Just one look and I can hear a bell ring!
One more look and I forget everything!
Whoa—ooh! Mamma Mia! Here I go again— except I won’t be forgetting that summer where Beth Tfiloh Community Theatre produced Mamma Mia (it was now— right now— this summer, summer of 2024 and you still have a chance to see it!) And I definitely won’t forget that I got to sit down with the three Titans of Theatre— Diane Smith, Charlotte Evans, and Rachel Miller— to talk to them all about the wonderful production they’re putting on over at BTCT.
Thank you ladies for coming together just a week before you open to talk all about this extraordinary production. We’ve got Diane Smith, Charlotte Evans, and Rachel Miller— the show’s Director, Musical Director, and Choreographer, and we’re here to talk Mamma Mia, but let’s start with a broader ranging question. Diane, how long have you been doing theatre?
Diane Smith: In Maryland? Since 1978. I came here for college in 1978. I came here to go to Essex Community College because they had this fantastic theatre program, better than any community college, which I’m from upstate New York, and my father lived in Jarretsville. I moved down here so I could go to college down here at CCBC. I met Scott Black and Bob Stoltzfus, who unfortunately just passed away last week and I was very upset about that because he was one of my mentors. But that was when I started here in Maryland, met Bob and Scott and the rest is history.
And now you’re here as the Artistic Director of Beth Tfiloh Community Theatre as well, correct?
Diane: Correct. I am the chair of the Arts Department for the Beth Tfiloh School. I teach middle and high school technical theatre. But I am also in charge of the department and what’s going on here, with my wonderful assistant Laura Miller, who is painting our set. She’s a fantastic scenic artist, who also works here during the day. For the community theatre, it was actually founded by Evan Margolis, a former student— an alumni, and we are co-Artistic Directors, and we choose the show together. He designs the sets and does almost all of the publicity and marketing. He lives in New York City, so he will come down for tech week. And he’ll be here to help us all through tech week. He’s also a very good artist. He designed the set, and he will come in to help if there’s anything left that needs finishing during tech week. He also does front of house.
Evan is the person who went to Dr. Schorr (Director of Education for Beth Tfiloh Dahan Community Day School, Dr. Zipora Schorr)— and she supports the arts program incredibly— but Evan went to her and asked permission to start an alumni theatre years ago so that observant Jewish performers would have a place to perform because we don’t do performances on Fridays and Saturdays because that’s Shabbat, our Sabbath. It started out as an alumni theatre the first year and then it turned into a community theatre. We get performers from the Jewish community but we also get other theatre performers who come and do the show because they want to do the show.
That is an extraordinary and rich history that I did not know that BTCT had! Amazing! Now Rachel, how long have you been doing theatre?
Rachel Miller: I think my very production I did was at CPM (Children’s Playhouse of Maryland), for their performing arts camp, I was seven, and I was in Alice in Wonderland. It was actually funny because I didn’t want to be in the show. I wanted to work backstage. I said, “I won’t do it.” But then I did it and the rest is history. I had the opportunity to start choreographing when I was 15. Going into my freshman year of high school was the first time I had a chance to choreograph for Cockpit with Liz (Cockpit in Court’s Court Jesters youth summer theatre program with Director Liz Boyer Hunnicutt), and from there I’ve just been involved with doing shows but also with the dancing and the choreographing side of it too.
Diane: Rachel is also our Director of Dance here at the school. She started last year and took over the dance position.
Rachel: I completed my first year and I’m ready to come back for a second!
I love hearing how you all are deeply interconnected. Charlotte Evans, how long have you been doing theatre?
Charlotte Evans: So my first professional musical directing gig was in 2005 when I got to college. Fun fact is that during high school, I was a performer on stage and Diane actually directed me in a production of Wizard of Oz at Cockpit in Court Jesters. That’s when we first met. And then I left for college and got into the musical directing side of theatre. And that’s when I sort of petered out being on stage, and found I liked the backstage, I was good at it. And I’ve been doing that really steadily ever since 2005. I worked in Baltimore for a little bit, then I moved to New York City and worked professionally there for about five years, did a bunch of regional theatres, and then I moved back here. And I was really welcomed by the Baltimore theatre scene, especially at Children’s Playhouse where we all reconnected again.
