15 minutes with ...
Paul Lazarus
On May 2, 2008, the morning of the first preview of Paul Lazarus’ staging of John Steinbeck's classic
‘Of Mice and Men’ at the Pasadena Playhouse, the director spent the length of a 15-minute
Intermission on the phone with Theater Times. We were interested in his concept of setting the play
five years into the future, moving it from 1937 to 1942, when the Federal work program based on a
Braceros Treaty with Mexico had begun bringing skilled laborers into California from south of the
border. The program, which would continue until 1964, would issue 4.5 million official work permits
and mark a huge area of cooperation between the two neighbors.
By taking the Depression-era story into the environment of California agriculture during World War
II, Lazarus' 'Of Mice and Men' now shared a dramatic border with two fine plays we reviewed in
2007: Ed Begley Jr.'s 'Cesar & Ruben,' in which much of the United Farmer Workers struggle led by
Cesar Chavez would pick up where the Braceros program left laborers off, and 'Dawn's Light: The
Journey of Gordon Hirabayashi (see 'On the Real Side' below). The Japanese internment in 'Dawn's
Light,' historians report, was in no small measure part of an effort to grab the highly productive
Japanese-American farms beginning in March 1942, adding further urgency to the need for the
Braceros program, which began only a few months later.
'Of Mice and Men' opens at the Playhouse on May 9 and continues through June 8. For tickets or
further information click here, call (626) 356-PLAY or email.
As is also inevitable when theater people start talking, they work their way up to the business at hand
through some series of connections: common shows, friends and memories. One photo on Lazarus'
Web site showed a young Peter Frechette leaning lovingly into the soft siding of the late, great stage
actor I.M. Hobson. Hobson was the kind of character who makes life in the theater unique, blurring
the line between the boards and the wings. I mentioned the photograph, and it was clear that Lazarus
had not thought about in a while.
Paul Lazarus
On May 2, 2008, the morning of the first preview of Paul Lazarus’ staging of John Steinbeck's classic
‘Of Mice and Men’ at the Pasadena Playhouse, the director spent the length of a 15-minute
Intermission on the phone with Theater Times. We were interested in his concept of setting the play
five years into the future, moving it from 1937 to 1942, when the Federal work program based on a
Braceros Treaty with Mexico had begun bringing skilled laborers into California from south of the
border. The program, which would continue until 1964, would issue 4.5 million official work permits
and mark a huge area of cooperation between the two neighbors.
By taking the Depression-era story into the environment of California agriculture during World War
II, Lazarus' 'Of Mice and Men' now shared a dramatic border with two fine plays we reviewed in
2007: Ed Begley Jr.'s 'Cesar & Ruben,' in which much of the United Farmer Workers struggle led by
Cesar Chavez would pick up where the Braceros program left laborers off, and 'Dawn's Light: The
Journey of Gordon Hirabayashi (see 'On the Real Side' below). The Japanese internment in 'Dawn's
Light,' historians report, was in no small measure part of an effort to grab the highly productive
Japanese-American farms beginning in March 1942, adding further urgency to the need for the
Braceros program, which began only a few months later.
'Of Mice and Men' opens at the Playhouse on May 9 and continues through June 8. For tickets or
further information click here, call (626) 356-PLAY or email.
As is also inevitable when theater people start talking, they work their way up to the business at hand
through some series of connections: common shows, friends and memories. One photo on Lazarus'
Web site showed a young Peter Frechette leaning lovingly into the soft siding of the late, great stage
actor I.M. Hobson. Hobson was the kind of character who makes life in the theater unique, blurring
the line between the boards and the wings. I mentioned the photograph, and it was clear that Lazarus
had not thought about in a while.
PAUL LAZARUS Boy, you just took me way back.
CRISTOFER GROSS I would guess so, since Frechette looks like he’s about 13.
