Todd Pearthree
Todd Pearthree is truly one of the most gifted and creative stage directors in the Greater Baltimore Area.
He has directed and choreographed over 200 productions primarily on the East Coast, including Theatre Hopkins, MD Arts Festival, Gateway Playhouse, Peabody Opera Theatre, Center Stage, and Off-Broadway. His productions of “Candide,” “Kiss of the Spider Woman,” and “Putting It Together” were selected Best Musical by Baltimore’s City Paper; “Ragtime” and “Gypsy” chosen Best Musical by Broadway World; and was Best Director and Choreographer for “Into The Woods” and “Sweeney Todd” by the Baltimore Sun. He was Producer/Director for Pumpkin Theatre and the Limestone and White Marsh Dinner Theatres; Adjunct Professor at Peabody Conservatory: and has lectured on Musical Theatre and film for Towson University and Loyola College.
Todd Pearthree is currently directing “The Bridges of Madison County” at Dundalk Community Theatre, playing October 27 through November 5, 2017. For more information, click here.
What can a theatregoer expect to see when they attend “The Bridges of Madison County?”
A Tony Winning score sung by a stellar group of actor/singers headed by Helen Hayes nominee Nancy Asendorf as Francesca and Tom Burns as Robert. The vocal sound, individually and as a group, is glorious. First rate production values; during the opening “To Build a Home” we actually build a home. An Orchestra with REAL strings. And a sweet, sad, sexy story – half Harlequin romance and half true – that is hopefully engaging.
What is your vision as director for “The Bridges of Madison County?”
There is a sweet “Our Town” quality to BRIDGES. Family. Community. Building a life. Contentment. But maybe there is someone wonderful I missed? As far as we know, this is it. Shouldn’t we experience as much as we can?. Francesca and Robert meet when they are just starting to think there has to be something more. They give each other adventure, long forgotten feelings, carnality. It changes who they are and makes their short span on this earth richer.
How long have you been directing? How has your direction evolved since directing your first show?
Lord. About 35-40 years. My first show was “The Innocents.” First musical “The Apple Tree.” I was 16, endlessly ambitious and the world was an MGM movie. I saw myself as Michael Kidd/Bob Fosse/Louis Mayer, and shows I staged moved with the pace that kills. I still like a show that’s tight, but I’ve learned that it can take an occasional breath. Adapt dances to the dancer’s strength. Actors may have an idea that works better. Less is more. Tell the story. And it’s just a show.
Have you worked with actors that have worked on Broadway?
Well, there’s my sister, Pippa. She’s clocked a slew of Bway shows: “Titanic,” “The History Boys,” “Inherit the Wind,” “Boeing-Boeing,” and the 2016 triple: “Noises Off,” “Tuck Everlasting,” and the Nathan Lane “The Front Page” all in one year. And Andy Karl (Tony Nominee for “Groundhog Day,” “On The 20th Century,” “Rocky”). I personally worked with Andy Karl on “Grease,” “7 Brides,” and “St. Louis.” Hardest working guy on Broadway; and a sweetheart. He never fails to give me credit for starting him on his way when, in truth, I just pointed him north. 2nd Hand Stardust.
Why did you decide to go into theatre?
I’m not sure I had much choice. Our house growing up was theatre. Music on constantly: Musicals, classical, Gilbert and Sullivan, Ella, Barbra, and Stan Freeman. Beginning at age 8 my parents said “Watch this:” “Yankee Doodle Dandy,” “The Pirate,” “Of Human Bondage” (with Davis, of course). Then my Father was playing Capt. Hook at Ford’s Theatre and they were auditioning kids. Bam. That was it. And since I was bossy, directing was the next step. I could watch movies or see “A Chorus Line” and pick up whole combinations immediately. (This was pre video/CD; you gotta be quick. No rewind). I was clever, had a good eye, and could schmooze anybody. I worked all the time.
