Staples Players directors David Roth and Kerry Long have had some challenging sets before.
They’ve created a New York neighborhood for “West Side Side Story,” a dystopian world for “Urinetown,” and the terrorizing plant in “Little Shop of Horrors.”
But “James and the Giant Peach” is deceptively difficult. A centipede falls off the giant peach. The peach has to land on the Empire State Building. Gulls attach spider webs, and fly.
Audience members for Players’ spring production will be familiar with the show. If they haven’t read the 1961 children’s novel by Roald Dahl, they’ve seen the 1996 film.
Next week, from March 21-24, they’ll be able to see a stage adaptation of it.
Beckwith Fipp, as James. (Photo/Kerry Long)
And that familiarity is especially relevant, because the musical was developed by Justin Paul and Benj Pasek. They’re the creative team responsible for “Dear Evan Hansen,” “La La Land” and “The Greatest Showman.”
Justin Paul is a former Staples Player himself. He graduated in 2003, after taking advantage of nearly every acting, performing and directing opportunity the high school offered.
“James and the Giant Peach” follows in the tradition of other spring Players shows, with dual appeal to adults and younger audiences.
Roth and Long have thought about doing one of Paul’s musicals for several years. They saw “James” — the first full-length Pasek and Paul collaboration — when it debuted at Goodspeed Opera House in 2010.
With its large cast size and accessibility, this is the right show, at the right time.
A large cast offers many Players a chance to shine. (Photo/Kerry Long)
“It’s very funny,” Roth says. “The music is great, in so many styles.”
He and Long are longtime Dahl fans.
They are fans of Paul and Pasek too.
“The play goes further than the book,” Roth says. “It uses music to explain themes that were not as developed — like the idea that ‘family’ doesn’t have be what you’re born into.
“Your family can be found. You never know who will end up being your family. That’s an idea that’s beautifully explored.
“And this is not just a ‘kids show,'” Roth emphasizes. “Everyone will get something different out of it.”
Despite the staging challenges — how do you get a giant peach on stage? — the directors and cast have had fun. Set designer Jordan Janota has worked hard, and creatively, fueling the young actors and musicians’ energy.
Lauren Pine, who led the orchestra for the fall production of “The Prom,” is making her Players’ vocal directing debut.
Yet this is not just a Staples Players production of a show created by a famous alum. Earlier this week, Paul returned to the stage where he got his start. He spent several hours talking about his career, and his days at the high school.
A compliment by a “random person” after his performance in “City of Angels” gave him the confidence to pursue musical theater as a career,” Paul said.
After his talk, he and the cast spent a couple of hours working on “James and the Giant Peach” he composed.
Justin Paul works with “James and the Giant Peach” cast members. (Photo/Kerry Long)
That’s only the most recent connection Paul had with the Staples production. Last fall, after “The Prom” closed, he was the one who announced that this would be the spring show. (Click here to see that video.)
This week’s visit will not be Paul’s last, either. He, his wife and 4 children will be at the Sunday, March 24 matinee. He’ll stick around after, to do a talkback with the audience.
Sitting, no doubt, under that giant peach at the center of the stage.
(“James and the Giant Peach” will be performed at 7 p.m. on Thursday, Friday and Saturday, March 21, 22 and 23; 3 p.m. on Saturday, March 23, and 1 and 5 p.m. on Sunday, March 24. Audience members can meet the characters after the Friday night, Saturday matinee and Saturday night shows. Click here for tickets, and more information.)
Staples is not the only high school to produce “James and the Giant Peach.”
But it may be the only one whose cast spent a full afternoon with the composer, as they prepare for the opening curtain.
Then again, Staples is the only high school that Justin Paul — the songwriter — graduated from.
The 2003 alum returned yesterday to the stage where he got his start. Staples Players directors David Roth and Kerry Long — who worked with Paul on a number of shows, and introduced him to Stephen Schwartz (“Godspell,” “Pippin,” “Wicked”), now a longtime mentor and friend — led a Q-and-A session with Paul, as the cast and crew of “James and the Giant Peach” sat on stage.
Paul said he “found his people” in Staples’ 4 Building (the arts wing), where he sang; played in the orchestra, band and jazz band; conducted and wrote music, and danced (though, he stressed, not well).
Staples was also where Paul met Peter Duchan, another talented songwriter 2 years older who later collaborated with Paul and his writing partner, Benj Pasek. They met at the University of Michigan.
