THE PAJAMA GAME
Making it Sing, Making it Dance
Music Director/Donductor Christopher McGovern and Choreographer Patricia Wilcox recently talked with Literary Manager Jenny Bazzell and Dramaturgical Intern Jean Sidden with about their processes for working on The Pajama Game
Patricia Wilcox returns to Arizona Theatre Company where she choreographed and created musical staging for The Pirates Of Penzance, My Fair Lady, HMS Pinafore, Little Shop Of Horrors, Scapin, The Fantasticks, Much Ado About Nothing, Blues In The and A Marvelous Party, which began at ATC as Oh Coward! and went on to play at Geva Theatre Center, Northlight Theatre (Jeff Award) and The Laguna Playhouse (LA Drama Critics Circle Award), among many other venues. Off-Broadway and regional work includes Children’s Letters To God, Blues In The Night, Seussical (national tour), and musicals at the Paper Mill Playhouse, North Shore Music Theatre, Sacramento Music Theatre, and Bowfire (PBS Special and national tour). Ms. Wilcox has also choreographed for ice skaters Viktor Petrenko, Ilia Kulik and Katya Gordeeva at the 2006 Winter Olympics and 2006 and 2007 World Championships.
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Christopher McGovern has worked Off-Broadway on That’s Life (Outer Critics Circle nomination), The Jazz Singer, Sheba, The Fishkin Touch, Identical Twins and Totie, on the national tours of Fame and The Presidents w/Rich Little and internationally as arranger for Disney Worldwide (The Lion King/Hong Kong and Aladdin/Tokyo). He is the Author/Composer of Lizzie Borden (American Stage, Stoneham Theatre/Boston, Goodspeed Musicals), Crash Club (Cherry County Playhouse), Backwards In High Heels (Florida Stage), Roswell and many original songs. His favorite regional credits include Sisters Of Swing (Carbonell nomination), Beehive, Last Five Years, I Love A Piano and A Marvelous Party. He has worked as producer/arranger/orchestrator and songwriter on recordings by Tony-nominees Rebecca Luker, Susan Egan and Alison Fraser). Mr. McGovern has performed in concert with Susan Egan (national tour including Carnegie Hall), Karen Mason, Liz Callaway, Roslyn Kind, Jason Graae and many others.
ATC: Chris, are there specific challenges when doing a Golden Age musical like The Pajama Game? Is there anything unique about that period’s sound?
Chris: The biggest challenge with doing Golden Age of Broadway musicals is that they are all scored for a very large orchestra. Even if you had the resources for 27 or so players, there would be no way to fit them all into the pit, to say nothing of the difficulties posed for the sound department. Not even Broadway in the last revival had as many musicians as the original. On the other hand I like a smaller ensemble - and I think it keeps a sharper focus on the lyrics, and on the actual score - which is fantastic. The Pajama Game is interesting in that it has these large dance sequences, which are jazzy and brassy, and also some lovely ballads, duets and mid-tempos that are more string, reed and piano driven. I look forward to working on it.
ATC: Patti, how do you solve choreographic challenges associated with The Pajama Game that you've found to be specific to the show? What are the challenges particular to such a large-scale production?
Patti: The challenge of a show written in the 1950's is to find the universal truths that the audiences of today can relate to. And then, put those truths on the stage. Also, the size of any show is really like a puzzle, where one has to figure out how the pieces fit together. Because this is a period piece in that it is set in the 1950's, I must approach the dances with that sensibility and commitment in mind. And of course it is always a challenge to figure out how to put 18 people on stage, give the moments focus, and tell the story. But these are challenges that are exciting. The process of rehearsal is exciting and so is the moment when you finally see the pieces of the puzzle form the final picture. What I love about live theatre is that it is ever changing and evolving. The show you see tonight is not exactly the show you will see tomorrow night. When you have people onstage who listen and respond honestly, whether through dance or words, the show is simply new every night. And that is exciting!
ATC: Chris, do you try to orchestrate the play in exactly the same way it would have been done originally, or do you try to give it a more modern sound? Is there any difference?
Chris: No – The Pajama Game is going to stay very much in period, and I think that is wise. Bringing the sound up to date would be jarring, not only because it is a classic "period piece" politically, but also because this score I don't think would support that kind of treatment. I do however anticipate having a lot of fun with the arrangements. I love Patti's choreography, and being able to find all the ways I can support her work musically. David Ira has some other terrific ideas for some of the interpretations as do I - so while you won't be hearing Babe rapping, I am confident this production will be unique and a fresh take on all the elements involved.
ATC: Patti, The Pajama Game was Bob Fosse's first show and numbers like “Steam Heat” are well known for his signature style. How does this affect audience expectations of the show and how do you balance those expectations with your own style of choreography?
Patti: That is certainly one of the challenges in choreographing The Pajama Game. Fosse created one of the great all time numbers, and there are definite audience expectations with “Steam Heat.” I have chosen to pay homage to Fosse's style while creating my own choreography with my own spin.
ATC: Chris, with The Pajama Game the vocal chemistry between Babe and Sid is crucial. Since you often don’t have the chance to have the two actors together in a room until long after they’re cast, what do you look for in singers for those two roles during auditions so that you know that their voices will go well together?
Chris: You are correct - sometimes two actors will be asked to read a scene together in the final auditions, but you rarely if ever have them sing together. I suppose it is a combination of experience in knowing what kinds of voices will sound good together but also being able to work with the actors in rehearsals to get the blend and breathing [of the voices] right. It is the same for the ensemble.
ATC: Patti, what are particular qualities you look for in dancers to fulfill what will be required of them to execute your choreography?
Patti: Well certainly I want to hire technically beautiful dancers. Dancers who possess a good technique allow a choreographer unlimited freedom of movement. But in addition to that, I like to hire people who can grasp my range of styles, and who also bring an emotional involvement to the movement. After all, in The Pajama Game these are people who work in a factory, so it is extremely important to me that these are real people with real stories to tell. Dances must truthfully emerge from emotions, otherwise they are just steps.
ATC: Chris, what is particularly interesting about the score to you? Anything we should listen for?
Chris: One interesting thing happens right at the top - in the number "Racing With The Clock." I love the way all the chorus sections fit together. It's very smart counterpoint writing in that the vocal parts actually sound like a clock ticking. You definitely get the sense of the hubbub in the factory, like a bunch of worker bees buzzing or a machine chugging along, and it is done by fitting those parts together. And the score is actually quite complicated. The chord changes in "A New Town Is A Blue Town" are really sophisticated, almost like something Duke Ellington would have written.
ATC: Patti, do you have a special technique you can share for getting inside the music and finding inspiration for your choreography? What are some insights you can share about the process from hearing the music to producing the visual picture of the dance?
Patti: I simply listen to the music over and over and over again. The music actually tells me what to do, through certain instruments, nuances and dynamics. Then it begins to take shape in my mind’s eye, and I slowly "storyboard" the number. Then I dance.
ATC: Chris, you are serving as the Music Director, Conductor and Keyboard Player for this production. Are there challenges with wearing so many different hats?
Chris: Not particularly. I prefer to conduct from the piano as the Musical Director rather than stand-up at the podium, and have done so for my whole career. Wearing a lot of hats is part of the fun - for example I have a very different working relationship with an actor as compared to a musician in the pit, or with David Ira or Patti in helping serve their needs for the show. Plus it's a more direct line...I don't have to give myself a note about how to play a certain passage or when to make a cut off!
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