the original Gypsy, as Barnaby opposite Channing in Hello Dolly!, with Lansbury in Anyone Can Whistle, opposite Joel Grey in George M! and as Bobby in The Boy Friend revival. Evans won acclaim as Young Buddy in the original Follies and followed that as Jim Dale’s Barnum standby. Numerous roles in Sunset 22
Boulevard, The Scarlet Pimpernel and the 2005 Oklahoma! revival followed. On film and TV, he appeared in adaptations of The Pajama Game, Dames at Sea and Applause. And he’s still working! The evening was an informal opportunity to share an insider’s view of 56 years of performing on the stage and in the movies. The audience was spellbound. Harvey recounted that the movie West Side Story was filmed on both the East and West Coasts. There is one scene where the “Jets” go around a corner in New York. They actually shot the beginning of that quick trip in New York and finished in Los Angeles a year later! Such is the magic of film.
A favorite moment was as he recounted that during the filming of West Side Story, the Jets had completed the filming of the complex and physically demanding number “Cool.” They thought they were done with the number only to learn that the director demanded they do it again and again on a sound stage to get them into character for the following scenes. This was repeated day after day. They would dance to “Cool” all out, then run to the next sound stage to
film the following scenes. This continued for weeks. Finally, after it was clear they had danced “Cool” for the final time, the Jets decided to make a statement. They collected all of their ever-so-vital and abused knee pads, piled them in front of the door to the choreographer’s trailer and burned them. Much to the delight of the Jets, the acrid smell of burned rubber hung in the air for days. He shared what it was like to work with choreographers such as Michael
Clockwise: Harvey Evans in an early aerial move: toe touches; Harvey with Ann Margret in Dames at Sea; with Debbie Reynolds; as Mouthpiece in West Side Story.
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Bennett, Gower Champion, Bob Fosse, Jerome Robbins, Susan Stroman, and Agnes deMille. A number of performers who had worked with Harvey made it a point to come to Folsom to be in the audience. Based on their smiles and laughter, they loved every minute of it. Harvey was in town to teach the young performers at the Summer Theater Intensive. That night he gave a very lucky audience an intimate look at the very personal side of being a performer.
GUIDE
UPCOMING SHOWS
Great entertainment coming to Three Stages
John Ambercrombie will be live at Folsom Lake College this September
JOHN ABERCROMBIE ORGAN TRIO BÉLA FLECK AND MARCUS ROBERT TRIO
Experience a jazz guitar master in the 100-seat intimacy of Scott-Skillman Recital Hall. He has collaborated with SEP 5 2012 Gato Barbieri, Billy Cobham, Gil Evans, Jack DeJonnette, Dave Holland, McCoy BÉLA FLECK is considered the premier banjo player in the world. Come listen Tyner and others. SAT SEP 22; 7 & 9 PM to this banjo virtuoso’s forward24
thinking collaboration with the Classic Marcus Robert Jazz Piano Trio.
VOICEPLAY
Presented by FLCCA , formerly “42FIVE” SEP 8 2012
THE BEST OF
DOO WOP
SEP 15, 2012; 8 PM
$35-$55; PREMIUM $59
Born in the ‘40s, Doo Wop—tightly harmonized rhythm and blues—characterized the golden age of rock-androll. Gathered for one performance in Folsom, The Tokens (“The Lion Sleeps Tonight”), Bobby Hendricks’ Drifters, original Coaster Leon Hughes and his group, and Dodie Stevens (“Pink Shoelaces”) continue in The Best of Doo Wop tradition.
SAHANA PRESENTS
COLORS OF LIFE
SEP 21 2012; CHECK FOR PRICING In its California debut, “Colors of Life” features a unique meeting of Classical Indian Dance beautifully choreographed by Meenakshy Bhaskar, a winner of the Young Artist Award from Singapore and Flamenco-based compositions by Roberto Corrias, a renowned Spanish guitarist and Carnatic Music of South India. PRESENTED BY THE NON-PROFIT SACRAMENTO BASED SOUTH ASIAN HERITAGE ARTS IN NORTH AMERICA (SAHANA).
