It’s that time again for the Broadway Super Bowl — otherwise know as the Tony Awards! I have friends getting ready all over the country for viewing parties, and I know a few folks involved with the actual show. I’m going a little more low key this year, but will try to do some live tweeting for StageAgent, so maybe I’ll see some of you on the Twitterverse!
I think I can safely predict two names we will hear A LOT tonight (at least in the musicals categories) — Evan and Dolly. We’ll be treated to performances from current and recent nominated musicals including Bandstand, Come From Away, Dear Evan Hansen, Falsettos, Groundhog Day The Musical, Hello, Dolly!, Miss Saigon, Natasha, Pierre & The Great Comet of 1812, andÂ War Paint.Â And who knows what host Kevin Spacey has up his sleeve?
So here’s your official ballot. The live show starts at 8:00PM Eastern on CBS (also streaming, or 7:00 PM Central and tape delay for the West Coast). We’ll check in later in the week for a recap. Who are your favorites?
I hit the Broadway ticket jackpot recently — well, two of my friends did and I was lucky enough to reap the benefits. In one week’s time, I got to see two of the hottest shows on Broadway in 2017: Hamilton, still one of the most in-demand tickets as it approaches two years on Broadway, and the revival of Hello, Dolly! starring Bette Midler, which broke all first-day Broadway ticket sales records last September. Hamilton and Hello, Dolly!–complete opposites of the musical theatre spectrum, one would think. A month or two back, I wouldn’t have thought that I would find correlations in such different shows and relevance in our current political climate, nor would I see how much we need both of them today in the growth and influence of musical theatre itself.
A friend texted me a few weeks back to see if I was busy one evening, telling me he won a ticket lottery for Hamilton. I thought he was kidding. I bailed out on a board meeting that night (though my co-members were all for it — come on, Hamilton!) so I could go. Our seats were in the front row, all the way down to the right. I could hear the actors singing both live and through the monitors; I was almost hit with flying beads of sweat several times, I was that close. Now I am not a Hamilton obsessive. I’ve listened a few times to the Original Cast Recording, watched some YouTube clips, and I have looked through quite a bit of the big HamilTome (look it up). But I haven’t actively memorized any of it. But it didn’t change the fact that that night, I was excited — the spontaneity of getting to go; the proximity to the virtually bare stage; the ground-breaking elements of this musical presenting American history; and finally being in the room, yes, the room where it happened.
And the show didn’t disappoint. Even though there were at least three understudies on for major roles, and I don’t know how many were even left from the original cast, it didn’t matter. The cast was uniformly excellent, powerhouse performers communicating in fast rap, jazz riffs, and hip hop-infused choreography. The audience members were on the edges of their seats, resisting the urge to snap their fingers along with the opening number, but roused to thunderous applause time and time again as the biting lyrics coincidentally hit points reflected in today’s news, delivered with precision by the cast. The clean simple lines of the off-white knickers and corsets/vests that the ensemble members wore, the bare brick walls and wooden staircases and platform, and the way in which the central turntable kept the scenes transitioning seamlessly let the sung-through music and lyrics tell the story with minimal distraction. The show was an ensemble piece for the most part telling the story of Hamilton AND Burr, often with all actors on stage, many in multiple roles, weaving this story of the founders of our nation. It was a period piece in a most modern fashion.
