Margherita is an Olivier-Award winner (the British equivalent of the Tony Awards) for her performance in Zorro: The Musical. She made her Broadway debut as Mrs. Wormwood in Tim Minchin‘s musical Matilda. She previously appeared in Pasadena Playhouse’s You I Like: A Musical Celebration of Jerry Herman.

The show opens on December 14th and joining Margherita in the show are MaryAnn Hu, George Salazar, Jason Michael Snow and, perhaps, you (see below.) The Pasadena Playhouse Holiday Spectacular is directed by Sam Pinkleton (Head Over Heels at the Pasadena Playhouse and choreographer of Stephen Sondheim‘s final musical, Here We Are) who co-created the show with Randy Blair. The show runs through December 23rd.

But what it is? That was where I started my conversation recently with Margherita. What follows are excerpts from that interview that have been edited for length and clarity. To see the full interview, please go to our YouTube channel. (You don’t want to miss this one…it’s a hoot.)

Q: It seems as though all the details about this show are being carefully kept under lock and key. I know that Sam Pinkleton is the co-creator and director and that the four of you are in the show. Given how little I know and the public knows about this show, how much did you know when you were first approached by the Pasadena Playhouse about being part of their holiday spectacular? 

Not a thing. When the artistic director, Danny Feldman, reached out to me he said, Holiday show. Sam Pinkleton, who I had wanted to work with forever. And it may or may not be this way, but he said the concept right now is curtain up. You on an empty stage. And I said, in. Then I knew the three other actors – who were phenomenal. That was enough for me to say yes. We really didn’t know anything until the first day of rehearsal. 

You probably know a lot more now since you’re ten days away from opening.

Correct. We know a lot more now. We’re still keeping a lot of it a secret. I can tell you that spectacular is a loosely used term for this show. But it is hysterical. It is heartwarming and is probably not what you think it’s going to be.

There was only one thing that disturbed me knowing that Sam Pinkleton, you and George and others are involved in this show. The website says it is appropriate for children six years and older. I was hoping there would be at least a one in front of the six.

That actually was very surprising to all of us involved. I will tell you, though, in rehearsal there should be a designated person just to be like, “you can’t say that.” But it is family friendly. That was unexpected for me. Holiday shows and adult content for me kind of go hand-in-hand. So I was shocked. 

I am expecting everything and the kitchen sink thrown in on a very low budget.

That is exactly what you’re going to get. What they told me I’m allowed to say is that it’s about a holiday spectacular that is coming from another town that has been playing an out-of-town tryout [and is] coming to the Playhouse. There are four people involved that are the creative team of this holiday spectacular that may or may not arrive on time for the opening night at Pasadena Playhouse. So what does that mean when a 65-person plus animals flying everything doesn’t arrive in time? What do those four people then have to put on in place of that? 

That concept sounds like it would be it would be fairly structured and scripted, but it also seems like it affords all four of you tremendous freedom. Does it? 

Completely. It is very structured. But there is a lot of freedom in it and that’s what makes it so fun. I can’t keep a straight face when I’m supposed to. There is a lot of audience interaction and opportunity for the audience to get involved. Each night a different local group, whether it be a choir or a marching band or a dance troupe, every night we’re highlighting a local Los Angeles group. But there’s plenty of room for hijinks. 

What are the challenges for you as a performer in a show like this? You only have 14 performances.

The hard thing for me is I am portraying the director of this piece. I’m kind of the cat wrangler for the whole thing. So I have very clear points as to where we need to go and what needs to happen. The hardest thing for me is not wanting to get carried away. I need to keep things going. That’s a tough job for me because if something’s funny, I want it to go on forever. 

Those first few shows are going to be very telling and very fun because I think that’s when we really find out what is going to happen. I think by the end of it we’ll probably be pros at it.

But I actually prefer not knowing what’s going to happen because that’s really where all the great nuggets from.

Are you able to channel all the many directors with whom you’ve worked into this character?

Correct. And I really hope they don’t recognize themselves in it. Everyone that we have worked with or have stories about informs these characters. There’s a director, a stage manager, a costume supervisor and a crew member. So all of these people that we love and adore, we’re kind of lampooning. It’s very Waiting for Guffman. We’re skewering other major city’s holiday spectaculars, with all the major sets and everything.

