Interview: Theatre Life with Matthew Gardiner

Today's subject Matthew Gardiner is a prime example of someone living their theatre life to the fullest. While he has directed and choreographed all over town and in Korea as well, by far the bulk of his career has been working at Signature Theatre. Since coming there in 2004, Matthew has either choreographed and or directed some of Signature's most memorable productions while also serving as the company's Associate Artistic Director since 2011.

Last week the impressiveness of his career got even bigger when he was named Signature Theatre's new Artistic Director succeeding the company's recently retired Founding Artistic Director Eric Schaeffer. There is simply no better choice.

Anyone that's been around DC theatre knows how wonderful Matthew's work is. A few of the many examples that illustrate this include Signature's productions of Passion, Sunday in the Park with George, Really, Really, See What I Wanna See, and many cabarets. That is only a teeny sampling.

Around town you might remember his direction for Round House Theatre's productions of Ordinary Days and Caroline, or Change or his choreography for the Helen Hayes Award winning MetroStage production of Jacques Brel is Alive and Well and Living in Paris.

Read on to see what Matthew envisions for Signature Theatre in years to come.

Matthew Gardiner is an extremely talented individual who has already left a big artistic mark on DC area theatre. With his new Artistic Director position, I can only imagine how that mark will continue to expand as he takes Signature Theatre to it's next set of artistic highs.

Congratulations to the most deserving Matthew Gardiner!!!!

When you first came to Signature Theatre 15 plus years ago, did you ever imagine that you would someday be at the artistic helm of the organization?

Never! Not in a million years. I fell in love with Signature originally because of their commitment to the advancement of musical theatre. I thought over the years that Signature is a home for me. It aligns with my own personal artistic mission. It was never my goal to be Artistic Director specifically at Signature. I thought at some point I would be able to take everything I loved and admired about Signature and bring it to another arts institution.

You have been doing everything an Artistic Director would do to keep a company going during a pandemic since Eric Schaeffer retired. Now that you really are in the position, are there any added pressures that weren't there before or do you look at it as a continuation with a higher job title?

I've had to step up to the plate and see that Signature's artistic mission was fulfilled. Now I have to step up to my own artistic vison that I sketched out to the board in my interviews over the last eight months. Now I have to make good on those promises and see through what I want to see happen at Signature in the future.

There have been many cases where new Artistic Directors come in and try to undo the vision of their predecessor. You had worked very closely with Eric Schaeffer for many years. Can you please tell us how much of his original vision will remain and some of the changes you plan to make to keep Signature moving forward?

First off, I don't intend to suddenly start producing Pinter or Shakespeare. Signature's reason for existence has to do with the advancement of musical theatre. I want to see how we can take that genre forward. My taste is different from Eric's. I always want Signature to be evolving. What will definitely stay is the reimagining of classic musicals and the development of new works.

One of the biggest pieces of an Artistic Director's job is choosing a season. As we all know, Signature Theatre audience members are very passionate and, in some cases, come back to see productions multiple times. What is the hardest part about choosing a season that appeals to those who have been a part of Signature audiences for many years while at the same time, trying to attract new audience members?

I think that my goal was to pick a season that is a welcome return and excites those who know and love Signature while at the same time show that we are not resting on our laurels and keep building a new audience. That's what keeps Signature audiences coming back. I never want Signature to seem predictable and keep surprising our audiences.

Signature Theatre has a very long association with Stephen Sondheim. Will the theatre continue to produce his work in future seasons and what is your favorite Sondheim musical?

How you would be a theatre that is committed to the development of musical theatre and the celebration of past musicals without producing Sondheim's work I will never know. Stephen
Sondheim's work, at least under my tenure, will always be a part of Signature Theatre.

This coming season doing Sondheim just didn't fit because of our truncated season. I can say with certainty that there will be more Sondheim offerings very soon.

As for my favorite Sondheim musical, it would be Sunday in the Park with George. I think it's Sondheim's most personal piece and I can really connect with the characters and the idea of the show. Plus, there is no better moment in musical theatre than the act one finale.

Where would you like Signature Theatre to be artistically and (if I may ask) financially ten years from now

My hope is that Signature is really a leader in the field for the future of musical theatre. I hope we can push the envelope and represent voices that have been under represented on our stages in the past.

Financially, we want to be on sound footing and a healthy vibrant organization.

As you look back at what you have accomplished at Signature already as a director/ choreographer and Associate Artistic Director, what stands out to you as a few of the highlights?

To be able to put West Side Story up in a 274-seat theatre was very special. Sunday in the Park with George was a dream. Directing new works such as Soon by Nick Blaemire and Really, Really by Paul Downs Colaizzo are two shows that I am very proud of and I look forward to be able to develop more new work in the future.

Special thanks to Signature Theatre's Director of Marketing Jennifer Buzzell and Deputy Director, Publicity and Creative Content James Gardiner for their assistance in coordinating this interview.

Theatre Life logo designed by Kevin Laughon.

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