5 Changes for the Future of the Theatre

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Anyone in the theatre world who has been paying attention to social media over the past two weeks will have seen the outpouring of information related to the treatment and experiences of BIPOC folx in the theatre.

*Note: BIPOC (pronounced like “buy-pock”) stands for Black, Indigenous, and People of Color.

There is no question that - despite theatre’s tendency toward liberal ideals and actions - the theatre as an institution in America is heavily steeped in a hierarchy built to keep white folx (especially white men) in the positions of power and authority.

So, with our industry currently on pause due to a pandemic and the Black Lives Matter movement gaining steam and voice, theatre is finding itself at a crossroads.

We know it should change and needs to change, but will it? And how?

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With A Little Help From My Friends

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With A Little Help From My Friends

I often say that I know some of the best people, and I think that’s true.

Some of the most wonderful, giving, caring, and delightful people I’ve ever met can be found amongst my friends, colleagues, students, peers, and family.

Now, I’m a bit of a go-getter personality who is often most productive alone. (Surprised, anyone?) And I’m sure many of you out there feel similarly, even if just when applied to work.

But this quarantine has shifted that mentality. And not just for me, but across the globe.

I think people are realizing that sure, lots of work can be done remotely, but it’s nothing like being together with other people working toward a common goal. And people are craving that feeling more than ever.

We may not be able to make that happen in person quite yet, but it’s brought people together in some other beautiful ways. And what’s being put out into the world is good.

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Why Does He Endure?

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Why Does He Endure?

Last Sunday evening was the 90th Birthday Celebration Concert for Stephen Sondheim - put together and produced by Raul Esparza, and starring a jaw-dropping list of Broadway celebrities and personalities.

Despite the technical glitches - which had Twitter abuzz with some excellent Sondheim-related humor - the evening was beautiful.

The performers had recorded their songs ahead of time from their quarantined homes and still, somehow, the music and performances were just as emotional, raw, delightful, and revealing as they might have been with more theatrical conditions.

Why?

The music, the lyrics, and the marriage of the two.

Stephen Sondheim has to be one of the most polarizing musical theatre writers, having been lauded as the most important to live and also berated for being too high-brow and difficult to perform or understand. And yet, he is known as “the master.” Not a master - and we do have many - but the master.

Why? What is this legacy? Why does Stephen Sondheim endure?

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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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Speed Dating...for Writers?

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Speed Dating...for Writers?

Some of you may have seen my post on Instagram or Facebook this past week saying that I attended a Writer-Producer Speed Dating event this past Sunday evening.

(If not, make sure to follow me on FB, and follow me @radimichael and the blog @glamorouslifeblog both on the Instagrams!)

This event was insane. In a good way. But insane.

11 producers, 11 trailing producers, 22 writers, 2 sessions each over 2 hours, plus a reception. And that was just the night itself, which doesn’t include the week of intensive preparation of the pitch and accompanying materials!

And throughout the entire week leading up to it - I was scared out of my mind.

I rarely get myself worked up in anxious anticipation of things, but sometimes I cannot control it, and this was one of those times.

“So what the heck was this thing and why was it so daunting?”

Excellent questions, dear reader.

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In Review: "Oklahoma!"

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In Review: "Oklahoma!"

The first time I saw Oklahoma! live was at the Stratford Shakespeare Festival in Ontario, Canada (in 2006?). I remember turning to my parents and saying:

“That was fantastic, and they really didn’t stray away from the dark part of the show. I don’t think I ever need to see this show again!”

All of this to say that, when the recent St. Ann’s Warehouse production of Oklahoma! first caused a stir at the Warehouse and then again in its move to Circle In The Square, I did not feel the need nor desire to run to see it. I had seen it onstage twice, plus the two filmed versions, and how different could it really be?

So I waited…until last weekend. The second-to-last performance. (How’s that for procrastination?!)

So, was it all that different?

Well, no. But yes? And also really no.

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In Review: "Slave Play"

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In Review: "Slave Play"

Fulfilling another of my promises for the second year of The Glamorous Life Blog, we begin my In Review series with Slave Play by Jeremy O. Harris.

