Behind the Scenes
MAGAZINE Spring/Summer 2017
SHOW CALENDAR 2017-2018 BROADWAY SERIES CONSERVATORY NEWS THE INSIDE SCOOP
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Dear Reader,
Behind the Scenes MAGAZINE Spring/Summer 2017
Melissa Etheridge, M.E. Live April 28
Welcome to the spring/summer issue of Behind the Scenes. It’s one of our favorite times of the year, as we unveil next year’s Broadway Subscription Series and embrace the warm weather coming our way.
Many of us have vacations on our mind, and it’s the perfect time to think about your next excursion to the theatre, whether it’s this week or next year. Most of us like to extend the experience with something delicious to eat and other interesting stops along the way. This year’s 2017-2018 Broadway Press and Preview Party on April 24 offers a perfect opportunity to enjoy a sampling of tasty treats and refreshing beverages from the restaurants and partners (found on pages 14-20) that will delight the most discerning palates. We want you to think of each trip to the theatre as a break from the ordinary and discover new perspectives, new talent, new shows and new treasures here in the heart of New England. In other news, The Theatre District Alliance, led by The Hanover Theatre, continues to meet with city, corporate and cultural leaders to ensure that downtown Worcester is a vibrant destination.
Darlene Love May 7
We want to make sure that there is innovative and interesting programming in the plaza and that we are doing the right things to set a dynamic stage for downtown development and engagement with our community. See you at the theatre!
Lisa K. Condit Director of Marketing & PR
Jerry Seinfeld June 3
P.S. If you would like to support the good work we’re doing to make downtown magnificent, contact Nel Lazour/nel@thehanovertheatre.org for more information or to invest in the Theatre District Campaign.
Inside Season at a Glance.....................................................................4 Pippin: Forever Young...............................................................6 Women of Motown....................................................................8 Something for Everyone........................................................10 Riverdance: The Music............................................................12 Inside Scoop on 2017-2018 Broadway Series................15 Top Ten Reasons to Subscribe.............................................20 Performing Arts Education from the Start......................21 Advertiser index........................................................................22 Behind the Scenes at The Hanover Theatre • Spring/Summer 2017
Season at a Glance
Share the Joy of Broadway, Music and More . . . Mar 27 - June 5 Mar 30 - Apr 2 Apr 4 Apr 7 Apr 8 Apr 11 Apr 12 Apr 13 Apr 14 Apr 15 Apr 21 - 23 Apr 24 Apr 27 Apr 28 Apr 30 May 4 May 6 May 7 May 12 - 14 May 19 May 21 May 23 - 28 June 3 June 8 - 11 June 16 June 23 June 26 – July 7 June 30 - July 1 July 10 – July 29 July 28 - 29 July 31 - Aug 12 Aug 12 July 31 – Aug 19 Aug 18 - 19
Music Together® (class for infants - age 5, with caregiver) + BROADWAY TOUR Pippin Sponsored by Bank of America «+ One Night of Queen performed by Gary Mullen and The Works Golden Dragon Acrobats + Tony Bennett Sponsored by WinnDevelopment (SOLD OUT) Celtic Woman: Voices of Angels + Historic & Architectural Tour Free to Members Jackson Browne and Sara & Sean Watkins, Pretty Much Acoustic Russian National Ballet’s Cinderella Presented by Music Worcester + WBUR presents An Evening with David Sedaris The Music Man presented by Assumption College’s Dept of Art, Music & Theatre + 2017-2018 Broadway Press and Preview Party + Founders’ Tour Free to Members Melissa Etheridge, M.E. Live Brian Wilson presents Pet Sounds - The Final Performances with special guests Al Jardine & Blondie Chaplin Six Appeal + Historic & Architectural Tour Free to Members Darlene Love Sesame Street Live: Make a New Friend Joel McHale + The Cameraman: silent film accompanied by the Mighty Wurlitzer Organ BROADWAY TOUR Motown The Musical Sponsored by UniBank & Worcester State University «+ Jerry Seinfeld* BROADWAY TOUR Riverdance The 20th Anniversary World Tour Sponsored by Commerce Bank + Magic Men Live* Worcester Comedy Blowout featuring Lenny Clarke, Steve Sweeney, Christine Hurley, Orlando Baxter and Dan Smith * Youth Summer Program (Ages 6 - 8) Miss Massachusetts Pageant * Youth Summer Program (Ages 13 - 18) YSP performances of Guys and Dolls Youth Summer Program (Ages 9 - 12) YSP performances of Guys & Dolls Jr. Youth Summer Program (Ages 13 - 18) YSP performances of Guys and Dolls
New shows are added all the time! Visit TheHanoverTheatre.org throughout the year for the most updated list of shows or sign up to receive our weekly email for new show announcements. Follow us on social media for the latest discounts, contests, promotions and more.
