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THE NEW YORK POPS ANNOUNCES GUEST ARTISTS FOR 37TH BIRTHDAY GALA

The Camp Broadway Kids Ensemble can’t wait to head back to Carnegie Hall to perform this April at The New York Pops Annual Birthday Gala!

Want to be a part of The Camp Broadway Kids Ensemble? Head over to the Camp Broadway Kids Ensemble page to learn more information about how to submit your audition and join us in NYC!

Read on for The New York Pops announcement!

THE NEW YORK POPS ANNOUNCES GUEST ARTISTS FOR 37TH BIRTHDAY GALA,

INTO THE UNKNOWN! THE SONGS OF KRISTEN & BOBBY LOPEZ,

ON MONDAY, APRIL 27 AT CARNEGIE HALL

January 15, 2020, New York, NY – The New York Pops, led by Music Director and Conductor Steven Reineke, today announces an initial line-up of guest artists for its 37th Birthday Gala, Into the Unknown! The Songs of Kristen and Bobby Lopez, honoring the Academy and Grammy Award winning songwriting duo, on Monday, April 27, 2020 at 7:00 p.m.  in Stern Auditorium/Perelman Stage at Carnegie Hall, presented by The New York Pops.

Guest artists from across the Broadway, film and television community will pay tribute to the Lopezes, including Jennifer Barnhart (original Mrs. T and Bad Idea Bar in Avenue Q), Jaime Camil (Broadway star; the voice of Pap á Rivera in Pixar’s Coco), Stephanie D’Abruzzo (Tony Award nominee for originating the roles of Kate Monster and Lucy the Slut in Avenue Q), Santino Fontana (Tony winner for Best Actor in Tootsie; Disney’s Frozen; Crazy Ex-Girlfriend), Nikki M. James (Tony Award winner for the role of Nabulungi in The Book of Mormon), Mykal Kilgor (first national tour of The Book of Mormon), Caissie Levy (originated the role of Elsa in Disney’s Frozen on Broadway), Rick Lyon (original Nicky and Trekkie Monster in Avenue Q), Patti Murin (original Anna in Disney’s Frozen on Broadway), Andrew Rannells (Tony Award nominee for originating the role of Elder Price in The Book of Mormon), and John Tartaglia (Tony Award nominee for originating the roles of Princeton and Rod in Avenue Q). Additional guest artists to be announced.

Proceeds from the Gala support the orchestra and the organization’s PopsEd music education programs. The concert is followed by a black tie dinner and dance at the Mandarin Oriental New York.

The New York Pops 2019-20 season additionally includes: Find Your Dream: The Songs of Rodgers and Hammerstein on January 24 with Laura Michelle Kelly and Max von Essen, and Judith Clurman’s Essential Voices USA; I’m Every Woman: Divas on Stage on February 14 with Mandy Gonzalez, Carrie Manolakos, and Alex Newell; and Movie Night: The Scores of John Williams on March 27.

Concert Information
THE NEW YORK POPS 37TH BIRTHDAY GALA
Into the Unknown! The Songs of Kristen & Bobby Lopez
Monday, April 27, 2020 at 7:00 p.m.
Stern Auditorium / Perelman Stage at Carnegie Hall
Steven Reineke, Music Director and Conductor
Kristen and Bobby Lopez, Music Honorees
Jennifer Barnhart, Jaime Camil, Stephanie D’Abruzzo, Santino Fontana, Nikki M. James, Mykal Kilgore, Caissie Levy, Rick Lyon, Patti Murin, Andrew Rannells, and John Tartaglia, Guest Artists

Kids on Stage Students
Children of Ronald McDonald House New York
The Camp Broadway Kids Ensemble, Cindy Thole, Director/Choreographer, Christine Riley, Music Director

American Airlines is the Official Airline of The New York Pops.

Ticket Information
Concert-only tickets, priced from $75, are available at newyorkpops.org or by calling 212-765-7677.
Tickets are also available at the Carnegie Hall Box Office, at 57th and Seventh, or by phone at CarnegieCharge 212-247-7800, or at carnegiehall.org.

