Two-Time Tony Award-Winner THE BRIDGES OF MADISON COUNTY Makes North Texas Debut!

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Dallas Summer Musicals is thrilled to present the North Texas debut of one of the most romantic stories ever written, THE BRIDGES OF MADISON COUNTY at the Music Hall at Fair Park February, 2-14, 2016. Based on the best-selling novel by Robert James Waller, THE BRIDGES OF MADISON COUNTY tells the story of Iowa housewife Francesca Johnson and her life-changing, four-day whirlwind romance with traveling photographer Robert Kincaid. It’s an unforgettable story of two people caught between decision and desire, as a chance encounter becomes a second chance at so much more. Take a look at what critics and audiences are saying about this romantic story.

 

Performances & Interviews

ABC8 Good Morning Texas – Cullen Titmas (Bud) and David Hess (Charlie) perform “When I’m Gone”

FOX4 Good Day Dallas – Elizabeth Stanley (Francesca) and Andrew Samonsky (Robert Kincaid) perform “One Second and A Million Miles”

ABC 8 Midday News – Interview with Elizabeth Stanley (Francesca) and Andrew Samonsky (Robert Kincaid) lead stars of The Bridges of Madison County

98.7 KLUV – Interview with Elizabeth Stanley (Francesca) and Andrew Samonsky (Robert Kincaid) lead stars of The Bridges of Madison County

The Bridges of Madison County Makes The Dallas Morning News Top Five Theater Picks

The Dallas Morning News interviews with Jason Robert Brown (Composer)

Theater Jones interviews with Marsha Norman (Book Writer)

Focus Daily News interviews with Andrew Samonsky (Robert Kincaid, National Geographic Photographer)

Selig Film News interviews with Mary Callanan (Marge, The Neighbor)

Culture Map interviews with John Campione (Michael, Francesca’s Son)

 

Reviews

“’Bridges of Madison County’ a complex, poetic and soaring surprise” – The Dallas Morning News

“Talk about the perfect date night than seeing this romantic musical on Valentine’s Day!” – The Column

“Lush music and strong singers” – Theater Jones

“’Bold’ as in a small-scale, spectacle-free musical with big-scale musical ambitions” – Star-Telegram

“An incredible musical score” – Selig Film News

 

Media Mentions

9 Best Things To Do In Dallas – Culture Map

25 Best Valentine’s Day Date Ideas – D Magazine

Bridges Valentine’s Day Contest – The Dallas Morning News

Show Preview The Bridges of Madison County – Broadway World

 

THE BRIDGES OF MADISON COUNTY is on stage NOW through Sunday, February 14 at the Music Hall at Fair Park. Click here for tickets.

Join us and don’t miss out on this incredible love story!

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Discover The Bridges of Madison County: The Power of Music

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THE POWER OF MUSIC

“The lyric theatre felt like the perfect vehicle to tell the story of Robert and Francesca.”

—Jason Robert Brown, Composer, The Bridges of Madison County

 

Composer’s Notes

I had been writing comedies for several years, and the longer lines of romance and yearning and fantasy had been building up, swirling around my head unchanneled, imprecise. When Marsha and I did The Trumpet of the Swan, big music started to leak out, expansive music, something beautiful. I was afraid of turning off the tap, so I told Marsha we should look for a project that would be serious and intense and overflowing with unrestrained passion, which is not the kind of thing I say very often. I said I was ready to write La Traviata. We set out to find a story.

The story found us. Robert James Waller’s agent approached Marsha to adapt The Bridges of Madison County, and she immediately knew this would be our project. I had never read the novel but I regarded it warily — I was a 22-year-old single guy living in Manhattan when it first came out, and I was not, to put it mildly, the target audience — but Marsha saw in it a deeper resonance and a fiercer moral energy than I would have perceived, and she sold me on the struggles of these two broken characters who each see a piece of themselves trapped inside the other. I suggested we conceive it as an octet, a piece for eight lonely voices on a large stage.

The piano reflects my energy back at me, neurotic and complicated — I know the instrument so well by now that I sometimes have to wrestle with it to make it surprise me, and I knew that the skittery and dense music that the piano and I traditionally made together wasn’t the right sound for this piece. I’d played guitar the way most guys who hang around rock bands play it — I knew a couple of chords and I could keep time relatively well
— but I felt the guitar was my way in to the world of the Johnson family in Winterset, IA in 1965, so I bought a black Takamine and hoped for the best.

