Interview: THE BOY FROM OZ 's Director & Lead Talk Peter Allen... and Celebration Theatre Deets

The Celebration Theatre's production of THE BOY FROM OZ has just opened to glowing reviews; raves and compliments Celebration's co-artistic director Michael A. Shepperd has gotten used to. (Look at their looong list of award-winning productions!) We had a chance to chat with both the prolifically talented (directing and acting) Shepperd and the charismatic, triple-threat Andrew Bongiorno who plays the titular BOY Peter Allen.

So, Michael, how did the west coast premiere of THE BOY FROM OZ fall into Celebration's talented lap?

MS: Quite frankly, I'm still surprised it did. Michael Matthews and I were talking of possible musicals to do for the upcoming season. We were in one of our offices (insert random bar name here) and THE BOY FROM OZ came up. We laughed at the possibility of getting Hugh Jackman to come and do it for us. Maybe get Liza to play Judy. After übering home, I applied for the rights to the show. And, boom! David Spicer, who holds the rights, called two days later to offer us the show. So I guess the moral is, blue sky-thinking and cold martini can actually lead to a West Coast premiere.

I know Celebration has two very capable and lauded directors in your company. I believe they happen to be co-artistic directors, you and Michael Matthews. Did you two have to draw straws or arm wrestle for the chance to direct this production of THE BOY FROM OZ?

MS: Not at all. We each know our strengths. When we set up the season, we knew that Matthews would direct the first two plays and I would direct the musical. Although at the time of that agreement, I thought the musical was going to be a different, smaller show. When OZ came about, I won't lie; I was a bit scared.

Michael Matthews is probably the most gifted director I know and once he talked me off the ledge, I was able to move forward. And when I had super doubt, I would just use the age old adage, WWMMD?

How do you, yourself, Michael A. Shepperd, and Michael Matthews go about choosing a piece for Celebration to produce? And then how do you decide which of you two directs?

MS: We read a lot of scripts. A lot. It has to resonate within the both of us. We also look at not only how it fits into our mission statement, but also if it's financially viable for us to do. There are several large cast shows we would love to do, but given the current climate, are just not feasible. And how do we decide who directs? We usually just play that childhood game: Rock, Paper, Vodkas.

Andrew, are you originally from the Land of Peter Allen - Australia?

AB: Yes, I'm from a little town called Ballarat, one-hour drive north of Melbourne.

What brought you to the United States?

AB: My career aspirations. Australia is a wonderful place to begin an acting career, but has limited opportunities compared to the States.

How old were you when you realized you wanted to become a performer?

AB: For as long as I can remember I have wanted to perform. But I first "walked the boards" when I was 12.

How old were you when you become aware of Peter Allen?

AB: I think I have my father to thank for my "Allen awareness." The first Allen song I can remember hearing was "I Go to Rio." I was probably not much older than a toddler.

Did you and your mates think Peter Allen was cool? Or old-fashion? Or...?

AB: To be honest, most of my friends know his bigger hits, but don't really know much about him, due to the generation gap.

What was your favorite Peter Allen song?

AB: "Tenterfield Saddler." The thing I most admire about Allen's work is his candid honesty. If you look at his songs, they are all about his life experience and none more personal and raw than "Tenterfield Saddler," a tribute to his Grandfather and a lament for his Dad.

I hear that you have some 'six degrees' of connection with Peter Allen. Would you elaborate?

AB: I studied the same intensive three-year acting degree as Hugh Jackman at The Western Australian Academy of Performing Arts (WAAPA). While at WAAPA, one of my acting teachers was none other than the late Nick Enright, the original writer of THE BOY FROM OZ. He also received an Academy Award nomination for his screenplay of Lorenzo's Oil. When I graduated WAAPA, my first professional role was in Sam Mendes' production of CABARET with the original THE BOY FROM OZ - Todd McKenney.

Did either of you get a chance to see Hugh Jackman in his Tony Award-winning role of Peter Allen?

MS: I did. I was in rehearsal for LITTLE SHOP OF HORRORS on Broadway and was able to catch the show. It was very glitzy and glamorous and I came out whistling Hugh Jackman. It was very fun.

AB: Unfortunately not.

Michael, what was your process for casting Andrew as Peter Allen?

MS: I met Andrew through a video submission. He was incredibly handsome, super charming and had a great set of pipes. His voice wasn't bad either.

AB: I was actually in Chicago when my manager Don Carrol called me about the auditions. Thus I had to put down a self-tape introducing myself and singing two songs. I chose "I Still Call Australia Home" and, of course, "I Go to Rio."

MS: When he got back into town; we met, talked, read and sang.

AB: Then upon my return to LA, I met with Michael ("Oh Captain! My Captain!") and chatted with producer Andrew Carlberg.

MS: I knew it was meant for him the minute he sat down across from me.

Michael, what were your initial goals or hurdles in directing THE BOY FROM OZ?

MS: Taking a Broadway-sized show and placing it on a California King-sized stage.

How did your goals and hurdles change during the course of actually directing this production?

MS: I came in thinking I knew exactly what the show was about. That I had the most perfect vision for the show. Then as we started, I realized I didn't know much of anything. That what I had in my head was just my voice. But it was the cast and choreographer and music director and my brilliant assistant director and their amazing voices that helped guide what you see onstage. It was truly a collaborative effort.

Is The Lex stage area a lot smaller than or about the same size as your former Celebration stage on Santa Monica Blvd.? I've seen large casts move amazingly well at your former theatre.

MS: Muuuuuch smaller. And with super limited backstage area. SUPER LIMITED. One dressing room. 12 people. 100-plus costumes. Many, many wigs. I am in awe of the cast for creating what has to be an amazing show backstage.

Did either of your knowledge or perceptions of Peter Allen change in any way during this rehearsal period?

MS: He was fierce then, and still is.

AB: Extensively. I researched Peter for seven weeks during my rehearsal "cocoon," watching videos of him and about him, as well as learning about Stonewall and the Pride movement it sparked, his connection to Judy Garland and Liza Minnelli, as well as the AIDS epidemic that swept the USA at the time.

Are the audience reactions so far what you've expected? Any responses that surprise you?

MS: I just hope the audiences are enjoying the ride. And I think they are. We've only been open a week and we've had many people return for a second and third helping.

AB: Going into this, I knew that people would draw comparisons with Hugh Jackman and I think it has actually helped me, by not having seen his performance, so I can bring my own clear interpretation to this role. The response has been resoundingly positive and I'm very grateful. The ultimate compliments strangers have paid me is to tell me they worked with/saw Peter Allen perform and recognized him in my performance.

Michael, what would you like your audiences to leave with after experiencing Celebration's THE BOY FROM OZ?

That the Los Angeles 99-seat theatre community is just as strong, just as dedicated and just as viable as any larger house theatre in any other city. That without 99-seat theatre; many, many shows like this one would never have been able to be produced. That they will go out and support more shows in the 99-seat world.

Thank you Both!

THE BOY FROM OZ runs Thursdays, Fridays and Saturdays @ 8p and Sundays @ 2p through June 19 at Celebration at the Lex Theatre, 6760 Lexington Avenue in Los Angeles. For the few available tickets, probable extension dates and more info, visit www.celebrationtheatre.com

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