You haven’t been working with Sam Pinkleton for that long, but will Sam find his way into this show as well? 

Sam is this entire show. He is the most genius. For years people have said, “You guys must know each other. You must have worked together.” And we haven’t. This was the perfect introduction for us both to work together. Now I don’t want to ever work with anyone else. He is all over this.

Holiday shows, if I’m thinking about the ones that happen in other cities, one of them has a row of long legs. There is the absolutely inevitable appearance of Santa Claus. They usually revolve around the same 12 or 14 holiday songs that we all know and love. Can you assure me that we are not going to be subjected to the very same songs that are in every show everywhere around the world? 

I can absolutely assure you that you are going to get a version of all of those things, of the long legs and the snow falling and the Santa appearance, but you will not be hearing those same songs. What Sam and Randy did was they pulled some deep cuts that are incredible. If you do hear a couple of those same old chestnuts, I guarantee they have never done been done like this before. You’re not going to be subjected to the same, I don’t want to say tired, but the same old holiday spectacular. But if for some reason you wanted to see a chorus line of reindeer, you may get that. It just may not be how you think it’s going to be. 

How important do you think it is, for the theater community, for there to be shows that can only be done once instead of this desire for everything to be part of a bigger machine?

I think it is so important. The one thing that disappointed me about Broadway was how corporate it was. I understand it. I understand people have to make money. It’s so special to create something just once in a capsule. Not everything has to transfer. Not every off-Broadway show has to go to Broadway. There are special things about shows that just exist, for a certain amount of time, that people at the top of their game create because we have to keep doing that. Otherwise we will just be stuck with stagnant shows that tour for years and years and years and never change. We have to keep pushing the boundaries.

Speaking of Broadway, I do have to ask you one question about Matilda. The mere mention of When I Grow Up can bring me to tears. How do you get through a thousand performances without that song impacting you? Or can you? 

It’s pretty well documented how much I love that show and how grateful I was to be a part of it. The way that my track was, I could watch Revolting Children every single night from the back of the house because I made an entrance. And I did watch it every single night for over a thousand performances. Had I been able to see When I Grow Up, I don’t think I would have been able to go on after it.

We had a bunch of pre-checks for the shows, for the kids, the sets and the swing track was part of it. I would always watch it and just ball, even just in rehearsal. What Tim wrote and that whole team that set-designed, that moment of the swings is so incredible.

I cried often and the most I cried was when I knew some of these kids were leaving and it was their last time on the swings. It was something that I dreaded every few months when the kids got too big. I was a blubbering mess the whole time.

I don’t think I’ll ever do a show like that again. I’m so, so grateful that it took me so long to get to Broadway. It was just incredible.

I lose it every time the adults take over the swings.

I finally got to do it. On the final day they let me on the swings and there’s the picture of my face like that. The best moment.

We’re living in in a troubled world. I think it’s safe to say trip theaters are having troubles getting people back in. We’re all having huge problems getting together. If you could have one wish for the holiday season for 2023 going into 2024, what would it be? What would you like to see this holiday season bring that is different than previous holiday seasons?

Peace is the obvious answer. We’re just more divided now than ever. Finding a way to coexist. Finding a way to let people be who they are. Live your life and let someone else live theirs. It’s all of that. But for sure, peace, because it’s really feels like the world is on fire.

After 14 performances as well as several weeks of the holidays around you, infiltrating every moment of your waking day, are you planning on celebrating the holidays by doing anything but the holidays? 

We run until the 23rd and I’ll probably just be sleeping through the holidays. I always celebrate with with my family up north. So I think I’m going to make my husband drive and I’ll conk out with my dog in the back. I’ll celebrate, but be exhausted. I’m sure I’ll be exhausted.

To watch the full interview with Lesli Margherita, please go here.

Main Photo: Lesli Margherita and George Salazar in Pasadena Playhouse Holiday Spectacular (Photo by Jeff Lorch/Courtesy Pasadena Playhouse)

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Each week a new film will debut on Mondays at 9:00 AM PST/12:00 PM EST. The films can be seen at the films.dance website, on their Instagram account and their Facebook page. The first film debuts on January 25th and the last film debuts on May 3rd.