« Denotes ASL and/or Audio Description services are available at select performances of this show. + Read on for featured content. * Tickets to this show may not be on sale at the time of this printing. Please note, shows subject to change. The The HanoverTheatre.org HanoverTheatre.org •• 877.571.SHOW(7469) 877.571.SHOW(7469)
Golden Dragon Acrobats April 7 Recognized as the premiere Chinese acrobatic touring company of today, the Golden Dragon Acrobats represent the best of a time honored tradition that began more than twenty-five centuries ago.
Subscribe to our 2017-2018 Broadway Series Nov 9 - 12, 2017 Dec 28 - 31, 2017 Feb 20 - 25, 2018 Mar 15 - 18, 2018 Apr 5 - 8, 2018 Apr 12 - 15, 2018 May 15 - 20, 2018
A Christmas Story, The Musical «+ Cabaret «+ Something Rotten! «+ Jersey Boys «+ RENT 20th Anniversary Tour «+ Bright Star «+ 7th Broadway Tour TBA on April 24 «
The sTory of frankie Valli & The foUr seasons
«+ See key on previous page . Behind the Scenes at The Hanover Theatre • Spring/Summer 2017
Pippin: Forever Young March 30 - April 2 Pippin is sponsored by Bank of America.
The cast of Pippin. Photo Denise Trupe.
Pippin is over forty years old? How can that be? Pippin, who in 1972 arrived on Broadway on his youthful, idealistic and naïve quest for an extraordinary life, returned to Broadway in 2013. And like any person over forty, much has happened to him along the way. Actually, Pippin’s life began some five years prior to The HanoverTheatre.org • 877.571.SHOW(7469)
that, in 1967 at Carnegie-Mellon University. There was a club called Scotch ‘n’ Soda, which presented each spring a new student-written, directed, designed and performed musical. I had co-written the show my first two years and was looking for an idea for my junior year. A fellow drama student, Ron Strauss, had come across a paragraph in a history textbook about the first-born son of Charlemagne
and his attempt to overthrow his father. What could be more fun than to do a musical medieval court-intrigue melodrama of our own? So we came up with Pippin, Pippin (I no longer remember why we had two “Pippins” in the title), full of plots and counter-plots, bawdy tavern numbers, bucolic love in the French countryside, and as much bitchy dialogue as we could muster. We and our fellow CMU students had a blast with it, and that as we thought was that.
I’ve come to believe that the show benefited from it, since it heightened the dramatic tension of the central conflict in the show between the hopeful naiveté of its title character and the worldly-wise cynicism of the Leading Player and his cohorts. I have a feeling that if either Bob’s point of view or my own at the time had totally won out, the show wouldn’t have worked nearly as well. Subsequent to the Broadway production, Roger and I as authors made revisions that brought the show more in line with our original vision. But then a funny thing happened: Over the years, and particularly as I found myself on the other side of the over-30 generation gap, we put them right back in. We even added some. Of course there have been other developments over time as well: We’ve found other cuts and improvements for lines, sharpening of lyrics, better focus for the story in spots.
