Category: Theatre
All posts in this category:
- Carousel with Amy and Gillian!!! November 21, 2009, 7:39 pm
- Jekyll and Hyde callback was intense. Ooof. August 3, 2009, 11:32 pm
- Go see The Rock Tenor! July 19, 2009, 7:44 pm
- YAGMCB video clips January 17, 2009, 10:57 pm
- Check out a critic’s review of our YAGMCB ! December 10, 2008, 8:02 pm
- What I learned in 18 months of theatre November 29, 2008, 4:38 pm
- YAGMCB opening night =) November 29, 2008, 1:32 am
- We’re in the paper! November 21, 2008, 2:08 pm
- Better pictures of my haircut November 10, 2008, 5:44 pm
- Godspell aftermath: photos and videos October 21, 2008, 2:32 pm
- The bits of Godspell I’ll remember October 19, 2008, 4:54 pm
- Two more weekends of NY cabbie, shrill high B’s and Godspell October 10, 2008, 4:15 pm
- Dream Role #1: Sally in YAGM Charlie Brown!!!!!!!!! September 15, 2008, 1:22 am
- Godspell goes up in less than three weeks!! September 15, 2008, 12:24 am
- Musical theatre heroes I’ve met July 26, 2008, 5:14 pm
- Performing Godspell: my first principal role in a musical July 25, 2008, 12:51 am
- Final Respects: my first “real” acting role July 8, 2008, 12:27 am
- A resource for musical theatre auditions! March 1, 2008, 10:18 am
Carousel with Amy and Gillian!!!
Gillian, Amy and I first crossed paths at an audition for Guys and Dolls. I remembered Gillian because she was an awesome dancer, and I remembered Amy because she had a beautiful legit soprano voice. (Nothing about me was memorable except perhaps being a nervous wreck. And being Asian, that makes me stand out in the theatre world.) I think that audition was one of the first for all of us; we were just starting to get into this thing called musical theatre. To be fair, Amy had plenty of experience in opera, but I believe she had recently made the jump to focus on Broadway musicals.
Since then, we’ve occasionally run into each other in classes or at other auditions, but we never had an opportunity to work together on a show. Until now! The cast list for Narberth’s production of Carousel was just released today, and we’re all going to be in it! YAY!!!!! I’m already anticipating good times and I can’t wait 
Congrats, girls!!
Jekyll and Hyde callback was intense. Ooof.
A few weeks ago I decided to work toward getting back into theater. I found an audition for Jekyll and Hyde about an hour away, and I figured it would be a good one on which to test the waters again. To my surprise, I got a callback for Lucy, the female lead originally played by Linda Eder. No way on this earth do I have a voice like hers. People who know me would peg me for Emma (the more wholesome soprano) rather than the vivacious and intensely vulnerable prostitute Lucy. But I sang “Someone Like You” and flashed the tattoo, so maybe I actually can pull off a whore when needed 
Callback was tonight. We started with about 10 girls for both Lucy and Emma combined. After we worked on each song, they would send people home — it’s been a while since I’ve gone to that kind of callback. Innnntense. And of course almost everyone there, except another girl and me, already knew the directors and were giddily being, well, theater people…It’s been a while since I’ve been in that kind of environment, too.
The music is vocally demanding, and I won’t lie: by the end of the night, I was raspy and ready to cave. Fortunately, it was over. I’m glad to say I survived all the cuts to the end, however this unfolds.
Go see The Rock Tenor!
Today, Kara and I went to see The Rock Tenor, a concert of five vocalists performing medleys that blend rock anthems with everything from Puccini to Les Mis. It is an AMAZING show. The vocalists are incredibly talented, thrilling to see and hear. The soprano, Morgan James, trained at Juilliard, and damn it shows! And another one of the vocalists, Alex Keiper, went to school here in Philly at UArts. She dances around like she’s having a blast, and she’s adorable Plus, the two backup male vocalists are super-cute
The show is playing until August 23. Let me know if you want to see it, I’d love to go again!!
YAGMCB video clips
Yesterday, the DVD videos of our production of You’re A Good Man, Charlie Brown arrived in the mail! You can check out some clips here.