From the beginning, the music flooded out of me, music that I didn’t entirely recognize as my own but that was clearly speaking some revelation I had yet to confront in myself. I felt myself sometimes butting up against the corny, the cheesy, the sentimental, but I decided in those moments to push harder through it, not to be cynical about love or family but to sing about them with ecstatic truth.

We can love in many different ways, and we can love different things simultaneously. It is hard — it is insane — to place one love above another. With every show I’ve written, I begin thinking it’s just a job,
the story doesn’t have anything to do with me, and I end by realizing I have exposed some deep scary part of myself. I am unspeakably grateful to my beautiful family for holding our lives together while this score got pushed out into the world — I spent four years learning about Robert and Francesca and figuring out how and why they made the choices they did, and this show celebrates, in many ways, the staggeringly high price and the even greater value of the commitments and the choices we make to build a home.

Jason Robert Brown
March 28, 2014 New York, NY

 

 

WHAT IS IT ABOUT MUSIC THAT CAPTURES OUR HEARTS AND IMAGINATIONS?

Maybe we are born to respond to music. Sound is one of the first senses we develop in the womb. Before we see, taste or touch — we hear. The rhythm of our mother’s heartsbeat
is our first connection to another person and the outside world. Music is an intimate act. The sound of a melody enters the ear and moves the ear drum. The texture and tone of the music is literally touching you.

Music can capture the depth, sweep and complexity of pure feelings.
It goes beyond language. It needs no translation. Music speaks the unspeakable, voicing the richness
of the heart when words fall flat. Like love — how do you describe the feeling of love? The word itself fails to convey the intricacies, the fear, elation, longing, befuddlement, tenderness, sadness, joy.

Eight words to get somewhat of an approximation of what it is to be in love.

Maybe being in love is like a musical? That moment when language is not enough. When the emotion has to be expressed and it is too grand for the rigidity of syntax and grammar. That’s when the music begins to swell and the chorus hums. The hero or heroine opens their mouth and emotions float on melodies that we understand instantly, viscerally. Before our brains decipher the words, we know that Francesca is in love with Robert and we know from the tug the minor chords give our hearts that this love will be bittersweet. A song, a mere string of notes captures it all. Straight from our ears to our hearts and we understand what love is.

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THE BRIDGES OF MADISON COUNTY is presented by Dallas Summer Musicals February 2-14, 2016 at Music Hall Fair Park. Tickets are ON SALE NOW!

-Click here for tickets will be this link: http://www.etix.com/ticket/online/eventSearch.jsp?event_id=1002163&partner_id=858&cobrand=dallassummermusicals

-Click here for details/sneak peek is: http://www.dallassummermusicals.org/shows_bridges.shtm

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Discover The Bridges of Madison County: MARSHA NORMAN

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CONVERSATION WITH PULITZER PRIZE-WINNING WRITER MARSHA NORMAN              by Journalist/Teaching Artist Marcos Nájera

Marcos: Thank you for taking the time to talk with us Marsha. We want to give people a chance to learn a little about this story and you —a member of the creative team — before they experience The Bridges of Madison County.

Marsha: Sounds good. This isn’t simply the story of Francesca and Robert. This is the big difference [between our musical] and the book and the movie. This is the story of the town. This is the story of the family. And the story of this couple in the course of a family, in the course of a town. It’s more like Our Town than the original material is. We really zoomed back so we can see the family life and the town life and we can learn Francesca’s history in Italy.

We zoomed back and we panned around. I invented the neighbors. We invented the town. We invented the people who would really care about Francesca and who would be aware, in this small town, that she was going through something.

That is wonderful. You mentioned Our Town by playwright Thornton Wilder. How did Our Town inspire your take on The Bridges of Madison County?

I love Our Town. I don’t even know how many times I’ve seen it. I think it’s one of the great, inspiring pieces of American literature. It’s clear in the cemetery scene of Our Town how much they’ve all taken care of and watched out for each other.

