New Pioneer Theatre Company artistic director promises to polish 'a gem' of Utah
The artistic director brings an impressive rÉsumÉ to her new post. As an in-demand freelance director for more than 20 years, she has helmed at least 13 versions of “West Side Story” in seven states, along with a tally of 50 other shows across the country.
It was Azenberg’s unique combination of background experiences and talents that sealed her appointment by the PTC search committee. Her administrative skills were sharpened as executive board president of the Stage Directors and Choreographers Society, the national union for directors and choreographers. In that position, she recently negotiated the thorny dispute between director Julie Taymor and the producers of Broadway’s “Spider-Man: Turn Off the Dark” that prevented formal litigation.
Praising Azenberg’s abilities, Laura Penn, SDC executive director, has said, “When you combine her respect for producers, administrators and audiences with her passion for artists and creative collaborators, you have what you need in a great artistic director.”
Her life in the theater began at an early age — in infancy, in fact. Actually, her family is nothing short of a theater dynasty.
Her father, Emanuel Azenberg, is considered an Éminence grise of the theater and will cap his career with a Lifetime Achievement honor at the Tony Award ceremony in June. It will be his ninth Tony, following 25 nominations among his 65 Broadway productions. Her mother is Lani Sundsten, a former dancer and the original stage manager for “Cats.” Even a great-uncle was in a Broadway show (“Skipper Next to God,” in 1948) and performed for many years in Yiddish theater.
“I do have to give credit. It is part of my DNA, along with just growing up with the theater. It’s what we do,” says Azenberg, who is a Tony voter.
While three of her four siblings eventually began careers in the performing arts, the Azenbergs’ eldest daughter still had to convince the patriarch of her dedication to the craft.
“We had one of those family moments when I was 17 years old,” Azenberg remembers. “It was a screaming match at the dinner table with my father. ‘Are you out of your mind? Why would you want to go into show business? This is crazy! There’s no money to be had.’ And I was sobbing. Sobbing! In an odd way, it was a test.”
Her father was asking her, she says, “‘Do you want it enough to stand up to me and tell me that this is what you want to do?’ If I was able to do that, he felt I was able to handle the rejection and toughness of this business.”
Azenberg’s own children — Alexander, 15, and daughter Emelia, 11 — currently show no inclination toward theater, but Azenberg is married to Augie Mericola, a veteran stagehand who will be “leaving one of the best jobs on Broadway, in the production of ‘Wicked,'” she says, when the family moves to Utah. So time will tell of the career directions of the couple’s offspring.
And what would she tell her children if they considered the performing arts?
“Don’t do it!” she says with a laugh, echoing her father’s concern. “The career has been very rewarding, but you can’t do it unless you completely love it.”
Azenberg’s biggest opening-night fear: “That we haven’t finished the show.”
Her favorite line from theater: “See, I never heard about ‘The Red Shoes,’ I never saw ‘The Red Shoes’ ” (from “A Chorus Line”)
The stage show she hopes she never has to sit through again: “Anything by Eugene O’Neill”
The last song she sang in the shower: “I can’t tell you that. It would give away a show that is in the next season; but it was this morning.”
She wants her New York Times obituary to say: “Successfully ran the Pioneer Theatre for 25 years.”
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