Beautiful relationship made beautiful voices. Why she’s leaving the Springer in Columbus

It’s fitting that the final show for Debbie Anderson as musical director at the Springer Opera House in Columbus has “Beautiful” in the title.

In that role for 26 years, Anderson has created a beautiful relationship with the historic State Theater of Georgia, helping myriad voices on stage sound more beautiful to the audience.

Larren Woodward is among them. The Columbus-based actor, singer and dancer from Valdosta has performed in 13 Springer shows since 2018, all but one under Anderson’s direction. So when she learned that Anderson is retiring, she felt a gush of mixed emotions.

“It’s very bittersweet because she’s made an indelible impact, and I love her to death,” Woodward told the Ledger-Enquirer, “but also overwhelming joy because she’s worked so very hard, and if anyone deserves to rest, it’s her.”

Retirement decision

Anderson, 69, said she is retiring to spend more time helping her 30-year-old son, Max, who has autism spectrum disorder, learn to live independently.

“That’s where I want to put most of my energy right now,” she told the Ledger-Enquirer. “The Springer is a demanding job — it’s a wonderful job — but the combination of those two things (turning 70 this year and wanting more time to help Max), it’s all I could think about it, that this was the time to retire.”

Anderson also might find time to perform on the Springer stage again. Her favorite roles at the Springer have included Mother in “Ragtime,” Anna in “The King and I,” and Miss Mona in “The Best Little Whorehouse in Texas.”

“There are not a lot of roles for old ladies like me,” she said with a laugh. “But that would be fun if there is one.”

Regardless, she plans to continue her other creative roles in the community such as adjunct voice instructor at Columbus State University, Thompson-Anderson-Pound Art Program director, musical director and soloist at Temple Israel and choir member at St. Thomas Episcopal Church.

Musical mechanic

Woodward equated Anderson’s musical direction with a mechanic hearing an engine’s problem.

“She can take a group of singers and just listen to our sound and instantly kind of pinpoint how to make it better,” Woodward said. “She has this incredible knack for taking people of all skill sets … and meeting everybody where they are and making them sound amazing.”

For example, in rehearsal for the Springer’s current show, “Beautiful: The Carole King Musical,” Anderson fixed the ensemble’s harmony.

“She was able to hear we had too many high voices and had a couple people swap down to the lower range,” Woodward said. “Immediately, we could even tell in the room, once she made those quick little tweaks, the group was balanced and just this beautiful sound.”

Woodward also appreciates Anderson for emphasizing articulation of the lyrics.

“She has taught me that what matters most is the words because what we are doing, we’re not just getting up on stage and singing a set of songs. We’re telling a story,” Woodward said. “So regardless of how your voice sounds, she has always preached if people can’t understand the words, then you have failed to be a musical theater performer.”

Anderson put into words why she loves musical directing.

“Theater is a powerful experience when it’s done well,” she said. “People, when they come to see it, they might not know if the blend is good or bad. They might not know if people are cutting off at the same time. They might not understand how a group of people has to basically merge while they’re up there to perform what they’re doing. But it will touch them, and it will move them, if it’s like that.”

Anderson described the sensation when she hears the sound she seeks.

“It’s like everything in the world has merged, and it is like this,” she said as she interlocked her fingers. “And I’m at peace. It’s like my whole body relaxes. Everything about it feels right to me. And I love that.”

And nobody does it better in American theater, insists Springer senior adviser Paul Pierce, who completed 35 seasons at the Springer when he retired last year as its producing artistic director.

“Some theaters only do a certain range of shows because of the talents that are available to them,” Pierce told the Ledger-Enquirer. “The Springer, since Debbie has been here, has never had to worry about that. … Any of the musical scores that came her way — and if there wasn’t a score, she would write one — she was able to gain a command of.”

Fine balance

Anderson strikes the fine balance between pushing performers to her high standard and doing it in a sweet way.

“It’s always with a layer of Southern charm,” Woodward said. “It’s never harsh. … She always breaks the tension with a laugh. Music direction with Debbie, it’s a fun time. … She just has a way of uplifting everybody.”

Pierce echoed that assessment as he discussed Anderson’s directing style.

“Debbie is always prepared and disciplined in the rehearsal hall,” he said. “But the actors also see Debbie might be the one having the most fun. So many actors that come from all over the country, really all over the world, that have performed with us, they figure out very quickly that there’s a unique resource right here at the Springer Opera House. Many of them, while they’re here, have gotten private lessons from Debbie, and they take what they’ve learned back to Broadway, for instance.

“… I don’t think it’s hyperbole to say that Debbie has made American musical theater better.”

Varied background

Pierce noted Anderson’s upbringing and education trained her to excel in any musical genre. She grew up on the outskirts of Athens, Georgia, in a family that played string band, bluegrass and mountain gospel music so well, they performed at the Grand Ole Opry in Nashville. Yet, when she attended the University of Georgia, she studied flute.

“It’s why I can communicate with the orchestra and the conductor,” Anderson said.

She pays attention to “every voice in every scene in every song,” Pierce said.

For example, during rehearsal of the blocking for the Springer’s production of “Les Miserables” during the 2013-14 season, Anderson was working in another room and just so happened to pop into the theater when the actor portraying Jean Valjean died at the wrong moment. She spoke up to correct it.

“It’s very clear in the music where he dies,” she said. “… A lot of times the music leads the action.”

Casting is another point in the production where Anderson’s expertise has benefited the Springer.

“Debbie understood what the combination of voices needed to be for a particular show,” Pierce said. “There were times I was just in love with a certain actor I wanted to hire, and Debbie was like, ‘No,’ not because they weren’t a good singer but because they didn’t go well with the other voices we were putting together.”

Why she has remained in Columbus

Anderson’s husband, Ron, was the founding director of the Springer Theatre Academy before he died from pancreatic cancer in 2016.

Despite having the talent and work ethic to succeed at theaters in larger cities, they remained in Columbus. She choked back tears as she explained why.

“Ron and I were looking for a place to be at home, to create something from the ground up,” she said. “It was never our goal to go to Broadway or be on Broadway or do any of that stuff. We wanted to do good work, and we wanted to be part of something that lasted. And I believe we accomplished that. So, once a place becomes your home, then you stay there.”

Anderson especially is grateful for the Springer family in the wake of her husband’s death.

“I can’t imagine another employer supporting me as much as the Springer and the board and the people that work here,” she said. “… Sometimes this building is comforting to me. Sometimes I think I see him (Ron) hanging around, and so that part will never leave me.”

Ron retired to help Max. One month later, they learned he had a terminal illness.

“I think he’s feeling very good about me taking this step to continue to help Max create a meaningful life,” she said.

Who will succeed Anderson at the Springer

Pierce put the impact of Anderson’s departure in perspective when he said, “The Springer’s next step in terms of musical direction is going to be a challenge because these are huge shoes to fill.”

Springer executive producer Danielle Patterson Varner said Anderson’s successor hasn’t been determined, but it probably will take multiple people to fill the void.

“It’s going to be hard to find anyone to replace Debbie,” Varner told the Ledger-Enquirer. “… We’re taking a different approach. We’re working on several different people and seeing how that’s going to work out. … But we haven’t set that in stone yet.”