Convener: Nigel Richards
Participants: Roisin Stimpson, Michele Frankel, Nick Coupe, Amy Ip, Sophie Larsmon, Andrea Kantor, Leo Ward, and others
Summary of discussion, conclusions and/or recommendations:
There seemed no argument in whether one can be an artist in Musical theatre. The responsibility, whatever the art form, was with the performer and our innate sense of the need and search for quality/ integrity and truth even in the face of the Accountants and Producers who run the ‘product’. In the mega-musical it should be a given that the artist surrenders him/herself to the ‘magnificent machine’ of a large or long-running production- but does this not deny the special-ness of the Artist? A ballet dancer is expected to fill the template with exactitude- why not the musical theatre performer?
The problem arises because Musical Theatre is the most debased of all the art forms for cultural and financial reasons. The Americans lay claim to inventing two art forms: the Musical and Jazz. Conversely, England considers the written word (through poem, novel and play) as its major cultural legacy. The United states revere both musical theatre writers and performers, and look after the future of the art form by inviting innovation in such buildings as the York Theatre, Playrights’ Horizons and the Lincoln Centre. There is heavy subsidy for the American Musical, whereas here, the Arts Council largely ignored the musical because it was deemed a commercial endeavour, whilst NESTA gave up it final ‘a’ for Arts!
So expensive are the big musicals that there is a poisonous trend to replicate what was a success (Les Miserable spawning the through sung form, Mama Mia gving birth to many ugly ‘back catalogue’ musicals.) What we forget is that Mama Mia and Les Miserables, even Cats, were innovative and ground-breaking in their time, not a perpetuation of an already existing template.
We have no such buildings here in which failure and innovation are encouraged. The play has The Bush, The Royal Court, National and Soho theatres- where is the Musicals’ home? Musical theatre is perceived in the UK as a popularist and commercial form, an arena of the emotion and not of ideas (as in say the work of Sondheim.) If the costs of mounting the big musicals are prohibitive and the producers seek a return on their huge investment (which make the producers have the final artistic power), where are the smaller pieces, the chamber musicals? It seems that these are being sold as plays in which the musical content is ignored in the publicity so as not to wrong-foot an audience with a certain preconception of scale when it comes to The Musical (eg. Enron, Serious Money etc). To perpetuate any art form there has to be allowed an environment of risk, innovation, and failure. When artists/ writers are out of their comfort zone they create something new, vibrant and specific to the times in which they are written.
In the end the new musical has to both have a building (Andrew Lloyd Webber has long promised a theatre specifically for new musical writing but this has not materialized in 10 years) or be borne from the artists themselves (eg Shockheaded Peter).Then we might truly have an Art-form in which the Musical Theatre performer is at last considered an Artist
Showing posts with label music. Show all posts
Showing posts with label music. Show all posts
Friday, 5 February 2010
086 New Musical Theatre
Convener: Amy Ip
Participants: 3 (ladies please write your names down, sorry!)
Summary of discussion, conclusions and/or recommendations:
Amy called the session in the hope that there might be some new musical theatre writers in the house or people who also felt as passionately as she did about this art form.
It was very telling that only two other people came to talk to her about this subject and there seemed to be no-one at D & D who were writing musical theatre. (Note, upon announcement of this session, Amy was approached by a lady from Musical Theatre Matters who Amy will contact at a later date.)
It was noted that though musical theatre is definitely very popular, much of the musical theatre on in this country has come from the States either from Broadway or Off (Off) Broadway.
It was noted that though you if you are a new producer, writer, director, there are bursaries and awards out there that one can apply for but when the Vivien Ellis Musical Theatre writing award became defunct, that kind of funding disappeared. It was also noted that Musical Theatre is not really seen as an artform in this country and is firmly put in the very commin this country has come from the States either from Broadway or Off (Off) Broadway.
It was noted that though you if you are a new producer, writer, director, there are bursaries and awards out there that one can apply for but when the Vivien Ellis Musical Theatre writing award became defunct, that kind of funding disappeared. It was also noted that Musical Theatre is not really seen as an artform in this country and is firmly put in the very commercial sector so therefore this is why it is not really getting any kind of Arts Council Support.
Amy has met some ACE officers who are interested in Musical Theatre but there are none that are particularly dedicated this sector.
A lady in the group from the States also noted that in her opinion, Musical Theatre in this country is performed to a poorer standard than that of on Broadway and a supposition was made that this maybe due to lack of funding and suitable training.
As this was a small group and there was another Musical Theatre related session being run by Nigel Richards about: Can I still be an artist and do Musical Theatre? we decided to convene and join their discussion.
