One Producer in the City

Guest Blog #93: (not just) 3 New Plays

 

Given that Friday the blog was dark, I moved the guest blog post to today. Below is Allison Bressi's story of how she became a producer and the awesome collaborative project she is currently working on. Take it away Allison!

Excelsior!

Producing (not just) 3 New Plays actually started out as a “water cooler” conversation for me.  I work at Signature Theatre with Kevin Armento (one of the playwrights on the project), and while I was making tea in the kitchen he popped his head out of the refrigerator and asked if I knew any producers who might be interested in working on something with him.  To be honest, I was only half listening to what he was saying and much more focused on drinking my tea, but I asked him to send me some information about whatever this was so I could send to some friends.  About twenty minutes later I received a proposal for a project that felt so important and interesting to me that I told him I wanted to be his producer and to please sign me up. 

 

(not just) 3 New Plays is a month-long theatrical pop-up event that was formed to combat the individualistic, competitive structure of self-production.  We will present three world-premiere plays by early-career playwrights in a shared space, on a shared set, with a shared budget.  In addition, we’ve invited a bevy of young artists and companies we admire – artists who would not normally have the space to create their work – to use our rented home for free rehearsals, workshops, and readings.  We’re not just renting a venue, we’re not just producing three plays, rather our aim is to build an artistic ecosystem.

 

I believe in our event for many reasons, first and foremost being that it’s not just about presenting new and exciting work (which is important!), but more so finding a new and more realistic model for artists to self-produce in New York City.  I think my peers and I are in a place where we need that.  Due to finances, time, and limited space it’s becoming more and more difficult for artists to simply work on and develop their work.   I see and work with seasoned artists at Signature on a daily basis, and find it so exciting to think about our emerging playwrights, directors, designers, and actors eventually having similar resources, opportunities, and support available to them.  My hope is that this experiment in self-producing helps pave the way in getting them there and also inspires others to consider this model of coming together as a community to produce and put work out there. I know so many people who are working incredibly hard and creating work that is extraordinary with very little resources.  It’s amazing to think about what individuals like that could accomplish if they worked together.  I feel cliché saying it, but strength in numbers!

 

Working on a project of this scope in a city like New York brings its share of challenges: time and money being our largest obstacles.  I work full-time as the company manager at Signature Theatre so most days I feel like I’m working with negative time, a challenge that I’m sure most arts professionals in New York can identify with daily.  I definitely knew going in that this would be the case, but the framework of the project is the most original idea I’ve heard in a long time and there was no way I could pass it up.  The playwrights, Kevin Armento, Jaclyn Backhaus, and Jerry Lieblich, who are also working with me as producers of the event, are so passionate, talented, and supportive of one another that it is impossible not to get swept up in their vision and give them every minute and dollar to support it.  They have taken on raising all of the funds for the event and continue to amaze me with what they are able to achieve.  I’ve never met artists who care as much about each other’s work as they do their own.  This is not only demonstrated by their support for one another, but also because a huge part of producing their plays is presenting forty-five new works by other companies at no cost to the artists. 

 

It’s because of this passion and support that we’ve been able to assemble such a great team to bring this idea to life. Our production staff for all of the plays includes Andy Yanni (scenic design) Meghan Gaber (costume design), Joe Cantalupo (lighting design), Sam Kusnetz (sound design), Brian R. Sekinger (stage manager), Amanda Phelan (stage manager), Dionna' Fletcher (stage manager), Barrett Law (stage manager), Julia Borowski (production coordinator), Eric Emch (graphic design), Karina Martins (line producer), Distilled Theatre Company (associate producer), and Fresh Ground Pepper (associate producer).  In addition, Tom Noonan’s Paradise Factory has been incredibly supportive and their wonderful, newly renovated space really shaped our vision and made it possible for us to produce a project with so many different avenues. 

 

Performances begin on September 8^th.  Please see information for the individual plays below.  We’ll be announcing all of the additional programming soon.  Come check it out!

 

EUDAEMONIA

By Jerry Lieblich

Directed by Marshall Pailet

Featuring Brennan Caldwell, Brandon Espinoza, Emma Meltzer, A.J. Shively 

 

In a walkup somewhere in Brooklyn, Ned is hopelessly in love with Natalie, the cute girl downstairs. But when a tiny Demon emerges in Ned's apartment, the promise of a cooler, more attractive self threatens to dissolve his very personhood. Amidst strange doppelgangers, ominous portents, and an unending search for some meaningful transformation, these three twentysomethings watch their identities disintegrate before their very eyes. Part magical-realist romp, part meditation on the line between appearance and identity, Eudaemonia is a wild and imaginative ride through the insecurities and isolations of urban life. 

