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Broadway Gives Back With BC/EFA

Broadway gives so many young artists the opportunity to continue their craft and make a name for themselves in the theater capital of the world. Broadway also provides a wide variety of fantastic entertainment that attracts tourists from all over to visit New York City. On top of all of that, the Broadway community finds time to give back to the community and support charities across the country. Today I thought I would share the amazing work the theater community does through Broadway-based organizations.

In 1993, Broadway Cares and Equity Fights Aids joined together to form Broadway Cares Equity Fights Aids (BC/EFA) supporting the Actor’s Fund of America and the National Grants Program. This fundraising effort started in the ’80s during the AIDS Crisis, which affected a large majority of the Broadway community. La Cage Aux Folles and many other shows banded together to raise money for research to fight AIDS and HIV-related illnesses.

Two major fundraisers each year are the Gypsy of the Year competition in the Fall and the Easter Bonnet competition in the Spring. Broadway shows spend six week prior to these competitions raising money by auctioning off onstage roles, backstage tours and other props from the show for numerous nights. They also have actors with buckets in the lobby after the show to collect money from patrons. If you ever hear about this going on from the cast at curtain call, definitely dig up a few dollars before you get to the door. Sometimes the cast will even let you take pictures with them in costume!

Other fundraisers include the Broadway Bares burlesque-style show, involving many ensemble and chorus members from numerous Broadway shows. Also, the Broadway Bears auction, where each participating Broadway show or Off-Broadway show dresses a teddy bear in the style of their show. Of course, everyone also knows about the Shubert Alley Broadway Cares Annual Flea Market each Fall.

So whether you attend these fundraising events and shows, or shell out some spare change in the red buckets at a touring show, every little bit helps! Giving back not only makes you feel good about yourself, but also gives you a better sense of comaradery within the theater community. I hope this article gives you something to think about in the upcoming season of giving.

NBC Is Alive with The Sound of Music Live!

Sound of Music Blog ImageThis December, the family-friendly classic musical (and Hillary’s all-time favorite) The Sound of Music will be broadcast live on NBC. Our Camp Broadway staff members and blog writers are extremely excited, so here are 5 reasons why you should watch The Sound of Music this holiday season!

1. It’s LIVE!

No pre-recording, this show will be happening live for one night only, as you would experience on the Broadway stage. The last time musicals were broadcasted live on television was in the 1950s, so it’s great that NBC is bringing back musicals on such a major network after five decades! Let’s hope The Sound of Music leads to more live broadcasts in the future to bring this entertainment back to the small screen!

2. Carrie Underwood

Carrie Underwood is staring as Maria von Trapp in her first musical! This country music superstar has grown over the years from American Idol and is now taking on Broadway. With a powerful voice and natural charm, she is perfect for the role; hopefully Carrie will be in NYC on stage some day?

3. Something for True Blood fans

Fans of the HBO vampire series True Blood will be excited to see Stephen Moyer as Captain von Trapp. No matter if they double as musical theater fans or not, his acting talent will sure translate to Sound of Music. He was recently in the Hollywood Bowl production of Chicago over the summer as Billy Finn, so he is no stranger to the stage. Now it’s time for Stephen to take a bite out of this Rodgers and Hammerstein classic.

4. Broadway Superstars

If you are a Broadway fanatic like myself, this cast will make you sing from the mountain tops! Five time Tony winner Audra McDonald will dub the nun garb as Mother Abbess. Plus NBC and Broadway alums Laura Benanti (Playboy Club, Go On) and Christian Borle (Smash) will star as Elsa Schrader and Max Detweiler, respectively. With Tony’s galore and plenty of television experience, they round out an already all-star cast. The Sound of Music will definitely relieve any Smash withdrawals.

5. The Sound of Music is a classic

Written in the Golden Age of Musicals, legendary composers Richard Rodgers and Oscar Hammerstein spun gold with this musical. The original 1959 production with Mary Martin had a hit cast album that was number one on the charts for 16 weeks straight. The film starring Julie Andrews won five Oscars including Best Picture. Plus you’ll recognize many unforgettable songs like “Do-Re-Mi” and “My Favorite Things.”

