May Musical Challenge!

Awhile back there was a Facebook group called, “There’s more to musical theater than just Wicked, Phantom, and Les Mis.” That was about ten years ago. I think nowadays it’d be “… Hamilton, Dear Evan Hanson, and … still Phantom.” There’s a lot more out there. A lot.

So – since we’re all sitting at home, let’s listen to musicals!

  • 31 days, 31 shows – ones that are “new to you”
  • 1940-2020
  • Rate them from 1-5
  • No year repeats!

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If you’re a student of mine (or you just want to participate, feel free, but you won’t get a prize if you’re not), feel free to complete this form, either on this website or use this fillable PDF:  May Musical Challenge_ 31 Musicals in 31 Days! and discover what’s out there.

NB: This was going to be the Tony-award winning Best Musicals from 1988-2020, but there were a lot of lame musicals in the early 1990s. So – you have 80 years. I’m going to do it, too. I know a lot of musicals, but not all of them.

If you’re in my studio, there’s a prize for the person who listens to the most musicals – which my students know about.

If you’re not – well, why not?

We start May 1.

And go.

Vulnerability vs. Oversharing, Part 3: Songs That Overshare (on purpose)

This is the last (for now) in this series of three blogposts about the difference between vulnerability and oversharing.

Sometimes there are songs that do give a little more information than might seem necessary. Some of the ones that come to mind are:

  1. I’m not wearing underwear todayAvenue Q (well, probably 2/3 of the show qualifies as oversharing)
  2. I touch myselfThe Divinyls (1990 pop song – a cute tune but did we really need to know this?)
  3. I can’t say noOklahoma! (Ado Annie’s confession about how easily her head is turned)
  4. The love of my lifeBrigadoon (pretty much the same song as “I can’t say no”)
  5. Does this look infected? (Okay, I made that one up. And you’re welcome.)

There are pop songs that go even further, and I’m not even going to list them because they were ridiculous. And kind of gross.

In general, if a song is oversharing, at least in musical theater, it’s because it’s supposed to be funny. The character is going too far. And that’s the joke. But when we’re interpreting a song that is intended to be serious, even if the content is very personal, we aren’t oversharing.

In planning this post, I did find a really good song called Oversharing by country singer Kelsea Ballerini. And even though she’s singing about how she overshares, the song is showing her vulnerability. Part of the chorus is:

Yeah, I know, there’s moments that I’m missin’
If I’d just shut up and listen
But silence makes me scared
So then I overshare

If you are working on a song that is intended to show your vulnerable side – a song like “Your daddy’s son” or “Someone else’s story” or “Stranger” – you need to take a moment to “shut up and listen.” Listen to the spaces between the notes. Between the words. Between the verses. Listen to the harmonies, the instrumentation (even if you’re doing it with piano) – what did the composer intend to convey when s/he chose the instruments accompanying the song? How do the harmonies enhance the text? How does this help you express the message of the song?

Think but don’t overthink. Share but don’t overshare. Care but don’t overcare. Don’t miss the point. Don’t be scared of the silences.

Vulnerability vs. Oversharing, Part 2

In Part 1 of this series, I talked about oversharing being the projection your emotions onto someone as opposed to being vulnerable and having those emotions resonate with them. This brings me to the topic of projection.

People often ask me to teach them how to project (i.e., be louder), and I usually counter that what I want them to learn how to do is to resonate more. It’s a common question. For example, in a master class in Milwaukee some years ago, baritone Thomas Hampson was asked how he approached projection, and he said [paraphrasing somewhat]: “I don’t like to think of projection. It seems so one-directional. Bullets project. Missiles project. Small children thrown through plate glass windows project. But voices resonate.” In addition to amusing me greatly, that resonated with me.

Here’s an example of vulnerability that I witnessed within my Milwaukee studio. In the penultimate studio recital there, one of my students sang “Empty chairs at empty tables” from Les Miserables. He sang it beautifully. He was expressive, authentic, emotional, and he made people cry. He said to me a few months later, “Did you notice that I was crying?” and I told him that I didn’t, because it didn’t interfere with his singing and with his story. Often, singers and actors are told, “If you make the audience cry, you’ve done your job. If you cry, you just make the audience uncomfortable.” I generally agree with that – however, in his case, his emotion was so organic and genuine that it did not become uncomfortable. 

Then there’s the quintessential demonstration of oversharing that I came across a few years ago, when I judged lower college musical theater women at NATS. A young woman came in and sang her three pieces:

  1. Someone to watch over me,” Gershwin, Oh Kay! She decided to sing this while maintaining seductive eye contact with each of us judges. It was really uncomfortable.  And weird. She had two straight women and a gay man judging her and none of us were interested. The singing wasn’t particularly interesting – it was not as though she was coloring her voice or shaping the phrases to express a longing or a yearning – she was doing it all through contrived gestures and come-hither looks.

  2. “Honey bun,” Rodgers & Hammerstein, South Pacific. This involved a sailor hat. And interspersing her singing with shouting, “That’s mah little HONEY BUN!” Now, this song isn’t emotional – it’s a funny song. But the humor fell flat because it was inappropriate vocally and physically. And it depended on the use of a hat.

