Debbie Allen LA Stage Times 2011
Director Debbie Allen Does the Twist at Pasadena Playhouse
Director Debbie Allen Does the Twist at Pasadena Playhouse
Features by Darlene Donloe | June 22, 2011
Features by Darlene Donloe | June 22, 2011
It’s 11:30 in the morning, and Debbie Allen is dancing from one end of the rehearsal hall to the other with two young actresses who probably aren’t old enough to remember her as Lydia Grant, the dance teacher, on the popular television series Fame (1982-87).
It’s 11:30 in the morning, and Debbie Allen is dancing from one end of the rehearsal hall to the other with two young actresses who probably aren’t old enough to remember her as Lydia Grant, the dance teacher, on the popular television series Fame (1982-87).
At 60, this acting, choreographing, producing, writing and directing dynamo might be sweating, huffing and puffing a little more than her younger wards, but she still has gazelle-like moves and is no less a rhythmic force.
At 60, this acting, choreographing, producing, writing and directing dynamo might be sweating, huffing and puffing a little more than her younger wards, but she still has gazelle-like moves and is no less a rhythmic force.
This is a rehearsal for Twist, opening at the Pasadena Playhouse June 26. Workers are hammering and moving fake walls to and fro, a couple of the 31 actors in the show are practicing their songs, several others are going over their blocking and still others are undergoing wardrobe fittings.
This is a rehearsal for Twist, opening at the Pasadena Playhouse June 26. Workers are hammering and moving fake walls to and fro, a couple of the 31 actors in the show are practicing their songs, several others are going over their blocking and still others are undergoing wardrobe fittings.
Rehearsal officially started at 11:30 am, but Allen, looking every bit the dancing diva with her gold necklace, gold earrings, oversized white shirt, black t-shirt and pants and long, flowing ponytail accented with a No. 2 pencil, has long been up and at ‘em in preparation of the day’s run-through.
Rehearsal officially started at 11:30 am, but Allen, looking every bit the dancing diva with her gold necklace, gold earrings, oversized white shirt, black t-shirt and pants and long, flowing ponytail accented with a No. 2 pencil, has long been up and at ‘em in preparation of the day’s run-through.
“I am the director and choreographer,” says Allen, who has choreographed the Academy Awards show on several occasions. “I have to play out all of their parts. I come to rehearsal with a
“I am the director and choreographer,” says Allen, who has choreographed the Academy Awards show on several occasions. “I have to play out all of their parts. I come to rehearsal with a
plan and an idea. I come in early to work it all out.
plan and an idea. I come in early to work it all out.
Twist is a timely adaptation of Charles Dickens’ classic Oliver Twist, set in New Orleans on the eve of the Great Depression, featuring a contemporary score. It tells the saga of a young orphan boy, who was born to a white, aristocratic mother and a black song-and-dance man. The book is by Tony nominee William F. Brown and Tina Tippit.
Twist is a timely adaptation of Charles Dickens’ classic Oliver Twist, set in New Orleans on the eve of the Great Depression, featuring a contemporary score. It tells the saga of a young orphan boy, who was born to a white, aristocratic mother and a black song-and-dance man. The book is by Tony nominee William F. Brown and Tina Tippit.
The show’s score is in the style of 1920s New Orleans. It’s highlighted by ballads, jazz, blues, gospel and tap-infused dance numbers. The music is by Gary Prim, with lyrics and music by Grammy winner Tena Clark.
The show’s score is in the style of 1920s New Orleans. It’s highlighted by ballads, jazz, blues, gospel and tap-infused dance numbers. The music is by Gary Prim, with lyrics and music by Grammy winner Tena Clark.
“I think I was always a fan of Dickens’ original novel,” says Allen. “It’s about the journey of a kid who is trying to find out who he is in the world. Whether you’re an orphan or not, that’s a story for everybody I know. We’re all trying to find that out. We want to know what makes us tick and who matters to us. This show highlights the idea…that he’s an orphan and lost and now he’s a runaway and he’s got so many things against him he doesn’t know. Translating it to America, this child is from white and black parents. I realized after [the movie] Amistad [1997, which she co-produced] there are no pure people.”
“I think I was always a fan of Dickens’ original novel,” says Allen. “It’s about the journey of a kid who is trying to find out who he is in the world. Whether you’re an orphan or not, that’s a story for everybody I know. We’re all trying to find that out. We want to know what makes us tick and who matters to us. This show highlights the idea…that he’s an orphan and lost and now he’s a runaway and he’s got so many things against him he doesn’t know. Translating it to America, this child is from white and black parents. I realized after [the movie] Amistad [1997, which she co-produced] there are no pure people.”
