Facebook Instagram Tiktok Youtube
Donate

Blog

Singing Girls: The importance of female duets

Everyone loves that part in a musical where the couple finally sings a duet, stares at each other for a dramatic second and then proceeds to kiss, possibly to the sound of some dramatic, happy music in the background. Of course, there are always small differences, but it’s safe to say that a similar scene exists in every single musical ever, or at least – in all of the golden age classics.

That’s all great, and the power of a good love duet is undeniable, but people often forget about a different kind of duet that’s only been around since the 1950s or so. I’m talking about female duets: About girls getting to sing together as sisters, and mothers and daughters, and friends, and enemies, and you-name-it. Before the 50s, women rarely got any significant stage time alone, with no guys around,  which is yet another reason why today, we should celebrate the fact that female relationships have become just as important in musicals as the typical, expected love stories!

In a show, two women could end up singing together for many different reasons: they could be fighting or supporting each other, gossiping or just discussing their lives. In order to appreciate the power of that kind of connection between female characters, I’ve compiled a list of ten songs, both classics and contemporary favorites, that perfectly show how lovely and important female duets can be!

(And besides, any girl who has a best friend will agree that nothing’s better than belting dramatic renditions of random duets… am I right?)

1. “You’re a Queer One, Julie Jordan” (Carousel)

A very early, and kind of simple female duet, “You’re a Queer One, Julie Jordan” shows something that feels familiar for most girls. Essentially, the song is all about Carrie noticing that Julie’s been different lately: distracted, quiet, (possibly in love?!), so she tries to get her to talk to her about it. While the song is primarily Carrie observing Julie, Julie’s remarks are just as relevant – she aims to get her friend to stop prying and trying to gossip about her (potential) love life.  One could argue that the song is mostly Carrie’s solo, but Julie’s short interjections establish their relationship. In any case, “You’re a Queer One…” is an important song because it’s one of the very first duets between girls, and things only get better from there. 

2. “Marry The Man Today” (Guys & Dolls)

“Marry The Man Today” is always regarded as one of the first significant female duets. As it often happens in musicals, Sarah and Adelaide are complete opposites when it comes to all of their beliefs and their lifestyles, but they end up coming together as they sing about their problems with their respectful significant others. The song sees Sarah and Adelaide grow closer as, despite their differences, they end up joking together in clever rhymes and hilarious lines. While they do sing about guys, there is nothing romantic about the duet: instead, it’s all about two women sharing their experiences, and very obviously enjoying each other’s company as they do so.

3. “A Boy Like That / I Have a Love” (West Side Story)

Both of the previous duets on the list are, in one way or another, gossip songs. They’re about friends connecting with each other, singing about guys, and generally being happy about their love lives. “A Boy Like That / I Have a Love” is drastically different. Here, Anita is angry. Her opinion clashes with Maria’s and they both, with equal conviction, basically attempt to out-sing each other as they try to get their points across. Their voices clash and they both struggle to be heard: Maria is simply in love, and Anita is opposed to her choices because of all of the reasons she fiercely expresses in the song. When the song transitions from “A Boy Like That” into “I Have a Love,” their anger seems to subside and the fight becomes a reconciliation. While they still disagree each other, they listen to each other, and a lesson ultimately gets learned. Even musically, Maria and Anita come together by the end of “I Have a Love,” and finish the song on the same note, just an octave apart.

4. “I Know Him So Well” (Chess)

“I Know Him So Well” has become one of those songs that very much exists outside the show it comes from: people sing it at performances and recitals, and it has a life of its own, not necessarily connected to the context of Chess. What makes it an interesting female duet, however, is exactly its context. In most duets, when women sing about men, it’s usually each one of them singing about a different man and sharing her feelings with the other woman. In “I Know Him So Well,” however, Svetlana and Florence are singing about the same man, and that makes their connection different, and fascinating. What is supposed to be a confrontation between the two women becomes a moment of bonding for them as they both share and express their feelings for Anatoly. The relationship between the two women is complicated but the outcome of the tension between them is unexpected, as “I Know Him So Well” ends up becoming a shared moment of sincerity and connection between the two.

5. “Take Me or Leave Me” (Rent)

Most of the other duets on the list are about romance in a different way, about women fighting or connecting because of their feelings for men. “Take Me or Leave Me” is simply a love quarrel between two women. In a way, Joanne and Maureen also follow that classic musical theatre model where the two women in a duet are somehow opposites, and that’s what brings them to a clash and initiates their singing together. Their duet is so important, however, because it plays a double part: it’s both a female duet, and a love duet, which makes it significant and innovative in many ways. To this day, “Take Me or Leave Me” remains the only popular female duet in a musical that features a lesbian couple. That gives the duet a lot of significance and establishes its place as an important turn in the tradition of women singing duets in musical theatre. “Take Me or Leave Me” opens a door for a whole new range of female duets, and I think it’s a matter of time till we see the next great duet that will follow that path.

