The Watchmaker Speaks - An Interview with Jed Parsario

Late in the casting process, we were still looking for a male actor to complete our Nightingale cast. We were so lucky to find Jed Parsario, who is not only a hard-working actor who approaches his roles with great commitment, but also a most pleasant human being. Jed works in retail - as so many artists do and have done in order to make ends meet - but his vocation is as an artist.

 ---

MIN: Describe your performance background. How did you start performing?

JED: I was in band from 4th grade to high school and played flute (dismally), bassoon (phenomenally), and trombone (with mediocrity).  I joined my high school's winterguard group and that's where I had my first experience as a performer. During my years at the Academy of Art, I joined In Motion Winterguard, an independent winterguard organization,  and competed across the country, performing in arenas filled with thousands of spectators. Meanwhile, I was taking acting classes at the Academy to supplement my skills as a film editor. That's when I caught the infamous acting bug. Then, one fateful day in August 2011, I braved an open audition at Bindlestiff Studio where I was offered the principle role for Ignacio Zulueta's José Rizal on Angel Island, a two-man one act about the Philippines national hero's detainment on Angel Island. During the run, my scene partner had a conflict with a production and dropped out. The directors, playwright, and myself decided to then re-stage the script and perform it as a one man show (the supporting character was originally a figment of Dr. Rizal's imagination, so it made artistic sense to have a disembodied voice 'perform' that role).  Talk about diving headfirst in the deep end. After numerous praises by Rizalian's-- it's an actual religion, but in my case, fans of Dr. José Rizal; teachers, professors, historians, and avid readers of his novels; and several death threats made by theatre goers and fellow cast mates after learning I was not, at the time, a serious actor, I decided to follow my gut instincts to pursue acting seriously and put film/video editing in second place.

M: Wow. From death threats to... a musical! And this was your first musical, right? What has the experience been like? Any differences/similarities from non-musical productions?

J: I have learned tons. TONS.  It has been a potpourri of adjectives. Humbling, challenging, scary, and exciting to name a few. I liken this experience to the two Shakespeare productions I've done so far.  There's a technicality to my approach that I don't pay too much attention to when I do non-musical, non-Shakespeare narratives.  I think I tend to be more of the instinctual actor. Or perhaps I still lack experience and training.  This production has taught me that; the importance of the "technicalities" of acting. There's also this performance aspect of it that I think is unique to musicals. I'm allowed to show-off. I don't find this to be true with straight narrative plays.

M: Your scene as the Imperial Watchmaker is undoubtedly a scene-stealer. Can you describe your approach to the character? What makes him so damn funny?

Jed as the cantankerous Watchmaker (sans mustache) 

J: The Imperial Watchmaker is my favorite character of ones that I play.  I love playing character roles. I enjoy the challenge of breathing life into someone that doesn't get to say as much or be on stage as much as other characters.  I ask myself  "Why did the playwright include this person?  Why are they important to keep around? What's their purpose in the narrative?" My answer is always the same. They are the most important character in the play. I try to bring their entire back story on stage. That way, even though they may just say one word, or none at all, they make an impact.  I never wanted him to be funny.  I just wanted to intimidate the entire Imperial Court, and the audience.  The laughter that came from the rehearsals actually threw me off, but I trusted you and Christina so I kept him that way.  One thing I always remind myself prior to his entrance is where he just came from, what he was doing, and "Ain't nobody got time for this!" I was told by an instructor/mentor to never play for the laughs. That'll come if I play the truth of the moment. I hope I'm living up to that.

M: Each time I watch the show, I look forward to his entrance. Even though I've seen it so many times, it doesn't get old. That's a testament to the internal work you're doing as an actor. Anything else you'd like to share?

J: I hope and will make sure that this isn't the last musical I do.  I think it's important to be well-rounded as an actor and as an artist.

The Process of Ted - An Interview with Ted Bigornia

By day, Ted Bigornia is a commercial closer and escrow officer for a large title insurance company. But by Nightingale showtime hours, he is charismatic and hilarious in his role as Bing Wen, and pulls off the Herculean task of leading two of the heftiest numbers in the show. He has also worked as a pianist and music director for theatre productions. Ted shares about his path to and experiences on the stage, as well as what it's like to play the Emperor’s Lord-in-Waiting and the Palace Aesthetician.

---

MIN: Describe your performance background. How did you get involved with theatre?

