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Exclusive Interview: Adam Grey and Kristen Dittus of 'The Music Man' · The BSB Podcast

• 0:00
  Thank you so much, Kristin and Adam, for joining me today.
• 0:02
  How are you both doing?
• 0:03
  Hi Brian, doing great.
• 0:03
  How are you?
• 0:05
  All right, how you doing Adam?
• 0:06
  great.
• 0:07
  Weather's very nice.
• 0:08
  Just very recently, last few days.
• 0:10
  So, you know, the mood's up.
• 0:12
  We're good.
• 0:13
  So you're both currently in rehearsal for Birmingham Village Players' production of The Music Man, which opens soon.
• 0:19
  Kristen, how's that been going so far?
• 0:21
  It's been going great.
• 0:22
  Yeah, we had auditions in the middle of February, so we've been in rehearsal for quite a few weeks now, and we open a week from Friday.
• 0:28
  So coming up on that opening night, which is very exciting, but it's been great.
• 0:33
  We've moved on to the stage, and we've got our set ready to go.
• 0:36
  So we're in the home stretch of things right now.
• 0:40
  Adam, how's that process been for you so far?
• 0:42
  Oh, I mean it's been it's it's it's been great.
• 0:45
  I can't I can't really pretend otherwise the show has been awesome I know we'll get to talk about it a lot So I'm not gonna put it all the ways the show has been awesome and fun
• 0:53
  But I mean hey, I get to play Harold Hill.
• 0:57
  I'm having a good time Of course, it's a great time with it with a wonderfully talented cast and a great production.
• 1:03
  So what more can I say?
• 1:05
  So with that, you mentioned you're playing Harold Hill, so what's kind of the story of the Music Man and then how does Harold Hill factor into that story?
• 1:12
  So, um, Music Man is about a gentleman near the turn of the century.
• 1:17
  clarify, turn of the 20th century.
• 1:19
  This is set in 1912.
• 1:21
  Turn of the century, rural Midwest, sort of like Petticoat Junction vibes, I guess you could say.
• 1:28
  He goes from town to town as a salesman and his MO, every town he gets to, is he says, he gins up a moral panic and he says, well,
• 1:40
  The way you fix this moral panic is you need a boy's band, which means you need to buy instruments and you need to buy uniforms and you need to buy instruction books and you
• 1:46
  know, you need to listen to me and I'll lead the band.
• 1:49
  So, you know, that'll be great.
• 1:50
  So he sells a lot of stuff to these people and he gets the money and then he leaves.
• 1:55
  That's what he does every time.
• 1:56
  So he's really a con man, also a salesman.
• 2:00
  But when he gets to River City, Iowa, works out a little bit differently this time and then that's the show.
• 2:07
  Perfect.
• 2:08
  And Kristen, who are you playing and how does she factor into the narrative?
• 2:12
  Sure, so I'm playing Marian Paroo and she is one of the people that lives in River City, Iowa, so where the majority of the show takes place.
• 2:21
  uh But you know, upon meeting Harold Hill realizes that he's probably up to no good, probably telling some lies.
• 2:29
  And so she's the town librarian.
• 2:30
  She also teaches piano.
• 2:31
  So she is a musician, is definitely interested in the boys band aspect of things and uh does a little investigating of her own.
• 2:39
  But in the meantime, you know, she and
• 2:41
  And her family, especially her little brother, kind of go through some transformations just from getting to know Harold Hill.
• 2:47
  And that kind of leads to where things go with the plot.
• 2:51
  I was going to say, Adam Harold's this kind of this very charming guy.
• 2:54
  And ah Marion is one of those people that just doesn't buy into it.
• 3:00
  Yeah, she's not so easily hoodwinked as some of the other people in this town, you might say.
• 3:05
  uh She might say in the show, or she's spoiling some of the lines.
• 3:12
  also, know, because she's kind of a woman of her own for that time, you know?
• 3:16
  She's very much uh kind of ahead of forward thinking, you know?
• 3:20
  She's not just like looking for a husband and stuff, and that's kind of one of the conflicts for her.
• 3:24
  Yeah, absolutely.