Here is an overview of the line-up:

Kaduna – January 25th

Brothers Victory and Marvel Ebinum are filmed in their homeland of Nigeria and explore family bonds. Kaduna was directed by Ridwan Adeniyi and Jacob Jonas with choreography by Vinson Fraley. This is one of my favorite films in the festival.

Toke – February 1st

Danish dancer Toke Broni Standby stars in this film set in London. Toke was directed by NONO and choreographed by Stuart Shugg.

Pássaro Distante – February 8th

Four dancers, Luís Fernando, Jovani Furlan, Luanna Gondim and Maitê Nunes, reunite in Joinville, Brazil just after the pandemic hits. Gabriela Mo directed the choreography is by Cassi Abranches.

Match – February 15th

This wonderful and thoroughly entertaining film finds 46 dancers from 20 different countries performing the work of five choreographers. Together one seamless piece of dance is created through precision editing by directors Peter Walker and Emily Kikta. The choreographers are Kikta, Jamar Roberts, Oliver Starpov, Peter Walker and Xin Ying.

Edging Normal – February 22nd

Dancer Desmond Richardson, who, along with Dwight Rhoden founded Complexions Contemporary Ballet, stars in this film directed by Andre Bato and choreographed by Jacob Jonas.

正念 – NOW – March 1st

Solo dancer Li Kehua (Lico) stars in this film from director Robin Mahieux and choreographed by Gypsy Snider. The film is set in China.

Dadu – March 8th

The town of Spaarnwoude in Northern Holland serves as the backdrop for this film starring and choreographed by Jesse Callaert, Mikaela Kelly, Kele Roberson and Annika Verplancke. The film is directed by Ian Robinson.

Another Serious Dance Film – March 15th

As the British might say, Another Serious Dance Film takes the piss out of dance films. This tongue-in-cheek pieces examines all the trappings of making a dance film. New York City Ballet’s Sara Mearns stars in the film which was directed by Ariel Schulman and Henry Joost. Andrea Miller choreographed. The film features a score by Antonio Sánchez.

Same Sky – March 22nd

Joy Isabella Brown, Miguel Alejandro López, Mike Tyus and Jill Wilson – all members of Jacob Jones The Company – star in this film by director Andy Hines. Rauf “Rubberlegz” Yasit choreographed.

Sit Still – March 29th

Seven-year-old Adeline Kerry Cruz Krumps her way through this film by Vincent René-Lortie and choreographed by Russell “Gutta” Ferguson. When Cruz gets older, and if she can sing, perhaps she can play Matilda in Tim Minchin‘s musical.

Galope – April 5th

Gonzalo Garcia, principal dancer with the New York City Ballet, stars in this film directed by Nur Casadevall. There is no choreography credit in the press materials, so it is probably safe to assume Garcia created the movement himself. The music is by film composer Alex Somers (Captain Fantastic).

Xeno – April 12th

Mexico City dance company Nohbords founder, Diego Mur, choreographed this film starring two circus artists from Montreal: Natasha Patterson and Sabine van Rensburg. The film is directed by Amy J. Gardner

Torn – April 19th

Three dancers with State Ballet Hanover – Conal Finn Francis-Martin, Robert Robinson and Jamal Uhlmann – battle for dominance in this film from director Torben Loth. The choreography is by Waddah Sinada.

Plume – April 26th

Animation and dance are combined in this film from Beren D’Amico (who also did the animation) and Francisco Cruz. Violinist Hilary Hahn performs the score as 21 acrobats are shown performing. They are Tia Balacey, Kristián Mensa, Aurélien Oudot, Kevin Beverley, Joy Isabella Brown, Kaisha DW, Seirian Griffiths, Beren D’Amico, Luca ‘Lazylegz’ Patuelli, Nic Walton, Quentin Greco, Yvonne Smink, Brin Schoelkopf, Keaton Hentoff-Killian, Sadiqua Bynum, Francisco Cruz, Mathieu Forget, Daniel Liddiard, Chernih Denis, Louis Gift, Dominic Cruz.

