Q&A with AVENUE Q’s Kerri Brackin

Kerri Brackin is currently in the NYC production of AVENUE Q at New World Stages playing Girl Bear/Mrs. T. The actress chats with The Broadway Warm-Up about her journey as a performer, daily rituals/habits and her warmup routine.

When did you know you wanted to be an actor?

I started singing and dancing at the youngest age possible. I was around 2. I LOVED it!!!! I was into competition dance and pageants and singing at anything and everything. I started acting at about age 10 when I auditioned for and was cast in a production of ANNIE. I totally fell in love with musical theatre and knew I wanted to pursue a career in this industry. Believe it or not, I actually stopped performing at age 14 and didn’t pick it up again until I packed my bags and moved to NYC after college. The rest is history.

What’s been your best audition experience? Your worst?

My best audition experience may have been the series of callbacks for the tour of AVENUE Q. Worst? Hmmmmmm…maybe one where I had an awesome crack, a crack that just kept cracking, on a super long-held belt note at the end of a song. Classic!

Why do you do what you do?

I love being part of an experience for the audience that hopefully sends them away with a smile and some laughs and an enjoyed time for a few hours. Life can be hard…theatre should be fun!! I also love booking a job. It’s the great feeling and a feeling of accomplishment. And performers are always so much fun to work with!!! The sweetest people.

What are some daily rituals and non-negotiable habits that you include in your routine?

The Broadway Warm-Up is becoming the ritual. A good night’s sleep is a non-negotiable. A substantial meal a few hours before a show is non-negotiable.

How do you prepare for your show?

Typically my preparation for a show is what happens at half-hour…getting dressed, makeup, hair/wigs. Thanks to The Broadway Warm-up, honestly, I am really beginning to see the importance of and the difference that the physical and vocal prep makes. The Broadway Warm-Up is new to me and is making a huge difference for me. My body feels more aligned for sure. Physically, I’m more relaxed and more stretched. It has made a HUGE difference in how my voice feels and how I think it sounds onstage. It’s such a complete warm-up and my whole voice feels great after. Another thing that is extremely helpful for me….because of the vocal warm-up, I can see day-to-day where my voice is, where my allergies might be sitting, etc. and so I’m able to deal with that better in a show and better know how to negotiate any potential quirks for any particular day and how to sing around/work around any issues. A big help!!!!

What do you know now that you wish you knew 20 years ago? What advice might you give?

I wish I had known the sacrifice of being so far away from my family to perform at this level. I’m an Oklahoma girl and all of my jobs have been either touring or here in NYC. I don’t see my family enough. I wish I had known that nerves would become the biggest inhibitor and would, at times, take away some of the fun and joy….I say that because I wish I had learned how to deal with them and conquer them years ago. Also though, the incredible people I’ve met and made lifelong friends with, the excitement of booking a job, the love and appreciation for a long-term gig, and what a true dream it is to live and work in a steady show here in the Big Apple…There are no words for how much I love it and how grateful I am for this time.

Like this post? Check out more of our The Broadway Warm-Up interviews! 

#BeWarm

CRISTIN MILIOTI at Joe’s Pub

Last Friday, I had the great privilege of seeing Cristin Milioti LIVE at Joe’s Pub in NYC. Wow. What a powerhouse performer. She starred as “Girl” in the Broadway smash hit musical ONCE, for which she won a Grammy Award and was nominated for a Tony Award for Best Leading Actress in a Musical. I saw Cristin in ONCE back in 2012. My mom and I went together and we were both absolutely floored by her performance. She is like few performers I’ve ever seen. Her voice is hauntingly beautiful. It’s a voice that I feel like I’ve known all my life even though I’m just hearing it for the first time. I don’t know. There’s something intimate and familiar about her sound. Her voice blankets like a childhood lullaby and then explodes in desperate yearning, like it’s lost and looking for its home. Ah. I don’t even know if what I’m writing makes sense! It’s a quality that inspires that kind of poetic, nonsensical writing because it feels magical. 

Actually, “magical” was the word Cristin used to describe her experience in ONCE, and is an appropriate word to sum up the show Friday night. I got the last seat available – partial view. I was bummed at first but ended up sitting just behind the piano, with a close-up view of David Abeles’ dancing fingers. I saw Mr. Abeles as Pierre in Natasha, Pierre & The Great Comet of 1812 back in 2013, and I’m a huge fan, so that was dope. Equally dope was Will Connolly on guitar and vocals. Will is playing the title role in Forest Boy, the NYMF show I’m currently working on! He mentioned that he was doing a show at Joe’s Pub, and when he told me it was with Cristin Milioti, I freaked out a bit. Turns out they’re best friends from ONCE and he accompanied her throughout the show, most memorably on a stirring interpretation of Sondheim’s Losing My Mind, where Will played ukelele and sang evocative dissonant harmonies. Ms. Milioti’s voice was on brilliant display in this song, in one instant delicate and ethereal, the next thunderous and aching.

