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[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
The “Curious Incident of the Dog in the Night-Time” star waited tables for her day job. One such instance included waiting on the Foxwoods cast of “Spider-Man: Turn Off the Dark,” according to The New York Times.
Have your gorgeous face glistening on your homepage, since it’s the first thing onlookers should see. Make sure it looks like you and is welcoming — first impressions are everything. Let this photo wow your viewers and inspire them to peek through the rest of what you have to offer.
For example, Paul Thomas Ryan’s headshot on his homepage immediately showcases a website that says, “Hi!” to anyone who comes to take a look.
Your work represents what you’ve already done while giving an indication to the artistic creative member glancing at your site whether you are the talent for them. It’s fine to upload a hard copy as a jpg or PDF or just type it into the web program itself. Just make sure your resume is clear, concise and professionally formatted.
Kelly Reader gives us a fabulous example.
Your website does you no good if no one can reach out to you after they look at it. Make sure you have a direct email listed, preferably one you check regularly. Don’t put your personal phone number on your website, since you don’t want any strangers having your digits. Anyone who wants to contact you for work will reach out via email if they need to get in touch.
Also, remember to use an email that includes your name so everyone knows who is emailing them when it pops in their inbox. For example, someone named Joe Smith would want to use “JoeSmith@gmail.com” versus “iamagreatperformer@gmail.com.”
Dana Aber did something a bit different than email that also works perfectly. Give visitors the option to fill out a form to contact you if you don’t want to give your email out for the whole world to see.
Show off your talents by including performance videos, MP3s and anything else that demonstrates your performing talents and can get you hired. You never know who may be watching and who might want to hire you after watching them.
Dana K. Brown makes an amazing use of her video page with videos showcasing her performance work and specialty skills.
Let viewers know who you are by including a bio that tells people about yourself and shows off some of your personality and accolades. Think of this place as a way to give personal insight into you and your talents that may not be obvious through your resume. Don’t feel the need to write a long bio — short and sweet works just as well, especially when you’re just starting out.
Emy Holden’s bio certainly gives enough information to know she is a professional, while offering some insider information about where she came from.
Make sure your viewers know all your latest goings-on by creating a news feed or news page. Keep it up-to-date, since you never know who may be looking and who may want to venture out to see you in your latest show. Make sure each post contains all the information about your latest venture, such as where to purchase tickets, show times, location and any links to other applicable sites.
Carmen Vass has her newsfeed on her homepage, with the fabulous announcement that she has joined the Broadway national tour of “The Phantom Of The Opera.”
If you’ve got it, flaunt it! If you've been in the business for a while, you are bound to have positive reviews, accolades, an agent/manager, production photos, union membership and more. These all should be added to your website in an organized fashion. You can create separate pages for most of the above, then add your union status onto your homepage and your agent/manager onto your contact information page. Your website is always a work in progress, so expect to continue to add to it as you pursue your life in the business.
A website by yours truly (Kimberly Faye Greenberg) shows my interesting artistic entrepreneurial endeavors and accolades to ensure people see them right away.
When people visit your website, it should be a reflection of you while still remaining professional, clean and well-organized. This could mean you choose style of fonts, colors or even using graphics that give more insight into your personality and talents. Feel free to have some fun with it!
Bethany Kay has a great branding statement that shows exactly who she is. With a fun and welcoming introduction and design, the website really showcases her sassy personality.
“Dear Evan Hansen” is breaking records and shattering conventions all over the place, from beginning to end.
This was my first theatre experience, and for a very long time I was convinced that 8th graders were the best actors.
This first one isn’t so much how it transformed the way I write musicals, it’s more like – what the hell is a musical? I was in the 5th grade and we were watching the 8th grade performance of Bye Bye Birdie and it blew my little 5th grade mind. People on stage singing. I’d never seen such a thing. “The Telephone Song” was a magical moment in my young life (and till this day remains a favorite song of mine, though the show itself, not so much).
Lesson: Musicals are cool.
I think I was about 17 when I saw my first production of Godspell. This was the first professional production of a musical I’d ever seen and it was the perfect show for me to take in. I’d grown up with pop music and the rock score was easy for me to assimilate. I loved the humor, the silliness, the nonlinear story line and the counterculture feel of the show. I was already writing songs at this point in my life and this production gave me the bug to write musicals. I still love this show and Stephen’s score.
Lesson: Musicals can have rock music and they can be fun.
I remember one day asking my high school friend, Debbie Gravette (who’d win a Best Supporting Actress Tony for Jerome Robbins on Broadway just a few years later) who the new composers were writing musicals these days? I had been soaking up the scores to the classics, but living in Los Angeles didn’t give me any insight into what was going on in contemporary New York theatre. I didn’t even know there was contemporary New York theatre. Debbie told me that Leonard Bernstein’s lyricist on West Side Story had a new show called A Little Night Music and it was really good. The guy’s name was “Stephen Sondheim.” I was skeptical but curious. I wasn’t convinced a lyricist was going to be much of a composer. I purchased the LP the next day to hear for myself (yes, we still had LP’s). Needless to say my life changed forever. From the first downbeat to it’s glorious last note, A Little Night Music quickly became my favorite score of all time. It was smart. I’d never heard anything like it. When the touring company of the show came to LA I had an opportunity to finally see Hal Prince’s production for myself. I saw it ELEVEN TIMES (I would have gone back several more times but the touring company, sadly, had other cities to go to). The experience was so powerful for me I literally couldn’t get enough of it.*
*Side bar: Very late in the run of JANE EYRE on Broadway in 2000, a young man approached me after the show and told me he had seen my show 53 times. I was not shocked. I knew the feeling.
This show is a master class taught by the theater’s greatest genius. I personally believe that librettist, Hugh Wheeler, was Sondheim’s strongest book writer and both this show and Sweeney Todd, stand out to me as his very best musicals.
For anyone interested in writing musicals, I would suggest studying this show. The elegance and efficiency of the book. The brilliant score that captures each character’s irony and pathos as only Mr. Sondheim can...and the music is simply magnificent.
When I wrote my musical Emma, based on the Jane Austen novel, I paid keen attention to A Little Night Music. Its use of reprises and how the score weaves in and out of the dialogue so that you hardly know when one stops and the other begins. Just a truly perfect musical in every way for me.
Lesson: This musical taught me HOW to write musicals.
A few years later I went back to the Schubert Theater in LA and saw A Chorus Line. God help me, I’d never seen anything like it. This show knocked me out in a completely different way than A Little Night Music. A Chorus Line continued my education in musical theatre. Here was a show about an audition with people standing on stage talking about themselves and the only through line was they really hope they got it. And that was all they needed. That and Michael Bennett and Marvin Hamlish.
Unlike A Little Night Music, seeing a A Chorus Line, did not inspire me. It depressed me. My ego was convinced I would never come close to writing a show like this. (Sorta true, I never did, only I’m not actually depressed about it. Oh, if only I could talk to young me.) Every aspect of the production blew me completely away. Though the show is slightly dated now (very much a musical of its time), its impact on all of us will be felt forever. Definitely a life changing event for me.
Lesson: I suck, I can’t do this (but I would eventually recover).
On my first trip to New York I had the great fortune to see the original Broadway production of Sweeney Todd. I actually feel very lucky to say that Sweeney Todd was my “first.” And I can truthfully say that I have never seen a better musical since. Maybe a few as good or nearly. But this show is a masterpiece. In every way. Hugh Wheeler’s book moves the story forward at such a smart pace, you hardly notice his work at all (and I mean that in a positive way. Like a great film score – you don’t notice it if it does its job right). Mr. Sondheim was clearly at the top of his game when he was writing for these deliciously wicked characters.
I am especially moved by the deep harmonic textures of the score highlighted by orchestrator Jonathan Tunick’s gut wrenching strings. Mr. Sondheim’s brilliance at writing strong melodies which he peppers with the perfect amount of harmonic dissonance is a composer’s instruction book. It feels like I will never stop learning from this man.
Lesson: Go further. Push myself. Musicals can be rich, complex, dark and funny. Never play down to your audience.
When I saw the first touring production of John Caird and Trevor Nunn’s Les Miserables, I distinctly remember walking out of the theatre humming the stagecraft. I didn’t particularly care for the show itself (on first viewing), but I was enthralled by everything else.*
*Sidebar: I remember thinking to myself, “I want to work with these people one day”. A few years later I would be working with the director, the scenic designer and the costume designer and we would be nominated for 5 Tony awards for Jane Eyre. But I’ll save that for another time.
A this point in my life, I was a staff songwriter at Warner-Chappell Music and I had no connections to the theatre world. But one of the demo singers I worked with at the time was in the touring company of Les Miz and understudying Eponine. One night she called me and said she was going on – So I had to go back and see that show again that I didn’t particularly care for, aside from the dazzling stagecraft.
Experiencing the show a second time, I got it. The music -- that I thought sounded bland and monotonous the first time, on second listening, felt inspired. Though I will always be challenged by too much unnecessary resistive in the score, there is no denying the genius in the storytelling.
John and Trevor along with the rest of the creative team expertly adapted a classic novel for the stage in a way that made it resonate and sing. They knew which beats of the story to tell and which not to tell. Adapting a novel into a musical is no easy task. John and I would later adapt Jane Eyre and Daddy Long Legs together, and I tackled a few Jane Austen novels on my own. There is no doubt that Les Miz led the way for me.
Lesson: A tutorial on how to adapt a novel to the stage.
All I really wanna say about this one is: I love this show so much. It reminds me a bit of A Little Night Music though its tone is completely different. When the musical was broadcast on PBS from Lincoln Center several years ago, I must have watched it about 15 times before my DVR actually broke. Adam Guettell is the theatre’s current resident musical genius (though Jason Robert Brown’s Bridges and Last Five Years are also exquisite, and don’t get me started on David Yazbek and his brilliance).*
*Sidebar: I should have lost the Tony to David Yazbek instead of Mel Brooks. Sorry Mel.
Piazza, with its minimalistic sets, astounding score and romantic story reminds us that there is a place for sophisticated shows that break musical boundaries. We may not walk out of the theatre “humming” these songs on first listening, but with further investigation the listener will be delighted to discover the deep layers of harmonic brilliance in Adams music.
Lesson: You don’t need to leave the theatre “humming the songs” to make a masterpiece. Sometimes we are challenged by writers to see and hear things differently -- and we must evolve ourselves in order to appreciate their genius.
I really loved this show when it was at the Public a few years back. Directed by the brilliant Alex Timbers, Bloody broke new ground and paved the way for the likes of Hamilton and other shows. Spring Awakening was the first “period” show that used the device of “contemporary language” integrated in a 19th century play. In that show, characters spoke in the vernacular of the time but they “sang” in contemporary language. The result was powerful and stunning on stage in the original production. Bloody took things much further. While the characters were sort of dressed in the attire of the era –if everyone was in a punk rock or emo band – the language is completely contemporary and works brilliantly and hilariously. I don’t think this show gets the credit it deserves. It’s a true trailblazer. The musical inspired me to play with language, loosen the rules and basically – hate Andrew Jackson forever.
Lesson: Anything goes. Play with language. Play with sets and costumes and break every rule. Theatre is fun and wild and hit and miss. Don’t worry about it and try new things.
I’m always learning. I’m always listening. Sometimes we see a show and it’s not so great. And it doesn’t inspire us. But then that gives us the opportunity to learn, why it didn’t inspire us. And we learn from that too.
We all have opinions. Thanks for letting me share some of mine.
Cheers,
Paul
Learn more about Paul Gordon and his projects here: www.paulgordonmusic.com
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[post_content] => If you listen to Broadway music, the following situation should sound familiar: a sudden explosion of sound and movement as you begin to yell and interpretive dance to your favorite song. Take this quiz to find out what Hamilton character you are based on what song part you sing in group numbers!
[post_title] => Which Hamilton Person are You Based on Your Song Preference?
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Take this quiz to figure out if you know this beloved new musical as well as you think you do!
[post_title] => Hardest Dear Evan Hansen Lyrics Quiz Ever
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[post_title] => The Hardest Hamilton Lyric Quiz You’ll Ever Take
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[post_content] => Amélie a musical based on the movie of the same name made its way to Broadway but was closed soon after. Was it too soon? The production Amélie is about a girl who, as a child, was hidden from the real world for the most part, as her father mistakenly diagnoses her with a heart defect. She is at Notre Dame, where her mother is praying for a son as she believed it would solve the problems of her daughter's creativeness. As she is leaving she witnesses her mothers death which happens when a tourist falls on her. As she grows old she quickly realizes she does NOT understand the world around her, and for multiple years avoids contact with people, including the people she works with as a waitress at "The Windmill Café". As she finds a box that belongs to the old owner of the apartment. She decides that if she can find the owner and return it she will become an anonymous do-gooder. After she returns meeting many unique characters. She sees a man lose his book. This is where the romance begins. In the song(Sisters Pickle) she disguises as a nun to return the book and decides she will try to stay in touch. But chickening out last minute just leaves pieces of her disguise as hopes he will try to find her. Through her dad's obsession with a gnome, her do-gooding, and her social awkwardness they end up together. Though it takes work they get to the point of a romantic relationship. Though there are worries about the relationship they both talk about how they would not be upset about the relationship ending(although we all hope it will last).
People involved in this including the actors and actresses, crew, but very importantly the writers Daniel Messé and Nathan Tysen, one of whom wanted to make this a musical since they saw the movie the very first time.