But a year or so later, I got a letter from a would-be New York producer who had heard the vanity cast recording we had made The Leading Player of Pippin. Photo Denise Trupe. Fastrada and Luis, Pippin tour. Photo Denise Trupe. of the show. He said he thought the show had potential, and asked if I Top Five Reasons to See Pippin! would be interested in 1. Winner of four 2013 Tony® Awards including developing it. Ron gave Best Revival of a Musical! me license, literally and figuratively, to do so. By the 2. PIPPIN is a completely reimagined version of the story you know and love. This revival is time the now one-name like nothing you’ve ever seen before! titled Pippin went into 3. This cast of highly entertaining characters will rehearsal for Broadway, make you laugh out loud! not one line of dialogue, 4. Awe-inspiring acrobatics and show-stopping not one scrap of lyric and numbers will keep you on the edge of your not one bar of music from seat! the original CMU show 5. The unique twist on this timeless show is an Now there is this new remained. The show had unforgettable night of theater that will leave Broadway production. I’m transmogrified into the you wanting more! story of a young man in particularly excited about search of himself, a story it because director Diane heavily influenced by the social upheaval happening Paulus seems to have a unique ability with revivals, in America at the time. America was as divided and to reinvigorate rather than reinvent, to create a polarized as ... well ... as it is now. production that delivers what audiences loved about the original show and then goes beyond to enhance There was plenty of polarization in the development and illuminate the material. My hope is that, under process for the original Broadway show as well. Diane’s guidance, Pippin will remain forever young. It’s well-known that Bob Fosse and I often found ourselves on opposite sides of our own generation *Excerpt from a piece written by composer Stephen gap, with Roger frequently caught in the middle. But Schwartz prior to the Broadway revival opening. Behind the Scenes at The Hanover Theatre • Spring/Summer 2017
May 23 - 28 Motown the Musical is sponsored by UniBank and Worcester State University. Gabriella Whiting (Florence Ballard), Allison Semmes (Diana Ross) & Tavia Riveé (Mary Wilson) Motown the Musical First National Tour. Photo (c) Joan Marcus, 2017.
Women of Motown:
Profiles of Esther Gordy Edwards and Maxine Powell They were two diminutive dynamos, one a couple of shades under five feet tall, the other a shade over. But what they lacked in size they made up for in stature. Smart and wise, tough and tender, super confident and super competent, Esther Gordy Edwards and Maxine Powell were two towering figures in the history of Motown.
sisters. On the surface that might seem like nepotism run amok, but it wasn’t. At the time that Motown was founded, Esther, Anna, Loucye and Gwen were all far more accomplished than their younger brother. They brought sophistication and considerable entrepreneurial skill to a variety of roles when Motown was getting off the ground.
Berry Gordy was, of course, the visionary leader and driving force behind Motown. As Motown the Musical indicates, Gordy methodically plotted Motown’s course, and one of his great skills was choosing the right people to help him build a company that would ultimately break down barriers and achieve mass market success. That several of the key players were women was unusual: Motown took off in the early ’60s, a time when women were largely invisible in the business world unless they were secretaries. In the beginning, Gordy employed all four of his
But it was the remarkable Esther Gordy Edwards (1920-2011) who had the greatest impact of all the sisters. Edwards, who had attended Howard University and Wayne State University (the first of the eight Gordy children to go to college) was involved in virtually every aspect of Motown and served for many years as senior vice president and director of international operations, negotiating deals with EMI to distribute Motown records in Europe and the Far East. “She had a head for business,” says her granddaughter, Robin Terry, Chairwoman of the
The HanoverTheatre.org • 877.571.SHOW(7469)
Motown Museum. “She understood how to grow a business, how to be smart in business and how to protect a business.”
