June 27, 2025 • 29 mins
What happens when actors become directors? The latest episode of Steps to the Stage takes you behind the scenes with the creative team of "Urinetown the Musical" as they prepare for opening night at 7th Street Community Theatre.
Co-directors Luke Hooganraad and Marcy Pinedo share the exhilarating and sometimes overwhelming experience of their directorial debuts after years of performing on stage. "There's definitely moments where I forget that I'm the adult in the room," Marcy laughs, highlighting the unexpected responsibilities that come with creative leadership. Their journey from receiving a random text message about collaborating to now seeing their show's title on the marquee reflects the organic way artistic partnerships form in community theater.
Musical Director Joey Rice and Choreographer Maddie McGowan offer fascinating insights into the show's eclectic musical style and movement vocabulary. Joey describes the score as "a parody of musicals in general," while Maddie explains how the constantly shifting musical genres have allowed her to experiment with everything from gospel-inspired choreography to jazz movements.
The team dives deep into "Urinetown" itself - a dark political satire about capitalism, environmental collapse, and revolution. Set in a dystopian world where severe water shortages have led to corporatized bathroom access, the show uses humor and musical theater tropes to explore serious themes about social control and activism that sometimes focuses "too hard on slogans without getting to the actual heart of the matter."
What makes this conversation particularly resonant is hearing how community theater serves as an incubator for artistic growth. From performers who thought they were "done with theater forever" after high school finding new creative avenues, to the supportive mentorship that helps first-time directors navigate production challenges, the episode beautifully captures how local theaters build tomorrow's creative leaders.
Join us for this delightful conversation and then experience "Urinetown the Musical" yourself July 5-19 at 7th Street Community Theatre. Get tickets at chinochildrenstheater.org or by calling 909-590-1149.
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:03):
Welcome to Steps to the Stage a 7th Street Community
Theatre podcast.
Welcome to Steps to the Stage,the podcast where we talk to the
community theatre professionalsyou know and love.
My name is Kirk and I will beyour host for today, and we are
so excited to talk aboutUrinetel the Musical, and we
(00:26):
have the directors and creativeteam here.
So we have Luke Hogan-Rad, wehave Marcy Pinedo, we have Joey
Rice, who is part of thecreative team, and we have
Maddie McGowan, who is part ofthe creative team.
(00:58):
So welcome back.
It's great to be backproduction and then we can go in
and talk a little bit about itso that our listeners can
understand what Urinetown theMusical is about.
So we'll start with Luke, oneof our directors.
Speaker 2 (01:08):
Yeah, I'm Luke Hoganrod.
I am a co-director for this.
It is my directorial debut andI'm an alumni here and I love
being here.
Speaker 3 (01:18):
Yes, nice.
Hello, my name is Marcy Pineda.
I am the other co-director ofUrinetown.
It is my directorial debut aswell.
Speaker 1 (01:26):
I love that Both of you your directorial debuts
together.
That's fantastic.
Speaker 4 (01:31):
Hello, I'm Joey Rice.
I am the musical director ofUrinetown.
I think this is my third timebeing a musical director, but
this is my first full musicaldirector.
The other times I was a studentor assistant musical director.
Speaker 1 (01:44):
Okay, so first time for you being in charge, as it
were.
Speaker 4 (01:48):
Yeah.
Speaker 1 (01:48):
But a pro, as it relates to the others that
you've been in, and you've alsobeen in quite a few different
productions here over the years,so I'm very involved in the
theater.
Speaker 5 (01:57):
Hi, my name is Maddie McGowan.
I'm the choreographer for thisshow.
This is, I believe, my seventhshow I've choreographed and my
third at Chino.
Speaker 1 (02:06):
Third at Chino.
And just while we're talking,where have the others been at?
Speaker 5 (02:10):
Just the other ones have been at Luke and I's old
high school, CrossroadsChristian High School.
Speaker 1 (02:14):
Okay, wonderful.
You know, of course I like totalk about the local high
schools and we have our owndrama department podcast that we
use that we highlight a lot ofthe local Inland Empire theater,
theater programs and that'sactually been doing real well.
We've done about three or fourdifferent episodes now and and
they've been really picking up.
So, luke, why don't you startoff and just give us a little
(02:37):
bit of a rundown of Urinetownand we'll we'll go around the
horn here and get some, get someinsights from this group.
Speaker 2 (02:43):
Yeah so Ur around the horn here and get some, get
some insights from this group.
Yeah so yurntown is a greatshow.
It's um, it's a like politicalcomedy satire.
Speaker 1 (02:51):
It's like a dark comedy, essentially was it a
book, or was it a playoriginally, or what's completely
original?
Completely original as a, as amusical?
Yes, okay, all right, so thebook that the book was, or is
there a book, or am I justreaching for stars?
It was a play written in, okay.
Speaker 2 (03:09):
As far as I'm aware, I don't think there's a book.
Speaker 3 (03:11):
Just the musical, I'm pretty sure.
Speaker 1 (03:13):
And then about when was it written, do you?
Speaker 3 (03:15):
guys know it was 2001 that it was on Broadway.
Speaker 1 (03:17):
Okay so it's.
Oh okay, Wonderful.
Okay so political.
You said Okay so political.
Speaker 2 (03:23):
You said, yeah, it's a satire just about capitalism
and the bad things that canhappen in capitalism and also
just what the people should havea say over, and things like
that.
Speaker 3 (03:36):
Okay, marcy, like revolution itself in a way and
how sometimes they can bemismanaged or focus on, I guess,
the not important stuff in someways.
Do you know what I'm getting at, luke?
How sometimes you can focus toohard on like this is going to
(03:57):
sound weird, but like theemotions, or on like slogans and
things without getting to theactual heart of the matter.
Speaker 1 (04:03):
Right, you like the slogan because of the way it
sounds, but you don't quite know.
Speaker 3 (04:08):
Activism starts to fall by the wayside Got it.
Yeah, got it.
Speaker 1 (04:12):
Got it.
So you know, you think ofactivism and you think of
politics and you don'tnecessarily think of musical yes
.
So, joey, maybe talk to us alittle bit about the music
behind you're in town uh, whereto start?
Speaker 4 (04:31):
um, it's like kind of based off of your stereotypical
musical sound, I guess okay um,like, like, like, like, run,
like one song run, freedom, runis kind of a stomp clamp, stop,
stop, clap song.
Um, I, I could see some Westside story influences, like
another song called snuff thatgirl to do a lot of snapping.
Speaker 3 (04:53):
Okay.
Speaker 4 (04:54):
Uh, but it's just kind of.
It's kind of like a parody ofmusicals in general.
Speaker 1 (04:59):
Okay, I like that, I like that.
And then I think I read thatthere is someone wrote the music
separate from the individualthat wrote the play.
Do you guys know anything aboutwho wrote what or any history
of what they have?
That's actually the first.
(05:23):
I'm pronouncing that correctly.
And then book by Greg.
And is that KOTIS K-O-T-I-S.
Is that?
Am I reading that?
Speaker 2 (05:30):
right?
I believe so, yes.
Speaker 1 (05:32):
Okay, so, um, so, any history that you guys are aware
of, like other, maybe otherplays or anything other things
that they've written.
Speaker 2 (05:40):
Uh, yeah, they did.
I know Yinetown was kind oflike a really, really big hit
for what it was, so they haveanother show.
We just discovered this.
Yeah, it's another show thatthey wrote together, like in
2007,.
Speaker 4 (05:53):
I think Okay, all right.
Speaker 2 (05:54):
But I don't know of anything before Urinetown that
they wrote together Got it.
Speaker 1 (05:57):
And then it says the two of them also wrote the
lyrics.
So Mark wrote the music.
The book was written by Gregand I think that's why I was
asking about if it was a bookbefore, just because this little
bit of research that I didshowed that.
