Meet our Director/ Choreographer: Stephen Brotebeck

While there are many exciting things about our production of The Drowsy Chaperone, this production will mark the San Diego State University debut of Director/ Choreographer and new faculty member, Stephen Brotebeck.  Stephen has a pretty extensive resume that includes working on Broadway, Off-Broadway, and regional shows, plus TV and cruise ship shows, and concerts.  He’s also co-founder and Artistic Director of Broadway Bodies dance studio in New York City and a musical theatre, theatre, and dance educator.  I recently had a chance to chat with him about past and current projects.

Welcome to SDSU, Stephen! We’re so excited to have you! After looking at your résumé I thought, “Wow! This guy has a LOT of energy!” So, tell me, what originally drew you to a life in theatre?

Thanks, Andrea! I am beyond excited to be in San Diego and at SDSU. My first experience with the theatre was when I was in second grade and I played Wintrhop in our community theatre production of THE MUSIC MAN. I guess you can say I have never looked back since that first audition. My career began as an actor, singer and a dancer and has led me around the world performing, choreographing and now directing. When I first began to dance, I knew that choreography was in my blood and directing wasn't too far behind. I always felt I had a finite amount of time to be a performer and it really was just a stepping stone to my directing career.

What has been your most challenging project? How about your most rewarding project?

My most challenging project was when I had to learn all the of choreography and movement for the Broadway production of PETER AND THE STARCATCHER in about 10 days. I was hired as the replacement Movement Associate after the show had been open a few months. As the Movement Associate I was responsible for the maintenance of the choreography in the show and the teaching of the show to any new cast members, of which there were three during my tenure on Broadway and the Off-Broadway transfer. In addition to learning the choreography, I worked along side the original directors, Alex Timbers and Roger Rees to understand the original intention of the staging.

Any new musical that I work on is my most rewarding project. I am passionate about the development of new musicals. I love the whole process. From reading, to workshop to full production, every show, even those that are not commercially successful has been rewarding.

I heard that you just came back from a trip to China. Tell me about what you were doing there…

I spent 8 days in Guangzhou, China teaching musical theatre to 50 Chinese students from the Clifford International School with a New York based educational theatre company, Passport To Broadway. For many of these students it was their first exposure to musical theatre.

Rumor has it that you love new work, which The Drowsy Chaperone is not. What’s one thing that you love about Drowsy?

One thing? There are so many things that I love! However, since I have to pick, it has to be the style of the piece. I love the 1920's, especially the late 20's, right before the stock market crash when the decade was at its most exciting and decadent. It's fun to escape into this world every night.

I’ve often heard you refer to the original production, directed by Casey Nicholaw. How will SDSU’s production be similar or different?

The original production of THE DROWSY CHAPERONE was expertly directed and choreographed by Casey Nicholaw. Many of the numbers are shaped a specific way because of his vision. While my choreography and staging is not the same as Casey's, the structure of many of the numbers, simply due to how the numbers are written, are similar. In addition, we have paid homage to many aspects of the original design, especially scenically, but have really put our own stamp on it.

What are some challenges of directing this musical?

As I stated before, I love the style of this piece. However, the style is also one of the biggest challenges. In working with a younger, more contemporary group of actors, we are spending a lot of time on physical style both from a choreographic standpoint and an acting standpoint. The simple act of walking across a room is much different in 1928 than it is in 2016.

How would you describe Drowsy?

Well, first and foremost it is a comedy. Secondly, it allows an audience to escape. Third, it pays homage to a period of musical theatre that concentrated more on music and dance then a fully realized and coherent story line. The show within the show is exactly what the 20's were; frivolous, decadent and fun.

What is one thing that audience members should know before coming to see the show?

That they are going to laugh. A lot.