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PERFORMANCES SUMMER 2008 READ OUR BACK ISSUES | TRFT Scholarship Award Pages Click here to update your San Jose State University Alumni Information | Click here to subscribe to this Newsletter: just fill in your last and first names and email address. You'll get a monthly email linking you to each new newsletter. |
IN THE SUMMER 2008 SPOTLIGHT:
THEATRE DIRECTOR RICK SINGLETON
San Jose
State Theatre Arts grad RICK SINGLETON is not only one of the most
prominent theatre directors in the Bay Area – he’s
also probably the busiest director in San Jose! His recent production of
THE DIARY OF ANNE FRANK (photo, left) was his eighteenth for San
Jose Stage Company, where he currently serves as the Producing Director.
A founding member of The San Jose Stage Company, Rick helmed their recent smash-hit BEEHIVE, the record-breaking URINETOWN, THE MUSICAL, as well as ANGRY HOUSEWIVES, THE SUGAR BEAN SISTERS, UG: A STONE-AGE MUSICAL COMEDY, BUDDY: THE BUDDY HOLLY STORY, FUDDY MEERS, CHAPS! A CHRISTMAS COWBOY CABARET, GUNMETAL BLUES, ALWAYS...PATSY CLINE, VERONICA'S ROOM, TORCH SONG TRILOGY and others. Rick served as Assistant Director for San Jose Stage Company's production of the world premiere original musical CUMBERLAND BLUES, both in San Jose and in San Francisco. He served as Executive Director of San Jose Stage Company for four years and was a member of the Company's Artistic Council for five years. As an actor, he has performed with San Jose Repertory Theatre in BORN YESTERDAY, THE IMPORTANCE OF BEING EARNEST and THE PHILADELPHIA STORY.
PERFORMANCES sat down with Rick to find out what he’s up next for this madly busy Theatre Arts alumnus.
Performances: What are you directing next?
Rick: ALTAR BOYZ, a musical about a Catholic Pop Group, that spoofs the whole Boy Band genre, has fun with all the clichés, and delivers a sweet and positive message in the end. It’s 90 minutes of high energy dance, tight pop vocals, and has a witty libretto that parodies the Christian rock genre, and at the same time features amazing musical talents. It opens July 30.
Performances: And after that?
Rick: After that I’ll be directing THE TURN OF THE SCREW, Jeffrey Hatcher's adaptation of the story by Henry James, and then Doug Wright’s Pulitzer Prize-winning play I AM MY OWN WIFE. THE TURN OF THE SCREW is an adaptation specifically written to challenge and showcase two actors. A lone governess in a remote location becomes aware that her two charges have been exposed to some very adult activities, and then is convinced the children are possessed by the hostile ghost of the perpetrators. The “turn of the screw,” however, is this: is she in fact their savior, or is she the one possessed by paranoia and doubt? The Governess, who narrates the tale, is played by one actress, and all other characters (male and female) are played by another single actor. I AM MY OWN WIFE is a one man show that tells the very real and true story of a German transvestite in East Berlin who not only survived Hitler's regime, but somehow managed to flourish under the Russian occupation behind the iron curtain. The story is based on taped interviews with Charlotte Von Mahlsdorf, and a very conflicting history is exposed. Some believe she was a hero of queer history, while others have accused her of cooperating with the Stasi, and being in fact a Judas. The play explores all the dimensions of her survival and what moral terrain she had to negotiate for that survival. It is a very compelling play.
Performances: They both sound incredible, and it’s no wonder that people say the Stage Company is doing some of the most exciting, daring theatre in town. What's your current title at The San Jose Stage Company and what are your duties?
Rick: I returned full time to San Jose Stage in 2000, as the Producing Director. I act as the bridge between the executive, production and artistic parts of the company. That means that I’m very familiar with all the strategic, budgeting and long term planning that’s going on, but am mainly focused on the day-to-day producing of theatre. Contract negotiations, casting, staffing of designers and supervising stage managers, directing, all fall under that.
Performances: So you basically spend every day collaborating with fantastically talented and dedicated people. That sounds like fun! How did you first come to work at the stage company?