So you've got this music,you've got this.
What can be a satire to anextent you mentioned.
(06:17):
Let's talk a little bit aboutthe choreography choreography.
Speaker 5 (06:26):
So because it jumps from genre to genre a lot.
Speaker 1 (06:27):
I've been having a lot of fun experimenting with a
bunch of different the musicitself.
Speaker 5 (06:29):
the genre of the music jumps Okay, so sometimes
we'll have a gospel number withRun Freedom, run Snuff.
That Girl's very kind of jazzy,so it's been a lot of fun
having them do a bunch ofdifferent types of dances and
getting to work with the castwith that.
Speaker 1 (06:45):
Now tell me a little bit about some of the other
productions that you've done andhow this relates from the
choreography standpoint, andmaybe a little bit about your
history of why choreography.
Speaker 5 (06:53):
So Let me think about my answer.
Speaker 1 (06:58):
No problem.
Speaker 5 (06:59):
Can you ask the question again?
Speaker 1 (07:01):
Yeah.
So I'd like to know you've saidyou've done about seven
different productions, three ofthem here.
Did I get that correct?
And so I would like to hearabout some of the like, how this
compares to some of the otherproductions, because I guess one
of the things we didn't talkabout was cast size.
What's our cast size?
16?
Yeah, 16.
Okay, what's our cast size 16.
16.
Okay, and is it several leadsor is it all ensemble or what?
Speaker 3 (07:24):
There's several leads .
Speaker 2 (07:25):
There's several leads , it's about like eight of them
are leads and then eight arelike ensemble.
Speaker 1 (07:29):
Okay, but everybody's part of the choreography,
everybody's part of the music.
So you've got to get these 16together, depending on how that
works together in the differentgenres.
So the question that I had waskind of your history of
choreography and maybe some ofthe other productions and how it
relates or doesn't relate ormaybe different than what you've
(07:49):
dealt with before.
Speaker 5 (07:50):
So Urinetown is actually probably one of the
favorite shows that I'vechoreographed.
Out of all of them, I reallyenjoyed working with Urinetown.
Speaker 1 (07:58):
And you've done this production before, or is this
the?
Speaker 5 (08:01):
first time, the first time I've done here in town.
Speaker 1 (08:03):
All right and I love, but it's the best yes, might be
because of the people in frontof me, but no, I'm being
completely serious when I saythis um, I love the cast.
Speaker 5 (08:12):
I like working with people in my age range.
Normally I work with highschoolers and younger, so having
people like high school tocollege range has been very nice
.
This is one of the more danceheavy shows that I've done,
because sometimes I get juniorshows.
So the last few shows I'veworked on were junior shows at
Chino Community Theater and thenmy most dance heavy show has
(08:37):
been Tuck Everlasting atCrossroads.
Speaker 1 (08:39):
Okay, so that one.
We had that production hereabout a year ago.
Speaker 5 (08:42):
Yes, so that one compared to this one.
Those were my two favoriteproductions, just because I get
a lot more freedom and I get towork with like longer dance
numbers.
So I've been having a lot morefun working with Urinetown Not
to say the other ones haven'tbeen as fun, but it's very, it's
very nice having that freedomand your dance background.
Speaker 1 (09:02):
is it primarily theater or were you also?
Involved in ballet or othertypes of dance or is it
primarily theater dance.
Speaker 5 (09:09):
My dance background comes from.
I used to do theater at Cat ofCorona, so I've taken a lot of
dance classes there.
Most of it is musical theaterbased, so that's where it comes
from.
Speaker 1 (09:21):
Okay, great.
And then I know Joey has apretty extensive background as
it relates to music and beinginvolved in the choirs in high
school as well as in college,because I know I've been to a
lot of your performances as mydaughter was a part of it and
have been able to travel aroundand see you perform.
But what I would really like toknow is, now that you've done a
few of these as a co or as astudent and now you're the
(09:44):
musical director, like tell mehow that relates to what you
working with Iola choir and withthe Mount SAC choir and how
that's helped prepare you forthis.
Speaker 4 (09:53):
Oh, it couldn't be any more different, really, okay
, well, because it's because,instead of being the one sitting
down, I'm the one in front ofeveryone.
This time around the mostsimilar experiences I've had.
I've definitely been here whereI've been an assistant musical
director, but the biggestdifference really is the size of
the cast.
Most of the time I would workwith like either four people or
(10:17):
Small groups of people thatwe're specific to.
Okay, but now I'm working withlike 16 people.
I have to keep keep like, oh,these five people need to do
these parts, these other fiveneed to do these parts, and it
just scrambles my brain, causeusually I'm the one.
Oh, I just need to learn tenortoday, like I'm not really
thinking about all these four.
Speaker 1 (10:34):
Well, and then the other difference, too, is you
know your experiences withpeople that are in choir.
They've gone through some typeof audition process, not that
that your cast hasn't, but theyhave a pretty significant
background in music, and so Iimagine you have to guide a few
people along that maybe don'thave the same schooling or the
same experience in that realmyeah, so I always have to keep
(10:55):
that in mind too.
Usually I don't like to throwjust like term is around and I'm
right, cause they're not goingto necessarily know what that
terminology is.
Speaker 4 (11:02):
Yeah, I think my very first rehearsal.
I went over like the very basicmusic theory.
I went over like a like, likesubdivisions and things like
that.
And some people just didn'tknow what that was and of course
I thought of that, so that'swhy I went over that.
But uh, yeah, you're right,it's a bunch of different people
with different levels ofbackground in music.
Speaker 1 (11:22):
Yeah, but I'm sure also very skilled.
And I mean we're so lucky hereat this theater and just in the
Inland Empire in general becausewe do support the arts so much.
You get people that come frommaybe you know working in the
choir or another background.
So, marcy and Luke, you guyshave been here for a long time.
I know, cause I've been herefor a long time and I remember
(11:44):
watching you guys grow up in inother productions, and so you've
acted.
You've now helped, you'rehelping with camps currently.
You know you guys have beeninvolved in theater in general
for quite some time, but nowyou're the director, right?
All these people that we'velooked up to for all these years
, that have been our directors,right?
(12:05):
Joey's mom, donna, the Larsons,jesse, all those people that
have been a part of this.
So I'd love to know where youguys are at with all this,
because it's got to be quite thestep.
Speaker 3 (12:18):
It is very different.
Speaker 1 (12:19):
Okay, I say that.
Speaker 3 (12:20):
Extremely different.
Yes, it's a lot to get used to.
There's definitely momentswhere me I don't know about you,
Luke, but I definitely forgetthat I'm the adult in the room.
Yes For a minute there, yeah, Ican see that.
Speaker 2 (12:35):
And like it's strange , because we were like we had a
meeting just with all the seasondirectors and they were like
get us your schedules by thisday and we were like we have to
make a schedule.
Speaker 1 (12:47):
Like, you want us to make the schedules and supply it
to you, we're not being told.
Speaker 2 (12:52):
So it was like crazy and then it was like, who do you
want on crew?
And then we had to really thinklike, oh, we're in charge.
Speaker 1 (12:58):
Think about that.
Yeah, I mean because I thinkwhen you make that decision,
right, like, okay, I'm going todirect, and you're so focused on
the artistic development of it,right, you're so like, okay,
this is how this particularproduction affected me when I
saw it for the first time, orread it, or whatever.
And now how am I going to getthis group of people that I'm
(13:22):
casting to kind of, you know,make this vision come true?
But you forget, yeah, you gotto make sure and secure, you
know, the rehearsal space.
You got to make sure and getthe rights.
You got to make sure and getthe music.
You got to make sure and getyou know.
And then some of the otherareas that we're going to talk
about.
You got to do the design.
You got to do the costumes.
You got to do the music.
You got to do the.
