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jgroffdaily · 5 years ago

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[This article appears in the September 16, 2019, issue of New York Magazine.]

Within minutes of my meeting Jonathan Groff, he asks if I would like a slice of cherry pie, and then, only a short time later, if I would like to be eaten by a giant plant. The first I readily accept because Groff and the rest of the cast of Little Shop of Horrors have thoroughly analyzed the desserts they picked up for a bus ride down from New York to the suburban Philadelphia puppet studio where they’re rehearsing for the day, and they’ve all concluded it’s the best option. The idea of being eaten by a plant seems a little less palatable, considering the contortions involved in entering the hippopotamus-esque maw of the man-eating Audrey II, which is operated by several puppeteers, and because I’m not sure if Groff is making a serious offer. I learn quickly that he is always offering you things, and those offers are always serious.

The puppet in question represents the largest form of Audrey II, a sassy carnivorous horticultural oddity that convinces Seymour, an awkward flower-shop assistant, to commit murder in the pursuit of fame, fortune, and a suburban life with the original Audrey, a human who works with him. The day I visit, Groff, playing the misfit Seymour (despite good looks that actor Christian Borle, who plays the maniacal dentist, Orin, describes as “scrumptious”), and his castmates are climbing inside Audrey II one by one, figuring out how each of them will die. Wearing a hat from Beyoncé and Jay-Z’s “On the Run II” tour, Groff jumps inside wielding a floppy machete, which is so un-aerodynamic it keeps getting stuck in Audrey II’s lips. Groff suggests a real machete prop would be sturdier, and they try substituting an umbrella, which flies out more cleanly. Michael Mayer, the director, says with satisfaction, “It’s a belch!”

Staging this revival of Little Shop is “illegal fun,” as Groff puts it. The original ran from 1982 to 1987 but never transferred to Broadway, at the insistence of writer-lyricist Howard Ashman, who wanted to preserve the show’s off-kilter spirit in a smaller space. Ashman and composer Alan Menken would go on to fill the Disney Renaissance — which consisted of films like The Little Mermaid and Beauty and the Beast — with the Marie’s Crisis–ready melodies and queer subversions you can already hear in Little Shop (Ashman died of aids-related complications in 1991). Despite a Broadway staging that kicked off in 2003, this version is staying put at the Westside Theatre Off Broadway in hopes of preserving the quirky spirit of the original. There’s a lot of laughter in rehearsal as well as dress codes like a “kimono Wednesday,” which Mayer enforces by handing me a spare kimono when I drop in that day.

I can’t imagine anyone who is consistently involved in or adjacent to homicide having a better time. In addition to playing a murderously nice guy in Little Shop, Groff stars in Netflix’s David Fincher–produced drama Mindhunter, playing an FBI agent who interviews serial killers; the show is based on the real work of John Douglas, who was one of the first criminal profilers. Considering he’s no big fan of true crime, Groff is somewhat confused about how he became a poster boy for gore and mutilation, though he’s enjoying the texts from friends who point out that even when he does musical comedy, there’s a dark edge involved. A few days after we meet in Philadelphia, we’re talking over breakfast at the cozy Grey Dog in Chelsea, where he insists on paying for everything, picking up all the water and utensils, and getting up from the table to refill my coffee cup when it’s empty.

Groff signed up to star in Little Shop this spring after careful consideration, by which I mean he got the offer and then listened to the original cast recording on repeat for a whole weekend. He’d never played Seymour before, unlike the majority of white male theater actors, but he had positive memories of seeing the first performance of the 2003 Broadway version just after high school, when he was rehearsing the role of Rolf in a non-Equity tour of The Sound of Music. “I wanted to make sure that I’m bleeding for it eight times a week,” he says, which is his measure for doing musicals; he wants to make sure he won’t get bored with the material. Even now, when I assume he might want a break from it during rehearsals, Groff still has the album on repeat. “I never went to college, and I’m not educated, really, so I couldn’t say, like, intellectually why that is,” he says. “When I listened to it, it shot through my heart.”

There’s a clue, however, in the way he remembers obsessing over the film version of the show as a seventh-grader, standing in his kitchen with the song “Skid Row” on repeat — specifically when Seymour sings, “Someone show me a way to get outta here.” It was an appealing message to a closeted kid whom Groff describes as just “a sweaty, uncomfortable person with a secret that was so deep-rooted I wasn’t even flirting with the idea of being myself.” With a little distance from that version of himself (the child of a phys-ed teacher and a horse trainer, growing up in Lancaster, Pennsylvania, and occasionally having to clean stables on the weekends), Groff recalls the kinds of tells that seem obvious in retrospect, like, say, listening to “Skid Row” on repeat. Or developing an obsession with I Love Lucy, which he still watches before going to bed. Or dancing along to the Donna Reed’s Dinner Party album when his parents weren’t home. There’s a similar longing in Little Shop, which has the queerest kind of perspective on its central couple, as Audrey and Seymour imagine an unreachable, heteronormative life away from skid row and where she looks “like Donna Reed.”

If there’s a murderous kinship between Little Shop and Mindhunter, it extends to the shows’ shared skepticism about that white-picket-fence-style normalcy. Holden, Groff’s profiler character, is a cardboard cutout of a man with a girlfriend who introduces him to 1970s-style sexual liberation, but he is ultimately more fascinated with the deviancy of the killers he’s interviewing. To play him, Groff shuts down his charisma, amassing such emptiness between his angular jaw and his eyebrows that you wonder if he’ll slip into deviancy himself. It’s a performance of square, even sinister straightness that feels close to the best-little-boy performances of closeted queer men, though what seems to thrill Holden most in the show are his interviews with killers. “Sexuality is so complicated, and the people I’ve ended up working with who have cast me in straight parts are interested in looking at things in a complicated way,” Groff says, noting that he feels the argument about whether gay actors can play straight, or vice versa, has gotten “sillier” as time goes on. “Being out and gay and being myself, it allowed me to find people that weren’t closed-minded.”

Groff came out when he was 23, without directly consulting his agent, after he’d become an idol to the nation’s theater teens of Facebook by starring as the sexy, rebellious, tousle-haired Melchior in Spring Awakening. “I was so compartmentalized,” he says, “singing about sex but then not talking about it.” He remains thankful for the way Mayer, who also directed that show, choreographed the explicit sex between himself and Lea Michele’s Wendla clinically, without asking them about their own experiences. He hadn’t spent too much time worrying about the aftereffects of coming out on his career, which were more limiting in 2009 than they are now. “I did think I might not be seen as a romantic lead, but ultimately I was okay with that,” he says, explaining that he was in love at the time and didn’t want to hide it. “At 23, I’d rather just have a real romantic relationship than pretend to have one with a girl.”

Several years after coming out, Groff booked a leading role in HBO’s Looking, a comedy-drama about gay men in San Francisco, which he calls one of the most fulfilling roles he’s had. The series ran for two seasons and got a wrap-up movie but never quite found a viewership, even among queer audiences, instead receiving, as he puts it, “a total mixed bag of very extreme reactions.” Some of that was because people just didn’t like the show — which was often slower, more interior, and whiter and fitter than people may have wanted — and some of it was because it was “carrying a lot of weight; there wasn’t a lot of specifically gay content on a major cable network.” To Groff, making the show opened him up to the possibility of using material from his own experience in his work. Among the cast and crew, “we would talk about stories about PrEP and uncut dicks and monogamy,” he recalls, among “so many stories about anal douching,” and those anecdotes would make their way into the scripts. He was used to a sort of “closeted training of the mind” to abstract himself from his own experience. Looking taught him he could use it.

Recently, Groff has developed an ability to end up near the center of cultural sensations. He stepped in for Brian d’Arcy James as Hamilton’s fey Britpop version of King George III midway through the show’s Off Broadway run. It was a somewhat ideal gig, given that he was onstage for only about nine minutes a night, performed crowd-pleasing kiss-off songs, met Beyoncé, earned a Tony nomination, and got a lot of reading done backstage. This fall, he’s in Disney’s sequel to Frozen, where he returns to play Princess Anna’s rugged (at a Disney-appropriate level) love interest, Kristoff. In the first movie, while Idina Menzel’s Elsa got the vocal-cord shattering “Let It Go,” Groff sang only a few lines of melody between Kristoff and his reindeer, Sven. This time around, he’s putting his Broadway training to use with a full-length solo. It’s the second one he recorded for the movie, since the writers had one idea for a Kristoff piece (“a jam”) but then canned that song while promising Groff they’d write something different, which he didn’t quite believe. “Then they fucking wrote that other song,” he says, characteristically effusive. “I was like, Wow, and the animation of the song is so brilliant.”

As personable as Groff is and as successful as he has become — and as beloved, especially among theater fans and people like my mother — there’s a point at which he maintains a certain distance, in what feels like a way to stem his own impulses. He doesn’t use any social media, though he did consider it when Looking was struggling, before he realized “I’d have to be good at it and want to do it, and I don’t.” He has never thrown himself a birthday party, because the impulse to make sure everyone’s having a good time would stress him out too much. In behavior that reminds me of both a secret agent and Kim Kardashian, he regularly goes through and deletes all his texts after responding to each of them. “I want to make sure I get back to everyone,” he says, holding his iPhone up in front of me to reveal the remarkably few surviving messages.

Before Groff gets up to leave breakfast and travel to rehearsal by way of the single-speed bicycle he rides around Manhattan, we end up talking about the larger trajectory of his career. Considering that he’s scaling down for a revival run of a musical Off Broadway, was he ever the kind of actor who thought of his work as building up to something? A big film? A franchise? “I think I gave that up when I came out of the closet,” he says. “I gave up the idea that there was an end goal or ideal or some kind of dream to work toward.” An image appears in my mind of the life Audrey sings about in Little Shop, a place that’s comfortable, traditional, and expected, somewhere that’s green. “When I moved to New York, what I wanted was to be on Broadway. That happened and then I came out, and it’s sort of been anybody’s guess since then,” Groff says. “I like when something makes me cry or I can’t stop listening to it. Okay, I want to do that.”

Little Shop of Horrors is in previews and opens October 17 at Westside Theatre Upstairs. Buy tickets here.

#jonathan groff #interview

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coffehousecreations · 6 years ago

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And They Were Roommates

Jack of All Trades Chpt 1.

Click here for the Prologue

Word Count: 1591

TW: Cussing and creepy roommates

Hope y’all like my lil update. I just realized that this is my first real writing project, so go easy on me. I’m I really love this story and can’t wait to write more!!! I put most of it under the cut so I don’t clog up anyone’s dash. Let me know if you want to be added to a taglist or somethin’

Love coffee ☕��

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As a rule, Nova took very good care to remain anonymous. She operated under the name Echo. She didn’t interact with her more serious customers if she could help it and stuck to shadows. On the job, her face was always covered by a hood or mask. Her body type obscured by baggy clothes and various sized heels.

She was a ghost.

However, Nova had been on the Italian Mafia’s most wanted list ever since she invited the cops to the Conte’s “family gathering”. A rather affectionate name for a weapons exchange deal she thought. That was a few months ago. Still, the mob has a talent for sniffing out rats in the street. And while she was confident in her own safety, Nova didn’t want to jeopardize her contacts in the NYPD.

Staten Island is barely a part of New York City, but it’s easy to blend in so it makes a good place to put a safe house. No one knew Nova, no one would, and she liked it that way. Even if the pizza wasn’t as good as Sal’s, at least it wasn’t fucking New Jersey.

Nova sighed and sat down at her computer. Alright. It’s time to move again. She pulled up craigslist, her best friend since she moved back to New York, and began to scroll. She needed a bit of cash and an apartment with no questions asked. Luckily, she found both.

“PLZ HELP” in bright blue letters. She clicked on the listing.

“Please help me get rid of my crazy roommate. He’s insane but i think we can trick him if you move in and we pretend he never existed. The room will be free for the first month if you want to stay. It’ll be like that episode in friends please I don’t know what to do”

Underneath the plea, were pictures of a clean, medium sized, two bedroom apartment. Along with these photos was a video titled “And they were roommates”. It was a five minute video pieced together from snapchat stories and secret filming of a short man with black hair and olive skin doing increasingly creepy shit. Things like calling every 20 mins, watching people sleep, and somehow almost burning the kitchen down after trying to “cook a goldfish.”

She’d never seen Friends, but it sounded like the perfect job after being stuck in a small studio apartment. Ever since she was young, Nova liked to prank people. At least now it’s for a good cause She reasoned. If she was being honest with herself, however, Nova knew she was excited for any excuse to get out of the safe house. Her fingers clicked along the keyboard to inquire after the job and apartment.

Hardly a minute later her computer chimed and a message appeared.

“OOf thank you so much I was starting to lose hope. YES. I still need help with this as soon as you can. If you can come today I would be forever grateful. My roommate is out until 2 so if you can come before that it would be grEAT. Thank you so much again.”

Now there was a curiosity in Nova. What the hell was she getting herself into?

She knew nothing about who she was coming to the aid of. By the state of his message and listing, he was at the very least desperate. Although Nova was not the most adept at using technology, it didn’t seem to be a scam. Thoughts raced through her head, calculating possibilities and outcomes. What if her new roommate be just as crazy as the one she was meant to replace? Then again, it was a free apartment.

“I’ll be there in an hour.”

A ferry ride, a subway, and an uber later, Nova was there. All of her belongings fit into a suitcase and a backpack, which served as her loyal companions during the trip. The address was on a corner of Broadway street next to an old theater. She smirked and her eyes darted around, taking in the sight with anticipation. As she walked up the stairs there was a slight creaking, but she could work with that. Promptly, Nova reached her destination: apartment 310.

The man that opened the door before her didn’t look insane. He was wearing a fashionable outfit for late summer in New York: a well fitting button down with khakis and even matching shoes. But his eyes were a tired and worn out brown under slightly askew glasses.

“Jack of all trades?” he half pleaded. That was Nova’s username for smaller gigs like this and she was used to the sound of it now.

“Looks like we’re going to be roommates for a while,” She hesitated before reciting his username back, “frog legs and fried chicken???”

Turning into the apartment, the young man gave a slight chuckle and introduced himself as Dallas Montgomery the Third. Nova was hardly surprised at the bit of southern twang in his voice. One that was energized and enunciated yet retained some drawl. Most likely northern Louisiana she determined.

“Alright, so I’ve already changed the locks and put his stuff out on the street, but that’s the easy part. How do we convince Tommy boy he don’t live here?” Dallas put his hands on his hips and squinted, looking around the apartment as if it was hiding answers somewhere.