 

Eudaemonia was developed in part at Bookshop Workshops, Filling the Well Writer's Retreat, and Cockpit Writer's Retreat. 

 

CLICK HERE to purchase tickets

 

KILLERS

By Kevin Armento

Directed by Stefanie Abel Horowitz

Featuring John Gasper, Emma Ramos, Rania Salem Manganaro, Chris Thorn, Katy Wright-Mead 

 

Miranda has had the urge to kill since she was a little girl, but when she befriends schoolmate Bobby Barrett, they start making booby traps and movies together, outlets that seem to quell her desire - at least for now. Decades later, a nameless woman in a cubicle tries to suppress her grim fantasies of dying, while negotiating an interoffice romance with a man we soon learn is Bobby Barrett all grown up. Though a generation apart, these two stories unfold in tandem, revealing an intricate link between two of our basest urges.

 

killers was developed at Judson Memorial Church, the Abingdon Theatre, and the Last Frontier Theater Conference.

 

CLICK HERE to purchase tickets

 

SHOOT THE FREAK

By Jaclyn Backhaus


Directed by Andrew Neisler

Featuring Maxwell Eddy, Jamie Effros, Ben Otto, Claire Rothrock, Sarah Todes, Ryann Weir 

 

When Franny and her Bushwick friends set out to Coney Island to relive the magic birthday exploits of 2006, they expect a few Nathan’s hot dogs, a few spins on the Cyclone, a few nostalgic look-backs on How Things Used to Be. Franny even crosses her fingers for a whimsical make-out session with Grant. But no one—not even the maniacal local weatherman—seems to forecast the Level Five Hurricane headed straight for Luna Park. As the boards on the walk start to creak and split in the wind, as hunks of amusement park metal are exposed to the elements, as the rain falls and the waves crest, the layers of old Coney (and Old Coney, and Ole Olde Coney) bubble to the surface. And it’s only a matter of time before the Freaks seek shelter from the storm.

 

Shoot The Freak was developed in part at Fresh Ground Pepper and Cockpit Writer's Retreat.

 

CLICK HERE to purchase tickets

 

Guest Blog #92: Don't forget to listen

This week's guest blog comes from film and theatre director Liam Billingham. As you'll see below, Liam was having some challenges while blocking a show and learned a valuable lesson that he'll share with all of you. Take it away Liam! 

Excelsior!

There is nothing like the first day of blocking a play. It’s the day you say to yourself ‘wow, we’re really doing this.’ Gone are the days of sitting around a table and talking. Gone are the nice breaks from table work in which everyone acts silly and enjoys getting to know one another. Now, we have a performance to make.

Last Saturday, I had my first blocking rehearsal for Lawrence Dial’s Carroll Gardens Aborning, a new play about two couples, one reeling from a tragic loss and the other making decisions about their lives together. It’s a wonderful, natural piece of drama, and one I was thrilled to be offered.

The piece is being produced by The LabRats, an NYC Theatre company. The Rats do lots of shows, and have worked together for years. Two of the Aborning company members are playing major roles, and our design team is composed of a crew of professionals who have worked with the company frequently. It’s a bit of a family affair.

As the actors warmed up and our stage manager set the stage, I found myself slightly anxious. I haven’t had to fully stage a play in years, most of my theatre work lately being on a one-woman show called Human Fruit Bowl, and everything else being film. This was slightly nerve wracking, especially because we had elected to start with the play’s most complex scene, blocking-wise.

The actors began doing their thing, and I began offering suggestions and ideas, but something wasn’t clicking. We couldn’t make headway, and things were happening in fits and starts. The chemistry demonstrated in our first read-through had disappeared. This kind of thing is quite common in a first staging rehearsal, but it felt somehow worse. Something was getting in our way.

After ruminating about it for a few minutes, I realized what it was: me. I was the problem. I was anxious about doing a ‘good’ job, and so was playing the role of an overly busy director. I wasn’t letting the play happen.

I took a step back and a deep breath, and let the actors go to work. Suddenly, things began to click. The actors were hitting the moments nicely, and their strong understanding of the play brought an easy clarity and confidence to each moment. I said very little, only commenting when an impulse told me to push someone towards or away from a choice. Very quickly, the scene took shape. Was it perfect? No, but it was a step in the right direction, which is exactly where you want to be at the end of a first blocking rehearsal.

This is certainly not the first time I have learned this lesson, as I think it is one that reverberates in all fields: Let the people around tell you what it should be. Listen first, and make decisions. Don’t let your need to be right get in the way of figuring out what works. The ability to step back and learn through experience is humbling and rewarding.

Liam Billingham is a film and theatre director based in NYC. Check out his work at liambillingham.com

 

Guest Blog #91: Lessons Learned

This week's guest blog comes from Katie Santos, a new manager who learned some valuable lessons about producing that she has kindly offered to share. Take it away Katie!