You know, you got to beinvolved, even though you have
(13:42):
other people that are helpingyou.
It's your creative direction.
Speaker 3 (13:45):
There's so much stuff that you don't think about like
right away.
Yeah.
Speaker 1 (13:48):
Yeah, you know, but I think how lucky we've been to
have such great mentors alongthe way as well as here now,
right, Because that's got tofeel good, that you know in a
heartbeat you can call someoneand they can help you out, Right
, I mean?
And Maddie too.
You talked about cat and wehave so many people that have
been involved in our theater,that are involved over there.
I really see that you know,doing this podcast and seeing,
(14:12):
following all the theaterprograms as well as the school
ones, it's just great to seethat crossover and to see
different people.
So, yeah, so a big step.
So you haven't opened.
You're a week or so away.
How are you feeling?
Speaker 3 (14:28):
Tech starts tonight Very exciting Tech starts
tonight.
Speaker 2 (14:31):
Start tech Wow.
Speaker 1 (14:35):
By your reaction.
Obviously you guys can'tbelieve you're here.
Speaker 2 (14:39):
Yeah.
Speaker 3 (14:41):
I keep telling Marcy, we keep having moments where
we're like, oh, this is a realshow we did set build this last
weekend and we were like whoa.
They put the title up on themarquee and we're like oh whoa,
it's happening, it's reallyhappening.
Speaker 2 (14:55):
It's really cool because it's like we had a
meeting at a random restaurant ayear ago planning this yeah, I
was gonna ask like what, what?
Speaker 1 (15:04):
what got you?
Speaker 3 (15:05):
here?
Yeah, I received a text fromluke last june or august, maybe.
Yeah, that was literally just.
Hey, I'm thinking aboutsubmitting a show and you seem
like a really cool person towork with.
What do do you think?
Heck?
Yeah, absolutely Nice, wouldn'tI?
Yeah?
Speaker 2 (15:21):
So I reached out.
Honestly, props to my sister,sarah Hoganrod, because she told
me hey, if you want toco-direct with someone like
Marcy's probably a great personto do it with, yes, and I was
like that's actually a greatpoint.
Speaker 3 (15:34):
Yeah, she has a little experience.
Two of us worked together onSpelling Bee like a year or so
prior, that's right, that'sright, that's right, and I think
Joey was in that production aswell.
Speaker 4 (15:43):
Yes he was.
I love Spelling Bee, so yeah,oh, that's great.
Speaker 1 (15:47):
And so did you guys select Urinetown, or was that
something the theater offeredyou?
Speaker 3 (15:53):
I had a pitch for Urinetown a year or two earlier.
That fell.
By the way, it didn't getrejected or anything.
Speaker 1 (16:00):
Right, just wasn't time.
Speaker 3 (16:01):
It wasn't time, yeah, and so when Luke texted me, I
said funny, you should mention Ihave you're in town in my back
pocket.
Yeah, if you're interested.
Speaker 1 (16:10):
Wow and yeah, so for our listeners, so that they know
if, if you've been listeningfor a while, you know we do our
season reveal episodes andwhatnot, and so it's actually a
full process that most theatersgo through this process.
Even you know your Broadway'sand your regionals and the
professional theaters where theygo through and they look at the
slate of opportunities, who'savailable, as you know, the
creative team, production team,things of that nature.
(16:32):
So we go through the sameprocess here at 7th Street
Theater for both the adult andthe children's theater, and they
have a committee that reviewsit all, and so, yeah, it just
wasn't time, and now it is time,and now here we are, so just
fantastic.
So let's get into a little bitof the rest, because you talked
about all of theresponsibilities you have.
Right, you guys did set build.
(16:54):
Let's talk about the set design, who's involved in that and
kind of what your vision was.
Our set designer is MayaTimboken.
Okay, wonderful, and Maya hasbeen doing stuff for quite some
time, many years now.
So talented, so talented,almost five years I think and
didn't she start just kind ofpainting?
Yeah, and we everyone realizedhow talented she was and now
(17:16):
she's doing full.
Now is this her first full setdesign?
I don't believe so.
Speaker 3 (17:22):
Yeah, I feel like she's done.
Speaker 2 (17:24):
She did Mole Hill.
Speaker 1 (17:25):
Mole.
Speaker 3 (17:25):
Hill.
Speaker 2 (17:26):
And then I think she also did Chitty, that's right,
and Jessie did mention that.
Speaker 1 (17:30):
Okay, just again, sorry, I'm obviously pushing our
theater.
And how wonderful they are Likethis is what we want.
We want to develop.
Speaker 2 (17:41):
We want to develop.
Speaker 1 (17:42):
We want you to come in in camps, we want you to
understand the magic.
And then you do your end of theweek production and you realize
we need lights, we need sound,we need set, we need costumes,
we need all we need to market,we need to get mom and dad and
grandma and grandpa andeverybody to come.
It's like there's so much to it.
And then they audition forsomething else.
And now you guys, you guys, alot of you guys have been
(18:04):
through a lot of this.
I know my kids have, becausethey started essentially with
camps or being involved in acamp of sorts.
And now here you are and youguys are doing this.
And then you know, also with mykids I talk about, you know
they're going to school and havedegrees and so this is what
they want to do professionallyand there's great opportunities
(18:25):
out there.
So I think that's fantastic.
Let's shift back to thechoreography and let's do.
You and Joey have to work themusic and the choreography.
Do you guys have to gettogether and kind of figure how
do you guys work together?
Being that the choreography ishappening to the music and the
choreography, do you guys haveto get together and kind of
figure how do you guys worktogether, beings that the
choreography is happening to themusic and vice versa, or is
(18:46):
there it's been happening morerecently, because we're
discovering that I'm uh, uh,because, well, the thing is,
we're given tracks by the, bythe company.
Speaker 4 (18:54):
They're called fti right, uh and uh, uh, we're
discovering.
Oh wait, this is different fromthe tracks you've been using.
So we have been workingtogether more recently, but
earlier on no, not necessarily.
No, we weren't really workingtogether, but it's happening now
.
Speaker 1 (19:09):
Got it?
Yeah, I have to imagineespecially, like you know,
because I perform as well as amusician and like just learning
a song and playing the guitarand singing and I have to phrase
things differently because ofthe way I'm playing I have to
imagine there's some of thatwhen you're working on the
blocking and you're working onwhen I get my breath and when
I'm going to sing this and whenI do that and how you bring all
(19:29):
those together.
Yeah, going back, I'm sorry,I'm kind of jumping all around,
but on the choreography side,have you been in a number of
productions yourself?
Yes, okay, and was that thekind of the starter, the
motivator to that?
Speaker 5 (19:46):
So my first show ever was back at Cat in 2015.
I was in Mary Poppins, so I'vebeen doing shows for Another
show we've had on this stage yes, I've been doing shows there
and as well as crossroads, so Ibelieve I've done like Hmm, I
don't know, it's probably around14 shows that I've been in um
(20:09):
throughout my time.
And after I graduated highschool I thought I was done with
theater forever.
I was like I'm never doingtheater again, like I'm done
being in shows, I don't haveanything else to do because I'm
not going into college fortheater and then this avenue
kind of opened up where I get tokeep doing it through
choreography.
So it's been nice to extend thatthrough dance.
Speaker 1 (20:29):
So now I'm going to go back into the set design and
the choreography and working onour stage.
Did any of that have to comeinto play?
That you needed to see how thestage was going to be set, to
work on some of the choreography?
Speaker 5 (20:44):
Yeah, so I feel like I was always asking so what does
the set look like?
Again, so I know where to putthem on stage.
I like to know generally whatplatforms we have.
I like to use as much as thestage as possible, the platforms
, the aisles, the audience we'reusing as well.
So I just like to knoweverything so we can use it to
the fullest extent.
