BWW Interviews: Justin Boccitto Brings Experience and Excitement to Lipscomb University's HAIRSPRAY

So how does a New York-based actor-dancer-choreographer-producer-arts administrator - okay, let's just say it loud and clear right now: Justin Boccitto is a multi-hyphenate - find himself in Nashville, directing and choreographing a production of Hairspray at a Christian university with a theater program that's making a big splash locally, regionally and nationally?

The direct and succinct answer: He loves what he's doing, that's how. The decidedly longer and more elaborate answer: Justin Boccitto loves what he's doing and he admires the efforts of department chair Mike Fernandez and the theatre faculty at Lipscomb University, and he is excited to be along for the ride as the theatre program continues to grow and prosper.

For students in the theatre department at Nashville's David Lipscomb University, they're benefitting from Boccitto's talents and experience in ways both expected and surprisingly unexpected.

"It's great to be working with Justin," says LU senior Caleb Pritchett, a Franklin native who recently starred in LU Theatre's production of Ken Ludwig's Leading Ladies, following a summer spent working with Nashville Shakespeare Festival's Apprentice Company, playing Benvolio in Romeo and Juliet. "To be able to work on a show like this with someone like Justin can only help us if we plan a career in theater after we graduate."

According to Pritchett, Boccitto's professionalism is felt throughout the whole process as he utilizes his years of experience - and we daresay wisdom - to guide his student cast (there are 41 members of the Hairspray ensemble and that doesn't include the rest of his crew and creative team) through the exhausting, yet exhilaratingly creative steps of bringing an iconic, contemporary musical to an audience.

"He's tough on us, but that just makes us work harder," Pritchett maintains.

During a recent interview, Boccitto offered some insight into his work on the show, his background in theater and what's in store for him once Hairspray is up and running (November 3-6, which is homecoming weekend on campus, so you might make your reservations now!) at Lipscomb University's Collins Auditorium.

What's been the biggest surprise for you during the whole Hairspray process?

I would say I am most surprised with how perfect the cast is for this production. I was not actually part of this process because it's done very early in the year for all the productions Lipscomb Theater Department is presenting. Coming in from New York City you never know what the talent level is going to be. My three prior experiences with Lipscomb, as just choreographer, were Joseph and the Amazing Technicolor Dreamcoat, Guys and Dolls and Ragtime.

I was also impressed with those casts but in Hairspray you see where certain students have grown as artists and performers. There are also a lot of freshmen in the cast and they add a fresh, new energy to the mix. This is a testament to the Lipscomb Theatre Department - which has tripled in size this year - and to the head of the department, Mike Fernandez, who has reinvented this program in just three years! 

How have students responded to the material and the process? Do they get the significance of the story told by Hairspray?

They've responded well. I think it is easy to lose track of the significance just because the musical can, at times, be surface material. What I mean is, at first glance, the show appears to be a fluffy musical comedy with fun characters and a silly plot. But a second look can show you how pertinent the story is to even today's social issues of civil rights and injustice. 

The cast and I have spoken in depth about John Waters' intention with writing the important message of racial segregation into a dark comedic tale revolving around the power of mass media through television.  Now, our production is definitely focusing more on the positive aspects of the script and we've made sure nothing inappropriate is being conveyed in our storytelling. We've also had a great resource in our assistant director, Deb Holloway, who was a young girl during the early '60s. She has really helped put some perspective on the events. 

What's your biggest challenge in doing this show?

The comedy. It's hard to teach comedic timing and as a director I hate telling actors, "Well, do it like this..." So, we've been working on going over the top with their characters but keeping them based in some kind of reality. The first week, with any production, I run an exercise with the principle characters called "The Hot Seat." They are given 101 questions to answer prior to the exercise, which I inherited from my teacher Michael Blevins, and then we have a one-on-one interview in character where I ask them about their past, family history, beliefs, fears, interests, etc.  

"The Hot Seat" was also an integral part of character development for the original Broadway production of The Drowsy Chaperone.  After "The Hot Seat" the entire cast approaches their character's physicality, which I find extremely important, especially for a spoof such as Hairspray. To get back to your question I think existing in a spoof musical is tricky because you have to be honest in your delivery but borderline on the absurd. That is the hardest part. My motto to the actors is "It's easier for me to pull you back then push you forward!"

What do you like best about Hairspray, in general, and this production, in particular?

I like that we've found a way to make this production accessible to all ages. If a father brought his wife, 12-year-old son and friends from church to our production, I truly believe they would all leave having learned something while enjoying all the performances.  

I don't want to give too much a way, but our production also has a lot of multimedia. That has been a real exciting aspect to the rehearsal process. We are working with Charlie Kanganis from Watkins Institute in putting together all the video sequences. Charlie also has 25 years' experience as a Hollywood director under his belt. 

I've also enjoyed working with the other creative members of our team. David Hardy, our set and lighting designer, June Kingsbury, our costume designer, and Janet Holeman, our musical director, are so instrumental to the success of Hairspray. I feel like I'm back in New York City working with artistic, professional designers and directors who bring so much to the table!

What's next on your theatrical agenda?

My company, The Group Theatre Too, presents an annual dance concert in NYC called the Choreographer's Canvas. We are currently accepting submissions for this event and will choose the 15-20 choreographers in late December. I'm also looking at a new script by James Rado, writer of Hair, to possibly choreograph a workshop production in New York next year. I'm choreographing and working on a new children's musical version of Aesop's Fables, written by Michael Milligan and directed by Theodore Mann, artistic director of Circle in the Square. 

Once I finish in Nashville I will return to my regular classes at Broadway Dance Center and in June I am getting married so that will be another theatrical production in itself...just a few things going on!

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