ROCK OF AGES CAST MEMBER MATT BAN INTERVIEW

“Rock of Ages” Cast Member Matt Ban Interviews

Words by Kristen Fogle

The newest show to roll into the Civic Theatre via Broadway San Diego is the ultra popular musical hit “Rock of Ages.” This fun filled flashback of the “mid to late '80s” revives the decade in all its glory—from clothes to hair to pop culture references...to, of course, the music. “Rock” includes some of the best from its day...including chart toppers from Journey, Pat Benetar, Whitesnake, and more.

Cast member Matt Ban is just one of the amazing young performers who are touring with the production; his character Dennis owns the club that the action is set in (and has quite an interesting and humorous fate in the end).

Ban took time to talk about researching his role, what originally attracted him to the franchise, and lets us in on a little secret: next to none of the cast have actually been on the Sunset Strip!

Kristen Fogle: Let’s get to the important stuff first…How big is the hair on this show?

Matt Ban: Just as big as everyone remembers it! One of the hardest parts of the show is doing all of this rockin' dancing and singing while keeping your hair from going down your throat. I have a problem with that nightly.  

KF: Besides adventures in hair, what drew you to audition for ROA initially?

MB: Well, being born in 1987, I never really had the chance to experience the full impact of the '80s. This show really takes everyone back, even if you've never even been there. So knowing the music and the nostalgia for the time period, I knew this was something I wanted to be a part of.

KF: Along with music being a big part of the show, the action of it takes place on the Sunset Strip. Assuming you’ve been, any fun real life stories (or stories from the cast) that have taken place there?

MB: Actually a lot of us haven't been to LA yet, but going and experiencing the Strip is definitely something we're looking forward to. However, we do still have shows while we're there, so we may not get the FULL experience. But I'm sure we'll have some fun stories...

KF: Tell us about your character. What kind of research did you put into your role?

MB: Dennis is very much a leftover from the 1970s, still living in the world of rock and roll, though it has changed so much for him. He's the owner of the famous "Bourbon Room" club which was a staple of the Sunset Strip rock scene. I guess you could also describe him as a stoner or a hippie. The world that you're experiencing in “Rock of Ages” is in many ways Dennis' world. He's also somewhat of a father-figure/mentor to the young hero of the story, Drew. A lot of work went into playing a role like this. I am constantly asked if I'm doing a Tom Waits impression, or if I realize how much I remind someone of Frank Zappa, but for me it was more about listening to the music that would have influenced Dennis. Jefferson Airplane, Pink Floyd, The Beatles, and of course, The Alan Parsons Project.

KF: On that note, there’s (obviously) a lot of great classic rock in this musical. But are there any hits in particular that when you guys perform them the audiences just loses it?

MB: There are so many great songs crammed into this show that it happens multiple times a night. My favorite reaction would have to be in "Can't Fight This Feeling," by REO Speedwagon. It's sung by myself and the narrator of the show (played by Justin Colombo), as sort of an ode to their bromance... And of course the finale, Journey's "Don't Stop Believing" gets quite a raucous reaction. Just the first few notes is all it takes for the audience to recognize the song.

KF: How does this show differ from other productions you’ve been a part of?

MB: In every way possible! I have a background in musical theater, particularly comedy, however, there really is no show out there like “Rock of Ages.” There's an awesome silliness to everything about this show, yet it really does have such a strong grounding in a time that everyone knows and loves so much. Plus belting out rock music every night is not something I've had to do before.

KF: Besides a silliness, the show definitely encompasses a mature humor...Why should parents exercise caution when taking children under 13 to see “ROA”?

MB: There are parts of the show that may be a little adult-themed. After all, this is the Sunset Strip in the mid to late 80s. There is some strong language used, some references to drugs and alcohol, and part of the action of the show takes place at a strip club. The actresses in this show are often clad in little more than their underwear. So the men out there will enjoy some eye candy, but your kids may have a few questions for you after.

KF: Are you worried about the June movie release of “ROA”? How will the big screen adaption differ from the stage show?

