Behind the Scenes

n a warm August evening, as the breeze fell across the rolling hills of Mission Viejo, California, the Saddleback Civic Light Opera, marking their 25th Anniversary Season, presented its opening night of "The Sound of Music", featuring singer/actress Erika Amato as the endearing and enchanting Maria Rainer. Geofrey English, producer of the SCLO, has an amazing list of past productions to his credit and his companies have put together outstanding performances from such musical classics as, "Guys and Dolls", to Shakespeare's comedy, "Much Ado About Nothing", and the ever appealing, "Peter Pan". This production of the Richard Rodgers and Oscar Hammerstein II classic tale of the real life von Trapp family and their adventures in Austria during the Second World War was of no exception. The only difference here was that the lead actress had ties to slayers, and vampires, and the fans thereof.

Maria and the von Trapp children

Of course, we're talking about the fans of Buffy the Vampire Slayer and Angel who know Amato best as lead singer of the Los Angeles rock band Velvet Chain. During the premiere season of Buffy back in 1997, the band appeared in the episode: "Never Kill a Boy on the First Date", and they have had a loyal and growing following ever since. Along side Amato, Steven Connor co-starred in the role of Captain Georg von Trapp. Listed in the cast's Who's Who as a 'former farm boy from Iowa' (sound familiar) Connor was easily recognized by his many television appearances including; Day of Our Lives, and Designing Women. Connor personified von Trapp for anyone who loves Christopher Plummer's rendition of the austere ex-naval officer who rears his children as if they were merely little sailors under his command. The role of Maria may have come as a surprise to many of Amato's fans who are accustomed to hearing her belt out a rock ballad rather than a whimsical tune such as Rodgers' "Do-Re-Mi". "I think they'd get a kick out of it personally," said Erika. "I think they'd just be like, 'hee-hee-hee'. It's very different, it's the absolute opposite - but I'm a versatile person."

"Do a deer, a female deer . . ."

Not surprising though, is that this fulltime vocalist and oftentimes actress was vivacious and electric in her performance and captivated the audience the very moment she took the stage. In a vastly different arena than the nightclub stages she usually occupies, Amato truly shined. "You know what? Vocally it's actually a little easier, believe it or not," she explained, "because in Velvet Chain I wail and I belt up as high as I possibly can and I drag it up from here [indicating from within her diaphragm] and in this show it's a much lighter sound. Sometimes I'm belting, but most of the time I'm just singing pretty." The vocal range was impressive as well. "Yes! I sang up to a high-G. I never do that in Velvet Chain - the highest note I think I sing is a high-E in "Diva", which is a whole third lower - in case anyone cares," she adds humorously. Musical Director/Conductor Diane King Vann set the score beautifully for Amato's voice. Vann is a published composer, and was the recipient of the Lee Korf Award for Best New Musical with her original fantasy musical, "Spellbound". Along with singing, dancing and holding her own command of the stage, Amato shared her sense of comedic timing, which was exceptional. "That's been one of my strong suits, is my little comedic deal," Erika confessed. "But actually my favorite scene is with the Mother Abbess [Amber Janay Davidson] at the end of Act 1 when I'm freaking out and I'm upset. I like acting with her. It's just a really nice moment."

The Saddleback version of this audience favorite was mostly traditional, but it also mixed in a few twists. A stage version will always differ from that of a film, due to the scenery and time constraints. However, most of the key elements of the show were kept. All the unforgettable songs were present; the comical "Maria" by the nuns of the Abby, "My Favorite Things", the beautiful ballad "Edelwiess", and of course, "The Lonely Goatherd" (sung unbelievably well by Amato), which we discovered required a rather unique preparation. "The only thing I did is practice singing "Lonely Goatherd" jumping and jogging in place in my hotel room," Erika confessed. "I mean I'm literally running around and skipping, and you start to run out of breath and so you have to practice the aerobic thing." The song also happened to be her favorite. "It's really hard but it's really fun." The key differences here between the play and the movie was obvious in the shortening of many of the scenes, specifically the interplay between Maria and Captain von Trapp, and in the inclusion of a few songs that were not present in the classic 1965 film version. The primary reason for the inclusion of these songs: "No Way To Stop It", "How Can Love Survive", mostly sung by the characters of John Richard Petersen (Max) and the Jennifer Mathews (Baroness Elsa), are to keep Maria from being involved in every number as Amato appears on stage in almost every single scene from beginning to end.