  3. And then the pièce de résistance, “Your daddy’s son,” Ahrens & Flaherty, Ragtime. For this one, she grabbed a blanket and bundled it up to look like a baby. She sang the entire song to the bundle, but as she got more and more agitated – it is a very dramatic song – the bundle started getting out of control and had there been a real baby in the blanket, it would have suffered from shaken baby syndrome. And vocally, she went out of control as well. She began to scream, “Only ANGER AND PAIN, THE BLOOD AND THE PAIN, I BURIED MY HEART IN THE GROUND –  WHEN I BURIED YOU IN THE GROUND.” The response it evoked from us was not, “That poor young woman, she feels so much grief and guilt,” but rather, “Oh my God, she’s going to have a vocal fold hemorrhage right here in front of us. Blood is going to start spurting out of her mouth.” And then it became funny. Unintentionally funny. On the final chorus, she burst into tears and could barely get the words out between sobs and when she got to the line, “You had your daddy’s hands – forgive me,” which is traditionally nearly whispered, she just screamed, “FORGIVE ME!” and I had to put my hands over my mouth so that I wouldn’t openly laugh.

It was the worst performance I’d ever seen at NATS. Or pretty much anywhere, for that matter. Worse than someone standing and doing nothing. It was not an authentic performance. It reeked of, “Look what I can do! I can be sexy, I can be funny, I can break your heart – just watch me!” What she should have been saying was: “I’m lonely and need someone to love me,” “I’m in love with a real peach of a gal – let me tell you about her,” and finally, “I hate myself for what I did, and I have no excuses – except this.”

She did not resonate with her audience. She projected her emotions – more like projectile vomited her emotions all over us. And like projectile vomit, we couldn’t wait to wash it off. (Was that too much? Probably.)

Tell a story. Tell the truth. It’s not about you as a singer/actor, it’s about the story that you have to tell. What is the core truth of it? What can telling this story offer your audience? What can it offer you as the storyteller?

Don’t hold back. Give your audience as much as you can, but make it real. Tell the truth.  Be real. Invest yourself fully and not on a superficial level of “watch ME!” or “listen to ME,” but “hear my story.”

Projectile Vomiting

Musicals I don’t like that everyone else does

There’s a thing going around Facebook where people are listing the things they don’t like that everyone else does. Some make sense to me – black licorice? EW. The Kardashians? EW EW. And some – well, I’ve lost all respect for some people.

So I thought I’d make a list of the musicals I don’t like that everyone else does (not in any kind of order):

  1. Grease
    The Travolta/ON-J movie was entertaining, but really, it’s a gross musical. I simply won’t teach any of the songs from it because they’re
    trash not my cup of tea.
  2. Bye Bye Birdie
    Really, this should be #1. My personal experience of Hell on earth was sitting through a high school showcase in Milwaukee where five scenes of this
    monstrosity were presented. I only like “Put on a happy face,” and then only sung by Dick Van Dyke. Most of the music is trash not my cup of tea.
  3. Chorus Line
    I like the music out of context. I find the story very self-indulgent (as I do with a lot of 1970s musicals) and it’s uncomfortable to see HS kids doing it. 
  4. Godspell
    Admittedly, seeing this at St. Matthias Catholic Church done by an all-volunteer group may have colored my opinion of it. But again, self-indulgent 1970s pseudo-spiritual claptrap  not my cup of tea.
  5. Pippin
    I like Corner of the Sky. But other than that, self-indulgent etc. etc.
  6. Children of Eden
    This is the third Stephen Schwartz piece in a row. Huh. “Oh Noah – you go-ah – all the way back to the protozoa!” That lyric alone … ugh.
  7. Jekyll & Hyde
    Great music. Just too dark, no humor to liven up the endless death and dismemberment. A show only as good as its three principal actors. And “Confrontation” has to be sung by an acting phenom, otherwise it’s
    hilarious.
  8. Mamma Mia!
    UGH. My husband says, “But you like ABBA.” Yeah, in a club. But not an entire evening of it. Plus I kinda hate jukebox musicals. And when I saw the movie, there were a whole bunch of women from the Red Hat Society, cheering and dancing. ‘Nuff said.
  9. Rent
    Puccini did it better. I have my own personal opinion as to why it was such a success. I won’t share that here. Mimi shouldn’t live at the end. THERE ARE CONSEQUENCES.
  10. Spring Awakening
    I will say that I like the recording better than when people brought me the individual songs because the orchestration is sublime. The piano reductions are boring as hell. I don’t like the music, though. I find it too jarring with the 1800s setting. It seems… dare I say it… self-indulgent – “Look how edgy we are!”

