Theatre has no boundaries because theatre people speak the same international language. Why shouldn’t the director of a musical in one Stage country be able to successfully direct the same musical in a different Stage country?
We speak with Carline Brouwer, the Dutch director of The Bodyguard in Utrecht, who has taken on the challenge of directing the new, original Spanish version of the show premiering in Madrid on 28 September.
We also ask Martin Michel, the director of Grease in Paris, a few questions. Last year he made the blueprint for the new Dutch touring version of this production.
Carline, you are directing the musical The Bodyguard again, but in a different culture. What’s different directing in Spain?
The first difference, of course, is that in the Netherlands we had already developed our new version of the show. That was an amazing journey, together with Albert Verlinde, the creative team and the cast. In Spain, I largely copied what we had made in Utrecht, but together with the local team and cast I‘ll certainly add a Spanish touch. The Dutch are quite direct and well spoken. From previous directing experience in Spain, such as Sister Act, I know that it is very different there. Spaniards have a totally different temperament than the Dutch. Everything is more emotional and passionate. Moreover, in the Netherlands I worked with the totally inexperienced Romy Monteiro who played the lead role of Rachel Marron. It was a terrific experience to be allowed to develop her immense talents, and also quite exciting. In Spain, the Rachel role is played by Fela, who had just played the role of Nala in the Mexican production of The Lion King. She has much more musical experience, which calls for a different process.
Do you speak Spanish?
Unfortunately not, but as I very often work in different countries, I’ve developed a feel for languages so I pick things up quickly. Moreover, the language of emotions is universal, and, of course, I know the show through and through so I can deal with a Spanish text as easily as a Dutch one. Oddly enough, in Spanish it seems easier to feel and hear if the emotion is right. That’s a wonderful experience. Of course, I have the luxury of having an assistant nearby who can translate for me but I must say that the Bodyguard cast speaks good English so I hardy need the translator.
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What were the auditions like? Was it difficult to find a Rachel Marron and Frank Farmer?
The auditions were extremely exciting because Romy Monteiro and her understudy April Darby set very high standards in Utrecht. Finding a suitable Rachel took weeks, and at times it seemed like an impossible task. We were approaching desperation until we decided to search further in South America. That’s where we found the fantastic Fela Dominquez, she is a beautiful woman with the voice of an angel, she does magic with the songs of Whitney Houston and she is also a fabulous dancer and actress. For the role of bodyguard Frank Farmer, I found myself getting dizzy from the huge number of incredibly attractive Spanish movie stars I saw. Eventually we selected two irresistible Spanish superstars. These were fun auditions, and in Spain every audition begins and ends with greetings and a kiss. I can honestly say that I’ve been kissed by the most handsome men in the southern hemisphere. It’s a tough job I’ve got :-).
If you had to choose between the Netherlands or Spain…?
The intense, southern temperament suits me very well. I also very much enjoy working in Spain. And the weather there is so nice. We have long rehearsal days, but when you walk out of the dark theatre late in the evening it’s wonderfully warm and you can have a production meeting at an outside café. On the other hand, the Netherlands is home sweet home for me: there’s nothing better than home. Alternating between working at home and across the border is the best thing there is. I’d be perfectly happy to be a chameleon that moved around the world adapting to different cultures and making theatre productions.
Director The Bodyguard
Martin, how difficult was it to find the ideal actors for the lead roles of Danny and Sandy in the new, original French production of Grease?
It was a tough search indeed. In Paris we saw over one thousand talented actors and actresses and we had more than a month long auditions and workshops. But I have to say that I’m very pleased with the results. We found a top French cast with two wonderful leads: Alyzée Lalande as Sandy and Alexis Loizon in the role of Danny.
Are there any notable differences between French and Dutch actors?
Sometimes the French singing style is different—less ‘musical’ and more ‘chanson’. I also think French humour is fresh and fun.
Are there any big differences between the French production and the 2015 Dutch touring production?
In Paris we made the set bigger. This bigger set was designed by Eric van der Palen. Arno Bremers also redesigned a lot of the costumes, I added some new choreography and we have new orchestrations for our live onstage orchestra from our Musical director Dominique Trottein. Another big difference is that we are now playing a sit down production in the Théâtre Mogador instead of a travelling production. This has advantages, and we can get more out of the show—also because there is a fixed set with a big rotating stage!
Are the songs sung in French or English?
We of course gave this a great deal of thought. It was finally decided to do some songs in English, but most were translated into French.
What is your next step: Directing Grease in another country?
No, this season I’m going to direct a completely new musical in the Netherlands. VAMOS! is a kind of comedy-musical about three women who want to make a new start in their lives by running a bed and breakfast in Spain.
Martin Michel
Director Grease
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