The Secret Garden
Since becoming active in Community Theatre in the Columbia area in 2015, I have been privileged to work with many creative people on stage, silent heroes behind the scenes, production staffs, directors, and more. Somewhere during that almost 10 years, the name Dedra Daniels Mount entered my consciousness through conversations with some folks with whom I’ve performed and shared the stage. I recall a conversation during rehearsals for Into the Woods with Becca Reitz Kelly and Jamie Carr Harrington, my wife, and director, respectively, about the beauty of The Secret Garden.
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When Michael Simmons suggested I audition for The Secret Garden, I did so with trepidation. Having read the book many years ago, I was familiar with the story, but not the musical. I try very hard in life to form opinions based on my own experience rather than the views of others, and having heard the stories of a dragon lady attached to Broadway Bound, but having experienced none of them, I said, “If she treats me the way I’ve heard she treats actors, I’ll take her down!” His reply, makes me laugh to this day: “You’ll get along fine. You’re just like her. You know what you want, and that’s what you go for.” Okay, wow! Now, my curiosity was overwhelming.
I showed up for auditions and went into the studio to sing a song I never thought to use for that purpose. It was Michael’s suggestion as he has played it for me in several performances. Some people reading this might have heard me sing “Waiting for Us,” a kind of signature song for me, but not one I would think of cutting down to 16 (or 32) bars. So I entered the room, and this tiny person was sitting in a plastic chair, hair loosely piled on her head. She regarded me with a big smile and bright blue sparkling eyes. Since three people were in the room, and I knew Michael and the other was me, I deduced this person to be Dedra. After introductions, I sang my song, and we briefly discussed the various accents - Yorkshire and high British - called for in the show. I said, “Thank you,” and left. And on the way home, I thought, “This is the Dedra some have described as a dragon lady?”
Callbacks were a couple of weeks later, and upon seeing some of the folks there, I had misgivings about continuing with the audition process. Sometimes, personal issues can cause pathos, which, at this point in my life, I am simply not interested in exploring. But Michael later said, “You’re a professional, so just go in and do your job.” He is right, and to be honest, my curiosity about working with Dedra was swaying me.
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Ultimately, I got the role of Dr. Neville Craven, Archibald’s brother. Neville is a complicated man. While perhaps misguided, he intends to help, and the role of caretaker of the estate and his nephew’s treatment has been thrust upon him because of his brother’s inability to cope with grief. Through Dedra’s insightful direction and conversations about the character, I agreed that Neville is not a bad man. He sort of unravels as the show progresses, but almost entirely out of frustration at the situation. But I digress.
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Since it’s a period piece, costumes are a big undertaking. The set dressing is specific. If you’re a ghost (remember, a lot of people died), you move in a certain way. Diane Quay, our costumer and castmate, had the immense task of tackling costumes for over 20 people. I was grateful that my everyday dress included some of that style of clothing; ultimately, Lanny and I were mostly costumed out of my personal wardrobe, which, I believe, helped Diane focus on all those dresses. As Dedra and I began discussing the look of Victorian/Edwardian England, I wanted to contribute and offered to help with set decoration. As I explained to her, I live in a 4,000-square-foot house with 6,000 square feet of stuff in it. I’m also as good with sewing machines as with power tools, so set construction also became part of the mix. In truth, I enjoyed it all. Working with Rich Quay, who handled set construction and is labeled (I believe) set engineer was so much fun. People watching us say we're as married as Dedra and Jimmy Mount. It was a lot of hard work, but I haven’t been involved in the production side of a show in a while, so it was fun.
Rehearsals for the show began with a cast of immense talent. Lanny Spires, Tracy Steele, Carol Beis, Amy Eckert, Caitlin Thomas White, Sydney Davis, Jessica and Amanda Britt, and more I didn’t know. Josie Hess, who plays Mary (I could write an entire blog on this young girl’s work ethic and tenacity), has been a delight! Throughout the process, Dedra showed a deep and loving understanding of the show’s story and the nuance that drives it. As an actor, I found her insight incredibly helpful in unraveling Neville, and I enjoyed many conversations about the character and theatre (and life) in general. As it turns out, Michael wasn’t wrong.
“We are a lot alike”
I was suddenly immersed in Broadway Bound Vista Theatre Project and began to help with set construction and decoration while marveling at Dedra’s drive to get things done. This is a complex show that requires a lot of conceptual thinking. People are at a party in India. Those people are suddenly dead. A girl is orphaned and sent to England. Her dead aunt had this beautiful garden, thought to be magic. A sick young boy is being treated with old-fashioned treatments. A man whose grief is so immense he checks out of life and thrusts his responsibilities on his brother. That garden magically heals his sick young son as the young orphan discovers his existence and begins to care for said garden. Okay - that’s The Secret Garden in a few words.
Since we began singing together, Lanny Spires has been saying we should sing “Lily’s Eyes," but we never did. And now I can say that not only is it a beautifully moving piece, but I believe Lanny and I knocked it out of the park. I hope someday we can sing it in the cabaret. Until then, I must find satisfaction in performing it in the show, complete with a highly capable band.
As one does in theatre, I have made many new friends and rekindled friendships with some others. One particular highlight for me is sharing the stage with Tracy Steele, who has choreographed many shows in which I have performed but have yet to perform together. I can cross that off my list now. Another is the opportunity to work with Dedra. Some conversations I’ve shared with her about life have included themes of aging and understanding one’s place as you transition from young performers to middle-aged and older. And that my BS meter is much more acute than it was 20 years ago; my bandwidth for BS is very thin. I must say this experience has been a delightful collaboration.
I should also add that all of “The Mounts” have been wonderful to work with. Leighton’s sense of humor is immense and as a scene partner, she’s fabulous. Mattie can sing the birds out of the trees and has been inspiring from the beginning. Hannah, who is a keyboardist in the pit, has a work ethic and talent level that is unmatched. And Jimmy is the man-behind-the-scenes, keeping things running.
To use an analogy from The Secret Garden, there is a tale of a dragon as young Collin’s affliction. I can now say from personal experience, and not the recounting of other people’s, that working with Dedra Daniels Mount has been an incredibly positive experience. She is a force of nature. She is intense. She is exacting. I witnessed her losing her temper exactly twice, and both for entirely understandable reasons.
Today is the final performance of The Secret Garden. And so she and everyone - literally everyone - in the cast I consider to be friends. I look forward to the next opportunity to work with Broadway Bound Vista Theatre Project, and I hope that anyone reading this will avail themselves of whatever shows they produce.
