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[post_content] => There’s no denying that technology and theatre have a complicated relationship. While some shows, such as “Dear Evan Hansen” and “The Encounter,” have embraced social media, others have sworn against it. Let’s be real, no one wants to get Patti LuPoned during a show (yes, it’s a verb now). So, then, what role does technology and social media play in theatre, both in the audience and onstage?
Once again, the answer to that question is complicated. However, social media and marketing expert Tony Howell thankfully took the time to speak with me on the matter and discuss how producers can begin to embrace technological advances while still maintaining the integrity and beauty of live theatre.
“I think it has a place in certain pieces,” Howell said of social media. “I don't think it needs to take over, but I would like to see stories that include it because it’s part of the world we live in now.”
Recently, social media has been brought to the stage, most notably in the 2017 Tony Award winner for Best Musical, “Dear Evan Hansen.” But how can the audience use social media without interrupting the performance?
[caption id="attachment_11360" align="alignnone" width="768"]
Ben Platt in 'Dear Evan Hansen'[/caption]
“What I would encourage in terms of best practices is that it’s totally great to take a picture of the procedium and playbill,” he said. “Another great thing is to leave a review. After you see something, review the piece yourself, go to their Facebook page and share your thoughts, especially when they’re positive.”
When it comes to producers’ and marketers’ use of social media, Howell said the most effective method to getting people to share their experiences of the show is to have a step and repeat in the lobby of the theatre. This way, everyone who comes to the show can take a picture and post it online.
Social media is undeniably a great tool to be used before or after a show. However, surfing social media and the internet during a performance has recently become far too regular. Rest assured, theatre fans, this isn’t just a Broadway problem, but a global one.
“I think we will see a global problem of attention spans and people disconnecting from the real world around them to engage with the virtual world around them, but I don’t think it’s limited to theatre,” Howell said. “We see our union and industry fighting against it, saying that live theatre needs to be live.”
However, Howell hopes that embracing social media within limits will actually bring great changes to the Great White Way.
“What I think will happen with Broadway and theatre, I hope, is that we’ll be able to share our art form with audiences and more people through digital with the expectation that if you want the premium live experience, you buy a ticket,” he said. “I would like to see more digital integration where we get to be a part of the show. Word-of-mouth marketing is the No. 1 form of marketing because it doesn’t cost you anything, and people trust their family and friends’ recommendations. I think producers are hurting themselves by not encouraging social media. I just think that we have to write the rules and teach etiquette.”
What about onstage? Could social media be incorporated more frequently into shows themselves, like “Hit List” from the hit NBC show “Smash?” (Yes, it’s a hit in my heart.)
Howell warns that it may remove people from the story, since taking a second look at their phone may cause audiences to then surf the web or check email. However, in the right context, with limitations, it could potentially work.
Aside from within the theatres themselves, Howell has also seen how social media has started to have an impact on casting decisions.
“I see it being involved in casting decisions, but I think people make the mistake of looking at 10,000 followers versus the actual engagement rate,” he said. “So someone with a hundred followers and a higher engagement could actually bring more results to the ticket process than someone with a bunch of spambots that they bought from Russia.”
Frankly, it’s 2017. Technology and social media are bound to start to find their place within theatre, whether onstage or offstage. While this does present some potential negatives to the experience of live theatre we’ve come to know and love, with the right rules and guidance, it could have a profound effect on the art form.
[post_title] => What Role Does Social Media Play In The Theatre?
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[post_content] => It seems that everyone in theatre has a side gig, side hustle, side hobby or day job. What if your non-theatre experiences actual could help your career in the theatre? Wouldn’t that be a perfect world? If you look for unconventional ways to further your career, your next job might be just around the corner. Here are some ways that your time outside the theatre can be time well spent:
It’s vital for every working actor to have a website. Most actor websites have headshots, resumes, dance reels, press articles and other information that help you sell your brand as an actor.
Having quality photography skills is always helpful in the theatre. You gain knowledge about what looks best on camera, so you don’t make rookie mistakes with your own headshots. Plus, you can earn extra cash on the side by taking other actors’ headshots or productions’ publicity photos.
It’s not just about being flexible and strong, although that is a fantastic result of doing yoga. Most importantly, yoga trains you to have control of your breath. Keeping focused on your breathing and diaphragm coordination can do wonders to help you sing an aria or deliver a lengthy monologue. Learning how to listen to your body and how it moves is very important for actors. Remember, your body is an instrument. And speaking of instruments...
Having the ability to play a few musical instruments will only help your chances of getting cast. From the musicals “Once” to “Bandstand,” you never know when you will have to play a musically talented character. Gaining knowledge about music will only help you in your musical theatre endeavors. Plus, you can get a lot of side gigs as an accompanist for your fellow actors or yourself.
If you find the makeup aisle dangerous for your wallet, you might be able to put that passion to use. Experiment with different types of stage makeup, and one day, you could find yourself getting a job as the makeup artist for a show. With so many fantasy shows such as “Shrek” currently playing in regional and community theaters across the country, the theatre needs people with a knack for makeup.
Eating well is very important to keeping yourself in top shape as an actor. Know how to eat the best foods to power through your two-show day. Study what makes you feel good and what keeps your voice healthy and strong. This knowledge will give your acting career more longevity if you remember to always take care of yourself. Make being healthy part of the job!
With the costume by Freddy Wittop, Dolly Levi (originally played by Carol Channing) descends the staircase into Harmonica Gardens in a red sequin gown, turning heads and winning the hearts of everyone she comes into contact with.
https://m.youtube.com/watch?v=iVh9zjf0Tww
This sailor suit, designed by Irene Sharaff and worn by Barbra Streisand in both the musical and movie versions of “Funny Girl,” has been repeated time and again in many productions of this beloved musical. It has also become a standard piece for Streisand’s appearances and an iconic representation of both the star and the show on TV and film. Just look at Lea Michele’s ensemble when she won the part of playing Fanny Brice in “Glee.”
Cassie’s red dress, originally designed by Theoni V. Aldredge and worn by Donna McKechnie in the original Broadway production of “A Chorus Line,” speaks volumes about her character’s fiery spirit and her need to stand out and be noticed. This dress has been recreated over and over in all productions since.
Watch this dress move and Cassie (Charlotte d’Amboise) sing and dance her heart out in “The Music and the Mirror” from the Broadway revival of the show.
https://m.youtube.com/watch?v=tOWh6LSHa48
Credit 2012 JIM LEE PHOTO[/caption]
Originally appearing as a comic strip in the late 19th century, “Annie” became a musical when Charles Strouse, Martin Charnin and Thomas Meehan collaborated on it in 1976. Aldredge took the inspiration from the comic in creating Annie’s finale red dress, catapulting the look to girls everywhere.
This dress became iconic when Dorothy is whisked away to Oz and it magically goes from black and white to living color. Like “Annie” and “A Chorus Line,” a production of this show can’t be done without recreating this look. The original designer, Adrian Adolph Greenberg took his design inspiration from the book series itself. Check out the original covers of the series to see the resemblance.
Speaking of “The Wizard of Oz,” the Wicked Witch of the West lives on eight shows a week in “Wicked” on Broadway, as well as in other productions around the world. Her green skin is just as iconic as the black witch’s outfit — and, not to mention, an ordeal to put on for any actress who plays this character.
Check out this video, which gives you an inside look at actress Rachel Tucker becoming Elphaba.
https://m.youtube.com/watch?v=01GGW2QRU1c
Anna’s gown, originally designed by Sharaff for the movie version of “The King and I” has become iconic — not for its color, but for the fullness of the skirt. The skirt itself literally takes on a life of its own as Anna is being waltzed around the stage during “Shall We Dance?”
Here is a great video of Anna (Kelli O’Hara) being quick-changed into the dress at the Tony Awards by some fabulous dressers.
https://www.youtube.com/watch?v=G4OcqWxsKL0
Dress Designer Credit: Mela Hoyt-Heydon for 3-D Theatrical’s 2016 production of Beauty and the Beast.[/caption]
Belle’s yellow gown became infamous in the animated version of this beloved musical. Of course, whenever you attend a production, you’ll certainly find yourself surrounded by many little girls dressed up like this princess in a replica of this gown.
Here is a great video about the creation of Belle’s costumes for the most recent movie version, starring Emma Watson.
https://m.youtube.com/watch?v=M95NsqegWIA
We all know and love the movie and musical hit, Little Shop of Horrors, but what we don't all know is whether we're sweet Audrey or sweet-talking Audrey II. Take this quiz to find out!
[post_title] => Quiz: Are You Audrey Or Audrey II?
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[post_content] => There is a time in everyone’s life when they can look back and see all the moments that led them to become the person they are today. I am no exception. I can identify exactly what led me to teaching, what led me to become a writer, and the stepping stones to my lifelong vocation as a theatre lover. All the signs were there, even in childhood. No one could tell you better than the people who watched me blossom into the theatre nerd I am today: my family.
2. Family friends came to visit once, and I coerced them into being a part of an elaborate production of the musical numbers from “Pocahontas,” staged in my basement. Our costumes included a dress I made from a burlap sack and an unfortunate selection of vests I owned (give me a break, it was the ‘90s). A baby carriage doubled as the canoe in “Just Around the Riverbend,” and my sister was pushed around in it while using a broom as a paddle. The others held up a blue bedsheet that acted as the river while also hiding the wheels on the stroller. Needless to say, the show opened and closed the same afternoon.
3. My first crush was Lt. Joe Cable in the movie-musical “South Pacific.” We spent a month one summer visiting my father’s aunt in Prince Edward Island. She lived in the tiniest town, where the video store doubled as the gas station and convenience store. They had five kid-friendly rentals available: four Rodgers and Hammerstein movie musicals and a Shirley Temple flick. I watched a lot of “South Pacific” that summer.
4. I saw “Wicked” for the first time as a teenager when the touring cast came to Toronto. I loved the show so much that I bought the CD soundtrack afterward and became obsessed. After discovering iron-on transfer sheets for the printer, I bought a plain tote bag and ironed a print-out of the musical poster on the front of it. I got strange looks from the cool kids when I carried it to class, but to the theatre and music kids, my bag was hot. I walked into those arts classes with my bag like Tyra Banks on a catwalk. Yeah, you know it.
5. My family owned a camcorder, and I loved filming music videos and fake reality shows with my friends. They were works of art, with synchronized dancing, poorly chosen hairstyles involving far too many butterfly clips, baggy neon wind pants and crop tops we created by folding up the bottoms of our tank tops and tucking them underneath, just like Britney. I still have some of those videos and recently joked about showing them at my theatre friend’s wedding. She threatened to kill me if I ever showed them in public.
6. My parents put me and my older sister in charge of babysitting my little brother one Saturday afternoon while they were out. My brother ended up running into a wall and getting a big bump on his head because we stole his stuffed animal and made him chase us around the house to get it back. My parents were livid. We were supposed to be the older, responsible sisters. Most kids would be grounded or have their television privileges revoked, but we had our theatre tickets taken away. A friend had given our family free tickets to see “Joseph and the Amazing Technicolor Dreamcoat” the following weekend. My parents gave the tickets away to my aunt, and I was crushed. We did get to see the musical a few months later, but I always remembered how I would have preferred to lose the television.
7. I essentially pestered one of my middle school teachers into directing a school play. Extracurricular activities in the arts were hard to come by where I grew up. To my surprise, I did not get the lead role. Gutted, I withdrew from the production entirely in true dramatic fashion. When my mother finally convinced me quitting was not the mature thing to do, I crawled back with my tail between my legs and took the only job that was still available, leading the choir. So, what I imagined to be my big moment as a star was not quite as I pictured. My theatrical debut was not even onstage, but rather on the floor to the left of it.
8. In my youth, I had a habit of dramatic, huffy exits followed by the slamming of my bedroom door whenever I had a disagreement with anyone in my family. After one particular set of fits, my mother had my father remove my bedroom door from the hinges and put it in the basement. Shrewd move, lady, but I could play that game. I proceeded to sing at the top of my lungs for the entire house to enjoy. This went on for about a week before the door was returned.
9. For two years, I forced my mother to let me attend a local theatre camp for three weeks in the summer. My second summer, they were putting on a production of “Alice in Wonderland,” and I was hell-bent on playing Alice. Much to my disappointment, the part went to a boy, and the character was renamed “Alex.” Instead, I got the part of the Queen of Hearts, who only appears in the second act. She is supposed to end up with a cake getting smashed in her face, which our director decided would be fake. However, I wanted to Daniel Day Lewis the shit out of that part and insisted the week before the show that the cake be real for each production. The director eventually gave in. The cake was smashed, I acted my heart out and soaked up the cheers and laughter as icing and cake ran down my face. I worked at that camp every summer after for seven years.
These are only a few of the charming anecdotes my family loves to regale my prospective mates with at holiday dinners. Jokes on them, though, because I expect these stories will provide excellent material for my future memoir, which will obviously skyrocket me to fame and later become a major motion picture. Does anyone know what Anna Kendrick’s schedule looks like in the future? I’ll have her people call my people.
What are your students’ current interests, musical preferences and hobbies? Use these as a guide to pinpoint musicals that fall along a similar genre. You want students to be excited about performing in a musical because they can find some relation to it, whether it’s based on their love of pop music (with a show such as “Rent”), their love of movies (with shows such as “Hairspray,” “Footloose” and “Legally Blonde”) or even their love of Disney (with musicals such as “High School Musical,” “The Little Mermaid” and “Beauty and the Beast”).
Choosing a musical that corresponds with the subject matter currently being studied will not only enhance your students’ interest and knowledge on the subject itself, but it will give many students a reason to see the show as well. Whether it involves American history (with shows such as “The Civil War,” “Ragtime” and “1776”), world history (with musicals such as “Cabaret” and “Evita”) or current reading lists (with shows such as “The Secret Garden,” “Yours, Anne” and “Peter Pan”), it will certainly make the subject matter something the students will remember for a lifetime.
Keep in mind your available acting talent. For example, do you have more boys than girls or vice versa? Do you have great singers and/or those with dance training? Try to choose musicals that meet their strengths and highlights the students you know want to participate.
Great school musicals for those with skilled singing and/or dancing talents are “Thoroughly Modern Millie,” “Grease” and “A Chorus Line.” On the other hand, musicals such as “How to Succeed in Business Without Really Trying” and “The Wizard of Oz” are great choices for musicals that can involve students with less-trained singing voices but still have plenty of meaty acting roles.
There are also several all-male and all-female musicals to choose from, should you need to consider those. Great choices are “Nunsense,” “Nunsense A-Men” (male version) and “Beehive the Musical.”
It’s imperative to keep your budget in mind when choosing the appropriate school musical, as costs add up quickly. Don’t fret. Whether your budget is large or small, there is an appropriate show for you. For bigger budgets, choose more spectacle-based musicals such as “Annie,” “Oliver” and “Hello, Dolly!” For smaller budgets, look at shows such as “The 25th Annual Putnam County Spelling Bee” and “You’re a Good Man, Charlie Brown,” which require less focus on big sets and elaborate costumes that can quickly eat money.
Keep in mind your behind-the-scenes talent to ensure you have the staff backstage that is capable of making the musical look amazing from a technical standpoint. If you have parents and students who are well-versed and skilled in making costumes, props and scenery and you have the budget to support it, don’t hesitate to mount more spectacle-based musicals such as “Mary Poppins,” “Into the Woods” and “Sweet Charity.”
However, if you do not, veer toward more character-driven musicals that require minimal sets and props. You could pick a modern show so any costumes and scenery can be purchased at your local thrift shop or secondhand store and/or borrowed.
Another recommendation for those with less-skilled technical staff is to choose shows that lend themselves to black-box spaces. This way, even if you have a bare stage, the show will still work and look appropriate for the bare space. Great musical choices for this would be “Chicago,” “Man of La Mancha” and “Pippin.”
Remember to keep your audience base in mind. In order to keep the musical theatre program alive, you need to continue to have your audience come in to support it. Because of this, it’s important to consider whether your show is something they’d enjoy and can bring friends and family to. If you are unsure, try to do an audience poll of several options on the school social media page. Great audience-pleasers are “The Sound of Music,” “The Pajama Game” and “Shrek.”
Does your school have an orchestra or band that can play the music? Will you hire musicians? Or, if you will use tracks, do you have a good and reliable sound system and someone to run the board? It’s important to take this facet into consideration to make sure you are serving the score of the show and making the music enjoyable for the audience and easy to follow for the performers.
A sung-through musical such as “Les Misérables” would be a great choice if you’re planning to use tracks, as long as you have an experienced sound person to run the soundboard and keep up with the cues. Shows with lavish scores such as “Oklahoma!” and “Fiddler on the Roof” work well to perform with the school orchestra and band.
There are also plenty of musicals you can do with just a piano or small trio of musicians. “My Way,” “Songs from a New World” and “Snoopy” are good options.
Performing in a musical is a way for students to learn and grow, not only as performers, but also as individuals and team players — whether it be singing in a new register, learning how to do basic simple tap steps or choreography, harmonizing or even learning to take cues and work together in an ensemble-based show. Don’t hesitate to pick a musical that students can take something from to use in the future. There are some especially great ensemble-based shows such as “Seussical” and “Little Women” where everyone has an equal share of stage time and there is an intense amount of ensemble work.
Are you working in a theatre/auditorium setting? Is it a proscenium, thrust or in the round? Are you working in a black box? Outside? In a classroom? Keep the location of where you’ll be presenting the musical in mind when making your decision. Having a small musical take place in a large auditorium may not work as well as doing a bigger, more lavish musical. And, if you are doing a musical in a classroom, pick something that lends itself to a smaller, more intimate space with minimal sets and costumes. Great examples of musicals for any type of space are “Cinderella” and “Oklahoma!” Small musicals that work well in an intimate atmosphere are “The Fantasticks” and “Godspell.”
Take a tip from Julie Andrews and “start at the very beginning, a very good place to start.” Even if you are teaching an upper-year class, it’s always a good idea to spend some time at the outset reviewing the basics. Think about the building blocks of being an actor, like voice, character, reading a script and moving about the stage, then go from there.
I always start with warming up and the importance of preparing the body and voice, as I find most students don’t realize it’s crucial to warm up before performing, even just for class.
Positive reinforcement goes a long way. Always begin with the positives and ensure you find something to praise your students for each time. Keeping students encouraged will help them be open to feedback. When giving constructive criticism, stick to only one or two corrections at a time — otherwise, you risk overwhelming your recipients.
Where do your students excel? Find their strength and help them develop it. Find ways for them to share their talents in the group setting, outside of acting. If they are also a talented artist, have them design sets or create posters for performances. If they are very organized, let them arrange the setup of the backstage area. The more they feel like they have a special and important place in the class, the more they will want to be there. No one is good at everything, and there is always room to stretch and grow beyond their comfort zone. However, confidence to do that will come from first finding where they shine.
Each class or week should have its own focus. Throwing too many concepts at students at once will lead to confusion. Mastering a skill requires it to be taught, reviewed and then practiced. Students can then move forward and continue building on those skills. Taking things slowly and having a theme for each class will ensure maximum absorption and avoid frustration for both you and your students.
It is important to have your students challenge themselves, but remember, each student is different. For some, just getting up to speak in front of a small group of peers in their class is going to be a huge challenge. Others might be looking to challenge themselves by moving into a professional audition process. Have students create individualized goals you can help them work toward. Encouraging self-evaluation with progress is a positive life skill that is worth reinforcing.
A common fear you will encounter among students is the fear of failing, especially in front of others. Not every student who comes to drama class will be outgoing and eager. Stage fright will pop up from time to time. Encourage bravery and consistently applaud each effort, whether it was successful or not. For some, just standing in front of others is a huge step. Let them know you are not expecting perfection, just their personal best. Keep the room a positive and safe space for creativity and failure to coincide together as tools for learning.
When teaching beginners, go slow when giving each instruction. Don’t assume they will know basics, particularly with terminology, such as stage right and stage left. Be sure to stop intermittently to see if anyone has questions.
Getting up yourself and giving an example of the skill you are trying to teach will not only make you more relatable to your students, but it will also provide them with some confidence seeing you go in front of everyone and demonstrate the skill first.
Again, the fear of failure may see some students hanging back and avoiding participation. For the first few classes, avoid large group presentations while they are still getting to know one another and you. Allowing the students to work in and present to smaller groups at the start will give them an opportunity to get comfortable with the class and boost their confidence. You can then build toward the large group setting with less resistance.
Try to give opportunities to learn from more than just yourself. Bring in a speaker or group, take them to a performance, participate in a workshop, show a performance DVD or organize a backstage tour. Seeing the arts in action will make it more applicable to your students.
There is more to drama than just being onstage. You may have a budding stage manager in your class, but they don’t know what that job is or what it entails. Give your students the opportunity to learn about as many of the different facets of working in the theatre as you can.
In the words of East High’s enigmatic educator Ms. Darbus, “The stage can be a wonderful partner in the process of self-discovery.” So, whether you teach in a school, a community theatre or an extracurricular program, be encouraged knowing the work you do to create opportunities in the arts for students of all ages is an important and life-changing endeavor. To all those teaching arts out there, we salute you.
If you can look at yourself in a mirror while wearing a crazy wig and false teeth and start laughing, you’ll learn to do the same when you have a bad hair day or find a zit.
In the same vein, the costumes and makeup are often the best part of playing a character role. Who can deny loving a neon tuxedo or particularly well-articulated stage makeup? Plus, they make for great backstage selfies.
Maybe your dialogue doesn’t drive the plot as much as another character’s does, but it’ll certainly make the audience laugh. You might not get that stage kiss you’ve been pining for, but you can certainly insist that Courtneys everywhere take their breaks.
More often than not, the lines and lyrics written for character roles can make us laugh through read-throughs and even rehearsals. The discipline required to know how to make others laugh without laughing yourself is difficult to attain but so valuable once mastered.
It isn’t uncommon for a character role to require a specific skill, such as tap dancing, an accent or even slight-of-hand magic. The great thing is that if you land a role and don’t yet have those skills, you’ll have time to learn them and perfect them before opening night. Then, you can add them to your resume!
I’ll admit, I might be biased, but character roles have some of the best songs in the musical theatre canon. “Guys and Dolls” wouldn’t be nearly as fun without “Bushel and a Peck,” and “The Music Man” would be missing something special if “Shipoopi!” was cut.
There are so many different kinds of character roles to take on. Perhaps you’ll play a bumbling con artist one week and an eccentric pirate the next. While every role is different, some archetypes require a more specific type than others. Embrace your flexibility and jump around between ages, accents and looks.
A great woman — Maleficent, played by Kristin Chenoweth — once sang, “Don’t you wanna be evil like me?” The villain can be the most exciting role in any show because of how heightened their emotions often are and how much draw they have over the audience. It’s always fun to embrace your dark side, even if it’s only for a few performances.
Not every character roles requires stunt work, but the ones that do are a lot of fun. Every once in awhile, a character gets in a huge fight with another character and is thrown from a roof, or a group dance number will require you to learn how to do a back flip. These skills will dazzle audiences and come in handy later as well.
You don’t see this in every show, but sometimes, the comedic lead also gets to be the romantic lead. Think of Winnifred the Woebegone in “Once Upon a Mattress” or Leo Bloom in “The Producers.” They get some of the funniest lines in their respective shows and a ton of “aww” moments as well.
Opportunities for character actors are everywhere. Don’t shy away if you want to audition to play a zany senior citizen, a talking animal, a monster who lives under the bed or yes, even someone’s funny friend.
[post_title] => 10 Benefits Of Being A Character Actor
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[post_content] => If you’re not feeling the urge to take a bite out of the Big Apple, you can still have a great theatre career in many other cities within the United States. The regional market is thriving, so if you’re considering laying down your hat and stepping into the footlights, check out these five cities:
Philadelphia, the city of brotherly love and the home of Rocky, has a huge theatre scene for professionals and amateurs alike. It is also the home of the iconic Walnut Street Theatre, the oldest continually operating theatre in America. And, with a slew of Actors Equity Association houses and community theatres, dinner theatres, a fringe festival and the prestigious Barrymore Awards held once a year to honor those in this bustling theatre community, it’s certainly a market where artists thrive.
As another plus, according to a recent article in the Philly Voice, it’s also known as a city where most acting gigs pay, even for amateur/community theatre jobs.In addition, the Philadelphia tourism market provides terrific opportunities for actors. There’s great potential to have a supplementary gig as a living history actor or tour guide.
As an added bonus, there is easily accessible public transportation to practically everywhere within the city limits, which means you don’t need to invest in a car. The city itself is even within a few hours to New York City, so you could visit if you wanted.
Learn more about the Philly theatre scene on Theatre Philadelphia.
This city has five Tony Award-winning regional houses, including Steppenwolf and the Goodman, along with smaller surrounding suburban areas with theatre companies creating new and experimental works and reviving old favorites. Here, an artist can certainly find his or her niche. Chicago is a market where many shows at the prestigious venues transfer to Broadway, so you’d even have the possibility of moving with a show born here to New York City.