Paul — who majored in musical theater — discussed the many paths to work in the industry, and the importance of nurturing relationships.
Then he headed over to a keyboard, and led Players in a workshop with the songs — his songs — they’ll be singing from March 21-24. Click here for tickets, and more information.
Justin Paul (left), inside the “giant peach” on the Staples stage, with directors Kerry Long and David Roth. (Photo/Dan Woog)
Justin Paul, working with the cast of “James and the Giant Peach” … (Photo/Kerry Long)
… and posing with them, on the set. (Photo/Kerry Long)
Frank McCourt’s brother — who, the New York Times said, “fled a melancholic childhood in Ireland for America, where he applied his blarney and brogue to become something of a professional Irishman as a thespian, a barkeep and a best-selling memoirist” — was also an actor. His best known role was on “Ryan’s Hope,” he and I co-starred in a full-length movie.
Well, he was a star. I had a cameo. But still …
Back in the day, Westport filmmaker Sean Cunningham directed “Manny’s Orphans.”
He went on to much more fame with “Friday the 13th” and “Spring Break.” But this comedy, about a team of soccer-playing orphans and their rivals from an elite prep school (you’ll never guess who wins the big game!) was shot in Westport and Bridgeport.
Sean used plenty of local kids (and hired me to choreograph all the soccer scenes). But he added in a few actual actors, including Malachy McCord (he played Father Arch McCoy). New York Cosmos star Werner Roth was in the film too.
Click below to see one of the highlights. It’s the Big Game, and was filmed at Greens Farms Academy.
At 2:20, 7;21, 8:16 (and other spots), you’ll see Malachy.
And at 4:47, you’ll see a very young Dan Woog, blowing his whistle as the referee.
“Manny’s Orphans” did not win an Oscar.
But it didn’t have to. All these years later, it still lives on.
In the middle of Women’s History Month, StartUp Westport looks forward.
Next Monday (March 18, 6:30 p.m., Westport Library), the public/private partnership to make our town a tech entrepreneur hub hosts Galia Gichon.
The financial services and angel investing expert will lead a forum on “Female Founders and Investors.” Prominent women will share their experiences in fundraising, investing, and launching early-stage startups.
Gichon is a longtime Westport resident and the co-managing partner of Tidal River Fund, an early stage investment fund. She has been featured in Newsweek, CNN, The New York Times and more.
Also at the Library, this Thursday Westport photographer and artist Stacy Bass introduces a new series. SmART will feature in-depth conversations about art and artists
The first event (March 14, 7 p.m.) focuses on the relationship between artists (and married couple) Jackson Pollock and Lee Krasner. Bass will speak with art historian/educator/curator/Pollock and Krasner expert Bobbi Coller. Examples of their artwork will be shown broadcast on the 18-foot refz Forum video wall.
Circle of Care supports families of children with cancer through programs and services such as day-of-diagnosis care packages, dream room makeovers, and emergency financial assistance to help pay for non-medical expenses like housing, transportation, and food.
Since 2004 they have helped 3,600 families, and provided over $5 million in services. Many Westporters have been aided by Circle of Care, and many others volunteer.
The non-profit celebrates 20 years with an open house this Friday (March 15, 5 to 8 p.m., 144 Danbury Road, Wilton), a 5K benefit run May 5, and gala at the Loading Dock in Stamford June 13. For more information on Circle of Care, click here. visit their website.
With Connecticut’s presidential primary near — and the general election coming in November — the registrar’s office will be open this Friday (March 15, 8:30 a.m. to 4:30 p.m.., Town Hall Room 107) for people new to town or coming of age to register to vote.
They’re also open for registrations during regular office hours.
But this Friday, especially, anyone not otherwise qualified to vote is invited to ask questions about qualifications.
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Grammy Award-winning pianist Kevin Hays and drummer/composer Chase Elodia headline this Thursday’s Jazz at the Post (March 14, shows at 7:30 and 8:45 p.m.; dinner service at 7 p.m.; VFW Joseph J. Clinton Post 399; $20 music cover, $15 for veterans and students).
They’re joined by bassist Paul Pandit and saxophonist Greg “The Jazz Rabbi” Wall. Reservations are highly recommended: JazzatthePost@gmail.com.
Speaking of “The Jazz Rabbi”: Greg Wall is the special guest at the next “This Is Your Life” program at the Senior Center (March 27, 1 to 2 p.m.).