That is so wonderful to hear. Diane, I know you said you and Evan pick the show for the community theatre together, so why Mamma Mia?
Diane: We try to pick a show that has a variety of ages in it. Because we want to pull in the performers from the community. Children’s Playhouse deals with students 18 and under. When I’m doing my school shows here, it’s students 18 and under. As a director, I like to do a show that is every once in a while that’s age-appropriate casting. So we try to find a show that has mature roles in it for the mature performers and can still have a younger teenage or early 20’s dancing ensemble. We want to be able to pull them in for all ages. Those are the shows we try to look for, number one. But number two, we look for something that’s going to be a little bit of a draw. We do want an audience! You don’t want to do something too obscure that no one has heard of.
To be honest with you, my Beth Tfiloh students came to me and said, “We want to do Mamma Mia.” And I said, “No, you’re not going to be able to do it. The subject matter…we are a religious school.” And even though we’ve done shows like Anything Goes or Freaky Friday…I told the kids it wouldn’t be approved. Even though Dr. Schorr, our director of education, trusts me in my decisions, I would never put myself in a position where she would question that or there would be a question about whether I had put something on stage that was inappropriate to do.
I decided I would give Dr. Schorr the script, particularly the first scene, have her read it, and if she says we can do it, then we’ll do it. So I gave it to Dr. Schorr, told her to read the first scene, and asked her if we could do the show— as a school production. She loved the fact that it was ABBA and all the music, but she said, “I don’t think we can do it at the high school level.” So I asked her if this year— 2024— could we do it with the community theatre. Now, since the community theatre is adults— and unless there is a role specifically for a young person, like the boy in Pippin or Tobias in Sweeney Todd the students have to have finished their first year of high school before they can even audition, and they’re still not guaranteed to get into the show! And we’ve done some pretty adult-themed shows with the community theatre, we did Sweeney Todd, but because the community theatre is adults, Dr. Schorr said, “Yes, you can do it with the adults.”
That is so wonderful! Now why did you two, Charlotte and Rachel, want to come out and be a part of Mamma Mia? Obviously, Diane called and is a factor because you both enjoy working with her, but what was the draw to want to do it?
Rachel: For me, it’s the music, it’s just so fun. Everybody knows it. And I was thinking choreographically how fun of a show it would be to work on. Especially getting the dancers that come out who want to work on it because they know the music and they know how much fun it is going to be, how could I say no? I 100% wanted to be a part of that.
Charlotte: The music is just so much fun. And it’s fun to teach too. The ensemble literally sings in every single song except one. The opening number is the only song that the ensemble doesn’t sing in. All the harmonies I got to teach, doing all of those songs was just so much fun. And I knew it was a show that I had wanted to do for a while.
That’s excellent. Before we started, Diane was showing me the magical setup you guys have off-stage and backstage for those ensemble members to be singing even when they’re not on the stage.
Diane: Oh yes, our high-tech setup we’ve got going on back there in the hallway!
Charlotte: I was nervous about that, actually. I was a little skeptical as to whether or not that was going to work out. And the first time we tried it, it was a little bit of a mess, but you know what? Second time we tried it, we made adjustments, moved things around, and now it’s amazing.
Diane: They sound great.
I cannot wait to hear them. What has been your biggest challenge with this show so far? Diane, I know we were talking a little bit before about having the camp crossover.
Diane: Yeah, that is the biggest challenge this year because of the Jewish Holiday (Tishah B’Av, 8/15/24) my camp show is pushed into my Mamma Mia tech-week. Therefore we’re basically in rep, we’re doing two shows at the same time. When the camp finishes their Birdie performance, we move all of their props and scenery out, and we move all of Mamma Mia in.