While you will have to deal with the cold Chicago winters, you can up your comedy skills by taking classes at Second City or delve into the TV/film realm, since many episodes and films shoot here.
Learn more about the Chicago Theatre Scene on Chicago Plays.
While this city is home to the nation’s capitol, it’s also home to many theatrical opportunities and amazing venues. The prestigious Kennedy Center, Folger Theatre (the first Elizabethan-style theatre built in North America) and Ford’s Theatre (the site of President Lincoln’s assassination) are just a few spots you can check out if you want to be a serious theatre actor. In addition, there is a huge regional scene, experimental theatre, touring companies, fringe festivals and more.
Learn more about what the theatre in this city has to offer on DC Theatre Scene.
Boston has a thriving theatre scene that can make any performer feel artistically fulfilled. Current top-notch theatres include the Huntington Theatre Company and the American Repertory Theatre in nearby Cambridge. “Waitress,” “Natasha, Pierre and the Great COmet of 1812” and “Finding Neverland” were presented at the A.R.T. before they arrived on Broadway.
Boston has a rich history, a driveable distance to New York City, accoladed performing arts universities and Ivy League institutions, as well as a bustling city and quiet surrounding suburbs. With all of this, it could make this the right actor market for you!
Learn more about the Boston theatre scene at Stage Source.
Minneapolis has the second most theatre seats per capita in the nation and ranks as the fifth most “creatively vital” city in the country, according to a 2015 report by the Western States Arts Foundation. This makes it a great place to pursue a career as a performer.
The Guthrie is one of the most esteemed theatres in this city, but there are also many other theatres, as well as theatre festivals and many other types of performance opportunities. Minneapolis is a place to certainly consider making your mark.
You can find more information about this theatre scene from Minnesota Playlist.
Susan Holloway Scott’s latest read speaks for itself. ‘I, ELIZA HAMILTON’ chronicles the life and impact of Alexander Hamilton’s leading lady. While the ten-dollar Found Father may be the centerpiece of our favorite musical, it’s no doubt that Eliza is a pretty epic heroine. This book sheds light on her complex marriage to George Washington’s right-hand man, as well as her extraordinary work in shaping our country.
There are two sides to every story. While A.Ham is certainly a key player in Scott’s book, his tale is told through the eyes of his closest companion. The Hamiltons’ relationship wasn’t exactly smooth sailing (remember that Reynolds Pamphlet?) and we’re down to see what Eliza had to say about all of this.
Knowing every lyric to “Guns and Ships” is all good and fun, but it’s even better when we’re reminded that the Hamiltons were real people who helped create the world we live in today. Though this novel is historical fiction -- because even Susan Holloway Scott wasn’t in the room where it happened -- Eliza’s story is based on true events and showcases a powerful example of a real-life, fierce boss lady.
If marathoning “Downton Abbey” as you steep a steamy pot of tea isn’t your thing, don’t let the term “historical fiction” scare you off. It’s a genre that often gets a bad rap for being boring and kind of like a textbook from history class, but ‘I, ELIZA HAMILTON’ falls under this umbrella because it’s a fictionalized re-telling of a real human’s life. Sort of like that one musical Lin-Manuel Miranda wrote…
She has written books about a number of royals and historical figures: The Countess of Dorchester and King James II, The Dutchess of Portsmouth and King Charles II, Sarah Churchill and more. You can browse her books HERE.
You’re probably still obsessing over the entire soundtrack, but in case you needed reason to listen to “Burn” on repeat...
Hitting bookshelves September 26, this read makes its arrival just in time for pumpkin spice lattes and all things autumn. Whether you tackled all of the books on your summer reading list or not, you won’t want to throw away your shot to read Mrs. Hamilton’s inspiring story.
Click HERE to pre-order your copy of ‘I, ELIZA HAMILTON’ now!
[post_title] => 7 Reasons 'I, ELIZA HAMILTON' Needs To Be On Your Reading List
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[post_content] => Summer is dwindling down, and although the BBQs and pool parties will fade into fall, thespians going back to school have much to look forward to. School means auditions, rehearsals, fall plays & spring musicals.
After making its home at Lincoln Center Theater, “Oslo” was crowned this year’s Best Play at the Tony Awards. Chronicling the story of the 1993 Oslo Peace Accords between the Israelis and Palestinians, this powerful story dominated Broadway this season.
Playwright Tracy Letts’ creation is a black comedy that has also been translated to an Academy Award-winning Hollywood adaptation. When a father dies, his wife and their three daughters must come together despite drastic differences. “August: Osage County” weaves a beautiful and tragic tale of humanity and family.
Based on Mark Haddon’s bestselling novel, this popular play is one that almost every theatre-goer can appreciate. The show opens on Christopher Boone, a 15-year-old boy with autism, who embarks on an adventure to solve the mysterious murder of a neighborhood dog. This memorable production features sensory lights and sounds that bring the audience into Christopher’s mind in order to show the world through his eyes.
If you’re a theatre nerd, you’ve likely heard of this famous Tony Kushner drama. Written in 1993, the play quickly gained attention for shedding light on the AIDS epidemic and the LGBTQ community during the early ‘90s. A mini series with an all-star cast followed in 2003. Today, “Angels in America” remains a timeless and notable piece of social commentary.
Who doesn’t love a good “whodunnit” story? Though this is the oldest play on the list (written in 1978), Ira Levin’s “Deathtrap” embodies all the elements of a perfect psychological thriller. This dark comedy will definitely leave you stewing over its many twists and turns for the rest of the week.
If you’re a sucker for political dramas or are a total history buff, this play is for you. The show documents President Nixon’s interviews regarding the Watergate scandal with broadcast journalist David Frost. It received critical acclaim and has been made into a movie.
After seeing or reading the plays on this list, you might want something a bit on the lighter side. This West End creation, written by Henry Lewis, Jonathan Sayer and Henry Shields, received recognition at the Olivier Awards in London, winning Best New Comedy, and now plays on Broadway. If you’ve ever been involved with a production, you will appreciate the brilliance of this show as you watch this play within a play unravel and spiral into madness. No matter what, this play will cause you to laugh your head off.
During my time with college auditions, I did two auditions on-campus, two auditions at New York Unifieds, one local audition in a hotel ballroom (in November) and one audition via video. I auditioned for two programs that had prescreens, which are videos you send in to a college before live auditions. If they want to see you again, you’ll be invited to campus for a callback.
This leads me to my first point: Get your prescreens done early. I decided to wait on mine until November, even though both of mine were due Dec. 1 (which seems to be the universal date for Common App applications and prescreens, but check with each program individually. Some schools, like Carnegie Mellon, open prescreens on a first-come-first-served basis as early as September 1st.)
When I recorded my videos, I went from my first college audition to my accompanist’s house, and then to a rehearsal, and I was sick while recording them. It was a mess, and I still had to edit my videos. I ended up submitting them at 11 that night, and that added a lot of unnecessary stress. If you start working on your prescreens early, you won’t be rushing to get them all done in a day or so. Even if you feel like they’re not your best, you’ll have time to redo them.
I was lucky enough to already have a relationship with a good accompanist before going into this, but when I was auditioning, I heard plenty of horror stories about kids doing their prescreens with an accompanist for the first time. Find an accompanist and rehearse with them before you record. Don’t know where to find one? Head to your local university’s music department and ask about an accompanist. I happen to live close to Kennesaw State University, so my accompanist works there.
One song I’ve recorded before is “Astonishing” from “Little Women.” This was originally my competition piece, and not to be done with live accompaniment. When I ran it for the first time with a pianist, it was so difficult and it took me a couple tries to adjust. You don't want your hour with an accompanist to result in only one or two takes for your prescreen. Rehearse first, then record.
Everyone has a different way that they learn, grow and progress. Personally, I’ve always liked working on different shows with different directors because this gives me multiple perspectives. I like this approach because I feel like every college will have a different take on the material and I can ask many of my coaches and pick and choose what feels truthful and right to me. Find out what coaching style works for you, and work at it! I feel much better after hearing what multiple people have to say, but you might be the kind of person who does better with a single coach. Experiment for a little bit until you find what works for you.
One thing a lot of kids mentioned going in is that working with an accompanist in an audition was a fairly foreign concept to them. Personally, I was surprised, because most of my auditions for the past two years have been with a piano. I realized that part of it was because we had different strategies for auditioning. Since I started, I have been encouraged to audition for professional theatres in the area. One tip I cannot stress enough is to go on professional auditions. I’m not saying to pack up and start auditioning for Broadway, but look around for your local equity/non-equity houses and go to their auditions. There is a 99 percent chance you won’t be cast, but that’s OK! The whole point of these auditions is experience, not booking the job. Going into my college auditions, I felt so comfortable (well, as comfortable as you can feel while auditioning) because it felt just like walking into one of my typical Equity-house auditions.
Another thing that professional auditions made me start to do was find an audition routine. I happened to stumble upon mine randomly, but I’ve adopted it and used it for every morning audition. I auditioned at one of the biggest Disney Theatrical cattle calls and had to be there by 7:30 a.m., and it takes a little over an hour to get into the city from my home. I ended up getting up at 4 a.m. to get ready and realized how well that worked for my voice and body. I was awake, alert and ready to go! This always helps me perform at my best, and I’m not in that “I’m really tired and need my coffee” zone at 8 a.m. when I need to belt “Astonishing.”
You’ll also learn what you do with your diet during audition days. For me, I cut out soda a week before big auditions and dairy two days before. The morning of, I chug a Mountain Dew (seems hypocritical, I know) because it gives me 96 milligrams of caffeine and 77 grams of sugar. Then I stick to just water and Throat Coat until after I sing. Everyone is different, and this may not work for you, so find your routine and stick with what works best.
Traveling is often a big part of the college audition process. We chose to drive because we wanted to carry specific bigger items in the backseat, namely a HEPA filter and humidifier. Think about you, your body and how you like to feel when you sing and act. Personally, I have allergies, and hotel rooms often agitate them. I always carry a HEPA filter when I travel and have to sing so it cleans the air. I go set it up in the room and then try to stay out of the room for about an hour or two to let it get to work. This is also a great opportunity to eat and check out your new surroundings.
Hotel rooms also tend to have very, very dry air. This is actually helpful to 99 percent of people there because it helps limit the spread of infection, but it’s not good for vocalists. There is a simple solution: a humidifier! We also set up the humidifier so that when I woke up, my throat wasn’t dry and I wasn’t guzzling water to play catch-up. You can take a bigger one if you and your family choose to drive, but if this is an issue and you have to fly, you can find smaller ones to fit in your carry-on. However, this will take up half of your bag, so try to budget space in your checked bag or family members’ carry-ons.
With traveling, sometimes the “luxury” of driving isn’t an option (hey, I wouldn’t want to drive from LA to NYC!). When this happens, the magic of flying often swoops in to save the day. You’ll probably end up packing more than you usually would for vacation, and most people check a bag. Keep your rep book, dance shoes and one audition outfit in your carry-on. That way, if your checked bag gets lost or delayed, you’ll still have the stuff you need to audition. Toothpaste is easily replaceable, but your rep book filled with all your sheet music and cuts? Not so much.
As I mentioned earlier, I auditioned through many platforms, including New York Unifieds, which is a gathering of different programs conducting auditions under one roof (or two, in the case of New York). Unifieds is a great way to knock out multiple auditions in one weekend. If a college you apply to will be at New York, Chicago or Los Angeles Unifieds, you’ll have the option to audition there. You sign up for each college individually with time slots. You can also do walk-in auditions to schools that have an open slot. However, try to plan all Unifieds auditions with a large gap in the middle of the day so you can rest or eat lunch.
I wear three-inch heels to every audition, show and formal event and don’t ever complain about my feet hurting. But by around 1 p.m., my feet were hurting so badly from literally jumping over people, standing in lines and going from building to building. I actually went to the Duane Reade, got some epsom salt and soaked my feet at every gap I had, which helped a lot. My family also decided to stay four blocks away, which was a lifesaver. I’m not sure I would have been able to get through my dance calls if I hadn’t taken the time to rest. Don’t underestimate the time you’ll spend on your feet, and choose comfy shoes!
Now, we’re all restless 17- and 18-year-olds, but don’t be too independent. One big tip I learned during this process was to let your parents be stage parents just one time: when talking to your counselors. You’re probably looking at this with a weird gaze, and I don’t blame you! I’ve always been very independent when it comes to my theatre work. My parents made me do all the legwork for theatre myself, so I find auditions, set them up, set up voice coaches and do everything in between. So, when I was applying to colleges, I naturally took things into my own hands.
I called my counselor (I am completely online-schooled) and tried to get her to send transcripts and forms. She told me she had everything handled, and I went on with my life. Well, things didn’t go as smoothly as I’d thought. I received letters from Carnegie Mellon, the first school I applied to, on Dec. 13, saying it hadn’t received my transcript yet. I called my counselor again, and she assured me everything was now fixed. I logged into Wolverine Access for Michigan the day live auditions were supposed to be emailed — no transcript. My prescreens were denied, and I know Michigan does stipulate a certain GPA, so this could have been a reason why my prescreen was denied. Let your parents get involved when you start applying. Parents always outrank students when dealing with schools, unfortunately.
College auditions are a big milestone in your life, so enjoy it! This is something you’ll likely only do once in your life, and although I find them to be similar to professional auditions, it’s not exactly the same. You meet so many people, see people encourage you left and right and get to learn so much about what you want in a program and a school. You are you, and that’s enough. You’re not auditioning for a role or a part of a show; you’re showing colleges who you are and putting yourself out there. Go be you, because that’s all you can do!
The day before I embarked on 71 percent of my college auditions, I had a coaching session with Rosemary, a coach I’m close with and feel like I can trust wholeheartedly. As we were packing up, she asked me how I felt about all this, and I told her how anxious I was. She smiled, looked me dead in the eye and said, “Don’t worry. If they don’t see the gift, you don’t need to be there.” That moment changed how I felt about college auditions altogether. It’s very true — if a program rejects you, it’s not a reflection of your talent or anything about you. They didn’t see your gift and what you bring to the table, so it’s obviously not the right fit for you. Take a deep breath, smile, go out there and be the best you can be~
Nikki is an incoming Freshman at Elon University studying Drama and Theatre Studies and Marketing. She currently spends her time bouncing from Atlanta to Elon to New York to pursue work as an actress and marketer. During her free time, you can always find her watching a musical or Disney Princess movie and practicing her Disney impressions.
[post_title] => What I Wish I Knew Before College Auditions
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[post_content] => Greetings and salutations.
Read carefully...
[post_title] => Quiz: How Well Do You Know 'Heathers: the Musical' Lyrics?
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Guest post by Anne Berkowitz
We love how much these people make us laugh, and for that reason, we think their wit and charisma would lend themselves well to this handful of iconic Broadway characters! Some of these performers sing (and some have already been on Broadway) but most have yet to whet their musical theater appetite. Here are some dream castings of our favorite comedians.
Our girl Sarah is brash, funny, and vulnerable. These are qualities she shares with Kate Monster, the leading puppet-lady of the groundbreaking musical Avenue Q, now celebrating its 13th year on stage.
Amy is witty, talkative, and isn't shy about her feelings (or her love of pie). We think she'd make an ingenious Mrs. Lovett in the Sondheim masterpiece, Sweeney Todd. You can currently see the “Demon Barber of Fleet Street” at the Barrow Street Theater.
Dolly Levi, the magical matchmaker and titular character of Hello, Dolly!, is the ultimate leading lady. Whoopi is one of the few strong, multitalented performers who has the charisma and chops to carry the classic show. You can't miss Whoopi's "Get Bruce" co-star Bette Midler give her Tony Award-winning performance right now on Broadway.
Loud, wacky, and with a heart (and lamp) of gold, the Genie in the Disney musical Aladdin is an amazing character that would suit the style of comedy legend Chris Rock. Chris has already been on Broadway but has yet to try his hand at a big musical.
Though it may not seem like it at first, Louis C.K. shares a lot with the character of King George in the smash-hit musical Hamilton. Both are political, sassy, take pride in their vulnerability, and are open about some bad luck they've had in past relationships!
Need we say more? Fey and Poehler would knock it out of the park playing portraying the trailblazing cosmetic rivals in War Paint. You can currently see two-time Tony Award-winning legends (and good friends) Patti LuPone and Christine Ebersole in the roles.
Aziz would be perfect as the charming meerkat in the long-running musical The Lion King. Can't you just hear the Master of None star singing "Hakuna Matata," talking about how great bugs taste, and helping to save the day with hilarity and love?
Though we aren't sure if movie star Kevin Hart has the rock-and-roll chops to pull off playing Dewey in the Andrew Lloyd Webber musical School of Rock, we know he absolutely has the right sensibilities to play the lovable substitute teacher.
[post_title] => Broadway Dream Casting Our Favorite Comedians [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => broadway-dream-casting-our-favorite-comedians [to_ping] => [pinged] => [post_modified] => 2017-08-14 10:08:29 [post_modified_gmt] => 2017-08-14 14:08:29 [post_content_filtered] => [post_parent] => 0 [guid] => https://theatrenerds.com/?p=10807 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw ) [21] => WP_Post Object ( [ID] => 9070 [post_author] => 780 [post_date] => 2017-08-13 08:53:13 [post_date_gmt] => 2017-08-13 12:53:13 [post_content] => [post_title] => Quiz: Which Schuyler Sister Are You? [post_excerpt] => [post_status] => publish [comment_status] => closed [ping_status] => closed [post_password] => [post_name] => which-schuyler-sister-are-you [to_ping] => [pinged] => [post_modified] => 2017-08-13 18:21:26 [post_modified_gmt] => 2017-08-13 22:21:26 [post_content_filtered] => [post_parent] => 0 [guid] => https://theatrenerds.com/?post_type=snax_quiz&p=9070 [menu_order] => 0 [post_type] => snax_quiz [post_mime_type] => [comment_count] => 0 [filter] => raw ) [22] => WP_Post Object ( [ID] => 10686 [post_author] => 68 [post_date] => 2017-08-12 18:24:36 [post_date_gmt] => 2017-08-12 22:24:36 [post_content] => If you do these things... Broadway is LIFE! Community list so add your submission! [post_title] => Top 10+ Signs That Broadway Is Your Life [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => top-10-signs-broadway-life [to_ping] => [pinged] => [post_modified] => 2018-03-16 09:21:45 [post_modified_gmt] => 2018-03-16 13:21:45 [post_content_filtered] => [post_parent] => 0 [guid] => https://theatrenerds.com/?p=10686 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw ) [23] => WP_Post Object ( [ID] => 8461 [post_author] => 639 [post_date] => 2017-08-12 10:10:04 [post_date_gmt] => 2017-08-12 14:10:04 [post_content] => [viralQuiz id=41] [post_title] => Quiz: Movie, Book, Or Musical First? [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => quiz-movie-book-musical-first [to_ping] => [pinged] => [post_modified] => 2018-11-14 09:46:03 [post_modified_gmt] => 2018-11-14 14:46:03 [post_content_filtered] => [post_parent] => 0 [guid] => https://theatrenerds.com/?p=8461 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw ) [24] => WP_Post Object ( [ID] => 10584 [post_author] => 391 [post_date] => 2017-08-11 09:52:30 [post_date_gmt] => 2017-08-11 13:52:30 [post_content] => Women in contemporary musical theatre have become living legends. Idina Menzel, Alice Ripley, Sutton Foster and, more recently, Cynthia Erivo are forces with which to be reckoned for future generations. These women (among other great stars) have conquered some of Broadway’s most formidable, sought-after roles. These figures have made contemporary theatre a time of dynamic, proactive characters with demands reserved for only the cream of the crop. For any ladies looking for a challenge, here are 15 of the most vocally challenging contemporary female roles. Disclaimer: For the purpose of this article, “contemporary” refers to musicals from “Rent” onward.
I’ve rarely ever come into contact with someone who didn’t have an idea for a musical. Everyone wants to write one or be in one or just be on the team. I read nearly every day about musicals that are being made based on beloved films, truly mediocre films or films amazingly inappropriate for a musical. However, ideas for musicals are not just confined to movies, plays and books. They come from board games, TV shows, rides at theme parks — anything. It’s “What I Had for Breakfast Today: The Musical.”
It seems no subject matter is off-limits when it comes to making a musical. However, it takes more than an idea to create something onstage that will capture and hold an audience’s attention and make them feel, or laugh or hate you.
Today, I will touch on the necessary steps (in my humble opinion) that it takes to create a musical your audience hopefully won’t hate you for.
Nothing is more important than the story you are telling. Whether it’s an idea out of your own head or based on already existing source material, this is the foundation of your show. Source material can be a novel, play, film or even a TV show — I’m sure someone is creating “Mr. Ed: The Musical” right now. If you’re too young to remember “Mr. Ed,” it was a sitcom in the ‘60s about a talking horse, and yes, someone somewhere thinks this is a good idea for a musical.
But still, even the worst idea imaginable will be a good idea to someone. And that’s the real point: All art is subjective. So, even if you really are planning to obtain the musical rights to “Mr. Ed,” you still have a shot at making it a good show if you do everything else right. It’s a very, very small shot, but a shot nonetheless.
The story you choose for your show is the story you will be living with for the next many years, if things go well, so it should be a story you love. It should involve characters you love (or hate for all the right reasons) and want to spend time with. It doesn’t matter whether you have a profound message to share with the world or if you just want to make people laugh and have a good time. That’s up to you. Just know that the story is everything. If you don’t have the story, you have nothing. It’s the foundation on which you will build everything else. If your foundation is shaky, your musical will be shaky. Make sure you get this part right.
Caution: I know the trend is to try to musicalize all the movies we love, and I believe film is a very valid choice for source material for musicals. But be careful. First, you’re going to have to acquire the film rights, and that takes lawyers and money. Unless you’re extremely well-connected, I do not suggest it. If you don’t have an original idea, I suggest taking a novel or play in the public domain and using that as your story. You can update it so that it feels more contemporary. Any novel or play 75 years after the death of the author is in the public domain, and you don’t need permission to adapt, sabotage or plagiarize the works of your favorite dead author.
I’ve adapted several works in the public domain. I started with “Jane Eyre.” I literally had no idea what I was doing. I read the novel, highlighted the parts I thought I should include and then just started writing the book and score. Amazingly, 10 years later, the show would go to Broadway (after 7 million rewrites, countless readings and out-of-town tryouts). Oh, did I mention writing musicals is all about rewriting them? We’ll get to that later.
Tip: Don’t try to guess what the audience wants. No one knows. It’s all a crapshoot. Yes, if you have Hugh Jackman starring in your show, you probably could do “Mr. Ed: The Musical” and it would kill. But we don’t all have Hugh on speed dial, so you’re better off choosing a story you love, whether it’s an original idea from your very own brain or based on previously existing material. If you have your foundation, you’re ready for the next steps.
One more thought: Here’s a very crucial question to always ask yourself when looking at source material: Do these characters sing? Look, I’m very opinionated. Personally, I don’t think Spider-Man sings. Maybe that’s just me (apparently it wasn’t just me). Some characters sing, and some don’t. How do we know? I’m not sure. To me, it’s intrinsic. I just know. I’m hearing about a musical being developed by Broadway producers right now that has characters I know shouldn’t sing. But often, Broadway is more interested in a brand than what makes a good musical. That’s why the world needs us. Notice how I’ve included all of you without knowing you — it’s my way.
The next most important step is deciding who your writing team is, and more specifically, what your role is.
Are you a musician? Are you a playwright? Are you someone who likes to eat ice cream and watch a lot of TV? (Don’t underestimate TV watching. We are in the Golden Age of TV, and you can learn a lot about dramatic structure. Also, it’s a little known fact that ice cream is essential to writing musicals.)
When I write a show, I write everything (at least in the first draft), including the book, music and lyrics. My background is in songwriting, so naturally, writing the score comes easiest to me. But even though I had very little experience writing the libretto to a musical, I decided to do it all myself for “Jane Eyre,” since at that time, I had no writing partner. This was done with the understanding that eventually, I would bring in a book writer. I did, but I had no idea it would be the director of “Les Misérables.” Holy shit.
This improved my skill at writing librettos. Though I did not end up writing the book for “Jane Eyre,” I did write the librettos for several of my other shows, including “Emma” and “Sense and Sensibility.” Working with John Caird was an education in creating musicals. I was very fortunate to have had that experience. But it started with my commitment to do it all myself. Just try to get the work out there so that it could be heard — eventually by John.
Tip: Figure out what you do. If you like to write music but you don’t feel you are strong with lyrics, collaborate with a lyricist. If you are the book writer and you think you can write lyrics, go for it! Do whatever it is you want to do, and find out whether you’re good at it. If not, so what? The biggest tip I can give anyone is this: Don’t be afraid to suck. We all have to start somewhere. And sucking is a reasonable place to begin. We’re here to grow and learn, and there’s no better way to learn than by doing. That’s what worked for me.
You still haven’t watched Season 3 of “Game of Thrones.” It’s a beautiful day outside, and if you had a dog, he would need to be walked right now. Your boss needs you for an extra shift, and working at Starbucks is sucking out your soul and all your creative juices.