Just after, she performed GOLD from ONCE. Cristin recalled this as her favorite number in the show, because the rest of the ensemble sang while she walked through them, catching each of their eyes on her way. I was transported back to the Bernard B. Jacobs Theatre. This number was a magical moment that sticks with the soul. We, the audience, were all walking through Cristin’s embodiment of “Girl” in that moment, feeling our souls exposed and opened and awakened by the haunting harmonies and sacred sounds of the ensemble. Joe’s Pub experienced the same kind of magic on Friday night. The music invited the audience to breathe a collective breath of our shared humanity. I actually went to Joe’s Pub by myself, a feat my social anxiety would usually find daunting, but Cristin has a way of putting everyone at ease. Soon after she was singing, I felt closer and somehow more connected to the strangers around me. We exchanged words of how stirring her performance was. It was like we were all transported. We went on a ride together, and became closer in the process. It is the magic of live theatre. At its best, we are taken into a new world, a new state of consciousness for a couple hours, away from our incessant worry and personal strife and into interpersonal understanding.

The night included a handful of pop covers, including two by Sia, and a Beyoncé medley, arranged by Will Connolly. Interwoven between songs were Cristin’s personal anecdotes detailing life in the city, her career, and what it means to be human. One personal favorite anecdote was Cristin’s recollection of her college theatre classes, where she was repeatedly told she was a soprano, and she’d have to sing Glitter and Be Gay which she noted was a “train-wreck.” Recalling the experience, she sang, “‘This is embarrassing’ in her ‘cartoon soprano voice,’ …‘Please give me a B’ and they were like, ‘No, you get a C,’ … but look who’s laughing now.’”  The audience erupted in laughter. She feels like a friend you’ve known forever. Relatable, authentic, vulnerable. She made mention of the truly terrifying times we are currently living in, but somehow I felt so safe in her presence. That’s what great performances have the power to do. They unite and bring us together in a world that grows more and more divisive and solitary everyday. This is the power of live performance that cannot be replicated in other media.

I’m so grateful I was able to witness Cristin Milioti’s live show and I highly recommend you catch the next. She usually performs her live show in New York a couple times a year. Here’s a video of Cristin singing Robyn’s “Call Your Girlfriend” a few years back, a song she performed again Friday night.

ENJOY!!

Johnny

www.broadwaywarmup.com

Meditation & Creativity with Mark Price

www.broadwaywarmup.com

YO YO YO! I am so pumped to bring to you my first The Broadway WarmUp interview with the inimitable Mark Price. Mark is a creative genius and I look up to him so much. Both Ithaca grads, I had the pleasure of meeting Mark back when he was a mentor for the Hangar Theatre Lab Company in 2014. Mark’s energy, zest and passion is contagious. He is an incredibly talented performer and teacher. So generous and detailed with his insights, he’s the perfect person to start our interview series.

In this conversation, we focus on Mark’s meditation practice. I have personally struggled significantly with anxiety and stress, so I learned a lot from Mark’s words on his meditation practice, and I’m itching to take his course when it comes to New York this fall.

“The whole goal is not to be an expert meditator, the whole goal is to be better at life. To be a better partner, better creator, better husband, better wife, better friend, better brother, you know, whatever. So, the whole name of the game is up-leveling performance on all accounts.” -MP

We had such a blast talking that we exceeded our intended duration, so I’ve decided to break this interview into two parts. Part I is below…come back for Part II soon.

In PART 1, we discuss:

• Vedic meditation
• Left brain/Right brain functions
• Finding spontaneity in work and life
• ‘Fight or Flight’ response
• The fourth state of consciousness
• Plus much more…

LISTEN HERE:

 https://broadwaywarmup.files.wordpress.com/2016/07/mark-price-final.m4a

In Part II, we’ll dive deeper into Mark’s views on creativity. We discuss:

• the importance of resiliency in actors
•  How to ask better questions
•  Self-Promotion
• The advice Mark would give his 20-year old self

FOLLOW MARK PRICE

TWITTER | INSTAGRAM

• www.alchemycollective.org — Alchemy Collective is a meditation and performance lab, designed for creatives and high performance individuals who are looking to uplevel their performance, dissolve stress, and increase fulfillment and bliss states.(Website live end of July).
• www.aboutmarkprice.com (Actor, Teaching website)

Mark will be teaching a meditation course in NY this fall. If anyone wants to be notified, email for more info at mprice8@gmail.com.