I also know that in a small town — as Our Town makes clear —
a small town, like where Francesca and Robert are, everybody knows what’s going on. So everybody knows that the kids and Bud are headed off for the State Fair. And everybody knows that Francesca is there by herself. And everybody knows that there is a photographer, in town taking pictures. And everybody knows that she took him over to the bridge. Everybody knows everything. What I really wanted to do was to make it clear that Francesca makes her decision in the context of her family and her town and her history.

Jason [Robert Brown, the composer] and I were eager to hop from Iowa all the way back to Italy — to show what the end of the war was really like in Naples and what she experienced as a girl. And why she is here [in the United States] and what kind of things she’s never really come to terms with as a human being. Because she’s spent her time adjusting so quickly.

She came here, she was newly married, she didn’t speak much English. She learned English, she learned to farm, and she learned to be a wife, to be a mom, and presto! Somebody shows up at
the door and she realizes she does feel like an outsider. And now, she does need to think about how she has spent her life and she does need to feel alive again as she did as a girl. What Robert does is cause her to take a deep breath in and look around; to connect with herself and to connect to him, but mainly herself.

It’s this moment that people have when they think, “What about that other path? What about that love that I had to turn away from? What about that? What would have happened if I married that guy who went to the University of New Mexico?

What would have happened?

We can’t help but wonder those things, right? The people that I see crying the hardest in the audience are the people that have obviously left great loves behind. That’s something a lot of people respond to — including a lot people on the creative team. Everybody, I think! (Laughing)

So yes, we have these questions. We all deal with this thing. We can’t have absolutely everything that we want to have in life. Because some of these things conflict.

Robert’s description of [what his and Francesca’s] life would be is so seductive and wondrous. Whether she would actually be happy with him or not, it doesn’t even matter. She makes the decision to honor her responsibilities and she knows that if she leaves, her son is going to be in trouble. [Her daughter] Carolyn is going to be fine. But [her son] Michael? She still needs to stay to take care of Michael. To make sure Michael does okay. That’s why we see Michael’s graduation from medical school. She did have that effect. Michael was ready to bolt out of there and get in trouble with the law and his dad or whatever — and she saw that. She knew that he wasn’t going to be a farmer. She knows she has to stay.

We sometimes have to make those really hard choices between the things that we care about.

I wonder about the danger of the town watching all this happen. It seems like the stakes rise so much higher if everybody can see that she is talking to this stranger while Bud and the kids are away. Isn’t Francesca scared?

She is scared. The fact that we don’t do any of that —[Francesca] having a dangerous conversation with [the neighbor] Marge or Marge almost finds out [about the affair] — that seemed a little cheap to us in terms of the excess drama.

But yes, it’s on her mind. Especially when she goes into town to buy
a dress. Certainly, she knows that Marge knows. And there’s a whole conversation — unwritten and unspoken — that goes on between Marge and Francesca about what’s going on. That’s why Marge arrives at exactly at the right moment with the lasagna. Marge knows exactly what’s happened.

It’s almost as if Francesca’s all-knowing neighbor, Marge, is cheering her on!

She is. She certainly is not judging. The friendship with Marge is deep and powerful. For me, the most wondrous moment in the whole show is right there at the end when [Marge] leaves from Bud’s funeral and says, “See you tomorrow!” It’s like, “Things continue here and I’m going to see you tomorrow [Francesca]. You feel such a loss right now. You’ve lost both of these men now and here you sit. And I will see you in the morning.” (Laughing)

That’s the kind of thing, the comfort that women can provide to each other. I was very interested in writing that in the piece. It is Francesca’s story. But it is [also] a story of what women can do for each other.

That’s why I mentioned Our Town. Two generations ago, Thornton Wilder wrote about Grover’s Corner. Now, Jason and I are writing about Winterset, Iowa. It’s a continuing interest and dream that we all have of belonging to a place and belonging to a group of people and belonging in the family.

To me, one of the awful parts of the virtual world is that, okay, we have a virtual family. But is that really okay? Is that good? Is that enough? Or do you want to know enough people so that if you make a pie, like that one I made last night that’s that good, you can call other houses and get the whole pie eaten? This pie last night was so remarkable that I thought, “I do not need to let it sit around here in the house where just my daughter and I are. I need to call three people to have some!”

The pie should be enjoyed! Life should be enjoyed right? It makes me think about the scene in the Bridges movie where Meryl Streep is in the truck. And the camera focuses in as the muscles in her right hand tighten as she grips the handle and she’s about to open the door and go off to Robert. Do you think we live in a world now that is progressive enough for her husband Bud to just let her go?