6. “For Good” (Wicked)

In a way, “For Good” is probably the most important female duet in contemporary musical theater. It is the ultimate celebration of Elphaba and Glinda’s friendship, but it exposes both the good sides and the bad sides of that friendship. Most relationships come with that moment where you just have to let go. “For Good” has become a contemporary classic when it comes to songs that express how important friendships are, even when they do come to an end. There is nothing bitter about the two women parting ways: on the contrary, the entire duet is their realizing how important they are to each other, and how much value their relationship has. Ultimately, “For Good” is about a friendship that saves both characters, changes them, and teaches them lessons even when it ends. While it’s a heartbreaking duet, it is joyful at the same time. Glinda and Elphaba express their appreciation for each other, their love, and the incredible influence they have had on each other’s lives.

7. “Secondary Characters” ([title of show])

“Secondary Characters” is one of my two contemporary examples of why “Marry The Man Today” is considered to be one of the most significant female duets. At first, it’s probably hard to notice any similarities between the two songs, since “Secondary Characters” is not even remotely romantic, and no one is singing about marriage. The parallel, however, comes from the circumstances in which the song happens. Susan and Heidi, just like Sarah and Adelaide, barely know each other, and prior to the song, they don’t even like each other that much. It is in the absence of guys on stage that they come together and use that absence as a starting point of their “taking over” the stage. Once again, the song shows them growing closer through shared jokes and hilarious pop culture references. They even directly address the purpose of their duet: by the end of the song, they’re practically each other’s best friends. (Well… sort of.)

8. Wish I Were Here (Next to Normal)

“Wish I Were Here” opens the door for discussions about a whole different kind of female relationship: that between mothers and daughters. So far in the list, women have been connected in different ways, but none of them share the bond that mothers and daughters have. Diana and Natalie’s relationship is interesting to explore through their duet because there’s nothing idyllic about it. Through their desperate race to sing over each other, and harmonize with each other, and barely listen to each other, they display the very real, very disturbed family dynamic of the Goodmans. “Wish I Were Here” is the first time the two women sing a duet together and while broken and utterly dysfunctional, this is their first attempt at connecting and hearing each other out. When Natalie and Diana sing a duet, it’s not all about “it’s great to have an awesome Mom!!!”, on the contrary: it’s about their struggle to be heard, understood, and saved. But they share that struggle and, in a strange way, their duet still manages to bring them together.

9. You Love Who You Love (Bonnie & Clyde)

Yes. Yes, Bonnie & Clyde is on the list. “You Love Who You Love” is actually the second example of the lasting influence that Guys and Dolls has had on female duets in musicals. In Bonnie & Clyde, Blanche and Bonnie fulfill the trope of two women who are polar opposites bonding because of their love for their men, in that case – the Barrow brothers. Like Sarah in Guys and Dolls, Blanche is religious and dreams of a quiet, peaceful life, while Bonnie is an adventurer who dreams of becoming a performer (…like Adelaide. You see?) Throughout the show, the two women’s views clash and they directly confront each other, but their duet is a moment of bonding, they become each other’s partners and support each other, because they can connect through their struggle. There is only one way in which “You Love Who You Love” is drastically different from “Marry The Man Today”: Sarah and Adelaide dream of marriage and, albeit jokingly, plan on changing their husbands’ ways at some point, while Bonnie and Blanche sing about the opposite: the thing that unites the two women is their complete and utter acceptance of their loved ones.

10. Freedom (The Unauthorized Biography of Samantha Brown)

A lot like “For Good”, “Freedom” is an extremely important duet for girls just because it’s all about friendship and nothing else. No one ever mentions guys, romance is not even remotely involved in the song, and it’s all about two friends talking about the joys of… well. Simply being friends. It’s a song about road trips and being free, and young, and with your best friend, and ultimately, that’s all a really good duet needs. Samantha and Kelly talk between the verses, arguing and teasing each other in a way that only best friends do. To me, “Freedom” is a really important contemporary duet for two young women just because it puts their friendship above everything else, and – even through the girls’ spoken banter – celebrates that special connection that they share. Sometimes, drama and sadness are vital for a good song. Sometimes, you just need a good love story.

But more often than not, there’s nothing better than a song that you can blast with your best friend, and sing along till you forget about everything else. Now, for me, that’s freedom.

Showtunes and Parallels

It is no secret that in musical theater, just like in any other art form, writers and creators are constantly inspired and influenced by each other’s work. In the world of musical theater, this often leads to similarities between songs and all kinds of parallels between different musicals. In a way, those connections create a bridge between different generations of theater and unite musicals that might initially seem completely different within the same musical tradition.

It would be impossible to list every single similarity between different show tunes, and choosing a “Top Five Best Show Tune Parallels,” for example, would be completely unfair to all of the songs that would end up left out. This is why my Top Five is a matter of personal choice. Those parallels are simply my favorite ones, and ones that always get me really exciting and talking about the beauty of inheritance in musical theater to anyone who is willing to listen. This is always a good way to start a discussion, and hopefully prompt other people to notice similar trends with other shows and songs as well.

