I was sitting in the Savannah Center on opening night of “The Music Man” Tuesday watching the famed number, “Seventy-Six Trombones.” Like most of the audience, I was focused on John Rogerson’s vocal as Harold Hill.
But I kept noticing a woman in back of Rogerson and to his left. She wore a beige Indian costume, with a dark green headband with a lime green feather sticking out of the front of it. It was a minor role in a big scene, but I couldn’t take my eyes off her.
She was marching up and down in place like the Tin Man on an exercise stepper. She moved her elbows back and forth as if hitting a punching bag. Her contorted facial expressions conveyed a whimsical, childlike joy of musical discovery.
She smiled.
She winked.
She was irresistible.
I had to find out – who is this woman who just about stole one of the biggest scenes in The Villages Musical Theater stunning production of “The Music Man?” It closes Friday at 6:30.
Turns out her name is Karen Martin.
“Karen Martin is absolutely a star,” said Sandie Hawthorne, director of the production. “No star shines any brighter than Karen Martin.”
But what makes a star? How can a person illuminate a stage and connect with an audience in such a minor role?
“Karen’s just a natural,” said her friend, Pat Rinaudo. “She brings guts, love and faith to any role she takes on.”
Billie Thatcher is also in “The Music Man” and has worked with Martin many times.
“The thing about Karen is, she’s always in the moment,” Thatcher said. “I’ve been on stage with her a lot and I can tell you she is one of the best. I look forward to working with her again.”
John Rogerson, and Jill Marrese are the stars of this “Music Man” production. Rogerson, though, talked about another star named Martin.
“She fights through a lot of things and always gives her best,” Rogerson said. “Karen always takes time to help others, in this show, or any show she has been in. She’s a lot of fun to be around and an inspiration.”
I returned to the Savannah Center Thursday night, not to do a story on the show, but to write about Karen Martin. She lives with her husband, Charlie, in Mallory Square. She’s a retired teacher from Saugerties, N.Y. and moved to The Villages in 2008.
In journalism they say to look for a catchy lead, something to grab the reader’s attention. And I suppose the lead to Karen Martin’s story should probably be that she has pancreatic cancer.
The only problem with that lead is this: cancer is not what Karen Martin is all about. This woman is about living.
“She loves life,” Sandie Hawthorne said. “Karen is not ready to give up. She wants to be herself and live her life.”
The stage is where Karen Martin’s body and spirit really come alive. Theater is a magical fantasy, where an actor can lose himself into someone else. You play a role, people believe it and at the end you hear applause and take a bow.
“I love to act,” Martin said, standing in a receiving line Thursday night after the show had ended. People were coming up to her and the other actors, sharing hugs, shaking hands and talking about musical fiction that seems real.
You can see a clip of Karen Martin in “The Music Man” on Villages-News.com Facebook page:
https://www.facebook.com/TheVillagesNews?ref=tn_tnmn
“When I was a kid, I always wanted to be on stage,” said Martin, wearing her costume from the show: a soft green dress with white lace accents and gloves. She has dark eyes, jet black hair and wore a straw hat with yellow sunflowers and orchid tulle fabric.
Martin was the picture of a small-town, Mid-western lady, straight out of “The Music Man’s” River City. Hard to believe that back in Saugerties she made a living teaching about sex.
“I was in health education,” Martin said. “I taught kids about sex education. Most teachers have trouble getting the kids’ attention. I never had that problem in my class.”
Martin has a natural sense of humor. On stage, she’s kind of a mix between Lucille Ball, Mary Tyler Moore and Martha Raye – with a dash of Carol Brunett. Like them, Martin is not only funny but attractive. You can’t help but notice her, no matter where she is on stage.
But it’s tough to get noticed playing a small role. Due to her physical condition, Martin said she doesn’t get starring roles. “I can’t hold an entire cast hostage to my health,” she said.
So, she makes the most of smaller parts and loves comedy.
“My part might be small, but it’s important,” Martin said. In “Music Man” she plays an Indian, a townsperson and a dancer. She seems everywhere throughout the production.
“If you have a small part, you have to create a character to make that person stick out,” Martin said. “I love doing the little comedic bits. You have to bring those parts to life. I’m not a prop up there; I’m a human being. And I want the audience to feel that humanity.”
Martin is oozing with humanity on and off stage.
“Karen is such a great person and she has inspired the whole cast,” Hawthorne said — and the cast numbers 109 people. “She has an innate ability to make people feel good. She truly understands what acting is all about. She gives a name and face to the characters she plays.”
The production was a challenge. Hawthorne mentioned over the months of rehearsals, Martin had to endure
chemotherapy and blood transfusions.
“But she always came back with a good attitude and willingness to work hard,” Hawthorne said.
Maybe the stage is a refuge.
“I love being up there,” Martin said. “On stage, you can escape being yourself and play another person. The applause is addictive. I love being a part of it all.”
She also treasures her time with “The Music Man.”
“This cast was like a huge, happy family,” Martin said. “We all care for each other and a lot of people cared for me. I feel like I have 100 mothers and fathers watching over me.”
Martin is hesitant to talk about cancer.
“I don’t want to keep slamming people over the head with my cancer story,” she said. “But I do want people who have a serious illness or are going through hard times to know one thing: do something you love and are passionate about. It gives you energy and it gives you life.”
Outside the Savannah Center, a gentle rain was falling in the night. The audience had just about left the building and the actors where going back to the dressing area to change and go home.
Karen Martin knew it was time to leave. The theater was dark, the seats empty and the doors shut. Tomorrow would be another time under the magic stage lights and bringing characters to life.
“I have to go now,” she said. “My ride’s waiting and it’s time to go home.” She smiled, and that wonderfully, expressive face lit the room up once more for an audience of one.