TED: I first became involved in theatre as a piano accompanist for a children’s theatre company in Vallejo during my senior year in high school. Around the same time, I was cast in the ensemble of my high school’s production of Oklahoma!, which was my first time on stage.  I remained with the children’s theatre (which also incorporated adult students as “guest” artists) as both accompanist and performer – primarily in the ensemble or in character roles, working on productions in Vallejo, Napa, Sacramento and Fairfield, for three or four years.  That was my start.  I enjoyed it so much, I’ve been doing it off-and-on ever since. Lately, I have been exploring opportunities to work on the acting side of it more and more, having taken roles in non-musical plays as well.

M: You have also worked as a music director for theatre productions. What do you enjoy about working as a music director?

T: I really enjoy working with singers of various experience levels, and helping to bring out their best.  I also particularly enjoy working with chorus/ensemble sections. This involves a creativity in part breakdowns and dynamics and tempo variety, and is rewarding every time, both in terms of entertainment value of whatever piece I’m working on, as well as in terms of pride of the singers.  I LOVE to see singers feel great pride in their accomplishments, and encourage it. On the instrumental side of things, the challenge is always getting the best sound possible out of a very small combo, deciding what instruments to use given budgetary and availability constraints; this part of it can be stressful, but also very rewarding.

M: Are there any insights you've gained from working as a music director that informs your work as an actor?

T: Yes – very often, I learn just as much from the singers I work with as a musical director as vice versa.  You get an objective perspective on the process, and I have a better understanding of why musical directors I’ve worked with will experiment with part assignments, word pronunciations, dynamics and the like.  When you are singing, whether solo, or with a group, you can NOT really get the full perspective of the effects of what you are doing.

M: What has working on The Song of the Nightingale been like for you?

T: This has been the experience of a life-time.  From the staged reading three years ago, through this current run, I have enjoyed taking on material that is new, that has no existing history of production performance by anyone else.  Kind of forces you to bring your own interpretation to everything.  The material is wonderful, the message is positive and simply “feel-good” kind of stuff, which seems rare in newer shows these days.  Also, it truly isn’t often that you get to work with a group that has this much accumulated talent.  Every single person involved – from the production staff, cast and crew – brings so much value to this production that, altogether, creates a phenomenal experience for me.

M: Describe a little bit about your approach to the character of Bing Wen.

In older iteration of the script, Madam Wu (Alexis Wong) and Bing Wen (Ted Bigornia)  were an item.

T: Three years ago, during rehearsals for the staged reading, I remember a candid conversation we had between some of the cast and yourself, wherein you mentioned that you had earlier thought about creating some kind of relationship between Liu Bing [now named Bing Wen] and Madame Wu – and you got the immediate response from everyone present that it was a bad idea.  Someone went so far as to suggest that Liu Bing HAS to be “fabulous.”  That conversation led me to feel free to try a more flamboyant direction with him.  Cut to the current production and at the first read-through, you explained how this piece was born of your love of Disney films, and that these characters are cartoons and over the top, which led me to decide to take the flamboyance perhaps even a little further and make it rather affected. Is it realistic? Probably not. I do try to bring an over-the-top theatricality to Bing Wen.

M: How is the character similar to you?

T: Bing Wen and I both share a certain pride in our craft, I think.  He is very proud of his designs, and it is important to him what the court members think (this is apparent his great fear of having to present the ugly Nightingale to the court).  I am the same way with performance. When things go well, and when what I do works, then I have great pride in what I do. But I share the same fear of making poor choices and turning in a performance that does not work.  Yes I do have an ego and fully admit it, and we both share a fear of damage to it.

M: How are you different from Bing Wen?

T: I’m not nearly as affectedly flamboyant as what I try to convey in Bing Wen. Outside of yucking it up at a theatre rehearsal, I’m really not that “fabulous.” When I do “turn it on” it’s just that; I do that as a clown.  I also don’t mind being funny, even at my own expense.  I don’t think Bing Wen would ever be comfortable being laughed at. It would hurt him, I think, if he believed anyone were making fun of him.  Bing Wen’s flamboyance is a part of him, and he may not even really consider himself flamboyant, it’s just the way his is.

M: It is actually moving to me that you consider Bing Wen’s feelings. Even with the over-the-top affect, I believe you have brought out an emotional depth to a character that could have been played very two-dimensionally. So, thank you! Anything else you'd like to share?

