I have an extensive history of not being able to really settle down, no matter where I am in my life. I am always looking ahead. Looking for the next show. The next project. The next school. Whatever.
But the problem is that I tend to make very elaborate and detailed plans and then at the very last minute, change them to something completely out-of-character and unpredictable. That's my M.O. Always has been, and probably always will be.
For example, when I was 18, I was all the way ready to move permanently from the Twin Cities to New York. This would have been the next logical step in my career, as this is where musical theater happens. I would either work (not likely) or go to school at one of the various universities that offers a degree in MT. This is what everyone expected me to do....including myself.
And then what happened, you ask? I'll tell you.
I moved into a cornfield in Iowa (where musical theater is literally outlawed) and got a liberal arts degree with an emphasis in opera performance. I didn't even like opera. Still don't.
Why did I make this move, you ask? I have no idea.
Another example. So last April, I was busy preparing to graduate from said college-in-the-corn and I had just received my acceptance letter from the Steinhardt School at NYU for their MM in Musical Theater Program. So here I was, once again ready to move to the Big Apple.
And what do you suppose I did next? I decided to turn down NYU and try working professionally in the Twin Cities.
What the hell?!?! I mean, why am I so apparently afraid of New York? I'll tell you why. Because its scary. There are a million people there who look just like me, have my same skill sets and have the exact same career goals. And I don't know if you know this or not, but there are only like four jobs in New York. Okay, well there's more than four. There's like seven. But do you see why I hesitate?
So here I am, day after Christmas, 2010. I have been working consistently as a music director, vocal coach and singing actor in the Twin Cities for the past seven months and I have work booked out solid for the next five months at least. I also have a plan. Big plans, in fact, to attend Arizona State University for their MM in Musical Theater Program in the fall of 2011. I know how amazing and warm the climate is. I have picked the professor I want to study voice with. I know the apartment complex I want to live in (it has an AMAZING pool and is right across the street from campus).......
And I'm right on par for the course because where do you suppose I'm probably going next?
(If you just thought New York, you need to go back and read the paragraph about the abundance of jobs there.)
The United Kingdom.
Holy hell, someone rein me in.
Well, I know one thing for sure; my life won't be beige anytime soon.
Now, where is my ulcer medication?
A
Sunday, December 26, 2010
Sunday, December 19, 2010
So much for the In-Between.....Good lord.
Tonight marks the end of my first week of the In-Between and it has been and EPIC FAILURE. I was planning on doing a whole plethora of relaxing, lazy things and so far, all I've done is non-relaxing, work-related things. Granted, I love my job and the work that I get to do, but I cannot seem to catch a break! This weekend alone has been a bit of a whirlwind. I got sick last Monday (my first day off, of course) and didn't feel better until Thursday, just in time to get sucked into about a million projects.
My weekend consisted of two readings of new musicals, helping choose some high school actors to advance in a scholarship competition and trying to get my students into college.
Okay. On paper, this doesn't seem nearly as daunting as it felt. Maybe it was the cough syrup. Whoops. Don't tell.
The first reading was a really fantastic experience. It was a brand-new rock musical with some really fantastic material for seven actors. The content itself is mostly polished and this reading was more or less a final opportunity for the creative team to hear their work sung by actors before they stage a full workshop. The best part of this one for me was singing with the combo that they hired. It was a piano, drums, bass and guitar. Doesn't get better than that. I'm hopeful that they'll keep me around and ask me back to work on the next step, but only time will tell!
The other reading I did was a very new experience for me and I learned a lot about my strengths, weaknesses, theater education and preferences for the artistic process. The musical itself was incredibly fascinating. The plot centers around a Catholic priest and his return to a small Irish village during the Irish Potato Famine at the end of the 1800's. The reading itself went smoothly and the people involved all brought very unique interpretations to the table. The characters were intricate and the story itself is compelling. This is where my personal preferences for American Musical Theater began running through my head. After the reading was done, the moderator (and I think future director) of the reading told us that the creators were going to listen while the participating readers discussed what they thought were the strengths and weaknesses were in the plot and characters.
I've never had to really think about what I look for when I define good musical theater, but through the discussion that night, I very quickly learned that I value these things:
I want the show to be "somebody's story." To me, this means that the plot includes a defining moment for a main character that is compelling enough that I care about them and want to see their problems resolved.
The relationship between the audience and the plot should be clearly defined and decided from the very start of the show. Does the audience act as a fly on the wall? Is the audience encouraged to have a personal stake in the show? Is the show trying to convince? Inform? The choice needs to be clear and consistent.