Dates relevant to the show
August 29, 2015-Opening at Berkeley
October 18, 2015-Last show at Berkley
December 4, 2016-Opening at Ahmanson Theatre in LA
January 15, 2017- End of showing at the Ahmanson
March 9, 2017- The official beginning of previews on. broadway at The Walter Kerr Theatre
April 3, -Official Opening
May 21, 2017- The (much too early) closing of Amélie
The Closing of Amélie
Some feel the closing of Amélie wasn't closed soon enough but many feel it closed much too soon(I'd agree). Despite a marvelous cast, they were excluded from Tony Nominations (despite the show being phenomenal). Unfortunately, due to not getting nominated there was minimal popularity. This means it was not producing enough money to stay running. The show coming to a close so abruptly luckily cause a large sale of tickets for the last performances meaning there is hope of a revival.
Personal connection:
When I saw the movie I was immediately attached and also thought a great production could be made. Luckily later it was announced. Unfortunately, I couldn't see at Berkeley or in LA. When I heard Soo and Berat were both remaining in the cast I knew I HAD to see it. As I am young and reliant on my mother because I cannot get tickets let alone go to NY alone I had to wait to go. When the closing was announced I ran to my mother sobbing, as I was busy all the way to the closing I was afraid I wouldn't be able to go, especially on short notice. At first, she thought I was joking, when I showed the official announcement I ran to my room crying. Later she called me and told me she had gotten tickets. I could hardly breathe. After I was sobbing while seeing it I went to the stage door. I got to meet one of my favorites in the show Savvy among the other actors and actresses who made me break into tears. My sister had told me before how a lot of people have a show that they really feel. The way she described it I knew Amélie was that for me...I am now determined to revive it.
All in all, Amélie is amazing and you should definitely go listen to the soundtrack...asap!
[post_title] => Amélie A NEW MUSICAL! All The Info!
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[post_content] => Whether you’re just beginning your theatre journey or have been in the business for a while, there are plenty of things that drive performers crazy. We polled actors across the United States to get their insights on just what those things are. How many of these pet peeves can you relate to?
My theory is this: If there is a Tony for best costume design, then why shouldn't there be one for best makeup and hair design? Some of the greatest artists in the world are ones that put makeup on an actor's face, and make them transform into character. These people need to be recognized for the work they put in -- or on -- a show.
The amazing people standing behind the amazing Josh Groban? The amazing ensemble of Natasha, Pierre, and the Great Comet of 1812. Just like these people, ensembles all over Broadway put in so much work to put the show on its feet. They need to be triple threats, and prepare for long and intense dance numbers. Without these actors, these shows would not have the pizzazz and spark that they do.
Behind the scenes, waiting backstage, are understudies and swings. These people have to learn many tracks, and have to cover lead roles. The work they put in is crazy, and they never know when they might go on. These people deserve to be recognized for all of the work they put in, which many argue is more work than the leads. Amazing understudies like Colton Ryan and so many others go unrecognized. So what about it? A Tony for the less recognized actors and actresses?
Listening to cast albums make us theatre nerds feel like we are transported to NYC to see the show. It showcases the amazing voices of the cast, and makes you feel safe while listening to it. And, it makes you wanna dance and sing in public, am I right? There's always one song on the album that is entrancing and addictive, that we listen to it over and over and over and over and over and over. Clearly, the writers were on to something with this song, and it needs to be recognized.
Although this category might have been added in 2005, based on not enough support, it was kicked aside. But now, I feel it is time for it to come back. Many of the replacements in musicals deserve spots on the Tony's, because, let's face it'; it is so hard to replace the original amazing performer and try to make the role your own. Performers such as Stephanie J. Block and Sara Barielles missed out on opportunities for Tonys because they were replacements.
Quick! To rehearse! Oh, snap.
[post_title] => Oops There Goes My Cheerios
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[post_title] => Quiz: What Type Of Shakespeare Play Are You?
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[post_content] => “This is taking chances, this is almost touching, what the beauty is…”
Contemporary roles for sopranos are an interesting bunch. Whereas sopranos typically play young, romantically inclined ingenues, contemporary characters do far more than just “glitter and be gay.” The 16 roles we’ve compiled here have various age ranges and complex characters, each with their own goals and struggles that are not seen in more classic Golden Age shows. While some roles are more wickedly popular than others, they all offer personalities performers and audiences will continue to treasure.
If getting to the Broadhurst Theatre isn’t an option, you can feast your eyes on this 1997 animated feature. This popular cartoon of Disney musical caliber is definitely on Broadway for a reason: It’s a rags-to-riches princess story with tons of good music. We’re in!
Pop! Six! Squish!
“Chicago” transports you to the Cook County Jail during the height of the Jazz Age. Beware: This is no “Orange Is the New Black.” This infamous musical is full of glitz, glamour and merry murderesses — plus, a few dazzling dance numbers.
Our Netflix recap last year sported this morbid musical, and we’re dying of happiness that we can still stream “Sweeney Todd.” Tim Burton’s take on Stephen Sondheim’s melodious creation is forever worth the watch when you want something a little bit darker than “La La Land.”
Yup, this classic is still available on Netflix, too. We’re (summer) lovin’ it.
Filmed stage musicals can be tough to find, but this Broadway show, starring Brian d’Arcy James and Sutton Foster, has remained in Netflix’s library. This ogre-ish fairy tale is a must for every musical theatre lover.
We’re geeking out over the fact that this animated feature might have a future on a Broadway stage! The 1998 Dreamworks film features songs by Stephen Schwartz (“Wicked,” “Pippin,” “Godspell”) and a score by Hans Zimmer (“Pirates of the Caribbean,” “Interstellar,” “The Dark Knight,” “Inception”). Before it garners a few Tony nominations, this Academy Award-winning movie should make it to your Netflix List. Need we say more?
June is bustin’ out all over, and we’re still obsessed with this classic Rodgers and Hammerstein musical. This movie is complete with a dream ballet sequence, beautiful ballads and a heart-wrenching love story. Just be sure to grab a box of tissues!
This adaptation of Jason Robert Brown’s nitty-gritty love story stars Hollywood sweetheart Anna Kendrick and Broadway heartthrob Jeremy Jordan. A glorious collection of duets accompany the tale of an aspiring actress and an up-and-coming writer trying to make life together work.
In case you need some holiday cheer this summer, “White Christmas” has your back. Bing Crosby, Danny Kaye, Rosemary Clooney and Vera-Ellen star in this Irving Berlin masterpiece, which embodies both the best of Broadway and Hollywood.
We love a good jukebox musical, especially when it’s a romance set in the ‘60s and encompasses 34 Beatles songs. Fans of HBO’s hit series “Westworld” can also appreciate actress Evan Rachel Wood showing off her singing chops opposite Jim Sturgess.
Once you’ve finished watching “White Christmas,” you can make some frozen hot chocolate and tune into Tim Burton’s holiday-themed cult classic.
Why not just host a “Christmas in July” musical movie night? Netflix now features the broadcast version of Radio City Music Hall’s famous Rockettes. Though this isn’t your traditional musical, the iconic celebration boasts oodles of dancing and enough good tidings to make you wish you were celebrating the holidays in the Big Apple.
Okay, we know this isn’t exactly a movie, but it is on Netflix! If binge-watching a TV show is more your speed, check out this hilarious series created by and starring Rachel Bloom. It’s chock-full of ridiculously relatable and fabulous musical numbers.
“Hamilton” might not be on Netflix (we can dream, right?), but you can stream Disney’s latest blockbuster featuring Lin-Manuel Miranda’s musical penmanship. Warning: You just might find yourself belting “How Far I’ll Go” for the rest of the week.
Disney's 2006 surprise smash hit still holds up, at least according to the generation it first touched! So be before you dog this one, give it a chance! Directed by the amazing Kenny Ortega (Newsies) and even stars a current Broadway favorite, (recently in Holiday Inn) Corbin Bleu.
Channel your inner George and check out your local art museum. See if there is a tour or audio guide and learn about the different artists and styles.
It doesn’t need to be Broadway — depending on your options, it could be a touring company or local community theatre production. There is something to be gained from any show you see.
Help inspire change like Tracy Turnblad and volunteer for a cause you believe in.
Take a theatre-inspired road trip to a theatre festival or show.
Head to a local park and enjoy a picnic with your posse. You could even fly a kite!
Enroll in a creative summer course such as dance, acting, design or comedy to improve your skills. If there are no in-person class options in your area, try to find something online instead.
Enjoy a clear night like Guy and Girl and try some stargazing.
Do some research to learn more about your community theatre groups and how you can become a part of them.
Get your friends together and practice applying stage/costume makeup using a YouTube tutorial as your guide.
Challenge your friends to a “Waitress”-style pie-making contest and indulge in sampling everyone’s creations afterward.
Get a job or volunteer at a local theatre camp to help promote the arts to a new generation.
Nature is a great place to get ideas about dance and movement. You don’t need to go far to find your nearest zoo or wildlife park to observe the way animals move and interact.
Start a scrapbook with your favorite theatre experiences, or put those saved programs and ticket stubs on display in a shadow box or framed collage.
Take a trip to somewhere new and take in the local sights. Stuck at home? Plan a dream trip inspired by your favorite musical, such as Anastasia’s St. Petersburg, Maria’s Salzburg or Hamilton’s New York. Who knows, you might actually end up taking that trip someday! Need some inspiration? Check out our post on theatre-inspired vacation destinations.
Next time the clouds let loose, head outside and sing and dance in the rain. Of course, always be safe and check whether there will be lightning!
Attend an outdoor concert or theatre in the park. It’s a great way to get some fresh air and your theatre kick!
Tour your city by bike and check out the local sights. Feel free to sing “Do-Re-Mi” while you ride.
Cruise your local library or bookstore for reading material. Lin-Manuel Miranda came up with the idea for “Hamilton” after reading Rob Chernow’s book on the Founding Father while on vacation. It just goes to show that you never know where inspiration may strike!
Explore the wide world of dance and learn a new style. Many places will offer free classes or lessons over the summer, either at their studios or local events. You never know when you could be caught up in a dance battle!
Share the list with your friends and see how many you can check off before the bells ring and class is back in session.
Recommended supplies: (click on name to view/purchase) Clear iPhone 6 case Clear iPhone 7 case Clear Samsung Galaxy case Paint Pens used in video:
Perhaps you have just graduated high school and are entering college. Perhaps you are changing your career to pursue your first love of being a backstage technician. Either way, you may be wondering how to build a resume and get experience if no one will hire you without it.
The answer is simple. If you are in school, work in the theatre department. Delve into any and all aspects you can. That work experience counts, since everyone has to start somewhere. Also, take the time to ask your teachers and professors about their lives in the theatre, what they enjoy about it and how they have built up their resumes.
If you aren’t in school or your school doesn’t offer theatre education, seek out local theatres in your area. Many need volunteers or have internships, apprentice/mentorship programs or production assistants. All of these are geared toward those with little to no experience. Show your interest through an application phone call or written inquiry. Then, get in there and start working. Those entry-level positions and internships could lead to a very lucrative career with that theatre if they like you and your work. Who knows, a paid position may open up and you might be able to put yourself in the running for it.
Also, remember many theatres bring in artists and designers from across the country you can work directly with. It’s possible you may start to develop a successful working relationship with one or more of them. In turn, this newfound connection may allow you to be put in the mix for when a job opens up at another theatre company they are affiliated with. You just never know! If nothing else, you build up your resume, network and overall skill set to apply for bigger jobs.
Is your skill set up to the professional level? Do you have the hands-on experience and theatre credits to book regular backstage work?
Your next step is to format a clean, concise and clear resume listing all your experience. Get someone to help you if you don’t know how, or find sample resumes online with your similar skill sets and copy their formatting. Once your resume is complete and you have a professional cover letter stating your interests, it’s time to start applying for paid jobs.
Watch notices daily on Backstage and Playbill. These two sites are the go-to spots for backstage theatre job postings throughout the country. Be bold and brave and see which theatres bite once you send out your resume.
Have the skill set and resume and are working in your local performing arts scene? The next step in the career ladder of a backstage artist eventually moving toward Broadway is to consider joining your applicable IATSE union.
Wardrobe, sound, stagehands, hair, makeup, etc., all have union locals in cities nationwide. Joining is a great stepping stone to a lifetime in the theatre as a backstage professional. Not only is being a union member a must for working on Broadway, but it can be your opening to higher-paying work, as well as protection against workplace mistreatment/injury and great long-term benefits such as health insurance and money for retirement.
The Broadway touring shows that travel from city to city all use union stagehands who are based in the local city in which the show is playing. Many professional regional houses also use stagehands. Visit or call your local union for more information about requirements, how to join and how to apply for positions.
You’ve built up your experience and resume to the level of a solid working paid professional and you’ve perhaps joined your city’s local union. You’ve moved to the Big Apple and are now dying to get to work in one of those beautiful theatres along 42nd Street. What do you do?
First, visit your New York City union office to join or see whether you can transfer your membership from your previous city to the New York one. Once you are a member (and in some cases, registered), you can start to look for work on the Great White Way.
Broadway job openings aren’t really announced, so you have to be smart and have some strategy when getting your resume out there. First, ask the union how to best apply for jobs in your field, since your membership may get you access to contact lists and job openings.
Second, do resume/cover letter drop-offs at the stage door of theatres addressed to the specific supervisor you want to hire you. This information can be found at the union or on the back of the Playbill you get when you see a show.
Third, ask someone in your field on Broadway to refer you. This referral may come from someone you worked with in the past or someone you’ve met while on the job hunt or even in your social life.
Fourth, keep working! The New York market offers plenty of opportunities both Off-Broadway and beyond. Keep working and meeting people. You might be surprised how many of those gigs or connections can help take you to Broadway as well.
