Last night's post was all about how you should never let your passion die, no matter the role you get cast in. The truth is, the business is more difficult now than ever. So I'll expand on a point I made in the other letter. The point I am referring to deals with if you have an idea for a play, then write it. While I am referring to certain play writes, I'm not just saying plays. I'm talking about all jobs, including production end jobs.
When I attended WestConn's orientation, I heard two stories. One of them deals with a kid that didn't get many leads in the shows. However, when the time came for an internship, he took one that ended up with him now working at Broadway Records as an assistant. Van Dean, a producer that has helped bring Cinderella, Matilda, and Bonnie and Clyde to Broadway, created the record label to ensure that ALL Broadway shows are remembered. Since its launch, shows such as Side Show, The Visit, Matilda, Doctor Zhivago, Big Fish, Peter Pan: Live! and various concerts at 54 Below have had their scores recorded for CD purchase. The other story deals with another theatre arts major (I forget if she was Musical Theatre or Performance). She took the sewing skills and techniques she learned from school and was hired to be one of the costumers for Heathers: The Musical Off-Broadway.
These are people that took what they knew, made connections, and are working in the industry (though it may not have been for acting). There is one more example that I would like to share. On YouTube, there is a channel called "Drunken History". Well, it was such a success that it is going on TV!
Nowadays, there are some actors (i.e. John Cameron Mitchell, Lin Manuel Miranda, Wesley Taylor, Anthony Rapp, Laura Benanti) that are writing their own plays, musicals, and novels. These sources can reach to someone. Then, they read it. If they love it, maybe they want to see these authors in action and find a video of them online. If they see them online, maybe they want to see them live. If they like the show, they go to a Broadway show. I know that all of that is a stretch, but it could happen.
And, in some ways, NPT is doing just that. The New Paradigm Theatre was built by Broadway Actress Kristin Huffman to assist nonprofit organizations and help communities. These volunteers (on both the adult and youth boards) don't need to be thespians, but some are. These boards and the company aren't about performing. They are here to help teach and educate. I know that the lessons I learned on the Youth Board can help me in real life. In addition, I know now how to communicate with adults and my peers, know the importance of a deadline, and know how to professionally present myself. This was an opportunity of a lifetime. That being said, no one is perfect. There is no way of knowing everything. There are always opportunities to learn and grow.
So, "At the end of the day", where will you be? It could be at the Tony's accepting your award for Leading Actor/Actress. It could be winning the Pultizer Prize for Drama (like Next to Normal and Rent), or you and friends create your own web series and watch billions of people enjoy it when it transfers to TV. Maybe you'll be producing the next hit musical, or even recording the album. No one knows where life will take you, but as long as you stay somewhere in the business that you love, you're in. You're making it happen. You're creating and preserving a beloved artform. In all honesty, "who could ask for anything more"? "We've got magic to do" and there's "no day but today" to do it. I'll stop with the theatre references.
-Nathan Clift, 18, President of the Youth Board
Incoming Freshman at Western CT State University
Musical Theatre Major
Thursday, June 18, 2015
Wednesday, June 17, 2015
Open Letter To Musical Theatre Majors
Sunday into Monday, I attended WestConn's orientation for the School of Visual and Performing Arts (aka VPA, as I will refer to it). While in attendence, I soon realized that I was the only person in the Musical Theatre department that has not been "the favorite" or "the one that gets the leads". Heck, in Mary Poppins (which the Trumbull Youth Association is producing this summer), I'm the Park Keeper. In Trumbull High School, I was Lead Munchkin #3, or The Cowboy Wyatt, or Squeegee Man, or Stanley. These roles aren't well known at all, and are small featured parts that come off as insignificant. While some people think that I have been "snubbed" from getting large roles, it was a blessing to have been cast.
If you have been graced with a lead every year, congrats. However, what happens when you get a two-line part? Would you freak out and think "I am better than this", or would you take it because it's a job? Most of the people that do the college shows are more than likely to be in the same situation as you: always the lead. How about that kid that got ensemble, made one of the top 10 BA in Musical Theatre programs in the country, and auditions for a show? If they get cast, that's an accomplishment. If they get a featured part, than that's where they were. If they get the lead, then that's an experience that they've never had before. But let's go back to those that get leads. I think that they deserve them as much as everyone else. However, they should get ensemble too. In the professional world, the odds of actually landing a Broadway show are one in a million. So many things can attribute to that. Hollywood stars are getting roles just so people see the show.