Tickets to the full gala evening range from $1,500 (concert and dinner seating for one) to $50,000 (premier concert seating and VIP dinner table for eight). For more information about the black-tie dinner and dance at the Mandarin Oriental New York, call 212-765-7677 or visit www.newyorkpops.org.

About the Artists

The New York Pops is the largest independent pops orchestra in the United States and the only professional symphonic orchestra in New York City specializing in popular music. Led by Music Director and Conductor Steven Reineke, the orchestra performs an annual subscription series at Carnegie Hall, and is among the venue’s most presented ensembles. The New York Pops’ annual birthday gala is celebrated each spring, raising funds for the orchestra and its education programs. The New York Pops performs annually in Queens, NY at Forest Hills Stadium, a 14,000-seat historic concert venue. Now in its 37th season, The New York Pops celebrates the diversity of popular music’s evolving songbook. Every concert is a once-in-a-lifetime experience with influences ranging from Broadway melodies to film scores, jazz, rock, pop, and everything in between.

Through its PopsEd music education programs, The New York Pops fulfills its dedication to lifelong learning by collaborating with public schools, community organizations, and senior centers throughout the five boroughs of New York City. PopsEd allows thousands of New Yorkers of all ages and backgrounds to participate in fully customizable music programs that blend traditional education with pure fun.

The New York Pops is committed to serving all members of the community. Through its Kids in the Balcony and Kids in the Stadium programs, thousands of children and their parents have had an opportunity to see The New York Pops at Carnegie Hall and Forest Hills Stadium free of charge. The New York Pops is a non-profit organization supported solely through the generosity of individual donations, institutional grants, corporate sponsorships, and concert income.

Follow The New York Pops on Facebook (facebook.com/thenewyorkpops), Instagram (@thenewyorkpops), and Twitter (@thenewyorkpops).

Steven Reineke has established himself as on of North America’s leading conductors of popular music. Mr. Reineke is the Music Director/Conductor of The New York Pops at Carnegie Hall. Additionally, he is Principal Pops Conductor of the National Symphony Orchestra at the John F. Kennedy Center for the Performing Arts and Principal Pops Conductor of the Houston and Toronto Symphony Orchestras.

Reineke is a frequent guest conductor with The Philadelphia Orchestra and his extensive North American conducting appearances include Atlanta, Cincinnati, Edmonton, San Francisco, and Sarasota.

On stage, Reineke has created programs and collaborated with a range of leading artists from the worlds of hip hop, R&B, Broadway, television, and rock including Maxwell, Common, Kendrick Lamar, Nas, Cynthia Erivo, Sutton Foster, Megan Hilty, Cheyenne Jackson, Wayne Brady, Peter Frampton, and Ben Folds, among others. IN 2017, National Public Radio’s “All This Considered” featured Reineke leading the National Symphony Orchestra performing live music excerpts between news segments – a first in the show’s 45-year history. In 2018, Reineke led the National Symphony Orchestra with hip hop legend, Nas, performing his seminal album “Illmatic” on PBS’s Great Performances.

As the creator of more than 100 orchestral arrangements for the Cincinnati Pops Orchestra, Reineke’s work has been performed worldwide and can be heard on numerous Cincinnati Pops Orchestra recordings on the Telarc label. His symphonic works Celebration Fanfare, Lengend of Sleepy Hollow, and Casey at the Bat are performed frequently. His Sun Valley Festival Fanfare was used to commemorate the Sun Valley Summer Syphony’s pavilion, and his Festival Te Deum and Swan’s Island Sojourn were debuted by the Cincinnati Symphony and Cincinnati Pops. His numerous wind ensemble compositions are published by the C.L. Barnhouse Company and are performed by concert bands worldwide.