Nova followed suit. Her eyes traced the details of the apartment. A couch and a few chairs were facing the TV on the wall. The clock said it was almost 2. The kitchen was off to the left and the bedrooms just beyond. Only the living room could be seen from the doorway.

As his eyes scanned the room, Dallas noticed his new roommate walking aimlessly with a suitcase in hand. “Your room is the one on the left.” There was a nod of acknowledgement and she disappeared behind a door. The next moment, she reappeared with a large painting where her suitcase had been previously.

Dallas blinked. “Redecorating already, or did you just really not want that in your room?” He queried, watching as she glided across the room and replaced the piece she was holding with an old movie poster on the wall. He blinked again and realized that his jaw must have dropped at the sight, cause when Nova caught sight of his face, her smirk turned into a wide grin.

“Relax, it’s only temporary.” Her voice soothed and her eyes reassured. The poster was set against the back of the couch. “Help me move this?” Nova motioned to the chair. Dazed and confused, yet willing, Dallas picked up one end and shuffled across the room.

Suddenly, there was a banging on the door and a muffled, angry voice. Dallas turned wide eyes to his only hope at getting his apartment back to normal. But, Nova didn’t seem shaken at all. In fact, still wore a small smirk as she grabbed a large plant and walked towards the door. Setting it down right next to the kitchen entrance, she signaled for Dallas to get behind it. She took a deep breath as the pounding continued and was grateful that she had decided to wear a striped shirt. Then Nova opened the door.

In its place was the angry, short man from the video who was still shouting. “What the hell Dal? Why’s all my shit on the street and my keys don’t even work, man! What the Hell?” He tried to push his way past the door. However, Nova’s foot was placed firmly behind it, leaving a small opening that the roommate was too muscled to fit though. He finally stopped throwing a tantrum long enough to look at Nova and realize that it was not his roommate. Blonde hair framed innocent brown eyes that looked up at him. “Who da fuck are you?”

“Pardon,” she batted her eye-lashes at him and continued in a light and flawless french accent, “I believe you have the wrong apartment.” He stared, stupefied. “Desole - uh, sorry,” she continued and began to close the door. At the movement, the crazy roommate, Tommy, snapped to his senses.

“Nah uh, I live here. This is my apartment.” He pushed once more at the door and it slammed back into her foot. “This is my apartment,” He repeated, a bit louder and slower, as if doing so would change the language in which it was said, despite his New Yorker accent.

If there was a camera to look into, Dallas would’ve been Jim from the Office. Nova maintained her composure, however, in her response. “C’est dommage. This apartment is mine.” Although her smile was still friendly, her eyes were about to throw daggers while her head tilted inside. Tommy’s eyes narrowed as they left Nova’s face and transitioned to the apartment. She saw them hit the painting and his eyebrows raised. Swiftly, they moved to the green leaves behind her, down to a non-existent chair and stopped.

Tommy took a step back, closing his eyes and letting out a distressed huff through his nose. He looked like an angry customer who claimed to know the manager while unknowingly talking to the manager.

“So sorry miss - uh.” He looked behind him while Nova smiled sweetly. “I’ll just be going. Sorry to trouble you.”

“No problem,” Nova beamed. “Pleure un coup, tu pisseras moins.” Laughing awkwardly, Tommy quickly retreated down the stairs. As soon as the door shut, Dallas emerged from the plant.

“You are a Goddess among men.”

“Damn right.”

#writing #writers on tumblr #writeblr #my writing #writblr #wip #coffeewrites #origional writing #jack of all trades

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itsblosseybitch · 6 years ago

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Off-Hollywood Producers: Interviews with Griffin Dunne & Amy Robinson by Clarke Taylor (Sept 1985; Part 1)

It could be said of Griffin Dunne and Amy Robinson that, as producers, they represent the refined essence of what independent film-making in America, in 1985, is all about. By their own admission, they live “charmed lives” as producers. They have managed to make the movies they wanted to make, the way they wanted to make them: humane films about people living and struggling through their particular time, made on single-digit budgets--from $2.5 million to $4 million ($5.9 million to $9.5 million in 2019) --unheard of these days in Hollywood. (OP NOTE: God damn this sentence aged well) And they are doing all of this at a comfortable distance from Hollywood, in New York.

There were two films--Joan Micklin Silver’s Chilly Scenes of Winter (co-produced with Mark Metcalf), released by United Artists in 1979 as Head Over Heels, and re-released by UA Classics in 1982 with the original title of the Ann Beattie novel on which it was based, and John Sayles’s Baby, It’s You, distributed by Paramount in 1983. Now Dunne and Robinson are hoping that After Hours, directed by Martin Scorcese, will be their “breakthrough” film. Its $4 million budget was financed through a bank loan (as was Baby, It’s You) and was picked up by the David Geffen Company for distribution through Warner Bros.

After Hours in one way represents a synthesis of what Dunne and Robinson , both of whom started out as actors, say they want to do: focus on both the creative and the business side of film-making. For Dunne, who has pursued his acting career in films such as An American Werewolf in London, Johnny Dangerously, and Almost You, Scorcese’s new film may also mark a turning point. Dunne plays the leading role in the film, a nightmarish New York comedy, heading a cast that includes Teri Garr, Cheech and Chong, and Rosanna Arquette.

Whatever the outcome for Dunne, he and Robinson have two other feature films in development: The Foreigner, a comedy by Larry Shue, at Disney, and an untitled project at Lorimar, based on the producers’ own story idea about the children of sixties underground radicals. They are thinking about producing a third property, The Moonflower Vine, a “family saga” by Jetta Carlton, as a television miniseries.

(OP NOTE: The Foreigner never materialized, and so far, I have no information as to why. The film about sixties underground radicals would eventually become Running On Empty (1988), directed by Sidney Lumet and starring River Phoenix and Martha Plimpton. The Moonflower Vine didn’t materialize either, but I found a blog post by writer Kathleen Rowell about that project, who was going to adapt the screenplay.)

Question: How do you see yourself--as an actor or as a producer?

Griffin Dunne: I always see a hyphen between those two words. It’s just that one always takes precedence over the other, depending on the project. Certainly I’ve made very different choices as an actor than I have as a producer, up until now.

Question: How have the choices been different, and what do you mean, up until now?

Dunne: I’ve acted in films I would have never produced, and I haven’t been very selective, or taken the films very seriously. Often it’s been because of the pay, or because I’ve liked the people who were involved, or because I thought I might do a good enough job with the character I was playing to get the next job. I’ve cared much less about the overall movie, the director, or how well it might do at the box office. After Hours has revitalized my interest in acting: it’s really inspired me.

Question: This is what you mean when you talk about taking your future acting choices more seriously?

Dunne: Yes. With this film I think I’ve crossed the line that divided my acting and producing choices. Now, as an actor, I’m taking into consideration all the things I’ve always thought about as a producer: Am I repeating myself? What about the overall film? Who’s the director? I don’t want to make a nothing picture next, no matter how I might shine.

Question: You started out as an actor, rather than as a producer.

Dunne: Actually, I set out in another direction altogether. I wanted to be a journalist. But there was a guy at my boarding school [Fountain Valley, in Colorado] who talked me into auditioning for The Zoo Story, the Edward Albee play, and this changed my direction, my life. I got that part. It was at this same school where I got caught smoking dope and was kicked out. (OP NOTE: He also got cast in the school’s production of Othello, playing Iago. What I would give to see that)

Question: But you continued to act?

Dunne: Yes, back in Los Angeles I very quickly got roles in TV series, such as Mannix (OP NOTE: will have to track this one down), but I also realized that I was not going to learn how to act from television. I started studying, but I only lasted for about eight months. I enrolled in a kind of let-it-all-happen class, with a lot of weird people, including Miss Linda Lovelace. It was very unsatisfying, very disillusioning-it was a terrible class, that’s what I’m trying to say.

Question: What did you do?

Dunne: I headed for New York and enrolled at the Neighborhood Playhouse. I also started to go up on auditions, and in no time I got an audition for a segment of Kojak [the TV show]. It turned out I didn’t get the part, but at the time I thought everything was going to happen incredibly fast. Instead, for the next four years, I continued to read Backstage and go up on auditions for plays that never happened. I also waited on tables, which I hated more than anything.

Question: What was this period like for you?

Dunne: Very discouraging. There was this one woman with a long Russian name who claimed to be the writer and director of a new play, who was the first to say to me, “You’re going to be great.” She said I was perfect for the part she was casting in her play, so she sent all the other actors who had come to the open casting call home, and took me out for coffee. I soon realized that she was stark raving mad, and then I realized she was a bag lady. I also realized that anyone can hold open casting calls in an effort to meet people, although this is one trick I haven’t employed yet as a producer.

Question: It was during this period that you met Amy Robinson?

Dunne: Yes. I met Amy and Mark Metcalf, another actor, and eventually our co-producer on Chilly Scenes of Winter. None of us were getting much work, so to keep ourselves busy we tried to mount an off-off-Broadway production of a Sam Shepherd play, Cowboy Mouth. We never did. But one day Amy showed us Chilly Scenes, and we became interested in producing the film.

Question: Once Chilly Scenes was out of the way, did you set out on a plan of action to produce more, to act more?

Dunne: At that point, we had no game plan. We were just three actors who produced a movie. But interest was generated in us; suddenly, we were New York producers.

Question: Is there an advantage to being based in New York?

Dunne: Well, we’re here in part because there are fewer producers here. We’re also here because none of us wanted to live in Los Angeles; we go there to pitch our projects. But there are also a lot of creative people who are known here before they go to L.A. and become famous. We can also shoot a film on a smaller budget here because the NABET [The National Association of Broadcast Employees and Technicians] crews are here; we’ve used these crews on our last two films.

Question: Did either of you think of directing after Chilly Scenes, instead of producing, since you all came from the more creative side of the business?

Dunne: Our first inclination was to continue to produce; I don’t know why, except that we had no directing experience. Also, it was at the time Sylvester Stallone started to direct the Rocky films, and it seemed at every meeting [with a studio] someone would say, “Now, you don’t plan to direct...?”

Question: How did you come upon the script for After Hours?

Dunne: Amy was handed the script, which is by a first-time scriptwriter, Joe Minion, while she was lecturing at Sundance [Robert Redford’s film study center in Utah] a couple of years ago. She read it, saw it as a vehicle for me, and we optioned it. Naturally, I agreed that the role was for me.

Question: How did Martin Scorcese come into the picture, and how did you convince him that the role was for you?

Dunne: He simply seemed the perfect director, and he said yes. We then sat down to talk about casting, and some people we had in mind, such as Teri Garr, who’s in the film. I forget who was doing the talking--at some point, I blanked out--but Amy spoke up and said, “Griffin would like to play Paul.” He said fine, just like that.

Question: This is one example of when playing producer and actor pays off.

Dunne: Well, I think I’d come very close anyway, but there might have been some flavor-of-the-month actor who would have gotten the role, and luckily I didn’t have to deal with that.

Question: What was it like working with Scorcese?

Dunne: Well, it’s the largest role I’ve ever had, and unlike the other roles, where I’ve pretty much relied on my natural behavior, the character moves from A to Z--typical Scorcese anxiety-induced behavior. Scorcese’s also the first director I’ve worked with who understood the character as well as I.

I’ve never worked harder for anybody in my life, and I was filled with energy at the start of each new day. He makes great demands on you to get the scene right. Scorcese gets what he needs in the first or second take, but he might do a dozen more, just to see what might turn up. You don’t leave for the day until you’ve done the best work possible.

Question: It sounds as though Scorcese can be very demanding, even obsessive, to work with.

Dunne: Yes. But he’s also able to laugh at himself. For instance, Marty is allergic to cigarette smoking. There’s absolutely no smoking allowed on the set. He’d come on the set, and even if someone had been smoking hours before, he could smell it and would come on the set saying “Who’s smoking? Who’s smoking?” There was this one night--most all our shooting was night shooting in the Tribeca section of New York--during a scene in which my character came around the corner, scared to death of something that had been happening to him, sprawled on his knees, and screamed to the heavens, “What do you want from me?” Suddenly, from a window above the street, this woman stuck her head out and began shouting, “Shut up, shut up!” Of course, she ruined that take, but Marty noticed that a cigarette was hanging out of her mouth, and as though to add insult to injury, he yelled to the crew, “Tell that woman to put her cigarette out!”

Question: What is it about Scorcese that calls on the actor’s total commitment?

Dunne: Well, his enthusiasm is infectious. For instance, there was this one scene that required a Steadicam operator to run back and forth through aisles of desks in an office to the accompaniment of Mozart of a jaunty piece of Mozart that Marty had chosen. The guy was a new, young Steadicam operator, Larry McComkey, and working with Scorcese was a great opportunity for him. Anyway, after going through this scene once, carrying seventy pounds of equipment on his back, and sweaty and exhausted, Larry came up to Marty and said, “How was it?” Marty said, “It was good, it was good, but you hear that music? You have to run with the music, feel the music, and keep going until it’s over.”

We had a lunch break, and just as though he was an actor, Larry stayed behind to prepare for the next take of the scene. After lunch, he had a whole new expression on his face, a look of total commitment to his work. We went through the scene again, and he did it perfectly, this time dancing elaborately with the camera on his back between all the desks to the beat of the music. Afterward, he came up to Marty and asked, “How was that?” “Perfect, perfect,” Marty said, “except for that fourth beat.” And suddenly, they were standing around talking about Mozart. Marty had tapped into the camera operator’s creative side, and made him work hard for him just like he makes actors go through take after take after take.

Question: Did anyone during the production become confused as to your roles as both actor and producer?

Dunne: Well, there was a second AD, and it of course was the AD’s job to let actors know when they were called for shooting. He seemed terribly confused about whether he was to call me, assuming, since I was a producer, I would know of the call. I missed an entire rehearsal because of this--nobody had told me about the rehearsal. So I made a firm point of this and said to him, “I am an actor, and you are a second AD.”

Question: Were there occasions on this film when your tendency to produce overcame your concentration on acting?