A story, music and dance — this is the kind of show that’s made for Allen, who received Tony nominations for her performances in West Side Story and Sweet Charity. She loves putting a multi-faceted show together by connecting all the nuts and bolts.
A story, music and dance — this is the kind of show that’s made for Allen, who received Tony nominations for her performances in West Side Story and Sweet Charity. She loves putting a multi-faceted show together by connecting all the nuts and bolts.
“We’re a work in progress,” she says. “Musicals are like babies, you give birth, but they have to learn how to crawl, walk and run. We’re still finding things. When I sit with the cast I get ideas everyday.”
“We’re a work in progress,” she says. “Musicals are like babies, you give birth, but they have to learn how to crawl, walk and run. We’re still finding things. When I sit with the cast I get ideas everyday.”
Although it’s clear she’s having fun, Allen takes her craft seriously. When she decides to take on a project, it’s for a well-thought-out reason.
Although it’s clear she’s having fun, Allen takes her craft seriously. When she decides to take on a project, it’s for a well-thought-out reason.
“I want to be pulled into something I can wrap my mind and creativity around,” she says. “I want to be excited about it and the people I’m working with. When you do something like this, you’re baring your soul everyday. You come naked with your soul.”
“I want to be pulled into something I can wrap my mind and creativity around,” she says. “I want to be excited about it and the people I’m working with. When you do something like this, you’re baring your soul everyday. You come naked with your soul.”
When asked what kind of director she is, Allen replies, “I don’t know how to answer that. I get new ideas everyday. I do a lot of homework. I have a real thick game plan. I like to help the actors build their circumstances. I give them a whole syllabus. They have back-stories so they know where they’re living. I help them find the truth of each moment.”
When asked what kind of director she is, Allen replies, “I don’t know how to answer that. I get new ideas everyday. I do a lot of homework. I have a real thick game plan. I like to help the actors build their circumstances. I give them a whole syllabus. They have back-stories so they know where they’re living. I help them find the truth of each moment.”
One of those who appreciates Allen’s efforts is former American Idol contestant Tamyra Gray, whose melodic tones have wrapped themselves gently around every nook and cranny in the rehearsal hall.
One of those who appreciates Allen’s efforts is former American Idol contestant Tamyra Gray, whose melodic tones have wrapped themselves gently around every nook and cranny in the rehearsal hall.
When the married mother of nine-month-old daughter Sienna sings, people stop and listen. She plays a nightclub singer, named Della, with a dream and a past. Della’s encounter with “Twist” changes their lives forever.
When the married mother of nine-month-old daughter Sienna sings, people stop and listen. She plays a nightclub singer, named Della, with a dream and a past. Della’s encounter with “Twist” changes their lives forever.
Gray, who has also appeared in Rent and Bombay Dreams, can’t stop singing the praises of Allen. “This is fantastic,” she says. “When I think about the fact that I’m working with her, I have to keep it contained. I’ve always wanted to work with her. I’m not a trained dancer, but just having her energy and expertise sometimes makes me feel like one. She’s brilliant. The things she’s bringing out of me and everyone else are phenomenal.”
Gray, who has also appeared in Rent and Bombay Dreams, can’t stop singing the praises of Allen. “This is fantastic,” she says. “When I think about the fact that I’m working with her, I have to keep it contained. I’ve always wanted to work with her. I’m not a trained dancer, but just having her energy and expertise sometimes makes me feel like one. She’s brilliant. The things she’s bringing out of me and everyone else are phenomenal.”
“She can do it all,” says Gray, who is from Atlanta but now lives in Northern California. “She’s honest and open to your ideas of what you envision for the character. She goes home and figures it out and then comes to talk to me and together we explore.”
“She can do it all,” says Gray, who is from Atlanta but now lives in Northern California. “She’s honest and open to your ideas of what you envision for the character. She goes home and figures it out and then comes to talk to me and together we explore.”
“I like the collaborative part of theater,” says Allen. “Tamyra, oh my, she is lovely. What an intelligent, bright woman she is. She’s wide open. She comes with preparation. She’s open to ideas. What a powerful talent.”
“I like the collaborative part of theater,” says Allen. “Tamyra, oh my, she is lovely. What an intelligent, bright woman she is. She’s wide open. She comes with preparation. She’s open to ideas. What a powerful talent.”
Harold Wheeler, the Tony-nominated industry veteran who is currently the musical director of Dancing With the Stars, is also enjoying his collaborative relationship with Allen as he works on the show’s orchestrations. The two have known each other for 25 years and have done several projects together.