“People come
to musicals
to watch that
glorious search
for home…”
—Marsha Norman

The piece brings up all this “what would happen,” that’s fun to suppose about. But for Francesca she’s got to make that decision in-that-moment. The truck moment [from the film] is so crucial that we worked really hard to find something that would give us a sense of the truck moment. That’s what we call “The Rewind.”

That’s where she appears to go to Robert. Suddenly, she turns around and stops and sees her family and knows what they would feel if she did that. And she walks back to them. And then time picks up again and she goes on into the Soda Shop.

In that moment that she chooses her family — it’s Robert’s world that falls apart. That’s our theatrical way to investigate the “what- would-happen-if-I-did-this?”What I was able to do was give voice, give character, give personality, give wishes to every single person in this family. I think [Francesca] does the right thing. I totally think she does the right thing. But man, do I understand the struggle. That sense of being alive put up against the sense of being connected in a family or being responsible. This passion of feeling alive is pretty powerful, but the sense of being useful and being loved beats it every time.

The book really tells the story from Robert’s point of view. Why did you decide to focus on Francesca’s point of view for this musical?

The Francescas of the world are the 70% of the people buying the tickets to the theater. So women should have a story where they’re the lead. I have a picture that’s on my wall. It was taken at Samuel French. Kelli O’Hara [who played Francesca on Broadway] is standing there with no make-up and she’s holding a piece of paper on which is written “I need stories by women on stage because my daughter will hear the echo of their voices.” It’s an extraordinary picture.

I’m the President of the Lily Awards, which is an organization that celebrates and honors the contributions of women in the theater and works for gender parity. Kelli received an award from us the year before last. I mean, she’s certainly played all the glorious [female leads on Broadway], but for [Bridges] to be the first time she has ever said words on stage that were written by a woman?

I was hearing this for the first time as she was saying this on the stage [at the Lily Awards]. And it was a staggering experience for me and I think for the audience. I suddenly felt the significance of my staying alive in order to write. And my activism and the importance of this mission of gender parity, so the voices of women can be heard and the stories of women can be told.

In regard to gender parity, if life worked the way the theater does, 4 out of every 5 things
you heard would be said by men. In working for gender parity we are working to hear all
the voices of the human chorus on the stage. All the voices. All the stories. In not hearing the voices of women, it’s almost as if theaters have chosen to only tell stories about things that happen in the daytime. It’s eliminating half of the experience of life on the stage.

We need to hear all the voices in the human chorus.

So yes, if an all-male team had written this —I’m sure it would have been the Robert story. I’m totally sure. And what is the Robert story? I came into town, I met this woman. We had a thing, I had a couple of thoughts of whether or not to haul her off in the truck with me and then I left. Got back to New York and saw the Hare Krishnas.So there’s not a musical in the Robert story. There’s only a musical in the Francesca story.

As in Oklahoma, so it is in Iowa. The loners have to go on their way. It’s true with musicals in general. I teach musical book-writing [at Juilliard]. This is one of the big rules. The loners go on their way. But people come to musicals to watch that glorious search for home in song. It’s like The Wizard of Oz, where does Dorothy end up? It’s the Francesca story, it’s the Tevye story, it is every musical there is.

[The playwright Jerome] “Jerry” Lawrence told me this: “All musicals are about the conflict between two worlds.” It’s Guys & Dolls, it’s West Side Story, it’s Oliver… you can go on down the list, The King & I. Two worlds. In this case, it’s the life of passion versus the life of family and community.

If you think about us as a country — there are things that we’ve lost. And yes, we mourn them. We had to give them up in order to go forward towards the other things we believe. This making of choices is something that people respond to and in this case they get to really watch a big one, a big choice and it’s kind of the most elemental one.

It’s a story about choice.

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THE BRIDGES OF MADISON COUNTY is presented by Dallas Summer Musicals February 2-14, 2016 at Music Hall Fair Park. Tickets are ON SALE NOW!

Click here for tickets
Click here for details/sneak peek

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Discover The Bridges of Madison County: Lighting Design

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When caught up in story, lost in drama, wiping tears of laughter
or sorrow from our eyes, we don’t normally think of the set and the lights as part of the journey. But they are. These design elements provide the context for the story — establishing the tone, mood and style of a show.

