Performing in Contemporary Musicals

Performing in Contemporary Musicals brings into sharp focus the skills performers must possess when tackling shows that are newly written, in development, or somewhere in between. David Sisco and Laura Josepher bust myths about contemporary musical theatre and analyze the development timelines of musicals from around the world. They also explore how performers can become invaluable to a creative team by developing the skills needed to move a new musical forward including: contemporary acting and singing techniques, dramaturgy, quickly picking up new material, and collaboration. Each chapter features insightful industry interviews, recommended activities, an extensive reading list, and an online companion for further study.This textbook is the only comprehensive resource that provides an overview of the development process of a new musical while guiding musical theatre performers to be fruitful collaborators in a new works scenario.

Chapters

Chapter 1

Defining “contemporary musical theatre” is challenging, given how multidimensional and ephemeral it is. Through this chapter, a working definition of the genre is created by exploring how the American musical has evolved from a variety of perspectives. Considered here are the different kinds of musicals that have developed since the genre’s early days, how they have waxed and waned, and new forms that are currently being created through advancements in technology. Also discussed is how musicals have run parallel (and sometimes incongruous) to popular culture, through radio, television, and film. The evolution of movement in musicals, the increased demands on performers, and amplification likewise provide keen insights into the development of contemporary musical theatre. Finally, the globalization of the art form and its impacts highlight the power of our connectedness as a community of theatre creators. This power, however, can also overwhelm local theatre creators’ work. This chapter also seeks to recognize the essential contributions of the many cultures that have influenced the idiom, excavating the rich history of an art form that has often been white-washed. 

Recommended Reading: Musical Theatre History

  1. Knapp, Raymond. 2006. The American Musical and the Formation of National Identity. Princeton: Princeton University Press. 
  2. Leve, James. 2015. American Musical Theater. New York: Oxford University Press.
  3. McMillin, Scott. 2006. The Musical as Drama. Princeton, NJ: Princeton University Press.
  4. Stempel, Larry. 2010. Showtime: A History of the Broadway Musical Theatre. New York: W.W. Norton & Company, Inc.
  5. Wolf, Stacy. 2020. Beyond Broadway: The Pleasure and Promise of Musical Theatre Across America. New York: Oxford University Press.

Recommended Reading: Different Kinds of Musicals

  1. Barrios, Richard. 2014. Dangerous Rhythm: Why Movie Musicals Matter. New York: Oxford University Press.
  2. Flinn, Denny Martin. 2008. The Great American Book Musical: A Manifesto, A Monograph, A Manual. New York: Limelight Editions.
  3. Robert Gordon and Olaf Jubin, eds. 2016. The Oxford Handbook of the British Musical. New York: Oxford University Press.
  4. Locke, Charley. 2017. “Musicals (Yes, Musicals) Are About to Shake Up Podcasting.” Wired, July 14, 2017. https://www.wired.com/story/36-questions-musical-podcast/ 
  5. Powers, Brandon. 2021. “The Future of Musical Theatre is on TikTok.” Medium, January 19, 2021. https://brandonpowers.medium.com/the-future-of-musical-theatre-is-on-tiktok-8ecb7ef660a1 

Resources

  1. Hahn, Don, director. 2018. Howard. Disney+. https://disneyplusoriginals.disney.com/movie/howard 

Recommended Reading: Further Integrating Movement into the Musical

  1. Cramer, Lyn. Creating Musical Theatre: Conversations with Broadway Directors and Choreographers. London: Bloomsbury Methuen Drama. 
  2. Hill, Constance Valis. 2015. Tap Dancing America: A Cultural History. New York: Oxford University Press.
  3. Jowitt, Deborah. 2005. Jerome Robbins: His Life, His Theater, His Dance. New York: Simon & Schuster. 
  4. Winkler, Kevin. 2018. Big Deal: Bob Fosse and Dance in the American Musical. New York: Oxford University Press.

