THE MUSICAL PHENOMENON the Whitney the Katherine Mcgregor Publication: CAMERON MACKINTOSH Publication: Broadway in Detroit Presents Dessert Parlor Playbill Program V
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THE PROGRAM FOR BROADWAY IN DETROIT AT THE FISHER THEATRE THE MUSICAL PHENOMENON The Whitney The Katherine McGregor Publication: CAMERON MACKINTOSH Publication: Broadway in Detroit presents Dessert Parlor playbill program v. 56, n. 2 BOUBLIL & SCHÖNBERG’S for Gobsmacked! and The Color Purple Run dates: 11/3–11/5, 11/7–11/12 Size: full-page with bleed trim size: 5-3/8 in. w. x 8-3/8A musical in. h. based on the novel by VICTOR HUGO bleed: 1/8 in. Music by CLAUDE-MICHEL SCHÖNBERG Lyrics by HERBERT KRETZMER inside margin:Original 1/4 in. French text by ALAIN BOUBLIL and JEAN-MARC NATEL Proof: 3/28/16; 5:22PM Additional material by JAMES FENTON For: Nederlander DetroitAdaptation by TREVOR NUNN and JOHN CAIRD (Fisher Theatre & others) Original Orchestrations by JOHN CAMERON New Orchestrations by CHRISTOPHER JAHNKE …at The Whitney. Agency: SMZ advertising Design: Frank Bach, STEPHEN METCALFE and STEPHEN BROOKER Named after David Whitney’s daughter, Bach & Associates;Musical Phone Staging 313-822-4303, by MICHAEL ASHCROFT and GEOFFREY GARRATT [email protected] Projections realized by FIFTY-NINE PRODUCTIONS Katherine Whitney McGregor, the new second-floor Sound by MICK POTTER dessert parlor features a variety of decadent cakes, tortes, and miniature desserts. Lighting by PAULE CONSTABLE Costume Design by ANDREANE NEOFITOU and CHRISTINE ROWLAND Set and Image Design by MATT KINLEY The menu also includes chef-prepared specialties, inspired by the paintings of VICTOR HUGO pies, and frozen treats, and you won’t want to miss the amazing flaming dessert station featuring Directed by LAURENCE CONNOR Bananas Foster and Mixed Berries Van Gogh. and JAMES POWELL Join us after tonight’s performance! For Les MISÉRABLES National Tour Casting by General Management TARA RUBIN CASTING/ GREGORY VANDER PLOEG KAITLIN SHAW, CSA for Gentry & Associates Executive Producers Executive Producers NICHOLAS ALLOTT & SETH SKLAR-HEYN SETH WENIG & TRINITY WHEELER for Cameron Mackintosh Inc. for NETworks Presentations Associate Sound Designer Associate Costume Designer Associate Lighting Designer Associate Set Designers NIC GRAY LAURA HUNT RICHARD PACHOLSKI DAVID HARRIS & CHRISTINE PETERS The WhitneyDETROIT Restaurant | Ghostbar | Gardens Resident Director Musical Director Musical Supervision Associate Director LIAM McILWAIN BRIAN EADS STEPHEN BROOKER & JAMES MOORE COREY AGNEW A CAMERON MACKINTOSH and NETWORKS Presentation 4421 Woodward Avenue 313-832-5700 thewhitney.com 3 LOVE & FAMILY IN ON YOUR FEET! By Sheryl Flatow THE EMILIO & GLORIA ESTAFAN BROADWAY MUSICAL races. That is On made me think a lot about my own family, from her loved ones,” he says. “That’s why Your Feet!” and how everyone has someone in their fam- she wrote the song. And then I immediately If the world on- ily who is the most supportive and someone knew what the number needed to be.” stage rings true, it’s who is the least supportive. That was part Once again, it comes back to family. And easy for the audi- of the story that we were trying to wrap our that, says Dinelaris, is one of the great take- ence to step inside. heads around.” aways from the show. “This story about im- The key is “authen- The concept was Mitchell’s; the execution migrants, about perseverance, about family, ticity,” a word used was by Trujillo, who received a Tony Award is about all of us,” he says. “On Broadway, I repeatedly by the nomination for his choreography. “Having heard audiences say all the time, ‘That Cu- creative team. And worked on Jersey Boys, I learned a great ban grandmother is my Jewish grandmother’ On Your Feet! is as deal about what to do with the progression or ‘my Irish grandmother.’ It’s a universal authentic as a Broad- of a pop star, and what to do within that kind story. The comment I heard more than any- way musical can be. of story and vernacular,” says Trujillo. “In thing else was, ‘It wasn’t what I expected. I The cast is Latino. order to be truthful, I had to create a vocabu- expected the Gloria Estefan revue. I didn’t They speak Spanish lary that was unique to our show.” expect to be moved and to cry and to see my as well as English. Dinelaris was particularly moved by Tru- family in it. I didn’t expect the goosebumps Original members jillo’s choreography for “Wrapped,” which and the tears. I just expected to have a good n one of the seminal scenes in On Your of Miami Sound Machine are part of the or- he describes as “a fluid piece of poetry.” It time.’ And I think that has to do with how we Feet!, Gloria Fajardo and Emilio Estefan chestra. The choreography features real Cu- comes after the horiffic 1990 bus accident, identify with family and with culture. And I Iare trying to persuade a record label exec- ban dances, not just the salsa and the conga, and Trujillo says he was initially stumped hope people leave the theater, go home, and utive to help them cross over to the English- but the chancleta and the pañuelo. “When I by what to do with the number. So he called call their mother.” speaking market. The executive’s response would go into the room where Sergio and his Gloria and asked her how the song came is dismissive and disrespectful, insisting that dancers were working, it wasn’t like he had about. “She said that when she was on the On Your Feet! is at the Fisher Theatre May 1–13. For tickets, there’s no audience for the Latin rhythms of to teach them how to salsa, or teach them road, it was very hard to be so far away please see our ad on PAGE 14. Miami Sound Machine in the U.S., and in- the rhythms,” says Mitchell. “They came in timating that the couple are not real Ameri- knowing the language. It was a vocabulary cans. But a furious Emilio gets the last word: they all grew up with.” “Look very closely at my face… this is what Most of all, the show captures the essence an American looks like.” of Gloria and Emilio, who shared the details It’s a show-stopping moment, and it of their lives with Dinelaris. All the major speaks to the power and universality of the conflicts and incidents in the show reflect exhilarating, moving love story of Gloria actual events. “They were amazingly gener- and Emilio Estefan. Of course, the dy- ous,” says Dinelaris. “We had lots of meet- namic musical numbers drive the show; yes, ings and talked for hours. I eventually spent rhythm is gonna get you on your feet! But the time with Gloria’s mother, who recently story of these two determined Cuban Ameri- passed. She was an amazing woman, tough cans, their challenges, and their extraordi- as nails and charismatic, and she became a nary success is transcendent: the musical is a major character in the show. When I had all celebration of family—all families—and the this information, I had to figure out which American Dream. part of their story I would tell to make it the That was a deliberate choice on the part most effective.” of the creative team: director Jerry Mitch- For director Jerry Mitchell, it was impor- ell, choreographer Sergio Trujillo, and book tant to capture the special connection be- writer Alexander Dinelaris. “It’s why I’m so tween the Estefans. “It was all the things I proud of this show, and so excited to share didn’t know about Gloria and Emilio that I the national tour with the rest of America,” wanted to put in the show,” he says. “Their says Trujillo. “We’re all immigrants and partnership displayed itself every day, in ev- we’re all part of this wonderful country, ery way, down to eating lunch. It was obvi- which is made up of people of all colors and ous how they took care of each other, how they were there for each other after all these years together, and that was exciting. They Above: Christie Prades as Gloria Estefan and Company. have such a strong sense of family, and I Photo © Matthew Murphy wanted to bring out that family dynamic. It 4 5 CAST in order of appearance Jean Valjean ..........................................................NICK CARTELL Javert ..................................................................JOSH DAVIS Farmer ...............................................FELIPE BARBOSA BOMBONATO Take Laborer ...........................................................MIKE SCHWITTER Innkeeper’s Wife ................................................... SARAH CETRULO Innkeeper ........................................................ MONTÉ J. HOWELL The Bishop of Digne .............................................ANDREW MAUGHAN Constables ......................................ROBERT ARIZA, NICHOLAS EDWARDS Center Factory Foreman ..................................................STEVE CZARNECKI Fantine .........................................................MELISSA MITCHELL Factory Girl .................................................... MARY KATE MOORE Old Woman ................................................ MAGGIE ELIZABETH MAY Stage Wigmaker .............................................................JULIE CARDIA Bamatabois ...................................................... JOHN AMBROSINO Fauchelevent ..........................................................ROBERT ARIZA Champmathieu ....................................................STEVE CZARNECKI Little Cosette ..............................................ZOE GLICK/SOPHIE KNAPP Madame Thénardier ................................................. ALLISON GUINN Young Éponine .............................................ZOE GLICK/SOPHIE KNAPP Thénardier ......................................................J ANTHONY CRANE Petit Gervais/Gavroche .................... JULIAN EMILE LERNER/ JONAH MUSSOLINO