1. The Circus Dream sequence (Lady in the Dark, 1941) / “Spooky Mormon Hell Dream” (Book of Mormon, 2011)

The obvious similarity here is that both musical numbers happen outside of reality, in the main character’s dream world. Similarly to “Spooky Mormon Hell Dream”, where all of Elder Price’s fears appear personified in his dream (yes, even the coffee cups), the Circus Dream sequence, which consists of four songs, expresses the fears of the main character in Lady in the Dark, Liza Elliott. While the problems and fears, which concern the two characters, are completely different, the way they are represented through song is quite similar. The way the Circus Dream sequence is staged in most productions often parallels the original Broadway staging of “Spooky Mormon Hell Dream” – it’s all about flashy costumes, creepy-looking ensembles and surrealism. Lots of red sequins and horrifying glamour seem to appear in both, too.

(Speaking of horrifying dream sequences, I have to give a honorary mention to “Tevye’s Dream” in Fiddler on the Roof (1964)… It follows the same pattern of creepy surrealism and a huge, terrifying ensemble, and I would totally include it in the discussion if it were an actual dream, and not just Tevye lying to his wife. You’re making things up again, Tevye!)

2. “I Got Life” (Hair, 1968) / “La Vie Boheme” (Rent, 1996)

This is a parallel I have mentioned before, and is probably one of my favorite musical theatre parallels of all time. In both musicals, those songs are sung by groups of “underdogs” – bohemians and hippies – who celebrate life and everything that life has to offer. If you look at the film version of Hair, the parallel grows even more because there, the hippies crash an expensive party and piss the rich people off, just like the bohemians in Rent annoy Benny and his father in law when they sing. In this version of “I Got Life”, similarly to “La Vie Boheme”, there’s a lot of dancing on tables involved as well. Both songs are list songs, (which is a tradition that was made popular by Cole Porter first… thanks for that, Cole Porter!), and they don’t really contribute to the narrative of the musicals: their function is simply to express the character’s values and celebrate the things they find important.

Honorary mentions for Fiddler on the Roof seem to be a running theme in this article. The song “To Life” follows most of the same trends as “I Got Life” and “La Vie Boheme” and is, once again, an ensemble song where a community of poor people sings about the good things in their lives, “even when there’s nothing to be joyful for”. It is also interesting to notice that in all three songs, the word Life is present in the very title of the musical number. Because, after all, regardless of the context of the song, all three of them boil down to this: People singing together, and all singing about life.

3. “Christmas Bells” (Rent, 1996) / “Blackout” (In The Heights, 2007)

It is interesting to see how Rent sits in such a place in the tradition of contemporary musical theatre that it is both influenced by older musicals, and old enough to have left its mark and inspired more recent shows. The parallel between “Christmas Bells” and “Blackout” is an interesting one, because it’s not as obvious as some other parallels might be.  Here, the themes of the songs are different but they are united through their setting, and their musicality. The differences are striking: you have a freezing cold winter and the horrible heat of mid-summer, different time periods, different communities. What unifies those songs, however, is that both of them are communal numbers where seemingly everyone appears to be singing at the same time, and it all takes place in the streets of New York. The musical aspect of the parallel is the most important thing in this case: the way both songs function is through layering various melodies and hence, representing various storylines that are all, almost chaotically, developing at the same time. You could easily compare Mark’s singing “But I am over her!” with Nina’s “I don’t need anything tonight”, all the while the rest of the community sings about its own concerns – be it power, or money, or love.

And also, Lin-Manuel Miranda himself once confirmed that he had “Christmas Bells” in mind when he wrote “Blackout”. So— there’s that.

4. “Wig in a Box” (Hedwig and the Angry Inch, 2001) / “Not My Father’s Son” (Kinky Boots, 2013)

With Hedwig coming to Broadway so soon, it’s impossible to overlook this parallel. The song “Wig in a Box” is the moment when Hedwig realizes that all she has done since moving to America has been pointless, and what starts out as a heartbreaking ballad grows into a powerful celebration in which she sings about her gender expression and femininity, which seem to always help her through tough moments in life. Similarly, Lola’s “Not My Father’s Son” is a ballad which acknowledges the hardships that she has had to face, the lack of acceptance and the fact that she has found a way to deal with it, and feel better, through simply expressing herself and being herself. An interesting parallel in the lyrics which directly reflects this celebration of self-expression and femininity is Hedwig’s “I put on some make-up (…), put the wig back on my head”, compared to Lola’s “But the world seemed brighter six inches off the ground”.

“Wig in a Box” also compares interestingly to one of Lola’s other solos, “Land of Lola”, because of the similar tendency of the characters to compare themselves with celebrities and pop culture figures. While Hedwig sings about becoming Miss Midwest Midnight and Miss Farrah Fawcett, Lola mentions Ginger Rogers and Fred Astaire, all of which create a similar pattern of comparing the two characters to popular figures. Ultimately, just like with “Not My Father’s Son”, this parallel is, again, all about the songs’ being about Hedwig and Lola’ self-expression.

