The Drowsy Chaperone

November 2009 Volume 95 • Issue 1 The Drowsy Chaperone Behind the Scenes with Director/ Choreographer James Patterson James Patterson, director and choreographer Inside This Issue of Diamond Head Theatre’s The Drowsy Executive Director’s Message 2 Chaperone, welcomed DHT artistic director John The Wedding Singer 4 Rampage to get the behind-the-scenes scoop on An Evening to Remember 5 man and show as opening day neared. Summer Fun 6 John: Welcome to Diamond Head Theatre, A Team Act 8 James. I know you’re friends with or A Toast to Curtains Rising 9 have worked with many of our past guest directors, like Darren Lee, David In the Spotlight 10 Spangenthal and Greg Zane. Did they give you any advice or details about directing a show at our theatre? James: Thank you for having me here—I’m very excited to be here and to be doing Coming Soon The Drowsy Chaperone at DHT. Greg IRVING BERLIN’S Zane actually told me about DHT and WHITE CHRISTMAS put feelers out about the possibility Dec. 4-20, 2009 of me directing here, and I’m so grateful that he did. Both Greg and John Rampage with Yvonne Iversen and Madison Eror of The David Spangenthal told me wonderful Drowsy Chaperone THE JOY LUCK CLUB things about the theatre community Jan. 29-Feb. 14, 2010 [in Hawaii] and the theatre itself. Chaperone, and was lucky enough to They had said that everyone would work with all the original creative SHOUT! THE be very receptive to new ideas and team as well as perform with some MOD MUSICAL would be eager and excited to challenge original cast members, such as Bob March 19-April 4, 2010 themselves with working with a new Martin, the original Man in Chair, and director. Georgia Engel, a former member of the GUYS AND DOLLS Diamond Head Theatre community. May 14-30, 2010 John: We’re so happy to have you directing I was originally hired to be a swing and choreographing our production of and assistant dance captain, as well as THE SOUND OF MUSIC The Drowsy Chaperone. You’ve had a the cover for Man in Chair, Adolpho, July 9-25, 2010 very long relationship with the show— Robert Martin and the Best Man. can you give us a little background on It was a lot of work, but each of the For Tickets what parts you’ve played in it, how long parts was so much fun I really enjoyed Call 808.733.0274 or visit were you associated with it and why you learning about all of them as well as www.diamondheadtheatre.com enjoy the show so much? the inner workings of the production. James: I was a member of the original cast of the first national tour of The Drowsy CONTINUED ON PAGE 3 Gordon. In Depression-era New York, When Rockefeller still can hoard enough Gordon was one of the city’s most successful money to let Max Gordon producers. His cable to Hawaii, dated produce his shows— January 11, 1944, stated: anything goes! 1944 “OK DOUGHGIRLS—REGULAR ROYALTIES—TEN PERCENT OF The Doughgirls’ playbill summary of the GROSS—PERFORMANCES FOR season also mentions the hugely popular SERVICE MEN FREE.” previous show, Angel Street—cut short “because Uncle Sam needed the services A Look Back in Time Gordon was, among other things, of the lead, Earle Ernst, as a Japanese The Doughgirls notable as the producer of the original stage interpreter, and he was called into the Army incarnation of The Jazz Singer, which ran immediately after the eight performances.” Honolulu Community Theatre’s 1944 from September 1925 to June 1926. His Such were the theatre days of the 1940s! wartime production of The Doughgirls reputation during this era was immortalized was significant in Cole Porter’s song “Anything Goes” from on several levels. the musical of the same name: People often ask how Diamond Head Theatre (formerly called Honolulu Community Theatre) can be considered one of the oldest continually operating community theatres in the U.S., given the relative newness of Hawaii’s drama history. The answer is that it’s because of shows like The Doughgirls— 2 shows that ran throughout the war years, contributing to our record of continuously operating since 1915. Another nugget of trivia regarding The Doughgirls is about the man who cabled us the permission to do the show: Max DHT will achieve its goal of 3,300 season Your confidence really inspires us. It Aloha from DHT’s patrons and raising $400,000, a magnificent means we’re doing what I feel we should— Executive Director down payment on the more than $750,000 bringing you topnotch