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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Strong and Wrong

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Strong and Wrong

There’s a little trick people use when teaching beginners how to solo in Jazz - which professionals also sometimes utilize - that goes something like this:

“If you hit a note that you didn’t mean to hit or that doesn’t sound right, hit it again. Then again and again, and maybe even hold it out. Then it will sound like you meant to do it.”

And it works.

There’s something about the way we process information as humans that makes us resistant to encountering information which goes against the norm of our everyday experiences, but then that resistance will break down with time and exposure.

There’s a lot of chatter about this phenomenon in the political sphere (how long after an idea is introduced to the mainstream does it become popular with the masses) and in psychology, but it can be highly useful in the artistic world as well.

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Sparks Are Flying

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Sparks Are Flying

As I’ve said on this blog many a time, I love information and I love learning. Therefore, it should come as no surprise that I’m a big fan of podcasts.

Since I drive to Long Island for work 5-7 days per week, I spend a lot of time in the car, which is where I usually listen to podcasts. And in addition to the history and language podcasts that I’ve taken to, I also try to listen to podcasts about the business and creativity as well.

And it was in this vein that this fall I began listening to The Spark File.

“What is a Spark File?”

“Where do I get one"?”

“What do I file in it?”

These are all excellent questions, and Laura Camien and Susan Blackwell have the answers.

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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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What Have You Been Doing?

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What Have You Been Doing?

This is an excellent question, and one I’ve been getting a lot of lately.

And why?

  • Perhaps it’s because I have looked consistently tired over the past several weeks?

  • Perhaps it’s because I’ve not been very social this past month.

  • Or perhaps it’s because the rabid fans of my blog are craving the more in-depth content that I have not had the time to deliver much of this fall! (ehn?)

I’m sure all of these are correct, at least to a degree.

But it’s a good question, nonetheless.

What have I been doing? What’s been keeping me so busy?

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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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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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Let The Sunshine In

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Let The Sunshine In

Lately, I’ve been hearing a common refrain from people throughout my life - friends, family, students, parents, and even strangers and acquaintances on social media…

“I’m just so tired. Everything is exhausting.”

And when exploring this a little further, I’ve begun to notice a pattern. A very common pattern, in fact, and one that I have fallen into many times.

Does this - or something like it - sound familiar?

  1. Wake up

  2. Caffeinate/Eat

  3. Work

  4. Eat

  5. Work

  6. Exercise perhaps?

  7. Obligations

  8. Eat

  9. Obligations

  10. Zombie out in front of electronics

  11. Sleep

Rinse and repeat.

This is a common pattern - and I have absolutely nothing against patterns or routines, I personally thrive off them! But the above doesn’t seem to be leaving much, if any, time for joy.

Now, I’m not talking about carving out big periods of time on a daily basis for “relaxation” or regularly skiving off obligations to instead do something fun. What I’m talking about is finding a way to include just a little bit of joy in your daily life. Just a little bit of sunshine amidst all the necessities.

But how?

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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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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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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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From The Ground Up

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From The Ground Up

The term “Devised Theatre” tends to elicit strong reactions from people - whether that be eyes lighting up in excitement, a shudder in remembrance of the ghosts of devised theatre past, or questioning looks from those who aren’t exactly sure what it means.

Essentially, devised theatre is a theatrical piece including any performance elements (dance, music, lights, speech, sound, movement, etc.) that was built from the ground up by an ensemble of people without a physical, linear-plot script.

Often these types of piece are made to be experimental and off-the-beaten-path, and audiences aren’t necessarily expected to feel a sense of familiarity in experiencing the performance.

But then, other times that’s exactly what they are meant to feel. And that’s where it gets super tricky.

Tonight is the official opening night of So Happy Together: The Music of the Swingin’ 60’s at Bristol Valley Theater - for which I am the Musical Director - and that’s precisely what this show was built to be: a devised musical revue show meant to be a delightful, familiar, and joy-sparking experience for the audience.

And folks…I think we did it?!?!

But how?

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Stress? Psh! Injury...? Why Would You Even Say That?!

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Let’s have a brief conversation - one-sided, of course, since this is a blog post :-) - about stress and physical injury in the theatre.

