Meet our Cast: Jessica Humphrey

… in the role of Janet…

Hi Jessica!  Thanks for taking the time out of your busy schedule to talk with us.  Tell us about past SDSU productions you’ve been involved in or any other San Diego-area projects that we might know you from.

Other San Diego productions would include West Side Story at Lambs Players as Anybodys. Past SDSU productions include Les Miserables (Cosette), Trailer Park (Jeannie) and Into the Woods (Little Red). 

So, what originally made you choose to participate in musical theatre?

I actually started as a dancer- ballet specifically- but had always sung in the church choir, played the piano and had an aptitude for music. I realized somewhere around middle school that I could combine singing AND dancing and be even MORE successful. I grew up watching musicals, doing shows at church and in the community, but never knew that it could be a career. From that moment on, I've pursued the musical theatre industry. In college, my love of writing and teaching was able to grow by working as a dance captain, assistant director, and a leader in my university's musical theatre program. That led me to SDSU to pursue being an educator as well as a performer while getting a Masters Degree. 

What is one thing that you love about Drowsy?

I love the humor in Drowsy - I think it is very funny and smart. I wish more it was more popular because I think it’s a musical that people from all walks of life can relate to; it has a little something for everyone! I also love all the dancing! 

What are some unique challenges of your role?

The role of Janet is very iconic in the musical theatre community- everyone wants you to perform it just like Sutton Foster. It is a challenge for me to highlight my assets and what makes me special while also trying to be true to the character. I also have to have all my lines come from a place of truth and sincerity even though the character in the show is very two-dimensional and more of a stock character of 1920s musicals. 

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

Audience members should know that this show is all about fun. It was written as a parody and a vehicle for comedy writers and actors to have freedom to do what they wanted. Audiences should not take it too seriously! 

Visit Jessica’s website: www.JessicaMHumphrey.com for more information and access to her blogs for NewMusicalTheatre.com

Star Wars, Indiana Jones, and... Drowsy?

While The Drowsy Chaperone can be seen as having elements of a parody, it is more properly considered a pastiche.  The 1928 musical presented within the show imitates a typical frivolous 1920s musical like a parody (hence, we sometimes describe it as a parody), but the overall tone of the show is one of irreverent affection.

Parody and pastiche are very similar, as both are devices that imitate another work or style, and they are both commonly used in postmodern culture—including literature, fashion, film, design, and music.  Given their similarities, the distinction between the two can be blurry.

A parody imitates a work or genre in order to mock or ridicule the original, highlighting or exaggerating an element in order to poke fun at it.  There’s often the element of irony in a parody, pointing out mistakes or flaws for comic effect.

A pastiche, on the other hand, imitates to celebrate the original work.  It is a creative way of paying respect to great works of the past.  Humor in pastiche is affectionate in tone.  A pastiche references multiple sources, and may be a mixture that quotes several works, such as a medley of songs.

Since a parody can also refer to multiple sources, and can have other elements of a pastiche, the main difference between the two lies in the intention of the imitation.  In a pastiche, the imitation is meant as the sincerest form of flattery; it is done in homage to the source material.  In a parody, the imitation is used as a form of mockery.

A scene from the hilarious parody, Young Frankenstein.

A popular and well-known parody, the Mel Brooks film Young Frankenstein (1974) is a parody of classic 1930s horror films.  Hackneyed conventions of these films—such as gothic-style castles and a hunchback assistant—are used for comic effect.  Similarly, the Brooks film Blazing Saddles (1974) parodies westerns from the Golden Age of Hollywood.

Other prominent examples of parodies can be found in episodes from TV shows like South Park and The Simpsons, which frequently parody other shows and aspects of pop culture.  Saturday Night Live skits are often parodies that feature impersonations of celebrities and important political figures.

In contrast to these mocking examples, the TV show 30 Rock often references classic shows like The Brady Bunch, Seinfeld, and even the musical Mamma Mia!  Other prominent examples of pastiche include the Quentin Tarantino films Pulp Fiction (1994) and Kill Bill (2003), which pay homage to 1950s pulp novels and kung-fu movies.

The scrolling opening recap from Flash Gordon.

A celebrated pastiche, Star Wars references various sources, including 1930s science fiction serials like Flash Gordon.  The text scrolling across the screen at the beginning of the film and the blasters are taken directly from Flash Gordon.  Similarly, the Indiana Jones films pay homage to 1930s-era adventure serials—with their ancient temples, buried treasure, sinister villains, and damsels in distress.

The two devices are combined in the Austin Powers series, which as a whole is a pastiche of the fads and clichés of the psychedelic Swinging Sixties, while it parodies 1960s spy films.

