actor/singer/composer-lyricist/musical director/vocal coach
What is it like to live as a theatre artist? Join me as I explore the everyday, behind-the-scenes, real life stories of what it takes to make this journey happen!
Michael contacted me with the theme of Creating/Making, and I thought, “Oh. I don’t do either of those things.” Yesterday, I decided to explore what it means to be considered an artist, when you feel like you’re not.
Read MoreNo doubt about it, these are uncertain times.
The world has been thrown for a loop - one that we had not properly prepared for - and “normal life” as we know it is going to be put on hold for some time.
Is this going to suck?
In a lot of ways, yes.
Is the mass chaos and fear warranted?
For us in the US, caution is certainly warranted, but perhaps not the extreme fear (and let’s hope it never gets to that point).
Do we know what’s going to happen moving forward? What that will look like?
No, not yet.
“So, everything’s terrible and all hope is lost???”
Not at all!
These precautions and life interruptions are necessary to prevent the wide spread of an illness that could see our entire health system overrun. That’s when the real trouble would start (look to Italy if you’re unsure what I mean).
This is going to hit a lot of people hard - not the least of which are artists, entrepreneurs, freelancers, small business owners, and all non-salaried/non-insured employees - but we can still support each other.
As Amanda Palmer says in The Art of Asking: Tighten the net.
Read More(This blog was inspired by multiple episodes of The Spark File podcast - it’s well worth the listen!)
Since the inauguration of our current President just over 3 years ago (read: 9 lifetimes ago), there have been reports of people feeling the effects of a new phenomenon, which has been labeled as:
“Activism/Social Justice Fatigue or Burnout”
Burnout was originally defined as:
“A state of physical and mental exhaustion caused by one’s professional life.”
But Activism Burnout? This phenomenon is not restricted to professional/work environments. Many people feeling this phenomenon are quite young and still very much in school.
Activism Burnout is due to having to constantly fight against the larger state of being of a society, country, legal system, and world in which social injustices and humanitarian crises are running rampant, fed by those who couldn’t care less about other humans or the future.
Oh, plus - ya know - the normal everyday stressors of individual life.
So, what to do?
Read MoreWe like to parcel our lives into smaller units. We’ve been doing this for thousands of years, and have increased the amount of various units as time has passed.
But one unit that is consistent throughout most cultures - ancient and modern alike - is the year:
One revolution around the Sun.
Whether or not we were aware of the Earth’s relationship to the Sun at that point, humans have always seemed to be keenly aware of this pattern of light, life, and season. And it has become engrained in us and our cultures in a multitude of ways: Birthdays, Anniversaries, education, celebrations, remembrances, etc.
The year has become the easiest and most visible yard stick that we utilize to measure progress - both our own and that of the world around us. And at this time of year you will hear an increased emphasis on the year as a measuring tool, as well as a strong counter-movement against its importance.
But as we find ourselves back in the same place we were one year ago - not just personally, but as an entire planet - it seems to make sense to look around and evaluate what has changed and, perhaps, what has not.
What is different one revolution later?
Read MoreAt times we all need to take a break, from one thing or another.
Sometimes it’s work. Sometimes it’s locations. And sometimes it’s people.
There is a fairly common perception that artists cannot afford to take a break from their projects, and I mean that both literally and figuratively. However, that is not actually the case.
We have all been trained to be disciplined, hard-working, and to achieve - all the time. And too often this gets equated to a laziness or some sort of failing whenever an artist decides to take some time off or time away.
But I’m here to tell you that breaks are not only necessary, they are integral to the creation process. Allow me to explain.
Read MoreThere’s a little trick people use when teaching beginners how to solo in Jazz - which professionals also sometimes utilize - that goes something like this:
“If you hit a note that you didn’t mean to hit or that doesn’t sound right, hit it again. Then again and again, and maybe even hold it out. Then it will sound like you meant to do it.”
And it works.
There’s something about the way we process information as humans that makes us resistant to encountering information which goes against the norm of our everyday experiences, but then that resistance will break down with time and exposure.
