12 / 31
To get Susan Stroman’s attention, just
say “Stro!” That’s what people have called
the radiant blonde dynamo since she got
into show biz in New York 35 years ago,
first as a dancer, then as a choreographer
and director for some of Broadway’s top
shows. Her hit titles include
The Producers,
Contact, Crazy for You, Oklahoma!, The Music
Man, Show Boat, A Christmas Carol,
and
The Scottsboro Boys
, which have all won
multiple Tonys and Drama Desk awards,
and she’s been nominated for dozens more.
Mel Brooks has been her indefatigable
cheerleader and mentor since he got her
to direct and choreograph
The Producers
for its wildly successful Chicago tryout.
She’ll arrive at Lyric this fall to rehearse
the sizeable cast of
The Merry Widow
, which
runs November 14 through December 13.
Stroman first directed and
choreographed this lavish, lively
production at the Metropolitan Opera,
where it opened last New Year’s Eve,
starring Renée Fleming in the title role and
conducted by Sir Andrew Davis. It was a big
debut for the women; Stroman had never
directed in an opera house (though she’d
choreographed Mozart and Sondheim at
New York City Opera) and Fleming hadn’t
portrayed Hanna Glawari in a fully staged
production. Sir Andrew conducted the
operetta once previously at the Met.
They all had a ball, and are keen to
do it again at Lyric this fall—with a few
changes. Except for Fleming, the cast is
new to the production, as are the orchestra,
chorus, and dancers. And the show itself
was fine-tuned for its second run at the
Met in May. Operas get only about four
weeks of rehearsal versus a few months for
a Broadway show; Stroman compares an
opera’s opening night to a first preview on
Broadway. After the first run, Jeremy Sams
(who did a brand-new translation of the
libretto for this production) tweaked some
of the jokes and made some cuts, inspired
by audience response and performers’
feedback. With a laugh, the director calls
the result “a leaner, meaner
Merry Widow.
”
Julian Crouch’s gorgeous sets, William Ivey
Long’s sumptuous costumes, and Paule
Constable’s lovely lighting will enchant
Lyric audiences.
Stroman got her first real look at
Lyric’s Civic Opera House in May, and
returned for summer technical rehearsals.
“To be inside that building—it’s so grand
and beautiful!” The dance auditions “went
very well. For the scene at Maxim’s, they
have to do cartwheels, splits, acrobatics,
and cancan, and they also have to sing!
It was wonderful to see all the talent in
SUSAN STROMAN
by
Magda Krance
Song
&
Dance
&
Second Chances
The MerryWidow
and
“STRO”
A SCENE FROM
THE MERRY WIDOW
KENHOWARD (METROPOLITANOPERA)
BRIGITTELACOMBE (METROPOLITANOPERA)
PAULKOLNIK
RENÉE
FLEMING
HEIDI
STOBER
ELIZABETH
FUTRAL
KARLICADEL
THOMAS
HAMPSON
MICHAEL
SPYRES
DARIOACOSTA
DARCYBORGHARDT