Excelsior!

It was Opening Night. My fiancé, and co-producer of the show, was in the audience - a potential investor to his right and another texting, wanting to attend tomorrow nights show. 

 

I was backstage, calming actors, finding costume pieces they misplaced directly in front of themselves and just generally breathing a sigh of relief that tonight,  the culmination of all our hard work would be realized. 

At the end of the night, we all breathed and toasted to a collective sense of exuberance:

"We did it!"

Of course, we looked forward to tomorrow ("and tomorrow and tomorrow...") We were on a fast track and Broadway Bound. And this was no unfounded pipe dream; we had done our due diligence: collected a great team of experienced, award winning professionals; gotten a solid script and intense marketing in the form of a well known famous author with a huge following; and had a production value so high that we'd Sold Out our first sixteen shows A Full Month in Advance.

 

Failure  at this point, could only be attributed to something Completely Beyond Our Realm Of Control:

Like Mercury Retrograde;

Or The Apocalypse;

Or the Fickle Workings of the New York Audience Hive Mind.   

If this show was not a smashing success there was nothing we could say that we had failed to do. 

...Right? 

Yeah. That's what we thought, too.

Here's how we made that mistake and how to make sure you Don't!

1- Our Relationship With Our Most Important Partner:

Of all our amazing, professional, talented partners in this show, the one we may have failed in relating with was our venue and box office Owner. It's easy to forget the importance of this individual, given that they are rarely involved in the rehearsal process or attend production meetings. And in this case there were plenty of excuses why our particular situation was "difficult". However, this is the partner who, more than the General Manager or the top-line investors, can be the safety net of the show - before, during AND after. 

Your positive relationship with Every Individual, even the more "difficult" ones, is absolutely necessary in holding on to your inevitable success. 

2- Our "Fully Grown From the Head of Zeus" Marketing plan:

Like Athena fully birthed from her dad's head, our Marketing Plan came to us Ready Made. Created on the backbone of a famous author, with a loyal and huge following in the real world as well as online, it seemed Goof Proof. Our script, adapted from his books, appealed to not only current fans but "theater geeks" as well.  As we rehearsed and built the show, he blogged and tweeted, promised his fans they would meet him if they came and even offered to buy each audience member a drink! When the first week sold out, crashing our online ticket service in the process, we were convinced beyond a shadow of a doubt that we had a huge success on our hands. 

At a few production meetings the show website was discussed ("When would we have one...?") and the idea of hashtags was bandied about ("It would be great to have them publicized...") But the urgency to follow these thoughts thru was overshadowed by the Awesome press we were getting on sites like Jezabel and Cosmo and on the authors own blog. That's all we needed, right?

Your marketing plan is not a static entity. It, like the show, should grow and evolve; and as it does, so will your success. 

3- Positive Thinking. 

As the ball of success started to roll, gathering speed and social media laurels, we started to tell ourselves that the greatness thrust upon us was inevitable. "This is going to Broadway," we said, before we'd even opened. And it didn't seem crazy! If anything, our Positivity was backed by practical plans and spreadsheets. We were so positive, that we didn't see the alternative ending. Couldn't see it - and I believe that we couldn't for many reasons. One main one might be one we all struggle with sometimes:  fear that if we let negativity in - the "what ifs" and the doubts-  our success will disappear. 

*Be  Positive about your continued success by taking an honest look at the possibility of failure.  

The final bonus point:

*Always Remain Conscious of the Success You HAVE Achieved! We did not make our end goal of Broadway - this time, or in this way - BUT: We DID put on 16 Amazing , fun, memorable, successful shows. We DID make lifelong friends and connections that can only benefit us in the future. And we did learn so much - even more than what I've shared here . 

We're excited to share these lessons with our peers: one-on-one and at regular group workshops with fellow producers, directors and managers - so that we can all continue to achieve every bit of the success we deserve! 

Thanks for sharing Katie! 

 

Guest Blog #90: The Lone Star Theatre Company

About a year ago I made an introduction between two people with similar interests. A year later, they have started a theatre company and have come full circle to guest blog. In this post Ben Wright discusses the journey they have been on and their latest project which I hope you'll take the time to check out and support. Take it away Ben!

When I moved to New York from Austin, I wanted to find a way to bring some of the great work I was seeing done in Texas here. My goal was to find a way to create a conduit to New York for Texan writers. Too many shows would go up once and disappear forever. There are a lot of missed opportunities. However, I knew that with the right attention to marketing and script development some of these plays could grow into something greater in NYC. That is why I joined David Davila in the creation of Lone Star Theatre Co.