[*Quick note about In Review: I’m calling this series “In Review” and not an “actual” review because: I am not a paid theatre critic. I firmly believe that everyone has opinions and a voice and, therefore, has the ability to write a critical analysis if they so choose. However we should distinguish between paid critique and non. “In Review” is merely my take in looking back upon the work I have experienced, which I hope you will find interesting and informative!]

I had put off seeing Slave Play for as long as I could, which was in large part due to the inability of my peers to describe to me anything about the play without “giving it away” and this idea that “it just has to be experienced.”

That sort of vaguery is off-putting to me and, alas, I fell victim to my own stubbornness yet again, putting it off until last weekend. And I really really wish I hadn’t. (Slave Play closes this Sunday 1/19)

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Do You Hear What I Hear?

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Do You Hear What I Hear?

(And don’t worry, I’m not talking about the Christmas song.)

Sound is a very powerful thing. It surrounds us at all times, and yet how often are we paying specific attention to those sounds?

Sound can be music of course, but it can also be created by a billion other things:

  • Objects (doors closing, printers printing, squeaky floors, keyboard clicks, etc.)

  • People (unintelligible chatter, direct conversation, whispering, yelling, sneezing, etc.)

  • Actions (vehicles on the road, steam from a radiator, glass breaking, etc.)

  • Reactions (fires crackling, the frying of an egg, stomachs digesting food, etc.)

  • And more

And because of this pervasiveness of sound in our lives and its ability to recall in us specific thoughts, images, and emotions, sound is an excellent way to create an environment and to tell a story.

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One Revolution

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One Revolution

We like to parcel our lives into smaller units. We’ve been doing this for thousands of years, and have increased the amount of various units as time has passed.

But one unit that is consistent throughout most cultures - ancient and modern alike - is the year:

One revolution around the Sun.

Whether or not we were aware of the Earth’s relationship to the Sun at that point, humans have always seemed to be keenly aware of this pattern of light, life, and season. And it has become engrained in us and our cultures in a multitude of ways: Birthdays, Anniversaries, education, celebrations, remembrances, etc.

The year has become the easiest and most visible yard stick that we utilize to measure progress - both our own and that of the world around us. And at this time of year you will hear an increased emphasis on the year as a measuring tool, as well as a strong counter-movement against its importance.

But as we find ourselves back in the same place we were one year ago - not just personally, but as an entire planet - it seems to make sense to look around and evaluate what has changed and, perhaps, what has not.

What is different one revolution later?

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Take A Break?

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Take A Break?

At times we all need to take a break, from one thing or another.

Sometimes it’s work. Sometimes it’s locations. And sometimes it’s people.

There is a fairly common perception that artists cannot afford to take a break from their projects, and I mean that both literally and figuratively. However, that is not actually the case.

We have all been trained to be disciplined, hard-working, and to achieve - all the time. And too often this gets equated to a laziness or some sort of failing whenever an artist decides to take some time off or time away.

But I’m here to tell you that breaks are not only necessary, they are integral to the creation process. Allow me to explain.

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The Creative Corner - Guest Blog #1: Jennifer Arfsten

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The Creative Corner - Guest Blog #1: Jennifer Arfsten

Our first guest is Jennifer Arfsten. I met Jenn last year as part of the Bristol Valley Theater callback process for their 2019 summer season. She’s a wonderful performer and an absolute delight in the room. Jenn made an impression right away with both her talents and her humor, and I was delighted when she was cast to play Anne Boleyn in the premiere production of The King’s Legacy. Her performance was beautiful and nuanced, and she was a joy to work with this summer. Jenn has become a good friend of mine in a very short period of time, and I look forward to watching where this friendship and our continued work will take us!

And now, without further ado, The Creative Corner #1: Jennifer Arfsten - Where Are All The Women?

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Become A True "Renaissance [Wo]Man"

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Become A True "Renaissance [Wo]Man"

As I discussed last week, this past weekend was the first ever TudorCon at which myself and a small cast performed a concert of music from The King’s Legacy as the con’s Saturday night entertainment.