The relationships and characters, while they can be complex, should be classifiable by classic, umbrella terms. The protagonist. The antagonist. The comedic relief. The basic relationship between good and evil. The parental relationship. The fraternal relationship. The relationship between the characters and a higher power. The relationships between the main protagonist and EVERYONE.
The characters HAVE to have a reason to sing. Musicals suspend reality enough to allow characters to break into scenes in which all the characters know the same melodies, lyrics and choreography, but I truly stand by the rule that the only reason a character should sing is if words alone can no longer suffice and in order to communicate, they need to do so through song. Going hand in hand with this is the need for EVERY song to move the story forward. The show cannot be in the same place at the end of a song, that it was at the beginning. It has to have a purpose. I am strongly against the concept that songs can just be thrown into a show on a whim. There needs to be a reason.
Modern musicals are (and should be!) sophisticated enough that they can "show" and not "tell". I can't stand a preponderance of exposition in character dialogue. I am SUCH a supporter of character driven work, and if the story calls for a lot of explanation at the top of the show, figure out a way to deliver it in a clean and attention-grabbing package a la Les Miserables. Did you know that the current format of the show includes a fairly lengthy prologue to set up the story of Jean Valjean that didn't originally exist because all the people of France are familiar with the story and the people of New York are not? That's right. Its so well done that most people can't imagine the show without the first 20 minutes.
Pacing. I don't want to fall asleep. 'Nuff said.
Okay. The most important thing I learned about myself is that I do a very poor job of intellectualizing plot and character choices. I think this comes from my training. I have always been told that it is not my job to mull over why specific choices were made by the creators. I have been trained as an interpreter. An interpreter of dialogue, music, movement and storytelling. I was rendered almost useless in the position of creator. In that capacity, I have no idea where to start. I am so used to looking at a show and deciding how to tailor it so it reads. I have never been asked to overhaul a show like we had been discussing. I was left to watch. And I was fine with that. Luckily, a lot of the other members of the reading were "go-getters" and had some strong opinions about how the next step of the show should be shaped.
This was my first taste of this specific type of workshop/reading. And I appreciate it because I now understand my specific place in the life cycle of a show. I belong in the later parts. The inception and initial development can be left to people that have a taste for those things. I love being able to breathe life into characters and songs and scenes. I love the organic nature of working with people in a space. I love watching the libretto come to life with characters that can alter their choices within the context of their scene. I love the building of a final product. This is where I belong and I'm more than okay with that.
Wow. Apparently I have a lot of opinions. I know that some of you might think that this is a negative quality, but I realize that this is what shapes me as an artist. My opinions shape my choices, and for better or for worse, I have to live with them....until the next show comes along.
Mull over THAT. =]
A
My weekend consisted of two readings of new musicals, helping choose some high school actors to advance in a scholarship competition and trying to get my students into college.
Okay. On paper, this doesn't seem nearly as daunting as it felt. Maybe it was the cough syrup. Whoops. Don't tell.
The first reading was a really fantastic experience. It was a brand-new rock musical with some really fantastic material for seven actors. The content itself is mostly polished and this reading was more or less a final opportunity for the creative team to hear their work sung by actors before they stage a full workshop. The best part of this one for me was singing with the combo that they hired. It was a piano, drums, bass and guitar. Doesn't get better than that. I'm hopeful that they'll keep me around and ask me back to work on the next step, but only time will tell!
The other reading I did was a very new experience for me and I learned a lot about my strengths, weaknesses, theater education and preferences for the artistic process. The musical itself was incredibly fascinating. The plot centers around a Catholic priest and his return to a small Irish village during the Irish Potato Famine at the end of the 1800's. The reading itself went smoothly and the people involved all brought very unique interpretations to the table. The characters were intricate and the story itself is compelling. This is where my personal preferences for American Musical Theater began running through my head. After the reading was done, the moderator (and I think future director) of the reading told us that the creators were going to listen while the participating readers discussed what they thought were the strengths and weaknesses were in the plot and characters.
I've never had to really think about what I look for when I define good musical theater, but through the discussion that night, I very quickly learned that I value these things:
I want the show to be "somebody's story." To me, this means that the plot includes a defining moment for a main character that is compelling enough that I care about them and want to see their problems resolved.
