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?
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. Read More
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. Read More
Lin-Manuel Miranda has often spoken about origins: His own, his family’s, his musicals’, Alexander Hamilton’s, etc. He has written about them in lyrics, including the one above from “Alexander Hamilton” and his well-noted “we were that kid” rap in the 2013 Tony Awards opening number: “Bigger.” It’s a common theme of his interviews, whether he is the interviewee or the interviewer. Clearly Mr. Miranda seems to think our origins are important.
And I agree.
Particularly when it comes to the arts and educating young people. I firmly believe that our experiences and exposures as children have an incredible and lasting impact on how we interact with art for the remainder of our lives. And this includes formal and informal educations, extracurricular activities, time experiencing art with family and friends, exposure to all forms of entertainment, financial abilities, general access, community practices, and much much more. Every experience in life involves art in some way, and every exposure is another puzzle piece in a child’s education.
So how do we best serve young people? What kind of education do they need or should they have? What if some want to pursue the arts and others just want to enjoy them? What about those who have fewer resources available or greatly reduced ability to access art? Where does it all begin? Read More