With 20 years under his belt as the San Jose Children’s Musical Theater (CMT) Artistic Director, Kevin Hauge can boast a host of accomplishments, including 10 consecutive National Endowment for the Arts artistic excellence awards and exclusive rights to produce and premiere shows like Miss Saigon, Aida, American Idiot, and Billy Elliot before other companies. Most recently, he was named Silicon Valley Creates 2016 Legacy Laureate. One might assume Kevin would be content to sit back and enjoy the ride. While he’s proud of all his theater has accomplished, Hauge’s creative spirit is a restless one, and he no sooner scales one artistic summit than he’s off to the next. It’s a small wonder he was able to squeeze out some time to sit down for a chat and a glimpse into what makes him tick.
Did you follow the normal career progression from performer to director to producer, or did you take another path? In a way I did, though I believe the way to the top is never a straight path. My eye was never on an ultimate job: I really just rolled from position to position, filling a need. I did start as a performer and something might come up in rehearsals that threatened to stall the production, and the director saw something in me that made him think, “Well, this kid can keep us running.” Maybe I became a dance captain or stepped in as assistant choreographer. Later I was asked to choreograph and then direct. And I had a mentor. Gene Patrick was with the Marriott Corporation and had theme parks with shows he needed produced, and he brought me in as part of the team. He also had connections with CMT—ultimately, it’s how I wound up here.
Was it then, or beforehand, that you discovered your focus would be working with young performers? Well, my parents both were teachers, so of course I never wanted to be one. [Laughs] But the opportunity at CMT, with the wide variety of talent and expertise of the kids, was something that really excited me.
Let’s talk a little about that. One of things that makes CMT so unique is its commitment to cast every child who auditions. Was that your concept, or was it in place when you came on in ’96? It was there when I came on. John Healy, CMT’s founder, started it. And I embraced it. Casting everyone really shaped my perspective on believing there’s a way to stretch every kid. Learning how they can become successful, you find ways to play to their strengths.
Often your shows include 70 to 100 kids or more. How does it work logistically, and more importantly, how does it work artistically? We use multiple casts, and scheduling is a major challenge. But once the structure is in place, what you realize artistically is that it’s possible to be inclusive and exceptional. We can and do serve the kids as well as the audience.
Another aspect that’s a big part of CMT is the family buy-in. Seems everyone’s involved in one way or another. Right. Even though it’s the Children’s Theater, we’re really a family theater. The shared experience between the children and adults involved is really a powerful one. And in a way, CMT is a family of its own.
And the parents are involved not only front of house, with ushering and concessions, but backstage as well. Stage managing, costumes, sets, run crew…everything, really. And the expectations are high. With proper support, volunteerism and professionalism aren’t mutually exclusive.
You don’t compromise either in selecting the show or in the way you produce it because of the age and experience of the performers. Dumbing it down is not in us.
Take your recent production of Billy Elliot. It requires a special set of skills and talent for the lead. And you went into it without knowing who would play that part. You must’ve been confident you could somehow pull it off. It’s not ego. It’s faith. Faith in the young performers out there and in our ability to bring them in and work with them toward success.
That was a Marquee Show, right? Right, we have three performance divisions at CMT: Rising Stars is for ages 6 to 14; Mainstage, for 14 to 20; and the Marquee Production, which uses CMT alumna as well as other working actors.
The quality of the shows is amazing. It’s literally some of the best theater in the Bay Area. There’s so much out there. We’re just happy to be a part of it.
And many have gone on to have successful careers in theater. There are so many ways to measure success, but it’s gratifying to know that any night in New York, there are CMT alums performing in Broadway productions. In Manhattan, when my wife, Kris, and I let folks know on social media that we’ve made our way to town, to see a gaggle of them here and there with some of them getting up for show call…so fun!
After 20 years, what’s something you most love seeing or doing at CMT? Oh, I think it would be witnessing the kids finding their own individual way through the process.
Meaning? I like to think of stepping stones. From performance division to division, sure, but even from someone who may start in the ensemble, then move to getting to wear a mic pack (meaning their voice will be part of the reinforced chorus), to maybe getting a line or two and ultimately a role. They grow in self-confidence and ability. It’s really rewarding to see.
Do you find screens, cameras, social media, and the like to be in competition for theater’s focus and attention? Do you have any rules or limitations? On the contrary, we embrace it. I’m looking for opportunities around creation and media. An idea I’ve had for three years is coming to fruition this summer with our production of Rent. We’re calling it Second Screen. On two special performances, the audience will be encouraged to bring their smartphones and tablets. In the back three rows of the theater, they’ll download an app that will allow them “backstage access” as well as special features that will play simultaneously as the production is performed.
But the whole vibe, the dynamic of that performance, will be affected. Hope it will. Young people are 10 steps ahead of any of us in all of this, and rather than feel threatened or mourn the past, let’s be part of something new and exciting. This isn’t for every performance, but it is something to try and [it’s worth exploring] what works. We want to make a performance an event.
Just the back three rows of the audience will be involved? No, we’re going to have a backstage element as well.
Cameras backstage during the show? Why not? And the stage manager may record some things during rehearsal to be incorporated. The actors may use devices during the performance. We have a unique art form. Let’s see what happens when we integrate art and technology…in real time.
CMT is the largest theatrical performing and training organization of its kind in the nation and the oldest performing arts organization in San Jose. Its variety of programs—classes, summer camps, audition workshops, productions, and school shows—reach over 40,000 youth and their families each year.
Article originally appeared inIssue 8.3 Show (Print SOLD OUT)