The series is hosted by Rozanne Gates of The Legacy Project USA, a Westport-based business that documents the stories of people’s lives. She will interviewing Rabbi Wall about his life as rabbi at Beit Chaverim Synagogue, and a jazz musician.
The program is free. Call to register: 203-341-5099.
Greg “The Jazz Rabbi” Wall
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For a computer glitch reason, some “06880” readers did not receive Sunday’s lead story, about Wendy Modic succeeding Kammy Maxfeldt as the Birchwood Country Club golf pro.
The 2 women have succeeded in a largely male profession.
If you did not receive the story in your email, click here to read.
Wendy Modic
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Today’s “Westport … Naturally” photo is impressive — and a bit scary.
Max Waugh spotted this coyote (the size of a small wolf) on Reimer Road, just west of the Bedford Middle School entrance. (Hat tip: Carl Addison Swanson)
And finally … Eric Carmen, lead singer of the Raspberries who then went on to a solo career, has died. He was 74. Click here for a full obituary.
(Justin Paul, Malachy McCourt, Jackson Pollock — they’re all part of “Where Westport Meets the World.” Please click here to support your hyper-local blog. Thank you!)
Staples High School’s Black Box Theater is an intimate space.
With a movable stage and seating, it’s been the setting for memorable shows like “Twelve Angry Men,” “The Laramie Project” and “The Diary of Anne Frank.”
Players’ next Black Box production — “Lord of the Flies” — is equally powerful and thought-provoking.
It may also be the most intriguing production there yet.
Directors David Roth and Kerry Long have cast males and females in the roles of 11- and 12-year-old boys. Marooned on an island and struggling to govern themselves, the tension between morality and individuality — and groupthink and immorality — is palpable from the opening scene.
Part of the “Lord of the Flies” cast. (Photo/Kerry Long)
Each performance features a different cast of actors. Some are mixed genders; one is all male, one all female.
Each show will look a bit different. But all force audiences to explore universal ideas like what it means to be human, and the desire for power.
Written in 1954, the story is “fresh, modern, and very relevant to our world today,” Roth says.
Though “Lord of the Flies” is best known as a novel (and film), Roth and Long found a YouTube video of a Sydney theatrical production. Both had read the book as Staples students.
Watching the video, they were reminded again of its power — and attracted to the Australians’ mixed-gender cast.
They relished the challenge of bringing the show — with its ever-shifting dynamics, both thematically and because of the several different casts — to the Black Box stage.
Cameron Mann (Jack) and Quinn Mulvey (Ralph). (Photo/Kerry Long)
Like the directors, some Players have read “Lord of the Flies” in school. Some are reading it right now. All understand its messages about human nature, and are growing as actors as they learn how their characters change — some for better, some worse — on the island, as democracy crumbles.
That island will look spare. The set is abstract, with a sandbox and just 3 props: a pig’s head, Piggy’s glasses, and the iconic conch.
There is, however, plenty of movement. Fight choreographer Chris Smalley — who has worked with Players for over a dozen years — ensures that the intense scenes are performed both authentically and safely.
It’s a different show for Staples, certainly. The theme and emotions are raw. Plus, Long notes, “the kids get spears, and get to act savagely.”
“Lord of the Flies” is not “Mamma Mia!,” “Grease” or “The Music Man” — some of the shows that Players perform on the main stage.
But the Staples troupe is known for their versatility and professionalism. This is the perfect vehicle for them.
And the Black Box Theater is the perfect place to perform it.
(“Lord of the Flies will be performed Thursday, Friday and Saturday, May 25, 26 and 27, at 7:30 p.m.; Saturday, May 27 at 3 p.m., and Sunday, May 28 at 1 p.m. Click here for tickets and cast lists. The show is recommended for audiences 12 and older.)
Staples Players’ spring production is “Twelfth Night.”
People might think: “Teenagers doing Shakespeare. I’ll pass.”
Don’t!
For one thing, Players is no ordinary high school troupe. Their near Broadway-quality shows always entertain, excite and inspire.
For another — and this is key — this “Twelfth Night” is not really Shakespeare. It’s a big, bold musical, filled with singing and dancing.
Ben Herrera as Malvolio, with “Twelfth Night” ensemble.
It’s funny. It’s fun. It’s accessible.
And it zips along: 12 songs are packed into a quick — and very engrossing — 90 minutes.
Players directors David Roth and Kerry Long knew they were taking a risk. “Twelfth Night” — whether familiar Shakespeare, or an unfamiliar musical — is a tough sell.