Dunne: Well, first of all, Marty and Amy and I were in sync on this from the start, so I didn’t have to worry about such things as “control.” But when I’m acting, the tendency is to drop the producing ball altogether. The phrase “meal penalty” never crossed my mind. Of course, during pre-production, I’d worked on locations, script, casting, but once production began the only way I’d know about problems was if I were to ask. The only problem I actually caught wind of on this picture was that a lot of film was being used. This was because of all the takes Marty shoots, which, as an actor, I love. And since most of the footage being shot was with me, I didn’t see this as a “problem” at all. As far as I was concerned, we had all the time and all the takes in the world. But seriously, knowing that Amy thought we were using a lot of film caused me a slight distraction, but I was able to use this anxiety in my role.

Question: Once After Hours stopped shooting, did you find it difficult to fit back into your role as a producer?

Dunne: Yes. At first there wasn’t a lot for me to do at the office, because things had been running fine without me. I found that if I waited to pick up my own responsibilities, such as obtaining music rights for the film--it turned out I always dealt with music rights to our movie--I found that I really had to assert myself. And I did, because this producing really gives me a tremendous stability. This is one of the reasons I’ve never good at being an unemployed actor. I hated waking up in the morning and thinking, All I have to do is go to the gym. Now I don’t go to the gym; I go to the office.

Question: This sounds like a bizarre film, not by Scorcese standards, perhaps, but by your standards, and Amy’s.

Dunne: It’s certainly the most extreme movie we’ve ever produced, and the most controversial.

Question: Controversial in what way?

Dunne: In the way it speaks to a kind of paranoia and victimization that I think a lot of people living in big cities can relate to. It’s a nightmarish quality of the story that appealed to me, and that I found very funny. I’ve had nights like this in New York, on a more mundane level, when there’s a chain of reaction of events over which you have no control. Just today, on the way to this interview, I passed two men in business suits, on Fifth Avenue, going at it, hitting away at each other. My inclination was to try to break them up--I could so easily have become involved in a mess.

Question: You think the gates are open to the kinds of movies you and Amy want to produce?

Dunne: The great thing about the movie business is that it’s totally unpredictable; the rules are always changing. The kinds of movies the studios are making now are based on what’s been successful in the past, and success comes in lots of unexpected ways. Amy and I want to make movies that a lot of people want to see. If they do, if After Hours makes a lot of money--and it can, because it cost so little to make--we’ll have more credibility with the studios the next time out with the kind of movie we want to make.

Question: And Griffin Dunne will have more credibility as an actor as well. Are you prepared to make hard choices of which role you will play next, actor or producer?

Dunne: I’m told that one of the advantages of being tremendously successful is that you can arrange your life in the way you wish. This is what I’m told.

#griffin dunne #after hours #after hours 1985 #martin scorcese #amy robinson #interview #archive #back issue #american film #american film magazine #chilly scenes of winter #an american werewolf in london #johnny dangerously

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sapienveneficus · 8 years ago

Text

And All Shall Know the Wonder

Finally, I wanted to repost the individual blurbs I wrote about each cast member.

Miles Barbee – Miles plays the role of Otto, one of the teenage boys in the show. Otto’s more of a supporting role, but Miles has definitely managed to make his presence known on stage. I think his greatest strength in this production has been his ability to circumvent expectations. His character is meant to be the youngest of the school boys; he’s even dressed in a sort of sailor suit to denote his juvenile status. And yet, he’s called upon to deliver some of the most audacious lines/lyrics in the whole show. He plays this contrast beautifully. Those moments in the show, where he does or says something unexpected, are always perfectly and wonderfully shocking.

Katie Boeck – Katie plays the voice of Wendla/guitar. Wendla’s the female lead, so Katie sings and speaks quite a lot throughout the course of the show, but one of her many gifts is the ability not to pull focus. She’s there to support the actress playing Wendla, and she does it seamlessly. She and Sandra Mae Frank, who work together to play Wendla, have developed an exceptional rhythm on stage. Their partnership is so well formed that, as an audience member, it’s easy to mistake them for the same person. And Katie’s voice, wow, I’ll do my best to explain just how incredible she is. The music of Spring Awakening is more pop/rock than your standard Broadway show. When casting the show, the producers and director sought out actors and actresses who had more of a singer/song writer sound than a more traditional Broadway sound. (more straight tone, less belt) Katie’s voice fits the music perfectly. Wendla’s solos are beautiful but understated. There’s a temptation to go too big. I’ve seen other actresses treat Mama Who Bore Me as their Mama Rose moment, but Katie lets the song be soulful and quiet, just as it should be. One of the great tragedies of this show is that it didn’t get its own cast recording. I would love to have a proper studio recording of Katie singing Whispering, but, as the Rolling Stones so wisely stated, you can’t always get what you want.

Alex Boniello – Alex plays the voice of Moritz/guitar. Moritz is one of the male leads so, like Katie as the voice of Wendla, Alex speaks and sings a great deal throughout the course of the show. Unlike Katie, Alex does not exist in the background. His stage presence is the opposite of understated. He’s the kind of actor who could be in the background of a scene holding a nondescript box, so far removed from center stage that he’s practically in the wings, and yet as an audience member you’d be thinking, “Who’s that guy with the box?” So he and Daniel Durant, the actor who plays Moritz, have worked out a different way to share the role. There are times when Alex is unseen while on stage, but he’s literally behind a physical object or turned completely around, back to the audience. There are times when he’s in the middle of the action, lightening scenes with his fantastic comedic timing. And then there are moments when he’s simply not on stage at all, and Daniel signs with no voice. This combination of varied approaches to the hearing/deaf partnership only adds depth to the already complex character of Moritz Stiefel. And what can I say about Alex’s voice? It has that rough rock quality perfectly suited to Moritz’s songs. I don’t want to sound like a broken record, but I am also in mourning for the studio version of Alex singing Don’t Do Sadness that we will never get.

Joshua Castille – Josh plays Ernst, another of the teenage boys in the show. Josh, like Alex, has an undeniable stage presence. So he’s been given more weight to carry in the show than an actor playing Ernst (a supporting role) normally gets. Josh, in addition to telling Ernst’s story, is there to show the audience what it would have been like to be a deaf teenager in 19th century Germany. There are dozens of little moments throughout the show where he does that to great effect. One of the show’s early scenes takes place in a classroom. The teacher is calling on each student in turn to recite passages from Virgil’s Aeneid. When Ernst’s turn comes, he begins to fingerspell as he speaks the Latin words out loud. The teacher quickly and harshly shuts him down. Later in that same scene, after the teacher speaks an instruction to the class, Ernst turns to his seatmate who has to write down the instruction on his slate because, naturally, Ernst can’t hear them. These are small moments, but they speak volumes to the deaf experience in a world dominated by oralism, as it would have been in the 1890s. And as Ernst is a smaller role, brought to life by such a dynamic actor, these small moments truly stand out. Ernst’s big scene takes place in the show’s second act. The scene is a comedic one, and as the show’s second act is rather heavy, this lighter scene is desperately needed to balance things out. That being said, Josh and Andy Mientus (his scene partner) have added dramatic layers to a scene that is typically just played for laughs. Josh allows Ernst to be simultaneously clever, prideful, innocent, hopeful, joyous, and vulnerable. Josh is one of the youngest cast members, he turned 21 during the show’s run, and I for one cannot wait to see whatever project he decides to tackle next.

Daniel Durant – Daniel plays the role of Moritz, one of the male leads. The actor who played Moritz in the original Broadway run, John Gallagher, Jr., won a Tony award for his performance, and I would be shocked if Daniel is not, at the very least, nominated for one as well this season. His performance is, I feel like remarkable isn’t a strong enough word, but it’s what’s coming to mind at the moment. Moritz is a teenage boy carrying the weight of the world on his shoulders. He struggles terribly in school, has a strained relationship with his parents, has never kissed a girl, and his best friend is smartest and most popular kid in town. And in this production, he’s also deaf in a society dominated the hearing. Moritz is typically portrayed with a sort of restless anger, but Daniel’s portrayal is softer, more introspective. His Moritz is desperate to find the good in whatever terrible situation life hands him, right up to the point where there is no good left to find. Daniel brings a degree of raw vulnerability to Moritz that is unlike any portrayal of the character I’ve seen before. One of Daniel’s strongest scenes takes place in the first act. Moritz has just received terrible news and has to share that news with his stern father. Now, in the Deaf West revival, both Mortiz and his father are deaf. So the scene is only signed, not spoken. The scene is painfully uncomfortable to watch because both actors on stage act it so authentically. The scene is almost too real. Daniel perfectly portrays Moritz’s fear, desperation, sadness, and shame as he speaks with his father. As I said at the beginning, I would be stunned if Daniel isn’t nominated for a Tony this season.

Treshelle Edmond – Treshelle plays Marta, one of the teenage girls. Marta is one of the supporting roles, and Treshelle plays her beautifully. She has the ability to blend into the group of girls during the ensemble numbers, and then shine when she takes center stage for her big number. Marta is deaf in this production, but unlike the characters I’ve discussed so far, she does not have a close relationship with her inner voice. In fact, Kathryn Gallagher, who plays the voice of Marta, and Treshelle never share the stage. This physical separation is heavily symbolic as it speaks to Marta’s profound feeling of isolation and brokenness. Treshelle balances Marta’s profound sadness with her desire to blend, to be a part of a group. She’s a character searching for love and kindness from a world that has, thus far, denied her both.

Sandra Mae Frank – Sandra plays Wendla, the female lead. I’m just going to say, right at the top, that Sandra’s portrayal of Wendla is the best I’ve ever seen. She’s the other actor in this production who will most likely receive a Tony nomination, and she couldn’t be more deserving. Wendla’s a complex character, and Sandra plays her with an unprecedented level of artistry. She perfectly balances Wendla’s innocence with her growing sexual awakening. I think that innocence, in its purest most child-like form, is one of the toughest qualities to act on stage. The actresses I’ve seen play Wendla in the past have all failed to portray Wendla’s innocence at the beginning in a believable way. They have all given in, in one way or another, to the temptation to over-act the show’s opening scene between Wendla and her mother. Sandra’s performance in this scene, by contrast, is brilliantly authentic. As an audience member, I believe that I am watching a teenage girl trying to have an uncomfortable conversation with her mother. I believe in her genuine desire to get the answers to her questions; to understand a part of the world that is being kept from her. Sandra also shines in her scenes with Austin McKenzie, the actor who plays Melchior. We see Wendla’s feelings for Melchoir evolve from school girl crush, to genuine love and affection in such a perfectly organic way. Again, I’ve seen so many actresses over-act these scenes, but Sandra’s performance is perfectly understated and authentic. Her best scene though, in my opinion, is the scene just before Whispering. This scene, as it mirrors the show’s opening, is set between Wendla and her mother. Wendla’s innocence from the beginning is all but gone as she doesn’t cajole, or beg, but rather demands honesty from her mother. In that moment, Sandra chooses to use her own voice as she asks, “Why didn’t you tell me everything?” Sandra uses her voice exactly three times in the show, and while each time packs such an emotional punch, there’s hardly a dry eye in the house as Whispering comes to a close. This woman deserves a Tony!

Kathryn Gallagher – Kathryn plays the voice of Marta/guitar. Much like Katie, Kathryn allows herself to exist in the background, so that her presence does not distract from Treshelle’s portrayal of Marta. Kathryn’s greatest strength is unquestionably her musicality. Her voice is strong and pure. She layers such raw emotion onto every line she sings, it makes the experience of watching Marta’s scenes that much more powerful. Kathryn is also a fantastic guitarist. I am in awe of the way that all of the voice actors are able to simultaneously sing their lines so that they mach perfectly with their counterpart’s signing while at the same time playing their instruments. I like to imagine that part of the Deaf West Spring Awakening audition process was the classic grade-school “rub your belly as you pat your head” test. Kathryn, I’m quite sure, would pass that test with flying colors.

Sean Grandillo – Sean plays the voice of Otto/bass. Sean has an exceptional voice and is quite an accomplished musician. He plays both the upright bass and the electric bass in the show while managing to conduct the other musicians on stage. He also has an undeniable stage presence. I am sure that this fact presented somewhat of a challenge to show’s director, Michael Arden. Sean, after all, voices a supporting character who doesn’t really get his own standout scene or musical number. So what they’ve done, and I suspect this was intentional, is cleverly work Sean into several of the musical numbers and scenes. He’s been gifted these little moments throughout the show to show off his exceptional comedic chops and dynamic personality. I suspect that Spring Awakening will not be the last time we see Sean Grandillo grace a Broadway stage.

Russell Harvard – Russell Harvard plays all of the deaf adult males in the show. (The school’s headmaster, the village priest, and Moritz’s father) As each of the characters he portrays is quite unique, Russell has the opportunity through the course of the show to demonstrate his impressive range as an actor. As the headmaster, he gets to flex his comedic muscles. As the priest, he’s perfectly stoic and pompous. But it’s in the role of Moritz’s father where he truly shines. He embodies the cruelty, disinterest, and anger of that character in such a masterful way. He and Daniel Durant have worked so well together to let that big confrontation scene in act one evolve throughout the run of the show. The scene is so powerfully raw, that it never fails to leave me breathless.

Amelia Hensley – Amelia plays the role of Thea, one of Wendla’s best friends. She’s typically portrayed as a sassy little know-it-all, but Amelia plays her in a way that is more earnest than cruel. Thea does occasionally say the wrong thing at the exact wrong time, but in this revival those moments seem to come from a genuine place of concern for her friends, rather than a need to be right driven by Thea’s own sense of superiority. It occurs to me, as I write these actor paragraphs, that each actor really has found a way to breathe new life into these characters. These portrayals aren’t complete departures from the originals. Instead, these differences are more nuanced. They’re the kinds of interpretations that can only come from actors who have studied their roles for an extended period of time. (but back to Amelia) Amelia’s greatest strength is her ability to build relationships on stage with the other actors. You see it in the way she interacts with the actress who plays her sister, Melitta. There are times when it is difficult to tell where Thea ends and Melitta begins. They seem to effortlessly move and act as one. And you also see it in her scenes with Wendla. Her subtle teasing and the knowing looks they exchange go a long way to create a friendship on stage that we, as audience members, need to believe has existed for years.

Lauren Luiz – Lauren plays Melitta/voice of Thea. Melitta is a character who has been created for this revival. She is Thea’s twin sister. She speaks for Thea as Thea signs. So unlike the other hearing actors who play voice of (fill in the blank) as inner voices or imaginary friends, Lauren gets to play a real character who is meant to be seen. And she plays the part beautifully. I feel like I’m over using the word beautifully. I am, aren’t I? Oh well, it fits so I’m going to continue using it. Lauren has worked hard to form an incredible on stage bond with Amelia, it really is hard to believe these two aren’t sisters in real life. But Lauren’s greatest gift to the show would have to be her voice. It’s soulful but also strong. She has a voice that stands out. It’s a shame her character doesn’t get any proper solos. There have been rumors that she’ll take on the role of Ilse when the show goes on tour next year. I, for one, hope those rumors are true.