Speaker 1 (21:05):
Right, Great.
So you did set build this pastweekend.
You said Maya helped out andeverything.
The process was good.
You're happy with where we'reat right.
We're doing tech tonight, soyou're really going to see
how're at right, we're doingtech tonight, so you're really
going to see how it works.
Uh, um, what about costuming?
Speaker 3 (21:21):
uh, debbie horner is debbie designer fantastic isn't,
she, isn't she.
Speaker 1 (21:27):
I know marley has worked with her a number of
times and you know that's just.
We have just great resources inthis community theater.
Yeah, that's good and you'rehappy.
So, uh, you're in 10.
What's is it what?
80s, 90s, what's what's the?
Speaker 3 (21:41):
timeless time has sort of stopped in a way so it's
almost post apocalyptic.
So there is there is a pointwhere, like thing, culture as we
know it, has kind of stoppedmoving forward.
Speaker 2 (21:56):
Okay, but like, central idea is that the world
is running out of water.
Speaker 3 (21:59):
Yeah, there was a drought about 20 years ago.
Yes, and we're still feelingthe fallouts of that.
Speaker 2 (22:04):
So things like production of like clothes and
things aren't necessarily asnecessary because we need to
figure out how to deal with thewater shortage.
Speaker 1 (22:12):
That's got to be difficult.
Yeah, do you get guidance atall in any of the information
that you have, or is it Not?
Speaker 3 (22:18):
necessarily.
I mean of course, we have otherproductions.
Speaker 2 (22:21):
Other productions that you've watched.
Speaker 3 (22:23):
But there's not anything in, I think, the script
itself that's like Okay, thisis what this?
Speaker 2 (22:27):
should look like we have some like Time period.
Really crazy names.
Speaker 4 (22:31):
Yes, that like kind of help.
Speaker 2 (22:32):
Like we have Hot Blades, harry, soupy, sue,
little Becky, two-shoes, so likecrazy names, that like maybe we
can come up with something fromthat.
But it's a lot of stains, a lotof ripping clothes, yes, a lot
of sound things.
Speaker 3 (22:46):
The sort of I don't know the sort of language we
decided on was people sort ofpick up what they find whenever
they can find it and keep thatwith them With that and that,
wow, they can find it and keepthat with them, with that, yeah,
and that, oh, wow.
So, like, each character haslike a journey you know what I
mean Of like where each piecehas come from, right, yeah, what
it means to them, right.
Speaker 1 (23:05):
So that had to take a little bit of discussion to
really decide which how that wasgoing to go.
I mean, we're fortunate thatwe've got some storage here to
get some good costumes andobviously we've got some good,
experienced customers that canhelp us find what we need to.
Who else is on the creativeteam or anyone else that you
guys?
Speaker 2 (23:21):
want to talk about in their roles.
Marley is our producer, marley.
Speaker 1 (23:25):
I know Marley.
Speaker 2 (23:26):
Yes, it's actually been really really nice because,
since it's our debut, for a lotof questions we can ask.
Speaker 3 (23:33):
Marley.
She's so much more experiencedthan we are.
We can ask Marlee.
Speaker 1 (23:34):
She's so much more experienced than we are and
she's such a resource and it'sher first time producing, but
obviously she's been so involvedyou would not know it.
Yeah Well, I mean, maybe hermom's done a few shows.
Maybe she's got a little bit ofexperience with that, but that's
great to hear, and Marlee isdefinitely has an attention to
detail.
(23:54):
That I think is important.
And then an experience as wellas, like all of you guys, you've
come as actors, you've come as,you've helped with costumes,
you've helped with music, you'vehelped with choreography,
you've co-directed.
Now you're directing.
You've helped with tech, you'vehelped with everything.
I really think that helps,though, as you're going in,
especially as directors, right,you understand, in this theater
(24:18):
in particular, right, you've gota smaller stage than normal.
How are we going to make thiswork?
So I think it helps to havethat experience and I'm glad
Marley has helped you on thatside.
Speaker 2 (24:28):
And then our other designers.
We have Bella Navarez as oursound designer and then our
light designers.
Kind of split between Sid Burr,who's in the cast, yes.
Speaker 1 (24:40):
Oh, wonderful.
Speaker 2 (24:41):
So they've been doing both learning the show blocking
and everything, but also goingto the booth and doing lights.
The two of you have had verybusy days.
Yes, they're actually hereright now doing lights.
That's fantastic.
Speaker 1 (24:55):
Yeah, yeah, that's fantastic, your cast.
Are they any newbies, as itwere, or are they all seasoned A
?
Speaker 2 (25:04):
handful.
Yeah, so we actually have oneof our cast members.
It's their very first show everLove it.
So that's great to work with,yeah, and then we have like
probably three or four peoplewho have never done a show here
that came to audition.
Speaker 1 (25:20):
I, having had that experience several years ago, as
you know, performing in thefirst time, I think it's got to
bring a great dynamic in thatyou have that energy of someone
that's been doing it for a longtime, who may be a little jaded
and may have kind of not feelingthe magic.
When they're around someonewho's new and has that, then
(25:42):
they kind of take them undertheir wings and say, oh, this is
what Joey mentioned it earlier.
Right, you can't be throwingout terminology and stuff all
the time without really helpingthem through it.
I remember that my firstrehearsals I had to grab someone
after and be like what doesthis mean?
What does this mean?
What is that stage?
Who's stage left, stage right?
What are you talking about?
Blocking, we're going to throwblocks at each other.
(26:03):
I don't get this.
There is, there is a terminologythat comes along in in well, in
anything in general, any work,any art form, so especially in
theater as well.
But that's gotta be nice tohave that mix of energies, as it
were, to kind of bring everyonetogether.
I've always said this too, andwhat I love and I'm excited for
(26:23):
you guys to experience is I dida lot of sports growing up and a
production feels like a seasonright, and like you have those
memories of what happened andlike you will have a connection
with these people for the restof your life.
I still see people that I wasin in Mamma Mia back in 2019,
(26:45):
that we're still great friendsbecause of that connection, and
whenever you see your fellowcast members or directors or
anything like that, it just justgives you this amazing, great
feeling inside.
Well, you guys, we're coming toour an end of our wonderful
discussion here, but I'd love toknow a little bit more, because
(27:06):
I know our audience wants tocome and see this production.
So let's talk about the datesand let's talk about how they
can get tickets.
We open on July 5th Okay, andthat's a Saturday yes, okay.
After July 4th Okay, and that'sSaturday Saturday yes, okay.
After July 4th yes, what?
Speaker 3 (27:19):
do you know that seems to be a holiday around
here for some reason.
Speaker 2 (27:23):
But yeah, we open July 5th, yes, and then we close
July 19th.
Speaker 1 (27:27):
July 19th.
Speaker 2 (27:27):
So we have I think it's three weekends of shows.
Speaker 1 (27:30):
Okay, and then I see you also have some matinees July
6th and the 13th at 2.30 pm,and then tickets, we can call
the box office at 909-590-1149.
And if you would like to visitthe website
chinochildrenstheaterorg and youcan get your tickets right,
(27:53):
yeah, cool, anything else youguys want to share with our
audience?
Speaker 4 (28:01):
I think it's really funny you bring up how shows are
like seasons, because I feellike I keep track of time, not
via years but via shows.
I'm like, oh yeah, this thinghappened before Spelling Bee.
Speaker 3 (28:08):
I love that I was trying to figure out what
Anderson Gables was.
Speaker 2 (28:11):
Yeah.
Speaker 3 (28:11):
Well, that was 2019, because I did this show before
that and that show after thatand you connect like life
moments with oh yeah, that'swhen I did Mamma Mia.
Speaker 4 (28:20):
That's when.
Speaker 1 (28:20):
I did Yuppie Store.
That's a great.