MB: We're actually all very excited about the release of the movie. From what we hear, its going to be a bit different than our production. There are some plot lines that have been cut, and some characters have been dropped and added. But I hope this movie drums up even more popularity for the entire franchise and that it boosts desire to see our show. As different as the two ventures are, its all still “Rock of Ages” in the end.

KF: Anything else you’d like to add?

MB: Please come out to the Civic Theatre and check out “Rock of Ages.” For tickets you can go to www.rockofagesontour.com or www.broadwaysd.com!

To see the original article, please go to: http://sdtheatrereviews.com/newsmaker.php?newsId=268

SUESSICAL @ VISTA HIGH

“Seussical the Musical” at Vista High School

Words by Kristen Fogle

I've never seen “Seussical the Musical.” When I tell this to other avid play goers, this is a bit shocking, much like when I reveal I haven't seen “Avenue Q” yet (polar opposite of “Seussical”; yes, I'm aware).

But I'm here now and also reigning in another first. I haven't reviewed a high school show as of yet. In fact, the last high school show I saw was prior to my high school drama days when I was a wide eyed eighth grader... I marveled at my future high school's beautifully executed version of “West Side Story” and couldn't wait for that to be me up there.

X many years later, I still think there's a lot to love about high school theater, and Vista High School (VHS) does not disappoint. Upon entering the Panther Playhouse, one notices, first of all, that the place is sold out. Patrons, which include the very young, elderly, and every age in between, anxiously await; scrolling through the program, in addition to the families and other volunteers, one notices all the businesses in north and south county that support these talented kids' efforts.

As well they should. When the performance starts, I'm instantly captivated by how good these kids are. And not just three or four, like all of them. Praise to every member of the cast, but especially Alecia Scott (as Jo-Jo, her first lead with VHS) with her adorable soprano, making her the perfect Who; Drew Bradford, who charmed as the misunderstood Horton; Nina Preston, whose lovely voice and cute comedy made her a great Gertrude McFuzz; Elise Pardue, who played the soulful Sour Kangaroo; and of course, the energetic, funny front-man Austin Wright, playing The Cat in the Hat.

And these kids can move. Even their curtain call was perfectly coordinated. Choreographer Jackie Weiss really wowed; no doubt these kids had excellent training from her as well as plenty of rehearsing. Kimberly Kim's Musical Direction was really allowed to shine through Weiss' work (aided by the talented Becky Brooks on the piano as well as the other musicians), and Kim's co-direction with Liz Swensen proved to be a successful partnership.

This particular show could also suffer from weak costumes and poor sets, though both were excellent. Donna Dibbins, Diane Faulstick, and Linda Pardue outfitted the cast in the spectacular outfits seen, which included fun, mismatched items for the Whos, slightly saucy chorus girl-esque attire for the birds, and a mess of polka dotted items for the circus performers. The set paintings (which would make the late Seuss proud) were attributed to the visual arts department and Carolyn Thom: interestingly wacky pieces that were both creative and functional at times, such as Horton's treehouse and Jo-Jo's bathtub on wheels.

I am saddened that I witnessed the last weekend of “Seussical” as I think everyone should be privy not only to the exceptional young talent at VHS but to the musical itself. “Seussical,” along with being a mash up of some of the best Seuss books, is a reminder of many things: that every person is important, thoughts are powerful, all things are possible, and that no matter the situation, we should count ourselves truly lucky. If we remember these things, Oh the places we will go.

For more information on Vista High's upcoming performances, please visit www.pantherpartners.org

LATE NIGHT CATECHISM @ THE WELK

Old school values, fresh humor: The Welk Theater Presents "Late Night Catechism"

Words by Kristen Fogle

Can you accurately define stigmata? Curious about what Easter Duty entails? Confused about the Immaculate (mis) Conception? Learn all this and more at the Welk's "Late Night Catechism"!

An expert at schooling in all things Catholic, actress Kathryn Gallagher portrayed the no nonsense sister leading the adult catechism class on my night. And though the religious-themed romp is entertaining and very interactive, (she awards prizes for correct answers, makes anyone with a plunging neckline cover up with Kleenex, and even has a q&a at the end), this show is surprisingly educational.