The relationship between the audience and the plot should be clearly defined and decided from the very start of the show. Does the audience act as a fly on the wall? Is the audience encouraged to have a personal stake in the show? Is the show trying to convince? Inform? The choice needs to be clear and consistent.
The relationships and characters, while they can be complex, should be classifiable by classic, umbrella terms. The protagonist. The antagonist. The comedic relief. The basic relationship between good and evil. The parental relationship. The fraternal relationship. The relationship between the characters and a higher power. The relationships between the main protagonist and EVERYONE.
The characters HAVE to have a reason to sing. Musicals suspend reality enough to allow characters to break into scenes in which all the characters know the same melodies, lyrics and choreography, but I truly stand by the rule that the only reason a character should sing is if words alone can no longer suffice and in order to communicate, they need to do so through song. Going hand in hand with this is the need for EVERY song to move the story forward. The show cannot be in the same place at the end of a song, that it was at the beginning. It has to have a purpose. I am strongly against the concept that songs can just be thrown into a show on a whim. There needs to be a reason.
Modern musicals are (and should be!) sophisticated enough that they can "show" and not "tell". I can't stand a preponderance of exposition in character dialogue. I am SUCH a supporter of character driven work, and if the story calls for a lot of explanation at the top of the show, figure out a way to deliver it in a clean and attention-grabbing package a la Les Miserables. Did you know that the current format of the show includes a fairly lengthy prologue to set up the story of Jean Valjean that didn't originally exist because all the people of France are familiar with the story and the people of New York are not? That's right. Its so well done that most people can't imagine the show without the first 20 minutes.
Pacing. I don't want to fall asleep. 'Nuff said.
Okay. The most important thing I learned about myself is that I do a very poor job of intellectualizing plot and character choices. I think this comes from my training. I have always been told that it is not my job to mull over why specific choices were made by the creators. I have been trained as an interpreter. An interpreter of dialogue, music, movement and storytelling. I was rendered almost useless in the position of creator. In that capacity, I have no idea where to start. I am so used to looking at a show and deciding how to tailor it so it reads. I have never been asked to overhaul a show like we had been discussing. I was left to watch. And I was fine with that. Luckily, a lot of the other members of the reading were "go-getters" and had some strong opinions about how the next step of the show should be shaped.
This was my first taste of this specific type of workshop/reading. And I appreciate it because I now understand my specific place in the life cycle of a show. I belong in the later parts. The inception and initial development can be left to people that have a taste for those things. I love being able to breathe life into characters and songs and scenes. I love the organic nature of working with people in a space. I love watching the libretto come to life with characters that can alter their choices within the context of their scene. I love the building of a final product. This is where I belong and I'm more than okay with that.
Wow. Apparently I have a lot of opinions. I know that some of you might think that this is a negative quality, but I realize that this is what shapes me as an artist. My opinions shape my choices, and for better or for worse, I have to live with them....until the next show comes along.
Mull over THAT. =]
A
Saturday, December 11, 2010
Countdown!
Okay. This year has been an incredible one and I have taken the time to recount what I think are the top ten moments of 2010. They range from fun to meaningful to defining and everything in between. Enjoy!
10. The Deadliest Catch! This might have been the single sweetest moment of this year. I was in Seattle with the Luther College Nordic Choir on our West Coast Tour and this was our first stop on tour after leaving Minneapolis. After our concert, my quadmates Ari, Matt, Ben and I were picked up by our host family. They drove us out to the scariest, most deserted area of Seattle (I'm totally making that up because I don't know Seattle that well beyond what they show on Grey's Anatomy) and asked us if any of us got seasick. At this point, I had my cell phone out and was about to text our tour manager to say that I was pretty sure we were about to be sold into human trafficking. Then we pulled up to a giant crab fishing boat called the North American and proceeded to meet the crew that has been featured on the TV series Deadliest Catch. They made us clam fettuccine and left us BY OURSELVES on the boat overnight. Best homestay ever. EVER.
9. Re-introduction to the business with Chanhassen Dinner Theatres. In May (still going to school in Iowa) I woke up at 4:00am to drive up to the cities to audition for Chan. And then I did it again the next week for the call back. My sleep schedule still hasn't recovered. It was one of the most humbling experiences in my career. I had the honor of auditioning alongside some of the most talented people I have ever seen....and the best part is that I grew up watching them on stage since I was very young. After having walked away from consistent performing for almost 4 years, it was so invigorating to see the first-rate talent alive and well in Minneapolis! So proud to be a part of this community!