No matter what, don’t give up. Your Broadway gig might not happen right away, but if you are professional, proactive, passionate and pervasive, it’s bound to happen one day.
Okay, this is an obvious one, but tickets are going faster than Squidward gets annoyed. Ticket sales began June 26, so grab your best friend and choose a date you’ll have totally free so you can plan festivities for all-day fun! Tickets can be found here.
Design the perfect experience by making your visit to the Big Apple seem more like a trip to the big pineapple under the sea (see what we did there?). Since you can’t actually dive deep into the depths of the ocean while in Manhattan, we’ve compiled some excellent nautical spots to consider visiting on your journey:
This is a separate section of the planning process because as every SpongeBob fan understands, the Krabby Patty is considered sacred in Bikini Bottom. Despite there not being a Krusty Krab restaurant in New York City (anyone want to get that started?), there are definitely spots where you can grab a Mr. Krabs-approved meal:
Get excited, because now that you’ve completed all the necessary preparations, it’s time to relax and enjoy some SpongeBob. Prepare for the musical extravaganza that awaits you by watching as many episodes as you can — heck, throw a viewing party! That way, you’ll fully appreciate every homage and nuance the Broadway version pays to its animated predecessor.
After all this, you can officially quote your dear square friend and shout: “I’m ready!”
While more classical-sounding musicals such as “Camelot” and “110 in the Shade” continued to flourish, budding composers such as Stephen Sondheim, Jerry Herman and Kander and Ebb were scoring their first hit musicals. Star vehicles such as “Hello, Dolly!,” “Mame” and “Funny Girl” catapulted the careers of then-new stars Carol Channing, Angela Lansbury and Barbara Streisand, respectively.
https://www.youtube.com/watch?v=iVh9zjf0Tww
It was common for musicals such as “A Funny Thing Happened on the Way to the Forum” and “Cabaret” to mix elements of light comedic opera with jazz/swing to tell their stories.
https://www.youtube.com/watch?v=RC4g4wkiN_I
Not until the end of the decade did rock musicals such as “Hair” begin to sway the direction of musical theatre toward the dominant styles today.
https://www.youtube.com/watch?v=xlCilKlqrvI
The success of “Hair” led to more rock musicals coming to Broadway, specifically “Jesus Christ Superstar,” “The Rocky Horror Picture Show,” “Grease” and “Godspell.”
https://www.youtube.com/watch?v=TfKDYiF1jTw
https://www.youtube.com/watch?v=39tXfUm80Bc
The ‘70s also saw a surge of African-American-themed musicals such as “The Wiz,” “Purlie,” “Timbuktu!” and the black-cast revival of “Hello, Dolly!”
Two of the longest-running musicals from the ‘70s were “A Chorus Line” and “Chicago.” While composers such as Sondheim continued to thrive with hit shows, other names such as Stephen Schwartz and Andrew Lloyd Webber began to achieve their earliest successes in New York.
https://www.youtube.com/watch?v=_97F4CnzVBc
The ‘80s were the peak era for the pop-opera genre, which combines elements of opera with traces of mainstream pop music. This genre is best exemplified by musicals such as “The Phantom of the Opera,” “Les Misérables” and “Chess.” The latter show produced “One Night in Bangkok,” one of the last show tunes to be a pop radio hit in the United States.
https://www.youtube.com/watch?v=rgc_LRjlbTU
These shows were innovative for their groundbreaking sets, such as having a helicopter onstage (“Miss Saigon”), a chandelier falling (“Phantom”) and a light-up chessboard platform (“Chess”).
https://www.youtube.com/watch?v=oZDcSrODALQ
American musicals such as “Nine,” “Drood” and “Into the Woods” had similarly structured musical scores. Aside from “Phantom,” Lloyd Webber’s era of commercial peak in the United States included Broadway transfers of “Cats,” “Joseph and the Amazing Technicolor Dreamcoat” and “Starlight Express.”
https://www.youtube.com/watch?v=9ZKSVKDvkF0
While the pop opera genre was still popular thanks to musicals by Frank Wildhorn, such as “Jekyll and Hyde” and “The Scarlet Pimpernel,” Jonathan Larson’s rock musical “Rent” was a turning point in making musical theatre appeal to younger audiences. Like “Falsettos,” “Rent” deals with topics such as homosexuality and HIV/AIDS in contemporary New York City, and Larson’s musical won the Pulitzer Prize for Drama in 1996.
https://www.youtube.com/watch?v=cQZeH-JTie8
https://www.youtube.com/watch?v=0vVnzD0itSE
Meanwhile, Disney movies such as “Beauty and the Beast” and “The Lion King” turned into long-running Broadway productions.
A new generation of composers introduced Jason Robert Brown and Michael John LaChiusa, whose biggest successes include “Parade” and “The Wild Party,” respectively.
https://www.youtube.com/watch?v=tBmw2ZY7bDI
Last decade, there was a plethora of musical adaptations of various films, such as “Hairspray,” “Shrek,” “Legally Blonde,” “The Color Purple” and “Xanadu.”
https://www.youtube.com/watch?v=3g4ekwTd6Ig
While “Wicked” became the decade’s longest-running original musical, more vulgar shows such as “Avenue Q” and “Spring Awakening” received wide acclaim, too.
https://www.youtube.com/watch?v=xEYV5bNMZVo
Disney kept producing Broadway adaptations with “The Little Mermaid” and “Mary Poppins.” Furthermore, “In the Heights” brought hip-hop and Latin music to the Great White Way, while more serious musicals such as “Next to Normal” discussed mental illness.
https://www.youtube.com/watch?v=UvVgm4imyj0
Lin-Manuel Miranda’s sleeper hit musical “Hamilton” took the world by storm in 2015, using hip-hop and color-blind casting to tell the life story of one of America’s founding fathers.
https://www.youtube.com/watch?v=b5VqyCQV1Tg
Meanwhile, female composers such as Cyndi Lauper, Lisa Kron and Jeanine Tesori scored success by winning Tony Awards for “Kinky Boots” and “Fun Home,” respectively.
https://www.youtube.com/watch?v=mFs7UREmXyM
Disney’s Broadway adaptations included “Newsies” and “Aladdin,” while more mature shows such as “The Book of Mormon” sold out performances for months back in 2011.
Musicals of the 2016–2017 season such as “Dear Evan Hansen” and “Natasha, Pierre and the Great Comet of 1812” showcased scores influenced by singer-songwriter music as well as EDM and indie rock, respectively.
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
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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 ) [6] => 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 ) [7] => 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 ) [8] => 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 ) [9] => 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.
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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 ) [11] => 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 ) [12] => WP_Post Object ( [ID] => 9867 [post_author] => 857 [post_date] => 2017-07-30 23:25:27 [post_date_gmt] => 2017-07-31 03:25:27 [post_content] => Ever wondered which Dear Evan Hansen character you are? [post_title] => Which Dear Evan Hansen Character Are You? [post_excerpt] => [post_status] => publish [comment_status] => closed [ping_status] => closed [post_password] => [post_name] => dear-evan-hansen-character [to_ping] => [pinged] => [post_modified] => 2017-07-30 23:28:54 [post_modified_gmt] => 2017-07-31 03:28:54 [post_content_filtered] => [post_parent] => 0 [guid] => https://theatrenerds.com/?post_type=snax_quiz&p=9867 [menu_order] => 0 [post_type] => snax_quiz [post_mime_type] => [comment_count] => 0 [filter] => raw ) [13] => WP_Post Object ( [ID] => 9844 [post_author] => 798 [post_date] => 2017-07-27 15:19:30 [post_date_gmt] => 2017-07-27 19:19:30 [post_content] => Hello everyone, I'm Lydia Wills, and I'm a singer, actress, and dancer from Pennsylvania. I have just finished up my most recent show "Bye Bye Birdie" with Servant Stage Company, and recently played Hermia in "A Midsummer's Night Dream" with Aleithia Players. I have a total of eight years of dance training, including two years of pointe, eight years of ballet, two years of basic tap, and two years of basic jazz. I have been in many school plays and I am currently considering professional and community auditions for the coming year. My dream is to make it to Broadway, hopefully as a musical theatre actress.Triple Threat - A Overview
As theatre actors and actress, I'm sure we've all heard it before - "You need to be a triple threat to make it on Broadway." But what is a triple threat, and is being one really gong to help one break onto the Great White Way? I heard it said once that being a triple threat highly increases your chance of getting to perform Broadway. However what is a triple threat?Simply put, a triple threat performer is someone who excels at acting, singing, and dancing, and is fluent is all three aspects.You may be asking, especially if you mostly do plays, "Is being a triple threat only needed for musicals? What if I don't want to do musicals and only want to do plays?" Well, too bad for you because only doing plays will lessen the chance of you making it as theatre actor anywhere, yet alone on the B-way. Musicals are a large part of the live theatre industry and you don't want to be waiting tables your entire life just because you don't know how to dance. Taking dance classes or voice lessons is a simple way to assist yourself and is normally fairly inexpensive.
Being a Double Threat
This being said, however, it is possible to become a Broadway performer, and have miminal or no training in dancing. However it is possible to make it too the big stage being what I like to call a "Double Threat".A double threat performer is someone who excels at acting and singing, however have little to no dance experience.There are many performers who don't have a strong dance background, and have still had extremely successful Broadway careers. I have selected two performers who were/are on the casts of hit musicals to talk about for this section.
- Ben Fankhauser: Broadway: Newsies; National Tours: Spring Awakening, Beautiful - The Carole King Musical.
- Ben Platt: Broadway: Dear Evan Hansen, The Book of Morman; Movies: Pitch Perfect, Pitch Perfect 2.
Dancing is not his strong suit, but he worked his butt off to be the best dancer he could possibly be, giving to the role what it needed. He just plain worked hard. -- Ted Walch, LA Times Article on Platt.Above is a quote from a former teacher of Ben Platt, in an interview he did for the Los Angles Times. (1) Now, Ben has stolen peoples hearts with the extremely emotional performance in "Dear Evan Hansen", but his ability to dance has had nothing to do with his success. Though his musicals haven't been dance heavy, his ability to perform in the areas of singing and dancing are providing his as much and a strong background in dance could.
The Finale Scene
These talented actors just prove that you can indeed have a successful career in live theatre without having triple threat training. Though I would highly suggest some dance classes for up and coming performers, if that is not an option for you, then it is possible to continue to purse your dreams. So go out there and keep working, training, auditioning, and hopefully performing because you never know what might happen in the theatre. Break a leg! (1: https://www.latimes.com/entertainment/arts/la-et-cm-ben-platt-high-school-days-20170611-story.html) [post_title] => Being A Triple Threat - Is It Really Required? [post_excerpt] => [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => triple-threat-really-required [to_ping] => [pinged] => [post_modified] => 2017-07-27 15:19:30 [post_modified_gmt] => 2017-07-27 19:19:30 [post_content_filtered] => [post_parent] => 0 [guid] => https://theatrenerds.com/?p=9844 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw ) [14] => WP_Post Object ( [ID] => 9123 [post_author] => 391 [post_date] => 2017-07-27 08:22:19 [post_date_gmt] => 2017-07-27 12:22:19 [post_content] => As any working performer can tell you, employment in musical theatre can be rather spotty. Actors can go several months without employment once a show is over, and most of them will take day jobs while auditioning for their next project. No matter how long they’ve been in the field, most actors have worked odd jobs before their big break.Here are 15 famous Broadway actors and their pre-Broadway jobs!
1. Lin-Manuel Miranda
https://www.youtube.com/watch?v=YBQ5YILNGXE Before his massive hit musicals “In the Heights” and “Hamilton,” Lin-Manuel Miranda was a seventh-grade English teacher at his former high school, according to Playbill. Later, he played a substitute teacher in a “Saturday Night Live” skit.2. Jenn Colella
https://www.youtube.com/watch?v=g2k200Bc0G8 Before blowing away audiences in “If/Then” and “Come From Away,” Jenn Colella was a skate guard at a roller skating rink, according to TheaterMania. In 2012, she appeared in the Broadway production of “Chaplin: The Musical,” which used a lot of roller skating, reports NJ.com.3. Andrew Rannells
https://www.youtube.com/watch?v=zZMITCOkpQ8 Before his successes in “The Book of Mormon” and the revival of “Falsettos,” Andrew Rannells cleaned his dad’s office by emptying ashtrays and trash cans.4. Idina Menzel
https://www.youtube.com/watch?v=cRWWZpv5I2c Before defying gravity in “Wicked” and “Rent,” Idina Menzel sang at weddings and bar mitzvahs in the New York metro area. She also sometimes lied about her age to get gigs.5. Rachel Bay Jones
https://www.youtube.com/watch?v=o5oqfl_VHHg Rachel Bay Jones, who recently won a Tony Award for “Dear Evan Hansen,” briefly worked at an ice cream parlor in high school. However, any chance of her staying for a second day quickly melted away, according to TheaterMania.6. Barbra Streisand
https://www.youtube.com/watch?v=GkKq2FoGxVY Even legends have to start somewhere! After winning a talent contest in Greenwich Village, Barbra Streisand became a nightclub singer at the Bon Soir. She then starred in “I Can Get It for You Wholesale” and “Funny Girl,” receiving a Tony nomination for both shows.7. Keren Dukes
The “Curious Incident of the Dog in the Night-Time” star waited tables for her day job. One such instance included waiting on the Foxwoods cast of “Spider-Man: Turn Off the Dark,” according to The New York Times.