And this is literally, the camp kids are taking their bows, going out to see their parents in the lobby, and you guys are in here, striking their set, and loading in your set.
Diane: Exactly. The good thing is— the night of their performance it’s just a tech-week rehearsal for Mamma Mia. We’re okay with that. The Mamma Mia cast can chill a little bit while we swap out set pieces and props and stuff. It’s kind of like doing it in rep. It is a struggle, but we’ve got an excellent crew. I’ve got an excellent crew with my camp show this year and an excellent crew with Mamma Mia. They change it over, they know what they’re doing, they’re all high school students, and they’re really on the ball.
I am so pleased to hear that. Rachel, what has been your biggest challenge?
Rachel: My biggest challenge? I’ll say that I have two. The one I always have, but it’s a good challenge to have, is that I have varying levels of dancing capability in a show, especially when we’re ranging through so many ages. Trying to always ensure that everybody has something at their skill level, but also giving them a challenge, which will be different depending on their ability. The other challenge I’ve had specifically for this show is being in the show while also choreographing it. I’m part of the dancing ensemble. I was just showing Charlotte, I’m taking videos of the run so that when I go home after rehearsal, I can go through it, take notes, and adjust. I want to be sure that when we’re running the show, I can be a part of it as a cast member, making sure I’m where I’m supposed to be in those dance routines on stage so that I’m not messing anybody else up. Having the videos gives me a chance, as the choreographer, to see things that I might not see while performing, so I can then give notes to the cast to make sure everything looks clean. That’s the challenge with this one, dual duty of being in the show and choreographing it.
Charlotte? Biggest challenge?
Charlotte: Just getting the music taught. The very first month of rehearsals was just teaching music. It’s so much music! And so many harmonies! One of the biggest challenges for them is keeping track of everything. There are so many different “oohs and aahs” and having to remember which one is which has been a challenge for the cast for sure. I was really lucky. This cast has just been kicking butt. They’ve put the work in and they have made my job so much easier because they’ve just been on it. I’ve been really lucky in that sense.
What is the moment in the show that speaks the most to you?
Diane: It’s when Donna sings “Slipping Through my Fingers.” Because I have a daughter. When she sings that song, I just tear up. It makes me think of my little girl, who is now grown up, and maybe some of those missed opportunities and how she keeps growing and she’s slipping through my fingers. That song, I really do think is the most poignant song in the show. I mean obviously the music is ABBA and you get all the great dancing from that era, but that song just pulls at your heartstrings.
Do you have a moment that really speaks to you, Rachel?
Rachel: Yes. One of the moments that I just think is fun and a good time with what we’re doing on stage in that moment— I love the whole “Does Your Mother Know?” scene and setup. We’re all out there just having a wild time with Zev (playing Pepper, Zev A.) and we’re just laughing at him, having a great time. He’s so funny in this role and we love him. All the camaraderie on stage in that moment and we love Kerry Jungwirth, who is our Tanya. She’s just great. I just love that number, we’re all so upbeat, dancing together, and that is just a moment that I really love. Getting to be on stage there with my whole dancing ensemble for that number is just so great and so fun!
Charlotte? Moment that speaks to you the most?
Charlotte: I’m going to give you my favorite song. Because I don’t know that I have a moment yet that speaks to me— because I haven’t fully been in it yet. Once I’m with the band and we’re running, I might find some moments, but my favorite song is torn between “Chiquitita” and “SOS”, that is the most rock and roll kind of song in this show. And then also, Donna when she sings “Winner Takes It All” because it’s absolutely fabulous.
I cannot wait to hear all of those. Is there an ABBA song that you love that didn’t make it into Mamma Mia?
Diane: I don’t think so. I remember— I grew up with ABBA. I know most of these songs, I’ve sung most of them. I actually didn’t know “Slipping Through My Fingers” until I started working on this show. I didn’t put that one with ABBA. Obviously “Dancing Queen” is huge and “Mamma Mia” is huge, those were their really big hits. I don’t think I’m missing one, if I am, I haven’t noticed it yet.
