Sunday, May 25, 2014

A story that needs to be told again and again

Falsettos at Villagers Theatre, NJ – May 2014

The show is closed. It was a wonderful (albeit altogether too short) run. And it is still lingering with me, not just because of the music (brilliant in my opinion) and not just because of the cast that worked on this production (even more brilliant!). It is a story that needs to be told over again – not just as some historical piece (the time portrayed in the show is 1979-1981) nor as some oddity written by the same guy who wrote Spelling Bee. Rather, it must be told again and again because we’ve not gotten it yet.

A recent history too soon forgotten

The time is at the very beginning of the AIDS Crisis … 1981 being the first year the Center’s for Disease Control published reports of men dying. Those of us around during that time remember those days very well – a time that was frightening, unsure, and frustrating. I firmly believe that it was a dark time in our nation’s history; and we still have yet to truly acknowledge the appalling response (or lack of it!) during that time … from the top all the way down. Our political leaders were silent and willfully ignorant; our institutions didn’t have any sense of urgency in finding out what the hell was happening; and even our esteemed scientists seemed to be more in it as a way to gain notoriety than to pursue discovery of its cause and ultimate treatment. Sure, there were charitable organizations and individuals who were generous, kind, diligent, and caring. But our society looked the other way. And we still have yet to come to grips with that recent history.

It’s something that has been relegated to “old history” … a time that we’d rather not own up to. But it was only 33 years ago. That’s not so ancient; that’s not so long ago!

We don’t engage in conversations about that time; and we certainly don’t include any of this in our history books. We are still turning away from this.

Individuals struggling, reconciling, coping, and questioning

What makes Falsettos such a moving show is that it is about individuals during this time. These are characters who struggle with questions of family, friendship, love, life, and death. They are fully realized individuals. We discover who they are and what their hopes and dreams and frustrations are entirely through song, since the show is completely through-sung. The characters are not iconic figures – they don’t represent entire groups or communities – like in other pieces of theater. They are not politically charged. Their motivations and struggles are entirely individual. And that makes them immediately relatable to an audience.

Their struggles and questions become our struggles and questions. We have had broken relationships. We ask ourselves the questions about what it takes for us to truly love someone. Well … those questions are all asked in Falsettos. They are difficult questions – ones that we deal with for a lifetime!

And since the characters themselves are individuals muddling through all of this, it poses these questions to us as individuals. We relate to Marvin as he asks, “What would I do?” … As he reflects on the circumstances that led him to this point, we’re being asked to reflect on our own responses to events. What, indeed, would I do? What should I have done? Perhaps that’s why it’s such a challenging show.

It’s about family, friendship, and love

When I was asked, “What is Falsettos about?” my reply has been … It’s about a group – a community – of people who tackle the big questions of family, friendship, life, death, and love. Whether they are gay or straight is not so much the issue – all of the characters are exploring what it means to love someone and to be a family. That Marvin divorces his wife in order to live with his boyfriend is just the catalyst that gets the story going.

And Falsettos doesn’t varnish over any of the characters’ flaws. Each of them are selfish, unforgiving, and petty. Each of them do not realize how poorly they’ve treated others. And yet each character realizes the need to grow in generosity, self-giving, and forgiveness. They realize that who they are is more a matter of their relationships with each other more than what they do. Their success is measured by who they love and care for rather than what they accumulate.

And we still don’t get it

Falsettos is some 22-years ago. And we’ve still not yet grasped it. We are embroiled in arguments over what constitutes a family. We still willingly and willfully place people in the margins of society. We turn away.

A former artistic director of a company for whom I worked once told me, “Theater is not just important. It’s essential because it has the ability like nothing else to wake us up.”

What is it going to take to get us out of the complacent dream that we happily and unthinkingly live in? After all, as one of the characters in Falsettos says: “We’re a teeny-tiny band.” And we, like them, are part of a community, a family. And Marvin asks, “It’s about time, don’t you think?”

 

I am so grateful to have been a part of this production; and am even more grateful to have worked on such a powerful, witty, meaningful, and important show.