The Sound of Music is live on Thursday, December 5th at 8/7c on NBC. Don’t miss this spectacular event and one of Camp Broadway’s favorite things!

A Gentleman’s Guide to Love and Murder Review

 

For as long as we can remember, Broadway has been dominated by movie adaptations, jukebox musicals, and movie stars in lead roles. But this season, we’re refreshed by the return of the Great White Way to the type of Broadway musical our grandparents have told us so much about–original content that stands on its own without relying on an already familiar audience. Full orchestras, showstopping dance numbers, intricate and interesting scenic design (as opposed to bare-bones ideas like with Next to Normal), and non-Rock-and-Roll melodies sung by talented singers are popping up more and more. With shows like After Midnight, Shakespeare in rep with Twelfth Night and Richard III, and now A Gentleman’s Guide to Love and Murder, Broadway seems to be embracing the return of yesteryear.

Gentleman’s Guide, which opened Sunday night, is a delightful, wickedly silly and seriously clever musical which, despite its subject matter– adultery, murder, greed– resulted out my favorite theater-going experience this season. Not since One Man, Two Guvnors have I laughed so hard and not since Peter and the Starcatcher have I been so impressed by the use of costume, props and scenery in telling a story.

I was immediately transported by the total Downton Abbey-ness of it all. A chorus in Victorian garb begins the show, warning the audience that they might want to leave right away if killing makes them squeamish. Bustels, parasols and three-piece suits are just the start of a night of staunch British hierarchy juxtaposed with Mr. Bean-esque humor– what could be better?

We’re then introduced to Monty Navarro, who upon his mother’s death, realizes that he is the son of a daughter of a nephew of the Earl of Highhurst, Lord Adalbert D’Ysquith (or something like that). He then begins weaseling his way into nobility through a serial-killer’s quest to knock off all of the heirs who proceed him. He swiftly goes from eighth in line to a real contender for aristocratic wealth and honor and subsequently wins the heart of two women; Sibella, his lifelong love, and Phoebe, the poised and kind challenger.

A stage-within-the-stage serves as the storytelling vehicle for Monty as he writes his memoir, a voiceover, from his jail cell. Impressive use of projection takes the audience from church, to ski resort, to bed chamber, to garden manor. Monty steps in and out of the scene, as he guides us through the story– a helpful device in getting us all to side with a serial killer.

The score was the most memorable I’ve heard, aside from the occasional Rodgers and Hammerstein revival, in many years. Plus, the invigorating sound of a real orchestra versus a rock band really gets us going. The lead singers in the show, Bryce Pinkham as Monty Navarro, Lisa O’Hare as Sibella Hallward, and Lauren Worsham as Phoebe D’Ysquith, all had classically stunning voices that effortlessly carried the show. The three perform a farce toward the beginning of Act II that turns into this intricate, hilarious, and beautiful trio I’m still humming.

Lyrically unclicheed, memorable moments often came from headed-straight-for-a-Tony Jefferson Mays. Mays plays each of the D’Ysquith heirs, ranging from a lightfooted bee-keeper to adventurous Lady Hyacinth who we last see heading to visit a tribe of cannibals in Africa. His incredible performance, rich with comedy and rather satirical of the upper-class, had the audience applauding deaths as we were both impressed by his acting and eager to see what character he’d pull out next.

Despite being occasionally, but tastefully crude, we think that this show is perfect for families. For an uproarious night at the theater, we recommend A Gentleman’s Guide to Love and Murder to genuine theater-lovers itching for a great score and lots of laughs, ages 10+.

The Broadway Attendance Dilemma…Ticket Prices.

Houston, we have a problem.

For the second year in a row, the attendance on Broadway- meaning the total number of patrons that purchased tickets in any given season- has fallen. Badly. First, the 2011-2012 Season fell a, mind you, minimal 2% from the previous year. However, when the Broadway League posted the data from the 2012-2013 Season, I believe there was a universal gasp on Manhattan that could be heard all the way in Staten Island.