• 3:25
  know, kind of right um from the beginning when you first have a kind of more substantial scene with Marion, she's talking to her mother and they're talking about all the things
• 3:33
  that she's looking for in a potential man.
• 3:35
  um And Marion is very specific about what she thinks that she needs in a partner.
• 3:41
  um She also, like I mentioned, you know, she has two jobs.
• 3:45
  She is helping to provide for her family.
• 3:47
  She's definitely not afraid to speak her mind.
• 3:49
  And so that is definitely at odds with some of the things that are happening in that time period.
• 3:53
  And even with
• 3:54
  other folks in the town, which can lead to a couple of rumors about her.
• 3:57
  So that's uh kind of part of her character development as well.
• 4:02
  True, she does have two jobs.
• 4:03
  She works the library and she does piano lessons.
• 4:06
  I didn't even think about that.
• 4:08
  She's in the grind.
• 4:11
  Mm-hmm.
• 4:12
  Nope.
• 4:13
  kind of having to figure out what she wants out of life and she's not going to settle for anything less.
• 4:18
  And then, know, of course, Harold walks into the picture and they have quite an interesting dynamic, I would say, from the beginning and then they kind of have a journey.
• 4:25
  ah Adam, how would you kind of describe the dynamics between these two characters?
• 4:29
  ah I would reiterate what you said that she is maybe a little bit more resistant to Harold's old saws and old charms as to more people.
• 4:43
  You know, the first set of interactions that they have is...
• 4:47
  He's sort of Caesar walking around town and he kind of tries some of his 1912 era pickup lines and they just bounce right off her.
• 4:56
  And then he does it again and it happens again and she sort of like criticizes him.
• 5:01
  And he doesn't stop because I don't know, I guess that's the kind of guy he is.
• 5:08
  But I think what's important about this dynamic is that...
• 5:13
  know, there is more of a romance in the show as you get later on into act two etc.
• 5:18
  But he doesn't win her over by more persistence and pick-up artistry and trickery.
• 5:30
  He wins her over by bringing
• 5:35
  joy to the town and her family and her brother and for bringing you know genuinely wholesome soulful things that maybe he doesn't even really intend to bring but are sort of
• 5:45
  a byproduct of his of his little plan uh and so um they they they kind of pass by each other but then realize they're very nearby as they're passing by and that's how they kind
• 5:56
  of get together maybe that's does that make sense as a metaphor
• 5:59
  No, that makes perfect sense.
• 6:01
  And I think that there's also, in a way, there's bringing in psychology into this, the attractiveness of somebody who isn't buying into your bullshit, you know?
• 6:10
  Like the idea that she's very much seeing him genuinely, and then he tries to genuinely be real with her in a way, too, that is very appealing probably to Harold.
• 6:21
  Well, it's in the text of the show, too, of like literary allusions and vocabulary and things like that.
• 6:29
  You know, we're in rural Iowa in 1912.
• 6:32
  This is a group of people, the majority of whom, I assume the majority, I haven't looked up the demographics, but the majority of whom, you know, did not finish secondary school,
• 6:41
  you know, maybe didn't even finish primary school.
• 6:44
  Like that's like the education level.
• 6:45
  Meanwhile,
• 6:46
  Marion runs the library and she reads all the time and she's very musical and Harold has his own kind of background of sort of education and erudition and things like that.
• 6:56
  So they have a sort of common connection and
• 7:03
  sort of cultural vocabulary between each other that I think connects the two of them because they don't run into many other people like that in their daily lives.
• 7:11
  And so that is where some of that tension, some of that fun, dramatic tension, but also some of the attraction comes from.
• 7:20
  So Kristen, with those dynamics, how do you kind of play into those, you know, bringing this character to life?
• 7:26
  Sure, it's great question.
• 7:28
  One thing that I really enjoyed working on with this character is just kind of the arc of what happens to her over the course of the show, right?
• 7:34
  Because she is, she has some of that Iowa stubbornness for sure at the beginning of the show.
• 7:40
  I think that, you know,
• 7:44
  figuring out how to play into that, especially in her interactions with Harold, it has been really fun.
