The Charles Dickens classic A Tale of Two Cities by Jill Santoriello has now come to an end. Though we say farewell to this production, it will linger in our hearts and minds forever. The experiences shared and memories made will keep it alive for all those who joined us on this journey. We had the privilege of having Jill Santoriello visit two times during the run of the show. What a joy it was to get to know her and learn more about her ‘baby’. She and those who came with her are now part of the Hale Centre Theatre family.
Sally Dietlein, Jill Santoriello, Megan Heaps & Jon Chironna
Here is what Jon Chironna, one of Jill’s guests wrote about his experience with HCT and Utah:
http://nycityman.blogspot.com/2011/04/tale-of-two-tales-of-two-cities.html
As the show was closing, we had the opportunity for one more “A Day in the Life…” by one of the actors. This is from Logan Bradford, who played the Young Man in the Monday, Wednesday, Friday cast.
Logan Bradford
You know, being a musical theater performer in a classical music world can be a little frustrating at times. After performing in Mozart’s opera, “The Magic Flute” this fall, I was a little ready for some good old, passionate musical theater. I have a few friends who have done shows at the Hale and I had always had this inkling to audition for a show, but for some reason or other, never got around to it. One Thursday, while at work, I thought of it and furtively visited the theater’s Web site to check on when auditions for their next show would be. I saw it would be “A Tale of Two Cities, the Musical,” and thought, “Dude. That’s a musical?” The auditions were just two days away and I had nothing prepared, so I thought, “hmmm….angsty French something or other,” and pulled out “Empty Chairs at Empty Tables” for an audition song.
You know, auditioning is one of the most terrifying things in this business…nope, it is THE most terrifying part of this business. I hate it. But I went in there, did my 16 bars and somehow managed a callback. Callbacks were another intimidating experience, since I only knew a total of about five people there. The production team had called me back for Darnay, which was flattering, but I knew by my height and look (and lack of a low range) I wouldn’t be cast. I was sitting next to Ames Bell (Jerry Cruncher, TTS) and he mentioned a part for which he had been called back — a super high, belty, angsty vocal solo that not many people called back for it could really sing. He let me look at his sheet music and I knew I wanted it — and if there was a part in this show that I could really play, it was that one. I learned it quickly and sang it for the production team. While it by no means was perfect, I still felt pretty good about it as I left the theater to head home. Now, a confession — I knew absolutely nothing about the show before auditioning (I know, sacrilege). Of course, I had read the book ten years ago when I was in high school, but I remembered very little of it. But the callback told me a few very revealing things about both the show and theater. First, this show has real heart; it’s driven by passion, love, hatred and hurt. Any show that has that can really go places. Second, the performers at that callback went 400% in everything they did. I had never seen so many people dedicating their theatrical so concertedly like they were. I knew this production was going to be absolutely phenomenal; I had to be in it.
When the Production Assistant called me to tell me I had been cast as “Young Man,” I was honestly ecstatic beyond giddiness and sanity. I squealed to myself in my office at work and jumped up and down like an idiot for a good solid minute. And then the rehearsal process started. Working with our director, John Sweeney was such a wonderful experience. He made sure at literally every rehearsal that we knew he loved us so much, be it by action or by word; we just felt it from him. Marilyn Montgomery, our choreographer, was so very patient with us and molded us so we could give this show the dynamic personality it needed. And Anne Puzey was probably the best musical director I think I’ve ever worked with. She was so incredibly picky, but she always did it for the benefit of the show and so that we could do OUR best. Such a blessing.
As this show nears its end, I am sad not to be involved with something so moving and extraordinary. This show has the ability to change lives and teach them that people can change — that they can turn around their lives and truly make something of themselves. I am so grateful to be given this chance. A huge thank-you to this production team and Jill Santoriello; this has been a wonderfully memorable experience. All my love! - Logan
Thank you to all those who participated with Hale Centre Theatre in this amazing production – audience, cast, production team, tech crew, HCT staff, etc. We couldn’t do any of this without you!!
Now on to The Hasty Heart!