I can’t believe it was only a month ago that I was donning a blonde wig and running around like a five-year-old. All that’s happened with school since then makes it feel like it was ages ago. I was super-excited to watch the DVD.
I used to hate seeing pictures of myself, so watching videos was even more painfully embarrassing. Now that I’m less self-conscious, I don’t mind so much. Watching myself in YAGMCB, I made the following observations:
- Although I don’t think my eyes are particularly almond-shaped, I definitely look like an Asian girl with a blonde wig. That’s an improvement over my initial impression when I first tried on the costume — I thought I looked like a man in a wig.
- I move around like I have ADHD.
- I seem to pout an awful lot. That’s probably partly because I have an underbite; my lower jaw sticks out further than it should. The false pouting comes up sometimes when people think I look upset, but I’m really just thinking and my facial structure happens to lend itself to looking grumpy and pissed off. My mom once asked me if I wanted surgery, but I saw the procedure on Discovery Health and decided uh uh, no way.
- What I’m thinking in my head often doesn’t come out clearly to the audience. Those are spots where I have to work on my acting.
I’m glad that I’m now at a point where I can comfortably watch myself on tape and learn from what I see. One day, perhaps I will be able to take the stage again and apply what I’ve learned
Check out a critic’s review of our YAGMCB !
Copied verbatim from the local paper:
Footlighters bring the magic of ‘Peanuts’ to the stage
Review
By David Cregan
Charles M. Schulz’s comic strip Peanuts is an American treasure, and the image of Charlie Brown on our television screens has become a holiday tradition. Footlighters Theatre in Berwyn is bringing to life all of the strip’s cherished characters in its production of You’re a Good Man Charlie Brown.This musical, with book, music, and lyrics by Clark Gesner, began as a collection of songs before being adapted for the stage in 1967 as an off-Broadway production. It eventually made its way on to the Great White Way in 1971 and was again revived in 1991. The most recent production starred Kristin Chenoweth of Wicked fame as Charlie Brown’s baby sister Sally, winning her a Tony Award for Best Featured Actress.
The play follows one day in the life of Charlie Brown, and even though he is preoccupied with his failures, his optimism wins out in the end as he recognizes how many things in his life make him happy.
The Footlighters do a delightful job bringing this nostalgic set of characters to life. The set, designed by Lesley Surruta, is beautiful and well crafted. Judy Pizzi’s direction is witty, and her choreography is hilarious in Snoopy’s big number “Suppertime.”
Ann Truong is hilarious and very playful as the goofy yet lovable Sally. Hugh Abbot brings the house down as Snoopy, and Erik Schembs has a terrific singing voice in the role of Schroeder.
Nicholas Bryan as Charlie Brown, Janet Abbot as Lucy and Greg Kasander as Linus round out a wonderful cast, who are clearly having as much fun as the audience is.
This is a great show for kids and adults. Children will love recognizing these beloved characters from TV, but there is plenty of good wit and humor to keep adults rolling in the aisle.
What I learned in 18 months of theatre
Recently, I received an email from someone who was referred to my auditions database by my voice teacher, Heidi Hayes. She asked me about my theatre experience and advice for a theatre newbie. Her inquiry made me pause to consider what I’ve really acquired over the past year and a half of theatre-ing. I thought that information might be useful to others as well, and in any case, it’s an important part of part of my life and personal growth that deserves reflection. Here is an excerpt of the email:
I want to give you a little background on myself because I think if you could understand what I started with, you’d see that just about anyone could jump into theatre. If I can do it, certainly you can.
To start, I was never much of a theatre person; my first love is music. I did a lot of more traditional choral singing in high school, and I didn’t care for theatre at all…my shallow impression was that theatre people were too melodramatic for me. Between high school and my first Walnut class (Heidi’s musical theatre) in Fall 2007, I didn’t really do anything theatre-ish (no performances, except a few instances in medical school, where the audience comprised our classmates in varying degrees of drunkenness, so anything we did was entertaining). I remember in the first day of Heidi’s class, as I waited my turn to introduce myself, my heart was racing; I could hear it throbbing in my ears and I could see it pounding in my chest. This was completely normal for me — I had always been very shy and easily struck with stage fright, even for stupid things like reading aloud in class in grade school. At my high school graduation, I had to give a speech, and I was so nervous that I started crying and had snot all over my face and my sleeves.