Weakness of the Flesh – May 3rd

Jacob Jonas (the person, not The Company) choreographed this film featuring his company’s Emma Rosenzweig-Bock. He co-directed with Kevin McGloughlin.

Photo: Joy Isabella Brown in Plume (Photo courtesy films.dance)

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The Broad Stage Music Mornings – The Broad Stage Facebook Page – April 12th

This is the third consecutive Music Mornings from The Broad Stage in Santa Monica. The Reverend Shawn Amos, whose jubilant approach to the blues is completely a pleasure to hear, will be joined by bassist Jennifer Leitham and saxophonist Mindi Abair. (One assumes they will perform from their own social-distanced homes.)

Amos is the curator of a series called blackbox which highlights emerging artists in the fields of jazz and blues music. He has an album coming out next week entitled Blue Sky.

Leitham has performed with a veritable who’s who of jazz including Peggy Lee, Woody Herman, Mel Tormé and countless others.

Abair has collaborated with artists ranging from Max Weinberg (of Bruce Springsteen’s E Street Band), Trombone Shorty, Lalah Hathaway and dozens more.

Jane Eyre – National Theatre Live at Home (available through Thursday, April 16th)

This Old Vic production is part of National Theatre Live’s At Home Series that began last week with the week-long availability of One Man, Two Guvnors.

Sally Cookson directed this 2014 production that garnered rave reviews for its inventive way of telling Charlotte Brontë’s story of a young orphan who suffers years of abuse before becoming a governess for Edward Rochester. She discovers a secret he’s been hiding which propels the final act of the story.

Madeleine Worrall earned rave reviews for her portrayal of the title character. Felix Hayes plays “Rochester.” Expect this production to take an unorthodox approach to telling Jane Eyre.

Jeremy Denk: The Well-Tempered Clavier on YouTube

One of classical music’s finest pianists and best thinkers, Jeremy Denk, takes viewers on a deep dive into Johann Sebastian Bach’s The Well-Tempered Clavier. Direct from his barn in the Catskills, Denk discusses and performs music from Book 1 of Bach’s composition. This event was originally scheduled to be performed live at The Greene Space in New York City, but like many events, it was reconfigured in light of the pandemic.

Jesus Christ Superstar – The Shows Must Go On on YouTube

This is the first of two productions of the Andrew Lloyd Webber and Tim Rice musical available for you this weekend. This production dates back to 2012 and began its life as a reality show competition to find someone to play the role of Jesus.

In the competition Ben Forster was selected and he co-stars with Tim Minchin (composer of the musicals Matilda and Groundhog Day) as “Judas,” Melanie C as “Mary Magdalene” and Chris Moyles as “King Herod.” This was an arena tour production, so expect it to be big.

This production will only be available for 48 hours Friday at 2 PM EDT/11 AM PDT.

Jesus Christ Superstar Live in Concert – NBC – April 12th at 7:00 PM EDT/PDT

NBC is re-running their 2018 live production of the musical on Easter Sunday. John Legend stars as “Jesus,” with Brandon Victor Dixon as “Judas,” Sara Bareilles as “Mary Magdalene” and Alice Cooper as “King Herod.”

Live from Feinstein’s/54 Below – Just a reminder that Liz Callaway performs The Beat Goes On starting at 12:30 PM on Friday. This concert will only be available for one day.

If you’d like to see what operas are available for streaming from the Metropolitan Opera this weekend, go here.

If you’d like to see the shows WNET is making available from Great Performances go here.

Main photo: The company of Jane Eyre (Photo by Manuel Harlan/Courtesy of National Theatre Live)

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In celebration of his birthday, here are comments from his many collaborators and fans about what makes Sondheim special to them.

Kristin Chenoweth

As I’ve gotten older his work has spoken to me in a much more powerful way. When I listened to Send in the Clowns, I didn’t understand it. Now it hurts. When you listen to Being Alive and what that means to me now, it’s just different. His work, I wouldn’t say I’m late to the party, I’ve always known he’s a genius. Let’s just say as I get older, I’m really connecting to him.

