Well, I don't have much to say about this, but WHAT IN THE WORLD IS HAPPENING HERE IN NEW ENGLAND!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! WHY DON'T MEN SING? DID THEY ALL MOVE TO NASHVILLE OR L.A.? Do I need to write an ALL FEMALE show? Believe me, one day I will. My new show, The Lost Son, has many great female parts, but it's a huge story with an incredible plot and it requires several male singers. I don't mean decent singers. I mean really good ones. And they are fun roles. One guy is Mexican and Black, raised in Brooklyn, NY. Fun part, with a great solo in the second Act. Another guy, Freddy, is a young Joe Pesci type guy - very funny character. I need a sharp tongued, witty character with a "voice." And there are others. Come on. Be a part of this amazing show.
If you want to audition to be a part of this show, call now or send me an email at brent@lightsup.org. Call me personally at (860) 305-1061. OK!!! You will have the time of your life and perform for thousands of people.
This show launches in January. Rehearsals resume on September 22.
Saturday, September 5, 2009
Sunday, July 26, 2009
Microphones and Quality Theater
Producing Quality Theater
The Microphone Discussion
By Brent Grosvenor
As a director, writer and a performer I feel strongly about the following statement. If it is possible, immediately after the cast or ensemble has learned a particular song, then begin rehearsing with microphones, in the theater, on the stage. This is very important if the performers and sound crew have limited experience or if they can only rehearse in the evenings or on the weekends. Several different people have asked me the following question: “Why do you want to rehearse with all of your microphones so early on in the production process?” It has also been stated more than once, “Brent does not need to rehearse with microphones until two weeks before the first performance.” My response to this is truly quite logical. Please follow my pattern of thought closely.
Broadway and the Professionals
In my circle of musical theater we would all agree that we want to be professional. However, we are currently working primarily with people who have little experience. This is true on the acting, singing and sound engineering level. I was asked the question, “Don’t the professionals wait until two weeks before the first performance to ‘tech’ and work with sound, lighting etc? The answer is a loud “NO!!!”
Before opening night on Broadway the show has already been performed with lights and sound, in the theater in front of an audience for an average of four straight weeks. These are called previews. This includes eight hours of rehearsals during the day, with microphones, lights and some costuming. This is how a show can sometimes close before it even opens. A few bad reviews can snowball into a “close” before opening night.
What happens before the four weeks of previews and daytime rehearsals? It is preceded by two full weeks of tech, EIGHT HOURS a day. What precedes this? The technical team is designing and working on their details of the show. It is discussed, how it will be mic’ed, which soundboard will be used, which monitors, etc. and how will all of this effect every other aspect of the musical. The costume designers, set designers, prop crew and so forth are all working for months to determine how the show can be as good and effective as possible. And still, during that preview month, changes are made. And this is done with professionals who have made careers in their respective craft.
Community Theater and Church Productions
In these circles, most of the performers are volunteers who work during the day and often have very limited experience. This may also include the technical team. If your theater group does not use any sound amplification then this discussion may not be relevant for you at this time. I received all of my training in a regional theater that used a live orchestra and NO sound or microphones at all. This helped me learn how to project clearly and to never rely on a microphone. However, we would all agree that if we went to a Celine Dion concert we’d prefer that she would use a microphone. This would also include a Broadway show. For performing a show in very large venues and for most contemporary musicals, amplification is needed. It’s as simple as that.
As a performer, I look forward to that time when I’m wearing the mic, wearing my costume and feeling the “electricity” in the theater. As a singer, I view my microphone as another tool; an instrument or particular color for the painting and this even includes the particular reverb we choose to use. It all matters. And when the rest of the cast is mic’ed the chemistry changes. Things begin to gel or blend better and the crew at the mixing console can get their needed rehearsal time and put their own artistic touch on the show. Considering everything we just mentioned above regarding Broadway, isn’t it logical to do everything possible to begin rehearsing early on in the production process with mic’s and sound?