8. Leslie Kritzer
https://www.youtube.com/watch?v=9PNfKTGceTk Before starring in the original Broadway cast of “Legally Blonde: The Musical,” Leslie Kritzer worked as a barista shortly after graduating from the University of Cincinnati. Atlas, the restaurant where she worked, attracted celebrities.9. Susan Blackwell
https://www.youtube.com/watch?v=LgmIudX43TA The “[title of show]” and “Now. Here. This.” actress has worked in corporate management for 17 years in addition to doing part-time admin work and guest-starring on “Law and Order.”10. Adam Driver
https://www.youtube.com/watch?v=nCwwVjPNloY Best known for playing Kylo Ren in the new “Star Wars” trilogy and playing Adam on HBO’s “Girls,” Adam Driver starred in the 2011 Broadway revival of the play “Man and Boy.” Before enrolling at Juilliard, he served in the Marines for two years and later founded the nonprofit organization Arts in the Armed Forces.11. Kelli O’Hara
https://www.youtube.com/watch?v=apnHOwWuTkQ The “Bridges of Madison County” star grew up on a farm in Oklahoma, where her first job was chopping cotton, according to Broadway.com. She would later graduate from Oklahoma City University.12. Carolee Carmello
https://www.youtube.com/watch?v=yd_ABccbbP0 The “Parade” and “Tuck Everlasting” star once worked as a perfume sprayer in Macy’s Herald Square, later calling it “the worst job ever,” according to Playbill.13. Ramin Karimloo
https://www.youtube.com/watch?v=35LG83gwz70 The “Love Never Dies” and “Anastasia” actor moved from Canada to Oxford, England in 2002, where he became a factory worker, states The Guardian. After five years of voice lessons and agent searching, he played the title role in the West End production of “The Phantom of the Opera” in 2007, according to Playbill.14. Julia Murney
https://www.youtube.com/watch?v=emuf8FiHExg One of the original stars of Andrew Lippa’s “The Wild Party,” Julia Murney has an established career as a performer and voice-over artist, doing ads for Macy’s, Lysol and Reddi Whip.15. John Gallagher, Jr.
https://www.youtube.com/watch?v=0qw0RwOSOt4 Best known for his work in “Spring Awakening” and “American Idiot,” John Gallagher Jr. struggled as a caterer before his theatre career took off, according to Backstage. He was also in the band Old Springs Pike but now writes his own music. https://www.youtube.com/watch?v=6k8dWAw07U8Think of any other odd jobs from Broadway actors? Let us know in the comments below...
[post_title] => 15 Jobs These 15 Stars Had Before Broadway [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => 15-jobs-15-stars-broadway [to_ping] => [pinged] => [post_modified] => 2017-07-27 08:22:19 [post_modified_gmt] => 2017-07-27 12:22:19 [post_content_filtered] => [post_parent] => 0 [guid] => https://theatrenerds.com/?p=9123 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw ) [15] => WP_Post Object ( [ID] => 9497 [post_author] => 736 [post_date] => 2017-07-26 07:35:01 [post_date_gmt] => 2017-07-26 11:35:01 [post_content] => As a performing artist, it’s imperative to have your own website. It becomes your calling card on the information superhighway and a place where future employers and fans can come back to check out you and your talents on a regular basis. Whether you design it yourself or get someone to do it for you, here are eight must-haves to make sure your website is ready for its big debut:Starting From Scratch? Click Here To Learn How To Setup, Build And Launch Your Personal Actor Website
1. Headshot
Have your gorgeous face glistening on your homepage, since it’s the first thing onlookers should see. Make sure it looks like you and is welcoming — first impressions are everything. Let this photo wow your viewers and inspire them to peek through the rest of what you have to offer.
For example, Paul Thomas Ryan’s headshot on his homepage immediately showcases a website that says, “Hi!” to anyone who comes to take a look.
2. Resume
Your work represents what you’ve already done while giving an indication to the artistic creative member glancing at your site whether you are the talent for them. It’s fine to upload a hard copy as a jpg or PDF or just type it into the web program itself. Just make sure your resume is clear, concise and professionally formatted.
Kelly Reader gives us a fabulous example.
3. Contact Information
4. Examples of Your Talents
Show off your talents by including performance videos, MP3s and anything else that demonstrates your performing talents and can get you hired. You never know who may be watching and who might want to hire you after watching them.
Dana K. Brown makes an amazing use of her video page with videos showcasing her performance work and specialty skills.
5. Bio
Let viewers know who you are by including a bio that tells people about yourself and shows off some of your personality and accolades. Think of this place as a way to give personal insight into you and your talents that may not be obvious through your resume. Don’t feel the need to write a long bio — short and sweet works just as well, especially when you’re just starting out.
Emy Holden’s bio certainly gives enough information to know she is a professional, while offering some insider information about where she came from.
6. News
Make sure your viewers know all your latest goings-on by creating a news feed or news page. Keep it up-to-date, since you never know who may be looking and who may want to venture out to see you in your latest show. Make sure each post contains all the information about your latest venture, such as where to purchase tickets, show times, location and any links to other applicable sites.
Carmen Vass has her newsfeed on her homepage, with the fabulous announcement that she has joined the Broadway national tour of “The Phantom Of The Opera.”
7. Extras
If you’ve got it, flaunt it! If you've been in the business for a while, you are bound to have positive reviews, accolades, an agent/manager, production photos, union membership and more. These all should be added to your website in an organized fashion. You can create separate pages for most of the above, then add your union status onto your homepage and your agent/manager onto your contact information page. Your website is always a work in progress, so expect to continue to add to it as you pursue your life in the business.
A website by yours truly (Kimberly Faye Greenberg) shows my interesting artistic entrepreneurial endeavors and accolades to ensure people see them right away.
8. Design With Your Personality in Mind
When people visit your website, it should be a reflection of you while still remaining professional, clean and well-organized. This could mean you choose style of fonts, colors or even using graphics that give more insight into your personality and talents. Feel free to have some fun with it!
Bethany Kay has a great branding statement that shows exactly who she is. With a fun and welcoming introduction and design, the website really showcases her sassy personality.
Do you have a performer website? Any tips for how to make it go from good to great? Share your stories with us in the comment below...
TOOLS:For website hosting, we recommend Bluehost
For Domains, we recommend Godaddy
For Web Platform we recommend WordPress which is available as a package with Bluehost
[post_title] => Rock Your Performer Website With These 8 Must-Haves [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => rock-your-performer-website-with-these-8-must-haves [to_ping] => [pinged] => [post_modified] => 2018-10-01 01:11:21 [post_modified_gmt] => 2018-10-01 05:11:21 [post_content_filtered] => [post_parent] => 0 [guid] => https://theatrenerds.com/?p=9497 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 1 [filter] => raw ) [16] => WP_Post Object ( [ID] => 9491 [post_author] => 639 [post_date] => 2017-07-24 10:12:23 [post_date_gmt] => 2017-07-24 14:12:23 [post_content] => With the success of shows such as “Glee” and “Crazy Ex-Girlfriend,” it’s no surprise that nonmusical shows have jumped on the bandwagon lately with one-time-only musical episodes. Though it feels like a newer trend, musical shows have been a thing for some time. Some of the more famous ones occurred in shows such as “Buffy the Vampire Slayer” and “That ‘70s Show.” Though they make for a great one-off episode, they don’t always go as planned. “Grey’s Anatomy” has one of the least popular musical episodes, which is unsurprising considering the general topics the show covers. It was also insanely creepy to watch the cast sing The Fray’s “How to Save a Life” while operating.Though these experimental episodes are usually very make-or-break, there are definitely some shows out there that could have an amazing musical episode, such as the following 10 shows:
1. ‘The Unbreakable Kimmy Schmidt’
https://www.youtube.com/watch?v=sUYXk-QcXZ0 Yes, this show isn’t too much of a leap, since Titus has at least one amazing musical number every season. But imagine an entire episode of singing! Though Season 3 saw an episode filled with Titus covering Beyonce, Kimmy also deserves some musical screen time, and Lillian and Jacqueline would crush a quirky duet. Though it’s not yet confirmed, if Daveed Diggs reprises his current role in Season 4, this definitely has to happen.2. ‘Doctor Who’
https://www.youtube.com/watch?v=qwoWo4ChYuQ This definitely could have been more fun in David Tennant’s era with Billie Piper and John Barrowman on board, but who’s to say there’s no chance for a “Doctor Who” musical episode? Though Peter Capaldi has proven his guitar skills as the Doctor, he is on his way out. SO maybe the next doctor can sing and dance around the Tardis. Stranger things have definitely happened on this show.3. ‘Jane the Virgin’
https://www.youtube.com/watch?v=NF31mFSAFvY This show seems like an obvious choice for a great musical episode. With Xiomara and Rogelio already showing off their singing skills, along with Jane’s “Sweet Lady Jane” alter ego, nothing could go wrong! This could only happen with a full-on dream sequence or a new approach to a novel for Jane. All the musical telenovela drama that would ensue would be amazing.4. ‘American Horror Story’
https://www.youtube.com/watch?v=m2qEhGeLb6A This one may be tricky, but still doable. With “Glee” showrunner Ryan Murphy at the helm of this horror anthology, something tells us this could definitely be worked out. Enough singers have graced this show, such as Darren Criss or Lady Gaga. They could definitely work out a delusional dream sequence episode to make this work. Just look how well the scene above worked in Season 2. Of course, this all relies on the theme for the season, but let’s just hope it’s not in the next election-themed season.5. ‘The Mindy Project’
https://www.youtube.com/watch?v=-AiuWfZUlqM No, Mindy Kaling has not particularly shown off her musical skills on this show, though there were a ton of “Hamilton” references last season. This show is known for its quirky lead and great ensemble cast. What this show also does best is have great one-off experimental episodes. Last season saw Mindy wake up and live as a white man for a day, and another episode had her reliving the same day over and over again. With the next season being its last, why not have a musical episode? We can only imagine Morgan’s solo number.6. ‘Modern Family’
https://www.youtube.com/watch?v=GlAJFt6T5SU Does this show need a musical episode? No. Would it be one of the greatest things to happen on television ever? Yes. Sarah Hyland has recently shown she can really sing, and then there’s Jesse Tyler Ferguson, of course. Everyone could join in on the action and make it one hilarious episode. And, even if Sofia Vergara can’t sing, that can only make it funnier.7. ‘Black Mirror’
https://www.youtube.com/watch?v=qhea1U3v1_o This sci-fi show has gained a lot of momentum since it transferred to Netflix and would be a great platform for a musical episode. Set in the near (or distant?) future, many of the episodes are bizarre and put the characters in extreme realities. Borrowing from its Season 3 episode, this show could totally pull off a sing-to-survive dilemma.8. ‘Will and Grace’
https://www.youtube.com/watch?v=TY10pANm4eM Of course, there are plenty of shows that could make this list that are no longer running. Fortunately, this hit comedy will return this fall! There has already been some speculation about a musical episode, which is no surprise given the core cast. Just take a look at this trailer for the upcoming revival to see what a musical episode could look like.Which TV shows would you like to see have a musical episode? Let us know in the comments below...
[post_title] => 8 TV Shows That Need A Musical Episode [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => 8-tv-shows-need-musical-episode [to_ping] => [pinged] => [post_modified] => 2017-07-24 10:12:23 [post_modified_gmt] => 2017-07-24 14:12:23 [post_content_filtered] => [post_parent] => 0 [guid] => https://theatrenerds.com/?p=9491 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw ) [17] => WP_Post Object ( [ID] => 9780 [post_author] => 774 [post_date] => 2017-07-22 11:07:46 [post_date_gmt] => 2017-07-22 15:07:46 [post_content] => [adthrive-in-post-video-player video-id="Kc7bDyTh" upload-date="2018-09-26T18:58:57.000Z" name="Hamilton Pins & Keychains DIY" description="In this Broadway DIY video we will be making Hamilton musical pins and keychains."]In this tutorial we will be making Hamilton pins and key chains!
For this project you will need:
- Shrink Film (super sanded)
- Scissors
- Glue
- Hole Punch
- Flat Pins
- Key Rings
- Permanent Markers
- Printable PDF (attached in the description)
Instructions:
1. Begin your project by printing out your reverse copy of Hamilton pins/key chains. Download Here 2. With your super sanded Shrink Film, place shiny side face down, sanded side face up. 3. Using your permanent markers, begin tracing and filling in your images. You are free to use whatever colors you’d like, or design your own pins and key chains! 4. Once dried, begin cutting out your images. For the pins, make sure you are cutting as close as you can to the lines. When making a key chain, allow yourself some extra space to punch a hole in BEFORE you bake them in the oven. 5. After cutting out your pins and key chains, turn your oven to 350°. With a small cookie sheet lined with either non-stick aluminum foil, baking paper, or thin cardboard, place your images in small groups with distance from one another so they do not touch. Make sure the pieces are shiny face DOWN, sanded side UP. Warning, please be careful, the oven and cookie sheets are very hot. if you are under the age of 13, please ask an adult for help* 6. Allow them to bake for 2-3 minutes. They will curl up at first, but will lay flat again, so do not take them out before then. After the 3 minutes have passed, take your shrunk Hamilton art out of the oven, and with a spatula, lightly flatten them if they are slightly curled. Once cooled remove them from the cookie sheet. 7. After everything is completely cooled, you are now ready to attach your pins and key rings! With the key rings, simply open the ring and insert it into the hole you created before baking. For the pins, take the flat backing of the pin with a dab of glue (hot glue, E600, etc) and place on the sanded side of your art. Allow the glue to dry completely before using.Finished!