• 7:49
  One thing that's coming to mind for me is the Mary and the Librarian scene.
• 7:52
  So that takes place fairly early in Act One.
• 7:55
  And it's one of their more lengthy interactions that they have.
• 7:58
  And it's just been a really fun number to work on.
• 8:01
  um Because I have a couple of lines of dialogue and I don't sing it all.
• 8:04
  Adam gets to sing that song.
• 8:06
  And then there's a whole bunch of folks in the ensemble that also get to dance on stage.
• 8:09
  So it's a really fun number.
• 8:10
  um
• 8:11
  But just working on the little bits about what the tension is between the two of them, how he's trying to get her attention, how she's trying to maintain her focus at work and make
• 8:22
  sure that he knows that she's not interested and this is not a game that she's going to engage in or play has been really fun to work on.
• 8:31
  I gonna say, that's one of my favorite scenes.
• 8:33
  just getting to see the two of you, like, well, I haven't seen the two of you do it, but seeing those two characters kind of play off each other in that scene is, there's a lot of
• 8:40
  electricity between them and they're still kind of, know, at odds in a way, but I think that's the moment you kind of see a little bit of that softness start to kind of develop
• 8:50
  between the two of them.
• 8:52
  So that's always very exciting.
• 8:56
  What has been like perhaps like a challenging part of this production?
• 9:00
  I'm sure that there's lots of things that challenge you as an actor and challenge you in your craft.
• 9:04
  ah But is there anything specific, to this production that has challenged you?
• 9:08
  You know, I think always just really looking at the character.
• 9:12
  So I've been in this show twice before.
• 9:14
  This is the third time I've gotten to be a part of the music man.
• 9:17
  But I've always, the past few times I did it, I was a kid.
• 9:20
  So I was, was part of the kids ensemble and I played Sanita once.
• 9:24
  And so getting to look at it through this lens of Marion's eyes and what all is happening, not only to her and why she decides to kind of let this person into her life and open up
• 9:37
  and be willing to
• 9:39
  change and maybe change some of her ideas as well has been really fun to dig into.
• 9:44
  So I would say that's been, you know, a little bit of a challenge, but also something I've really enjoyed doing.
• 9:50
  And Adam, how about for you?
• 9:51
  How has this challenged you as an actor?
• 9:53
  Yeah, there's a short answer, is just there is a level of uh endurance and intensity that this requires.
• 10:04
  uh There's a lot of lines, there's a lot of music, there's a lot of dancing.
• 10:09
  uh And so there's a level of like stamina and also just like
• 10:14
  getting it all done, learning it all, like fitting it all into the rest of your life.
• 10:18
  So like that has been kind of a challenge.
• 10:19
  But I think from a performing and an actor uh perspective, one of the balances I'm trying to strike at least is something I've talked to Kristen about and I've talked to Joe, our
• 10:31
  director about a lot, is if you don't think about it hard enough, Harold is sort of just a bad guy.
• 10:39
  Like.
• 10:39
  True.
• 10:40
  Like he doesn't he can pretty easily be too irredeemable to kind of root for him and to really enjoy the show in a genuine way and so it's been finding the elements of character
• 10:57
  and line reading and performance and framing that Allows him to have more of a winners edit, you know, like we know how we know how the show ends
• 11:09
  But like, you know, you're watching like a reality TV show, like a season of Survivor, you know, there are people who they're like, oh, we know they're going to get to the end.
• 11:16
  So how can we make sure they're framed in, you know, a positive way or whatever?
• 11:19
  You know, how can I get that into Harold near the beginning parts of the show such that even though he is quite intentionally conning this town out of in twenty, twenty five
• 11:30
  dollars, know, tens of thousands of dollars over four weeks, um how is there that germ of
• 11:39
  Friendliness and legitimacy and genuineness in order to get the story well I guess you'll come see the show to see if I'm able to do that It has been a challenge, but I've been
• 11:49
  working hard at it
• 11:51
  I mean, it is really hard to dislike him even though he is kind of not a great person, you know, but it's again, I think it goes back to that charm of just being like, how do you,
• 12:01
  how to Con Men make money off of people?
