SCENE AND HEARD: You Gotta Have Faith in Bells Are Ringing
by Randy Gener
BroadwayOnline.com
April 16, 2001
NEW YORK – At the opening night party for Bells Are Ringing, director Tina
Landau caught many of her admirers by surprise – she wore pink. The dress
astonished because for as long as many of us who have followed her career
over the years, we’ve only seen her in black.
Then again, she’s always displayed a capacity to amaze, not the least of
which is that last Thursday, April 12, she celebrated, along with stars Faith
Prince, Marc Kudisch, Martin Moran, Julio Agustin, Beth Fowler and David
Garrison, the official debut of her first Broadway show at Sardi’s Restaurant
in Times Square.
“After I froze the show, I wondered, ‘What can a director do when you can
no longer direct?’" Tina Landau asked. “So I shopped for opening night.”
And as usual, she free-associated by using a bit of Viewpoints. “I decided
– gold, Midas touch, pink, Bells Are Ringing,” she said. “All I own are black
suits, so I decided to have fun tonight. I’ve never worn pink in my life.”
One of New York’s brightest young directors, Landau greatly impressed Faith
Prince and Marc Kudisch. The two Broadway stars expressed their delight at
working with Landau, who they felt have become one of their best friends
and allies in the business.
“Tina and I are going to be friends long after this show is over,” Kudisch
said. “This has been the easiest preview period in my life. “Honestly I feel
I’m at the place where I feel I am at the most accomplished, smartest and
wisest. I feel that I am most in touch with what I do. I’m here for better
reasons than other shows I’ve been in the past. I’m happy to be present for
Tina and Faith. Tonight is not about me. It’s about Tina, and it’s about
Faith.”
Faith Prince, who received a round of applause as soon as she walked into
Sardi’s, added: “There’s just an incredible trust there with Tina. She’s
very talented, and she definitely has a sense of herself. Somehow when I
hit the New York stage for the first preview, the show just jelled. I felt
so at home, being here. The set is perfect for the show. You’re right there
with the audience. From the first moment we met many years ago to talk about
reviving Bells Are Ringing, we’ve been in sync.”
The Broadway revival of this Jule Styne musical is the fifth time Martin
Moran has worked with Landau. By virtue of that long experience, he offered
some unique insights to Landau. “Tina sets an atmosphere and releases in
you an ability to go as far as you can possibly go. When you connect with
her she lays down a bedrock of inspiration and trust. When I’m in the room
with Tina, I find that I go to places that surprise me. Some of it is unspoken
bond. I’ve known her for 12 years; our relationship dates all the way back
to Trinity Repertory in Rhode Island. She lets me do my own things. I bring
in a lot of choices, and as we go towards the end of the process she edits.
She’s someone I love working with.”
For Kudisch, opening night gave him a sense of relief: “You work so hard
in the show. We spent 12 hours days. We get to live in it now. We get to
allow it to show us what it’s really about. One of the big things I’ve enjoyed
is playing the insecurities of my character more. I enjoy playing the snob.
I think that’s part of his charm. He’s a bit of an ass. People are imperfect
and the more I really live in the imperfection, the more charming and more
human I find him to be.”
Meanwhile, Prince simply revels in playing Ella Peterson in Bells. “I was
struck by how innocent she is. That’s been the biggest discovery. She really
had a natural wonder and innocence that I don’t think I anticipated. I didn’t
know to what degree that she wasn’t jaded. At the same time, I try to be
really present for the audience. In my mind, before I go to the stage, I
think, okay folks how are you? Are you in a bad mood? Which way can I get
you? My goal is to make audiences feel great.”
For Landau, opening night calls up a mixture of emotions. “Tonight was wonderful.
I’m happy the week is over. It was a long week [it was preview week for critics
to show up]. Tonight’s show was for my friends and family. And Faith was
remarkable. I have to say that opening night is one of the hardest moments,
other than the first day of rehearsal, for me as a director. You’re celebrating,
but at the same time it’s sad because it’s over.”
Moran isn’t the only longtime Landau colleague who showed up to congratulate
her success. Director Anne Bogart also showed up, as well as Dream True composer
Ricky Ian Gordon, Bells set designer Riccardo Hernandez and choreographer
Jeff Calhoun.
“Tonight my life is flashing before my eyes with all the people I’ve known
coming together here [at Sardi’s].”
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