-Reflections from Two-Time Tony Award-winning lighting designer, DONALD HOLDER

How would you describe what a lighting designer
actually does?
A lighting designer “reveals the world of the play or musical,” and is responsible for not only what the audience sees, but “how they see it.” Light provides the visual context for a theatrical event, or the lens through which a play is seen. It informs style, and has a clear subliminal effect on perception. Working with a strong understanding of the intentions of the director and his fellow collaborators, a lighting designer manipulates light to tell a particular story or to evoke a particular emotional response.

How does the lighting design help tell the story of
The Bridges of Madison County?
The story of The Bridges Of Madison County unfolds on
a relatively open space, in front of a vast expanse of Iowa sky, and takes place over the course of just a few days. Although much of the story is told in a linear fashion time- wise, there are several flashbacks that provide important context and deepen our connection with the characters. The passage of time is central to the telling of the story,
and the sky, as rendered through light is the principal device used to communicate this, constantly changing during the course of the evening.

We experience sunrise, sunset, dawn, twilight, moonlight, starlight. And the color of the sky and the direction of the sun or moon has a strong influence on all the other light that is introduced in the space. It’s a world filled with ever- changing natural light, ebbing and flowing to respond to the emotional temperature of a scene or song. During the flashbacks, the sky takes on a surreal quality with very rich and intense colors, thus providing an important clue to the audience that we have stepped back in time.

Theatre is a collaborative medium. How do you work with
the director and your fellow designers?
Because light can be so influential about how everything
is perceived, it’s very important that a lighting designer understands the intentions and objectives of the director and his design collaborators. Early conversations that get to the heart of the production and its overall vision are really crucial. And a great deal can be learned by studying the set design, as it will always provide a lot of information about how the show has been conceived and will be staged. Because lighting

and scenery share the same stage space, the two disciplines must work in close collaboration. In the case of Bridges, Michael, Mikiko (scenic and associate scenic designers) and I spent a great deal of time working out the proper spatial relationships between lighting positions and scenery to get the sky looking just right. We also collaborated on the layout and details of the star field you’ll see throughout the course of the evening, and the kinds of materials that were used to create the spectacular skyscapes that really are the visual centerpiece of the production.

Can you share something about the lighting design for
The Bridges of Madison County that an audience member could look for while watching the show? What is part of the design they will see that could only happen onstage rather than in the film or book?
In Act One, Robert and Francesca meet at dawn as he photographs the sunrise at the covered bridge. It’s a special moment in their relationship, I speculate it’s when they fell in love. As all of this unfolds, the sky takes on a brilliant surreal red, with a single onstage tree silhouetted by a bright golden sun. It’s a dramatic and poetically heightened moment that we see once again in Act Two. During the song “It All Fades Away,” as Robert considers his own passing, he remembers Francesca vividly and the sky returns to that same intense red and yellow at the musical and emotional zenith of this song. To me, it’s one of my favorite images in the entire production.

A lighting designer “reveals the world of the play or musical,” and is responsible for not only what the audience sees, but “HOW THEY SEE IT.”’ —Donald Holder, Lighting Designer, The Bridges of Madison County

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THE BRIDGES OF MADISON COUNTY is presented by Dallas Summer Musicals February 2-14, 2016 at Music Hall Fair Park. Tickets are ON SALE NOW! Just click here to find your seats. For more details and a sneak peek for the show, click here.

-Click here for tickets will be this link: http://www.etix.com/ticket/online/eventSearch.jsp?event_id=1002163&partner_id=858&cobrand=dallassummermusicals

-Click here for details/sneak peek is: http://www.dallassummermusicals.org/shows_bridges.shtm

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Discover the Bridges of Madison County: THE REAL BRIDGES

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THEY ARE IN THE TITLE of all three incarnations of the story. They are a character in their own right. A focal point and instigator of the action of the novel, film and musical. They are the real bridges of Madison County and they have a rich history.

In the mid-1880s as the population of the Midwest grew and demand for the goods rose, farmers needed a way to get their products to market. In response to this need, counties began to improve rural roads and install bridges. These bridges were most often built using timber. It was quickly realized that timber bridges would rapidly deteriorate if left exposed to the elements and it would be much cheaper to cover the bridges rather than repair them.