Harold Wheeler, the Tony-nominated industry veteran who is currently the musical director of Dancing With the Stars, is also enjoying his collaborative relationship with Allen as he works on the show’s orchestrations. The two have known each other for 25 years and have done several projects together.
“Debbie does it all,” says Wheeler, 67. “She has the eye of a director, the business sense of a producer and the chops of a choreographer, without a doubt. It’s a pleasure working with her. Our working relationship stays a working relationship. If there is something she doesn’t like, she’ll tell me. It’s about the work.”
“Debbie does it all,” says Wheeler, 67. “She has the eye of a director, the business sense of a producer and the chops of a choreographer, without a doubt. It’s a pleasure working with her. Our working relationship stays a working relationship. If there is something she doesn’t like, she’ll tell me. It’s about the work.”
Last year Wheeler worked on Twist in Atlanta and looks forward to seeing it on its feet in Pasadena. For Wheeler, who 42 years ago became the first African American to conduct a Broadway show (Promises, Promises), the chance to work on this show was a no-brainer.
Last year Wheeler worked on Twist in Atlanta and looks forward to seeing it on its feet in Pasadena. For Wheeler, who 42 years ago became the first African American to conduct a Broadway show (Promises, Promises), the chance to work on this show was a no-brainer.
“The story is wonderful,” says Wheeler. “I fell in love with Tena’s [Clark] music 20 years ago. I wanted to work on the project because I think I can do something to paint the colors.”
“The story is wonderful,” says Wheeler. “I fell in love with Tena’s [Clark] music 20 years ago. I wanted to work on the project because I think I can do something to paint the colors.”
“You want to work with a Harold Wheeler,” says Allen. “He’s the best, a consummate professional and good friend. They don’t come any better.”
“You want to work with a Harold Wheeler,” says Allen. “He’s the best, a consummate professional and good friend. They don’t come any better.”
Before she actually got the gig Allen had been hearing whispers about Twist but had never really inquired about working on the production.
Before she actually got the gig Allen had been hearing whispers about Twist but had never really inquired about working on the production.
Then she met lyricist Clark while working on a project together at the Alliance Theatre in Atlanta.
Then she met lyricist Clark while working on a project together at the Alliance Theatre in Atlanta.
“She said, ‘I have a musical called Twist,’” says Allen. “I said, ‘I heard about it.’ She said maybe I’d be the one to make it go. So, I listened to the music. The music was alive and had breadth. The story of Twist translated to New Orleans is just beautiful and relevant. I am from that part of the world. Oh, but when I heard the music. You know it’s wonderful when you hear it one time and you can still hear it.
“She said, ‘I have a musical called Twist,’” says Allen. “I said, ‘I heard about it.’ She said maybe I’d be the one to make it go. So, I listened to the music. The music was alive and had breadth. The story of Twist translated to New Orleans is just beautiful and relevant. I am from that part of the world. Oh, but when I heard the music. You know it’s wonderful when you hear it one time and you can still hear it.
Clark didn’t have to twist Allen’s arm to get her on board.
Clark didn’t have to twist Allen’s arm to get her on board.
“Oh, honey, they interviewed quite a few directors,” says Allen. “I was chanting and burning that candle. I won. And when they offered it to me I said, ‘I’d love to.’”
“Oh, honey, they interviewed quite a few directors,” says Allen. “I was chanting and burning that candle. I won. And when they offered it to me I said, ‘I’d love to.’”
Although she’s been toiling away at her craft for decades, Allen says she still gets excited about working on new projects.
Although she’s been toiling away at her craft for decades, Allen says she still gets excited about working on new projects.
“It’s glorious,” says Allen. “This couldn’t be better. I’m happy to be working under the watchful eyes of Sheldon Epps (Pasadena Playhouse’s artistic director). “I’m exploring and excavating and putting the show up on its feet. I love that.”
“It’s glorious,” says Allen. “This couldn’t be better. I’m happy to be working under the watchful eyes of Sheldon Epps (Pasadena Playhouse’s artistic director). “I’m exploring and excavating and putting the show up on its feet. I love that.”
Houston-born and a graduate of Howard University in Washington, Allen is a longtime entertainment veteran whose bio reflects her continued growth.
Houston-born and a graduate of Howard University in Washington, Allen is a longtime entertainment veteran whose bio reflects her continued growth.
She has directed and/or starred in a long list of television series including: In The House, Grey’s Anatomy, That’s So Raven, The Parkers, The Twilight Zone, A Different World, All of Us, Everybody Hates Chris, Linc’s, The Jamie Foxx Show, Polly, Hellcats, The Fresh Prince of Bel Air, The Game, Girlfriends, The Sinbad Show, Family Ties, The Bronx Zoo and more.
