Posted by MCC Theater Executive Director Blake West-

Great shots from Sunday night’s Sitzprobe. What’s a Sitzprobe? We typically don’t produce musicals at MCC, so Sitzprobe isn’t a usual part of our vocabulary. But now we know: it’s German, and essentially means “seated exploration.” It’s when the orchestra and cast work through the score together for the first time. But mostly, it’s pretty damn magical. On Sunday, the company ran each song, most of them twice. Doug Besterman’s orchestrations really give dimension and color to characters and moments in surprising ways, and music director Mary Mitchell Campbell and her team of musicians really turned it out. From the start of our work on Carrie I’ve been in love (truly, madly, deeply) with the show’s opening number, “In,” in all its iterations, but hearing it at the Sitzprobe was a revelation, a burst of unpredictable energy and nuance. I think it’s going to knock people out at the top of the show. Yesterday, the orchestra moved into the Lortel, to join the cast and crew. The elements all come together today. Less than a week to go before audiences join us!

3 questions with Stafford Arima, director of MCC Theater’s upcoming musical, Carrie.

1. Are you a fan of the movie version of Carrie?

Absolutely! The film introduced the world to a gifted actress named Sissy Spacek, and created one of the most complex mother/daughter relationships on screen. DePalma’s direction along with Larry’s screenplay created a motion picture that, to this day, raises the hair on the back of my neck.

2. Do you like working with big casts?

I adore working with casts large or small. The extraordinary cast of Carrie has been nothing but sublime. This particular group has been open to exploring the material in unique ways through improvisation, storytelling, theater games, and improvisation, which ignites rehearsals in very exciting ways.

3. What do you hope people will take away from the show?

That we should watch very closely how we treat our fellow man. One of our protagonists, Sue Snell, asks the question, “What does it cost to be kind?” – a somewhat elementary question, but one that deserves consideration. In our schools, homes, and theaters, we must continue to teach our youth (and sometimes ourselves) about acceptance and magnanimity.

Follow Stafford on Twitter: @fordstaff

For more information about MCC Theater’s upcoming production of Carrie, please go to mcctheater.org.

THREE QUESTIONS WITH…
Matt Williams Choreographer of MCC Theater’s upcoming Carrie.

1. What is your process for developing a movement vocabulary for Carrie? Or, any show?

My choreographic process for Carrie started with text from the script and the novel. Certain words, sentences, or phrases would motivate a gesture. That gesture would in turn motivate a motif. Then that motif became a movement phrase. Creating movement in pre-production rehearsals was also key. MCC gave us space, time, and workshop labs to throw things up and see what worked. That was a wonderful luxury. We also enlisted the help of dancer-friends who donated their bodies and their time to us. Thanks dancers!

2. What is your favorite musical and why?

My favorite stage musical is likely Sweeney Todd. Why? If you’ve seen a good production of it, you know why. If you haven’t seen it, watch the video with George Hearn and Angela Lansbury. I also have to mention my favorite movie musical, American In Paris, because it is why I started dancing. There may never be another Gene Kelly before the world ends.

3. Do you have a favorite choreographer? A show that was particularly inspirational to you?

I really love Michael Kidd. His choreography is contemporary and relevant even today. His quirky combination of various dance forms made the most interesting and dynamic musical ballets. Watch his Crapshooter ballet from the Guys and Dolls film. He won five Tonys and he studied chemical engineering. Wish I could have met him. Bonus question: What was Michael Kidd’s real name? A) Alphonso D’Abruzzo B) Milton Greenwald C) Bernard Schwartz