5. “The Bitch of Living” (Spring Awakening, 2005) / “Revolting Children” (Matilda, 2013)

Yes, yes we’ve all heard jokes about Matilda’s being “basically Spring Awakening but with children”, (or at least, I have), but anyone who likes those two musicals could probably give you a two-hour lecture about how that’s so far from the truth it’s not even funny.

If there is one thing in those musicals that is really similar, however, it’s those two songs. In both cases, students in uniforms are singing about stuff while jumping on desks and doing choreography that seems easy when you watch it on YouTube and proves pretty much impossible when you try it in your bedroom. (Just me? Oh. Okay…) Actually, this similarity is quite interesting because the revolt of all of those angry students seems to be what connects the two groups of characters, even though their classrooms are in different countries, in different time periods, and the things that piss them off are—well, completely different. Even so, it’s interesting to talk about the fact that anger and revolting seem to unite those young characters and, regardless of their circumstances, their feelings manifest themselves through rock musical numbers, hand-held microphones and lots of jumping around.

At least, that’s what happens in musicals. Complaining about bad teachers on Facebook’s not nearly as fun.

What’s Coming This Spring at 54 Below!

54 Below, or Broadway’s Supper Club as it’s sometimes called, is a perfect place to have a great night: you can enjoy your meal as some of Broadway’s most talented perform, making for an unbeatable experience. Here are some of the gigs we’re most looking forward to!

Lindsay Mendez and Derek Klena, March 10, 24 (Ticket info: 10, 24)
Coming up ver soon, Lindsay Mendez and Derek Klena of Wicked will be performing at 54 Below! I’m personally hoping they sing a few of the Wicked hits (of course), but also throw some new stuff in there. Between the two of them, with their stellar voices and incredible presence, they could pull off some stunning duets. I’m hoping they collaborate on some other Broadway hits, as well as maybe covering a few more “mainstream” pop songs- i’m sure they can pull it off beautifully.

Team StarKid, March 17 (Ticket Info: 7:30 and 11 PM)
I’m quick to admit that I’m an avid fan of Team StarKid. Ever since the original A Very Potter Musical, I’ve loved StarKid’s quirky songs and nerdy humor. Seeing them in concert at 54 Below would be a dream! They will be performing “Twisted” in concert, which will undoubtedly be a blast! I predict that this will be a high-energy, fun-filled experience.

Christina Sajous, April 11 (Ticket Info)
Maybe you’ve heard of Christina Sajous. Maybe you haven’t. Either way, you definitely should have. She is the stunningly talented actress and singer who originated the role of “The Extraordinary Girl” in American Idiot on Broadway. Her voice is heavenly and her presence is stunning- simply put, this will be an incredible experience. Whether or not you’re a fan of American Idiot, Christina’s performance is sure to be stellar. I’d like to see her do a few classic favorites such as her songs from “Idiot”, as well as covering some more popular songs across several genres.

“If It Only Even Runs A Minute” with Hunter Foster And Also Some Other People, April 21 (Ticket Info)
This compelling series is a performance of songs from musicals such as High Fidelity and Via Galactica, shows that have tons of merit but unfortunately didn’t run for very long. They will be performed by a wide array of talented stars, most famous of which is Hunter Foster, verified member of The Actual Most Important Family Ever. This one will be a blast, especially for fans of these shows who wish their tenure on Broadway could’ve been a little longer.

What performances are you looking forward to seeing at 54 Below? Let us know in the comments!

My Favorite Musical Love Stories

It has been said many times before that a musical without a comedic relief or a love story is Broadway suicide. This doesn’t mean that a love story has to be the main focus of the musical, which makes a few of the love stories the best love stories. Three modern musicals really stick out when it comes to a sub plot of infatuation.

1. Newsies Jack and Katherine

When it comes to Jack and Katherine, it is a romance that is truly “Something to Believe In”. While the chaos of the Newsboy Strike of 1899 went on, the gorgeous and intelligent Katherine Plumber, the only reporter willing to cover the strike, easily distracted Jack. The main plot of Newsies is beating out the evil and selfish Joseph Pulitzer and everything the characters do revolve completely around it. It still is the sole thought at mind, even when Jack and Katherine share their first kiss on a rooftop. What is truly remarkable about the relationship is the amount of challenges the couple goes through before actually getting together. And yet, it never over shadows what actually matters, the cause at hand.

2. Wicked Fiyero and Elphaba (And Galinda-the GA is silent.)

When asked what they best part of Wicked is, there are three different answers that typically come to mind: the music, the costumes, and the friendship. What is focused on most is the friendship between “the Wicked Witch of the West”, Elphaba, and Glinda “the Good”. They contrast in everything they do, what they wear, and how they think. Yet, they have one of the greatest friendships of all time. The only big conflict they have is when a boy comes into play. Not just any boy comes between them, but the seemingly perfect Prince Fiyero. Glinda is infatuated with the young man from the moment she meets him, convinced that she was madly in love and that he loved her back. However, the real chemistry was between him and our beloved Elphie. They were definitely the one for each other, however, that began the downfall of everything around them. While this was a major cause for a lot of the ending, it wasn’t the main focus point in the musical. The lasting friendship between the girls was the most important factor. Yet, the warm fuzzy feelings one gets while watching “As Long As You’re Mine” is definitely a highlight of the show.