Besides answering the questions to those I posed earlier, the knowledgable sister covers a wide range of Catholic topics including how literal church members should take the Bible (not so much), why we have the "stain" of original sin, and how everything changed with Vatican II. The most fascinating part in my opinion, though, is the discussion of saints...Based on their larger than life stories, Sister, with help from the audience, discusses if saints like Patrick, Christopher, and Joseph should stay on the roster.

If this sounds preachy though, you're mistaken. Everything is cloaked in a good natured poking fun at the church, which is probably why most of the audience seem to be Catholics (both those who attended Catholic school and those pesky 'publics'). It is for a good cause though...the show has raised over two million for retired nuns, who were denied social security when the church opted out on their behalf.

Gallagher, who rotates with other actresses, has had an eighteen year career singing and acting in Chicago and has been performing in Los Angeles for about a decade. In LA, you can see her in four different versions of "Late Night Catechism," of which there are many. On the west coast she has appeared at the Pasadena Playhouse, Second City (LA), Hermosa Beach Playhouse, and SD's very own North Coast Rep.

Those who enjoy the Welk will love the transformation of the stage into a Catholic classroom and appreciate the show's witty ride through (sometimes understandably misunderstood) Catholic doctrine. As a Catholic schooler for 13 years (with my mother, same story) we enjoyed the jokes and the education all rapped up into a two hour punch line.

"Late Night Catechism"
2/18-3/19
The Welk Theatre
8860 Lawrence Welk Drive
Escondido, CA 92026
760-749-3000
www.welktheatersandiego.com

THE PRODUCERS @ THE WELK

“The Producers”: The Premiere Pair Serve Up a Spirited Performance

Words by Kristen Fogle

From the duo that brought you Edna and Wilbur Turnblad in “Hairspray” last summer at Moonlight (earning Noel nods for both and a win for Edna), Premiere Productions’ Randall Hickman and Douglas Davis are back—this time as another great twosome—in “The Producers” at the Welk Theatre. The owners of Vista’s Broadway and Off-Broadway Theatres tackle Max Bialystock (Hickman) and Leo Bloom (Davis) with gusto, and if audience reaction thus far is any indicator, we may see more awards headed their way for these performances.

“The Producers,” which of course opened on Broadway in 2001 to rave reviews and starred Matthew Broderick and Nathan Lane, is a hit with many, and Premiere does the play justice. Adding some of that Randy and Doug flair is probably just what the story of Max and Leo’s rise to the top—and fall to the bottom—needed to make this the funniest musical I’ve seen in San Diego in a while.

Hickman shines in larger than life roles and Bialystock is no exception. This role really works for him particularly, because despite Max’s lesser qualities (like having relations with the elderly for monetary gain, and such), there is a bit of Bialystock in him as he has spent (with Davis) many years producing some of the best theater in the county. Not to mention Hickman gets to showcase those dynamite pipes and is allowed free reign to really hit us with the witticisms full force. And Davis, who has played mousy parts in the past, really charms us with the adorable Bloom, especially in “I Wanna Be a Producer,” where we get to see depth to the nebbish accountant who spends his days “bored.” (Davis also has an incredible voice and is a pretty swell dancer, as well.)

And on that note—though I’ve been told much of the dancing has been handed down from the movie/Broadway production, I’d never know, and so I credit the talented Ray Limon with the captivating choreography I witnessed. (By the way, stay tuned for more Limon. When I interviewed Barbara Epstein, creator of “A5678”—on stage at the Welk in May—she basically credited him with reviving her show in San Diego, and he is set to choreograph that one as well.)

Back to the actors…Notable in particular, and giving Hickman and Douglas a run for their money as the funniest duo up there, are Bob Himlin as Roger DeBris and Conor Tibbs as Carmen Gia. DeBris was an absolute riot in “Springtime for Hitler,” and Tibbs had me giggling ridiculously with his facial expressions and well timed gags. Tracey Ray Reynolds played fun, flirty Ulla, and sold it on the accent, but perhaps was a bit too PG for the vivacious sex kitten Ulla. I also enjoyed Devin Collins as brutish Franz Liebkind, and again, the ensemble, who produced endless chuckle-dom, particularly in their scenes as DeBris’ entourage and as serenading/dancing grannies.