For Hello, Dolly! a week later, the story was a little different. A friend went (at 4:00 AM) to queue up for standing room tickets for the Wednesday matinee. And she managed to get a pair for us. This time we were in the far back left of the orchestra–most theaters actually have numbered tags along the back wall where you can lean–almost the exact opposite of where I had been seated for Hamilton. A grand red drape with the simple show logo hung across the proscenium arch. Now I’ve listened to both the Broadway and film recordings of the show and have seen Dolly several times since childhood. It’s one of my favorites, and I know pretty much every word. As the more than 50-year-old overture started to play, I could see heads swaying in front of me as familiar strains washed over the excited crowd. Finally the grand drape opened on colorful, vaudevillian backdrops with sets dressed in the cheerful clutter of a hay and feed store or the purples and pinks of a ladies hat shop. Singers and dancers whirled across the stage in bright suits and dresses, or literally galloped around a staircase as actors farcically popped in and out from behind curtained restaurant booths. Subtle and modern, it was not. But it was glorious, and in the center of it all was a mega-watt force of Bette Midler, a leading lady of the highest caliber in a show designed for a star. Standing in the back, I was hard-pressed not to sway and dance myself bouncing on my heels during my favorite number, the brightly hued “Put on Your Sunday Clothes,” and regretting a little that I was already standing as the audience leapt to their feet in a mid-show standing ovation after the title number. It was magical.
But here’s what I realized in the audience that day. We need both the Hamiltons and the Dollys in this world. We need the gems like Hello, Dolly! that stand up through the wear and tear of decades and shine that much brighter when brought into the light and are given glittering new productions, and we need the spare and edgy, forward-thinking modern musicals like Hamilton, because without one, the other cannot exist. Listen to Hamilton and you hear allusions not just to rap artists, but to Oscar Hammerstein’s lyrics from South Pacific. And it’s not just a matter of building upon what came before, it’s letting the air come back into the older shows and hearing the script and lyrics in the context of today, while celebrating the traditional structure and staging of a Golden Age show. Besides the title tune and Bette Midler’s initial entrance, the most vocal audience response at Hello, Dolly! was to the line, “Money… pardon the expression… is like manure. It’s not worth a thing unless it’s spread around encouraging young things to grow!” Cheers, applause, and woots! The reaction was as visceral as if it had been one of the pointed cabinet rap battles in Hamilton, with its witty revolutionary barbs that reflect in today’s politics.
Do I have a type of show I prefer? Sure, I’m a classic Broadway girl all the way, but there is a direct line from classics like Hello, Dolly! or Fiddler on the Roof to the mega musicals of the 80s like Miss Saigon or Les Miz to Hamilton or the current Broadway darling, Dear Evan Hansen. I think the big question is where will that line next loop around and where will it lead next? And how will today’s theatre students and future actors, composers/lyricists, and directors look to the past worlds of Jerry Herman, Rodgers & Hammerstein, or Cole Porter to become the next Pasek & Paul or Lin-Manuel Miranda? There’s room, and the need, for all of them. We don’t have to choose–and we shouldn’t.
When we think of the best roles in a musical for a teenager, our thoughts often immediately turn to shows such as High School Musical, Hairspray, Bugsy Malone, Fame, or Grease. These musicals are brilliant for a range of multi-age teenage roles, with large casts and plenty of scope for principal, supporting, and ensemble parts. They are also immensely fun and frequently performed.
However, what about key roles for teenagers in musicals that are not specifically targeted at 11-19 year olds? Here, we have put together a list of just some of the exciting parts for teenagers out there and how they cater to particular strengths, be it ballet dancing, challenging vocals, or comic timing.
Starting off with a modern show that opened on Broadway in 2010, Wednesday Addams is a great character role in this comically dark musical. Wednesday, an 18-year-old girl, is smart, temperamental, and impulsive. It is a great quirky, character role, also requiring strong vocals. Her song “Pulled” is an offbeat, comic solo that is exciting for any young actress to get her teeth in to.
Similarly, Wednesday’s younger brother, Pugsley Addams, is a mischievous adolescent with a dark, macabre sense of humor. He takes delight in being tortured and forms a strong double act with his sister. A real treat for a keen young character actor! This role requires strong, comic timing and his solo “What If” reflects this.
Depending on the playing ages in this show, Chava’s sisters Tzeitel and Hodel are often played by actresses older than teenagers. However, Chava is the youngest daughter, and she must have a sweet innocence about her that is truly captured by a late teenager. Leaving her family and religion to follow her heart, the actress playing Chava must be a strong actress and dancer, as she features heavily in the dream ballet, “Chavaleh (Little Bird)”.