Madison County, Iowa, located southwest of Des Moines, once boasted 19 covered bridges. Only six remain today, five of which are listed on the National Register of Historic Places. Five of the bridges: Roseman, Holliwell, Cedar, Imes-Cox and Hogback were built between 1870-1880 by Benton Jones.
The Cutler-Donahol was built by Eli-Cox in 1870.

The Roseman Bridge — featured in the love story – is also known as the “haunted bridge.” In 1892 two sheriff’s posses trapped a county jail escapee and it is rumored that the man rose up straight through the roof of the bridge, uttered a wild cry and disappeared. The escapee was never found.

The bridges became nationally known because of the success of Robert James Waller’s novel The Bridges of Madison County. The bridges reached super stardom after the release of the film, in 1995. And according to the website roadtrippers.com the bridges of Madison County are the number one make out spot in Iowa.

There will be photos of the bridges of Madison County on display at the Music Hall during the run of the show, so make sure you come see the show!!

-DSM Megan

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THE BRIDGES OF MADISON COUNTY is presented by Dallas Summer Musicals February 2-14, 2016 at Music Hall Fair Park. Tickets are ON SALE NOW!

-Click here for tickets will be this link: http://www.etix.com/ticket/online/eventSearch.jsp?event_id=1002163&partner_id=858&cobrand=dallassummermusicals

-Click here for details/sneak peek is: http://www.dallassummermusicals.org/shows_bridges.shtm

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Discover the Bridges of Madison County: COSTUME DESIGN

 

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“As designers, it is our responsibility to search for those KEY VISUAL ELEMENTS that guide our journey through the story.”—Catherine Zuber, Costume Designer, The Bridges of Madison County.

THE OLD CLICHÉ — “First impressions are everything” — is true; especially on the stage. Another cliché that theatre keeps alive — “Clothes make the man.” The full quote reads “Clothes make the man. Naked people have little or no influence on society.” Thank you Mark Twain! In theatre, costume design is an indispensable tool that helps an audience navigate the world of the play.

Reflections from Six-Time Tony-Award Winning Costume Designer CATHERINE ZUBER

How would you describe what a costume designer actually does?

A costume designer creates the first impression the audience has regarding a character. They assist and collaborate with the actor and the director to bring to life the exterior definition of the character they are portraying.

How does the costume design help tell the story of The Bridges of Madison County? How do the costumes help the audience understand the people in the play?

In The Bridges of Madison County, the costumes strive to capture Iowa in the mid-60’s. Some of the characters would have dresses that would have been home-sewn, or from a mail-order catalogue, or a dry-goods shop in the local town. It is the summertime, so the clothing contributes to creating those wonderful sultry August days.
You said about the costumes in The Bridges of Madison County: “This isn’t the groovy side of the mid-‘60s. There is nothing urban about the clothes.” Can you talk about how the costumes help tell the time and place of the story?

When we go to the state fair, we see a world outside of Madison County. However, it still is not the urban mid 1960’s ‘mod’ drifting into ‘hippie’ aesthetic of a big city. I was hoping that the costumes convey a world that is a hard-working, rural environment. The characters have dignity and care about their appearance, but not at the price of comfort and practicality.

Theatre is a collaborative medium. How do you work with the director and your fellow designers? Can you give us a glimpse into that collaboration?

Our director gives us his priorities for the story-telling. He encourages us to visually assist his vision by illustrating the emotions the audience should take away from the experience. As designers, it is our responsibility to search for those key visual elements that guide our journey through the story.

Can you share something about the costumes for The Bridges of Madison County that an audience member could look for while watching the show? What is part of the design they will see that could only happen onstage rather than in the film or book?

Francesca starts out in our story wearing pretty but simple and practical shirt-waist house-dresses. As Robert awakens in her romantic feelings that she didn’t realize were still possible, we see her making a choice that is out of character for her. She purchases a shoulder-baring dress in a deep shade of pink. Her hair is worn down.
Regarding costume design, the progression that occurs in ‘When I’m Gone’ happens before our eyes, during the course of the song. This could happen in a film, but the theatricality of the amount of information that transforms us through 15 years of time in less than 5 minutes on stage is thrilling.

