Moving Forward, Looking Back: A Reflection on the Growth of 42nd Street Moon

The revamping of the 42nd Street Moon blog this spring provides a good opportunity to reflect on the birth of the company, a labor of love and a triumphant addition to local arts by co-founders Greg MacKellan and Stephanie Rhoads.

Greg had spent much of his career performing, producing and directing in New York and LA. He’d created a six CD series of rare show music featuring name Broadway stars including Judy Kaye, Rebecca Luker, and Patricia Morison. He relocated to San Francisco in 1992, where he was acquainted with director Rick Simas and voice teacher Edward Sayegh. The close friends of Stephanie introduced her to Greg as she was eager to meet the man who was producing the very music from shows she had such a great love for.


Over dinner, Stephanie and Greg discussed their mutual passion for unknown or forgotten musicals from the 1920s through 1960s. They mourned the demise of the New Amsterdam Theatre Company, which had presented staged-concert versions of these shows in New York.

The year before the acclaimed Encores! series began, the two decided to collaborate and create their own company to present pared-down concert productions of shows that would rarely, if ever, be seen anywhere else.

“Musicals were a main form of entertainment for Americans before TV,” Stephanie says. “There were so many shows by songwriters like the Gershwins that were never seen by contemporary audiences. After toying with the idea of creating a revue of such material, we decided to do what we really wanted to do – concert musicals – to whatever extent we could.”

Greg adds, “When we started, we didn't really realize we were starting a theatre company. We just had a passion for these shows and wanted to present them.”

Greg, who began a lifetime love of musicals as a child, learned about the “Golden Age” of musical theatre and composers like Porter, Kern, Rodgers & Hart, and the Gershwins as a teenager. That was the genesis of 42nd Street Moon for him, Greg recalls. “As I got older and became a professional performer and later producer and director, I wanted to help bring those songs to a contemporary audience in a way that would make them as urgent and fresh as they had been when they were new. It was important to me because I felt that a major part of America’s cultural legacy had fallen by the wayside to some extent.” He started with a cabaret show, which led to a staged concert of Cole Porter’s Jubilee at LA’s Westwood Playhouse, CDs, and finally San Francisco and Stephanie.

A long-time performer in theatre, concerts, cabarets, and cruise ships, Stephanie had previously created a two-woman show with Golden Age Broadway music. The singer and actor was well-connected with local San Francisco actors, directors, and theater companies. This was a good combination with Greg’s ties to major licensing agencies, the Cole Porter Trust, and Jerome Kern’s daughter Betty, who facilitated their access to some of her father’s earliest works.

Seeking a name for their new venture, Greg and Stephanie wanted something that symbolized the era of musical theatre they were focusing on. “42nd Street Moon” had been the nickname for the lights over 42nd Street (the main musical theatre thoroughfare in the 1920s), and it became the name of the new company.

The two hit the ground running. They opened their first production three-show series, including Jubilee, One Touch of Venus, and Oh, Lady! Lady!!, at the New Conservatory Theatre Center in the summer of 1993. Positive advance press and reviews in the San Francisco Chronicle led to a week of sold out shows for all three of Moon’s first productions.

The great opening didn’t ensure easy growth, however. Greg and Stephanie, who are now Artistic Director and Producing Director, respectively, made their own copies and called publishing houses themselves between rehearsals. Funding was an ongoing concern. An endless number of tasks had to be completed, and they called on archivists, a theater critic, and community members to join the company’s advisory board and offer advice on successfully running the organization.

Rehearsal and performance space has been another ongoing issue for the company. After a few years, the company outgrew the tiny space at NCTC, and moved performances to the Eureka Theatre. This former movie theater is where audiences can now see most Moon shows, including the upcoming Wildcat. The current offices and rehearsal studio, "MoonSpace," was a lucky find by Moon’s Board President, J. Pattterson McBaine. Formerly the Church of Christ, it is now lovingly referred to by Moonies as “The Church of Cole Porter.”

Today, Greg and Stephanie collaborate on season planning, creative staff hiring, casting, and special events. They say they are constantly looking for ways to keep the company fresh and improve the product by speaking with audience members, their board members, and artistic colleagues locally and nationally.

“We've really revamped how we do things, tried to shake up our thinking about what we do, how we accomplish it and what we feel is important,” Greg says. “I think that’s crucial when you have a long-time artistic tenure with a company. Moon 2009 doesn’t bear a lot of resemblance to the Moon of 1993, which is how it should be. The one thing that hasn’t changed, however, is our passion for musical theater. Stephanie and I are hooked for life, and hopefully our audiences are as well.”

Greetings from New Moon Team Member

Happy Friday,

As the newest member of the 42nd Street Moon online team, I’d like to provide a brief mid-season introduction. I’ll be working in tandem with Artistic Directors Greg MacKellan and Stephanie Rhoads and Managing Director Lauren Hewitt to profile cast members and provide communications about the theater through the social Web. You can expect to see news and features here every Tuesday and Friday.

When theater board member and blog network BlogHer co-founder Elisa Camahort Page asked if I’d be interested in working with the Moon, I was excited about the possibility of teaming up with a passionate local arts organization. I met the group at a recent rehearsal for “High Spirits” and was intrigued by their commitment to bring musical theater to diverse audiences. And once I knew that I wouldn’t be asked to sing (it’s safe to say that my tone deaf self is better with words than notes), I was eager to participate and find out more about the productions and people—the “Moonies”—involved.

A few notes about my background (I’ll keep it brief, I promise):

• I blog about Bay Area arts and culture at Goliblogski, where I cover exhibitions, plays, performances, and other work that tickles my fancy.

