Warming up the audiences at Sacramento Music Circus takes on a whole new meaning,
given the common occurrence of 106 degree days under the tent. A summer stock
tradition since 1950, this 2500 seat theatre in the round (which is literally
inside a huge canvas tent) will be changed forever in 2002 when a brand new
indoor structure will be built, replicating but never replacing one of the
last summer theatre tents in the U.S. The new “Wells Fargo Pavilion”
will aim to deliver the same informal, yet enthusiastic atmosphere that the
tent has always been famous for, but with all the comforts of air conditioning,
upholstered seats and private boxes (complete with wait staff).
Until then, it’s hot under that tent, but
also quite thrilling! In August of 2000, AEA’s Western Regional Vice
President, Carol Swarbrick, and myself found ourselves reveling in the experience
of playing (respectively) “Dolly” and “Irene Molloy” in
the Music Circus’ production of HELLO, DOLLY! The experiences we shared
with the cast, creative team and staff will most definitely warm our hearts
for years to come, though truthfully, “warmth” is not the first
thing you wish for in Sacramento! (Have I mentioned that it’s hot?)
The audiences are used to the Sacramento temperatures, but the actors often
are not. We rehearsed week one (of two) in the Sacramento Ballet Studio, which
features one air-conditioned space and one “muscle ready” space
(read: WARM). With temperatures outside often nearing the aforementioned 106
degrees, even the strategically placed fans cannot make us forget that dry
heat or not, 106 is 106. The second week of rehearsal gets warmer. We work
in the tent given the luxury of getting used to the entrances, ramps, stage,
and general temperature of the playing area. Insulated by the canvas flaps,
the interior of the tent can near 115 degrees. Add wigs, bustles and petticoats
– and, well, you get the picture. To the other extreme, I’m told
that they needed jackets for the first show of the season, EVITA.
Some actors (like Carol, myself, Shauna Markey-our “Minnie” and a wonderful specialty dancer named Tom Hildebrand) are jobbed in just for this show, while Lenny Wolpe-our “Horace”, Lewis Cleale-our “Cornelius”, Jeffrey Howard Schechter-our “Barnaby” and the resident ensemble members have already been in Sacramento for weeks doing other shows in the seven show season. Many spend the evenings of the first DOLLY rehearsal week performing in ANYTHING GOES. (They are permitted to rehearse for five hours a day when performing another show at night.) Our singers and dancers seem tireless, playing everything from leading roles to ensemble members at night, and learning how to catch bottles in the waiter’s gallop by day! The schedule is indeed grueling for many cast and crew members but the respect with which they are treated seems to keep the company’s spirits amazingly high. Nighttime performances during the first week not withstanding, the show must be ready to be viewed as a run thru by the producer and designers after the first full five days of rehearsal. There is an allowance for two full dress rehearsals, one 10 out of 12 day and a run thru with full orchestra on the morning of our opening night. The minimum salary here is $703 with an unusual per diem of $19 and the rule book stipulates that housing be provided at a cost of no more than 20% of the base salary. Billing and performance week salaries are negotiable and in lieu of per diem, jobbed in principals receive a hotel room equipt with refrigerator and microwave.
We have what has been dubbed the “Dream Team” of a creative staff: director Jimmy Brennan, musical director Valerie Gebert, choreographer Dan Mojica, PSM Craig Horness and SM Mark Hales and this is not an exaggeration. Two weeks after we first sing through this glorious score, we open to a standing ovation and cheers that are truly special to these Sacramento Music Circus audiences. It probably is the closest thing many of us will ever get to experiencing being a rock star! The nighttime performances are a lovely 60 degrees for the first four nights, the fifth night is a little like performing under a heat lamp. But the wonderful interns and volunteer dressers abound with water, towels, personal fans and genuine enthusiasm. It is an amazing thing to feel the energy of 2600 or so audience members, cast and crew collaborating to share their love of a good old-fashioned musical comedy. During this entire unlikely process, nobody has ever lost their (pardon the expression) cool. Though not infallibly the case with every show here, this Music Circus HELLO, DOLLY! is a well-oiled, yet heartfelt, machine.
It should also be noted that Music Circus, the 1998 winner of Equity’s Rosetta LeNoire Award (which recognizes outstanding artistic contributions to the universality of the human experience in American Theatre) is uniquely dedicated to cross-cultural casting. Producer Leland Ball and General Manager Scott Eckern demonstrate an extraordinary commitment to inclusion. Where else, in one season, could you find an Asian American “Irene Molloy”, an African American “Lady Thiang”, a Latina “Eva Peron” and an audience that doesn’t think twice about it?
For seven weeks a year, every Monday night is opening night at Sacramento Music Circus and the audience is in for an experience like no other. Subscribers to the season often have been regulars since they were children, now bringing their own children to see their first musicals. Performers become regulars, too, knowing that they’re in for hot days, but warm crowds and high quality productions. The intimacy of the round and the unbridled appreciation of the crowds become addictive. And somehow, the heat becomes just part of the total experience. To sum it all up, on a particularly sultry night, witnessing the sea of hand held fans, Lenny Wolpe remarked to Carol Swarbrick, “The audience is really warm tonight!” Our beaming “Dolly” replied with joy and appreciation in her voice, “Aren’t they?”