SISTER ACT at Sacramento Music Circus (all photos: Charr Crail)
The past two weeks I’ve been working at Sacramento Music Circus choreographing a new production of the Broadway musical, Sister Act.
Working on the production, I fell in love with the show which celebrates the ideas of chosen family and questioning our life choices and desires.
And speaking of desires, you couldn’t want for a better cast than this: Zonya Love (“Miss Celie” in The Color Purple on Broadway), Lynne Wintersteller (Broadway’s A Grand Night for Singing), Rufus Bonds Jr. (Broadway’s Rent, Parade), Bill Nolte (Broadway’s La Cage, Amour, The Producers) and an outstanding supporting cast.
Plus, I was reunited with my frequent ‘partner-in-crime’ Kathryn Murphy, who has collaborated with me on choreography many times in the past. Check out our “exhale” moment at the opening night party below with my hot hubby, Michael.
A post shared by KatMoJAM (@katmojam) on Aug 23, 2017 at 4:40pm PDT
I’m happy to say the production was well received:
“Expertly choreographed and funked to maximum effect. Directed with precise timing throughout by Glenn Casale, “Sister Act” features fine choreography by Randy Slovacek and superb musical accompaniment led by music supervisor Dennis Castellano.” – Sacramento Press
“A standing ovation from the audience on opening night was indicative of the energy that this cast put out. Everyone was on their feet and clapping their hands for the final number, “Raise Your Voice.” Don’t miss Sister Act – it is the perfect finale to a great summer of Music Circus shows.” – BroadwayWorld
If you’re in Sacramento this week, head over to Music Circus for what we feel is an up lifting theatrical experience. And let me know what you think in comments below!
Zonya Love in SISTER ACT
Bill Nolte in SISTER ACT
Chris Chatman, Tod Horman & Justin Keyes in SISTER ACT
Lynne Wintersteller stars as “Dolly Levi” in HELLO, DOLLY! at Sacramento Music Circus
These past few weeks I’ve been working at Sacramento Music Circus, one of the premier professional summer theaters in the country, handling the choreographer duties for Hello, Dolly! starring the luminous Lynne Wintersteller.
This is my fourth season at SMC, and my second collaboration with the organization’s Artistic Director, Glenn Casale.
The process of assembling this fab team was really about as smooth as you can get. The principals are all top notch New York City based actors, and the dancers (my primary connection) were a dream. The day after I would give notes, you could see the info digested, processed and applied. Everything just kept getting better.
As a choreographer my biggest challenge was taking my 20 years of experience with Hello, Dolly!, utilizing primarily the original choreographic ideas of the great Gower Champion, and adapting those intentions into a production that plays in the round. Also, while I adhere to the Champion style, I did create new steps in several sections to further the storytelling.
For example, a few of the sections of the “Waiters Gallop” are completely brand new because I really wanted to focus on what the text says about the waiters of the Harmonia Gardens restaurant – that they are “the fastest waiters in New York.” Often, the “Gallop” gets treated a bit like “circus” tricks for no reason other than to be athletic or showy. I wanted every section to hone in on the idea of speed and skill.
Also, most productions switch out lots of props during the 7 sections of the “Waiters Gallop.” But when doing Dolly in the round, offstage prop tables would be located up the 100+ feet aisles. There was no time to run the male dancers up and down the aisles. So, I went back to the foundation of what we were trying to communicate and, using Gower Champion’s style and vocabulary, built new sections with the emphasis on true dancing.
For more info head over to Sacramento Music Circus’ website. If you really want a terrific all-American way to start your 4th of July weekend, this is really the ticket.
Here’s a bit of what the critics said:
From the Davis Enterprise: “With direction by Glenn Casale, choreography by Randy Slovacek and costumes by Marcy Froehlich, this production is just stunning. Each of Dolly’s musical numbers is a show-stopper, perhaps most of all “Before the Parade Passes By,” an amazingly choreographed number that ends Act 1. The dancing of the six waiters in the Waiters’ Gallop is stunning and when Dolly makes her entrance to the title song, well … you know you are seeing classic theater.”
