Collective and Connective

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Collective and Connective

There has been an extraordinarily common theme across the informational platforms I’ve been devouring recently:

Nothing creative or inventive happens in a vacuum or alone.

And I want to be clear about this: all inventors are creators. In an early blog I talked about how essentially everyone is a creator - science and math-minded folks included - and I just want to reiterate this point.

Has the world seen a large number of “geniuses”?

Yes.

Are these people extraordinary?

Yes.

Have their innovations and creations altered the world in which we live?

Yes.

But not a single one of them did it all alone.

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The Piano Person

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The Piano Person

Let’s set the scene:

You’re at an audition. It’s your time. You walk into the room. You light up the room with a delicious sense of your personality. You greet the humans behind the table. You turn and -

THERE!

Right there! Behind the large, tinkly music box -

The Piano Person.

Now, this person is very mysterious. There are many unknowns about them:

“Are they on the creative team? Are they the Musical Director? Or hired in? Are they part of the decision-making process? Have I seen them before? Is this the person who messed up my pop audition last week? Are they tired? Are they grumpy? Are they pleasant? Are they a good sight-reader? Will they be able to play my cut? Are they eating a snack right now??”

And these can be nerve-wracking unknowns. Let’s not forget, these people have the ability to aid or hurt our auditions. Though - a little secret - 90% of the time they want you to do wonderfully and are just there to make good music with you for the 30 seconds you’re singing.

But what do we do with this Piano Person? How do we interact with them? Is there a general formula you can use to have the best possible interactions?

Well, as a piano person myself, allow me to offer you some of my thoughts.

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The 5-Hour Rule

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The 5-Hour Rule

About two years ago, there was a pretty sizable buzz about something that the media was dubbing “The 5-Hour Rule.”

In it’s most basic form, it was being described as: “Read 5 hours per week or you’ll never amount to anything!!!” Which caused a little bit of blowback and debate…you know, so news outlets could sell more advertising and drive more traffic.

But what is the actual principle behind the rule, and how is it useful to creatives?

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Calling All Craftivists

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Calling All Craftivists

(This blog was inspired by multiple episodes of The Spark File podcast - it’s well worth the listen!)

Since the inauguration of our current President just over 3 years ago (read: 9 lifetimes ago), there have been reports of people feeling the effects of a new phenomenon, which has been labeled as:

“Activism/Social Justice Fatigue or Burnout”

Burnout was originally defined as:

“A state of physical and mental exhaustion caused by one’s professional life.”

But Activism Burnout? This phenomenon is not restricted to professional/work environments. Many people feeling this phenomenon are quite young and still very much in school.

Activism Burnout is due to having to constantly fight against the larger state of being of a society, country, legal system, and world in which social injustices and humanitarian crises are running rampant, fed by those who couldn’t care less about other humans or the future.

Oh, plus - ya know - the normal everyday stressors of individual life.

So, what to do?

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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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Words Words Words

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Words Words Words

Words matter. Word choice matters. And context is everything.

I have often heard the saying that “words are magic,” and it’s difficult to disagree.

We can utilize language to create so many things:

  • We can create visuals to be imagined.

  • We can conjure emotions.

  • We can make peace.

  • We can force conflict.

  • We can make art.

  • We can tell stories.

  • We can build entire worlds.

Words are extraordinarily powerful, and it’s good to occasionally take stock and think about the way words affect our lives and the world around us.

Plus, it just might help your art as well. 😉

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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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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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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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