About the Honorees
Kristen Anderson-Lopez and Robert Lopez are the Oscar- and Grammy-Award winning, married songwriting team behind the Disney and animated films Frozen and Frozen 2. Together they also wrote the Oscar winning song “Remember Me” from Pixar’s Coco and adapted Frozen for the Broadway stage. Robert co-conceived and co-wrote the hit musicals Avenue Q and The Book of Mormon, both earning him Tony Awards. Kristen’s show In Transit made history as the first all a cappella musical to run on Broadway, after earning recognition at the Drama Desk, Drama League, and Lucille Lortel Awards for its Off-Broadway run. Lopez and Anderson-Lopez have written for television, film, and stage, including Finding Nemo: The Musical, songs for “The Wonder Pets” (two Emmy Award wins), and the Winnie the Pooh animated film. Their original musical Up Here premiered at the La Jolla Playhouse. Lopez and Anderson-Lopez both serve on the Dramatist Guild Council. Graduates of Yale University and Williams College, respectively, they now reside in Brooklyn with their two daughters.

About PopsEd
The New York Pops is dedicated to lifelong learning and collaborates with public schools, community organizations, children’s hospitals, and senior centers throughout the five boroughs of New York City. PopsEd allows thousands of New Yorkers of all ages and background to participate in fully customizable music programs that blend traditional education with pure fun. PopsEd makes music open to all and uses tools like composition, lyric writing, performance, and mentorship to foster learning and unbridled creativity. In doing so, PopsEd excites students and gives them skills that they can apply to all areas of their lives.

Photo of Jennifer Barnhart by Stephen Poff; Jaime Camil by Fer Piña; photo of Stephanie D’Abruzzo by Dave Cross; photo of Santino Fontana by Warren Elgort; photo of Mykal Kilgore by Ambe J.; photo of Caissie Levy by Justin Patterson; photo of Nikki M. James by Deborah Lopez; photo of Steven Reineke by Michael Tammaro
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New Broadway League Website Spotlights Theatrical Careers

Careers.Broadway 

For Anyone Looking to Build a Career in Theatre

New York, NY – January 7, 2020 – The Broadway League is pleased to announce that Careers.Broadway is now live. This new website is a one-stop resource for anyone who wants to know what to do, where to look, and how to build a career on Broadway.

Starting a career on Broadway can seem mysterious and daunting. Careers.Broadway was developed as a resource to demystify what goes on in the offices and backstage of theatrical productions. The site also offers strategies, insights and frequently asked questions about the industry. Users will find descriptions and examples of over 80 positions and links to articles and videos plus lists of skill sets and pathways to those careers.

“The Broadway League has long been committed to cultivating the next generation of theatre makers – on and off the stage. Everyone can see actors, musicians, even directors. Beyond these very public-facing roles, a world of opportunities is waiting. But to build a non-performance career in theatre, you need to know what’s out there,” said Charlotte St. Martin, President of the Broadway League.  “Our new Careers.Broadway platform answers every question you have, and some you didn’t know you had, about working in live theatre.”

Visiting www.Careers.Broadway can be especially helpful for those considering career changes or for teachers and mentors to young people around the country. This platform provides access and information for everyone and suggests points of entry no matter where you live.

Broadway supports more than 87,000 jobs in New York City alone, contributing $12.63 billion to the local economy in the 2018-2019 season. Whether it’s on-stage, behind the scenes or in the front offices, Careers.Broadway is designed to be a convenient and easy-to-navigate first step in the journey.

Careers.Broadway is one of the dotBroadway internet Top Level Domains (TLD) operated by the Broadway League in partnership with The John Gore Organization. All dotBroadway domains are featured in the Discover.Broadway website, the official digital home of the Broadway community, representing a broad range of trusted sites that offer information and access to Broadway shows in New York, across North America and beyond. A dotBroadway web address signifies that the operator is a verified member of the Broadway League and the site can be relied upon to avoid ticket scalpers, excessive mark-ups and fraudulent promotions.

Farewell to A BRONX TALE: Parting Advice from the Show’s Original Cast Members

Listen up, Camp Broadway readers! A BRONX TALE is set to conclude its nearly two-year run at Broadway’s Longacre Theatre on Sunday, August 5th.

This powerful musical about growing up in the Bronx, written and inspired by the life of legendary writer, actor, and director Chazz Palminteri, features direction by Robert De Niro and Jerry Zaks, songs by Alan Menken and Glenn Slater, and choreography by Sergio Trujillo.