Sunday, May 11, 2014

Falsettos at Villagers Theatre – a tale of families, love, and friends

I am so proud and honored to be a part of the production of FALSETTOS, which opened on May 9, 2014 at Villagers Theatre.

We’re ending our first weekend … And you have one more weekend to come see this show (May 16-18). I know that every music director trumpets how wonderful his cast is … Well … THIS CAST is a veritable who’s who in New Jersey community theater.  Visit the site link above to see who are in the cast and production teams.

falsettos-banner

Here is a photo from our final dress rehearsal of this AAA+ cast. (Click to embiggen)

falsettos-cast

In 1992, Frank Rich published an essay titled, “Discovering Family Values at ‘Falsettos’.” In it he opines about his dilemma of having to decide which Broadway musical to take his two children (12 and 8 years old) to a family musical. He says that his options were The Secret Garden, Les Miserables, Guys and Dolls, or Cats. But he decided – in his words:

All things considered, I decided that the wholesome choice would be “Falsettos,” the William Finn musical in which the hero, Marvin, sings in his first number of his overwhelming desire to be part of a “tight-knit family … a group that harmonizes.”  … Though “Falsettos” offers such traditional tableaux as a Little League baseball game and a bar mitzvah, it is set in an America where, as one song has it, “the rules keep changing” and “families aren’t what they were.”

“Falsettos” is indeed a show about families. I’ve always characterized it as a domestic comedy that tackles the concerns of family, love, friendship, life, and death. It asks some very profound questions – questions that are at the center of our struggles as a human family. Indeed the families portrayed in Falsettos are a microcosm of families we all encounter. And it’s a struggle we still contend with 22 years after Mr. Rich concluded his essay:

Will a show like “Falsettos,” or a dozen like it, sow tolerance, especially at a time when an exclusionary definition of “family values” is being wielded like a club in a divisive political campaign? I have my doubts. My children do not.

We’re still facing this struggle of ‘what is a family?’ all these years after Frank Rich wrote these words.

Theater tells our story as humans, and theater has the ability to transform – to engage our spirit, to challenge us, and to move us.

May Falsettos – and this production of which I’m proud to be a part be a means to engage, challenge, and move us.

Wednesday, March 19, 2014

And we begin FALSETTOS rehearsals

This is one show I couldn’t wait to start working on! I’ve been wanting to do this show for a number of year – probably ever since I saw the Broadway Tour production back in the 90’s. And now I have the opportunity to do this – and with an A+ rocking-awesome cast.

Rehearsal night #1

Actors playing Marvin and Whizzer … learned “Thrill of First Love,” “The Chess Game” (probably one of the most difficult songs in the show if only because of the constant ‘swapping’ as the characters argue – oh! and that it’s in this chicken scratch!),

chess_game


Also learned “Raquetball 1,” “Raquetball 2,” and the first part of “Unlikely Lovers.” And also did “Tight Knit Family.” Wow! That was a lot for the first night – and it went so well (which is what happens when you have a cast like this one!)

Wednesday, February 26, 2014

From the trenches – Musical audition guidelines (a short list)

Here’s a list of guidelines for those preparing and attending auditions for musical theater. It’s not comprehensive, but it should give you a good start to be successful. Here it goes:

In general

  • Read the audition notice thoroughly and follow all of its instructions. The information is there for a reason – you don’t need to know why, just make sure you understand and follow them. If you don’t understand what the notice requires, then ask well in advance of the audition … Send an email or inquire (again, follow the instructions on who and how to contact)
  • Arrive early and be prepared to wait. Bring a book, snacks, water, etc.
  • Warm yourself up vocally before coming into the audition room. And don’t be a jerk by warming up loudly in the common room with everyone else. Respect others’ space and process.
  • Have materials ready and easily accessible – do not ask for copies made of anything. You should have it all with you and on hand.
  • Do as you are asked when you check in. There is a reason why you’re asked for information – you don’t need to know the reason … just follow all instructions.
  • Remember that your audition begins when you enter the building and ends when you leave. Assume that you are ALWAYS being evaluated.

