By Lynda Lacayo

On traditional tiptoes “Fiddler on the Roof” trips into the Segerstrom Center for the Arts, May 7 – 19, 2019. The requisite Fiddler is perched atop a roof, playing a haunting melody. He represents survival, through tradition and joyfulness, in a life of uncertainty and imbalance which is also a simple summary of the book behind the classic Musical.

“Fiddler on the Roof” overflows with cherished tunes opening with the rousing number “Tradition,” before soaring into a score of memorable melodies such as “Matchmaker, Matchmaker,” “If I Were a Rich Man” and “Do You Love Me.” From the moment Tevye, played by Israeli star of theater, film, and TV Yehezkel Lazarov rolls his cart onstage, saying “You may ask how we keep our balance? That I can tell you in one word…Tradition!” audiences ready themselves by lifting their cups “To joy! To love, To life!

The 2014 award winning musical “Fiddler on the Roof” weaves a timeless story, filled with music, dance, joy, romance, and family values. The classic show does, however, take a break from “Tradition” in minor  ways. One such change was casting the first Hispanic actress, Maite Uzal, in the iconic role of Golde, Tevye’s long-suffering wife. It’s not as far-fetched as it may seem. As Uzal, once a Spanish lawyer, now a Broadway actress explains “I’ve thought about the idea that being a Spanish Catholic doesn’t make me particularly suited for the role, yet I have the ability to play the part. Then I gave it some more thought and you know what, there are things in my background that make me fit right into Golde’s world. I’m Jewish on my father’s side; the name Uzal is Jewish dating back to one of the oldest Israeli tribes. I wasn’t raised Jewish but I learned about the faith, customs and traditions doing the show. This led me to the realization that Spanish and Jewish people share common traditions such as family values. So, maybe yes, being from Spain adds something valuable to the role.

The “family values” showcased in “Fiddler on the Roof” are another of the ways in which Uzal slips so easily into her part. Asked why she switched from law to acting she replied “I studied law to please my family. I did what was expected of me given my environment and how I grew up. I used to be very obedient. My father wanted me to be an attorney and wasn’t pleased at the prospect of me becoming an actress. But I’d always dreamed of being an actress and felt I had to pursue my vocation so I moved from Madrid to Manhattan. Given the dramatic twist in my life New York was the best place for me – I thought ‘Let’s go big or go home.”

Uzal has gone big since changing careers. She’s only been in the States for a year this go round and “Miracle of Miracles” she landed the leading role, Golde, in the National touring company production of “Fiddler.” This is not her first sojourn stateside. The talented lady from Spain won the HOLA (Hispanic Association of Latin Actors) award and a Latin Ace Award. In her portrayal of Golde, Uzal has received critical acclaim. “Broadway World” says “Uzal’s Golde is confident, strong and comedic. She delivers a flawless performance that makes audience’s love Golde’s formidable personality.”

When descripting Golde personality, Uzal often speaks in the first person. Perhaps this is related to her background in law because she says “As actors we use our training, our hearts to allow us to develop an empathy with the character. You have to be a lawyer for your character as if the character is the client and you must get to know them in the best possible way so that you can make them your own even when they are very different.

Uzal continues, “It hit me from the very beginning that Golde couldn’t read. My brain became unwired as I had to unlearn my ways of thinking. When Perclik arrives from the University, book in hand, to teach my daughter, how I react is different from a person who is literate. Onstage as Golde, I am wary and suspicious. All Golde’s traits have affected me.”

Dance marks every important turning point in the tale and the songs come straight from old-fashioned storytelling, yet it is choreography that marks another subtle change from the original to bring a fresh look to the celebrated musical. Uzal agrees saying, “It is very significant what Israeli choreographer Hogfish Schechter has done to update the dance and movement. My favorite dance scene is ‘The Wedding’ which is less complex because we’re all in it. Our choreographer wouldn’t like me saying that because Hogfish finds complexity in everything, even just moving his fingers. The ‘Bottle Dance’ is a showstopper and choreography is a very important highlight in the show”

“Fiddler on the Roof” is rich with music audiences know and love. The songs speak of family, life, love and laughter. Uzal says “my personal favorite song is ‘Do You Love Me’ not because I sing it but dramatically speaking it’s perfectly written. All the songs are beautiful but another stand-out for me is the opening number, ‘Tradition’ which is so powerful, so impactful.”

The musicals’ greatest strength is timeless storytelling and Tevye, a Jewish Dairyman and his family still move hearts as they cope with anti-Semitism and pogroms in Imperial Russia in 1905, meeting tragedy with humor. “Fiddler” has universal appeal because Uzal says “it touches on themes relevant to everyone. There are three layers to the show. First are the conversations that Tevye has with a higher power and most people look for something spiritual in their lives. Second is the generational struggle of old versus new, parent and child, as each develops and follows their own ‘traditions.’ And finally, the conflict between the Russian and Jewish community is about being immigrants being prosecuted, about seeing some people as ‘the other.’ Unfortunately, these things that happened in the past continue to haunt our future no matter what period of history our world is in.”