In honor of this dynamic show’s closing performance, Camp Broadway is excited to present an interview with three of the original Broadway cast members of A BRONX TALE, as well as with a young actor who made his Broadway debut in the show.

So, check out the wisdom of Bobby Conte Thornton (Calogero), Nick Cordero (Sonny), Richard H. Blake (Lorenzo), and Jonah Mussolino (Young Calogero) about Broadway role models, the daily lives of Broadway stars, and doing what you love!

CB: Theater students are told: ‘follow your passion’ and ‘do what you love,’ and yet are also encouraged to make a good living to afford rent and food, etc. What is your advice to teens about how to balance those two realities and those two conflicting messages?

Bobby Conte Thornton (Calogero): Yeah. If you go down this path, that’s what you’re signing up for: those two realities. But I believe everyone’s path can lead to something remarkable. It’s like when you audition: the healthiest mentality to have going into an audition is: you’re not auditioning to get the job. You’re auditioning just to work with amazing people in a room for ten minutes, and engage with the material, and be open to change and notes and spontaneity and inspiration. Then leave and think: ‘my job here is done.’ And if you get that job, that’s the cherry on top! Now, it’s harder to maintain that mentality when a year has gone by and you haven’t gotten an acting job and you need money to pay rent. It’s not solely about artistry then, it’s about a finding a job.

CB: And so, what’s the next step? Is there a trick to finding a job? Is it luck?

Mr. Thornton: If you’re putting out positive energy, and ‘kind energy,’ and ‘non-complacent energy,’ opportunities tend to arise. It’s not a guarantee. It’s not a “do this and you’ll get it” formula. If it were, everyone would be doing it! But sometimes, magic happens. Keep yourself open to it. I was lucky because there was a track on Broadway where they needed someone who looks 17 and could sing doo-wop and was Italian and didn’t have to be famous. That combination certainly doesn’t happen all the time! But I worked hard, kept a positive attitude, things aligned, and I got it. So, show up for auditions, keep improving your craft, and keep your positivity!

CB: What line in the show do you consider a key inspiration for performing arts students?

Mr. Thornton: Something that Chazz talks about, when he says: “the saddest thing in life is wasted talent.” What that means is that you need to think of your talent as a ‘given’…You have to work it and engage it and help it evolve, but you need to have faith that the answers you need to solve any problem are actually within you. So, believe in yourself, try to make the right choices, and surround yourself with people who support and love you and are giving you tools to succeed. Don’t get distracted by easy emotions like envy and anger and frustration. You just have to have faith that the right thing is gonna happen…. It’s the law of attraction: you put out a certain energy, and suddenly opportunities will come about for you. I’m not saying that roles will be handed to you all the time—but opportunities will happen, chances will come up, so position yourself to get your foot in the door!

CB: What is your advice for teens in regional theater productions who feel like they just need that extra boost to achieve their Broadway dreams?

Nick Cordero (Sonny): I’d say do something just to shake it up! Whatever sort of plateau you feel like you’ve hit in your career… take a risk, do something that is out of your comfort zone a little bit. Essentially, just amp it up a little bit, and think outside of the box, and try not to be in a position where you’re waiting for the phone to ring. Fill your time with creating.

CB: Any specific suggestions on how to do this?

Mr. Cordero: Start writing. Like in a journal. That gives you good ideas about what you really want to achieve and insights about where you need to go in your career. Or, if you come up unsatisfied with the amount of work you’re getting or what kind of work you’re getting, try and create your own—it’s the oldest trick in the book! Write a play. Do a performance piece. Start an improv group. You’ve got to try to empower yourself in your career, so just take a risk!

CB: Who is your Broadway mentor, who inspired you to become a performer?

Richard H. Blake (Lorenzo): You know, I’ve been fortunate to be doing this a long time, and have had the privilege of working with so many Broadway legends. But the first one that comes to mind is Len Cariou… My very first Broadway show was a show called TEDDY AND ALICE, and he played Teddy Roosevelt, and I played his son Archie. And he just was so brilliant, such an amazing actor, and then also such a giving performer… He was so courteous to the fellow actors and also he was not a selfish actor onstage, and I always just wanted to grow up and be like that. 

