Singing, Acting, or a combination – - – $35.00

Up to three hours – Sunday Afternoons

Scene and Monologue work, Presentations and Critiques – Singing, Acting or a combination
Free to our regular students, others – $ 20.00

Weekend Intensives

Individual or Small Group (3-5) – Technique, Preparation, Presentation and Critique

Four Hours – Saturday + Scene Session (see above) – by arrangement
Summer Five-Day Intensives available by arrangement

Workshops may include any or all of the following:

Acting (basic techniques)
Monologue and Scene Preparation
Musical Theater Song and Scene Preparation
Auditioning

Improvisation (by special arrangement)

Workshops for school groups require a minimum of 8 students and a maximum of
18. Students may range from ages 14 through 18.

Please e-mail us for more information!

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BASIC STRUCTURE OF ACTING OR MUSICAL THEATER WEEKEND WORKSHOPS

Saturday:

9:00 A.M. — Introduction and warm-ups

10:00 A.M. — Break into small musical and/or acting workshop groups. During this time staff members will work with individuals and the small groups, helping them select performance materials, introducing and demonstrating acting and singing techniques and the preparation process.

Noon — Lunch break

12:30 P.M. — Return to workshop groups, changing as needed. Individual and group rehearsal Periods will continue until dismissal.

4:00 P.M. — Critiques

5:00 P.M. — Dismissal

Sunday:

1:00 P.M. — Warm-ups and rehearsals

4:00 P.M. — Performances and critiques (parents and friends may attend if you wish)

5:00 P.M. Closing of workshop

*Sponsors must provide an adequate venue.
*A Musical Theater Workshop requires our hiring a competent pianist. If the sponsoring organization is able to provide a pianist, the workshop fee will be reduced.

What this got me thinking about, however, was the incredible privilege it is to be able to deliver a message like that, however clumsily. I say “privilege” for a couple of reasons. First of all, it truly is a privilege to be able to sing or play rich, beautiful music–to be able to participate in bringing to life the works of those gifted with the ability to create near-perfect beauty using the language of music. Secondly, all of us who have had the opportunity and resources available to us to learn to speak that language are incredibly privileged indeed, and that’s something I think we too often forget. I know that I have taken my own skill with that language very much for granted over the years. I often joke that I learned how to read music before I learned to read and though I think that’s actually a bit of an exaggeration, it is not an exaggeration to say that I probably learned the basic language of music before (or at least at the same time as) I learned the language of speech. Music was a constant in our home when I was growing up and I’ve been told many stories about how I would sing along with my mother’s voice students from under the piano as a small child.

In some conversation with my dad yesterday, I realized that though I’d always thought of having a musical “ear” as something that is inborn, in actuality it is probably just a skill learned so early on that I simply don’t remember learning it. I don’t remember it ever being something I had to work at or something that was ever hard, but this is likely due more to early exposure to music than anything else. I thought then how incredibly lucky I was to have had this early exposure and how much of an advantage it gave me over those who did not. Not only did I have early exposure to the sounds of music but also I had parents who encouraged me to study and work with the language as much as I possibly could and who were fluent in it themselves. It seems to me somewhat similar to growing up in a bilingual environment, where the knowledge of two languages is natural and even unavoidable, while those who did not grow up in that environment might struggle painfully to try to learn a second language. Considering my own struggles with foreign languages, I can only respect and admire those who are able to learn the language of music without the advantage of early exposure.

As a new teacher, I feel compelled then to say two things. First, for the love of whatever is holy to you, if you think you want to play or sing music and are offered the opportunity to improve your skill, take it. These opportunities are rare and wonderful privileges and they should be recognized as such. Secondly, two words: TOTAL IMMERSION. Just as many believe that the most effective way to learn a foreign language is to be placed in a situation where no other language is spoken, I believe this applies to music in its own way as well. Listen to music all the time. Sing all the time. Study theory. Talk about it with friends. Train your mind, ear, and instrument with as much passion and focus as you can and you can be a musician. Put in your 10,000 hours and it will pay off. Your teachers will help and encourage you with everything they have, but the only person who can make you a musician is you. Only you can make your garden grow.

Private Lessons and Coaching
Singing, Acting, or a combination – - – $35.00

Scene Sessions
Up to three hours – Sunday Afternoons
Scene and Monologue work, Presentations and Critiques – Singing, Acting or a combination – - - Free to our regular students, others – - – $ 20.00

Weekend Intensives
Individual or Small Group (3-5) – Technique, Preparation, Presentation and Critique
Four Hours – Saturday + Scene Session (see above) – by arrangement
Summer Five-Day Intensives available by arrangement

School Workshops *
Acting, Musical Theater or combinations – content and fee by arrangement, available for groups of 8 to 18 people. Our goal will be to construct a workshop best suited to meet your needs. See here for a sample workshop.