LAZARUS Well, he was. [laugh.] That was a very happy piece. Hob was actually in several
things for me over the years as well. That particular piece was a strange, weird musical
based on an absurdist songbook collection called “Harry Ruby’s ‘Songs My Mother Never
Sang,’” and Hob sang in it. And, of course he was not a singer, but as an actor, it was
almost like Zero Mostel singing Samuel Beckett set to ‘30s music. If you can imagine.
CRISTOFER GROSS I would guess so, since Frechette looks like he’s about 13.
LAZARUS Well, he was. [laugh.] That was a very happy piece. Hob was actually in several
things for me over the years as well. That particular piece was a strange, weird musical
based on an absurdist songbook collection called “Harry Ruby’s ‘Songs My Mother Never
Sang,’” and Hob sang in it. And, of course he was not a singer, but as an actor, it was
almost like Zero Mostel singing Samuel Beckett set to ‘30s music. If you can imagine.
| THEATER TIMES INTERMISSION |
STORY LINKS
Pasadena
Playhouse
Paul Lazarus
Braceros
Pasadena
Playhouse
Paul Lazarus
Braceros
Paul Lazarus is a director,
producer and writer of television,
film, and theater projects. He
directed and produced the feature
film ‘Seven Girlfriends,’ starring
Tim Daly, Mimi Rogers, Jami
Gertz and Melora Hardin, and
voice directed the animated musical
feature ‘Joseph’ for Dreamworks
SKG.
In May 2008, Lazarus again
returned to the Pasadena
Playhouse he had served as Artistic
Director in the early 1990s.
Lazarus has directed more than 80
plays and musicals in theaters
across the United States, including
The Kennedy Center, Lincoln
Center, Playwrights Horizons, The
Manhattan Theater Club, Circle
Rep, The Actors Studio, La Mama
ETC, and The Goodspeed Opera
House.
He resides here in Los Angeles,
directing prime time television
series such as “Ugly Betty” and
“Samantha Who?” for ABC, “Las
Vegas” for NBC and “Psych” for
the USA network. Past credits
include “Friends,” “Everybody
Loves Raymond,” “Grounded For
Life,” “LA Law” and “Dream
On.”
His “A Tale of Charles Dickens”
was produced and recorded for
radio by Los Angeles Theater
Works in association with the
Antaeus Theater Company. Recent
Pasadena Playhouse credits
include Neil Simon’s “Biloxi
Blues” and the world premiere of
the musical “The People vs.
Mona.”
Other favorite Los Angeles
theatrical projects include directing
the world premieres of Mark St.
Germain’s play “Camping With
Henry and Tom” starring Robert
Prosky, Ronny Cox and John
Cunningham, “The 24th Day”
starring Noah Wyle and Peter
Berg, and Kristin Chenoweth’s
solo concert debut.
He produced and directed the 75th
birthday tribute to Stephen
Sondheim at the Hollywood Bowl,
which featured the Los Angeles
Philharmonic, Barbra Streisand,
Warren Beatty, Angela Lansbury,
Carol Burnett, Eric McCormack,
Jason Alexander and Bernadette
Peters. His connection to
Sondheim runs deep. He served as
associate director for the concert
version of “Follies” starring Carol
Burnett, Lee Remick and Mandy
Patinkin, and produced and
directed “A Stephen Sondheim
Evening,” starring Angela
Lansbury, George Hearn and Mr.
Sondheim. That evening was
recorded by RCA Records and
received a Grammy nomination.
producer and writer of television,
film, and theater projects. He
directed and produced the feature
film ‘Seven Girlfriends,’ starring
Tim Daly, Mimi Rogers, Jami
Gertz and Melora Hardin, and
voice directed the animated musical
feature ‘Joseph’ for Dreamworks
SKG.
In May 2008, Lazarus again
returned to the Pasadena
Playhouse he had served as Artistic
Director in the early 1990s.
Lazarus has directed more than 80
plays and musicals in theaters
across the United States, including
The Kennedy Center, Lincoln
Center, Playwrights Horizons, The
Manhattan Theater Club, Circle
Rep, The Actors Studio, La Mama
ETC, and The Goodspeed Opera
House.