Once everything has dried, you are now ready to wear your pins on your clothes, backpack or favorite Hamilton shirt! Don’t forget to clip on your key chain as well! Share with us your version of Hamilton Key Chains and Pins on our Facebook and Instagram page. We can’t wait to see what you have done! Leave a comment bellow with suggestions of what you would like to see next... Happy Crafting! [post_title] => 'Hamilton' Pins And Key Chains DIY [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => hamilton-pins-key-chains-diy [to_ping] => [pinged] => [post_modified] => 2019-05-08 09:50:35 [post_modified_gmt] => 2019-05-08 13:50:35 [post_content_filtered] => [post_parent] => 0 [guid] => https://theatrenerds.com/?p=9780 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw ) [18] => WP_Post Object ( [ID] => 9558 [post_author] => 830 [post_date] => 2017-07-21 19:39:22 [post_date_gmt] => 2017-07-21 23:39:22 [post_content] => We all know the smash-hit musical "Hamilton" by heart, but do you actually know the real life man we all know and maybe love? Take this quiz to find out! [post_title] => Quiz: How Much Do You Know Alexander Hamilton (Historically)? [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => closed [post_password] => [post_name] => how-much-know-alexander-hamilton-historically [to_ping] => [pinged] => [post_modified] => 2017-08-09 18:08:07 [post_modified_gmt] => 2017-08-09 22:08:07 [post_content_filtered] => [post_parent] => 0 [guid] => https://theatrenerds.com/?post_type=snax_quiz&p=9558 [menu_order] => 0 [post_type] => snax_quiz [post_mime_type] => [comment_count] => 0 [filter] => raw ) [19] => WP_Post Object ( [ID] => 9477 [post_author] => 395 [post_date] => 2017-07-19 08:31:28 [post_date_gmt] => 2017-07-19 12:31:28 [post_content] => For anyone who has seen or listened “Dear Evan Hansen” knows that it’s pretty much a mixed bag of gut-wrenching laughter and blubbering tears. So why shouldn’t memes about this Tony Award-winning musical be any different?Here are 17 “Dear Evan Hansen” memes that will make you laugh, cry or laugh so hard you cry:
Teen troubles span centuries, whether in 19th-century “Spring Awakening” or 21st-century “Dear Evan Hanschen” — er, “Hansen.”
Okay, we laughed a little bit at this one.
Me in the car, in the shower, in my bedroom, always.
People who like “13 Reasons Why” more than “Dear Evan Hansen” — welcome to your tape.
This will be the best pickup line in history for forever.
Got milk? Connor does.
Okay, so this isn’t technically a meme, but who could ever say “No” to such a perfect promposal?
#Truth
Mom: What was that?
Me: Oh nooooooothinnnnggg.
Hey, at least we’ve found something to replace the never-ending slew of “Hamilton” lyrics!
All my hope is spinned on Zoe.
This. Is. Too Much.
“Dear Evan Hansen” is breaking records and shattering conventions all over the place, from beginning to end.
This is way, way too accurate.
Any other suggestions for captions are welcome in the comments.
I’ll just leave this here ¯\_(ツ)_/¯
I. WILL. NEVER
There’s that silver lining you were looking for!
You Might Like: 13 Videos To Watch If You're Obsessed With Ben Platt
What is your favorite “Dear Evan Hansen” meme? Let us know in the comments!
[post_title] => 17 'Dear Evan Hansen' Memes That Will Either Make You Laugh Or Cry [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => 17-dear-evan-hansen-memes-will-either-make-laugh-cry [to_ping] => [pinged] => [post_modified] => 2018-10-03 21:20:27 [post_modified_gmt] => 2018-10-04 01:20:27 [post_content_filtered] => [post_parent] => 0 [guid] => https://theatrenerds.com/?p=9477 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 4 [filter] => raw ) [20] => WP_Post Object ( [ID] => 9539 [post_author] => 819 [post_date] => 2017-07-17 11:23:27 [post_date_gmt] => 2017-07-17 15:23:27 [post_content] => My parents introduced me to musicals when I was growing up. My older brother and I were into pop music but my parents were playing the recordings of West Side Story, Guys and Dolls, The Sound of Music, Gypsy, and other classics in the house, so I fell in love with musicals too. But I lived in Los Angeles, we went to the movies not to the theatre. I didn’t get to New York until my early twenties so my exposure to theatre was fairly random until then. But here is a list, chronologically, of the musicals I did see on stage that had an impact on me as a musical theatre writer.1. 'Bye Bye Birdie'
This was my first theatre experience, and for a very long time I was convinced that 8th graders were the best actors.
This first one isn’t so much how it transformed the way I write musicals, it’s more like – what the hell is a musical? I was in the 5th grade and we were watching the 8th grade performance of Bye Bye Birdie and it blew my little 5th grade mind. People on stage singing. I’d never seen such a thing. “The Telephone Song” was a magical moment in my young life (and till this day remains a favorite song of mine, though the show itself, not so much).
Lesson: Musicals are cool.
2. 'Godspell'
I think I was about 17 when I saw my first production of Godspell. This was the first professional production of a musical I’d ever seen and it was the perfect show for me to take in. I’d grown up with pop music and the rock score was easy for me to assimilate. I loved the humor, the silliness, the nonlinear story line and the counterculture feel of the show. I was already writing songs at this point in my life and this production gave me the bug to write musicals. I still love this show and Stephen’s score.
Lesson: Musicals can have rock music and they can be fun.
3. 'A Little Night Music'
I remember one day asking my high school friend, Debbie Gravette (who’d win a Best Supporting Actress Tony for Jerome Robbins on Broadway just a few years later) who the new composers were writing musicals these days? I had been soaking up the scores to the classics, but living in Los Angeles didn’t give me any insight into what was going on in contemporary New York theatre. I didn’t even know there was contemporary New York theatre. Debbie told me that Leonard Bernstein’s lyricist on West Side Story had a new show called A Little Night Music and it was really good. The guy’s name was “Stephen Sondheim.” I was skeptical but curious. I wasn’t convinced a lyricist was going to be much of a composer. I purchased the LP the next day to hear for myself (yes, we still had LP’s). Needless to say my life changed forever. From the first downbeat to it’s glorious last note, A Little Night Music quickly became my favorite score of all time. It was smart. I’d never heard anything like it. When the touring company of the show came to LA I had an opportunity to finally see Hal Prince’s production for myself. I saw it ELEVEN TIMES (I would have gone back several more times but the touring company, sadly, had other cities to go to). The experience was so powerful for me I literally couldn’t get enough of it.*
*Side bar: Very late in the run of JANE EYRE on Broadway in 2000, a young man approached me after the show and told me he had seen my show 53 times. I was not shocked. I knew the feeling.
This show is a master class taught by the theater’s greatest genius. I personally believe that librettist, Hugh Wheeler, was Sondheim’s strongest book writer and both this show and Sweeney Todd, stand out to me as his very best musicals.
For anyone interested in writing musicals, I would suggest studying this show. The elegance and efficiency of the book. The brilliant score that captures each character’s irony and pathos as only Mr. Sondheim can...and the music is simply magnificent.
When I wrote my musical Emma, based on the Jane Austen novel, I paid keen attention to A Little Night Music. Its use of reprises and how the score weaves in and out of the dialogue so that you hardly know when one stops and the other begins. Just a truly perfect musical in every way for me.
Lesson: This musical taught me HOW to write musicals.
4. 'A Chorus Line'
A few years later I went back to the Schubert Theater in LA and saw A Chorus Line. God help me, I’d never seen anything like it. This show knocked me out in a completely different way than A Little Night Music. A Chorus Line continued my education in musical theatre. Here was a show about an audition with people standing on stage talking about themselves and the only through line was they really hope they got it. And that was all they needed. That and Michael Bennett and Marvin Hamlish.
Unlike A Little Night Music, seeing a A Chorus Line, did not inspire me. It depressed me. My ego was convinced I would never come close to writing a show like this. (Sorta true, I never did, only I’m not actually depressed about it. Oh, if only I could talk to young me.) Every aspect of the production blew me completely away. Though the show is slightly dated now (very much a musical of its time), its impact on all of us will be felt forever. Definitely a life changing event for me.
Lesson: I suck, I can’t do this (but I would eventually recover).
5. 'Sweeney Todd'
On my first trip to New York I had the great fortune to see the original Broadway production of Sweeney Todd. I actually feel very lucky to say that Sweeney Todd was my “first.” And I can truthfully say that I have never seen a better musical since. Maybe a few as good or nearly. But this show is a masterpiece. In every way. Hugh Wheeler’s book moves the story forward at such a smart pace, you hardly notice his work at all (and I mean that in a positive way. Like a great film score – you don’t notice it if it does its job right). Mr. Sondheim was clearly at the top of his game when he was writing for these deliciously wicked characters.
I am especially moved by the deep harmonic textures of the score highlighted by orchestrator Jonathan Tunick’s gut wrenching strings. Mr. Sondheim’s brilliance at writing strong melodies which he peppers with the perfect amount of harmonic dissonance is a composer’s instruction book. It feels like I will never stop learning from this man.
Lesson: Go further. Push myself. Musicals can be rich, complex, dark and funny. Never play down to your audience.
6. 'Les Miz'
When I saw the first touring production of John Caird and Trevor Nunn’s Les Miserables, I distinctly remember walking out of the theatre humming the stagecraft. I didn’t particularly care for the show itself (on first viewing), but I was enthralled by everything else.*
*Sidebar: I remember thinking to myself, “I want to work with these people one day”. A few years later I would be working with the director, the scenic designer and the costume designer and we would be nominated for 5 Tony awards for Jane Eyre. But I’ll save that for another time.
A this point in my life, I was a staff songwriter at Warner-Chappell Music and I had no connections to the theatre world. But one of the demo singers I worked with at the time was in the touring company of Les Miz and understudying Eponine. One night she called me and said she was going on – So I had to go back and see that show again that I didn’t particularly care for, aside from the dazzling stagecraft.
Experiencing the show a second time, I got it. The music -- that I thought sounded bland and monotonous the first time, on second listening, felt inspired. Though I will always be challenged by too much unnecessary resistive in the score, there is no denying the genius in the storytelling.
John and Trevor along with the rest of the creative team expertly adapted a classic novel for the stage in a way that made it resonate and sing. They knew which beats of the story to tell and which not to tell. Adapting a novel into a musical is no easy task. John and I would later adapt Jane Eyre and Daddy Long Legs together, and I tackled a few Jane Austen novels on my own. There is no doubt that Les Miz led the way for me.
Lesson: A tutorial on how to adapt a novel to the stage.
7. 'Light in the Piazza'
All I really wanna say about this one is: I love this show so much. It reminds me a bit of A Little Night Music though its tone is completely different. When the musical was broadcast on PBS from Lincoln Center several years ago, I must have watched it about 15 times before my DVR actually broke. Adam Guettell is the theatre’s current resident musical genius (though Jason Robert Brown’s Bridges and Last Five Years are also exquisite, and don’t get me started on David Yazbek and his brilliance).*
*Sidebar: I should have lost the Tony to David Yazbek instead of Mel Brooks. Sorry Mel.
Piazza, with its minimalistic sets, astounding score and romantic story reminds us that there is a place for sophisticated shows that break musical boundaries. We may not walk out of the theatre “humming” these songs on first listening, but with further investigation the listener will be delighted to discover the deep layers of harmonic brilliance in Adams music.
Lesson: You don’t need to leave the theatre “humming the songs” to make a masterpiece. Sometimes we are challenged by writers to see and hear things differently -- and we must evolve ourselves in order to appreciate their genius.
8. 'Bloody, Bloody, Andrew Jackson'
I really loved this show when it was at the Public a few years back. Directed by the brilliant Alex Timbers, Bloody broke new ground and paved the way for the likes of Hamilton and other shows. Spring Awakening was the first “period” show that used the device of “contemporary language” integrated in a 19th century play. In that show, characters spoke in the vernacular of the time but they “sang” in contemporary language. The result was powerful and stunning on stage in the original production. Bloody took things much further. While the characters were sort of dressed in the attire of the era –if everyone was in a punk rock or emo band – the language is completely contemporary and works brilliantly and hilariously. I don’t think this show gets the credit it deserves. It’s a true trailblazer. The musical inspired me to play with language, loosen the rules and basically – hate Andrew Jackson forever.
Lesson: Anything goes. Play with language. Play with sets and costumes and break every rule. Theatre is fun and wild and hit and miss. Don’t worry about it and try new things.
I’m always learning. I’m always listening. Sometimes we see a show and it’s not so great. And it doesn’t inspire us. But then that gives us the opportunity to learn, why it didn’t inspire us. And we learn from that too.
We all have opinions. Thanks for letting me share some of mine.
Cheers,
Paul
Learn more about Paul Gordon and his projects here: www.paulgordonmusic.com
[post_title] => 8 Musicals That Transformed The Way I Write Musicals
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[post_content] => If you listen to Broadway music, the following situation should sound familiar: a sudden explosion of sound and movement as you begin to yell and interpretive dance to your favorite song. Take this quiz to find out what Hamilton character you are based on what song part you sing in group numbers!
[post_title] => Which Hamilton Person are You Based on Your Song Preference?
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Take this quiz to figure out if you know this beloved new musical as well as you think you do!