• 12:04
  They are usually really charming and people buy into that.
• 12:06
  And so I'm sure you're going to do a great job with that on stage.
• 12:10
  studied any of the famous con men for, you know, actor.
• 12:14
  Maybe I should have.
• 12:15
  Maybe I should have made myself a reel or something.
• 12:17
  It's true, it's true.
• 12:24
  Kristen, is there any pressure to working on such an iconic show such as The Music Man?
• 12:28
  That's a great question.
• 12:29
  um I would say, you know, I think because it is such a beloved classic, there are definitely things that people come in expecting.
• 12:37
  However, I think something great about this show and the fact that it has been done, you know, in various different film versions and revived on Broadway a couple of times is that
• 12:46
  there's that space to bring in different elements of the character that other people might not have emphasized.
• 12:51
  um
• 12:52
  So yeah, I'd say yes, but um hopefully, you know, in a way that allows a little bit of room for interpretation and for how we're portraying and, you know, approaching these
• 13:02
  characters as well.
• 13:03
  Has it changed for you?
• 13:04
  Because you mentioned this is the third time that you've been in a production of The Music Man.
• 13:08
  Has it changed since even you've done it for the third time?
• 13:11
  Like, I know...
• 13:12
  Yeah, so the first couple of times I did it, like I mentioned, I was a kid.
• 13:15
  So I think that I wasn't necessarily looking at, especially the adult characters and kind of the journeys that they go through.
• 13:22
  I was just thrilled to be a part of, you know, all the big ensemble numbers and get to sing and dance a lot.
• 13:27
  yeah.
• 13:28
  Totally understandable.
• 13:30
  Adam, for you, what is it like working on such an iconic show, and is there that pressure for you as well?
• 13:35
  ah Yeah, the pressure from my perspective is personal to a certain degree.
• 13:41
  uh The Music Man has been one of my favorite musicals.
• 13:47
  for literally as long as I can remember.
• 13:49
  Like if I try to sequence my earliest memories, when was like three or four years old, like one of them is watching this film on VHS and I have just been such a big fan of it
• 13:59
  for the longest time.
• 14:00
  there is this sense of, this is your chance.
• 14:03
  You finally get to do it.
• 14:04
  I have not done the show before.
• 14:05
  ah
• 14:06
  in any role.
• 14:07
  So there's a bit of that and um that has been about like I don't want to leave anything on the table.
• 14:13
  I want to do this the best that I possibly can.
• 14:15
  I want to put the work in, you know, get the lines right and sing it well and you know run all your scenes so you get it all tight.
• 14:21
  um But also uh I think our production is going to
• 14:30
  think a production is going to have people walking away having kind of interesting and positive comparison and contrasts from other productions.
• 14:39
  um
• 14:41
  Birmingham Village Players is a relatively small theater and there are 35 people in the show.
• 14:47
  And so there are decisions that we've made.
• 14:49
  think very smart decisions, very interesting folks who come see it, you'll see what we do.
• 14:53
  Just to make these little decisions about like, do you do a big dance number with the whole cast when it's literally impossible for 35 people to all be swinging and dancing
• 15:01
  everywhere?
• 15:03
  How do you kind of manage that?
• 15:05
  How do the kind of sets work to get so many locations for all of that?
• 15:11
  And also, you know, the Music Man is a story, I it's about Harold and Marion, it's, you know, it's got big leads like all the old classic musics do, but it is really a show about
• 15:23
  the town.
• 15:25
  Like it's actually in the script, like the writer's note on like the second page of the MTI, you know, libretto script says, this is not about making fun of these people, this is
• 15:37
  a valentine to...
• 15:40
  You know this this this culture these people this town.
• 15:43
  I really think our show has has has captured that.
• 15:46
  uh I think the townspeople the ensemble the kids just fantastic in the show they embody it perfectly.
• 15:53
  I feel like they make my job easy because like every reaction is there and they just embody it like so well.
• 15:59
  And so yes like there's pressure but I do think we are variously sort of.
• 16:04
  embodying the spirit of the way you're supposed to do this show, but also taking our own takes on it and feeling good about it.
