Friday, June 18, 2010

Come si luce scopa il THESPIES

DIRECTOR...Jane Falion
ACTOR .....Chad DeKatch
ACTRESS ....Paige Lucas
SET....Tim Fox
COSTUMES...Tomi Simmons, Jane Falion, Lindsay Palinsky
SCENOGRAPHY...Diana and Bruce Rochowiak

Tuesday, June 8, 2010

Light is a Delight

‘Light in the Piazza’ is a musical that is fraught with peril. First, it is set in the 50’s – an era that can easily be non-descript and bland. Next, a good chunk of the dialogue is in Italian – with no translation. Finally, the vocal demands on the performers are formidable, to say the least. If any of these elements fail, the whole effort will topple like a broken three-legged stool.

Fortunately, Riverwalk Theatre has Jane Falion at the helm of this production. With her usual verve, finesse, and attention to detail, virtually every aspect of ‘Light in the Piazza’ is flawless.

The burden of ‘Light in the Piazza’ falls squarely on the shoulders of the two young lovers, Fabrizzio (the Italian boy) and Clara (the emotionally-challenged American girl). If they are not convincing, this show will be tedious to endure. Not so with Falion’s ‘Light.’ Chad DeKatch as Fabrizzio is superb. His Italian is flawless and his honesty, vulnerability, and exuberance made the audience believe he was the earnest, eager young lover from the outset. The audience always ‘understood’ him – even when he spoke only in Italian. His exceptional acting was only outdone by his beautifully expressive and powerfully evocative singing. His expression, range, control, and interpretation were captivating and – in a word – thrilling.

But the delight didn’t stop there. As his paramour and the object of his ardor, Paige Lucas is every bit DeKatch’s equal. She brings charm and innocence to a role that could easily become saccharine and shallow; but her sense of genuine childlike wonder was balanced by the growing and palpable conflict between her passion for her newly found lover and her sense of duty and devotion to her mother. Her lyric soprano voice soared with a strong, clear tonality that became deeper and richer as the performance went on, growing to a climactic and dramatic number in the second act.

Together, DeKatch and Lucas create a pair of lovers that evoke the ardor and energy of Shakespeare’s Romeo and Juliet, or Maria and Tony in West Side Story, or Bud and Deanie in Splendor in the Grass.

The supporting roles were equally impressive. First among them is Emily English Clark. A veteran of Lansing musical theatre, no one takes the stage with more grace, aplomb, and talent. As Clara’s mother, Margaret Johnson, Ms. English-Clark perfectly evinces the conflict of a woman torn between wanting Clara to experience all the joy and passion that has long been absent from her own marriage, yet afraid to let her daughter go into the arms of the man who holds that very promise. Ms. English-Clark creates a complex character of levels and nuance; her lovely voice has tremendous range and spans the gamut from comical to soulful to heart wrenching.

The counterpoint to Margaret Johnson is Fabrizzio’s father, Signor Naccarelli, played to subtle perfection by Doak Bloss. Perhaps no other actor working on Lansing area stages brings the kind of artistic maturity and honesty to his roles as does Mr. Bloss. Always eschewing artifice and obvious choices – a real pitfall when playing philandering character like Signor Naccarelli – Bloss manages to portray a layered and sympathetic man: a loving father, a successful haberdasher, a Lothario - yet a man who struggles with his own imperfections. Bloss and English-Clark compliment each other terrifically. The utter trust they share allows them to play off each other like pros, generously giving and taking from moment to moment.

Other supporting cast members create memorable characters that bring incredible richness to the production. Laura Davis Stebbins as the slighted Mrs. Naccarelli is particularly elegant and poignant with a truly lovely soprano voice; Dale Powell expands his growing repertoire of characters as Giuseppe Naccarelli, the ‘like-philandering father-like-son’ older brother, who is both arrogant and loveable. One character we could gladly have heard more from vocally belongs to Betsy Bledsoe, playing Giuseppe’s slighted wife, Franca. Ms. Bledsoe’s voice is a rich, powerful mezzo-soprano that soars to the theatre rafters, in stark contrast to the fragile, edgy character she portrayed, oozing pain at her husband’s infidelity.

