There is something to be said about the current price of a ticket to see a Broadway show. I had the humbling experience of attempting to buy my five-year old cousin tickets to what would be her first Broadway show, Frozen, and realizing the venture would cost me over $500.00.
It is difficult to recognize a once-in-a-lifetime moment when it’s happening. We strive to adhere to the principle of “living in the moment” but it is a hard concept to wrap your head around when there are so many things to think about every second of the day. It is one of many reasons people go to the theater: to escape reality and immerse themselves in a world either better or simply different than their own.
This summer I was fortunate enough to attend the Columbia Publishing Course in New York City. While I was there, I absorbed valuable information from my teachers, industry professionals and peers. Now, when I say my peers were intelligent, that is a blatant understatement. There were times we would all sit at dinner together and I would listen to the most fascinating conversations about politics, philosophy, music, and of course, books.
It is the last scene of an emotionally charged, edge-of-your-seat, Broadway musical. The lights are low, there is no background music, only an actor-driven, plot-centric and incredibly moving scene happening onstage between two of the main characters. The conflict you and the other few hundred people in the audience have been agonizing over for the past act and a half is finally going to come to a close with this dialogue and-BEEP BEEP, 2002 Classic Ringtone, RING, CLICK. There is an awkward pause between the two actors and the audience (some audibly, some silently) groan and roll their eyes. Will they ever learn?
Dancers in any college or studio/scholarship program are dancing constantly. Mornings are filled with warm-ups and stretching to get ready for the day. Evenings are spent in front of your phone or TV, almost always in splits or with a foam roller. It’s the life! Getting ready for the time when you are a legit professional. We all know one never “arrives” as a dancer because we will always be striving to get better: more technically sound, a more mature mover, a better-seasoned performer. But aspiring dancers do look forward to getting to the place in life where they are being paid to dance, not paying to dance. That is the table turner.
Hamilton is that once-in-a-lifetime show that comes around and continues to astound Broadway fans, history buffs, music enthusiasts and the everyman alike. After its record-breaking 16 Tony Award nominations and subsequent 11 wins, the bloodbath-esque process of scoring a ticket, and the triple platinum status of the cast album, it would be a challenge to find someone who isn’t obsessed with, or at least appreciates the brilliance of Lin Manuel Miranda’s revolutionary (don’t mind the pun) Broadway sensation.
In many ways, working an understudy is a tougher job than playing the title and/or leading role in a show. Hear me out. An understudy can be asked to learn multiple major roles in a performance and have the expectation to perform any of those roles at any time, theoretically as well as the original cast member for whom they are taking over. Put simply: it’s difficult, laborious work, often without praise and glory.
Lots of scripts are read by theater professionals and they laugh out loud and the scenes are written with great gags and pratfalls and slapstick. One of my great heroes is Christopher Durang. He twists the familiar and the ordinary into a jaw-dropping and a mind-bending reality that is as shocking as it is amazing.
At some point of a dancer’s professional career, the big questions arise. Do I need to join a performers’ union? Why would I? Why would I not join? What are the benefits? Is it better to remain a non-union dancer? All dancers form their own opinions regarding unions on their own time, as they cultivate their professional careers. There is no right or wrong answer to these questions; the answer is personal, as different dancers have individual goals and priorities. It is a good idea to get informed before setting goals and making career decisions. Let’s explore…
Emily Loftiss joined me on FaceTime minutes after signing off of her popular FaceBook Live show, “Everyday Glam with Emily Loftiss,” she was literally glowing inside and out. She had just presented a segment on “Confidence in Fashion-What’s the worst thing that can happen?” Emily’s FaceBook Live show begins with a chat, like a conversation with a girlfriend catching up over coffee and then she offers her thousands of fans advice in all areas of fashion, beauty, fitness, life, and most of all her signature area, glam.
Tara Young has worked as an Artistic Director and Associate on over a dozen Broadway Shows and National Tours. In addition to creating musical productions and working with notable groups such as the New York City Ballet, New York City Opera, LA Opera, the Boston Pops Orchestra, Tara lends her vast experience and knowledge of Broadway by leading workshops and appearing as a guest lecturer. Tara’s skills have also been used with Cirque du Soleil on the Michael Jackson’s “The Immortal World Tour” and Dragone on “The Han Show” in Wuhan, China.
Entertainment events are generally held indoors in theatres and arenas, but some occur outside in a variety of different conditions. When events are held outdoors, it becomes a challenge for all staff members. Extra consideration must be held when performers are required to perform in special circumstances such as parades, publicity events, and television appearances.
I spent a lot of my childhood behind the scenes. My aunt and uncle were working actors; on Broadway, in the voice over studio, doing national and international tours, and for most of the time I wasn’t far from the dressing room. I was paying attention as much as any young child was, but I never felt the call to the stage myself.
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