For me, I’m usually dealing with people with little experience and it is invaluable to get my cast together on a stage and wearing microphones early on in order to see how we sound together, make important changes and being polishing the scenes. For those who are new to singing harmony parts, they need to hear each other on stage and the mix in the monitors. Then, sooner than later, they can focus on character, their physical performance and the many other details of the show.
Currently, I happen to be directing and producing a show that I’m writing and, obviously, has never been performed. It is priceless to be able to see how a brand new song and scene looks and feels on the stage as we shape, mold and color the piece of dramatic art. It can’t be done by waiting until two or three weeks before opening night with a few evening rehearsals using people who have not made careers out of it. But, with the right strategy, on every level of the show, they will be amazing.
If you are looking for a Christmas or Easter Musical to perform in your town, go now to www.lightsuptheater.com
The Microphone Discussion
By Brent Grosvenor
As a director, writer and a performer I feel strongly about the following statement. If it is possible, immediately after the cast or ensemble has learned a particular song, then begin rehearsing with microphones, in the theater, on the stage. This is very important if the performers and sound crew have limited experience or if they can only rehearse in the evenings or on the weekends. Several different people have asked me the following question: “Why do you want to rehearse with all of your microphones so early on in the production process?” It has also been stated more than once, “Brent does not need to rehearse with microphones until two weeks before the first performance.” My response to this is truly quite logical. Please follow my pattern of thought closely.
Broadway and the Professionals
In my circle of musical theater we would all agree that we want to be professional. However, we are currently working primarily with people who have little experience. This is true on the acting, singing and sound engineering level. I was asked the question, “Don’t the professionals wait until two weeks before the first performance to ‘tech’ and work with sound, lighting etc? The answer is a loud “NO!!!”
Before opening night on Broadway the show has already been performed with lights and sound, in the theater in front of an audience for an average of four straight weeks. These are called previews. This includes eight hours of rehearsals during the day, with microphones, lights and some costuming. This is how a show can sometimes close before it even opens. A few bad reviews can snowball into a “close” before opening night.
What happens before the four weeks of previews and daytime rehearsals? It is preceded by two full weeks of tech, EIGHT HOURS a day. What precedes this? The technical team is designing and working on their details of the show. It is discussed, how it will be mic’ed, which soundboard will be used, which monitors, etc. and how will all of this effect every other aspect of the musical. The costume designers, set designers, prop crew and so forth are all working for months to determine how the show can be as good and effective as possible. And still, during that preview month, changes are made. And this is done with professionals who have made careers in their respective craft.
Community Theater and Church Productions
In these circles, most of the performers are volunteers who work during the day and often have very limited experience. This may also include the technical team. If your theater group does not use any sound amplification then this discussion may not be relevant for you at this time. I received all of my training in a regional theater that used a live orchestra and NO sound or microphones at all. This helped me learn how to project clearly and to never rely on a microphone. However, we would all agree that if we went to a Celine Dion concert we’d prefer that she would use a microphone. This would also include a Broadway show. For performing a show in very large venues and for most contemporary musicals, amplification is needed. It’s as simple as that.
As a performer, I look forward to that time when I’m wearing the mic, wearing my costume and feeling the “electricity” in the theater. As a singer, I view my microphone as another tool; an instrument or particular color for the painting and this even includes the particular reverb we choose to use. It all matters. And when the rest of the cast is mic’ed the chemistry changes. Things begin to gel or blend better and the crew at the mixing console can get their needed rehearsal time and put their own artistic touch on the show. Considering everything we just mentioned above regarding Broadway, isn’t it logical to do everything possible to begin rehearsing early on in the production process with mic’s and sound?
For me, I’m usually dealing with people with little experience and it is invaluable to get my cast together on a stage and wearing microphones early on in order to see how we sound together, make important changes and being polishing the scenes. For those who are new to singing harmony parts, they need to hear each other on stage and the mix in the monitors. Then, sooner than later, they can focus on character, their physical performance and the many other details of the show.