This is a topic that most artists - performers in particular - avoid, and for a few reasons:

  1. Injury is scary and no one wants to think about it.

  2. Everyone has stress and no one wants to look like the “complainer.”

  3. Injury has become stigmatized as something shameful.

  4. We wear our stress, and ability to handle it, as a badge of honor.

There are others as well, but I generally see these as the biggest reasons this topic is avoided. People don’t want to talk about these things, but if we don’t talk about them they become these big scary monsters that we hope we won’t have to endure.

But we do.

Stress and injury will affect everyone at some point, so let’s just talk about it.

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Love The Art, Hate The Artist?

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Love The Art, Hate The Artist?

Society - particularly American society - loves to demonize or to “other” art and artists.

We deride people who create:

  • “Oh, you’re an artist? You’re one of those.”

  • “Oh, you’re a writer? I wish I could sit at home all day.”

  • “Oh, you’re an actor? You must love starving.”

These are of course specific examples using common ideas and tropes, but these kinds of reactions are common and probably sound familiar to you.

We tell people who want to go into the arts:

  • “Why would you to throw your life away?”

  • “But you have so much potential!”

  • “But there’s no money in the arts!”

Being a creator is clearly seen as being *less than,* but why? Less than what? Why would we consider becoming an artist or writer or performer or designer a path that is throwing your life away or not using your skills and talents?

Well, Capitalism.

But this type of thinking and behavior not only can be unlearned, but it needs to be unlearned. Art and the products of creation are everywhere, but we’ve been conditioned to have a blind spot for most of it, and what we do see we are told to feel contempt for. Let’s just see how pervasive art is, shall we?

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It's Critical!

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It's Critical!

Lately, I’ve noticed that a lot of people - friends and strangers alike - have been saying something very similar to me as a I talk about productions, performances, or people that I’ve recently seen onstage.

As I’m giving my solicited opinion and actively formulating my thoughts, people keep stopping me to say things like:

  • You’re choosing your words very carefully.

  • You can just say what you mean to me.

  • You’re trying to be so [nice/PC/positive].

This got me thinking about how we, as artists and audience alike, deal with the art of criticism/critique/opinion. I’ll also admit that I recently listened to two interviews with high-profile theatre critics - both of which bothered me in very different and specific ways that I won’t go into here - so this topic hasn’t been far from my mind.

And after last week’s blog post, which was a semi-review of Hadestown, I got a lot of comments from people online and in person that basically said “Thank you for focusing on the good.”

But isn’t this how we should be talking about art?

All of those things above that people have said to me made me react the same way:

“No no no, I am saying what I mean, which is why I’m choosing my words so carefully.” And as for positivity, I think that is important to bear in mind as we critique - why focus on only the negative?

So, what is the best way to give theatrical criticism?

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"It's An Old Song" Yet Somehow New

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"It's An Old Song" Yet Somehow New

Last night I had the absolute pleasure of seeing Hadestown on Broadway, and there is so much I would like to say about the show and the experience.

Now, when I first began this blog I had promised that one of the things I would occasionally write is theatre reviews. However, I am not a reviewer or critic (well, everyone is a critic, aren’t they?) and I personally do not feel that the world needs another small-time reviewer to muddy the opinionated waters.

So what I am going to do is occasionally write about a show or theatrical experience that moved me, and then try to speak to why. What is it about this show? What in particular was enjoyable or exciting? What was new and/or different?

***This does mean there may be mild Hadestown spoilers today - but since I am including no pictures, video, or music, how spoiled could the experience really be? (Another question for another day?) Plus - well - the Orpheus story has also been around for a couple millennia, sooo… ;-)

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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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Hole-y Plots, Batman!

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Hole-y Plots, Batman!

Over the course of my musical direction this past year I have had the pleasure of working on shows that I know well, as well as a couple that I didn’t. But one thing is for certain - you never truly know a show well until you have worked on it.

And once you have worked on a show, it becomes ingrained in you somehow. A piece of your life. A window into a specific period of time or a specific mindset. Perhaps it changed you somehow. Perhaps it was just a great time. Or perhaps it was a less positive experience. And all of this is wonderful and valid, but it’s also not what I’m going to be focusing on today.

Today I come bearing a question. At the end of the day what is more important: an airtight plot, or to move the audience?

Several of the musicals I have worked on in my life have brought me to ask this question, but I have been thinking about this yet again this year. Of the three shows I MDed this school year, 2 of them had “hole-y plots,” yet both seemed to give some sort of emotional satisfaction to the audience. And the other was absolutely airtight in plot, but was ultimately more entertaining than moving.

So which is more important? And can we have both?

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