Stage Banter: The Arena Stage Blog

Chatting with the Piazza cast - the final segment

by Janine Sobeck

 As the final days of our production of The Light of Piazza run out, I can't help being just a little sad.  I've really enjoyed having this cast around and have loved their spunky personalities, their beautiful voices, and the work that they've done on creating this show.  And, I have to be honest, I've loved that there has been a piece of Florence downstairs in Crystal City.

With the show closing on Sunday, I wanted to give our blog readers one more chance to get a behind-the-scenes look at the experience some of the cast members have had here at Arena. So today's spotlight will be on the interview podcast that Hollis Resnick (Margaret) and Margaret Anne Florence (Clara) had with DC Theatre Scene's Joel Markowitz.  Holllis and Margaret talk about building their relationship as mother and daughter and what it was like working with Arena AD Molly Smith.  For the whole podcast, click HERE.

Wait - you call that a musical?!?!

by Ronee Penoi, Senior Institute Fellow

Whether its in the aisle leaving the show, in the lobby, or in the bathroom, I always listen to audience members' responses following a 'newer' musical. And I guess by 'newer,' I mean anything later than the so-called 'Golden Age' of musical theatre- think Rodgers and Hammerstein, for instance. My favorite comment to hear is "it didn't leave me humming anything" or "well it wasn't very good -none of the songs were really catchy." Or, on the flipside, you have "well it was fun and catchy, but not much else..."

Musicals seem to be different things for different people. One person's innovation is another's bad execution. I guess we can all agree that musicals tend to incorporate some combo of dance, singing, acting, and story. But the pendulum of balance swings wide. What the recipe is for a given show varies. Some add more spice, and others are maybe an acquired taste?

So we over here thought it might be fun to wrestle with this notion of 'MUSICAL.' Particularly, what music's got to do with it. Our guinea pigs will be The Light in the Piazza, and Duke Ellington's Sophisticated Ladies. Anyone listening to the soaring high notes and sweeping romance in the music of Piazza might find some similarity in there to opera. But of course, it isn't opera. And as it's hard to find a dancer standing still for any part of toe-tapping Sophisticated Ladies, it's not hard to gather that Mr. Ellington is the man behind the movement. But it's not just a dance show. So- has the 'traditional' musical (whatever that means) gone by the wayside, giving way to a unique-and-special-snowflake kind of show? Is it part of a larger trend, or are these pieces doing something unique? 

Join four music 'experts' and us in Crystal City to get in on the discussion:

The Music in the Musical: The Light in the Piazza and Duke Ellington's Sophisticated Ladies

Monday, April 12th at 7PM

Arena Stage is thrilled to welcome John Edward Hasse (Curator of American Music at the Smithsonian Institution’s National Museum of American History, and author of Beyond Category: The Musical Genius of Duke Ellington), Anne Midgette (Washington Post classical-music critic), K Williams (National Alliance of Musical Theatre, Producer of opera and musicals), David Bunn (Music Director, Sophisticated Ladies at Arena Stage) and others, to lead a lively discussion on the many sounds of the American musical... and how we talk about them.

The conversation will take place at Arena Stage's Crystal City Theater, at 1800 South Bell Street, Arlington, VA 22202 (a short walk from the Crystal City Metro). The event is free and open to the public. And don't forget to let us know you're coming! Please call the Arena Stage Sales Office at (202) 488-3300 to make a reservation.

So whether you're all about Guettel, Ellington, R&H, Sondheim, or that young up-and-coming talent you heard in a reading somewhere, let's have it out on the MUSIC of the American musical.

Chatting with the Piazza cast - part 3

by Janine Sobeck

Continuing on with our insider conversations with the cast, this time Nicholas Rodriguez (Fabrizio) is joined by Margaret Anne Florence (Clara) on Channel 8's "Let's Talk Live."

(There is a brief intro about Tiger Woods, but they're on it right after...) 

Chatting with the Piazza cast - part 2

by Janine Sobeck

As promised, here is the next insider's look at how the experience has been for our Light in the Piazza cast members.  This time around, Nicholas Rodriguez talks with Theatermania. Here are just a few highlights...

TheaterMania: Did you instantly see yourself as Fabrizio?  

NicholasRodriguez: I kind of immediately connected with all the characters. For example, when Clara sings about wanting something and reaching for it, I understood that. But I love Fabrizio, because he has both the passion and the innocence at the same time. The challenge as an actor to play him is to be open to those feelings.

TM: Fabrizio both speaks and sings in Italian. Was that difficult for you?

NR: I studied Italian in school and I went to college and graduate school for classical music, so, in a way, singing in Italian is getting back to my roots. As far as comprehending the lyrics, it was fairly easy for me. It would have been harder if he spoke Russian or Chinese. But singing in Italian requires a different amount of clarity; we spent a lot of time during previews finding ways to get the audience to understand what I'm singing about, since they don't understand the actual words.

TM: What has the Arena Stage experience been like, especially working with your director (and Arena artistic director) Molly Smith?