Attendance had fallen another 6%.

Uh oh.

So, what’s wrong? Well, there was Hurricane Sandy… And all of the hits didn’t open until the spring… And the fall season was weak overall… And I could go on like this all day, but I think there’s one major problem at play: TICKET PRICES.

The irony of this statistic is found when you place it next to its sibling- Broadway’s total revenue for the season- and you see that while attendance has fallen, revenue has stayed in the same healthy range. Or perhaps not so healthy… This simply means that we’re paying more for tickets, and it’s not surprising. When you’re forced to take out a second mortgage on your home to see The Book of Mormon, drop your insurance to cover tickets for Betrayal with Daniel Craig, or sell a kidney to see Motown, you know we have a problem.

Of course, this is nothing new. Dynamic pricing has been common ever since scalpers were getting $700 for a ticket to The Producers, and the producers of, umm, The Producers realized that they could capitalize on it. If people would spend the money- it might as well go back to the investors.

Fair enough.

But now, in my practically irrelevant opinion, it’s all too common. Every show has premium pricing, whether it’s a small play or a big musical, and if you want to see the show in “good” seats, you better be setting up that nephrectomy soon.

So, Broadway is slowly marginalizing its audience. Before long, Broadway really will only be for the “elite.” Yuck.

Will Broadway die? Probably not. In fact, this decrease is attendance versus increase in revenue could probably go on for quite a few years without hurting the industry. But, what would start to die? The room for art on Broadway. Shows will continue to be produced, but it won’t take long for the New York rich-types and gray-haired ladies from Connecticut and Long Island to slow in their ability to see numerous shows a year. Before long, we’ll all be seeing a Broadway show just once a year, if that. There won’t be room for the groundbreaking new musical like Next to Normal, or hoards of Shakespeare plays (like we have this fall). Instead, everything will be reduced to that one day in a blue moon when the family splurges and buys nice seats to Wicked. And hey, I love Wicked as much as the next person, but a high-priced, blockbuster Broadway is not the type of Broadway I want to see all the time. The beauty in our industry is the range you can see from Spider-Man to The Glass Menagerie, and when economics takes that away from us, I won’t be a happy camper.

So, what can you do? In terms of ticket prices, probably not much, unless you’re a brilliant negotiator able to convince the unions to get over themselves and the producers to get an ego check. But, you can still do a lot. First of all, you can do what you’re doing right now; stay interested in Broadway. Reading about it, talking about, putting it out there in social media. Be a beacon for Broadway, because we need all the publicity we can get. Also, find ways to see shows cheaply and share those ways with others. Whether you can organize a group to get a discount, wake up at the crack of dawn for rush seats, or help direct people to websites like broadwaybox.com, you can get the news out there that there are ways for everyone to see a show. And most of all, support the small shows. Support the quirky shows. Trust me, The Lion King doesn’t need your money, and it’s going to be around for a long while. Pick something different, and you’ll probably find it’s significantly more affordable as well!

The statistics may be telling us that Broadway is turning towards the elite, but we have to say no. It’s up to us not to let it happen. Let’s keep the Broadway we love, and hopefully keep our kidneys in the process.

Now, go see a show!

The Voices Behind Frozen

One of the most anticipated films of this month is Disney’s Frozen. This animated feature follows fearless optimist Anna who sets off on an epic journey to find her sister Elsa, whose icy powers have trapped the kingdom of Arendelle in eternal winter. Along the way, Anna teams up with mountain man Kristoff, his loyal reindeer Sven, and a hilarious snowman, Olaf, in a race to save the kingdom. Why is this being featured on a theatre-centric blog? Well, many of the voices behind these characters, as well as the film’s original songs, are among Broadway’s favorites.