Be Warm,

Johnny

www.broadwaywarmup.com

Hi, I’m Johnny!

a Completely synchroninzed Vocal and dance warm-up

www.broadwaywarmup.com

I’m Johnny Shea and I am the newly appointed Blogger-In-Chief and Head of Brand Ambassador Development for The Broadway Warm-Up.

I’m going to be posting some awesome content on this blog over the coming weeks, so I thought I’d take a moment to say hi!

I have just moved to New York to pursue a career in acting. Just over a month ago, I graduated from Ithaca College with my BFA in Musical Theatre. The link to Ithaca is actually how I met Kim Stern, Owner/Creator of The Broadway Warm-Up. Back in March, all of IC’s graduating Theatre Arts majors traveled down to NYC to for a week-long series of panels and workshops with industry professionals. Kim was joined by fellow IC alums Mark Price and Caesar Samayoa in their panel called Empowered Artistry. I remember feeling so inspired after this panel. I left with a feeling of confirmation that my dreams were legitimate and possible in this city.

I’ll be honest – there are times when I feel like I have no idea what I’m doing. For all my life to this point, I’ve had the structure and schedule of school to return to and live by. Now that I’ve graduated, the blank canvas before me is both exciting and terrifying. I’m choosing to be excited and inspired by the unknown ahead. I’d love for you to join me as I venture into the unknown and pursue my dreams of acting professionally.

This city, this lifestyle and this business are new to me, so my plan is to be a sponge. I will soak up anything and everything that pertains to life as an artist in New York. I thought it’d be fun to share what I discover as I go. SO, I’ll be conducting interviews with industry professionals to break down their daily habits & routines, and to deconstruct what makes them the best at what they do. In these interviews, I’ll talk to people with all different backgrounds and ties to the entertainment industry. I’ll speak with anyone from Broadway actors, composers, directors to ENTs, therapists, personal trainers…you  name it. I am interested in speaking to anyone with relevant info on this awesome industry. My mission is to inspire you to do what you love by interviewing people who have done just that.

Why do we warm-up? I know I warm-up so that I may perform at my best and stay healthy. I want my voice, body and mind to be in optimal condition before I go out onstage. The Broadway Warm-Up is designed to help performers reach optimal states before audition or performance. These interviews and blog posts are designed to dissect top performers so that all of us may strive to reach and realize our potential. My hope is that these interviews will provide tangible, actionable information that will inspire you.

The interviews will vary in form: video, audio & written. Be sure to follow the blog and check back soon for our first!

Be Warm,

Johnny

www.broadwaywarmup.com

And…We’re Back!

Hey gang! It’s been while…but we’re back! Going to be starting to bring you some more blog content focused on performing musical theatre, audition technique, singing, dancing,  auditions, warming up and all around inspiration.  For starters, check out this exciting new blog series from The Anonymous Actor!  The Anonymous Actor is a real, live, young performer who is out there trying to make it happen in this great city of New York.  He/She will be giving weekly accounts of their victories and disappointments , discoveries and day to day dealings as they work towards booking the next job, getting the attention of an agent, finding the perfect NYC apartment and figuring out how to balance it all with a smile at the end of the day.  The Anonymous Actor could be someone who reminds you of yourself when you were starting out, or someone you hope to be in a few years, it could also be the person your sitting next to in your audition… RIGHT NOW. Enjoy!

The Anonymous Actor #01

Hey New York artists: singers, musicians, actors, dancers, and all around cool people! Anonymous Actor here, bringing you the first ever titillating news on auditions, New York living, shows, and tips and tidbits about being an artist in this crazy city!

This week was full of incredible auditions including three days of singing EPAs for a brand new Broadway musical with casting by Telsey + Company. The CD was incredibly kind in the room, tapping his feet along to my 16 bar rock number and the accompanist was flawless! Sometimes you have incredibly fun and expectation-defying auditions (which this was for me) and sometimes you have crash and burn situations (which I have certainly experienced). One thing that I have learned from both situations is that a warm-up before a singing audition boosts my confidence ten-fold! It could be going to the gym, or walking and humming, or yoga, or a full classical 20 minute warm-up, but the one that truly stands out for me is The Broadway Warm-Up developed by Kim Stern and Deidre Goodwin!  It is a fully immersive and completely synchronized vocal and dance warm-up. If you are already salivating at the prospects, then you will want to stay tuned for what I have to say next week! If you live in New York, audition, perform, or just love the arts, then you will want more of this behind the scenes look at the life of an NYC artist, brought to you by me, Anonymous Actor. Stay spicy chickadees 😉

www.broadwaywarmup.com

A completely synchronized vocal and dance warm-up in under 30 minutes!

