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"The Basketball Game" is a graphic novel adaptation of the award-winning National Film Board of Canada animated short of the same name – intended for audiences aged 12 years and up. It's a poignant tale of the power of community as a means to rise above hatred and bigotry. In the end, as is recognized by the kids playing the basketball game, we're all in this together.

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Tag: Broadway Across Canada

Jersey Boys at Queen E.

Jersey Boys at Queen E.

The Four Seasons of Jersey Boys sings “Sherry.” (photo from Broadway Across Canada)

The multiple-award-winning Jersey Boys comes to Queen Elizabeth Theatre Nov. 14-19. The musical about Frankie Valli and the Four Seasons was written by Jewish community members Marshall Brickman and Rick Elice.

Elice spoke to the Jewish Independent by phone from New York. He and Brickman were friends well before they became writing partners on the musical and other projects.

“We became friends somewhere in the ’90s, 1997-’98, around there, and Jersey Boys didn’t present itself as an opportunity until 2002, although we didn’t really do anything about it until the very end of 2003,” said Elice, noting that the day prior to our interview, Oct. 17, marked the 13th anniversary of the very first production of Jersey Boys, which opened at the La Jolla Playhouse in 2004.

When Elice was asked to write the musical, he asked Brickman to collaborate with him.

“I had spent a couple of decades in advertising and I was no longer doing that,” he explained. “I was working at a movie studio in California and a former client called – this was right after Mamma Mia! had opened on Broadway – and he said, ‘Hey, I have the rights to the Four Seasons’ music.’”

Initially, Elice thought he meant Vivaldi’s “Four Seasons.” After setting him straight, the former client asked, “‘Well, would you be interested in doing the Mamma Mia! [concept] with the music of the Four Seasons?’ And I said, ‘No, somebody already did that, somebody already did Mamma Mia!’”

But Elice agreed to have lunch with Valli and Bob Gaudio, principal songwriter of the Four Seasons, and he called Brickman.

He and his friend “had been flirting with the idea of maybe writing something together,” said Elice, “which we assumed would be a screenplay because I was working at a studio and Marshall is, of course, an Oscar-winning screenwriter of some renown; I mean, he’s a legend. And I said, ‘Suppose we were to write a Broadway musical?’ And he said, ‘I’ve never written a Broadway musical.’ ‘Well, neither have I! But no one’s going to pay us anything, so we’ll just be wasting our own time and maybe we’ll have some fun. Let’s go to lunch and see what these guys are like.’”

During lunch, they asked Valli and Gaudio what it was like growing up in New Jersey, said Elice. “They started to tell us these jokes and anecdotes that were so, by turn, hilarious, tragic, stunning, but all of them engaging and compelling. We found ourselves leaning forward like anyone would when being told a really good story. And we said, ‘Hey guys, if you wanted to do this, if you wanted to do your warts-and-all life story, life of the group, that would be something that would be interesting because, look at us, we’re on the end of our seats. Other people would probably respond similarly, too.’… And they said, ‘OK, go ahead, knock yourself out. If we like what you do, then we’ll give you the gig.’”

Valli and Gaudio liked the first few scenes that Elice and Brickman wrote, so the writers began shopping the musical around. “The stars were in alignment,” said Elice, “as we wrote in the show.” The perfect producers, a director and venue were all lined up. “The only thing we didn’t have was the show,” he said. But, within a couple of months, he and Brickman had completed a script and, by August 2004, the production was in rehearsal in Southern California.

“And audiences loved the show from the very first performance,” said Elice. “We were always there in the back with our pads, ready to edit and make changes and do all the things in previews you’re supposed to do, but the show was really solid. Fundamentally, the show didn’t change. We improved certain things about it but there was no big surgery to be done on anything.”

He attributed the success to the music, which “underpins all our lives,” and to the fact that the group’s story is “a compelling one.”

“That’s always the secret to good theatre,” he said. “Tell a good story with characters the audience cares about.”

He also credited director Des McAnuff with being “a great visionary and a great field marshal for the project. He created this rocket ship that we all got on. It was a super-happy experience that could have amounted to nothing, and it ended up changing all of our lives.”

photo - Rick Elice, left, and Marshall Brickman, co-book writers of Jersey Boys
Rick Elice, left, and Marshall Brickman, co-book writers of Jersey Boys. (photo by Joan Marcus)

Part of the happy experience was writing with his friend.

“Writing for the theatre is like talking something into existence,” said Elice. It’s much harder to talk something into existence when you’re talking mainly to yourself, working as the sole writer, he said. “What I love about working with Marshall is that he taught me that, before you do anything, you take very long walks together and talk and talk and talk and talk, until you know how the characters sound, you know how to voice them, you know what happens, you’ve argued about plot and story and then, at some point, you have nothing left to do but sit down and actually write it. But the writing itself, the act of writing, is a product of extensive thinking and arguing and talking.”

There were no rules or a specific format for how the collaboration worked, said Elice. “If he wanted to write a scene, he would; if I wanted to, I would; then we would swap. And then, eventually, we were together combing through it.”

