ROUNDABOUT BLOG

2016-2017 Season

Interview with Director Gordon Greenberg

Posted on: December 29th, 2016 by Ted Sod

 

Education Dramaturg Ted Sod talked to director Gordon Greenberg about his work on Holiday Inn.

Director Gordon Greenberg

Ted Sod: Tell us about yourself. Where were you born and educated? Why did you want to become a theatre director? Did you have any teachers who had a profound influence on you?

Gordon Greenberg: I was born in Texas but raised in New York, where I quickly became a theatre fan and then a performer. I appeared in my first Broadway show at age 12 and attended Stagedoor Manor, a magical summer camp filled with similarly passionate theatre kids. I lived for the summers and remain close friends with many of the people I met there, including my first theatre teacher, Jeanine Tesori (composer of Fun Home, Caroline or Change, and Shrek), my counselor Mark Saks (casting director on “The Good Wife”), and my roommates (we didn’t have bunks) Jonathan Marc Sherman (playwright), Shawn Levy (film director, Night at the Museum), and Josh Charles (actor, “The Good Wife” et al.). It was an idyllic place to cultivate your inner artist and share stories and hopes for the future. During high school, I also went to summer programs at Carnegie Mellon for musical theatre and the Royal Academy of Dramatic Art in London for classics, before enrolling at Stanford University to study Western Culture as a freshman (how’s that for non-committal?). I later transferred to NYU, where I was able to major in Film and Art History. We were very fortunate, as part of an artists' group that also travelled to China, to study with renowned film director Zhang Yimou, and to Russia to study at the Moscow Art Theatre. Our Dean used to rate us on the value of the questions we asked, to ensure that we were always circumspect and thoughtful. That sense of intellectual rigor was intimidating at first. I have always believed that art is first and foremost for the audience. But I eventually learned that respect for craft and quality goes hand in hand with accessibility to all art forms. Stagedoor, Stanford, and NYU began a great awakening to all the possibility of theatre and the value of hard work. But it’s a lesson that I am still learning from every collaborator I work with.

TS: Why did you choose to co-write and direct this stage adaptation of Holiday Inn?

GG: I was working with Universal on another project when this idea came up, and Chris (Herzberger, Universal's Vice President of Live Theatricals) and I jumped out of our skins with delight. I always get excited when a film offers the raw material for a great stage musical without begging to be recreated literally onstage. And Holiday Inn was just that; a classic film with a classic score and a simple narrative that left room for development. It’s a show that is a sheer pleasure to direct, filled with humor and heart and humanity. I try to make the atmosphere in the rehearsal room as buoyant and spirited as the show itself. That’s how we fuel the joy machine that is Holiday Inn, The New Irving Berlin Musical.

TS: How did you research the world of the play? Can you give us some insight into your process as a co-writer and director?

GG: I grew up with a profound love for this period. My parents are big fans of musicals and the great American songbook, so this was the music that was always playing in our house. Those were the films that were always on our television. So that sense of nostalgia and romanticism for this period was very much alive for me. My grandmother and her sister appeared once on "The Horn and Hardart Children’s Hour" television talent show. They didn’t win, but the legend seems to have grown inversely, looming large in my mind from a young age. When we started this process, I immersed myself happily in films, books, and radio broadcasts of the era, although Chad Hodge (my co-writer) and I only ever watched the original film of Holiday Inn once, at the outset. That allowed us to approach the story with fresh eyes. Furthermore, I have spent much of the past four years directing the UK revival of Guys and Dolls, first at Chichester Festival Theatre and then in London’s West End. Since that show was written in the late 1940s, the post-war period in which we chose to re-set Holiday Inn, I felt very much in tune with the vernacular and silly sense of word play. It was also a gift to be able to develop the show at Goodspeed Musicals in Connecticut, where we were living quite literally in the world of the show, surrounded by that New England architecture, staunch Yankee sensibility, and beautiful scenery.

TS: What do you think the musical is about? How do you understand the relationship between Jim and Ted?

GG: Whenever I start working on a project, I ask myself what the play underneath the play is about. Why must these ideas be put into the world? With Holiday Inn, I was immediately drawn to the idea of what, in art and in life, is truth as opposed to artifice. And where do the lines get blurred? The notion of wanting to swap the frivolity and uncertainty of show business for something genuine and solid was also very much alive for me. Both of these themes run throughout the show, as our protagonist Jim struggles with his desire to live authentically against his love for performing. In one of his moments of epiphany, he realizes that maybe it does take a little bit of performing to live a normal life. But he doesn’t ultimately find happiness until he learns, as Rilke would say, to live in the questions. Throughout the show, Jim has two love stories—a romantic one with Linda, a local school teacher who is not easily charmed, and a platonic one with his oldest and best friend Ted, whose life force energy has become entirely focused on his career, while Jim’s is pointing in another direction. Jim and Ted experience the heartache of a friendship breakup and the ultimate joy in a reunion that shows growth on both of their parts and reaffirms their bond of mutual admiration.

