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
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