This was actually something people wanted to see.” The museum was established four years later. The artists of Motown were known not just for their talent, but for the classy and professional way they In fact, she had doubts that her brother, Berry, was a presented themselves on and offstage. This was very good risk when he asked for an $800 loan from the much part of Berry Gordy’s strategy. He decided that family’s co-op to start a record company. “She was Motown should have a finishing school (something the voice of reason,” says Allen Rawls, the museum’s no other record company has ever done) and his sister interim CEO. “She was a savvy, professional woman, he Gwen suggested he hire Maxine Powell (1915-2013) was a dreamer, and dreams didn’t always come true.” to supply the finish. Known for her elegance and class, As Motown the Musical illustrates, it was Edwards who she had established the very successful Maxine Powell insisted her brother sign an IOU, “and it had to be paid Finishing and Modeling School in 1951, and counted back with six percent interest.” The promissory note is Gwen and Anna among her students. Through on display at the museum. Powell’s efforts, Gwen became the first AfricanAmerican model at the Detroit auto show. Terry says her grandmother referred to herself as Motown’s “Gal Friday,” because when she initially Powell closed her school and joined the Motown joined the company she did whatever was needed. team in 1964, teaching what she called “personal As Motown evolved, her responsibilities grew more development and growth.” Says Terry, “One word you specific. She managed and mentored many of never used in conjunction with Maxine Powell was Motown’s young artists and, together with Maxine ‘etiquette.’ It would ruffle her feathers. Even though Powell, served as chaperone when her underage what she taught had to do with how you walked charges went on tour. “She got a lot of fulfillment and how you sat, she was teaching people how to from personally managing artists because she loved just be. She believed that if you worked on what’s them,” says Terry. “She was responsible for getting on the inside, it would show up on the outside, and Stevie Wonder accepted into the Michigan School that made you more dignified, more graceful, more of the Blind. She set up his trust fund and got him a beautiful, more natural.” tutor. She and Stevie had a very special bond; he truly considered her a second mother.” Most of Motown’s artists came from humble beginnings, and Powell saw them as diamonds in the Edwards was a force not just in Motown, but in Detroit rough that needed polishing. “Some of them were and beyond. She was the first woman elected to the from the projects, some were using street language, board of both the Detroit Bank of the Commonwealth some were rude and crude,” she said in an interview. and the Greater Detroit Chamber of Commerce. “With me, it’s not where you come from, it’s where Politically aware and involved – her husband was you’re going.” a Michigan state representative – she traveled to Washington, DC with Michigan Governor G. Mennen Powell mentored her charges in social graces Williams to urge John F. Kennedy to run for president. and comportment, and worked closely with choreographer Cholly Atkins when he created dance Perhaps her greatest legacy is the Motown Museum, routines. “She made sure the routines for the women which she founded in the Hitsville, USA house were ladylike,” says Rawls. “She’d say, ‘Young women that served as the original studio and company dance with their feet and not with their buttocks.’ She headquarters. Without knowing why, Edwards had told the artists she was preparing them to perform saved all sorts of documents and memorabilia from before kings and queens. The response from many the earliest days of Motown. “She somehow knew that of them was, ‘We don’t care about that. All we want what she had was unique and important,” says Terry. is a hit record.’ But the proof is in the pudding, when you see a picture of the Supremes being presented When Motown made the move to Los Angeles, to the Queen Mum. So I think all of them, to a person, Edwards stayed put. Terry says she was “a fierce appreciated the mentorship that they got from her.” Detroiter” and one day in 1981 she looked out the window and saw dozens and dozens of British sailors Powell was instrumental in improving the on the Hitsville lawn. “It was at that point that the showmanship of a resistant Marvin Gaye, who tended meaning behind all that she had saved became clear. to sing with his eyes closed. “It looked like he was into continued on page 14
Behind the Scenes at The Hanover Theatre • Spring/Summer 2017
Something for Everyone Celtic Woman: Voices of Angels April 11 2017 GrammyÂŽ nominee and multi-platinum international music sensation, Celtic Woman is back by popular demand, combining traditional Irish music with spectacular production and staging.
Six Appeal May 4 Six Appeal is a world-class vocal ensemble infused with sharp comedic timing, and the energy and vitality of a rock band. The HanoverTheatre.org • 877.571.SHOW(7469)
Russian National Ballet’s Cinderella April 14 Music Worcester presents the timeless classic, Cinderella. Performed to Prokofiev’s hauntingly soaring score, this romance is a stage fantasy to enrapture children of all ages as well as a cornucopia of sly wit and inventive choreography to sate the most devoted of ballet fans.
Joel McHale May 19 Joel McHale is one of the most sought after comedians and actors in the industry. Currently starring on CBS’s “The Great Indoors”, McHale has also been seen on E’s “The Soup”, Fox’s recent revival of “The X-Files” and NBC’s “Community.”
The Department of Art, Music and Theatre Presents
THE Meredith Willson’s
April 21 - 23, 2017
April 21 - 23 Assumption College’s Department of Art, Music and The Hanover Theatre Theatre presents Meredith Willson’s The Music Man, one of the most popular American musicals. The Tickets available at: Music Man was a Broadway hit, winning five Tony® Awards, including Bestwww.TheHanoverTheatre.org Musical, and the cast album Presented through a special arrangement with MTI won the first Grammy® Award for Best Musical Theater Album. Behind the Scenes at The Hanover Theatre • Spring/Summer 2017
Photo Frank Ockenfels.
