Let's get kinky. Along with thoughts of what stories will be told in the generations to come. By Kat Flynn (Actor)
I don't know if it was because I've been watching way too much RuPaul's Drag Race, or because I know the show did well at the Tony's, but I was extremely excited Kinky Boots was coming to the West End. I had seen the film with Chiwetel Ejiofor and Joel Edgarton, but all I knew of the musical was from the casts performance at the Tony Awards in 2013. So, not very much, but enough to be totally psyched about it!
This isn't a review post, by any means, but I BLOODY LOVED IT! HOLY COW. Especially "Not My Father's Son." I did NOT see that song coming. I was sobbing by the end of it. As the show finished, I was singing along, and thinking to myself, "I really need to wear killer heels more often." More importantly, the show really got me thinking about the show I'm currently rehearsing, South Pacific.
In order to know where you're going, it's good to know where you're from. By Alan Winner (Performer, Writer, Director)
My partner and I have been living in Tulsa for most of this year, and we've spent a lot of that time focusing on getting our business started. Since we've been here, we have been able to spend a lot of time with Drew's side of the family, but my family is seven hours away.
Having a job back in my hometown has given me more time to sit and talk with my mom and dad. We try not to get tangled up in religion or politics, though we don’t shy away from them.
I’m staying at my mom’s like I usually do, so we generally get to spend a good amount of time together, and this trip I was more mindful of going over to my dad’s house to hang out. I’ve been writing a show with and about him for over five years. I knew that I wouldn’t be totally comfortable moving forward until I set out some time to sit down with my dad for more than just a long weekend over Christmas.
I turned my voice recorder on as my dad told me all these stories that I had either not heard before or been too young to care. A few statements my dad spoke made me acutely aware of how fortunate I am to be able to communicate with my father in the way that I do.
Moving to Tulsa was clearly more than just a career move for me. It was more of an inner calling to go back to my family to simply be around more. To have plenty of nothing to say to each other while watching Judge Judy and making music out of home-made instruments.
My dad, improvising on his one-of-a-kind, Slide-O-Matic S.F. D-6
Oh boy... By Gregory Jacobs-Roseman (Composer-Lyricist)
Quantum Leap: "To Catch A Falling Star"
On this day in 1954 our national treasure that is Scott Bakula was born.
I love Scott Bakula. Like most people I first became aware of him in the 1989-1993 series Quantum Leap. Where he played a scientist named Sam Beckett (slow clap) who leaped into different bodies at different times in history as the result of a failed experiment. Who can forget the episode “To Catch A Falling Star,” where he leaps into the body of an actor in a production of Man of La Mancha and must perform “The Impossible Dream”?
That said, I’ve also been a fan of Mr. Bakula’s theatre career, and have loved his voice on the 1987 musical Romance, Romance since discovering the show when my high school voice teacher assigned me the song "Words He Doesn't Say." So in celebration here’s Mr. Bakula with Alison Fraser performing a medley from the show at the 1988 Tony awards.
Happy Birthday, Scott Bakula! Al, what does Ziggy say?
GREGORY JACOBS-ROSEMANis a composer/lyricist and theatrical sound designer. His musical Save The Date: A Wedding Road-Trip Musical won the Overall Excellence Award for a Musical in the 2013 New York International Fringe Festival. gregjr.com EMAIL HIM | FACEBOOK | TWITTER | OTHER POSTS BY THIS AUTHOR
Remember when they took ALL the sexual tension out of the movie?
More on that in next week's article. Predictably, putting together a cabaret for myself has taken a lot of energy and time. It's a labor of love, but not without a fair amount of stress and uncertainty. It's times like these that it's important to take a few mental breaks. It is with that in mind that I present to you the most important accounts you should be following on Instagram.
Side note: Instagram has made me realize that I'm slowly but surely aging out of that time in your life when you know everything about technology. My 14 year old niece had to show me how to use the app. My 12 year old nephew had to teach me how to use my new Fitbit. Should I be worried? Who's going to teach me how to use the iPhone 23?