So silly. So fun. And wonderfully affirming!

I met a lovely group of smart, giving, caring individuals who all gathered together to share their love of this time period and its stories. And even more than that, they gathered together to support the research, knowledge, and creations of the speakers and their fellow attendees.

After the concert, a small group of people was standing around speaking with some of the performers, and they were asking where they would be able to see the show next.

Now, as you know dear readers, this depends entirely on when and where there is an interest to produce the show, as well as having the money behind it to make it happen. And this was explained to the group.

But then one of the women said: “You should start a Patreon page! I would definitely give, and I bet many other people would as well!”

And what a delightfully canny idea that was!

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It's TudorCon Time!

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It's TudorCon Time!

Yes folks, you heard (read?) that right! TudorCon.

The world’s first ever TudorCon, in fact.

And The King’s Legacy has been booked to provide the Saturday night entertainment at the con’s inaugural year with a concert of music from the show!

“So, what is this thing?”

“What are you doing there?”

“And why should I care?”

I love your propensity for questions, dear reader!

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There Must Be More

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There Must Be More

“…than this Provincial life!”

Sorry, I just needed to have my Belle moment. That’s totally not what this post is about. I just adore that score.

Onward!

Over the past week I saw 3 shows - 2 Broadway and 1 Off-Broadway.

These shows were (in the order I saw them):

  • Scotland, PA

  • The Inheritance Part 1

  • Tootsie

Now, regardless of how I felt about each of these shows, or how much I did or did not enjoy them individually, they all had something in common per my experience in watching them.

At one point (at least) in every one of these shows I had the thought: “…But must we? This again? Isn’t there more out there? There must be more.”

Allow me to explain.

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You're Allowed to Call "Hold"

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For those of you who are not aware, in the theatre we have this thing where you’re allowed to call “hold.”

“What does that mean…?”

Excellent question!

During the tech process of a show, it is common practice that anyone in the room is allowed to call “hold!” and stop the rehearsal process. This could be due to a safety concern, a missing element (prop, costume, light, etc), something that went wrong onstage or backstage, a person missing an entrance, needing to fix a technical moment, a mis-fired cue…or for so many more reasons.

Basically, you can call “hold” for anything major that goes wrong because everything is a priority.

I want to repeat this.

Anyone in the room is allowed to call “hold” because everything is a priority. And not a single person in that room will (rightly) judge you for it.

“Okay. So what?”

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Take It To The Chorus

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Take It To The Chorus

What is a chorus? And for that matter, what is a verse?

These seem like fairly general music terms that we all know, but do we?

I’m pretty sure that most people could at least tell you that they’ve heard of the terms chorus, verse, and bridge before, and could most likely give you a general definition.

Well, at least as far as pop music goes.

But in musical theatre, these things have a slightly different meaning. And it has dawned on me slowly over the past several years that there are many creatives in the industry (directors, performers, etc., and yes, some writers) who are not exactly sure what these terms mean when applied to musical theatre music.

So, what do they mean?

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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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*And* I Have To...What?

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*And* I Have To...What?

We often ask a lot of our performers - and directors, designers, and everyone else of course as well, but this post is performer-focused.

We especially ask a lot of our performers in a summer stock rehearsal setting.

But sometimes we ask for even a little more.

Perhaps you have a special skill that the director would like to include in a show. For example: you play an instrument, you tumble, you’re a gymnast, you can juggle, you can do impersonations…or a thousand other possible talents.

And then there are shows that ask for even more than a little more, and to do it all in 8 days.

And that, my friends, is the zany, fast-paced romp that is Murder For Two at Bristol Valley Theater!

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Love Is Alive And Well On Broadway

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Love Is Alive And Well On Broadway

This past Monday night I was honored and overjoyed to attend the 4th annual Arts For Autism Broadway benefit concert!

For those of you who have not yet heard about this event, please allow me to tell you about the magic that is late June evening each year.

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