Recommended Reading: Amplification

  1. Gioia, Michael. 2016. “What is Sound Design, and Why Did it Lose its Tony?” Playbill, May 24, 2016. https://www.playbill.com/article/what-is-sound-design-and-why-did-it-lose-its-tony 
  2. MacDonald, Paul. 2016. “Gareth Owen: Theatre Sound Designer.” Sound on Sound, June 2016. https://www.soundonsound.com/people/gareth-owen-theatre-sound-designer 
  3. Mink, Casey. 2019. “Why Beetlejuice Sounds Unlike Any Musical Before It.” Backstage, March 28, 2019. https://www.backstage.com/magazine/article/beetlejuice-broadway-musical-sound-design-advice-67626/ 
  4. Slaton, Shannon. 2011. Mixing a Musical: Broadway Theatrical Sound Mixing Techniques. Boston: Focal Press.

Recommended Reading: How Musicals are Developed and Produced

  1. Breglio, John. 2016. I Wanna be a Producer: How to Make a Killing on Broadway… or Get Killed. Milwaukee: Applause Theatre & Cinema Books.
  2. Hoffman, Warren. 2020. The Great White Way: Race and the Broadway Musical. New Brunswick: Rutgers University Press.
  3. MacDonald, Laura and Everett, William A. eds. 2017. The Palgrave Handbook of Musical Theatre Producers. New York: Palgrave Macmillian. 
  4. Osatinksi, Amy S. 2019. Disney Theatrical Productions: Producing Broadway Musicals the Disney Way. New York: Routledge.

Recommended Reading: Globalization of Musical Theatre

  1. Kim, Shin Dong. 2015. “The Industrialization and Globalization of China’s Musical Theater,” 12-17. Media Industries Journal (1.3, 2015).
  2. Tanaka, Rina. 2017. “Musicals in Post-Globalization: the Case of “Ever-Growing” Musicals from Vienna via Japan.” ReVisions, March 14, 2017. https://revisions.pubpub.org/pub/musicals-in-post-globalization/release/1 
  3. Taylor, Mille, and Symonds, Dominic. 2014. Studying Musical Theatre: Theory and Practice. London: Palgrave.
Chapter 2

Many performers enter a reading or workshop without any prior knowledge of a musical’s long history of development. In this chapter, the gestation process of a new musical is considered by analyzing the development histories of shows written and produced in the United States, Canada, England, Australia, and South Korea – all important centers of development for contemporary musicals. Interviews with the writers elucidate what may appear on paper to be momentary lulls in the process while explaining when and how changes were made with the help of a creative team. The chapter concludes with the producer’s perspective of the new works process, through interviews of producers and artistic directors of regional theaters. 

Online Resources

United States 

Gun & Powder

Book & Lyrics: Angelica Chéri

Music: Ross Baum

Canada 

Life After

Book, Lyrics & Music: Britta Johnson

England 

The Season

Book & Lyrics: Kit Buchan

Music by: Jim Barne

Australia 

The Lucky Country

Book, Lyrics & Music: Vidya Makan

South Korea

Maybe Happy Ending

Book & Lyrics: Hue Park

Book & Music: Will Aronson

Recommended Reading: Musical Theatre Development

  1. Cushman, Robert. 2017. “Canadian Musicals are Having a Moment in the Spotlight – and Making up the Rules as They Go Along.” Canadian Broadcasting Corporation, December 14, 2017. https://www.cbc.ca/arts/canadian-musicals-are-having-a-moment-in-the-spotlight-and-making-up-the-rules-as-they-go-along-1.4448413 
  2. Davenport, Kenneth. N.d. “How Does a Broadway Producer Get Paid?” The Producer’s Perspective. Accessed on June 13, 2021. https://www.theproducersperspective.com/my_weblog/2010/01/how-a-producer-gets-paid.html
  3. Fierberg, Ruthie. 2017. “Theatre Jobs: What Does it Take to Be a Broadway Producer?” Playbill, October 15, 2017. https://www.playbill.com/article/theatre-jobs-what-does-it-take-to-be-a-broadway-producer 
  4. Heartley, Al. 2019. “What Does a Producer Do?’ American Theatre, April 9. 2019. https://www.americantheatre.org/2019/04/09/what-does-a-producer-do/ 
  5. Paulson, Michael. 2019. “Who Calls the Shots on Broadway? She Does.” New York Times, August 14, 2019.https://www.nytimes.com/2019/08/14/theater/broadway-women-producers.html
Chapter 3