Austin McKenzie – Austin plays the role of Melchior Gabor, the male lead. Melchior is smartest and most popular teenager in this small German village where the play is set. In every production of the show I’ve seen, the actor playing Melchior owns this fact and dials up his arrogance accordingly. But, that’s not how Austin plays the part. His Melchior has a dash of humility mixed in with the arrogance. Actually, now that I really stop to think about it, the word arrogance has a connotation that doesn’t truly fit. Melchior is arrogant in the sense that he thinks he knows better than the adults in his life, but that’s more the arrogance of youth than something specific to this one character. He also doesn’t treat his peers as if he’s superior to them. He does, though, act as their defacto leader. Signing instructions to his classmates when the teacher’s back is turned, teaching his best friend about sex, and ultimately being chosen by the headmaster as a scapegoat when a terrible scandal threatens to ruin the school’s reputation. Austin’s Melchior is a leader, an imperfect leader, but not a pompous one. Austin performs the role with such a fierce intentionality. That’s actually what stood out to me the most, the first time I saw the revival. I remember thinking, “I have never seen an actor speak and sign with such intensity, in a way that demands to be both seen and understood.” I should probably explain that Austin is a hearing actor who is also fluent in ASL. In fact, you should know that Spring Awakening is not just his Broadway debut, it’s his theatrical debut. Which means that Spring Awakening is his first production of any kind, ever. I’m talking no off Broadway shows, no regional theater, no community theater, not even a kindergarten production of Winnie the Pooh. Two years ago, while this production as still very much in the development stage, Austin applied to be an ASL interpreter for the Deaf West Theatre Company and was instead asked to audition for Melchior. I wanted to briefly share his backstory for two reasons, first because it’s an amazing story, and second because it explains why he was chosen for the part. The character of Melchior serves as a bridge between the worlds in Spring Awakening. He’s the glue that holds the show together. In a typical production, he serves as a link between the children and the adults, the boys and the girls, the cast and the audience, and finally between the present and the future. It’s a demanding role for any actor to take up, but the Deaf West production demands even more. Because Deaf West’s Melchior must also be a bridge between the world of hearing and the world of the deaf. It’s true that all of the cast members sign at least a little throughout the course of the show. Everyone signs along with the songs as the signs have been seamlessly woven into their choreography. Obviously, the deaf actors sign all of their dialogue while their hearing counterparts speak it. And the hearing actors with stand-alone roles sign and speak their dialogue, but there isn’t much of it for them to sign because these roles are smaller. So the burden on the hearing actors having to learn ASL for their parts isn’t too great. It’s maybe 7 or 8 lines of dialogue over the course of the entire show. But, Melchior is the lead. He has monologues, multiple solos, and long, complicated scenes with several different characters, both hearing and deaf. Melchior has to be that bridge, connecting those two worlds for the audience. I think that this explains why Austin speaks, sings, and signs with such intensity. As Melchior he is desperate to be both heard and understood, but as a hearing actor working with a deaf cast, performing in front of a mixed audience, he is determined to reach everyone. And he succeeds. This entry is already way too long so I don’t have time to say much about his vocal performance. As you might imagine, it’s amazing! I do want to very briefly highlight the song I believe Austin does best. As I’ve already stated, Melchior has several solos throughout the course of the show. And each actor I’ve seen take on the part has had one signature number; one number that has stood out, at least to me, as THEIR song. Jonathan Groff’s was Left Behind, Jake Epstein’s was The Mirror-Blue Night, and Austin McKenzie’s is Totally Fucked. From the first note to the last, he OWNS that song. I think it’s a combination of timing and hubris. He’s got the timing of, “There’s a moment you know (pause) you’re fucked,” down perfectly. It always draws a big reaction from the crowd. And then there’s the way he acts the song. As I said up top, Austin’s Melchior is more intentional and earnest than the other’s I’ve seen. This song, though, is a departure from that. It’s as if he saves all of his pure, unadulterated, self-assuredness for this number alone. And the effect is, well, fantastic! I think the elderly woman sitting behind me during a matinee last month summed up his acting in this song perfectly. “That Melchior! He’s a real cad!” Austin’s the other cast member who deserves a Tony nomination, but as I suspect that the Hamilton cast will crowd Austin’s category, I doubt he’ll get one.

Andy Mientus – Andy plays the role of Hanschen, the school’s obnoxious brown-noser . Andy is a force of nature on stage. He’s a brilliant comedic actor with an impressive set of pipes, but first and foremost, he is Spring Awakening’s biggest fan. He saw the original run during his senior year of college. He loved the show so much that he made his own Spring Awakening Facebook fan page, where fans from around the world could gather and discuss the show. Spring Awakening’s producers loved his page so much that they made it the show’s official fan page. Then, after graduating from the University of Michigan (Go Blue!), Andy auditioned for Spring Awakening’s first National Tour and was cast as Hanschen. Fast forward to 2014, Andy and Michael Arden (the director) approached the Deaf West Theatre Company about translating and putting on a production of Spring Awakening, and now that production is on Broadway. Andy is acting in a revival of his favorite show, a revival that he helped bring about. He is living every fan’s dream. And I, for one, couldn’t be happier for him.

Patrick Page – Patrick plays all of the hearing adult males in the show. (the teacher, the doctor, a priest, Hanschen’s father, and Melchior’s father) Patrick is a classically trained actor with a Broadway career spanning decades. Unlike the other adults in this show, who already had connections to or are members of the deaf community, I suspect Patrick took this role because it presented him with a fresh challenge. Having worked for so long in the theater, there’s probably very little he hasn’t done . As you might expect, Patrick brings his vast experience as a Broadway actor to the show. He knows how to project, how to play to the back of the house, and how to keep a show from getting stale week in and week out. I’m sure the cast has enjoyed having someone with his unique professional experience in their company.

Krysta Rodriguez – Krysta plays the role of Ilse, the show’s outsider character. Ilse’s presence is felt in the show’s first act, but she doesn’t appear properly until the second. Krysta is an incredible actress, and she has a remarkable voice. She also has a rather impressive Spring Awakening backstory. Krysta was a member of the original ensemble cast and understudied several of the female roles, including Ilse. When Deaf West’s Spring Awakening first opened in LA, it was playing in this tiny 95 seat theater, and a different actress had the role of Ilse. But when the show transferred to a bigger theater out in Beverly Hills, that actress had to drop out to because of a prior commitment. Andy knew that Krysta was living in LA at the time, and that she was available. So he recommended her to the director, and the rest, as they say, his history. Well, not quite. There’s one more part of her story that I didn’t know about until the holiday season. Around Thanksgiving, Broadway does a big charity drive. So after each show, a few actors will share with the audience a little about the charities they’re supporting that season, one of which is a charity that helps actors pay for health care. I’d heard these charity speeches before because, before moving to the city, the holiday season is when I typically would be in town to see a show. So when Krysta got up to speak after a performance of Spring Awakening, I expected to hear the standard speech about the importance of giving generously to support the Broadway community. What I did not expect to hear, is the story that she shared. Last year, Krysta was diagnosed with breast cancer. The actor’s fund helped pay for her treatment. Treatment that she finished just a week or so before starting rehearsals for Spring Awakening. So Krysta is an actress I’ve come to respect for her talent but also for her courage.

Daniel David Stewart – Daniel plays the voice of Ernst/piano. The relationship between Ernst and his inner voice is the closest of any of the deaf/hearing counterparts in the show. The actors have both explained in interviews that this closeness is intentional. Ernst is one of the few characters who gets to retain some semblance of childlike innocence and optimism, despite all of the terrible things that happen so many of the characters around him. Daniel, despite staying close to Josh (who plays Ernst) throughout the course of the show, never detracts from Josh’s performance. Daniel, like Katie, has found a way to be present without being a distraction. Daniel also is an incredibly talented musician. His voice is pure and clear, and he plays the piano beautifully. He also does a lot of work in the background of several musical numbers to provide cues for the deaf actors. Daniel truly is a remarkable, multitalented young actor.

Ali Stroker – Ali plays the role of Anna, another of Wendla’s close friends. Ali has an impressive voice and an undeniable stage presence. She is also, and I can’t believe I’m typing this in the year 2016, the first actress in a wheelchair to act in a Broadway show. Most Broadway theaters, for those who have never been to one, are not ADA compliant. There are steps to enter and exit the theaters, the tiny bathrooms are either a floor above or a floor below the orchestra level and are accessible only by stairs, and very few rows have wheelchair seating. In fact, New York City itself isn’t really ADA compliant either. Coming from the DC area, that was big shock to me when I first moved here. Did you know only 18% of the city’s subway stations are handicap accessible? That’s less than 1/5! New York City has an appalling record when it comes to universal accessibility and access, and this is just one of the issues that this production of Spring Awakening has brought to light. (but back to Ali) Ali brings a light and joyful spirit to the show’s first act. Her optimism in the role of Anna is infectious. But as the show darkens, Anna’s optimism and joy all but disappear. Ali has some serious dramatic chops. I certainly hope that her first Broadway show won’t also be her last.

Alexandra Winter – Alexandra plays Greta/Harp. Greta is a new teenage character, added to help strengthen the sound of all of the ensemble numbers. She doesn’t really have a role in the story so I can’t speak to her acting abilities. I can say that she has a lovely voice and plays the harp beautifully.

Alex Wyse – Alex plays George, a geeky teenage boy hopelessly in love with his piano teacher. Georg, as a character, is there to provide brief moments of comic relief to help balance out such a dark and dramatic show. Alex does this brilliantly. He has such natural, effortless comedic timing. He also has an amazing voice. I’ve already spoke briefly about the show’s casting process, how the director wanted actors with more of a coffee house voice than a standard Broadway voice. Well, Alex is the exception to that rule. He needs to be, because George has a powerhouse solo in Touch Me, and Alex kills it each and every night. He stands up on a classroom chair, towering over his cast mates, and belts his heart out. He never fails to bring the house down with his solo. Alex is also a bit of a titan on social media. Between his hilarious tweets and clever periscope performances, I have no doubt he could make it as a stand-up comic. If he ever decides to take a break from Broadway, that is, which I hope won’t be happening any time soon.

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ssfoc · 8 years ago

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I know performing JHO on XF was very emotional for louis and probably caused some pitch problem. I'm not trained but it sounded a little flat? I'm sure nerves caused some of that but in general what causes it? I'm sure he is working hard to prepare +

+for the Today Show. I can’t wait for his performance! (I am NOT saying louis is a bad singer AT ALL. He’s my favorite and i love his voice. I was just wondering what causes his pitch problems. If it’s nerves or technique or both. Damn everyone who ++shattered his confidence early on) Thank you!

Dear anon,

Fingers crossed that Louis will absolutely kill it at the Today performance on January 27. I know he’s capable of this.

Listen to this little cupcake singing Love You Goodbye on Ellen (Louis’s solo starts 2:10):

https://youtu.be/eP7q9tmfvk8

I think pitch problems during live performances are due to one of two things:

1. Inaccurate hearing. Often the in-ears don’t allow for accurate pitch discrimination when there’s a lot of ambient noise (like crowds screaming)– which they supposedly filter out. It’s a balance of being able to hear the band and listen to yourself.

2. Poor breath support. The Love You Goodbye solo is actually technically hard, because he has to sing the high note at the end of a long phrase, when he was almost out of breath. I discussed this with @itwilltoteshappen because she’s a singer and I’m not. Poor support can be because of difficulty in the music itself, like LYG, or poor training, or nerves.

Believe me, the 1D boys have great lung capacity. They can outlast most normal people underwater. Don’t take them up on a breath-holding challenge– you’re gonna lose. On the other hand, they would be lovely to go snorkeling with— because of their excellent breath control. Yeah, yeah, that’s it (*coughs into hand*). I just want to see their breath control, okay? Give me all the tropical breath control.

I think Louis definitely had coaching before he recorded JHO, and before the performance. Coaching is a matter of honing technique. At this point, Louis knows when he’s off-pitch. He doesn’t need any coaching on that. I think his voice is actually better, in some ways, than it was on MITAM.

I can’t blame him for the pitch problems during the X Factor performance because– imagine how hard that performance was. He nearly broke down a few times, but you could see the determination in his eyes, in his body. He swallowed down his sadness and he projected his voice, he breathed as he was taught to do, he used movement to help him. And he did it. He finished strong.

https://youtu.be/Wv84INMtI38

It sounds to me like his voice is raspier, rougher than usual, especially on the highest notes. It sounds like a voice that has been stressed due to traumatic use— from crying, for instance. That could be why he was a little flat, because his instrument was not at its best. Like any performer, sometimes he has to perform when the voice is not optimal– but that was an unusual circumstance.

So, I think Louis has the ears and the vocal instrument to really knock them dead next Friday, and after having rested his voice for a month, I expect a huge performance. He knows this is important. The smaller studio is a different environment from a large stage. It’s more intimate, and one can play more with phrasing and emotions (think Broadway stage versus a stadium), which Louis excels at.

I’ll be rooting for him. Thank you for this lovely ask!

Sea

🎼🌈

Addendum: I almost forgot. We did hear Louis’s voice announcing the nominations to the Brits. To me, it still sounds raspy, certainly more so than it was five years ago. This raspy quality may be due to his smoking. [Hermione Granger voice]: for heaven sakes, stop smoking, Louis. You’re going to get us all killed. Or worse, EXPELLED.

#Louis Tomlinson #just hold on #live performance #pitch problems #anon asks #vocal technique

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thesinglesjukebox · 5 years ago

Video

youtube

TAYLOR SWIFT - BEAUTIFUL GHOSTS

[3.50]

Taylor takes a chonce...