AN INTIMATE THE NATIONAL CIRCUS OF THE EVENING WITH PEOPLE’S REPUBLIC OF CHINA
HELEN REDDY
MON OCT 1; 7:30 PM
Cirque Chinois SAT, SEPT 22, 2012; 7:30 PM; SUN, SEPT 23, 2012: 2 PM & 6 PM $21-$34, PREMIUM $45
The incredible things the human body can do! Direct from Beijing, the National Once a queen of popular music (“I Am Circus of the People’s Republic of China—one of the longest running and most Woman,” “Delta Dawn”), she left the distinguished circus troupes in China—brings their exquisite cast of acrobats, stage on her own volition a decade contortionists, and dancers to Stage One for three magical performances of ago. She returns to perform a selection Cirque Chinois, featuring many one-of-a-kind acts, such as Great Teeterboard, of personal favorites. Grand Flying Trapeze, and more. $29-$39; PREMIUM $49
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WORLDFEST AT THREE Sacramento World Music and Dance Festival
As part of the 2012 Sacramento World Music and Dance Festival, Three Stages is proud to present three distinct dance companies, each reflective of the broad diversity of California. For more information on the festival visit www.sacworldfest.org.
LULA WASHINGTON DANCE THEATRE
DANZA FLORICANTO/ USA
LILY CAI CHINESE DANCE COMPANY
Global Village
Alma Llanera: Spirit Of The Plains
Dynasties & Beyond
FRI, OCT 5, 2012; 7:30 PM $19-$29, PREMIUM
FRI, OCT 5, 2012; 7:30 PM
SAT, OCT 6, 2012; 7:30 PM
$39; STUDENTS & CHILDREN: $12
SAT, OCT 6, 2012; 2 PM & 7:30 PM
$19-$29, PREMIUM $39;
Founded in 1980 in the inner city area of South Los Angeles, LWDT is composed of athletic, young dancers in the tradition of Alvin Ailey and African-rooted dance. “As a choreographer and company director, Lula Washington is doing something more than right” (Anna Kisselgoff, New York Times). Ms. Washington served as choreographer for the movie Avatar.
SUN, OCT 7, 2012; 2 PM
STUDENTS & CHILDREN: $12
$19-$29; STUDENTS & CHILDREN: $12
Elegant, sensual, and captivating, the Lily Cai Chinese Dance Company melds ancient Chinese forms with modern dance in an artistic and inventive marriage of styles. “In the first six spellbinding minutes, Lily Cai served notice to her audience that they were in for an evening that would be not only exotic, but brilliantly theatrical… a terrific show” (Sacramento Bee).
SPONSORED IN PART BY THE JAMES IRVINE FOUNDATION
The oldest professional Mexican folk dance troupe in Southern California presents Alma Llanera: Spirit of the Plains, a dance work inspired by Chicano writer Rudolfo Anaya, about a young boy’s rite of passage into manhood and the straddling of two cultures. “Characterized by breezy line formations, rhythmic stamping, and swirling skirts, the dancers were as frothy as cotton candy” (Los Angeles Times). THIS PERFORMANCE IS SUPPORTED, IN MADE POSSIBLE, IN PART, BY A GRANT FROM
PART, BY AN AWARD FROM THE NATIONAL
THE NATIONAL ENDOWMENT FOR THE ARTS
ENDOWMENT FOR THE ARTS.
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IN THE FOOTSTEPS OF DJANGO THURS, OCT 11, 2012; 7:30 PM $19-$29, PREMIUM $39; STUDENTS WITH ID $12
Django Reinhardt introduced a passionate style of Gypsy Jazz guitar that
KENNY LOGGINS WED OCT 3 2012 - 7:30 PM $49-$69; PREMIUM $79
Over the last three decades, he has been a hot young songwriter, half of a legendary country-rock duo, an accomplished solo artist, a soundtrack superstar and an enduring live performer.
FOLSOM SYMPHONY A Heart’s Jewel and Triumph
SATURDAY, OCTOBER 20, 2012 AT 7:30 P.M $25-$42, PREMIUM $55
Hungarian violinist Joseph Joachim referred to Mendelssohn’s Concerto in E minor as “the heart’s jewel” of violin concertos. Rebecca Corruccini, an alumna of the Sacramento Youth Symphony and current member of the Minnesota Orchestra, will perform this piece at our season opener. The evening includes Schubert’s graceful Unfinished Symphony No. 8 and Dvorak’s festive Carnival Overture. The commanding strains of Tchaikovsky’s 1812 Overture, climaxed with a musical cannon volley, close the concert in triumph. 27
was astonishing in the 1930’s and is still revered today. The show brings together the best of the new Gypsy Jazz masters of Europe: Lulo Reinhardt, a third generation master, whose Latin Swing Project combines
Gypsy Jazz with Latin rhythms; Les Doigts de l’Homme, France’s leading contemporary Gypsy Jazz ensemble, and, on her first American tour, Norig Gadji, a French singer with a Celtic name and Catalan roots. SPONSORED BY CAPITAL PUBLIC RADIO.