He resides here in Los Angeles,
directing prime time television
series such as “Ugly Betty” and
“Samantha Who?” for ABC, “Las
Vegas” for NBC and “Psych” for
the USA network. Past credits
include “Friends,” “Everybody
Loves Raymond,” “Grounded For
Life,” “LA Law” and “Dream
On.”
His “A Tale of Charles Dickens”
was produced and recorded for
radio by Los Angeles Theater
Works in association with the
Antaeus Theater Company. Recent
Pasadena Playhouse credits
include Neil Simon’s “Biloxi
Blues” and the world premiere of
the musical “The People vs.
Mona.”
Other favorite Los Angeles
theatrical projects include directing
the world premieres of Mark St.
Germain’s play “Camping With
Henry and Tom” starring Robert
Prosky, Ronny Cox and John
Cunningham, “The 24th Day”
starring Noah Wyle and Peter
Berg, and Kristin Chenoweth’s
solo concert debut.
He produced and directed the 75th
birthday tribute to Stephen
Sondheim at the Hollywood Bowl,
which featured the Los Angeles
Philharmonic, Barbra Streisand,
Warren Beatty, Angela Lansbury,
Carol Burnett, Eric McCormack,
Jason Alexander and Bernadette
Peters. His connection to
Sondheim runs deep. He served as
associate director for the concert
version of “Follies” starring Carol
Burnett, Lee Remick and Mandy
Patinkin, and produced and
directed “A Stephen Sondheim
Evening,” starring Angela
Lansbury, George Hearn and Mr.
Sondheim. That evening was
recorded by RCA Records and
received a Grammy nomination.
Al Espinosa (Lennie) and George Norona (George)
CRAIG SCHWARTZ PHOTO
CRAIG SCHWARTZ PHOTO
Well, I'll have fun trying. But onto
'Mice and Men.' How did you think
to use the Bracero program as
backdrop?
LAZARUS I didn’t want to do ‘Of
Mice and Men’ as I knew it. My
time in the theater is precious to
me these days and if it’s not at all
risky or not at all exploratory it’s
just not worth the time for me. I
have to put myself in a space
where I’m either doing something
new or a little bit different,
because it doesn’t charge me
anymore. I’ve just done too much
work in my life.
'Mice and Men.' How did you think
to use the Bracero program as
backdrop?
LAZARUS I didn’t want to do ‘Of
Mice and Men’ as I knew it. My
time in the theater is precious to
me these days and if it’s not at all
risky or not at all exploratory it’s
just not worth the time for me. I
have to put myself in a space
where I’m either doing something
new or a little bit different,
because it doesn’t charge me
anymore. I’ve just done too much
work in my life.
| ON THE REAL SIDE With the opening of ‘Of Mice and Men,’ an interesting confluence of theater and history has occurred in Los Angeles. Paul Lazarus’ staging of Steinbeck’s classic story of a doomed friendship against the backdrop of unfair labor conditions in Depression-era California, combines with a recent East West Players’ world premiere to focus our attention on an embarrassing episode in the socio- political manipulation of the state’s agribusiness during World War II. In the first year of the war, which enlisted the military service of virtually every young man and many young women the demands of agriculture allowed white farmers throughout the West to push Federal legislation that would cover a major land grab. In March 1942, Federal legislation began the process of removing Japanese Americans from their homes and placing them in internment camps. About 120,000 of these were part of the very productive community of Japanese American farmers. In ‘Dawn’s Light: The Journey of Gordon Hirabayashi,’ Playwright Jeanne Sakata dramatizes the brave story of one of two major legal cases contesting internment. But the connection between internment and Braceros is hardly the province of wild-eyed conspiracy theorists. A well-documented Wikipedia article (here) contends that “internment was likely responsible for a massive influx in immigration from Mexico. Significant labor was necessary to take over the Japanese Americans' farms at a time when many American laborers were also being inducted into the Armed Forces. Ironically, thousands of Nikkei, temporarily released from the internment camps to harvest Western beet crops, were credited with saving this industry.” |
The last thing I did at the Playhouse was a fairly straight revival of ‘Biloxi Blues’ and I was
very proud of it, but it wasn’t like doing a new work that had any adventure or danger to it. So,
when Sheldon suggested 'Of Mice and Men' I said I didn’t want to do it. And he said why
don’t you at least read it and see if anything sparks.