NR: I've never worked at Arena before, and it blows me away how detail-oriented they are about the artistic process. We had a four-week rehearsal. Molly is incredible. She works like we're doing the show for the first time ever. We just talked about the piece for the first three days, and during the whole rehearsal process, she let anyone who wanted to ask a question. She's also not afraid to try something else, even if something's working, and I admire that. Her process requires an intense amount of trust, but I thrive on that. In the end, she sets an environment where success is the only option, and so everyone is striving for the same goal.

TM: What has it been like working with Hollis Resnik, who plays Margaret, and Margaret Anne Florence, who plays Clara?

NR: Hollis is the real deal when it comes to theater. She's great to learn from and to watch. We're always talking about the text and bouncing ideas off each other. She told me at our second rehearsal that we're cut from the same cloth. Margaret's work is just breathtakingly simple. And there's so much trust between us, which makes it easy.

For the full article, click HERE.

Chatting with the Piazza cast - part 1

by Janine Sobeck

A lot of people want to know what it's like for the cast of The Light in the Piazza to be working on the Arena Stage production.  While we've been talking about it with the audience in our post show discussions (next one is tonight!  And there are 3 more during the run...come join us!), a few of our media friends have been sharing what they've learned from their own interviews.  Over the next few days we'll be featuring some of the highlites.

To start us off, here are some excerpts from CiaoDC's chat with Mary Gutzi (Signora Nacarelli):

 CiaoDC: Where are your Italian roots?

Mary Gutzi: I'm half Italian.  My father is second generation from Calabria - the tip of the boot - in a small town called San Giovanni di Fiore (St. John of the Flowers).   My Italian heritage is very southern.

CDC: What did you draw from your experiences [in Italy] while playing the role of Signora Nacarelli?

MG: A lot of cultural references in the traditional sense - specifically with the role of the Italian woman.  My character's perspective on marriage and what my relationship with my husband means to me.  She is very conservative, but in the second half she sings a song called "Aiutami" which literally means, "Help me."  In this scene, I speak English to the audience for the first time having spoken Italian throughout the entire performance.

CDC: Is it liberating to celebrate your Italian culture on stage - is it a natural characterization for you? 

MG: It comes very naturally for me to recreate and celebrate my colorful culture on stage!

CDC: What motivated you to be on stage - to act? Was your Italian culture influential in your career path?  And how does it play a role on and off the stage for you?

MG: I love the emotional accessibility of my culture.  No ambiguity.  If you are mad, sad, happy, impatient, etc., it is VERY clear.  We wear our emotions like our clothes - you only hide something when it serves a purpose.  

For the full interview, click HERE.

People are falling in love with Piazza

by Janine Sobeck

There has been the normal flurry of reviews and conversation since the opening of The Light in the Piazza, and let me tell you...people have been buzzing about the performances that they've been seeing.  Hollis Resnick as Margaret, Nicholas Rodruigez as Fabrizio and Margaret Anne Florence as Clara have captured many hearts (and I think Nicholas has captured many eyes as well!).  Here's just a taste of what's being said:

"The Light in the Piazza" requires an actress of embraceable finesse in the role of Margaret, the Southern matron who takes her childlike grown daughter on an eventful sightseeing trip to Florence. And in the vibrantly intelligent Hollis Resnik, Arena Stage found one. - Peter Marks, The Washington Post

As the dashing yet boyish Fabrizio, Nicholas Rodriguez did a superb job in a role that can be a little difficult to pull off.  Lacking almost entirely in English language skills throughout much of the first act, his character still manages to communicated effectively to Clara - and to us - by emphasizing his simple Italian sentences that help non-Italian speaks to pick up nine-tenths of his meaning.  That's quite a feat without the help of operatic surtitles. - Terry Ponick DC Theatre Scene

From the first step Margaret Anne Florence takes into our Piazza, in a delicious Limoncello yellow dress, her refreshing childlike eagerness in tow, Florence deftly captures our attention and wrestles control of it and never lets go. - Rene Pedraza, CNN iReport

Arena Stage has captured the rapturous essence of the musical "The Light in the Piazza" in a lovely production at its Crystal City space in Arlington, Virginia. The intimate staging allows for small gestures and understated performances, all guided by Molly Smith's empathetic direction. - Susan Berlin, Talking Broadway

Beautiful singing and wonderful acting. I had seen the NY production and I thought this one was very close in quality all around. Such a gorgeous score... his music is more complex and unpredictable than most composers. - Goldstar Member

And here's a glimpse from Hollis, Nicholas and Margaret Anne on the own feelings about the show - as well as some additional audience reactions!

Citizen Review: The Light in the Piazza Like You've Never Seen

By David Dower

Susan Allen filed this Citizen Review of Piazza as a comment, but it is so thoughtful and substantive that it merits its own post!

"I am an Arena subscriber who has seen four versions of Light in the Piazza, beginning at the Intiman Theatre in Seattle (also Chicago’s Goodman and New York’s Lincoln Center). I love this show and its lush, romantic score, but I braced myself for disappointment, feeling nothing could compare to the Tony-winning NY show. After seeing Arena’s March 6 preview production, however, I am happy to report I left delighted in many ways.