This chapter delves into the specifics of readings and workshops of new musicals. Outlined here are differences between 29-hour readings and the different tiers of workshops, as are the different players in the process, including: the writers, director, music director, choreographer, stage manager, dramaturg, and actors. Because the job description of each theatre artist changes slightly in a new works scenario, each role is more clearly defined through interviews with industry professionals. The remainder of the chapter focuses on the roles and responsibilities of the actor, including how to prepare for readings and workshops. Interviewed actors share the benefits of engaging with a musical in development and how to be successful in this environment. 

Recommended Reading: 29-Hour Readings and Workshops

  1. De Giere, Carol. 2019. “Ilana Ransom Toeplitz on Directing, Casting, and 29-Hour Readings.” musicalwriters.com, April 22, 2019. https://www.musicalwriters.com/getting-musicals-produced/ilana-ransom-toeplitz-directing-and-29-hour-readings/  
  2. David, Cara Joy. 2016. “Developing a Show: Actors vs. Producers.” huffpost.com, July 27, 2016. https://www.huffpost.com/entry/developing-a-show-actors_b_11219584  
  3. David, Cara Joy. 2007. “Working Out the Kinks for a Price.” The New York Times, May 27. 2007. https://www.nytimes.com/2007/05/27/theater/27davi.html 

Resources

“Nuts & Bolts Guide to Producing New Musicals”: https://namt.org/knowledge-exchange/guide/

Chapter 4

Musical theatre performers must fully comprehend how story and song function together in a musical because it will allow them to give helpful feedback to the creative team during the development process of a show. This chapter focuses on interpreting a libretto’s language, dissecting story and character arcs, and discerning musical, lyrical, and rhyme structures. Each of these components is discussed in great detail using examples from pre-2000 and contemporary musicals of all different kinds (from book and concept musicals to jukebox musicals). These components are brought together at the end of the chapter to explain how a scene and song function together. Multiple activities give the reader an opportunity to both analyze and write within the structures discussed, aiding them to both understand the wisdom of why such structures exist and experience the challenge of working with clarity inside of them.

Mapping the Story Arc 

Mapping Character Arc

Recommended Reading: Dramaturgy

  1. Brown, Jason Robert. 2016. “What I Think About Writing Music for the Theater.” JasonRobertBrown.com, March 6, 2016. http://jasonrobertbrown.com/2016/03/06/essay-writing-music-for-the-theater/ 
  2. DeVore, John. 2014. “You Hate Musicals Because You Are Dead Inside.” Medium, June 8, 2014. https://medium.com/@johndevore/you-hate-musicals-because-you-are-dead-inside-cda63052659e 
  3. Engel, Lehman. 2006. Words with Music: Creating The Broadway Musical Libretto. Updated and Revised by Howard Kissel. New York: Applause Theatre & Cinema Books.
  4. Hatcher, Jeffrey. 1996. The Art & Craft of Playwriting. Cincinnati: Story Press.
  5. Viertel, Jack. 2016. The Secret Life of The American Musical. New York: Sarah Crichton Books.
  6. Valencia, Brian D. 2016. “A Method for Musical Theatre Dramaturgy.” In The Routledge Companion to Dramaturgy, edited by Magda Romanska. New York: Routledge.
  7. Woolford, Julian. 2012. How Musicals Work and How to Write Your Own. London: Nick Hearn Books.

Recommended Reading: Song Types

  1. Brown, Larry Avis. 2007. “The Dramatic Function of Songs in Musical Theatre.” larryavisbrown.com, July 2007 (rev. 2019). https://larryavisbrown.com/dramatic-function-of-songs-in-musicals/ 
  2. Prahl, Amanda. 2016. “If I Loved You: The Evolution of the Conditional Love Song in Musical Theatre.” Howlround, September 3, 2016. https://howlround.com/if-i-loved-you 
  3. Viertel, Jack. 2016. The Secret Life of The American Musical. New York: Sarah Crichton Books.