The film’s sisterly pair is voiced by Kristen Bell (Anna) and Idina Menzel (Elsa). Though Menzel is the name we’d most identify with Broadway, Ms. Bell has a few credits to her name. She made her Broadway debut in 2001 in The Adventures of Tom Sawyer and appeared in the following season’s production of The Crucible. Menzel won a Tony Award for her portrayal of the misunderstood Elphaba in Wicked and had previously appeared in Rent and Aida; she will return to Broadway in the spring with If/Then. This isn’t her first venture with a Disney film – she appeared in both live-action and animation in Enchanted.

The men of Frozen include Jonathan Groff, Josh Gad, Santino Fontana, and Alan Tudyk. Groff (Kristoff) is known to Broadway audiences for originating the role of Melchior in Spring Awakening, after making his Broadway debut in the short-lived In My Life. He’s been making the transition to screen work, including appearing on Glee and starring in the upcoming adaptation of The Normal Heart. This is his first appearance in the animated world. Gad (Olaf) first appeared on Broadway in The 25th Annual Putnam County Spelling Bee and went on to earn a Tony Award nomination for originating the role of Elder Cunningham in The Book of Mormon. He’s been working on-screen in both film and television, and this isn’t his first icy animated feature – he voiced Louis in Ice Age: Continental Drift. Fontana (Hans) is now on double prince duties, playing one in the film and playing one on-stage in Cinderella. He has a handful of strong stage performances to his resume, including Billy Elliot: The Musical, Brighton Beach Memoirs, The Importance of Being Earnest, and Sons of the Prophet. Frozen marks both his first Disney venture and his first animated feature. Tudyk (Duke of Weselton, the film’s main antagonist) has screen credits galore in film, television, and video games. This well-rounded actor, unsurprisingly, has a few Broadway credits to his name: Epic Proportions, Spamalot, and Prelude to a Kiss. Though he has experience being an animated Disney villain (he voiced King Candy in Wreck-It Ralph, I’m looking forward to this new character.

You can watch all of these actors recording for the film by clicking here.

The songs of Frozen also have Broadway connections: husband-and-wife team Kristen Anderson-Lopez (Finding Nemo: The Musical) and Tony Award winner Robert Lopez (Avenue Q, The Book of Mormon) provide the music and lyrics. The team previously worked together providing the music for 2011’s Winnie the Pooh, which was nominated for an Annie Award. Frozen’s soundtrack features Bell, Menzel, Fontana, Groff, Gad, with other Broadway talents (seen in the beginning of this video). The music video for the song “Let It Go” has been release here, featuring singer/songwriter Demi Lovato; in the film, Menzel sings the song as well.

The reason why this film caught my attention was its featuring of some of my favorite Broadway stars. The Disney name and its history of fantastic animated features have given me a high expectation for Frozen; if the talent behind the film is any indication, I know I will love it. The soundtrack will be released on November 25th, two days prior to the film’s theatrical release on November 27th. This looks like an excellent film to enjoy after your Thanksgiving feast coma (not the mention the long, holiday weekend).

Graphic credit: petitetiaras.tumblr.com

Interview with Wallace Smith of Choir Boy, Godspell and ROCKY!

From Broadway, Off-Broadway, and Regional theater in a variety of roles, Wallace Smith has done it all. Joining the cast of The Lion King and shortly working up to the lead role to the recent Off-Broadway summer hit Choir Boy, he continues to impress audiences with his amazing flexibility and acting talent. I got the chance to catch Wallace in his busy schedule and ask him some questions about the shows in his career, the ideas and themes behind these productions, and what lies in his future on stage.

When you were in The Lion King, you eventually became the replacement for Simba. What was that like stepping into the lead role in such a prominent show?

Stepping into the role of Simba was a bit intimidating at the time that I stepped into the role. It was 2004 when I joined the show and I started in the ensemble. Then after about three months into my contract, the role became available and I auditioned. It was a very, very hard audition process, filled with uncertainties but in the end the role was given to me. I was so grateful and so thrilled because it was a dream that was finally fulfilled. I initially saw the show when I was 20 years old and wanted to be Simba from that day forth. It was a wonderful experience and it helped me to grow in ways I never thought I could.