Anyone who has read this and would like to discuss new musical theatre, please can they get in contact via amyip at amyip.com as Amy would like to talk to others interested in producing new musical theatre.
Participants: 3 (ladies please write your names down, sorry!)
Summary of discussion, conclusions and/or recommendations:
Amy called the session in the hope that there might be some new musical theatre writers in the house or people who also felt as passionately as she did about this art form.
It was very telling that only two other people came to talk to her about this subject and there seemed to be no-one at D & D who were writing musical theatre. (Note, upon announcement of this session, Amy was approached by a lady from Musical Theatre Matters who Amy will contact at a later date.)
It was noted that though musical theatre is definitely very popular, much of the musical theatre on in this country has come from the States either from Broadway or Off (Off) Broadway.
It was noted that though you if you are a new producer, writer, director, there are bursaries and awards out there that one can apply for but when the Vivien Ellis Musical Theatre writing award became defunct, that kind of funding disappeared. It was also noted that Musical Theatre is not really seen as an artform in this country and is firmly put in the very commin this country has come from the States either from Broadway or Off (Off) Broadway.
It was noted that though you if you are a new producer, writer, director, there are bursaries and awards out there that one can apply for but when the Vivien Ellis Musical Theatre writing award became defunct, that kind of funding disappeared. It was also noted that Musical Theatre is not really seen as an artform in this country and is firmly put in the very commercial sector so therefore this is why it is not really getting any kind of Arts Council Support.
Amy has met some ACE officers who are interested in Musical Theatre but there are none that are particularly dedicated this sector.
A lady in the group from the States also noted that in her opinion, Musical Theatre in this country is performed to a poorer standard than that of on Broadway and a supposition was made that this maybe due to lack of funding and suitable training.
As this was a small group and there was another Musical Theatre related session being run by Nigel Richards about: Can I still be an artist and do Musical Theatre? we decided to convene and join their discussion.
Anyone who has read this and would like to discuss new musical theatre, please can they get in contact via amyip at amyip.com as Amy would like to talk to others interested in producing new musical theatre.
Thursday, 4 February 2010
054 Live Music In Theatre
Convener: Beccy Owen
Participants: Mary O’connor, Annie Rigby, Loren O’Dair, Sandra Yee, Laoise Davidson, Natalie Queril, Anne O’Brien, Sara Perka, Rob Dixon,
Summary of discussion, conclusions and/or recommendations:
I’m a singer/songwriter/composer/poet based in the North east and I’m currently developing a solo theatre piece that will incorporate music. Having not inhabited the ‘theatre world’ as much as the regional/national music scene, I wanted a conversation about Live Music in Theatre in general, to explore various issues and to be given recommendations for innovative and exciting theatre that’s already happening.
If anyone wants to get in touch with any ideas, reflections or to work together, please email fairysnuff at gmail.com. My website is www.beccyowen.com
Summary:
Parallel between accompanying silent film – music/musician becomes another voice or character.
Working with actors and song – can be barriers to singing, even in trained actors. Whole generation of people who culturally, and largely via education system, grew to believe that singing was a specialism occupied by the few, not accessible to all. This is shifting now, but still work to be done.
What is the underlying fear for people? Being revealed, fear of unknown/failure. People tend to ‘get in the way’ of themselves – singing is about getting out of the way. About letting go and not holding on
Audiences who go see opera already made leap and have expectation re: music’s involvement in the piece.
Naturalism – not so overt. Can be more unstable.
Back to film parallels and the role of soundtracks. One rule – if don’t’ notice the music, job done. Another way – music integral to the meaning and interpretation i.e. ‘There Will Be Blood’ – first 15 mins no speaking, music continues to penetrate and permeate throughout. Facebook group ‘I judge a film by it’s soundtrack’
Very exciting when respect between two crafts – music and acting – apparent.
Questions that arose:
• How conscious do you want the music to be?
• How visible/present are the musicians?
• Tendency to directors to feel they have to be ‘musicians’ to have a voice? Explored idea that all can find a vocabulary, and that characterization may help in terms of asking what you want i.e. from actors who are going to sing ‘what voice will serve the piece, how can actors be helped to find this voice?’ go back to character, research musical styles/heritage.
• Songs enhancing the action or integral to moving it?
• When making theatre, how often break into song in the piece? Judge by what the song is serving. Is it a play with songs or a musical?
• Working to a formulae i.e. in ‘musical’ or subverting/outside - Brecht – anti music. Punk approach, Shockheaded Peter, Sweeny Todd
• How inject feeling of a gig, that kind of rousing, undulating energy, into theatre piece?