Elice said that he and Brickman weren’t involved in the making of the film version of Jersey Boys, which was directed by Clint Eastwood. “Generally, what the theatre offers that the film doesn’t offer is the live event,” said Elice.

He explained, “The existence of theatre ought to have ended by now – there are many, many other things to do. The theatre is expensive, it only happens in certain places at certain times of the day, it’s not convenient, it’s not particularly user-friendly as a medium, and yet it still exists. It’s actually doing better now than it did last year and, the year before that, it did better than the year before that, etc. So, why is that the case? Because, I think, we’re hardwired as a species – you and I and everyone around us – back to the days when cave-dwellers sat around fires and told each other stories. We like the idea of sitting in the dark and being told stories and experiencing them with other people sitting in the dark at the same time, experiencing the same story that will never be told in exactly the same way because it’s never the same. While the material may be the same, the performing of it is different, the audience is different, the chemistry in the room is different – everything changes.

“Each performance of a live event is a unique performance … and somewhere in there, somewhere in that unique experience, is something that’s thrilling for us,” he continued. “And what Des does specifically with Jersey Boys is to create a variety of roles for the audience because you’re not just sitting watching a show – you’re also the audience in the saloon, you’re the audience in the recording studio, you’re the audience at the concert, you’re the audience at the stadium. And there’s alchemy that happens with Jersey Boys on stage, where the audience, I think, really forgets that they’re watching actors playing these four guys and begins to believe that they are the Four Seasons and we are the people watching them. And so, the audience responds like they would at a rock concert, and not like they would do politely at a Broadway musical.”

He added, “It also happens to be a feel-good show and, as the world winds its way, a feel-good experience doesn’t feel out of sorts, because the rest of our days, we’re constantly facing greater challenges individually and collectively…. There are problems, there are bad things, so, you go to the theatre and feel good, it feels like a nice gift to give people.”

On Oct. 17, Jersey Boys’ 13th anniversary, a new company started rehearsals for another run of the show, said Elice. He dropped in to say hello to everyone and let them know of the significance of the day. “It’s a little like teaching,” he said. “If you’re a teacher, every year, the students stay the same age and you keep getting older … and I feel a little bit that way about Jersey Boys companies. I show up on the first day of rehearsals and, at the first production [in 2004], I was the same age as everybody in the show, and now I’m this old guy, because so many years have gone by but, of course, we’re still telling the story of a boy band, so you’ve got a cast in their 20s, and that’s a misty distant memory for me now.”

For tickets to Jersey Boys in Vancouver, visit ticketmaster.ca or call 1-855-985-5000.

Format GalleryPosted on November 3, 2017November 4, 2017Author Cynthia RamsayCategories Performing ArtsTags Broadway Across Canada, Franki Valli, Jersey Boys, Marshall Brickman, music, Rick Elice, theatre
Mamma Mia! in town

Mamma Mia! in town

Yael Reich understudies the role of Sophie and is in the ensemble of Mamma Mia!, which is at Queen Elizabeth Theatre until Sunday. (photo from Broadway Across Canada)

Yael Reich is making her national tour debut with Broadway Across Canada’s Mamma Mia!, which has returned to the Queen Elizabeth Theatre stage, and runs to Sunday.

Featuring more than 20 ABBA songs, Mamma Mia! is set on an island in Greece. Bride-to-be Sophie wants to find her father, who she has never met, so that he might walk her down the aisle. From her mother’s diary, she narrows her search to three men, all of whom she invites to the wedding to figure out which one is her dad. The situation threatens both her relationship with her mom, and her wedding.

Reich understudies the role of Sophie and is also in the ensemble of the tour, produced by Work Light Productions, that has made its way to Vancouver.

“Being an understudy is one of the most incredible things I have had the privilege to do,” Reich told the Independent. “It’s both challenging and rewarding. Probably one of the most challenging parts of being an understudy is maintaining focus on your own role in the show while becoming fluent in your understudy role.

“I’ve been a part of companies before where we’ve had to do four and five shows at a time in repertory – a different show each night – which can be confusing. I’ve actually found it more challenging to maintain two roles in one show because, often times, my ensemble character will be on stage at the same time as Sophie.

“I’ve had the privilege of going on for Sophie a few times so far and have had an absolute blast!” she continued. “It is extraordinarily rewarding to finally get the chance to embody a role that has been encompassing my headspace for months. It was particularly special getting to do the role with this company. The artists we are surrounded by in the cast and crew are all beyond supportive and encouraging, and it was incredible to have the opportunity to exchange dialogue, intention and creativity with them.”

Reich made her professional theatre debut with Bigfork Summer Playhouse in Montana. She played Anita in West Side Story in the summer of 2014 and returned to play Aldonza in Man of La Mancha and Lily St. Regis in Annie in 2015. “Between those two professional engagements,” she said, “I had the privilege of making my debut at the Hippodrome Theatre in Gainesville as part of their winter season.”

Reich received her bachelor of fine arts in musical theatre summa cum laude from the University of Florida in May 2015. By that time, she had already been working for more than 15 years.

