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The Musical Theatre Graveyard Is Full of Great Scores with Books That Didn’T Work

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The Musical Theatre Graveyard Is Full of Great Scores with Books That Didn’T Work CAST NOTES Footlight Features Creative Spotlights MARYMARY BRIDGET DAVIES 32 KEVINKEVIN ADAMS 26 Living the Broadway Dream Lighting as Sculpture BOBBY STEGGERT 5 ANDY BLANKENBUEHLER 14 Working With No Expectations A Lesson in Line and Form TONY SHELDON 38 JOEJOEJOE DiPIETRO 54 The Boy From Oz A Student of Life Lagniappe BROADWAYBROADWAY-BROADWAY---BOUNDBOUND 48BOUND 48 REVIEW 22REVIEW 22 Beautiful: the Carole King Lizze the Musical: Musical Is Lizzie the Sweeney for Women? INTERNATIONAL 58 Australia: BROADWAY’S VOICELESS 52 King Kong the Musical Broadway Pros Raise Awareness for Animals VOICE 44 Melissa Cross: THE STATE OF THE ARTS 68 The Zen of Screaming So, Politics, Society, and Religion Walk Into an Audition MASTER CLASS 8 Sheri Sanders: DEAR TRISH 51 How to Rock the Audition QUOTE OF THE MONTH 71 ON THE COVER: Photo by Monica Simoes Backstage at the Broadway rock musical hit Rock of Ages www.MTMag.co Editor’s Note: What a wild month this has been! Since launching Musical Theatre Magazine last month, the response has been tremendous. MTMag has welcomed subscribers from all over the world, including the USA, Canada, Brazil, Britain, New Zealand, Australia, and more. Incredible! Thank you! Issues will be released between the 10th and 15th of the month, barring any unforeseen circumstances. If you don’t see your email with your link by then, check your spam folder first, and if it’s not there, feel free to contact me: [email protected]. I have received several queries about MTMag as a gift to young teens (12-13 years old). MTMag reports about life upon the wicked show business as it is. The real world of making it in the theatre is not a cartoon. It is tough. All subscribers are 18+ and should read every article before sharing the issue with a young teen. On the subJect of sharing, MTMag is a subscription-based periodical NOT for mass consumption. Do not "give away" your issues or post them online. Instead, please share the website address: www.MTMag.co so others can subscribe as well. If you have students who want to subscribe, please contact me about a student's discount. This month's issue, it is Rated 17+ because of the subJect matter of rock musicals. So dive right in ... if you're 17+. EnJoy! Musical Theatre Magazine Musical Theatre Magazine EditorEditorEditor-Editor---inininin----Chief:Chief:Chief:Chief: Trish Causey. Layout design: All content © 2013 by Trish Causey unless Vol. 1, no. 2 November 2013 Trish Causey. ContriContriContributingContributing Writer: Trish otherwise noted. Photos are attributed Causey. unless thought to be in the public domain. ISSN applied for. No infringement is intended. SpecialSpecialSpecial thanks:thanks:thanks: to all the press reps, & the www.MTMag.co MT pros who shared their time and wisdom. Praise for the Premiere Issue of Musical Theatre Magazine! Bobby Steggert November November 2013 2013 MTMag.co MTMag.co Popular Broadway star and Tony Award- very personal, almost heart-wrenching tale of this young man [dealing with] the shame of being gay in a time and an event — nominated actor-singer, Bobby Steggert World War II — that was impossible to be himself. So to play can be seen on the Great White Way in someone with that big of a journey and play someone who was able to come out on the other end with so much strength, and self- Andrew Lippa’s new musical Big Fish. I knowledge, and self-awareness was an inspiration, honestly. That only had a few minutes to speak with him, character taught me a lot on how to live my life. so I picked his brain with quick precision. To play someone T: Hey, Bobby! Thanks so much for doing this interview. I know you’re busy with Big Fish. I focus on the ‘Art and who was able to come Craft’ of Musical Theatre, rather than the celebrity aspect of it. I prefer the behind the scenes, the everyday journey of the artist. out on the other end B: I like talking about that much more. with so much strength… T: So, how did you get into musicals? That character taught B: I was in school choirs, which led to me being in professional choirs — I was very young. Then actually, the first thing I ever did was an opera. It was Amahl and the Night Visitors, which is a me a lot on how to Menotti Christmas opera. I found