Sometimes people have to travel the world to
follow their dreams. CCM Musical Theatre Chair, Aubrey Berg began the journey for
his education in Cape Town, South Africa, where he was born and raised. After
getting his undergrad, he moved to England to get a master’s degree at the
Bristol Old Vic Theatre School and then started his professional career as a
director and teacher. He directed in England until he felt the need to get an
advanced degree. In 1975 he finally moved to the states and attended The University
of Illinois to get a masters and a PhD in Theatre.
There’s nothing like your first. Upon asking
about Aubrey’s first directing project, he was filled with giggles and smirks. The
project was at 16 years old and it was an experimental piece called Corks for
the Brownings. He remembers it being edgy and contemporary for the time and if
he knew then what he knows now, he probably wouldn’t have done it. A poet who does most of the talking in
the piece sets the scene of the play. The main character, Elizabeth Barrett
Browning, is in the middle of a battlefield in Vietnam where she is then saved
by the swans of Swan Lake. Aubrey said, “There must have been a deeper meaning,
I’m sure, but I don’t remember it.” It was entered in a theatre competition and
actually won first prize. Aubrey, or Bubba as we call him in school, said this
project really gave him the experience to think outside the box at a young age.
He doesn’t think it was a very good piece by today’s standards but he is
thankful for the lessons he learned while working on it.
It was this lesson that he had to bring with
him to the States to bring the musical theatre program of CCM to life. His
predecessor left two years before Bubba got the job as chair of the musical
theatre program. So for two years the theatre department went without a head.
As imagined, there was chaos. It was basically a voice program with
requirements like one year of Ballet and two years of Acting. It was in no way
the triple threat program it is today. His interview for the job included a few
questions and a teaching assessment. Before Corbett Auditorium there was Wilson
Auditorium. It was in the basement of Wilson that he directed students in two
separate scenes: one dramatic and one comedic. He was hired and then he had the
crazy responsibility to reshape a shapeless program.
His first decree as head of the program was
appointing a resident choreographer/dance teacher. He insisted that the program
be better rounded. He could see that Broadway was evolving and that the program
had to get with the times. Bubba actually made equal emphasis on voice, acting,
and dance, which is what the students desperately needed. Now students take a
healthy mix of classes including: 4 years of acting, 4 years of jazz technique,
4 years of vocal training,, Pilates, audition techniques, musical theatre
history, and music theory. Although his curriculum has changed over the years,
it’s not due to lack of success. Rather because of the changing times in the
Broadway scene. Whereas 25 years ago they focused theatre around an amazing
voice or excellent dance technique, nowadays the emphasis is on acting.
“Although a student may be a brilliant dancer and singer, without strong acting
training the student will not be as successful in today’s theatre.”
When I asked Aubrey when he became aware that
CCM had turned into a triple threat program, he replied, “You know, I just woke
up one morning and decided it was.” This really shows his positive thinking
approach to his teaching style. If someone sees himself or herself as a great
actor, director, or person, eventually it will happen. He went on by saying
that the success of the program is evident in it’s alumni. There is a CCM grad
in almost every show on Broadway and in Tours around America. And since our
school is very selective, only accepting about every 1 in 80 students when
hundreds audition, we are able to provide the individual attention that a
student needs to perfect their skills. Other top musical theatre schools such
as Boston Conservatory and University of Michigan accept about 80 freshmen a
year compared to our 20. With so many students it’s easy to get lost in the
crowd. Bubba really wanted to make an elite program with many opportunities for
his “babies”.
This selective, small group nature is also
brought into his directing work. Ironically, he really loves very small casts
of people. I say ironically because he’s normally set up to direct the Corbett
Main stage shows. Bubba said, “When I have a huge cast of people, I feel more
like a traffic cop.” This makes so much sense because when you’re trying to
make formations onstage with 40 people having separate conversations, you just
need to be almost militaristic to get to the desired goal. Another one of his
directing tips includes looking at visual images or art of the period that the
play or musical takes place. He’s really moved and inspired by the artwork of
the time. He says it informs a lot about what was going on socially and it can
be great inspiration for a scenic designer as well.
When asked about his favorite show to direct
since coming to CCM, he didn’t give a straight answer. He talked about having
the amazing opportunity to direct shows twice in his career. Evita was the
first show he directed at CCM and my freshman year he revived it in Corbett
Auditorium. Along with Evita he’s done Into the Woods and Hair twice. Bubba is
really looking forward to directing Les Miserables in Patricia Corbett Theatre
this spring. He’s waited a long time to do this show.
Directing is definitely a perk of the job but
there are also some parts that aren’t all sunshine and rainbows. He isn’t very
fond of the paperwork that comes along with the job. Also sitting through
hundreds of auditions a year has its ups and downs as well. Sometimes a
prospective student will give a questionable audition and then their mother
will find Aubrey in the lobby, send him an email, mail him a gift, or a
combination of all three. This gets to be overwhelming when it comes to the
amount of people seen in one day of auditioning. Most of the auditions are
videotaped for further viewing by other faculty not present at the audition.
These videos are also a teaching tool in Bubba’s audition techniques class. Some
of the tapes go back as much as 20 years and are excellent bases for hysterical
horror stories in the class. Bubba lists them as some of his favorite memories
at the school.
The school and its students have been his
family for so many years. He refers to his students as his babies because they
really are. He is truly our wise old grandfather her at school. His wisdom and
advice are so precious to us as students because he has lived through so many
eras of theatre. Not many instructors have so many years under their belt.
Although sometimes this wisdom is stubborn when it comes to adjusting with the
ever-changing times, it’s ultimately an asset. He is retiring soon and it will
be interesting to see how CCM with react to a different director once he’s
gone. Maybe the program will undergo another transformation like with Aubrey’s
entrance. Only time will tell.





