Some tunes - old and new - that I've been digging lately. By Rachel James (Treasurer/Writer)
One of my favorite podcasts, Pop Rocket, has a weekly segment called "What's Your Jam?". Each of the four panelists tells the audience what song has been their jam that week. I thought I’d try that today on Crazytown, and give you all a little insight into my iTunes. Enjoy!
I’m Not Gonna Teach Your Boyfriend How To Dance With You - Kate Nash
I’m seeing Kate Nash when she’s in town next week. And while I doubt she’ll do the cover of this song, it’s getting me pumped for the show.
Modern Love - Lea DeLaria
While my favorite song on Lea DeLaria’s House of David is “Suffragette City”, this is a close second. I also think I need to remind the world that Lea DeLaria made an album of jazz covers of David Bowie songs, and why don’t you own it yet?
Something Crazy - Stefani Germanotta
Nothing like a little old school Stefani Germanotta (a.k.a. Lady Gaga). This is some great dancing around the house music. It reminds me a bit of Letters To Cleo and Veruca Salt, and shows you how much an artist can change over time.
Burn - Phillipa Soo
Like everyone else, I’ve been playing the Hamilton cast album on repeat. While the CabinetBattles have been on heavy rotation, this is song that my co-worker and I have been crying over at work. Very productive.
Your reason behind resurrecting a Broadway tuner from the Great White Way graveyard must be seen below. By Joanna Syiek (Director/Producer/Blogger)
Here's a bit of hard truth: I'm hard on revivals. Nowadays, it seems all too often that a show is Frankensteined back to life just to be a a vehicle for easy sales.
You all know these types of revivals. They already have great name recognition, the lead roles can easily be filled with some top-name talent from film/television (maybe some musical theatre training if we're lucky), and the show has a history of selling-out. But what if we started admitting that this wasn't enough?
If we want to entice future theatregoers to step away from their Netflix binge and into the theatre for an hour or two, musical revivals must meet at least one of the following prerequisites:
1. The piece has something new to say.
When the show first graced the scene, it was perhaps politically charged, interesting, relevant and oh-so timely. Then it lay dormant for 1-100 years, right up until the moment someone realized that now the show speaks to the current political/cultural/artistic climate on a whole new level. Then please, by all means, pull it out of the trunk, dust it off, and show us how it can fare in today's world.
Notice that in this case, the piece can more or less stand alone. No need for a script overhaul, wild setting (e.g. Shakespeare in SPACE!), or desperate attempts to change the show just for the sake of changing it. It just so happens that history tends to repeat itself, and we tend to forget; use the piece to remind us all of the ways we haven't learned yet and what is yet to come.
2. The musical can be introduced to an entirely new audience.
Up until a few years ago in France, the American musical classics were fairly unknown. If you asked someone on the streets of Paris what My Fair Lady was, he or she may have just thought you were talking about your girlfriend. Théâtre du Châtelet began introducing the Broadway musical to the city and became the first theatre to perform Sondheim in the country. In this case, the nearly 40 year old piece could feel entirely new - the production represented an introduction of one of the perennial American composers to a country who had not yet had the opportunity to truly meet him. Since then the theatre has produced other Sondheim classics including Sweeney Todd and Sunday in the Park with George, and plans to show Passion as part of its programming later this year.
3. You have an entirely new way of presenting the piece.
This one requires some ingenuity and vision in order to make an old story seem entirely new. And thus, the potential success of this one typically rests in the hands of the director. This one can include some of the conventions mentioned above (e.g. new geographical setting, new time period, new context), but these modes of framing the show must ultimately heighten the piece instead of weigh it down.
Recent examples include the Dallas Theater Center's modern-day interpretation of Les Mis and the current Broadway production of Spring Awakening using ASL. (This is also maybe the 4th or 5th time I've name dropped the production here on Crazytown, but you should really do what you can to go see it. It's in NYC for a limited engagement, and it's sickeningly good.)
Newest song for THE ANXIETY PROJECT by David Brush, lyricist/librettist and Rachel Dean, composer
As we approached the final act of THE ANXIETY PROJECT, I wanted to write a song that allowed the sufferers to address themselves in a moment of support and unabashed honesty. What resulted was a love song to self - a love letter we should all speak to ourselves in times of darkness and trauma. PORCHLIGHT was the result. Below is the lyric and the audio demo.