CB: It sounds like Mr. Cariou was not only a mentor, but a role model.

 Mr. Blake: Yes. He is my role model. Absolutely, absolutely!

CB: What’s it like to be a kid balancing family and school and friends—and also being on Broadway?

Jonah Mussolino (Young Calogero): Well it’s very exciting, but also very tiring, because you have to do school, and you have to do Broadway at the same time! So you sometimes have to leave school early, and sometimes you have to get tutors.

CB: What’s your advice for kids your age who want to be on Broadway, too?

Jonah Mussolino: You have to work your hardest, and always practice. And yes, you have to go to lots of auditions. Lots!

And Jonah’s father and agent, Anthony Mussolino, gave this advice for kids wanting to be on Broadway:

Mr. Mussolino: Two things: I’d say surround yourself with the talented people in your field—just be near the most talented people in your chosen field, to learn from them. And never give up! Just keep trying!

Take these tips from the pros, Camp Broadway readers: surround yourself with excellent mentors, work hard, and stay positive.

And above all: remember to “Look to Your Heart!”

Camp Broadway wishes the current cast and crew of A BRONX TALE a wonderful closing performance!

Many thanks to Bobby Conte Thornton, Nick Cordero, Richard H. Blake, and Anthony and Jonah Mussolino, from Anna Allport and Camp Broadway, for this thrilling interview opportunity! Special thank-you to Michael Lederman and Roxane Ashe for arranging everything!

Stitch by Stitch: A Review of the Costumes of the KINKY BOOTS National Tour!

[PHOTO: KINKYBOOTS. CREDIT: Matthew Murphy. HYPERLINK: https://www.broadwayworld.com/national-tours/article/Photo-Flash-Brand-New-Photos-Released-from-the-National-Tour-of-KINKY-BOOTS-20170213]

Hey, Camp Broadway!

Now that summer is officially underway, we’re all packing up our cold weather gear and bringing out our summer clothes. Seasonal clothing is not just a question of temperature, though, it also has to do with personality, style, and communication.

Great costume design is also about communication.

And as far as communicating with the audience, the costume design for KINKY BOOTS is off-the-charts!

I had the delightful opportunity to see KINKY BOOTS on tour at Broadway San Jose in 2017. Directed and choreographed by Jerry Mitchell, with book by Harvey Fierstein and music/lyrics by Cyndi Lauper, this production starred J. Harrison Ghee as Lola, Curt Hansen as Charlie, Rose Hemingway as Lauren, and Katerina Papacostas as Nicola, as well as a diverse, multi-generational cast.

Here’s the stitch-by-stitch analysis of the costumes of the KINKY BOOTS National Tour:

[PHOTO: OVERVIEW. CREDIT: Matthew Murphy. HYPERLINK: https://www.broadwayworld.com/national-tours/article/Photo-Flash-Brand-New-Photos-Released-from-the-National-Tour-of-KINKY-BOOTS-20170213]

The Overview:

The costumes, designed by Gregg Barnes, are perfect snapshots of the personalities of the characters within them. The most successful costumes are those of the two leads, Charlie and Lola. The clothes tell the stories of the two vastly different characters, and illustrate the stark contrast between their attitudes.

[PHOTO: CHARLIE. CREDIT: Matthew Murphy. HYPERLINK: https://www.broadwayworld.com/national-tours/article/Photo-Flash-Brand-New-Photos-Released-from-the-National-Tour-of-KINKY-BOOTS-20170213]

Charlie’s Costume:

Charlie is the son of a shoemaker, who finds himself stuck running his father’s shoe factory. Throughout the show, he wears clothes made out of basic, unassuming fabric and dark earth tones. His attire remains very similar throughout the beginning and middle of the show, without any defining features to differentiate between his outfits. This fits the character’s circumstances perfectly, because Charlie dislikes working in the drab, dull factory: he feels that every day blends into the next, and that he is powerless to change the downward spiral of his company—and his personal life.

