“Bravo! Now, Let’s Go On!
Fiddler Makes Way for Jersey Boys
As observed by Kevin Lane Dearinger for The Lexington Theatre Company
In the summer months, The Lexington Theatre Company never pauses to take a collective breath. The production staff has been preparing everything but a rest for nearly a year, and once the season begins, it is all hard work and focused creation.
The company’s aim, declares artistic director Lyndy Franklin Smith, is not an impossible “perfection” but a steadily rising “excellence.”
“Shoot for the moon,” she says, “and hope to reach the stars.”
Musical theatre is a difficult art form. It requires excellence in every element—acting, singing, dancing, lighting, set design, costumes, sound, orchestra, and company camaraderie. The delicate chemistry of the gathered artists is fundamental to excellence.
Joyous collaboration does make reaching the stars seem very possible.
It is a rainy and warm Wednesday morning.
The Lex’s heartfelt production of Fiddler on the Roof closed on Sunday night to cheers of praise and tears of farewell.
Two nights later, members of the company presented the company’s annual “Concert Under the Stars” at Equus Run Winery, a glorious showcase of the company’s talented individuals.
But now, the next morning, individual members of the company are working again as an ensemble, taking on the challenge and the thrill of a very different musical.
Jersey Boys!
Nathaniel Mahone (Barry Belson) on the first day of rehearsal for Jersey Boys
A celebration of the lives and music of Frankie Valli and the Four Seasons, the musical quartet that provided a soundtrack to the Sixties and produced a long line of hit songs that never fail, even now, to get people up and dancing with youthful abandon, no matter their age. The musical won the Tony Award for Best Musical of 2006 and ran for over four-thousand performances, garnering more praise on tour and in London.
Its music is sublime; its story, like Fiddler, is very human.
The cast gathers in a circle, joined by members of the creative and design staff, for introductions. The company comes from all over the country with a number of proud Kentuckians in the mix. The Lex prides itself on recognizing every member of the company. There is no “hierarchy” of importance, but there is a palpable jolt of electricity as the four actors playing the Four Seasons quartet introduce themselves. Immediate impression: “perfect casting.”
Careful casting is also a part of the art of the The Lex.
The actors then find their places in another circle, this time for orientation. Lyndy speaks from the heart, reminding everyone of The Lex’s mission: to create professional theatre and to train the next generation of theatre artists. She again speaks feelingly of the respect owed to every person in the company. There is a reason that The Lex is considered a “family.”
Director & Choreographer Patrick O'Neill on the first day of rehearsal for Jersey Boys
Production stage manager Brandon Holmes succinctly reviews some nuts-and-bolts issues about procedure and expectations; his manner is easy and fully supportive. It’s how he runs a show. He is a rock of patience and professional expertise.
Patrick O’Neill, last with The Lex as the director-choreographer of a dazzling Chicago, is back in the same capacity for Jersey Boys, assisted by the unflappable and jubilant Nathan Fister. Impeccably prepared at all times, Patrick describes his vision of the play—not ancient history, but lives being lived out on the stage—characters who face conflicts that arise from being misunderstood or feeling unprotected. Patrick admits that he “works fast” (and he does), but he reassures the actors that questions are always welcome. He knows that a good director is a shepherd, a sherpa, a therapist, and a role-model.
After a brief break, the cast joins resident music director Dr. Brock Terry for their first music rehearsal. Brock leads a vocal warm-up that is soothing and nearly sacred, so that when the actors open their quite intimidating scores, they approach the complex music with a confident precision. They are also very well-trained musicians. The songs seem simple at first hearing, but the harmonies and rhythms are as complex as they are thrilling. Brock teaches quickly and clearly. The actors pick up their parts quickly and clearly. Intimidating score? Yes. Fearless company? Definitely!
Nick Bernardi (Tommy DeVito) and Tyler Okunski (Bob Gaudio) rehearsing "Big Girls Don't Cry"
In a remarkably short time, the company launches into “Big Girls Don’t Cry,” full out, every part in place, with that famous falsetto line sailing out into the stratosphere.
Thrilling.
In a little over two weeks, the company will be dazzling the audiences at the Lexington Opera House. It is tempting to say that there must be magic at work, but it is the magic of preparation, focus, coordinated collaboration, patience, talent, training, and a “reach for the stars.”
The Lexington Theatre Company’s production of Jersey Boys plays the Lexington Opera House for six performances, August 1-4.
Kevin Lane Dearinger is a retired actor, singer, and teacher. His published works include four theatre histories, six volumes of poetry, six plays, and two memoirs, Bad Sex in Kentucky and On Stage with Bette Davis: Inside the Fabulous Flop of Miss Moffat. For many years, he sang to the back row, acted from the bottom of his heart, and danced, as one astute critic put it, “with athletic grace.” In his soul, he still does all three. He counts among his blessings the privilege of sitting in on rehearsals with The Lexington Theatre Company.