(From left): Charlie Watson, Matthew Bukzin, Jackie Peterson and Henry Carson in “Twelfth Night.”
But they loved Shaina Taub’s music. They knew that the cast recording was popular with theater people. (When the Public Theatre debuted the show in 2018, the New Yorker called it “less an interpretation of Shakespeare’s comedy than a block party sprinkled with iambic pentameter.”)
And when the directors announced it this winter, they challenged Players cast members to listen to the jazz-funk-pop score with open ears.
The next days, the young actors were singing in the halls. (Click below for senior Sophia Betit, singing during rehearsal.)
During their 65-year history, Players have tackled Shakespeare before. Roth and Long directed “A Midsummer Night’s Dream” in 2005, and “Romeo & Juliet” 3 years later.
As with much of The Bard’s work, despite being over 400 years old, “Twelfth Night” remains timely.
The plot deals with “our perceptions of gender — what it means to be a man or a woman, and how women are perceived in society,” Roth says.
(After a shipwreck, a woman dresses as a man to get a job. And of course, there are love complications.)
Quinn Mulvey as Viola. (All photos/Kerry Long)
“The message of the show is about walking in another person’s shoes, and seeing how the world perceives you,” Long explains. “There’s not a lot of equity.”
“Twelfth Night” is not “Mamma Mia!” or “Grease.” But — like those Staples Players blockbusters — it too will thrill audiences of all ages.
“We want to expose people to shows we love,” Roth says. “Take a 90-minute leap of faith with us!”
(“Twelfth Night” performances are March 17, 18, 24 and 25 at 7:30 p.m., and March 19 and 25 at 3 p.m. Youngsters 12 and under get a sweet swag bag, including a coupon for a free ice cream cone donated by Saugatuck Sweets, plus a button proudly announcing “My first Shakespeare!”
(Click here for tickets, and more information. Click below to hear the original cast recording music.)
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But Staples Players’ productions always come with a twist. Next month’s show by the award-winning high school troupe is a catchy, contemporary musical version of the Bard’s romantic comedy.
They’ve been excited about it, ever since rehearsals began.
Last week, they got an added jolt: Composer Shaina Taub came to the Staples stage, to chat — and sing — with the cast.
The visit started as a shot in the dark. Co-director Kerry Long reached out on Instagram, noting that Taub’s friend Justin Paul — composer of “Dear Evan Hansen,” “The Greatest Showman” and “La La Land” — is a Players alum.
Taub’s schedule is packed, but she graciously agreed to visit.
Shaina Taub (front row, center, hands clasped) enjoys a sing-along with Players. Andrew Maskoff is at the piano. (Photo/Kerry Long)
The Westport teens related to her stories about growing up as a musical theater kid in Vermont. She described the importance of her extended theater family at Central Park’s Delacorte Theater, and the daunting task of writing an adaptation of Shakespeare after a call from the Public Theater.
Long and co-director David Roth led a Q-and-A session. A question about her writing process brought this advice about getting something — anything — down: “A C+ song on paper is better than an A+ song that hasn’t been written.”
Then the real fun began: a sing-along around the piano.
“There’s something amazing for theater kids to sing songs with the person who wrote them,” Long says.
“Our students are obsessed with the music. They all the know the words to every song, even if they don’t sing it in the show.”
Shaina Taub (left) with Sophia Betit. The senior plays Feste in “Twelfth Night” — the role Taub originated in her own show at the Public Theater. (Photo/Kerry Long)
Taub is now an accomplished composer and actor. But she went right back into “theater kid” mode, singing and bopping joyfully with the young cast.
It was a magical 90 minutes.
Then — the moment it was over — rehearsal began.
Shaina Taub could surely relate.
(Staples Players perform “Twelfth Night” at 7:30 p.m. on March 17, 18, 24 and 25, and 3 p.m. on March 19 and 25. Click here for tickets, and more information. Hat tip: Jill Johnson Mann)
(Staples Players is where teenagers meet Shakespeare — and Shaina Taub. “06880” is “where Westport meets the world” — and you read all about it. Please click here to support your hyper-local blog. Thank you!)
For over 60 years, Staples Players have entertained, touched and inspired audiences. Some shows are fun and funny; others, thought-provoking or provocative.
Over the years, we’ve grown to expect spectacular quality: acting, singing, directing, choreography, sets, costumes, lighting, the pit.
