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‘Chicago’ in Youngstown
Theater veteran David Jendre directs musical at the Playhouse
By MILAN PAURICH
Local theater legend David Jendre has literally done it all. Besides touring in musicals as diverse as “Man of La Mancha”(playing Sancho to both John Raitt and Ed Ames)and “West Side Story,” Jendre has tap danced with Tommy Tune and Ann Miller and even partnered with legendary dancer Cyd Charisse.
Locally, Jendre has served as artistic coordinator of the Youngstown Playhouse, directing and choreographing some of its most successful musicals (including “A Chorus Line,” “Dreamgirls” and “Smokey Joe’s Caf ” for which he won both the Arthur and Marquee awards.
At The Oakland Center for the Arts, Jendre has served on the board of directors, directed “Billy Bishop Goes To War” and “The Club,” and appeared in “Falsettos” and “Love, Valour, Compassion.”
Jendre has also been a long-time member of Easy Street Productions, playing keyboards with the Little Big Band and performing in a variety of shows including “Hello, Dolly!,” “Into the Woods” and “Pump Boys and Dinettes.”
After an extended absence, Jendre returns to the Playhouse as director of its season-opening musical, “Chicago.” In a recent interview, Jendre discussed what compelled him to return to the Playhouse, and why “Chicago” is so dear to his heart.
Q. You’re famously picky at choosing projects. How did (Youngstown Playhouse Executive Director) Mary Ruth Lynn convince you to take the reins on “Chicago”? Has this been a musical you’ve been wanting to direct for years?
A. Mary Ruth just wouldn’t take “no” for an answer (laughs). The Playhouse had been struggling to stay alive for the past few years, and I felt a need to be supportive. Of course, I’ve been wanting to tackle “Chicago” ever since I saw the original production on Broadway in 1975.
Q. What elements of the show really speak to you?
A. The fact that it was one of the last great musicals directed and choreographed by the legendary Bob Fosse is probably the thing that speaks to me the most. Fosse’s distinctive style has always been strongly identified with the show. So much so they even patterned the film version from his original concept. From a dancer’s perspective, there are just a handful of musicals that are extremely important artistically. “Chicago” ranks very high on that list.
Q. For anyone who isn’t familiar with “Chicago” (as either a stage or movie musical), could you give us a pocket-sized synopsis of the storyline?
A. “Chicago” is a Kander and Ebb (“Cabaret,” “Curtains”) musical set in Prohibition-era Chicago. It primarily focuses on Roxie Hart, a chorus girl who murders her unfaithful boyfriend then manages not only to get off thanks to a razzle-dazzle lawyer (Billy Flynn), but uses the trial to propel herself to showbiz stardom along with another murderous chorus girl, Velma Kelly. The show is a satire on corruption in the criminal justice system and the whole concept of the “celebrity criminal.”
Q. “Chicago” is a notoriously difficult show to stage since it requires performers who can not only act and sing, but REALLY dance. Was finding dancers who could do the roles justice the most stressful part of the casting process?
A. “Chicago” IS difficult to stage because of the dance requirements, but the majority of the principal cast does very little actual dancing. Roxie and Velma certainly needed to have dance training, but the yeoman’s task lies with the ensemble. They needed to have a certain look and style of movement that would not only fit the dance requirements of the show, but also lend itself to the dozens of different characters they play. I’d originally wanted to both direct and choreograph, but decided early on that it was too complex to handle alone. Paul Ryan Byrne who helped me out on ”A Chorus Line” and “Smokey Joe’s Caf ” is my trusted assistant, and we’ve split the choreographic duties to suit our different styles and (my) limitations. Since the show is all about rhythm, Don Yallech, one of the best percussionists in town, is handling the musical direction. And I’d be lost without my trusted stage manager, Leslie Brown.
Q. Who’s appearing in the show?
A. Kayla Boye who played perky chorus girl Bambi in last spring’s “Curtains” is Roxie Hart, Natalia Lepore Hagan will knock everyone’s socks off as Velma and Brian Palumbo ¥the genius behind Top Hat Productions (“Ragtime,” “Aida”) — is lawyer Billy Flynn. Jason Green plays Roxie’s long-suffering husband, Playhouse newcomer Donna Huntley is Matron “Mama” Morton and Chris Hawkins is an absolute scream as “sob sister” reporter Mary Sunshine. It would be remiss of me not to mention the dozen incredible young performers who make up my ensemble. But since space and time won’t allow it, just let me say that I’m deeply grateful to every single one of them.
Q. “Chicago” was even more successful in the stripped-down ‘90s version than it was when it originally opened in the ‘70s as a bells-and-whistles production. Which version are you doing?
A. We’re licensed to do the original script, but I’m trying to incorporate design and chorographic elements from the ‘90s version because that’s what our audience is expecting.
Q. Are there any “holy grails”you’re itching to direct someday?
A. I’d love to direct a show that’s nearly impossible to do: Stephen Sondheim’s legendary “Follies.”