—Company, The Bridges of Madison County

-DSM Shelby

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THE BRIDGES OF MADISON COUNTY is presented by Dallas Summer Musicals February 2-14, 2016 at Music Hall Fair Park. Tickets are ON SALE NOW! For more details and a sneak peek for the show, click here.

Click here for tickets!

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DALLAS SUMMER MUSICALS WELCOMES NEW BOARD LEADERSHIP NAMING TED MUNSELLE CHAIRMAN OF THE BOARD FOR ITS 76TH SEASON

Dallas, TX (January 20, 2016) – Dallas Summer Musicals, Inc. (DSM), the largest producer of live theatrical entertainment in North Texas, has named Ted Munselle, a business executive and civic leader, Chairman of the DSM Board of Directors for 2016.

Munselle’s love for musical theatre started early and was solidified in 1978, when he married his wife, Gay, a Music Educator and Choir Director. Gay and Ted were DSM season ticket holders early in their marriage and he jumped at the chance to serve on DSM’s Board of Directors when the opportunity arose in 2008. Since joining DSM’s Board, Ted served as Vice President of Investments and Vice President of Development before being named Chair-Elect in 2015. In addition, he has served DSM as a member of the Audit and Finance Committees.

Ted is a Certified Public Accountant and has been Vice President and Chief Financial Officer of Landmark Nurseries, Inc., a wholesale nursery company headquartered in Coppell, Texas, since 1998. Before joining Landmark, Ted spent over 10 years with two national CPA firms (Laventhol & Horwath and Grant Thornton, LLP), then spent 12 years as an Audit Partner in two Dallas, Texas based CPA firms. Ted serves on the Board of Directors as Chair of the Audit Committees of four publicly traded corporations, and is actively involved as an Elder at Highland Park Presbyterian Church.

Gay and Ted have a son, Chris, who lives in Plano with his wife Kristine, and their four children (Josiah, Layla, Judah and Ivy), and a daughter, Elyse, who lives in Austin.

DSM President and Managing Director Michael A. Jenkins said, “Ted Munselle brings DSM an outstanding track record of executive and business leadership as he takes the helm as Chairman of the Board of Dallas Summer Musicals for 2016. Combining an impressive record of 39 years of achievement in his profession with volunteer leadership in support of the arts, Ted has been a big supporter of DSM for many years. As a past member of the board, he has rapidly and actively engaged in advancing the transformation of DSM and we feel very lucky to welcome him as the new Chair.”

New DSM Board Chairman Munselle said, “I am honored and excited to be able to serve as DSM’s Chair during its 76th season. I have loved the organization for many years and I look forward to working with our incredible team of officers as we lead DSM forward into the future, not only presenting the Best of Broadway to the Dallas-Fort Worth area, but also providing educational opportunities to students with such programs as High School Musical Theatre Awards and Seats for Kids, to name a few. As a not-for-profit organization, we will continue to work together with our patrons, sponsors and volunteers, not to mention the City of Dallas and the community as a whole, to create a fun and welcoming experience each time we get together.”

Immediate Past Chairman of Dallas Summer Musicals is Dorsey L. Baskin, Managing Partner of Innovative Services Development at Grant Thornton LLP, with Randy Wright, Tax Partner at BDO USA LLP, serving as Chairman Elect. Ruth Altshuler holds the title of Honorary Chair, and Michael A. Jenkins is President and Managing Director of DSM.

In addition, other DSM Officers for 2016 include Vice President of Audit, Christopher McRorie; Vice Presidents of Community Relations, Nancy Natinsky; Vice President of Development, Jane Schoen; Vice President of Finance, Tom W. Watson; Vice Presidents of Marketing, Jennifer Altieri and Jay Fox; Vice President of Personnel & Compensation, Scott T. Collier; Vice President of Education and Children’s Committee, Downie Mathis; Secretary, Robert Witte; Treasurer, David Dienes; and Guild President, Juliann Krumbholz.

