Interview: Theatre Life with Eric Schaeffer

For the past 27 seasons today's subject has been living his theatre life as the artistic director of one of the country's leading theatres producing musicals. Under Eric Schaeffer's leadership, Signature Theatre in Arlington, Virginia has gone from doing productions in a school, then in a garage, and now in a gorgeous building that houses two main stages and several rehearsal studios - some of which can be used as a cabaret room.

Not only has Signature Theatre presented an array of works by established composers - including 27 productions of Stephen Sondheim musicals and a Kander and Ebb Festival - it is fully committed to presenting new work, thereby enlarging the modern American musical theatre canon. Joseph Thalken, Ricky Ian Gordon, Nick Blaemire, and Resident Composer Matt Conner have all had their work presented at Signature Theatre, sometimes directed by Eric Schaeffer. Signature's commitment to presenting new musicals continues today. It currently is presenting Tom Kitt and Brian Yorkey's (Next to Normal and If/Then) new musical, Disney's Freaky Friday. The production plays through November 20th.

Signature Theatre doesn't just produce musicals though. World premiere plays have included The Mystery of Love & Sex, Pride in the Falls of Autrey Mill, Really Really, and most recently, The Gulf.

Eric Schaeffer's work as a director isn't limited to Signature Theatre. He is the director of the worldwide megahit musical Million Dollar Quartet. Other Broadway directorial credits include Follies (also at Kennedy Center,) Gigi and the Sondheim review Putting it Together. He has directed such stars as Carol Burnett, Vanessa Hudgens, and Danny Burstein, as well as many local DC area favorites like Tracy Lynne Olivera, Bobby Smith, James Gardiner, and many others. Locally you might have seen Eric's Meet John Doe or Hello Dolly at Ford's Theatre or the Kander and Ebb revue First You Dream,which premiered at Signature Theatre and then went on to play the Kennedy Center. It was filmed and aired on PBS.

As you will read, keeping with Signature's mission of producing rarely done musicals, Eric is very excited about Signature Theatre's next big project Titanic the Musical and rightfully so.

Serving 27 years as the artistic director of a single theatre is quite an accomplishment. With Titanic the Musical, Silver Belles, Jesus Christ Superstar and Mrs. Miller Does Her Thing later on this season, there's something for everyone in the house that Eric Schaeffer and others built. It has become a major force in the American theatre.

One of your many upcoming Signature Theatre projects is a revival of Titanic the Musical. Why did you feel the time was right to produce this particular show?

I have always loved the musical Titanic. I always felt it was one of those shows that never got its due. What is so ironic is that there has never been a better time for Titanic than now. The story of immigrants to the story of dreams - it's all about the conversations and debates happening in our country. This musical proves we all have the right to be part of a bold new world.

Part of Signature Theatre's brilliance is that you are able to take what were large scale musicals on Broadway, strip them down of overblown production values, and let the material breathe a little more. Without divulging too much, how will you do this for Titanic the Musical and are you planning to restore any of the cut material?

This production of Titanic is going to be so different than its ever been produced. We have a cast of twenty, an orchestra of seventeen, and an intimate set that is three stories tall - I guess that's not too intimate. I hope that audiences feel that they are in and on this great ship. It promises to be an exciting endeavor for us. We haven't restored any cut material to the show for this new production. I don't want to give away too much on how we are doing things like sinking the ship because it is all part of the experience for the audience, but I will say it is going to be very exciting and emotional.

Maury Yeston's score for Titanic the Musical is almost like singing grand opera. What impresses you the most about the show's score?

The score is just fantastic. Maury's opening is one of the greatest openings for any musical ever written. I think to hear the score in our theater with this large orchestra will be so powerful. As I have told our company - you can't do a show called Titanic with the sound of six or eight players. The emotion in Maury's score deserves to be a major storytelling element in the production. I think there will be many moments that audiences will have goosebumps with this powerful cast that we have assembled for the production.

