Musical is at home at the Trailer Park

Robert Dennick Joki directs the outlandish comedy.

By MILAN PAURICH

vindicator correspondent

For the first time in its history, The Oakland Center for the Arts will be kicking off its fall season ... in August. The recipient of that largesse is David Nehls and Betsy Kelso’s campy, kooky musical comedy “The Great American Trailer Park Musical.”

Robert Dennick Joki (“Reefer Madness,” “Bat Boy: The Musical”), the show’s multitalented director, sat down recently for an interview to discuss the genesis of the production.

Q. Not that many people are familiar with “The Great American Trailer Park Musical.” How did you discover the show, and what made you decide to direct it?

A. Some Youngstown State University students suggested “Trailer Park” to me at an Oakland planning meeting a few years back. It was actually the same meeting that I first heard about “Reefer Madness.” I ordered the perusal script and soundtrack, and immediately fell in love with the show. The only problem with “Trailer Park” is that there are only seven people in the cast, and I usually try to do larger-scale musicals so I can involve as many actors as possible. So I put it on the back burner and waited for an opportunity to direct it. (Music director) Anthony Ruggiero and I had such an amazing time working on “Reefer” this year that we decided to propose an Oakland summer show. And “Trailer Park” was exactly what we were looking for.

Q. Because it’s not very well-known — and has never been performed locally — are you worried that “Trailer Park” might lack the kind of name-recognition factor that helps sell tickets?

A. Most of the plays I direct aren’t very well-known (laughs). I try proposing shows that other local theaters would never touch: whether because of adult language and situations, subject matter, or a lack of box-office recognition. There are tons of really great fringe shows out there, and I love getting to be the first person to introduce them to Youngstown theater audiences. As for “Trailer Park,” I’m hoping that the title and concept are goofy enough to attract people who are looking for some upbeat, light-hearted summer fun.

Q. What’s the show about?

A. The story focuses on the marital problems of mild-mannered toll collector Norbert Garstecki (David Munnel) and his agoraphobic wife, Jeannie (Jen Kuczek). They reside in Armadillo Acres, Starke County, Florida’s premiere prefabricated housing community. Their relationship is tested when Pippi (Molly Makselan), a stripper on the run from her abusive, Magic-Marker-sniffing, gun-toting ex-boyfriend Duke (Shawn Lockaton) moves into the trailer next door. The story is told by Betty (Geri Dewitt), Lin (Juleah Buttermore) and Pickles (Melissa Cook), a trio of big-haired, bleach-blonde, trailer-park housewives who act as a Greek chorus.

I was thrilled to be able to offer Melissa the plum role of Pickles, because I’ve been hoping to use her in more than just a chorus role for quite some time. The same goes for Juleah, Jen, Molly and Geri. They all have outstanding voices. I always find myself surrounded by extremely talented women who don’t necessarily fit into typical cookie-cutter musical-theater molds. That’s one of the things that really attracted me to this script. I was able to give some great opportunities to actresses who don’t usually have an easy time getting them. Not everyone is built to play Belle (in “Beauty and the Beast”).

Q. This is the first time the Oakland has staged a musical in the summertime. As director, did the seasonal change make your job easier or more difficult? Did you try and foster a — no pun intended — summer-camp approach among the cast and crew?

A. Rehearsing a musical in the summer is definitely unique. The weather is warm, people go on vacation and generally just have other things to do. The challenge is to keep everyone motivated, myself included. There were a few days — beautiful, blue-sky summer days — that I asked myself, “Who’s idea was this, anyway?” (laughs) Luckily, I have once again been blessed with a very dedicated, talented group of people. We’ve all been having a blast.

Q. How would you describe the “Trailer Park” score?

A. The score pays homage to many different genres. It’s a little bit of everything: pop, traditional country, gospel, rockabilly, '70s, '80s and more. When I listen to the music, there are times I think of The Dixie Chicks, and other times I’m reminded of Tina Turner. The show is full of tight, Andrews Sisters-style harmonies and has some great ballads as well.

Q. Most productions of the show are praised for their campy costumes and boldly colored sets. Are you taking a similarly stylized approach to the material? And, because it’s the question that everyone asks when I mention the title of the show, will there be an actual trailer on stage during the performance?

A. This show is delightfully campy, complete with silly props and costumes and ridiculous plot twists. It’s a white-trash extravaganza (laughs). And absolutely there will be a trailer onstage. Two, in fact! Jim Canacci has been working diligently on creating a silver Airstream Trailer for this show. He and I first collaborated on “Bug.” I love working with Jim because he actually goes through the complete design process, drawings and all, instead of just altering whatever set was onstage for the last production. The result is a unique and functional set for each individual show, and that makes me very happy.

Q. You’re best known for irony-laden shows (“Bat Boy: The Musical,” “Reefer Madness,” etc.). Do you ever have a secret desire to tackle something old-fashioned and profoundly un-hip like “The Sound of Music” or “My Fair Lady” just to test your directing chops?

A. I don’t have a problem with more traditional theater fare, I just don’t like directing shows that have been done and/or overdone in the area. I understand there is an audience for “South Pacific” and “Annie” and that’s great, but those shows are old news to me. If I directed anything like that, I’d definitely want to put some kind of unexpected spin on it.

Q. Which shows — musical or otherwise — are on your wish-list as director and/or actor?

A. I’d love to do “Kiss of the Spider Woman” or Stephen Sondheim’s “Passion.”

“Little Shop of Horrors” is one of my favorite musicals, but it’s been performed so many times in the Valley that I’d probably never propose it. The same goes for “Into the Woods,” “Joseph and The Amazing Technicolor Dreamcoat” and “Beauty and the Beast.”

I want to direct “Avenue Q” as soon as the rights become available, and I would kill to do “Jesus Christ Superstar.” Who would I cast as Jesus? Nikita Jones, hands down.

Q. Besides Halloween’s “Rocky Horror,” will you be directing any other main stage shows at the Oakland this upcoming season?

A. I really have my work cut out for me over the next few months. I’m going from “Trailer Park” to “Rent Jr.” (for the Liz Rubino Studio at the Oakland) in early October, then “Rocky Horror” and “How The Drag Queen Stole Christmas.” I’m going to spend the second half of the season working on some scripts and show ideas of my own, as well as some Oakland outreach programs.