Look, there’s no easy way to say this: Writing is hard. But getting started is harder. So do whatever it takes. Set a time of day where you have time to write and make sure you sit there. Even if nothing happens, it’s okay.
I read once that Paul Simon, one of my favorite songwriters, goes to work from “9–5” every day and just writes, whether he’s inspired or not. I thought that was pretty cool. So, find a system that works for you and stick with it. This game is all about self-discipline. Most of my work is not commissioned, and if I don’t force myself to write, I’m not going to have a career. If you can self-motivate, you are golden.
When adapting from a novel, I would strongly suggest reading the novel before you start to write your musical. I know this seems stupidly obvious, but believe me, I had to force myself to not start writing songs for “Jane Eyre” before I finished reading the book (that fucker took three weeks to read. So many pages). But I was so inspired by the early chapters that I was just bursting to start writing. But of course, that would be stupid. I didn’t know the story yet. I didn’t know the arc of the story. How would I know which bits to include and which bits to leave out? This is the key when adapting a novel — they’re long. When we did our first production of “Jane Eyre,” we basically performed the whole novel onstage. We were so true to the book, we didn’t leave anything out. The show was over three hours long.
Tip: When adapting a novel, the most important decision you can make is what to include and what not to include. With “Sense and Sensibility,” I wasn’t keen on telling the stories of the mother and the youngest Dashwood sister because I felt they were unnecessary to the plot. So, I killed them off, and it worked like a charm. In “Emma,” I got rid of Emma’s sister and brother-in-law. They bored me, so I left them out. The decision is all yours. These works are in the public domain, and you can do anything you want. However, if there really is an afterlife, I have an uncomfortable feeling that Charlotte Brontë, Jane Austen, Oscar Wilde and Charles Dickens are going to kick the shit out of me.
I find that plays are the easiest to adapt to musicals. If you’re working with a good playwright, he or she has already done a lot of the heavy lifting already. Honestly, I would much rather adapt a play than a novel. With a play, I can focus entirely on the score because the story is already mapped out. Chances are, I’m just “musicalizing” the sections of the play I want sung instead of spoken. I am currently adapting the play “Reflections of a Rock Lobster” by Burgess Clarke. It’s based on the true story of two boys who wanted to go to the high school senior prom together in Rhode Island in 1980. After they were turned down by the high school principal, they sued the school and won. The play has so much pathos and heart, and it’s been a dream to take Burgess’ words and make them sing. I love putting myself in the heads of the characters and trying to find new ways to express different emotions. There is a tremendous joy and satisfaction in working with truly smart writers who push you to do your very best work. It doesn’t always happen, but if you have the rights to a great play, it’s a good place to start.
Making a musical based on an original story is the trickiest. When I am adapting Jane Austen novels, at least I know that my story is solid and has worked for almost 200 years. Almost no one is going to leave the theatre saying, “Weak story.” But with an original piece, you have your work cut out for you. Musicals are hard to get right to begin with, but original musicals are even harder. So if you do have an idea you love, then tell your story. Sing your story. Be original. Figure it out as you go.
Be sure to map your story out completely before you start writing songs. One of the biggest mistakes I constantly make is writing music before the idea has settled. Of course, writing the songs can often help expand the idea — and may help in discovering new places to go — but it’s generally a far better idea to have your story completely worked out and a good working draft of the script before you begin writing the score.
I play the game “Where’s Waldo?” when I’m working on a new musical (though honestly, I don’t know who Waldo is). Discovering what should be musicalized and what shouldn’t be is the key to writing a good musical.
When I first started working on “Emma,” I came to a place in the novel where Mr. Elton sends Emma and Harriet riddles, which Emma thinks provides clues about his romantic interest in Harriet (when he’s really interested in Emma). I saw many opportunities in this moment to write a great comic song for the three characters. It would have worked wonderfully, and the audience would have eaten it up. But I never wrote the song because it would not have moved the story forward. It wouldn’t have given the audience more insight into the characters. And we find out the same information later in another way. So the best decision I ever made was to not write that song.
“But if the song would have been as great as you say, wouldn’t it have helped the show anyway?”
No. Though it would be an audience pleaser in the moment, it would have made the first act five minutes longer. And then later, there’s a “double beat” in storytelling, which would have taken the air out of later scenes because things are feeling long when they didn’t have to. Everything is finely stitched together in a musical, and pulling one thread can change everything. That’s why musicals are workshopped so much. They are really complicated things to write, because there are so many parts of the puzzle. We never know how it will turn out until we’re up in front of an audience, where we find out everything immediately and it’s often very scary.
That’s so amazing! And you haven’t even finished this article yet! Bravo to you.
Okay, so you’ve written a first draft. That means you have a book and a score. That is amazing. Seriously, your first musical could be terrible, but you have a first draft and you should absolutely celebrate. Why? Because musicals are hard to write — even bad ones. And you finished something, which is big, especially since musicals take a ton of work. You’ll be rewriting this for the rest of your life, but you have a finished draft and that’s fantastic.
Here’s what’s really great about where you are now. Rewriting is everything. Rewriting is where most of the magic happens. Look at it this way — you are no longer staring at a blank page, which I’ve come to believe is one of the evils of the universe. But now you’re looking at a page that has actual words, and that’s good! You’ll be rewriting those words soon enough, but it’s all part of the ongoing process. You’re in good shape. Just back away from the TV and put down the ice cream.
Caution: Are you really done with that first draft? How is the structure? Don’t worry if it’s too long — it should be too long at first. It doesn’t have to be perfect in your mind yet, but just make sure you are mostly satisfied with this as a first draft. Then, go treat yourself. You deserve it.
Not only have you finished your first draft, but you’re so happy with yourself that you want all your friends to hear it. So you plan your first reading.
What’s a reading? In New York, we have what’s called a “29-hour reading.” This allows the creative team to work with a group of actors and present the material for either a small or large group of friends, family and industry peeps. You actually have about 26 hours or so to “rehearse,” and the other three hours is the actual reading itself.
However, before you put a reading together, you have to put a creative team together. You already have your writing team, whether it’s just you or you and one or two others. But now you need a director.
This is a big deal. You know how I said that the source material was a big deal? This is the next big deal. Your director will not only guide you through the production, but a good director will also be your dramaturge. A dramaturge is someone who really understands storytelling and will help guide you into making your story as clear as possible — and will lovingly inform you when you are writing something that is total crap. So, choose your director wisely. They are your new creative partner, and they run the show — literally. This needs to be one of your wisest decisions.
Sidebar: When John Caird heard my first demo of “Jane Eyre,” he was in Los Angeles directing “Les Misérables” and wanted to meet. I went to the house he was renting in Westwood. We sat in his backyard as he went through my script with a red pencil, correcting my spelling and occasionally muttering things like, “This isn’t 19th century,” and “This is American, not British.” I felt like an idiot, yet he still somehow asked if he could direct my musical. Yet to this day, I don’t know why the hell I didn’t just use spell check.
“Okay, so I have my director. Do I need anything else?”
I’m so glad you asked that. Yes. You need your next important creative partner: your music director. We call them the MD. (It’s really fun to call them MDs around your parents. It confuses them endlessly.)
Your MD will be the guardian of your score. They will make all the necessary notations and changes, keep the singers happy and make the composer's’ life much easier.
Sidebar: I’m a college dropout, and though I studied music, I don’t read music well. I deeply rely on my music director to be my conduit to the singers. Other composers, such as Jason Robert Brown, are brilliant musicians. They read and play extremely well and can do everything themselves, though they will still rely on great music directors to make their jobs easier.
I’m hopeless when it comes to reading my own scores, and I deeply depend on my music directors to save me and make me look good. They are an integral part of my work, and I’m grateful to all of them for validating my reason to drop out of college.
“Okay. Is that it? Do I need anyone else?”
Yes. You need a casting director, stage manager and someone to transcribe your score into Finale, if you’re anything like me.
Doing a reading of your musical is absolutely necessary for the development of your show. It will be the first time you hear the piece out loud, and it will inform you of the work you still have to do. People are generally not going to laugh if it’s not funny. Listen to how loud or soft the applause is after a given song. Hear when people start to cough during scenes or songs, since this is usually a sign of boredom.
Nothing whips your show into shape like a few good readings and hearing how an audience responds.
Tip: Be sure to cast your show well. One of the issues we always face when casting actors is whether to cast an actor who sings or a singer who acts.
The short answer? Find both. Yet in my opinion, Broadway-caliber performers are a unique breed. There is literally no one else in the world who can do what they do. To act brilliantly and sing brilliantly is a rare thing to find in one person (and we’re not even talking dancing). Often, an actor will audition for me and be a great singer, but their reading is weak. Or the opposite will happen — they embody the character perfectly, but their voice just isn’t quite up to it.
That’s why performers who both sing and act brilliantly are rare. I would argue that many celebrity performers on Broadway would not even be considered if not for their fame. And I mean that with no disrespect. It’s not like they don’t act and sing well — they do. But those who can take it to the next level — say a Sutton Foster or Brian D’arcy James — are the performers who make theatre magical. They are special, and no one can do what they do.
Congratulations! You’ve just done a reading of your musical, and all your friends told you they absolutely loved it.
Caution: Not all of them really loved it. Some of them are just saying that because they don’t know what else to say. Also, some of your friends who “loved it” also loved Cheetos lip balm, celery jello and the McLobster (actually, the McLobster does sound sort of interesting).
However, let’s just say you got through this reading fairly unscathed and you’re ready for the next steps. If you have a proper team in place, your next step is to rewrite. Your director and/or dramaturge (or producer, or annoying neighbor) will inform you of what they think you need to change.
Tip: Everyone will have an opinion about what is wrong with your musical. Your mom. That weird dude at the grocery store. Ben Brantley (though his opinion will come when it’s much, much too late). The best advice I can give is to take everything in, weigh it and see what resonates for you. Somebody really will hate your work. But that doesn’t mean your work is bad. They just may not have the same taste as you.
Sidebar: One of the most frustrating moments in the evolution of “Jane Eyre”came right after our La Jolla Playhouse production. There was a negative review in a local publication called the LA Weekly. It’s not a major newspaper, but it was one I’d grown up reading. The first line of the review said, “I hate musicals,” and it went downhill from there. I’ll never forget that. I was furious, thinking, “Why the hell are you reviewing my musical that I’ve been passionately working on for the past 10 years if you hate musicals?” Clearly I have anger issues. But the point is, I should never have cared a whit what this guy thought. He didn’t like the medium I was working in. And that’s the point. You have to be confident enough in your own taste and sensibility so that inevitably, when someone of note says your work is crap, you don’t have to necessarily believe them. Unless your work really is crap. Then I’m afraid they have a point.
Sidebar: Opening night of “Jane Eyre,” John told the creative team and cast not to read the reviews. He said if you believe the reviews that tell you you’re a genius, you have to believe the ones that say you suck. It’s true.
So, once you’ve sifted through the critiques, the praise and the apathy — and you’ve done your rewrite — you’re on your way to creating your first full production.
“Okay. So how do I do that?”
That’s a long story, and we’ll cover that next time. But thanks for taking a moment to read my overly opinionated thoughts. I love musicals, and I’ve learned so much through this process. It’s a pleasure to be able to share my experiences with this community.
I hope in the future I can guide a few of you on your own musical journeys. Good luck, and remember: If you’re afraid to suck, then don’t even bother~
Learn more about Paul Gordon and his projects here: www.paulgordonmusic.com
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Filmmaker Rick McKay’s 2004 documentary is a verifiable oral history book given to us by the Theatre Gods themselves. This truly wonderful film features interviews of more than 100 stars of the so-called “Golden Age of Broadway” conducted over a span of six years. It’s actually the first film of a planned trilogy and will be followed by “Broadway: Beyond the Golden Age” and “Broadway: The Next Generation.” This is a really special movie, not the least of which because many of the interviewees have now sadly passed on. We cannot recommend it enough.
A stunning documentary produced for HBO in 2013, “Six by Sondheim” documents the man himself by focusing on the backstory of six of his greatest songs. The film came from an idea from writer and former New York Times critic Frank Rich and was produced and directed by frequent Stephen Sondheim collaborator James Lapine.
What makes this documentary different from any others on this list is that it contains new, original stagings of the six songs along with typical interviews and archive footage. Highlights include Audra McDonald and husband Will Swenson performing “Send in the Clowns” and a smashing version of “Opening Doors” starring Darren Criss, Jeremy Jordan, America Ferrera, Laura Osnes and even Sondheim in a deliciously ironic cameo.
https://www.youtube.com/watch?v=I9ZUkx_gr0g
In 2004, PBS undertook a massive project when it attempted to document the history of American musical theatre from 1904 to the present day. Boy, did it deliver! This beautifully produced six-party documentary series was directed by Michael Kantor and narrated by Julie Andrews. Fascinating interviews and rare footage are interspersed with stunning photographs you’d be hard pressed to find anywhere else. It’s a must-see for any serious theatre junkie!
An offshoot of the 2004 PBS series above, “Broadway Musicals: A Jewish Legacy” was produced and directed by the same team. This time, Joel Grey, the master of ceremonies himself, serves as the narrator. It’s an absorbing look at the golden age of musical theatre in which just about every major composer and lyricist was Jewish (save for Cole Porter). The documentary aired on PBS in 2013 and is available on DVD.
Iconic punk-rock band Green Day and Broadway director Michael Mayer teamed up in 2010 and rocked Broadway with “American Idiot,” based on Green Day’s smash hit album of the same name. This awesome documentary follows the process of the creation of the show through to when Green Day frontman Billie Joe Armstrong stepped into the role of St. Jimmy. This 2013 film is a rare chance to see a modern rock musical take shape, and it’s a great look at a big-name star making his Broadway debut. If you loved the show “American Idiot,” this movie is definitely for you.
Art truly imitates life in this documentary as thousands of actors audition for the 2006 revival of “A Chorus Line” on Broadway. Modern-day triumphs and heartbreak are layered with interviews of members of the original Broadway cast. The documentary debuted in 2008 at the Toronto Film Festival, earning great reviews. Owen Gleiberman of Entertainment Weekly gave the film an A rating, calling it “a movie as layered and enthralling as its subject.” Though it’s hard to become emotionally invested in these performers’ lives and pull for them, since we know only a few will make the cut, this is still totally worth it.
Shortly before Sondheim’s landmark 1970 musical “Company” opened on Broadway, legendary filmmaker D.A. Pennebaker had his camera rolling as the original Broadway cast recorded the original Broadway cast album. We get to see many of the show’s numbers, including “Another Hundred People,” “Being Alive” and “Not Getting Married Today.” The climax of the film is when Elaine Stritch struggles to record “Ladies Who Lunch” in the wee hours of the morning after everyone else had wrapped. Watching the legendary performer and Sondheim pursue perfection is a rare glimpse at the guts it takes to gain the glory. The documentary was meant as a pilot for a series in which several cast album recording sessions would be filmed, but sadly, this film was the only one ever produced.
When you open your Playbill and see that little slip of paper with the words “At today’s performance...” your heart naturally sinks a little. But for the person whose name is on that slip, it could be the moment their lifelong dream comes true. This wonderful 2012 documentary takes a look at the difficult and often misunderstood of standbys. It follows Broadway stalwarts Ben Crawford (“Shrek,” “Charlie and the Chocolate Factory”), Merwin Foard (“Aladdin,” “The Addams Family”) and Aléna Watters (“West Side Story,” “Sister Act”) as they wait in the wings for their chance in the spotlight. Watch this one to get a look at this vital but often thankless role in the Broadway hierarchy.
The newest entry to the theatre documentary world is one of its best! “Best Worst Thing That Ever Could Have Happened” premiered in 2016 and tells the story behind the final Hal Prince-Sondheim collaboration, “Merrily We Roll Along.” Directed by original cast member and noted director Lonny Price, the film combines new interviews with the cast and creative team with newly discovered footage of the casting and rehearsal process. Few shows have had such a dramatic history as “Merrily,” which was one of the most anticipated shows of the 1980s and ended up only playing 16 performances. All of the triumphs and pain that Broadway can bring are shared with the audience like never before. The movie is currently available to stream on Netflix.
You knew this would be No. 1, didn’t you? Trust me, I get the struggle. You’re trying to cement those lines in your head while on the go, or sometimes you just need a friend to calm yourself down before an audition and you’re the only one around. Either way, to non-actors, you look 100 percent cray-cray. There’s nothing weirder than encountering a frazzled person reciting Shakespeare to themselves on the sidewalk.
Tip: Next time you memorize lines or rehearse in public, try pretending you’re talking on the phone. This is only half weird.
“I Wan’na Be Like You” from “The Jungle Book” should be our union theme song.
Actors are chameleons, or at least we try to be. Ideally, we should be able to slip into anyone’s shoes. Although this is a really fun process, it can definitely make us public nuisances. The second we hone in on someone interesting, not only do we want to study them unnoticed for hours as if we’re watching chimps at the zoo, but we immediately want to find out if we can be like them too.
So, you start mimicking their walk while you casually stroll behind them on 5th Avenue or try to get close enough to them in the checkout line so you can study how they speak. Just think to yourself, “WWMD?” (What would Meryl do?). The answer is probably not low-key stalk people.
Actors never want to walk into an audition totally cold. We all have some kind of prep activity to get our juices flowing. However, sometimes we’re in a rush and we have to conduct that weird routine while on the go.
We trill while running down the block. We sing scales to ourselves silently (we think). We do facial exercises that probably make it seem like we need help. And don’t even get us started on the stretching. Of course, at the end of the day, if you can walk into that audition room feeling comfortable and ready, it’s worth a few side-eyes on the subway.
Owning a car is a privilege for so many reasons, but having a private and transportable rehearsal studio is the best one.
Musical theatre nerds have all had our fair share of belting out audition songs while speeding down the highway. It’s like we have our own version of “Carpool Karaoke,” sans James Corden or any celebs. Most of the time, we get so into the emotional journey of our songs that we forget we’re even driving. Art is dangerous, right?
If you’ve never driven to an abandoned lot and recited your monologue to yourself, I don’t know if we can be friends.
Honestly, this never gets old, and it’s extremely helpful. Ordering that burger and fries in a foreign accent will either grant you a confused look or the burger and fries, no questions asked. If you get a weird glance, you know you have more work to do on your accent. If you get the food, then eat up! You clearly deserve it.
Being onstage or on set should ultimately feel real if you prepared enough and connected with your own experiences. Well, what if in real life you constantly feel like you’re on a stage or set? Do you ever have those moments where you tell a joke and hold for applause? Or what about coyly making a face to the camera when someone says something strange? It can be hard to shake being in the spotlight!
Enough said.
So, we’ve come to the end of this list of some of the many weird things actors do. If you know someone who acts, I hope this clarified some things. If all of these were too real for you, you’re probably an actor.
nt. Play your part to the best of your ability, because even the smallest part can steal the show if done right. Plus, you never know who is watching. Your performance could lead to an even bigger opportunity.
Didn’t get cast? Join the crew! Every part of a production is a learning experience. Show you are a good sport and a team player and let those in charge get to know you better. It could improve your chances the next time you audition.
This is bound to happen. Being in a show is like being part of a family, and families don’t always get along. You are welcome and entitled to your feelings, but make sure you keep them away from others involved in the show. Vent to your friends, family and even your cat, but don’t start airing your grievances to other members of the production. Disunity can divide a cast and affect the performance you give onstage. If the issue is something specific, speak to that individual away from prying eyes and resolve it directly. The more people are involved, the bigger the problem becomes.
The old adage applies here: The show must go on. Getting sick during a show run is pretty common. The long rehearsal hours coupled with physical wear and tear does eventually take its toll. Remember to hydrate and get as much rest as possible during downtime.
Too far to go home between shows? Find a spot backstage to curl up and take a quick nap. If your symptoms worsen, be sure to seek the advice of a physician.
If you’re well enough to still perform, be sure to give it your best. Emma Stone often tells the story of scoring her Oscar-winning role in “La La Land” when the soon-to-be director came to see her in a musical on a night when she was ill. In spite of being sick, she scored the part, and the rest is history. So, give it your 100 percent, because the audience will have no idea you’re sick and you never know who is in the crowd.
Life happens, and sometimes you miss a rehearsal. The best thing you can do is be proactive. Ensure you notify someone of your absence, since it can be frustrating for cast and crew when someone doesn’t show up and they have no idea why. Giving notice allows them time to regroup and even alter the rehearsal schedule, if necessary.
Also, ask someone who was present to catch you up on what you missed before the next rehearsal. Your fellow cast, crew and production team will appreciate that you took the initiative and helped save some time.
Improvise. Act like it’s a part of the show and keep going. It’s unlikely the audience even noticed. Unless someone has seen your production countless times and memorized every element, no one will have any idea it wasn’t part of the show.
Tech week especially can be a tense time. Try to take everything in stride. If you snap at someone, step back, find a place to take a breath on your own and get yourself centered again. Most of the time, you’ll realize right afterward that you didn’t mean what you said. Don’t let things get awkward — find that person and mend the fence.
If someone snaps at you, try not to take it personally. The best thing you can do is ask whether there is something they need or anything you can do to help. It’s possible something bigger is bothering them and you just caught them at the wrong time.
Don’t forget to thank your crew and production team regularly. They work hard during and after hours, often going unnoticed. Let them know you appreciate all they do
Finally, be preventative and help boost morale! Bringing in homemade cookies or giving someone an encouraging word are easy ways to keep spirits up when people are growing increasingly tired and stressed.
This can be a huge hurdle to overcome because being part of a show is rewarding yet demanding. Again, being proactive can help you avoid getting overwhelmed.
Get yourself a planner or agenda of some kind and write down all of your commitments. Your brain is full enough with your lines and choreography without having to remember when you have a dentist appointment or a paper due. Color-coding each item (such as rehearsal, school and social) can also be useful when you’re trying to reference your schedule on the fly.
Scheduling your free time if you have other projects on the go can help you to stay organized and maximize your efficiency. If you know you have scheduled two hours on Sunday afternoon to work on your history essay, you are less likely to be stressing out midweek about how you’ll find time to get it done.
Most importantly, don’t forget to schedule some time to relax and rest. This needs to be a priority, or you will be run down and unable to do anything.
Part of the fun of working on a show is that each one is different. Every production is a learning experience with something to be gained. You may get asked to perform a skill you are unfamiliar with, such as tap dancing, sword fighting or juggling. Even if you aren’t sure how, give it a go. As long as you are willing to learn, there is always a way. Be sure to identify any safety issues and ask questions if you are unsure.
If the task is something you really don’t want to do or causes you discomfort, speak to your director or production team in private. You can address your concerns and even politely decline, if need be. It’s OK to set limits and speak up if you’re uncomfortable.
Every experience is going to come with its own individual highs and lows. However, the beauty of it is that when it’s all over, you’ll get graduation goggles and only remember the good things — so much so that when audition time comes around, you will eagerly sign up for the madness all over again. In the end, there’s nothing like it.
[post_title] => 8 Show Dilemmas And How To Deal
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[post_content] => So, you’ve made a goal to read more this summer, right? Here are six thespian-written memoirs to add to your summer reading list:
In 2015, this king of the stage and screen wrote an intimate recount of his life growing up. Alan Cumming bares all in his memoir, discussing his complex relationship with his father and how it affected his success. If it’s an engaging and emotional read you seek, hunker down and grab this one off the bookshelf.
Buy the book here
Kristin Chenoweth might be known as a bright and bubbly Broadway blonde, but this autobiography proves there’s a lot more to her than meets the eye. “A Little Bit Wicked” is full of heart and humor as the actress discusses her journey with adoption, growing up in a small Oklahoma town and, of course, finding her way to the Big Apple.
Grab a copy here
The “Pitch Perfect” star’s memoir will satisfy your need for that easy-peasy summer read — plus, Anna Kendrick has a theatre background! “Scrappy Little Nobody” is the perfect book for lounging on the beach. You’ll be obsessed!
Buy the book here
If you consider yourself an old soul, dive into the life and career of a familiar face in both movies and the performing arts. You might know him as Captain Von Trapp in the iconic film “The Sound of Music,” but Christopher Plummer is also a prominent figure in theatre, starring in a number of Broadway shows, West End productions and lots of Shakespeare.
Get your copy here.
How do you solve a problem like finding a good summer read? Once you’ve finished Plummer’s book, it’s only fitting to snag a copy of this novel, written by Julie Andrews. While it doesn’t go in-depth about her movie career, the memoir focuses on Andrews’ childhood and time on the theatre stage.
Click here to read more about this queen.
Speaking of queens, Patti LuPone wrote a book aptly titled “Patti LuPone: A Memoir” because, well, she’s Patti LuPone. Why wouldn’t you read this?
Buy the book here
Ben Platt in 'Dear Evan Hansen'[/caption]
“What I would encourage in terms of best practices is that it’s totally great to take a picture of the procedium and playbill,” he said. “Another great thing is to leave a review. After you see something, review the piece yourself, go to their Facebook page and share your thoughts, especially when they’re positive.”