There’s a lot of chatter about this phenomenon in the political sphere (how long after an idea is introduced to the mainstream does it become popular with the masses) and in psychology, but it can be highly useful in the artistic world as well.
Read MoreAs I’ve said on this blog many a time, I love information and I love learning. Therefore, it should come as no surprise that I’m a big fan of podcasts.
Since I drive to Long Island for work 5-7 days per week, I spend a lot of time in the car, which is where I usually listen to podcasts. And in addition to the history and language podcasts that I’ve taken to, I also try to listen to podcasts about the business and creativity as well.
And it was in this vein that this fall I began listening to The Spark File.
“What is a Spark File?”
“Where do I get one"?”
“What do I file in it?”
These are all excellent questions, and Laura Camien and Susan Blackwell have the answers.
Read MoreYes folks, you heard (read?) that right! TudorCon.
The world’s first ever TudorCon, in fact.
And The King’s Legacy has been booked to provide the Saturday night entertainment at the con’s inaugural year with a concert of music from the show!
“So, what is this thing?”
“What are you doing there?”
“And why should I care?”
I love your propensity for questions, dear reader!
Read MoreLately, I’ve been hearing a common refrain from people throughout my life - friends, family, students, parents, and even strangers and acquaintances on social media…
“I’m just so tired. Everything is exhausting.”
And when exploring this a little further, I’ve begun to notice a pattern. A very common pattern, in fact, and one that I have fallen into many times.
Does this - or something like it - sound familiar?
Wake up
Caffeinate/Eat
Work
Eat
Work
Exercise perhaps?
Obligations
Eat
Obligations
Zombie out in front of electronics
Sleep
Rinse and repeat.
This is a common pattern - and I have absolutely nothing against patterns or routines, I personally thrive off them! But the above doesn’t seem to be leaving much, if any, time for joy.
Now, I’m not talking about carving out big periods of time on a daily basis for “relaxation” or regularly skiving off obligations to instead do something fun. What I’m talking about is finding a way to include just a little bit of joy in your daily life. Just a little bit of sunshine amidst all the necessities.
But how?
Read MoreLet’s have a brief conversation - one-sided, of course, since this is a blog post :-) - about stress and physical injury in the theatre.
This is a topic that most artists - performers in particular - avoid, and for a few reasons:
Injury is scary and no one wants to think about it.
Everyone has stress and no one wants to look like the “complainer.”
Injury has become stigmatized as something shameful.
We wear our stress, and ability to handle it, as a badge of honor.
There are others as well, but I generally see these as the biggest reasons this topic is avoided. People don’t want to talk about these things, but if we don’t talk about them they become these big scary monsters that we hope we won’t have to endure.
But we do.
Stress and injury will affect everyone at some point, so let’s just talk about it.
Read MoreSociety - particularly American society - loves to demonize or to “other” art and artists.
We deride people who create:
“Oh, you’re an artist? You’re one of those.”
“Oh, you’re a writer? I wish I could sit at home all day.”
“Oh, you’re an actor? You must love starving.”
These are of course specific examples using common ideas and tropes, but these kinds of reactions are common and probably sound familiar to you.
We tell people who want to go into the arts:
“Why would you to throw your life away?”
“But you have so much potential!”
“But there’s no money in the arts!”
Being a creator is clearly seen as being *less than,* but why? Less than what? Why would we consider becoming an artist or writer or performer or designer a path that is throwing your life away or not using your skills and talents?
Well, Capitalism.
But this type of thinking and behavior not only can be unlearned, but it needs to be unlearned. Art and the products of creation are everywhere, but we’ve been conditioned to have a blind spot for most of it, and what we do see we are told to feel contempt for. Let’s just see how pervasive art is, shall we?
Read MoreLately, I’ve noticed that a lot of people - friends and strangers alike - have been saying something very similar to me as a I talk about productions, performances, or people that I’ve recently seen onstage.