Even the supernumeraries were artfully understated. From by passers, to nuns, to tourists, they accented the production beautifully. When the entire cast sings together, the beauty and power of these voices is breathtaking.

The audience got a real ‘taste’ of Italy from the stylized and evocative set of Tim Fox and Larry Savoie. Beautiful tiled flooring, high curving arches, Roman ruins, and marble statues all delighted the eye and created the illusion of Florence on the Riverwalk stage. Set changes were handled skillfully and were often woven into the background as scenes progressed, allowing the action to move at an impressive pace.

Equally evocative were the costumes of Tomi Simmons. They were spot-on for the period, perfectly executed, and beautiful to behold – especially the women’s dresses. The music, directed by James Geer was rich and full. If there was anything to fault, perhaps the orchestra was a little too full a couple of times for some of the voices – but this was a minor issue in an otherwise enchanting and powerful production.

If you can’t afford to go to Italy this year, you can still experience its beauty and charm, with all the wonder of newfound love and rich, evocative characters in Riverwalk Theatre’s ‘Light in the Piazza.’ Bravissimo!

Eric Dawe

Tuesday, April 6, 2010


Music Rehearsal for the next two weeks are as follows;
Character abbreviations are used. All rehearsals are in the rehearsal hall at 7 unless otherwise noted or scheduled with music director.

Monday, April 5 - M, C. Ensemble
Statues and Stories, The Beauty Is, Dividing Day, Hysteria/Lullaby, Light in the Piazza

Tuesday, April 6 - Pr, SN, Sn, Fr, G, F, M
Octet, Aiutami, The Joy You Feel

Wednesday, April 7 - C, M, F
Clara's Tirade, The Beauty Is, Fable, Say It Somehow, Passeggiata, Il Mondo Era Vuoto

Thursday, April 8 - M, SN, Fr, G, F, Pr, Ensemble
Statues and Stories, Dividing Day, Let's Walk, The Beauty Is, Octet, Aiutami

Friday, April 9 - C, F
All C and F music

Sunday, April 11 - M, C, Ensemble
Statues, Beauty, Dividing Day, Hysteria, Light

Monday, April 12 - Pr, SN, Sn, Fr, G, F, M
Octet, Aiutami, Joy

Tuesday, April 13 - C, M, F
Il Mondo, Clara's Tirade, Beauty, Fable, Say It, Passeggiata

Wednesday, April 14 - C, F
Review all C, F music

Thursday, April 15 - M, SN, F, G, F, Pr, Ensemble
Review all

Friday, April 16 NO REHEARSAL

Wednesday, March 31, 2010


Margaret Johnson
Emily English Clark

Clara Johnson
Paige Lucas

Fabrizio Naccarelli
Chad DeKatch

Guiseppe Naccarelli
Dale Edward Powell

Franca Naccarelli
Betsy Bledsoe

Signor Naccarelli
Doak Bloss

Signora Naccarelli
Laura Davis Stebbins

Roy Johnson
Gordon L. Clark


Barbara Stauffer, Jeff Massey,
Rachel Dalton, Simon Tower,
Eric Chatfield, Gretchen Baker
Mark Gouba, Bill Henson, Susie Coleman

Tuesday, March 23, 2010

Rehearsal Schedule

A tentative rehearsal schedule will be available to review at auditions. At this point it is very much up in the air until the show is cast and I begin to factor in conflicts.

Generally, however, we rehearse Sunday through Thursday, 7-10, except in the case of Sunday holidays or theatre space conflicts, in which case we will run Monday through Friday. In the early stages of rehearsal you will not be needed every night and I will usually not keep you until 10.