Lone Star Theatre Co. was created to bring work of Texan writers to the New York Stage, and it is the conduit I was seeking to create. It was also created to begin connecting a community of New York Texans who value the social experience of theatre. We have already had a series of intimate readings that have offered the opportunity to see new work and make new friends over cocktails, and we are planning regular social events to bring our community together. There is a lot of new work coming out of Texas, so we have many opportunities to create some great theatrical experiences.

This September, Lone Star Theatre Co. will be producing its first full production at the New Theatre at 45th st (btwn 8th & 9th) from September 12th through 29th. We are producing David Davila's ADAN Y JULIO, the story of two young gay lovers caught on different sides of the dangerous Mexican drug cartel war. It's a gritty, edge-of-your-seat, love story where Latin American machismo collides with homosexuality in a world where social positions are bought through fierce brutality and violence. This play brings to light and critiques a set of circumstances that those along the border know only too well. That is why we thought it would be a great first production for Lone Star Theatre Co.

Check out the Kickstarter and help us make our $25,000 goal.

Beyond September, we are building an exciting season, which is all the more reason to help us succeed with our first play, Adan Y Julio. At the moment, money is our biggest concern, but we’ve got some great people involved with our project, and we’ve already received some new scripts that are offering really exciting possibilities. However, pulling this first play off will give us the momentum to carry our first season forward.  This is also the perfect opportunity to build a community that is literally invested in the future of Texan writers in New York. We also just like putting together cool events, so this should be a lot of fun.

Now that I’ve been in the city for a couple of years this dream of helping to bring Texas pages to New York stages is on the verge of coming true.  I can’t thank Michael Roderick enough, as he not only is having me as a guest blogger, but also because he has consistently been one of the most conscientious connectors I have ever known.  Many of my connections in the producing world have been through him including my connection with David Davila which paved the way for Lone Star Theatre Co. He even connected me to all of you who are reading this post.  So, I’d also like to thank y’all too for taking the time.

www.lonestartheatre.com

Thanks Ben! 

Be sure to check out Lone Star's campaign and help if you can!

Excelsior! 

 

My interview with @garyvee

Many of you know that I have posted before about how much I have enjoyed reading Gary Vaynerchuk's work. 

He inspired This Post

This Post

and yes, I referenced his book after This Horror Story

So when I found out about his latest offer to his followers, I decided to jump on it. Some folks decided to do a full video or recording, but I decided to ask some questions on connecting and offer my three biggest take aways from our Q and A. So here we go, the top three things I learned from 15 minutes with Gary Vaynerchuk. 

You get what you give- It seems like such a simple statement, but when you think about it, there are plenty of people out there who are wondering why they are not getting more from those they interact with. They may be asking why someone isn't buying what they are selling or why certain people won't take meetings with them, but what they should be asking is how much they have actually given. It's important to look at what we are doing for others before we get overly concerned about what is coming our way. The more value we add, the more opportunities we have. 

If everyone else is giving free-shipping we need to "level up"- It's now expected in the world of customer service to offer some type of perk, but that isn't going to break through the clutter. The question we now have to ask is how are we going to take our service to another level? How can we surprise those we work with? What can we offer that comes from our own spring of creativity? Anybody can write a thank you note, but not everyone will take the time to look at the details of that note. What if the note was on a can of someone's favorite soda? What if you got a box of chocolates from someone that spelled the words Thank You when you opened them? I know I am going to continue to think of ways I can "level up" in my own practice with the people I connect with. 

Authenticity is Oxygen- This was probably my favorite quote from the entire conversation. In a world where everything we do is seen via Twitter, Instagram, Facebook etc. there is very little chance for anyone to do something on the sly. Therefore, if you are not authentic in all of your interactions, you are killing your business and your brand. It's a very strong image and very true that if we are not authentic in our relationships and up front about our intentions, then we are going to lose. So take the time today to think about authenticity. Is everything that you have in your business something that you are able to deliver on? More importantly can you over deliver? 

Thanks to @Garyvee for taking the time and check out his new book Jab, Jab, Jab Right Hook launching in November! 

Excelsior!

P.S.- The next ConnectorCon is next Weekend! Hope to see you there! 

 

Guest Blog #88 Think about your life

This week's guest blog come courtesy of my first ever guest blogger! Matthew Putman always has a something great to share whenever he guest blogs. In this post he makes some very interesting observations about Pippin both old and new. Enjoy!

Excelsior!

P.S.- It's my Birthday! Help me make it a great one and come to ConnectorCon! 

Take it away Matthew! 

Over breakfast this morning my 7 year old daughter Juliette asked me a question which must have been a nagging feeling of confusion for her for 3 weeks. “What is that makes the old Pippin better than the new one?” While this may not seem like a profound Meta physical question, it does have both practical and philosophical resonance for me, as it obviously does for her too.