8. Michigan. 'Nuff said. Not is it one of the most beautiful places I've ever been, but this summer. I got to spend time there with two of my favorite people, Ben and Laura. Not only was the time we spent together wonderful, but it was my first experience trying out my "school relationships" post-graduation. It was fantastic because with both of these people, every time we reconnect, we are able to pick up as if nothing has changed. Granted, the circumstances are very different now that we don't live within five minutes of each other anymore and we don't spend countless hours together each day, but its comforting to know that these relationships that were built over four years were not left behind in Decorah, IA.
7. I guess I should put graduating from college on here.....even though it really wasn't that big of an event for me. I remember it being very hot and very sweaty and being a little panicked because I hadn't finished packing my room yet. Oops. If anything, it was more a place mark for a new chapter in everyone's life. We were all going out into the world to do very different things in very different places after having spent four remarkable years in a very special place. But it was bigger than just me. It was a collective accomplishment for everyone that had helped guide me and protect me along the way. And for that, I am truly grateful.
6. Last Nordic concert with DCA. This could very easily have been nicknamed "Weepfest Twenty-Ten," but through some miracle, we pulled through in a big way. This last concert of the year is usually one that is especially heartfelt because of the graduating seniors, but it was compounded because our conductor, Dr. Craig Arnold, was leaving his position at Luther to resume his work in New York. This was nothing less than devastating for many that knew him because he is not only a brilliantly talented musician and conductor and an immeasurable asset to the school, but more importantly, a stand-up human who taught his students to live their lives with compassion for those around them. So this concert was also honoring him as well, and we chose to sing some of his trademark pieces from the last 5 years. I don't think I've ever felt so connected to a group of people, and I don't see a comparable opportunity anywhere in the near future. I am forever changed because of him and this experience. No beige.
5. San Diego. Weirdly, the most perfect day ever. On tour with amazing people. An afternoon at one of the most amazing zoos in the world. Swimming in the Pacific Ocean at La Jolla beach. A great catered dinner. An epic sunset. An amazing hotel. Drinks with best friends. Couldn't have been more perfect.
4. Senior Recital. I broke down barriers.....and probably some of the voice faculty's eardrums/hearts/spirits. THAT, my friends is the power of musical theater! Ha. Anywho, because Luther is a school that "values the aesthetic values of classical, Bel Canto singing," musical theater is outlawed in our senior recital performance space. I did it anyway. The first half an hour was R.V. Williams' Songs of Travel and the second half was a collection of some of my favorite new theater pieces, accompanied by the incomparable, Laura and a group of some fantastic and brave friends. I'm sure I offended some people (the purists), but they also got to see me do something that I was truly, TRULY passionate about. It is one thing to be a technically proficient musician. It is quite another to attempt to breathe life into a performance. That was my goal. And I probably owe my voice teacher a lot of money for the therapy he needed after dealing with the backlash that I assume ensued....and for that I am almost sorry.
3. Here's to high school, how it flies. Oh, Zombie Prom, how I thought I would loathe you. This MD gig was my first real job after college. I know I've written entire posts about this before, so I'll keep it brief, but these kids are the real deal. I learned much more from them than they could ever learn from me and it will take some doing for me to forget those 4 months. ALSO! I am super pumped to go back and work there this spring! A true blessing to know these individuals.
2. Arizona. Good lord. Spring break 2010 was my first official vacation in a very long time and I am so glad I could do it with such amazing friends! Clara, Ben, Julia and Joe made this trip something that was not only bearable, but an experience that was a great cap to my college career. It was like days and days of driving, but some fantastic memories were made and I survived sleeping in a tent for like a week. And if you know me, you know that doing THAT is a feat in itself. Gah. So fun!
1. Because really what's the point if you're just coasting on the surface? EDGES 2010. Very obviously a defining moment for me as a performer, teacher, director, and most importantly, as a friend and a person. This kind of goes hand in hand with my senior recital. My senior thesis was about the ever-changing pedagogy of musical theater and part of my plan was to put on a show to demonstrate my findings. The result was one of the most beautiful and rewarding collaborations I have ever had the pleasure of witnessing. I truly believe in the effect of the arts on humanity and because of that, this might have been my proudest moment at Luther. To Carah, Laura, Alex, Matt, Joe, Kara and Ben: I am forever indebted to you for your contributions to this project and your willingness to join hands with me and venture into unknown territory. Because, "if you take a moment you'll begin to find and say and feel. You can discover something real if you are willing to reflect." A quote that will forever play a role in how I choose to move forward in my life.