T: I can’t think of anything further really to say, except to thank you very much for this opportunity to work on this with you.  I know you really didn’t know me when I auditioned for this three years ago, and I think it must have been a bit of a gamble for you to go with me for this role.  But I’m glad you went with it, and continued to keep me a part of it for the purposes of the current production.

Ted, with fellow actors (from left to right) Miyoko Sakatani, Isabel Anne To, Christopher Juan, Lindsay Hirata and Ji-Yun Kim. 

I would like to see your show go even further.  I’d love to be able to see your show, fully backed and fully professional, perhaps in NY or National Tour, perhaps after it has garnered a Tony or two, and be able to say that I was a part of that back when…back when…!

M: I’m very thankful to have you in the cast as well, Ted! Thanks for your well-wishes.

Next Generation - An Interview with Ji-Yun Kim

Ji-Yun Kim, one of our stellar ensemble members, wears many hats in life. In addition to performing on-stage, she has worked off-stage in roles such as props manager and dresser. It is her role as a biology teacher in Oakland, however, that impresses and excites me the most. Ji-Yun was able to invite several of her students, present and past, to see the  preview of The Song of the Nightingale, and I was thrilled that many students were able to watch the show for free that evening. I've asked Ji-Yun to bring us into her world of teaching by sharing her insights.

--- 

MIN: Describe your day job for me. What draws you to work in your current position?

JI-YUN: During the day, I teach high school Biology and AP Biology at Fremont High School in Oakland, CA. Originally, I was thrown into teaching when I elected to join Teach For America, a program that recruits recent college graduates and trains them to teach in low-income neighborhoods. After one summer and five weeks of training on my resume, I entered the classroom thinking it would be a temporary placement, but ended up staying for the love of the job and the kids. When I first started, I had no idea I would stay at Fremont for the six years that I have, but something about the tireless work, the constant personal and professional growth, and the relationships I build with the students and faculty keeps bringing me back. I am grateful to be able to work with the resilient youth of Oakland and support them toward creating their own opportunities for their futures. I find the work I do absolutely exhausting yet completely fulfilling, for truly, there is never a dull day.

M: You were able to invite quite a crowd of your students, current and former, to our free preview night. What was that experience like for you?

JY: I have always invited my students to come watch any productions I'm involved in, but this was by far the largest turn out. Given that the performing arts have become such an important part of my life over the last few years, it was incredible to see so many of my students' faces in the audience. For most of them, the option of watching a stage production is one that is not often presented, and if the opportunity does happen to arise, the location and cost often deter them from attending. The free preview was the perfect chance for them to experience a night at the theater, especially since Altarena Playhouse is less than two miles from where I teach. It warmed my heart to see them in the audience, reacting and responding to everything they were witnessing on stage; I was smiling for hours after they left. It would be wonderful if I could continue to perform more locally so that they have better access to the shows I am a part of.

M: What responses have you gotten from your students?

Ji-Yun Kim (second from the left) with former students (from left to right) Roy Christopher, Tina Tieng, and Rashond Grant .

JY: The kids LOVED the show!! For the majority of them, Song of the Nightingale was the first stage production they had ever seen. They were completely enthralled by it - the costumes, the music, the story-telling - it was all so novel to them. One actually texted me during intermission to tell me how much he was enjoying the performance, having cried before even the end of Act I. By the end of Act II, all my students wanted to meet, get autographs from, and take photos with as many of the cast members as possible. Even a week after the fact, students were coming up to me to tell me how much they had enjoyed the show and how glad they were that they had watched us perform.

M: Your students have also begun to post their responses on Youth Voices. Can you explain a little about what Youth Voices is?

JY: Youth Voices is an online blogging platform designed and managed by a group of teachers who believe in creating space for students to read and write about their passions. The site is designed to encourage discussion between students both nationally and globally, allowing individuals to post blogs online where readers are welcome to respond, and thus create dialogues with each other. Our English teacher requires her students to post blogs as assignments to push for feedback on their ideas. In fact, she is having the students who attended The Song of the Nightingale post about their reactions to the show, and for extra credit, analyze it through a critical literary lens of their choice. One of our seniors, Maria Ramos, wrote of her favorite part of the show and analyzed it through the Marxist theory. This is what she had to say:

 "One of my favorite parts, would have to be when the main character who was the son of the fish worker and a fish worker himself, decided to lead a revolt against the Emperor. It was one of my favorite scenes because it showed the realism of the Marxist theory, in where, the working class will eventually seek a change in power for the common good when provoked by harsh inequality that is being experienced. I also liked it because there will always be that leader, who stands up for what he believes and knows how to attract people’s attention and help them understand that there are rights that people have that should be respected and that there is an obvious violation of those rights."