The role of Billy is a dream part for any teenage boy who is an all-rounder, but excelling particularly in dance. Although, at the beginning of the show, Billy cannot dance at all, by the end he must be able to perform complicated ballet and tap routines with assurance and a definite wow-factor. There are several dance solos, as well as singing solos, and the musical is carried by this talented teenager. Natural comic timing is also a must, as is a convincing northeast English accent (check out our YouTube clips of the show, or look up clips of the recent Sting musical, The Last Ship).
If you’re going to look at the role of Billy in this heart-warming, funny musical, you should also think about the role of Michael. Like Billy, Michael must also be a talented dancer, performing dance duets with Billy (check out “Expressing Yourself”, it’s a hoot!). Michael is the supporting, comedy foil and his comic timing and performance must be spot on. Like Billy, a convincing northeast English accent is needed – a good challenge for any strong performer.
Although the age of Tobias (Toby) varies between teenager and young adult in differing productions of this classic Sondheim musical, since the 2007 Tim Burton film, it is more commonly played by a mid-teen in modern productions. Toby is a victim of circumstance and deeply affected by the death and gore he sees around him. He must have a strong tenor singing voice and effective stage presence to wreak his revenge on Sweeney Todd at the end of the show.
Liesl is the eldest daughter of Captain Von Trapp and has a playing age of 16. She encounters the common problem of many teenagers—believing herself to be in madly in love, but is she really? Liesl must show responsibility and authority with her brothers and sisters, yet portray a naivete and innocence in her relationship with Rolf and her understanding of the grown-up world. Liesl is a strong singer and dancer
Fredrika is a great part for a young to mid teen with strong, confident vocals that reflect her innocence and youth. She is inquisitive and intuitive, enjoying touching scenes with her grandmother, Madame Armfeldt. She misses her actress mother, who is touring the country, and her naïve take on the world of an actress is reflected in the song “The Glamorous Life”. This song is often sung as a solo for auditions/performances (great choice for a young female teen), but within the musical it features more characters.
This fabulous musical offer great opportunities for two interlinking teenage lead roles. Jack, reluctantly instructed to sell his beloved cow, Milky White, must deal with the wrath of the giant when he plants the magic beans given to him by the Baker. Meanwhile, Little Red Riding Hood learns about the dangers of her innocent, friendly nature when she meets the cunning wolf. Both roles are incredibly fun and fast-paced. Like most Sondheim musicals, they require strong vocal ability and the two characters have solos, but also complicated multi-vocal arrangements.
If you are slightly younger than the ages required for the roles above, why not look at these parts?
The roles of Baby June and Baby Louise are great, fun roles for two talented youngsters. The playing ages are 8-10 and 10-12 respectively and perfectly suit young, cherubic looking teenagers. The eldest sister Louise loves her sister deeply but is painfully shy as a performer. This needs to come through in her performance and the role requires strong acting skills, as well as confident vocals and (deliberately wooden) dancing.
In contrast, Baby June is a confident, extrovert performer, having been groomed extensively by her mother. She loves her sister but knows that her role is to get out there and perform. Vocally, she needs to have a strident, babyish voice, and the stage presence to lead a staged, dance routine. Baby June also needs to be able to perform gymnastic tricks.
Avast! (Somebody stop me…) We’re back for more Life Upon the Wicked Sea…Stage. In the previous installment, we looked at the kinds of shows and entertainers you would find on a cruise ship; now we’re going to examine what life is like onboard.
This is where you really must decide if you are cut out for this kind of work. My castmates sign contracts that basically say for seven months, they will live on the ocean, on this boat. In a tiny room. And I mean tiny. It may be private, with its own private bath, or you may share a bathroom, or you may even have a roommate in your tiny little space. Frankly even if you have a single cabin, you still live on top of everyone else. And you eat ship food. Some cruise lines allow entertainers to eat (and drink) with the guests, they even encourage it, to provide a more fun guest experience. Others do not allow this, and you are for the most part resigned to eat in what’s known as the Crew Mess (it’s a military term for crew cafeteria). The food you eat may be fine, or it may not, but your biggest complaint may be that it’s THE SAME. Same stuff, different day.