IMPERIAL SILENCE: UNA
A cutting-edge “dead” opera in four acts. Rooted in the ancient satirical ÓPERA MUERTA tradition of the Days of the Dead, in SUN, OCT 28, 2012; 7 PM which the dead buffoon and laugh at $19-$29, PREMIUM $35; the hubris of the living, Imperial STUDENTS WITH ID $12 Silence is a new media opera that examines cultural taboos around silence and death. Directed by Guggenheim Fellow John Jota Leaños, this bilingual performance fuses dark humored animation with a live Mariachi quartet, three modern folklórico dancers, and the music of hip hop, bossa nova, and blues—all with the objective of producing a critical, socially pertinent, and funny work of art. MADE POSSIBLE, IN PART, BY A GRANT FROM THE JAMES IRVINE FOUNDATION.
THIS IS THE 60’s MONDAY, OCTOBER 15, 2012; 7:30 PM TUESDAY, OCTOBER 16, 2012; 7:30 PM WEDNESDAY, OCTOBER 17, 2012; 7:30 PM
FIRST PERSON:
SEEING AMERICA
Featuring Ensemble Galilei, Bill Pullman & Lily Knight With Photographs from the Metropolitan Museum of Art SUNDAY, OCTOBER 14, 2012; 2 PM; $25-$39; PREMIUM $45
In 2011, the Three Stages audience delighted to Universe of Dreams, Ensemble Galilei’s presentation of poetry, music, and images from the Hubble Space Telescope. Returning now with actors Bill Pullman (Independence Day, While You Were Sleeping, Too Big To Fail) and Lily Knight (Changeling, Boston Legal), the subject turns to great American photographs, as culled from the extensive collection housed in the Metropolitan Museum of Art. Accompanying these moving images of America are readings from some of America’s finest writers, and music by Ensemble Galilei (“they play with energy, splendid ensemble, good humor and imagination,” Washington Post) — from Bach to Celtic and back. A new kind of theater experience, here in a theater near you! 28
Whether you were there to see it, or just missed it—or if the young ones in the family can’t imagine what all the fuss was about—the 1960’s was an exciting, innovative decade in the history of popular music. Through a creative blending of live music performance, film, dance, lighting, computer-generated imagery, and high-concept stage design, This Is The 60’s offers an evening’s immersion into the pop culture of the 1960’s, suitable for the whole family. Utilizing everything from TV commercials, retro dance numbers, vintage fashions, and historic newsreel footage, seven performers will faithfully recreate a wide range of music from the period. The set list
How Can One Day Transform Your Business?
By Invitation Only
Experience Vistage in Sacramento
Find out how thousands of Vistage members get the competitive advantage every day. “Experience Vistage” at the All-City hosted in Sacramento, Sept. 13, 2012. Get an exclusive inside look at how the world’s leading chief executive membership organization can help take your business to the next level.
Vistage members give our All-City Events a 94% satisfaction rating. Don’t miss out! Are you a CEO or Key Executive interested in finding out more? Contact Vistage Sacramento to see if you qualify. Please e-mail: Kathy@VistageSacramento.com Or Call our office at (916) 972-1969
“The most valuable part of the All-City event was networking with other Vistage Members.” —Robert Donat, President, GPS Insight
Thursday September 13, 2012 7:30 a.m. — 5:30 p.m. Sacramento Marriott Rancho Cordova Rancho Cordova, CA
Featured Speaker ~ Alan Beaulieu “Make Your Move”
includes everything from the Rolling Stones to The Supremes; from Simon & Garfunkel to Crosby, Stills, & Nash; from Procol Harem to The Byrds; from Led Zeppelin to The Who—over 30 songs in all.