So there you have it. A year full of many blessings, happy memories, life milestones and valuable lessons. The one thing that I find consistently in each event is the people. My people. These people are what makes these events special. Without them, I would be, well....not me. So I am more than excited to start 2011 with these comrades. Lets make this next one even better!
Love and gratitude,
A
10. The Deadliest Catch! This might have been the single sweetest moment of this year. I was in Seattle with the Luther College Nordic Choir on our West Coast Tour and this was our first stop on tour after leaving Minneapolis. After our concert, my quadmates Ari, Matt, Ben and I were picked up by our host family. They drove us out to the scariest, most deserted area of Seattle (I'm totally making that up because I don't know Seattle that well beyond what they show on Grey's Anatomy) and asked us if any of us got seasick. At this point, I had my cell phone out and was about to text our tour manager to say that I was pretty sure we were about to be sold into human trafficking. Then we pulled up to a giant crab fishing boat called the North American and proceeded to meet the crew that has been featured on the TV series Deadliest Catch. They made us clam fettuccine and left us BY OURSELVES on the boat overnight. Best homestay ever. EVER.
9. Re-introduction to the business with Chanhassen Dinner Theatres. In May (still going to school in Iowa) I woke up at 4:00am to drive up to the cities to audition for Chan. And then I did it again the next week for the call back. My sleep schedule still hasn't recovered. It was one of the most humbling experiences in my career. I had the honor of auditioning alongside some of the most talented people I have ever seen....and the best part is that I grew up watching them on stage since I was very young. After having walked away from consistent performing for almost 4 years, it was so invigorating to see the first-rate talent alive and well in Minneapolis! So proud to be a part of this community!
8. Michigan. 'Nuff said. Not is it one of the most beautiful places I've ever been, but this summer. I got to spend time there with two of my favorite people, Ben and Laura. Not only was the time we spent together wonderful, but it was my first experience trying out my "school relationships" post-graduation. It was fantastic because with both of these people, every time we reconnect, we are able to pick up as if nothing has changed. Granted, the circumstances are very different now that we don't live within five minutes of each other anymore and we don't spend countless hours together each day, but its comforting to know that these relationships that were built over four years were not left behind in Decorah, IA.
7. I guess I should put graduating from college on here.....even though it really wasn't that big of an event for me. I remember it being very hot and very sweaty and being a little panicked because I hadn't finished packing my room yet. Oops. If anything, it was more a place mark for a new chapter in everyone's life. We were all going out into the world to do very different things in very different places after having spent four remarkable years in a very special place. But it was bigger than just me. It was a collective accomplishment for everyone that had helped guide me and protect me along the way. And for that, I am truly grateful.
6. Last Nordic concert with DCA. This could very easily have been nicknamed "Weepfest Twenty-Ten," but through some miracle, we pulled through in a big way. This last concert of the year is usually one that is especially heartfelt because of the graduating seniors, but it was compounded because our conductor, Dr. Craig Arnold, was leaving his position at Luther to resume his work in New York. This was nothing less than devastating for many that knew him because he is not only a brilliantly talented musician and conductor and an immeasurable asset to the school, but more importantly, a stand-up human who taught his students to live their lives with compassion for those around them. So this concert was also honoring him as well, and we chose to sing some of his trademark pieces from the last 5 years. I don't think I've ever felt so connected to a group of people, and I don't see a comparable opportunity anywhere in the near future. I am forever changed because of him and this experience. No beige.
5. San Diego. Weirdly, the most perfect day ever. On tour with amazing people. An afternoon at one of the most amazing zoos in the world. Swimming in the Pacific Ocean at La Jolla beach. A great catered dinner. An epic sunset. An amazing hotel. Drinks with best friends. Couldn't have been more perfect.
4. Senior Recital. I broke down barriers.....and probably some of the voice faculty's eardrums/hearts/spirits. THAT, my friends is the power of musical theater! Ha. Anywho, because Luther is a school that "values the aesthetic values of classical, Bel Canto singing," musical theater is outlawed in our senior recital performance space. I did it anyway. The first half an hour was R.V. Williams' Songs of Travel and the second half was a collection of some of my favorite new theater pieces, accompanied by the incomparable, Laura and a group of some fantastic and brave friends. I'm sure I offended some people (the purists), but they also got to see me do something that I was truly, TRULY passionate about. It is one thing to be a technically proficient musician. It is quite another to attempt to breathe life into a performance. That was my goal. And I probably owe my voice teacher a lot of money for the therapy he needed after dealing with the backlash that I assume ensued....and for that I am almost sorry.