The story of Pippin in my life is only as a faint backdrop, but perhaps more importantly as a way of showing musical theatre’s ability to reflect and contrast life all at once. This was only part of the Fosse brilliance that defined several decades of Broadway and film throughout a political, and social climate in New York that is much different than now. Pippin was produced during the late Vietnam days, and pre-AIDS crisis days. Pippin was post Broadway’s golden era, and pre Broadway’s British invasion (Cats, Phantom et al ). Pippin wasn’t really about a time (Charlemagnes Europe far enough removed from history in this case as to be render the musical timeless), but was instead about the theatre, and how the theatre reflects life. This is at least as Fosse saw it. Legend has it that Fosse and composer Stephen Schwartz were in bitter disagreements about what Pippin was about. Rather than getting into the fundamental philosophies of the two here, you can look at the bleak and brilliant 1979 film “All That Jazz” to get a taste for what Fosse thought a show such as Pippin should be. To see Schwartz’s view, I guess look to all other Schwartz musicals such as Godspell and Wicked. These views are diametrically opposed to one another. Fosse saw theater as a showcase for life’s absurdities. Not completely unlike Samuel Beckett he did not avoid this but embraced the contradictions that are evident in a medium where tap dancing and death are not even separated by a cross fade or scene change. They blend. Who else would have the last scene of a movie about a life on Broadway end with the autobiographical main character being zipped into a body bag while Ethel Merman belts out the classic “There’s No Business Like Show Business.”

The problem for Fosse with Pippin (I am speculating) is that the end of the show as written does not end with Pippin in a body bag, or giving his grand finale as the Leading Player suggests. It doesn’t even end with ambiguities about compromise, but instead with a misunderstood interpretation of Voltaire’s “Candide” who remarks at the end that “we must cultivate our garden". Both Voltaire and Fosse would cringe at the end with Pippin’s last sung lines from the book “I wanted worlds to paint, and costumes to wear. I thought it was there. I think it is here.” The here is referring to a life with a woman who annoys him, a child that is not his and who treats him fairly disgracefully, and most importantly a life of mediocrity on a farm. I do not know what Fosse thought of the value of Pippin’s choice, but we do have a good indication of what he thought about it as a valid ending to the musical. In the original musical Fosse had some ambiguity to play with as the lights went down by having Pippin say, with the child in his arms, that he feels “trapped” but that "isn't too bad for the end of a musical comedy." With this flippant and powerful rebuking of the final message, Fosse turns the tables on the meaning of life from his perspective.  That is whether musicals are fun, bloody, hard or amazing, when looked at from the outside they look a lot like life. The have a beginning and end and for a musical you have a spectacle. “Magic shows and miracles. Mirages to touch.” Fosse himself lived that life on stages, and that life off of the stage.  The most beautiful song in Pippin is the ballad “With You”, which in a recording sounds like a simple and pretty love song. In the show it is an orgy of sexually excess, where Pippin is experiencing the full potential of nihilism and discovering himself in the process. Fosse did this often in life, and while not making a moral claim on decadence, he managed to try in real life much of what Pippin tried for those two hours on stage.

The climax of Pippin involves a choice. Pippin has run out of ideas to prove his value. (This may be very different than Fosse. I think everything he did had value”) and the Leading Player who has organized the spectacle of his life and the show presents him with a solution. That is to shine like the glory of the sun. He and the other players are enticing him to commit a grand suicide of torching himself publicly, where such an event would be remembered. The Leader Player sings of the sun: “how she lights the world up, well now it’s your chance.” Pippin rejects going down in “one perfect flame”, but allows the players who have entertained his life, and provided him with purpose and hope for meaning to leave the stage, taking the costumes and lights with them. He then, if it were not for Fosses off the cuff dismissal of the entire message, goes off to live happily ever after. Or as in the new version, goes off to live happily ever after, and the child re-enters  singing Pippins theme, in a pedantic show of generational repetition.  Fosse and most of us can see that life is much more interesting, and much more miserable if we do live in a dangerous way, with too much pressure to create something unique, too many lovers to be in love, too many magic shows that come to an end. Still we do these things over again, because the drive to do them is too great, and regardless, it makes for a more interesting musical comedy, and for Bob Fosse the two were never completely untethered.