I more or less coped with this anxiety for 26 years, simply accepting that I was an awful mess when I was the center of attention. When I decided to take Heidi’s class, it was because I was finally frustrated with myself for the way I let the anxiety ruin my performance, whether it was presenting my lab work, solving a problem at the chalkboard in school, or singing karaoke with friends (which I pretty much never did; I always just looked thru the song book and chickened out). In every case, I knew I could have done better, but I just let the nerves fluster me. More than anything, I wanted to be able to sing. So, I took Heidi’s class.
As I learned the basics of performing a song in Heidi’s class, I started going to community theatre auditions. With Heidi, I studied voice privately for the first time; she was a huge resource in terms of both vocal technique and her experience in this new theatre world I was exploring. More and more, I learned that singing ability wasn’t really as important as I thought; there was much more emphasis on the “theatre” part of musical theatre. That was a major lesson for me. At some point, I began to understand that theatre isn’t the melodramatic garbage that I had previously thought it to be; I understood that theatre is a form of communication, exactly the kind that I needed to learn and practice in other facets of my life.
I tried to go to every audition possible, regardless of whether I was a good fit for any of the roles. I learned a lot from those experiences, from the various ways that different groups ran auditions to the weird things that would affect my audition (for instance, accompanists who are not as good at piano as Heidi, performing in front of all the auditionees vs. just the directors, auditioning on a stage vs. in a very small random closet-like space, and so forth). More than once, I came home and cried about how I did because I knew it wasn’t my best. More than once, I came to Heidi and ranted about how arbitrary or unjust the process seemed. I also got a feel for the theatres where I auditioned, and this knowledge became useful later as I considered auditioning for their other shows.
I place great trust in Heidi and ran just about every audition by her, whether it was one I considered going to or one that I needed to rant about. However, as much as I learned from Heidi in class and in private lessons, the pace and quantity of learning I acquired while in a show were greater. There is no substitute for performing experience and what I learn from it, about theatre as well as about myself. For instance, I’m a decent soprano, but I would still be nervous about anything above an F. After working on Godspell, I pretty much have no qualms about anything up to a high C. I learned that sometimes I’m vocally tired and can’t do it, but it will be there in a few hours or the next day. (I don’t think I’m doing any vocal damage, since I’m not hoarse; I just get tired.) I would never have volunteered for those high soprano parts, but for whatever reason, the music director assigned them to me…and I realized that for me, the key approach there was the same as with auditions: I needed to face the challenge, remembering that things wouldn’t go the way I wanted every time (and this is VERY hard to accept for a type A person like me), but improvement was inevitable, and most importantly, the anxiety would subside.
I will add that perhaps one natural advantage I have is that I don’t take myself too seriously and can laugh at myself, which makes me and my temperament amenable to the vagaries of theatre I have observed. I still get intimidated by a lot of the people I see at auditions or work with in shows because they clearly have much more experience than I (and when they seem to exude that experience with a purpose, I start to get even more tense). In those cases, I remind myself that I am there to gain experience myself, I am there because I love music and musical theatre, and I am there because the experience ultimately helps me better myself as a whole. And it doesn’t hurt to also remember that I bring a lot of other kinds of experience to the table, and who the heck knows what the director is looking for anyway!
Obviously, it’s all a lot easier said than done; it takes work to keep yourself motivated when you are discouraged. I think I know subconsciously that I shoot for the moon in hopes of landing among the stars, and that attitude helps me to persist when I might not otherwise. To add another metaphor, I guess I’m a bit like the bumblebee who doesn’t know he’s aerodynamically unsuited for flying and hence goes on flying anyway. (Actually, the veracity of this quote, credited to Mary Kay Ash, is contested, but it’s a cute analogy nonetheless.) I might not succeed, but I need to try, and sometimes I try until I succeed.
I didn’t mention the family crisis that led me to seek solace in theatre, but it’s worth mentioning that doing Miss Saigon, my first musical as a performer, helped me to cope with the culture clash and moral dilemmas that I was experiencing. The main character dies in a sacrifice to better the life of her child, and although my mother is alive, I’ve seen her make that sacrifice many times over. Theatre helped me get through that ugly time, a darkness that is still not fully resolved and still has aftershocks. But theatre has made me a stronger person, has changed the way I see the world, has changed the way I live and the way I value life.