Harry Groener (Mandy Patinkin’s replacement in the original production of Sunday in the Park with George)

First of all, I never thought I’d get to do a Sondheim musical. Because it was that show and it was Sondheim and a dream come true for me, I wasn’t scared at all. I was in a beautiful fantasy and a beautiful dream.

One afternoon I had a session with Steve and he said the best thing to me. “Look, I know that you are concerned about the singing and doing it right and making it sound well. I know you’re worried. Yes I’d like the score to be sung as written. But if you ever feel you aren’t going to hit the note or it won’t be right, just act it.” He was so nice and so supportive and understanding. I can’t tell you how appreciative I was.

Patina Miller (Tony winner for Pippin; appeared as The Witch in Into the Woods at the Hollywood Bowl)

I just love the chances that he takes. I love the music. I like the way the melodies change and the moods are different in the songs. You can listen to the music and it’s beautiful, but there’s something that goes on in the music that makes you feel a certain way and it’s something you can’t ignore. He composes from a place deep within his heart. All of those things are in every song, every lyric, every minor and every major note.

Joy Franz (cast member in the original productions of A Little Night Music, Assasins and Into the Woods)

I think audiences have been educated and have become more aware with the sensibilities and the insights Steve has. He’s just so progressive and was just way ahead of his time in writing. I mean no one else really wrote like him with shows that went into the psychology of the people he wrote about – which was all part of him I believe.

Gedde Watanabe (cast member in the original production of Pacific Overtures; “Charles Guiteau” in the recently postponed East West Players production of Assassins)

God I was so young. I was nervous, but he seemed always calm to me or he was tired. I can’t figure it out. He was just always calm and a completely different energy than [director] Hal Prince had. They took on the role of father figures. Someone in a Tree was beguiling to me – I’m having flashbacks – because of the rhythms and the notes. They weren’t easy. I was surprised I could do it. Most of the theatre you love and adore – and I find intelligent – is way ahead of its time. The grace of it is people catch up to it. There is something very valuable to that.

Herbie Hancock

He has a way of putting words together that is so deep and has multiple levels of impact. That is one of the many things that makes him so so great.

Tim Minchin (composer/lyricist of Matilda and Groundhog Dog)

There’s a bit in Matilda that sounds really Sondheim-y and it’s definitely because I think Sondheim is a genius. One of the great joys in my life is I’ve gotten to meet him as a man and I think he’s an amazing human. Everybody’s trying to write a bit like Sondheim.

Barry Manilow

For every composer, Sondheim is the guy they go back to. We don’t try to do that. He does it the best. You can’t copy that. You can’t do it. He does it. We try to stay away from that. We just admire him.

Jason Robert Brown (Tony Award-winning composer/lyricist for The Bridges of Madison County and The Last Five Years)

I like people who can work and create vigorously. What resonates in Steve’s work is what inspires me. I’m not that disciplined. I’m much more intuitive. I have a little more faith if I throw my hands at these notes and it feels right, I’m willing to trust that. There’s an underpinning of structure in the work and that’s something I learned from Steve. How to have enough of a foundation so I can be free on the 5th and 6th floor to do crazy things on the 11th and 12th floor.

James Lapine (Tony Award-winning co-creator of Sunday in the Park with George, Into the Woods and Passion)

I think it’s timeless. It’s that simple. It’s like a time capsule that doesn’t age. Somebody says he’s our Mozart and that’s true. It’s a level of work that stands up to reinterpretation. You go to a museum and don’t look at the art once. Same here.

Laura Benanti (Tony Award-winning actress who appeared in the 2008 revival of Gypsy and the 2002 revival of Into the Woods)

To me his music is musical theatre. It’s the music that I feel in love with because even though it is so technically interesting and difficult, it cuts straight to the core. No extraneous expression. Straight to the feeling, the emotion. I relate to almost every single song in a very deep way. Beyond the technician is a tremendous ability to look into the heart and soul of humanity.

Tony Yazbeck (appeared with Laura Benanti in the same revival of Gypsy)

I think Stephen Sondheim uses powers of the mind and the heart and your willpower all together. It forces you to feel something that perhaps you have been complacent about for awhile. It forces you to start thinking and feeling something that perhaps was too hard for you to do on your own. It’s so authentically genuine. He’s the master of that.