3. RENT Angel and Tom

 When you think RENT, what do you think of? Personally protest, bohemia, and AIDs comes to mind. In the back of my mind, a few couples pop up: Maureen and Joanne, Mimi and Roger, and, my favorite, Angel and Tom. There are several big plots in RENT. There is Mark and Roger trying to figure out how to pay rent, Maureen, trying to save her performance space while working through her differences with her girlfriend, Joanne, and several of the characters with AIDs trying to survive. Many different couples fly in and out of view of the audience. Each character has their own, unique plot. Some of them, like Joannes, focus on their significant other. Some, like Mark, don’t have a love interest and they focus on other things. Angel and Tom clearly love each other. However, they don’t focus on it. Angels plot line is inspiring and helping others. That’s all she wanted to do. And in the background, the person she inspired and helped most, Tom sat ready to take over for her. The love story is a little more prominent in this musical, but it really isn’t the main point. It is about accepting and giving to others and that is what makes RENT as a whole truly remarkable.

Interview with Will Carlyon of Cabaret

NY-CS263_FOURjp_G_20131128180944

With a new production of Cabaret coming just around the corner, I sat down and talked to Will Carlyon. He’s a quadruple threat and swing in the new production, and I spoke to him about what its like to be a quadruple threat, and what it’s like to work with Alan Cumming.

This is your first show since graduating from college, is that overwhelming? To land on Broadway, and with Alan Cumming no less right out of school?
It’s a little overwhelming, yeah, but so far I’ve felt pretty prepared and ready. The rehearsal processes at Northwestern were always very professional and I feel they were great preparation for a process like this one.

Can you talk about your college training?
I studied theatre at Northwestern University and I was in the Music Theatre Certificate program, which is basically like a musical theatre minor. I studied a variety of styles and disciplines with my acting class over a three year period (acting classes don’t start until your sophomore year at NU) in addition to music theatre techniques and voice lessons and some dance classes.

Tell me about your character.
I am a swing which means that whenever any of the actors playing the four Kit Kat boys (Bobby, Victor, Hans, and Herman) have to miss a show for any reason either I or the other male swing do the part in their place. But one of the reasons that Cabaret is very different from most other shows is that all of us swings are onstage during the show and playing instruments, whereas in most productions they are offstage.

Can you tell us a little about this new production of Cabaret?
This production of Cabaret is a remounting of the 1998 revival so the direction and choreography is all basically the same, but for the most part the actors are new. It’s a grungier, sexier, and more in your face take on the show than the original 1966 production. There are also a few songs cut from the original and a few other songs added.

You were recently in an article talking about the quadruple threat. For those who don’t know, can you tell me what that is?
Well the triple threat is someone who can sing, act, and dance, and what is now becoming known as the quadruple threat is someone who can do all of those three things and also play an instrument. Or, as is the case with many of my cast mates, multiple instruments.

What is your other talent?
I play the cello in Cabaret.

In your opinion, should actors aspiring for Broadway cultivate an additional talent to make them a quadruple threat?
I think it’s unnecessary to go out of your way to learn a new talent just so you can theoretically be more useful or more marketable, but if you happen to have a talent that you enjoy doing and you think might be helpful in the future then definitely stick with it. And even if it doesn’t help you with a career in the performing arts it could help you in some other career. When I started playing cello my plan was to become a baseball player and I wasn’t even participating in theater at that point so you really never know what might end up helping you out later in life.

Shows are asking more and more of their actors, from playing instruments in Cabaret to circus tricks in Pippin. Is needing the extra skill something that drew you to this role?
It’s definitely something that excites me. I very actively played cello all through middle school and high school but basically stopped while I was in college to focus on other things so it has been really fun getting back into the groove of playing all the time. It’s a challenge to get back to the quality of playing that a Broadway show requires but I think I have enough time to get there.

Do you see quadruple threats becoming the norm, instead of triple threats?
Personally, I can’t see a world where quadruple threats are the norm. A lot because I think it would be an unfair demand for every single actor to also have some other useful skill that they’ve cultivated for years. Some people are lucky enough to have a background in music or circus or something else but many aren’t and they can’t be faulted for that. Also, actors playing instruments is a great idea and has worked for many shows, but the best idea for one show can be the worst idea for another so I don’t think there will ever be a day when every musical requires some form of quadruple threat.

What’s the rehearsal process been like, being asked to not only sing, act and dance but also to play the cello? Is there a big difference in how rehearsals run?
The biggest difference with this rehearsal process for me is all the extra time the ensemble spends doing music work; we rehearse the music with our music director at least a couple hours a day and we also often have our instruments with us when we have choreography and staging rehearsal.

Thank you to Will so much for taking time out of rehearsal to talk to me. Wishing you all the best in your run of Cabaret as a quadruple threat!

Live-Tweeting on Broadway: What?!