YAGMCB opening night =)
Tonight’s opening of You’re A Good Man, Charlie Brown was, for me, a satisfying success I was nervous, and the night wasn’t perfect, but I didn’t have any major goofs, and musically, it went very well.
The second act is the more challenging one for me. It opens with Snoopy’s Red Baron scene, where I have to sing a short but aria-like melody where the second-to-last note is a high B, so by the time I get to it, I’m a little short on breath. This is a problem when I’m nervous 
I had to muscle it out a little tonight, but at least it was there. Then, right after is my song, “My New Philosophy.” There’s one line in the melody that ascends, and it crosses the place in my voice where I often switch to my head voice. Sometimes I belt it, sometimes I don’t; again, nerves add an element of unpredictability to what my voice will do. Occasionally, it decides to crack But tonight, it did not
I had a few moments here and there in which I stumbled a bit on my lines, not forgetting them, but delivering them a bit awkwardly. I covered for them, though, and I don’t think the audience perceived an error…I hope. I could definitely tell that my nerves were flustering me and I wasn’t performing the way I had rehearsed, but hopefully the performance flow was all right.
AND how cute is this? At the end of the show, after I changed out of my clothes and ran up to the audience to meet Jeff (who was visiting from Houston), a little boy came over to me and asked me to sign his program! I asked him his name, and when he said John, I asked him if it was J-o-h-n. He answered, “Yes, but I want you to write your name.” I had to stifle some laughter as I wrote him a note and signed my name. It reminds me of Disney days, signing autographs and taking pictures (over and over and over…).
Yes, all in all, I’m very happy with opening night, and I can’t wait for the next 8 runs!
We’re in the paper!
The Chester County Daily Local ran a brief announcement about our Charlie Brown production. Nifty =)
We finally made it through a full run last night, and we open next Friday. We still have some kinks to smooth out with regard to various props, and I know that I need to work on my music so that I don’t panic. I belt most of “My New Philosophy,” more out of happenstance than intention, and while I’m okay with standing and singing it, I find myself in need of breath while acting it. I foresee a long week.
I finally have some set pieces to move, too. Being the smallest person in the cast, the director has either avoided giving me furniture moving responsibilities or, upon seeing me make a cumbersome awkward attempt, reassigned them to someone else.
I also have a big curly blonde wig. The sight of me in that thing alone should be worth at least 1/3 of the admission. Tickets are only $15! Come see it!
Better pictures of my haircut
Judy, the director of our You’re A Good Man, Charlie Brown production, took some photos during rehearsal. Here are a few that show haircut a little better than the Halloween ones I posted.
I’ll also add rehearsal photos here.
Godspell aftermath: photos and videos
After several hours of media editing, I can now finally share my Godspell experience with some visual aids. Here are photos and videos. I also added stuff on Facebook for that demographic. I’m posting these mainly for my mom and brother, who couldn’t come to the show. But look who did!
I had my camera at the show only the last weekend of the show, so those are the folks of whom I have photos, but I can’t forget Steve, Steph and Kara, who supported me opening night; Susan and Dianne, who showed up and totally took me by surprise and delight; and Jenn and Laura, who have always been genuinely supportive throughout the crappy and the happy times.
That said, here are the folks whom I did manage to snag with my camera. Karla is the most chill MD-PhD I know; she’s so much fun and I love her. Allison, Sarah and Jess were in the same entering class as I, and they are now 4th-year medical students (oh, to be in their shoes...). They were sweethearts to come up and see me. Tim is the director of Final Respects, and he was really supportive in helping me get my theater wits about me when I first started working on his show (which was my first play).
And finally, Prescott was a gallant sport and came twice to see the show...mostly because I was upset that I didn’t do my best the first time and asked him to come again...but he could have said no, and he didn’t! He really is a darling when I need him to be. (But good golly, there are other times when I gotta keep him in line.)
I wish I could say the lovely lilies and roses in the last picture are from Prescott, but no, they’re from Karla. Purrrty. I hope inheriting my mom’s flower arranging habits.