Rick: I went to school with BOBBY PELLERIN and RANDALL KING, who were producing a very notable production of Mamet's AMERICAN BUFFALO upstairs at the Eulipia Restaurant. I had also worked as an actor post graduation, and was hired to perform in BORN YESTERDAY at San Jose Rep, which Bobby was directing and Randall King was acting in as well. Later I ran into Bobby at the movies one night, and he mentioned that the groundwork was laid to launch San Jose Stage Company, and would I be interested in helping to get it set up? I said absolutely, and joined Bobby, Randall and Cathleen King to really develop the company from the idea. It was envisioned as a more intimate and edgier alternative to the other theatres around at that time.
Performances: And that’s what it is! So you basically started on the ground floor, volunteering with a promising “start-up.” And now it’s been built into one of the most important theaters in one of the largest cities in the United States! How much say do you have in picking the season and in choosing what shows you'll direct?
Rick: Every year I make a trip to see theatre – New York, Ashland, or London, and I’m constantly looking at what’s being produced out there. I then come back to my colleagues and suggest scripts, whether for me to direct or just for consideration for the season. After 25 years I have a pretty good handle on what’s going to work in this space, and what fits Randall's vision of what we should be presenting. Randall also has a focus on new scripts, and we have produced many world and regional premiers of new works.
Performances: How did you start directing?
Rick: The first season, we had an organizational shift and for a time I was the Executive Director, and we operated under an Artistic Council of which Randall and I were core members. About our fifth season, I started seeking the support of my colleagues for a directing assignment. I had continued acting on occasion, however only once in a San Jose Stage production, and was increasingly drawn to the task of leading a collaborative process the way a director does. My first show was COME BACK TO THE 5 AND DIME JIMMY DEAN, JIMMY DEAN. I was blessed with a phenomenal cast, and the reviews supported my push to direct more, and from that time forward I’ve been fortunate to be assigned a show or two per season. For a while I also would work as the Equity Stage Manager on one production per season, and have absolutely benefited from watching other skilled directors work.
Performances: What can you tell us about the future of the company? There was talk for a while of a big redevelopment project on the footprint of where the theater is, with a high rise containing a new theater for you on the first floor. Is that still a possibility?
Rick: First let me say I love directing for the intimacy of our current facility. We were very much involved in the configuration and layout of the current facility. Most of our audience really appreciates the way we present our shows. We have quite simply outgrown the height, width and depth of the current facility. We desperately need rehearsal space, studio space for the expansion of our training program, The Actors Lab, and augmented offices facilities to support the artistic programming and demands of running a fulltime professional theatre company
Performances: Those goals should be supported by the community! I hope people reading this interview take the step of supporting the theatre by subscribing to the season. It’s especially fun to subscribe to opening night because you give those great receptions afterwards, where one audiences can eat, drink and meet the actors. It’s always a great party! There's a real family feeling at San Jose Stage Company, and it seems that way in part because so many San Jose State people are involved. Who else is from SJSU is involved with the theatre?
Rick: The initial culture at San Jose Stage was collegial, reflecting our joint training and acquired taste for the kind of theatre we wanted to do. That naturally transfers into a family feeling when you’ve been together that long. We’ve also had many colleagues who were from other institutions who have contributed to our success and advancements along the way. That being said, some of the current and past faculty and students who have performed, designed and helped to make San Jose Stage Company what it is include: [Theatre Arts staff member] JOHN YORK, former TD, Production Manager, and scenic designer; [Theatre Arts staff member] SEAN RUSSELL who has designed both lights and sound for us; [Professor Emeritus] RANDY EARLE, who consulted and guided us on a number of capital purchases early on; [Professor Emeritus] BOB JENKINS, a former San Jose Stage Company director; [Professor] BUDDY BUTLER, director; LEE KOPP, actor; JEFFRA COOK, actress; [lecturer and MA graduate] LAURA LONG, an actress with the Company; [late Theatre Arts costume shop manager] ELIZA CHUGG, costume designer; [Professor] MATT SPANGLER, director; [Professor] AMY GLAZER, director; ADRIENNE MULLER and MELISSA NAVARRO, actresses; JAMES FLAHERTY, actor; and plenty of others I’ll remember the minute the interview is over. Of course, Randall King, our Artistic Director, is an alumnus, and his daughter is currently a Radio-TV-Film major at SJSU. I have to say, we continue to search for young and energetic people who are willing to invest the time to continue the Stage Company's trajectory into this new and changing Millennium. As theatre technology changes and social issues shift, so does our reflection of the world we portray onstage. We believe the future lies with the students we start working with today, and any future facility, or structure the company takes on, needs the input, and fresh approach, this group has to offer.