“I began singing jingles for my father in 1999 and have been a lead vocalist for his advertising company, Sound Branding Ideas, ever since,” she said. “I got my start in theatre at age 8 with the Galaxy Centre for the Arts in Seminole, Fla. My training there ranged from pop voice, piano, percussion, studio recording and dance, alongside the shows we would put on. I auditioned for the arts magnet program and attended the Pinellas County Centre for the Arts for high school, majoring in musical theatre. Having specific major coursework at that age was incredibly valuable because it instilled a sense of purpose and perseverance in me, which has proven instrumental in the cutthroat professional world.”

Also instilling a sense of purpose and a strong foundation from which to face the world is her upbringing.

“Both Judaism and Jewish culture have always played a significant role in my life,” she said. “Coming from an incredibly traditional and religious family, I was brought up with strong beliefs. I spent most of my time in the synagogue and Jewish day school studying Judaics and practising Jewish rituals, most of which involved singing. I actually managed to lead every service involved in my bat mitzvah weekend, including the majority of the Torah portions and the Haftorah.

“Recently, having spent so much time focusing on my career and training, I have devoted much less attention to the religious aspect of Judaism, but have come to find a much greater appreciation for the cultural aspect. The Jewish people are such an incredibly resilient, eclectic and unique people. Their sense of community and commitment to the people as a whole is what I find most important.”

Remaining performances of Mamma Mia! include shows Friday and Saturday, 8 p.m.; Saturday and Sunday, 2 p.m.; and Sunday, 7:30 p.m. Tickets start at $35 and are available through ticketmaster.ca or 1-855-985-5000.

Format ImagePosted on April 1, 2016March 31, 2016Author Cynthia RamsayCategories Performing ArtsTags Broadway Across Canada, Mamma Mia!, musical, Yael Reich
Once at the Queen E.

Once at the Queen E.

Zander Meisner is a swing in the touring production of Once that will be in Vancouver Nov. 17-22. (photo by Once Tour Company © Joan Marcus)

Most of us can only dream about what it would be like to have a role in a Broadway production. Illinois-born Jewish community member Zander Meisner has four in the touring production of Once: The Musical, being presented in Vancouver by Broadway Across Canada Nov. 17-22 at Queen Elizabeth Theatre.

Meisner is a swing for the roles of Andrej, a Czech immigrant working in a fast-food joint; Svec, Andrej’s brother; Eamon, the manager of a recording studio; and Emcee, the host of a bar’s open mic night. This means that he has to be prepared to step into any one of these parts (“tracks”) on any given night – he has to know all of their music (including the playing of multiple instruments), choreography, dialogue, blocking onstage, manoeuvring backstage, and has to be able to pull off convincing Czech and Irish accents.

photo - Zander Meisner
Zander Meisner (photo from Broadway Across Canada)

“My method was a three- to five-month freak-out period in rehearsals in the first few months of tour in 2013, where I practised my face off,” explained Meisner in an email interview with the Independent. This was “followed by my first performances, which gave me the confidence to continue honing my musical skills and polish each character – and getting more and more excited (and less and less nervous) for my future performances. I go on a lot more frequently than I did on the beginning of tour, and these shows keep me sharp.”

In his early 30s, Meisner has been a musician and actor since his youth. He was born and raised in Deerfield, about an hour’s drive north of Chicago. His first role was a part in his high school’s production of Gypsy.

“Gypsy was more a transition from music to theatre than just my first show. I had played clarinet for six years at that point, and the small role I was cast in had me playing the clarinet onstage. Then I simply fell in love with theatre. High school gave me the opportunity to do musicals without any ‘nerdy’ choir prerequisites (which I ended up doing anyways). I pursued vocal performance and theatre at the Jacobs School of Music at Indiana University.”

A singer/songwriter, Meisner still performs on occasion despite being on tour with Once. “I book evenings called Zander and Friends,” wherein he and a “handful of super-talented friends” take over a bar for the night. “I’m the goofball emcee and headliner,” he said. “It’s beyond fun, and a great opportunity to do some music outside of Once. I have one scheduled in Raleigh, N.C., and I hope to have one in Boston.”

Meisner also tries to maintain a level of religious observance while on the road. “I do follow Judaism,” he said, “as I was raised Conservative, and try and follow tradition as best as possible with my crazy schedule (though not as well as my mother would like).”

This tour of Once closes on Dec. 27 in Boston. “It will have been 2.5 years!” noted Meisner, who will be doing Peter and the Starcatcher in January/February in Ithaca, N.Y., before heading back to New York City.

Once: The Musical is loosely based on the Academy Award-winning film about the whirlwind romance of an Irish musician and a Czech immigrant, “drawn together by their shared love of music.” It is award-winning in its own right, garnering eight Tonys, including best musical, for which it was also honored by the New York Drama Critics’ Circle, Drama Desk and Drama League, among others.

Tickets for Once at Queen E. start at $25 (plus service charges), and are available from ticketmaster.ca or 1-855-985-5000.

Format ImagePosted on November 6, 2015November 6, 2015Author Cynthia RamsayCategories Performing ArtsTags Broadway Across Canada, Zander Meisner
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