Uzal describes “Fiddler on the Roof” as a “Celebration of Life.” Audiences will leave Segerstrom Center with a smile on their faces but the message that she hopes they take with them is “tolerance towards people who are different, resilience in facing life’s hardships and a sense of humor because the ability to laugh in the worst of times is a blessing.”

As the final curtain drops, Tevye beckons with a nod and the fiddler follows the family out of the village. “Sunrise, Sunset” follow the fiddler to the Segerstrom Center for the Arts, Segerstrom Hall. “Fiddler on the Roof” runs May 7 – 19, 2019.For tickets and information: Online at SCFTA.org; The Box Office, 600 Town Center Drive, Costa Mesa; phone 714-556-2787. Hours are 10 a.m. to 6 p.m. daily.

By David N. Young

A one-night performance coming to the Segerstrom Center May 3 may well represent a unique blend of the most basic form of dance with technical innovation to create a blended sound created by the dancers themselves.

The show, entitled ETM: Double Down, was co-created by Nicholas Van Young and Michelle Dorrance, founder of Dorrance Dance.

Young and Dorrance, who met as youngsters on the tap dance circuit, have co-created a national touring production that has excited both dance and music critics, as musical sensors (MIDI) embedded in the stage allows the rhythm of the dancers and their “tap, tap, tap” to create incredible sounds using the equipment.

Theater goers head into the venue expecting an award-winning performance from Young and Dorrance, and instead, get a “double down” dose of dance and music that resembles a ‘rock concert.

The New York Times said their performance was “a fresh and innovative show.”

Young (Co-Creator ETM: Double Down) is a dancer, musician, choreographer, and a 2014 Bessie Award recipient. He began his professional career at age 16 under Acia Gray and Deidre Strand with Tapestry Dance Company in Austin, TX, eventually rising to principal dancer and resident choreographer.

Since moving to New York, he has performed with Manhattan Tap, RumbaTap, Dorrance Dance, “Beat the Donkey,” has toured as a drummer for Darwin Deez, and spent almost a decade performing with STOMP, where he performed the lead role and acted as rehearsal director. Nicholas tours both nationally and internationally teaching and performing at various Tap Festivals, and founded Sound Movement dance company and IFTRA, Institute for The Rhythmic Arts.

Dorrance has performed with Stephen Colbert on television and was a 2015 MacArthur “Genius” award recipient

Together, they bring tap into the age of electronic music in their internationally acclaimed collaboration, ETM: Double Down.

Their inspiring effort takes the uniquely American dance form of tap to a new level, with a musical score triggered by the company of eight dancers’ fabulous footwork. Tap has always been a way of talking to the stage, but with Van Young’s electronic tap boards, the stage is now able to talk back, as every step, swipe, and scrape sets off an element of sound, turning the entire stage into a musical instrument.
The pair collaborates with noted choreographer Ephrat Asherie, and uses solo improvisation by the dancers.

The ETM: Double Down show features original music by Gregory Richardson, Young, Donovan Dorrance, Aaron Marcellus, Warren Craft and Michelle Dorrance.

Using his knowledge of dance and music, Young says he has created a set that is playable, gigantic electronic drum set, of sorts. Using the sensors, tap dancers are playing the music.

While tap dancing reigned during the vaudeville era, the art form nearly slipped away until Gregory Hines found a way to express himself to a new generation of music.

In one breath, Young calls it “percussive dance,” then speaks about “dancing on the floor with electronic shoes” before simply saying “tap continues to evolve and is very alive for us.”

Dorrance enjoys an ability unique to the profession to evoke emotion, create dynamics and create a narrative simply with her grace and talent. “I’ve never seen anything like it,” said Young.

Their production of EMT: Double Down Is a sign that for the newest generation of tap is intent on creating its own historical mark.

“Every generation likes to push the boundaries,” said Young. “Michelle tells stories with her feet,” and their new show brings new meaning, through talent and technology, to both tap and dance.

Tickets start at $39 and be purchased by calling (714) 556-2787 or visiting www.scfta.org.

By Lady Beverly Cohn

It isn’t often in one’s career that you get to sit down with a Disney, but that opportunity presented itself with Tim Disney, son of Roy Edward Disney, grandson of Roy O. and Edna Disney, and great nephew of Walt and Lillian.  In the family tradition, he is involved in filmmaking, producing numerous documentaries on the environment as well as directing and writing narrative films.  The subject of the interview was his latest film William, which could be categorized as a sci-fi family drama about two scientists who decide to create a Neanderthal child by extracting DNA from a 35,000 year-old preserved specimen. The story covers the development of William from infancy through adulthood and stars Will Brittain in the key role.  The cast includes, Maria Dizzia, Walled Zuaiter, Susan Park, Callum Airlie, Beth Grant, and Paul Guilfoyle.  A review of the film will be forthcoming.