TS: What are the major differences between this adaptation and the movie version? Will you talk about any songs from the Irving Berlin canon that are being interpolated into this stage adaptation? Why did you choose them?

GG: The stage musical is inspired by the original screenplay, but it’s very freely adapted. Although we held onto all the beloved set pieces (songs, dances, ideas, and moments), we largely reimagined the story, characters, and tone. We have also added several fantastic songs from the Irving Berlin songbook. What a treasure trove to select from! The new songs in the stage musical are like a hit parade from the Irving Berlin songbook, including “Cheek to Cheek,” “Blue Skies,” “Shakin’ The Blues Away,” “Steppin’ Out With My Baby,” “Heat Wave,” and “Easy To Dance With.”

Bryce Pinkham, Gordon Greenber and Denis Jones

Bryce Pinkham, Gordon Greenber and Denis Jones

TS: What do you look for in a musical director and choreographer? Will you talk about working with your collaborators in these roles, Andy Einhorn and Denis Jones?

GG: First and foremost, you want to work with people who enjoy collaboration; people who derive joy from the spark of creating new ideas together, bouncing back and forth improving them. I am fortunate enough to have met Denis many years ago when we were both actors. He was always a bright light in the room and continues to be one in every room we work in. He is never shy with ideas or less than flexible —and always a source of good humor and spirit. We always see our work evolve as we discover more about how best to tell a story. For example, at one point the opening number of this show was a gigantic cavalcade of dancers, which was thrilling in and of itself, but ultimately confusing to an audience who needed to know that our protagonist was not at the top of his game and wanted to quit show business. There was an inherent mismatch of ideas, but it took a minute for us to see that. Denis is the rare choreographer who was able to turn on a dime, throw that spectacular number away, and whip up a rinky-dink cabaret sketch that set us up for narrative success—all with pleasure. Andy is new to the show but is a top notch musician and highly sensitive to the overall needs of the show. He listens not only as the music director, but also as an audience member experiencing the show for the first time. That’s a crucial distinction, because it’s easy to become myopic and obsess about your department specifically. Being able to see the big picture makes for great collaborators and, ultimately, a much better show.

TS: What did you look for in casting the actors?

GG: Because Holiday Inn lives in a specific time period, style, and vernacular, we looked for actors who connected with this language and sensibility; actors for whom the humor came naturally, and who could fill this style with truth and humanity. On top of that, they all had to do justice to this glorious music. And then there’s the dancing. For the role of Ted, we needed someone who could command the stage as an actor and singer—and tap dance like a star. Indeed, trying to fill the shoes of Fred Astaire was a slightly terrifying prospect for us—but we ultimately freed ourselves in much the same way we did with the book – by embracing the idea that this is going to be its own new creation. And the more we take it in new directions, the better it becomes.

TS: How will the play manifest itself visually?

GG: We found a lot of great inspiration for the visual world of the show up in Connecticut, where there are a wealth of old farms, inns, bungalow colonies, and school houses that feel like we could find any of our characters living in, working in, and loving. In fact, the proscenium surround is a loving homage to the Goodspeed Opera House, where the earliest version of this show was performed. As far as the general aesthetic for the design of the show, we aimed a contemporary lens at the vintage world of 1946. The graphics, patterns, and colors are all little gems we found in vintage shops, online, and in some public buildings I happened upon in London. Camera phones have made trading ideas much easier!

TS: Any advice for young people who want to be theatre directors and who specifically want to direct musicals?

GG: Have a trust fund. I jest, but it’s true that a career in directing takes time and mileage to cultivate. Be prepared to dedicate the time. If you want to become a professional theatre director, you should first and foremost take in all of the arts; visit museums, see every play, opera, ballet, musical, spectacle, prayer circle, paintball tournament, poetry reading, movie, and live event you can. It’s all woolgathering. It will free you to dream up your own stories, and it will all come back in your work one day in ways you can’t even contemplate right now. Also, live life outside of theatre. If you want to paint mountains, you have to go look at them. Don’t settle for just looking at other people’s paintings of mountains. Finally, write. Even if you think you’re a lousy writer, write something every day. It will make you more sensitive to the process, and you may even find that you have a play or musical or novel in you.