When it comes to producers’ and marketers’ use of social media, Howell said the most effective method to getting people to share their experiences of the show is to have a step and repeat in the lobby of the theatre. This way, everyone who comes to the show can take a picture and post it online.
Social media is undeniably a great tool to be used before or after a show. However, surfing social media and the internet during a performance has recently become far too regular. Rest assured, theatre fans, this isn’t just a Broadway problem, but a global one.
“I think we will see a global problem of attention spans and people disconnecting from the real world around them to engage with the virtual world around them, but I don’t think it’s limited to theatre,” Howell said. “We see our union and industry fighting against it, saying that live theatre needs to be live.”
However, Howell hopes that embracing social media within limits will actually bring great changes to the Great White Way.
“What I think will happen with Broadway and theatre, I hope, is that we’ll be able to share our art form with audiences and more people through digital with the expectation that if you want the premium live experience, you buy a ticket,” he said. “I would like to see more digital integration where we get to be a part of the show. Word-of-mouth marketing is the No. 1 form of marketing because it doesn’t cost you anything, and people trust their family and friends’ recommendations. I think producers are hurting themselves by not encouraging social media. I just think that we have to write the rules and teach etiquette.”
What about onstage? Could social media be incorporated more frequently into shows themselves, like “Hit List” from the hit NBC show “Smash?” (Yes, it’s a hit in my heart.)
Howell warns that it may remove people from the story, since taking a second look at their phone may cause audiences to then surf the web or check email. However, in the right context, with limitations, it could potentially work.
Aside from within the theatres themselves, Howell has also seen how social media has started to have an impact on casting decisions.
“I see it being involved in casting decisions, but I think people make the mistake of looking at 10,000 followers versus the actual engagement rate,” he said. “So someone with a hundred followers and a higher engagement could actually bring more results to the ticket process than someone with a bunch of spambots that they bought from Russia.”
Frankly, it’s 2017. Technology and social media are bound to start to find their place within theatre, whether onstage or offstage. While this does present some potential negatives to the experience of live theatre we’ve come to know and love, with the right rules and guidance, it could have a profound effect on the art form.
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Ben Platt in 'Dear Evan Hansen'[/caption]
“What I would encourage in terms of best practices is that it’s totally great to take a picture of the procedium and playbill,” he said. “Another great thing is to leave a review. After you see something, review the piece yourself, go to their Facebook page and share your thoughts, especially when they’re positive.”
When it comes to producers’ and marketers’ use of social media, Howell said the most effective method to getting people to share their experiences of the show is to have a step and repeat in the lobby of the theatre. This way, everyone who comes to the show can take a picture and post it online.
Social media is undeniably a great tool to be used before or after a show. However, surfing social media and the internet during a performance has recently become far too regular. Rest assured, theatre fans, this isn’t just a Broadway problem, but a global one.
“I think we will see a global problem of attention spans and people disconnecting from the real world around them to engage with the virtual world around them, but I don’t think it’s limited to theatre,” Howell said. “We see our union and industry fighting against it, saying that live theatre needs to be live.”
However, Howell hopes that embracing social media within limits will actually bring great changes to the Great White Way.
“What I think will happen with Broadway and theatre, I hope, is that we’ll be able to share our art form with audiences and more people through digital with the expectation that if you want the premium live experience, you buy a ticket,” he said. “I would like to see more digital integration where we get to be a part of the show. Word-of-mouth marketing is the No. 1 form of marketing because it doesn’t cost you anything, and people trust their family and friends’ recommendations. I think producers are hurting themselves by not encouraging social media. I just think that we have to write the rules and teach etiquette.”
What about onstage? Could social media be incorporated more frequently into shows themselves, like “Hit List” from the hit NBC show “Smash?” (Yes, it’s a hit in my heart.)
Howell warns that it may remove people from the story, since taking a second look at their phone may cause audiences to then surf the web or check email. However, in the right context, with limitations, it could potentially work.
Aside from within the theatres themselves, Howell has also seen how social media has started to have an impact on casting decisions.
“I see it being involved in casting decisions, but I think people make the mistake of looking at 10,000 followers versus the actual engagement rate,” he said. “So someone with a hundred followers and a higher engagement could actually bring more results to the ticket process than someone with a bunch of spambots that they bought from Russia.”
Frankly, it’s 2017. Technology and social media are bound to start to find their place within theatre, whether onstage or offstage. While this does present some potential negatives to the experience of live theatre we’ve come to know and love, with the right rules and guidance, it could have a profound effect on the art form.
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[post_content] => It seems that everyone in theatre has a side gig, side hustle, side hobby or day job. What if your non-theatre experiences actual could help your career in the theatre? Wouldn’t that be a perfect world? If you look for unconventional ways to further your career, your next job might be just around the corner. Here are some ways that your time outside the theatre can be time well spent:
1. Website Design
It’s vital for every working actor to have a website. Most actor websites have headshots, resumes, dance reels, press articles and other information that help you sell your brand as an actor.
2. Photography
Having quality photography skills is always helpful in the theatre. You gain knowledge about what looks best on camera, so you don’t make rookie mistakes with your own headshots. Plus, you can earn extra cash on the side by taking other actors’ headshots or productions’ publicity photos.
3. Sewing
This is a must. From broken shoes to ripping your pants 10 minutes before curtain, you should always be prepared with a small sewing kit to help repair any emergency costume problems. Plus, if costumes need alterations, you are prepared to volunteer to help. Your friends will thank you!4. Yoga
It’s not just about being flexible and strong, although that is a fantastic result of doing yoga. Most importantly, yoga trains you to have control of your breath. Keeping focused on your breathing and diaphragm coordination can do wonders to help you sing an aria or deliver a lengthy monologue. Learning how to listen to your body and how it moves is very important for actors. Remember, your body is an instrument. And speaking of instruments...
5. Musical Instruments
Having the ability to play a few musical instruments will only help your chances of getting cast. From the musicals “Once” to “Bandstand,” you never know when you will have to play a musically talented character. Gaining knowledge about music will only help you in your musical theatre endeavors. Plus, you can get a lot of side gigs as an accompanist for your fellow actors or yourself.
6. Makeup
If you find the makeup aisle dangerous for your wallet, you might be able to put that passion to use. Experiment with different types of stage makeup, and one day, you could find yourself getting a job as the makeup artist for a show. With so many fantasy shows such as “Shrek” currently playing in regional and community theaters across the country, the theatre needs people with a knack for makeup.
7. Cooking
Eating well is very important to keeping yourself in top shape as an actor. Know how to eat the best foods to power through your two-show day. Study what makes you feel good and what keeps your voice healthy and strong. This knowledge will give your acting career more longevity if you remember to always take care of yourself. Make being healthy part of the job!
What are some special skills that helped you get a role or a job in the theatre? Let us know in the comments below...
You may also like:7 Life Skills Every Theatre Kid Will Learn
8 Life-Winning Skills All Thespians Possess
[post_title] => These Hobbies And Special Skills Will Help Your Theatrical Career [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => hobbies-special-skills-will-help-theatrical-career [to_ping] => [pinged] => https://theatrenerds.com/rock-your-performer-website-with-these-8-must-haves/ https://theatrenerds.com/life-skills-every-theatre-kid-will-learn/ [post_modified] => 2024-10-12 08:31:40 [post_modified_gmt] => 2024-10-12 12:31:40 [post_content_filtered] => [post_parent] => 0 [guid] => https://theatrenerds.com/?p=11348 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw ) [2] => WP_Post Object ( [ID] => 11327 [post_author] => 736 [post_date] => 2017-09-11 09:09:36 [post_date_gmt] => 2017-09-11 13:09:36 [post_content] =>Costumes help make a character, but in some shows, the costume itself has become so iconic that no future production can be repeated without the specific look. These costumes immediately define the musical they reference, even when they’re out of the context of the show.
The following are our top eight musical theatre costumes that have become absolutely classic over the years:1. Dolly Levi’s Harmonia Gardens Dress in ‘Hello Dolly!’
With the costume by Freddy Wittop, Dolly Levi (originally played by Carol Channing) descends the staircase into Harmonica Gardens in a red sequin gown, turning heads and winning the hearts of everyone she comes into contact with.
https://m.youtube.com/watch?v=iVh9zjf0Tww
2. Barbra Streisand’s Fanny Brice Sailor Suit in ‘Funny Girl’
This sailor suit, designed by Irene Sharaff and worn by Barbra Streisand in both the musical and movie versions of “Funny Girl,” has been repeated time and again in many productions of this beloved musical. It has also become a standard piece for Streisand’s appearances and an iconic representation of both the star and the show on TV and film. Just look at Lea Michele’s ensemble when she won the part of playing Fanny Brice in “Glee.”
3. Cassie’s Red Dress in ‘A Chorus Line’
Cassie’s red dress, originally designed by Theoni V. Aldredge and worn by Donna McKechnie in the original Broadway production of “A Chorus Line,” speaks volumes about her character’s fiery spirit and her need to stand out and be noticed. This dress has been recreated over and over in all productions since.
Watch this dress move and Cassie (Charlotte d’Amboise) sing and dance her heart out in “The Music and the Mirror” from the Broadway revival of the show.
https://m.youtube.com/watch?v=tOWh6LSHa48
4. Annie’s Red Dress in ‘Annie’
[caption id="attachment_11332" align="alignnone" width="700"] Credit 2012 JIM LEE PHOTO[/caption]
Originally appearing as a comic strip in the late 19th century, “Annie” became a musical when Charles Strouse, Martin Charnin and Thomas Meehan collaborated on it in 1976. Aldredge took the inspiration from the comic in creating Annie’s finale red dress, catapulting the look to girls everywhere.
5. Dorothy Gale’s Blue-and-White-Checkered Dress in ‘The Wizard of Oz’
This dress became iconic when Dorothy is whisked away to Oz and it magically goes from black and white to living color. Like “Annie” and “A Chorus Line,” a production of this show can’t be done without recreating this look. The original designer, Adrian Adolph Greenberg took his design inspiration from the book series itself. Check out the original covers of the series to see the resemblance.
6. Elphaba’s Costume and Makeup in ‘Wicked’
Speaking of “The Wizard of Oz,” the Wicked Witch of the West lives on eight shows a week in “Wicked” on Broadway, as well as in other productions around the world. Her green skin is just as iconic as the black witch’s outfit — and, not to mention, an ordeal to put on for any actress who plays this character.
Check out this video, which gives you an inside look at actress Rachel Tucker becoming Elphaba.
https://m.youtube.com/watch?v=01GGW2QRU1c
7. Anna Leonowens’ Ballgown in ‘The King and I’
Anna’s gown, originally designed by Sharaff for the movie version of “The King and I” has become iconic — not for its color, but for the fullness of the skirt. The skirt itself literally takes on a life of its own as Anna is being waltzed around the stage during “Shall We Dance?”
Here is a great video of Anna (Kelli O’Hara) being quick-changed into the dress at the Tony Awards by some fabulous dressers.
https://www.youtube.com/watch?v=G4OcqWxsKL0
8. Belle’s Yellow Gown in ‘Beauty and the Beast’
[caption id="attachment_11339" align="alignnone" width="1200"] Dress Designer Credit: Mela Hoyt-Heydon for 3-D Theatrical’s 2016 production of Beauty and the Beast.[/caption]
Belle’s yellow gown became infamous in the animated version of this beloved musical. Of course, whenever you attend a production, you’ll certainly find yourself surrounded by many little girls dressed up like this princess in a replica of this gown.
Here is a great video about the creation of Belle’s costumes for the most recent movie version, starring Emma Watson.
https://m.youtube.com/watch?v=M95NsqegWIA
What are some of your favorite iconic musical theatre costumes? Let us know in the comments below...
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We all know and love the movie and musical hit, Little Shop of Horrors, but what we don't all know is whether we're sweet Audrey or sweet-talking Audrey II. Take this quiz to find out!
[post_title] => Quiz: Are You Audrey Or Audrey II?
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[post_content] => There is a time in everyone’s life when they can look back and see all the moments that led them to become the person they are today. I am no exception. I can identify exactly what led me to teaching, what led me to become a writer, and the stepping stones to my lifelong vocation as a theatre lover. All the signs were there, even in childhood. No one could tell you better than the people who watched me blossom into the theatre nerd I am today: my family.
Here are nine times my family knew I was destined to become a theatre nerd:
1. My parents spent an entire summer listening to my sister and I sing the entire soundtrack from “Joseph and the Amazing Technicolor Dreamcoat” on our numerous four-hour drives to the cottage every weekend. We would always fight over who would get the only female singing role and see who could belt louder during “Close Every Door.” The following summer, my father insisted the cassette tape had mysteriously worn out.
2. Family friends came to visit once, and I coerced them into being a part of an elaborate production of the musical numbers from “Pocahontas,” staged in my basement. Our costumes included a dress I made from a burlap sack and an unfortunate selection of vests I owned (give me a break, it was the ‘90s). A baby carriage doubled as the canoe in “Just Around the Riverbend,” and my sister was pushed around in it while using a broom as a paddle. The others held up a blue bedsheet that acted as the river while also hiding the wheels on the stroller. Needless to say, the show opened and closed the same afternoon.
3. My first crush was Lt. Joe Cable in the movie-musical “South Pacific.” We spent a month one summer visiting my father’s aunt in Prince Edward Island. She lived in the tiniest town, where the video store doubled as the gas station and convenience store. They had five kid-friendly rentals available: four Rodgers and Hammerstein movie musicals and a Shirley Temple flick. I watched a lot of “South Pacific” that summer.
4. I saw “Wicked” for the first time as a teenager when the touring cast came to Toronto. I loved the show so much that I bought the CD soundtrack afterward and became obsessed. After discovering iron-on transfer sheets for the printer, I bought a plain tote bag and ironed a print-out of the musical poster on the front of it. I got strange looks from the cool kids when I carried it to class, but to the theatre and music kids, my bag was hot. I walked into those arts classes with my bag like Tyra Banks on a catwalk. Yeah, you know it.
5. My family owned a camcorder, and I loved filming music videos and fake reality shows with my friends. They were works of art, with synchronized dancing, poorly chosen hairstyles involving far too many butterfly clips, baggy neon wind pants and crop tops we created by folding up the bottoms of our tank tops and tucking them underneath, just like Britney. I still have some of those videos and recently joked about showing them at my theatre friend’s wedding. She threatened to kill me if I ever showed them in public.
6. My parents put me and my older sister in charge of babysitting my little brother one Saturday afternoon while they were out. My brother ended up running into a wall and getting a big bump on his head because we stole his stuffed animal and made him chase us around the house to get it back. My parents were livid. We were supposed to be the older, responsible sisters. Most kids would be grounded or have their television privileges revoked, but we had our theatre tickets taken away. A friend had given our family free tickets to see “Joseph and the Amazing Technicolor Dreamcoat” the following weekend. My parents gave the tickets away to my aunt, and I was crushed. We did get to see the musical a few months later, but I always remembered how I would have preferred to lose the television.
7. I essentially pestered one of my middle school teachers into directing a school play. Extracurricular activities in the arts were hard to come by where I grew up. To my surprise, I did not get the lead role. Gutted, I withdrew from the production entirely in true dramatic fashion. When my mother finally convinced me quitting was not the mature thing to do, I crawled back with my tail between my legs and took the only job that was still available, leading the choir. So, what I imagined to be my big moment as a star was not quite as I pictured. My theatrical debut was not even onstage, but rather on the floor to the left of it.
8. In my youth, I had a habit of dramatic, huffy exits followed by the slamming of my bedroom door whenever I had a disagreement with anyone in my family. After one particular set of fits, my mother had my father remove my bedroom door from the hinges and put it in the basement. Shrewd move, lady, but I could play that game. I proceeded to sing at the top of my lungs for the entire house to enjoy. This went on for about a week before the door was returned.
9. For two years, I forced my mother to let me attend a local theatre camp for three weeks in the summer. My second summer, they were putting on a production of “Alice in Wonderland,” and I was hell-bent on playing Alice. Much to my disappointment, the part went to a boy, and the character was renamed “Alex.” Instead, I got the part of the Queen of Hearts, who only appears in the second act. She is supposed to end up with a cake getting smashed in her face, which our director decided would be fake. However, I wanted to Daniel Day Lewis the shit out of that part and insisted the week before the show that the cake be real for each production. The director eventually gave in. The cake was smashed, I acted my heart out and soaked up the cheers and laughter as icing and cake ran down my face. I worked at that camp every summer after for seven years.
These are only a few of the charming anecdotes my family loves to regale my prospective mates with at holiday dinners. Jokes on them, though, because I expect these stories will provide excellent material for my future memoir, which will obviously skyrocket me to fame and later become a major motion picture. Does anyone know what Anna Kendrick’s schedule looks like in the future? I’ll have her people call my people.
Were there moments you knew you were also destined to become a theatre nerd? Let us know in the comments below...
[post_title] => 9 Times My Family Knew I'd Grow Up To Be A Theatre Nerd [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => 9-times-family-knew-id-grow-theatre-nerd [to_ping] => [pinged] => [post_modified] => 2017-09-08 18:12:47 [post_modified_gmt] => 2017-09-08 22:12:47 [post_content_filtered] => [post_parent] => 0 [guid] => https://theatrenerds.com/?p=11272 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 1 [filter] => raw ) [5] => WP_Post Object ( [ID] => 9494 [post_author] => 736 [post_date] => 2017-09-06 10:16:48 [post_date_gmt] => 2017-09-06 14:16:48 [post_content] => When deciding it’s time to mount the school musical, there are literally hundreds to choose from. Here are nine tips that can help you determine what might be the right fit for you:1. Current Interests
What are your students’ current interests, musical preferences and hobbies? Use these as a guide to pinpoint musicals that fall along a similar genre. You want students to be excited about performing in a musical because they can find some relation to it, whether it’s based on their love of pop music (with a show such as “Rent”), their love of movies (with shows such as “Hairspray,” “Footloose” and “Legally Blonde”) or even their love of Disney (with musicals such as “High School Musical,” “The Little Mermaid” and “Beauty and the Beast”).
2. School Curriculum
Choosing a musical that corresponds with the subject matter currently being studied will not only enhance your students’ interest and knowledge on the subject itself, but it will give many students a reason to see the show as well. Whether it involves American history (with shows such as “The Civil War,” “Ragtime” and “1776”), world history (with musicals such as “Cabaret” and “Evita”) or current reading lists (with shows such as “The Secret Garden,” “Yours, Anne” and “Peter Pan”), it will certainly make the subject matter something the students will remember for a lifetime.
3. Talent Pool
Keep in mind your available acting talent. For example, do you have more boys than girls or vice versa? Do you have great singers and/or those with dance training? Try to choose musicals that meet their strengths and highlights the students you know want to participate.
Great school musicals for those with skilled singing and/or dancing talents are “Thoroughly Modern Millie,” “Grease” and “A Chorus Line.” On the other hand, musicals such as “How to Succeed in Business Without Really Trying” and “The Wizard of Oz” are great choices for musicals that can involve students with less-trained singing voices but still have plenty of meaty acting roles.
There are also several all-male and all-female musicals to choose from, should you need to consider those. Great choices are “Nunsense,” “Nunsense A-Men” (male version) and “Beehive the Musical.”
4. Cost
It’s imperative to keep your budget in mind when choosing the appropriate school musical, as costs add up quickly. Don’t fret. Whether your budget is large or small, there is an appropriate show for you. For bigger budgets, choose more spectacle-based musicals such as “Annie,” “Oliver” and “Hello, Dolly!” For smaller budgets, look at shows such as “The 25th Annual Putnam County Spelling Bee” and “You’re a Good Man, Charlie Brown,” which require less focus on big sets and elaborate costumes that can quickly eat money.
5. Technical Talent Pool
6. Audience
Remember to keep your audience base in mind. In order to keep the musical theatre program alive, you need to continue to have your audience come in to support it. Because of this, it’s important to consider whether your show is something they’d enjoy and can bring friends and family to. If you are unsure, try to do an audience poll of several options on the school social media page. Great audience-pleasers are “The Sound of Music,” “The Pajama Game” and “Shrek.”
7. Instrument Talent Pool
Does your school have an orchestra or band that can play the music? Will you hire musicians? Or, if you will use tracks, do you have a good and reliable sound system and someone to run the board? It’s important to take this facet into consideration to make sure you are serving the score of the show and making the music enjoyable for the audience and easy to follow for the performers.
A sung-through musical such as “Les Misérables” would be a great choice if you’re planning to use tracks, as long as you have an experienced sound person to run the soundboard and keep up with the cues. Shows with lavish scores such as “Oklahoma!” and “Fiddler on the Roof” work well to perform with the school orchestra and band.
There are also plenty of musicals you can do with just a piano or small trio of musicians. “My Way,” “Songs from a New World” and “Snoopy” are good options.
8. Learning
Performing in a musical is a way for students to learn and grow, not only as performers, but also as individuals and team players — whether it be singing in a new register, learning how to do basic simple tap steps or choreography, harmonizing or even learning to take cues and work together in an ensemble-based show. Don’t hesitate to pick a musical that students can take something from to use in the future. There are some especially great ensemble-based shows such as “Seussical” and “Little Women” where everyone has an equal share of stage time and there is an intense amount of ensemble work.
9. Space
Are you working in a theatre/auditorium setting? Is it a proscenium, thrust or in the round? Are you working in a black box? Outside? In a classroom? Keep the location of where you’ll be presenting the musical in mind when making your decision. Having a small musical take place in a large auditorium may not work as well as doing a bigger, more lavish musical. And, if you are doing a musical in a classroom, pick something that lends itself to a smaller, more intimate space with minimal sets and costumes. Great examples of musicals for any type of space are “Cinderella” and “Oklahoma!” Small musicals that work well in an intimate atmosphere are “The Fantasticks” and “Godspell.”
Tell us which school musicals you have chosen and why...
[post_title] => 9 Tips For Choosing The Perfect School Musical [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => 9-tips-for-choosing-perfect-school-musical [to_ping] => [pinged] => [post_modified] => 2017-09-06 10:16:48 [post_modified_gmt] => 2017-09-06 14:16:48 [post_content_filtered] => [post_parent] => 0 [guid] => https://theatrenerds.com/?p=9494 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 4 [filter] => raw ) [6] => WP_Post Object ( [ID] => 9471 [post_author] => 440 [post_date] => 2017-09-05 09:33:18 [post_date_gmt] => 2017-09-05 13:33:18 [post_content] => When I saw “High School Musical 2” for the first time, I was disappointed because one of my favorite characters, enthusiastic drama teacher Ms. Darbus, was largely absent from the sequel. By the time the third movie came around, the quirky teacher had returned to provide her usual comic relief, with a side of wisdom. While the films don’t see Ms. Darbus doing a lot of traditional teaching, she delivers her lessons in the form of helpful tips and encouraging her students to explore the arts and find their passion. She assures them they can stretch beyond where they feel their capabilities lie. Ms. Darbus shows creating the environment for learning is often just as important as the teaching material itself.With that in mind, here are 11 tips for teaching student drama:
1. Start With the Basics
Take a tip from Julie Andrews and “start at the very beginning, a very good place to start.” Even if you are teaching an upper-year class, it’s always a good idea to spend some time at the outset reviewing the basics. Think about the building blocks of being an actor, like voice, character, reading a script and moving about the stage, then go from there.
I always start with warming up and the importance of preparing the body and voice, as I find most students don’t realize it’s crucial to warm up before performing, even just for class.
2. Prioritize Quality Over Quantity When It Comes to Feedback
Positive reinforcement goes a long way. Always begin with the positives and ensure you find something to praise your students for each time. Keeping students encouraged will help them be open to feedback. When giving constructive criticism, stick to only one or two corrections at a time — otherwise, you risk overwhelming your recipients.
3. Find the Passion
Where do your students excel? Find their strength and help them develop it. Find ways for them to share their talents in the group setting, outside of acting. If they are also a talented artist, have them design sets or create posters for performances. If they are very organized, let them arrange the setup of the backstage area. The more they feel like they have a special and important place in the class, the more they will want to be there. No one is good at everything, and there is always room to stretch and grow beyond their comfort zone. However, confidence to do that will come from first finding where they shine.
4. Keep Your Focus Areas Narrow
Each class or week should have its own focus. Throwing too many concepts at students at once will lead to confusion. Mastering a skill requires it to be taught, reviewed and then practiced. Students can then move forward and continue building on those skills. Taking things slowly and having a theme for each class will ensure maximum absorption and avoid frustration for both you and your students.
5. Challenge Them
It is important to have your students challenge themselves, but remember, each student is different. For some, just getting up to speak in front of a small group of peers in their class is going to be a huge challenge. Others might be looking to challenge themselves by moving into a professional audition process. Have students create individualized goals you can help them work toward. Encouraging self-evaluation with progress is a positive life skill that is worth reinforcing.
6. De-stigmatize Failure
A common fear you will encounter among students is the fear of failing, especially in front of others. Not every student who comes to drama class will be outgoing and eager. Stage fright will pop up from time to time. Encourage bravery and consistently applaud each effort, whether it was successful or not. For some, just standing in front of others is a huge step. Let them know you are not expecting perfection, just their personal best. Keep the room a positive and safe space for creativity and failure to coincide together as tools for learning.