ELIANE ELIAS THURSDAY, OCTOBER 18, 2012; 7:30 PM $12 -$29; PREMIUM $39
With a musical style that blends Brazilian roots, a sensuous, alluring voice, and impressive compositional and piano skills, “there is really nobody like Elaine Elias” (New York Observer). She has recorded duets with Herbie Hancock and classical music with opera sensation Denyce Graves. She has been nominated for numerous Grammy Awards and all of her recordings have reached the top five on Billboard. And then there is the spell she weaves over her audience. “Elaine Elias does sultry very well” (Icon).
ALFRED HITCHCOCK’S
THE 39 STEPS
TUESDAY, OCTOBER 23, 2012; 7:30 PM WEDNESDAY, OCTOBER 24, 2012; 2 & 7:30 PM $29-$45; PREMIUM $55; CHECK FOR 10% WEDS.
A “gleefully theatrical riff on Hitchcock’s film, fast and frothy…Theater at its finest” (New York Times). This Hitchcock classic features 150 characters played by four actors, often executing their costume – and set– changes in front of the live audience. A three year run on Broadway and two Tony Awards later, The 39 Steps comes to Three Stages for its first extended run in the capital region. A bored pretty boy brings home a gorgeous spy; she is murdered in his flat and the mystery story is set in motion. “The great fun of The 39 Steps is its invention” (City Beat). It’s faithful to Alfred Hitchcock—with a dash of Jason Bourne and Monty Python THURSDAY, OCTOBER 25, 2012; 7:30 PM $12 -$29; PREMIUM $39 mixed in.
NATALIE MACMASTER
OPEN
DAILY
AND
L U N C H, D I N N E R
SUNDAY
BRUNCH
New American Grill F O R
R E S E R V A T I O N S
C A L L
916 -941-9694 WWW. S I E N N A R E S T A U R A N T S . COM
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“To call Natalie MacMaster the most dynamic performer in Celtic music today is high praise, but it still doesn’t get at just how remarkable a concert artist this Cape Breton Island fiddler has become” (The Boston Herald). Her incandescent musicianship, her boundless energy, her collaborations with Alison Krauss, the Chieftains, Paul Simon, Pavarotti, and more, her world-class step dancing, her exceptional band— there is nothing quite like a concert with Natalie MacMaster.
VIENNA BOYS CHOIR FRIDAY, OCTOBER 26, 2012; 7:30 PM
than 30 wind, string, and percussion instruments, they are a veritable institution, a cultural icon of their native Chile. Their story is well known: during the 1973 coup d’etat by Augusto Pinochet, the Intis were on tour in Europe and found themselves without patria or passport, in sudden political and artistic exile. Italy became their home for the next 15 years. As both innovators and originators, their commitment to Nueva Canción (new song) remains unyielding to this day— a celebration of the traditional Latin folk sounds delivering messages of social change. With over 40 recordings to their name, Inti-Illimani has appeared on stage with Peter Gabriel, Bruce Springsteen, Sting, Mercedes Sosa, Tracey Chapman, Wynton Marsalis, and others.
“There’s no more gratifying sound than that of children singing. And there’s no more polished ensemble of children’s voices than the Vienna Boys Choir” (Fort Worth Star-Telegram). The world’s most beloved choir has been thrilling audiences young and old for over 500 years. Today, these choristers between the ages of 10 and 14 perform 300 times a year around the globe. And they are beloved for good reason: Artistic Director Gerald Wirth “programmed an impressive mix of art songs, opera choruses, American classic pop (Harold Arlen and Irving Berlin), a sacred hymn (sung in Lebanese), and more. Their texts covered no fewer KEYBOARD CONVERSATIONS® than six languages” (Washington Post). WITH
INTI-ILLIMANI
JEFFREY SIEGEL THE ROMANTIC MUSIC OF CHOPIN
“He may just be a musical Carl Sagan” (Los Angeles Times). Jeffrey Siegel returns for four performances at Three Stages. “Superb music making, an exquisite performance. This was an achievement of a sort seldom heard” (New York Times). Mixing virtuosic performance with lively commentary on the great composers, “Jeffrey Siegel has everything: massive technique, musical sensitivity and character, wide tonal resources, immense reserves of power, and the ability to communicate” (Los Angeles Times). SPONSORED BY CAPITAL PUBLIC RADIO.
El Dorado Musical Theatre presents
SEUSSICAL THE MUSICAL Youth Theater at its Best!