C I S U MMAN
Riverdance: The Music June 8 - 11 Riverdance The 20th Anniversary World Tour is sponsored by Commerce Bank.
Finale scene from Riverdance, © Riverdance. Photography Credit: Jack-Hartin
A scene from Riverdance. Photo Jack-Hartin.
There are two particular problems for the composer writing music in the idiom of any given folk or ethnic tradition – one is social and the other is technical. If the composer is Irish and working with the modes and forms of traditional Irish music, then the first of these problems is most acute – and for very positive reasons. Traditional music holds a special position in Ireland. To many Irish people it has a defining role culturally and provides an authentic and eloquent link to their past. It is also a rich musical vein that reveals much about Ireland and the Irish – quirky, mischievous, evasive dance tunes, and dark proud airs that can heal grief and comfort loss. So, when you find yourself in and around a music The HanoverTheatre.org • 877.571.SHOW(7469)
that has such a long tradition, and such delicate associations and nuance, it can begin to feel like being in a church. Even the lightest footfall can echo long and you may think twice before you dare to whisper. From a technical point of view, the instruments from which this music has grown are themselves problematic. In particular the uilleann pipes, not being chromatic, tend to confine melodic writing and the very nature of the instrument itself demands caution. The uilleann pipes are a very beautiful but frustrating combination. Both primitive and sophisticated, their evocative abilities are boundless, but the piper’s terror is that they may decide to desert him in the midst of his most ardent flight, like some haughty lover – sweet, mysterious and
unpredictable. This dynamic goes to the heart of piping and the composer may do well to remember the piper’s careful pampering of his reeds before setting a note on the page. Add to this the varied demands created by whistles, bodhráns, Irish fiddling styles, and in the case of Riverdance, the quirks and vagaries of the Eastern gadulkas and kavals, and soon the relative familiarity of a symphony orchestra may beckon like a safe harbor in a storm. Composition is essentially a solitary occupation, and it is only when you first bring your music into the dance studio that you experience the full rush of fear and excitement. The dancers do not quite know what to expect, and you have no idea how they are going to respond.
to find individual dancers in corners, corridors and canteens as they worked on the kind of precision that was to become a hallmark of Riverdance. And then came the day that, for me, really copperfastened it. It was one of the last days of rehearsal for the Eurovision in 1994. Producer Moya Doherty, myself and the entire company were assembled in the dance studio. There was hardly room to move. We had seen the dance performed in sections, but had not seen it all in one piece. The music began, and for the next six minutes the room was like a powerstation. When it was over we all just looked at each other and smiled. There may have been no grand design, but we knew at that moment that whatever it was, it worked. Riverdance was truly on its feet and I will never forget it.
When Riverdance began Even though it is now a back in 1994, it would mature adult, Riverdance be folly to suggest that still holds that original we all knew exactly potency and magic. what we were at, or There are young people that there was some performing the show A scene from Riverdance, Caoineadh Chu Chulainn. Photo Nicola kind of grand design. today who had just Shelby. But there is no doubt arrived into the world that as the pieces began when I was writing it to fit together, there was a sense that something back in 1994. These young dancers and musicians unique was happening around and among us. I had bring their own energy and interpretation to the deliberately written pieces with rhythmic patterns performances. For those of us there since the that were foreign to traditional Irish music, but after beginning, it has been a joy to witness how a new the initial raised eyebrows the thrust of the principal generation, many of whom were attracted to Irish dancers’ creativity took hold and I can still remember music and dance by the success of Riverdance, the excitement as they began to fashion their first are now up there on the stage injecting it with a steps. youthful verve, flair and enthusiasm that belies its age. For me, when I see the show these days, it is Gradually these steps were learned by the troupe often just like that first night in 1994. and I have many memories of arriving to the studio By Bill Whelan, composer of Riverdance Behind the Scenes at The Hanover Theatre • Spring/Summer 2017
Women of Motown continued himself as opposed to the audience,” says Rawls. “He was a handsome guy with a great voice, but she recognized that there was something missing from his stage presentation, something that could take him to the next level. It took some convincing, because Marvin was a stubborn person. But if you look at clips of him, you can see that he got it.”