Shows like Hair and American Idiot have many cutting edge ideas and themes for a modern audience. Why do you think contemporary shows like these are necessary on Broadway? 

I think that the contemporary shows that we are seeing like American Idiot are necessary because our world has become so vast and diverse, especially with the evolution of social media. Social media and media take what we say and do to heights that we never thought would be possible. American Idiot was about the youth of America truly searching for identity. We have to have shows that are more contemporary for the sake of our youth and an evolving media savvy society. There will always be good ole American musical theater but our world is changing. Broadway has to stay in touch with the time.

In Godspell you played the role of Judas. How was your experience in Godspell different from other shows you have done? What was it like working with such a tightly knit cast? 

Godspell was one of the most creative shows I have done because it all depended upon the performers. We had to be a tight-knit group who trusted one another. We built that trust through trial and error and learning one another’s strengths and weaknesses. I don’t consider myself to be a great comedic actor but I learned how to put on the funny by learning from the other actors. It was daring, you had to be very courageous, we were very bare and naked in front of the audiences that came to see us because we were the show. So that was a brand new experience for all of us.

With Godspell being in the Circle in the Square Theater, how does performing in a show in the round different from a proscenium stage? 

Performing in the square at Circle in the Square had it’s advantages and disadvantages but we overcame a lot of the latter. Our voices had to adjust to having to project in such an open space and you had to be so mindful of sight lines and angles. It was very very very tricky at first becoming comfortable but I miss it so much and truly loved that space. It’s a special place.

What was it like premiering Bare: A Pop Opera, in Los Angeles? Why do you think Bare should continue to be brought back to the stage? 

I was 19 years old when I was cast in Bare in Los Angeles. The show was very much before it’s time in a lot of ways. So premiering it was amazing because it became so beloved so fast and word of mouth spread like wild fire in a very short amount of time. We were at a small 99 seat space called the Hudson Mainstage on Santa Monica Blvd. and it was all new for me. I was only a year out of high school and I had never heard nor experienced a show like Bare. Such a heartfelt story of love, loss, fear, questioning oneself, sexuality, it truly was groundbreaking.

I think people continue to revisit Bare and produce the show even now is because it is a perfect story. The issues are very relevant now than ever before but when we did it in ’99 those things weren’t as relevant because we weren’t hearing a lot about same sex marriage and relationships being a norm, like we are now. Bare was also called a pop opera rather than a show like Rent which was called a rock opera. But it was life changing for a lot of reasons. I just attended the memorial of Damon Intrabartolo who wrote the music for Bare. It was truly special and the show will live on.

This summer, you were in Manhattan Theater Club’s production of Choir Boy. How did you get involved with this show? Tell us about your character Bobby Marrow. 

Choir Boy. What a wonderful piece. I was initially introduced about a year before I was cast. I met with the writer Tarrell Mccraney whose writing is just amazing. But I was reading for the lead role, Pharus, who I don’t think was the right part for me. So when the character of Bobby Marrow came along, Pharus’ nemesis, I felt that was a much better fit. Bobby is a troubled kid who just lost his mom and is the nephew of the Headmaster of Drew Boys Prep School. He’s a well put together kid but he can’t seem to get any breaks like he wants and of course is dealing with the loss of his mom. So he takes it out on this kid Pharus, who is struggling with his sexuality. Bobby says a lot of mean things but hurting people often say things they don’t mean. Choir Boy in my opinion should be seen by the masses and hopefully will be given a shot on Broadway.

The show had three extensions before it closed in August, why do you think this show was so popular among audiences? 

Choir Boy was popular for many reasons. I don’t think we had ever seen a show that dealt with African American teens dealing with issues as it pertains to sex, class, etc. on the stage in the way that it was portrayed. I think a lot of people also felt the heart of the show is where a lot of our youth are right now. We were performing during the Trayvon Martin verdict and trial and it was amazing to see people come to the show just to hear our voices and the perspective of this piece. It’s very relevant and it is for all races because we all deal with these issues.

From all of your experiences on Broadway and Off-Broadway, what would you have changed about your career and what are you planning on doing in the future? 