And somewhere, right before I read it, my wife, Kitty McNamee, who is a very talented
choreographer and a very creative spirit, said something in reference to Mexico that got me
thinking about the place of Hispanic laborers with Anglo depression labor. So I asked my
assistant at the time, Andres Martinez, to take a look at what was going on in Central
California with the Mexican labor force at the time of the play, and that night he sent me a link
to Websites about the Bracero program. And then the whole play came together.
very proud of it, but it wasn’t like doing a new work that had any adventure or danger to it. So,
when Sheldon suggested 'Of Mice and Men' I said I didn’t want to do it. And he said why
don’t you at least read it and see if anything sparks.
And somewhere, right before I read it, my wife, Kitty McNamee, who is a very talented
choreographer and a very creative spirit, said something in reference to Mexico that got me
thinking about the place of Hispanic laborers with Anglo depression labor. So I asked my
assistant at the time, Andres Martinez, to take a look at what was going on in Central
California with the Mexican labor force at the time of the play, and that night he sent me a link
to Websites about the Bracero program. And then the whole play came together.
The Bracero program was a federal program,
in which the U.S. brought skilled Mexican labor
into the same setting Steinbeck was writing
about, just five years after the play is set.
Andres’ research found a book called
‘Photographing Farm Workers in California’ by
Steven Street. The series of photos of
Braceros in California was like looking at
Steinbeck, only from a different angle. I called
Sheldon back and said, ‘Okay, I have a way to
do this that really sparks me now. But I want
you to let me cast every one of the workers as
Latino.’ And he said, ‘Done.’
Yeah. That’s music to his ears.
LAZARUS Right. He said, not only is that
exciting in terms of Steinbeck, but we have a
huge commitment to diversity. But, of course,
this wasn’t a case of let’s cast the play in a
multi-cultural, diverse way. It’s not about
casting people inexplicably. . .
Color-blind.
LAZARUS Right: Color-blind. This is on
purpose. We’re excluding everybody else, but
for a reason. And what was exciting was I had
all the answers and no questions before I got
this idea. And it just completely reversed me.
Now I had nothing but questions. How’m I
going to cast this? What’s the music going to
be like? What’s the clothing going to be like?
What are they going to do language-wise if
they’re Latino? It was wide open. It would be
like doing a new play.
A new play that you know works.
LAZARUS And ... a new play that has a
tremendous history and tremendous
profundity. And tremendous human value
already built into it as an experience that we
in which the U.S. brought skilled Mexican labor
into the same setting Steinbeck was writing
about, just five years after the play is set.
Andres’ research found a book called
‘Photographing Farm Workers in California’ by
Steven Street. The series of photos of
Braceros in California was like looking at
Steinbeck, only from a different angle. I called
Sheldon back and said, ‘Okay, I have a way to
do this that really sparks me now. But I want
you to let me cast every one of the workers as
Latino.’ And he said, ‘Done.’
Yeah. That’s music to his ears.
LAZARUS Right. He said, not only is that
exciting in terms of Steinbeck, but we have a
huge commitment to diversity. But, of course,
this wasn’t a case of let’s cast the play in a
multi-cultural, diverse way. It’s not about
casting people inexplicably. . .
Color-blind.
LAZARUS Right: Color-blind. This is on
purpose. We’re excluding everybody else, but
for a reason. And what was exciting was I had
all the answers and no questions before I got
this idea. And it just completely reversed me.
Now I had nothing but questions. How’m I
going to cast this? What’s the music going to
be like? What’s the clothing going to be like?
