How To Listen

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How To Listen

One of the most important skills we have as human beings is our ability to communicate, and to do so effectively.

However, one could easily argue that - societally speaking - we have not been communicating effectively with one another, or have only been doing so with a select group of people. The events of the past ten days seem like blatant proof of that.

A large part - if not the largest part - of effective communication and the subsequent forward momentum of progress is:

Active Listening.

We - and I’m speaking to the heavily White majority of my readership here - are being asked right now to Actively Listen to our Black peers, friends, family, colleagues, allies, acquaintances, and all Black voices across the country.

So how do we do this? What does this mean? Where to start?

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What Is Quarantine Theatre?

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What Is Quarantine Theatre?

This is a big question, and one that many people are currently trying to answer:

How can we make and perform theatre from our current states of quarantine and extreme social distance?

I’ve seen and heard this topic explored all over the place, particularly over the past two weeks, as we all look forward into a summer likely to leave theaters across the country (and the world) with nothing but well-lit ghosts.

I’ve personally seen this question posed by:

  • The Dramatists Live (hosted by Joey Stock, Amanda Green, and Christine Toy Johnson weekly)

  • Lauren Gunderson on her Howlround TV show (excellent, by the way!)

  • Ken Davenport in his blog

  • Multiple Artistic Directors of professional theaters

  • The heads of several University Theatre Departments

  • Teaching Artist friends and colleagues

  • And several quarantine-specific online creator groups

And if that’s just what I’ve seen - without specifically searching on this topic - I imagine that theatrical people everywhere are looking for these same answers.

So, what are people coming up with?

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A Good Story Is Everything

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Anyone who knows me well knows that - in all honesty - I’m not very good at telling stories.

Now, I’d like to qualify this a little since - yes - I’m aware that I’m making a career as both a writer and a performer, which are both types of professional storytelling. And when I can provide a narrative in such a structured, prepared, and well-crafted way, I feel totally confident delivering an engaging story.

But as for more pedestrian, real-life stories? It’s been a struggle.

It was first pointed out to me about five years ago when someone turned to me and said:

“Yeesh. I hope you’re a better writer than storyteller!”

Ouch. Harsh, Gretch.

But it was true! I have always loved telling anecdotes from life, particularly the funny or really out-there ones, but I tend to hold my tongue these days because I know that my stories tend not to land.

So I’ve worked on it. I’ve researched (cuz it’s me) how to tell a good oral story and what makes this craft different from a written story, and I think I’ve improved greatly. Huzzah!

But why am I bringing this up now?

Well, if this summer taught me one thing only (and it taught me waaaaay more than that), it’s that people of all walks of life respond to nothing as well as they respond to a good story.

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Hold Your Breath. Make A Wish. Count To Three.

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Hold Your Breath. Make A Wish. Count To Three.

You know how you sometimes have this dream - it could be a nighttime thing, or a daydream, or some lofty ethereal goal - but it’s something you just can’t quite imagine. It’s there and you can almost picture it, but only ever just almost.

I’ve had so many of these dreams that I lost count long ago. But I think it’s something that’s just in the DNA of artists and creative types.

Right?

Well, beginning sometime around the fall of 2016 I had this dream (the goal kind) of what it would be like, feel like, look like, sound like, etc to see The King’s Legacy - which had finally found the correct structure - come to life in a full production.

It simultaneously felt easily attainable and yet a thousand years off. I truly could almost see it happening. But it wasn’t happening - not yet anyway. So all I could do was just keep imagining and letting various scenarios pass through my head.

But I will tell you that, when it came down to the reality, it was nothing like I had imagined.

It was so much better.

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6 Years Later...

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6 Years Later...

  • October 26th, 2012 - I completed the very first outline for the first version of The King’s Legacy.

  • December 6th, 2012 - There existed a first draft of a script, including a large portion of lyrics.

  • March 14th, 2013 - I had a fully realized first draft with all scenes, music, and lyrics completed.

And so it all began.