• How resist the formula when writing musical(s)/musical theatre? Rehearsal room can support = leaving space for musicians to be part of exploration/devising.
• Using audience participation to create live music – possibility for wildness. What do you allow in? Very interesting question
Conclusions/recommendations:
Music synthesised with action in inspiring, surprising or interesting ways:
Porgy and Bess
Spring Awakening
Lorca’s 13 songs (various versions cited – some effective, some less so)
Tom Bancroft Kidsamonium’ – Wildness that is permitted. Improvising to movement. ‘
The Lost Voice (South Bank)– female beatboxing, live sound effects. Vibrations used.
Marvin Hamnish – Cabaret show. Made songs from lines from the audience.
Trevor Griffiths ‘A New World’, about Tom Payne
Cinderella (few years ago) Hammersmith – Norwegian Ice Musician. On stage but separate from action. Interval was the ball – musician became purely for audience
Mask of the Red Death – Cabaret bar in middle. Audience members of the cast. Areas of building different bands in. Segued into gig at end. Seamlessness between situations.
1,000 Revolutions Per Moment – KX. 24th April. Segues gig at end.
Knee High – had a phase of making exciting synthesised theatre. Playing with losing control. Musician as renegade. i.e. Cymbeline at Northern Stage, musician’s played on roof of building.
Chumbawumba – wanted to be part of company. Red Ladder theatre.
The Worcester Group
Romeo and Juliet – Mercury – Dirty Street Tango Orchestra. Dir. Ed Hughes. Opening 3 weeks time.
Orchestra del Sol – very versatile mobile or static. Pieces have theatrical stories in them.
8th Feb – meeting of panel of musical directors, organised by Musical Theatre Matters. Held in The Stag, Victoria. Role, trends, what’s happening.
Participants: Mary O’connor, Annie Rigby, Loren O’Dair, Sandra Yee, Laoise Davidson, Natalie Queril, Anne O’Brien, Sara Perka, Rob Dixon,
Summary of discussion, conclusions and/or recommendations:
I’m a singer/songwriter/composer/poet based in the North east and I’m currently developing a solo theatre piece that will incorporate music. Having not inhabited the ‘theatre world’ as much as the regional/national music scene, I wanted a conversation about Live Music in Theatre in general, to explore various issues and to be given recommendations for innovative and exciting theatre that’s already happening.
If anyone wants to get in touch with any ideas, reflections or to work together, please email fairysnuff at gmail.com. My website is www.beccyowen.com
Summary:
Parallel between accompanying silent film – music/musician becomes another voice or character.
Working with actors and song – can be barriers to singing, even in trained actors. Whole generation of people who culturally, and largely via education system, grew to believe that singing was a specialism occupied by the few, not accessible to all. This is shifting now, but still work to be done.
What is the underlying fear for people? Being revealed, fear of unknown/failure. People tend to ‘get in the way’ of themselves – singing is about getting out of the way. About letting go and not holding on
Audiences who go see opera already made leap and have expectation re: music’s involvement in the piece.
Naturalism – not so overt. Can be more unstable.
Back to film parallels and the role of soundtracks. One rule – if don’t’ notice the music, job done. Another way – music integral to the meaning and interpretation i.e. ‘There Will Be Blood’ – first 15 mins no speaking, music continues to penetrate and permeate throughout. Facebook group ‘I judge a film by it’s soundtrack’
Very exciting when respect between two crafts – music and acting – apparent.
Questions that arose:
• How conscious do you want the music to be?
• How visible/present are the musicians?
• Tendency to directors to feel they have to be ‘musicians’ to have a voice? Explored idea that all can find a vocabulary, and that characterization may help in terms of asking what you want i.e. from actors who are going to sing ‘what voice will serve the piece, how can actors be helped to find this voice?’ go back to character, research musical styles/heritage.
• Songs enhancing the action or integral to moving it?
• When making theatre, how often break into song in the piece? Judge by what the song is serving. Is it a play with songs or a musical?
• Working to a formulae i.e. in ‘musical’ or subverting/outside - Brecht – anti music. Punk approach, Shockheaded Peter, Sweeny Todd
• How inject feeling of a gig, that kind of rousing, undulating energy, into theatre piece?
• How resist the formula when writing musical(s)/musical theatre? Rehearsal room can support = leaving space for musicians to be part of exploration/devising.
• Using audience participation to create live music – possibility for wildness. What do you allow in? Very interesting question
Conclusions/recommendations:
Music synthesised with action in inspiring, surprising or interesting ways:
Porgy and Bess
Spring Awakening
Lorca’s 13 songs (various versions cited – some effective, some less so)
Tom Bancroft Kidsamonium’ – Wildness that is permitted. Improvising to movement. ‘
The Lost Voice (South Bank)– female beatboxing, live sound effects. Vibrations used.