NOV 2 - 18, 2012; 7 PM MOST NIGHTS PLUS MATINEES; $18-$28; PREMIUM $36 THURSDAY BARGAIN NIGHTS $14.75
Now one of the most performed shows in America, Seussical The $19-$29, PREMIUM $39; STUDENTS WITH ID $7 $19-$29, PREMIUM $39; STUDENTS WITH ID $7 Musical is a fantastical, magical, musical For over four decades, the music of Stirring polonaises, charming waltzes, extravaganza! The story centers Inti-Illimani has intoxicated audiences dreamy nocturnes, and the tempestaround Horton the Elephant, who around the world. Performing on more uous scherzo! SATURDAY, OCTOBER 27, 2012; 7:30 PM
WED, NOVEMBER 14, 2012; 7:30 PM
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finds himself faced with a double challenge--not only must he protect his tiny friend Jojo (and all the invisible Whos) from a world of naysayers and dangers, but he must guard an abandoned egg, left to his care by the
irresponsible Mayzie La Bird. Although Horton faces ridicule, danger, kidnapping and a trial, the intrepid Gertrude McFuzz, who recognizes “his kind and his powerful heart,” is the only one who never loses faith in him.
ANNOUNCING
OUR NEW SEASON
FALL 2012
SPRING 2013
THE ROYAL DRUMMERS & DANCERS OF BURUNDI MON, NOV 19, 2012; 7 PM $19-$29, PREMIUM $39 STUDENTS WITH ID $12
WINTER 2013
SUMMER 2013
H T I W ON E SAVSEASKETS! tickets available through TIC www.threestages.net or call 916-608-6888
Ultimately, the powers of friendship, loyalty, family and community are challenged and emerge triumphant, in a story that makes you laugh and cry.
For season & group tickets: 916-941-SING (7464)
For more information about EDMT:
www.edmt.info 31
They have performed in the same way for centuries, passing down traditions and techniques from father to son. Traditionally a part of ceremonies such as births or funerals, these drums of Burundi are sacred and represent the powers of fertility and regeneration. Come for an evening of mesmerizing rhythm and joyous expression: “A constant parade of players improvised on the central drum, dancing to the rhythms, leaping or twirling drumsticks in the air or
around their necks. It was all a Graae, Jessica Hendy, David Burnham celebration of ability, the sheer and Christina Saffran. pleasure of competitive creativity …more virtuosic than sentimental” (New York Times).
BROADWAY TODAY!
FRI, DEC 7; 8 PM
$29-$39, PREMIUM $49
The best plays on Broadway come together on one stage for one evening. Take four Broadway stars— some of the leading talent in New York today; veterans of Wicked, Cats, Falsettos, Singin’ In The Rain and the like. Put them onstage together where they mix it up with each other, and with a live trio. Hand them a song list that includes music from West Side Story, Hair, The Lion King, Ragtime, Chicago, Billy Elliot, Wicked, Mamma Mia! and then some. Featuring Jason
CHUCHO VALDÉS QUINTET
TUE, NOV 13, 2012; 7:30 PM $19-$29, PREMIUM $39 STUDENTS WITHID $12
Hailed as “the dean of Latin jazz” and “one of the world’s great virtuosic pianists” (New York Times), five-time Grammy Award winner Chucho Valdés has recorded over 80 CDs during his illustrious career, performing with countless jazz masters including Herbie Hancock, Dizzy Gillespie, Wynton Marsalis, and Chick Corea. Founder of the rhythmically innovative Latin jazz band Irakere, Valdés has appeared on the distinguished stages of Carnegie Hall, The Kennedy Center, and The Hollywood Bowl.
Below: Five-time Grammy Award winner Chucho Valdez.
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STAGEPASS IS PUBLISHED SIX TIMES A YEAR BY EL DORADO MUSICAL THEATRE. SUBSCRIPTIONS: YOU CAN GET A FREE SUBSCRIPTION TO STAGEPASS AT WWW.STAGEPASSMAGAZINE.COM ARTICLE SUBMISSIONS: CONTACT: STAGEPASS@EDMT.INFO ADVERTISING INFORMATION: CONTACT: TREVORFREW@EDMT.INFO NO PART OF THIS PUBLICATION MAY BE DUPLICATED IN ANY WAY WITHOUT THE EXPLICIT WRITTEN AUTHORIZATION OF EL DORADO MUSICAL THEATRE. COPYRIGHT © 2012 EL DORADO MUSICAL THEATRE.