TS: How do you keep yourself inspired as an artist?

GG: I teach. There’s nothing more inspiring than inspiring someone else, helping them discover an unknown part of themselves. As a director, you are responsible for so many departments that you can sometimes get lost in the weeds and disconnect from the sheer joy of creation; the need to express something profoundly personal and human. So working with young artists becomes a great way to reconnect yourself; encouraging them to reach down deeper for the art in themselves; to tap into that soulful stream that runs through all of us. You don’t realize how much life has beaten you up until you watch a group of kids experience something for the first time. That’s pure— and theatrical.

 

Holiday Inn, The New Irving Berlin musical is now playing at Studio 54. Visit our website for tickets and more information. 


Related Categories:
2016-2017 Season, Education @ Roundabout, Holiday Inn, Upstage


No Comments

Berlin’s Musical Calendar

Posted on: December 23rd, 2016 by Nick Mecikalski

 

Irving Berlin wrote many of the songs in Holiday Inn specifically for the 1942 film itself—but several of them took different trajectories from what he originally planned. The following traces select songs from the musical back to their roots and explores their lasting impacts.

Ginger Rogers and Fred Astaire in Top Hat, which features the song "Cheek to Cheek"

Ginger Rogers and Fred Astaire in Top Hat

FEBRUARY – "BE CAREFUL, IT’S MY HEART"
Berlin and Bing Crosby originally intended “Be Careful, It’s My Heart” to become the standout hit from the Holiday Inn film, but “White Christmas” emerged as the runaway single instead. Written as an intentionally fresh take on a Valentine’s Day love song, “Be Careful, It’s My Heart” both celebrates romance and acknowledges its dangerous side.

FEBRUARY – "CHEEK TO CHEEK"
Berlin originally wrote “Cheek To Cheek” to accompany the ballroom dance in the 1935 film Top Hat, in which Fred Astaire famously sings the romantic melody to Ginger Rogers after proposing to her. The song went on to earn a 1936 Oscar® nomination and become the Billboard number 1 song of 1935—and Berlin wrote the entire thing in a single day. “Cheek To Cheek” did not actually appear in the original Holiday Inn film.

APRIL – "EASTER PARADE"
The melody to the “Easter Parade” refrain originally appeared in Berlin’s 1917 song “Smile and Show Your Dimple.” Berlin reused the tune for “Easter Parade,” which he featured in his 1933 musical revue As Thousands Cheer, a satire of world events and newspaper headlines of the time. “Easter Parade” went on to be included in several films, including Alexander’s Ragtime Band (1938) and Easter Parade (1948) in addition to Holiday Inn.

Judy Garland in "Meet Me in St Louis"

Judy Garland in the film Easter Parade

JULY – "SONG OF FREEDOM"
The first Independence Day song added to the Holiday Inn film was an intentionally apolitical and wordless “fire-cracker ballet.” After the December 7, 1941 attack on Pearl Harbor, however, Berlin, in the midst of shooting the film, quickly wrote “Song of Freedom” as a rallying cry for a nation at war. Inspired by President Franklin D. Roosevelt’s “Four Freedoms” speech earlier that year, “Song of Freedom” captures America’s pro-war fervor at its entry into World War II.

OCTOBER – "BLUE SKIES"
The version of “Blue Skies” heard in this musical also contains parts of Berlin’s song “Down Where The Jack-O’- Lanterns Grow,” which Berlin wrote for The Cohan Revue of 1918. Berlin first wrote “Blue Skies” itself for the 1926 musical Betsy. At the opening performance, the audience was so enraptured by “Blue Skies” that actress Belle Baker ended up giving 24 encores of the song, the final one onstage with Berlin himself after she forgot the lyrics.

A 'Four Freedoms' stamp from 1946

A "Four Freedoms" stamp from 1946

NOVEMBER – "MARCHING ALONG WITH TIME"
Berlin wrote “Marching Along With Time” as part of his first musical feature film, Alexander’s Ragtime Band, the first ever musical film comprised of songs entirely by the same composer. Though Berlin’s producers urged him to make Alexander’s Ragtime Band an autobiography, the film instead primarily became a history of Berlin’s compositions. Ethel Merman was supposed to perform “Marching Along With Time” for the film, but the song ended up being dropped from the score.