7. Slow and Steady
When teaching beginners, go slow when giving each instruction. Don’t assume they will know basics, particularly with terminology, such as stage right and stage left. Be sure to stop intermittently to see if anyone has questions.
8. Model Behavior
Getting up yourself and giving an example of the skill you are trying to teach will not only make you more relatable to your students, but it will also provide them with some confidence seeing you go in front of everyone and demonstrate the skill first.
9. Encourage Participation
Again, the fear of failure may see some students hanging back and avoiding participation. For the first few classes, avoid large group presentations while they are still getting to know one another and you. Allowing the students to work in and present to smaller groups at the start will give them an opportunity to get comfortable with the class and boost their confidence. You can then build toward the large group setting with less resistance.
10. Take the Classroom Outside
Try to give opportunities to learn from more than just yourself. Bring in a speaker or group, take them to a performance, participate in a workshop, show a performance DVD or organize a backstage tour. Seeing the arts in action will make it more applicable to your students.
11. Go Beyond Acting
There is more to drama than just being onstage. You may have a budding stage manager in your class, but they don’t know what that job is or what it entails. Give your students the opportunity to learn about as many of the different facets of working in the theatre as you can.
In the words of East High’s enigmatic educator Ms. Darbus, “The stage can be a wonderful partner in the process of self-discovery.” So, whether you teach in a school, a community theatre or an extracurricular program, be encouraged knowing the work you do to create opportunities in the arts for students of all ages is an important and life-changing endeavor. To all those teaching arts out there, we salute you.
What are your tips and advice for drama teachers? Let us know in the comments below...
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[post_title] => Quiz: Pick Your Favorite Foods & We'll Guess Your Favorite Musical [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => quiz-pick-your-favorite-foods-well-guess-your-favorite-musical [to_ping] => [pinged] => https://theatrenerds.com/quiz-build-an-ice-cream-sundae-to-reveal-which-movie-musical-you-should-watch/ [post_modified] => 2018-09-29 12:08:16 [post_modified_gmt] => 2018-09-29 16:08:16 [post_content_filtered] => [post_parent] => 0 [guid] => https://theatrenerds.com/?p=10856 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 16 [filter] => raw ) [8] => WP_Post Object ( [ID] => 11174 [post_author] => 1016 [post_date] => 2017-08-31 11:05:49 [post_date_gmt] => 2017-08-31 15:05:49 [post_content] => Picture this: I’m sitting in a circle with some other actors after a particularly long and stressful rehearsal. Our senior musical has just been announced, and we’re discussing which roles we’d like to play. When I express interest in the lead, people stare at me as though I’ve said I won’t be doing the show at all. “You could never be the leading man. You’re his funny friend,” one of my friends says. At the moment, I wasn’t sure why her words hit me as hard as they did, but they stuck with me for a while. Was I not talented or handsome enough to play the leading man? Was I just not trying hard enough to suppress my Cosmo Brown and let my inner Don Lockwood shine? Was funny all I could do? Auditions finally came around, and I was worried. I knew every actor would be reading for the romantic male lead, but something in me told me I had to go in for it too. When I got to the piano and told our music director what I’d be singing, he asked me if I was sure. I wasn’t. I had been so concerned with how I was perceived by others that I didn’t even think about being original and auditioning with the comedic lead’s song. I changed my song right then and there, and landed what became one of my all-time favorite comedic roles. In fact, it was that role that showed me how fun it is to be a character actor. Now I’ve decided to share some of those reasons with you:1. You Learn to Laugh at Yourself
If you can look at yourself in a mirror while wearing a crazy wig and false teeth and start laughing, you’ll learn to do the same when you have a bad hair day or find a zit.
2. Costumes, Costumes, Costumes (and Makeup)
In the same vein, the costumes and makeup are often the best part of playing a character role. Who can deny loving a neon tuxedo or particularly well-articulated stage makeup? Plus, they make for great backstage selfies.
3. The One-Liners
Maybe your dialogue doesn’t drive the plot as much as another character’s does, but it’ll certainly make the audience laugh. You might not get that stage kiss you’ve been pining for, but you can certainly insist that Courtneys everywhere take their breaks.
4. It’s an Exercise in Self-Control
More often than not, the lines and lyrics written for character roles can make us laugh through read-throughs and even rehearsals. The discipline required to know how to make others laugh without laughing yourself is difficult to attain but so valuable once mastered.
5. You Get Newfound Skills
It isn’t uncommon for a character role to require a specific skill, such as tap dancing, an accent or even slight-of-hand magic. The great thing is that if you land a role and don’t yet have those skills, you’ll have time to learn them and perfect them before opening night. Then, you can add them to your resume!
6. The Music
I’ll admit, I might be biased, but character roles have some of the best songs in the musical theatre canon. “Guys and Dolls” wouldn’t be nearly as fun without “Bushel and a Peck,” and “The Music Man” would be missing something special if “Shipoopi!” was cut.
7. Variety
There are so many different kinds of character roles to take on. Perhaps you’ll play a bumbling con artist one week and an eccentric pirate the next. While every role is different, some archetypes require a more specific type than others. Embrace your flexibility and jump around between ages, accents and looks.
8. Playing the Villain
A great woman — Maleficent, played by Kristin Chenoweth — once sang, “Don’t you wanna be evil like me?” The villain can be the most exciting role in any show because of how heightened their emotions often are and how much draw they have over the audience. It’s always fun to embrace your dark side, even if it’s only for a few performances.
9. Stunt Choreography
Not every character roles requires stunt work, but the ones that do are a lot of fun. Every once in awhile, a character gets in a huge fight with another character and is thrown from a roof, or a group dance number will require you to learn how to do a back flip. These skills will dazzle audiences and come in handy later as well.
10. Every So Often, You’re Also the Romantic Lead
You don’t see this in every show, but sometimes, the comedic lead also gets to be the romantic lead. Think of Winnifred the Woebegone in “Once Upon a Mattress” or Leo Bloom in “The Producers.” They get some of the funniest lines in their respective shows and a ton of “aww” moments as well.
Opportunities for character actors are everywhere. Don’t shy away if you want to audition to play a zany senior citizen, a talking animal, a monster who lives under the bed or yes, even someone’s funny friend.
[post_title] => 10 Benefits Of Being A Character Actor
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[post_content] => If you’re not feeling the urge to take a bite out of the Big Apple, you can still have a great theatre career in many other cities within the United States. The regional market is thriving, so if you’re considering laying down your hat and stepping into the footlights, check out these five cities:
1. Philadelphia, Pennsylvania
Philadelphia, the city of brotherly love and the home of Rocky, has a huge theatre scene for professionals and amateurs alike. It is also the home of the iconic Walnut Street Theatre, the oldest continually operating theatre in America. And, with a slew of Actors Equity Association houses and community theatres, dinner theatres, a fringe festival and the prestigious Barrymore Awards held once a year to honor those in this bustling theatre community, it’s certainly a market where artists thrive.
As another plus, according to a recent article in the Philly Voice, it’s also known as a city where most acting gigs pay, even for amateur/community theatre jobs.In addition, the Philadelphia tourism market provides terrific opportunities for actors. There’s great potential to have a supplementary gig as a living history actor or tour guide.
As an added bonus, there is easily accessible public transportation to practically everywhere within the city limits, which means you don’t need to invest in a car. The city itself is even within a few hours to New York City, so you could visit if you wanted.
Learn more about the Philly theatre scene on Theatre Philadelphia.
2. Chicago, Illinois
This city has five Tony Award-winning regional houses, including Steppenwolf and the Goodman, along with smaller surrounding suburban areas with theatre companies creating new and experimental works and reviving old favorites. Here, an artist can certainly find his or her niche. Chicago is a market where many shows at the prestigious venues transfer to Broadway, so you’d even have the possibility of moving with a show born here to New York City.
While you will have to deal with the cold Chicago winters, you can up your comedy skills by taking classes at Second City or delve into the TV/film realm, since many episodes and films shoot here.
Learn more about the Chicago Theatre Scene on Chicago Plays.
3. Washington, D.C.
While this city is home to the nation’s capitol, it’s also home to many theatrical opportunities and amazing venues. The prestigious Kennedy Center, Folger Theatre (the first Elizabethan-style theatre built in North America) and Ford’s Theatre (the site of President Lincoln’s assassination) are just a few spots you can check out if you want to be a serious theatre actor. In addition, there is a huge regional scene, experimental theatre, touring companies, fringe festivals and more.
Learn more about what the theatre in this city has to offer on DC Theatre Scene.
4. Boston, Massachusetts
Boston has a thriving theatre scene that can make any performer feel artistically fulfilled. Current top-notch theatres include the Huntington Theatre Company and the American Repertory Theatre in nearby Cambridge. “Waitress,” “Natasha, Pierre and the Great COmet of 1812” and “Finding Neverland” were presented at the A.R.T. before they arrived on Broadway.
Boston has a rich history, a driveable distance to New York City, accoladed performing arts universities and Ivy League institutions, as well as a bustling city and quiet surrounding suburbs. With all of this, it could make this the right actor market for you!
Learn more about the Boston theatre scene at Stage Source.
5. Minneapolis, Minnesota
Minneapolis has the second most theatre seats per capita in the nation and ranks as the fifth most “creatively vital” city in the country, according to a 2015 report by the Western States Arts Foundation. This makes it a great place to pursue a career as a performer.
The Guthrie is one of the most esteemed theatres in this city, but there are also many other theatres, as well as theatre festivals and many other types of performance opportunities. Minneapolis is a place to certainly consider making your mark.
You can find more information about this theatre scene from Minnesota Playlist.
Are you thinking about pursuing a career in any of these cities? Let us know in the comments below...
[post_title] => 5 Cities Outside Of NYC Where You Can Pursue A Career In Theatre [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => 5-cities-outside-nyc-can-pursue-career-theatre [to_ping] => [pinged] => [post_modified] => 2017-08-28 11:19:33 [post_modified_gmt] => 2017-08-28 15:19:33 [post_content_filtered] => [post_parent] => 0 [guid] => https://theatrenerds.com/?p=11138 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 2 [filter] => raw ) [10] => WP_Post Object ( [ID] => 11135 [post_author] => 714 [post_date] => 2017-08-25 09:45:13 [post_date_gmt] => 2017-08-25 13:45:13 [post_content] => “I don’t sing in the shower, I perform,” my fellow thespian friend said at rehearsal one night. I laughed out loud and responded sarcastically, “Oh, I’m sure your roommates love that.” My friend leaned in close as if she were about to reveal one of her deepest, darkest secrets, and said, “My roommate hates ‘Wicked,’ so I make sure to belt out the end of ‘Defying Gravity’ really loud if I know she’s home.” Who knew musical theatre could be used as a strange form of torture? Luckily, singing showtunes doesn’t count as a form of cruel and unusual punishments, so sing away with these six songs:1. ‘Tomorrow’ from ‘Annie’
This one is at the top of the list for a reason. One surefire way to torment those around you is singing this overdone screamfest with the same amount of passion as a young Andrea McArdle. https://www.youtube.com/watch?v=eCV7MbTtjAY2. ‘Oklahoma!’ from ‘Oklahoma!”
“And the land we belong to is grand! And then we saaaayyyyy NO PLEASE! STOP! WHY!” You’re not “doin’ fine” if you think this a Top 40 hit. It’s tolerable during the show, but humming this song while you lather, rinse and repeat is a little coo-coo ka-choo. https://www.youtube.com/watch?v=ZbrnXl2gO_k3. ‘One More Angel in Heaven’ from ‘Joseph and the Amazing Technicolor Dreamcoat’
Once upon a time, Andrew Lloyd Webber tried to write a hoedown — long story short, it’s a fun dance number, but it has the power to get stuck in your head for months on end. The brothers are singing a song to their father about how Joseph died unexpectedly, when in reality, the brothers sold him into slavery. They’re pure evil! No wonder the song is so bad! Also, any musical number with sudden, unexplained southern accents can’t be a good thing. https://www.youtube.com/watch?v=B0lJV4vOkAQ4. ‘Shipoopi’ from ‘The Music Man’
The title says it all. https://www.youtube.com/watch?v=9Jj622vbrrU5. ‘Fugue for Tinhorns’ from ‘Guys and Dolls’
It’s a classic: three guys singing about horses in a horse race for no other reason than to show the audience they are going to watch a show about gambling. Although, if you were me, you spent the rest of the show trying to figure out why they kept mentioning Paul Revere. This one is bound to annoy those around you. For the best results, try singing all three parts at once. https://www.youtube.com/watch?v=BAIlVCStp3c6. 'Anything' from ‘Cats’
Or, better yet, just buy a funky leotard, throw on some cat ears and heavy makeup and dance around your house. Your roommates will hate it. I know this from personal experience. https://www.youtube.com/watch?v=m0xiS6dk5iwWhich showtunes make you cringe? Or better yet, what’s your guilty pleasure musical theatre song? Add yours to the list!
[post_title] => Torturing Your Roommates: The Most Annoying Showtunes To Sing In The Shower [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => torturing-roommates-most-annoying-showtunes-sing-shower [to_ping] => [pinged] => [post_modified] => 2017-09-10 23:36:44 [post_modified_gmt] => 2017-09-11 03:36:44 [post_content_filtered] => [post_parent] => 0 [guid] => https://theatrenerds.com/?p=11135 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 14 [filter] => raw ) [11] => WP_Post Object ( [ID] => 11120 [post_author] => 11 [post_date] => 2017-08-24 09:02:29 [post_date_gmt] => 2017-08-24 13:02:29 [post_content] => Our days of summer sun might be coming to an end but you don’t need to toss out that reading list quiiiiiite yet. Lucky for Theatre Nerds (more specifically “Hamilton” fans), there’s a new book hitting shelves this September based on the life of one Eliza Hamilton.There are seven things you need to know:
1. As you’d expect it’s all about Eliza Hamilton. WORK!
Susan Holloway Scott’s latest read speaks for itself. ‘I, ELIZA HAMILTON’ chronicles the life and impact of Alexander Hamilton’s leading lady. While the ten-dollar Found Father may be the centerpiece of our favorite musical, it’s no doubt that Eliza is a pretty epic heroine. This book sheds light on her complex marriage to George Washington’s right-hand man, as well as her extraordinary work in shaping our country.
2. Hamilton’s life is shown from another perspective.
There are two sides to every story. While A.Ham is certainly a key player in Scott’s book, his tale is told through the eyes of his closest companion. The Hamiltons’ relationship wasn’t exactly smooth sailing (remember that Reynolds Pamphlet?) and we’re down to see what Eliza had to say about all of this.
3. It’s all about an empowering (and real) woman.
Knowing every lyric to “Guns and Ships” is all good and fun, but it’s even better when we’re reminded that the Hamiltons were real people who helped create the world we live in today. Though this novel is historical fiction -- because even Susan Holloway Scott wasn’t in the room where it happened -- Eliza’s story is based on true events and showcases a powerful example of a real-life, fierce boss lady.
4. It’s historical fiction at its finest.
If marathoning “Downton Abbey” as you steep a steamy pot of tea isn’t your thing, don’t let the term “historical fiction” scare you off. It’s a genre that often gets a bad rap for being boring and kind of like a textbook from history class, but ‘I, ELIZA HAMILTON’ falls under this umbrella because it’s a fictionalized re-telling of a real human’s life. Sort of like that one musical Lin-Manuel Miranda wrote…
5. Susan Holloway Scott is QUEEN.
She has written books about a number of royals and historical figures: The Countess of Dorchester and King James II, The Dutchess of Portsmouth and King Charles II, Sarah Churchill and more. You can browse her books HERE.
6. It will remind you of your undying love for “Hamilton.”
You’re probably still obsessing over the entire soundtrack, but in case you needed reason to listen to “Burn” on repeat...
7. ‘I, ELIZA HAMILTON’ makes its debut just in time for fall!
Hitting bookshelves September 26, this read makes its arrival just in time for pumpkin spice lattes and all things autumn. Whether you tackled all of the books on your summer reading list or not, you won’t want to throw away your shot to read Mrs. Hamilton’s inspiring story.
Click HERE to pre-order your copy of ‘I, ELIZA HAMILTON’ now!
[post_title] => 7 Reasons 'I, ELIZA HAMILTON' Needs To Be On Your Reading List
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[post_content] => Summer is dwindling down, and although the BBQs and pool parties will fade into fall, thespians going back to school have much to look forward to. School means auditions, rehearsals, fall plays & spring musicals.
We've put together collections of bestselling gear to help show off your thespian pride in the hallways:
1. Break Into Showtunes
A proclamation? A courtesy? Sure! Warn the passersby in the hallway before you break out into your current fav showtune.
SEE COLLECTION2. I Can't I Have Rehearsal
We've all been there and said these words dozens of times. Classmates and friends just don't get theatre-life. Next time someone is inquiring about a social activity, save your voice and just point to your chest instead.
SEE COLLECTION
3. The Thespian GPS
But honestly, it's hard to remember sometimes.
SEE COLLECTION4. The Theatre Snob
A shirt that instantly makes friends and enemies, yay! (It's theatre)
SEE COLLECTION5. Theatre Is My Sport
Jocks beware, theatre is my sport!
SEE COLLECTION6. Broadway Coloring Sets
Art project? School play promotional posters? These colored pencils will be envy of all your fellow thespians. Check them out and be in the 'Maroon Where It Happens'.
SEE COLLECTION
7. Broadway Enamel Pins
Pins are subtle way to show your Broadway pride. Stick to your backpack, shirt, hat, etc.
SEE COLLECTION
8. Thespian Mask Jewelry
Elegantly display you belong to the thespians. These pendants come in necklaces and bracelets.
SEE COLLECTION
Want more? Check out our entire swag shop collection
SHOP ALL
[post_title] => The Best Back To School Swag For Thespians [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => best-back-school-swag-thespians [to_ping] => [pinged] => [post_modified] => 2018-10-17 02:17:54 [post_modified_gmt] => 2018-10-17 06:17:54 [post_content_filtered] => [post_parent] => 0 [guid] => https://theatrenerds.com/?p=11111 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 1 [filter] => raw ) [13] => WP_Post Object ( [ID] => 11101 [post_author] => 11 [post_date] => 2017-08-22 08:55:37 [post_date_gmt] => 2017-08-22 12:55:37 [post_content] => Plays — they make us laugh, think and cry. While classic playwrights such as Chekhov, Beckett, Miller and Shakespeare are vital to the world of theatre, the past 50 years have brought us contemporary works that continue to pave the way for new and bold stories. Take it from these seven plays:1. ‘Oslo’
After making its home at Lincoln Center Theater, “Oslo” was crowned this year’s Best Play at the Tony Awards. Chronicling the story of the 1993 Oslo Peace Accords between the Israelis and Palestinians, this powerful story dominated Broadway this season.
2. ‘August: Osage County’
Playwright Tracy Letts’ creation is a black comedy that has also been translated to an Academy Award-winning Hollywood adaptation. When a father dies, his wife and their three daughters must come together despite drastic differences. “August: Osage County” weaves a beautiful and tragic tale of humanity and family.
3. ‘The Curious Incident of the Dog in the Night-Time’
Based on Mark Haddon’s bestselling novel, this popular play is one that almost every theatre-goer can appreciate. The show opens on Christopher Boone, a 15-year-old boy with autism, who embarks on an adventure to solve the mysterious murder of a neighborhood dog. This memorable production features sensory lights and sounds that bring the audience into Christopher’s mind in order to show the world through his eyes.
4. ‘Angels In America’
If you’re a theatre nerd, you’ve likely heard of this famous Tony Kushner drama. Written in 1993, the play quickly gained attention for shedding light on the AIDS epidemic and the LGBTQ community during the early ‘90s. A mini series with an all-star cast followed in 2003. Today, “Angels in America” remains a timeless and notable piece of social commentary.
5. ‘Deathtrap’
Who doesn’t love a good “whodunnit” story? Though this is the oldest play on the list (written in 1978), Ira Levin’s “Deathtrap” embodies all the elements of a perfect psychological thriller. This dark comedy will definitely leave you stewing over its many twists and turns for the rest of the week.
6. ‘Frost/Nixon’
If you’re a sucker for political dramas or are a total history buff, this play is for you. The show documents President Nixon’s interviews regarding the Watergate scandal with broadcast journalist David Frost. It received critical acclaim and has been made into a movie.
7. ‘The Play That Goes Wrong’
After seeing or reading the plays on this list, you might want something a bit on the lighter side. This West End creation, written by Henry Lewis, Jonathan Sayer and Henry Shields, received recognition at the Olivier Awards in London, winning Best New Comedy, and now plays on Broadway. If you’ve ever been involved with a production, you will appreciate the brilliance of this show as you watch this play within a play unravel and spiral into madness. No matter what, this play will cause you to laugh your head off.
Want to recommend another contemporary play that you love? Share in the comments below...
[post_title] => 7 Modern Plays That Will Be Your Next Obsession [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => 7-modern-plays-will-next-obsession [to_ping] => [pinged] => [post_modified] => 2017-08-22 08:55:37 [post_modified_gmt] => 2017-08-22 12:55:37 [post_content_filtered] => [post_parent] => 0 [guid] => https://theatrenerds.com/?p=11101 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 3 [filter] => raw ) [14] => WP_Post Object ( [ID] => 9019 [post_author] => 639 [post_date] => 2017-08-19 10:36:43 [post_date_gmt] => 2017-08-19 14:36:43 [post_content] =>1. The Time He Met Robert De Niro
https://www.youtube.com/watch?v=2BD8idIsZoU Rannells tells of the range of reactions to Robert De Niro by members of the cast and crew on the set of his recent film, “The Intern.” If the content of the story doesn't make you laugh, Rannells’ reenactment will.2. The Time He Did a Bit With Neil Patrick Harris at the 2013 Tony Awards
https://www.youtube.com/watch?v=NnB6ynZEr2U Everyone knows NPH is sure thing when it comes to award show hosts, but pair him up with Rannells, and you’ve got even more side-splitting laughs. Along with Megan Hilty and Laura Benanti, they spoof some of Broadway’s greatest hits while lamenting the struggle for Broadway actors to break into screen acting.3. The Time He Auditioned for ‘Law & Order’
https://www.youtube.com/watch?v=fQ7MiEpdhyA Many actors have appeared on “Law & Order” at some point in their careers. While detailing his failed audition experience, Rannells also hilariously brings to light one of the issues with police interviews on the show.4. The Time He Shot an Intimate Scene On ‘Girls’
https://www.youtube.com/watch?v=s4bvJbXhSBg The anecdote detailing an awkward interaction with a co-star is priceless. Enough said.5. The Time He Flubbed His Lyrics During ‘Hamilton’
https://www.youtube.com/watch?v=aBpmA6-g2uw The experience of forgetting lyrics onstage is universal among actors. But Rannells’ solution to deal with his mind blank on the Broadway stage during one of its biggest shows is both ridiculous and laughable.6. The Time He Toured With ‘Pokémon Live’
https://www.youtube.com/watch?v=qnw0BXKk8Ow For starters, “Pokémon” was a live show? Did anyone else not know about this? This interview finds Rannells discussing the questionable choices he made as a broke young actor. Anyone who has ever taken a terrible job for the sake of making money can relate. For further laughs, watch him read from reality star Kendra Wilkinson’s memoir using his “Pokémon” voice. https://www.youtube.com/watch?v=QqyJJjUV8Z47. The Time He Was in a Basketball Musical
https://www.youtube.com/watch?v=nS2etrfKbYY Rannells reps theatre kids everywhere when he talks about sports and the truth behind his character’s audition scene in “Girls.” Bonus, see his mindblowing rendition of “Let Me Be Your Star” from NBC’s “Smash.” With all of these hilarious stories, the only question that remains is why there are no comedians around who specifically discuss theatre life. Netflix, if you’re listening please give Rannells a comedy special. That is all.What is your favorite Andrew Rannells moment? Let us know in the comments below...