Thomas Inskeep: Where we learn that Swift has ambitions of writing relentlessly overblown, ridiculously florid Broadway songs just like her co-writer, Andrew Lloyd Webber. And god, her keening vocal on this makes me want to punch someone. [0]

Alfred Soto: Her voice is not her strongest element, a fact this farrago overlooks. By comparison her accent on "London Boys" is a Meryl Streep Oscar stroke. [2]

Katherine St Asaph: I don't mind Taylor Swift being on this, in theory (in voice is a somewhat different proposition); Sarah Brightman was a dancer in Hot Gossip. Nor do I want to reassign this piece to Andrew Lloyd Webber's cat. I could even, begrudgingly, stop minding that Nile Rodgers worked on this, or that there's a gratuitous Phantom reference, or that the whole thing is a worse version of Jekyll and Hyde's "A New Life," when Cats already had the blueprint for "A New Life." But I do mind there being no structure, melodic, emotional, or otherwise. [3]

Katie Gill: The idea of adding in a song to CATS kind of misunderstands the structure of the musical. You see, CATS already has a big awards bait song, "Memory," which is musically is integrated into the show via a prelude at the end of act 1, other cats singing the tune at various point, and the prelude ending with a leitmotif often heard throughout the show. HOWEVER, now "Beautiful Ghosts" exists. It's positioned as a direct response to "Memory" and ALW loves his goddamn leitmotifs so logically it should sound like a response to "Memory", but it doesn't! It just sounds like a Taylor Swift song! Likewise, if this song is a direct response to "Memory" then one would think it would come AFTER "Memory" or the "Memory" prelude. However, "Memory" is the emotional climax of the show and the prelude is the Act 1 finisher, neither of which are a good time to add in a pop song to kill the plot. "Beautiful Ghosts" should really be positioned as a response to "Grizabella the Glamour Cat" because the transition between that song and the next one is an awkward spot in the musical that the pop song + a bit of dialogue could help smooth over. HOWEVER, if you position "Ghosts" as a response to "Grizabella" then it'll occur way too early in the film and also rob "Memory" of its lyrical impact. Part of the big impact of "Memory" is that you've had two goddamn hours of fiddle-dee-dee Jennyanydots whimsical nonsense and then WHAM, we go right into "touch me / it's so easy to leave me" which gives us the big, giant, emotional impact that "Memory" deserves and dammit, I don't have anywhere else to write about how this addition means that ALW fundamentally misunderstands his own musical so y'all are going to have to put up with me here. [4]

Jackie Powell: What makes this recording so charming is how practically imperfect it is. And I mean that as a compliment. The attempt at a British accent aside, Taylor Swift did her homework. And I'm not talking about T.S. Elliot, which I'll return to. This performance reminded me of Roland Barthes' "The Grain of the Voice," an essay that discusses how perfect vocals aren't what always sell a performance. The French philosopher and critic pontificates that a singer who is compelling has what he refers to as a "grain" or the "body in the voice." In other words, when Swift embraces her weaker while spectral head voice on the verses, cracks on the last line of the bridge and forces her belt on the last note of the entire song, she embraces Barthes' "Grain of the Voice" almost to a tee. Her belting is far from bodacious and like Jackson McHenry of Vulture, I question if this Andrew Lloyd Webber penned melody was really meant for Swift. But ALW did, in fact, need her. "If you can't get T.S. Eliot, get TS," she said while in the studio with Webber. "I'm here for you." And TS does study up on T.S. In "Beautiful Ghosts," Swift penned a lot of gerunds and descriptive nouns that have shapeshifted into gerunds. Or sometimes she just uses the suffix -ing more than twice the amount that Elliot employed it in his 1915 poem "Hysteria." In between all the "Chonces" being "Bawn into Noothing" and being "let intou," it's endearing to get a sense of Swift's acting chops via listening to her inflection, diction and even her ability to weld some dynamics that we don't often hear in her own catalog. But Swift was in between too many decisions. Was this supposed to be a pop version of a Broadway-style song? Was this supposed to be akin to Demi Lovato on "Let It Go?" (Maybe not, as we all know which version of the song is sung at karaoke.) But with all else being equal, Swift shalt have made a commitment to one of these two worlds: she's now clinging to pop but Broadway is now calling? She's straddling between these two islands and it doesn't work as well as she might have "waaanteed." [7]

Isabel Cole: Is it weird that I think I would like this better if it were more awful? Taylor Swift and Andrew Lloyd Webber are not similar artists, but they are two people who have between them made [checks spreadsheet] a million bajillion dollars by being wildly extra and unafraid of leaning the fuck in. Many of my favorite Taylorisms are fun because of their hyper-earnest theater kid melodrama (just think of the tremor with which she sings another girl in "Style"); many of my childhood memories involve belting "Memory" in my bedroom. But this is just so... dull. TS + ALW 4 CATS sounds like a nightmare of unhinged excess, but this could be any generic Best Song Oscar also-ran; the most interesting part is that she reuses the best line from "Fifteen." Worse, these artists who can write a hook that will be stuck in your head until the end of time somehow came together to write a melody so sprawlingly uninspiring I cannot hum it after several listens. There's nothing here even to make fun of beyond (objectively funny) Taylor's sporadic British affectations. Like, come on, guys: I'm not sure you can do better than this, but I know you have it in you to do worse. [2]

Alex Clifton: Cats didn't really need a new song (nor, frankly, did we need the new nightmare adaptation) and I'm mixed on Andrew Lloyd Webber at best, but this still hits my heart somewhere, especially with Swift's breathy delivery for the first half of the track. I am both surprised and annoyed to relate to a song sung by a cat. Points deducted for chooooooooooonces. [6]

Natasha Genet Avery: Let's dispense with the obvious: 1. That newfangled British accent is...something. 2. Playing into her favorite victimhood narrative, Swift's contribution to Cats *had* to one-up Grizabella ("At least you have something!". 3. This is blatant Oscar bait. Now onto the meat: Cats is a corny and embarrassing head-scratcher. Cats is why people don't trust musicals. I love Cats. To me, to anyone who has been in a musical, musicals are about unreasonable, outsized commitment--you peel off your self-protective shield of irony and spend dozens, if not hundreds of hours donning clown-school makeup and spandex, somersaulting across the stage and belting the praises of storybook animals. If you're entrusted with a big number, you practice and practice until your delivery is technically masterful, if not heavy-handed. Beat me to death with that vibrato. Fuck me up with those dynamics. Leave it allll on the stage. And so, when Taylor set out to out-emote "Memory", she agreed to take on 30 years of mockery, three key changes, Elaine Paige, 600+ professionally recorded covers, and countless school productions and karaoke renditions. A lot of people fault Taylor for being a try-hard (I've always found it sort of endearing), but here, she simply didn't try hard enough. Swift admitted that she wrote most of "Beautiful Ghosts" "immediately after hearing the song for the first time." Without T.S. Eliot's hand, Beautiful Ghosts" is empty, untouched by whimsy. Oh, and the singing: Swift is sorely out of her depth, and mostly opts for limp falsetto, culminating in a strained, awkward belt. We'll see what Francesca Hayward does with it, but for now "Beautiful Ghosts" should get booted from the clowder. [3]

Wayne Weizhen Zhang: I consume music of all genres voraciously -- with the exception of musical soundtracks. This is for a number of reasons: 1) I haven't seen a lot of musicals, 2) for the ones I have seen, I tend to find the music and lyricism overwrought and boring, and 3) I would prefer to just listen to artists' original music outside the parameters set by some make believe world. I was worried that I would have a tough time trying to check my own bias in reviewing this song, but am now relieved and confident in asserting that "Beautiful Ghosts" is objectively bad. In an alternate reality, this could be a compelling country-lite track on Fearless or Red, or even a synth heavy ballad on 1989, but here, Taylor just sounds drowsy with a weird British accent, selling a metaphor that makes about as much sense as the utterly bizarre Cats movie trailer. [3]

Andy Hutchins: One tweet that has stuck with me is the one that correctly called Reputation — before its release, even! — the final boss of 2017. I think Cats might play a similar role for the final days of 2019 and the first month or so of 2020, even if its pitch is obviously to a smaller segment of the population than pre-Crisis Taylor reached. So how convenient it is that we have Taylor here, indulging her theater kid impulses with none other than Andrew fucking Lloyd fucking Webber co-writing, singing her heart out in the ingenue role she's clung to throughout her 20s for better and worse (which is, hilariously, not her role in the film itself!), pining for something wild for what feels like the 20th time. "Beautiful Ghosts" is as subtle as a hurricane, and churns powerfully, and Taylor almost hits that note at the end — the strings wouldn't swell if she'd hit it perfect, of course. It's good. Fine. Whatever. This sort of hopeful schmaltz is so safe, though, that it mostly makes me wish that Taylor were still willing to take excursions from beaten paths: That way lies "Style," even if you might have to double back from the doorsteps of "Look What You Made Me Do" or "End Game" on occasion. [5]

[Read, comment and vote on The Singles Jukebox]

#Taylor Swift #Cats #pop #music #music review #writing #musical

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americanahighways · 5 years ago

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Scott Avett is having the type of month multi-hyphenates dream about: a new album; a sold out show at Brooklyn’s Barclays Center; an appearance on The Tonight Show; and the opening of a huge collection of his paintings at the North Carolina Museum of Art.

“Today is the first day I’m constantly reupping as a musician,” he said during a Monday morning interview four days prior to the release of “Closer Than Together,” the Avett Brothers 10th studio album and the group’s first since “True Sadness” hit number 3 on the Billboard Top 200 in 2016. “I’m dedicating for the first day in many, outside of playing shows, just to work on music and on being a musician again.”

He laughs. “With all that’s going on, I have to do that. But I’m full in all the way. I’m going to try to keep going and try to keep making what I’m supposed to be making.”

On the music front, that involves what Avett calls a “gradual evolution” of the group’s sound and vision. While the group says it does not make “sociopolitical” music, “Closer Than Together” addresses gun violence (“Bang Bang”) as well as toxic masculinity and greed (“New Woman’s World”).

But more than anything, the album represents a call for unity, no surprise for a band whose earnest, seemingly simple songs about the human condition touch on issues of great depth for us all. You especially see that during the Avetts’ live set, which I witnessed first-hand while shooting the show in Brooklyn later that week.

During a 30-minute phone interview, Avett touched on the group’s creative process, his various outside projects (including a Broadway musical based on the Avett Brothers’ music and producing Clem Snide’s new record), the freedom of working for a major label as the music business turns upside down, and the effect of a Judd Apatow documentary on the making of “True Sadness.”

Here are excerpts from the interview, edited for clarity:

On the group’s “life and death output” and the effect it has on him: “Every one of them, by the end, there’s this output of life and death from ideas and thoughts. In some ways, it’s the death of songs in that we’ve recorded and released them, and yet there’s this new life that does reflect seasonal growth and dying off and rebirth. Creatively, it’s reflective of life and the trust we have in each other. But the songs have many lives and deaths as we are documenting them and putting them out there.

“I’m more aware of it than I used to be. I used to be so miffed by how short and grumpy I was at the end of every recording session. I would just be a total pain in the butt to live with. Seth (his brother) would certainly agree. Now I’m much more aware of it and doing things to combat it.”

On how the “True Sadness” documentary affected his approach to music making: “It was exhausting, but so was ‘Four Thieves Gone,’” Avett says, referring to the group’s 2006 album. “Seeing the documentary myself helped me to observe (how he responded to stress). I was able to observe this self I was on screen, this really unguarded vulnerable self. Isn’t that amazing, that we can do that?

“We had the same process with this record for sure, the same feelings for sure, but I did more to combat them and keep them in place, I tried to use the parts of them that are good to fuel what I do as opposed to stopping something in its tracks, which I’ve been known to do because I didn’t know what to do with it.”

On the documentary’s effect on the band’s popularity: “’True Sadness’ had a little longer life because of that documentary, but the cool thing was we saw real numbers change at our live shows. More people came out who were curious, who had no idea what we were. It was sort of like, ‘Here’s this group. Why have I missed them?’

“It was exciting to see that growth in our concerts. That’s our real time life, where we come and share all of these creative lives and deaths that we experience within a show.”

On the band’s continued growth and evolution two decades into their career: “Not everyone knows all the missteps and failures. There are all these hits and misses here and there. They always happen, but when one miss happens, the attitude has to be there will always be another opportunity. We have to know it’s OK, that there are always going to be misses. In fact, there should be more misses than hits.

“For the longest time, we always sort of ranked ourselves. Early on we had to do that, because no one was going to rank how we did. And we were very lucky. We were raised in a very caring — probably it’s a spiritual thing that I didn’t know at the time — environment in which you were encouraged to accept yourself as being part of something bigger and something grand.

“So, it’s a gradual evolution for me. It’s been in real time. I really don’t take any time to compare where we are consciously. Sometimes I forget where we sort of were or where (songs) came from. But when I think about it, I can certainly hear two different bands, especially as far as sound goes.”

On signing with a major label (Rick Rubin’s American Recordings, now part of UMG) and advice they received from Paleface, a folk artist who was signed by Polygram and Sire in the 1990s only to be dropped soon after: “One of the things we did right, I think, is work amateur until you get called up into the quote-unquote majors, and I shouldn’t even put quotations around that. We started as amateurs (with the North Carolina label Ramseur Records). The majors would have been suicide for us. It really would have been.

“Paleface is this brilliant songwriter we met in New York in 2003, and what he experienced was the opposite to what we went through. He was on a major label really early and really quick and he self-destructed. He said, ‘I didn’t have to do anything for myself. I always had people around me who would do everything.’ He would always tell us how good it is that we grew slowly, that we made all of those early mistakes in the amateurs.

“We knew how to draw thousands of people in several cities before we ever got to the majors. We knew how to sell records. We knew how to run a business. We knew how to write checks and manage money among each other. We didn’t really need a major label at that point except to advance our creative process, and that’s where Rick came in.”

On taking more than three years between albums: “We’re more apt to take more time now than we used to. We didn’t used to have the financial ability to take the time, but as soon as we were remotely stable (financially), we started taking the time. It’s one of those resources I was talking about.

“Right off the bat, Rick helped give us space that we weren’t taking for ourselves. We weren’t taking the initiative to make space and time at a natural pace. Rick has really helped us take time, make space for the music and follow our instinct and conscience. We were on that path already but he really sped it up for us.”

••••••

At this point, with about 10 minutes left, our conversation shifted to Avett’s other projects while staying focused on the creative process. We discussed his art shows (the large one at the North Carolina Museum of Art and a smaller one at the Soho Gallery in Charlotte, both of which will be up through January 2020), and the Broadway musical. The Clem Snide record, which Avett describes as “indie but spiritual” will be released next year, and the band also is expected to return to the studio in the spring to finish some music that was left behind during the Closer Than Together sessions.