 

I Lost Control and Then I Found Something Better

Check out this awesome and hysterical blog from Monthly Guest Blogger Jessica Latshaw about the benefits of losing control!

I Lost Control and Then I Found Something Better

I think good things happen not only when we lose control (because, really, when do we ever have total control?), but the best things happen when we lose our dearly held–albeit delusional–idea of our control over anything other than what exists between the crown of our heads and the soles of our feet.
How’s that for a first sentence? If it’s not long enough for you, I can work on it.

Somebody told me a story about Ella Fitzgerald. I cannot tell you if this is entirely true, because I was not there, but this is what I heard. When Ella went to the studio to record, her producer made her sing a song over and over again-to the point of exhaustion, even. It wasn’t until then that someone would finally hit record. The truth comes out when you’re too tired to pretend anymore. And there’s nothing so interesting as the raw, unguarded truth, was the point of the story, I believe.
(Tell that to someone who is belting, and they may very well prefer clarity of tone and pitch over interesting, but still.)

I work for a company called Fly Wheel Sports, teaching indoor stadium cycling to people who have big goals and the motivation to match. Oftentimes clients will tell me they perform better when they are exhausted and walk into a class with not nearly as much expectation on themselves because of it. They are shocked. But I wonder if it has something to do with the pressure being off and a sense of control being lost. I wonder if better things happen as a result of those two factors.

One of my best auditions came out of some of the worst circumstances. First of all, I was late. Not just I-am-not-there-to-sit-in-a-split-in-the-holding-room-with-headphones-on-an-hour-before-they-call-me late. I mean, I literally was not there when the audition started. The casting director called me, “Where are you?” she asked, concerned.
“On the train–it’s delayed and I will be there as soon as humanly possible.”
I had come to the conclusion that there was nothing I could do about the train being delayed and the fact that I was still on the other side of the Lincoln Tunnel while my competitors were dancing for the director I wanted to hire me.

Finally, I arrived. I heard the music, but I couldn’t help it–I HAD to go to the bathroom. Yep, my belly was not feeling so well and it chose that moment to decide to move things around inside.

I was already late–what’s a little bit later? I decided.

Then I got my period.
(I am sorry, but that is a part of this story, and to leave it out would be an injustice to the art of story telling.)

So I did what was necessary (the art of story telling sometimes demands certain details be left out, too, you know), and finally walked into the audition room. I threw my heels on and without so much as a stretch, started doing whatever the choreography demanded of me.
Somewhere between my train getting delayed, getting sick in the bathroom, and getting my period, I decided to let myself off the hook in terms of HAVING TO GET THIS JOB. I decided I have no control over most things–and what I do have control over, well, I can only do my best.

They made a cut and told me to please come back and sing when they call my name.
So I went back to the bathroom and composed myself.

Which is when I saw it.

The thing about getting your period is that you use certain tools to keep yourself clean.

The thing about being a dancer is that you sometimes wear a leotard and just fishnet tights to auditions.

The thing about those certain tools is that they tend to have strings.

The thing about fishnets is that they tend to have holes.

I noticed with horror that a string was actually threaded through my fishnet tights and sticking out the other side in a most unseemly and untoward manner.
In short: I was mortified.

While hiding the embarrassing evidence of my femininity, I couldn’t help but laugh over the whole situation. Late. Sick. Unexpected time of the month. And then my tampon string literally threaded through my fishnet tights and out the other side–all this while I am doing high kicks just a few feet in front of the whole production team.

I tuck the string away and walk back into the room. I sing. Then I read a monologue. I realize that I don’t have a say over whether or not I get the job, but, man, at least I am very alive and at least I am doing my best and life is more fun when the pressure is off, anyway. Plus, there is a part of me that is standing back, analyzing the situation, and realizing that this will make a good story.

I finally finish and start the journey back home. Which is when I get a call from the casting company.
“You got the job!” they say, “You’re our Kristine in A Chorus Line–either here in New York, or the 1st National–whichever opens up first. But the production team wants you.”
I thank them. I can’t help but smile, laugh, and cry a little. The role of Kristine is a somewhat neurotic and quirky role; if they saw the tampon string, it only helped my case.

