If you think mounting a musical is tough, try putting on a new improvised musical seven times a week. That’s what creator and artistic producer Alan Kliffer and his One Night Only team are doing for the next three weeks at the Factory Theatre. With improvisers like Second City vets Ashley Botting, Jan Caruana, Carly Heffernan and Kevin Vidal in the cast and an orchestra that’ll be playing off the cuff as well, you can expect lots of show-stopping numbers – and unexpected laughs. See listings.
You changed the name from Golden Ages to One Night Only. Not just for the Dreamgirls reference, right?
No! We changed the name to One Night Only: The Greatest Musical Never Written so the audience could better understand what the show might be, and also to appeal to a younger crowd. The idea came from Mirvish when we were thinking of working together.
Do you play with styles of musicals at all? Or are they all shows set in the 30s?
There are no eras any more. The show used to jump forward a decade with every one we did, but that was scrapped along with the original name. So now we go with whatever works for the suggestions. You will see many styles.
Favourite moment so far in the show’s history?
To be honest and maybe cheesy, I have loved every moment of this show for the past two years. My favourite moment is right now watching something we’ve been working on for the past two years grow into something fully realized. Improv has never had this kind of investment or care.
All-time favourite rhyme from a musical?
“Life is often so unpleasant / you must know that as a peasant / best to take the moment present / as a present, for the moment” from Into The Woods.
Biggest misconception about improv?
A lot of bad improv out there skews people’s perception about what it is. The truth is, improvisation is one of the hardest skills, but when it’s pulled off with precision by people who really know what they are doing, it can be a magical experience. People will literally have no idea what they’re about to see when they walk into the theatre. No matter how many times I explain it, once you see and experience it for yourself, you will be converted.
… and about musicals?
A musical isn’t a frivolous piece of theatre, and a spontaneous musical keeps the audience on their toes as well.
Sondheim or Lloyd Webber?
Sondheim, for the sheer brilliance and artistry of his work. It’s different and distinguished. Whereas Andrew Lloyd Webber… well… I mean… remember when he tried to rewrite The Wizard Of Oz?
Any tips on scoring Hamilton tickets?
Save $20 a week for one year, and don’t sit in the upper balcony, because you can’t see anything (although it sounded beautiful).
First original cast album you owned?
Phantom Of The Opera. Phantom was one of the few musicals that came to Winnipeg, besides Les Mis and Cats, so when I first went to see it (very young), my parents got me the album and I was hooked on musicals. So I guess Lloyd Webber was good for something after all.