Judith Franklin as Martha Reeves (center) & cast Motown the Musical First National Tour. Photo (c) Joan Marcus, 2017
Powell left Motown in 1969 and went on to teach courses in personal development at Wayne County Community College for almost 15 years, More recently, she worked part time as an assistant to Martha Reeves, one of her former Motown students, when the one-time lead singer of the Vandellas served on the Detroit City Council. Until the end, Terry says, “Professor Powell never stopped teaching.”
Both Powell and Edwards left behind countless numbers who benefited from their tutelage and wisdom. A few years ago, Rawls and his wife escorted Powell to a show about the early days of Motown called Now That I Can Dance. “About a dozen Motown alumni showed up, and they were introduced at the end of the production,” he says. “Then they introduced Maxine Powell, and she got a standing ovation. She’d become a legend.”
Terry says that to this day she hears from people, especially women, whose lives were impacted by her grandmother. “Very influential women, CEOs, come up to me and tell me how my grandmother helped them or mentored them,” she says. “Black, white, it didn’t matter. They credit her with helping them navigate uncharted waters. She was a true pioneer.”
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2017-2018 Broadway Series Showcases the Best of Broadway Behind the Scenes brings you the inside scoop on the shows coming to The Hanover Theatre next season from the men who book the shows. Troy Siebels, The Hanover Theatre’s president and CEO, works closely with Norbert Mongeon, director of finance and programming for Providence Performing Arts Center, and the driving force behind Professional Facilities Management (PFM). BTS: Why does The Hanover Theatre partner with PFM to book the Broadway Series instead of going directly to the tours? TS: Our challenge in booking shows is that Worcester is part of the greater Boston media market, so no touring show is going to play both Boston and Worcester in the same year, and even if a show has already played Boston, it can be difficult to attract them to Worcester if the producer is considering bringing it back for a return engagement in Boston. PFM books Broadway shows into more than ten markets, including not only Providence but also Durham, Baltimore, Fort Meyers and others, which gives us more leverage to book popular shows. With that added leverage, we can sometimes bring in a new Broadway tour before it goes to Boston, and generally bring in newer and more popular productions.
NM: Working with multiple venues gives us more flexibility too. We were able to make a last-minute swap between Worcester and another market this year to bring Bright Star, Steve Martin and Edie Brickell’s new musical, into The Hanover Theatre’s season. TS: Bright Star is a great example, and one that I am especially excited about, because it’s coming direct from Broadway. Unless you saw it in New York, you haven’t seen this show yet. BTS: Besides scheduling issues, what are some of the other factors that go into choosing the shows for the Broadway Subscription Series? NM: We look at what shows are going to be on tour in the coming year, and Troy and his team will rank them in order of preference, and then we’ll go to work with the booking agents to try to lock in dates.
The sTory of frankie Valli & The foUr seasons
continued on page 17
Behind the Scenes at The Hanover Theatre • Spring/Summer 2017
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TS: People absolutely loved the quality and experience of Cinderella. It was clear from the surveys that we really need to balance the traditional shows that our audiences know and love, with shows that are fresh and new. It’s also interesting how a show like Cabaret stands the test of time and sparks new conversations today. Some of those classic Broadway shows absolutely have relevance in today’s world. Live theatre can bring people together around an issue that they wouldn’t talk about otherwise. It’s one reason why I think it’s so important to give kids and young adults exposure to live theatre. BTS: Which show are you most excited about? TS: I am definitely a fan of Something Rotten. It’s a very new show and one that Worcester audiences are going to love. When I saw it in New York, I laughed more than I have at anything else I can remember. It’s a great concept and one of the funniest shows I’ve seen. It’s also another good example of a great show that not everyone will have heard of. It can be more of a risk to bring in a newer Broadway show like Something Rotten because of that lack of universal name recognition. It’s important for us to make sure we keep delivering great quality shows that continued on page 19
Behind the Scenes at The Hanover Theatre • Spring/Summer 2017
2017-2018 Broadway Series • Subscribe now. Defer payments until June 2017.