If you have never checked your cell phone during a performance at the theater, you definitely have reasons for not doing so. And you’re familiar with the dire consequences that occur if you do:

1. The jaded theater-goers will definitely use you as an example to complain about the ‘new generation’ ruining the theater!

2. You might have to serve jail-time. Okay, maybe not.

3. Several audience members will attempt, through lengthy evil staring, to make your cell phone spontaneously combust.

But, several theater producers have begun to reject this rule that all of us (maybe just me) have held so dear.

Several Broadway theaters have started to add ‘Tweet Seats’ into their performances. These seats are separate from the main audience, and actually encourage the ticket holders to use their cell phones during the show! Tweet Seats moved to Broadway with Godspell in 2012, and have been incorporated into many productions since. Many people were very opposed to this idea, and it makes sense why! A big part of theatre is about the suspension of disbelief, and by live-tweeting while watching the show, it prevents you from being fully immersed in the world of the play. It’s hard to forget that the characters aren’t real when you are tweeting about the actors and actresses playing them.

On the other hand, cell phone disruptions are going to happen, Tweet Seats or not. We live in an age where social media is growing to be a huge part of daily life, and some people just can’t log out- even for a couple of hours. So wouldn’t we rather have a section where that use wouldn’t bother other audience members? Not to mention, it also benefits the production. The publicity from the live-tweeting and blogging is huge for the show, especially since famous bloggers often occupy the seats. In the early days of Godspell’s tweet seats, they invited their most supportive twitter followers to the show for free!

Where do you stand on the topic? Do you think Tweet Seats are a needed update to theaters, or do you think they could ruin the experience? Is the publicity worth it? Tell us in the comments!

Photo via ArsTechnica

Interview with Tony Parise of Hasty Pudding Theatricals

Twenty one Harvard students came together to form a club in 1795. This organization became the Hasty Puddings Club. Hasty Pudding Theatricals has been producing centuries of student-written theater and  every year, Hasty Pudding nominates a Man and Woman of the Year and hold a special show and ceremony to celebrate their career and poke a little fun at them as well. This year, actress Helen Mirren and Broadway favorite Neil Patrick Harris were honored.  I had the chance of interviewing Tony Parise, who has interacted with these stars and directed these events.

Hasty Pudding has been around for over two centuries. Why do you think this organization has been able to be around for this long?

“The Pudding” is steeped in tradition. It is a rite of passage for many Harvard guys. Multiple generations have had grandfathers, fathers, and sons as Pudding cast members. The tradition continues today with a growing number of alumni who see the show year after year.

What is your role within Hasty Pudding and how did you first become involved?

I am the director of the show. With that, I also guide in the script writing process, and serve as dramaturge. I make sure that what is written can be done on stage. I got the job through an interview. Before me, there was a new director every two years. I just completed my eighteenth year.

What is your favorite part about working at Hasting Pudding?

The Harvard students are so smart, and very willing to learn new skills.

What is your job specifically working with the Man and Woman of the Year Awards?

The Man and Woman of the Year awards are two separate events. Each contain a roast of the person being awarded, and each a presentation of the show. The woman’s event is in the afternoon, for which I prepare a preview of the show, and the man gets to see the entire show. I prepare them for the roast to try and set the tone as one of friendly fun.

The honorees have a wide range of work in the entertainment industry. How do you decide what aspects of their career will go into the performance and roast?

There is a delicate balance between making fun, or making light, and being mean-spirited. The honorees are chosen for their “lasting contribution to the world of entertainment”, so it is a serious award, but The Pudding is a comedy, so laughter is key.

The Man of the Year this year was Broadway favorite Neil Patrick Harris. What was it like working with this amazing song and dance man?

Harvard can be intimidating to even the most accomplished performer. Neil Patrick Harris was very humble and appreciative. He totally “got” the spirit of the award.

The Woman of the Year was actress Helen Mirren. What was your interaction like working with her?

Helen Mirren was charming and delightful. She also went viral for her “twerking”.

In these roasts, the honorees have to have a sense of humor as they perform with Hasty Pudding cast members in hilarious sketches. How are the celebrities able to be so relaxed and light-hearted while making fun of themselves?

That is the beauty of how smart the students are. The roasts are fail-proof. If a celebrity just stands there and “takes it” it works just as well as when they actively jump in with their own comments.

What is it like interacting with these amazing men and women of entertainment? Have you ever felt scared or intimidated working with any of the honorees?

The roast is basically a press event for the celebrity, so they are working. They have, for the most part, been very professional. They understand that theatre is a dictatorship and do their part. They want to be shown in their best light, after all. The only time I was a bit intimidated was on opening night one year. I had been working with two Harvard students who were the composers-both female. I asked for many changes, and threw out several of the things they had written to get the best possible show. They were great about taking the criticism. On opening night, one of the girls pulled me out of the crowd and said- “Tony, I want my dad to meet you.” I went with her, and there stood Quincy Jones. The girl was Rashida Jones.

Do you have any other favorite memories of past honorees of Hasty Pudding?