Avett graduated from East Carolina University in 2000 with a BFA in studio art. The “full-on big show” in Raleigh, “Scott Avett: Invisible,” is described by the museum as his take on “universal issues of spirituality and struggle, love and loss, heartache and joy, as well as more personal stories of career, family, and living in the South.”

Painting and performing are large parts of who Avett is creatively, but they “can really distract each other badly. They can be each other’s worst enemy. I have to be really disciplined and know when to turn my back on one to work on the other.”

With the band on tour through November, he’s looking forward to taking some time to recharge before, as he describes it, the creative muse inevitably returns. And he remains open to following the “spark” that sometimes occurs when he’s exhausted.

“When I’m home and once I’m rested from being out, it’s so predictable, I get these visions of what’s next or these sounds of what’s next. They come in and I’m driven to go out and make whatever it is that calls me,” he said. “But some of the most interesting stuff for me comes after the big efforts, when you’ve had the juices flowing and gears turning. Sometimes that lack of presence you feel because you’re so exhausted actually makes you more present. It causes you to be in real time and something great can happen. That’s really fascinating for my process.”

The Broadway musical, which largely will be based on 2004’s “Mignonette” as well as other songs from the group’s catalog, is an additional artistic challenge for the group. “It seems so natural,” he said of “Swept Away,” which premieres at Berkeley Repertory Theatre in June 2020 before moving to New York. “Early, early, early on, I could see these songs as a Broadway piece, but I put that idea away years ago. To see someone else imagine it or see it in the same way, that’s exciting. They’re producing something that may or may not work, but it will be fun to see what happens.”

With three children — ages 4, 8 and 10 — and a career filled to the brim, Avett said he has learned over the past several years not to “overvalue work time” and to “give more value to the nondoing.”

“I swear, I’m doing much more within less work time than I used to, because adopting that principle causes you to be more relaxed and have a more fulfilling family life,” he said. “It’s easy to say that a career is the most important thing you have, but that’s such nonsense. It’s all so silly. If I afford myself more family time, which is super important, then I’m more relaxed when I go to work. And when I’m working, what I’m doing is more sincere and more fun. I just couldn’t get that before the age of 40. I couldn’t get it.”

As the conversation ends, I asked Avett if he enjoys music and art as much as he did 20 years ago.

“I think I do,” he said, laughing. “But in a different way. I try not to treat it as critically as I did 20 years ago, and that makes it more fun. It’s been a shift, because as many times as I say I’m going to change careers or going to quit, I never would. I’m always excited to move on to the next thing. There’s always the next thing to enjoy. I think that’s the key.”

https://www.theavettbrothers.com/welcome

Interview: ‘Full in all the way’: Scott Avett talks about music, art and the creative process @theavettbros @umusic @republicrecords #americanamusic #closerthantogether Scott Avett is having the type of month multi-hyphenates dream about: a new album; a sold out show at Brooklyn’s Barclays Center; an appearance on The Tonight Show; and the opening of a huge collection of his paintings at the North Carolina Museum of Art.

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prideguynews · 6 years ago

Link

by Michael Musto 2h ago

With a new documentary upon us about the legendary 1970s disco Studio 54, it’s time to remove the cobwebs from the corners of my mind and relay some misty, water-colored memories about the whole dizzying experience. First of all, the place was everything it was cracked up to be. At a time when the country was disillusioned with our shady government and New York City was in shambles, it rose up like a miracle, a glitzy hedonism haven for escapism and glamour, filled with people of all races and sexualities. Here are some things you might not know about the TV studio turned dance palace, which attracted a conga line of glitterati starting in 1977:

*It consisted of three levels (plus a bathroom landing slash lounge). The main dance floor was a thrilling wonderland, with blinking panels descending and rising, and a quarter moon with a faux coke spoon coming down at key moments. Downstairs was where the celebrities did real coke. A lot. And the balcony was where…well, let’s just say I once sat there to relax for a minute, only to have some man reach from the row behind me to grab for my business. Why, I never!

*To get in, you had to be famous, beautiful, a media person, or know someone. I was press, so frisky co-owner Steve Rubell would always pull me in, but when he didn’t happen to be at the door, the regular door guy, Marc Benecke, would shoot me withering looks and refuse me entry, correctly sensing that I was not Bianca Jagger. The longer you stood there hoping for admission, the smaller your chances got, so I had to cook up some better schemes. I became pals with an Oscar nominated actress, and she always got us in free, but then came the problem of how to ditch her inside the club and have some fun with my gay male friends! Ah, the problems of the ‘70s.

Zeitgeist Films

*Gays were not only welcomed, they were worshiped. This was after Stonewall and before AIDS, so it was a time of liberation, pride, and tons of fun, when nocturnal NYC gays romped freely and straights wanted to be near them at any cost.

*The array of celebs was extraordinary, and right up in your face. Liza Minnelli, Diana Ross, Michael Jackson, Andy Warhol, Halston…everyone. And there wasn’t the kind of security celebs have now, so they were mixing with the rest of the crowd and even photographers were roaming free, with grins on their faces. One night, Rubell snuggled up to me and cooed, “Elton John and Rod Stewart are coming together later. Don’t tell anyone.” I told everyone—and that’s what he wanted! And sure enough, Elton and Rod came in and electrified the place. Another night, I was dancing with a friend, but noticed that your dancing partner could change as the crowd swirled round, and no one minded, since everyone was equal under the great glitter ball. (We’d all gotten in, after all.) So I found myself eventually dancing with world-famous model-actor-scion Margaux Hemingway, who didn’t mind! I was verklempt.

*The place also created its own celebrities, like Rollerena, a drag queen on roller skates, with a magic wand in tow, and Disco Sally, a 70-something retired lawyer and widow who loved to boogie, especially with younger guys (one of whom she married in a much publicized ceremony).

*The music pumped all night, with great songs that were heavy on the black female vocals, plus wonderful orchestrations. The yin and yang of disco hits were Gloria Gaynor’s “I Will Survive” (a thump-thump anthem celebrating a defiant refusal to care about the schmo that got away) and Thelma Houston’s “Don’t Leave Me This Way” (the flip side of that, about desperately trying to hold onto your man at any cost). Both were incredibly fun to act out on the dance floor, with lots of arm gestures and facial expressions (some of which people could even see through the strobe effects). Speaking of “leaving this way,” when you heard disco queen Donna Summer’s “The Last Dance” emerge from the DJ booth, you knew it was—duh—the last dance of the night, and you had to pull yourself together and try to sneak into a cab (or, in my case, subway) home. Depressing! But there was always tomorrow night.

Zeitgeist Films

*I once went to Halloween at Studio 54 and it was kind of bad! The crowd always dressed so remarkably that being forced to do so on this night of rituals simply didn’t inspire them, and the dance floor was mostly filled with bridge and tunnel types in lame ensembles. Every night was Halloween for the core 54 crowd.

*The party ended when Rubell and partner Ian Schrager went to jail for tax evasion, and in 1980, the new owner, Mark Fleischman, took over. We all tried to pretend that nothing had changed, but eventually we had to face the fact that the magic was gone. In 1998, the main space became a Broadway theater and then the basement was repurposed as the cabaret room Feinstein’s/54 Below. I’ve occasionally spotted customers there trying to sniff the floor.

Googoo for Gaga

Moving on to a retread of Liza’s mother’s greatest triumph: Lady Gaga can act! She and Bradley Cooper (who directed and costars) have cooked up a fab A Star Is Born, full of great offhand moments, wonderful singing and acting, and fancy drag queens. (In an early scene, Cooper autographs Willam Belli’s fake tits, and you’ll never forget it.)

What I liked about this version of the oft-told tale is that Jackson Maine, Cooper’s superstar singer character, isn’t really jealous of his wife’s rising success, but of the fact that she’s sold out and gone cheesy. I also appreciated the realistic way Ally (Gaga’s character) approaches Jackson’s alcohol problem, first with dismay and tough love (threatening him to shape up) and then with a more compassionate take, realizing that he’s suffering from a disease and it needs to be treated. Early on, there are some jokes about Ally’s nose getting in the way of her success, and it makes sense that at that point she wouldn’t go for surgery, wanting to just be herself (until she becomes a sort of glorified Britney Spears).

Just two complaints: They should have gone for broke and had her say “I’m Mrs. Ally Maine” in the big finale scene (shades of the Judy Garland version). Putting in the “Mrs.” would have resonated in light of a previous scene where she irritably calls Jackson her boyfriend. Secondly, Cooper should have directed Gaga to cry harder during a certain pivotal dramatic moment; it would have clinched her an Oscar. Otherwise, this Star is both raw and dazzling—and though Gaga sings the intro to Judy’s “Over The Rainbow,” it’s closer to the Barbra Streisand version, but way better.

In Other Movie News…

Leave No Trace is Debra Granik’s thoughtful film about a troubled veteran (Ben Foster) and his daughter (Thomasin McKenzie) trying to find solace in a Portland nature reserve. After a special screening, Cooper urged the crowd to take a walk and touch a tree to restore communication with nature. (When he said this, I quickly turned off my phone! I won’t be owned by technology anymore.)

At a luncheon afterwards, Foster told me he’s tempted to undo certain news apps on his phone because the news is so disheartening these days. I agreed, saying I can’t bear reading Trump’s horrifying tweets, though I feel I need to stay in touch with what’s happening just to be plugged in. In another life-changing development, Foster told me that he’s moving to Brooklyn with his wife (Laura Prepon) and their kid because the East Village has changed and there’s a Target there now, for starters. I told him I’m from Brooklyn and didn’t really want to go back there that much, alas. I also confessed that The Village Voice and Theater Talk had both recently folded, but I was handling it okay, knowing that life brings more than one bad thing—or good thing—at a time. “I wish you ease,” he replied, sincerely. Nice! At a screening of The Great Buster, Peter Bogdanovich’s doc about the slapstick comedy legend, Bogdanovich extolled the glories of black and white silent films. He said Hitchcock told him that movies had become just people talking, while Orson Welles advised him that “black and white is an actor’s best friend.” Still, Bogdanovich decided to have people talk in his doc, including Spider-Man: Homecoming director Jon Watts, who says that since Spidey has an expressionless (i.e., covered) face, Watts researched how to do blank-faced comedy by looking at Keaton’s work!

Eliciting a bevy of emotions, Tamara Jenkins’ Private Life is a seriocomic look at a married couple’s repeated attempts to have a baby, from in vitro to adoption and beyond. After the movie, Paul Giamatti was asked how he researched playing a guy with one testicle. He joked that in real life, he has three of them, so he had to scale it down, then he added, “I feel like a lot of the characters I play have one testicle.” That’s one more than our President. I wish him unease.

Michael Musto is the long running, award-winning entertainment journalist and TV commentator.

@mikeymusto

The post Looking Back at the Notorious Disco Studio 54: Sex, Drugs, and Thump Thump appeared first on PrideGuy - Gay News, LGBT News, Politics & Entertainment.

#gay #gay news #lgbt

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vinylbay777 · 6 years ago

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Live Shows to Check Out in New York This Weekend (September 28-30, 2018)

The New York music scene is filled with amazing live music each and every night. From big name artists selling out arenas to smaller artists vying for your attention at smaller clubs, there is never a dull moment.

This weekend will be no different, as a wide range of artists will be in town for a variety of different shows and festivals. Global Citizens Festival, Brooklyn Comes Alive and the Never Leaving New York festivals will all be taking place this weekend. Billy Joel will be continuing his record-breaking Madison Square Garden residency. Chance the Rapper will be playing a special one-off show. The Mighty Mighty Bosstones, Boris, Dokken and more will be providing ample opportunities for rock fans of all kinds to “rock out.”

Vinyl Bay 777, Long Island’s music outlet, loves live music. That’s why we’ve compiled a list of this weekend’s hottest shows happening in the New York and Long Island areas. Here are 11 events that you won’t want to miss.

1. Ginuwine: Best known for his 1996 single “Pony,” Ginuwine’s smooth R&B vocals have been making fans melt for more than two decades. His last proper solo album, 2011’s ‘Elgin,’ was his fifth album to crack the top 10 on the Billboard R&B chart. Catch him tonight as he gives you all those sweet 90s feels. Shae Williams and DJ Prince Hakim will be opening the show. (Friday, Sony Hall)

2. Justin Willman: Part comedian part magician, Justin Willman’s work is phenomenal. The way he presents his ideas will leave you in stitches as he blows your mind with his simple but astounding illusions. Willman brings his Fake Believe tour to New York for five shows this weekend. (Friday - Sunday, Caroline’s on Broadway)

3. Global Citizen Festival: Bringing attention to the issue of extreme poverty, Global Citizen aims to get people involved in exacting change. This year’s festival will include performances from Janet Jackson, The Weeknd, Shawn Mendez, Cardi B, Janelle Monae and John Legend, who will be raising awareness during their sets. Ticketing for the festival is over, however the event is being aired on MSNBC, nbcnews.com and iHeartRadio. (Saturday, Central Park)

4. Jimmy G Benefit: Murphy’s Law frontman Jimmy Gestapo went through gallbladder surgery earlier this year, which found the singer facing high medical bills. The band has been trying to raise money for him ever since. The latest effort comes in the form of a benefit show happening in Tompkins Square Park this weekend. Headlining the show is ska-punk stalwart the Mighty Mighty Bosstones, along with opening sets from Sheer Terror, Killing Time, Combust and some special guests. (Saturday, Tompkins Square Park)

5. Boris: Japanese rockers Boris recently celebrated their 25th anniversary together, releasing a brand new album, ‘Dear,’ to mark the occasion. With a larger-than-life stage show and a sound that appeals to fans of both heavy rock and experimental, these guys are not one to miss. The band plays a small one-off show in Brooklyn this weekend. (Saturday, Schimanski)

6. Chance the Rapper: Chance the Rapper has been having a real breakthrough over the past few years. His debut album, 2016’s ‘Coloring Book,’ earned three Grammys, making it the first streaming-only album to receive the award. Since then, the artist has been doing a lot of good with his newfound fame, including donating to the Chicago Public Schools. Chance hits New York for a special show sponsored by Spotify’s RapCaviar. The show also features up-and-comers Sheck Wes, Tierra Whack and DJ SpinKing. (Saturday, Ford Amphitheater at Coney Island)

7. Brooklyn Comes Alive: The fourth-annual Brooklyn Comes Alive festival will be taking place this weekend, bringing together more than 50 musicians of varying genres for a bit of musical experimentation. Included in the mix are tributes to Prince, Gregg Allman, Steely Dan and more, as well as instant jam sessions leading to once-in-a-lifetime collaborations. Festival goers will have in-and-out access to all three venues involved. (Saturday, Brooklyn Bowl / Music Hall of Williamsburg / Rough Trade)

8. There’s No Leaving New York Festival: The National are throwing a two day festival in Queens this weekend to close out Forest Hills Stadium’s 2018 concert season. Saturday festival goers will have the chance to see Jason Isbell and the 400 Unit, Phoebe Bridgers, Cigarettes After Sex and Adia Victoria, while Sunday attendees will be treated to sets from Future Islands, Cat Power U.S. Girls and Bully. The National headline both nights. (Saturday & Sunday, Forest Hills Stadium)

9. Dokken: Classic metal band Dokken is reportedly heading back into the studio to record their first album in six years. Current guitarist Jon Levin told AllThatShreds.com (as reported by Blabbermouth.net) that the new music will have that “classic Dokken sound” fans have come to love. Hear all the old tunes one more time when the band’s fall tour hits Long Island this weekend. (Sunday, Mulcahy’s)

10. Pete Yorn: Earlier this year, singer/songwriter Pete Yorn and actress Scarlet Johansen reunited for a new collaborative EP, ‘Apart,’ their first together in nine years. Whether he tackles any of those songs or strictly sticks to the hits of his solo repertoire during his current east coast acoustic tour, which kicked off this week, remains to be seen. (Sunday, Gramercy Theatre)

11. Billy Joel: Long Island’s prodigal son returns for a record-breaking 102nd show at Madison Square Garden this weekend, the 56th of his monthly residency. The show is once again sold out, though you can count on Joel performing shows there through December, as well as a special New Year’s Eve show at Nassau Coliseum. (Sunday, Madison Square Garden)

With all the hot shows happening in New York and Long Island, this weekend is the perfect time to explore what the music scene has to offer. Check out these or any of the smaller shows happening around the area and let us know who you’re excited to see live in the comments below.