We always rave about Players’ productions. But we sometimes take them for granted.
“Guys and Dolls” — the 7th time they’ve put on that musical — closed Saturday night. It built on the tradition of previous versions, and all the other successes.
But it sure wasn’t easy.
Henry Carson — the senior playing Nathan Detroit — was laid out by flu just before the show opened. Freshman Will McCrae stepped spectacularly into the breach. (His late grandfather — Jack Lemmon — would have been very proud.)
Will McCrea as Nathan Detroit, and Jackie Peterson as Adelaide. (Photo/Kerry Long)
The next day, understudies Graham Griffin (also a 9th grader) and junior Finley Chevrier took the stage, in other roles. A spot operator was also out sick.
In the week between opening and closing, nearly 2 dozen of the cast and tech crew caught whatever was going around. By the final performance, all but one had recovered. The show went on — fabulously.
But without its regular pit orchestra conductor.
Staples music teacher Carrie Mascaro was ill. Her colleague Luke Rosenberg — the school’s choral director — stepped up big time. He learned the score, then led 14 musicians in a flawless performance.
Luke Rosenberg took over as pit director last weekend. (Photo/Dan Woog)
The show must go on. And it did.
How about one more standing ovation for:
The understudies who got the call, and quickly responded
Their replacements, who had to instantly adapt too
The costume crew, who did incredible work before the show, then kept working as actors took on new roles
The tech crew, which never gets enough praise — and their creative boss, Jeff Hauser, who made sure set designer Jordan Janota’s imaginative vision was brought to life
“Rockin’ the Boat” — on the great “Guys and Dolls” set. (Photo/Kerry Long)
Choreographer (and expectant mom) Rachel MacIsaac Myers, whose wonderful work continued with each new actor
Luke Rosenberg, a true professional who stepped into the big conducting breach with virtually no notice
Directors David Roth and Kerry Long, who solved problem after problem, and weathered storm after storm, by modeling the show biz tradition that everyone involved will remember the rest of their lives.
“Guys and Dolls” — the 1950 show — is all about luck.
“Guys and Dolls” — Staples Players-style — had plenty of bad luck. But every person involved, on stage and off, came through a winner.
Congratulations, guys (and dolls). You’re our “06880” Unsung Heroes of the Week.
PS: Missed the show? check out the highlight reel below. It’s an easy bet: This will be the best 8 minutes you spend today.
(Do you know an Unsung Hero? Let us know! Email 06880blog@gmail.com)
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“Guys and Dolls” holds a special place in David Roth’s heart.
The Broadway classic was the very first show he staged at Staples High School, after being named Players director in 2000.
Nine years later, when he revived the show, his and co-director Kerry Long’s daughter was born on opening night — just 17 minutes after the curtain rose.
“Guys and Dolls” holds a special place for other Players directors too. It debuted in 1973; was reprised in 1983 (as a summer show), 1985 nd again in 1993.
When the curtain rises on November 11, the seventh production will make it the most popular in Staples Players history.
“Oldest Established” with the Gangster Ensemble. (Photo/Kerry Long)
“It’s such a great show!” Roth notes. “It’s got wonderful characters and great dancing. It’s funny. It’s been called ‘the best musical ever written.’ Audiences love it, and kids love working on it.”
“Guys and Dolls” is as perfect for Roth today as it was when he took Players’ reins 22 years ago. Back then he wanted to build 2 strong bases: actors and audiences.
Now — after COVID — he’s rebuilding both.
Though Roth and Long have directed “Guys and Dolls” twice before, this is an entirely new show. The set designer, technical director, choreographer and musical director are all new.
Roth says the set “is not to be believed.” Designed by Jordan Janota, and overseen by tech director Jeff Hauser, it features vintage light-up signs.
“Rockin’ the Boat” — on the great “Guys and Dolls” set. (Photo/Kerry Long)
Of course — this being high school — the cast is entirely new too. “New actors always make roles their own,” Roth explains.
The teenagers — born more than half a century after the show debuted, and not yet alive the first time Roth directed it — knew of the show, he says. But most had never seen it.
“They’ve been excited since the beginning,” he adds. “They’ve embraced these bigger-than-life characters.
“And Kerry and I are excited to expose them — and younger audiences — to a classic show like this.’
Fugue for Tinhorns with Jayden Saenz, Finley Chevrier and Sebastian Gikas
“Guys and Dolls” is 72 years old, but it always seems fresh and new. It was revived this month at Washington’s Kennedy Center, and will run next year in London.
