He is always giving kudos to others, first Irwin for her “tenacity and vision,” and then his comrades-in-theatrical arms: Beverly Brumm, Frank Kraat, set designer Raymond Kurdt, costume designer Aletta Vett and choreographer Diana Banks, as well as Eileen Channer, the longtime assistant to the Dean of Fine and Performing Arts who was also the founding chair of the Arts Community — now headed by Paparone’s wife, Peggy — as a growth and development and feeder program. This “last of the Mohicans” praised Brumm for her ability to “teach students how to act. She was tough and brilliant, and made them work harder than they ever thought possible. She made them weep and laugh and embody their character in a way I’d never seen before, nor have seen.”
All of the “Mohicans” worked in conjunction to develop a well-rounded curriculum, decide together what shows they would produce and what their groundbreaking and über-successful Summer Repertory Theatre would do. The latter involved student, community and youth actors and actresses, as well as those training in the Theatre Arts of lighting, sound, costume and set design.
When asked what was his favorite production during this golden time of unbridled success in their model Summer Repertory Theatre, as well as their undergraduate performances — all of which sold out and had the community taking standing-room-only seats — Paparone first listed those of his colleagues. “Beverly’s Jacques Brel Is Alive and Well and Living in Paris starred Larry Yando and John Puglisi and a host of community actors that were so high above the bar that we had to repeat the show.” He also paid homage to Brumm’s direction of Angels in America, which, he said, “blew out the doors and left me speechless.” From there, he went on to recall Kraat’s plays before he mentioned, at the urging of the press, one of the shows that he directed. “We were a team, and every production was an achievement of the highest caliber. Frank Kraat did shows that literally blew my mind and the audience’s mind.”
That said, Paparone admitted that he was a big Neil Simon fan and would jump at the chance to direct any play written by Simon. He also said that one of his greatest memories from his years at SUNY was when he directed Promises, Promises, which starred, all at the same time, dramatic talents then and theatrical giants now in Turturro, Badalucco and Yando. “They were all so talented and powerful that the play imploded!” he said, noting that Turturro had an uncanny, brilliant knack for impersonation, while Badalucco could play a wide variety of parts and impersonations and “Yando had it all. He was what we called the ‘triple threat’: He could act, dance, sing and was handsome as the devil!” Yando went on to become one of the most dominant and popular headline actors of the Chicago theatre scene.
While he could recall every student, every name, every colleague and helpful hand or community actor or actress, like Steve Ford and Wendy Geurss, with whom he acted or worked side-by-side, Paparone became oddly silent when asked what that “Aha” moment was for him in his career. Although he said that he asked his students, after visiting Broadway or Off-Broadway, what that moment was for them, he had trouble himself articulating that visceral moment.
When he recalled directing a production of Peter Pan that fused venerable song lyrics with more modern ones to achieve the story that he wanted to tell, he recalled what it was like to fly Peter Pan from the window onto Wendy’s bed: “We had a backdrop of large French-window doors, and then the bed. Back then there was no Cirque de Soleil or other fancy camera/wire tricks. We had a cable hooked to the top of the theatre rails above the bed, and a kid on an eight-foot ladder who jumped down when Peter Pan was supposed to fly into the window. When he jumped with the wires attached, Peter Pan rose effortlessly to that center point, and then descended onto the foot of Wendy’s bed. It was magical to me, who directed the play; but hearing the audience gasp with delight night after night is something I’ll never forget.”
That is only one memory in an arsenal of theatrical history, development and star-producing work that Paparone, along with his esteemed colleagues, achieved over the past four decades. He will “retire” at the end of this last September, but has no plans on relocating to a senior complex in Florida or Arizona. “I’m not going anywhere!” he said defiantly, but admitted that he does travel to Italy when he can with his wife and family, as well as with his college buddies.
He said that he wanted to continue to support and fundraise for scholarships for SUNY New Paltz Theatre majors, as well as to audition himself for various parts. While never one to admit it, Paparone has had signature roles in films and TV shows and starred locally in 90 Miles Off Broadway, as well as the Summer Repertory Theatre series, which has folded after his and his great colleagues’ reign.
A teacher and an actor who is an iconic sentimental Italian, musing poetically over all those whom he has been “privileged” to know, educate, collaborate with or be taught by (like Bill and Livia Vanaver for his dance moves, or lack thereof), Paparone could only talk about others’ magical moments and what they have achieved — never himself. This is the house that Joe helped to build, and its foundation is strong, its graduating members hopeful and the future brighter than ever as Paparone auditions to play various roles. He’s as talented as the superstars whom he has taught!
His retirement party will come late in the summer, to culminate with Alumni Week. All are invited who have been a part of, touched or been touched by this maestro of the theatre.
was Joe ever at Montclair State?
YES! 1962 – 1964. He was my roommate there when he was working on his Masters’ Degree. One of the most likeable people I’ve ever met in my 71 years on the planet.