[post_title] => Tony Nominated Andrew Rannells' Best LOL Moments [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => tony-nominated-andrew-rannells-best-lol-moments [to_ping] => [pinged] => [post_modified] => 2017-08-18 11:01:29 [post_modified_gmt] => 2017-08-18 15:01:29 [post_content_filtered] => [post_parent] => 0 [guid] => https://theatrenerds.com/?p=10993 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw ) [16] => WP_Post Object ( [ID] => 10979 [post_author] => 391 [post_date] => 2017-08-17 08:21:27 [post_date_gmt] => 2017-08-17 12:21:27 [post_content] => With all of the riffs, aggressive rock singing and seemingly impossible high notes, contemporary musical theatre is chock full of incessant demands for up-and-coming singers. While many such roles help turn a next-to-normal new actor into a Broadway phenomenon, other roles are written as vehicles to help immortalize legends. Demanding contemporary music is not just confined to rock musicals, though. Here are 15 of the most vocally challenging contemporary roles for men:1. Evan Hansen from ‘Dear Evan Hansen’
https://www.youtube.com/watch?v=xkdPRcY0k4o Ben Platt’s awkward, well-meaning character is one of the most vocally demanding roles from the past Broadway season. The role calls for a clear tone while effortlessly executing long phrases in a high tessitura.2. Gabe from ‘Next to Normal’
https://www.youtube.com/watch?v=ZAhgX7RleDQ Originally premiered by Aaron Tveit, Gabe’s vocal writing is alive with riffs and thrilling high notes reserved only for the strongest rock tenors.3. Jekyll/Hyde from ‘Jekyll and Hyde’
https://www.youtube.com/watch?v=vmxVjXtmSaA The dual title role is one of the greatest challenges for contemporary singing actors. The clean, beautiful tone needed for Jekyll and the contrasting growl needed for Hyde require superb technique.4. Lafayette/Thomas Jefferson from ‘Hamilton’
https://www.youtube.com/watch?v=dwydujSqMRA Where Lafayette and Jefferson lack in stratospheric high notes, they make up for with tongue-twisting, record-shattering raps few have mastered.5. Roger from ‘Rent’
https://www.youtube.com/watch?v=JgTObLnwYB4 Adam Pascal set a solid precedent for everyone after him playing the struggling singer-songwriter in Jonathan Larson’s best-known work.6. J.D. from ‘Heathers’
https://www.youtube.com/watch?v=hD7x_7tUFNI The Baudelaire-quoting male lead in this musical is every young rock tenor’s dream, with riffs, high notes any Heather would envy and a killer second-act number (no pun intended here).7. Anatole from ‘Natasha, Pierre, and the Great Comet of 1812’
https://www.youtube.com/watch?v=UaNZfaYmrho The seductive, conniving main antagonist in Dave Malloy’s musical based on Book 8 of “War and Peace” has a range like few roles before it. The character’s last note in “Pierre and Anatole” was written as a joke before Lucas Steele attempted it, according to Malloy.8. Pierre from ‘Natasha, Pierre, and the Great Comet of 1812’
https://www.youtube.com/watch?v=vuYPDlTjCMo Speaking of “Great Comet,” Pierre’s vocal range is incredible, reaching its zenith at a B4 in “The Duel.” Josh Groban’s powerful classical tone against a more contemporary ensemble sound is sheer perfection.9. The D’Ysquith Family from ‘A Gentleman’s Guide to Love and Murder’
https://www.youtube.com/watch?v=oC2lNyBmQFQ One actor plays nine family members (of both sexes) in the 2014 Tony winner for Best Musical.10. Quasimodo from ‘The Hunchback of Notre Dame’
https://www.youtube.com/watch?v=1NZUWYCy5pk The hero of the stage version of the classic Disney film is a challenge vocally and physically. The actor must maintain a hunched posture and speak in a raspy tone while singing angelically.11. Elder Price from ‘The Book of Mormon’
https://www.youtube.com/watch?v=GVJgmp2Tc2s The main character in the 2011 Tony winner for Best Musical has a show-stopping solo in which he reaffirms his faith and purpose in life.12. The Phantom from ‘Love Never Dies’
https://www.youtube.com/watch?v=vaQCVzUn4oQ This flawed but beautifully scored sequel to “The Phantom of the Opera” has spectacular vocal lines for the Phantom. The character not only sings higher than in the previous show, but has a more complex storyline involving Christine’s son, Gustave.13. Frank Abagnale, Jr. from ‘Catch Me If You Can’
https://www.youtube.com/watch?v=BYvzDg3ydm8 Another role created by Tveit, this character has a brisk, demanding eleven o’clock number to cap off an already arduous role.14. Dewey Finn from ‘School of Rock’
https://www.youtube.com/watch?v=u5JAQGUyIPE Based on Jack Black’s character from the film “School of Rock,” Alex Brightman premiered a role with stratospheric rock solos as well as a contagiously energetic personality.15. Huey Calhoun from ‘Memphis’
https://www.youtube.com/watch?v=OGO5rIAAVrQ Loosely based on the real-life disc jockey Dewey Phillips, Huey Calhoun is a character whose rock-soul vocal writing climaxes with the eleven-o'clock number “Memphis Lives in Me.”Did we leave out your favorite role? Let us know in the comments below...
[post_title] => 15 Most Vocally Challenging Contemporary Male Roles [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => 15-vocally-challenging-contemporary-male-roles [to_ping] => [pinged] => [post_modified] => 2017-08-17 08:21:27 [post_modified_gmt] => 2017-08-17 12:21:27 [post_content_filtered] => [post_parent] => 0 [guid] => https://theatrenerds.com/?p=10979 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 21 [filter] => raw ) [17] => WP_Post Object ( [ID] => 10873 [post_author] => 960 [post_date] => 2017-08-16 23:49:05 [post_date_gmt] => 2017-08-17 03:49:05 [post_content] => Just answer what musical these song titles come from. It may be pretty self-explanatory, but that doesn't mean it's easy. The last one is extra hard! If you get it, then... great job... (PS: The pictures are just there to confuse and distract you. They have nothing to do with the right answer.) [post_title] => Quiz: Can You Tell Us What Musicals These 11 Song Titles Are From? [post_excerpt] => [post_status] => publish [comment_status] => closed [ping_status] => closed [post_password] => [post_name] => quiz-can-tell-us-musicals-11-song-titles [to_ping] => [pinged] => [post_modified] => 2017-08-29 02:19:33 [post_modified_gmt] => 2017-08-29 06:19:33 [post_content_filtered] => [post_parent] => 0 [guid] => https://theatrenerds.com/?post_type=snax_quiz&p=10873 [menu_order] => 0 [post_type] => snax_quiz [post_mime_type] => [comment_count] => 0 [filter] => raw ) [18] => WP_Post Object ( [ID] => 8646 [post_author] => 1 [post_date] => 2017-08-15 09:54:03 [post_date_gmt] => 2017-08-15 13:54:03 [post_content] => Guest post by Nikki Kim A new school year brings many things: new clothes, old friends, and the dreaded textbooks breaking your back. On top of all this, Seniors have another big thing on their mind--college. For music theatre, and dance majors, that means more than just filling out the CommonApp--that means the start of preparation for college auditions. As someone who dealt with this chaos as a senior last year, there are several things I wish I'd known beforehand:1. Get Your Prescreens Done Early
During my time with college auditions, I did two auditions on-campus, two auditions at New York Unifieds, one local audition in a hotel ballroom (in November) and one audition via video. I auditioned for two programs that had prescreens, which are videos you send in to a college before live auditions. If they want to see you again, you’ll be invited to campus for a callback.
This leads me to my first point: Get your prescreens done early. I decided to wait on mine until November, even though both of mine were due Dec. 1 (which seems to be the universal date for Common App applications and prescreens, but check with each program individually. Some schools, like Carnegie Mellon, open prescreens on a first-come-first-served basis as early as September 1st.)
When I recorded my videos, I went from my first college audition to my accompanist’s house, and then to a rehearsal, and I was sick while recording them. It was a mess, and I still had to edit my videos. I ended up submitting them at 11 that night, and that added a lot of unnecessary stress. If you start working on your prescreens early, you won’t be rushing to get them all done in a day or so. Even if you feel like they’re not your best, you’ll have time to redo them.
2. Rehearse With an Accompanist
I was lucky enough to already have a relationship with a good accompanist before going into this, but when I was auditioning, I heard plenty of horror stories about kids doing their prescreens with an accompanist for the first time. Find an accompanist and rehearse with them before you record. Don’t know where to find one? Head to your local university’s music department and ask about an accompanist. I happen to live close to Kennesaw State University, so my accompanist works there.
One song I’ve recorded before is “Astonishing” from “Little Women.” This was originally my competition piece, and not to be done with live accompaniment. When I ran it for the first time with a pianist, it was so difficult and it took me a couple tries to adjust. You don't want your hour with an accompanist to result in only one or two takes for your prescreen. Rehearse first, then record.
3. Find Out What Coaching Style Works for You
Everyone has a different way that they learn, grow and progress. Personally, I’ve always liked working on different shows with different directors because this gives me multiple perspectives. I like this approach because I feel like every college will have a different take on the material and I can ask many of my coaches and pick and choose what feels truthful and right to me. Find out what coaching style works for you, and work at it! I feel much better after hearing what multiple people have to say, but you might be the kind of person who does better with a single coach. Experiment for a little bit until you find what works for you.
4. Go to Professional Auditions
One thing a lot of kids mentioned going in is that working with an accompanist in an audition was a fairly foreign concept to them. Personally, I was surprised, because most of my auditions for the past two years have been with a piano. I realized that part of it was because we had different strategies for auditioning. Since I started, I have been encouraged to audition for professional theatres in the area. One tip I cannot stress enough is to go on professional auditions. I’m not saying to pack up and start auditioning for Broadway, but look around for your local equity/non-equity houses and go to their auditions. There is a 99 percent chance you won’t be cast, but that’s OK! The whole point of these auditions is experience, not booking the job. Going into my college auditions, I felt so comfortable (well, as comfortable as you can feel while auditioning) because it felt just like walking into one of my typical Equity-house auditions.
5. Find an Audition Routine
Another thing that professional auditions made me start to do was find an audition routine. I happened to stumble upon mine randomly, but I’ve adopted it and used it for every morning audition. I auditioned at one of the biggest Disney Theatrical cattle calls and had to be there by 7:30 a.m., and it takes a little over an hour to get into the city from my home. I ended up getting up at 4 a.m. to get ready and realized how well that worked for my voice and body. I was awake, alert and ready to go! This always helps me perform at my best, and I’m not in that “I’m really tired and need my coffee” zone at 8 a.m. when I need to belt “Astonishing.”
You’ll also learn what you do with your diet during audition days. For me, I cut out soda a week before big auditions and dairy two days before. The morning of, I chug a Mountain Dew (seems hypocritical, I know) because it gives me 96 milligrams of caffeine and 77 grams of sugar. Then I stick to just water and Throat Coat until after I sing. Everyone is different, and this may not work for you, so find your routine and stick with what works best.
6. Stay in Tune With Your Body
Traveling is often a big part of the college audition process. We chose to drive because we wanted to carry specific bigger items in the backseat, namely a HEPA filter and humidifier. Think about you, your body and how you like to feel when you sing and act. Personally, I have allergies, and hotel rooms often agitate them. I always carry a HEPA filter when I travel and have to sing so it cleans the air. I go set it up in the room and then try to stay out of the room for about an hour or two to let it get to work. This is also a great opportunity to eat and check out your new surroundings.
Hotel rooms also tend to have very, very dry air. This is actually helpful to 99 percent of people there because it helps limit the spread of infection, but it’s not good for vocalists. There is a simple solution: a humidifier! We also set up the humidifier so that when I woke up, my throat wasn’t dry and I wasn’t guzzling water to play catch-up. You can take a bigger one if you and your family choose to drive, but if this is an issue and you have to fly, you can find smaller ones to fit in your carry-on. However, this will take up half of your bag, so try to budget space in your checked bag or family members’ carry-ons.
7. Keep Important Items With You
With traveling, sometimes the “luxury” of driving isn’t an option (hey, I wouldn’t want to drive from LA to NYC!). When this happens, the magic of flying often swoops in to save the day. You’ll probably end up packing more than you usually would for vacation, and most people check a bag. Keep your rep book, dance shoes and one audition outfit in your carry-on. That way, if your checked bag gets lost or delayed, you’ll still have the stuff you need to audition. Toothpaste is easily replaceable, but your rep book filled with all your sheet music and cuts? Not so much.
8. Plan All Unifieds Auditions With a Large Gap in the Middle of the Day
As I mentioned earlier, I auditioned through many platforms, including New York Unifieds, which is a gathering of different programs conducting auditions under one roof (or two, in the case of New York). Unifieds is a great way to knock out multiple auditions in one weekend. If a college you apply to will be at New York, Chicago or Los Angeles Unifieds, you’ll have the option to audition there. You sign up for each college individually with time slots. You can also do walk-in auditions to schools that have an open slot. However, try to plan all Unifieds auditions with a large gap in the middle of the day so you can rest or eat lunch.
I wear three-inch heels to every audition, show and formal event and don’t ever complain about my feet hurting. But by around 1 p.m., my feet were hurting so badly from literally jumping over people, standing in lines and going from building to building. I actually went to the Duane Reade, got some epsom salt and soaked my feet at every gap I had, which helped a lot. My family also decided to stay four blocks away, which was a lifesaver. I’m not sure I would have been able to get through my dance calls if I hadn’t taken the time to rest. Don’t underestimate the time you’ll spend on your feet, and choose comfy shoes!
9. Get Your Parents’ Help
Now, we’re all restless 17- and 18-year-olds, but don’t be too independent. One big tip I learned during this process was to let your parents be stage parents just one time: when talking to your counselors. You’re probably looking at this with a weird gaze, and I don’t blame you! I’ve always been very independent when it comes to my theatre work. My parents made me do all the legwork for theatre myself, so I find auditions, set them up, set up voice coaches and do everything in between. So, when I was applying to colleges, I naturally took things into my own hands.
I called my counselor (I am completely online-schooled) and tried to get her to send transcripts and forms. She told me she had everything handled, and I went on with my life. Well, things didn’t go as smoothly as I’d thought. I received letters from Carnegie Mellon, the first school I applied to, on Dec. 13, saying it hadn’t received my transcript yet. I called my counselor again, and she assured me everything was now fixed. I logged into Wolverine Access for Michigan the day live auditions were supposed to be emailed — no transcript. My prescreens were denied, and I know Michigan does stipulate a certain GPA, so this could have been a reason why my prescreen was denied. Let your parents get involved when you start applying. Parents always outrank students when dealing with schools, unfortunately.
10. Enjoy It!
College auditions are a big milestone in your life, so enjoy it! This is something you’ll likely only do once in your life, and although I find them to be similar to professional auditions, it’s not exactly the same. You meet so many people, see people encourage you left and right and get to learn so much about what you want in a program and a school. You are you, and that’s enough. You’re not auditioning for a role or a part of a show; you’re showing colleges who you are and putting yourself out there. Go be you, because that’s all you can do!
The day before I embarked on 71 percent of my college auditions, I had a coaching session with Rosemary, a coach I’m close with and feel like I can trust wholeheartedly. As we were packing up, she asked me how I felt about all this, and I told her how anxious I was. She smiled, looked me dead in the eye and said, “Don’t worry. If they don’t see the gift, you don’t need to be there.” That moment changed how I felt about college auditions altogether. It’s very true — if a program rejects you, it’s not a reflection of your talent or anything about you. They didn’t see your gift and what you bring to the table, so it’s obviously not the right fit for you. Take a deep breath, smile, go out there and be the best you can be~
Nikki is an incoming Freshman at Elon University studying Drama and Theatre Studies and Marketing. She currently spends her time bouncing from Atlanta to Elon to New York to pursue work as an actress and marketer. During her free time, you can always find her watching a musical or Disney Princess movie and practicing her Disney impressions.
[post_title] => What I Wish I Knew Before College Auditions
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Read carefully...
[post_title] => Quiz: How Well Do You Know 'Heathers: the Musical' Lyrics?
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Guest post by Anne Berkowitz
We love how much these people make us laugh, and for that reason, we think their wit and charisma would lend themselves well to this handful of iconic Broadway characters! Some of these performers sing (and some have already been on Broadway) but most have yet to whet their musical theater appetite. Here are some dream castings of our favorite comedians.
1. Sarah Silverman - Kate Monster
Our girl Sarah is brash, funny, and vulnerable. These are qualities she shares with Kate Monster, the leading puppet-lady of the groundbreaking musical Avenue Q, now celebrating its 13th year on stage.
2. Amy Schumer - Mrs. Lovett
Amy is witty, talkative, and isn't shy about her feelings (or her love of pie). We think she'd make an ingenious Mrs. Lovett in the Sondheim masterpiece, Sweeney Todd. You can currently see the “Demon Barber of Fleet Street” at the Barrow Street Theater.
3. Whoopi Goldberg - Dolly Levi
Dolly Levi, the magical matchmaker and titular character of Hello, Dolly!, is the ultimate leading lady. Whoopi is one of the few strong, multitalented performers who has the charisma and chops to carry the classic show. You can't miss Whoopi's "Get Bruce" co-star Bette Midler give her Tony Award-winning performance right now on Broadway.
4. Chris Rock - The Genie
Loud, wacky, and with a heart (and lamp) of gold, the Genie in the Disney musical Aladdin is an amazing character that would suit the style of comedy legend Chris Rock. Chris has already been on Broadway but has yet to try his hand at a big musical.
5. Louis C.K. - King George
Though it may not seem like it at first, Louis C.K. shares a lot with the character of King George in the smash-hit musical Hamilton. Both are political, sassy, take pride in their vulnerability, and are open about some bad luck they've had in past relationships!
6. Tina Fey & Amy Poheler - Helena Rubinstein and Elizabeth Arden
Need we say more? Fey and Poehler would knock it out of the park playing portraying the trailblazing cosmetic rivals in War Paint. You can currently see two-time Tony Award-winning legends (and good friends) Patti LuPone and Christine Ebersole in the roles.
7. Aziz Ansari - Timon
Aziz would be perfect as the charming meerkat in the long-running musical The Lion King. Can't you just hear the Master of None star singing "Hakuna Matata," talking about how great bugs taste, and helping to save the day with hilarity and love?
8. Kevin Hart - Dewey Finn
Though we aren't sure if movie star Kevin Hart has the rock-and-roll chops to pull off playing Dewey in the Andrew Lloyd Webber musical School of Rock, we know he absolutely has the right sensibilities to play the lovable substitute teacher.
For more comedy content, check out Comedy Month on TodayTix.
[post_title] => Broadway Dream Casting Our Favorite Comedians [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => broadway-dream-casting-our-favorite-comedians [to_ping] => [pinged] => [post_modified] => 2017-08-14 10:08:29 [post_modified_gmt] => 2017-08-14 14:08:29 [post_content_filtered] => [post_parent] => 0 [guid] => https://theatrenerds.com/?p=10807 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw ) [21] => WP_Post Object ( [ID] => 9070 [post_author] => 780 [post_date] => 2017-08-13 08:53:13 [post_date_gmt] => 2017-08-13 12:53:13 [post_content] => [post_title] => Quiz: Which Schuyler Sister Are You? [post_excerpt] => [post_status] => publish [comment_status] => closed [ping_status] => closed [post_password] => [post_name] => which-schuyler-sister-are-you [to_ping] => [pinged] => [post_modified] => 2017-08-13 18:21:26 [post_modified_gmt] => 2017-08-13 22:21:26 [post_content_filtered] => [post_parent] => 0 [guid] => https://theatrenerds.com/?post_type=snax_quiz&p=9070 [menu_order] => 0 [post_type] => snax_quiz [post_mime_type] => [comment_count] => 0 [filter] => raw ) [22] => WP_Post Object ( [ID] => 10686 [post_author] => 68 [post_date] => 2017-08-12 18:24:36 [post_date_gmt] => 2017-08-12 22:24:36 [post_content] => If you do these things... Broadway is LIFE! Community list so add your submission! [post_title] => Top 10+ Signs That Broadway Is Your Life [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => top-10-signs-broadway-life [to_ping] => [pinged] => [post_modified] => 2018-03-16 09:21:45 [post_modified_gmt] => 2018-03-16 13:21:45 [post_content_filtered] => [post_parent] => 0 [guid] => https://theatrenerds.com/?p=10686 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw ) [23] => WP_Post Object ( [ID] => 8461 [post_author] => 639 [post_date] => 2017-08-12 10:10:04 [post_date_gmt] => 2017-08-12 14:10:04 [post_content] => [viralQuiz id=41] [post_title] => Quiz: Movie, Book, Or Musical First? [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => quiz-movie-book-musical-first [to_ping] => [pinged] => [post_modified] => 2018-11-14 09:46:03 [post_modified_gmt] => 2018-11-14 14:46:03 [post_content_filtered] => [post_parent] => 0 [guid] => https://theatrenerds.com/?p=8461 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw ) [24] => WP_Post Object ( [ID] => 10584 [post_author] => 391 [post_date] => 2017-08-11 09:52:30 [post_date_gmt] => 2017-08-11 13:52:30 [post_content] => Women in contemporary musical theatre have become living legends. Idina Menzel, Alice Ripley, Sutton Foster and, more recently, Cynthia Erivo are forces with which to be reckoned for future generations. These women (among other great stars) have conquered some of Broadway’s most formidable, sought-after roles. These figures have made contemporary theatre a time of dynamic, proactive characters with demands reserved for only the cream of the crop. For any ladies looking for a challenge, here are 15 of the most vocally challenging contemporary female roles. Disclaimer: For the purpose of this article, “contemporary” refers to musicals from “Rent” onward.
1. Elphaba in ‘Wicked’
https://www.youtube.com/watch?v=3g4ekwTd6Ig The Wicked Witch of the West in Stephen Schwartz’s hit musical is arguably Broadway’s most coveted role. The character, for which Menzel won a Tony, has four solo numbers, numerous duets and a dynamic descent into darkness.2. Veronica Sawyer in ‘Heathers: the Musical’
https://www.youtube.com/watch?v=3EyDyxGZn_Y The protagonist of “Heathers” has a candy store rich with superb vocal writing, including countless riffs, jaw-dropping high notes and rock singing that tests each mezzo-belter’s stamina.3. Angelica Schuyler in ‘Hamilton’
https://www.youtube.com/watch?v=f0EqxnWxlvY The eldest Schuyler sister accomplishes a broad range of demands, such as rapping, to keep her audience satisfied.4. Elle Woods in ‘Legally Blonde’
https://www.youtube.com/watch?v=Br50XFvrsp8 Originated on Broadway by Laura Bell Bundy, Elle sings for almost the entire show. In between all the bends and snaps, the vocal demands for this daughter of Delta Nu are so much better than you could ever imagine!5. Vivienne Kensington in ‘Legally Blonde’
https://www.youtube.com/watch?v=OYjv7UACdmo Capping her big eleven o’clock number with a high A-flat, Elle’s Harvard rival Vivienne wins the case every time.6. The Lady of the Lake in ‘Spamalot’
https://www.youtube.com/watch?v=YgX_Q7wz0GQ Sara Ramirez won a Tony for her epic performance as the main female character of “Spamalot.” Her two solo numbers are tributes to ‘90s ballad singers and musical theatre divas.7. Sour Kangaroo in ‘Seussical’
https://www.youtube.com/watch?v=oT6MkaULtKA As the main antagonist of “Seussical,” the Sour Kangaroo mocks Horton for supporting the Whos, who she does not believe are real. The Sour Kangaroo’s music is full of soul, sass and commanding personality.8. Aimee McPherson in ‘Scandalous’
https://www.youtube.com/watch?v=rqUFVCIzb0E In this musical, Carolee Carmello portrayed the real-life Aimee McPherson, an evangelist who created the Foursquare Church. The role is so demanding that Carmello went on vocal rest in the middle of its run, according to Playbill.9. Celie in ‘The Color Purple’
https://www.youtube.com/watch?v=E2ok14OZhdg This musical tells the story of Celie’s journey as an African-American woman living in the deep south as she learns to love herself. The role was originally created on Broadway by LaChanze, and Erivo won a Tony for her performance as Celie in the musical’s 2015 revival.10. Diana Goodman in ‘Next to Normal’
https://www.youtube.com/watch?v=zOsg2w-l59U Originally performed by Ripley, Diana is a suburban mom who has bipolar disorder and has delusions from it.11. Maureen Johnson in ‘Rent’
https://www.youtube.com/watch?v=zX1oa9maIAM Maureen is a performance artist who cannot stay faithful to any lover. A belt-heavy role, her most famous interpreters include Menzel, Eden Espinosa and Nicole Scherzinger.12. Princess Fiona in ‘Shrek’
https://www.youtube.com/watch?v=ubBN38hL9KY A self-declared “Morning Person,” Princess Fiona is eager to end her mysterious curse with “True Love’s First Kiss.” Throughout the musical, she belts and sings fluttery soprano phrases.13. The Hilton Twins in ‘Side Show’
https://www.youtube.com/watch?v=44hByhSwqn0 Based on the real-life Daisy and Violet Hilton, “Side Show” tells the story of the famous performing conjoined twins. The plethora of duets that the twins share climaxes in their eleven o’clock power ballad “I Will Never Leave You.”14. Nina Rosario in ‘In the Heights’
https://www.youtube.com/watch?v=iC2n_GG6X_E A soprano character who belts, Nina has dropped out of Stanford University and falls in love with Benny, who works for Nina’s parents.15. Phoebe D’Ysquith in ‘A Gentleman’s Guide to Love and Murder’
https://www.youtube.com/watch?v=JMCjOpxe49g A member of the wealthy D’Ysquith family, Phoebe marries a distant cousin, Monty Navarro. She sings notes that even “Phantom’s” Christine Daae would envy!Did we leave out your favorite role? Let us know in the comments below...