What are they going to do language-wise if
they’re Latino? It was wide open. It would be
like doing a new play.
A new play that you know works.
LAZARUS And ... a new play that has a
tremendous history and tremendous
profundity. And tremendous human value
already built into it as an experience that we
have known for decades and decades. So let’s do that play with this little spin and see what
happens. And that was it.
So you now have created an environment in which a classic American play that is like a new
play in its creative demands. Meanwhile, it adds a dimension that stimulates debate about
the very current topic of Guest Worker programs, with a reminder that one existed 60 years
ago.
LAZARUS That’s what I find unbelievably shocking. The way that we learn history in this
country, excluding certain areas, allows us to conveniently support a kind of mainstream
vision. And then you find out that for 22 years we systematically brought skilled laborers into
this country and then sent them home. But now we want to act as if, with that program, we did
not have a major role in creating the flow of workers into this country? I mean, 4.5 million
contracts were signed.
However, when I got up in front of the cast on the first day, I said, ‘The one thing I never want
to be guilty of is not doing this play. Every decision we make is going to be to do the play
Steinbeck wrote, with this added idea. We’re never going to not be doing ‘Of Mice and Men.’
And I’ve really held to that. It was difficult because it’s a very compelling notion. And
occasionally it got very tempting to adapt the play instead of serve the play. But we just forced
ourselves to be true to the “concept” without ever diffusing what Steinbeck intended.
In addition to the aspects you intended to illuminate, have you also discovered new meanings
emerging out of this new layering?
LAZARUS Oh, God, yeah. Because in 1937 when it first appeared, class structure was very
different than what we understand today. And the notion of a Boss coming into the
bunkhouse and how the men would react and how he would treat them and the woman
would treat them. We’ve cancelled that in our database. We’re all equal, we have all the
same opportunities, we live in a country where we are commanded to understand that we are
equal. Well, in 1936-37, that wasn’t the case. And so by adding the Bracero image we’re
reminded of it more. We’re reminded of the differences. And, if anything, it’s made us
observe the play more fully than perhaps we would have if we’d just come to it normally. It’s
enhanced what’s already in the play. That’s what we discovered.
Have you had to alter the text to serve the concept?
LAZARUS In the tiniest amount. Because having them come from Auburn might have been
a problem. So we had to address only something like ten lines in the whole play.
What became really difficult was how much work we have to do because we had to explore
the entire language of the play as if it were new. And, we tweaked it. We definitely tweaked it.
I feel confident we did not do a single piece of damage to Steinbeck’s intention. But we
definitely tweaked it. There is Spanish spoken. There are accents. There is rhythmic
inflection that you’ve never heard before. When you hear our Whit, Sol Castillo, say ‘Glove full
of Vaseline,’ it’s a Bracero saying ‘Glove full of Vaseline’ and it’s never been said that way
before. And that’s what I love.
So, it’s virtually the same text with some flavoring. Was there much cutting for any reason?
LAZARUS As anyone coming to a play written in 1936 must do, because there was an
indulgence in language back then that because of film and TV and speed when you hear
something four times you’re now ahead of it, we thinned it out some. We did. But I would
have done that regardless of the concept. It’s just dramaturgical. We’re 60 years later and
I’m not going to not protect the playwright [from his own excesses, or anachronisms]. If I
were working with Steinbeck today, I’d be doing the same thing. I don’t feel that that’s unfair.
Tell me about your George and Lennie.
LAZARUS Oh God, am I lucky. David Noroña was one of my first ideas when I conceived
the notion. He and I have crossed paths on a lot of things, mostly television, but we’ve never
gotten to work together. I think he’s an extraordinarily gifted actor and a man of fierce
intelligence and one of my amazing moments in this process was calling David and
congratulating him and having him say to me, ‘This one’s for the soul.’ That’s when you
know you’ve tapped into something, when your lead actor says he’s doing it for one reason
and one reason alone. And David makes a really good living in television and film. He was
the original Frankie Valli in ‘Jersey Boys.’ He’s the guy Des McAnuff wanted to take to
Broadway and David turned it down. He’s in a series called ‘Lipstick Jungle’ right now with
Brooke Shields. And I’ve known about this actor for a long time. The last time he was in
Pasadena he played Irving Berlin. He is a very diminutive powerhouse actor. I mean look at
that range: Irving Berlin to George in ‘Of Mice and Men.’