Check your attitude! Stage Managers and those who sign you in are often asked to make notes of people who are ditzy or scattered or who are uncooperative and pains in the neck – yes! they will make notes (in code) on your audition form even before you see the director, musical director, and others in the audition room.

What to wear

  • Wear clothing that is simple, professional, and comfortable
  • Do not dress in character, do not use props, do not use costume accessories – unless the audition notice requests it. Your interpretation of a character may not match that of the director or production.
  • Wear clothes that show you off best – remember, you want the audition to be about your talent and not about an outlandish outfit or some visible body part
  • Always bring clothes and shoes you can move in – in case there is a dance component to the audition. Hopefully the audition notice will indicate whether dance or movement will be required … but just be on the safe side … bring something to change into.

It is completely acceptable to change into comfortable clothes for a dance audition. In most cases you will be asked to sing first. Then you will be asked to learn a dance combination. So, wear clothes for the singing audition first. It is perfectly fine to then ask or say that you would like to change into other clothes for the dance audition – in fact, this shows that you are prepared and professional.

Your music

  • It should be in a binder (3-ring) preferably in non-glare plastic protective sheets. Nothing should be paper-clipped or stapled!
  • Only sing a song you know well and have prepared – done your homework on! You want to be confident … choosing a song that afternoon before the evening’s audition is a sure-fire way to mess up, and you’ll only have yourself to blame.
  • Unless asked in the audition notice, do not sing a song from the show. Find a song that is similar in style musically and for character – a song by the same composer works well.
  • DO YOUR HOMEWORK on the song! Prepare 16 bars or 32 bars of the song that will showcase your voice, your emotional range, etc. There is a very real possibility that you won’t be given an opportunity to sing the entire song. The auditioners may stop you in the middle of a song. They’ve heard enough. Best to start with a strong section in the song.
  • DO YOUR HOMEWORK by hiring or asking a pianist to play the song as it is written in the sheet music. You can record it and then practice with that over and over again. Do not rely on your voice teacher’s playing the song … voice teachers (some, not all) will not always play exactly what’s written in the music. Your teacher might simplify or might focus more on the melody line to help you. Unless you’re going to bring your voice teacher to play for you, you want to make sure you know precisely how the music will sound when played by an accompanist. (Some accompanists will ask for some payment – it’s usually not much and it would be worth the investment to ensure you are comfortable and confident during your audition)
  • Prepare the sheet music with clear instructions and markings – where to start, where to stop, where there are fermatas, etc. Short, simple, clear markings!
  • Make sure all pages have ALL of the music (for both the left and right hands) … you’d be surprised how many copies have the bottom or the top of the page cutoff when copies were made. You don’t want the accompanist to just stop playing or to guess at what’s there!

What are some tips and guidelines you’d add to this list?

Tuesday, February 25, 2014

Please please please use a binder!! – Musical auditions basics

It’s that time of year when Spring musicals are having auditions. And we pianists and music directors are tasked with playing for each singer that comes in. I’ve written about the audition process here, here, and here. And I’ve mentioned that you should use a 3-ring binder with glare-proof, plastic protective sheets.

There’s been a thread on some social sites where an actor – at least I’m assuming it’s an actor – proposes that the music be mounted on heavy cardstock. The thought is that the music will not slip off the piano’s ledge and that the pianist won’t have any pages to turn.

As much as I appreciate an actor wanting to be helpful, I still prefer the use of a 3-ring binder …

You cannot predict the size of the ledges on an upright piano. Many of them have small ledges that can only accommodate two pages side-by-side in the first place. So even with mounting your music on heavy cardstock I’ll still have to shuffle pages in the middle of playing for your audition.

Even with cardstock, the pages can still fall off the piano’s ledge.

No – please please please use a binder!

Turning a page is something we pianists are VERY used to – we do it all the time … It’s not a big deal at all to turn a page in a binder … really! not a big deal.

So please use a binder. It’s so much easier for the pianist and you will be confident that your music will not fall down, get mixed up, or be shuffled in the wrong order. That way you can concentrate on the important part of the audition – showing yourself off in the best light.