But the point is, there is a freedom that comes with realizing that none of us are in total control. That we all just do our best in the moment. We take whatever we can grab within our very finite reach and we make something. Dear God, we hope that something is good. We really hope that something makes money. But it’s what we do, over and over again, and the more we do it, the more we realize it is imperfect, hardly ever according to plan, and sometimes even better than we could have imagined.

But no, it never really involves us being in control of the situation.
And maybe that’s when the truth comes out; which, as someone told me, is way more interesting than a carefully composed lie, anyway.

Jessica Latshaw is a monthly blog contributor to The Broadway Warm-Up blog. For more information on Jessica go to: www.jessicalatshawofficial.com

www.broadwaywarmup.com

The Broadway Warm-Up: A Completely Synchronized Vocal and Dance Warm-Up that can be completed in under 30 minutes Now available on DVD!

Reverie Revelation: Rev It Up!

---

Exciting news folks! We are thrilled to introduce our first Guest Contributor to The Broadway Warm-Up Blog.  Check out Broadway Warm-Up Cast Member Marc Santa Maria’s monthly installment of  Reverie Revelation for inspiring info on Acting, Fitness and Adventure:

Reverie Revelation: Rev It Up

What Up. I love me some Broadway Warm-Up. Huge fan. Honored I got to be a part of making the DVD. And super stoked to be contributing right here, right now to the BW Blog. Here’s how it’s gonna go down. I’m going to offer three thoughts (I’ll call them reveries) and three photos to support them. They will be in the zone of acting, fitness and adventure. And by adventure I mean living life large, trying new things, being well traveled, chowing down and guzzling tasty drinks. Let’s do this . . .

ACTOR REVERIE: I’ve got the coolest Acting Mentor – Roz Coleman Williams. She hits me hard with pearls of wisdom (and yet can crack me up two seconds later). In class yesterday she said this about “the Work” – the stuff we put out there to the world – “The key to growth is to stand in the strength of your own choices. True artistry is being your own gage. Walk in the strength of your own individual artistry.” Walk strong my artist friends, walk like a bad ass and work.

 

FIT DUDE REVERIE: I’m the National Director of Group Fitness for Crunch Gyms so I get a lot of questions about getting in shape. Like it or not, it’s a fact that what we look like is a major factor in how we are cast. So,what’s your body type and what would you likely be cast as? If you’re happy with your answers – awesome. You’re on the right track. Go get seen and go book work. But if you want to say, play an action hero in Avengers but have a physique more like Diary of a Wimpy Kid, then get thee into an exercise routine – pronto. Don’t think about it – just do something physical. Got a Crunch Gym in your city? Email me at marcsm@me.com and I’ll hook you up with a 5 day guest pass to jump start your routine.

ADVENTURE REVERIE: I love wine. I love wine chilled – even my reds. I discovered this keep the wine cool gadget called – The Corkcicle. #protectcool. Google it. And use it. With what you say? How about a great red under $10? Chariot at Trader Joe’s. So tasty – we’re serving cases of it at our wedding

Until next time. See you on the dance floor of life.

-Marc

Check out www.marcsm.com for more reverie.

Marc is a Contributor for:

The Broadway Warm-Up: A Completely  Synchronized Vocal And  Dance Warm-Up for Performers that can be completed in under 30 minutes

www.broadwaywarmup.com

The 9 Essential Steps to Preparing for a Role and Maintaining Vocal Health Throughout the Run of a Show

You Booked The Job!…Now What?!?
9 Essential Steps To Preparing for a Role and Maintaining Vocal Health Throughout the Run of a Show
The day you’ve been waiting for has arrived!  You nailed the audition, kept your cool through what seemed like an endless round of callbacks and finally got the call you’ve been waiting for. You booked the job. Congratulations!

After you’ve finished your obligatory happy dance and called your nearest and dearest who’ve been supporting you through this process, it may begin to hit you that you actually have to DO this now. You’ve got a ton of material you need to learn, you’ve got lifestyle preparations to make, and you may have to prepare to leave town- very likely at a moment’s notice . It’s exciting, a relief and anxiety inducing all at once. Many performers feel overwhelmed with the task at hand.

The following is a  guideline of basic steps that you can take to prepare yourself for success in the run of your show while helping to maintain your vocal health along with your general well being.

1. RESEARCH: Begin to do your homework uncovering the world of the show and your character. You may have already scratched the surface in the audition process.  Now is your opportunity to find out as much as you can and use your creativity as well. Try to uncover the details of where the piece is taking place, the time period, important events of the day, how people interacted and so forth. The more you can understand the world of the show going in, the easier it will be for you make strong and creative decisions in the rehearsal process.