Currently, I happen to be directing and producing a show that I’m writing and, obviously, has never been performed. It is priceless to be able to see how a brand new song and scene looks and feels on the stage as we shape, mold and color the piece of dramatic art. It can’t be done by waiting until two or three weeks before opening night with a few evening rehearsals using people who have not made careers out of it. But, with the right strategy, on every level of the show, they will be amazing.
If you are looking for a Christmas or Easter Musical to perform in your town, go now to www.lightsuptheater.com
Monday, April 6, 2009
Monday, December 15, 2008
Monday, September 8, 2008
Money and the Arts
Ever since I was in elementary school I noticed that a lot of money was poured into our sports programs while everything else, especially the music and art department got less funding. Of course, I could not explain it like that then. Now, I do love sports and I played Soccer and Basketball, but my real love was music and theater. These were my strongest gifts.
I pursued them and worked hard to be much better than good. I wanted to be great. Just like so many others all over this country in schools at any level, I worked with what I had. I got involved in the nearby community theater, which, thankfully, where I came from was truly excellent with a former Broadway entertainer as the director. There doesn't need to be any real discussion at this point regarding sports and that whole arena of money, funding and so on. It is what it is and, believe me, there is still lots of money out there for the arts, sciences and other aspects of education.
Over the years we've seen the growth and development of many great music and theater programs in many public and private schools. But, (and here I go again) within Christianity the money is usually not there. Yes, now and then, we find a Christian liberal arts college with huge (as Howie says) amounts of money put into this department. Then somewhere we find a group of people with dreams of making a film and someone steps up with a few million dollars to make it a reality. But far too often it is a struggle and fight to come up with the real funds to do something great. Hollywood has the money. Broadway has the money. Even most of our big Christian record labels were bought out by large secular record companies because... they had the money.
I have a dream and I believe that I've proven that it is worthy of funding. I believe that I've proven that I simply want to do something wonderful for God and the sake of humanity. But, I can't come up with the funding to take the dream to the highest level. No, I'm not alone. Others dream. Others work hard. Others thank God for the simple way in which He uses them. I promise to keep doing the same. I promise to be a good steward with what I have. But I can't help asking the question; Why can't that one person who has the money in hand just come forth and say, "here's all you need to make this dream come true. Here's the money" ??? This is at least something for discussion.
Tuesday, September 2, 2008
First official trailer for The Passion of the King
Our First ever teaser trailer has been posted for The Passion of the King, the newest musical by Brent Grosvenor. This short trailer contains actual music from the show composed by Grosvenor. This epic style musical is a fresh and riveting telling of the message of Jesus Christ and His Kingdom.Wednesday, August 27, 2008
Christian Drama as a Teaching Tool
I had a comment on my last post about "bad drama" and our quest for excellence that I want to address. The person (Dan) mentioned that sometimes drama or skits are great for making a point or illustrating something more clearly during a teaching session or sermon. He mentioned that we can't always make these things a "production" or get them perfect in every way. We can't always get professionals to do them. This is very true and I respect any effort to help communicate better or make a teaching more effective. I would put this in a category of it's own. I would never want to discourage this in the teaching or preaching world. "Go for it." Throw out a good illustration as long as it does not take away from the lesson. Get the people together, do your best and have fun. Always strive to be a better communicator or teacher. Always strive to do a better job at touching and changing lives. In the meantime, let's keep working on the Theater Arts aspect of the Christian Church and aim to master the craft.
If you are looking for a Christmas Production for this coming season, consider The Richest Man in the Valley. This Christmas Musical will be fun and very effective in communicating the Christmas message. Go now to our website at www.lightsup.org.
If you are looking for a Christmas Production for this coming season, consider The Richest Man in the Valley. This Christmas Musical will be fun and very effective in communicating the Christmas message. Go now to our website at www.lightsup.org.
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