Look at Side Show, and Doctor Zhivago, and even Pippin. These shows weren't name grabbing, and part of that was the leads. As fantastic as they may be, it's hard to draw an audience without a name like Disney or some Hollywood Actor. Also, they might not have won any Tony Awards, which would cause the show to suffer (except the few that didn't win many- including Best Musical- and are still hits, like Wicked and Beautiful). On the contrary, Fun Home had low ticket sales, but won the Tony and the rates are even higher.
Broadway used to be the home of opportunity. In some ways, it still is. When Jonathan Larson began RENT, he didn't want anyone who has been on Broadway. He wanted people to make their Broadway debut and were artists. Names like Idina Menzel and Adam Pascal came out of this show. Sutton Foster got her big break in THOROUGHLY MODERN MILLIE, and Carol Channing rose to stardom after HELLO, DOLLY! while Patti LuPone earned her spot in the original run of EVITA. In Fun Home, the more famous person in the show is Michael Ceveres. Everyone else is either making their debut or not well known.
The point I am trying to make is that we never know where the theatre will take us. We could be like Ivy Lynn on Smash and take 10 years to land a lead. We may always be in the ensemble. We might find success in creating a show. We don't know, but we need to be ready. If you have an idea for a play or musical, WRITE IT. Keep editing it. One day, you could see it on Broadway. One day, you could make your Broadway debut. It could be in the ensemble (which isn't bad. The average Equity ensemble member makes $1,600 a week), or in a starring role. Never give up on your dream. If you made it this far, why would you?
-Nathan Clift, 18
Incoming Freshman to Western CT State University
BA in Musical Theatre
If you have been graced with a lead every year, congrats. However, what happens when you get a two-line part? Would you freak out and think "I am better than this", or would you take it because it's a job? Most of the people that do the college shows are more than likely to be in the same situation as you: always the lead. How about that kid that got ensemble, made one of the top 10 BA in Musical Theatre programs in the country, and auditions for a show? If they get cast, that's an accomplishment. If they get a featured part, than that's where they were. If they get the lead, then that's an experience that they've never had before. But let's go back to those that get leads. I think that they deserve them as much as everyone else. However, they should get ensemble too. In the professional world, the odds of actually landing a Broadway show are one in a million. So many things can attribute to that. Hollywood stars are getting roles just so people see the show.
Look at Side Show, and Doctor Zhivago, and even Pippin. These shows weren't name grabbing, and part of that was the leads. As fantastic as they may be, it's hard to draw an audience without a name like Disney or some Hollywood Actor. Also, they might not have won any Tony Awards, which would cause the show to suffer (except the few that didn't win many- including Best Musical- and are still hits, like Wicked and Beautiful). On the contrary, Fun Home had low ticket sales, but won the Tony and the rates are even higher.
Broadway used to be the home of opportunity. In some ways, it still is. When Jonathan Larson began RENT, he didn't want anyone who has been on Broadway. He wanted people to make their Broadway debut and were artists. Names like Idina Menzel and Adam Pascal came out of this show. Sutton Foster got her big break in THOROUGHLY MODERN MILLIE, and Carol Channing rose to stardom after HELLO, DOLLY! while Patti LuPone earned her spot in the original run of EVITA. In Fun Home, the more famous person in the show is Michael Ceveres. Everyone else is either making their debut or not well known.
-Nathan Clift, 18
Incoming Freshman to Western CT State University
BA in Musical Theatre
Monday, June 8, 2015
REVIEW: The 69th Annual Tony Awards
Last night, theatre fans from all over the world gathered around their TV sets to watch the Super Bowl of Broadway. As always, there was laughter and tears. There were tears of happiness and sadness. Without another moment passing, let's get to it!
Hosting for the first time was Alan Cumming and Kristen Chenoweth. I knew from the start they would be great, because both are Broadway actors. They have trained to entertain and know how to captivate an audience. The introduced the night by singing a medely of "Wilkomen" (from Cabaret), "It Takes Two" (from Into the Woods), "Popular" (from Wicked), "Nothing Like a Dame" (from South Pacific), and one or two others that I was unable to write down because they happened so quick.