Recommended Reading: Understanding Song Structure

  1. Appen, Ralf von and Frei-Hauenschild. 2015. “AABA, Refrain, Chorus, Bridge, Prechorus – Song Forms and Their History.” German Society for Popular Music Studies, October 3, 2015.  http://www.gfpm-samples.de/Samples13/appenfrei.pdf 
  2. Viertel, Jack. 2016. The Secret Life of The American Musical. New York: Sarah Crichton Books.

Recommended Reading: Rhyme Scheme

  1. Eastwood, Joel and Hinton, Erik. 2016. “How does Hamilton, the non-stop hip-hop Broadway sensation tap rap’s master rhymes to blur musical lines?” The Wall Street Journal, June 6. 2016. http://graphics.wsj.com/hamilton/ 
  2. Grant, Anette. 1994. “Line by Line by Sondheim.” The New York Times Magazine, March 20, 1994. https://www.nytimes.com/1994/03/20/magazine/line-by-line-by-sondheim.html 
  3. Fresh Air. 2012. “Stephen Sondheim: Examining His Lyrics and Life.” Hosted by Terry Gross. NPR, February 16, 2012. https://www.npr.org/2012/02/16/146938826/stephen-sondheim-examining-his-lyrics-and-life 
  4. Weinman, Jaime. 2013. “Broadway Musicals Can’t Bust a Rhyme.” Macleans, May 27, 2013. https://www.macleans.ca/culture/but-nothing-rhymes-with-orange/ 
Chapter 5

Acting styles have undergone a seismic shift since the early days of the American musical. Each musical may require a completely different approach to acting, depending on the time period in which it was written, where it is set, and the vision of the creative team. Actors must be able to synthesize different acting vocabularies and quickly pivot in order to help the creative team clearly see the work in development. A brief history of musical theatre acting styles is discussed, along with the newer phenomenon of reimagining Golden Age musicals. Also considered are the analysis of a show’s style markers, making choices, maintaining flexibility, and acting the song. Activities illuminate each of these skills through a panoply of different musicals, Golden Age and contemporary alike. 

Recommended Reading: A Role is a Role is a Role

  1. Mink, Casey. (May 22, 2019). The Cosmic Connections Between the Women of “Hadestown” Retrieved from Backstage: https://www.backstage.com/magazine/article/the-cosmic-connections-between-the-women-of-hadestown-68154/
  2. Kozinn, Allan. (March 20, 2014). “A New Phantom and Christine Are Coming to the Opera.” Retrieved at: https://artsbeat.blogs.nytimes.com/2014/03/20/a-new-phantom-and-christine-are-coming-to-the-opera/ 

Recommended Reading: Acting Contemporary Musical Theatre

  1. Ates, Alex. (October 11, 2017) “What 15 College Professors + Directors Want Actors to Know” https://www.backstage.com/magazine/article/college-professors-directors-want-actors-know-3143/ 
  2. Caldarone, Marina & Maggie Lloyd-Williams. (2004). Actions: The Actors’ Thesaurus. Drama Publishers: Hollywood.
  3. Callow, Simon. 2009. “Can You Spot The Difference? The Guardian, May 10, 2009. https://www.theguardian.com/stage/2009/may/11/simon-callow-theatre 
  4. Deer, J., Dal Vera, R. (2016) Acting in Musical Theatre; A Comprehensive Course Second Edition, Routledge.
  5. Stanislavski, K. (1917). An Actor Prepares. Translated by Elizabeth Reynolds Hapgood. Methuen: London.
  6. Wesbrooks, W. (2014). Dramatic Circumstances: On Acting, Singing, and Living Inside the Stories We Tell. Milwaukee: Applause Theatre & Cinema Books.
  7. Willmott, Phil. “How to Take Notes Well and Avoid Falling Out – A Guide for Actors and Directors” (September 18, 2017) The Stage UK. Retrieved at:  https://www.thestage.co.uk/advice/how-to-take-notes-well-and-avoid-falling-out–a-guide-for-actors-and-directors     