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I’ve rarely ever come into contact with someone who didn’t have an idea for a musical. Everyone wants to write one or be in one or just be on the team. I read nearly every day about musicals that are being made based on beloved films, truly mediocre films or films amazingly inappropriate for a musical. However, ideas for musicals are not just confined to movies, plays and books. They come from board games, TV shows, rides at theme parks — anything. It’s “What I Had for Breakfast Today: The Musical.”
It seems no subject matter is off-limits when it comes to making a musical. However, it takes more than an idea to create something onstage that will capture and hold an audience’s attention and make them feel, or laugh or hate you.
Today, I will touch on the necessary steps (in my humble opinion) that it takes to create a musical your audience hopefully won’t hate you for.
Step 1: Source Material
Nothing is more important than the story you are telling. Whether it’s an idea out of your own head or based on already existing source material, this is the foundation of your show. Source material can be a novel, play, film or even a TV show — I’m sure someone is creating “Mr. Ed: The Musical” right now. If you’re too young to remember “Mr. Ed,” it was a sitcom in the ‘60s about a talking horse, and yes, someone somewhere thinks this is a good idea for a musical.
But still, even the worst idea imaginable will be a good idea to someone. And that’s the real point: All art is subjective. So, even if you really are planning to obtain the musical rights to “Mr. Ed,” you still have a shot at making it a good show if you do everything else right. It’s a very, very small shot, but a shot nonetheless.
The story you choose for your show is the story you will be living with for the next many years, if things go well, so it should be a story you love. It should involve characters you love (or hate for all the right reasons) and want to spend time with. It doesn’t matter whether you have a profound message to share with the world or if you just want to make people laugh and have a good time. That’s up to you. Just know that the story is everything. If you don’t have the story, you have nothing. It’s the foundation on which you will build everything else. If your foundation is shaky, your musical will be shaky. Make sure you get this part right.
Caution: I know the trend is to try to musicalize all the movies we love, and I believe film is a very valid choice for source material for musicals. But be careful. First, you’re going to have to acquire the film rights, and that takes lawyers and money. Unless you’re extremely well-connected, I do not suggest it. If you don’t have an original idea, I suggest taking a novel or play in the public domain and using that as your story. You can update it so that it feels more contemporary. Any novel or play 75 years after the death of the author is in the public domain, and you don’t need permission to adapt, sabotage or plagiarize the works of your favorite dead author.
I’ve adapted several works in the public domain. I started with “Jane Eyre.” I literally had no idea what I was doing. I read the novel, highlighted the parts I thought I should include and then just started writing the book and score. Amazingly, 10 years later, the show would go to Broadway (after 7 million rewrites, countless readings and out-of-town tryouts). Oh, did I mention writing musicals is all about rewriting them? We’ll get to that later.
Tip: Don’t try to guess what the audience wants. No one knows. It’s all a crapshoot. Yes, if you have Hugh Jackman starring in your show, you probably could do “Mr. Ed: The Musical” and it would kill. But we don’t all have Hugh on speed dial, so you’re better off choosing a story you love, whether it’s an original idea from your very own brain or based on previously existing material. If you have your foundation, you’re ready for the next steps.
One more thought: Here’s a very crucial question to always ask yourself when looking at source material: Do these characters sing? Look, I’m very opinionated. Personally, I don’t think Spider-Man sings. Maybe that’s just me (apparently it wasn’t just me). Some characters sing, and some don’t. How do we know? I’m not sure. To me, it’s intrinsic. I just know. I’m hearing about a musical being developed by Broadway producers right now that has characters I know shouldn’t sing. But often, Broadway is more interested in a brand than what makes a good musical. That’s why the world needs us. Notice how I’ve included all of you without knowing you — it’s my way.
Step 2: Who’s Writing This Thing?
The next most important step is deciding who your writing team is, and more specifically, what your role is.
Are you a musician? Are you a playwright? Are you someone who likes to eat ice cream and watch a lot of TV? (Don’t underestimate TV watching. We are in the Golden Age of TV, and you can learn a lot about dramatic structure. Also, it’s a little known fact that ice cream is essential to writing musicals.)
When I write a show, I write everything (at least in the first draft), including the book, music and lyrics. My background is in songwriting, so naturally, writing the score comes easiest to me. But even though I had very little experience writing the libretto to a musical, I decided to do it all myself for “Jane Eyre,” since at that time, I had no writing partner. This was done with the understanding that eventually, I would bring in a book writer. I did, but I had no idea it would be the director of “Les Misérables.” Holy shit.
This improved my skill at writing librettos. Though I did not end up writing the book for “Jane Eyre,” I did write the librettos for several of my other shows, including “Emma” and “Sense and Sensibility.” Working with John Caird was an education in creating musicals. I was very fortunate to have had that experience. But it started with my commitment to do it all myself. Just try to get the work out there so that it could be heard — eventually by John.
Tip: Figure out what you do. If you like to write music but you don’t feel you are strong with lyrics, collaborate with a lyricist. If you are the book writer and you think you can write lyrics, go for it! Do whatever it is you want to do, and find out whether you’re good at it. If not, so what? The biggest tip I can give anyone is this: Don’t be afraid to suck. We all have to start somewhere. And sucking is a reasonable place to begin. We’re here to grow and learn, and there’s no better way to learn than by doing. That’s what worked for me.
Step 3: How Do I Start Writing?
You still haven’t watched Season 3 of “Game of Thrones.” It’s a beautiful day outside, and if you had a dog, he would need to be walked right now. Your boss needs you for an extra shift, and working at Starbucks is sucking out your soul and all your creative juices.
Look, there’s no easy way to say this: Writing is hard. But getting started is harder. So do whatever it takes. Set a time of day where you have time to write and make sure you sit there. Even if nothing happens, it’s okay.
I read once that Paul Simon, one of my favorite songwriters, goes to work from “9–5” every day and just writes, whether he’s inspired or not. I thought that was pretty cool. So, find a system that works for you and stick with it. This game is all about self-discipline. Most of my work is not commissioned, and if I don’t force myself to write, I’m not going to have a career. If you can self-motivate, you are golden.
When adapting from a novel, I would strongly suggest reading the novel before you start to write your musical. I know this seems stupidly obvious, but believe me, I had to force myself to not start writing songs for “Jane Eyre” before I finished reading the book (that fucker took three weeks to read. So many pages). But I was so inspired by the early chapters that I was just bursting to start writing. But of course, that would be stupid. I didn’t know the story yet. I didn’t know the arc of the story. How would I know which bits to include and which bits to leave out? This is the key when adapting a novel — they’re long. When we did our first production of “Jane Eyre,” we basically performed the whole novel onstage. We were so true to the book, we didn’t leave anything out. The show was over three hours long.
Tip: When adapting a novel, the most important decision you can make is what to include and what not to include. With “Sense and Sensibility,” I wasn’t keen on telling the stories of the mother and the youngest Dashwood sister because I felt they were unnecessary to the plot. So, I killed them off, and it worked like a charm. In “Emma,” I got rid of Emma’s sister and brother-in-law. They bored me, so I left them out. The decision is all yours. These works are in the public domain, and you can do anything you want. However, if there really is an afterlife, I have an uncomfortable feeling that Charlotte Brontë, Jane Austen, Oscar Wilde and Charles Dickens are going to kick the shit out of me.
I find that plays are the easiest to adapt to musicals. If you’re working with a good playwright, he or she has already done a lot of the heavy lifting already. Honestly, I would much rather adapt a play than a novel. With a play, I can focus entirely on the score because the story is already mapped out. Chances are, I’m just “musicalizing” the sections of the play I want sung instead of spoken. I am currently adapting the play “Reflections of a Rock Lobster” by Burgess Clarke. It’s based on the true story of two boys who wanted to go to the high school senior prom together in Rhode Island in 1980. After they were turned down by the high school principal, they sued the school and won. The play has so much pathos and heart, and it’s been a dream to take Burgess’ words and make them sing. I love putting myself in the heads of the characters and trying to find new ways to express different emotions. There is a tremendous joy and satisfaction in working with truly smart writers who push you to do your very best work. It doesn’t always happen, but if you have the rights to a great play, it’s a good place to start.
Making a musical based on an original story is the trickiest. When I am adapting Jane Austen novels, at least I know that my story is solid and has worked for almost 200 years. Almost no one is going to leave the theatre saying, “Weak story.” But with an original piece, you have your work cut out for you. Musicals are hard to get right to begin with, but original musicals are even harder. So if you do have an idea you love, then tell your story. Sing your story. Be original. Figure it out as you go.
Be sure to map your story out completely before you start writing songs. One of the biggest mistakes I constantly make is writing music before the idea has settled. Of course, writing the songs can often help expand the idea — and may help in discovering new places to go — but it’s generally a far better idea to have your story completely worked out and a good working draft of the script before you begin writing the score.
Step 4: Where Do the Songs Go?
I play the game “Where’s Waldo?” when I’m working on a new musical (though honestly, I don’t know who Waldo is). Discovering what should be musicalized and what shouldn’t be is the key to writing a good musical.
When I first started working on “Emma,” I came to a place in the novel where Mr. Elton sends Emma and Harriet riddles, which Emma thinks provides clues about his romantic interest in Harriet (when he’s really interested in Emma). I saw many opportunities in this moment to write a great comic song for the three characters. It would have worked wonderfully, and the audience would have eaten it up. But I never wrote the song because it would not have moved the story forward. It wouldn’t have given the audience more insight into the characters. And we find out the same information later in another way. So the best decision I ever made was to not write that song.
“But if the song would have been as great as you say, wouldn’t it have helped the show anyway?”
No. Though it would be an audience pleaser in the moment, it would have made the first act five minutes longer. And then later, there’s a “double beat” in storytelling, which would have taken the air out of later scenes because things are feeling long when they didn’t have to. Everything is finely stitched together in a musical, and pulling one thread can change everything. That’s why musicals are workshopped so much. They are really complicated things to write, because there are so many parts of the puzzle. We never know how it will turn out until we’re up in front of an audience, where we find out everything immediately and it’s often very scary.
Step 5: I’ve Written the First Draft. Now What?
That’s so amazing! And you haven’t even finished this article yet! Bravo to you.
Okay, so you’ve written a first draft. That means you have a book and a score. That is amazing. Seriously, your first musical could be terrible, but you have a first draft and you should absolutely celebrate. Why? Because musicals are hard to write — even bad ones. And you finished something, which is big, especially since musicals take a ton of work. You’ll be rewriting this for the rest of your life, but you have a finished draft and that’s fantastic.
Here’s what’s really great about where you are now. Rewriting is everything. Rewriting is where most of the magic happens. Look at it this way — you are no longer staring at a blank page, which I’ve come to believe is one of the evils of the universe. But now you’re looking at a page that has actual words, and that’s good! You’ll be rewriting those words soon enough, but it’s all part of the ongoing process. You’re in good shape. Just back away from the TV and put down the ice cream.
Caution: Are you really done with that first draft? How is the structure? Don’t worry if it’s too long — it should be too long at first. It doesn’t have to be perfect in your mind yet, but just make sure you are mostly satisfied with this as a first draft. Then, go treat yourself. You deserve it.
Step 6: I’m Ready for My First Reading — I Think
Not only have you finished your first draft, but you’re so happy with yourself that you want all your friends to hear it. So you plan your first reading.
What’s a reading? In New York, we have what’s called a “29-hour reading.” This allows the creative team to work with a group of actors and present the material for either a small or large group of friends, family and industry peeps. You actually have about 26 hours or so to “rehearse,” and the other three hours is the actual reading itself.
However, before you put a reading together, you have to put a creative team together. You already have your writing team, whether it’s just you or you and one or two others. But now you need a director.
This is a big deal. You know how I said that the source material was a big deal? This is the next big deal. Your director will not only guide you through the production, but a good director will also be your dramaturge. A dramaturge is someone who really understands storytelling and will help guide you into making your story as clear as possible — and will lovingly inform you when you are writing something that is total crap. So, choose your director wisely. They are your new creative partner, and they run the show — literally. This needs to be one of your wisest decisions.
Sidebar: When John Caird heard my first demo of “Jane Eyre,” he was in Los Angeles directing “Les Misérables” and wanted to meet. I went to the house he was renting in Westwood. We sat in his backyard as he went through my script with a red pencil, correcting my spelling and occasionally muttering things like, “This isn’t 19th century,” and “This is American, not British.” I felt like an idiot, yet he still somehow asked if he could direct my musical. Yet to this day, I don’t know why the hell I didn’t just use spell check.
“Okay, so I have my director. Do I need anything else?”
I’m so glad you asked that. Yes. You need your next important creative partner: your music director. We call them the MD. (It’s really fun to call them MDs around your parents. It confuses them endlessly.)
Your MD will be the guardian of your score. They will make all the necessary notations and changes, keep the singers happy and make the composer's’ life much easier.
Sidebar: I’m a college dropout, and though I studied music, I don’t read music well. I deeply rely on my music director to be my conduit to the singers. Other composers, such as Jason Robert Brown, are brilliant musicians. They read and play extremely well and can do everything themselves, though they will still rely on great music directors to make their jobs easier.
I’m hopeless when it comes to reading my own scores, and I deeply depend on my music directors to save me and make me look good. They are an integral part of my work, and I’m grateful to all of them for validating my reason to drop out of college.
“Okay. Is that it? Do I need anyone else?”
Yes. You need a casting director, stage manager and someone to transcribe your score into Finale, if you’re anything like me.
Doing a reading of your musical is absolutely necessary for the development of your show. It will be the first time you hear the piece out loud, and it will inform you of the work you still have to do. People are generally not going to laugh if it’s not funny. Listen to how loud or soft the applause is after a given song. Hear when people start to cough during scenes or songs, since this is usually a sign of boredom.
Nothing whips your show into shape like a few good readings and hearing how an audience responds.
Tip: Be sure to cast your show well. One of the issues we always face when casting actors is whether to cast an actor who sings or a singer who acts.
The short answer? Find both. Yet in my opinion, Broadway-caliber performers are a unique breed. There is literally no one else in the world who can do what they do. To act brilliantly and sing brilliantly is a rare thing to find in one person (and we’re not even talking dancing). Often, an actor will audition for me and be a great singer, but their reading is weak. Or the opposite will happen — they embody the character perfectly, but their voice just isn’t quite up to it.
That’s why performers who both sing and act brilliantly are rare. I would argue that many celebrity performers on Broadway would not even be considered if not for their fame. And I mean that with no disrespect. It’s not like they don’t act and sing well — they do. But those who can take it to the next level — say a Sutton Foster or Brian D’arcy James — are the performers who make theatre magical. They are special, and no one can do what they do.
Step 7: That Went Well! What Happens Now?
Congratulations! You’ve just done a reading of your musical, and all your friends told you they absolutely loved it.
Caution: Not all of them really loved it. Some of them are just saying that because they don’t know what else to say. Also, some of your friends who “loved it” also loved Cheetos lip balm, celery jello and the McLobster (actually, the McLobster does sound sort of interesting).
However, let’s just say you got through this reading fairly unscathed and you’re ready for the next steps. If you have a proper team in place, your next step is to rewrite. Your director and/or dramaturge (or producer, or annoying neighbor) will inform you of what they think you need to change.
Tip: Everyone will have an opinion about what is wrong with your musical. Your mom. That weird dude at the grocery store. Ben Brantley (though his opinion will come when it’s much, much too late). The best advice I can give is to take everything in, weigh it and see what resonates for you. Somebody really will hate your work. But that doesn’t mean your work is bad. They just may not have the same taste as you.
Sidebar: One of the most frustrating moments in the evolution of “Jane Eyre”came right after our La Jolla Playhouse production. There was a negative review in a local publication called the LA Weekly. It’s not a major newspaper, but it was one I’d grown up reading. The first line of the review said, “I hate musicals,” and it went downhill from there. I’ll never forget that. I was furious, thinking, “Why the hell are you reviewing my musical that I’ve been passionately working on for the past 10 years if you hate musicals?” Clearly I have anger issues. But the point is, I should never have cared a whit what this guy thought. He didn’t like the medium I was working in. And that’s the point. You have to be confident enough in your own taste and sensibility so that inevitably, when someone of note says your work is crap, you don’t have to necessarily believe them. Unless your work really is crap. Then I’m afraid they have a point.
Sidebar: Opening night of “Jane Eyre,” John told the creative team and cast not to read the reviews. He said if you believe the reviews that tell you you’re a genius, you have to believe the ones that say you suck. It’s true.
So, once you’ve sifted through the critiques, the praise and the apathy — and you’ve done your rewrite — you’re on your way to creating your first full production.
“Okay. So how do I do that?”
That’s a long story, and we’ll cover that next time. But thanks for taking a moment to read my overly opinionated thoughts. I love musicals, and I’ve learned so much through this process. It’s a pleasure to be able to share my experiences with this community.
I hope in the future I can guide a few of you on your own musical journeys. Good luck, and remember: If you’re afraid to suck, then don’t even bother~
Learn more about Paul Gordon and his projects here: www.paulgordonmusic.com
[post_title] => So You Want To Write A Musical? 7 Steps To Getting Started
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[post_content] => 1. ‘Broadway: The Golden Age’
Filmmaker Rick McKay’s 2004 documentary is a verifiable oral history book given to us by the Theatre Gods themselves. This truly wonderful film features interviews of more than 100 stars of the so-called “Golden Age of Broadway” conducted over a span of six years. It’s actually the first film of a planned trilogy and will be followed by “Broadway: Beyond the Golden Age” and “Broadway: The Next Generation.” This is a really special movie, not the least of which because many of the interviewees have now sadly passed on. We cannot recommend it enough.
2. ‘Six By Sondheim’
A stunning documentary produced for HBO in 2013, “Six by Sondheim” documents the man himself by focusing on the backstory of six of his greatest songs. The film came from an idea from writer and former New York Times critic Frank Rich and was produced and directed by frequent Stephen Sondheim collaborator James Lapine.
What makes this documentary different from any others on this list is that it contains new, original stagings of the six songs along with typical interviews and archive footage. Highlights include Audra McDonald and husband Will Swenson performing “Send in the Clowns” and a smashing version of “Opening Doors” starring Darren Criss, Jeremy Jordan, America Ferrera, Laura Osnes and even Sondheim in a deliciously ironic cameo.
https://www.youtube.com/watch?v=I9ZUkx_gr0g
3. ‘Broadway: The American Musical’
In 2004, PBS undertook a massive project when it attempted to document the history of American musical theatre from 1904 to the present day. Boy, did it deliver! This beautifully produced six-party documentary series was directed by Michael Kantor and narrated by Julie Andrews. Fascinating interviews and rare footage are interspersed with stunning photographs you’d be hard pressed to find anywhere else. It’s a must-see for any serious theatre junkie!
4. ‘Broadway Musicals: A Jewish Legacy’
An offshoot of the 2004 PBS series above, “Broadway Musicals: A Jewish Legacy” was produced and directed by the same team. This time, Joel Grey, the master of ceremonies himself, serves as the narrator. It’s an absorbing look at the golden age of musical theatre in which just about every major composer and lyricist was Jewish (save for Cole Porter). The documentary aired on PBS in 2013 and is available on DVD.
5. ‘Broadway Idiot’
Iconic punk-rock band Green Day and Broadway director Michael Mayer teamed up in 2010 and rocked Broadway with “American Idiot,” based on Green Day’s smash hit album of the same name. This awesome documentary follows the process of the creation of the show through to when Green Day frontman Billie Joe Armstrong stepped into the role of St. Jimmy. This 2013 film is a rare chance to see a modern rock musical take shape, and it’s a great look at a big-name star making his Broadway debut. If you loved the show “American Idiot,” this movie is definitely for you.
6. ‘Every Little Step’
Art truly imitates life in this documentary as thousands of actors audition for the 2006 revival of “A Chorus Line” on Broadway. Modern-day triumphs and heartbreak are layered with interviews of members of the original Broadway cast. The documentary debuted in 2008 at the Toronto Film Festival, earning great reviews. Owen Gleiberman of Entertainment Weekly gave the film an A rating, calling it “a movie as layered and enthralling as its subject.” Though it’s hard to become emotionally invested in these performers’ lives and pull for them, since we know only a few will make the cut, this is still totally worth it.
7. ‘Original Cast Album: Company’
Shortly before Sondheim’s landmark 1970 musical “Company” opened on Broadway, legendary filmmaker D.A. Pennebaker had his camera rolling as the original Broadway cast recorded the original Broadway cast album. We get to see many of the show’s numbers, including “Another Hundred People,” “Being Alive” and “Not Getting Married Today.” The climax of the film is when Elaine Stritch struggles to record “Ladies Who Lunch” in the wee hours of the morning after everyone else had wrapped. Watching the legendary performer and Sondheim pursue perfection is a rare glimpse at the guts it takes to gain the glory. The documentary was meant as a pilot for a series in which several cast album recording sessions would be filmed, but sadly, this film was the only one ever produced.
8. ‘The Standbys’
When you open your Playbill and see that little slip of paper with the words “At today’s performance...” your heart naturally sinks a little. But for the person whose name is on that slip, it could be the moment their lifelong dream comes true. This wonderful 2012 documentary takes a look at the difficult and often misunderstood of standbys. It follows Broadway stalwarts Ben Crawford (“Shrek,” “Charlie and the Chocolate Factory”), Merwin Foard (“Aladdin,” “The Addams Family”) and Aléna Watters (“West Side Story,” “Sister Act”) as they wait in the wings for their chance in the spotlight. Watch this one to get a look at this vital but often thankless role in the Broadway hierarchy.
9. ‘Best Worst Thing That Ever Could Have Happened’
The newest entry to the theatre documentary world is one of its best! “Best Worst Thing That Ever Could Have Happened” premiered in 2016 and tells the story behind the final Hal Prince-Sondheim collaboration, “Merrily We Roll Along.” Directed by original cast member and noted director Lonny Price, the film combines new interviews with the cast and creative team with newly discovered footage of the casting and rehearsal process. Few shows have had such a dramatic history as “Merrily,” which was one of the most anticipated shows of the 1980s and ended up only playing 16 performances. All of the triumphs and pain that Broadway can bring are shared with the audience like never before. The movie is currently available to stream on Netflix.
How many on the list have you seen? Which of your favorites weren’t mentioned? Let us know in the comments...
[post_title] => 9 Amazing Theatre Documentaries Every Theatre Nerd Should See [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => 9-amazing-theatre-documentaries-every-theatre-nerd-see [to_ping] => [pinged] => [post_modified] => 2017-08-08 09:36:05 [post_modified_gmt] => 2017-08-08 13:36:05 [post_content_filtered] => [post_parent] => 0 [guid] => https://theatrenerds.com/?p=10285 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 2 [filter] => raw ) [29] => WP_Post Object ( [ID] => 10276 [post_author] => 712 [post_date] => 2017-08-07 09:13:12 [post_date_gmt] => 2017-08-07 13:13:12 [post_content] => There’s an old saying, “If you spot someone in public you think is crazy, they’re probably just an actor.” Okay, okay, I just made that quote up, but I feel like it should be real. Actors are part of an odd breed of people. We have the power to create extremely inspiring and important work, but it’s no secret we also have the ability to attract mountains of judgemental looks. Although we’re each packed with countless and (don’t get me wrong) fantastic quirks, here are seven weird things you’re guilty of doing if you’re an actor:1. Talking to Yourself
You knew this would be No. 1, didn’t you? Trust me, I get the struggle. You’re trying to cement those lines in your head while on the go, or sometimes you just need a friend to calm yourself down before an audition and you’re the only one around. Either way, to non-actors, you look 100 percent cray-cray. There’s nothing weirder than encountering a frazzled person reciting Shakespeare to themselves on the sidewalk.
Tip: Next time you memorize lines or rehearse in public, try pretending you’re talking on the phone. This is only half weird.
2. Doing Extreme People-Watching
“I Wan’na Be Like You” from “The Jungle Book” should be our union theme song.
Actors are chameleons, or at least we try to be. Ideally, we should be able to slip into anyone’s shoes. Although this is a really fun process, it can definitely make us public nuisances. The second we hone in on someone interesting, not only do we want to study them unnoticed for hours as if we’re watching chimps at the zoo, but we immediately want to find out if we can be like them too.
So, you start mimicking their walk while you casually stroll behind them on 5th Avenue or try to get close enough to them in the checkout line so you can study how they speak. Just think to yourself, “WWMD?” (What would Meryl do?). The answer is probably not low-key stalk people.
3. Commencing in Warmups That Definitely Make It Look Like You’re Not Okay
Actors never want to walk into an audition totally cold. We all have some kind of prep activity to get our juices flowing. However, sometimes we’re in a rush and we have to conduct that weird routine while on the go.
We trill while running down the block. We sing scales to ourselves silently (we think). We do facial exercises that probably make it seem like we need help. And don’t even get us started on the stretching. Of course, at the end of the day, if you can walk into that audition room feeling comfortable and ready, it’s worth a few side-eyes on the subway.
4. Using Your Car as Your Rehearsal Space
Owning a car is a privilege for so many reasons, but having a private and transportable rehearsal studio is the best one.