"I'm very proud of [her performance]. It's great to imagine her as a rocker too, there are very few people who can do both." ~ Jeff Stacy

And the demands were not just on her voice, to which her range and tone carried beautifully, but Amato was required to dance a good portion of her stage time as well. Director Sheryl Donchey provided a wonderful choreography throughout the entire play for all members of the cast and presented an immense challenge for Amato's endurance to which she never faltered. Donchey has an extensive reputation throughout the Southland as an accomplished director, choreographer, and actress, who is as comfortable with Sondheim as she is with Shakespeare. Not only was Amato choreographed to prance around the hills of Austria, the Salzburg Abbey, and the von Trapp villa, but she also had to dance with the children in playful romps and waltz with the Captain himself at the ball. "It's a different kind of energy. When you're performing in the band, you're still putting out a ton of energy but it's not quite as much physical energy," she explained. "I'm not skipping and running and picking children up, and things like that. Maria is a bundle of energy so I just have to do it the whole time. It's exhausting." With physical demands in body as well as in mind, her petite frame--which Amato already has--was kept in great form.

The rest of the cast was also excellent in their roles, leaving the audience feeling extremely pleased with the production as a whole. Special note should be made of Davidson (Mother Abbess), as she delivered ear-shattering notes that brought the audience to their feet during Scene 12 of Act 1. And Petersen (Max), who was delightful in every scene he appeared and was the embodiment of his character. He just took over the stage and sucked you in with his enthusiasm, reminding you much of Nathan Lane. The von Trapp children were very well cast, from little Allison Andreas (Gretl), to Erin Eskew (Brigitta), and Noah R. Plomgren (Kurt), each held a special place on stage with Amato whose experience shown through by her interaction with the young actors. "I love the kids, I actually do, me! And I don't even like kids," she said jokingly, "but I really do." Having the opportunity to develop relationships over the many weeks of rehearsal time was evident and made the nanny/child affection grow throughout the course of the play in a natural progression which was engaging to watch.

Jeff Stacy and Erika Amato bring on the music

On Erika's performance, there is not much more that can be said except that she was stunning, although the best critic of all would be her nonbiased husband, Jeff Stacy. "If I didn't know her, I'd say, 'Who's that girl?'" he joked. "I thought she was absolutely fantastic. I don't think she hit a wrong note all night, and all I do all day is record people listening for wrong notes, so I know." Stacy is ever supportive of his wife, not only as the bass player for Velvet Chain, but also as her manager/producer and was extremely pleased with her performance. "I'm very proud of it. It's great to imagine her as a rocker too, there are very few people who can do both," he confessed. But what of this other man who got to kiss his wife on stage every night? Jeff laughed in response, "Well that's show biz, you know, she tells me all the time she doesn't dig it." Showing both her passion for Jeff and her sense of humor Erika replied to him, "I don't want to go on record but it doesn't compare sweetie, not even close!" Her voice was as powerful as ever, her acting was passionate, and her lines were delivered cleanly and convincingly. She was not just merely playing Maria as she was creating her. Soon you forgot you were part of the audience and felt like you were a member of the ensemble listening in on the family's daily life.

Amato brought you to laughter and to tears and commanded the performance that you were pleased to be a part of. The only negative comment was that it ended all too quickly. Throughout the play she genuinely appeared to be enjoying herself. "I am! I'm having a great time," she stated. "I mean, part of it's acting, the whole 'keep-that-smile-on-your-face-the-whole-time' but I'm having a really great time." She continues to audition for new parts in film, television and stage, and can regularly be seen with Velvet Chain performing in the greater Los Angeles area, most recently opening for The Tubes. They are also in the studio recording their latest album, "Asteroid Belt", which should see a release date some time in early spring of 2003.

CityofAngel.com would like to thank Erika Amato for graciously sharing with us her evening, on stage and off.

For more information on Erika and Velvet Chain, visit their Official website at: www.VelvetChain.com

Special Thanks to Geofrey L. English and the Saddleback Civic Light Opera for allowing us to cover this wonderful production. Visit their website at: www.SCLO.org

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