The bits of Godspell I’ll remember
Godspell closed last night, and while I’m glad to have life slow down again for a while, I know there are certain moments that will forever stir nostalgia within me:
- Tom’s GW Bush impression, culminating in that sure-to-be-classic line, “But Daddy!” (Texas accent and all)
- Carlos whimpering when Tom goes to hug him after beating him with that smelly shoe
- Being the good soil with Rachel C, from Miss Mary Mack to 2001 Space Odyssey to flexing muscles, the last of which actually stopped the show one night as the audience applauded for a few seconds
- Keeping ditzy Rachel S. out of trouble with Charades and secrets
- Hannah clapping her cymbals and cheerily calling, “Thank you, come again!”
- Tess tap-dancing with as much ease and grace as you please
- Chris desperately trying to hang onto his glasses as Rachel was desperately trying to remove them
- Louis gamely attempting various dances, all the while being incorrigibly positive even when things were tough
- Singing “By My Side” with Melissa and the rest of the cast, with that sense of being carried upward by the sound and spirit surrounding me. It was the most beautiful musical moment i’ve had in many years.
I’ll post pictures and hopefully some smuggled video clips soon.
Obviously, none of this could have happened without the vision, wisdom and experience of the director peoples. I hope Bob, Gaby and Tim are proud of the show they’ve created. And I must admit, at first i was a little bit afraid our stage manager, Regina, because she clearly runs a tight ship with no nonsense. I had met her only once before at the Final Respects cast party, where she brought her fabulous and famous fudge brownies. She should copyright and market those things. I should have known that I have nothing to fear from someone who makes brownies like that.
This is only my second musical and third show, so I don’t have much of a perspective, but I have a funny feeling that I’ve been blessed to work with this cast and team. For that, I am grateful.
Two more weekends of NY cabbie, shrill high B’s and Godspell
Tonight kicks off our second weekend of Godspell. Between tech rehearsals, shows, and starting rehearsal for Charlie Brown, not to mention work (oh yea, I still have to earn income...forgot about that...), I haven’t been able to blog about all the madness over the past few weeks. So, I’ll summarize here.
My birthday. I knew tech week would wear me out, so I kept birthday activities low-key. Prescott made me a breakfast-in-bed of cranberry pecan pancakes — scrumptious We also went skating and went to a Korean restaurant. My actual birthday fell on a tech rehearsal, and the cast/crew team got me the prettiest birthday cake I’ve ever had:
The butterflies are one of my favorite color combinations, purple, green and orange, which are the colors of my juggling balls that I use in a scene of Godspell. How perfect is that? Gaby says it was a coincidence, but I think there’s a little karma, too
Opening weekend of Godspell. Thanks to my wonderfully supportive friends, my kitchen is full of flowers (I took this photo with my rinkydink cell phone camera, since Pscott is borrowing my regular one for a trip to CA. I’m surprised it looks as nice as it does.)
Kara brought me the lilies, perhaps because we are Disney friends and my nickname was Tiger Lily in those days. Tom, who sings the role of Jeffrey in Godspell, is a sweetheart who brought us each a yellow rose. Steve and Steph brought me a big festive, colorful bundle, and Susan and Dianne brought me the lovely purplish-pink pastel bunch that matched my costume (they must be psychic!).
As I finally started to feel solid within my role, the show became an exercise in pure fun. I’m not worried about the high notes anymore — but thank goodness I don’t have to worry about the high C in “We Beseech Thee;” that’s all on Hannah — and I’m having a great time being a ham. There’s one scene where I juggle, there’s another where I talk like a Brooklyn gangster, there’s another where I play in slow motion à la The Matrix…The show is just full of gags.
And then, there is the music. The songs showcase a variety of musical styles, and it was a great learning experience to work on them all. And in terms of my featured solos, I don’t think I could have wished for better. “Learn Your Lessons Well” is a bratty, cheeky song right up my alley (hey, it’s fun to be a smartass), and I love the duet “By My Side” because it’s so beautiful with dissonance, both musically and emotionally moving. Also, two-girl duets seem more rare (like, i can think of the ones in Wicked, Miss Saigon … and nothing else). I had the higher harmony on the duet, and that was still about as low as I can belt. (I cracked once early in the song … good thing it’s supposed to sound painful!)