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Find music from these touring artists and more at Vinyl Bay 777, Long Island’s favorite new independent record shop. We have thousands of titles to choose from in a variety of genres to satisfy most music fans. Browse our wide selection of new and used vinyl records, CDs, cassettes, music DVDs, memorabilia and more in store at our Plainview location or online at vinylbay777.com. With more titles being added to our selection all the time, you never know what you might find at Vinyl Bay 777.

#live music #concerts #new york #Long Island #weekend

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conradjlaird · 6 years ago

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Turning Life Upside Down

Elise Tollefsen is an actor studying in the two-year acting program at Maggie Flanigan Studio. During this interview, Elise talks about starting at the studio with the Meisner Intensive and what the first year of the two year Meisner acting program has been like.

Elise Tollefsen Interview - Acting Programs New York NY - Maggie Flanigan Studio

Q: Elise, before you started the first year, even after doing the Meisner Intensive, what did you think it meant to train as an actor?

A: That is a great question. I don't think that I realized just how important the other classes were to creating an actor that can portray more emotion than just a person that's studying acting alone. The acting classes are obviously where the magic happens, but I would have never done what I did this year without voice and speech movement. Even theater history, and knowing where everything is coming from, and learning why we're doing certain things and how we're doing certain things.

Q: Now that you've finished the first year, what do you think it means to train as an actor now?

A: It means you're going to have a lot of rough times that will pay off in the end. It's probably the most fulfilling process, but it takes a lot more effort than I initially was expecting, both personally and within the studio itself and classes. Also, it does a lot of work on your own trying to figure out your habits and how you function as a human and how other people operate and considering that. It's like a 24/7 job.

Q: What surprised you the most over the course of this year? What did you learn about yourself that was the biggest revelation for you?

A: The most significant revelation is probably how your body affects how you can take in your surroundings and how you process emotions and all of that. It is crazy how once you break down the barriers, especially living in New York City, you put up a lot of obstacles, especially on the streets and talking with other humans; you have a shield whatever your shield may be. Breaking that down has made a huge difference in acting and being able to take things personally and being able to relate to different situations and circumstances.

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Q: After doing a full year advisor work, what is the thing that resonates most with you?

A: The most important thing that I've learned about doing all of it, is probably not to care too much. I don't mean don't care about the work you're doing, care huge amounts about that, but don't go into a room caring about how it's going to happen and how it's going to work out because no one knows. If you go in there thinking that you're going to do this one specific thing in this one specific away and this thing is going to happen, I hope it happens. It's not going to happen most likely. The best things come out of just being able to let yourself go and do it.

Q: So trusting the process and not caring about the result?

A: Yes. Trusting your training, believing that you've been taught the things that you need to know, and trust that you're in a safe environment. If things happen a weird way, great. If nothing happens, great. You've learned a lot.

Q: How have the auxiliary classes helped you in the acting room? How have they helped you grow as an artist?

A: Each class has such a different effect on everybody. For me, each level has benefited me so much in so many different ways. I can't imagine being without the auxiliary classes I took. Theater history, I did not want to take. I hate theater history, or at least I should say, I used to hate theater history. Luckily, the teacher here at Elliot is one of the most amazing teachers. He makes anything exciting. You do get to learn how to, not only process what you're reading but also you learn how to speak like a professional, which I think is very helpful. Knowing how to break something down and portray it in a way that sounds like you know what you're talking about. You look like a professional that can do the work.

Voice and speech are huge mainly because I'm curious to see how it's changed on camera, but my voice is completely different now. A lot of the times, mainly because of the culture, especially women speak in the higher register because that's how we seem like friendly humans. I realized that my voice was never that high naturally. You learn how to be yourself and speak in a register that your voice wants to live in. Finding different ranges is enormous, especially when you're in a big scene in the acting class when you're yelling, it's-- Gosh, it would kill my voice if I tried to yell the way I used to. That is super helpful, especially when you do show after the show or take after take, that's going to be wildly famous.

Then, movement. Movement is one of the highest classes ever. It breaks down every single barrier you've ever created. You also get used to human contact, which is a scary thing, but when you're in a safe environment, you feel comfortable with it, and then you can bring that into the acting class, and you're much more open with everybody.

Q: What made you decide to turn your life upside down and make the choices to commit to training in this program?

A: It's made an enormous impact. I was on the same show for six and a half years before I left. That was my home, and I had been there for so long. When I started the summer intensive here, I was planning on moving to Los Angeles in the fall, and it was this thing. I was like, "It's fine. I'll find a school out there." After talking to so many people out there, they're like, "Please do not come here for school. Don't do it. Just don't do it," because you can't find this caliber out there.

I also realized that if I'm going to be a respected actor in the future and do great work, I can't just take an acting class and call it a day. You have to put in the work, and you have to put in the time and the effort. The money will happen if you want it to happen. I went from a Broadway show that's nice and cushy; eight shows a week - done. I can live comfortably in New York - to being a waitress. I have never been happier in my life. You have to decide what you really want and how to get there, you might have to make some sacrifices in the beginning.

Q: Why would you tell someone that Maggie Flanigan Studio is the best studio for actor training?

A: There are a couple of reasons. The big one, just the sheer size of the classes, is going to be smaller because it's not one of those cookie-cutter studios that everybody because they want to get money. This studio doesn't take crap from people. If you're not serious, then you're going to be gone because you can't handle it.

It's that, and it's also the most loving environment I've ever been in. You feel comfortable in it. Nobody's competing with each other. Every other studio that I've heard about - I've never been to them - everybody talks about how everybody's undermining everybody, and nobody feels comfortable, and it feels like everybody secretly wants everybody else to fail. This is the absolute complete opposite. I have never felt more supported by my classmates, even classmates I don't know that was in the second year when I was in the first year would always be around to help and talk. It's very, very supportive.

Q: How has the community of students also helped throughout this first year?

A: The people that I have made friends with here, they're pretty much a family. When you are going through significant life changes, that's the biggest thing that you need in your life. I can't say enough good things about those people. They just made the process so much easier, and it's great knowing that other people are feeling the same thing as you. Everybody is going through something. It may be completely different, but everybody is very understanding of the fact that you are all changing and that's great.

Q: How was working with Charlie this first year?

A: It was great [laughs]. It was awful and great all at the same time. He is the hardest critic, but the most supportive human in the world all at the same time. He's a mentor and a role model for everybody here. He's very loving, very kind, but he also knows when to snap you back into action if you're slacking a little bit or he sees anything happening. It's a great environment. You know that you're safe and you know that your classmate supports you and he's just a great person to have around.

Q: How do you feel about starting the second year in two weeks?

A: I was ready the day after we finished the first year. I'm excited. I've no idea what's going to happen, which is slightly terrifying. I'm excited; it's going to be great. It's going to be magical.

The Meisner Intensive and Acting Programs at the Maggie Flanigan Studio

Learn more about the Meisner Intensive and the acting programs at the Maggie Flanigan Studio on the acting programs page on the studio website ( http://www.maggieflaniganstudio.com/ ), or by calling the studio during business hours at (917) 789-1599 with specific questions.

Maggie Flanigan Studio 153 W 27th St #803 New York, New York 10001 +1 917-789-1599 https://ift.tt/1f8nOu4 https://goo.gl/maps/oxqqExybwL32 https://ift.tt/2pKKIUQ acting programs new york, acting classes new york, acting studio new york

Acting Programs New York NY

The above blog post Turning Life Upside Down is available on Meisner Technique NYC

Turning Life Upside Down

#Maggie Flanigan Studio Blog #Turning Life Upside Down

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renateharris · 7 years ago

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Lea Speaks!

Stephen Libby: Hi Lea. I was just watching some of your videos. Most recently with Ada Vox on American Idol.

Lea Michele: Oh my God. That was so incredible. First of all, going on Idol for me was exciting. I’d been a fan for so many years. It’s funny. The first episode of Glee aired after American Idol. They had us go to Idol in the audience. Then Glee aired and after that moment our lives changed. So I look at AI like it was a turning point for me. And then ten years later to be on the show as a mentor. The producers said Ada Vox has a voice that’s out of control; we would just die for the two of you to sing together. We thought “Defying Gravity” would be a perfect song to do together. It was like a pinch-me moment to be singing that song on the stage of Idol. She’s fucking incredible and has the determination to take her all the way.

SL: That was one of the moments that shows like that are created for. You have many fans from Glee, and Scream Queens, The Mayor and your recording career. Don’t tell anyone, but I think your version of “Don’t Rain on my Parade” is as good if not better than (whispers) Barbra Streisand. I may lose my gay card for saying that.

LM: Oh my God! I think people are rolling in their graves. But, thank you. When I’m performing it’s like therapy for me. I take what I’m feeling and put it out there. It’s why I haven’t done a lot of live performing over the years because I find it takes so much out of me. I have finally learned how to manage my energy to do multiple shows because it’s more than just standing there and singing for me.

SL: Speaking of tours, what can people expect from your new tour with Darren Criss?

LM: Darren and I met on Glee and we became fast friends, we hang out all the time. We were asked to perform at benefits and smaller events. In October I performed with Darren at Elsie Fest and we realized now’s the time to structure a larger show. We’ll do a bunch of songs from Glee, we’ll do songs from our solo records, and we also have a really big Broadway background. We just want it to be an intimate experience. We want the audience to feel like they are just having out with me and Darren.

SL: Do you prefer performing live, television, movies, recording in a studio?

LM: I feel most grateful that I’ve never really had to pick. I get to do all of them. I think that’s what keeps everything fresh. By the time I’m done with this tour I’ll probably really want to do television. I don’t ever get burnt out and everything still feels exciting and good and new. TV is fun. Singing is difficult because like I said it takes a lot of me.

SL: Who do you enjoy listening to?

LM: Oh my goodness. I listen to so much and so many different things. But I really love great female singers. I love Pink, I love Kelly Clarkson, Ariana Grande, Katey Musgraves.

SL: What do you enjoy doing when you’re not in the theatre performing?

LM: For me, I’m in a really strict routine when I’m touring. Wake up, breakfast, gym, steam room. Warm up for a really long time. Maybe walk around and get a good vibe of the city. Then listen to good music and get excited for the show. It’s about being in a good head space and being as good as I can be when I get on the stage. Darren is the best and the most fun and he is going to make me get out of that routine … (laughs) but I’m not going to let it effect anything. But if I know him he is going to pull me out of bed and make me go to every fucking weird bar. It’s nice to have a buddy. It’s lonely to be on tour alone. It’s going to be a lot of fun and it leaves the door open for a lot of spontaneity in the performance in show too.

SL: Who would like to collaborate with?

LM: That’s like the hardest question in the whole world. I can’t say the big names like Adele or Barbra [Streisand] because I would shit my pants. I had the pleasure of meeting Pink recently at the CMA Awards and there’s an energy to her that’s so grounded and strong and she has that voice. She was also just carrying a beer around with her so I feel like we would have fun and make some great music and sing some dope songs together.

SL: Do you have any plans to return to Broadway?

LM: I would love that. There was talk for a while about me doing Funny Girl and I still would love to make that happen. If Broadway would have me back. I’m actually working on the side through the tour to find the next best thing for me to do on Broadway because I would just love that.

SL: While you and Darren are out hitting the city I think it would be amazing for you to check out Fire Island.

LM: I don’t think they would ever let us leave!

SL: You’re right…

LM: The last time I was on Fire Island, I was out to visit Jonathan [Groff] in The Normal Heart, trying to get the ferry back was nearly impossible. So, that idea sounds dangerous to me, but of course I think it would be incredible.

micheleInterview by Stephen Libby Photo credit:Marcello Ambriz

https://www.thegayjournal.net/2018/05/17/gay-journal-summer-2018/

#Lea Michele #LMDC Tour #Darren Criss #Broadway #American Idol #Tourning #Television #Future Plans

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feamproffitt · 7 years ago

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“Who Knew That Tiny Living Could Make Such a Huge Difference?”

This is a guest article written by Felice Cohen and first appeared in our collaborative e-book “The Future of Property,” which features 17 thought leadership articles covering PropTech, property investment and housing. You can download your free copy here.

Felice Cohen is the author of What Papa Told Me, a memoir about her grandfather, a Holocaust survivor, and 90 Lessons for Living Large in 90 Square Feet (…or More), based on the YouTube video of her 90-sq-ft NYC studio. Felice has been a professional organizer for over 20 years.

“Who knew that tiny living could make such a huge difference?”