Marvin Hamnish – Cabaret show. Made songs from lines from the audience.
Trevor Griffiths ‘A New World’, about Tom Payne
Cinderella (few years ago) Hammersmith – Norwegian Ice Musician. On stage but separate from action. Interval was the ball – musician became purely for audience
Mask of the Red Death – Cabaret bar in middle. Audience members of the cast. Areas of building different bands in. Segued into gig at end. Seamlessness between situations.
1,000 Revolutions Per Moment – KX. 24th April. Segues gig at end.
Knee High – had a phase of making exciting synthesised theatre. Playing with losing control. Musician as renegade. i.e. Cymbeline at Northern Stage, musician’s played on roof of building.
Chumbawumba – wanted to be part of company. Red Ladder theatre.
The Worcester Group
Romeo and Juliet – Mercury – Dirty Street Tango Orchestra. Dir. Ed Hughes. Opening 3 weeks time.
Orchestra del Sol – very versatile mobile or static. Pieces have theatrical stories in them.
8th Feb – meeting of panel of musical directors, organised by Musical Theatre Matters. Held in The Stag, Victoria. Role, trends, what’s happening.
Tuesday, 2 February 2010
003 Having a sing
Convener: Kobna Holdbrook-Smith (Kobs)
Participants: Cass, Rod, Amanda, Phelim, Cat, Zoe, Greg. Others I thank but didn’t catalogue.
Summary of discussion, conclusions and/or recommendations:
This wasn’t a discussion so much as an opportunity to make some singing noises. The loose concept is to set up a secular choir. Some people who would like to sing but not necessarily to worship. I don’t think it would make the world worse if we could neuter any fear some of us have, even if only of singing aloud.
I have now had the opportunity to see how people respond to a casual invitation to sing. The law of two feet applies strictly but it means that those that show are engaged or at the very least curious.
The participants were (without exception) timid at first but without exception each construction of our group (different constructions because different people dropped in and out) sounded ‘perfect’ at some point for each song/sung thing.
We sang ‘Senzeni Na’, that ‘Doo Doo Ba Nay’ one, the central phrase from ‘Frankensinatra’ and a gospel sounding one that consisted simply of ‘Yes’ sung in a four note sequence (so very much better then that reads).
Now, this choir will go ahead however large or small. We need a venue. Maybe an evening weeknight or better still a Sunday morning. Sunday because that’s usually free-est, and it would be about 11am - 1230. 11am to dissuade the hungover but not rouse us unreasonably early on the day off. In the week it would be at about 7 but I don’t think that’s sustainable.
We haven’t a choir yet but it seems people are happy to respond to a casual invitation to sing, which is super. Venue must come first though.
I’m asking for a venue or some venue advice. My email is kobs at talk21.com and please put ‘Chorus’ in the subject box.
Niceness unto you.
k
Participants: Cass, Rod, Amanda, Phelim, Cat, Zoe, Greg. Others I thank but didn’t catalogue.
Summary of discussion, conclusions and/or recommendations:
This wasn’t a discussion so much as an opportunity to make some singing noises. The loose concept is to set up a secular choir. Some people who would like to sing but not necessarily to worship. I don’t think it would make the world worse if we could neuter any fear some of us have, even if only of singing aloud.
I have now had the opportunity to see how people respond to a casual invitation to sing. The law of two feet applies strictly but it means that those that show are engaged or at the very least curious.
The participants were (without exception) timid at first but without exception each construction of our group (different constructions because different people dropped in and out) sounded ‘perfect’ at some point for each song/sung thing.
We sang ‘Senzeni Na’, that ‘Doo Doo Ba Nay’ one, the central phrase from ‘Frankensinatra’ and a gospel sounding one that consisted simply of ‘Yes’ sung in a four note sequence (so very much better then that reads).
Now, this choir will go ahead however large or small. We need a venue. Maybe an evening weeknight or better still a Sunday morning. Sunday because that’s usually free-est, and it would be about 11am - 1230. 11am to dissuade the hungover but not rouse us unreasonably early on the day off. In the week it would be at about 7 but I don’t think that’s sustainable.
We haven’t a choir yet but it seems people are happy to respond to a casual invitation to sing, which is super. Venue must come first though.
I’m asking for a venue or some venue advice. My email is kobs at talk21.com and please put ‘Chorus’ in the subject box.
Niceness unto you.
k
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