• 16:10
  m
• 16:11
  Kristen, like Adam mentioned, this is a large cast and the Birmingham Village Players, the stage is relatively small.
• 16:18
  What has that been like and how do you feel it's been adapted for such a large cast in such a small space?
• 16:24
  Yeah, so like Adam said, I think that there's been a lot of really smart decisions made as to how we can best get everyone involved in various numbers and things like that.
• 16:34
  Some really interesting things happening with the set.
• 16:36
  So if you come and see it, you'll get to see how we're doing that and also utilizing our own cast members to do a lot of the set changes and that sort of a thing as well.
• 16:45
  But.
• 16:48
  Yeah, you know, I think with 35 people, you get a lot of energy.
• 16:51
  So there's a lot of energy on stage.
• 16:53
  I think everyone's having a really good time.
• 16:55
  And hopefully, you know, as folks come and see the show and they leave, they're going to be able to really see the spirit of this, our river city that we've built and kind of see
• 17:05
  all of that fun that all those folks can bring to the table.
• 17:09
  Now for you Kristen, is there a favorite song that you like to hear but also perform?
• 17:14
  Are they the same song or do differ?
• 17:17
  great question.
• 17:18
  um My favorite song to perform is probably the one that I get to sing with the quartet.
• 17:24
  So they sing Light A Rose and I sing Will I Ever Tell um on top of it.
• 17:29
  And it's just such a lovely blend.
• 17:31
  It's just really, really fun from a musical standpoint.
• 17:34
  So that's the favorite one that I get to sing.
• 17:36
  um
• 17:38
  But I think one thing that makes the Music Man such an enduring classic is there are so many fantastic songs in it, right?
• 17:44
  And I find that so many of them, you know, are stuck in my head as I'm just going about my day, you know, out doing errands or whatever.
• 17:50
  Sometimes it's Miriam the Librarian, sometimes it's Shipoopi, sometimes it's Rock Island, you know, there's so many of them that are so great.
• 17:57
  How about for you?
• 17:58
  Is there a song that you like listening to and what's your favorite song to perform?
• 18:02
  I the whole soundtrack as Kristen said so one of the reasons why I love this show and I think a lot of people do the music is just good you just want to listen to it means a
• 18:11
  great story to and a hundred other things that you like but the orchestrations and the melodies and the lyrics are just awesome but you know I have to say it's you got trouble I
• 18:23
  mean I actually committed
• 18:25
  Before auditions, I memorized the entirety of You Got Trouble.
• 18:30
  Do you know this, Kristen?
• 18:31
  I even know if talk to you about this.
• 18:34
  Like, I memorized all of it, like the whole Patter song is like page after page after page.
• 18:41
  So I would be ready for whatever cut they had during auditions and callbacks.
• 18:48
  You wanted to make sure you had this role.
• 18:50
  I, I, I, I, I, it's big pressure, you know?
• 18:54
  It's like, hey, this is your chance.
• 18:55
  I can do it.
• 18:56
  It's the role I really want to play.
• 18:57
  But I love You Got Trouble.
• 18:59
  It's just, it's just too much fun.
• 19:01
  um So, so many words, so many little things, so many little rhythmic things.
• 19:06
  um
• 19:07
  ah So many, you know, little looking around at people and getting the Captain Billy's whiz bang book out there and you know going back and forth and sitting down being like, come in
• 19:17
  let me tell you about all the all the tailor-made cigarettes your kids are gonna roll at the dance at the armory, you know, it's it's it's great
• 19:27
  Kristen, for you, what themes from the music man resonate the most with you?
• 19:31
  So I would say the theme that resonates the most with me, and I think it's one of the biggest kind of takeaways, is just uh the power of change and transformation that happens
• 19:40
  in this town over the course of this summer, right?
• 19:42
  And so you've got not only Marion, very transformed from beginning to end, but I would say also Harold, and then just the town in general, you know, when you kind of see where
• 19:54
  people start and where people finish.
• 19:55
  um
• 19:56
  especially in the final scene of the show, I think it's a really a testament to the power of, you know, keeping a little bit of an open mind, accepting new folks that come into
• 20:05
  your community, and also just the power of community.