That's a very astute pointthere.
Very astute point there.
Mr Joey, you guys, thank you somuch for spending some time
with us.
Thank you for having us.
Hey, it is such a pleasure andyou guys get out there and come
see this amazing production.
You're in town, the musicalopening July 5th and going
(28:43):
through July 19th, so get yourtickets, come on down, support
the arts, support live theater,and thank you all so much for
being with us today.
Speaker 2 (28:54):
Thank you, thank you, thank you.
Speaker 1 (28:56):
Thanks for listening to steps to the stage.
You, thank you, thank you,thank you.
Thanks for listening to Stepsto the Stage, a 7th Street
Community Theatre podcast.
Follow us on your favoritepodcast platform and leave us a
review and a five-star rating.
It really helps.
You can also find us onInstagram, facebook and YouTube.
Special thanks to ChinoCommunity Theatre and Chino
Community Children's.
Thank you.
Welcome to Steps to the Stage a 7th Street Community
Theatre podcast.
Welcome to Steps to the Stage,the podcast where we talk to the
community theatre professionalsyou know and love.
My name is Kirk and I will beyour host for today, and we are
so excited to talk aboutUrinetel the Musical, and we
(00:26):
have the directors and creativeteam here.
So we have Luke Hogan-Rad, wehave Marcy Pinedo, we have Joey
Rice, who is part of thecreative team, and we have
Maddie McGowan, who is part ofthe creative team.
(00:58):
So welcome back.
It's great to be backproduction and then we can go in
and talk a little bit about itso that our listeners can
understand what Urinetown theMusical is about.
So we'll start with Luke, oneof our directors.
Speaker 2 (01:08):
Yeah, I'm Luke Hoganrod.
I am a co-director for this.
It is my directorial debut andI'm an alumni here and I love
being here.
Speaker 3 (01:18):
Yes, nice.
Hello, my name is Marcy Pineda.
I am the other co-director ofUrinetown.
It is my directorial debut aswell.
Speaker 1 (01:26):
I love that Both of you your directorial debuts
together.
That's fantastic.
Speaker 4 (01:31):
Hello, I'm Joey Rice.
I am the musical director ofUrinetown.
I think this is my third timebeing a musical director, but
this is my first full musicaldirector.
The other times I was a studentor assistant musical director.
Speaker 1 (01:44):
Okay, so first time for you being in charge, as it
were.
Speaker 4 (01:48):
Yeah.
Speaker 1 (01:48):
But a pro, as it relates to the others that
you've been in, and you've alsobeen in quite a few different
productions here over the years,so I'm very involved in the
theater.
Speaker 5 (01:57):
Hi, my name is Maddie McGowan.
I'm the choreographer for thisshow.
This is, I believe, my seventhshow I've choreographed and my
third at Chino.
Speaker 1 (02:06):
Third at Chino.
And just while we're talking,where have the others been at?
Speaker 5 (02:10):
Just the other ones have been at Luke and I's old
high school, CrossroadsChristian High School.
Speaker 1 (02:14):
Okay, wonderful.
You know, of course I like totalk about the local high
schools and we have our owndrama department podcast that we
use that we highlight a lot ofthe local Inland Empire theater,
theater programs and that'sactually been doing real well.
We've done about three or fourdifferent episodes now and and
they've been really picking up.
So, luke, why don't you startoff and just give us a little
(02:37):
bit of a rundown of Urinetownand we'll we'll go around the
horn here and get some, get someinsights from this group.
Speaker 2 (02:43):
Yeah so Ur around the horn here and get some, get
some insights from this group.
Yeah so yurntown is a greatshow.
It's um, it's a like politicalcomedy satire.
Speaker 1 (02:51):
It's like a dark comedy, essentially was it a
book, or was it a playoriginally, or what's completely
original?
Completely original as a, as amusical?
Yes, okay, all right, so thebook that the book was, or is
there a book, or am I justreaching for stars?
It was a play written in, okay.
Speaker 2 (03:09):
As far as I'm aware, I don't think there's a book.
Speaker 3 (03:11):
Just the musical, I'm pretty sure.
Speaker 1 (03:13):
And then about when was it written, do you?
Speaker 3 (03:15):
guys know it was 2001 that it was on Broadway.
Speaker 1 (03:17):
Okay so it's.
Oh okay, Wonderful.
Okay so political.
You said Okay so political.
Speaker 2 (03:23):
You said, yeah, it's a satire just about capitalism
and the bad things that canhappen in capitalism and also
just what the people should havea say over, and things like
that.
Speaker 3 (03:36):
Okay, marcy, like revolution itself in a way and
how sometimes they can bemismanaged or focus on, I guess,
the not important stuff in someways.
Do you know what I'm getting at, luke?
How sometimes you can focus toohard on like this is going to
(03:57):
sound weird, but like theemotions, or on like slogans and
things without getting to theactual heart of the matter.
Speaker 1 (04:03):
Right, you like the slogan because of the way it
sounds, but you don't quite know.
Speaker 3 (04:08):
Activism starts to fall by the wayside Got it.
Yeah, got it.
Speaker 1 (04:12):
Got it.
So you know, you think ofactivism and you think of
politics and you don'tnecessarily think of musical yes
.
So, joey, maybe talk to us alittle bit about the music
behind you're in town uh, whereto start?
Speaker 4 (04:31):
um, it's like kind of based off of your stereotypical
musical sound, I guess okay um,like, like, like, like, run,
like one song run, freedom, runis kind of a stomp clamp, stop,
stop, clap song.
Um, I, I could see some Westside story influences, like
another song called snuff thatgirl to do a lot of snapping.
Speaker 3 (04:53):
Okay.
Speaker 4 (04:54):
Uh, but it's just kind of.
It's kind of like a parody ofmusicals in general.
Speaker 1 (04:59):
Okay, I like that, I like that.
And then I think I read thatthere is someone wrote the music
separate from the individualthat wrote the play.
Do you guys know anything aboutwho wrote what or any history
of what they have?
That's actually the first.
(05:23):
I'm pronouncing that correctly.
And then book by Greg.
And is that KOTIS K-O-T-I-S.
Is that?
Am I reading that?
Speaker 2 (05:30):
right?
I believe so, yes.
Speaker 1 (05:32):
Okay, so, um, so, any history that you guys are aware
of, like other, maybe otherplays or anything other things
that they've written.
Speaker 2 (05:40):
Uh, yeah, they did.
I know Yinetown was kind oflike a really, really big hit
for what it was, so they haveanother show.
We just discovered this.
Yeah, it's another show thatthey wrote together, like in
2007,.
Speaker 4 (05:53):
I think Okay, all right.
Speaker 2 (05:54):
But I don't know of anything before Urinetown that
they wrote together Got it.
Speaker 1 (05:57):
And then it says the two of them also wrote the
lyrics.
So Mark wrote the music.
The book was written by Gregand I think that's why I was
asking about if it was a bookbefore, just because this little
bit of research that I didshowed that.
So you've got this music,you've got this.
What can be a satire to anextent you mentioned.
(06:17):
Let's talk a little bit aboutthe choreography choreography.
Speaker 5 (06:26):
So because it jumps from genre to genre a lot.
Speaker 1 (06:27):
I've been having a lot of fun experimenting with a
bunch of different the musicitself.
Speaker 5 (06:29):
the genre of the music jumps Okay, so sometimes
we'll have a gospel number withRun Freedom, run Snuff.
That Girl's very kind of jazzy,so it's been a lot of fun
having them do a bunch ofdifferent types of dances and
getting to work with the castwith that.
Speaker 1 (06:45):
Now tell me a little bit about some of the other
productions that you've done andhow this relates from the
choreography standpoint, andmaybe a little bit about your
history of why choreography.
Speaker 5 (06:53):
So Let me think about my answer.