that I loved being on stage and portraying a character more than I did [just] singing, so that led me live my life. towards studying acting at NYU, and the rest is history. T: You sing such different styles. How do you vary your T: You’re not just a pretty voice. You were approach vocally? valedictorian of your high school class. You could have chosen a career that was more stable than the B: I’m not as confident a singer as you might think I am. There bohemian life of the struggling artist. are much better singers out there. But I always find the character’s voice through my focus on being an actor. If I can find the B: I blame my parents at lot for being as supportive as they are. resonance, the way in which they express [themselves], then often They’re incredibly supportive, and they wanted me to pursue times, the musicality comes second. I always know I’ve figured anything I was passionate about. That standard, for me, was really out a character when the singing becomes easy. I always start valuable. They told me to follow passion far before they told me to learning a score, and I’m shaky on it. When the breath connects follow financial gain or traditional success. and when the vocal expression becomes second nature, I know I’ve found a really key element to the character. T: You do a lot of new music and cabaret from emerging composers. Do you prefer new music over established shows? B: They’re just different processes. My first experience on Broadway was 110 in the Shade. I also did Ragtime. These are revivals, and your job in that case is to reinterpret [the role]. What I’m finding as I get older and more experienced is that to create a new role in a new musical is a more complex responsibility. You’re creating with the writers. The composers don’t quite know what the piece is yet. Often times, their writing the score on your voice, so you’re helping them discover the score. It’s a more multi- faceted process, so I tend to like it more because it uses more brain power and a little more creativity. T: A few years ago, I interviewed a few of the lead cast from Yank! the Musical, but I didn’t get a chance to speak with you then. What was it like doing a show that T: You’re currently in Big Fish with Norbert Leo Butz and dealt with LGBT issues during World War II? Kate Baldwin. Did you feel any pressure being on stage with them? B: It was a really, really important experience for me, not only to learn how to lead a musical because up until then I’d been a B: Oh, god, no. They’re both amazing people, and the three of us character actor playing supporting roles. But it was a special show are very similar, actually. We’re all journeymen theatre actors. because it followed the grand traditions of Musical Theatre in the None of it is ‘fancy’ because we’ve been on a million TV shows or way that even The Book of Mormon does, but it is a very intimate, done a lot of movies. We’re just real theatre actors. Kate and I are November 2013 MTMag.co very close; she and I played mother and son in Giant at the Public last year. So we’ve already explored the very specific relationship of mother and son — they were different characters, but there are elements we are definitely taking from that performance. Norbert is just a true gentleman and also an incredibly gifted performer. He’s sort of a wild beast — I mean that in the best way! He takes the stage unlike anyone. It’s an honor to be working with them, for sure. We’re really tight-knit — we’re a real family, and I think that definitely shows. T: Life on Broadway — any advice for newbies? B: It’s a hard life. It’s hard to get work — that’s the first thing. And it’s hard to sustain a career — that’s the second. The biggest advice I always give is to have no expectations for any of the external things you can’t control. That’s easy for me to say because I’ve had a lot of luck, but if I’d gone into this expecting a Tony nomination, expecting Broadway stardom, expecting to see my name on a marquee, I don’t think I would have gotten there. I really am focused on telling a story, and giving an honest performance, and being a team player. I’m not trying to toot my own horn, I just think it’s a necessity if you want to be happy in the business, if you want to be successful. Of course, there’s pressure, but it’s better than sitting on your ass. T: Do you have your sights on a dream role? B: It’s that whole expectation thing. I’m not reaching anywhere.
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