Following that, they introduced the first Best Musical performance. The cast of Something Rotten! performed the song, "A Musical". Within the song, there are musical references. I can recall the following: Annie, A Chorus Line, Les Miserables, Rent, and others. It had a tap break in it. Usually, musicals that do so have a long run. If that's the case, then I'm thrilled! I don't only want to see this show, but I want to be IN this show!
The next performance was The King and I. They performed a medley. The first song was "Getting to Know You", sung by the King's children and Anna (portrayed by Kelli O'Hara). Following that, Ruthie Ann Miles (in her Broadway Debut) sang her character's heartbreaking song. After that, Anna and the King sang "Shall We Dance", as we get a glimpse of the beautiful and iconic ball gown.
The third musical performance was On the Town. I only had one word... Wow. At the time of it's performance, I thought it would win Best Choreography and Best Revival. It's also the longest running revival of the musical. Following the Tommy Tune medley, Gigi took the stage. It was enjoyable to watch, but I would have loved to see more of the nominee, Victoria Clark, than Vanessa Hudgens.
After winning Best Book and Best Original Score, Fun Home tore the house down. It just broke records, being the first all-female writing team to win the Tony for Best Book and Best Score. Their performance was simple, which made it all the more effective.
An American in Paris performed next. In the first two minutes, it was all dance. I was afraid that there would be no singing. Then, they sang the song all "new Gershwin musicals" have: "I Got Rhythm". Seriously... They team wrote so many other songs. Pick a one. I understand that the song was in the film, but it's the probably the third Gershwin musical to have it.
Next was On the 20th Century. I didn't think that this show would win big, but it did have some pretty cool moments. One of them was that the 4 main tap dancers tapped out the train on track sound. The final collaboration between Kander and Ebb, The Visit performed. This is a show that finally made it to Broadway after many years. It was weird, and I wanted to learn more about it.
Finding Neverland performed. Though it had no Tony Nominations, it is still raking in over $1 million a week (that's on the same level as the Disney musicals). I thought it was weak compared to the live show. Maybe that's due to the camera angles. The last performance was from It Shoulda Been You, the other original musical. It received only a couple nominations, but the performance was strong.
Some special performances of the evening was Josh Groban, with the cast of each company on Broadway, performing "You'll Never Walk Alone" from Carousel, and The cast of Jersey Boys performing in honor of their 10th year on Broadway.
Here are the Winners from the evening!
Best Leading Actress in a Play: Helen Mirren, The Audience
Best Featured Actor in a Play: Richard McCabe, The Audience
Best Lighting Design of a Play: Paule Constable, The Curious Incident of the Dog in the Nighttime
Best Lighting Design of a Musical: Natasha Katz, An American in Paris
Best Featured Actor in a Musical: Christian Borle, Something Rotten!
Best Featured Actress in a Play: Annaleigh Ashfrod, You Can't Take It With You
Best Direction of a Musical: Same Gold, Fun Home
Best Book of a Musical: Lisa Kron, Fun Home
Best Original Score: Lisa Kron and Jeanine Tesori, Fun Home
Best Direction of a Play: Marianne Elliot, The Curious Incident
Best Featured Actress in a Musical: Ruthie Ann Miles, The King and I
Best Orchestration: An American in Paris
Best Choreography: Christopher Wheeldon, An American in Paris
Best Play: The Curious Incident
Best Scenic Design of a Play: The Curious Incident
Best Scenic Design of a Musical: An American in Paris
Best Revival of a Play: Skylight
Best Costume Design of a Play: Wolf Hall
Best Costume Design of a Musical: The King and I
Best Revival of a Musical: The King and I
Best Lead Actor in a Play: Alex Sharp, The Curious Incident
Best Lead Actor in a Musical: Michael Ceveres, Fun Home
Best Lead Actress in a Musical: Kelli O'Hara, The King and I
Best Musical: Fun Home
-Nathan Clift, 18, Trumbull High School
President of the NPT Youth Board
FUN FACT: This was the highest grossing season in Broadway history! That means that attendance is up and we can afford to bring wonderful new musicals to the stage!
Hosting for the first time was Alan Cumming and Kristen Chenoweth. I knew from the start they would be great, because both are Broadway actors. They have trained to entertain and know how to captivate an audience. The introduced the night by singing a medely of "Wilkomen" (from Cabaret), "It Takes Two" (from Into the Woods), "Popular" (from Wicked), "Nothing Like a Dame" (from South Pacific), and one or two others that I was unable to write down because they happened so quick.