In 2007, when I moved into a 90-square-foot New York City studio apartment, there were no TV shows about living in tiny homes or tiny house festivals because “living tiny” wasn’t a thing. Fast-forward ten years. Now, living tiny is huge. But why?

Because people are discovering that what you get in return for giving up square footage is priceless. I should know. I lived for five years in a space the size of a Honda Accord. I moved into that studio because the low rent allowed me to quit my demanding job and finish writing my first book, What Papa Told Me, a memoir about my grandfather, a Holocaust survivor. My plan was to stay one year, then get another job and a larger apartment. But something happened during that year. My life got better. My stress went down and my happiness (along with my savings) went up. So I agreed to a second (and a third, and a fourth and a fifth) year. I didn’t want to give up my new lifestyle. I was still working hard—writing and organizing people’s homes—but it was on my own time schedule.

When my newspaper editor at the time found out I lived in a small space and was a professional organizer, he asked me to write an article giving tips on how to live in a small space. At the time, my take was on how to make a small space feel bigger. Soon after, a videographer who made videos of tiny homes around the world interviewed me. Neither of us imagined the video going viral on YouTube, but it did. Strangers from around the world contacted me, wanting my advice on organizing and decluttering, as well as praising my philosophy about living large in a small space. My philosophy on living large? I didn’t realize I had one.

“In the last decade, the tiny house market has exploded around the world and is only gaining traction as people recognize the benefits of living with less square footage.”

Unbeknownst to me, those five years were a sort of unintentional housing experiment. I had moved in for one reason, and stayed for another. Despite not having a kitchen, a couch to lounge on, or a bed in which I could sit up in, what I had instead was so much better. I had time. Time to do what I loved like writing, organizing apartments, riding my bike, practicing yoga, traveling, going to Broadway shows, and more. Much more. By living smaller my life had gotten larger.

But I am not the only one to realize the benefits of tiny living. In the last decade, the tiny house market has exploded around the world and is only gaining traction as people recognize the benefits of living with less square footage.

“No matter the reason, almost everyone has come to learn that living tiny doesn’t mean living with less.”

Traveling around the country to tiny house festivals, I love speaking with my fellow tiny dwellers, all of us espousing how living with less has given us so much more in other ways, mainly, more experiences. I’ve spoken with hundreds of people interested in joining this community, all with their own reasons for living tiny. Some seek to cut back expenses, to save money and eventually buy a bigger home. Some are looking to reduce stress or leave a smaller carbon footprint. There are those pursuing an alternative to living in their college dorms and those preparing to retire and want to travel. And of course, for some, it’s not their choice to downsize, but maybe they lost their job or had to take care of a sick relative. No matter the reason, almost everyone has come to learn that living tiny doesn’t mean living with less.

Of course, many who attend tiny house festivals or watch TV shows about tiny homes have no intention of ever living in a Lilliputian size space, they’re just curious about how people live in those minute sized homes. Along with the curiosity seekers, are those with harsh opinions about tiny spaces, several of who voiced those opinions in the comment section of my YouTube video. More than one person thought I was nuts to live in that small space, saying that for the same rent I could live in a huge home elsewhere. Well, there’s nothing wrong with “elsewhere,” but that’s not what I wanted. I wanted to experience living in Manhattan and all it had to offer. Still, I was taken aback by their vitriol. Not once in the video did I encourage others to live tiny. All I did was tout the benefits I received by living in a small space.

So where is the anger coming from? Maybe fear. We have been brought up on the notion of the “American Dream,” that we should strive to live in a large home filled with stuff. But as many know, if you’re not careful, that dream can turn into a nightmare pretty quickly. Maybe one month the car needs brakes, the kids need new sneakers, and the dog gets sick. And the mortgage on your large home is still due. This means having to work longer hours or getting a second job, which translates into less time enjoying that big house filled with those expensive electronics, toys, clothes, books and more. You get the picture?

Maybe the American Dream needs an update. Maybe the dream should focus on enjoying life’s experiences, rather than life’s stuff. People who have embraced living tiny have come to understand and appreciate that we only get one go around in this world, so why spend it stressed about paying for space we don’t need and, in many cases, even want? You may think living tiny means living with less, but in all actuality, living tiny means living with more. More experiences, more happiness, more enjoyment. How many people living in McMansions can say that?

“Cities are beginning to look to tiny houses as a solution, which can be a win-win for everyone.”

As people continue to embrace the idea of living in smaller spaces, the one issue standing in the way is where to put these homes. Many communities have a housing shortage, not to mention homelessness. There may be homes for sale, but they’re too large and too expensive. Cities are beginning to look to tiny houses as a solution, which can be a win-win for everyone. Instead of one large plot of land for one large home, why not several tiny homes in the same plot, which in turn could create a neighborhood. When people can afford to live in their own home, everyone—homeowners and communities—benefit.

Who knew that tiny living could make such a huge difference?

– Written by Felice Cohen

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Capital at risk

The post “Who Knew That Tiny Living Could Make Such a Huge Difference?” appeared first on Economoose.

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2700fstreet · 8 years ago

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THEATER / 2017-2018

ON YOUR FEET!

The Emilio & Gloria Estefan Broadway Musical

Featuring music and lyrics by Emilio and Gloria Estefan Directed by Jerry Mitchell Book by Alexander Dinelaris Choreographed by Sergio Trujillo

So, What’s Going On?

The scene: Washington, D.C., 1990

The curtain rises as… Latin pop superstar Gloria Estefan preps for a huge concert while her husband, Emilio, and their son watch from the wings. Emilio tells Gloria her tour bus will have to make an unexpected stop and she’ll have to give up her day off. Annoyed, Gloria heads to the stage to sing one of her hit songs.

Cue flashback.

In 1966, young Gloria María Fajardo lives with her mother (also named Gloria), her grandmother, Consuelo, and her sister, Rebecca, in Miami. Their family has emigrated from Cuba to the U.S. following a violent political revolution. And while little Gloria’s father fights overseas in Vietnam, the women in the family keep things humming at home…literally: little Gloria has a talent for singing and songwriting, and she often performs Cuban songs for her neighbors and friends.

Young Gloria sings and dances while helping her family with the laundry.

As Gloria grows up, word begins to spread about her voice, and, in 1974, a young local musician named Emilio Estefan comes knocking at her door to ask about the songs she’s written. He convinces her to come play a tune for his band, named the Miami Latin Boys, and soon she joins the group as its lead singer.

Time passes and the Miami Latin Boys have transformed into the Miami Sound Machine. The band is booking tons of gigs, which frustrates Gloria’s mother, who feels Gloria should be living a normal life at home and helping her ailing father. Seems like a classic case of “protective mom,” but there’s a bit more to it: Gloria’s mother had her own shot at the spotlight once, but she let her dream go. Consuelo warns Gloria her newfound career may be stirring up old issues.

In a flashback to Havana in the 1950s, we see Gloria’s mother in action on stage.

Take a listen… The real-life Gloria Estefan sings “Mi Tierra” (“My Land”), the song performed by her mother’s character in On Your Feet!.

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Despite the tensions at home, Gloria continues to sing with the Miami Sound Machine, and the band starts attracting listeners across the U.S. and South America. In fact, things are going so well that Emilio and Gloria speak to their record producer about “crossing over” into the English-speaking pop world. But the producer hates the idea. He suggests their sound and their Latin names just aren’t “American” enough. Emilio reminds the producer that immigrants count as Americans too, and decides to take matters into his own hands. He and Gloria get creative and market the band’s latest English single, “Dr. Beat,” to clubs and disc jockeys. The song takes off…and a romance between them starts to bloom.

Gloria and Emilio start to fall in love.

With each other for inspiration and support, Gloria and Emilio produce a newer, even bigger English single that captures hearts across the country: “Conga.” Thanks to the song, Emilio is able to get the attention of his studio executive, but the boss doesn’t want to give the band the contract it deserves. A few hits later, however, and Gloria’s talent and popularity can no longer be ignored. Finally, Emilio helps Gloria and the band secure a multi-million-dollar deal.

“Conga” becomes a hit on dance floors across America…and around the world.

Take a listen… Gloria Estefan revisits her hit song “Conga” in a live concert.

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But all of this success—and the touring that goes with it—doesn’t make Gloria’s mother very happy. Even worse for Mrs. Fajardo: Gloria wants to take her sister, Rebecca, on the road. Worried her family is falling apart, Gloria’s mother threatens never to speak to Gloria again. And she doesn’t. Not for two years and an entire world tour. Which brings us back to where we started…

Washington, D.C., 1990

Gloria finishes her show and decides to call her mom to try and patch things up. When there’s no answer, she boards her tour bus with Emilio and their son, Nayib.

Then, disaster strikes.

A massive collision destroys the bus, injures Emilio and Nayib, and leaves Gloria in danger of permanent paralysis. Will she be able to walk again? Will she be able to sing again? And, perhaps most importantly, will she be able to repair her relationship with her mother before it’s too late?

Who’s Who

Gloria Estefan (born Gloria María Fajardo), a Cuban-American singer and songwriter Emilio Estefan, a Cuban-American musician and producer, Gloria’s husband Gloria Fajardo, a teacher and former singer, Gloria Estefan’s mother José Fajardo, a policeman and soldier, Gloria Estefan’s father Consuelo, Gloria Estefan’s abuela (grandmother) Rebecca “Becky” Fajardo, Gloria Estefan’s sister Phil, a New York record producer Little Gloria, a young Gloria Estefan Nayib, Emilio and Gloria Estefan’s son

Cuban Water, American Roots

“I came to Miami when I was two years old…my Mom kinda replanted us. But she watered me with Cuban water…everything that [my family] did was to keep alive the culture that they thought that we would go back to.” – Gloria Estefan

On Your Feet! is a tale of two very passionate and talented immigrants who came to the United States during a time of political turmoil in their homeland of Cuba. Starting in 1952, Cuba began its extended period of uncertainty, beginning with a military coup spearheaded by a corrupt and oppressive Fulgencio Batista (whose name you’ll hear mentioned in the show), followed by another coup conducted by the polarizing leader Fidel Castro.

After Castro established a new government in 1959, many Cubans—including the Fajardos and the Estefans—chose or were forced to move to the U.S. But Cuban families were often separated, and many had to leave promising careers behind. Still, the Cuban culture continued to thrive on American shores, particularly through its music. Today, cities across the U.S. are buzzing with the sound of Cuban dance rhythms, and artists like the Miami Sound Machine keep mixing Latino beats with traditional jazz and pop, creating a unique sound that’s both Cuban and American.

For more on the history of Cuba/US relations and info on Cuba’s revolution, go to:

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Check This Out…

On Your Feet! features many recognizable songs that have been played on the radio (and at parties, weddings, dance clubs, etc.) for decades. Listen up for these tunes while you watch the show—and don’t be afraid to sing or dance along if the actors encourage you to.

Choreographer Sergio Trujillo wanted the moves in On Your Feet! to feel as authentically Cuban as possible. He even went to Havana to study native Afro- Cuban dances. Keep an eye out for these intricate steps during the show, especially ones that involve two people partnering up and moving together, which is an essential component in Latin dance. Pick up a few steps… Sergio Trujillo talks about his career and his process for getting On Your Feet!... well...on its feet.

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This story includes many flashbacks to different time periods and different countries. Watch out for the ways in which the lighting, costumes, and set designs give you clues about where and when the characters are (hint: pay special attention to the different colors used in each scene).

Lots of the music in On Your Feet! will be sung in Spanish. For those audience members who don’t speak the language, pay close attention to the singers’ voices and facial expressions. You’ll most likely pick up the meaning of each song based on the energy and emotion the performers convey.

Think About This…

On Your Feet! is a combination of big, bold musical numbers and smaller, more intimate scenes between two or three people. Which moments do you prefer? Which scenes are more successful at moving the story along? Which are best at making you feel for the characters?

Most stories have an antagonist, but in On Your Feet!, the villain isn’t always easily identified. Who or what do you think operates as the “bad guy” in the show? What forces are most responsible for the troubles the characters endure?

The Estefans and the Fajardos are affected by stereotyping throughout the show. In what ways do you observe the non-Latino characters making incorrect or misinformed assumptions about Latino immigrants?

On Your Feet! is an immigrant story, but it’s also a human story. Can you think of similar tales in film, TV, or theater where the main characters fight for their dreams in the face of adversity? In what ways are these stories similar to the biography of the Estefans?

Go Behind-the-Scenes

To learn more about the making of On Your Feet!, check out this video series:

Episode 1: “Here We Are”

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Episode 2: “Writing the Show”

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Episode 3: “Casting the Story”

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Episode 4: “Directing the Musical”

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“Stand Up and Take Some Action”

One of the major themes of On Your Feet!—and the message of its title song—is to challenge yourself to take action in your daily life and claim control of your future. Both Gloria and Emilio come up against impossible odds, but they insist on forging their own personal and professional triumphs through hard work and determination.

Why not use their efforts to motivate yourself to reach for your own life goals? Choose a friend or family member and decide on a cause or achievement you can work toward together (this can be a joint plan or two individual projects; one for each of you). Next, make a pact that you’ll hit a specific milestone on the road to your end goal by a specific date.

For example: Want to apply for a dream summer job? Make a promise to your chosen buddy that you’ll have your forms filled out and ready by next month. Ask them to make a similar promise to you and make sure you both hold each other accountable for having completed your tasks.

Need another example? Say you’re hoping to give back to your community on a regular basis. Consider creating a shelter, soup kitchen, or local government volunteering schedule for you and your friend. Once that’s done, be certain to check in on each other’s progress every week.

If you feel comfortable with social media, keep track of all your accomplishments on Facebook, Instagram, Snapchat, or any platform you prefer and use the hashtag #standupandtakesomeaction. Remember to ask your friend’s permission before posting about them.

Explore More

Go even deeper with the On Your Feet! Extras.

An important final note:

This past December, Gloria Estefan and four other artists received the prestigious 2017 Kennedy Center Honors. When told she was being awarded this honor, Ms. Estefan made the following comment:

“Little did I imagine when my parents brought me as a toddler to the United States from Cuba, in order to be able to raise me in freedom, that I would be receiving one of this nation’s greatest honors. I feel privileged to be included in the galaxy of stars that have received the Kennedy Center Honors and I am grateful to be considered among the many talents in this great country that have been bestowed this exceptional accolade.”

The ceremony was broadcast on December 26, 2017. You can see footage from the annual event at www.kennedy-center.org.

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All photos by Matthew Murphy.

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