Broadway adapted the movie “Mrs. Doubtfire” to the rhythm of flamenco with Aléna Watters.
by Andrés Correa Guatarasma, May 13, 2022
Aléna Watters in the flamenco scene, "Mrs. Doubtfire", 2022 ©JOAN MARCU
Bastardo, mentiroso, traidor… infierno.
Bastard, liar, traitor… hell.
They are words in Spanish that a flamenco dancer, Aléna Watters, sings with marked irony in the most intense scene of the musical version that Broadway has made of Mrs. Doubtfire, a film that won two Golden Globes in 1994, won best musical film or comedy and musical actor and/or comedy for Robin Williams. It is the story of an immature, skinny and unemployed artist, married to a serious and successful wife who files for divorce and, not being able to opt for custody of their children due to lack of salary, decides to become their nanny, with a very antagonistic style: an old obese Scottish widow. Tangles are guaranteed in the best Hollywood style "for all ages". But Mrs. Doubtfire has also touched since 1993 on topics that are still advanced even today: childhood depression, women who earn more money than their husbands, and families that are no longer defined by the traditional leadership of a mother and a father, or not even sharing the same roof. It is never easy to play an actor, much less a role that is so associated with a legend like Williams, who had 11 nominations and 5 Golden Globes, in addition to the prestigious Cecil B. deMille Award in 2005. On Broadway, the challenge is taken on by Rob McClure, putting on a grueling performance: being live, all the changes from man to old woman are staged, plus singing and dancing. No surprises, this week he was nominated for "best actor in a musical" at the Tony Awards, the most important in the theater world.
Delayed by the pandemic, the Broadway version of brothers Karey and Wayne Kirkpatrick and John O'Farrell, directed by Jerry Zaks, goes beyond the essence of the film. Being a musical, it creates choreographic moments about small situations that did not exist: learning to cook; seek an identity inspired by “serious” ladies like Julia Child, Eleanor Roosevelt, Margaret Thatcher or Janet Reno vs “funny” ladies like Cher or Donna Summer; parade on the catwalk; and above all the scene where everyone coincides in a Spanish restaurant, La Rosa, and the protagonist is exposed naked when, after ordering paella and the sangria going to his head, the costume of an old lady among dancers comes off. In this hilarious chaos, brilliantly coordinated and acted by McClure and dozens of people in action, actress Watters takes center stage. Curiously, she does not speak Spanish and she is not Hispanic either -or maybe she is.
Where did you learn flamenco?
I learned flamenco specifically for the musical "Mrs. Doubtfire". It amuses me a bit, because it feels like a career harbinger: when I did "The Addams Family" on Broadway with choreographer Sergio Trujillo, one of our first rehearsals was an exercise in improvisation; then he asked me if I danced flamenco, which I didn't, and now it has made me think of the phrase "Nurture vs Nature" (breeding vs genetics). Growing up, I spent time with the families of my friends, several of whom were of Mexican and Puerto Rican descent, and felt welcomed at their parties and dances, and developed a sense of connection to the Latino and Hispanic culture. I was also Catholic growing up and my high school Spanish teacher, Mr. Segura, was my confirmation sponsor and felt like part of my extended family. So even though I wasn't sure of my exact ethnic background, I felt connected to the Latino and Hispanic culture, growing up in Colorado Springs. It wasn't until several years ago, when I got tired of people wondering about my ethnicity without knowing for sure, that I finally got a DNA test. I discovered that along with the expected European genetics from my mother, there was Spanish and Portuguese blood. For years I have been unsure if I am allowed to celebrate this part of me, because it is not something that my immediate family, my parents or my sister, feel connected to. With our industry finally starting to honor and showcase more authentic diversity on stage, I wasn't sure where I fit in, being both white and Hispanic. Would I be accepted or "allowed" to celebrate this part of me? Am I “Hispanic enough” to fulfill and honor this part of me? I shared my uncertainty with my dear friend, our late Mrs. Doubtfire cast member, Doreen Montalvo Mann, who assured me, "You are family." I have a photo of Doreen behind the scenes and I bring her family energy to my heart in every show to honor the beauty and passion of the Hispanic culture through this small piece of musical theater history that I have been honored to help create.
How did you get this role?
I was in the middle of "The Cher" Show on Broadway. And it feels ironic that she now also appears as "Cher" in the "Mrs. Doubtfire" song "Make Me A Woman"! This musical reading in May 2019 was where I had my audition, and it was exciting to be called back a month later! It's not often that it happens that way, without a more rigorous audition, so I'm incredibly grateful that I built a reputation for my work, talent and ethics to have been offered the part after that reading.
Why do you think flamenco was included in this adaptation if it wasn't in the film?
There is a saying: “The truth always comes out”. I think flamingo was chosen to be a part of "Mrs. Doubtfire" because it's a powerful and passionate art form with a dramatic twist, and what a way to demonstrate the character's choice of deception by having this flamingo number commenting comically in parallel with his lies, to the point of making him dance in the truth. Musical theater storytelling is meant to create a heightened sense of emotion and drama, and flamenco has emotional depth and a sense of spontaneity. And I think we've combined the two to present all of that in this issue.
It is the pinnacle scene of the musical, with a lot going on and coordinated: songs, dance, dialogues, costume changes and lights.Any anecdote in particular?
Yes, it is a key scene and a lot is going on. This scene has gone through many incarnations. Once we got into the Broadway rehearsal process, we needed to "trim the fat," so to speak, to make the intricate scene more precise and focused. She was originally going to take flamenco lessons before rehearsals began in Seattle; but due to some programming issues, that didn't happen, and I ended up having to do my own research practicing with video tutorials at home, to learn about traditional footwork and hand and arm movements. Then when the director, Jerry Zaks, requested some more sounds in certain sections of the number, to create some improvised steps, it was both exciting and terrifying! Once we returned to New York for our Broadway process, we worked with a wonderful flamenco consultant and performer, Arielle Rosales, who helped us gain more power and confidence in the style. I think we had about 2-3 hours total of focused work with her; we were approved to film ourselves on the steps with her to review, and that was it. I ended up hiring Arielle to work with me so that I could feel like I was doing everything I could to honor the spontaneous traditional flamenco style in the world of musical theater. While it is true that each of our performances is live and each one is a little different, we also have to be consistent in keeping all performers on stage safe. There are so many moving pieces and we have to hit certain marks so that the audience knows where to focus at each moment of the narrative, and also so that no one is unexpectedly stepped on or covered up etc. It took a lot of trial, trial and error, and repetition to find the right moment. It was an incredible process. We have a lot of talent in our show and we work together very well. I will treasure it as a special moment in my career. It has meaning to me and it can also be playful and mix art forms in a way that I hope our audience will enjoy every night.