Before we announce our 2015 ArtsImpulse Award Winners, we are proud to present our 2015 ArtsImpulse Nominee Interview Series.
NOPTE: If you were nominated for a 2015 ArtsImpulse Theatre Award, and you would like to participate in our 2015 ArtsImpulse Nominee Interview Series, please email us at firstname.lastname@example.org.
Stacey Stephens is a renowned director and costumer, boasting an impressive list of credits and talent. However, it is Stacey's daring presence and interpretations of classic shows that made him stand above the rest in his inspired production of Andrew Lloyd Webber's Jesus Christ Superstar. As divisive as it was calculated, this production boasted a transgender Mary Magdalene, a Jesus who topped the TIMES magazine for "Person of the Year," and a set that brought us back to the rumble of post-9/11 New York City. In his Interview, Stacey explains his concept for this production; some of his hobbies; and his advice for actors, directors, and audience members.
Stacey, thank you for joining us for a 2015 ArtsImpulse Nominee Interview. Can you tell us a little bit about yourself?
I currently work as the Associate Producing Artistic Director of Fiddlehead Theatre Company where I have directed and designed costumes for their productions of The Wiz, #JCSuperstar, West Side Story, Disney’s The Little Mermaid, and, currently, a twentieth anniversary production of Jonathan Larson’s Rent. I have also worked on the Broadway productions of Les Miserables (both original and current revival), Miss Saigon, Newsies, After Midnight, and Five Guys Named Moe.
I toured extensively with The Lion King, Wicked, Les Miserables, and, most recently, with Memphis. I previously directed, designed, and created costumes for Fiddlehead Theatre Company’s productions of Funny Girl, Odd Couple, Fiddler on the Roof, Crazy for You, Into the Woods, Gypsy, The King and I, A Christmas Carol, Barefoot in the Park, Singin’ in the Rain, My Fair Lady, and Steel Magnolias, as well as Reagle Music Theatre of Greater Boston’s critically-acclaimed Into the Woods, staring Rachel York.
In the Boston area, he has also designed costumes for SpeakEasy Stage Company’s productions of The Wild Party, Saturday Night, A New Brain, and Parade; Wheelock Family Theatre’s The Little Mermaid and The Secret Garden; Stoneham Theatre’s My Fair Lady and The Dinosaur Musical; and The Boston Conservatory's productions of Candide, On the Town and Kurt Weill’s One Touch of Venus (which he also directed). Stacey is a six-time Independent Reviewers of New England Award (“IRNE”) winner for both his stage direction and costume design. He has designed and staged performances for Boston Gay Men’s Chorus, including Misbehavin’ with Nell Carter. I am also a 1987 graduate of the American Musical and Dramatic Academy.
Talk to us about your production of Jesus Christ Superstar. How did you develop the concept and production? What made you choose to produce and direct this musical? What was different? What was the same (or similar) to other productions?
Now that’s a question . . . We chose the show because we wanted to do a show that would speak to a lot of people on many different levels. We also wanted to do a show that we could rethink and bring a new perspective to. Looking at the show itself and in research, the authors, both Lloyd Webber and Rice, talked about how they wanted to tell the story of Jesus as a real, ordinary man who did extraordinary things. They also wanted to examine how media and hype could not only bring fame to someone, but also condemn them.
I found so many parallels to our present world, and how media and the internet have made “instant fame” so attainable. How the selfie generation has changed the world. I thought what if Jesus was that everyman who was proclaimed a savior from a major world event? Even though I was criticized for using the 9/11 tragedy to add “gravitas” to the play, that was not the point at all. I wanted a milestone that everyone could relate to, that everyone could immediately understand the place of unrest the world was in. As we worked in rehearsal, the show and the story of Jesus became even more current with lyrics like “What’s the buzz,/ tell me what is happening,” and news stories about how more people would video tape a crime or attack then actually step in to help the victim.
I was careful to make the biblical accounts accurate in our retelling. I didn’t want people to not understand what the Bible told us about Jesus, I just wanted to make it current. One thing we did was play with gender reversal. I decided that in today’s world Jesus’s twelve apostles would be an all-inclusive group, both male, female, gay, straight, and transgender. I chose to illustrate how Jesus would have grown in fame in today’s world, writing a book, and then pushed toward a political career before the world condemned him to his death.
I did warn the cast that we might anger people in this production, and that we may end up with people walking out. I am happy to say that was not the case. I was greeted with comments of praise for the production, some commenting that they could not see how it had been done differently in the past. One mother, who had attended with her sons, thanked me for telling the story so that her kids “finally got it.”
How do you pick your projects and productions? Is there any common thread? How have you evolved as a director?
When we talk about upcoming seasons, Meg Fofonoff (Founding Producing Director for Fiddlehead Theatre Company) and I consider many things. We discuss shows that we would like to do, what our audiences want to see, and shows that we can breathe new life into with our productions. We then look to see how shows might relate to one another. Usually, we try to find something that ties them together.
I hoped I have evolved as a director. If I haven’t I should probably stop directing. As humans age and time teaches. I would say that is the same as a director. We learn as we go along. Using life’s experiences we breathe life into characters on the stage.
Do you have any favorite songs? Pick a lyric from this song that speaks to you as a person or artist.
Smile by Charlie Chaplin, and especially Judy Garland singing it. It is so simple in its lyrics, but goes straight to the heart for me. A career in the arts brings many ups and downs, so: “Smile what’s the use of crying, you’ll find that life is still worthwhile,/ If you just smile.”
What are some of the challenges for producing and directing theatre in Boston?
What do I say without out getting in trouble?
What are some of your hobbies? What do you do in your spare time?
Shopping. Shopping, SHOPPING!
Can you define spare time? I don’t think it is in my vocabulary.
If you could travel anywhere, where would you go? What would you do? What are three things that you would bring with you?
Probably anyplace I haven’t been yet. I love to explore new places. I have been lucky enough to do a lot of traveling in my life, both for business and pleasure. The more of the world I see, the more I want to see. As for the things I’d bring: I’ll quote Mae West (but it is four things): "A mink in the closet, a Jaguar in the garage, a tiger in the bedroom and a jackass to pay the bills.” I guess I could forget the Jaguar for now – Oh, and I’d prefer a stable.
What advice would you give to a young actor? To a young director? To a young audience member?
To the Actors and Directors: Follow your dreams, go out on limbs, listen and learn from everyone, and everything. Experience life, all aspects both good and bad. Have a life of experience you can draw from when you are creating characters and telling stories.
To the audience: SEE THEATRE, EVERYTHING you can. Things you’ve never heard of, by writers and directors you will never hear of again, featuring actors that aren’t your friends and family.
What is one thing that you could never give up? What is one thing that you wish that you could give up?
Cheese. I’m a Wisconsin boy – enough said.
Hmm – can’t think of anything – can I get back to you?
In what do you believe?
“I believe that children are our future, teach them well, and let them lead the way.”
Oh? That wasn’t a musical cue?
Do you have any upcoming projects?
Up Next: Showboat – that little show. Cast of 48, orchestra of 27, a boat, a car, a story spanning 40 years, featuring one of the most beautiful scores ever written.
I’m co-directing with my partner Meg Fofonoff. I can’t wait to start.
Also still finalizing next season’s line-up. It looks like it’s gonna be a “not to miss” season.
Do you have anything else to share with our ArtsImpulse readers?
I’m registered at Tiffany’s and gifts can be sent to me at . . . – I’ve probably shared enough – is anyone still reading this?