2. NOTE BY NOTE:  Get a hold of the score and script ASAP . You’ll want to go through the score and first identify any specific challenges you may want to work through with your teacher. Begin to figure out sustainable approaches to any challenging sections and make yourself familiar with the rest of the score. You’ll also want to take a look at the text and become aware of any moments that may be vocally or physically challenging there as well.  Keep in mind that everything can change once you begin the rehearsal process such as vocal line designation and even entire songs and scenes being replaced. You want to go into the rehearsal full of information but ready to be malleable and open to new information.

3. KNOWLEDGE IS POWER:  If it’s a revival – know what’s out there- know what’s been done. I’m not saying one needs to obsessively watch every performance of Gypsy that’s crossed the boards. I’m saying it’s a good idea to have some awareness of what’s come before.  Have a knowledge of the work that’s been done on the piece and then see what you can bring to it  to make it your own.

If it’s a new piece of work, try to become familiar with the teams previous work.  Get a sense of their general sensibility.  Seeing as you’ve booked the job, chances are you’ve already got a good sense of this. It can’t hurt to delve a little further and see what you can find.

4. PLANNING: Rehearsal can be the most challenging part of the process and it’s helpful to go in with some sort of game plan as to how you need to pace yourself.  Decide in advance if you are going to try to keep up with your regular workout schedule during rehearsal or reduce it. Keep in mind that every body is different and has different requirements for rejuvenation. It’s important to be in tune with your body and have a strong sense of when it needs rest, when you are feeling vocally tired and what foods you can eat that will help to promote your well being , energy and focus through your rehearsal process. Come up with a solid game plan for work time, rest time, play time, homework and food prep going into the rehearsal process and make adjustments as you discover they are necessary.

5. ROUTINE:  Once you’ve gotten through the rehearsal process, you will want to discover what routine works for you on a regular basis to maintain your health and well being throughout the run of your show. It can become tempting to fall into to some bad habits after the rigors of a challenging rehearsal process.  Balance is an important key to keeping everything copacetic. Take the first few weeks of a run to ease into a routine that is going to keep you healthy and able to be at your best regularly and at the same time is fulfilling on a personal level.  You can always make adjustments along the way as you discover the need for them. 

6. WARM-UPS:  Identify 3 specific set vocal and physical warm-ups that are great for this specific show that will prepare you for: 1. When you are under the weather  2. Feeling ok- it’s an average day and  3. Looking to challenge yourself.  These are not the only warm-ups you will do while you are working on this show.  However, it’s always helpful to have at least three tried and true warm-ups that you know you can turn to and that you feel confident will get you ready to go.  Keep in mind these don’t need to be drastically different from one another, you may make some slight adjustments to your favorite warm-up for when you are under the weather or when you are feeling great and Voila!

7. CHECK-UP:  Check in with your ENT before you start the rehearsal process. Assuming you have health insurance, this is a great opportunity for you to check in and be sure that you are starting the rehearsal process with a clean bill of health.  If at any point you run into to difficulties either during rehearsal or the run of a show, it’s great for your ENT to have a record of what you looked like when you were healthy and perhaps be able to trace when your problems started to arise. In checking in with your ENT on a moderately regular basis you are also developing a relationship so that if an issue should develop at any point you are dealing with a doctor that you know and trust as opposed to someone whom you are meeting for the first time.

8. CHECK IN:  Whether or not you are going to be in town, out of town or on the road ,set up a game plan for checking in with your voice teacher intermittently. That can mean weekly lessons , Skype or Facetime sessions, email correspondences or pop in lessons when you are in town. If you are not in town, you can also find out if there is someone in the area that your teacher would recommend working with as well as an ENT they may be aware of.

9. YOU DESERVE A BREAK:  If you have the time and funds  before the run-SCHEDULE YOURSELF A VACATION – you’ve earned it! Hoping and assuming your show is a hit, you may not get another break for a while. If you don’t have time for a vacation , try to reward yourself with something grounding like a massage, some meditation or even a nice bubble bath before you dig into the rehearsal process. You’ve worked very hard to achieve this and you owe yourself a pat on the back and a moment to take a breath and enjoy the victory.

Please feel free to make suggestions for other topics you would like us to explore in this blog, comment or ask any questions.

Be Warm,

Kim Stern

Co-Creator, The Broadway Warm-Up 

A completely synchronized vocal and dance warm-up that can be completed in 30 minutes! 

www.broadwaywarmup.com

The Organic Connection Of Emotion To Breath When Singing

 

“If you are connected to a feeling your diaphragm WILL respond!”