Photo of Stephen Sondheim at a rehearsal of Merrily We Roll Along by Martha Swope/Courtesy of the New York Public Library Archives

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Audrey Cymone stars as “Matilda.” Her parents are played by Erica Hanrahan and Josh Adamson. “Miss Honey,” the teacher who supports Matilda in her desire to keep reading books, is played by Nicole Santiago. In the role of “Miss Trunchbull,” the nightmare teacher no one would ever want, is played by Michael A. Shepperd.

Michael Matthews, who directed the award-winning production of Cabaret at Celebration Theatre, directs. The choreography, which is said to be entirely new, is by Kate Dunn. The look of the show has also been re-imagined.

When the national tour of Matilda brought the show to the Ahmanson Theatre, I had the chance to talk to Minchin about the show. You can read my interview with him here.

I first saw this completely delightful musical in London and immediately fell in love with it. Though Dahl was an integral part of my childhood, Matilda was not one of the books I read.  This musical made me wish I had.

Whether you have read it or not, Matilda is truly a wonderful musical. And if “When I Grow Up” doesn’t move you to tears, nothing will.

For tickets go here.

Main photo: Audrey Cymone and the company of Matilda (Photo by Jason Niedle)/Courtesy of the La Mirada Theatre for the Performing Arts and McCoy Rigby Entertainment

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At this point asking Minchin about his journey with the show seems redundant. Particularly since he articulated it so well in a recent article in the Sydney Morning Herald. Our conversation was predominantly about the use and role of satire in his comedy music and in musical comedy.

“I don’t think they are as different as people might think,” he says. “I guess there are a couple of distinctions. When you are writing to serve a narrative I think musicals work best when the songs are telling you something about the character, something about the story and telling the audience something about themselves. Every song should have that goal and how much you succeed is for other people to judge.”

He offers specific examples in Matilda. “’Loud’ is a social satire about opinion over information. ‘Quiet’ is about the need to find space. And ‘Miracle’ is about parents’ rose-colored glasses view of their own children. They have breaks, but you set the story as well. In comedy you just have to find something you are angry about and make it rhyme.”

Minchin laments the lack of use of satire in most contemporary musicals. “I think satire and wit is fundamental to what makes a good musical,” he offers. “Making musical theatre not mawkish or not saccharine is the first challenge. Wit is your first go-to thing to avoid mawkishness, to avoid over-sentimentality that, rather than making you care, makes you not want to. I think if you can get it right you can be incredibly disarming.”

Whether because of the success of Matilda or in spite of it’s success and the success of his stand-up work, Minchin can be self-deprecating. “I think my comedy is very manipulative,” he observes, “arguably not very funny. I’ve never read a book about the structure of jokes. I’m sure what I do is a fucking cliché and I’m sure I use the same tricks, but I wouldn’t know. I don’t ever unpack it until I’m having these conversations really. I’m quite good at getting my brain out of the way of stuff. I think to make art you need a lot of craft. You need some chops to take a great photo. To paint you need to know how to use paints and a brush. But once you’ve got some chops you need to try and forget about it. Pretend it’s not there. Pretend it’s an emotional and not an intellectual thing. Kind of suspend your disbelief a bit and try and write some version of the truth.”

Next up is a musical adaptation of the 1993 film Groundhog Day that will premiere next year in England. “Groundhog Day is in some ways more musically pop,” he says. “That’s a terrible phrase. What I mean is there are songs you could play on the radio that there isn’t in Matilda because they are so narrative and wacky and a bit dark. Groundhog Day is about how to live your life. I’ve thought really hard about how to reflect these stages of his life in music and what does that mean? What is he falling towards musically? What has he learned and how do you make that sing?”

After these first years of Matilda’s life, does he feel by doing interviews and attending openings like he’s in his own Groundhog Day? “Well if it is than I should be learning how to see things from a new angle without having to change my circumstance. I suppose that’s the lesson, isn’t it?”

Photo Credit: Joan Marcus

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