Members of the Executive Committee include: Ruth Altshuler; Ed Bratton; Brad E. Cheves; J. Diane Childress; O. Paul Corley, Jr.; John R. Clutts; Joshua N. Curlett; Barry Epstein; Patti Flowers; Stanley D. Gardner; Rick J.W. Graham; Gary Griffith; Charles L. Gummer; Sally Hoglund; Darrell E. Jordan; Dr. Sheffield Kadane; Juliann Krumbholz; Steven C. Metzger; Andrew N. Meyercord; Scott Night; Craig G. Ongley; Honorable James R. Pitts; Gail H. Plummer; Mark B. Plunkett; James W. Porter, Jr.; Holly Reeves; Richard L. Rogers; Kenneth D. Sandstad; Donald K. Spies; Michael C. Steindorf; Steven H. Stodghill; Paul A. Stotts; Steve B. Watson; Kit Williams; and Dr. Kimberly Yamanouchi.

Past Chairmen of the Board for DSM include: Dorsey L. Baskin; Ed Bratton; O. Paul Corley, Jr.; Stanley D. Gardner; Rick J.W. Graham; Gary Griffith; Charles L. Gummer; Darrell E. Jordan; Steven C. Metzger; James W. Porter, Jr.; Dick Quisenberry; Richard L. Rogers; Kenneth D. Sandstad; Donald K. Spies; Michael C. Steindorf; Paul A. Stotts; Steve B. Watson; and Kit Williams.  Past Chairmen O. Paul Corley, Sr.; J. Frank Miller III; Douglas Perry; and Charles Pistor are deceased.

Dallas Summer Musicals’ highly anticipated 2015-2016 Season presented by Texas Instruments will continue with THE BRIDGES OF MADISON COUNTY, February 2-14, 2016; followed by DSM’s production of Disney’s THE LITTLE MERMAID, March 11-27, 2016; WICKED, April 20 – May 22, 2016; RAGTIME, May 24 – June 5, 2016; BULLETS OVER BROADWAY, June 14-26, 2016; and closing the season will be 42ND STREET, June 28 – July 10, 2016. Dallas Summer Musicals Management Group, Inc. will also present the Broadway hit musical MILLION DOLLAR QUARTET, February 27 & 28, 2016 for a limited engagement.

About Dallas Summer Musicals:

Dallas Summer Musicals, Inc. (DSM) is the preeminent nonprofit presenter of Broadway theatre in North Texas. DSM produces, presents and promotes excellence in live musical theatre with year-round performances for diverse audiences of all ages, impacting the lives of children and families through education and community outreach programs, while enriching the cultural landscape of Dallas/Fort Worth, North Texas and the Southwest Region.
As a 501(c)(3) nonprofit organization, DSM relies on a variety of funding sources to bring the Best of Broadway to Dallas at affordable ticket prices, as well as to preserve the beautiful historic theatre, educate young audiences and create important community programs. DSM’s Seats for Kids program provides a meaningful arts education experience to thousands of low income, at-risk and special needs children. DSM Kids Club is a program created to foster tomorrow’s musical theatre audience. Through exciting activities children gain an interest, hands-on-knowledge and appreciation of the performing arts. In addition, Dallas Summer Musicals Academy of Performing Arts offers professional theatre arts training and scholarships to talented students in need. DSM’s High School Musical Theatre Awards are patterned after Broadway’s Tony® Awards and celebrate the power of the arts to significantly improve all areas of education. DSM Associate Producers is a dynamic group of young professionals with a mission to support DSM by cultivating future patrons and leaders by making DSM part of the culture for young professionals in Dallas. DSM Guild is a group of individuals who share a love of musical theatre and support DSM by providing stellar service and hospitality to the cast and crew of every show. Since 2010 the experts at DSM have made significant changes and upgrades to its acoustical systems to improve the sound quality of the productions for all its patrons, including the hearing impaired, leading to the development of Hear Us Now!™; a device which utilizes five assistive listening technologies (T-coils, FM Classroom, Streamers, FM systems, and traditional headsets) to deliver a clear and direct audio signal. It is so unique that a trademark has been allowed by the United States Patent and Trademark Office. Seats for Vets, DSM’s newest initiative, serves war veterans and their families by providing them discounted access to a unique theatrical experience as a way of thanking them for their service. Ticket sales alone do not sustain these endeavors. Only support from committed businesses, foundations and individuals make these programs possible.
Dallas Summer Musicals is presented by Texas Instruments and gratefully acknowledges the support of our season sponsors and partners The Dallas Morning News, WFAA TV Channel 8, American Airlines, and The Original Cupcakery.
For more information about Dallas Summer Musicals, please call 214.421.5678 or visit our website at DallasSummerMusicals.org.

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