Musical theatre nerds have all had our fair share of belting out audition songs while speeding down the highway. It’s like we have our own version of “Carpool Karaoke,” sans James Corden or any celebs. Most of the time, we get so into the emotional journey of our songs that we forget we’re even driving. Art is dangerous, right?
If you’ve never driven to an abandoned lot and recited your monologue to yourself, I don’t know if we can be friends.
5. Attempting a New Accent in a Public Place
Honestly, this never gets old, and it’s extremely helpful. Ordering that burger and fries in a foreign accent will either grant you a confused look or the burger and fries, no questions asked. If you get a weird glance, you know you have more work to do on your accent. If you get the food, then eat up! You clearly deserve it.
6. Acting Like You Constantly Have an Audience
Being onstage or on set should ultimately feel real if you prepared enough and connected with your own experiences. Well, what if in real life you constantly feel like you’re on a stage or set? Do you ever have those moments where you tell a joke and hold for applause? Or what about coyly making a face to the camera when someone says something strange? It can be hard to shake being in the spotlight!
7. Performing a One-Person Show at Home for Whoever Will Watch
Enough said.
So, we’ve come to the end of this list of some of the many weird things actors do. If you know someone who acts, I hope this clarified some things. If all of these were too real for you, you’re probably an actor.
Do you have any other things to add? Let us know in the comments below...
[post_title] => 7 Weird Things Actors Do That Make Them Seem Totally Nuts [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => 7-weird-things-actors-make-seem-totally-nuts [to_ping] => [pinged] => [post_modified] => 2017-08-07 11:48:29 [post_modified_gmt] => 2017-08-07 15:48:29 [post_content_filtered] => [post_parent] => 0 [guid] => https://theatrenerds.com/?p=10276 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 6 [filter] => raw ) [30] => WP_Post Object ( [ID] => 10051 [post_author] => 774 [post_date] => 2017-08-05 11:02:24 [post_date_gmt] => 2017-08-05 15:02:24 [post_content] =>Come with me, And you'll be, In a world of pure imagination
Today we will be making a 'Charlie and the Chocolate Factory' Laptop Case!
[adthrive-in-post-video-player video-id="31T971f1" upload-date="2019-05-08T14:02:03.000Z" name="Charlie and the Chocolate Factory Laptop Case-DIY" description="Charlie and the Chocolate Factory DIY"]What you will need:
- White paint
- Brown paint
- Gold paint
- Hot glue gun and glue sticks
- White pencil
- Paint Brushes
- Laptop Case
Instructions:
First, you will want to start by painting both edges of the case gold to create the golden ticket. Paint both sides about 2 inches wide. After finishing, allow it to completely dry. Using the Wonka Bar logo as reference, take your white pencil and begin to trace out the font of the label of the candy bar onto the laptop case. This will help create a guideline for us later. After you have drawn your complete “Wonka Bar” label, plug in your hot glue gun and begin to trace and fill it in completely. Helpful tip: Use a Popsicle stick to help smooth out the hot glue. Please be careful while using the hot glue gun, they can get extremely hot. Once your Wonka Bar has been completely filled in, allow it to dry completely. Onto the painting! We will be breaking down each section into different colors. “Wonka” will be in white, “Bar” in gold, and Mr.Wonka’s hat will be painted brown. Paint each section in their correct color until it is completely covered. Set aside so it can completely dry. After the laptop case has dried, you are done! You are ready to show off your new laptop case to all of your friends. But be careful, you may forever crave chocolate when you carry this around. And don’t forget, you are more than welcome to take creative freedom of this project-switch up colors, different font-whatever YOU want! It is your project! Have fun! Send us your DIY projects and we will share them on our social media page! Follow Katie on Instagram for more fun projects @kbettiniart Happy Crafting~ [post_title] => 'Charlie and the Chocolate Factory' Laptop Case DIY [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => charlie-chocolate-factory-laptop-case-diy [to_ping] => [pinged] => [post_modified] => 2019-05-08 10:03:11 [post_modified_gmt] => 2019-05-08 14:03:11 [post_content_filtered] => [post_parent] => 0 [guid] => https://theatrenerds.com/?p=10051 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw ) [31] => WP_Post Object ( [ID] => 10100 [post_author] => 68 [post_date] => 2017-08-05 10:31:55 [post_date_gmt] => 2017-08-05 14:31:55 [post_content] =>Think of meme... think of meme fondly! Enjoy the 18 best Phantom of the Opera memes on the interwebs...
[post_title] => Think Of Meme Fondly: 18 Memes All Phans Will Definitely Appreciate [post_excerpt] => [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => think-meme-fondly-18-memes-phans-will-definitely-appreciate [to_ping] => [pinged] => [post_modified] => 2017-08-06 15:03:50 [post_modified_gmt] => 2017-08-06 19:03:50 [post_content_filtered] => [post_parent] => 0 [guid] => https://theatrenerds.com/?p=10100 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 1 [filter] => raw ) [32] => WP_Post Object ( [ID] => 10006 [post_author] => 876 [post_date] => 2017-08-03 08:40:49 [post_date_gmt] => 2017-08-03 12:40:49 [post_content] => We've all been there. We've met them. Which one are you?1. THE NEWBIE
Just like Chris meeting Kim for the first time, the newbie doesn’t know what he’s in for. The newbie may be a kid, or someone who won the tickets by chance, or someone who was brought by a friend with promises that musicals would change their lives. He’s someone who knows almost zilch about the musical’s background and its cast. Newbies are always fun to have around because you get to see their perspectives change. By the end of Act 1, they’ve fallen in love with the set, the orchestra, and the actors. They’ll be singing show tunes with you on the way home. After the show, the newbies will be asking their veteran peers for musical recommendations and lists, hungry for more.2. THE VETERAN AND SELF-PROCLAIMED EXPERT
If you’ve heard how fast Lin Manuel Miranda can rap, then you'll know what it sounds like when a musical veteran starts talking. The veteran knows everything there is to know about the show. From the musical’s composers and lyricists to the West End, Broadway, and International Tour performers, the veteran knows it all. He almost always tries to wear an outfit inspired by the musical, or at least with its color schemes. The veteran tries his best to buy a souvenir. He knows the lyrics by heart. The expert can be kind of annoying to his companions who only know the basics about the musical because he’ll be the one spouting out facts a mile a minute. Once the show starts, however, the expert pipes down and focuses on the production.3. THE SILENT POLITE AUDIENCE
Ever wonder what Christine felt like when The Phantom swept her away and took her to his underground fortress? That's what it's like for them. The silent type claps at the appropriate moments. He seems emotionless and unimpressed but suddenly you’ll see him wiping away tears during a particularly emotional number, or beaming during the end of an act. The silent polite audience is caught in his own little world – just him and the musical. It’s as if the other audience members don’t exist and it’s just him with Eponine, Jack Kelly, or Elphaba.4. THE OVERENTHUSIASTIC FAN
If he could go onstage and do the Newsies jump along with the cast, he would. He applauds after every song, mouths the lyrics and lines along with the actors, and grips the arms of his companion to keep from screaming. The overenthusiastic fan is always on the edge of his seat, his eyes shining with pleasure at what he’s seeing. Every high note, every complex dance movement, makes him want to cheer. This is the fan who probably saved his allowance for months, or who joined every online contest there was just to see the show. He may be disruptive at times, he unknowingly bumps into the people next to him because of his enthusiasm, but the other members of the audience forgive him because he’s a fan and they understand.5. THE "I DON'T REALLY CARE BUT I HAVE THE MONEY SO I'LL GO SEE IT"
Yes, Marius' family was rich, just like this type. They’re not fans, they don’t really know anything about the musical. They just have the money and the means. Or worse, they only want to see the musical because it’s popular and “in” and all the rage these days and they think it makes them seem “cultured”. Sometimes they're also the ones who are too busy with their phones. Sometimes we forgive them, sometimes we don't. After all, everyone’s welcome in the theater. And who knows? Maybe they’ll grow to love it for real. [post_title] => The 5 Types Of Audiences You Meet When Watching A Musical [post_excerpt] => [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => 5-types-audiences-meet-watching-musical [to_ping] => [pinged] => [post_modified] => 2017-08-03 08:40:49 [post_modified_gmt] => 2017-08-03 12:40:49 [post_content_filtered] => [post_parent] => 0 [guid] => https://theatrenerds.com/?p=10006 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw ) [33] => WP_Post Object ( [ID] => 9480 [post_author] => 440 [post_date] => 2017-08-03 08:00:54 [post_date_gmt] => 2017-08-03 12:00:54 [post_content] => Being part of a production can sometimes feel like joining a secret society. There is a whole set of unwritten rules they don’t hand out at the door and you won’t know existed until they are happening to you. No one prepares you for what will unfold. Experience becomes your greatest teacher, and with each show, you become a little wiser. So, if you are new to #theatrelife, allow us to be your spirit guide.Here are eight dilemmas you may face and some ideas for how to handle them:
1. You Didn’t Get the Part You Wanted
This will happen to you. A lot. And it’s natural to get upset when you are disappointed. But remember, every part of the show is just as importa
nt. Play your part to the best of your ability, because even the smallest part can steal the show if done right. Plus, you never know who is watching. Your performance could lead to an even bigger opportunity.
Didn’t get cast? Join the crew! Every part of a production is a learning experience. Show you are a good sport and a team player and let those in charge get to know you better. It could improve your chances the next time you audition.
2. You Have a Disagreement With Another Member of the Show
This is bound to happen. Being in a show is like being part of a family, and families don’t always get along. You are welcome and entitled to your feelings, but make sure you keep them away from others involved in the show. Vent to your friends, family and even your cat, but don’t start airing your grievances to other members of the production. Disunity can divide a cast and affect the performance you give onstage. If the issue is something specific, speak to that individual away from prying eyes and resolve it directly. The more people are involved, the bigger the problem becomes.
3. You Get a Cold During the Show Run
The old adage applies here: The show must go on. Getting sick during a show run is pretty common. The long rehearsal hours coupled with physical wear and tear does eventually take its toll. Remember to hydrate and get as much rest as possible during downtime.
Too far to go home between shows? Find a spot backstage to curl up and take a quick nap. If your symptoms worsen, be sure to seek the advice of a physician.
If you’re well enough to still perform, be sure to give it your best. Emma Stone often tells the story of scoring her Oscar-winning role in “La La Land” when the soon-to-be director came to see her in a musical on a night when she was ill. In spite of being sick, she scored the part, and the rest is history. So, give it your 100 percent, because the audience will have no idea you’re sick and you never know who is in the crowd.
4. You Missed a Rehearsal
Life happens, and sometimes you miss a rehearsal. The best thing you can do is be proactive. Ensure you notify someone of your absence, since it can be frustrating for cast and crew when someone doesn’t show up and they have no idea why. Giving notice allows them time to regroup and even alter the rehearsal schedule, if necessary.
Also, ask someone who was present to catch you up on what you missed before the next rehearsal. Your fellow cast, crew and production team will appreciate that you took the initiative and helped save some time.
5. You Made a Mistake Onstage
Improvise. Act like it’s a part of the show and keep going. It’s unlikely the audience even noticed. Unless someone has seen your production countless times and memorized every element, no one will have any idea it wasn’t part of the show.
6. Cast and Crew Are Stressed and Short-Tempered
Tech week especially can be a tense time. Try to take everything in stride. If you snap at someone, step back, find a place to take a breath on your own and get yourself centered again. Most of the time, you’ll realize right afterward that you didn’t mean what you said. Don’t let things get awkward — find that person and mend the fence.
If someone snaps at you, try not to take it personally. The best thing you can do is ask whether there is something they need or anything you can do to help. It’s possible something bigger is bothering them and you just caught them at the wrong time.
Don’t forget to thank your crew and production team regularly. They work hard during and after hours, often going unnoticed. Let them know you appreciate all they do
Finally, be preventative and help boost morale! Bringing in homemade cookies or giving someone an encouraging word are easy ways to keep spirits up when people are growing increasingly tired and stressed.
7. You’re Trying to Balance the Show and Your Real Life
This can be a huge hurdle to overcome because being part of a show is rewarding yet demanding. Again, being proactive can help you avoid getting overwhelmed.
Get yourself a planner or agenda of some kind and write down all of your commitments. Your brain is full enough with your lines and choreography without having to remember when you have a dentist appointment or a paper due. Color-coding each item (such as rehearsal, school and social) can also be useful when you’re trying to reference your schedule on the fly.
Scheduling your free time if you have other projects on the go can help you to stay organized and maximize your efficiency. If you know you have scheduled two hours on Sunday afternoon to work on your history essay, you are less likely to be stressing out midweek about how you’ll find time to get it done.
Most importantly, don’t forget to schedule some time to relax and rest. This needs to be a priority, or you will be run down and unable to do anything.
8. You Are Asked to Do Something Unfamiliar
Part of the fun of working on a show is that each one is different. Every production is a learning experience with something to be gained. You may get asked to perform a skill you are unfamiliar with, such as tap dancing, sword fighting or juggling. Even if you aren’t sure how, give it a go. As long as you are willing to learn, there is always a way. Be sure to identify any safety issues and ask questions if you are unsure.
If the task is something you really don’t want to do or causes you discomfort, speak to your director or production team in private. You can address your concerns and even politely decline, if need be. It’s OK to set limits and speak up if you’re uncomfortable.
Every experience is going to come with its own individual highs and lows. However, the beauty of it is that when it’s all over, you’ll get graduation goggles and only remember the good things — so much so that when audition time comes around, you will eagerly sign up for the madness all over again. In the end, there’s nothing like it.
[post_title] => 8 Show Dilemmas And How To Deal
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[post_content] => So, you’ve made a goal to read more this summer, right? Here are six thespian-written memoirs to add to your summer reading list:
1. ‘Not My Father’s Son: A Memoir,’ by Alan Cumming
In 2015, this king of the stage and screen wrote an intimate recount of his life growing up. Alan Cumming bares all in his memoir, discussing his complex relationship with his father and how it affected his success. If it’s an engaging and emotional read you seek, hunker down and grab this one off the bookshelf.
Buy the book here
2. ‘A Little Bit Wicked: Life, Love, and Faith in Stages,’ by Kristin Chenoweth
Kristin Chenoweth might be known as a bright and bubbly Broadway blonde, but this autobiography proves there’s a lot more to her than meets the eye. “A Little Bit Wicked” is full of heart and humor as the actress discusses her journey with adoption, growing up in a small Oklahoma town and, of course, finding her way to the Big Apple.
Grab a copy here
3. ‘Scrappy Little Nobody,’ by Anna Kendrick
The “Pitch Perfect” star’s memoir will satisfy your need for that easy-peasy summer read — plus, Anna Kendrick has a theatre background! “Scrappy Little Nobody” is the perfect book for lounging on the beach. You’ll be obsessed!
Buy the book here
4. ‘In Spite of Myself,’ by Christopher Plummer
If you consider yourself an old soul, dive into the life and career of a familiar face in both movies and the performing arts. You might know him as Captain Von Trapp in the iconic film “The Sound of Music,” but Christopher Plummer is also a prominent figure in theatre, starring in a number of Broadway shows, West End productions and lots of Shakespeare.
Get your copy here.
5. ‘Home: A Memoir of My Early Years,’ by Julie Andrews
How do you solve a problem like finding a good summer read? Once you’ve finished Plummer’s book, it’s only fitting to snag a copy of this novel, written by Julie Andrews. While it doesn’t go in-depth about her movie career, the memoir focuses on Andrews’ childhood and time on the theatre stage.
Click here to read more about this queen.
6. ‘Patti LuPone: A Memoir,’ by Patti LuPone
Speaking of queens, Patti LuPone wrote a book aptly titled “Patti LuPone: A Memoir” because, well, she’s Patti LuPone. Why wouldn’t you read this?
Buy the book here
Have another stage actor autobiography to recommend? Share in the comments below...
[post_title] => 6 Stage Actor Autobiographies You Need On Your Reading List [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => 6-stage-actor-autobiographies-need-reading-list [to_ping] => [pinged] => [post_modified] => 2017-08-01 10:10:43 [post_modified_gmt] => 2017-08-01 14:10:43 [post_content_filtered] => [post_parent] => 0 [guid] => https://theatrenerds.com/?p=9942 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 6 [filter] => raw ) [35] => WP_Post Object ( [ID] => 9474 [post_author] => 391 [post_date] => 2017-07-31 15:20:28 [post_date_gmt] => 2017-07-31 19:20:28 [post_content] => With the Broadway successes of “Legally Blonde” and “Bring It On,” as well as the Off-Broadway cult following for “Heathers,” teen movies are increasingly becoming a basis for composers and librettists to create new musicals. In fact, the recent La Jolla production of “Freaky Friday” and upcoming D.C. premiere of the “Mean Girls” musical seem super fetch for potential New York runs. However, what about some other teen films that, while loved by many, are continually passed over when it comes to Broadway adaptations? Here are 15 adolescent films we feel could rock the stage:1. ‘Ferris Bueller’s Day Off’
https://www.youtube.com/watch?v=81ZtmBAA_NE The classic 1986 film about a high schooler who skips school while pretending to be sick gave Matthew Broderick his breakout role. Who wouldn’t want to see a massive parade onstage?!2. ‘A Walk to Remember’
https://www.youtube.com/watch?v=v27UT5sEZiI Based on the eponymous Nicholas Sparks novel, this breakout film for Mandy Moore is a tragic love story between a rebellious teenager and a leukemia patient. Already a successful recording artist at the time, Moore would later voice Rapunzel in Disney’s “Tangled.”3. ‘The Notebook’
https://www.youtube.com/watch?v=EemLsTG5fX8 Based on another Nicholas Sparks novel, this 2004 movie cemented Ryan Gosling and Rachel McAdams as Hollywood royalty. “The Notebook” is one of the most popular romance films of its decade, and we would love for this movie to receive the “Bridges of Madison County” treatment.4. ‘John Tucker Must Die’
https://www.youtube.com/watch?v=hvn8RCxGauQ This 2006 film is about three women who attempt to take down a manipulative athlete who has secretly been dating all three of them at the same time.5. ‘The Breakfast Club’
https://www.youtube.com/watch?v=Z2WZrxuwDhs This 1985 Brat Pack film about five teenagers who meet for detention and discover that they are more than their stereotypes was a groundbreaking portrayal of the teenage psyche. It continues to be cherished by teenagers of every generation.6. ‘Scott Pilgrim vs. the World’
https://www.youtube.com/watch?v=7wd5KEaOtm4 Based on the graphic novel series, this 2010 film features the musician Scott Pilgrim trying to win the love of Ramona Flowers by defeating her seven evil exes.7. ‘She’s the Man’
https://www.youtube.com/watch?v=ofIzQbTGQ2E Based on Shakespeare’s “Twelfth Night,” this movie tells the story of Viola Hastings, who disguises herself as a boy to join her brother’s school’s soccer team. It’s one of Amanda Bynes’ better-known movies.8. ‘Easy A’
https://www.youtube.com/watch?v=RZtMR9PZcmI In this movie based on “The Scarlet Letter,” Emma Stone plays a high schooler who takes pride in her new status as the school tramp. Considering Stone’s stint in the Broadway revival of “Cabaret” and her Oscar win for “La La Land,” we’d love to see her play a role in a possible Broadway production of this film.9. ‘Jennifer’s Body’
https://www.youtube.com/watch?v=mC3tkheD5gc This 2009 horror comedy film starring Megan Fox is about a high schooler who kills her classmates, while her best friend tries to stop her.10. ‘The Edge of Seventeen’
https://www.youtube.com/watch?v=LgN2mdEvei4 One of Hailee Steinfeld’s more recent films, this movie is about a high schooler who tries to navigate her way through adolescence after her father’s death. Steinfeld earned a Golden Globe nomination for her performance as Nadine.11. ‘Spring Breakers’
https://www.youtube.com/watch?v=oaeVPdsVkyA This 2012 dark comedy film is about four young women on spring break who meet a drug dealer and descend into a world of drugs and crime. It is considered one of Selena Gomez’s earliest ventures into more adult roles.12. ‘The Bling Ring’
https://www.youtube.com/watch?v=Q4LzhgExvrc This 2013 crime film starring Emma Watson and Taissa Farmiga is based on a true story about a group of burglars who robbed various celebrities in 2008 and 2009.13. ‘Crossroads’
https://www.youtube.com/watch?v=vb398BOlv0Q This 2002 movie was Britney Spears’ first feature film and was promoted with the hit single “I’m Not a Girl, Not Yet a Woman.”14. ‘10 Things I Hate About You’
https://www.youtube.com/watch?v=rore790l_sk Based on Shakespeare’s play “The Taming of the Shrew,” the movie is about two high school students, Cameron and Patrick, who try to win the hearts of fellow students Bianca and her sister, Kat.15. ‘The House Bunny’
https://www.youtube.com/watch?v=i-RmuzppVuM In this 2008 comedy, a former Playboy Bunny (Anna Faris) becomes house mother to an unpopular college sorority. The film also features a Stone before “Easy A.”Which teen movie would you love to see hit the stage? Let us know in the comments below...
[post_title] => 15 Teen Movies That Deserve Their Own Stage Version [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => 15-teen-movies-deserve-stage-version [to_ping] => [pinged] => [post_modified] => 2017-07-31 19:14:49 [post_modified_gmt] => 2017-07-31 23:14:49 [post_content_filtered] => [post_parent] => 0 [guid] => https://theatrenerds.com/?p=9474 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 1 [filter] => raw ) ) [post_count] => 36 [current_post] => -1 [before_loop] => 1 [in_the_loop] => [post] => WP_Post Object ( [ID] => 11358 [post_author] => 7 [post_date] => 2017-09-13 09:52:50 [post_date_gmt] => 2017-09-13 13:52:50 [post_content] => There’s no denying that technology and theatre have a complicated relationship. While some shows, such as “Dear Evan Hansen” and “The Encounter,” have embraced social media, others have sworn against it. Let’s be real, no one wants to get Patti LuPoned during a show (yes, it’s a verb now). So, then, what role does technology and social media play in theatre, both in the audience and onstage? Once again, the answer to that question is complicated. However, social media and marketing expert Tony Howell thankfully took the time to speak with me on the matter and discuss how producers can begin to embrace technological advances while still maintaining the integrity and beauty of live theatre. “I think it has a place in certain pieces,” Howell said of social media. “I don't think it needs to take over, but I would like to see stories that include it because it’s part of the world we live in now.” Recently, social media has been brought to the stage, most notably in the 2017 Tony Award winner for Best Musical, “Dear Evan Hansen.” But how can the audience use social media without interrupting the performance? [caption id="attachment_11360" align="alignnone" width="768"] Ben Platt in 'Dear Evan Hansen'[/caption]
“What I would encourage in terms of best practices is that it’s totally great to take a picture of the procedium and playbill,” he said. “Another great thing is to leave a review. After you see something, review the piece yourself, go to their Facebook page and share your thoughts, especially when they’re positive.”
When it comes to producers’ and marketers’ use of social media, Howell said the most effective method to getting people to share their experiences of the show is to have a step and repeat in the lobby of the theatre. This way, everyone who comes to the show can take a picture and post it online.
Social media is undeniably a great tool to be used before or after a show. However, surfing social media and the internet during a performance has recently become far too regular. Rest assured, theatre fans, this isn’t just a Broadway problem, but a global one.
“I think we will see a global problem of attention spans and people disconnecting from the real world around them to engage with the virtual world around them, but I don’t think it’s limited to theatre,” Howell said. “We see our union and industry fighting against it, saying that live theatre needs to be live.”
However, Howell hopes that embracing social media within limits will actually bring great changes to the Great White Way.
“What I think will happen with Broadway and theatre, I hope, is that we’ll be able to share our art form with audiences and more people through digital with the expectation that if you want the premium live experience, you buy a ticket,” he said. “I would like to see more digital integration where we get to be a part of the show. Word-of-mouth marketing is the No. 1 form of marketing because it doesn’t cost you anything, and people trust their family and friends’ recommendations. I think producers are hurting themselves by not encouraging social media. I just think that we have to write the rules and teach etiquette.”
What about onstage? Could social media be incorporated more frequently into shows themselves, like “Hit List” from the hit NBC show “Smash?” (Yes, it’s a hit in my heart.)
Howell warns that it may remove people from the story, since taking a second look at their phone may cause audiences to then surf the web or check email. However, in the right context, with limitations, it could potentially work.
Aside from within the theatres themselves, Howell has also seen how social media has started to have an impact on casting decisions.
“I see it being involved in casting decisions, but I think people make the mistake of looking at 10,000 followers versus the actual engagement rate,” he said. “So someone with a hundred followers and a higher engagement could actually bring more results to the ticket process than someone with a bunch of spambots that they bought from Russia.”
Frankly, it’s 2017. Technology and social media are bound to start to find their place within theatre, whether onstage or offstage. While this does present some potential negatives to the experience of live theatre we’ve come to know and love, with the right rules and guidance, it could have a profound effect on the art form.
[post_title] => What Role Does Social Media Play In The Theatre?
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