The Ugly Duckling
Friday, March 9, 7 pm | Saturday, March 10, 3 pm and 7 pm
Please join us as we share a musical fable about discovering personal identity, learning to love yourself, and finding your flock.
CSULB, Theatre Arts Building, Room 24/26
The Ugly Duckling is a 45 minute show with no Intermission.
NOTE: The theatre can be cold and the temperature is controlled by the University. Please dress accordingly.
Friday, February 2
1:30 pm – 4:30 pm
CSULB, Theatre Arts Building, Room 241
Bring sheet music or track. 32 Bars. Style is a hybrid legit/contemporary. (One song in blues / swing style not listed online.)
Be prepared to move!
Clips from show can be found here: www.helenslater.com/uglyduckling/.
Ugly Duckling (Ruth or Ray) – transgender or LGBTQ+ – sings
Narrator – non-singing
Mother – two solos
King (or Queen) of the Geese – blues solo
Sister Sibling of Ugly Duckling (Ella) – solo lines
Male Sibling of Ugly Duckling (Joey) – solo lines
2 – 4 Ensemble – solo lines
About the show:
Subtitled An Urban Journey of Self Discovery and Finding Your Flock, our Ugly Duckling will be a transgendered or LGBTQ+ human discovering their sexuality and finding the flock where they fit. MFA Acting grad Jennifer Richardson, is directing this show as part of the Affinity Series for the CSULB Main Season Spring 2018.
Rehearsals: Feb 5 – March 8 | M-F 6-10 pm – Theatre Arts Building
Performances: March 9-11 – Times TBA
Director: Jennifer Richardson, MFA Acting Grad | firstname.lastname@example.org
Movement: Julie Granata-Hunicutt, MFA Acting Grad
Music Director: Michael Rothbart, CSULB Music Department
Set and Costume Design: Ulyana Chava, MFA Design Grad
Words and Music: Helen Slater
These students teach ME so much! It is a joyful thing to teach acting, to help students express themselves, to find their voices, to find their flocks.
Part of the MFA program involves performing in mainstage shows at California State University Long Beach. In Fall 2016 I stepped in when director Joanne Gordon lost one of her chorus girls in Stop The World starring Alexandra Billings. In Spring of 2017 I played Maddie Emerson in Good Boys and True directed by the Head of Acting at CSULB, Hugh O’Gorman. This Fall 2017 I participated in WOKE!: A Revolutionary Cabaret, directed by Dr. Joanne Gordon. And in the Spring 2018, I’ll be taking on the role of Sylvia Stein in End Days.
I received a Norris Grant to attend a Teacher Training lab Winter 2017 at HB Studio in New York City under the tutelage of master teachers Carol Rosenfeld and Brian Mulligan.
I am so excited to be pursuing a new adventure to get my Masters degree in Acting. I absolutely love this program, the faculty, my cohort. Every day is a creative opportunity to grow and learn. The two photos below: the acting cohort in our clown/ movement class with Ezra LeBanc, in our voice class with Andrea Caban and guest Catherine Fitzmaurice, and in our Movement class with Alexandra Billings.
“With Schock at the piano, Whiteman was totally in her element on several ballads: “Over and Over and Over,” a gentle, torchy song written as a tribute to the love shared by pair of elderly neighbors, and “You Are,” an evocative love song — both of which were supported by hauntingly gorgeous cello accompaniment by Jennifer Richardson…”
Reviewed by Elliot Zwiebach for Cabaret Scenes
“On Thursday May 19 consummate singer Pat Whiteman presentedAn Evening of Pat Whiteman & Grammy nominated songwriter Harriet Schock at the E Spot Lounge at Vitello’s in Studio City to a sold-out house of arduous music lovers. Although not as well known as the others, Harriet Schock has been compared to Joni Mitchell and Carly Simon. Her pop songs are that good, for example “Ain’t No Way to Treat a Lady” which gave Helen Reddy a great big hit back in the 70s. Who better to interpret her incisive emotional messages than virtuoso Pat Whiteman? The evening was a divine songfest of original material with a 6-piece band, including Schock at the piano and electronic keyboard, and two backup singers.”
“Throughout the set fantastic musicians Joe Lamanno was on bass, Brad Blaisdell a standout on harmonica, Jennifer Richardson on cello, Kelly DeSarla on flute, Scott Breadman on percussion, and Schock herself alternating between piano and keyboard and adding vocals on some songs and dueting with Whiteman on others. Andrea Ross-Greene and Barbara Shane provided superb backup vocals.”