The rest of her post can be found at http://youthvoices.net/discussion/song-nightingale-1.

M: Any other insights/thoughts you'd like to share?

JY: I'd just like to take the time to say that being a part of The Song of the Nightingale has been a truly phenomenal experience. I only have the utmost gratitude for being a member of this exceptional cast and am humbled by the loads of talent I am surrounded by. So, thank you, Min, for writing such a beautiful show. Thank you to Christina Lazo for directing it with such grace. And, thank you to Fred Chacon and Altarena Playhouse for allowing me to share this experience with my students. It is one thing to be able to impart Biology knowledge to my kids, but to be able to share performance art with them has brought me a completely new level of fulfillment and joy. I can only hope that having seen this show opens my students' minds to the creative, and inspires them to seek out opportunities that allow them to exercise their imaginations.

Influence: Alan Menken, King of Melodies

In 1991, I got the soundtrack for Disney's Beauty & the Beast on cassette tape before I had even seen the movie. What I heard on that tape was epic. The opening number "Belle" in particular blew my mind completely with its layered vocals and bright melody. When I finally saw the movie at the theater, I remember getting so excited that "Belle" was beginning that I shouted out "Bonjour! Bonjour!" right along with the 2-D French people on the screen. My mom and sisters had to shush me and tell me that it was not polite to blurt out the words. My love for this film was further solidified when the VHS came out on October 30th the following year, and I opted to skip trick-or-treating just so I could watch Belle, Beast, Gaston, et al three times in a row on Halloween.

I couldn't have told you then what it was about the score for Beauty & the Beast  that I was so taken by. I know now, though, that it was a combination of lyricist Howard Ashman's fantastic use of the English language, and composer Alan Menken's uncanny ability to make melodies that whisk you away into the story. Ashman, unfortunately, was taken from the world way too soon. But Menken continued on to create the memorable scores for Aladdin, Pocahontas, The Hunchback of Notre Dame, and Hercules. Each new Menken-Disney project offered musical compositions that were unique from those of previous films (compare Pocahontas  to Hercules , for example). And yet, they all brought the storytelling power that came to be expected of 90's Disney films. This is why, even as a kid, I was sorely disappointed with the music in The Lion King.  This is not to harp on Elton John's amazing pop sensibilities. But there's just something about a Menken melody that grabs you and says "Listen! Something very important to the story is being sung here!"

Why do Menken's melodies work so well? Two answers. First, I think it's because he knows when to surprise us. Take my favorite Menken tune "Out There" from Hunchback.  The structure is pretty standard for an "I want..." ballad. There isn't anything particularly tricky about the meter or structure or form. But the main melody of the chorus starts off with a descending minor 7th. For those who are less musically inclined, all you need to know is that a descending minor 7th is very rare in songs. Menken harmonizes it so well that you don't realize it's so different, but the subconscious impact remains. This big jump in the melody sounds fresh and expansive, and gives the song its particular character.

Second, Menken's not afraid to keep things simple. The song "Beauty & the Beast" is essentially a series of varying five-note patterns, some of which are overtly scales going up or down (think "Barely even friends / Then somebody bends"). But he chooses his five notes carefully each time, and the little surprises that arise give the song its emotion (think of the difference between "Tale as old as time" and "Song as old as rhyme." Rhyme is the surprise note.) What I also think is so compelling about the song, is that it never overstates itself. Even the climax happens right in the middle, rather than towards the end, where many Broadway numbers like to build. The music stays simple, and doesn't let itself get in its own way. It allows the audience to just take in what's happening - Belle and Beast are falling in love.

While I am forever indebted to Mr. Menken for his musical influence in my life, I will probably never be able to capture the exact quality of a Menken melody. I'll be happy if my songs have a sort of "Min-ken" quality about them. And maybe someday, a parent will have to shush their kid in the audience of one of my shows because the little one just couldn't help but sing along.