 

I took Juliette to one of the first previews of Pippin with great excitement. I had even been given an opportunity to be one of the many investors in Pippin, which I did not do, as this would have violated two rules I have for producing, which are: 1. don’t produce revivals, unless you think they can be done better, and 2. Don’t produce anything unless you feel it so important to have it done that without you it won’t be done. I haven’t always followed these rule, and this is one of many reasons I think I have lost so much money and my soul in the theater that I often imagine myself in that body bag with Merman singing. Still in this particular case I almost did get involved because of Juliette. I had shown her many musicals, and other than West Side Story, Pippin seemed to stick with her the most. She can dance like a Fosse girl (which my wife reminds her is not appropriate outside of home) and will call me from downstairs in the morning to say “Daddy I am wearing Fosse pants today!” Still, despite her and my love of the show, I did not get involved as a Producer. I did however go see it with her right away. It is a spectacle that I don’t think Fosse would have disliked entirely. The choreography was a lot of Fosse, reimagined through Chet Walker. And for a large part of it I liked it. Then as it continued I became aware that this was the production that if Fosse were alive he would have locked Schwartz out to avoid. The decadence was removed, the fear was removed, some of the true wit was removed, and maybe most importantly that last disclaimer was removed. It was, after all of this, just another happy ending that somehow seemed completely false.

When Juliette asked me that question over breakfast, was this  what she meant? It couldn’t be I thought. And if it was, maybe that was sad. It should not only take a lifetime to have the cynicism of Fosse, but maybe not even everyone’s life. She is just a 7 year old girl. I said “I know. I think it wasn’t as good either.” She continued “but why? Maybe the Pippin wasn’t as good.” I thought of how forthcoming I should be about this to her, but couldn’t be dishonest, so I said “no, I don’t think it was that sweaty. I think it was the end.” She paused for a moment, and like a director said “I would have never cast that Katherine. Pippin would never give up the Finale for her.”  I loved this answer, even though I wasn’t sure she was suggesting that the actress playing Katherine was so bad that suicide would be a better solution than living with her. What she was doing though was staritng to see Pippin the way Fosse did. It was a musical comedy, like life, where the play never ends, until it does.

 

Guest Blog #87 He's got Magic to do..

 

This week's guest blog comes from David Mallamud. David and I had the pleasure of working together when he and I were part of a musical theatre writing project with one of my plays. Below he tells his story of putting together an evening of his work. I'll be there on Monday and I hope some of you will also check it out. 

Excelsior!

I’ve always found the idea of a concert where I was the sole composer to be incredibly daunting.  Aside from self-doubt, self-loathing and good old fashion insecurity, the fact that I tend to write in a lot of different styles creates a specific set of difficulties when trying to condense that into an evening of song.  Suddenly, it’s not just a matter of what songs to present, but how to present them.  My biggest concern was presenting my work in such a way that it came off as being one thing, and having one perspective, even though the influences were rather varied.  To put this stylistic variance into perspective, the musical influences on this concert range from 80’s Hair Metal to French Cabaret to Irish Folk to more mainstream Musical Theater.   

 

 

            Fortunately for me, I had the brilliant Rebeca Rad in my corner to help select the material (and who truly conceived the show) and Ryan Scott Oliver to keep us on track. 

 

When I first started working with Rebeca, my solution to the problem was to only use the songs I’d written which had something of a contemporary pop/theater feel.  I brought this idea to her and she said, ‘That’s great, but let me hear your entire body of work” and let’s go from there.   

 

            I suppose my thought in only presenting my pop material was that that kind of concert might be a bit more marketable and I certainly didn’t want to come off as someone who only wrote in obscure styles of antiquity.  But Rebeca came back after listening and said that to only present a small side of my voice wouldn’t really leave an impression of who I am as a composer. 

 

I was actually a bit upset at first, partly because I had grown somewhat fond of the pop list and had finally settled on something, but also because it forced me to come to terms with who I actually am as a writer.  I suppose, like everyone, I long to be the popular kid, the hip composer of the week, but that’s just not me.  Though as Rebeca pointed out, in the meta world in which we live, it’s actually somewhat hipper to be a bit less mainstream - perhaps I should think of myself as anti-hip.

 

Ultimately though, despite my protestations, I realized that I had to let Rebeca do what she was there to do and I forced myself to let go.  It was really hard at first, but I’m now thrilled that I did it and I’ll say that for me, this entire process has been an exercise in letting go.  And that really means trusting people who you love and respect to do what they’re there to do.

 

            I should also probably confess my love of variety entertainment and the whole concept of the variety show.  Not necessarily in terms of style and sound, but more in the idea of a kind of onslaught of entertainment.  In addition, this is a form of entertainment which is so much a part of the fabric of American culture, if you think of how much who we are today in terms of our stylistic proclivities was defined by Vaudeville.  Sadly aside from a few fringe places American entertainment is now fairly homogenous.

 

            With that in mind, I was really blown away when Rebeca came to me with her solution to the whole variety aspect of the musical genres in my music.  Her idea was to present the evening in short acts, separated by very short musical interludes.  I absolutely loved this solution because it allowed the material to sink in and breathe so the concert wouldn’t have to abruptly switch gears every three minutes, but it also allowed room for variety.  Furthermore it played on my love of the variety show and vaudeville.  So it, at once, solved the problem of presenting a variety of material in a cohesive manner, but was also completely organic both to the material and to me as the writer. 