Honestly I wouldn’t change one thing. Everything that I have done has been a gift given to me from Heaven above. Things have not and are not always easy and they shouldn’t be, but one thing that has gotten me to see my life through the right lens is being thankful to God for what I have been given. So I wouldn’t change one thing. I can’t say just yet what project I will be working on next but I can say that I will definitely be back on Broadway for the 2014 season. You should hear a press release about the new musical really soon. It’s going to be an amazing show. I’ll give you a hint: it involves Boxing gloves. 😉

Finally, do you have any advice for young artists? 

Love the art in yourself more than yourself in the art. Ego can always get in the way but remain true to who you are and if you don’t know who you are, ask yourself what do you think about the most cause that’s probably what you were truly made to do. But most of all…talk to God about it.

GIGI to Play Pre-Broadway Engagement at the JFK Center for the Performing Arts

Alan Jay Lerner and Frederick Loewe’s beloved musical GIGI will play a pre-Broadway engagement in the Eisenhower Theater at The John F. Kennedy Center for the Performing Arts (David M. Rubenstein, chairman, Michael M. Kaiser, president) in Washington, D.C. in January 2015.

Directed by Eric Schaeffer (Follies, Million Dollar Quartet), in a re-envisioned adaptation by acclaimed British playwright and Emmy-nominated screenwriter Heidi Thomas (“Cranford,” “Upstairs Downstairs,” “Call the Midwife”), GIGI is planning to open on Broadway in 2015 following the Washington, D.C. engagement.

Producer Jenna Segal said on the announcement of the Kennedy Center run, “I am delighted that Michael Kaiser has offered us an elegant home for this elegant show. It is only appropriate that we can debut Gigi for D.C. audiences who have experienced Eric Schaeffer’s wonderful productions at Signature Theatre and his recent production of Follies that travelled on to eight Tony nominations on Broadway.”

Director Eric Schaeffer said, “I am of course thrilled to be back at the Kennedy Center. I can’t imagine a better place to premiere this re-imagined production of Gigi than Washington. This city, designed by French-born American architect Pierre Charles L’Enfant, is a perfect match for this wonderful show.”

In an earlier announcement about the production Ms. Segal described GIGI as follows: “GIGI lets us escape to an idyllic place where the girl gets the guy and love does conquer all. Heidi Thomas has restored GIGI to her rightful place at the centre of the story, backed by a funny, warm family of women that show the men in the world around them the finer meaning of life and love.”

Both witty and charming GIGI includes such numbers as “Thank Heaven for Little Girls” and “I Remember it Well”. This year marks the 40th Anniversary of the debut of GIGI on Broadway.  Originated by Colette, GIGIevolved from a Broadway play by Anita Loos starring an unknown Audrey Hepburn into the 9-time Academy Award-winning Best Picture of the same name, by Lerner and Loewe and directed by Vincente Minnelli. The movie, which was the last of the classic MGM musicals, was then made into the Tony Award winning Broadway musical in 1973.

Legendary designer and 91 year-old artist Jeremiah Goodman has crafted a defining image that captures the spirit of this new production.

GIGI is produced by Jenna Segal and Foresight Theatrical serves as General Manager.

A specific schedule, casting and the full creative team will be announced at a later date.

For more information, visit www.GigiOnBroadway.com

Follow GIGI on Twitter: @GigiOnBroadway or on Facebook.

The Absolute Greatest Things About Seeing Broadway Shows

It’s widely agreed upon that seeing a musical on Broadway is a truly magical experience- no other word can describe it. There are so many little moments that I feel make any show so incredible- here are, in my opinion, the greatest things about seeing Broadway theater.