It’s not a perfect production, what with some wobbly set walls and places where the timing isn’t quite right yet, but it is one of the most fun musicals I’ve seen in a while. Perhaps the best compliment I can give is that even with “The Producers” running almost three hours, I was still left wanting more. Cheers for Premiere, as they have succeeded in opening their mini-season at the Welk with a truly spirited performance.

Next up for Premiere’s adult audiences is the comedy “I Take This Man” at the Broadway Theatre March 23 and “Too Old For the Chorus (But Not Too Old To Be a Star),” a musical revue, back at the Welk on June 14.

“The Producers”

Welk Resort Theatre

3/8-3/25

8860 Lawrence Welk Drive

Escondido, CA 92026

888-802-7469

www.welktheatersandiego.com

THE NERD @ PATIO PLAYHOUSE

“The Nerd”: Hike up Your High-waters and Head to Escondido for a Geeky Good Time

By Kristen Fogle

Larry Shue’s “The Nerd,” now playing at Patio Playhouse, is everything that the not-so-nice moniker promises. High-water pants, a pocket lined with pens, nasally voice…all emanating from socially awkward central character Rick Steadman. But then, the question becomes, why do the other characters deal with Rick—who bears a lot of similarities in demeanor to Urkel—and is just as annoying?

Willum Cubbert is a talented architect who has just turned 34. His friends, the charismatic Tansy McGinnis (and Willum’s love interest), and Axel Hammond, the comic relief, have decided to throw Willum a party, but to little success. Willum’s boss, cantankerous Warnock Waldgrave, his wife, Clelia, who as a special needs teacher speaks a little too slowly and has an odd habit of breaking plates when nervous, and their wild son Thor seem to be the only ones who can make it. That is until Rick Steadman calls. Rick is a man Willum has never met, but Willum owes his life to (due to Rick’s life saving heroism when the pair was in Vietnam). Obviously, as this is the man who saved him, Willum is excited to meet Rick, but quickly learns that Rick’s quirks are a bit cumbersome. Rick manages in one short scene to insult Tansy’s cooking, ruin a party game, insight a disastrous second game, and destroy everyone’s shoes in the process. By the second act Willum is at his wits end—and with Tansy and Axel—decide to fight crazy with crazy, “introducing” Rick to some of the odd customs the trio have (or have created) to send Rick on his way.

This script is hilarious, though slightly predictable at times, and director Rob Wolter clearly knows how to place his talented actors. (This is not his first—nor hopefully last—time attempting a Shue script.) The physical comedy (including food usage) keeps the audience wondering where “The Nerd” will take them next. And Patio’s homey space makes this a great location to stage the comedy bordering on farce.

The cast are all excellent—making us wonder if the timing was ironed out by a deliberate director or a product of each individual’s comedic talent. Axel, as said before, keeps us rolling throughout, and Ian Boyd, the man behind him is a master at wielding that wonderfully dry humor. Tansy McGinnis is played by Krysti Litt—after seeing her in this piece as well as Patio’s “Humble Boy,” I am convinced we will be seeing much more from her. Though she does silly and funny well, she captivates any time real, raw emotion must be mustered. Warnock (JJ Rowley) executes the impatient boss man well, and though only in the first act, Clelia (PJ Anbey) and Thor (Blake Kerzie) are both quite funny (kudos to the nine year old Blake!) As for our title character, David Guthrie plays Rick Steadman painfully well; he unabashedly charges into awkwardness and makes us both like him and not be able to stand him equally effectively. Lastly, Willum, for being the front runner, may be the least strong character of the bunch, but Christian Wright still evokes laughs and gets it right pretty much the whole way through.

“The Nerd” is the kind of theater I like best; never too serious, always funny, it entertains from start to finish. At the very least, it deserves a trip to the cutest little theater in Escondido (going strong since 1966!).

Stay tuned for what’s to come at Patio: “Lost and Found,” a youth musical, will take the stage April 13-22, “The Bridge,” a reading, will be performed May 13, and “King Lear” will take place June 1-24.

“The Nerd”

Patio Playhouse

3/2-3/25

201 E Grand Ave.

Escondido, CA 92030

760-746-6669

www.patioplayhouse.com