[post_title] => Hardest Dear Evan Hansen Lyrics Quiz Ever
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[post_title] => The Hardest Hamilton Lyric Quiz You’ll Ever Take
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[post_content] => Amélie a musical based on the movie of the same name made its way to Broadway but was closed soon after. Was it too soon? The production Amélie is about a girl who, as a child, was hidden from the real world for the most part, as her father mistakenly diagnoses her with a heart defect. She is at Notre Dame, where her mother is praying for a son as she believed it would solve the problems of her daughter's creativeness. As she is leaving she witnesses her mothers death which happens when a tourist falls on her. As she grows old she quickly realizes she does NOT understand the world around her, and for multiple years avoids contact with people, including the people she works with as a waitress at "The Windmill Café". As she finds a box that belongs to the old owner of the apartment. She decides that if she can find the owner and return it she will become an anonymous do-gooder. After she returns meeting many unique characters. She sees a man lose his book. This is where the romance begins. In the song(Sisters Pickle) she disguises as a nun to return the book and decides she will try to stay in touch. But chickening out last minute just leaves pieces of her disguise as hopes he will try to find her. Through her dad's obsession with a gnome, her do-gooding, and her social awkwardness they end up together. Though it takes work they get to the point of a romantic relationship. Though there are worries about the relationship they both talk about how they would not be upset about the relationship ending(although we all hope it will last).
People involved in this including the actors and actresses, crew, but very importantly the writers Daniel Messé and Nathan Tysen, one of whom wanted to make this a musical since they saw the movie the very first time.
Dates relevant to the show
August 29, 2015-Opening at Berkeley
October 18, 2015-Last show at Berkley
December 4, 2016-Opening at Ahmanson Theatre in LA
January 15, 2017- End of showing at the Ahmanson
March 9, 2017- The official beginning of previews on. broadway at The Walter Kerr Theatre
April 3, -Official Opening
May 21, 2017- The (much too early) closing of Amélie
The Closing of Amélie
Some feel the closing of Amélie wasn't closed soon enough but many feel it closed much too soon(I'd agree). Despite a marvelous cast, they were excluded from Tony Nominations (despite the show being phenomenal). Unfortunately, due to not getting nominated there was minimal popularity. This means it was not producing enough money to stay running. The show coming to a close so abruptly luckily cause a large sale of tickets for the last performances meaning there is hope of a revival.
Personal connection:
When I saw the movie I was immediately attached and also thought a great production could be made. Luckily later it was announced. Unfortunately, I couldn't see at Berkeley or in LA. When I heard Soo and Berat were both remaining in the cast I knew I HAD to see it. As I am young and reliant on my mother because I cannot get tickets let alone go to NY alone I had to wait to go. When the closing was announced I ran to my mother sobbing, as I was busy all the way to the closing I was afraid I wouldn't be able to go, especially on short notice. At first, she thought I was joking, when I showed the official announcement I ran to my room crying. Later she called me and told me she had gotten tickets. I could hardly breathe. After I was sobbing while seeing it I went to the stage door. I got to meet one of my favorites in the show Savvy among the other actors and actresses who made me break into tears. My sister had told me before how a lot of people have a show that they really feel. The way she described it I knew Amélie was that for me...I am now determined to revive it.
All in all, Amélie is amazing and you should definitely go listen to the soundtrack...asap!
[post_title] => Amélie A NEW MUSICAL! All The Info!
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[post_content] => Whether you’re just beginning your theatre journey or have been in the business for a while, there are plenty of things that drive performers crazy. We polled actors across the United States to get their insights on just what those things are. How many of these pet peeves can you relate to?
1. Deciding on the perfect audition song for your dream role.
2. Waiting for the phone to ring to find out whether you got that callback.
3. Finding out your worst enemy got a part over you.
4. Spending hours learning your sides and only getting to sing a portion of them.
5. Trying on everything in your closet to get that perfect audition outfit.
6. People being loud in audition holding rooms when you just want to concentrate and focus.
7. Carrying tons of changes of clothes and dance shoes for one day’s worth of auditions and classes.
8. Being asked, “Have I seen you in anything?” or “What’s coming up next?” or “How come you’re not famous?”
9. Getting callbacks for a show numerous times and not getting the job.
10. When anyone other than the director gives you direction.
11. When people are late, complain and aren’t respectful of time and talents.
12. Being told you will work a lot when you’re older.
13. When those behind the table in the audition room are on their phones during your audition.
14. Actors taking up others’ time with questions that could have been answered by doing a bit of homework or at least a Google search.
15. When you have to move everything else around in your schedule to go to a last-minute audition.
16. When audience members leave their cell phone on during a performance.
Did we miss any? Tell us about your pet peeves in the comments below...
[post_title] => 16 Things That Drive Performers Crazy [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => 16-things-drive-performers-crazy [to_ping] => [pinged] => [post_modified] => 2017-07-13 14:22:56 [post_modified_gmt] => 2017-07-13 18:22:56 [post_content_filtered] => [post_parent] => 0 [guid] => https://theatrenerds.com/?p=9161 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 9 [filter] => raw ) [26] => WP_Post Object ( [ID] => 9133 [post_author] => 786 [post_date] => 2017-07-12 15:11:36 [post_date_gmt] => 2017-07-12 19:11:36 [post_content] => The Tony's are one of the -- no, the BIGGEST -- night for Broadway and theatre nerds all over the world. Every theatre nerd get pumped up for the awards season on Broadway, and screams when the opening number comes on! But, we all know... When they special presenters start to announce the awards, we watch intently, but in the back of our brain, we are thinking about what other categories could be added. So here they are:5 Tony categories we NEED to see added:
1. Best Hair/Makeup Design
My theory is this: If there is a Tony for best costume design, then why shouldn't there be one for best makeup and hair design? Some of the greatest artists in the world are ones that put makeup on an actor's face, and make them transform into character. These people need to be recognized for the work they put in -- or on -- a show.
2. Best Ensemble
The amazing people standing behind the amazing Josh Groban? The amazing ensemble of Natasha, Pierre, and the Great Comet of 1812. Just like these people, ensembles all over Broadway put in so much work to put the show on its feet. They need to be triple threats, and prepare for long and intense dance numbers. Without these actors, these shows would not have the pizzazz and spark that they do.
3. Best Understudy
Behind the scenes, waiting backstage, are understudies and swings. These people have to learn many tracks, and have to cover lead roles. The work they put in is crazy, and they never know when they might go on. These people deserve to be recognized for all of the work they put in, which many argue is more work than the leads. Amazing understudies like Colton Ryan and so many others go unrecognized. So what about it? A Tony for the less recognized actors and actresses?
4. Best Song
Listening to cast albums make us theatre nerds feel like we are transported to NYC to see the show. It showcases the amazing voices of the cast, and makes you feel safe while listening to it. And, it makes you wanna dance and sing in public, am I right? There's always one song on the album that is entrancing and addictive, that we listen to it over and over and over and over and over and over. Clearly, the writers were on to something with this song, and it needs to be recognized.
5. Best Replacement
Although this category might have been added in 2005, based on not enough support, it was kicked aside. But now, I feel it is time for it to come back. Many of the replacements in musicals deserve spots on the Tony's, because, let's face it'; it is so hard to replace the original amazing performer and try to make the role your own. Performers such as Stephanie J. Block and Sara Barielles missed out on opportunities for Tonys because they were replacements.
BRING THIS BACK (#6)
The Tony Award for Best Newcomer!
This award was created to recognize undeniable talent in shows by performers making their Broadway debut! It was presented only to 2 performers in 1948. Broadway debut's can be extremely hard because the performers need to adjust to a rigorous schedule, and in many cases, all the press, all while performing a part 8 shows a week. This award would provide more excitement for the broadcast, and theatre kids would love to watch their news idols win this! [post_title] => 5 Tony Award Categories That NEED To Be Added! [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => 5-tony-award-categories-need-added [to_ping] => [pinged] => [post_modified] => 2017-07-14 12:34:46 [post_modified_gmt] => 2017-07-14 16:34:46 [post_content_filtered] => [post_parent] => 0 [guid] => https://theatrenerds.com/?p=9133 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw ) [27] => WP_Post Object ( [ID] => 9157 [post_author] => 791 [post_date] => 2017-07-12 15:04:55 [post_date_gmt] => 2017-07-12 19:04:55 [post_content] =>
Quick! To rehearse! Oh, snap.
[post_title] => Oops There Goes My Cheerios
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[post_title] => Quiz: What Type Of Shakespeare Play Are You?
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[post_content] => “This is taking chances, this is almost touching, what the beauty is…”
Contemporary roles for sopranos are an interesting bunch. Whereas sopranos typically play young, romantically inclined ingenues, contemporary characters do far more than just “glitter and be gay.” The 16 roles we’ve compiled here have various age ranges and complex characters, each with their own goals and struggles that are not seen in more classic Golden Age shows. While some roles are more wickedly popular than others, they all offer personalities performers and audiences will continue to treasure.
1. Glinda from ‘Wicked’
https://www.youtube.com/watch?v=0l75sfnH6bA Glinda, the rival-turned-friend-turned-frenemy of the Wicked Witch of the West, is one of Broadway’s most recognizable contemporary characters. Created by Kristin Chenoweth, who received a Tony nomination for her performance, Glinda’s privileged background and sunny personality initially make her clash with Elphaba, her jaded, morose roommate.2. Miss Dorothy Brown from ‘Thoroughly Modern Millie’
https://www.youtube.com/watch?v=_4V9uE0Baf0 A wealthy actress from California, Miss Dorothy Brown is Millie’s best friend. While they enjoy the glamour of New York City life, they get caught in the middle of taking down a white slavery ring.3. Phoebe D'Ysquith from ‘A Gentleman's Guide to Love and Murder’
https://www.youtube.com/watch?v=JMCjOpxe49g Sure, Sibella gets most of the female spotlight in this comedy, but Phoebe takes most of the high notes. An aristocrat who marries a distant cousin, Phoebe’s big solo number, “Inside Out,” showcases her stratospheric range.4. Clara Johnson from ‘The Light in the Piazza’
https://www.youtube.com/watch?v=Jk9S6YsEgPE While on a trip to Italy with her mother, Margaret, Clara falls for Fabrizio, a singer from Florence.5. Little Edie from ‘Grey Gardens’
https://www.youtube.com/watch?v=EZW6IugbCok Based on the real-life Edith Bouvier Beale, struggling actress Little Edie has a strained relationship with her fiancé, Joe Kennedy Jr., and her mother, Edith Ewing Bouvier Beale.6. Francesca Johnson from ‘The Bridges of Madison County’
https://www.youtube.com/watch?v=apnHOwWuTkQ An Italian war bride from Iowa, Francesca has an affair with Robert, a photographer, while her family is in Indianapolis for three days.7. Marie Christine from ‘Marie Christine’
https://www.youtube.com/watch?v=74i3HtY87nY Based on the Euripides play “Medea,” “Marie Christine” is about a woman whose voodoo practices have serious consequences on her family.8. Marguerite from ‘Marguerite’
https://www.youtube.com/watch?v=_kHm31gVFkA Based on “La Dame aux Camélias,” “Marguerite” is about a 40-year-old singer who falls in love with a young man in Nazi-occupied Paris. Ruthie Henshall received an Olivier nomination for her performance as the title character.9. Miss Honey from ‘Matilda the Musical’
https://www.youtube.com/watch?v=gPlFmqq0cQI A kind and gentle librarian with a rough past, Miss Honey sees great potential in her student, Matilda.10. Rebecca Steinberg from ‘It Shoulda Been You’
https://www.youtube.com/watch?v=1JuhYxYaflk Created on Broadway by Sierra Boggess, the character Rebecca is a nervous bride who is afraid to come out as gay to her family.11. Isabelle from ‘Amour’
https://www.youtube.com/watch?v=tGQUE-M2kys Isabelle, who is miserably married to a prosecutor with a dark secret, is the object of affection to Dusoleil, who can walk through walls.12. Lara Guishar from ‘Doctor Zhivago’
https://www.youtube.com/watch?v=fP-8lVk7AqI Based on the Boris Pasternak novel, Lara (the daughter of Amalia Guichard) has an affair with the lawyer Viktor Komarovsky while working as a governess.13. Christine Daae from ‘Love Never Dies’
https://www.youtube.com/watch?v=zZoQLaYKOGg While the 2010 sequel to “The Phantom of the Opera” has its harsh critics, the vocal writing for Christine Daae remains beautiful as she travels to New York for the opening of Phantasma, a new amusement park.14. Cathy Whitaker from ‘Far From Heaven’
https://www.youtube.com/watch?v=G-0NC7w8oLc Based on a 2002 film character, Cathy Whitaker is a 1950s housewife who observes her life gradually falling apart.15. Albertine from ‘My Life with Albertine’
https://www.youtube.com/watch?v=9sKdwyH586I Based on a character created by Marcel Proust, the musical centers on the aforementioned author’s feelings for his character Albertine, which become dark jealousy.16. Hope Cladwell from ‘Urinetown’
https://www.youtube.com/watch?v=eyWCRoHPdzw The lead female character of this dark comedy, Hope is the daughter of Caldwell B. Cladwell, the president of the Urine Good Company. She falls in love with Bobby, who attempts to take down her father’s company.
Which one of these soprano roles would you want to play? Let us know in the comments below...
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1. ‘Anastasia’
If getting to the Broadhurst Theatre isn’t an option, you can feast your eyes on this 1997 animated feature. This popular cartoon of Disney musical caliber is definitely on Broadway for a reason: It’s a rags-to-riches princess story with tons of good music. We’re in!
2. ‘Chicago’
Pop! Six! Squish!
“Chicago” transports you to the Cook County Jail during the height of the Jazz Age. Beware: This is no “Orange Is the New Black.” This infamous musical is full of glitz, glamour and merry murderesses — plus, a few dazzling dance numbers.