The lifestyle and rules, of course, vary from company to company. Along with dining privileges, you may have what is commonly referred to as “guest status,” meaning that basically you can behave like a guest if you are dressed appropriately, behaving reasonably, and not interfering with a paying guest’s experience. So you can go out and sunbathe, enjoy the pools, hot tubs, buffets, sometimes an adult beverage, if that’s your thing…but if you don’t have guest status, you may find these experiences are few and far between. Something to consider in the contract negotiation phase.
In most theatrical productions, your cast becomes your temporary (sometimes permanent) family. On a ship, it’s not only the cast, but the crew who run the everyday ship operation, who are also part of that family. And they are from other countries, other cultures, in fact the American percentage of crew members is usually small. On my ship we have representatives from 6 of the 7 continents (I don’t think there are any Antarcticans…). And I’m sure all cruise companies are the same.
A quick note on the non-performing crew—these people work very hard, very long hours. The average crew member here works 80 hours a week, without complete days off. Yes, there are laws that protect them from employer abuse, but in general they work…a lot. And the clear majority of them are very, very good at their jobs. They should be applauded, appreciated, and respected for their work ethic, dedication, and attitude.
I mentioned laws. Each company has their own rules of conduct, their own employee guidelines, but that’s not all you have to contend with, you must deal with Maritime Law. Maritime Law is the law that covers the oceans, the rules and codes that are common to almost all sailors of any nationality. These laws are born in the military, and though we as performers did not join any armed service when we agreed to perform in “Those Fabulous 50’s” aboard the “SS PartyAllNight”, most of the ship leadership (called the Steerage Committee) has some military background. And we all will want that, and appreciate that.
There’s a lot of rules: places you can’t go, foods you can’t bring on board, number of people in a particular area…yeah, it can seem extreme. But I always feel the answer to your inevitable question of “Why?” is simply this:
5000 PEOPLE ON A TIN CAN IN THE MIDDLE OF THE OCEAN.
That’s a lot of people (and the approximate total of the ship I work on, including crew). What if something goes wrong? Power failure? Missing person? Terrorist attack? Yeah, we want some people with real skill and real training to take the lead. Incidentally, all crew members have responsibilities when it comes to safety duties. Typically, the performers have jobs like organizing and keeping the guests as calm and comfortable as possible, while people with more expertise man the lifeboats and ready the evacuation, if necessary.
Do you know what the most common and potentially crippling safety event on board a cruise ship is? It’s called gastroenteritis. Which means a really bad stomach bug, which could affect hundreds of people if not managed properly. It’s not the Titanic, but it’s bad news none the less.
So that’s why there are so many rules; it’s just too large a population in too small a space to not have a very solid structure in place. Sometimes the rules may not make sense to you, but trust me, they are in place for a reason.
Earlier I mentioned that I would talk about taking care of yourself on board a ship. First, you need to know your ship’s itinerary, that is, where you’re going. I’m on a Caribbean cruise– Eastern one week and Western the next, and the home port is Florida, so I’m typically in a warm to hot climate. That means when I am in my cabin or other indoor areas, I’m breathing recycled air, and living in air conditioning. Some people are very sensitive to air conditioning and find it may affect their singing voice. To counteract this (and the feeling of cabin fever), try to spend as much time out in the fresh air as you can. You face a similar problem on an Alaskan cruise, but in reverse, you’ll walk into heated rooms that may dry you out. Know where you’re going and prepare as best you can, by bringing all your secret remedies for vocal issues.