3. Here's to high school, how it flies. Oh, Zombie Prom, how I thought I would loathe you. This MD gig was my first real job after college. I know I've written entire posts about this before, so I'll keep it brief, but these kids are the real deal. I learned much more from them than they could ever learn from me and it will take some doing for me to forget those 4 months. ALSO! I am super pumped to go back and work there this spring! A true blessing to know these individuals.
2. Arizona. Good lord. Spring break 2010 was my first official vacation in a very long time and I am so glad I could do it with such amazing friends! Clara, Ben, Julia and Joe made this trip something that was not only bearable, but an experience that was a great cap to my college career. It was like days and days of driving, but some fantastic memories were made and I survived sleeping in a tent for like a week. And if you know me, you know that doing THAT is a feat in itself. Gah. So fun!
1. Because really what's the point if you're just coasting on the surface? EDGES 2010. Very obviously a defining moment for me as a performer, teacher, director, and most importantly, as a friend and a person. This kind of goes hand in hand with my senior recital. My senior thesis was about the ever-changing pedagogy of musical theater and part of my plan was to put on a show to demonstrate my findings. The result was one of the most beautiful and rewarding collaborations I have ever had the pleasure of witnessing. I truly believe in the effect of the arts on humanity and because of that, this might have been my proudest moment at Luther. To Carah, Laura, Alex, Matt, Joe, Kara and Ben: I am forever indebted to you for your contributions to this project and your willingness to join hands with me and venture into unknown territory. Because, "if you take a moment you'll begin to find and say and feel. You can discover something real if you are willing to reflect." A quote that will forever play a role in how I choose to move forward in my life.
So there you have it. A year full of many blessings, happy memories, life milestones and valuable lessons. The one thing that I find consistently in each event is the people. My people. These people are what makes these events special. Without them, I would be, well....not me. So I am more than excited to start 2011 with these comrades. Lets make this next one even better!
Love and gratitude,
A
Thursday, December 2, 2010
The In-Between
I will never have kids. Unless some horrible, unseen, atrocious act of Lucifer occurs, my womb will remain barren. And by my womb, I mean the tiny one (maybe two) room apartment that I am destined to have for the rest of my life. I know that some of you are gasping in horror, because your children are the apple of your eye and you couldn't imagine your life without those little bundles of....umm....joy. And that is why God gave each of us our own free will.
Oh, what is that you ask? Have you been working with children lately, and that is why you have this abundance of hatred for them? Yes.
Okay. I don't hate kids. I just don't want to have anything to do with them. Or maybe I'm just scared of a challenge. I'm not sure yet. For now, I'll just think that children and I are like beer and hard liquor - the common denominator being that terrible consequences ensue. I've come to the conclusion that I blame my track record. I have consistently had the blessing of working with immensely talented people who can, well, do things that require talent and training. Now I am faced with a gaggle of six-year-olds that can't read. WHAT, I ask you, am I supposed to do with that? I mean, those Zombie Prom kids were not only (for the most part) all triple threats, but they were (for the most part) legitimately cool cats too. And the ones that weren't were nerdy, but the kind of nerdy that is useful and actually takes you far in life. I like that kind of nerdy. Here is an example of my plight:
*A scene from one of my rehearsals two weeks ago....
Andy: No, no, no. You have to wait another measure and a half before you come in.
Six-year-olds: (blank stares)
Andy: You know, like six quarter notes. Beats. Six beats. Alright. Lets clap it out.
Six-year-olds: (a few yawns and general chattiness)
Andy: Okay fine. Just wait longer before you come in.
Six-year-olds: (blank stares, yawns, chattiness and one of them is picking their nose.)
Okay. I am not an elementary teacher. Nor would I ever strive to be, and as stuck up and snobbish as it sounds, six-year-olds are not talented enough to be in theater. (gasps, I'm sure). And that's not the only problem. They have NO attention span. My sister's beta fish, Rafael can have more engaged interactions with me than some of these munchkins.
Alright, that was a very broad overstatement. There are a select few six-year-olds that could school me in theater, but they are few and far between. And I usually cross to the other side of the street when I see them coming in order to avoid a diva smackdown. But I digress. This will be the LAST children's theater show I do......until I forget why I made that rule....and then I'll do another one and be quickly reminded of the reasons for my decree.