The best Woman of the Year was Jamie Lee Curtis. She was so appreciative and honored to receive the famous Pudding Pot. In her speech after she was roasted, she told the audience that her mother taught her to bring a gift every time she visited someone’s home. Without our knowing, she had snuck into the theater and taped a chocolate (wrapped in her initials) under every seat. It was such a classy gesture.

Sing. Dance. Create. ACT NOW! Here’s how…

Bonnie

One of the most important aspects of the arts is its ability to change the world. Whether we’re talking about a work by Picasso, a song by The Beatles, or a musical like Rent, artists are a crucial part of our society; artists are unafraid to shine a light on tough issues and really call for change through their work.

With that in mind, Camp Broadway is partnering with the United Nations Foundation’s Nothing But Nets campaign, the largest grassroots campaign to fight malaria, a disease that kills a child in Africa every 60 seconds. Camp Broadway is encouraging kids to sing, dance, create, and take ACTion to raise awareness about the global fight against malaria.  Creative kids can submit videos of their original work through May 9 at NothingButNetsChallenge.net, and two submissions that receive the most votes will  win a trip to New York City and a coveted spot in Camp Broadway’s July summer session, including a trip to see The Lion King on Broadway!

Back in October, Camp Broadway Founder, Susan Lee joined the United Nations Foundation’s Nothing But Nets campaign on a mission to distribute bed nets to villages in Madagascar.  As fate would have it, also on that mission was Bonnie Stack, Communications Manager at Junior Chamber International (JCI)–another Nothing But Nets partner, and Camp Broadway alum!  In celebration of the collaboration, and to help inspire young people to take action and raise awareness for an important cause, we chatted with Bonnie about her time at Camp Broadway, her current work with JCI, and how kids everywhere can join a cause to create positive change.  (And don’t forget to share your own work with us at NothingButNetsChallenge.net!)

Tell us a little about your involvement with Camp Broadway (when did you attend, what shows did you perform in..?).

I attended Camp Broadway at ASU Gammage in Phoenix, AZ. It was the summer of 2002, between eighth grade and freshman year in high school so I was 14 years old. The professional show that was on stage at Gammage was Titanic and if I remember correctly, we performed Annie for our camp show. I absolutely LOVED the Camp Broadway experience. Before Camp Broadway, I had been doing dance classes and show choir for years and had been in my middle school musicals. However, this was my Broadway boot camp in such an amazing and inspiring way. At the end of that week, I was a better triple threat than I had ever expected. It gave me the confidence to try out for community theatre and I ended up performing in three to four musicals a season all through high school at a local theatre. Camp Broadway heightened my existing passion for singing, acting and dancing and I will be forever thankful for the wonderful experience.

What did you do next? Did you attend college? Where?

My theatre journey continued through high school and then I studied Broadcast Journalism and Sociology at the University of Missouri (Mizzou-go tigers!). I had thought about majoring in theatre but I was very interested in journalism as well. Broadcast Journalism allowed me to combine my love of performance with my passion for writing and investigation. I was a reporter during college for the NBC affiliate in Columbia, MO. I remained involved in theatre through my sorority Chi Omega for campus competitions, homecoming etc. I have missed acting, singing and dancing ever since, but I know it contributed to my passion and success in the journalism and communications world.

How did the arts shape your life? How do you believe being a student of the arts can contribute to a person’s world view? How did your Camp Broadway experience inform this?

The arts shaped me at a very young age giving me the strength and confidence to be myself and pursue my dreams. Being onstage, singing, dancing and acting is such a healthy outlet of self-expression and self-discovery. It reminds me to smile, hold my head high and approach each situation with a positive outlook. Although I am not in theatre anymore, my experience and everything I learned from it stays with me every day. It allowed me to pursue TV journalism with an existing passion for performance and sharing people’s stories. Now through JCI, I use my theatre skills for a variety show program at our international events and I do voice overs for the videos we produce. Being a student of the arts opens your view of the world as you learn about different kinds of people, life situations, conflict resolution and keeping a positive attitude through every cast and every show. One of my great directors once said, “Love the art in yourself, not yourself in the art” and I will forever carry those words of wisdom with me through every life experience.

My Camp Broadway experience had a special effect on my journey in the arts because it was the most intense, eye-opening training and experience I had had at that point in my journey. It really opened my eyes to how rewarding hard work on a dance, song or scene can be and truly showed me the breadth of talent that others possess when it comes to the arts. In just one week, I learned more about myself and the art than I ever would have thought signing up for camp. Learning from and working with experts in the business was inspiring and made me want to take my journey to the next level by doing more shows and committing myself to my craft for the coming years. The joy, excitement and confidence I felt at Camp Broadway guided me through community theatre and beyond.

Why do you think it’s important for people to have the arts in their lives?