Remember when I called the ship a tin can? Well, it’s steel if I’m being fair. It’s steel underneath the carpet, underneath the laminate floor, and underneath most of the stages. For dancers, that means the floors aren’t forgiving (or “sprung” if that means anything to you), so you must take care of your body and allow lots of recovery time for demanding shows. Foam rollers, massage tools, all become necessities.
You should also keep in mind that there is no union jurisdiction on board a ship. It’s not against my union’s rules to be here, but I don’t enjoy any of the benefits of working in a union house, such as accrued health insurance weeks, pension contributions, and representation in my workplace. I’m essentially on my own out here, and though I trust my employer, I joined Actors’ Equity for a reason.
And of course, we should acknowledge the incredible impracticality of the gig. You’re often in the middle of the ocean, so you know, there’s no Taco Bell run at midnight. Out of toothpaste? Good news, there’s a crew store; it doesn’t have your brand, oh well. Really missing your girlfriend at home? Sure, you can call her, but phone calls from the ocean are expensive, if they’re even possible. And there’s no streaming Netflix out here, the internet isn’t very powerful and it costs a lot of money. So your creature comforts are very limited. Hardly the end of the world, but don’t underestimate the value of simply walking through a grocery store, eating at the Olive Garden, or seeing a current movie.
With all that said, there’s a ton of advantages to jobs like these. You might be pushed to your limits as a performer, and as you meet those limits, they expand. You’ll travel to places you might not otherwise. You’ll meet amazing people from different cultures. And yeah, these jobs usually pay quite well, better than most standard theatre jobs at least. Your housing and food is provided, you can save the vast majority of your salary, and you should. It’s a perfect opportunity to build that cushion we all need to pursue less-paying opportunities that may be more artistically satisfying.
If I were pressed, I’d say that the cruise ship is a young person’s game. I’m married with a family, and they’re not here, and that’s tough. Sure, I get great benefits to share with them, but the cost is my absence from their lives for a brief while. My job requires someone of “a certain age,” but in general I think the younger crowd can enjoy this experience the most, as typically there’s not as many attachments to home for them.
The work here is often fun, sometimes a grind, but overall it’s a very well-paid vacation. If you want to save some money for your move to a bigger market, it may be ideal for you. But if you are someone who struggles with too much structure or a perceived lack of freedom, it may not be in your future. In either case, safe travels, and may the wind be always in your sails.
If you have any experience as a singer, actor, or a performer of nearly any type, you know how difficult it can be to get through rehearsals and shows while maintaining your vocal health.
So what do you do when you’re even busier than normal, or balancing multiple performance opportunities? Whether it’s an eight-show-a-week schedule in a Broadway-caliber play, a tour of a major musical, or overlapping short-term gigs, your vocal health needs to be an even-higher priority when you’re using your voice more often.
Here are 10 tips and tricks to ensure you stay in tip-top vocal shape on the go!
1. Your Voice Is a Body Part—Treat It Like One!
Your voice is more than sounds that comes out of you—it’s a product of careful collaboration between a plethora of body parts. So treat your voice like a body part, and treat your body like it is the physical mechanism of your voice (surprise, it is!). Develop and maintain healthy habits that you can take on-the-go: plan ahead for healthy snack and meal choices. Dress in clothes that are conducive to your practice and travel regimen to avoid overheating/chills (layers and a scarf are a safe bet). Don’t shout! And avoid loud environments that will instinctually make you talk louder.
2. Learn Proper Technique (for everything).
Ever hear the phrase “fall back on your training?” When you’re tired or sick (which will inevitably happen at some point in your career), a solid foundation of training will prove invaluable for both your vocal quality and confidence. By training healthfully in a variety of styles, you can confidently navigate any type of sound needed in any show without worrying about how being tired or under the weather might impact your sound.