The Hanover Theatre has a steadily growing base of Broadway subscribers, which helps a lot. The more subscribers a market has, the less financial risk the show takes on, in that it reduces the number of single tickets the show needs Dylan Boyd as Ralphie Parker in A Christmas Story, The Musical. to sell. Photo Jesse Scheve. TS: Over the last nine years we’ve built A Christmas Story, The Musical • Nov 9 -12 a relationship with “A joyous Christmas miracle.” - Associated Press subscribers and a reputation for bringing in high quality productions, ranging from traditional Broadway hits to new and fresh shows. It is important, especially when we have titles that some people may not recognize, that our audiences trust us to bring them something that they’re going to The cast of Cabaret in the Kit Kat Club. Courtesy tour photo. love. This year, we surveyed audience Cabaret • Dec 28 - 31 members from our first Broadway show about “A devastatingly relevant work of art.” - Houston Chronicle which tours they’d like to see in 2017-2018. BTS: Both subscribers and nonsubscribers attending Cinderella were surveyed. Both groups identified RENT as one of the shows they most wanted to see in the next season, along with the return of Jersey Boys and Rodgers & Hammerstein’s The Cast of the Something Rotten! National Tour. Photo Jeremy King & I. I know that Daniel, 2016. we chose not to book the shows that people Something Rotten! • Feb 20 - 25 were least interested “Ingenious! Outrageous! Irresistable!” in. What were other –Variety major take-aways?
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The Jersey Boys sing Sherry. (l to r) Cory Jeacoma, Matthew Dailey, Aaron De Jesus and Keith Hines. Photo Jeremy Daniel.
Jersey Boys • March 15 - 18 “Hits the right notes.”
- USA Today
David Merino, RENT 20th Anniversary Tour. Photo Carol Rosegg.
RENT 20th Anniversary Tour • April 5 - 8 “RENT makes musical theater joyously important again”. - Variety
TS: This event has become something that people look forward to each year. We have over a dozen restaurant partners providing free samples and there will be other activities going on in the lobbies. This year we’ve added a special reception for subscribers in our new function spaces. For the main event, on our stage, I will take the audience through what’s exciting about each of next season’s shows. We’ll finish with the announcement of the seventh show and a spotlight performance by one of the touring cast members. This is a free event, and always fun and engaging, so people should be sure to RSVP and share the evening with friends.
April 24 5 - 7 pm • • • Broadway Press & Preview Party Join us for an evening of fun, food and entertainment!
Carmen Cusack and Paul Alexander Nolan from the Bright Star Original Broadway Company. Photo Nick Stokes.
Bright Star • April 12 - 15
“Magical. Romantic. Pure”.
RSVP online today at TheHanoverTheatre. org/subscriptions
- New York Post
Behind the Scenes at The Hanover Theatre • Spring/Summer 2017
2017-2018 Broadway Series • Subscribe now. Best Seat. Best Value. Best Benefits.
people love, whether they’ve heard of them or not, so that they’ll continue to trust us. BTS: Why do we need to wait until April 24 to find out about the last show in the 2017-2018 Broadway Subscription Series? NM: When we book shows for dates that are more than a year in the future, sometimes there are restrictions if a show is playing in a nearby market. The touring production does not want to jeopardize ticket sales in that market before its run is done. In this case, April 24 is the day we can announce the seventh show. This is something that we’ve needed to do before, and it’s likely that we may need to hold back a title in future years as well. TS: Again here, the key is for our subscribers to trust that the last show we announce will be great. Typically the shows that we can’t announce until later will be the bigger and more exciting titles. Our audiences were thrilled with the announcements of Dirty Dancing and The Sound of Music, and this year will be no exception! BTS: What can people expect at the 2017-2018 Broadway Press and Preview Party on April 24?
Best Seats. Best Value. Best Benefits. Available ONLY to Broadway Subscribers.
Top Ten Reasons to Subscribe 1. Our 2017-2018 Broadway Series includes a line-up of shows that collectively won 24 TONY® AWARDS, 13 DRAMA DESK AWARDS, 1 GRAMMY® AWARD and a PULITZER PRIZE. 2. Subscribers are first to GUARANTEE OR IMPROVE SEATING each year before the Broadway Series goes on sale to anyone else. 3. Only subscribers have access to the BEST SEATS in the theatre within the gold circle and loge sections. 4. ESCAPE TO THE THEATRE AND SAVE up to 20% off regular individual ticket prices. That adds up to $72 - $107 per adult! STUDENT SUBSCRIBERS SAVE $147 $159.50 per subscription.