Updates. Had a big audition today with a regional company that most people would give their left nut to work for (myself included). Unfortunately, they didn't think it was amusing when I offered up that suggestion. Apparently they're only interested in talent. Whatever. I got a e-call for this G&S operetta that they are putting up next year and I promptly dropped the notice into my e-trash. After about 4 seconds of re-contemplating this choice, I retrieved the said e-call and put it on my calendar.
The reason: I don't do opera. Why would the want me to come sing for an opera? They KNOW I don't do opera. I've had lengthy conversations with the powers that be at this company as to "why I am throwing away my classical vocal education to pursue the lesser art of musical theatahh". As if I haven't had to argue THAT one before. Fine. Whatever. I looked through my books and cursed myself for having torched all of my "Arias for ______" books in a blind rage during my junior year of college. Kidding. They're useless to me anyway. Oh well. I picked "On the Street Where You Live" from My Fair Lady for the audition. I figured it wasn't Rent, so I could probably get away with it.
Fast forward to the audition today. I'm sitting in an immense rehearsal studio with forty other guys all carrying the "Arias for_______" books. And doing their little scales and arpeggios. At least this wasn't a dance audition. Then I would look REALLY dumb. So I sat in one of the corners and began to read my book. During this time, I overheard people saying that they would be singing arias that ranged from the traditional G&S stuff all the way up to one guy who was going to sing Nessun Dorma from Turandot. He might as well have done an angry line reading...its probably just as effective.
So everyone has filled out their forms and settled in to wait for the auditions to start when the musical director walks in.
On a side note, I am maybe a little obsessed with this music director they have. He is literally a genius, and I do not throw that term around lightly. He can play ANYTHING you put in front of him and is a musical theater coach to everybody who is anybody in the Twin Cities. I'm not sure whether I want to be able to work with him or I want to be him. I just have a lot of feelings about him and I am not ashamed to say that I actively stalk him. I mean, not in the creepy, I'm-going-to-kidnap-him-and-eat-his-liver-with-some-fava-beans-and-a-nice-chiante kind of way, but in the I-just-really-admire-your-career kind of way. Did I mention that he has music directed in New York? On Broadway?
Sorry. Rambling. So he walks in and announces that they will not be approaching the music in the traditional, classical way, but in a way that "appeals to an audience in 2011." In other words, they wanted a pop/rock influenced audition.
THIS is why they sent me this call! I watched the color drain from the face of the Turandot guy. Clearly you can't turn Puccini into Jonathan Larson. I don't care who you are. Unfortunately, "On the Street Where You Live" isn't exactly what they were looking for either. Eh. I sang it anyway. I just channeled a little of Jon Groff and Matt Doyle. It was fine. I acted the crap out of it and then I drove an hour through rush hour for the final dress rehearsal of the Grinch.
And thus, as of ten days from now, I will be in "the in-between". A time between theater jobs. While normally I would dread this, it will come at a perfect time. My sister comes home from the Dominican Republic in two weeks and the holidays are just around the corner, so a little down time with some lessons here and there will be a fantastic way to spend a few weeks. I know I must enjoy it now because I am already triple booked in the spring and I couldn't be more excited for it. But until then, its Christmas carols and catching up on Glee. Not too shabby. Not to shabby at all.
And this entry is a perfect example of the fact that I have never actually learned to write a cohesive anything. If you have muddled your way through this and have reached this sentence, congrats. You are a champ in my eyes.
Onward and.....well, onward. And no beige.
A
Oh, what is that you ask? Have you been working with children lately, and that is why you have this abundance of hatred for them? Yes.
Okay. I don't hate kids. I just don't want to have anything to do with them. Or maybe I'm just scared of a challenge. I'm not sure yet. For now, I'll just think that children and I are like beer and hard liquor - the common denominator being that terrible consequences ensue. I've come to the conclusion that I blame my track record. I have consistently had the blessing of working with immensely talented people who can, well, do things that require talent and training. Now I am faced with a gaggle of six-year-olds that can't read. WHAT, I ask you, am I supposed to do with that? I mean, those Zombie Prom kids were not only (for the most part) all triple threats, but they were (for the most part) legitimately cool cats too. And the ones that weren't were nerdy, but the kind of nerdy that is useful and actually takes you far in life. I like that kind of nerdy. Here is an example of my plight:
*A scene from one of my rehearsals two weeks ago....
Andy: No, no, no. You have to wait another measure and a half before you come in.