Resources

  • Click here to download 6 Steps to Learning a New Monologue
  • Click here to download Cracking the Code of Sides Auditions
Chapter 6

Contemporary musicals continue to make greater demands on the performer’s voice with the increased use of contemporary commercial styles, such as pop/rock, folk, jazz, and R&B. In this chapter, research is presented illustrating how common it is for musical theatre performers to experience temporary or sustained vocal health issues because of the requirements of a particular show. Given that there is little professional support for performers during a production, even on Broadway, it is essential singing artists know how to maintain vocal health while claiming their agency to maintain a long and fruitful career. This chapter outlines the three basic modes of singing (Golden Age-influenced, belt, and mix) and the commonalities between them. Also discussed are how to learn and technically ground a song, approach different styles of music with authenticity, and translate direction into the voice.

Why Technique is Important 

  • Click here to download additional vocal health resources

Three Modes of Singing 

Applying Vocal Technique to Various Musical Styles 

Translating Direction into the Voice

Recommended Reading: Vocal Writing in Contemporary Musicals

  1. Freeman, Warren, Green, Kathryn, and Sargent, Philip. (2015). “Popular Song and Musical Theatre: Deciphering Vocal Demands for Today’s Broadway Leading Ladies.” Journal of Singing, Vol. 71, No. 4 (March/April, 2015), 491-495.
  2. Huston, Caitlin. 2019. “Speaking out about vocal injuries on Broadway.” Broadway News, September 19, 2019. https://broadwaynews.com/2019/09/19/speaking-out-about-vocal-injuries-on-broadway/ 
  3. Sisco, David. 2015. “Vocal Health on Broadway and Beyond.” NATS Conference, Chicago, July 9, 2016. Video of lecture. https://www.youtube.com/watch?v=dk3hu4drbSA  
  4. Sisco, David. n.d. “Writing for Today’s Musical Theatre Performer.” musicalwriters.com. https://www.musicalwriters.com/getting-started-writing-a-musical/writing-for-todays-musical-theatre-performer/ 

Recommended Reading: Understanding the Singing Voice

  1. Emgård, Harald. 2021. Developing Your Voice: From Personal to Professional. Slingby, York: Methuen.
  2. Malde, Melissa, Allen, MaryJean, and Zeller, Kurt-Alexander. 2017. What Every Singer Needs to Know About the Body, 3rd ed. San Diego: Plural Publishing.
  3. MCoy, Scott. 2019. Your Voice: An Inside View, 3rd ed. Ohio: Inside View Press.
  4. LeBorgne, Wendy and Rosenberg, Marci. 2021. The Vocal Athlete, 2nd ed. San Diego: Plural Publishing. 
  5. Spivey, Norman and Barton-Saunders, Mary. 2018. Cross-Training in the Voice Studio: A Balancing Act. San Diego: Plural Publishing. 

Recommended Reading: Singing in Contemporary Styles

  1. Borch, Daniel Zangger. 2008. Ultimate Vocal Voyage: The Definitive Method for Unleashing the Rock, Pop or Soul Singer Within You. Sweden: Notfabriken Music Publishing AB.
  2. Harrison, Scott D. and O’Bryan, Jessica, eds. 2014. Teaching singing in the 21st Century. Dordretch: Springer.
  3. Malone, Bill C. and Neal, Jocelyn R. 2010. Country music, U.S.A., 3rd. rev. ed. Austin: University of Texas Press.
  4. Melton, Joan. 2007. Singing in Musical Theatre: The Training of Singers and Actors. New York: Allworth Press.
  5. Sanders, Sheri. 2021. Rock the Audition: How to Prepare for and Get Cast in Rock Musicals, 2nd rev. ed. Brooklyn, NY: Rock the Audition.
  6. Soto-Morettini, Donna. 2014. Popular singing: a Practical Guide to Pop, Jazz, Blues, Rock, Country and Gospel, 2nd ed. London: A&C Black.
  7. Titze, Ingo, Worley, Albert S., and Story, Brad H. 2011. “Source-Vocal Tract Interaction in Female Operatic Singing and Theater Belting.” Journal of Singing, Vol. 67, No. 5 (May/June, 2011), 561-572.
Chapter 7