[PHOTO: LOLA. CREDIT: Matthew Murphy. HYPERLINK: https://www.broadwayworld.com/national-tours/article/Photo-Flash-Brand-New-Photos-Released-from-the-National-Tour-of-KINKY-BOOTS-20170213]

Lola’s Costume:

Lola, however, rocks outfits with a completely different style. A self-confident and larger-than-life drag queen, Lola changes outfits nearly every scene, sporting everything from fluttering ball gowns to slinky frocks to neatly patterned button-downs. Although her costume pieces are wildly different in appearance, her wardrobe throughout the show has a unifying theme of glittery sequins, brilliant colors, and brightly patterned stiletto shoes. After her experiences of being shunned and heavily ridiculed, Lola’s main outlet of self-expression is the way she dresses. In defiance of the disrespectful treatment she withstood, her celebration of life, love, and fashion is perfectly showcased in the fabulous costumes she wears.

[PHOTO: RELATIONSHIP. CREDIT: Matthew Murphy. HYPERLINK: https://www.broadwayworld.com/national-tours/article/Photo-Flash-Brand-New-Photos-Released-from-the-National-Tour-of-KINKY-BOOTS-20170213]

The Relationship Between the Two:

Lola’s and Charlie’s costumes fit together very well: while Charlie’s overworked and uninspired mood is shown by his dark, somber attire, Lola’s infectious energy radiates from her clothing. Gregg Barnes’ playful and imaginative costume design masterfully blended personality, plotline, and passion to create show-stopping eye candy across the stage.

 

Overall, KINKY BOOTS costumes are an awesome, extravagant storytelling vehicle for the larger-than-life show, making “Everybody Say Yeah” both onstage and in the audience.

 

KINKY BOOTS is currently playing on Broadway and in two international tours. Get your tickets for this wonderful show here!

 

Do you have a favorite piece of clothing or pair of shoes that makes a statement about your personality? Describe your go-to outfit in the comments below!

 

Special thank-you to Sheila Townsend for arranging this KINKY BOOTS opportunity!

Facial Care Between Shows

By Sami DeSocio

Quick! Think of an actor, any actor! What’s the first thing you notice? If you’re anything like me, it’s the fact that their skin is so clear! Even without the make up (and yes, this goes for guys too), actors need to keep their skin clear at all times in order for it to be able to deal with the harsh make up, sponges, and even lights they have to deal with on a daily basis.

Between shows is especially important because it’s your chance to prep your skin for the next show and to care for it after such a rigorous schedule.

But how to care for it? What do you do for it? I’d like to point out that what’s going to follow doesn’t go for every skin type. You know your skin better than I do, so all this can serve as is a guideline. Nothing more, and nothing less. With that being said, here are some great tips.

First off, it’s so important to wash in the morning and at night. The morning routine can be quicker than the night time one, but you need to make sure to wash the night before off your face, just like you’ll be washing the day off of your face later on! Exfoliation is a great way to start! Just a little, light scrub on your face will do wonders for your skin, getting rid of at least a layer of dirt right away.

Washing the face with some sort of cleanser is the next step, now that everything is open and able to accept whatever washing you’re going to do to it.

Moisturizer is critical! You want to make sure your skin is soft and as clean as you can get it. Remember, before anything else, this is what the casting directors will see first in your headshot. You want to make a great first impression and having blotchy, red skin is definitely not going to get you a job.

Now, when you have time at night, you want to get a really great face mask! And no, I’m not talking about the little pouch face masks you get at your local drug store-those destroy the face, believe me, I know. No, you want a good mask that you can use 2-3 times a week. Just follow the directions on the jar, and remember, use it after washing you face and before your moisturizer to get the best effect!

Another thing you can try that I’ve actually just recently started using are pore strips. Again, read the directions on the box, and again these should be used after your face is cleaned, but before moisturizer. Those things will pick up dirt you didn’t know you had on your face!

In an industry where your face is everything, don’t you want to put your best one on?

What are some of your ‘go-to’ face cleansing secrets?

