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| Sara Edwards |
by Gil Benbrook
When it comes to capturing the heart and soul of a place as rich, resilient, and rhythm-filled as New Orleans, it takes more than just music, it takes vision, passion, and a deep understanding of the stories that live between the notes. That’s what director and choreographer Sara Edwards is hoping to bring to Let the Good Times Roll: A New Orleans Gumbo, the world premiere musical running August 6–31 at The Phoenix Theatre Company. The vibrant new production is the final show of the theatre’s 2024–2025 season and blends the musical stylings of New Orleans legends with a heartfelt story of healing, community, and rediscovery.
Conceived and written by Tony Award winner Jack Viertel, with music supervision and orchestrations by Broadway’s Sonny Paladino, Let the Good Times Roll was created as a joyful, soul-stirring tribute to the Crescent City. It tells the story of a heartbroken young woman who stumbles into a neighborhood bar and finds strength through the locals she meets, each with their own stories of survival and celebration. With Edwards at the helm, the musical promises to not only bring the sounds of jazz, blues, gospel, and funk to life, but also celebrate the heartbeat of the city and its people.
In between rehearsals, Edwards sat down to answer some questions about the process of directing and choreographing this world premiere, the challenges and rewards of creating a new work, and how she worked with the creative team and cast to shape a show that honors the spirit of New Orleans while connecting with audiences far beyond its borders.
What initially drew you to Let the Good Times Roll: A New Orleans Gumbo and what excites you most about bringing this world premiere to life?
Sara Edwards: "The music. The first time I listened to the music I could hear in it how dynamic the New Orleans world could be. What excites me most about this World Premiere is cultivating a new love for the city of New Orleans and the music that has its roots there. "
As both director and choreographer, how do you balance guiding the overall storytelling with crafting the musical’s physical language and movement?
"One of the greatest advantages of being the director and also the choreographer is that I don’t have to separate the storytelling from the physical language. By using the music as my guide, as well as the terrifically robust characters written by Jack Viertel, I follow my instincts to bring both the characters words and movements to life in an honest way. For Let the Good Times Roll we were able to explore the book and music first at the New Works Festival and then from that experience we spent two week in New York City developing the movement for the larger production numbers. "
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| Scott Davidson as Captain, Miciah Lathan as Maretha, Gina Guarino as Wanda and William Bailey as Onyx in rehearsals for Let the Good Times Roll: A New Orleans Gumbo photo courtesy Phoenix Theatre Company |
The show celebrates the spirit of New Orleans through jazz, blues, funk, and gospel—how have those musical styles influenced your approach to staging and choreography?
" 'You could call it gumbo' is a line from our show, and I would use this same metaphor to describe my choreography. I've pulled from every facet and every dance party I’ve attended to build the steps for the cast. My choreography has nothing to do with traditional dancing, but instead is built on the feeling that New Orleans music creates. There is an undeniable need to move to that music. "
The show centers around a young woman’s journey through heartbreak and renewal—how did you shape that arc in your direction, and what do you hope audiences take away from her story?
"Liza Jane is someone we can all relate to -- show me someone who hasn’t experienced heartbreak in their life. And maybe not heartbreak over a person, but heartbreak over any major loss. Loss is something New Orleans is all too familiar with because of the weather systems that strike that area. And for Liza Jane, she finds the humor in heartbreak and the joy in the recovery, proving New Orleans will capture even the most broken-hearted. It is exactly what we all need to lift our spirits. "
What can you tell us about the cast for this show and since it uses a range of musical styles, how did you create a cohesive ensemble while honoring the diverse range of experience and styles among the performers?
"Our cast is top notch. It was an absolute blast seeking them out in Phoenix, Chicago and New York. When you describe something as “a cohesive ensemble while honoring the diverse range of experience," you are describing jazz music. I look at every character that Jack Viertel has written as jazz music. Every instrument that plays into it has an entirely different sound, has a different expression or look -- from brass, to string, to drums. But when they come all together, it is something delightfully special. And that’s how I feel about this cast."
The story is set against historical events like the Great Flood and Hurricane Katrina. How did you approach representing those dramatic moments through staging and movement without losing the show’s sense of celebration?
"As director, I spent a lot of time researching how New Orleanians recovered post-Katrina. I think when we talk about loss in New Orleans, we are also talking about resilience. One of the many things that make New Orleanians so resilient is their sense of community and deep roots in tradition. Let the Good Times Roll takes the time to acknowledge the loss and celebrate the resilience while honoring their local traditions."
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| Scott Davidson as Captain in rehearsals for Let the Good Times Roll: A New Orleans Gumbo photo courtesy Phoenix Theatre Company |
How did the feedback from the Festival of New American Theatre influence your directorial choices or shape the final version of the show?
"Being a part of the festival affected me in so many ways big and small. The Phoenix audiences were so lively and supportive, clapping and dancing along to the music. We certainly knew we had that component right. However, the most beautiful thing that came out of the festival was how relatable the characters were to our audience members. So many of them made connections to their own lives and shared with us how they saw themselves in the storylines of these six everyday characters from New Orleans. After the festival, we worked hard to further develop the characters and their relationships to each other. "
What has been the most rewarding or surprising part of working with the creative team, especially with a writer like Jack Viertel who has such a deep personal connection to the music of New Orleans?
"Jack Viertel is singular in his ability to embrace a music genre and create an inhabitable world within it for the stage. With this script and song selection, Jack has created a map that has led me from one treasure discovery to another. It's been a fun, creative experience that will stay with me for the rest of my life. There are so many songs I know the audience will love rediscovering all over again through Jack’s heartfelt story.
And, if Jack is the heart, then Sonny Palladino is the soul. Sonny has been an incredible collaborator, adapting this music for the stage while keeping the pulse of New Orleans alive within it.
The most surprising part of working with the designers has been just how many were thrilled to come on board when they learned it was based in New Orleans. So, many people love that city as much as Jack Viertel and Sonny Palladino!"
This show is both a tribute to New Orleans and a celebration of community—how do you hope it resonates with audiences in Phoenix and potentially beyond?
"I hope when people see our show they'll be reminded of the best parts of being in a community where you're welcomed as you are. I believe New Orleans is that kind of place. Phoenix has been that kind of place. A neighborhood where everyone is accepted, no matter their age, gender, or race. I hope we’ve created a show about a community where everyone belongs and where, of course, you can let the good times roll. "
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