"That's what keeps me going" - An Interview with Ryan Cairel

Ryan Cairel, who plays Death in The Song of the Nightingale, started performing at color guard competitions in middle and high school. In the summer of 2005, he was a member of the Concord Blue Devils Drum & Bugle Corps. I first met Ryan while music directing Tri-Valley Repertory Theatre’s production of Cinderella, and I’m so fortunate to have him as a cast member for The Song of the Nightingale. Below, Ryan shares a bit of his performance background, and also tells us about an event that is very near to his heart: Roanne’s Race – a 5k/10k run/walk set up in memory of his sister Roanne Cairel.

---

MIN: So, what have you been up to performance-wise between Cinderella and The Song of the Nightingale?

RYAN: I participated in my friend's dance thesis and performed in her modern dance at Mills College early this year. I danced and choreographed for the Las Positas Dance Production for several years in different genres such as lyrical, modern, jazz, hip hop, contemporary, swing, and waltz. My favorites are contemporary and lyrical. I auditioned for So You Think You Can Dance in 2010 or 2011, and made it to callbacks. I was cut after that, but it was still an awesome experience. My only TV time was in the background of the news and running into the theater!

M: What has the experience of being in Song of the Nightingale been like for you?

R: Being part of the Nightingale cast has been a huge learning experience. I didn't think I could sing until this show (thanks to you, Min). It's been fun acting as well. I'm not used to saying lines because, as a dancer, I act without saying a word, but I'm getting comfortable with it. Playing Death is, actually, really fun for me. This role has me playing the complete opposite of who I am, but I love the feeling I get when in character. The whole cast and crew is great to be around. Since day one, everyone has been so nice, welcoming, and helpful. They are all so talented and hilarious! So much laughter, inside jokes, and good times.

M: How did you get into performing/dancing?

R: I got into performing after watching Roanne, my older sister by 11 months, on our middle school color guard team. I would stay during their rehearsals and, sometimes, watch her practice at home. She would teach me tricks on rifle and flag in our front yard. The next school year, she suggested I audition for the team with her. I was a little hesitant at first, but she convinced me to try out. After making the team, I had a blast at rehearsals and competitions and that's when I knew I wanted to be a performer. I joined the color guard team every year and did it all through high school. After high school, color guard performances were over for me. Roanne was taking dance classes at Las Positas College, so I followed her route and enrolled into the dance production class that has dance concerts at the end of every semester. I danced alongside my sister my first semester. She was diagnosed with colon cancer the next semester and didn't dance. I didn't want to do the production without her, so I took more technique classes, like ballet and jazz, to better my dancing. Roanne enrolled back into the production class the next semester because she missed dancing and performing on stage. I joined again because she did. We were in the class together for a few more semesters. She even danced in some of the dances I choreographed; it was pretty awesome. Dealing with cancer and chemo treatments, Roanne had to stop taking the class. I didn't follow her and stop dancing. Instead, I kept going because I loved it and because I knew she would want me to. She would stop by and learn some of the movement, even when her chemo tube was hanging out of her shirt. Everyone loved it when she stopped by because you can just see how badly she wanted to keep dancing. She came to all of my performances. I feel like she lived her "dance life" vicariously through me when she couldn't dance anymore. I guess that's what keeps me going.

M: Tell us a little bit about Roanne's Race and what it has meant to you.

R: Roanne's Race is a 5k/10k run/walk. Roanne came up with the idea to help support colon cancer research. After her passing, our best friends (yes, we share best friends), her boyfriend, and our families decided to start the race in her honor. All of the proceeds are donated to support the research of colon cancer, specifically among young people. Last year for our inaugural race we supported Colon Cancer Alliance’s Diagnosed Under-50 Research Initiative and donated $8,500 to their research. This year we will be repeating our support of the Colon Cancer Alliance and their research. This race means everything to me. My sister didn't want to be forgotten and have her life just end. With this race, she's being introduced to so many people. We set up booths at festivals, hold fundraisers, and do whatever we can to spread the word and, every time, there's an indescribable feeling I get after seeing how many people are interested in our event. It's amazing how much support we've been getting! 

---

Roanne’s Race 2013 is happening this weekend, Nov 2nd. Click the link for more information. It's too late to register in advance, but there will be a few spots available on a first-come-first-serve basis on the day of the run. And if you can’t make it to the event, you can still donate to this lovely cause at the Roanne’s Race website!