Owen Smith: Director

Marvin: When did you first become interested in acting?

Owen: When I was a very small child. My work with Mr. Kyler at Anderson High was a great influence on me. Through him I got to improvise four hours a day and also be involved in a video class.

Marvin: How about directing?

Owen: I directed some classroom plays but the first time I directed on stage was at the River Front Playhouse in about 1983. That was "The Importance of Being Earnest."

Marvin: Your production values were very good. What motivated them?

Owen: The cast wanted this to be the best play that they have ever been in because of the circumstances we were under. They wanted to show that they could bring this production to life and they did.

Marvin: Who were some of your influences in acting and directing?

Owen: Guy Williams was a great actor for T.V. kind of stuff. Sean Connery is good. For directors, Stanley Kubrik and L.Marvin Jones. Irwin Allen is another favorite. He directed Lost in Space, Land of The Giants, and Voyage To The Bottom of The Sea.

Marvin: In what direction are you leaning for your next move?

Owen: After speaking with the producer, musical and vocal directors, and choreographer, the consensus is that Cabaret would be the next production.

Marvin: How do you bring a production of this magnitude and quality together?

Owen: The first thing is to gather the right people for the key positions in the creative staff. The stage designers, directors and choreographers, etc. The performers were the best twenty-five singers and dancers we auditioned. Totally the cream of the crop.

Marvin: What do you expect from yourself and the other members of the cast?

Owen: That we give the best show we possibly can to the audience. The production couldn’t have happened without the dedication and commitment the cast made to perform the play. To be completely honest with you, Marvin, in every rehearsal and performance situation, it’s the most professionally behaved cast I’ve worked with in Redding.

Marvin: Without wishing to seem patronizing I’d like to say that it was a great show.

Owen: Thank you very much.

Wm. Scott Hartig: Musical Director/Drummer

Marvin: How did you Zen in on your role as musical director?

Scott: All I did for weeks was listen to the music, live the music, and spend time playing the music.

Marvin: Having done so well playing in two major productions, Hair and Jesus Christ Superstar, would you consider doing it again?

Scott: Absolutely. It’s very fulfilling.

Marvin: How do you keep your focus on stage?

Scott: The penalty for non-concentration is a muffed show, and we don’t want that. Plus, the quality of the material pulls you in.

Marvin: What is a favorite segment from a musical perspective?

Scott: I think ‘‘Walking in Space’’ because we get to do some free-form playing there.

Marvin: Would you say the work has continued to evolve with each performance?

Scott: Absolutely. Every aspect of the project has evolved through performance.

Marvin: What drummers have influenced your playing?

Scott: For rock, certainly John Bonham and Ian Paice. In jazz, Peter Erskin and Billy Cobbham.

Marvin: Who are some of your favorite bands?

Scott: The Who, Alice In Chains, Soundgarden, and recently, the Smashing Pumpkins.

Marvin: The cast seems very unified. What do you attribute that to?

Scott: There’s a special closeness that we have because we’ve worked quite hard together for a common goal.

Marvin: How does it feel to be involved in cutting edge local theater?

Scott: Fantastic! The show breaks down a lot of walls. It’s good art that will hopefully bring us all closer together as human beings.

Marvin: Do you have any other musical projects brewing?

Scott: Yes. I’m currently working on my own project, ‘‘Cement Pond’’ and looking forward to more theater projects in the future.

Marvin: ‘‘The night I saw the show it would have taken a pistol to knock the band off it’s groove. Nicely done old boy.’’

Scott: ‘‘Thank You.’’

Share Hoffmiester: Vocal Director/Keyboardist

Marvin: When did you first get involved with the theater aspect of vocalizing?

Share: In ‘86, when I went back to school at Shasta College.

Marvin: What are some other pieces you’ve done as vocal director?

Share: Little Shop of Horrors, Chorus Line, Westside Story, Beauty and the Beast, and Tommy to name a few.

Marvin: Tell me about some of your vocal groups outside the theater?

Share: Two groups mainly: Liaison and Jazz II. We perform jazz, pop, and old style acappella.

Marvin: What are some of your vocal and musical influences?

Share: I love Irish music, and a lot of world music in general. Tracy Chapman and Paveratti are two favorite singers. I also love jazz.

Marvin: What is it that draws you to the theater?

Share: I think it’s the magic; the kind of thing where a person is completely transformed.

Marvin: What was the most gratifying thing about bringing this show to the public?

Share: The fact that the whole group came together the way they did. The project was more important than individual egos.

Marvin: Where did you rehearse?

Share: In people’s homes, tennis courts, the Chestnut Street Fair or where ever we could pull it together, initially.

Marvin: I would describe what I saw as a selfless and unified performance. Two thumbs up . . . Way Up. Thank you for your time.

Share: Thank you.

James R. Santos: Choreographer

Marvin: Your choreography was great in the show. How long have you been dancing?

James: Since I was three. My most serious dancing has been in the last two years.

Marvin: What is your formal training?

James: Two years of classical ballet. I went to the Oregon School of Ballet Theater in Portland.

Marvin: Who are your influences?

James: I love modern dancing and jazz. Fred Astair had a great older style of dancing, very soft. But I really love modern dancers like Alvin Ailey, and Martha Grahm.

Marvin: What is it about dancing that grips your soul?

James: Being able to release your daily life really draws me to it. Also communicating my own feelings to the audience.

Marvin: How often do you dance or exercise to maintain your strength and flexibility?

James: Every day. When I’m not working with the Redding City Ballet, I’m usually in a show. This is how I make my living.

Marvin: Good for you. What was the rehearsal schedule like leading up to the show?

James: Seven days a week, for the last four weeks. We had one day off, right before the show.

Marvin: How do you maintain your focus on stage?

James: Becoming aware of each part of your body, from the top of your head to the tips of your toes. Also, taking time to get into character and just breathe. Centering is critical. All your body parts have to move together.

Marvin: What will be your next project?

James: The Nutcracker in December for the Redding City Ballet.

Marvin: How old are you?

James: Nineteen.

Marvin: That’s incredible. Your talent is beyond your years.

James: Thank You.

Ben Bambauer

Ben Bambauer of Bog Bean Books and Music secured the venue for the production, and also performed in it.

Marvin: What were you trying to accomplish with this project?

Ben: Just trying to see it through. It’s been a success both financially and creatively.

Marvin: Would you like to see more happen at the Lady Lorenz Hotel?

Ben: The momentum of the play has opened the door to the creation of a cultural center in the basement of the Lorenz Hotel.

Marvin: What are some of your acting experiences?

Ben: I’ve been actively involved in theater through college. I have a degree from Occidental College in speech and drama. I taught primarily English, but also some drama at Shasta High.

Marvin: Your voice has a really cool sound. Who are some of your influences musically?

Ben: I really like 60’s and 70’s R&B and classic funk like Parliament. I also enjoy ambient electronic music like The Orb. Sometimes I listen to so much music that it’s just refreshing to hear something new and different.

Marvin: Thank you very much for your time and your effort in bringing this production to our community.

Ben: Thank You.