entertainment in Last summer, my husband and I took in box office receipts that we need to carry a friendly and welcoming environment. a bicycle trip in Austria along the Danube. on. What great news! In this economy, it’s Our theatre is a place for escape and Much as I love my job, it was nice to get nothing short of remarkable. enchantment, a haven from the long away, expand my horizons and fit in some workweek where you can laugh, sing along much needed exercise! and just feel good. You believe in what Diamond Head Theatre was never far we do, and your signing on for the season from my thoughts, however, and during the encourages us to work harder to deliver on trip I visited the oldest theatre in Austria, our promise to you. Bravo, and thank you. still in use. It was tiny! Most fascinating We’ll see you at the theatre! were the seats that locked upright, so only key holders could unlock them to sit down. Talk about an incentive to become a season subscriber! I’m glad we don’t have to go to that extreme here. P.S. For those of you on Facebook, Meantime, our season subscribers check out the Diamond Head Theatre site. have signed up in force. I am truly grateful We’re constantly updating it with DHT for such loyalty. That loyalty means that news, photos and videos. Become a fan Aloha from the Stadttheater in Grein, Austria! today! CONTINUED FROM PAGE 1 John: In addition to directing and choreographing, I know you still have a very busy career as a performer. Do you prefer one more than the other, or do you enjoy both jobs equally? James: I really do like both equally. I have had more experience as a performer, and welcome the opportunities to do more directing and choreographing. John: You’ve performed in so many great shows both on Broadway and across the country. Do you have a favorite show or role in a show you’ve appeared in? James Patterson, director and choreographer of James: I can honestly say that I don’t have a single DHT’s The Drowsy Chaperone favorite, but I have “top five” or “top ten” I was eventually moved to being an onstage favorites, one of which is Drowsy Chaperone. ensemble member and left the tour for The show is so smart and funny, and the another production job. cast so wonderful, I really feel honored to have been a part of it. Last year I was lucky I think I love this show so much because enough to perform in a production of it has such heart. Many shows nowadays Bye at the now-defunct North Shore are based on movies, or a catalogue of Bye Birdie Music Theatre [in Boston]. was the songs—not that there’s anything wrong with Birdie first show I’d ever done and I was now doing that—but it lacks creativity and originality. it in a fantastic theatre, and playing the lead. This show wasn’t written with dollar signs The whole experience was fantastic, from in mind. It was originally written as a skit to all the brilliant creatives to the amazing cast be done at a bachelor party and grew from members. It was a great production. there. We theatre lovers are missing pieces like The Drowsy Chaperone, pieces that are John: We have so many young people in our based on heart and inventiveness, and this theatre with an interest in pursuing a career 3 piece not only pays tribute to the bygone, in the performing arts. Do you have any old-style book musical, but those who love advice for them on how to prepare? them as well. James: The best advice I can give is to really John: Why were you attracted to a career in the concentrate on your training. Training theatre? Did you start as a child? speaks volumes for any performer. Be as well rounded as you can, and know what James: I actually didn’t do theatre as a child. I grew makes you special. Are you a great dancer, do up in El Paso, Texas, and there was little or you have a gift for comedy, are you a power no opportunity to do theatre. When I went belter, or a classic leading lady or man? In to college in Boston, it was really the first other words, be yourself and let everyone see time I was able to try theatre out—and it what a unique and special performer you are. stuck. I had very supportive parents and Every audition is an opportunity to perform relatives who made my going into theatre and show your gifts to other people. One possible. more thing: Know your show history. The There are so many things I love about the Drowsy Chaperone is a 1920s-style show, but theatre.

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