Ballet for Actors

By Shannon

No matter what type of show they’re putting on, actors use movement in it. Blocking can be as simple as crossing from stage left to down center, or it can be as complicated as a Viennese Waltz across the stage. Actors who do not have dance training can be very limited if roles require a dance element. Unfortunately, even if dancing is one’s forte and number one passion, dance classes are expensive. For this reason, actors usually only take ballet, because ballet teaches the basics of everything an actor needs to know about movement. It’s challenging, but worth the money. Even if the role doesn’t include a dance component, ballet training is useful to any role. The following three categories of roles reflect common uses of ballet training by actors.

#1- Playing a Royal

Whether the role is Cleopatra, King Lear, or Cinderella, all of these royals hold a common posture and stride with a confident, graceful gait. While it may seem simple to stand up straight, actors who are not trained in ballet or another kind of dance, will appear far sloppier than those with proper training. Dancing actors will quickly incorporate the regal movements into their blocking. In addition, royals often hold parties where every guest dances ballroom-style. Being trained in ballet would be useful to Cinderella at the ball.

#2- Playing a Spirit/Fairy

Spirits are of another world and dimension, and therefore do not follow the rules of gravity. They are smooth and light as air, and therefore must move without weight. Ballet dancers are taught to make the least amount of sound, and move with absolute grace. An actor playing Ariel in The Tempest may be directed to leap and turn all over the stage, and training in ballet would enhance the weightlessness of the choreography.

#3- Playing an animal

Ballet dancers often portray animals in an abstract form, much like the way actors do. Playing a gorilla in Tarzan requires a good plié, and the leopard in Lion King is smooth as silk with her movements and fools the audience with merely a mask and a tan unitard. Being an animal in a show is a hard task, because it is all done metaphorically and therefore, the performers must take note of which movements truly resemble the animal and imitate them.

 

It is a worthy investment to take ballet as an actor, as it will open up limitless roles for the actor to play. Next investment: tap lessons!

Yearly BC/EFA Flea Market Prep

Yearly BC/EFA Flea Market prep
By Sami DeSocio

Every year, Broadway Cares/Equity Fights AIDS gathers all of the Broadway and Off-Broadway shows together and invites them to clean out their basements, wardrobes and come together for the Broadway Flea Market.

For some, it’s a great day, and then there are people like me who treat it as Broadway Christmas and make the pilgrimage every single year.

For those that have never been to the flea market, and are going this year for the first time. I thought I’d share my prep process that I use every year to ensure I have everything I’m going to need for the day! I suggest becoming very familiar with BC/EFA’s website: www.broadwaycares.org. You will find all of the information you will need to know about the day.

Once you know who’s going to be at the signing tables/photo booth (remember, watch the page!), you can then plan what you’d like to bring. If there’s people at the autograph table you have wanted to meet and have memorabilia or something you’d like them to sign, they are allowed to sign two objects per person. You also have the option of purchasing a poster for everyone to sign as well.

If you don’t feel like waiting on those lines (and believe me, there are lines)!, there’s plenty else to do there with the tables each show puts out. From snacks to autographs to just simple conversation, Broadway celebrities are available to their fans all day long. Watch the website to make sure you know which shows will have a table.

When I know who will be there, and which shows will be there, I plan my day. I figure out what’s most important to me and do that first. Whether that means line hopping to get those autographs and pictures, or walking around to see which deals I can get from the individual shows. Whichever I choose, I make sure I have a plan. As the date of the event gets closer, you can find a map of where each show’s table will be set up in order for you to plan your path for the day.

Just know that whatever you choose to do that day, you need to pace yourself. There’s no real bathroom, and there’s really nowhere to get a drink. Unless you bring one or go to a nearby restaurant. It’s going to be crowded with Broadway lovers just like you as well, so just remember to be patient and enjoy the day. Don’t beat yourself up if you don’t get to everything, just do the things that are most important to you! And finally, bring cash! It’s very hard to get cash from the cash tent, and they do not accept credit/debit cards at the tables.

The flea market this year is set for September 27th, which is a Sunday! Hope to see you all there.