3. Don’t stress!
Some stress can be good for us–but when stress starts to impact your body, mind, and voice, it can be a real problem. Stress on the vocal mechanisms themselves can lead to injury. Listen to your body, and rest or “mark” if you need to (a great skill worth working on). The stress of our minds (“I’ve never hit this note perfectly” or “How am I going to integrate all the director’s notes?”) can manifest in physical tension, including vocal tension. Even in a hectic schedule, make time to acknowledge these worries and allot time for practice and positive thinking.
4. Don’t Sing Sick!
No one expects an athlete to perform while sick or injured! If you are very sick or have a vocal injury (or an injury that impacts your singing, particularly anything in the chest or abdomen), don’t push to “sing through it.” If you can’t avoid it, work with a doctor or otolaryngologist (ear-nose-throat doctor) to make sure you can do so while maintaining vocal and physical health. Remember–your voice will last you your entire career if you take care of it. Don’t risk a lifetime of singing (and speaking healthfully!) for one opportunity.
5. Avoid Making Long-Term -Bad-Habits Out of Short-Term Bad Circumstances.
As singers, we often work with teachers or directors who will make strong-handed or impossible demands of us and our voices. Recognize the difference between opportunities to grow and learn (which can make us uncomfortable, but can still be healthy) and being asked to create sound or perform in an unhealthy manner. As singers, we will often bend to produce what is asked of us; don’t make a habit of pushing too hard or straining beyond what is healthy just because someone applauded you for it.
6. Find Warm-Ups in Your Projects.
When facing a hectic schedule, you may not have time for your full warm-up or vocal exercise regimen. Look through the music you’re working on at any given time and find parts of the work that might make good warm-ups. Start with something comfortable, in your range, that you enjoy singing. Then find opportunities to stretch the voice like an athlete warms up their muscles. Look for passages that cross different “parts” of the voice (chest, head, mix, falsetto, etc.) and that utilize a variety of different vowels or consonants. Try singing passages only on vowels (or on one vowel) or warming up the articulators by over-enunciating lyrics.
This is one of the most useful tips for vocal health anytime, but especially when you’re on the go. Avoid the temptation to let “down time” interfere with sleep. If you find yourself booked every hour, book “relaxation time” and “sleeping time” as a part of your schedule. You may have heard that it takes four hours of sleep for the voice to “reset.” Everyone’s body is different in how much sleep they need, but aim for a good night’s rest to let your voice (and the rest of you) off the hook for a while.
8. Get Support Staff.
Nothing is worse than trying to build a relationship with a voice doctor or teacher when you already have an injury. Take the time to find a team of experts when you’re healthy. Your team will better be able to work with you having seen and heard you healthy, and often times, being an “existing patient” will help give you more immediate access to medical professionals. These people can be a trusted doctor, voice teacher, musical mentor, or performance coach.
9. Don’t smoke. Anything.
We all know that smoking cigarettes and use of tobacco increases risk of disease. Recent studies have shown that “vaping,” as well as the direct inhalation of any smoke from any source, can have an impact on the body as well. Avoid the temptation to smoke to relax, or hanging out in environments that allow smoking. If you do smoke, talk to your doctor about exploring the many ways you can quit!
10. Find Liquids You Like (and keep drinking them).
While some singers swear by a water-only hydration plan, you may find that switching up liquid tastes or temperatures suits you and your voice. While caffeinated beverages (that act as diuretics) will dehydrate you over time, some singers need that pep (especially on a hectic schedule). Some singers love juices (aim for 100% juice, not sugary cocktail) as the sugars promote salivation and can help with dry-mouth. Some like carbonated beverages, some add lemon (to cut through phlegm) or honey (to lubricate), and some will just drink from the water fountain. Proper hydration is important to keep not only your body performing in tip-top shape, but the swallowing reflex also helps relax throat muscles. Invest in a few favorite water bottles––I like the insulated ones that keep hot things hot and cold things cold for extended periods of time!
As a singer or performer, your voice is not only your business, but your business partner—it gets you jobs, it keeps you in communication with the world, and of course, lets you perform. It’s important to keep your instrument healthy to support not only your performance goals, but also your everyday life.