I was doing a 29 hour reading of a new musical recently and these words came out of the director’s mouth. It instantly struck me that this is an idea that I teach in my studio repeatedly and it was worth exploring further .

I think what struck me about this director’s words was that singing is a truly organic experience connected to an emotion and more specifically connected to the body, mind and spirit’s need to communicate that emotion. We can spend countless hours in the studio hammering out vocal technique (which is of course a crucial basic element), but when push comes to shove, if we are not fully invested emotionally and spiritually, that magic “X” factor will inevitably be missing.

I just took a break from writing this to teach a lesson. As I was working with the student (who is someone new to the studio) on her song, instead of working on her breath support, vowel structure or resonance, I simply asked her to speak the lyric and connect to what she was saying. I then asked her to sing the segment we were working again. The result was immediate and dramatic. Instantly, she was connected to her breath , she was articulating and the sound was ringing like a bell!

In her book The Right To Speak, Patsy Rodenburg talks in depth about the connection of emotion to the release of sound and breath support.  She states, “Once we feel supported and ready to speak we connect to real vocal power. Any previous temptation to push, bluff, embellish, or even retreat from words is lessened. These are, after all, only manipulative habits we use to compensate for our fear of trusting our innate means of support. The whole scope of the voice opens and widens.”

She goes on to say,” Sometimes when we come face to face with a heightened choice-a moment of grief, pain or joy- we can experience support as never before. The habits of the body and the voice are overridden and suddenly we go on automatic pilot, almost as if the moment can only be purged through sound. We laugh till our sides ache, someone new to support work will feel their ribcage beginning to work.”

This same idea is true when we are singing .  We can train our voices and work on our breathing, but it’s the intention to communicate a feeling that will really allow the breath to respond and the voice to soar. So often the performer gets caught up in “How do I sound?” “Here comes the high note” or “I wonder what they’re thinking of me right now”. I can guarantee that performer, audience and everyone involved will feel a greater sense of fulfillment from a performance the moment the singer lets go of all of those questions and commits completely to what is happening in the song. That means what the lyrics are saying, what is happening on the page in the music, what the accompanist is giving you in the moment, and the energy in the room.

When working on repertoire, I’m insistent that my student bring their acting choices into every lesson from the start. What you are thinking and feeling as an actor will dramatically affect how you are approaching the piece. Chances are, you’ve done your work and trained. You’ve warmed up your instrument and are ready to go.  Now that you are working on a piece of material, it’s time to trust that work and know that “If you are connected to a feeling, your diaphragm WILL respond!”

Be Warm,

Kim Stern

Co-Creator : The Broadway Warm-Up

A Completely Synchronized Vocal and Dance Warm-Up That Can Be Completed in under 30-minutes! 

TOP 10 ROADBLOCKS MUSICAL THEATRE PERFORMERS FACE (PART 2)

Last week I started to explore the Top 10 Roadblocks that I have seen my students consistently face-regardless of how far along they are on their career path. As a private voice teacher, I have the privilege of exploring these obstacles with my students on a regular basis and finding creative solutions. No matter how many times I’ve confronted each challenge with a student or on my own, I am always inspired when someone overcomes a hurdle and discovers their true potential.

This list was inspired when Deidre Goodwin and I did an interview for Theatre Cast: a  webcast where theatre teachers and professionals that share a passion for theatre trends exchange practical advice and tips. We talked about our work in developing The Broadway Warm-Up and shared stories of our experiences as performers and teachers.  At some point in the conversation, I mentioned  that I could name about 10 obstacles or roadblocks that I have seen my students come up against consistently.  At this point, a listener of the program wrote in and asked me to go further on that topic.

The following is intended to help you work through the rough points, stick to your resolutions and reach your goals. For more details on items 6-10, please check out the previous post (creatively titled The TOP 10 ROADBLOCK MUSICAL THEATRE PERFORMERS FACE ( PART 1) )

5. COMPARISON TO WHERE OTHER’S ARE ON THEIR PATHS

When we were in grammar school and were assigned a creative project, the teacher would tell us, “Eyes on your own page!”. She wanted us to focus on our own project and use our own creativity to create something without being swayed or influenced by what other people were doing. I find this motto to be very useful when it comes to my students wondering if they are where they need to be on their career path. It’s oh so tempting to take a look at where our friends and colleagues are and wonder what we are doing wrong or how we can follow in their footsteps. We can spend so much time and energy focusing on other people’s paths and comparing- that we lose our own focus and take energy away from the things that can lead to our own victories. Stay on your own path. Celebrate your friend’s triumphs and at the same time acknowledge that your path is different and your victories will come in their own time.