Six-year-olds: (blank stares)
Andy: You know, like six quarter notes. Beats. Six beats. Alright. Lets clap it out.
Six-year-olds: (a few yawns and general chattiness)
Andy: Okay fine. Just wait longer before you come in.
Six-year-olds: (blank stares, yawns, chattiness and one of them is picking their nose.)
Okay. I am not an elementary teacher. Nor would I ever strive to be, and as stuck up and snobbish as it sounds, six-year-olds are not talented enough to be in theater. (gasps, I'm sure). And that's not the only problem. They have NO attention span. My sister's beta fish, Rafael can have more engaged interactions with me than some of these munchkins.
Alright, that was a very broad overstatement. There are a select few six-year-olds that could school me in theater, but they are few and far between. And I usually cross to the other side of the street when I see them coming in order to avoid a diva smackdown. But I digress. This will be the LAST children's theater show I do......until I forget why I made that rule....and then I'll do another one and be quickly reminded of the reasons for my decree.
Updates. Had a big audition today with a regional company that most people would give their left nut to work for (myself included). Unfortunately, they didn't think it was amusing when I offered up that suggestion. Apparently they're only interested in talent. Whatever. I got a e-call for this G&S operetta that they are putting up next year and I promptly dropped the notice into my e-trash. After about 4 seconds of re-contemplating this choice, I retrieved the said e-call and put it on my calendar.
The reason: I don't do opera. Why would the want me to come sing for an opera? They KNOW I don't do opera. I've had lengthy conversations with the powers that be at this company as to "why I am throwing away my classical vocal education to pursue the lesser art of musical theatahh". As if I haven't had to argue THAT one before. Fine. Whatever. I looked through my books and cursed myself for having torched all of my "Arias for ______" books in a blind rage during my junior year of college. Kidding. They're useless to me anyway. Oh well. I picked "On the Street Where You Live" from My Fair Lady for the audition. I figured it wasn't Rent, so I could probably get away with it.
Fast forward to the audition today. I'm sitting in an immense rehearsal studio with forty other guys all carrying the "Arias for_______" books. And doing their little scales and arpeggios. At least this wasn't a dance audition. Then I would look REALLY dumb. So I sat in one of the corners and began to read my book. During this time, I overheard people saying that they would be singing arias that ranged from the traditional G&S stuff all the way up to one guy who was going to sing Nessun Dorma from Turandot. He might as well have done an angry line reading...its probably just as effective.
So everyone has filled out their forms and settled in to wait for the auditions to start when the musical director walks in.
On a side note, I am maybe a little obsessed with this music director they have. He is literally a genius, and I do not throw that term around lightly. He can play ANYTHING you put in front of him and is a musical theater coach to everybody who is anybody in the Twin Cities. I'm not sure whether I want to be able to work with him or I want to be him. I just have a lot of feelings about him and I am not ashamed to say that I actively stalk him. I mean, not in the creepy, I'm-going-to-kidnap-him-and-eat-his-liver-with-some-fava-beans-and-a-nice-chiante kind of way, but in the I-just-really-admire-your-career kind of way. Did I mention that he has music directed in New York? On Broadway?
Sorry. Rambling. So he walks in and announces that they will not be approaching the music in the traditional, classical way, but in a way that "appeals to an audience in 2011." In other words, they wanted a pop/rock influenced audition.
THIS is why they sent me this call! I watched the color drain from the face of the Turandot guy. Clearly you can't turn Puccini into Jonathan Larson. I don't care who you are. Unfortunately, "On the Street Where You Live" isn't exactly what they were looking for either. Eh. I sang it anyway. I just channeled a little of Jon Groff and Matt Doyle. It was fine. I acted the crap out of it and then I drove an hour through rush hour for the final dress rehearsal of the Grinch.
And thus, as of ten days from now, I will be in "the in-between". A time between theater jobs. While normally I would dread this, it will come at a perfect time. My sister comes home from the Dominican Republic in two weeks and the holidays are just around the corner, so a little down time with some lessons here and there will be a fantastic way to spend a few weeks. I know I must enjoy it now because I am already triple booked in the spring and I couldn't be more excited for it. But until then, its Christmas carols and catching up on Glee. Not too shabby. Not to shabby at all.
And this entry is a perfect example of the fact that I have never actually learned to write a cohesive anything. If you have muddled your way through this and have reached this sentence, congrats. You are a champ in my eyes.
Onward and.....well, onward. And no beige.
A
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