3. ‘Sweeney Todd: The Demon Barber of Fleet Street’
Our Netflix recap last year sported this morbid musical, and we’re dying of happiness that we can still stream “Sweeney Todd.” Tim Burton’s take on Stephen Sondheim’s melodious creation is forever worth the watch when you want something a little bit darker than “La La Land.”
4. ‘Grease’
Yup, this classic is still available on Netflix, too. We’re (summer) lovin’ it.
5. ‘Shrek the Musical’
Filmed stage musicals can be tough to find, but this Broadway show, starring Brian d’Arcy James and Sutton Foster, has remained in Netflix’s library. This ogre-ish fairy tale is a must for every musical theatre lover.
6. ‘The Prince of Egypt’
We’re geeking out over the fact that this animated feature might have a future on a Broadway stage! The 1998 Dreamworks film features songs by Stephen Schwartz (“Wicked,” “Pippin,” “Godspell”) and a score by Hans Zimmer (“Pirates of the Caribbean,” “Interstellar,” “The Dark Knight,” “Inception”). Before it garners a few Tony nominations, this Academy Award-winning movie should make it to your Netflix List. Need we say more?
7. ‘Carousel’
June is bustin’ out all over, and we’re still obsessed with this classic Rodgers and Hammerstein musical. This movie is complete with a dream ballet sequence, beautiful ballads and a heart-wrenching love story. Just be sure to grab a box of tissues!
8. ‘The Last Five Years’
This adaptation of Jason Robert Brown’s nitty-gritty love story stars Hollywood sweetheart Anna Kendrick and Broadway heartthrob Jeremy Jordan. A glorious collection of duets accompany the tale of an aspiring actress and an up-and-coming writer trying to make life together work.
9. ‘White Christmas’
In case you need some holiday cheer this summer, “White Christmas” has your back. Bing Crosby, Danny Kaye, Rosemary Clooney and Vera-Ellen star in this Irving Berlin masterpiece, which embodies both the best of Broadway and Hollywood.
10. ‘Across the Universe’
We love a good jukebox musical, especially when it’s a romance set in the ‘60s and encompasses 34 Beatles songs. Fans of HBO’s hit series “Westworld” can also appreciate actress Evan Rachel Wood showing off her singing chops opposite Jim Sturgess.
11. ‘The Nightmare Before Christmas’
Once you’ve finished watching “White Christmas,” you can make some frozen hot chocolate and tune into Tim Burton’s holiday-themed cult classic.
12. ‘Radio City Christmas Spectacular’
Why not just host a “Christmas in July” musical movie night? Netflix now features the broadcast version of Radio City Music Hall’s famous Rockettes. Though this isn’t your traditional musical, the iconic celebration boasts oodles of dancing and enough good tidings to make you wish you were celebrating the holidays in the Big Apple.
13. ‘Crazy Ex-Girlfriend’
Okay, we know this isn’t exactly a movie, but it is on Netflix! If binge-watching a TV show is more your speed, check out this hilarious series created by and starring Rachel Bloom. It’s chock-full of ridiculously relatable and fabulous musical numbers.
14. ‘Moana’
“Hamilton” might not be on Netflix (we can dream, right?), but you can stream Disney’s latest blockbuster featuring Lin-Manuel Miranda’s musical penmanship. Warning: You just might find yourself belting “How Far I’ll Go” for the rest of the week.
15. ‘High School Musical’
Disney's 2006 surprise smash hit still holds up, at least according to the generation it first touched! So be before you dog this one, give it a chance! Directed by the amazing Kenny Ortega (Newsies) and even stars a current Broadway favorite, (recently in Holiday Inn) Corbin Bleu.
Have another musical favorite on Netflix? Leave a comment below...
[post_title] => Top 15 Musicals On Netflix Right Now (2017) [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => top-15-musicals-netflix-right-now-2017 [to_ping] => [pinged] => https://theatrenerds.com/top-12-musicals-netflix-right-now-2016/ [post_modified] => 2017-08-03 13:48:56 [post_modified_gmt] => 2017-08-03 17:48:56 [post_content_filtered] => [post_parent] => 0 [guid] => https://theatrenerds.com/?p=9097 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 18 [filter] => raw ) [31] => WP_Post Object ( [ID] => 9051 [post_author] => 440 [post_date] => 2017-07-09 09:10:22 [post_date_gmt] => 2017-07-09 13:10:22 [post_content] => In the famous words of Alice Cooper, “School’s out for the summer.” With community theatre groups on hiatus and school drama programs breaking for the holidays, you may be experiencing summertime sadness due to a theatre-sized hole in your life. Never fear, Theatre Nerds is here to rescue your summer better than a “Baywatch” lifeguard.Here are 22 items to check off your theatre-themed summer bucket list:
1. Plan a Classic Movie Musical Marathon
Not sure where to begin? “The Sound of Music,” “West Side Story” or “South Pacific” are great starting points. Or, if you’d rather stick to movies you can stream, check out our list of the top musicals streaming on Netflix right now.
2. Channel Your Inner James Corden
https://www.youtube.com/watch?v=YshgmStEZh0 Get your theatre-loving friends together and have a Broadway-themed carpool karaoke session.3. Visit an Art Museum
Channel your inner George and check out your local art museum. See if there is a tour or audio guide and learn about the different artists and styles.
4. See At Least One Show
It doesn’t need to be Broadway — depending on your options, it could be a touring company or local community theatre production. There is something to be gained from any show you see.
5. Do Some Good in the World
Help inspire change like Tracy Turnblad and volunteer for a cause you believe in.
6. Hit the Road
Take a theatre-inspired road trip to a theatre festival or show.
7. Get Outdoors
Head to a local park and enjoy a picnic with your posse. You could even fly a kite!
8. Brush Up on Your Skills
Enroll in a creative summer course such as dance, acting, design or comedy to improve your skills. If there are no in-person class options in your area, try to find something online instead.
9. Look at the Stars
Enjoy a clear night like Guy and Girl and try some stargazing.
10. Get Involved
Do some research to learn more about your community theatre groups and how you can become a part of them.
11. Practice Makes Perfect
Get your friends together and practice applying stage/costume makeup using a YouTube tutorial as your guide.
12. Get Cooking
Challenge your friends to a “Waitress”-style pie-making contest and indulge in sampling everyone’s creations afterward.
13. Spread the Word
Get a job or volunteer at a local theatre camp to help promote the arts to a new generation.
14. Put on Your Own Show
https://www.youtube.com/watch?v=OR5OtoUkVPo Be creative and put together your own versions of your favorite Broadway numbers with your friends. For inspiration, check out Working With Lemons or Todrick Hall. https://www.youtube.com/watch?v=GAUZIw95ueM&t=46s15. Explore Nature
Nature is a great place to get ideas about dance and movement. You don’t need to go far to find your nearest zoo or wildlife park to observe the way animals move and interact.
16. Get Crafty
Start a scrapbook with your favorite theatre experiences, or put those saved programs and ticket stubs on display in a shadow box or framed collage.
17. Go Sightseeing
Take a trip to somewhere new and take in the local sights. Stuck at home? Plan a dream trip inspired by your favorite musical, such as Anastasia’s St. Petersburg, Maria’s Salzburg or Hamilton’s New York. Who knows, you might actually end up taking that trip someday! Need some inspiration? Check out our post on theatre-inspired vacation destinations.
18. Perform in the Rain
Next time the clouds let loose, head outside and sing and dance in the rain. Of course, always be safe and check whether there will be lightning!
19. Head to the Great Outdoors
Attend an outdoor concert or theatre in the park. It’s a great way to get some fresh air and your theatre kick!
20. Go Cycling
Tour your city by bike and check out the local sights. Feel free to sing “Do-Re-Mi” while you ride.
21. Hit the Books
Cruise your local library or bookstore for reading material. Lin-Manuel Miranda came up with the idea for “Hamilton” after reading Rob Chernow’s book on the Founding Father while on vacation. It just goes to show that you never know where inspiration may strike!
22. Learn a New Dance
Explore the wide world of dance and learn a new style. Many places will offer free classes or lessons over the summer, either at their studios or local events. You never know when you could be caught up in a dance battle!
Share the list with your friends and see how many you can check off before the bells ring and class is back in session.
What’s on your summer theatre bucket list? Let us know in the comments below...
[post_title] => 22 Activities For An Official 'Theatre Kid' Summer [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => 22-activities-official-theatre-kid-summer [to_ping] => [pinged] => https://theatrenerds.com/11-vacation-destinations-inspired-favorite-musicals/ [post_modified] => 2017-07-09 09:12:41 [post_modified_gmt] => 2017-07-09 13:12:41 [post_content_filtered] => [post_parent] => 0 [guid] => https://theatrenerds.com/?p=9051 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 1 [filter] => raw ) [32] => WP_Post Object ( [ID] => 9033 [post_author] => 774 [post_date] => 2017-07-08 16:23:03 [post_date_gmt] => 2017-07-08 20:23:03 [post_content] =>[adthrive-in-post-video-player video-id="CEKs3r2X" upload-date="2018-10-03T20:04:01.000Z" name="Dear Evan Hansen DIY Phone Case" description="In this Broadway DIY we will be creating a 'Waving Through A window" phone case, themed after Dear Evan Hansen."]
The Materials! For this project, all you will need is:
- Paint Pens (can be purchased at any craft store-you may use any combination of colors that you like)
- Clear Phone Case (Sold in stores, but cheaper on Amazon. All phone types available)
Instructions:
1. Begin creating your “Waving Through A Window” window by shaping out the frame. Put the phone to the side to allow the paint to dry. 2. Print a font you enjoy, or handwrite “waving through a window” onto paper. With that as a reference, create a mirrored image of the phrase to use to trace. 3. With your reversed writing, place your phone case facedown and begin to trace the writing onto the case. After you are finished and happy with your writing, allow it to dry. 4. Once your wording has dried, you may now finish creating your window but drawing in the rest of the crossbeams. You may also emphasis the windows by lining each box with a darker color. 5. Bonus! Find your favorite ‘Dear Evan Hansen’ Ben Platt image and print them out. You can choose whatever size appeals to you the most. 6. Cut out your little Ben Platt and place him inside your window. Once you adhere him to the case, and it has completely dried go ahead and finally clip on your new phone case. You are now ready to hit the town and show off your phone to all of your friends!Share with us your version of your “waving through a window” phone case on our Facebook and Instagram page. We can’t wait to see what you have done.
Leave a comment below with comments/suggestions of what you would like to see next...
Happy Crafting! Follow Katie on Instagram @kbettiniartRecommended supplies: (click on name to view/purchase) Clear iPhone 6 case Clear iPhone 7 case Clear Samsung Galaxy case Paint Pens used in video:
Craft Smart® Fine Line Paint Pen, 2 Pack - Dark Blue
Premium Paint Pens by Beric 12 pack
Sharpie Oil-Based Paint Markers
[post_title] => 'Dear Evan Hansen' DIY Phone Case To Indulge The Crafty Theatre Nerd [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => dear-evan-hansen-diy-phone-case [to_ping] => [pinged] => [post_modified] => 2019-05-08 10:03:53 [post_modified_gmt] => 2019-05-08 14:03:53 [post_content_filtered] => [post_parent] => 0 [guid] => https://theatrenerds.com/?p=9033 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 2 [filter] => raw ) [33] => WP_Post Object ( [ID] => 9001 [post_author] => 736 [post_date] => 2017-07-07 10:50:29 [post_date_gmt] => 2017-07-07 14:50:29 [post_content] => So, being center stage in the spotlight during the eleven o’clock number isn’t your thing. Instead, your calling is creating the art the actors onstage can then live in for a few hours. Whether you want to work with costumes, sets, props, sound, lights, makeup, hair or any other technical aspects of theatre, here are some steps to getting those coveted behind-the-scenes jobs and how to climb the ladder to eventually work on Broadway:Learn Your Trade and Get Work Experience
Perhaps you have just graduated high school and are entering college. Perhaps you are changing your career to pursue your first love of being a backstage technician. Either way, you may be wondering how to build a resume and get experience if no one will hire you without it.
The answer is simple. If you are in school, work in the theatre department. Delve into any and all aspects you can. That work experience counts, since everyone has to start somewhere. Also, take the time to ask your teachers and professors about their lives in the theatre, what they enjoy about it and how they have built up their resumes.
If you aren’t in school or your school doesn’t offer theatre education, seek out local theatres in your area. Many need volunteers or have internships, apprentice/mentorship programs or production assistants. All of these are geared toward those with little to no experience. Show your interest through an application phone call or written inquiry. Then, get in there and start working. Those entry-level positions and internships could lead to a very lucrative career with that theatre if they like you and your work. Who knows, a paid position may open up and you might be able to put yourself in the running for it.
Also, remember many theatres bring in artists and designers from across the country you can work directly with. It’s possible you may start to develop a successful working relationship with one or more of them. In turn, this newfound connection may allow you to be put in the mix for when a job opens up at another theatre company they are affiliated with. You just never know! If nothing else, you build up your resume, network and overall skill set to apply for bigger jobs.
Get Those Resumes Out
Is your skill set up to the professional level? Do you have the hands-on experience and theatre credits to book regular backstage work?
Your next step is to format a clean, concise and clear resume listing all your experience. Get someone to help you if you don’t know how, or find sample resumes online with your similar skill sets and copy their formatting. Once your resume is complete and you have a professional cover letter stating your interests, it’s time to start applying for paid jobs.
Watch notices daily on Backstage and Playbill. These two sites are the go-to spots for backstage theatre job postings throughout the country. Be bold and brave and see which theatres bite once you send out your resume.