Speaker 1 (06:58):
No problem.
Speaker 5 (06:59):
Can you ask the question again?
Speaker 1 (07:01):
Yeah.
So I'd like to know you've saidyou've done about seven
different productions, three ofthem here.
Did I get that correct?
And so I would like to hearabout some of the like, how this
compares to some of the otherproductions, because I guess one
of the things we didn't talkabout was cast size.
What's our cast size?
16?
Yeah, 16.
Okay, what's our cast size 16.
16.
Okay, and is it several leadsor is it all ensemble or what?
Speaker 3 (07:24):
There's several leads .
Speaker 2 (07:25):
There's several leads , it's about like eight of them
are leads and then eight arelike ensemble.
Speaker 1 (07:29):
Okay, but everybody's part of the choreography,
everybody's part of the music.
So you've got to get these 16together, depending on how that
works together in the differentgenres.
So the question that I had waskind of your history of
choreography and maybe some ofthe other productions and how it
relates or doesn't relate ormaybe different than what you've
(07:49):
dealt with before.
Speaker 5 (07:50):
So Urinetown is actually probably one of the
favorite shows that I'vechoreographed.
Out of all of them, I reallyenjoyed working with Urinetown.
Speaker 1 (07:58):
And you've done this production before, or is this
the?
Speaker 5 (08:01):
first time, the first time I've done here in town.
Speaker 1 (08:03):
All right and I love, but it's the best yes, might be
because of the people in frontof me, but no, I'm being
completely serious when I saythis um, I love the cast.
Speaker 5 (08:12):
I like working with people in my age range.
Normally I work with highschoolers and younger, so having
people like high school tocollege range has been very nice
.
This is one of the more danceheavy shows that I've done,
because sometimes I get juniorshows.
So the last few shows I'veworked on were junior shows at
Chino Community Theater and thenmy most dance heavy show has
(08:37):
been Tuck Everlasting atCrossroads.
Speaker 1 (08:39):
Okay, so that one.
We had that production hereabout a year ago.
Speaker 5 (08:42):
Yes, so that one compared to this one.
Those were my two favoriteproductions, just because I get
a lot more freedom and I get towork with like longer dance
numbers.
So I've been having a lot morefun working with Urinetown Not
to say the other ones haven'tbeen as fun, but it's very, it's
very nice having that freedomand your dance background.
Speaker 1 (09:02):
is it primarily theater or were you also?
Involved in ballet or othertypes of dance or is it
primarily theater dance.
Speaker 5 (09:09):
My dance background comes from.
I used to do theater at Cat ofCorona, so I've taken a lot of
dance classes there.
Most of it is musical theaterbased, so that's where it comes
from.
Speaker 1 (09:21):
Okay, great.
And then I know Joey has apretty extensive background as
it relates to music and beinginvolved in the choirs in high
school as well as in college,because I know I've been to a
lot of your performances as mydaughter was a part of it and
have been able to travel aroundand see you perform.
But what I would really like toknow is, now that you've done a
few of these as a co or as astudent and now you're the
(09:44):
musical director, like tell mehow that relates to what you
working with Iola choir and withthe Mount SAC choir and how
that's helped prepare you forthis.
Speaker 4 (09:53):
Oh, it couldn't be any more different, really, okay
, well, because it's because,instead of being the one sitting
down, I'm the one in front ofeveryone.
This time around the mostsimilar experiences I've had.
I've definitely been here whereI've been an assistant musical
director, but the biggestdifference really is the size of
the cast.
Most of the time I would workwith like either four people or
(10:17):
Small groups of people thatwe're specific to.
Okay, but now I'm working withlike 16 people.
I have to keep keep like, oh,these five people need to do
these parts, these other fiveneed to do these parts, and it
just scrambles my brain, causeusually I'm the one.
Oh, I just need to learn tenortoday, like I'm not really
thinking about all these four.
Speaker 1 (10:34):
Well, and then the other difference, too, is you
know your experiences withpeople that are in choir.
They've gone through some typeof audition process, not that
that your cast hasn't, but theyhave a pretty significant
background in music, and so Iimagine you have to guide a few
people along that maybe don'thave the same schooling or the
same experience in that realmyeah, so I always have to keep
(10:55):
that in mind too.
Usually I don't like to throwjust like term is around and I'm
right, cause they're not goingto necessarily know what that
terminology is.
Speaker 4 (11:02):
Yeah, I think my very first rehearsal.
I went over like the very basicmusic theory.
I went over like a like, likesubdivisions and things like
that.
And some people just didn'tknow what that was and of course
I thought of that, so that'swhy I went over that.
But uh, yeah, you're right,it's a bunch of different people
with different levels ofbackground in music.
Speaker 1 (11:22):
Yeah, but I'm sure also very skilled.
And I mean we're so lucky hereat this theater and just in the
Inland Empire in general becausewe do support the arts so much.
You get people that come frommaybe you know working in the
choir or another background.
So, marcy and Luke, you guyshave been here for a long time.
I know, cause I've been herefor a long time and I remember
(11:44):
watching you guys grow up in inother productions, and so you've
acted.
You've now helped, you'rehelping with camps currently.
You know you guys have beeninvolved in theater in general
for quite some time, but nowyou're the director, right?
All these people that we'velooked up to for all these years
, that have been our directors,right?
(12:05):
Joey's mom, donna, the Larsons,jesse, all those people that
have been a part of this.
So I'd love to know where youguys are at with all this,
because it's got to be quite thestep.
Speaker 3 (12:18):
It is very different.
Speaker 1 (12:19):
Okay, I say that.
Speaker 3 (12:20):
Extremely different.
Yes, it's a lot to get used to.
There's definitely momentswhere me I don't know about you,
Luke, but I definitely forgetthat I'm the adult in the room.
Yes For a minute there, yeah, Ican see that.
Speaker 2 (12:35):
And like it's strange , because we were like we had a
meeting just with all the seasondirectors and they were like
get us your schedules by thisday and we were like we have to
make a schedule.
Speaker 1 (12:47):
Like, you want us to make the schedules and supply it
to you, we're not being told.
Speaker 2 (12:52):
So it was like crazy and then it was like, who do you
want on crew?
And then we had to really thinklike, oh, we're in charge.
Speaker 1 (12:58):
Think about that.
Yeah, I mean because I thinkwhen you make that decision,
right, like, okay, I'm going todirect, and you're so focused on
the artistic development of it,right, you're so like, okay,
this is how this particularproduction affected me when I
saw it for the first time, orread it, or whatever.
And now how am I going to getthis group of people that I'm
(13:22):
casting to kind of, you know,make this vision come true?
But you forget, yeah, you gotto make sure and secure, you
know, the rehearsal space.
You got to make sure and getthe rights.
You got to make sure and getthe music.
You got to make sure and getyou know.
And then some of the otherareas that we're going to talk
about.
You got to do the design.
You got to do the costumes.
You got to do the music.
You got to do the.
You know, you got to beinvolved, even though you have
(13:42):
other people that are helpingyou.
It's your creative direction.
Speaker 3 (13:45):
There's so much stuff that you don't think about like
right away.
Yeah.
Speaker 1 (13:48):
Yeah, you know, but I think how lucky we've been to
have such great mentors alongthe way as well as here now,
right, Because that's got tofeel good, that you know in a
heartbeat you can call someoneand they can help you out, Right
, I mean?
And Maddie too.
You talked about cat and wehave so many people that have
been involved in our theater,that are involved over there.
I really see that you know,doing this podcast and seeing,
(14:12):
following all the theaterprograms as well as the school
ones, it's just great to seethat crossover and to see
different people.
So, yeah, so a big step.
So you haven't opened.
You're a week or so away.
How are you feeling?
Speaker 3 (14:28):
Tech starts tonight Very exciting Tech starts
tonight.