 

            I would also be remiss if I didn’t mention the brilliant lyricists (Rochelle Bright, Joshua H. Cohen, Jared Eberlein, and Michael Cooper) who truly hold everything together and the amazing cast, MD and band that so magically bring the music and songs to life. I hope you'll come and check us out! 

Tickets are $15 (+$15 food/drink minimum - and the food is GOOD!) and can only be purchased over the phone - 212-695-6909 

Cast:

Richard Todd Adams (The Pirate Queen, The Woman in White), Mariel Blatt (Off-Broadway's Let My People Come), Brandon Contreras (In the Heights national tour), Matthew Curiano, Margaret Dudasik, Matthew Farcher (Prospect's Myths and Hymns), Michael Padgett (NYMF's Letter to Harvey Milk), Cathryn Salamone and Whitney Winfield (Shrek national tour).

SM: Laura Malseed

Band:

MD: Rich Silverstein

Drums: Jeremy Yaddaw
Guitar: Austin Moorhead
Violin: Joel Waggoner
Bass: Joseph Wallace
Alto Sax: Jeremy Clayton

           

 

 

 

 

 

 

Guest Blog #86: They've got "The Beat"

This week's guest blog comes courtesy of Adrienne Muller and Radio Musik. I met Adrienne as she was making her transition from performing to producing and have enjoyed seeing her progress. Take a look below and consider supporting their great new project.

Excelsior!

 

Hi Everyone, 

My name is Adrienne Muller and I manage Radio Musik, a one man Pop/Electronic Dance Music band (and also one of my dearest friends, Jordan Hall).  To give you a little background on us, we both began our music careers in musical theatre and actually met working on a cruise ship for 6 months.  Upon returning to the States, Jordan began formulating what is now Radio Musik while I remained in theatre, often frustrated because I wanted more.  I didn't know where else to go since this is what I had been striving for most of my life.  

Cut to 3 years later and while attending a wedding together, Jordan asked me if I would be his manager.  I immediately turned him down, stating "I was working on myself," which was a complete and utter lie and a defense mechanism.  I left for a vacay in CA (where I'm originally from) and had nothing but time to think about this proposition.  For some reason, a lyric from "Say Yes" a Kander and Ebb tune from the show "And the World Goes Round" (which also happened to be a show that we performed on the ship) popped into my head: don't say why...say why not!  When I returned from CA, I approached Jordan with this lyric in response to his proposition, and since then things have really taken off.  His Facebook likes have increased tremendously, we are in the midst of booking a small east coast tour, submitting his music for publishing deals, creating new music and have produced 2 full length music videos projects.  From the latter, I discovered a strong desire to in fact produce as well. And this is where we could use your assistance.  

We are currently in pre-production to shoot his third full length music video project entitled "The Beat".  Somehow we created his last video "Two One Two (We Keep Dancin')" on a shoestring budget which was independently funded.  With that being said, we'd really like to step it up in all areas and could use your assistance in doing so.

Please take a glance at the campaign, read, watch and if you feel so inclined, donate to help us make what is going to be a pretty thrilling music video.  There are some pretty unique perks being given away as well.  And please, please, please...feel free to share this campaign with friends and colleagues as we could use all the assistance we can get.  

The Beat: Indiegogo Campaign

Please know how valuable your contribution is. From $1-10-100: every penny is going to support this project and those involved. If you can not contribute monetarily, we can also use some extra hands on set. Please let me know if you can help us building sets, wardrobe and makeup supervision or any other ways that might contribute...do not hesitate to contact me: [email protected].

On a personal note, I would like to thank all who have supported me in my transition...including Michael Roderick.  It hasn't been an easy one, but I came out on the other side better, more knowledgeable and more aware of what I want not only in my career, but more importantly, in my life.  Jordan and I are partners in this and showing support for him is showing support for me...and it is SO appreciated.  Love, peace and POP to you all!!!

Here are some other ways you can show your love for Radio Musik.  Please take a couple minutes:

To LIKE Radio Musik: Facebook 

(please note: we do our best to not SPAM our LIKEers on Facebook, only keep you in the know)

To HEAR Radio Musik: Soundcloud

To SEE Radio Musik: Youtube

www.iwantradiomusik.com 

(you can sign up for the official RM Newsletter here)

"A"

Adrienne Muller

Manager, Radio Musik

 

 

 

Guest Blog #85: What is a Hot Fail exactly?

This week's guest blog comes courtesy of the talented Tim Drucker (CC'd) who is currently working on a new series called Hot Fail. Interested in finding out more about what that is? Read below:

Excelsior! 