Your reporter interviewed Tim in an exclusive session to discuss his film and personal revelations. The following text has been edited for content and continuity for print purposes.

Part 1:  Making the Film

What drew you to this subject matter?

Tim:  I got drawn to this idea by reading about the emergence of early man and their relationship with at least three other human species that co-existed with homosapiens, the Neanderthals being the best known and who were their cultural equivalent.

How were they similar to other homosapiens living at that time?

They did all the things that we think of as human.  They created symbolic objects, had a complex language, and buried their dead – they were our equals.  There was a lot of discussion about how our superior culture or language or creativity could be matched by Neanderthals, but they died out. You know history is written by the living and maybe pre-history too.  I thought what if they died out because they were better than us?  What if they were more virtuous than us?  What if this special characteristic that we congratulate ourselves on is really a sinister quality?  That was the essence of the idea.  From that, I started crafting a personal story.

Would you characterize William as a cautionary tale?

Tim:  Not primarily.  I don’t think it’s principally about the science, or even the ethics of the science, although that’s certainly a theme within it.  I think it’s a personal story.  I think it’s a family story.  I think it’s a story about otherness and the difficulty of being different in a hostile world.

A metaphor for social disorders?

Tim:  I think so.  But also beyond that it’s about emerging adults and the difficulty they have in individuating from their parents.  I think it’s a universal story in that respect

How did you go about casting William?

Tim:  Well, it was hard.  We had to have a great actor and that was the most important quality.   We also needed someone who would have physical plausibility as a Neanderthal, who were shorter and stockier than us and had different proportions.  Casting a tall, skinny person, no matter how great an actor he was, would be difficult. We met a lot of really wonderful people but when Will came in the door, we knew he was the guy.

Just by his looks?

Tim:  Yes.  He’s formerly a personal trainer and football player so he was very fit.  In preparation for filming, he spent months bulking up by working out every day, lifting weights and eating only 4,000 calories daily. I was very cautious about overplaying his physicality.  I never wanted to get into farce and I didn’t want to make him superhuman.  He couldn’t lift a car or anything like that.  The day before filming began he took me aside and said, “I’ve been working out for three months.  I’m taking my shirt off in the movie.”  (Laughs) So we wrote in some scenes that displayed his efforts.

Did he have an acting background?

Tim:   He did a bunch of small parts but was not a big name.  I had seen him in a movie called Everybody Wants Some!!, a Richard Linklaetter film, and he also had a small part in King Kong.

How did you begin the process? 

Tim:  I’m a collaborative person.  These lower budget movies are more difficult to make than big budget films because you don’t get a lot of rehearsal time and there’s no room for errors or recovery.  We started with a traditional table read followed by many conversations so that we were generally in sync with whom these characters were and how they would interact.  So, we had a good understanding before we hit the set.  That said, I also like to plan.   I’m too nervous to wing it.  Everything always changes and you have to be flexible, but I like to have a roadmap.   

During the shoot, did the script go through any changes?  

Tim:  We started with what was on the page but in the moment you always adapt to what’s working or what’s not working.  There were a lot of improvisations and changes that happened, but in general, the movie is structured as written.

What was most difficult about the shoot?

Tim:  Working with the young kids was difficult. It was the first week and we had a lot of stuff to do with them.  We were getting up and running as a crew so having small children on set was really challenging.  There was a lot of improvising going on.  (Laughs) They don’t always do what you tell them to do.  They get cranky, and hungry and tired. Dealing with the kids was challenging and nerve racking.

Stay tuned for Part 2 where Tim talks about being a Disney and his role as a single dad.

Local guitarist Gregg Young has released his first solo project, according to spokesman Cristel Santos. Young is best known for his band, the 2nd St. Band and they are the current House Band at the iconic Dome Arclight Entertainment Center, Hollywood.

The band has been nominated Best Jazz, Best Pop, Best Latin, and most recently Best Americana/Folk/Acoustic for the Hollywood Music in Media Awards.

In addition to these nominations, Gregg and the Band have won Best Blues, Best Funk/Groove for the Hollywood Music in Media Awards, as well Smooth Jazz Artist of the Year for the LA Music Awards.

In 2016, Gregg Young and the band released their album, Portraits, which was Grammy considered in three categories. The band’s newest single, Together (A) was considered in the Best American Roots Song category for a Grammy. The band currently has 332,901 spins on Pandora for their award-winning music. Gregg has just released his first solo guitar project, Alcatraz, a suite of 7 songs performed on acoustic steel string guitars, inspired by the Island.