4. EXPECTING ONE’S SELF TO BE WHERE YOU WANT AS A PERFORMER WITHOUT ALLOWING TIME FOR GRADUAL GROWTH

When a little baby takes it’s very first step, everyone in the room claps and cheers. There are smiles and celebration – and when the baby plops down on his behind seconds later, there are more smiles, applause and encouragement to try again. If he falls, he is not admonished but encouraged to reach further. No one would expect that infant to be up and running a race moments after his first step. Watching the child develop we understand that he must literally put one foot in front of the other to develop muscular strength , coordination and stamina.

As we develop our skills as an artists it’s easy to become impatient with ourselves and expect instant results. We want to see the fruits of our efforts quickly and get frustrated with our status quo. Try to embrace where you are in this very moment as a performer and celebrate that. Acknowledge that you are on a journey as an artist and are developing actual factual muscles. That takes time , patience and practice. Recognize that while you are reaching for greater goals, that does not take away from where you are and what you have to offer in THIS VERY MOMENT.

3. FEAR OF MAKING A MISTAKE- NOT LEAVING SPACE FOR THE “BAD” SOUNDS

It’s very rare that something will come out just perfect on the first try. Great ballerinas have had to fall out of their pirouettes when they were first learning to dance, renowned painters have thousands of sketches that end up painted over or in the trash.  When it comes to singing , I’ve found that most people would like to “sound good” all the time.  For some reason we leave very little room for breathy, cracky or vulnerable sounds when we are working on our singing.  We will go to great lengths creating tension or shying away from notes to avoid “sounding bad” . One of the first things I point out to my students when we begin our work together is that we are not in the studio to “sound good”.  We are in the studio so that we can “sound good” out in the world.  That means that there may be times when we will take the voice to places that are weak, cracky, vulnerable.  As opposed to creating tension and trying to cover those areas up, I encourage the student to actually deal with the reality of what is going on with their instrument so that we can give them the exercises to build upon those areas that need development. It reminds me of going to the gym. Personally, I don’t look my best as I’m sweating on the elliptical machine. However, I hope that as I continue to put in that work I will leave the gym looking and feeling a little better. It’s so important to have at least one safe space where you can feel completely free to “mess up”.  Let that space be your place to play with your instrument, find your creative voice and really let go.

2. NOT GIVING ONE’S SELF THE OPPORTUNITY TO BE BRILLIANT DUE TO LACK OF PROPER PREPARATION

There’s a certain magic that happens when we have done our homework and are truly prepared for a performance . Suddenly, our shoulders release, our breathing becomes easy and our confidence swells. We are able to be present and in the moment and lo and behold-we can have some fun. Anything becomes possible. Proper preparation involves several factors that can sometimes get overlooked or skipped but each element can make a major difference in leading to a victorious outcome. Simply being familiar with our material and having rehearsed it is a good place to start, but preparation can go deeper than that. By giving yourself the opportunity to practice your material in front of other people several times before your audition or performance, allowing yourself the time to warm-up your voice and body,  being certain of how you are going to enter the room and communicate with your accompanist, checking to be sure your music is set up in the proper format and in the proper key and clearly marked, exploring your piece several times and playing with your acting choices and so forth you are setting your self up for an enjoyable performance. Challenge yourself to create opportunities to be brilliant on a regular basis.  As Oprah says, “I feel that luck is preparation meeting opportunity. ”

1. QUESTIONING “AM I GOOD ENOUGH?” 

This is most certainly the #1 road block I see Musical Theatre performers come up against no matter how far along they are on their career path. A performer can have multiple Broadway credits and award nominations or wins. Still the “evil doubt monster” can rear his nasty little head at a moment’s notice. Part of our job as performers is to continually nurture our sense of value and worth. Create a strong support system of teachers, friends, mentors and medical professionals that you trust to guide you on your journey and fill your days with work that inspires you. Continue to strive towards improving your skills while acknowledging how far you’ve come on your path thus far. Practice and be prepared. From there, do the work and just keep doing it. When it comes down to it, we have very little control over what other people’s opinions of us might be — quite frankly it’s none of our business. I’ve seen people talk themselves into the idea of begin good enough and just as easily talk themselves out of being good enough. Make the decision to do the work and let it be an exciting journey rather than a one time trip to greatness. There will be great days and less than great days but you will always be an artist . In my book, by definition, that is more than good enough.

Be Warm,

Kim Stern

Co-Creator – The Broadway Warm-Up

A Completely Synchronized Vocal and Dance Warm-Up that can be completed in under 30 minutes!