• I’m intrigued by the ways that arts organizations connect with people who can benefit from exposure to their creativity. Working with the Chicago-based non-profit arts coalition Artistic Circles to promote their documentary about women religious leaders bringing their communities together after September 11 was a formidable experience for me. I’ve been committed to utilizing the tools at my disposal to make the efforts of similar small but mighty organizations visible ever since.

• I auditioned for two musicals at the Toledo Rep and another two at my high school to no avail—the line “you can tap dance but your singing hurts my ears” became a familiar one. I ended up on the arts public relations team. Fancy that.

Thanks for having me. I look forward to hearing from you about content you’d like to see from the Moon and am excited to meet you—at “Wildcat,” perhaps?

Bring On The Girls!

One of the most remarkable theatrical memoirs ever written is by the musical book and lyrics collaborators P.G. Wodehouse and Guy Bolton, looking back at their wild and fruitful careers together and apart in both London and New York in the first three decades of the 20th century. It was published in 1953, when most of the theatrical managers they dealt with, such as Flo Ziegfield, Abe Erlanger and Col. Henry W. Savage, were safely gone from the earth and they could tell outrageously funny insider stories about their greed, cupidity, and general insanity. In fact, it may be the wittiest memoir I have ever read, and the sheer pleasure Bolton and Wodehouse took in each other's sensibilities comes through on every page. Though not available at the San Francisco Public Library (what's wrong with that place?), you can order a used copy on Amazon (click here).



There is a long chapter in the book about the genesis of "Oh, Lady, Lady" that is fascinating. After their first two collaborations, "Oh, Boy!" and "Leave It to Jane," Bolton and Wodehouse were on top of the world, thinking they could do no wrong, which of course is when they turned out three turkeys in a row, "The Rose of China," "The Riviera Girl," and "Miss 1917." Their account of this trio of disasters is hilarious, and by the end of them, the two authors are thinking about going back to architecture and journalism respectively. Out of the blue, however, they were contacted by Ray Comstock, the theatrical manager of the Princess Theatre, who wanted them to try and recreate their "Oh, Boy!" success and out of that process they produced yet another smash with "Oh, Lady, Lady."



It wasn't all smooth sailing, however. At the out-of-town tryout in Wilmington, Delaware, on a Wednesday matinee performance on Christmas Eve, only 36 people showed up in the audience, and they didn't utter a single peep or laugh. Let me quote the rest:

"They were so quiet that halfway through the first act Bolton, forgetting their existence, rose and addressed Harry Brown, who was playing his opening scene with Carroll McComas.

"That's wrong, Harry," he said. "You'll kill the laughs if you keep pointing to the settee. Carroll would be bound to know what you were talking about." His voice trailed off into silence as he became aware of thirty-six blank faces which had turned and were regarding him with astonishment from rows one and two. Plum [Wodehouse] came to the rescue.

"Ladies and gentlemen," he said. "We must apologize. We're down here trying to get this show right for New York, and Mr. Bolton has just spotted something that is wrong. Would you mind if we fixed it?" Some civil person said, "Not at all. Go ahead," and Guy, encouraged, found his voice. "There are so few of you," he said, "and you were keeping so quiet that I had quite forgotten you were there." This got a better laugh than any of the lines in the show, and Guy said, "We're all a little dizzy these days, and I thought we were having a rehearsal. If you don't mind, we'll have one now."

It was one of the most successful rehearsals in the history of the stage. The audience listened with rapt attention as the authors made their corrections. Many of them contributed suggestions. When the performance ended, the cast came down to the footlights and signed the programs that were handed up to them."

Check out the whole book. I can't recommend it highly enough.

Tom Orr's "Venus" Memories

Tom Orr has become a 42nd Street Moon regular in the last two-and-a-half years. He debuted with us in Mack & Mabel, and has appeared in several shows since then. He has contributed his talents to the Gala and behind the scenes as well. Tom just sent me this lovely little remembrance of his experience in One Touch of Venus.

My favorite memories from "One Touch of Venus," as usual when I do a Moon show, all involve watching from the wings. In the typically short rehearsal process, we're often dismissed early if we're not in a given scene and so we don't get to see the process as our fellow castmates work on a dance sequence or finesse a dramatic moment in rehearsal.

Then we get to the Eureka and put the show together
with all the light cues and costumes just in time for
the audiences to come enjoy what we've created. So the
only chance we ever get to see the show is when we're
in the wings waiting for an entrance or during a
costume change. I always make an effort to catch my
colleagues strutting their stuff: e.g. Amy Louise Cole
nailing a zinger with her impeccable timing; or Nina
Josephs standing centerstage and smoldering at the end
of a solo; etc.

In "Venus," my favorite number was in the bus station
scene. I had a couple of quick bits as Taxi Black
before and after "Way Out West In Jersey." Every night
I'd stand offstage left and happily watch Juliet,
Anil, Elise and Jarrod bust out Tom Segal's amazing
jitterbug choreography while Chris Macomber hooted and
hollered as Mrs. Kramer. The dance came out of
nowhere, had nothing to do with the plot, and brought
down the house every time, kicking the energy level up
with the actors and audience. It's that electricity
that makes me love musical theater.

-- Tom Orr, "Taxi Black"

Opening Night for a "Lady"

Office Manager Annette Lai has provided some pictures from the Opening Night reception for Oh, Lady! Lady!! on Nov. 24th. This is most of the company outside the Eureka Theatre.

And here is dynamic director Kalon Thibodeaux with dashingly dapper choreographer Tom Segal

Leading Man Michael Cassidy with some "old-timers."

Costumer Louise Jarmilowicz with Kalon

Annette Lai with "Mr. B. Russel Sprout," Tyler Kent