Rachel: Most of what I know about ABBA is from this show.
Charlotte: I never listened to them except for what’s in this show!
Diane: Well I grew up with them.
Charlotte: I had the Mamma Mia CD in high school after seeing the show on Broadway. But I just assumed that was all of the ABBA songs.
Diane: I actually have three ABBA records back there! I was going through an old record collection that I had at home. I sold all of them except I pulled the ABBA ones, because I said, “I have to take these in. We’re going to do a display in the lobby!” They’re sitting back there, waiting to make their lobby debut.
Now if you could be any character in Mamma Mia, who would you be?
Diane: Oh I would probably be Donna. I think she fits me pretty good. She’s a hard-working woman, has a daughter, although I am married and she wasn’t married. I think that would be the part. Either that or I guess I could be a little wild with Tanya. I do have wild side! But probably Donna would be the one that I come the closest to.
Rachel: I definitely think I would be a Tanya, for sure. When she comes in with all those bags and the suitcases, I said, “That’s literally me. Going on every trip ever.” I am the most extra…all her sass and her vibe. That’s totally me.
Charlotte: Not Sophie though?
Rachel: I don’t know, maybe. I just feel like Tanya is so much more me.
I think we’re saying Sophie for Rachel because she’s so young! Now Charlotte, don’t feel obligated to say Rosie here just because they’ve each said Donna and Tanya.
Charlotte: But I actually love Rosie! First of all, our Donna was missing all last week and I had to sing all of her songs, and I could never sing “Winner Takes It All” that was so hard to sing. So definitely Rosie. She’s the more comedic character, she’s very funny on stage and that’s very me, I’ve always been those types of characters.
What is your favorite number to see this particular cast do?
Diane: I’m running through the show in my mind. I like “Dancing Queen” and “Super Trooper.” The ones that involve the full cast where everybody is in it and on stage. Rachel has done a marvelous job with the staging, these numbers really come off as very clean. “Dancing Queen” is just the three women but they really do it so well. But if I had to choose just one, I would say “Super Trooper.”
Rachel: “Gimme, Gimme, Gimme.” Just cohesively looking at it is wild. Obviously I’m partial, but some of the choreography for that looks really great. The different sections of what people are doing, there are different ripples of things happening, and there are two different sections of things happening but it’s super clean and the cast is really nailing it and I’m super excited to see it looking clean and ready to go. It’s super!
Charlotte: That’s hard for me to say because I really don’t get to watch the show at all because I’m playing the piano. I was just watching Rachel’s recording of today’s rehearsal and was just amazed at how good they look because I don’t ever really get to see that. Right now, I can go by sound. And that would be “Chiquitita.” They sound so good and I really like that.
What is it that you are hoping will take away from coming out and seeing Mamma Mia here at Beth Tfiloh Community Theatre?
Diane: I don’t know that Mamma Mia has any earth-shattering message except for “find yourself.” Sophie finds herself at the end. And we get to see that there are families that look different. That are different. Different mother, different father, different relationships raising children, I think that message is clear. I just hope they leave having a fabulous time, really getting into the music and getting into the performance. I want the audience to just really enjoy it. Sit back, relax, and just enjoy the show.
Charlotte: If you’ve ever seen Mamma Mia then you know that it ends with a big “Megamix.” It’s a very audience-participation sequence, where we encourage everyone to sing the songs. I know, as an audience member, when I’ve seen the show, with that Megamix at the end, you just walk away feeling like you’ve had so much fun!
Rachel: 100% I was just going to say— especially at the end with the “Megamix” I hope everyone is up and having a good time. The show ends on such a high fun note how can you not have fun?
Charlotte: It basically turns into a concert at the end. Everyone is bouncing around and having a great time!
Fantastic. What has being a part of Mamma Mia here at Beth Tfiloh Community Theatre taught you about yourself?