Finally, I never thought I’d feel much of a difference between singing and performing for an audience of friends versus an audience of strangers. But when I found Susan and Dianne by surprise at the end of the show (since they didn’t tell me they were coming), I was suddenly filled happiness, and all the blasé tiredness floated away. There was also a stranger who came up to tell me that she had also seen Final Respects and that she thoroughly enjoyed both performances. There is something magical that happens when all the elements are combined. I am glad and thankful to be part of it.
Dream Role #1: Sally in YAGM Charlie Brown!!!!!!!!!
I am ecstatic. Like, bouncing off the walls. Prescott is handling my excitement (or hiding his annoyed-ness) admirably.
Since I first began to learn about musical theatre, I have loved the character of Sally Brown in You’re a Good Man, Charlie Brown and her signature song, “My New Philosophy.” And now, a scant 16 months after I began to audition and pursue musical theatre as a more serious avocation, I have been blessed with the opportunity to play Sally at Footlighters Theater in Berwyn, PA, November 28 to December 13.
Don’t get me wrong: Godspell has awesome music, and the scenes are hilarious, but it doesn’t compare to landing a role you’ve dreamed of for as long as it has existed in your memory. My introduction to Sally came in the form of a skit in Broadway revue in 2002, for which I was in the chorus. It was during my year away from Yale, and the company, called S.T.A.G.E (I forget the meaning of the acronym), consisted entirely of Walt Disney World cast members. I thought the song was adorable and hilarious, and I connected with the childish character (though outwardly, I don’t think anyone would think I fit the role; I’ve never gotten a D and I don’t often respond with defiance). I would later learn that Kristin Chenoweth, the original Glinda in Wicked, won a Tony for this role, but that knowledge was merely icing. I was already so hooked, I even had a phrase from “My New Philosophy” as my ring tone for several years. (Yes, I always silenced it in public places.)
I loved the song so much that in 2006, in my first year of medical school, I convinced a few classmates of mine to put on the skit with me for a coffeehouse performance. At that time, I couldn’t really belt and was relying on whatever vocal skill I had acquired in high school show choir long ago. So naturally, I choked — I cracked all over the place and then cried on various classmates’ shoulders for about 45 minutes after I had embarrassed myself.
I’ve learned a lot about singing since then, and so when I found that not one, but TWO nearby theatres would be putting on YAGMCB, I had to audition. The first audition was all right; I made the callbacks for Sally, but I balked when they began assessing vocal range. I didn’t know that Sally had a high C somewhere in the chorus of another song, and although I know I can vocalize at least up to a D, it’s not easy, and it still makes me nervous. So at a strained B flat, I bailed out and was cut.
The second audition was for the Berwyn production, and although I was ready for the vocal range test, I still got thrown for a loop. My audition song was “I Speak Six Languages” from The 25th Annual Putnam County Spelling Bee, which is a great song in terms of its parallel characters (also kids with kid-themed struggles), albeit perhaps a bit overused for YAGMCB auditions: At the first audition, besides me, two other girls also sang this song, and perhaps 15-20 girls in all were at the audition. The pitfall of this song is its rather difficult piano accompaniment, not quite in the realm of Jason Robert Brown notoriety, but definitely enough to trip up nearly every accompanist for whom I’ve brought the music.
This audition was no different. As a result, I had trouble keeping in sync with the tempo, which felt a bit too slow (and a too-slow tempo is death for me at an audition). I got more nervous and started to kick myself for choosing it. In retrospect, though, perhaps it worked to my advantage, because they asked me if I knew Sally’s song from the show, which I did, and I sang that for them. And three days later, they offered me the role! After replying with some conflicts to the rehearsal schedule that – out of sheer airheadedness – I had forgotten to include on my initial audition form, I did spend approximately four waking hours in agony over the possibility that they might withdraw their offer in light of my conflicts. I woke the next morning to find that my conflicts were not an issue and that I would indeed, in my third musical and second major musical theatre role, be Sally Brown. Utter delight.
Godspell goes up in less than three weeks!!
The clock is winding down. Nerves are wearing thin, frustration sometimes spills over, cues are falling into place but there’s still a ton of work to do. Godspell opens Friday, October 3rd, and every rehearsal hour between now and then is precious.