As I’m giving my solicited opinion and actively formulating my thoughts, people keep stopping me to say things like:
You’re choosing your words very carefully.
You can just say what you mean to me.
You’re trying to be so [nice/PC/positive].
This got me thinking about how we, as artists and audience alike, deal with the art of criticism/critique/opinion. I’ll also admit that I recently listened to two interviews with high-profile theatre critics - both of which bothered me in very different and specific ways that I won’t go into here - so this topic hasn’t been far from my mind.
And after last week’s blog post, which was a semi-review of Hadestown, I got a lot of comments from people online and in person that basically said “Thank you for focusing on the good.”
But isn’t this how we should be talking about art?
All of those things above that people have said to me made me react the same way:
“No no no, I am saying what I mean, which is why I’m choosing my words so carefully.” And as for positivity, I think that is important to bear in mind as we critique - why focus on only the negative?
So, what is the best way to give theatrical criticism?
Read MoreAll professions are riddled with systemic flaws that everyone knows about, and yet very little is done to fix them. For playwrights and musical theatre writers the systemic flaw that I hear complained about the most is the submissions process.
Now, these complaints are completely justified. The problem with the system is…well, there isn’t one.
In the professional theatre world - at least where play and musical submissions are concerned - it’s a total free-for-all. (and not the enjoyable kind, like a lovely game of Super Smash Bros. on the good ole Nintendo 64! …no? just me being a video game dinosaur? oh coo, cool…)
And like most problems, this one gets completely ignored and nothing is really done to change it. Well, I won’t say completely ignored. Writers talk about this all the time - how messy, inconsistent, biased, and often expensive the submission process can be (yes, many come with attached fees). But the people who have the power to do something about it (aka the Theaters and the theatrical community members who receive submissions) either don’t want to change the way they do things, don’t want to engage in the discussion, don’t have the time, or aren’t aware that there is a better way to go about all of this.
And there is a better way, isn’t there?
Read MoreThis week I had the pleasure of being part of the first NYC externship for my Alma Mater’s brand new, and now fully developed, Musical Theater Program. I had the chance to work with some lovely SUNY Geneseo Juniors and Seniors in a new musical theatre workshop - an entirely new experience for all of them - and attended the first ever Senior Showcase. The talent was wonderful, the interactions were lovely, and the entire experience got me thinking…a dangerous pastime, I know.
As a part of the workshop I had to essentially explain to the students who I am, what I do, how that’s relevant to Geneseo, and how I got to where I am. And you know what? That was much more difficult than I expected.
At this moment in my career, these are the titles that I can, and generally do, give myself:
Composer-Lyricist/Librettist (technically 3 titles?)
Performer (Musical and non-Musical Theatre)
Musical Director
Vocal Coach
Accompanist (I do this less often)
Arranger/Orchestrator (though mostly my own material these days)
One of the Geneseo students said “You do so much!” and I guess that’s true. But I think the better question is, how the heck did I learn to do all of these things?
Read MoreAllow me to explain.
In the art world - and particularly for musical theatre writers - we are often told that we need to be prepared to “kill our babies.” Obviously this is not meant in a literal sense. ‘Cause that would be bad. Very bad.
For non-theatre or non-artist folks, this idea might be a bit confusing. What is meant by this?
Read MoreWhat is a theatre writer’s best friend and worst enemy?
You might think: Writer’s block? The blank page? Technology? Caffeine? Sleep? Outlines? All good possible answers, but…nope. What applies only to theatre writers and to no other form of writing?
Readings.
DUN DUN DUN! *Insert dramatic zoom here*
But why, Michael? Why are readings both potentially wonderful and oh-so-evil at the same time?
An excellent question.
Read MoreI was at a networking event earlier this week and got into a conversation - one that I’ve had countless times with theatre professionals and audience members alike - where the central questions are:
“Should Broadway shows be about the art or the money?”
“Is there a place on Broadway for shows that are only light and feel-good? What about dark, depressing shows?”
