by Gil Benbrook
Having written such classic musical theatre scores as Wicked, Pippin, and Godspell, plus contributing songs to numerous animated musical films, Stephen Schwartz is, arguably, toward the top of the list of composers who have written memorable and beloved musical theatre songs.
But Schwartz has also written scores for several musicals that weren't that successful. One of those shows, which premiered in London but never made it to Broadway, is Children of Eden, which i based on the Book of Genesis and tells the stories of Adam and Eve and also Noah and the Ark.
After Covid shut them down from persenting their large scale main stage shows over two years ago, TheaterWorks is presenting Children of Eden for a three weekend run from June 10-June 26. With a cast of over 40 people and a large menagerie of puppets to represent the many animals in these stories, this is certain to be one of the biggest theatre productions to hit Phoenix this summer.
TheaterWorks' Artistic Director Chris Hamby, who is also directing Children of Eden, sat down at a break in final rehearals to answer some questions about this show and production, what TheaterWorks has worked on during the past two years, as well as some upcoming plans for both the theatre and himself.
Many people have heard of other musicals with scores by Stephen Schwartz, including Wicked, Pippin and Godspell, but they may not be aware of Children of Eden. What would you tell them it’s about?
Chris Hamby: "Children of Eden on the surface is the musical retelling of Genesis. However, it is really about family. It is about the relationships between parents and children; the difficult parts of seeing children grow up, become independent and ultimately become parents themselves. It also explores cycles of behavior that can often times be difficult to break when they are inherited and passed along from generation to generation. Musically it contains all the things you love from Stephen Schwartz, incredible melodies, huge belt worthy songs and tender emotional ballads as well."
What made you decide to choose this musical as your first main stage show back since Covid shut down your large-scale productions in March 2020?
"Children of Eden was the perfect show because it epitomized to me all things TheaterWorks. We have a large-scale musical production that features intergenerational performers; adults and youth and of course the puppets. The time seemed right to tackle this piece but also to make a splash with it."
During that time you presented three productions of your original immersive show Curiouser & Curiouser. Looking back on that experience now what are some of the take aways you have from those shows?
"My main take aways are things I already knew; the Valley has an abundance of talent. Talent is our main resource both onstage and behind the scenes. Curiouser & Curiouser allowed us to highlight and celebrate so many amazing artists working right here in our communities. I hope that theater companies find a way to think outside of the proscenium and that more innovative work like Curiouser & Curiouser follows. I look forward to being in the audience to support whoever tackles something like this next. "
Children of Eden has a large cast, with over 40 people. It’s definitely a way to make a big splash as a welcome back to large scare TheaterWorks productions. What were auditions like and how have rehearsals been?
"Auditions are always a mixed bag. You sit and patiently wait for the right person, voice, ability to walk through the door and then begin the process of quite literally piecing the puzzle together based on so many factors. Rehearsals have been an incredible experience but not without challenge. I have to admit I felt a bit rusty during our first rehearsal moving 40 people around the rehearsal room. "
This production also features almost as many puppets as actors. What can you tell us about the puppets used for this show as far as the construction process and the types of puppet you’re using?
"We have assembled a small army of talented artisans for the creation of the puppets in this show. I believe we use 32 puppets in the production. The team has been led by designs from Cari Smith and then built and manufactured by Jason Washburn, Jenny Abeyta, and DeAndrea Vaughn, all of whom are important members of the TheaterWorks family. Additional support has come from the costume team and the technical staff of TheaterWorks. We are utilizing a combination of puppets and masks. I think the closest thing people may be able to relate the visuals to is The Lion King. We have small rod puppets up to very large more full body puppets."
Looking ahead this season, you are also presenting the After Dark series of adult themed plays. What can you tell us about that series and the decision to present them?
"During Curiouser & Curiouser we found a shift in our audience demographic. The After Dark series has been created to appeal to this newfound audience. We plan to present contemporary 'grittier' plays than what has been typically produced by TheaterWorks. "
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| Chris Hamby |
You were recently selected to serve on the national Board of Directors for the American Association of Community Theatre. What made you decide to apply for that role and what do you hope to learn from the experience?
"I decided to apply because the region Arizona sits in has not been represented on this national scene in quite a long time. I hope to be able to share and promote the great work by the incredible artists in our state and surrounding states. I hope that by networking on a nationwide scale that I can make connections and find resources that I can share with the theater community I work in and love. "
Clearly the last two years have made many people in the theatre community, and mainly those in the arts that depend on presenting live productions, take a pause and reflect on many things. What were some of the things you thought about or learned during that time?
"Pause? Who paused. I certainly didn’t take a pause and I think my team worked harder than they had been, if that is even possible. However, Covid forced many artists to assess their priorities and reflect on their place as artists in the community they work in and perhaps in society as a whole. We have already seen many changes in how theater needs to evolve in the last two years. I think change will continue to come to theater as a whole, in practice and in how it is consumed and accessed by audiences. "
What do you hope people will take away from seeing Children of Eden at TheaterWorks?
"I hope audiences leave entertained. I hope they feel they were able to partake in some beautiful storytelling. I hope they leave knowing the ThetaerWorks they have loved for 35+ years is back and stronger than ever. We have more stories to share."
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