Speaker 2 (14:31):
Start tech Wow.
Speaker 1 (14:35):
By your reaction.
Obviously you guys can'tbelieve you're here.
Speaker 2 (14:39):
Yeah.
Speaker 3 (14:41):
I keep telling Marcy, we keep having moments where
we're like, oh, this is a realshow we did set build this last
weekend and we were like whoa.
They put the title up on themarquee and we're like oh whoa,
it's happening, it's reallyhappening.
Speaker 2 (14:55):
It's really cool because it's like we had a
meeting at a random restaurant ayear ago planning this yeah, I
was gonna ask like what, what?
Speaker 1 (15:04):
what got you?
Speaker 3 (15:05):
here?
Yeah, I received a text fromluke last june or august, maybe.
Yeah, that was literally just.
Hey, I'm thinking aboutsubmitting a show and you seem
like a really cool person towork with.
What do do you think?
Heck?
Yeah, absolutely Nice, wouldn'tI?
Yeah?
Speaker 2 (15:21):
So I reached out.
Honestly, props to my sister,sarah Hoganrod, because she told
me hey, if you want toco-direct with someone like
Marcy's probably a great personto do it with, yes, and I was
like that's actually a greatpoint.
Speaker 3 (15:34):
Yeah, she has a little experience.
Two of us worked together onSpelling Bee like a year or so
prior, that's right, that'sright, that's right, and I think
Joey was in that production aswell.
Speaker 4 (15:43):
Yes he was.
I love Spelling Bee, so yeah,oh, that's great.
Speaker 1 (15:47):
And so did you guys select Urinetown, or was that
something the theater offeredyou?
Speaker 3 (15:53):
I had a pitch for Urinetown a year or two earlier.
That fell.
By the way, it didn't getrejected or anything.
Speaker 1 (16:00):
Right, just wasn't time.
Speaker 3 (16:01):
It wasn't time, yeah, and so when Luke texted me, I
said funny, you should mention Ihave you're in town in my back
pocket.
Yeah, if you're interested.
Speaker 1 (16:10):
Wow and yeah, so for our listeners, so that they know
if, if you've been listeningfor a while, you know we do our
season reveal episodes andwhatnot, and so it's actually a
full process that most theatersgo through this process.
Even you know your Broadway'sand your regionals and the
professional theaters where theygo through and they look at the
slate of opportunities, who'savailable, as you know, the
creative team, production team,things of that nature.
(16:32):
So we go through the sameprocess here at 7th Street
Theater for both the adult andthe children's theater, and they
have a committee that reviewsit all, and so, yeah, it just
wasn't time, and now it is time,and now here we are, so just
fantastic.
So let's get into a little bitof the rest, because you talked
about all of theresponsibilities you have.
Right, you guys did set build.
(16:54):
Let's talk about the set design, who's involved in that and
kind of what your vision was.
Our set designer is MayaTimboken.
Okay, wonderful, and Maya hasbeen doing stuff for quite some
time, many years now.
So talented, so talented,almost five years I think and
didn't she start just kind ofpainting?
Yeah, and we everyone realizedhow talented she was and now
(17:16):
she's doing full.
Now is this her first full setdesign?
I don't believe so.
Speaker 3 (17:22):
Yeah, I feel like she's done.
Speaker 2 (17:24):
She did Mole Hill.
Speaker 1 (17:25):
Mole.
Speaker 3 (17:25):
Hill.
Speaker 2 (17:26):
And then I think she also did Chitty, that's right,
and Jessie did mention that.
Speaker 1 (17:30):
Okay, just again, sorry, I'm obviously pushing our
theater.
And how wonderful they are Likethis is what we want.
We want to develop.
Speaker 2 (17:41):
We want to develop.
Speaker 1 (17:42):
We want you to come in in camps, we want you to
understand the magic.
And then you do your end of theweek production and you realize
we need lights, we need sound,we need set, we need costumes,
we need all we need to market,we need to get mom and dad and
grandma and grandpa andeverybody to come.
It's like there's so much to it.
And then they audition forsomething else.
And now you guys, you guys, alot of you guys have been
(18:04):
through a lot of this.
I know my kids have, becausethey started essentially with
camps or being involved in acamp of sorts.
And now here you are and youguys are doing this.
And then you know, also with mykids I talk about, you know
they're going to school and havedegrees and so this is what
they want to do professionallyand there's great opportunities
(18:25):
out there.
So I think that's fantastic.
Let's shift back to thechoreography and let's do.
You and Joey have to work themusic and the choreography.
Do you guys have to gettogether and kind of figure how
do you guys work together?
Being that the choreography ishappening to the music and the
choreography, do you guys haveto get together and kind of
figure how do you guys worktogether, beings that the
choreography is happening to themusic and vice versa, or is
(18:46):
there it's been happening morerecently, because we're
discovering that I'm uh, uh,because, well, the thing is,
we're given tracks by the, bythe company.
Speaker 4 (18:54):
They're called fti right, uh and uh, uh, we're
discovering.
Oh wait, this is different fromthe tracks you've been using.
So we have been workingtogether more recently, but
earlier on no, not necessarily.
No, we weren't really workingtogether, but it's happening now
.
Speaker 1 (19:09):
Got it?
Yeah, I have to imagineespecially, like you know,
because I perform as well as amusician and like just learning
a song and playing the guitarand singing and I have to phrase
things differently because ofthe way I'm playing I have to
imagine there's some of thatwhen you're working on the
blocking and you're working onwhen I get my breath and when
I'm going to sing this and whenI do that and how you bring all
(19:29):
those together.
Yeah, going back, I'm sorry,I'm kind of jumping all around,
but on the choreography side,have you been in a number of
productions yourself?
Yes, okay, and was that thekind of the starter, the
motivator to that?
Speaker 5 (19:46):
So my first show ever was back at Cat in 2015.
I was in Mary Poppins, so I'vebeen doing shows for Another
show we've had on this stage yes, I've been doing shows there
and as well as crossroads, so Ibelieve I've done like Hmm, I
don't know, it's probably around14 shows that I've been in um
(20:09):
throughout my time.
And after I graduated highschool I thought I was done with
theater forever.
I was like I'm never doingtheater again, like I'm done
being in shows, I don't haveanything else to do because I'm
not going into college fortheater and then this avenue
kind of opened up where I get tokeep doing it through
choreography.
So it's been nice to extend thatthrough dance.
Speaker 1 (20:29):
So now I'm going to go back into the set design and
the choreography and working onour stage.
Did any of that have to comeinto play?
That you needed to see how thestage was going to be set, to
work on some of the choreography?
Speaker 5 (20:44):
Yeah, so I feel like I was always asking so what does
the set look like?
Again, so I know where to putthem on stage.
I like to know generally whatplatforms we have.
I like to use as much as thestage as possible, the platforms
, the aisles, the audience we'reusing as well.
So I just like to knoweverything so we can use it to
the fullest extent.
Speaker 1 (21:05):
Right, Great.
So you did set build this pastweekend.
You said Maya helped out andeverything.
The process was good.
You're happy with where we'reat right.
We're doing tech tonight, soyou're really going to see
how're at right, we're doingtech tonight, so you're really
going to see how it works.
Uh, um, what about costuming?
Speaker 3 (21:21):
uh, debbie horner is debbie designer fantastic isn't,
she, isn't she.
Speaker 1 (21:27):
I know marley has worked with her a number of
times and you know that's just.
We have just great resources inthis community theater.
Yeah, that's good and you'rehappy.
So, uh, you're in 10.
What's is it what?
80s, 90s, what's what's the?
Speaker 3 (21:41):
timeless time has sort of stopped in a way so it's
almost post apocalyptic.
So there is there is a pointwhere, like thing, culture as we
know it, has kind of stoppedmoving forward.