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6. We are offering subscription payments in four, six or eight monthly payments. You can SEE ALL 7 SHOWS FOR AS LOW AS 8 PAYMENTS OF $35! 7. Subscribers can SHARE THE THRILL OF LIVE THEATRE and purchase additional tickets for the series at the same great price. 8. Subscribers receive a complimentary Friend Level membership ($75 value) which gets you EARLY ACCESS and DISCOUNTS TO OVER 100 ADDITIONAL PERFORMANCES. 9. No need to travel to Boston or New York City to see the same shows, we offer EASY & AFFORDABLE PARKING and SPECIAL OFFERS from our Gourmet Program restaurant partners. 10. Your trip to The Hanover Theatre guarantees that you will experience Broadway shows at one of Pollstar’s TOP THEATRES IN THE WORLD, where service and quality are our top priorities. The HanoverTheatre.org • 877.571.SHOW(7469)
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Arts Education from the Start… Insights from Meghan Montaner, Director of Education In opening our new Conservatory for the Performing Arts, it is important for us to include arts education opportunities for all ages, even infants! They say you’re never too old to learn, but you’re never too young either. Our Music Together® class for infants through age 5 is designed to introduce children and parents to the joys of music-making and the powerful benefits of having music in their lives. This research-based, developmentally appropriate and internationally recognized music program develops basic music skills, such as singing in tune and moving with accurate rhythm. It also nurtures creativity, selfexpression and confidence while supporting social, emotional, cognitive and physical development.
caregivers who are actively making music. In fact, this modeling is essential to their growth into confident music-makers. The program brings families together by providing a rich musical environment in the classroom and then facilitating family participation in spontaneous musical activity at home in daily life. By emphasizing actual music-making experiences, children are introduced to the pleasures of producing music instead of passively consuming it from iTunes or TV. The class is very high-touch (face to face, heart to heart, voice to voice) for a truly bonding and enriching experience. Making music involves more than the voice or fingers playing an instrument. A child learning about music has to tap into multiple skill sets, often simultaneously. For instance, people use their ears and eyes, as well as large and small muscles, says Kenneth Guilmartin, cofounder of Music Together®. “Music learning supports all learning.”
There is a growing (and convincing) body of research that indicates a “window of opportunity” from birth to age nine for developing a musical sensibility within children. During this time, the mental structures and mechanisms associated Our next Music Together® session starts on March 27. The Music with processing and Together® program is offered in partnership with Pakachoag Music understanding music are Musical experience at an School. For more information, check out TheHanoverTheatre.org/ in the prime stages of early age is extremely conservatory or contact Meghan Montaner, director of education, at 508.471.1793. development, making it important in a child’s of utmost importance to developmental process. expose children in this age range to music. Like riding a bike or learning a language, these skills can be learned later in life, but they will never be At the core of the Music Together® approach is “natural” in the way that is so important for fluid the idea that young children learn best from the musical performance. powerful role models of parents, grandparents and In our inaugural semester at The Hanover Theatre Conservatory, we’re proud to announce that we are working with over 100 students ranging from ages 2 months to 72 years. Nine professional teaching artists are offering 13 different classes in areas of drama, dance, music and design including Music Together®, Imaginative Play, Creative Drama, Beginner’s Improv, Acting, Theatrical Tap, West African Drumming, Playwriting, Stage Makeup and Intro to Technical Theatre. Be on the lookout for our fall semester classes when they are announced later this spring! Behind the Scenes at The Hanover Theatre • Spring/Summer 2017
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Behind the Scenes
is a publication of The Hanover Theatre for the Performing Arts, which is published twice a year. All rights reserved. All images, unless otherwise noted ©The Hanover Theatre. Editor: Lisa K. Condit Designer: Monica Wagner Elefterion Plan now to advertise in our upcoming Fall 2017/Winter 2018 issue of Behind the Scenes Magazine, contact Diane Pieciak, senior sales manager at diane@TheHanoverTheatre.org.
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