From Sacramento Press: “Among the musical highlights are the songs “Before the Parade Passes By,” “It Only Takes a Moment” and, of course, the title tune. Several dance set pieces are outstanding, especially “Elegance” and “The Waiters’ Gallop,” which features some pretty amazing coordination. The choreography is by Randy Slovacek and the striking costumes are by Marcy Froehlich. Glenn Casale, who in his 20 years with Music Circus and Broadway Sacramento has directed more than 50 productions, creates joy in bringing this delightful show to life. His direction is perfection.”
From Sacramento365.com: “While the choreography and staging was exemplary throughout, the performances of “The Waiters Gallop,” and “Hello, Dolly!” were my favorites. As the cast sings and dances across the stage, the members of the audience around me lit up with excitement and cheer. When a production has the power to do this you know it’s a great show. I can’t recommend Music Circus’ production of Hello, Dolly! enough.”
From BroadwayWorld: “Glenn Casale’s direction and Craig Barna’s musical direction hit a sweet spot with an ensemble whose vocals blend beautifully and an outstanding orchestra. Inventive choreographer Randy Slovacek also takes full advantage of the athletic cast and the Music Circus aisles and round stage in routines that ultimately steal the spotlight in a lively and enthusiastic production.”
From the Sacramento Bee: “The Music Circus at its best – as it is with the current “Hello Dolly!” – casts a warming glow. A title as venerable and familiar as “Dolly!” feels known, but what sure-handed director Glenn Casale’s lustrous production accomplishes is not reinvent the classic but reveal its greatness.”
Here’s some production photos (click pics to enlarge) and a video montage of the show. You can see some of my work there in “Put On Your Sunday Clothes,” “Dancing,” “Before The Parade Passes By,” “The Waiters Gallop,” and the title tune “Hello Dolly.”
Posting was a little light here on The Randy Report yesterday as I was heading up the Los Angeles dance auditions for Sacramento Music Circus’ upcoming summer season.
As regular readers of The Randy Report know, I began my professional life as an actor and dancer in musical theater, working on Broadway and in national touring companies of shows like Hello, Dolly!, A Chorus Line, Chicago, 42nd Street and Follies.
Today I’m fortunate to continue working as a director and choreographer. This summer will mark my 4th season at Sacramento Music Circus where I’ll be choreographing Hello, Dolly!
I really enjoy being at SMC because:
1. The incredibly supportive environment from the producers and artistic director, Glenn Casale
2. The theater is “in the round” so you’re forced to think outside the box of traditional theater and explore more creative ways to tell the story.
3. The talent is absolutely first rate.
Yesterday, I auditioned over 100 super-talented dancers in Los Angeles. What a great experience.
At 52, and as a choreographer, I don’t dance full-out regularly myself. But in audition situations, it’s only fair that the dancers see what it is I want out of the audition combinations. After all, I made this stuff up – I should be able to dance it full out.
I went through three sets of shoes during the day because, as we danced harder and longer, the room got sweatier and sweatier. I had to switch from dance sneakers to hard-soled shoes for one combination. Then from tap shoes back to hard-soled shoes because the room (and effort) made the floor sticky or slick depending on whether we were tapping or not.
So, there I am doing my best “full-out” in front of these terrific dancers. As the primary “music theater” dance combination closed with the “jumps” section from the Waiter’s Gallop in Hello, Dolly!, I promised I would do the section ONCE full out.
ONCE.
It was mainly for comedic effect to put the room at ease. And, it is fun to find out I can still do this stuff 20 some-odd years after I danced some of this on Broadway. I guess I learned something along the way 🙂
One aspect of the day that I really enjoyed, as I danced groups of four dancers at a time, was the sense of support the dancers had for each other. We’d get to the “jumps” section and the dancers on the edge of the room would start clapping to cheer their fellow dancers on. It is a very athletic, “power” section, and I saved it for the end. I love that part of being an artist that we can cheer each other on.
In the end, while everyone wants a job, folks realize it’s not so much about competing against others as showing up, and “showing off” your best.
Once that’s done – you go home, toss your shoes in the corner, pour a glass of wine, and just know you danced it out and left your best on the floor.
You can’t do better than that. Whether you’re a 52 year old choreographer, or a 20-something young dancer.
