![]() ![]() The illness recurred thereafter, but as of now, Mazzie says she's "doing really well," thanks in part to switching from an IV-based chemotherapy treatment to an oral one. During her first remission in 2016, she replaced Kelli O'Hara in the Lincoln Center Theater revival of The King and I. With the help of her network of support, including husband Jason Danieley, she managed to balance treatments and concerts around the country and the world. Marin Mazzie at the opening of War Paint in 2017.Ī similar strength can be found within Mazzie, who has been very public in the face of her May 2015 cancer diagnoses. "There's something in your gut, an inner strength and a way of thinking and being that is inherent in these people." "We talk a lot in this play about how everybody's Russian, and what that life was like," Mazzie notes. Sert's inner strength, she adds, is intrinsic to who these characters, especially old world Russians like Diaghilev, are, in ways that Americans don't easily comprehend. She not only funded Diaghilev's work, but she was an eye and ear for him. There's a Lautrec of her hanging at the Met. Lautrec and Renoir and Vuillard painted her. "She was a concert pianist, she hosted salons. Married three times, twice into wealth, Sert was a relatively independent woman in fin de siècle Paris, serving as a muse for the intelligentsia. That's how I knew about her." Though the show hasn't gotten anywhere beyond its 2015 studio album, Mazzie is proud to explain how spectacular Sert's life was. "I did a recording for Tommy Krasker and PS Classics of an obscure musical called Misia," she says, "with music by Vernon Duke and a treatment by Barry Singer. Mazzie's first introduction to Sert's life came from an unexpected place: a musical. "This is a gift at a good time," she says. Also, just shy of three years after a diagnosis of late-stage ovarian cancer, her health was cooperating, too. Mazzie knew a surprising amount about Sert's life going in, and she was entranced by the opportunity to work with Doyle and Classic Stage Company, and thrilled to collaborate once again with McNally, who scripted her breakthrough role, Mother in Ragtime, two decades ago. He wanted to know, would Marin Mazzie, three-time Tony nominee and beloved concert performer, take the part? John Doyle was directing at Classic Stage Company. There was a plum role for an actor of Mazzie's ilk, that of Misia Sert, pianist and doyenne of Belle Époque Paris, who happened to be one of Diaghilev's closest artistic confidants. Terrence McNally, her old pal, had written a play called Fire and Air about the famed Ballets Russes, focusing on the tempestuous relationship between its artistic director, Sergei Diaghilev, and star dancer, Vassily Nijinsky. Our “Peter” performance will begin after intermission each evening.The time was right, Marin Mazzie says, for her to get back to work. This performance will include RoCo’s youth dancers that are not performing in the “Peter” production. The first half of each evening will open with its own separate showing of “RoCo Dance Onstage”, which will showcase dances of all genres and age groups. Performers include selected upper level dancers from RoCo Dance’s teen program. RoCo narrates “Peter” through dynamic movement, video projection, original music score, costumes and a colorful light design. Each chapter of the story is stylized though genres of dance by introducing ballet, modern, hip hop, jazz and breakdancing. RoCo’s “Peter” is a surreal fantasy bridging the old world with the new and into the future. Peter is directed by Annie Rosenthal Parr with original music composed by Beth Custer, video design by John Vigran and costume design by Molly DeVries. RoCo Dance is celebrating its return to the Marin Center this winter with their original dance production entitled “Peter.” This dance production is a modern twist on the classic story of Peter Pan.
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