{"id":494,"date":"2018-09-17T13:13:21","date_gmt":"2018-09-17T17:13:21","guid":{"rendered":"https:\/\/performingartslegacy.org\/stockwoman1\/?p=494"},"modified":"2018-09-17T13:15:04","modified_gmt":"2018-09-17T17:15:04","slug":"charisma-and-chutzpah","status":"publish","type":"post","link":"https:\/\/performingartslegacy.org\/stockwoman1\/charisma-and-chutzpah\/","title":{"rendered":"Charisma and Chutzpah!"},"content":{"rendered":"<p>CHARISMA AND CHUTZPAH<br \/>\nSomewhere in the mid to late 1970\u2019s I decided I would like to try my hand at directing.  The only problem, I had never directed a show professionally, although I had directed several shows in college and high school.  I was in my twenties and had the confidence that only comes with the young and na\u00efve \u2013 did not have a clue about how much I did not know.  To make a long story short, one day in the Spring of 1977 I was on the M104 bus heading uptown when I ran into my old mentor\/friend Del Brownlee from my apprentice days at Melody Fair in North Tonawanda, New York.  I knew she was affiliated with a producer of a small theatre near her hometown, so I boldly asked her, if the producer. Norma Bruce needed any directors for the Gilbert and Sullivan operetta she was producing that summer.  I made as if I were an experienced director already, but Del must have realized how green I was.  However, she said she would speak to the producer about me.  Now at that point I had been in possession of my Equity card since 1971, and had performed in a variety of musicals and operettas.  I understood the genre but had a lot to learn.  In any event, Del soon set up an interview with me with Ms. Bruce.  I spoke with incredible bravura, and I made much of the fact that I had performed in several Gilbert and Sullivan operettas, not the least of which was THE PIRATES OF PENZANCE at the Actors Theatre of Louisville in a principal role.  In addition I had roles in New York in both PATIENCE and RUDDIGORE.   I also had several large musical packages including the STUDENT PRINCE and was to tour that summer with Roberta Peters in THE MERRY WIDOW (in which I wound up understudying several roles).  I made as if I had ample directing experience as well (a bit of a white lie).  Well, Norma Bruce hired me for her SINGERS\u2019 THEATRE for the grand fee of $350.00, and the rest is history.  I had my first professional directing gig and we opened IOLANTHE in August of that year in a lovely little outdoor theatre.  I talked myself into that job with charisma and chutzpah.  My boldness paid off.  I did a creible job and I really fell in love with Gilbert and Sullivan and it was the first of many, many operettas to come.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>CHARISMA AND CHUTZPAH Somewhere in the mid to late 1970\u2019s I decided I would like to try my hand at directing. The only problem, I had never directed a show professionally, although I had directed several shows in college and high school. 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