The Man in Chair.

While The Drowsy Chaperone can also be seen as combining both devices, the show’s narrator Man in Chair, reveals his genuine affection for 1920s musicals through his comments and interjections.  He does not trivialize the flimsy plots of these musicals or laugh at the stories that often seem superficial and silly to a modern audience.  It is clear that the purpose of the imitation is to celebrate the nostalgic escapism of musicals.

Meet our Cast: Dakota Ringer

... in the role of Gangster #1.

Hi Dakota!  Thanks for taking the time out of your busy schedule to talk with us.  Tell us about past SDSU productions you’ve been involved in or any other San Diego-area projects that we might know you from.

I have performed in at least one show a year during my 4 years at SDSU and every one of them have been a fantastic experience! Whether it was a student-directed production or a staff-directed production, the amount of professionalism and support that comes from the department has always kept me loving the work that our theater department puts on. My most recent role, however, was outside of SDSU's department in which I played the role of "Henry" in the production Next To Normal, which happens to be one of my favorite new shows.

So, what originally made you choose to participate in musical theatre?

I have always enjoyed music and singing and performing, ever since I was 5 years old, and I started doing mini shows with an acting group at my church. Eventually I started getting bigger and bigger roles and I began branching out to community theaters and performing with more serious companies and I just feel in love with the whole process. Once I got older, I really struggled a long time trying to figure out whether or not Musical Theatre was something I could see myself doing as a possible career. It was always conflicting with my athletic endeavors, but eventually I realized there were millions of burly guys trying to make it as a football player, and only a handful of them trying to make it in the theatre business.  So I stuck with it and I'm very happy with my choice.

What is one thing that you love about Drowsy?

I love the way that it pokes fun at itself and never really takes itself too seriously. I believe most of the comedy comes from the satirical nature this show has regarding the stereotypes of the 1920's, and playing these roles that are so different from our real lives makes it that much more fun. 

What are some unique challenges of your role?

Being a 1920's-style gangster that isn’t supposed to be a dancer, but has to become a dancer in an instant and look good doing it, but still portray to the audience that we don't really have any idea what we are doing. 

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

The jokes are rapid fire and if you aren’t paying close attention, you are bound to miss a handful of great material. If you stay invested in this show, and allow it to sweep you away, you will fall in love with it!

  

Meet our Cast: Liv Stevns Peterson

... in the role of Kitty.

Hi Liv!  Thanks for taking the time out of your busy schedule to talk with us.  Tell us about past SDSU productions you’ve been involved in or any other San Diego-area projects that we might know you from.

            We started out with a great concert performance of Les Miserables in 2014 when I started my MFA in Musical Theatre here at SDSU. It was a lovely collaboration with the music department, and we were over 200 on stage, with a huge choir and symphony orchestra. I got to play Fantine, which was a lovely part to explore. 

            The following semester we changed the genre completely with the production of The Great American Trailer Park Musical, which was very fun to be a part of. My character was a biker chick, with a rough mouth and I got to work on a southern accent and wear a crazy wig. 

            Last semester, we did a production of Into the Woods, where I got to play one of my dream roles: Cinderella. Sondheim is such a brilliant composer, and every time I get to work on one his pieces, it is a gift. 

            So here we are at the final semester of my education at SDSU and we’ll wrap up 2 years of hard work with one of my all time favorite shows: The Drowsy Chaperone. 6 years ago I had the honor of playing Kitty in the showcase production of The Drowsy Chaperone as a part of my graduation from the Danish Academy of Musical Theatre. It is an honor for me to get the opportunity to do an upgraded version of Kitty (now in English) at the Don Powell Theatre, San Diego State University.

So, what originally made you choose to participate in musical theatre?

            My first participation on stage in a musical production was when I was 10. It was the stage version of Bugsy Malone. It was a great experience and it made me wanna be an actress. I thought I was gonna do straight plays, when I realized that I had a flair for dancing too, and since music and singing was always a part of my life, (growing up in a very creative family), I thought that musical theatre was the perfect solution since it combines all three skills. 

What is one thing that you love about Drowsy?

It makes me laugh. Even after working on this show for the 3rd time now - it still makes me laugh... and cry!

What are some unique challenges of your role?

            My character, Kitty, is not very smart! She is what you would call a dumb blonde. With characters like this you have to be careful not just to play the stereotype. The audience still has to care for your character and it can only happen if you as an actress love your character and connect to it.

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

If you love musical theatre, you are gonna love this show. If you don’t like musical theatre, you are probably gonna love this show too.