It’s been a long long road to the first ever full production of The King’s Legacy, and what a strange, magical, frustrating, and fantastical journey it has been. It’s had its peaks and valleys, but it has brought us to where we are now: Less than one day away from the first rehearsal for the premiere production. (!!!)

So how did it all start? Where did the show come from? And how did it get to where it is today?

As per usual, I’m thrilled you asked!

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The Rumor, The Legend, The Mystery

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The Rumor, The Legend, The Mystery

Most people - and writers in particular - are drawn to stories about larger-than-life people, figures, and times. Moments and personalities that disrupted the status quo and changed the course of history. The extraordinary.

These are the stories that live on, passed down through facts and records (contemporary and non), as well as rumor, gossip, and anecdotes that may or may not include a kernel of truth.

The people at the center of these stories are some of the most compelling, and they have attracted the attention of people throughout generations.

And writers love them.

Historians and creative writers alike love to tackle these gigantic stories filled with change and drama, as well as mystery and intrigue, and put their own spins on them. But what they never tell you is just how difficult these people and stories are to write.

I too have fallen victim to this type of alluring narrative and - despite this post’s title - I am not speaking about the great historical mystery of Anastasia as adapted by Lynn Ahrens and Stephen Flaherty.

I’m talking about one of Western history’s most debated women from one of English history’s most infamous time periods:

Anne Boleyn.

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Submit To Me!

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Submit To Me!

All professions are riddled with systemic flaws that everyone knows about, and yet very little is done to fix them. For playwrights and musical theatre writers the systemic flaw that I hear complained about the most is the submissions process.

Now, these complaints are completely justified. The problem with the system is…well, there isn’t one.

In the professional theatre world - at least where play and musical submissions are concerned - it’s a total free-for-all. (and not the enjoyable kind, like a lovely game of Super Smash Bros. on the good ole Nintendo 64! …no? just me being a video game dinosaur? oh coo, cool…)

And like most problems, this one gets completely ignored and nothing is really done to change it. Well, I won’t say completely ignored. Writers talk about this all the time - how messy, inconsistent, biased, and often expensive the submission process can be (yes, many come with attached fees). But the people who have the power to do something about it (aka the Theaters and the theatrical community members who receive submissions) either don’t want to change the way they do things, don’t want to engage in the discussion, don’t have the time, or aren’t aware that there is a better way to go about all of this.

And there is a better way, isn’t there?

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Hey, Old Friend

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Hey, Old Friend

What is a theatre writer’s best friend and worst enemy?

You might think: Writer’s block? The blank page? Technology? Caffeine? Sleep? Outlines? All good possible answers, but…nope. What applies only to theatre writers and to no other form of writing?

Readings.

DUN DUN DUN! *Insert dramatic zoom here*

But why, Michael? Why are readings both potentially wonderful and oh-so-evil at the same time?

An excellent question.

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You've Got To Be Carefully Taught

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You've Got To Be Carefully Taught

One of the most eye-opening tips I’ve ever casually received in my career thus far came while doing a show called My Mother’s Lesbian Jewish Wiccan Wedding. It’s an absolutely delightful, folksy, and heartfelt autobiographical musical written by the Canadian husband-wife writing team (and the kindest people) David Hein and Irene Sankoff - yes, the same people behind the international smash hit: Come From Away.

It was October of 2010 and we had been rehearsing the show at JCC Centerstage in Rochester, NY in a setting where the show was being workshopped with David and Irene as we went through the script. For a new writer like me, this was an incredible experience. The show’s director and a wonderful mentor of mine - Ralph Meranto - told David and Irene after one rehearsal that I was an aspiring musical theatre writer. They immediately showed interest and asked questions. As I said, kindest people ever.

At the end of the conversation, Irene asked, “Do you follow Ken Davenport’s blog? If you don’t, you definitely should. There’s a lot of great information. We read it religiously!”

This one suggestion set me onto a path over the next few years of attempting to acquire and consume every bit of knowledge that I could about writing musical theatre. And that is why this tip was so important.

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