My second favorite musical is Lynn Ahrens’ and Stephen Flaherty’s Ragtime, which premiered on Broadway in 1998. On Friday, May 8 at 3pm, we’ll be listening to the original cast recording, which features some of my favorite singers:
- Judy Kaye – Emma Goldman
- Lea Michele – Little Girl
- Marin Mazzie (RIP) – Mother
- Brian Stokes Mitchell (or as I like to call him, “Stokes”) – Coalhouse Walker, Jr.
- Audra Audra AUDRA McDonald – Sarah Brown
This musical is set in the early 1900s and is based on the style of music popular during the era, which was known as ragtime. But it addresses so many issues that still exist today:
- White privilege
- Tabloid journalism
There are three primary groups within the show:
- The affluent white family, known only as Father, Mother, Grandfather, Younger Brother, and Edgar, the son of Father and Mother (why he has a name and no one else does, I don’t know). Others affiliated with this group are historical figures such as J.P. Morgan, Henry Ford, Harry K. Thaw and his wife Evelyn Nesbit, as well as her former lover Stanford White, and Admiral Robert Peary. Less affluent, but also a face of white privilege is the fictional fire chief Willie Conklin.
- The African-American musician Coalhouse Walker, Jr. and his girlfriend, Sarah Brown; Booker T. Washington; Sarah & Coalhouse’s friends.
- The Jewish immigrant Tateh and his daughter, Little Girl (note that she doesn’t have a name); as well as the anarchist Emma Goldman. A more famous immigrant is magician Harry Houdini, whose life is somewhat tied to Edgar.
I saw this show on a national tour in Chicago in the early 2000s and fell in love with it. I’d already listened to the original cast recording, where I first fell in love with the amazing voices, especially those of Stokes and Audra.
Join me on Friday to hear more about this wonderful show (message me for the link or use the one from last week if you were there). Meanwhile, enjoy this performance of Audra and Stokes at the Kennedy Center in January 2019, a little over 20 years after their first performance in the Broadway production.
I was reading a FB post on a teacher group where someone had mentioned that their student was recording some repertoire that was wildly age-inappropriate, both lyrically and vocally. This was repertoire that the parent had chosen but that they wanted help on from the teacher.
I don’t teach pop. It’s not that I feel that classical music or Golden Age musical theater is the “one true way” to develop vocal technique. It’s not that I don’t like pop music. I love Lady Gaga, John Legend, Bruno Mars, Katy Perry, Lizzo…. But I feel like contemporary pop music is so artist-driven, and written for the particular range and style of an individual singer, rather than for the masses. And often, the lyrics are more adult-themed than I think a middle school student should be singing (this also happens with musical theater for that matter – I had an 11 year old whose mom wanted her to sing “Mama, who bore me” from Spring Awakening because Lea Michele sang it and she liked her on Glee; I had to explain what the show was about and then she agreed with me that no, it was not a good audition piece for show choir).
I like finding what’s right for a student based on who they are at this point in their vocal journey, and what’s going to take them to the next level. And my comfort zone is musical theater (both contemporary and Golden Age) and classical. I’ll also use Great American Songbook rep and folk songs, but rarely will I use contemporary (post-2000) pop unless I find something that I think will suit someone. I can’t remember the last time that happened. And especially not with a new student.
A few exceptions:
- Contemporary musical theater – it’s pretty pop-y, but I still feel like it’s not as limited as far as singability as commercial pop music.
- Jukebox musicals – if you’re auditioning for Rock of Ages, you’re not going to sing “Oh what a beautiful morning” for the audition, so we’ll need to find something with a harder edge.
- You’ve been with me awhile and you have something to sing for a school event and you’re having trouble with it. In which case, I need:
- Sheet music or at least a lead sheet with guitar chords. This should be in the right key for you, not necessarily the key in which it’s written.
- An accompaniment track so I can hear what it’s supposed to sound like.
- A recording of it in advance so I know what I’m getting into.
Again, not teaching pop is not about me not liking pop music or wanting to impose my musical tastes on you. It’s the best way I know for the studio to serve you, based on my skill set and my experience. Pop music, even though I’m certified in contemporary commercial music pedagogy, is not in my superpower wheelhouse (that’s an upcoming blog, BTW). So if you really, really want to sing pop music and only pop music – then I’m not the right teacher for you. In which case, Godspeed, and I’ll help you find the right teacher if I can.