| Julia Gregory has always been inspired by literature.
Often when she reads a book, poem, or prose melodies
accompany the words in her mind. Like many composers,
she has described this process as “reading with
underscoring”.
While reading La Dame aux Camélias by Alexandre
Dumas fils, the melodies in her head wouldn’t
go away.
In the Fall of 1995, while performing on Broadway
in Hal Prince’s Showboat, Julia decided it was
time to write her own musical. Soon after, she took
on the daunting task of adapting Dumas fils’ novel
into a Les Misérables-style musical. Within
a year she had completed the book, score and lyrics
for the show Camille.
Camille had its first public reading on July 29, 1996
at the Puerto Rican Traveling Theater on W. 47th Street
in Manhattan. The house was filled to capacity for
this performance in fact many people were unfortunately
turned away.
The first cast featured Christiane Noll (Jekyll & Hyde;
It Ain’t Nothin But the Blues; Urinetown) in
the title role as the irresistible Camille and Joseph
Cassidy (Dirty Rotten Scoundrels, Les
Misérables,
Showboat) as the passionate Armand. John Cudia (Phantom
of the Opera, Les Misérables) played the hunky
Gaston, Cyndi Neal (Showboat, Les Misérables)
the jaded and sarcastic Prudence, and William Thomas
Evans (The Scarlet Pimpernel, Camelot) played the not-so
charming and villainous Varville.
Also lending their talents to the cast were Peggy
Taphorn (Urinetown, Showboat, Smokey
Joe’s Café)
as the demure country girl Nichette and Christopher
Patrick Mullen as her well-mannered, optimistic husband
Gustave. Betsy Morrison (The Sound of Music) portrayed
Camille’s delicate and caring lady-in-waiting
Julie. Ron Brown tackled the intense role of M. Duval,
Armand’s father.
The All-Star ensemble included: sopranos – Diana
Brownstone (Parade, Candide, Joseph…), Meghan
Brunsvold, Jennifer Marshall, Cate Collins-Donovan;
altos – Louise-Marie Mennier (Showboat), Jennifer
Clippinger (The Producers), Christina Fanizzi tenors-
Michael Farina (Seussical, My Fair Lady), John Wasiniak
(Phantom of the Opera) and David Kelso (Cats, Wagner’s
opera Siegmund); baritones - Roosevelt Credit (Showboat),
Matt Loney (King Lear, The Sound of Music), Dossie
McGraw, Brian Grace, and Carl Cavalier; and basses
Paul Malamphy and Ron Brown.
Approximately one year after this performance a benefit
production for Equity Fights Aids featured many of
the same performers as well as other Broadway veterans.
They all took turns performing the title roles and
singing songs from the show in an event titled The
Camille Act.
Christiane Noll, Tamara Jenkins (Les Misérables,
Cats), Sherrita Duran (Showboat, Candide), Roberta
Gumbel (In My Life, Showboat) and the composer herself
Julia Gregory, each had an opportunity to play Camille
for the night.
Joseph Cassidy, Jose Llana (The 25th Annual Putnam
County Spelling Bee, Flower Drum Song, Rent, The
King and I) and Hal Beasley (Showboat) held down the role
of Armand for the evening. Jose also had the duties
of holding down the part of Gaston. Joanna Borts (Fiddler
on the Roof) and Dezur Kenna each played Prudence while
Paul Malamphy and Michael Farina split the role of
Varville. Panchali Null (Showboat) sung the role of
Julie.
Other ensemble members were Diana Brownstone, Christina
Fanizzi, Marianna Giancarla Biribin, Kate Collins,
Victoria Reed, Ron Brown, Carl Cavaliere, Brian Grace,
JD Webster (Wonderful Town, Ragtime, Showboat) John
Wasiniak, and Christopher Youngsman (Grease, Urinetown).
After that performance, Julia and Renato continued
to workshop Camille. Once they relocated to the West
Coast they began recording more of the songs for a
complete demo piece for submissions to producers and
regional theaters.
Featured throughout the demo recordings are Christiane
Noll and Julia Gregory as Camille. Joseph Cassidy sings
the role of Armand. Daniel Guzman handles most of the
Gaston vocals, and Tracey-Venner Warren sings the role
of Julie in
her ballad Rest Your Head and Sleep.
Julia and Renato still receive requests to mount concert
versions of Camille. Though it has been considered
for production by various Broadway and Regional Theaters,
it has yet to find the right home. However, it is only
a matter of time before this piece finds its way onto
a bigger stage.
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