Following that, they introduced the first Best Musical performance. The cast of Something Rotten! performed the song, "A Musical". Within the song, there are musical references. I can recall the following: Annie, A Chorus Line, Les Miserables, Rent, and others. It had a tap break in it. Usually, musicals that do so have a long run. If that's the case, then I'm thrilled! I don't only want to see this show, but I want to be IN this show!
The next performance was The King and I. They performed a medley. The first song was "Getting to Know You", sung by the King's children and Anna (portrayed by Kelli O'Hara). Following that, Ruthie Ann Miles (in her Broadway Debut) sang her character's heartbreaking song. After that, Anna and the King sang "Shall We Dance", as we get a glimpse of the beautiful and iconic ball gown.
The third musical performance was On the Town. I only had one word... Wow. At the time of it's performance, I thought it would win Best Choreography and Best Revival. It's also the longest running revival of the musical. Following the Tommy Tune medley, Gigi took the stage. It was enjoyable to watch, but I would have loved to see more of the nominee, Victoria Clark, than Vanessa Hudgens.
After winning Best Book and Best Original Score, Fun Home tore the house down. It just broke records, being the first all-female writing team to win the Tony for Best Book and Best Score. Their performance was simple, which made it all the more effective.
An American in Paris performed next. In the first two minutes, it was all dance. I was afraid that there would be no singing. Then, they sang the song all "new Gershwin musicals" have: "I Got Rhythm". Seriously... They team wrote so many other songs. Pick a one. I understand that the song was in the film, but it's the probably the third Gershwin musical to have it.
Next was On the 20th Century. I didn't think that this show would win big, but it did have some pretty cool moments. One of them was that the 4 main tap dancers tapped out the train on track sound. The final collaboration between Kander and Ebb, The Visit performed. This is a show that finally made it to Broadway after many years. It was weird, and I wanted to learn more about it.
Finding Neverland performed. Though it had no Tony Nominations, it is still raking in over $1 million a week (that's on the same level as the Disney musicals). I thought it was weak compared to the live show. Maybe that's due to the camera angles. The last performance was from It Shoulda Been You, the other original musical. It received only a couple nominations, but the performance was strong.
Some special performances of the evening was Josh Groban, with the cast of each company on Broadway, performing "You'll Never Walk Alone" from Carousel, and The cast of Jersey Boys performing in honor of their 10th year on Broadway.
Here are the Winners from the evening!
Best Leading Actress in a Play: Helen Mirren, The Audience
Best Featured Actor in a Play: Richard McCabe, The Audience
Best Lighting Design of a Play: Paule Constable, The Curious Incident of the Dog in the Nighttime
Best Lighting Design of a Musical: Natasha Katz, An American in Paris
Best Featured Actor in a Musical: Christian Borle, Something Rotten!
Best Featured Actress in a Play: Annaleigh Ashfrod, You Can't Take It With You
Best Direction of a Musical: Same Gold, Fun Home
Best Book of a Musical: Lisa Kron, Fun Home
Best Original Score: Lisa Kron and Jeanine Tesori, Fun Home
Best Direction of a Play: Marianne Elliot, The Curious Incident
Best Featured Actress in a Musical: Ruthie Ann Miles, The King and I
Best Orchestration: An American in Paris
Best Choreography: Christopher Wheeldon, An American in Paris
Best Play: The Curious Incident
Best Scenic Design of a Play: The Curious Incident
Best Scenic Design of a Musical: An American in Paris
Best Revival of a Play: Skylight
Best Costume Design of a Play: Wolf Hall
Best Costume Design of a Musical: The King and I
Best Revival of a Musical: The King and I
Best Lead Actor in a Play: Alex Sharp, The Curious Incident
Best Lead Actor in a Musical: Michael Ceveres, Fun Home
Best Lead Actress in a Musical: Kelli O'Hara, The King and I
Best Musical: Fun Home
-Nathan Clift, 18, Trumbull High School
President of the NPT Youth Board
FUN FACT: This was the highest grossing season in Broadway history! That means that attendance is up and we can afford to bring wonderful new musicals to the stage!
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