NOVEMBER – "PLENTY TO BE THANKFUL FOR"
In the Holiday Inn film, a cartoon sequence directly before the debut of “Plenty To Be Thankful For” depicts a confused turkey running back and forth between two different dates on a calendar—a reference to President Roosevelt’s failed attempt to move Thanksgiving to the third Thursday in November in order to extend the holiday shopping season. The contrast between the moment of political commentary and the song’s idealistic lyrics may well be Berlin’s reminder to his audience of the capitalistic and governmental forces at work behind even our most sacred holidays.

Irving Berlin and performers from Alexander's Ragtime Band, 1938

Press photo of Irving Berlin (left) and performers from Alexander's Ragtime Band, 1938

DECEMBER – "WHITE CHRISTMAS"
When Berlin penned “White Christmas”—perhaps in 1940, though the exact date is unknown—he had no expectations for its success. Nostalgic and melancholy, the ballad
perhaps draws from Berlin’s conflicted feelings around the holiday, which in 1928 saw the death of his infant son, Irving Jr. The song became wildly popular when in 1942 Armed Forces Radio broadcast Bing Crosby’s version overseas to American GIs. Still a quintessentially American tribute to home, “White Christmas” is now the most-recorded and best-selling song of all time.

DECEMBER – "HOLIDAY INN / HAPPY HOLIDAY"
Berlin wrote both “Holiday Inn” and “Happy Holiday” in 1942 as separate songs and only later combined them for the film. “Happy Holiday” is popularly considered a Christmas anthem, but in this musical, as in the original film, it serves as the New Year’s Eve number, intended as a blessing on all holidays over the course of the new year.

 

Holiday Inn, the New Irving Berlin Musical is now playing at Studio 54. Visit our website for tickets and more information.


Related Categories:
2016-2017 Season, Education @ Roundabout, Holiday Inn, Upstage


No Comments

Theatre and Restorative Justice, Part II

Posted on: December 20th, 2016 by Leah Reddy

 

Leah Reddy is a Master Teaching Artist at Roundabout and has served as Partnership Coordinator for Roundabout’s partnership with Brooklyn School for Music and Theatre (BSMT) for the past 5 years. At BSMT, Roundabout Teaching Artists partner with educators to co-plan and co-facilitate 8-visit classroom residencies that explore classroom content through theatre. This fall, Leah partnered with Kayla Dinces in her creative writing class. Together, Leah and Kayla worked with the school’s Restorative Justice Coordinator, Yuko Uchikawa, to explore creative writing using theatre and restorative justice practices. The students attended Roundabout’s production of KINGDOM COME as a part of the residency. In a series of 3 blogs, Leah will share her experience as a Teaching Artist in this residency. The following is blog 2 of 3.

We began our residency with several workshops that would give us insight into what our students’ strengths and interests were. We used the story of Axton Betz-Hamilton, a woman whose mother stole her identity when she was a child, as a basis for quickly writing and performing scenes. The themes of Betz-Hamilton’s story parallel those of Kingdom Come: dignity, identity, technology, and betrayal.

One of the things we do in the education department at Roundabout is to mirror the professional theatre process and artist’s process. I plant those seeds in reading and writing activities by asking students to think like directors and choose words and phrases that call up images for them or are “juicy” or compelling. Those selections became the seeds of the scenes they wrote, then performed.

From there we jumped into an exploration of The Essential Elements of Dignity as outlined by Dr. Donna Hicks, which was Yuko’s idea. The elements make a potentially hard-to-define concept really concrete, and they made a great lens through which to read and see Kingdom Come.

We read key scenes as a class, then found moments where characters upheld or violated each other’s dignity. Digging into why, for example, Suz doesn’t offer Layne understanding or acknowledgement or safety in their first scene together gave students a new way to consider some basic acting ideas: where a character is coming from, and what her objective is. It also raised our own awareness of why we act the way do in our real lives.

bsmt02-02

The class loved the student matinee, and the opportunity to talk to Alex Hernandez and Socorro Santiago after the show. The actors were curious if the students’ expectations for the play were what they saw onstage. A student mentioned that the character of Samantha wasn’t what she expected after reading a scene from the play in class.This prompted the actors to ask the students whether they could see other characters played by actors of different races or backgrounds, to which they answered a resounding yes. It’s crucial that students see themselves reflected in the theatre, and this play was especially engaging because of the subject matter and the casting.

After the show we focused on the ending. What are all the ways a conflict can resolve? Does resolution demand a restoration of dignity? We took those ideas into creating our own scene about dignity and conflict.


Related Categories:
2016-2017 Season, Education @ Roundabout, Kingdom Come, Roundabout Underground, Teaching Artist Tuesday


No Comments