“How do you expect to get new audiences if all shows look, feel, or sound alike?”
Now, I don’t find the mere asking of these questions to be problematic, but I do find the heart of this oft-had conversation to be problematic. Whichever side you fall on - and yes, there do ultimately seem to end up being two sides to this conversation - there is an insinuation that one type of theatre should exist on Broadway and another type should not.
But my big question is: Why?
Read MoreIf I had a nickel for every time I was asked this question, or even asked this question myself, I would have a very large number of relatively heavy and annoying coins.
But I do wonder - How often do people hear about a new musical or see a marquee and think this question to themselves? I mean, what makes a story ripe for adaptation into a musical? Why do some musicals seem like no-brainers, while others make us scratch our heads and think, “Huh. Really? That one?”
The Lehman Engel BMI Musical Theatre Writing Workshop answer to the question of what type of stories should be adapted into musicals is a relatively simple and subjective one: If you think there’s more within the story that should be told, and that music will enhance that storytelling, then it is likely adaptable into a musical. But if the story feels complete in its current form, and it doesn’t seem like music will enhance the piece and its purpose, it should probably be left alone.
Despite the subjective nature of this statement, I do think there’s truth to it. If you look at the types of stories that have been most successfully adapted into musicals (and most musicals are adaptations), the use of music in the storytelling has heightened the plots and characters, and filled in some invisible hole that helps the audience interact with the material.
This is the reason, I think, that certain stories see multiple attempts at musical adaptation. For a couple of examples, we have 2 adaptations of The Phantom of the Opera, 2 musicals of The Wild Party, and countless musical versions of Shakespeare’s plays (most of which have not worked well). Some stories feel as though they could be told well, or better, in musical theatre form and therefore multiple adaptations appear. Some are good, and some aren’t. Some use the original author’s intents, and some leave them behind.
Successful adaptation is a tricky process - and I know this from adapting one of the most-adapted stories in musical theatre, The Legend Of Sleepy Hollow. Approximately 5-6 musical versions of this story exist, but none of them has had great mainstream or commercial success. Yet. But why? What goes into this process?
Read MoreLin-Manuel Miranda has often spoken about origins: His own, his family’s, his musicals’, Alexander Hamilton’s, etc. He has written about them in lyrics, including the one above from “Alexander Hamilton” and his well-noted “we were that kid” rap in the 2013 Tony Awards opening number: “Bigger.” It’s a common theme of his interviews, whether he is the interviewee or the interviewer. Clearly Mr. Miranda seems to think our origins are important.
And I agree.
Particularly when it comes to the arts and educating young people. I firmly believe that our experiences and exposures as children have an incredible and lasting impact on how we interact with art for the remainder of our lives. And this includes formal and informal educations, extracurricular activities, time experiencing art with family and friends, exposure to all forms of entertainment, financial abilities, general access, community practices, and much much more. Every experience in life involves art in some way, and every exposure is another puzzle piece in a child’s education.
So how do we best serve young people? What kind of education do they need or should they have? What if some want to pursue the arts and others just want to enjoy them? What about those who have fewer resources available or greatly reduced ability to access art? Where does it all begin?
Read More(…and I’m not talking about our green friend over at the Gershwin!)
67 Days
3 Days Off, working 7 Days/Week
2 Shows as Musical Director (Bring It On, Legally Blonde) and starting a Third (Rent)
5 Casts (Bring It On) over 2 weekends
70+ Cast Members (Legally Blonde)
33 Weekly Voice Lessons and 3 Classes (regular work schedule)
I Repeat - 3 Days Off
34 Days
5 Days Off, working 6 Days/Week
1 Show as Musical Director (Rent)
2 Casts over 1 weekend
33 Weekly Voice Lessons and 3 Classes (still)
I Repeat - 5 Days Off
For those of you playing at home, that means in the first 101 days of 2019, I am scheduled to work for 93 of them with a total of 8 off days.
We need to discuss work and overwork in the artistic world.
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