On my mission to Madagascar with Nothing But Nets, we were in very impoverished communities. However, I think the arts play a part of every culture, everywhere. Even in the small huts in the villages we visited, some had paintings and pictures decorating the walls. You could see the kids running and playing and sometimes singing or playing their own makeshift instruments, even as simple as a stick hitting a rock. We were there to distribute insecticide treated bed nets and at a launch ceremony we attended, they even had huge life-size puppets with a theatrical show complete with music! Tons of kids were gathered around the puppets and loved every minute. Some were screaming with joy and dancing and it was so powerful to see the arts as way to educate the people about malaria. For me, music makes me smile. And we saw so many happy, playful children in these villages even when they had almost nothing. I have to believe that there is some kind of imagination in every one of those children and having a big imagination and curiosity for life is a must when you love or know the arts. I think no matter where you are in the world, the power of music and the arts exists and is a wonderful tool to teach, inspire and make people happy.

The arts are an essential part of someone’s life experience because they teach you to express yourself in a passionate and healthy way. The arts offer a variety of experiences for each unique person. Whether it be theatre, music, dance or song, they open the door for a myriad of talents to be showcased in so many different ways. The arts provide an outlet for expression for people who may not have one otherwise. I believe that the love you pour into the arts, you will receive back tenfold. And even if someone just enjoys the arts, they can experience the passion created when a cast takes the final curtain call or a singer hits their best note. One of the parts I like best about the arts is the raw emotion and the positivity. They showcase the human experience and the many talents each person can possess. They involve heart, mind, body and soul and I believe can only affect someone’s life journey in a positive way.

If we have young people reading, how do you suggest they get started with community work or promoting a cause they believe in?

First, find out what you’re passionate about. And then pursue it. Do you want to help kids in your own community or kids from another part of the world? Do you want to run a food drive or help the elderly or do a fundraiser for a cause that has affected yourself or someone you know? The first step is deciding what will bring you joy while helping others and then wholeheartedly throw your energy into the cause by yourself, or with others that share your passion.
Use the power of social media and the networks of friends or family that you have to share your cause with and help you along the way. The more people to support you and the cause you love the better, so don’t be afraid to shout it from the rooftops. Do your part to change the world, big or small, because every journey for impact makes a difference.

What is something you’d like to share with our readers that I haven’t asked about? Maybe about your work, a cause you believe in, the work being done at the JCI?

One cause I truly believe in is the UN Foundation’s Nothing But Nets campaign combatting malaria in sub-Saharan Africa. Sending an insecticide-treated bed net to save a life for only $10 is such a simple and easy task. These nets protect children and their families every night from malaria-carrying mosquitoes. Since malaria is preventable, sending bed nets along with education, monitoring their use and advocacy, will allow us to beat this deadly disease. I had the opportunity to experience the importance of a bed net in local communities in Madagascar. Seeing the children and their families so grateful for a life-saving bed net was such an amazing experience. Although living in a different country and community, we all share the human experience of life and love. Being able to help a child and their family live a better life all the way from the US to Africa is such a powerful way for someone to create their story of impact and share it with the world. I encourage everyone around me to think about how they want to give back. Sending a net to save a life from malaria is an easy and inspiring way to help others and become one step closer to better world.

“Flops” on Broadway We Love, Seussical and More!

Just because a show goes to Broadway, doesn’t mean it’s going to be a success. And just because a show is on Broadway in previews, doesn’t mean it’ll ever actually see opening night. Whenever a Broadway show succeeds, chances are three more have closed. A few though really stand out in my mind.

My favorite flop of all time has to be Seussical. While it’s done in a lot of high schools, community theatres, and even elementary schools, it didn’t do well on Broadway. It played a total of 198 performances, and to try to help it out brought in once pop icon, Aaron Carter to try to sell seats. It basically took Horton Hears a Who and The Cat in the Hat and married the two stories, throwing in other Dr. Seuss characters as well. Honestly, I think it became too much after a little while and people either loved it and followed it through to the end, or they just became bored and couldn’t wait for it to end. Today it’s done in schools across the country due to the fact that it can have a large cast. Seussical was on Broadway for a year before it took its final bow.

Bombay Dreams is another flop of Broadway. This one though played 284 performances before it closed its doors in 2005 after it played for only a year as well. Honestly, this was one of those shows the producers made sure you knew about, but didn’t do a great job marketing it, or telling the general public exactly what it was about. It also didn’t help that the cast was relatively unknown actors.

Not all flops are musicals, however. Over the past week, I went to a local staged reading of an Arthur Miller show, The American Clock. The director had mentioned that they tried to open it on Broadway in the 80s after Miller had written it, but that it didn’t do well. After looking it up, I found that it only played on Broadway for about three weeks. The show is not typical Arthur Miller where you will have a gasp-worthy moment (as in the loud gunshot when Willie Loman kills himself at the end of Death of a Salesman), rather this show followed a family’s financial ruin during the Great Depression. All of the actors are onstage during the entire run of the show, and while actors are conversing with each other, a background actor is speaking as one of the character’s thoughts. It was very stop and go, and Miller kind of got lazy at the end, by having two characters summarize their lives after growing up, and coming home after the Vietnam War.

If you’re curious to pick up any of the cast recordings I’ve mentioned, they are on sale on iTunes and Amazon, and you can get a copy of The American Clock from the Drama Book Shop, or even Amazon.