Diane: Jeez, I’m not sure. It has taught me that I can go from 7:00am to midnight. Camp all day, Mamma Mia all night. Of course that’s normal for me this time of year, these three weeks where it’s camp all day and then the show rehearsing at night. I also— and this is not just Mamma Mia— this is something that I think I have learned over the last several years, but it definitely comes into play with Mamma Mia, I have learned to be— I think, there are some people who will argue with me— but I think I’ve learned to be a little bit more of a gentler soul. I used to be a real hard-ass, for lack of a better word, and very strict when I directed. I think I’ve become a little bit more loose and let the cast be a little bit loose sometime. We’re doing this fabulous show that we want the audience to leave out of here having a fabulous time with, let’s let the cast have a fabulous time doing the show too. I think that’s the lesson. Just to lay back a little bit and let the cast have fun.
First of all, we have a fabulous cast. We had 72 people audition. We cast 38 people. We’ve lost one since then. We’ve got a really solid cast. All of the lead characters are very solid. The ensemble is fabulous. The vocals, the choreography, it’s all fabulous. It is a really, really solid cast. So I’ve learned to relax just a bit and let them have as much fun with the show as we want the audience to have with the show.
That is extraordinary. Rachel, what have you learned?
Rachel: I would probably say an amount of patience. Having patience with myself, going through all the hoops—I’m also working the camp with Diane, so I’m here for that, choreographing that, and then coming to rehearsal, being in the show, and choreographing the show. Lots of gear switching. I have people coming up to constantly asking questions, so I’m learning to be patient with others too, especially knowing that there are different learning styles of timeframes in which people are getting it. Even when I know I’m overwhelmed, I have to be patient with people when they ask for help and clarification. This experience has taught me to breathe, taught me to take a moment even though it’s a lot going on. I’m learning to be very patient with myself and with others as we go through this whole thing together.
I love hearing that too. Charlotte? Have you learned anything?
Charlotte: Literally the same thing. Being softer and more patient. We get so many different skill levels here. We get really seasoned performers who want to go out and do this for a living, then we have people who are doing this just for fun. And everything in-between. Just being able to teach that whole, very diverse group. I have high expectations and I challenge them but I’m not cracking the whip and making people cry.
Diane: That has happened before!
Charlotte: That was one of my first shows here! Tears were shed, my notes were a little bit harsh. But I’ve learned to be softer and still challenge them and help them meet my high expectations…without the tears. I’ve also started incorporating a lot of vocal coaching into my rehearsals. So when people are having trouble hitting a note or something, I’ll suggest we try a certain exercise to try and get them there. Really just creating a safe space for everybody to grow at their own pace.
Diane: Another thing, just to touch on what Charlotte said about the diversity in the cast, the fact that we’re pulling the two communities together— because there are people in this show who are very observant, Jewish people. So they can’t go and do community theatre anywhere else because they can’t go perform on a Friday or Saturday night. The only chance that they may get to perform throughout the year is with this production. At the same time we’re pulling in veteran theatre performers who have been doing shows for 25-30 years in the Baltimore area and they wanted to be a part of this show. We’ve pulled these two groups together and they work together very, very well. I think everybody is very appreciative of the fact that this art-form is existing here, that theatre is existing here, and that they are able to be a part of it.
If you had to sum up your experience with Mamma Mia here at Beth Tfiloh Community Theatre using just one word, which word do you use?
Diane: Fabulous.
Rachel: Exhilarating.
Charlotte: Can I say bad-ass? Is that two-words? Is that appropriate? Bad-ass!
Mamma Mia plays three performances on Sunday August 18th 2024 at 2:00pm, Wednesday August 21st 2024 at 7:00pm, and Sunday August 25th at 2:00pm with Beth Tfiloh Community Theatre located in the Mintzes Theatre of the Rosen Arts Center on the Beth Tfiloh Congregation and Community School Campus— 3300 Old Court Road in Pikesville, MD. Tickets are available for purchase at the door, by calling the box office at 410-413-2417, or in advance online.