Performances: We spoke earlier about subscribing to the theatre – can you explain for our readers the importance of subscribing to the season, as opposed to buying tickets a la carte?
Rick: For an institution to survive it needs a reliable cash flow, facilitated by the steady and guaranteed income for each show. The attraction for the audience is first and foremost that the art is sustained. Secondly, by entrusting five evenings to a team of artists who are invested in nothing but finding the most intriguing, engaging and enlightening season of theatre that can be found, they may see something that they would have otherwise missed. What’s critical for the future of theatre is engaging the next generation, who are attracted to the worlds of digital media, and are crucial in the process of evolving theatre through the synthesis of storytelling and technology.
Performances: Speaking of that new generation, how hard is it for people to make a living doing theatre in the Bay Area?
Rick: It’s not hard, it is just hard work. It's that simple.
Performances: What advice would you have for theatre majors graduating into the current environment?
Rick: Get involved. Don’t be afraid to volunteer. Through the exposure you get you can make yourself an integral part of the team. Obviously, there are many more needs for production personnel, but there are also performing opportunities. Make yourself an asset in more than one way. If you want to have a life that includes living in the Bay Area, you need to be able to contribute to the theatre in more ways than one. In a company our size roles are often defined by the skill set you bring to the table. If you get involved in a flexible capacity, you can most definitely begin to identify areas that need some focus, and develop in those areas. In addition to acting and production there are needs for marketing, website content management, educational program assistance, contract management, grant proposal writing, rehearsal assistance, audition assistance, the list goes on and on. The challenge for the organization is in how to find those individuals and how to engage them in ways that will be successful to the company and for the individual.
Performances: Thank you, Rick. As always, your views on theatre are well thought out and refreshingly free of bunk.
Rick: You’re very welcome.
Find out more about the San Jose Stage Company at www.sanjose-stage.com/, or call the box office at (408) 283-7142.
SUMMER 2008 CAMEOS
ERIKA YANIN PEREZ-HERNANDEZ’S THREE WEEKS IN THE DARK
PERFORMANCES often runs into alumna Erika Yanin Perez-Hernandez at San Jose Stage Company opening nights, and took the opportunity to ask her what she’s been up to. As it turns out, plenty! Erika said, “In the last few years I’ve been traveling around the world. I visited Spain, and Thailand, where I attended a three-week "darkness retreat" – I was in pitch black and it was truly an amazing experience. Then I went to Istanbul. Later I visited Brazil, and finally Argentina where I immersed myself in the tango world. I’ve been doing much more voice-over work now. I recently recorded the Spanish version of the Barbie phone. I also got my first big voice-over contract to be a company's voice prompt (in Spanish as well). I have also done some theater: [the Tabard Theater Company’s production of] More Than Petticoats as Toby Riddle, where I got an amazing review ; A Visitor's Guide to Arivaca: ; and right now, I am back in “Buddy: The Buddy Holly Story” in Carmel after being part of the original cast of the West Coast Premiere in 2003. The Holly show will run to August 8. It’s such fun! I sure hope you can attend.”
OMAR BENSON MILLER TALKS ABOUT BUDDY BUTLER
Remember RTVF alumnus OMAR BENSON MILLER? He’s got a huge role in Spike Lee’s next movie (he’s all over the preview, frame left), and recently shot a spot for the Intel Inspire campaign, talking about how PROF. BUDDY BUTLER inspired him to become an actor. If you haven’t seen it, visit http://inspiredbyeducation.com/share.html and click on "What Inspires Omar?" Others are encouraged to send in stories (via YouTube) about how they were inspired by education.
MATT BARBER: EDITING, DIRECTING, AND RECOMMENDING EDITING INTERNSHIPS
PERFORMANCES asked alum MATT BARBER what he’s been up to, and he reported, “Well, the writer's strike has officially come to an end at the Barber household. After six long months, ‘Chuck’ returned to production! I'm the leadoff editor and you should see my first episode on air in September sometime. I'm also currently co-directing a short that I co-wrote with a friend of mine. We have a great cast (Nicole Parker of “Mad TV” and Tony Hale of “Arrested Development”). Check out our trailer online at: www.WeatheredTheFilm.com.” And Matt thoughtfully added, “Oh, by the way, any student who's interested in editing should check out this internship: http://www.ace-filmeditors.org/newace/abt_Intern.html. The only stipulations are, it's a post-graduation internship and it requires you to move to LA as they help you find a job after you're done. Spread the word.”