• 20:08
  They are very tight-knit, they come together a lot, and so seeing kind of how this, the River City, River citizens, if you will, goes through this journey together too.
• 20:21
  That's an excellent answer.
• 20:22
  Adam, I'm sorry I'm going ask you the same answer after she just gave that perfect answer, but...
• 20:25
  ah
• 20:29
  is it is about community It really resonates with with me It's about it's the things that are really important, you know, like there's there's even you know Just as back and forth
• 20:42
  like right at the end of the show where everyone's like he took all our money We spent all our money on these things like we're so mad about this, but that is in dialogue with like
• 20:49
  well, okay, you know, maybe these things did cost money, but like
• 20:55
  What kind of price do you put on joy, on soul, on people, on family, on community, on music, to be completely honest?
• 21:06
  uh The show is pretty directly about the kind of uh joy and true life enjoyment you can get just from being musical.
• 21:21
  And as somebody like I myself, uh
• 21:24
  only got back into theater and music pretty recently within like the last year.
• 21:28
  I did a whole lot.
• 21:30
  I went to school for it like all this stuff only came back to it pretty recently.
• 21:33
  So I myself have experienced exactly this in kind of my recent past and and how much ah just happiness ah you can get from it.
• 21:43
  So that resonates with me for sure.
• 21:45
  It just dawned on me that this is like the original uh ending to How a Grinch Stole Christmas.
• 21:53
  Everybody's happy.
• 21:54
  Everybody's they realize that it's all about community.
• 21:57
  ah
• 21:58
  It's the same thing.
• 21:59
  It's like Music Man, Grinch Stole Christmas, School of Rock.
• 22:03
  They're all the same thing.
• 22:05
  I mean, as they say, there's 10 original stories and 9 of them are plagiarized.
• 22:11
  But there is an importance to that, to the community aspect of just, you can't put a price on happiness, especially when we come together and moments that we come together, we can
• 22:20
  get through pretty much anything.
• 22:21
  Adam, what are you hoping the audiences take away from this production of the Music Man?
• 22:26
  ah I kind of mentioned it a little bit before but I I Hope that people can take away You know some of the some of the more humanizing aspects of the character and of this show I
• 22:45
  think
• 22:46
  No matter what you do, if you say these words and you play this music and you sing these songs and you do these dances, it's gonna be a good time.
• 22:53
  It's gonna be fun.
• 22:54
  It's gonna be great to look at.
• 22:55
  But ah I really hope people are able to take away some of these additional themes, you the sense of character transformation and character arc, because I think we're really, you
• 23:06
  know, getting that in there.
• 23:07
  So, you know, look out for them, I guess.
• 23:09
  Also, I get to wear some fun hats.
• 23:12
  people like that.
• 23:13
  There you go.
• 23:14
  a fun hat.
• 23:16
  Kristen, what do you want audiences to take away from this production?
• 23:19
  Yeah, I think I definitely agree with everything Adam said, but like he said, it's...
• 23:24
  There's so much power in music to really transform your mood and everything.
• 23:29
  And I just hope that when people leave, they're just filled with joy and just had a really fun time.
• 23:34
  ah We get to share this music and this story with them for two, two and a half hours, over long the runtime ends up being.
• 23:40
  ah And so I hope that they just leave with a sense of joy and kind of maybe humming a tune along and feeling a little more open to having music and that sort of thing in their life
• 23:51
  as well.
• 23:52
  I also hope that uh my vocal coach who actually I don't know if he's gonna come see the show shout out to Kayvon if you see this you should come see the show I hope my vocal
• 24:02
  coach walks away thinking I've raised my soft palate enough during
• 24:07
  Well, let's hope that he shows up and that he's impressed because this is gonna be a great show.
• 24:11
  We are so excited to see it.
• 24:14
  Thank you both for your time.
• 24:15
  I know it's in the middle of the day, work day, but I appreciate you being here uh and talking with us.
• 24:23
  So that being said, The Music Man opens on May 2nd and runs through the 18th.
• 24:26
  So get your tickets now from Birmingham Village Players website or their box office.
• 24:29
  And we hope to see you there.