A Conversation With Director Barbara Mallory Schwartz, “The Ugly Duckling”, Theatre West, by James Scarborough

“The Ugly Duckling” at Theatre West marks a significant milestone in children’s theater as Storybook Theatre celebrates its 40th anniversary. This adaptation, with book by Lloyd J. Schwartz and music and lyrics by Adryan Russ, transforms Hans Christian Andersen’s timeless tale into an interactive musical experience. Under Barbara Mallory Schwartz’s direction, the production employs theatrical devices that engage young audiences while maintaining artistic integrity. The inclusion of a ballet sequence demonstrates the creative team’s understanding of how to blend classical elements with accessible entertainment. The casting of seasoned performers like Kathy Garrick and Paul Denniston confirms a commitment to professional-quality children’s theater. This production’s emphasis on audience participation reflects contemporary pedagogical approaches to children’s entertainment, while the transformation sequence - a crucial dramatic moment - serves both theatrical and metaphorical purposes. Storybook Theatre’s enduring success, supported by major cultural institutions, validates their approach to creating meaningful theater for young audiences.

Barbara Mallory Schwartz’s four-decade journey with Storybook Theatre represents a significant contribution to children’s theater in Los Angeles. As co-founder and director, her work has helped shape young audiences’ first theatrical experiences while maintaining artistic standards that respect children’s intelligence and imagination.

Below follows an email conversation with the director:

JS: How has your approach to directing children’s theater evolved over Storybook Theatre’s forty-year history?

BMS: From the beginning, we have always had audience participation, but over the years, we have seen how the children in the audience love being on stage, so we have found ways to involve them more and more. For many children this is the first time they would have had the chance to be in front of people.  We’ve heard from their parents and teachers how important this s in their development.   

JS: What challenges did you encounter in adapting “The Ugly Duckling” for an interactive format?

BMS: Most of the challenges were in the writing which gave me as the director the opportunity to add interactive aspects like more chases and having the children of the audience on stage to show their own talents. One of the messages of this show is that “Not everybody can do everything.” Then we invite children on to the stage to show what they can do.

JS: Elaborate on the creative process between yourself and Lloyd J. Schwartz in developing this adaptation?

BMS: My background was as part of the Minneapolis Children’s Theatre where I learned pacing and audience involvement. Then I listened to the five- year-olds in the audience.  They let you know if they are bored.  I more or less gave these guidelines to Lloyd, and we structured the shows accordingly. We work together as a team. When one of us is passionate about a line or a direction, that person usually wins any argument.

JS: What influenced your decision to include a ballet sequence in this production?

BMS: Lloyd and I always add an element to our plays that are in some way classical theatre. In this case, the Ugly Duckling turns into a swan.  That inspired us to borrow Tchaikovsky’s melody. Then we told our composer/lyricist Adryan Russ to write lyrics to that ballet melody. We love seeing the children in the audience respond to the transformation from duck to swan and have it happen as a ballet. Fortunately, our Ugly Duckling/Swan is played by Elise Walters who is gifted in ballet. 

JS: How do you balance entertainment with the moral lessons inherent in the original story?

BMS: It’s a funny thing that the moral lessons are there in the original stories, and we just amplify them and simplify them for our audience.  At the same, we try not to hit the kids over the head with any moral. We make it funny and part of songs.  One time, someone asked us to look at all our shows and write down the moral lessons in them, and we were surprised how many there were.

JS: What considerations guided your casting decisions for this production?

BMS: We are part of a theatre company, and we cast from its members.  Our considerations are of course their abilities to sing and dance.  But the overriding considerations are kindness and how they interact with children in the audience.  This also calls for improv abilities. You never know what kids will say, and we incorporate those responses into our shows.

JS: How does the stage design support the transformation sequence of the duckling?

BMS: This year we are employing some projections created by the talented David Johnson. Beside growing the pond into Swan Lake, the mother character and the other swan wave blue fabric to create the motion of the water in the pond.

JS: What role has Theatre West played in sustaining Storybook Theatre’s mission?

BMS: For the last 40 years, Theatre West has been our home.  The company provides a community of actors who work well with each other.  At the same time, the board takes care of the fiscal aspect and allows us to be creative.  It’s a great symbiotic relationship.

JS: How do you approach the challenge of maintaining artistic quality while creating accessible theater for young audiences?

BMS: Theatre is defined by its limitations.  Budget, size of space, length of shows, etc.  When you do work for young children…who are often seeing their first play…we have to make that the ultimate guideline.  We don’t put in any jokes that only adults will get. We know how long the shows should be since we take into consideration their attention spans. Everything we do is defined by our audience.   

JS: Looking ahead, what do you envision for the future of children’s theater in Los Angeles?

BMS: Though we have been successful for forty years on a consistent basis, we hope that more theaters do work for children.  Our mission has been to introduce theatre to children. Let’s hope young audiences have a lot more choices.

Performances are Saturdays at 1:00 p.m., October 12, 2024 through January 11, 2025. Tickets are $15. Theatre West is located at 3333 Cahuenga Boulevard West, Los Angeles, CA 90068. For more information, click here or call (818) 761-2203.

Photo courtesy of Garry M. Kluger