Connect With Your Local Unions
Have the skill set and resume and are working in your local performing arts scene? The next step in the career ladder of a backstage artist eventually moving toward Broadway is to consider joining your applicable IATSE union.
Wardrobe, sound, stagehands, hair, makeup, etc., all have union locals in cities nationwide. Joining is a great stepping stone to a lifetime in the theatre as a backstage professional. Not only is being a union member a must for working on Broadway, but it can be your opening to higher-paying work, as well as protection against workplace mistreatment/injury and great long-term benefits such as health insurance and money for retirement.
The Broadway touring shows that travel from city to city all use union stagehands who are based in the local city in which the show is playing. Many professional regional houses also use stagehands. Visit or call your local union for more information about requirements, how to join and how to apply for positions.
The Bright Lights of Broadway
You’ve built up your experience and resume to the level of a solid working paid professional and you’ve perhaps joined your city’s local union. You’ve moved to the Big Apple and are now dying to get to work in one of those beautiful theatres along 42nd Street. What do you do?
First, visit your New York City union office to join or see whether you can transfer your membership from your previous city to the New York one. Once you are a member (and in some cases, registered), you can start to look for work on the Great White Way.
Broadway job openings aren’t really announced, so you have to be smart and have some strategy when getting your resume out there. First, ask the union how to best apply for jobs in your field, since your membership may get you access to contact lists and job openings.
Second, do resume/cover letter drop-offs at the stage door of theatres addressed to the specific supervisor you want to hire you. This information can be found at the union or on the back of the Playbill you get when you see a show.
Third, ask someone in your field on Broadway to refer you. This referral may come from someone you worked with in the past or someone you’ve met while on the job hunt or even in your social life.
Fourth, keep working! The New York market offers plenty of opportunities both Off-Broadway and beyond. Keep working and meeting people. You might be surprised how many of those gigs or connections can help take you to Broadway as well.
No matter what, don’t give up. Your Broadway gig might not happen right away, but if you are professional, proactive, passionate and pervasive, it’s bound to happen one day.
How did you get your first job working backstage? Leave a comment below...
[post_title] => Here's How To Work Backstage On Broadway [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => how-to-work-backstage-broadway [to_ping] => [pinged] => [post_modified] => 2017-07-07 10:51:16 [post_modified_gmt] => 2017-07-07 14:51:16 [post_content_filtered] => [post_parent] => 0 [guid] => https://theatrenerds.com/?p=9001 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 1 [filter] => raw ) [34] => WP_Post Object ( [ID] => 8960 [post_author] => 712 [post_date] => 2017-07-06 09:41:43 [post_date_gmt] => 2017-07-06 13:41:43 [post_content] => Unless you’ve been living under a rock (we’re looking at you, Patrick), you know that SpongeBob and friends will be swimming onto Broadway this November. And no, we don’t mean the creepy version you’ve witnessed sulking around Times Square. We’re talking the real Nickelodeon deal! With tickets just going on sale last week, we’ve decided to weave together a theatre nerds’ perfect plan for seeing “SpongeBob SquarePants: The Broadway Musical for Everyone.” So, gather up your loved ones and take notes, because we’re about to bring you all the steps necessary for the best day ever, as SpongeBob would call it. Are you ready, nerds? (That’s your cue to shout, “Aye, aye, Captain!”)Step 1: Buy Your Tickets!
Okay, this is an obvious one, but tickets are going faster than Squidward gets annoyed. Ticket sales began June 26, so grab your best friend and choose a date you’ll have totally free so you can plan festivities for all-day fun! Tickets can be found here.
Step 2: Make Your Visit to New York Like Bikini Bottom!
Design the perfect experience by making your visit to the Big Apple seem more like a trip to the big pineapple under the sea (see what we did there?). Since you can’t actually dive deep into the depths of the ocean while in Manhattan, we’ve compiled some excellent nautical spots to consider visiting on your journey:
- Fill your day with water at one of New York City’s waterfront piers.
- Get close to SpongeBob’s friends at the New York Aquarium.
- Float on the Hudson at the historic Lightship Frying Pan, or get in a kayak.
Step 3: Planning Your Food
This is a separate section of the planning process because as every SpongeBob fan understands, the Krabby Patty is considered sacred in Bikini Bottom. Despite there not being a Krusty Krab restaurant in New York City (anyone want to get that started?), there are definitely spots where you can grab a Mr. Krabs-approved meal:
- Check out Rasa in Greenwich Village and order the Southeast Crab sandwich.
- Head over to Flatiron to eat at L&W Oyster Co. While its very popular crab cake dish isn’t “”krusty,” it is considered “angry.”
- If you’re looking for top-notch seafood closer to the theatre, then stick around Times Square and chow down at Blue Fin . Boasting a trendy menu, this spot is right across from where the musical will play.
- Don’t listen to this withering fish! Definitely grab some chocolate before the show at Hershey’s Chocolate World and M&M's World in Times Square — SpongeBob and Patrick will love you for it.
Step 4: Binge-Watch the Show
Get excited, because now that you’ve completed all the necessary preparations, it’s time to relax and enjoy some SpongeBob. Prepare for the musical extravaganza that awaits you by watching as many episodes as you can — heck, throw a viewing party! That way, you’ll fully appreciate every homage and nuance the Broadway version pays to its animated predecessor.
After all this, you can officially quote your dear square friend and shout: “I’m ready!”
Are you pumped for the SpongeBob musical? Have any plans to hit New York City to see it? Let us know in the comments below...
[post_title] => Here's The Best Way To See ‘SpongeBob SquarePants’ On Broadway [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => best-way-see-spongebob-squarepants-broadway [to_ping] => [pinged] => [post_modified] => 2017-07-06 09:43:50 [post_modified_gmt] => 2017-07-06 13:43:50 [post_content_filtered] => [post_parent] => 0 [guid] => https://theatrenerds.com/?p=8960 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw ) [35] => WP_Post Object ( [ID] => 8949 [post_author] => 391 [post_date] => 2017-07-05 09:01:14 [post_date_gmt] => 2017-07-05 13:01:14 [post_content] => With contemporary musicals dominating so many schools and theatres, it seems tempting to overlook some of the older, beloved, traditional musicals. While some of them feel outdated, unrealistic and culturally insensitive, some Golden Age musicals such as “Oklahoma!” and “West Side Story” are timeless classics that are still performed frequently. Nonetheless, each decade after the Golden Age is distinct in its contributions to the musical theatre art form. Let’s take a trip down memory lane and analyze each of the past six decades on Broadway:1. The 1960s
While more classical-sounding musicals such as “Camelot” and “110 in the Shade” continued to flourish, budding composers such as Stephen Sondheim, Jerry Herman and Kander and Ebb were scoring their first hit musicals. Star vehicles such as “Hello, Dolly!,” “Mame” and “Funny Girl” catapulted the careers of then-new stars Carol Channing, Angela Lansbury and Barbara Streisand, respectively.
https://www.youtube.com/watch?v=iVh9zjf0Tww
It was common for musicals such as “A Funny Thing Happened on the Way to the Forum” and “Cabaret” to mix elements of light comedic opera with jazz/swing to tell their stories.
https://www.youtube.com/watch?v=RC4g4wkiN_I
Not until the end of the decade did rock musicals such as “Hair” begin to sway the direction of musical theatre toward the dominant styles today.
https://www.youtube.com/watch?v=xlCilKlqrvI
2. The 1970s
The success of “Hair” led to more rock musicals coming to Broadway, specifically “Jesus Christ Superstar,” “The Rocky Horror Picture Show,” “Grease” and “Godspell.”
https://www.youtube.com/watch?v=TfKDYiF1jTw
https://www.youtube.com/watch?v=39tXfUm80Bc
The ‘70s also saw a surge of African-American-themed musicals such as “The Wiz,” “Purlie,” “Timbuktu!” and the black-cast revival of “Hello, Dolly!”
Two of the longest-running musicals from the ‘70s were “A Chorus Line” and “Chicago.” While composers such as Sondheim continued to thrive with hit shows, other names such as Stephen Schwartz and Andrew Lloyd Webber began to achieve their earliest successes in New York.
https://www.youtube.com/watch?v=_97F4CnzVBc
3. The 1980s
The ‘80s were the peak era for the pop-opera genre, which combines elements of opera with traces of mainstream pop music. This genre is best exemplified by musicals such as “The Phantom of the Opera,” “Les Misérables” and “Chess.” The latter show produced “One Night in Bangkok,” one of the last show tunes to be a pop radio hit in the United States.
https://www.youtube.com/watch?v=rgc_LRjlbTU
These shows were innovative for their groundbreaking sets, such as having a helicopter onstage (“Miss Saigon”), a chandelier falling (“Phantom”) and a light-up chessboard platform (“Chess”).
https://www.youtube.com/watch?v=oZDcSrODALQ
American musicals such as “Nine,” “Drood” and “Into the Woods” had similarly structured musical scores. Aside from “Phantom,” Lloyd Webber’s era of commercial peak in the United States included Broadway transfers of “Cats,” “Joseph and the Amazing Technicolor Dreamcoat” and “Starlight Express.”
https://www.youtube.com/watch?v=9ZKSVKDvkF0
4. The 1990s
While the pop opera genre was still popular thanks to musicals by Frank Wildhorn, such as “Jekyll and Hyde” and “The Scarlet Pimpernel,” Jonathan Larson’s rock musical “Rent” was a turning point in making musical theatre appeal to younger audiences. Like “Falsettos,” “Rent” deals with topics such as homosexuality and HIV/AIDS in contemporary New York City, and Larson’s musical won the Pulitzer Prize for Drama in 1996.
https://www.youtube.com/watch?v=cQZeH-JTie8
https://www.youtube.com/watch?v=0vVnzD0itSE
Meanwhile, Disney movies such as “Beauty and the Beast” and “The Lion King” turned into long-running Broadway productions.
A new generation of composers introduced Jason Robert Brown and Michael John LaChiusa, whose biggest successes include “Parade” and “The Wild Party,” respectively.
https://www.youtube.com/watch?v=tBmw2ZY7bDI
5. The 2000s
Last decade, there was a plethora of musical adaptations of various films, such as “Hairspray,” “Shrek,” “Legally Blonde,” “The Color Purple” and “Xanadu.”
https://www.youtube.com/watch?v=3g4ekwTd6Ig
While “Wicked” became the decade’s longest-running original musical, more vulgar shows such as “Avenue Q” and “Spring Awakening” received wide acclaim, too.
https://www.youtube.com/watch?v=xEYV5bNMZVo
Disney kept producing Broadway adaptations with “The Little Mermaid” and “Mary Poppins.” Furthermore, “In the Heights” brought hip-hop and Latin music to the Great White Way, while more serious musicals such as “Next to Normal” discussed mental illness.
https://www.youtube.com/watch?v=UvVgm4imyj0
6. The 2010s
Lin-Manuel Miranda’s sleeper hit musical “Hamilton” took the world by storm in 2015, using hip-hop and color-blind casting to tell the life story of one of America’s founding fathers.
https://www.youtube.com/watch?v=b5VqyCQV1Tg
Meanwhile, female composers such as Cyndi Lauper, Lisa Kron and Jeanine Tesori scored success by winning Tony Awards for “Kinky Boots” and “Fun Home,” respectively.
https://www.youtube.com/watch?v=mFs7UREmXyM
Disney’s Broadway adaptations included “Newsies” and “Aladdin,” while more mature shows such as “The Book of Mormon” sold out performances for months back in 2011.
Musicals of the 2016–2017 season such as “Dear Evan Hansen” and “Natasha, Pierre and the Great Comet of 1812” showcased scores influenced by singer-songwriter music as well as EDM and indie rock, respectively.
Which is your favorite decade of Broadway music? Let us know in the comments below...
[post_title] => Broadway Musical Trends By The Decade: Which Is Your Favorite? [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => broadway-musical-trends-decade [to_ping] => [pinged] => [post_modified] => 2017-07-05 09:03:22 [post_modified_gmt] => 2017-07-05 13:03:22 [post_content_filtered] => [post_parent] => 0 [guid] => https://theatrenerds.com/?p=8949 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 5 [filter] => raw ) ) [post_count] => 36 [current_post] => -1 [before_loop] => 1 [in_the_loop] => [post] => 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 ) [comment_count] => 0 [current_comment] => -1 [found_posts] => 635 [max_num_pages] => 18 [max_num_comment_pages] => 0 [is_single] => [is_preview] => [is_page] => [is_archive] => 1 [is_date] => [is_year] => [is_month] => [is_day] => [is_time] => [is_author] => [is_category] => [is_tag] => [is_tax] => 1 [is_search] => [is_feed] => [is_comment_feed] => [is_trackback] => [is_home] => [is_privacy_policy] => [is_404] => [is_embed] => [is_paged] => 1 [is_admin] => [is_attachment] => [is_singular] => [is_robots] => [is_favicon] => [is_posts_page] => [is_post_type_archive] => [query_vars_hash:WP_Query:private] => 0f68206c5f6d8c4b3325fc28c30df489 [query_vars_changed:WP_Query:private] => 1 [thumbnails_cached] => [allow_query_attachment_by_filename:protected] => [stopwords:WP_Query:private] => [compat_fields:WP_Query:private] => Array ( [0] => query_vars_hash [1] => query_vars_changed ) [compat_methods:WP_Query:private] => Array ( [0] => init_query_flags [1] => parse_tax_query ) [query_cache_key:WP_Query:private] => wp_query:6b1b5bfb9adc2bf749af7696df768815:0.87255000 17768691940.51026500 1776869195 )Latest stories
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