"AH! I'm raising money and filming an independent pilot in Los Angeles!" That is my mantra right now (if mantras can be screamed in your head on loop…I find it calming). As daunting as that all sounds, especially the fundraising part, I am incredibly lucky to have a great collaborator and fantastic contacts in the film world that have been helping us put Hot Fail together. 

 This project started in the best possible way…over too many glasses of wine at happy hour. My friend (and actress from my musical FAT CAMP) Tracy Weiler was telling me crazy story after crazy story about these insane dates she was going on. Off the cuff I said to her "we should write a pilot about your dating life and call it Hot Fail". And the rest is history. Well, the rest is actually us slaving for months over a pilot script, a show bible (where we create the entire roadmap for the characters and season one), production costs and ultimately how and when to film the show. As first time television writers we need a finished product to show to people so we can say "Look! This show is funny AND we know what we are doing!" 

 As luck would have it Tracy booked a lead in another independent pilot in New York this season and starred in an independent film this winter so she was able to make a ton of excellent contacts that we are using to work on our project in LA. Then as we were figuring out who to cast it turned out that so many of our friends in LA are perfect for the show along with the fact that they have really excellent sitcom credits. In a matter of days we had an A-Team assembled.

 Now all we need is money! But it's more than just money that we are looking for in the Kickstarter campaign we are doing. It's also about building support and interest in the pilot, engaging an audience of our peers and through online crowd sourcing raising awareness that will lead to other favors---like Michael letting me guest blog about the project! However, getting the backers is awesome and I have been genuinely touched by the friends and loved ones that have contributed to the project thus far.

 Television is a new frontier for me, but as a comedy writer it is a really important step that I segue towards. I remember when I was doing my first show (Perez Hilton Saves the Universe) at the Fringe and I had no idea what I was getting into. I had co-written it, self-produced and was in it. I ate, slept and breathed that show for two months of endless, exhausting and totally rewarding work. What it turned out to be, besides a critical and box office hit ;), was a grad school crash course in the business of theater. Likewise, making this pilot on our own is the same crash course in the best possible way. 

 I really believe in this show we have written. It's very funny, very truthful and ultimately very relatable. Thanks for taking the time to read about our journey so far. I hope you enjoy our fundraising videos and please feel free to share our link, follow us on Twitter (@hotfailproject) and like us through Facebook!

 Thanks so much!

 

 

 

 

 

 

Guest Blog #84 An ensemble that's taking big STEPS

This week's guest blog comes courtesy on Mindy Upin. You can see her jumping around in one of the pictures above and view more about her HERE. Mindy's going to tell you all about the STEPS Repertory Ensemble. Take it away Mindy!

Please join the Steps on Broadway Repertory Ensemble for their annual concert Celebrate Dance.  This company comprised of dancers from all over the world, as far as France to right here in NYC, have been busy this season adding amazing work to their repertoire.  This concert includes work by Shannon Gillen, the group’s first winner of the Emerging Choreographer Program, Manuel Vignoulle, Nathan Trice, Zvi Gotheiner and Ensemble alumni Rick Kuperman and Yesid Lopez.  Each piece is very different from the next, which makes this an incredibly special evening of dance. No other show lets you see the work of these uniquely diverse artists all under one roof.

The Ensemble is extremely special to see in action because of each member's profound individual artistry.  This combined with their stellar work as a unit truly make them a force not to be missed. Some members have been with the company for many years while others are fresh from just a few months back.  This creates an atmosphere of constant and continuous growth and sharing.  Each artist has the opportunity to bring him/herself into every moment.  Everyone is always watching the choices a fellow member makes in order to influence his/her own artistic decisions.  Shannon Gillen’s piece “On Certainty” is influenced by DNA and the complex structuring of the double helix whereas Nathan Trice’s piece “Conversations” delves deep into the facets of relationships we can all relate too.  What’s interesting, however, is that although the themes and movement qualities of the two works are very different, both allow the dancers to explore and discover nuance within them.  They both command the dancers to tune in, not only to their senses, but become sensitive to the other forms with whom they share the experience.  

We hope you can join us for this evening of incredible dance at the Ailey Citigroup Theater 7:30pm Thursday-Saturday April 18-20, 2013.  405 West 55th St. @ 9th Ave. Tickets $25 [Student & Seniors $20] are available through stepsnyc.com or by calling the box office at  212-874-2410 x27    

***Please LIKE us on Facebook for your chance to WIN 2 FREE TICKETS to Celebrate Dance any night of choice.  Follow us on Twitter and even Instagram @StepsEnsemble for fun updates and pix.

Hope to see you at the show! We promise you’ll be glad you did!

Thanks Mindy! This should be a really great event and it's always great for new producers to see the work of choreographers, so if you're doing a show this summer, get a jump start by checking out this concert.

Excelsior!