Between watching the Olympics (let’s not get started there; I haven’t the time!) and going to rehearsals, it’s no wonder that I haven’t blogged about anything since July. But a newsworthy event did occur a few weeks ago (wish I’d gotten to the blog then): Due to some casting changes, I will now be singing the higher voice in the GORGEOUS duet “By My Side” with Melissa!!! It is a haunting, beautiful melody with super-tight harmonies. I’ll still be singing the original song for which I was cast, “Learn Your Lessons Well,” too. But the duet is the best song in the show, in my humble opinion
Musical theatre heroes I’ve met
While writing my musical theatre landing page, I started thinking about the actors and actresses I’ve met. They’re especially important to my development as a performer, because it never occurred to me that I could try doing what they do; they might as well have been another species. They were unreal to me. I don’t exactly get starstruck, but among the incredibly talented people I was privileged to meet at various points in my life, I am truly amazed by how down-to-earth some of them are. To enumerate:
- Kristen Oei: We saw her as Amneris when AIDA passed through Orlando. My friends wanted to wait for the actors to come out the back door after the show, and so I tagged along; I’d never done anything like that before and I thought it was weird. She talked to us and signed our Playbills (I think I still have it somewhere), as did the other actors. (Amneris is my favorite in the show, so I don’t remember much about the others ) I was 20 years old, and it was the first time I grasped the idea that a professional in musical theatre could be Asian. (I know, I live under a rock.)
- Arbender Robinson: I met Arbender during my year off at Disney World. Many employees were part of a cast-members only theatre group called S.T.A.G.E. (I can’t remember what the acronym stands for). A bunch of people in the Entertainment department decided to put on a Broadway revue called Curtains Up! A Night of Broadway. I auditioned and was in the chorus; I was still very much the same baby soprano I was in high school, and I think they took just about anyone as long as you could sing on key. I still have the show program in my scrapbook. Anyway, Arbender sang several solos; I believe he was a member of Voices of Liberty, and he is a powerful, stirring, simply amazing tenor. I can still hear his rendition of “Bui-Doi” ring in my head. Well, one day when I was checking out the new musical The Little Mermaid, I came across his name (which in itself is unique enough to stick in my memory) — he was the understudy for Prince Eric! So I found his website and wrote him a note, and he was so friendly in writing back; I kind of doubt he actually remembers me but it’s the thought that counts =)
- Telly Leung: Through a series of random connections (the internet is magic!), I had a chance not only to meet Telly but also to take a voice lesson with him. At the time, he was playing various roles in Rent on Broadway; while doing a bit of research on Godspell (which I’ll be doing this fall), I read that he’ll be in the Broadway revival of Godspell opening September 29, 2008. I asked him a lot about his experience, from high school to college to the stage, and he was frank, sincere, and insightful. His words came at a critical time in my life, when I felt beaten down and lost, struggling for air and light. It’s strange, but I felt inspired more by his humility, his wisdom, and his open heart than by his great achievements in theatre. He was so nice, when I asked him for a memento for my friend Kara (who loves theatre), he gladly autographed a photo of himself as Boq in the Chicago production of Wicked.
- Christine Toy Johnson: I never met her, but after I watched Nunsense on video, I found her website and was moved to learn that she has been using her success and influence to champion diversity in the performing arts. I wrote her a note to say hello and thank you, and she was very kind and encouraging in her reply.
So all you future stars, don’t forget us little people when you make it, okay?
