Benjamin Shoenberger is the producer of the Japanese Fairy Tale Musical that will be at Belmont Ridge Middle School, 19045 Upper Belmont Place, Leesburg, Saturday, March 3 and 10, at 7 p.m. and Sunday, March 4 and 11, at 3 p.m. The show is suitable for all ages and will include Japanese dance, song, drums and costumes. Call 540-338-5281 for reservations.
Introduce yourself:
My name is Benjamin Shoenberger. I work for Franklin Park Performing and Visual Arts Center as the VSA arts specialist. This position was created by the Loudoun County Board of Supervisors as a way to continue its support of VSA arts and ensure that it was around for years to come. Formerly Very Special Arts, it stands for Vision, Strength and Artistic Expression. We are an organization that works with people with disabilities.
VSA arts Virginia-Loudoun County is a fully inclusive visual and performing arts program that provides discovery opportunities for individuals with and without disabilities. Acting, dancing, drawing, sculpting — whatever form of creating you choose is done side by side with people of all ages and abilities.
All of our productions are original musical adaptations of fairy tales, written by Alice Power. Mrs. Power, a long-time volunteer with VSA arts, also served as director, lyricist and composer, producer, costumer and set mover over the years. Now, in her role of artistic director for VSA arts, Mrs. Power continues to share her talents with us, helping to develop and guide new production team members for VSA arts.
Explain the premise of the stories:
There are two performances, one in each act. The first is "The Legend of Urashima Taro." Urashima Taro is a poor fisher boy who lives by the sea. To save the life of a young turtle, he gives his day's catch to the children who are tormenting the turtle. In gratitude, the Princess of the Sea invites Urashima Taro to visit her kingdom. He falls in love with the Princess, and is very happy among his new friends under the sea. After a while, he finds that he misses his life above the sea and asks to go back. Everyone urges him to stay, but he decides to return home. The Princess sadly bids him farewell and gives him a gift, a gold treasure box, and tells him never to open it. When back on shore, Urashima Taro discovers that everything has changed. There is a new city where his village once stood. People in modern dress pass by and laugh at his poor clothing. He is very confused and, in desperation, opens the treasure box releasing a great puff of smoke. When it clears, Urashima Taro finds that he has turned into a very old man with a long gray beard. He sits down and weeps as he realizes his youth, the treasure inside the box, is gone forever.
The second performance is "Hachi-Kasuki-Hime" (Sima, Who Wore the Big Hat). An older nobleman and his wife long to have a child. When finally their daughter, Sima, is born, they are very happy. They love her dearly, but when she is still a child, they both pass away. As Sima's mother is dying she fastens a box to Sima's head and over the box she fastens a large hat that covers most of Sima's face. She explains that one day Sima will understand this strange hat, but until that day, Sima will not be able to remove it. She is ridiculed from her home and must find a safe place to live where she will not be made fun of and can find out the reason she is wearing the hat.
Why did you choose to produce this show?
This show was written by Alice Power. It was Alice's hard work and dedication to this program that has made us what we are today. She started our chapter of VSA 17 years ago and has written every script we have ever performed. This presented new challenges to our participants, as well as introduced them to a new culture.
What were some of the challenges when putting together the show?
As the producer, set designer and VSA specialist, it has been a real challenge to coordinate everything. From the costume designers, (we have two),props person, marketing and advertising, securing musicians, designing and preparing the poster, postcards, a 32-page program with ads by local businesses, to making sure everyone knows about who is needed at each rehearsal, and a lot more that goes into producing a show, it has been a roller coaster of activity. I think the challenge has been making sure all was done in a timely manner and with as little stress as possible.
What stands out the most about this production?
This production is unique for us because the show's stories are a bit more serious in nature. Usually we have wonderful comedies, chase scenes, funny characters and lots of laughs. This show, even though has it's moments, has a more serious tone.
What is your favorite character/most challenging role?
It's hard to narrow down a favorite role. I find myself watching our actors give 110 percent in rehearsals and love watching them grow as actors from week to week. Each person in our show has challenges to overcome, just like the characters in their play. Watching them grow as people, friends and as a group is amazing.
What has been your favorite play-related moment either on stage or backstage?
My favorite moments are the hugs from the participants. The friendships that are formed in this group are amazing. When you get a hug, you know that you are accepted into their circle of trust.
How does [the circle of trust] affect the play, especially in the case of the Kabuki-style theater?
The stronger friendships that are formed among a cast make for a stronger performance on stage. Trust. It's key to a good performance.
Have you ever acted?
I am a graduate of Shenandoah University with a BFA in theater for youth. I have acted almost all my life and love to sing. I love performing and miss it. I haven't been on stage that much in the last couple of years, but love the work I'm doing now. For me, acting is a part of who I am and where my passions lie, and if I can't be performing myself, then I love being able to pass that passion for theater on to others.
What do you hope the audience will get out of it?
I think that the audience can fall in love with the characters as well as the actors. You will never see a group of actors giving more to an audience. They pour their heart and soul into their performance.
Have you worked with any of these actors before?
I first got involved with VSA arts two years ago when I directed 12 Dancing Princesses. I haven't stopped working with them since. What's great about this group is that a lot of them have been working with this group since it's beginning, 17 years ago. They are old friends and value their time together.
How do Kabuki and Japanese musicals differ from their American counterparts?
Western musicals have a lot more "cheese" in them. The simplicity of Japanese theater has a beauty all its own. The simple lines of the set and the costumes have an intricacy within them. The way the actors hold themselves and move are very different than American musical theater.
Have you ever been involved in a show like this?
This is the first time that I have worked on a Japanese show. The set design was difficult to narrow down for me. I love big, fancy sets (another American trait). The simplicity of design had to be achieved and made practical for this show.
What are some of the challenges raised by directing Kabuki?
Starting last summer, we offered so many different kinds of workshops to get our participants interested in the Japanese culture. This made the start of the rehearsal process easier.
What are the strengths and weaknesses of this style of theater?
The strength to this style of theater is the simplicity of the art. In the complicated movements of Kabuki theater, there is a strong message. I don't see a weakness to this style at all. All theater has a purpose — to tell a story. It might be through song, dance, dialogue, arm movements, or poem, but all forms are meant to entertain. When you have an open mind, you can take life lessons away from any style of theater.