Speaker 2 (21:56):
Okay, but like, central idea is that the world
is running out of water.
Speaker 3 (21:59):
Yeah, there was a drought about 20 years ago.
Yes, and we're still feelingthe fallouts of that.
Speaker 2 (22:04):
So things like production of like clothes and
things aren't necessarily asnecessary because we need to
figure out how to deal with thewater shortage.
Speaker 1 (22:12):
That's got to be difficult.
Yeah, do you get guidance atall in any of the information
that you have, or is it Not?
Speaker 3 (22:18):
necessarily.
I mean of course, we have otherproductions.
Speaker 2 (22:21):
Other productions that you've watched.
Speaker 3 (22:23):
But there's not anything in, I think, the script
itself that's like Okay, thisis what this?
Speaker 2 (22:27):
should look like we have some like Time period.
Really crazy names.
Speaker 4 (22:31):
Yes, that like kind of help.
Speaker 2 (22:32):
Like we have Hot Blades, harry, soupy, sue,
little Becky, two-shoes, so likecrazy names, that like maybe we
can come up with something fromthat.
But it's a lot of stains, a lotof ripping clothes, yes, a lot
of sound things.
Speaker 3 (22:46):
The sort of I don't know the sort of language we
decided on was people sort ofpick up what they find whenever
they can find it and keep thatwith them With that and that,
wow, they can find it and keepthat with them, with that, yeah,
and that, oh, wow.
So, like, each character haslike a journey you know what I
mean Of like where each piecehas come from, right, yeah, what
it means to them, right.
Speaker 1 (23:05):
So that had to take a little bit of discussion to
really decide which how that wasgoing to go.
I mean, we're fortunate thatwe've got some storage here to
get some good costumes andobviously we've got some good,
experienced customers that canhelp us find what we need to.
Who else is on the creativeteam or anyone else that you
guys?
Speaker 2 (23:21):
want to talk about in their roles.
Marley is our producer, marley.
Speaker 1 (23:25):
I know Marley.
Speaker 2 (23:26):
Yes, it's actually been really really nice because,
since it's our debut, for a lotof questions we can ask.
Speaker 3 (23:33):
Marley.
She's so much more experiencedthan we are.
We can ask Marlee.
Speaker 1 (23:34):
She's so much more experienced than we are and
she's such a resource and it'sher first time producing, but
obviously she's been so involvedyou would not know it.
Yeah Well, I mean, maybe hermom's done a few shows.
Maybe she's got a little bit ofexperience with that, but that's
great to hear, and Marlee isdefinitely has an attention to
detail.
(23:54):
That I think is important.
And then an experience as wellas, like all of you guys, you've
come as actors, you've come as,you've helped with costumes,
you've helped with music, you'vehelped with choreography,
you've co-directed.
Now you're directing.
You've helped with tech, you'vehelped with everything.
I really think that helps,though, as you're going in,
especially as directors, right,you understand, in this theater
(24:18):
in particular, right, you've gota smaller stage than normal.
How are we going to make thiswork?
So I think it helps to havethat experience and I'm glad
Marley has helped you on thatside.
Speaker 2 (24:28):
And then our other designers.
We have Bella Navarez as oursound designer and then our
light designers.
Kind of split between Sid Burr,who's in the cast, yes.
Speaker 1 (24:40):
Oh, wonderful.
Speaker 2 (24:41):
So they've been doing both learning the show blocking
and everything, but also goingto the booth and doing lights.
The two of you have had verybusy days.
Yes, they're actually hereright now doing lights.
That's fantastic.
Speaker 1 (24:55):
Yeah, yeah, that's fantastic, your cast.
Are they any newbies, as itwere, or are they all seasoned A
?
Speaker 2 (25:04):
handful.
Yeah, so we actually have oneof our cast members.
It's their very first show everLove it.
So that's great to work with,yeah, and then we have like
probably three or four peoplewho have never done a show here
that came to audition.
Speaker 1 (25:20):
I, having had that experience several years ago, as
you know, performing in thefirst time, I think it's got to
bring a great dynamic in thatyou have that energy of someone
that's been doing it for a longtime, who may be a little jaded
and may have kind of not feelingthe magic.
When they're around someonewho's new and has that, then
(25:42):
they kind of take them undertheir wings and say, oh, this is
what Joey mentioned it earlier.
Right, you can't be throwingout terminology and stuff all
the time without really helpingthem through it.
I remember that my firstrehearsals I had to grab someone
after and be like what doesthis mean?
What does this mean?
What is that stage?
Who's stage left, stage right?
What are you talking about?
Blocking, we're going to throwblocks at each other.
(26:03):
I don't get this.
There is, there is a terminologythat comes along in in well, in
anything in general, any work,any art form, so especially in
theater as well.
But that's gotta be nice tohave that mix of energies, as it
were, to kind of bring everyonetogether.
I've always said this too, andwhat I love and I'm excited for
(26:23):
you guys to experience is I dida lot of sports growing up and a
production feels like a seasonright, and like you have those
memories of what happened andlike you will have a connection
with these people for the restof your life.
I still see people that I wasin in Mamma Mia back in 2019,
(26:45):
that we're still great friendsbecause of that connection, and
whenever you see your fellowcast members or directors or
anything like that, it just justgives you this amazing, great
feeling inside.
Well, you guys, we're coming toour an end of our wonderful
discussion here, but I'd love toknow a little bit more, because
(27:06):
I know our audience wants tocome and see this production.
So let's talk about the datesand let's talk about how they
can get tickets.
We open on July 5th Okay, andthat's a Saturday yes, okay.
After July 4th Okay, and that'sSaturday Saturday yes, okay.
After July 4th yes, what?
Speaker 3 (27:19):
do you know that seems to be a holiday around
here for some reason.
Speaker 2 (27:23):
But yeah, we open July 5th, yes, and then we close
July 19th.
Speaker 1 (27:27):
July 19th.
Speaker 2 (27:27):
So we have I think it's three weekends of shows.
Speaker 1 (27:30):
Okay, and then I see you also have some matinees July
6th and the 13th at 2.30 pm,and then tickets, we can call
the box office at 909-590-1149.
And if you would like to visitthe website
chinochildrenstheaterorg and youcan get your tickets right,
(27:53):
yeah, cool, anything else youguys want to share with our
audience?
Speaker 4 (28:01):
I think it's really funny you bring up how shows are
like seasons, because I feellike I keep track of time, not
via years but via shows.
I'm like, oh yeah, this thinghappened before Spelling Bee.
Speaker 3 (28:08):
I love that I was trying to figure out what
Anderson Gables was.
Speaker 2 (28:11):
Yeah.
Speaker 3 (28:11):
Well, that was 2019, because I did this show before
that and that show after thatand you connect like life
moments with oh yeah, that'swhen I did Mamma Mia.
Speaker 4 (28:20):
That's when.
Speaker 1 (28:20):
I did Yuppie Store.
That's a great.
That's a very astute pointthere.
Very astute point there.
Mr Joey, you guys, thank you somuch for spending some time
with us.
Thank you for having us.
Hey, it is such a pleasure andyou guys get out there and come
see this amazing production.
You're in town, the musicalopening July 5th and going
(28:43):
through July 19th, so get yourtickets, come on down, support
the arts, support live theater,and thank you all so much for
being with us today.
Speaker 2 (28:54):
Thank you, thank you, thank you.
Speaker 1 (28:56):
Thanks for listening to steps to the stage.
You, thank you, thank you,thank you.
Thanks for listening to Stepsto the Stage, a 7th Street
Community Theatre podcast.
Follow us on your favoritepodcast platform and leave us a
review and a five-star rating.
It really helps.
You can also find us onInstagram, facebook and YouTube.
Special thanks to ChinoCommunity Theatre and Chino
Community Children's.
Thank you.
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