She has directed and/or starred in a long list of television series including: In The House, Grey’s Anatomy, That’s So Raven, The Parkers, The Twilight Zone, A Different World, All of Us, Everybody Hates Chris, Linc’s, The Jamie Foxx Show, Polly, Hellcats, The Fresh Prince of Bel Air, The Game, Girlfriends, The Sinbad Show, Family Ties, The Bronx Zoo and more.
Allen’s LA stage credits include Pearl and Harriet’s Return at the Geffen Playhouse. She has written, directed, and choreographed musicals and a ballet commissioned by the Kennedy Center. In 2009, she created and directed OMAN … O Man!, told through the eyes of two 12- year-old boys — one Omani Muslim and one American Christian — who meet at a military academy and through movement, music and dance, learn about each other. The dance-driven play was commissioned by the Kennedy Center in conjunction with its Arabesque festival to celebrate Arab culture. To choreograph the play, Allen took 12 students from her Debbie Allen Dance Academy in LA to Oman to meet with the country’s Sultan Qaboos.
Allen’s LA stage credits include Pearl and Harriet’s Return at the Geffen Playhouse. She has written, directed, and choreographed musicals and a ballet commissioned by the Kennedy Center. In 2009, she created and directed OMAN … O Man!, told through the eyes of two 12- year-old boys — one Omani Muslim and one American Christian — who meet at a military academy and through movement, music and dance, learn about each other. The dance-driven play was commissioned by the Kennedy Center in conjunction with its Arabesque festival to celebrate Arab culture. To choreograph the play, Allen took 12 students from her Debbie Allen Dance Academy in LA to Oman to meet with the country’s Sultan Qaboos.
In 2008, Allen directed her sister Phylicia Rashad, James Earl Jones, Terrence Howard and Anika Noni Rose on Broadway in Cat on A Hot Tin Roof. And, in 2009, she directed and choreographed Mariah Carey’s Vegas concerts.
In 2008, Allen directed her sister Phylicia Rashad, James Earl Jones, Terrence Howard and Anika Noni Rose on Broadway in Cat on A Hot Tin Roof. And, in 2009, she directed and choreographed Mariah Carey’s Vegas concerts.
Her work has won won a Golden Globe, multiple Emmys and an Olivier Award. She’s also been the recipient of a Drama Desk Award (1979) and two Essence Awards (1992, 1995).
Her work has won won a Golden Globe, multiple Emmys and an Olivier Award. She’s also been the recipient of a Drama Desk Award (1979) and two Essence Awards (1992, 1995).
Allen is married to former Laker and Clipper Norm Nixon. And she’s the mother of Vivian, 26, and Norman Jr., 23.
Allen is married to former Laker and Clipper Norm Nixon. And she’s the mother of Vivian, 26, and Norman Jr., 23.
The sisters Allen and Rashad played sisters in a public TV production of The Old Settler. A month ago, they both received honorary doctorates from Spelman College. And as luck would have it, both Allen and Rashad will have productions up at major theatrical houses at the same time within miles of each other.
The sisters Allen and Rashad played sisters in a public TV production of The Old Settler. A month ago, they both received honorary doctorates from Spelman College. And as luck would have it, both Allen and Rashad will have productions up at major theatrical houses at the same time within miles of each other.
Rashad is directing encore performances of A Raisin in the Sun for the Ebony Repertory Theatre at the Nate Holden Performing Arts Center during part of the time (June 24-26, July 1-3) Twist is playing at the Pasadena Playhouse.
Rashad is directing encore performances of A Raisin in the Sun for the Ebony Repertory Theatre at the Nate Holden Performing Arts Center during part of the time (June 24-26, July 1-3) Twist is playing at the Pasadena Playhouse.
“Phylicia and I are best friends,” says Allen. “Best friends are honest. We’re always honest with each other. I’m thrilled about her directing that amazing play.”
“Phylicia and I are best friends,” says Allen. “Best friends are honest. We’re always honest with each other. I’m thrilled about her directing that amazing play.”
You’ve got to be in shape to keep up with Debbie Allen. She’s always going at full throttle, but that’s because she doesn’t know how to do it any other way.
You’ve got to be in shape to keep up with Debbie Allen. She’s always going at full throttle, but that’s because she doesn’t know how to do it any other way.
“Chile, there’s a lot of work to be done, a lot of stuff out there to do,” says Allen, her southern drawl seeping through. “I have another part of my life that has [given me] a whole new purpose. I do things internationally,” referring to her work in Oman with her dance academy. “Through dance I have mitigated the differences between us,” says Allen. “In the Middle East I have young men who call me ‘mama.’ They email me to let me know they are safe.”