When You’ve Outgrown Your Teacher

When You’ve Outgrown Your Teacher
By Sami DeSocio

The bond between an acting, vocal or dance teacher and their student is a sacred bond. As an artist, you are putting your trust and livelihood in the hands of someone you believe knows more than you do and can show you the way. But, any good teacher can be outgrown when the student has learned all that they need to from that person.

First and foremost, the work should always be challenging. Acting, singing, dancing and creating art is a hard task. As artists, we never fully and completely master the craft and are always seeking to reach the next level. When a teacher is no longer challenging you, then it’s time to say goodbye. There’s no sense in doing the same work over and over again, because then there’s no growth. It simply becomes routine.

When you sense you are no longer getting the attention you need for the money you are paying – let’s be honest here, creating art takes a bit of money, and we want to make sure that if we’re paying good money for classes then we should be getting our money’s worth. Fifty dollars for a one hour class that offers you nothing new is not worth the money. Go elsewhere and find someone else whom you feel you can actually learn from! You’ll be doing yourself and your (former) teacher a favor.

If the teacher is constantly concerned about tuition payment. Now, of course as artists we do not want to work for free (though we will). Teachers of the craft are no different and should absolutely be paid for classes. But if you’re starting to sense that they really just care about the money, then their only motivation for keeping you as a student is to continue their own means – not to further you in any way, there’s no need to return to that type of person for artistic expression or guidance.

And finally, when you are no longer getting any joy out of the assignments that you are given. We all go into a class for anything theatre-related knowing we’re going to work hard. Probably harder at this than at anything else we’ve ever tried to do -that’s part of the craft. But on the other side, you should get joy out of the class. Smile at the thought of going and interacting with your peers and instructor. Look forward to creating characters, moments, and scenes together. The minute you begin to dread going to the studio to work, then you have a problem and it needs to be addressed.

There are a lot of people out there who will take advantage of an artist and offer “help” and instruction. Please be careful, and if something doesn’t feel right – it probably isn’t. There are other teachers out there, keep looking until you find the person who makes you feel right, and challenges you to create the best work your craft has to offer!

The Importance of Being In the Moment

By Sami DeSocio

As actors, we hear time and time again that onstage we need to “be in the moment”. What does that actually mean, and why is it so important?

Your job is to embody your character’s mind, body and soul. You must take on the life and persona of another person, whether they be a historical figure (Carole King in ‘Beautiful’), or just a character the writer imagined (Huey Calhoun ‘Memphis’). In order to accomplish that goal, an actor must believe they are the character and take on the characters mannerisms, physicalities, and all other parts. That way, when an actor steps onstage, they leave themselves in the dressing room and emerge as the person they are portraying.

Being in the moment also means that you are focused solely on what is going on around you onstage. You aren’t focused on what you’re going to eat later, what happened before the show, or even what might be going on at home or in your personal life. Onstage, there is very little of the actor seen, only the character-if it’s done correctly.

But being in the moment also means you are aware of your surroundings. Here’s where it gets tricky. As an example, since I referenced the character before and I know the show I’ll use Huey Calhoun. As an actor, Adam Pascal was aware of everything around him onstage. If something was missed, a prop was dropped, or something happened, he reacted accordingly while still staying in character. That’s being in the moment, when you can walk that fine line of an actor aware they are onstage and needing to pay attention and the character aware of their surroundings because it’s their lives.

Listening is also a big part of being in the moment. Meisner believed this completely. It’s important for actors to listen to each other onstage. If you and a scene partner are doing your scene, and one of you drops a line, a paragraph, or even a page (don’t laugh, I’ve seen it happen), hopefully your scene partner was listening and can react accordingly instead of their next ‘scheduled’ line. That’s a major part of being in the moment! Being aware as the actor well enough to help your fellow actors when they need it, and knowing that they can help you in return is a big part of being in the moment.

And finally, and this is more for the actor than the character being in the moment means appreciating what’s in front of you. Of course, as an actor you want to make sure you have a project after the one you’re currently in is complete-that’s survival. But, being in the moment means that each night when you hear that applause you appreciate it and revel in it and allow yourself to be in the moment and really hear it.

When have you found yourself being ‘in the moment’?