(Dis)Honorable mention:

  • You’re a Good Man Charlie Brown 
    I don’t like shows where adults play children. I could probably handle a production at the high school level, but a 45 year old Charlie Brown is just gross.
  • 25th Annual Putnam County Spelling Bee
    I like the story, not the music. Which is weird because I 
    love William Finn’s writing in Falsettos and A New Brain. Again, adults playing children is weird and off-putting to me.
  • City of Angels
    Saw it on its national tour in DC in the 90s. Enjoyed it somewhat, I recall, but I remember nothing about it.  I couldn’t tell you anything about it 15 minutes after I saw it.

There are a lot of musicals I haven’t seen and don’t wanna see. I don’t like jukebox musicals or movicals (movies turned into musicals) as a general rule. There are exceptions.

But there’s one musical for which I cannot – no, will not – make an exception (other than the DvD reference above). Just say no.
FBFE7D38-8778-4048-9D67-99A55D728A80_4_5005_cNot that I’m opinionated or anything. It’s  just trash …. not my cup of tea.

Pieces I heard at NATS that you should sing (“you” being MT girls)

I found this list of songs for musical theater females that I jotted down when I was judging at the MDDC NATS auditions. It’s short because a lot of people sang the same things. But these stuck out. All are available on Musicnotes.com unless notated otherwise.

Take a listen to them. If there’s anything you want to learn (maybe in the summer, since the school year is winding down), let me know.

Maybe we can have a Zoom get together later this week to talk about repertoire you want to learn…. keep an eye on the studio FB page or on Insta for any upcoming Zoom chats!

 

Keep Calm and Sing On – But Not This Week

A week ago, my intention for today had been to write that the studio was open every day but Thursday because of the opera. Then the opera was cancelled.

Three days ago, my intention for today had been to write that the studio would be open for in-person lessons for anyone who wanted to come and I’d offer online lessons for anyone who wanted to stay home. Then the national emergency was declared. Schools were closed. My church gig has been cancelled for the foreseeable future.

Today, it is my intention to write that the studio is closed this week. But I’m not taking a break – I am going to prepare for a hopefully short-term transition to online lessons. As I’ve mentioned, we will be using Zoom as the platform. I am going to spend this week doing the following:

  • Preparing my equipment so that I can give you the best possible experience with online lessons.
  • Watching a veritable cr*p-ton of videos on giving you the best possible experience with online lessons.
  • Creating support materials to help you practice on your own more efficiently. These will include videos of vocalises to be put on the studio YouTube channel and in the portal on the website. These will be for studio members only.
  • Delving into all the features that Appcompanist has to offer. There’s so much more I can do with it. As I mentioned, Appcompanist is now offering a 30-day free trial for IOS users (they’ll be rolling out a more limited Android version very shortly, with the full one coming out later).
  • Making a list for Appcompanist of things that I want them to add and mistakes I’ve found (I’ve been meaning to do this for awhile).
  • Looking at other accompaniment options that you can use, including ones mentioned by colleagues, including Pocket Pianist and PianoTrax.
  • Creating some scripts for Zoom classes on various elements, including diction/International Phonetic Alphabet.
  • Jumping on Zoom and inviting people to join me to check out how this thing is going to work (later in the week). Stay tuned for an invite.

People who teach online almost exclusively tell me that there are so many advantages to the online lesson format. We’ll have to be creative and open-minded about it.

I will leave your existing lesson times up on Acuity for 3/23-4/10. I’ll let you know later this week what kind of schedule I will have for online lessons. I may start earlier in the day M-Th.

I anticipate having to do this through April 10. It is highly unlikely that I will be going to England from April 12-26, as planned. I might take a week of that as vacation, since it was already planned. The studio cabaret is being postponed and an official announcement of that will come as soon as Cyd from Germano’s confirms that the date we’ve picked is on.

I will miss you all terribly BUT please stay home as much as you can. Even if you are not ill, and even if the symptoms are mild, it can be spread so easily.

There was a great article in WaPo this morning showing how social distancing can curb the spread of this illness. IT WORKS.

If you have any questions, please do not hesitate to reach out.

TL:DR No lessons this week 😀

Mid-Atlantic NATS: And on to South Carolina!

Mid-Atlantic NATS: And on to South Carolina!

Mid-Atlantic NATS Regional Auditions blogpostPlease join me in wishing the best to Mezzoid Voice Studio members Nicholas Johnson and Andrea Rudai as they prepare for the Mid-Atlantic regional auditions for the National Association of Teachers of Singers in Columbia, SC next weekend!

On Saturday, February 22, at the MDDC District NATS auditions at Morgan State University, Nick won his category, Lower HS Musical Theater TTBB, singing “You gotta die sometime” (Falsettos), “Not while I’m around” (Sweeney Todd), and “What do I need with love?” (Thoroughly Modern Millie). Andi took honors in the Upper HS Musical Theater Treble category, singing, “Ring of keys” (Fun Home), “No one else” (Natasha, Pierre, and the Great Comet of 1812), and “Till there was you” (Music Man).

They were accompanied by Michael Tan at the district auditions, but Michael won’t be able to go down to SC with them, since he’s music directing Dogfight at Spotlighters. So they’ll be accompanied by NC pianist Susan Young, who was recommended by a colleague of mine down there.

So, toi toi toi, Nick and Andi!