And Al Espinosa, was a guy I knew about, but, and here is the danger and I hope people don’
t do this to me. I categorized him as ‘handsome leading man.’ And, I almost ruled him out.
But, frankly, I was struggling with Lennie. And I thought, this guy’s 6’ 3, and he’s Latino. But
he could only come to callbacks. Still, I wanted to see him. And Al Espinosa comes in for his
first audition among the callbacks and blows my socks off. He is not at all the guy I think he
is. He is a real actor. He is a transformational actor and he comes in and he’s like Lennie.
He’s Lennie. And I’m going ‘Holy Shit,’ this guy’s got tremendous range.
You needed to also be aware of the personal story Steinbeck built this on. He was working
on brotherhood at the level of two guys, one caring for his fellow man singular, as well as the
layering of how populations help or use each other.
LAZARUS Yes, exactly.
And you were able to balance that?
LAZARUS Well, you’ll tell me. I think so. I hope so. The essential story of these two men is
extremely powerful. And it’s what I love about the play, frankly. It’s not something I would ever
want to damage. A lot of people have seen this story, have seen the movie or read it or seen
it on TV. And I think that when our two guys come out, they’re going to be going on a ride that
is different and they’ll be excited to see the freshness.
happens. And that was it.
So you now have created an environment in which a classic American play that is like a new
play in its creative demands. Meanwhile, it adds a dimension that stimulates debate about
the very current topic of Guest Worker programs, with a reminder that one existed 60 years
ago.
LAZARUS That’s what I find unbelievably shocking. The way that we learn history in this
country, excluding certain areas, allows us to conveniently support a kind of mainstream
vision. And then you find out that for 22 years we systematically brought skilled laborers into
this country and then sent them home. But now we want to act as if, with that program, we did
not have a major role in creating the flow of workers into this country? I mean, 4.5 million
contracts were signed.
However, when I got up in front of the cast on the first day, I said, ‘The one thing I never want
to be guilty of is not doing this play. Every decision we make is going to be to do the play
Steinbeck wrote, with this added idea. We’re never going to not be doing ‘Of Mice and Men.’
And I’ve really held to that. It was difficult because it’s a very compelling notion. And
occasionally it got very tempting to adapt the play instead of serve the play. But we just forced
ourselves to be true to the “concept” without ever diffusing what Steinbeck intended.
In addition to the aspects you intended to illuminate, have you also discovered new meanings
emerging out of this new layering?
LAZARUS Oh, God, yeah. Because in 1937 when it first appeared, class structure was very
different than what we understand today. And the notion of a Boss coming into the
bunkhouse and how the men would react and how he would treat them and the woman
would treat them. We’ve cancelled that in our database. We’re all equal, we have all the
same opportunities, we live in a country where we are commanded to understand that we are
equal. Well, in 1936-37, that wasn’t the case. And so by adding the Bracero image we’re
reminded of it more. We’re reminded of the differences. And, if anything, it’s made us
observe the play more fully than perhaps we would have if we’d just come to it normally. It’s
enhanced what’s already in the play. That’s what we discovered.
Have you had to alter the text to serve the concept?
LAZARUS In the tiniest amount. Because having them come from Auburn might have been
a problem. So we had to address only something like ten lines in the whole play.
What became really difficult was how much work we have to do because we had to explore
the entire language of the play as if it were new. And, we tweaked it. We definitely tweaked it.