Auditioning for a new musical is very different from auditioning for an established show, especially when the show is in development. While the creative team has worked with a casting director to gain clarity on what they are looking for, a casting breakdown is little more than a published theory on how the show could look. It is the actor’s job to bring clarity to the creative team through their research, repertoire, choices, and presence in the audition room. Reading a casting breakdown, understanding a show’s musical influences and tone are all thoroughly reviewed. An important discussion about how “type” has often been used as a gatekeeping device in casting is central to this chapter, along with an exploration of “essence,” and how it creates more equitable space for actors of all identities and experiences. Further highlights include researching personnel, choosing material, understanding dance calls, callbacks, and self-taping. Several activities provide context and practice in preparing for and presenting a solid audition.

Choosing Material

  • Click here to download our list of under-sung contemporary musical theatre songs by genre and voice type.
  • Click here to download our audition book guidelines
  • Activity V
    • Click here to download material for Activity: Translating Character Breakdowns

Keeping Your Audition Material Fresh

Self-Taping 

  • Click here to download our Guide for Self-Taping

Self-Taping Examples

Claire Hayner: “All Figured Out” from Gay Card(Ryan Korell & Jonathan Keebler)

www.clairehayner.com / Instagram: @clarionmare

Carson Kaleo: “Hallelujah I Love Her So” (Ray Charles) musicnotes.com audition cut

https://carsonkaleo.com / Instagram: @carsonkaleodavis

Recommended Reading: Type vs. Essence

  1. Chow, Andrew R. 2018. “Study Finds Increasing Diversity on Broadway.” New York Times, January 15, 2018. https://www.nytimes.com/2018/01/15/theater/study-finds-increasing-diversity-on-broadway.html 
  2. Jaffe, Jennifer. 2015. “The Terrible World of Casting Notices.” New York Magazine, September 13, 2015. https://www.vulture.com/2015/09/casting-notices-are-so-terrible.html 
  3. Actors’ Equity Association. 2017. “Looking at Hiring Biases by the Numbers.”  Equity News, Vol. 102, Issue 2 (Spring 2017). https://actorsequity.org/news/EquityNews/Spring2017/en_02_2017.pdf#page=5 
  4. Whitfield, Sarah, ed. 2019. Reframing the Musical: Race, Identity, and Culture. London: Red Globe Press. 

Resources

  1. The Asian American Performers Action Coalition. 2020. “The Visibility Report: Racial Representation on NYC Stages.” September 30, 2020. http://www.aapacnyc.org/uploads/1/1/9/4/11949532/aapac_report_2017-2018_single.pdf
  2. Rock The Audition Coalition: https://www.rock-the-audition.com/coalition 

Recommended Reading: Auditioning

  1. Berry, Denny. 2019. Auditioning for Musical Theatre. Abingdon: Routledge.
  2. Deliee, Madeleine. 2018. “Juggling the Musical Audition.” Dramatics Magazine, Vol. 8, No. 5 (June/July 2018).
  3. Flom, Jonathan. 2016. Get the Callback: The Art of Auditioning for Musical Theatre, 2nd ed. Lanham, MD: Rowman & Littlefield.
  4. Gerle, Andrew. 2011. The Enraged Accompanist’s Guide to the Perfect Audition. Milwaukee: Applause Theatre & Cinema Books. 
  5. Hetrick, Adam. 2014. “Booking It? Casting Director Bernard Telsey on Audition Essentials.” Playbill.com, January 14, 2014. https://www.playbill.com/article/booking-it-casting-director-bernard-telsey-on-audition-essentials-com-213753 
  6. Josepher, Laura. 2020. “They Want Me to do What? How to Take an Adjustment.” StageAgent.com, March 4, 2020. https://blog.stageagent.com/how-to-take-an-adjustment/ 
  7. Sanders, Sheri. 2021. Rock the Audition: How to Prepare for and Get Cast in Rock Musicals, 2nd rev. ed. Brooklyn: Rock the Audition.
  8. Silver, Fred 1988. Auditioning for Musical Theatre. New York: Penguin Books. 