It’s been produced 4 times on Broadway.
Seems like the Great White Way has a bit of catching up to do with Staples Players.
(“Guys and Dolls” will be performed on Friday and Saturday, November 11, 12, 18 and 19, at 7:30 p.m., with matinees on November 12, 13 and 19 at 3 p.m. Click here for tickets, and more information.)
ENCORE! Choreographer Rachel MacIsaac is about to deliver her second child. What are the odds that — like Lucy Roth — it too will be born on opening night?
(“06880” is almost as entertaining as Staples Players. Please click here to help support this blog.)
Sarah Brown (played by Madelyn Spera) and Sky Masterson (James Dobin-Smith). (Photo/Kerry Long)
Posted onMay 7, 2022|Comments Off on 209 Brothers Grimm Stories, In 60-Odd Minutes
The last time Staples Players performed in the Black Box Theater was 2019. When COVID hit, the intimate space near the large auditorium closed.
The seats have been cleaned. A set has been built. This Thursday and Friday (May 12 and 13, 7:30 p.m.), audience will laugh out loud at “The Brothers Grimm Spectaculathon.”
David Roth and Kerry Long direct the Black Box show. Traditional fairy tales are turned on their heads in fast-paced fashion: an acting troupe tries to combine all 209 stories in a little over an hour.
Familiar tales like Snow White, Cinderella and Hansel and Gretel are here. So are more bizarre, obscure ones like The Devil’s Grandmother and The Girl Without Hands.
There’s plenty of audience participation — and the audience is PG. Click here for tickets.
Drew Andrade and Mel Stanger as Hansel and Gretel, in “The Brothers Grimm Spectaculathon.” (Photo/Kerry Long)
But wait! There’s more!
Playrers’ 20th annual One-Act Play Festival is set for May 28 (5 p.m., 8 p.m.) and May 29 (5 p.m.). Roth’s directing class students stage their own shows — including casting, costumes and set design — and young actors to show their stuff, in a series of 10-minute plays. Comedy, drama and more come in rat-a-tat fashion, in the Black Box theater.
This is the first One-Act Festival in 2 years.
Players’ Black Box season concludes with “At the Bottom of Lake Missoula” (June 9 and 11, 7:30 p.m.).
This Studio Theatre production, directed by seniors Chloe Manna and Chloe Nevas, is completely student-designed,
After losing her entire family in a fatal tornado, a college sophomore embarks on an unimaginable journey. To separate herself from her grief, she transfers schools and isolates herself, but her sadness and guilt over their deaths linger.
When a classmate makes an attempt at conciliation, Pam finally realizes that healing need not be a solitary endeavor.
Tickets for the One-Act Play Festival and “”Lake Missoula” will be available soon, at StaplesPlayers.com.
Comments Off on 209 Brothers Grimm Stories, In 60-Odd Minutes
As Staples Players directors David Roth and Kerry Long searched for a spring show that would feature plenty of actors, and engage young audiences — more important than ever, as the troupe emerges from many COVID-imposed restrictions — they did not have to look far.
Caley Beretta — a 2010 graduate and former Players president — now works as manager of creative development for Disney Theatrical Group. She worked with writer Nick Blaemire on “Disney’s Descendants: The Musical.”
The comedy features songs from the Disney Channel original “Descendants” fantasy adventure film, and its sequels. (If you don’t have a young kid: The plot lines involve the teenage children of Disney characters Maleficent, the Evil Queen, Jafar and Cruella de Vil,)
“Descendants: The Musical” came out near the beginning of the pandemic. So it did not go through the usual pilot process, in which school drama troupes try it out, then offer feedback for producers to tweak. (Staples Players has done that before, most notably with “Newsies.”)
Beretta offered the untested show to her alma mater. Players will be the first group to use live orchestrations.
It will also be the first to host a production team from Disney. They’ll see the show, complete with an audience.
Staples Players ensemble in “Did I Mention?” (Photo/Kerry Long)
But that’s not the only connection between Disney, “Descendants” and Staples.
Last week Blaemire and Beretta came to Westport. They described the creative process to Players, answered questions, watched the actors perform 2 numbers, then worked with the cast on specific scenes.
In addition, a camera crew interviewed several Players, for Disney to use in marketing.
Caley Beretta and Nick Blaemire, on the Staples stage. (Photo/Kerry Long)
Blaemire described his parallels between the fairytale storyline, and serious social themes like belonging, heritage, citizenship, and the complexities of good and evil.