The upcoming Silver Belles is another world premiere musical by Resident Composer Matt Conner. Where did you discover Matt Conner's work?

I discovered his work in my living room. I knew his husband Stephen Gregory Smith and one day Matt came to a cast party. Next thing, he was sitting at my piano and playing his songs for me and an instant connection was made. We've been working on projects ever since and its been a wonderful collaboration.

Signature Theatre has a very involved and supportive subscriber and volunteer base. When you choose your season, do any of the picks come from talking directly with these folks, or is it more of the artistic team thinking about what the audience will enjoy seeing?

Our audiences are always mentioning shows to me. I love that. Some suggestions are way off the wall and others are not. I just keep a running list of shows at my desk and sometimes add the names to it. We think about audiences, but we also think a lot about the staff and artists and what excites them. It's a huge, fun puzzle to figure out when planning a season of new and reinvented work to produce.

You were the art director for WETA for a while and recently designed the set for Crossing at Signature Theatre. What about set or production design is interesting to you? Do you miss doing it?

I do miss doing it. I love the visual arts and dreaming up ideas. The thing is when I work on a new show, I have such a strong opinion of the world I want to create. Set designers will tell you I send them sketches of what is in my head. With Titanic, we did something we have never done. I actually met with a set designer to see if the idea I had on how to do the show could technically work in our space. Once we figured out a way to do this big idea, then we actually committed to doing the show. I just knew that I wanted our Titanic to be special and not like any other production. So I still use those skills in everything I do, which makes it interesting for me.

Signature Theatre is known for its productions of Stephen Sondheim musicals. Why have you chosen to make the work of Stephen Sondheim Signature's signature?

It's funny; we never set out to be the Sondheim Theatre. Our first Sondheim musical - Sweeney Todd - was in our second season. The third season we did Assassins. Then the audiences came up to me and asked what the Sondheim show was going to be next year. They are the ones who actually planted the seed in my head. So then we started producing one every year and it has been wonderful. We've done 27 productions of his musicals - more than any theatre in the country. I just love his work and next season I'll be directing our Sondheim show, which I am so looking forward to.

Signature Theatre, more often than not, has improved on the original stagings of certain musicals, with Chess being just one example. What other musicals would you like to take a crack at "getting right" at Signature Theatre? Drat the Cat maybe?

I need to check out Drat the Cat! Well, I do have this list on my desk with lots of great titles. The funny thing is that a number of shows that we would love to reinvent, we just can't get the rights to for various reasons. I keep checking in every few months to try and make that change, but I think there are some jewel shows that deserve a reinvention and I hope that Titanic is one of those examples that people discover what a special, wonderful show it is.

You are deservedly getting a lot of directing work outside of Signature Theatre these days. Can you please tell us about any upcoming non-Signature Theatre productions you will be working on?

I just finished directing a new Korean language production of Sweeney Todd in Seoul, which was a wonderful experience. I have been working on Beaches since the Chicago production and Signature premiere and we should have some new news we can share real soon. I am also working with Ed Dixon on Georgie, which will be heading to NYC very soon. And I just signed on to do a new play, which I can't talk about yet, but is a very exciting project. I'm also working on a new musical with two of my favorite writers - John Dempsey and Dana Rowe. That may end up starting at Signature, which couldn't make me happier.

What do you consider to be some of Signature Theatre's crowning achievements thus far?

Just the fact that we're still here after 27 years and doing what we love to do. It's great that we got the Tony Award in 2009 and the other recognitions the theatre receives, but for me it's the artists. I think the fact that we have amazing artists that love and want to work at Signature is the greatest thing. The fact that they feel safe, can create, and have an environment that they feel cared for is the most important thing for me. That makes you feel proud about something you helped create.

Special thanks to Signature Theatre's Deputy Director of Creative Content and Publicity James Gardiner for his assistance in coordinating this interview.

Theatre Life logo designed by Kevin Laughon.

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