Recommended Reading: Self-Taping

  1. Hundt, Cori. 2019. “Your Guide to a Perfect Self-Tape.” backstage.com, October 20, 2019. https://www.backstage.com/magazine/article/guide-perfect-self-tape-1758/ 
  2. Josepher, Laura. 2020. “Upgrading Your Self Tape Game.” ContemporaryMusicalTheatre.com,  April 16, 2020. https://contemporarymusicaltheatre.wordpress.com/2020/04/16/upgrading-your-self-tape-game/ 
  3. Playbill. n.d. “How to Create Your Best Self-Tape Audition.” Playbill. Accessed on March 25, 2021.  https://www.playbill.com/article/how-to-create-your-best-self-tape-audition 
  4. OnStage Blog. 2021. “We Need to Talk About the Current State of Auditioning.” OnStage Blog, July 16, 2021. https://www.onstageblog.com/industry/2021/7/16/2uapwvl04albvwzif0957w4hqb581z?fbclid=IwAR1uP3nQONQxNUQiZT4TCed-Oi6YNFDG7hnxEV9sSaLF79Jl8PNhs4WGT7Y 

Resources

  1. AmeliaCampbell.com – On-camera coach (individual and group classes)
Chapter 8

A performer’s ability to quickly learn new material is perhaps one of their strongest assets in a new works environment. It is common for new scenes and songs to be delivered to the cast on a regular basis, which the performer must quickly learn and fully embody to help the creative team more clearly see the developing work. If a performer is unable to swiftly synthesize new information, they will slow down a process that is literally a race against the clock to present the best vision of the musical. This chapter focuses on how cold reading and sight reading skills make the performer an invaluable part of the creative process. In cold reading, the information provided in the acting chapter is deepened to teach the performer how to quickly look for clues in the script or lyric to ground their character. A discussion of basic music theory, helpful apps, and how to take apart a song further inform how to become a better sight reader. Both sections have ample exercises for practice. 

Sight Reading 

  • Click here for a glossary of musical terminology
  • Click here for information on relative minor scales
  • Click here to download the sight reading worksheet

A Note on Singing Harmony

Overcoming an Aversion to Sight Singing 

  • Click here to download the Chorales & Musical Sides worksheet

Recommended Reading: Cold Reading

  1. Deer, Joe. 2019. “Fight the Good Fight: Understanding Tactical Actions.” Dramatics, July 10, 2019. https://dramatics.org/fight-the-good-fight/
  2. Schiffman, Jean. 2010. “The Top 10 Action Verbs To Have In Your Toolkit.” Backstage, August 14, 2012. https://www.backstage.com/magazine/article/top-action-verbs-toolkit-57081/    

Recommended Reading: Sight Reading & Learning by Ear

  1. Ates. Alex. 2019. “This Skill Makes You a More Competitive Musical Theatre Actor” Backstage, June 4, 2020. https://www.backstage.com/magazine/article/musical-theater-actor-musicianship-66864/
  2. Riley, Christine. 2020. Music Fundamentals for Musical Theatre. New York: Methuen Drama. 

Resources

  1. Sight Reading Factory: an online resource with multiple levels of sight reading practice and an algorithm to ensure you don’t repeat exercises: https://www.sightreadingfactory.com
  2. Learn to Sing Harmonies – Dr. Dan’s Voice Essentials: https://www.youtube.com/watch?v=UBrVzq8buyo 
Chapter 9

While collaboration is a hallmark of any theatre artist’s vocation, most performers are never specifically taught how to successfully collaborate with others. A musical in development brings with it many added stressors associated with the evolution of the show, which can make collaboration all the more challenging. In this chapter, the basic tenets of collaboration are introduced, which can be applied to any situation, on stage or off. A discussion focused on working with difficult people illuminates the tricky emotional terrain theatre artists must navigate in order to maintain proper focus on their role in a developing musical. The chapter concludes with suggestions on how to be a thoughtful collaborator in the development process, with interviews from a variety of theatre artists to illuminate how these skills function in real-world scenarios.