The show opens the week of the Memorial Day holiday and we will be rehearsing all or part of that weekend but definitely on Monday, Memorial Day. Again, if we're really in good shape I'd like to give the cast time off.

The last 2 weeks leading into performance (May 23-June 3) are sacred and you may not miss any of these rehearsals.

Please check your calendars carefully for conflicts. You must be available for all performances.

Sunday, March 14, 2010


Sunday, March 28 7 p.m.
Monday, March 29 7 p.m.

Riverwalk Theatre
228 Museum Drive
Lansing, Michigan

Scripts available at the theatre

Monday, March 8, 2010

Italian Scene

The Italian language audition scene (for men) is available at Riverwalk. Call Mike ahead of time, as he might be recovering from his excellent 15th anniversary spectacular, to make sure it's been run off.

Friday, March 5, 2010

Everything You Always Wanted To Know About Auditions But Were Afraid To Ask

Please scroll through the various posts on this site to answer your questions about auditions. It should all be here; characters, musical numbers, suggestions for auditions, Italian language help etc.

To the right you'll see all the posts grouped under two specific dates.

Perusal scripts are available at Riverwalk Theatre along with a very specific character breakdown, an Italian pronunciation guide, and one of the Italian language scenes.

Keep checking this site for updates.

If you have any questions feel free to contact me at

Tuesday, February 23, 2010

Strong and Silent

The role of ROY in The Light in the Piazza is a NON SINGING ROLE!
If you've been thinking that you wish you could audition but can't carry a tune in the shower here's some good news for you.

Roy is Margaret's husband, late 40's to 50's, a tobacco executive from Winston-Salem. He has two meaty scenes with Margaret. He is emotionally unavailable and cool. Southern accent.

Sunday, February 14, 2010

Audition Materials

Scripts and music are available at Riverwalk Theatre as well as an Italian pronuciation guide.

Check back here often for more information. I will make available the Italian language cuttings I'll be using for auditions and will let you know when they are available.

Friday, January 22, 2010

IPOD Numeri Quattro

Ah! Buon giorno! Bellissima: come stai?

Thursday, January 21, 2010

IPOD Numeri Tre

Devo sembrare un uomo di successo, piu impotante, piu, piu, piu come Van Johnson.

Wednesday, January 20, 2010

IPOD (Italian Phrase Of (the) Day: Numeri Due

  • Hai trope donne! Non voglio uscire con te.

Tuesday, January 19, 2010

Friday, January 15, 2010

The Roar of the Crowd- A Word About the Ensemble

The Ensemble is the fabric that holds this beautiful tapestry together. Members of the ensemble are used extensively throughout the musical in multiple scenes with multiple costume changes. They represent a variety of Florentines: artist, shopkeepers, mothers, fathers, priests, tourists, lovers some with a line or two. The ensemble also sings in 2 musical numbers.

"Sing Out Louise"- Vocal Auditions

Auditioners should come prepared with a song especially one that shows your vocal range. An accompanist will be provided.

Those auditioning for Clara and Fabrizzio will also be asked to sing "Say it Somehow" measures 22-42. If you are unable to prepare this ahead of time our vocal director can teach it to you.

Margaret should be prepared to sing from "Dividing Day"
Franca should be prepared to sing from "The Joy You Feel"

Other auditioners will be taught a small portion of "Octet"

How to Speak Like an Italian

In preparation for The Light in the Piazza auditions I would suggest a few ways to get accainted with the language.

Readings: Dettagli, Dettagli, Dettagli

Audition readings will be in both English and Italian (characters that speak Italian).

HAVE NO FEAR!!! YOU NEED NOT BE A FLUENT ITALIAN SPEAKER. I'm trying to get an idea is you have an acuity for the language.

An ITALIAN DIALECT COACH will be working with the cast throughout the rehearsal period.

The script and music is available at Riverwalk Theatre.