“Chile, there’s a lot of work to be done, a lot of stuff out there to do,” says Allen, her southern drawl seeping through. “I have another part of my life that has [given me] a whole new purpose. I do things internationally,” referring to her work in Oman with her dance academy. “Through dance I have mitigated the differences between us,” says Allen. “In the Middle East I have young men who call me ‘mama.’ They email me to let me know they are safe.”
On the Academy’s website is that famous quote Allen uttered in Fame — “You want fame? Well, fame costs. And right here is where you start paying in sweat.” The quote “passionately sums up the commitment she gives and expects from the students at the Academy,” according to the website.
On the Academy’s website is that famous quote Allen uttered in Fame — “You want fame? Well, fame costs. And right here is where you start paying in sweat.” The quote “passionately sums up the commitment she gives and expects from the students at the Academy,” according to the website.
“I have great kids who work with me at the Academy,” Allen says. “It doesn’t matter if they don’t go to Broadway. I want them to be energized. I’m disturbed with what’s happening in the public school system. They are taking out the arts. What are they supposed to do? They have to be motivated.”
“I have great kids who work with me at the Academy,” Allen says. “It doesn’t matter if they don’t go to Broadway. I want them to be energized. I’m disturbed with what’s happening in the public school system. They are taking out the arts. What are they supposed to do? They have to be motivated.”
At this point in her career, Allen takes on only those projects that will bring her “satisfaction and joy”.
At this point in her career, Allen takes on only those projects that will bring her “satisfaction and joy”.
“When I direct, I like the doing, the challenge of figuring it out,” says Allen. “I like the Rubik’s cube, figuring out the puzzle. I like motivating people. Even though I’m directing, that’s me up there.”
“When I direct, I like the doing, the challenge of figuring it out,” says Allen. “I like the Rubik’s cube, figuring out the puzzle. I like motivating people. Even though I’m directing, that’s me up there.”
“I love theater,” she adds. “It’s so in the moment and alive. It’s expressionistic. The audience has to meet there. You come and rehearse. Every night you go to the same river, but you step in different water every time.”
“I love theater,” she adds. “It’s so in the moment and alive. It’s expressionistic. The audience has to meet there. You come and rehearse. Every night you go to the same river, but you step in different water every time.”
For someone on the outside looking in, it would seem like Allen is a workaholic. And, to a degree, admittedly, she is. However, she stressed that her family comes first.
For someone on the outside looking in, it would seem like Allen is a workaholic. And, to a degree, admittedly, she is. However, she stressed that her family comes first.
Asked how she lets her hair down when work is through, Allen reaches for the hairclip and No. 2 pencil that has been holding her brownish-red tresses in place and lets her hair cascade pass her shoulders.
Asked how she lets her hair down when work is through, Allen reaches for the hairclip and No. 2 pencil that has been holding her brownish-red tresses in place and lets her hair cascade pass her shoulders.
“Like this,” she says flipping her hair as if she were in a hair commercial. “I let my hair down by cooking. I’m a great cook. They love my honey-baked lamb and lemon pound cake. I could drop all of this and open that restaurant.”
“Like this,” she says flipping her hair as if she were in a hair commercial. “I let my hair down by cooking. I’m a great cook. They love my honey-baked lamb and lemon pound cake. I could drop all of this and open that restaurant.”
And, with that, she’s off.
And, with that, she’s off.
“Hey, who are you in the scene?” she asks, rejoining her cast.
“Hey, who are you in the scene?” she asks, rejoining her cast.
** Production photography by Craig Schwartz
** Production photography by Craig Schwartz
TWIST previews through June 25; opens June 26; plays through July 17; Tues.-Fri, 8 pm; Sat. 4 and 8 pm; Sun. 2 and 7 pm. Tickets: $39-$69. All preview performances are $10 off the regular ticket price (except premium seating, which is $100); $20 rush tickets one hour prior to the performance. The Pasadena Playhouse, 39 South El Molino Avenue in Pasadena; For information: 626-921-1161 or www.PasadenaPlayhouse.org.
TWIST previews through June 25; opens June 26; plays through July 17; Tues.-Fri, 8 pm; Sat. 4 and 8 pm; Sun. 2 and 7 pm. Tickets: $39-$69. All preview performances are $10 off the regular ticket price (except premium seating, which is $100); $20 rush tickets one hour prior to the performance. The Pasadena Playhouse, 39 South El Molino Avenue in Pasadena; For information: 626-921-1161 or www.PasadenaPlayhouse.org.