Performing Godspell: my first principal role in a musical
This past Sunday, I auditioned for the Bridge Players Theatre Company production of Godspell, a musical composed by Stephen Schwartz (probably best known for Wicked). On Tuesday evening, as I was walking down the street, I got the phone call 
from Gaby, the choreographer/assistant director. At first I was really confused because I couldn’t hear clearly and had no reason to expect a call from her. When I finally understood it was her, my heart started racing. She was calling to offer me the role typically referred to as “Gilmer,” who sings the song “Learn Your Lessons Well.” I gleefully accepted =)
I must admit, I probably had an advantage going into the audition. I had recently finished doing the comedy-drama Final Respects, and both Gaby and Bob, the director, were also actors in it. Gaby was the nurse, making her the target of my bad ninja moves, and Bob doubled as both the improv “belligerent woman’s husband” in the show’s opening and as Old Man Lawson. Since I already knew them, I was more comfortable than usual with the audition. I sang “Good Morning Baltimore” from Hairspray, which happens to sit well with my voice for whatever reason. (It’s probably got something to do with the quirky character voice and the teenage nasal quality.) The dance audition was quick and easy; it went along with a country-western type melody, so the choreography felt fairly familiar to my Jessie background. In the last part of the audition, we read monologues in different character voices — as a diva, as a pothead, as an old Irish woman — anything. I definitely have trouble performing with accents; I have a pretty good sense of what they should sound like, but I have to practice or I stumble. Since Bob and Gaby did Final Respects with me, they knew I could at the very least do a gimpy Asian accent.
Having said all that, I fit the profile for Gilmer pretty well, at least vocally. Although the original song is fairly low, the revivals of Godspell seem to have raised the key, which is better for me. 
Godspell is unusual in that the show is freely adapted to the director’s vision, and the characters are not set, although the character associated with a particular song is named after the actor in the original cast who sang it. Our first read-through is Monday. I can’t wait!!
Final Respects: my first “real” acting role
It's been about a week and a half now since Final Respects wrapped up. I meant to blog about it sooner, but time has been tight between work and weekend travels.
As for Final Respects - I learned a ton and had a blast! I'll have to put up some photos and video clips soon. Among the unexpected lessons I learned:
- Not only do you have to learn your own lines (which is hard enough), you have to know all the lines for the people who are on stage with you. It probably took me until opening week to say my lines without help.
- You have to be able to adapt to unexpected changes in the plan. This skill was particularly difficult for me to acquire; it requires a certain mental facility as well as familiarity and understanding of the situation to come up with a plausible solution. Again, knowing your own lines or just enough to skate by is asking for trouble.
- Timing can make all the difference. I already sorta knew this, but learning to apply in practice is a whole new level.
- Exit applause is a thing to be cherished. I didn't know what this was until the first night; we had a great audience and they clapped after I left in the first act, sputtering and adlibbing protests. (It's quite possible that Prescott started it and the rest of the audience followed out of politeness, but let's not split hairs there.)
I've come a long way since the last time I was in a play, about 20 years ago. I was Page #2 in our first-grade production of The Princess and the Pea. I never made it to our classroom stage — I was so scared and dreaded it so much that I worked myself into a fever (my mom says about 103°F; maybe I had a cold, too) and stayed home that day. I never thought I would want to be onstage again. Even though I've done various kinds of performances, they always involved music and were purely lighthearted fun fare. Singing is one thing; I'm more comfortable with that even though there's a lot more room for error. But acting?
I had a few somber moments in Final Respects, but they were always tempered and outweighed by the comedy. I pretty much imitated my mother on a lot of levels, so it wasn't too difficult. I still don't consider myself a theatre person, but I guess I'm taking baby steps toward becoming a better performer.
All in all, I couldn't have wished for a better show or team to work with. The director, Tim Sagges, was also the playwright, and the show had never been performed before. I was privileged not only to see firsthand the creation of original characters bringing an original work to life, but to be part of the story as well.
anh anh-anh.com
July 16, 2008, 9:42 pm
I also added some photos. They're not as sharp because they're just screenshots of the video, but they're pretty funny nonetheless =)
anh anh-anh.com
July 15, 2008, 1:58 pm
after much tinkering with video editing apps, i added some video clips here.
A resource for musical theatre auditions!
March 1, 2008, 10:18 amI was googling for musical theatre auditions in the area, and I became frustrated with the lack of a centralized source as well as my own inability to organize the information in my head. I started keeping a spreadsheet of what I found, and I thought, "Good golly, this could be helpful for people out there." So, at the risk of upping the competition at all my future auditions, I made my list publicly available on the Musical Theatre page. I foresee the possibility that I'm going to regret this -- goodness knows i already need help in the talent department =p
I listed only the first dates of auditions and show runs because it makes my life easier (and it's probably the more pertinent info for most people anyway, right?). hope you find this useful. Please feel free to post feedback! I will work on aesthetics and browser issues when I have time, but it always helps to have another pair of eyes to spot them…
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