Paul Barnes has just directed a stage production with a cast of three. His next project is a play with a cast of two. But in between, he's in Salt Lake City to direct "Disney's Beauty and the Beast" for Pioneer Theatre Company.
And "Beauty and the Beast" is, to understate, a much bigger challenge.
"For me," said Barnes, "the challenge is to realize the spectacle while holding onto the human story at the center of it."
Barnes was in Milwaukee for the three-person musical revue "Tomfoolery," showcasing the wit of Tom Lehrer, before coming to Salt Lake City. He'll leave early next month for St. Louis to direct "Stones in His Pocket," a two-person play.
But it's safe to say that "Beauty and the Beast" is probably the largest undertaking in PTC's history — a megamusical with a giant ensemble, huge scenery and complicated, unconventional costumes.
Barnes figures the last project of this scale he directed for PTC was "Camelot." He's also done some big productions for the Utah Shakespearean Festival.
"This is one of the first major regional editions of 'Beauty and the Beast,' and Pioneer is really throwing its weight into the production elements. I find the piece to be incredibly moving. Any story that can bridge the gap between people through reading and a love of books has a lot going for it in my mind. It looks beyond surface appearances and digs into deeper matters.
"But we will also provide a lot of dancing cutlery."
Barnes remembered when he was a youngster and his parents took him to a local production of "Amahl and the Night Visitors." "I met the little boy who was playing Amahl and he was probably about my age — and I am reminded, especially this time of year, of how many young people have a chance to be exposed to live theater for the first time.
"I saw 'The Lion King' several years ago in New York City, but it was a Saturday matinee during the holidays, and it was a thrill to be in a Broadway theater and see so many kids all dressed up and caught up in the experience. If this production helps create a new generation of theatergoers, that alone is serving an important function."
THE "BEAST" IS played by guest artist Gregg Goodbrod, who was most recently one of Muzzie's Boys in the Tony Award-winning stage version of "Thoroughly Modern Millie."
Just a few years earlier, Goodbrod was majoring in biology in Tennessee, "then I found out I could sing — and switched into musical theater," he said before going into a rehearsal.
Goodbrod's father is also partly the reason he's a professional actor today. When he dabbled in theater in high school ("It was something different from study hall"), his dad showed him a notice for an audition for a community theater. Young Goodbrod ended up dancing in the chorus for a local production of "Cabaret."
In college, Goodbrod discovered he was spending more time in theater than he was cramming for his chemistry exams, so he decided to concentrate on the stage.
He earned his Equity card while performing in a small musical revue in New Hampshire ("The All-Night Strut"), and — most recently — he auditioned for at least three different productions of "Beauty and the Beast." He was up for the role of Gaston in the other two shows but signed on to play the Beast for PTC. "This has more songs and more scenes than the animated Disney movie, but it's basically the same as the feature film.
"I used to think of 'Beauty and the Beast' in a shallow way, but this is exploring the realness of the role — and I hope it's sincere."
Goodbrod had his first costume fitting just a day or two after arriving in Salt Lake City. "They want me to get used to wearing it," he said.
Although patrons won't get to see how handsome Goodbrod really is until the end of "Beauty and the Beast," his face will not be entirely covered by a mask, so there'll be some glimpses of his own facial expressions.
Goodbrod has done a couple of workshops for Elton John and Bernie Taupin's new work-in-progress, "The Vampire Lestat," a musical based on Anne Rice's characters, which he hopes will eventually make it to Broadway.
GUEST COSTUME DESIGNER Susan Branch's work began several months ago — with a great deal of time devoted to planning — and now involves not only PTC's resident team of stitchers but also a group of out-of-town craftsmen and artisans who are helping in the construction of the production's unique "animated" figures.
One of Branch's recent PTC productions, "Sophisticated Ladies" (2001), was a big show, too, "but it was more conventional costuming with glamorous clothing."
"Beauty and the Beast" is more complicated, with such animated objects as clocks (Cogsworth, played by Utahn Max Robinson), a dresser (Anne Stewart Mark as Madame de la Grande Bouche), teapots, cheese graters and assorted kitchen cutlery.
"They all have to be able to dance and perform," said Branch. "Take Max Robinson for instance — you want him to be as comfortable as possible and still perform, without worrying about how heavy his costume is."
As a free-lance designer, Branch admits that she can do pretty well in sewing a period corset or dress, but when it comes to living candelabras and teapots, "I need help."
With all of this production's unconventional projects, "every day we are having to reinvent the wheel."
Home base for Branch is Austin, Texas, but "I'm always thrilled with the work that's produced here. PTC has a first-class group of artists."
ALSO ASSISTING with this production are musical director James Prigmore, scenery designer George Maxwell, choreographer Jayne Luke, fight choreographer Paul Kiernan, lighting designer Tom Munn, sound designer Joe Payne and hair/makeup designer Amanda French.
Any tickets?
Some performances of "Disney's Beauty and the Beast" are already sold out (or close to it). Best availability for seating is on weekends.
E-mail: ivan@desnews.com