The Basics

  • Click here to download a blank SWOT analysis worksheet

Recommended Reading: Collaboration

  1. Fischer, Roger and  Ury, William. 1991. Getting to Yes: Negotiating Agreement Without Giving In. Boston: Houghton Mifflin Company. 
  2. Forsey, Caroline. 2020. “How to Run a SWOT Analysis for Your Business.” HubSpot, August 7, 2020. https://blog.hubspot.com/marketing/swot-analysis 
  3. Hargrove, Robert. 1997. Mastering the Art of Creative Collaboration. New York: McGaw-Hill Companies.
  4. Poppel, Deb. 2019. “Musical Theatre Collaboration: What Makes it Last? Part I.” Musical Theatre Today, Vol. 3. pp. 295-316. 

Resources

  1. Dramatists Guild Live! https://www.dramatistsguild.com/thedramatist-live Listen to several theatre artists talk about the art of collaboration
  2. The Spotlight Podcast: Collaboration and Authenticity in Theatre Making with the PappyShow. Retrieved at: https://www.spotlight.com/news-and-advice/the-spotlight-podcast-collaboration-and-authenticity-in-theatre-making-with-the-pappyshow/ 

Recommended Reading: SWOT Analysis

  1. Fine, Lawrence G. 2009. The SWOT Analysis. South Carolina: CreateSpace Independent Publishing Platform
  2. Parson, Noah. 2021. “What is a SWOT Analysis and How to Do it Right (With Examples)” LivePlan, February 2, 2021. https://www.liveplan.com/blog/what-is-a-swot-analysis-and-how-to-do-it-right-with-examples/ 
Chapter 10

As outlined in previous chapters, it is easy for writers to get lost in certain elements of their musical’s story as they progress through the development process. As a result, there are times when the performer will need to connect missing dots in the story or character arc with the help of the creative team. Outlined here are examples of Golden Age and contemporary shows that suffered dramaturgical issues despite making it to Broadway. Also discussed are the many reasons to work on musicals that are not yet fully realized and how to overcome missing information by building on the dramaturgical skills discussed in Chapter 4. Claiming agency in challenging or harmful work environments also factors into this discourse, with helpful advice from industry professionals.

Recommended Reading: They Don’t Write ‘em Like They Used To

  1. Mandelbaum, Ken. 1992. Not Since Carrie: Forty Years of Broadway Musical Flops. New York, NY: St. Martin’s Press.
  2. Paulson, Michael. 2016. “Anatomy of a Broadway Flop: What Sank These 4 Shows.” New York Times, June22, 2016. https://www.nytimes.com/2016/06/23/theater/anato my-of-a-broadway-flop-why-these-4-shows-failed.html 
  3. Purdy, Stephen. 2020. Flop Musicals of the Twenty-First Century. Routledge.
  4. Rhodes, Jesse. 2011. “Broadway’s Top Ten Musical Flops.” Smithsonian Magazine, May 10, 2011. https://www.smithsonianmag.com/arts-culture/broadways-top-ten-musical-flops-169390390/ 

Recommended Reading: Working on Material That Isn’t Fully Realized Yet

  1. Mandelbaum, Ken 1991. Not Since Carrie. New York: St. Martin’s Press.
  2. Cannon, Dee and Lyn Gardner 2009. “Character Building and What Makes a Truly Great Actor.” The Guardian, May 9, 2009. https://www.theguardian.com/stage/2009/may/09/character-building-great-actor
  3. American Theatre, eds. 2018. “Resources for Survivors.” American Theatre, August 21, 2018.  https://www.americantheatre.org/2018/08/21/resources-for-survivors/