Blaemire and Baretta inspired the young cast and crew, as they prepared for the opening curtain April 1. The show runs for 7 performances, the first 2 weekends in April.
“Descendants” has been fun — and challenging — for Roth, Long, choreographer Rachel MacIsaac and technical director Jeff Hauser.
“So many times, we do plays that have been done so many times before,” Roth explains. “The chance to do one that no one has seen is rare, and exciting. We are staging scenes completely on our own. That’s very energizing.”
“The Evils.” From left: Chloe Manna, Ben Herrera, Quinn Mulvey, Jayden Saenz).(Photo: Kerry Long)
Sets, dancing and stage movements are not the only things they’re figuring out. The song “Goal” takes place during a sports event — but it’s a sport that does not exist.
Roth and Long created it entirely from scratch. Then they choreographed, and fit it on the stage.
“The kids and adults are very excited,” Roth says. “We like the story line, the music, and taking iconic villains to a new level.”
Roth praises the set too, designed by professional Jordan Janota. The show moves between 2 worlds, offering a different set of challenges to the tech crew and lighting designers.
Roth and Long’s goal was to find a show that appealed to their actors, and young audiences — both of whom have missed the rhythm of regular Players shows during COVID.
Beretta delivered, big time. Walt Disney would have loved this story.
(“Disney’s Descendants: The Musical” will be performed on April 1, 2, 8 and 9 at 7:30 p.m., and April 2, 3 and 9 at 3 p.m. Click here for tickets. Proof of vaccination and/or testing is not required. For the protection of the cast and crew, masks are encouraged in the auditorium.)
Staples Players ensemble in “Rotten to the Core.” (Photo/Kerry Long)
The Staples Players directors watch the movie often. Their high school students do too.
It evokes not just nostalgia for the 1950s — its setting — but for the 1970s too, when the classic movie was made.
The music, theme and ensemble casting make it the perfect vehicle for Players’ return to the stage. “Grease” marks the troupe’s first major mainstage show since COVID struck, just hours before the opening night of “Seussical” in March 2020.
The curtain rises this week. Roth says his actors are excited for the show — and so is the town.
“Everyone knows ‘Grease,'” Roth says. Some remember the original Broadway production; many more know the movie that followed.
“Greased Lightning” (senior Ryan Porio, center). (Photo/Kerry Long)
But — as always — Players puts their own spin on it.
“A lot of people think it’s about a girl who has to make herself look sexy, to be attractive to a boy,” Roth says. “But we delved into the history. Who were the greasers and the Pink Ladies in the ’50s? They were the forerunners of people who fought for women’s rights.”
In 1959, he says, America was “the era of ‘Father Knows Best’ and ‘Leave it to Beaver.’ The traditional American home was expected to have the wife stay home looking pretty, wearing an apron while preparing a meal for her husband and children.”
However, he adds, “We feel that the greasers and, more importantly, the Pink Ladies are rebelling against this traditional mold of femininity.
“Our actors understand: Sandy doesn’t randomly end up with these people. She chooses Danny and the Pink Ladies. Somehow she finds her people, and becomes true to herself.”
The production is “really fun. It’s got all the singing and dancing everyone loves. It’s definitely PG,”: although it is not “squeaky clean.” With a large ensemble cast, many actors get a chance to shine.
“Summer Loving” (Photo/Kerry Long)
Despite the allure of “Grease,” Roth and Long were not sure if audiences would embrace a return to indoor theater.
They have. Ticket sales are brisk. The shared experience of sitting in the theater, knowing the words to every song, is alluring.
“People are anxious to get back to the real world,” Roth says.
Whether that’s the world of 2021, or the 1950s.
(“Grease” will be performed on Friday and Saturday, November 12, 13, 19 and 20, at 7:30 p.m. Matinees are set for Sunday, November 14 and Saturday, November 20 at 3 p.m.. Tickets may be purchased online here, or in the lobby 30 minutes prior to the show, if available. All audiences must provide proof of vaccine [a photo is fine] or proof of a negative COVID test taken no more than 72 hours prior to the show. Arrive at least 30 minutes before showtime. Masks must be worn at all times.)
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Caley Beretta — a 2010 graduate and former Players president — now works as manager of creative development for Disney Theatrical Group. She worked with writer Nick Blaemire on “Disney’s Descendants: The Musical.”
