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Sarah

Just to get you started, I’ve papered the house and asked a few people to write something:


Howard Ashman

Miss El Centro

Howard Ashman was an amazing man and an amazing artist. He cared so much for his actors and his characters alike. I worked with Howard for 2 years on SMILE, a true labor of love. My favorite recollection of the final audition for the workshop was Howard and his colleagues running it like it was an actual beauty pageant...we had to show our special talents and actually face a panel of judges asking us questions about how we wanted to change the world...it lasted all day and was so much fun. He cast me as the understudy for Robin and in the ensemble as Patti Lynn Byrd, Miss El Centro. I worked on the workshop and the Broadway show.

Howard was a true believer in the power of theatre and a fierce believer in his actors. I loved and admired him so much. He went out of his way to let you know how much he cared about you and also how much respect he had for you as an artist. For the opening of the workshop he gave me a Disneyland pencil case with this note enclosed: “Mana- What a special gifted, truly remarkable person you are. Your unselfishness, professionalism, and personal sparkle have been such a key element in the chemistry of this thing. I really do love you very much + whatever the outcome, you’re a big part of my positive feelings about this whole thing. Let’s do it again, OK? Love Howard.” To a young actor, that note went a long way in helping me believe in myself and my worth as an artist for years to come.

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Submitted by Mana Allen

 


Assistant To The Director

When I was dating Howard in high school, he was very generous in allowing me to participate in several productions he wrote and directed. These were all musicals and I couldn't carry a tune to save my life. In fact, he cryptically and diplomatically told me that I sang "in the key of a virgin", though to this day I have no clue what that means. But I was well aware of my vocal shortcomings. So, if there were any non-singing roles, he would award me one of those or give me the job of assistant to the director. A little wild at the time, whenever I overbounded my steps (as Stan Laurel would say), he gently reminded me that I was not assistant director, but assistant TO the director. He always managed to rein me in with humor.

When prom time came, we were not permitted to go - for dress code violations and because his hair was too long (half an inch past the collar of his shirt). So, instead, we went to dinner at a Chinese restaurant (Mee Jun Lo's, I think) and to see the movie "I Am Curious - Yellow". We had such a great time and I never regretted missing the prom.

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Submitted by Delin Colon

 


Howard Ashman

A Smile on Broadway

I can honestly say this is a picture of Howard Ashman as you’ve never seen him before. Though smiling gamely, Howard is kneeling precariously on the shoulders of puppeteer Marty Robinson (who created the original Audrey II for Little Shop).

It was the summer of 1986. The musical Smile, which Howard not only wrote book and lyrics for, but also directed, was coming to Broadway and anticipation was running high. Sixty Minutes had been following Howard, Marvin Hamlisch and the entire cast through workshop, out-of-town tryouts in Baltimore, and pre-opening rehearsals.

I was in the process of shooting the large Smile Poster on Broadway, when none other than my brother-in-law, Howard, should appear. He and Marty were headed toward the Lunt-Fontanne.

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Submitted by Ron Gillespie

 


Howard Ashman

The Snow Queen

A new children’s theatre musical written by a graduate student. So? There were auditions posted practically weekly for graduate students’ productions. But this wasn’t any run-of-the-mill graduate student. This was Howard Ashman’s Playwriting & Directing Master’s thesis production. And we all wanted to be in it desperately.

Somewhere out there were Howard’s latest, soon-to-be legendary, leading ladies waiting to play the key female roles—Gerta and the Snow Queen. It would not be his star from The Milk Train Doesn’t Stop Here Anymore. Although Kim Waters would have made a commanding Snow Queen, she couldn’t meet the musical demands of the role. So, whoever Howard cast, they were going to be two of the luckiest, most envied divas in all of IU’s Theatre Department

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Submitted by Nancy Parent