I feel confident we did not do a single piece of damage to Steinbeck’s intention. But we
definitely tweaked it. There is Spanish spoken. There are accents. There is rhythmic
inflection that you’ve never heard before. When you hear our Whit, Sol Castillo, say ‘Glove full
of Vaseline,’ it’s a Bracero saying ‘Glove full of Vaseline’ and it’s never been said that way
before. And that’s what I love.
So, it’s virtually the same text with some flavoring. Was there much cutting for any reason?
LAZARUS As anyone coming to a play written in 1936 must do, because there was an
indulgence in language back then that because of film and TV and speed when you hear
something four times you’re now ahead of it, we thinned it out some. We did. But I would
have done that regardless of the concept. It’s just dramaturgical. We’re 60 years later and
I’m not going to not protect the playwright [from his own excesses, or anachronisms]. If I
were working with Steinbeck today, I’d be doing the same thing. I don’t feel that that’s unfair.
Tell me about your George and Lennie.
LAZARUS Oh God, am I lucky. David Noroña was one of my first ideas when I conceived
the notion. He and I have crossed paths on a lot of things, mostly television, but we’ve never
gotten to work together. I think he’s an extraordinarily gifted actor and a man of fierce
intelligence and one of my amazing moments in this process was calling David and
congratulating him and having him say to me, ‘This one’s for the soul.’ That’s when you
know you’ve tapped into something, when your lead actor says he’s doing it for one reason
and one reason alone. And David makes a really good living in television and film. He was
the original Frankie Valli in ‘Jersey Boys.’ He’s the guy Des McAnuff wanted to take to
Broadway and David turned it down. He’s in a series called ‘Lipstick Jungle’ right now with
Brooke Shields. And I’ve known about this actor for a long time. The last time he was in
Pasadena he played Irving Berlin. He is a very diminutive powerhouse actor. I mean look at
that range: Irving Berlin to George in ‘Of Mice and Men.’
And Al Espinosa, was a guy I knew about, but, and here is the danger and I hope people don’
t do this to me. I categorized him as ‘handsome leading man.’ And, I almost ruled him out.
But, frankly, I was struggling with Lennie. And I thought, this guy’s 6’ 3, and he’s Latino. But
he could only come to callbacks. Still, I wanted to see him. And Al Espinosa comes in for his
first audition among the callbacks and blows my socks off. He is not at all the guy I think he
is. He is a real actor. He is a transformational actor and he comes in and he’s like Lennie.
He’s Lennie. And I’m going ‘Holy Shit,’ this guy’s got tremendous range.
You needed to also be aware of the personal story Steinbeck built this on. He was working
on brotherhood at the level of two guys, one caring for his fellow man singular, as well as the
layering of how populations help or use each other.
LAZARUS Yes, exactly.
And you were able to balance that?
LAZARUS Well, you’ll tell me. I think so. I hope so. The essential story of these two men is
extremely powerful. And it’s what I love about the play, frankly. It’s not something I would ever
want to damage. A lot of people have seen this story, have seen the movie or read it or seen
it on TV. And I think that when our two guys come out, they’re going to be going on a ride that
is different and they’ll be excited to see the freshness.
'Of Mice and Men'
by John Steinbeck
directed by
Paul Lazarus
Pasadena Playhouse
May 2-June 4, 2008
CAST
Joshua Bitton, Curley
Curtis C., Crooks
Sol Castillo, Whit
Josh Clark, Boss
Madison Dunaway, Mae
Al Espinosa, Lennie
Thomas Kopache,
Candy
Alex Mendoza, Slim
Gino Montesinos,
Carlson
David Noroña, George
by John Steinbeck
directed by
Paul Lazarus
Pasadena Playhouse
May 2-June 4, 2008
CAST
Joshua Bitton, Curley
Curtis C., Crooks
Sol Castillo, Whit
Josh Clark, Boss
Madison Dunaway, Mae
Al Espinosa, Lennie
Thomas Kopache,
Candy
Alex Mendoza, Slim
Gino Montesinos,
Carlson
David Noroña, George