THIRD ANNUAL SAN JOSE BLUES WEEK: A SUCCESS FOR RAMON JOHNSON AND KSJS
The 3rd Annual San Jose Blues Week, founded and directed by TRFT Grad student RAMON JOHNSON, took place May 5th-11th at venues including JJ’s Blues Club, The Poor House Bistro, and San Jose State University. Ramon also hosted a fundraiser for Christopher Rodriguez, a ten-year old Oakland youth who was tragically shot and paralyzed by a stray bullet while practicing the piano. San Jose Blues Week also welcomed the return of two of TRFT’s favorite sons, TODD BANHAZL and GREG BRADLEY, who were in town to film the Fountain Blues Fest for the Associated Students of SJSU.
SEEN ON THE SCENE OUT AND ABOUT
RTVF Alum GREGG MARTINI in production in the Central Valley (as writer-director) on an indie feature entitled CROWS LANDING… Theatre Arts alum MICHAEL RAY WISELY starring as Cogsworth the Clock in Disney’s “Beauty and the Beast” at American Musical Theatre in San Jose last May… Theatre Arts alum MATT McTIGHE seen April 29 on CBS’s NCIS (he even played a scene with Mark Harmon) – and check out Matt’s website (www.mattmctighe.com) for rave reviews of his work in “The Time of Your Life” in the LOS ANGELES TIMES, VARIETY, THE WEEK and BACKSTAGE.... TRFT alumnus ANAYO AMUZIE accepted at Loyola Marymount of Los Angeles’s Masters in Television and Film Production program… JOHN ROMANO, by day an Aerial Photojournalist and Broadcast News Editor at NBC 11 news, by night (in June, at any rate) playing urbane Jack Worthing in the Bus Barn Theater’s production of “The Importance of Being Ernest”…
That’s it for Summer 2008. PERFORMANCES advises you to stay cool and leaves you with the words of Dyan Cannon in Herbert Ross’s “The Last of Sheila”: “Honey, could you get me a Tab? My mouth is so dry they could shoot ‘Lawrence of Arabia’ in it.”
RACKING
YOUR BRAIN FOR A THOUGHTFUL GIFT?
How about tickets to a University Theatre production? They buy a lot of fun for
not much money. At $15.00 apiece ($10.00 for students and seniors), they're hard
to beat. To find out more, or to buy tickets on line, click on Our Link
to the Season
ALUMNI UPDATES
Performances is eager to report on your life and career! Send updates on
absolutely anything you're doing (or have done) click here to email
to me.
If you'd like to include an email address that old friends can use to get
in touch with you, we'll happily print it. And try to include your major
and date of graduation.
ALUMNI GIVING
Looking for a way to give back to the Department of TV, Radio, Film and Theatre?
Consider a tax deductible contribution to one of our two Newsletter Funds.
1) Newsletter University Theatre Fund. This fund is earmarked for the improvement
of the University Theatre and scene shop. Our top priority: paying for a
professional study of the acoustical problems of the UT. Difficulty hearing
in the University Theatre is a big, ongoing problem that many alumni have
commented on and urged us to address. Click
here to read Prof. Jim Culley's
grant proposal outlining the problem. Contributions of $2,000.00 and over
qualify you for a producer credit on a university play production, as well
as reserved, priority seating at UT productions for five years, and a mention
in the Donor Honor Role in the programs of all departmental productions.
2) Newsletter Film Production Fund. These monies are earmarked for the Department's
feature film productions. To our knowledge, we're the only undergraduate
film program in the country regularly producing feature films. Two of our
films, "Pizza Wars: The Movie" and "Intentions," have
received national DVD distribution and given our students the opportunity
to work with noted professionals. Prof. Amy Glazer's "Drifting Elegant" is
complete and looks great. Our current feature film, "Generic
Thriller," now in post, is a deconstructed comedy about a gay writer
trying to complete a play despite the opposition of rebellious fictional
characters, a peevish Muse of Comedy, and a mysterious band of African tribesmen
wandering through his mind. Click
here to read the screenplay! Contributions of over $500.00
qualify you for a screen credit. Contributions over $4,000.00 qualify you
for an on-screen producer credit.
Donations to these funds are fully tax deductible. Make out your checks to "The
Newsletter Film Production Fund" or the "The Newsletter University
Theatre Fund" and send them care of our chair: Prof. Mike Adams, San
Jose State University, One Washington Square, San Jose, CA 95192-0098.