  • Standing in line outside the theater as the evening NYC air is filled with pre-show energy. Inside the theater, the cast is getting ready to deliver an awesome performance. Queuing up to go into the theater really intensifies the excitement as I anticipate seeing a show, and the moment the doors open and people begin to stream inside is undoubtedly the start of something wonderful.
  • The split second the lights begin to dim, before the performance starts. Before the show has even begun, this moment always causes my heart to stop for a second. This, for me, is a huge part of the experience: before the audience even starts to dive into the world of the marvelous show they’re about to experience, the mounting excitement peaks.
  • The first few notes of the opening number. After listening to cast recordings over and over again, finally hearing the opening song performed live is heavenly. Contrary to popular opinion, I actually prefer hearing replacements over the original cast in some cases, since they tend to do each song differently in their own awesome way, and I love hearing the variety. The main problem with this is that when I love hearing a replacement, I can’t go home and replicate the experience by listening to the cast recording.
  • Seeing any cast members I’m already familiar with is so much fun. Knowing actors from other roles but seeing them performing outside of those is really a blast. For example, I recently saw Matt Doyle in The Book of Mormon, and I was so excited when he came onstage since I had loved him so much in Spring Awakening.
  • The act one finale is a blast. These are often some of the most powerful or unique songs in the show. I especially love when the show changes tone a little bit after the first act so I get to experience something completely unique and different after intermission. Act finales with crazy special effects are always a plus.
  • The act two opener: I have waited fifteen long and restless minutes for the show to start again. This act opener is always incredibly rewarding.
  • The grand finale is obviously one of the show’s grandest moments, though generally a little sad, since the musical is over. These finales are generally tons of fun though, so it can be totally worth it.
  • Stagedooring after! There is nothing I love more about seeing a show than meeting the cast at the stage door afterwards and getting autographs.

What are some of your favorite things about seeing Broadway shows? Let us know in the comments!

Photo via BroadwaySeat

Camp Broadway’s Secret Talents

Everyone has a secret talent, some kind of skill or hobby that helps to make us unique. The secret part is that it’s usually something you wouldn’t be able to recognize on the surface. Those at Camp Broadway possess talent in the performing arts and those of us on the blog possess talent through words (at least, we hope so), but what else can we do? I asked both bloggers and staffers of CB and was amazed with the array of secret talents they have.

Many actors list some of their secret talents on the “special skills” part of their resume, which can help them stand out at an audition. Harley has her talent listed: the ability to scream at an incredibly high pitch and volume on demand. She claims that it’s more extreme than a horror scream, so make sure you stand back if you ever want her to demonstrate. Claire is musically inclined with the ukulele. She has covered a few songs, including the Academy Award-winning tune “Falling Slowly” from Once. You can watch her at work here.

Sunny has a talent that allows uneasy parents to feel comfortable leaving their aspiring performer with the CB staff: her never-ending positivity. She can make anyone and everyone smile and is often told that her name reflects her personality. If you ever need some cheering up, she’s your gal!

CB also has some visually-creative minds. Artistic Director Tony Parise has an “interior designer eye” both on-stage and off. He’s been known to do “improvements” wherever he goes, including the JFK suites at Harvard (the rooms that John F. Kennedy occupied when he attended): he wanted to feel comfortable and re-arranged the room to his liking, including taking some framed objects off the wall and storing them away in a closet. The campus police weren’t too thrilled back then, but set designers he works with now are open to his ideas and the pictures his mind sees. Speaking of pictures, Addie is handy when it comes to a camera and enjoys working towards being a photographer. Sami uses her photos to create scrapbooks that she gives as gifts to her friends. She also made one for Anthony Rapp, pictured below.

Social media guru Hillary is not only skilled on the web, but she’s skilled in the kitchen. She even has a blog dedicated for her foodie adventures. Whether it’s eating, cooking, or developing recipes of her own, Hillary loves feeding the people that she loves. As for me, I can make my eyes move away from each other, the opposite of crisscrossed (I will spare you an actual picture, as it grosses many out). I’m also great at solving Sudoku puzzles and answering mathematical operations without a calculator.

Other secret talents we possess include horseback riding, playwriting, dog training, crocheting, gardening, and that’s just the staff and bloggers. I imagine we’d find at least a hundred different secret talents from the long line of campers. So, what are your secret talents, or, “special skills?” Let us know in the comments!