Here’s why: Molly, bravo for a different and highly romantic Piazza. You brought warmth and intimacy to this production in a way I have not experienced before. The earlier shows seemed to have a touch of coldness. (the shock of winter?) You brought out the nuances of all the characters. I liked the more rounded-out interpretation and prominence of Giuseppe, including his relationship with Fabrizio, his wife and his parents.

The other examples of love relationships—Giuseppe’s and his wife’s jealousies, lack of trust—the broken and never-quite-there love between Margaret and Roy—the mutual suspicions of Signor and Signora Nacarrelli, and the hint that Signor had lost the love of his life in the past—these all stood out more in this production, heightening the contrast between these love relationships and the innocence, passion and purity between Clara and Fabrizio. Another thing I appreciated was the energy and dynamic flow of the Naccarelli family, particularly Signor.

Margaret and Clara are right - We're finally here!

by Janine Sobeck

 Oh, opening night.  There is such a thrill that runs through this whole day.  Even as I sit at my desk with a hundred other things to do (no rehearsal today!  what a great gift to the actors), my mind keeps running over different scenes from The Light in the Piazza and I have different songs that stick in my head (currently it's the opening number, "Statues and Stories"). 

We had a great moment yesterday when Molly sat down with the whole cast and crew to reminisce about the journey we have been on.  From our first week when the snow tried to shut us down, to the very first time we tried to stumble through the whole play, to the great leaps and bounds that have been happening since we moved into the space: it has been a tremendous ride.  The cast and crew have really come together through the whole experience and there are moments when I feel like we've created our own big Italian family.

And now, we have the great moment where we get to let it just happen.  Only 6 hours until the opening strains of the overture will fill the Crystal City space...

To the cast, there really only is one thing left to say:

In bocca al lupo!

A little musical sneek peak

by Janine Sobeck

It's a quiet moment in the tech process.  Nicholas Rodriguez, our Fabrizio, has just finished melting my heart with Il Mondo Era Vuoto and we've paused briefly while our lighting designer is figuring out some cues in the booth while our choreographer works with a stage manager on the best path to bring out the Naccarrelli tie shop.  It really is starting to all come together.

And just so you can get a better idea of what I'm talking about...here's the newest Piazza video with clips from some early music rehearsals.  I hope your heart is ready to soar...

Snow Be Gone! March Roars In @arenastage

by David Dower

It's a big month around Arena Stage. Again. Throughout this whole period of diaspora, where we've been spread over five different locations while our new home gets built, we've been hard at work to "restage" the whole organization as a "center for American Theater dedicated to the production, presentation, development, and study of American work."

It's so close now we can see, feel, and taste it. We're less than six months away from moving back in!

And, like a horse charging to the barn, we're gathering speed on all aspects of our strategy. Just take a look at the things that are happening in March that you could plug in to:

Light in the Piazza begins performances. I heard the sitzprobe the other night. What a beautiful orchestration, and handled with such grace and precision by our musical director, Paul Sportelli, his players and singers. If you are following the "open dress rehearsals", this one will take place on Thursday, March 4th at 8pm. I expect the word of mouth on this to be explosive. It's one of the most romantic musicals ever written. Seeing it in such an intimate production and venue, sung and played at this level, the show is a completely different experience than what it's been in its earlier incarnations.

Sophisticated Ladies begins rehearsals. I was in the room last week for the final round of casting and I couldn't believe the energy in this show! It's an old marketing saw to say "don't wait-- get your tickets now", but truly: don't wait. This show has a heavy advance sale already and you ain't seen nothin' yet. If you snooze on this one, or wait for someone else to see it first, you're running the risk of not seeing it at all.

Our Student Playwrights Project will stage its winning plays. Come see what these high school students have written. Let's just say that reports of the demise of American theater are greatly exaggerated if this generation is already working at this level.

The Voices of Now Mentor Ensemble has a public performance of their original one-act play Encounter at the Intersections festival at the Atlas on Sunday March 7th at 2:30pm.  A product of five months of workshops, dialogue, inquiry and rehearsal, the students were asked to write, move and build this performance in reaction to their daily encounters.  This Intersections performance is part of the developmental process that will result in the final presentation this May.

The Bucky Convergence gets going in earnest. We'll start to see events like the screening/discussion at the National Building Museum on March 22nd, the event at the Crystal City theater on Monday night the 29th, and the Bucky Art show popping up all over Crystal City this month. In case you missed it, the show has become a centerpiece of a region-wide convergence of events and programs dedicated to the work of R. Buckminster Fuller. People will be gathering in DC beginning in early June-- coming from all over the world to be part of it. This month you can get sneak peeks at the show, the ideas, and the related events.

The New Play Institute has an ambitious agenda for the month as well. We are already at full throttle on this program. If you haven't yet caught up to it, take a scroll through the New Play Blog to catch up.

There will be months and months and months like this. I hope we'll see you around for as much of it as captures your imagination!