*Sponsors must provide an adequate venue.
*A Musical Theater Workshop requires our hiring a competent pianist. If the sponsoring organization is able to provide a pianist, the workshop fee will be reduced.

As we were talking, I was thinking about my own experiences as a performer and what made being “serious” worthwhile. The truth is, there is some pretty spectacular pleasure that can really only be experienced when your instrument and performance have reached professional (or at least near-professional) level. There is something about singing–when everything is working just as it should and something incredibly difficult has become, in many ways, effortless–that feels better than anything else in the world. It is an unparalleled rush. The sensation of it, the sound of it–there is honestly nothing like it. When we were discussing this together, I likened it to a “high,” but really, it is much, much better, because along with the euphoria is the sure knowledge that this is something produced entirely by oneself through years of study and hard work.

I am an essentially impatient person. I enjoy hard work, but really only when it leads to immediately satisfying results–a fault responsible for my ultimate lack of success with the oboe, cello, piano, and guitar–four instruments I studied without consistent dedication or focus at one point or another. I loved the idea of playing these instruments and I enjoyed playing them when things were going well, but I didn’t have the patience to work through what was difficult in order to make any significant progress. I must admit this applied to my vocal studies during my early years as well, the only difference being that I had more natural talent in that area so it was possible to make progress with very little work. It wasn’t until college when I was hit with the reality of the talent around me that I was forced into evaluating how much work I was truly willing to do, and it was the inspiration found in watching and listening to some of the upperclassmen that finally pushed me to the point where I was able to experience the pure joy of musical performance for myself.

This is something I was reminded of just recently, watching an episode of the anime series Nodame Cantabile, in which one of the main characters, Chiaki, is making his “serious” debut as a pianist, playing Rachmaninoff’s second piano concerto under the direction of a visiting German conductor whose genius he admires. His performance is so beautiful, it inspires the other main character, Nodame (who has never been serious about her studies despite her obvious talent) to run straight to a practice room to play the piece herself. Now, those who know me well will know that 20th century Russian composers are my weakness (during my college years, I “found” Prokofiev the way other people find Jesus) but honestly, the performance really is absolutely gorgeous and it made me want to run to a practice room just like Nodame, despite having no skill at all as a pianist.

It is these moments that we as teachers must try to facilitate for students, and it’s difficult to know just how to do this. One thing we’ve discussed is trying to bring in artists from the field as often as possible to work with and inspire our students. Another is to show them DVD or video performances that might be inspiring, though I think it is extremely difficult to convey that pure joy and beauty without the energy of live performance. So here is where I open the floor for suggestions or perhaps stories of your own “ah ha!” moments. What inspired you to take that step towards true seriousness, and how would you convey that to others?

Of course, it wasn’t at all realistic. No consideration was given to the reality of them one day having families of their own or the financial enormity of such a venture. It was just a wonderful thing to contemplate. The thought of the “starving artist” never entered the conversation, but gads it was inspiring and fun.

The extended family is much larger now and many of them continue to pursue their artistic visions. Many do have families of their own and all are much more aware of the “starving artist’ scenario. The realities that restricted the original dream are still in place, but in quiet moments a stray thought of that time long ago manages to creep in. At my age I should not entertain any such thoughts. But hey, any of you out there have any hot ideas?

1. Sometimes practice in front of a mirror. It is amazing what we don’t realize we are doing. Or video-tape yourself, if you have that option.
2. When you are performing live, a lot of how good the audience thinks you are is VISUAL. The Susan Boyle effect doesn’t work that often.
3. Practicing for long stretches increases your endurance, but many short sessions during the day often work at least as well.
4. Practice breathing separate from singing. Become aware of your breathing. You can practice breathing anywhere.
5. Most students hate this exercise, but it really does help to “talk sing.” In other words go around singing whatever thoughts come into your head in any made up tune. It connects the relationship of singing to talking.
6. You don’t always have to “sound lovely.” When you are practicing, you will make some gosh awful sounds while your voice is figuring out what to do. Don’t be afraid of that.
7. You are your teacher. I like to think I’m wonderful, but mostly I’m here to help YOU discover your voice and how it works. Try things. Ask questions. Contact me between lessons if something feels like it is or isn’t working. You don’t have to wait until your next lesson to bring it up.
8. Vowels carry the sound and consonants let us know what you are saying. Consonants need to be short and crisp. Vowels long and ringing. Yes, we need both.
9. Open your mouth and move your lips. You aren’t trying to become a ventriloquist.
10. Quoting Eloise Ristad quoting Chaim Nahor: “In any art there must be movement or it becomes static – dead.” Your body can help you here if you will move when you are practicing. Let your body feel and lead your singing.