Q&A with AVENUE Q’s Kerri Brackin

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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.

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Meditation & Creativity with Mark Price

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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

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Hi, I’m Johnny!

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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

I Lost Control and Then I Found Something Better

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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.

april25babies_ellafitzgeraldSomebody 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.

images-9One 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.

let_it_go_by_impala99-d740xws.pngI 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.

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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.

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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.

img-26Jessica Latshaw is a monthly blog contributor to The Broadway Warm-Up blog. For more information on Jessica go to: www.jessicalatshawofficial.com

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The Top 7 Signs You’re Working With THE BEST Voice Teacher or Vocal Coach

The Top 7 Signs You’re Working With THE BEST Voice Teacher or Vocal Coach

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It goes with out saying that we would all love to be working with THE BEST. We do our research online, ask our friends who they study with, find out who works with the stars we love and try to make an informed decision as to who is THE BEST Voice Teacher out there. While most of this seems like good sense when looking for a teacher– there is an element missing in this equation that is crucial to your success as a vocalist. That element is YOU.

I’d like to believe that in the city of New York (or most any city for that matter) a person who has set out to make their life’s work to teach or coach voice will have something extremely valuable to offer their students. Hopefully, they will have spent years doing their own exploration, studying several different techniques and pedagogies and making discoveries with their own instrument. They may hold certificates of study or be members of a teaching association such as NATS or NYSTA. They will have gained a reputation by slowly building their clientele and benefitting from positive word of mouth about their teaching. They may even have reputable clients that you recognize.

"Hey Elphie, I found THE BEST voice teacher!"

“Hey Elphie, I found THE BEST voice teacher!”

Of course, these qualities are desired in a teacher and when your friend tells you their teacher is THE BEST– that’s probably a fantastic referral source that you should take very seriously .

With all this in mind, the most important element in finding THE BEST teacher is finding out whether or not they are the best teacher for YOU.  The following is a list of signs that the teacher you are working with is working for you and you are a THE BEST match:

 

weinstein_goals1. MUTUAL GOALS:  You feel like your teacher understands and supports the goals that that you have set for your instrument and for your career.

 

SO HOW DO WE OVERCOME COMMUNICATION BARRIER

2. COMMUNICATION: You feel as though the way in which your teacher communicates is clear to you. You’ve found a common language and way to express ideas. You don’t have the sense that  your teacher understands something and you’re just not getting it.

 

3. CONFIDENCE:  You feel confident that your teacher has an understanding of your instrument and you as a person and will be able to help you achieve your goals.

4. TEAM SPIRIT: You feel your teacher has your best interest at heart and is on your team.  

Quote-Productivity-is-never-an-accident5. PRODUCTIVITY: You feel that the time spent in your lesson is well structured and productive towards your goals. Whether your working purely on technique or on repertoire, you feel that the time in the lesson is geared towards helping you move forward. 

 

 

6. INSPIRATION: You generally leave your lessons feeling motivated and inspired.

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7. FUN:  You look forward to your lessons and consider them an exciting and special part of your week.

Your voice teacher is an important member of your support team and the right teacher can be key in helping to reach your goals and stay motivated and focused. When it’s a good match you will feel supported, confident and like you are consistently making progress— it’s great! Whether you are looking for a new teacher or have been working with your teacher for years, it’s important to check in and see where you are and if these dynamics are working for you.

Keep in mind that sometimes we go through plateau phases or set back phases while other times we are growing exponentially. If you are feeling stuck with your teacher, that does not necessarily mean you need to move on. However, it would probably be a good idea to have an open dialog and discuss the situation. Most of the time, if you are feeling frustrated, your teacher is feeling that as well and would like to help you find a way through that frustration.You may make some exciting discoveries within that discussion. Other times,  you may discover it’s time to move on and explore your work with someone else– even if it’s just for the time being to discover a new perspective.

With the proper research you will be able to find several teachers who have a ton of great technique, inspiration, experience and resources to offer. The only person who can really know if you’ve found THE BEST teacher is YOU.  Whether a teacher or student, we are all artists and we got into this industry because we are passionate about music, theatre and creativity. It’s part of our life force.  We all want to be inspired and we all want to use our gifts and creativity to contribute to the world of music and art. The best teachers learn from their students and are there to offer their experience , knowledge, guidance and support. When those elements are in place and communication and inspiration is flowing… it is truly THE BEST. 

Be Warm, 

Kim Stern

The Broadway Warm-Up: 

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

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Why The Caged Bird SHOULD Sing

BWALPHA copyOk folks, it is with absolute joy and pleasure that we introduce our next guest blogger, the super cool, multitalented, glorious, ultra-creative…

(and incidentally a Broadway Warm-Up Cast Member)…

 

                                                       Jessica Latshaw!img-26

You can go to Jessica’s website www.jessicalatshawofficial.com to find out about all of the awesome things she does as a musician,writer,actor and dancer. But now, check out the first installment of her monthly blog:

Why the Caged Bird SHOULD Sing

508c4a1e-fa59-49f8-9ed0-c41c69c93285I have a friend who cut herself. She told me about it one night in the same tone of voice my ex used when he finally admitted he loved someone else: helpless to change. I listened to her tell me the story about how the pain she felt inside–something that threatened to swallow her whole–became manageable when tangible. She’d watch spots of bright red blood prove Newton’s law of gravity as it trickled down her legs, finding the fact that she was actually controlling the pain (this time) comforting.

And different.

And sometimes when you’re hurting a lot, different is the only thing you’re going for.

images-1That night, in a hotel room that blended in with all the rest during a non-equity bus and truck tour, I listened to my friend and tried to understand. I didn’t yet know of a pain that could feel like that. I didn’t yet know that something could hurt inside so strongly that you’d want to change everything, including yourself. Whether it was for the better or the worse didn’t matter, if you could just change the pain, then there was some relief.

Fast forward to me coming home from a dream job: the 1st National Tour of A Chorus Line.

(that's me all the way on the right)

(that’s me all the way on the right)

To him telling me that he loved her; that he’d never loved me at all. To me losing myself to a story that went wildly off track. To me moving back home to rural Pennsylvania when I was supposed to be in New York City, auditioning and landing jobs with the rest of my friends. To my parents constantly reminding me to eat and doing it only because I’ve always been a good daughter; I’ve always done what I was told.

It was a hard time, guys, but that’s not all it was: it was also a beautiful time.

It is the first time I learned about art as a way of survival. It is the first time I realized that I could be a shape-shifter, changing the shape of my pain into something I liked a lot better via stories, songs, dance, essays, sketches–anything that became tangible and then, yes, manageable. It is when I finally stopped looking around for inspiration (it was hard to find in those days, anyway) and started to look within.

I grew up with brothers who played video games. I mostly ignored them (the games, not the brothers), but I did enjoy Sonic the Hedgehog. When Sonic swam under water, he held his breath, living from air bubble to air bubble. Sometimes Sonic needed to find another air bubble in a matter of seconds in order to survive, and when this happened, the score turned minor and dramatic, driving home the point that you are either gonna find your air bubble or die trying.

AirbubbleThere were nights when I hurt so much inside, that, emotionally, at least, my own score turned minor and dramatic. My own air bubble was writing music, prose, dancing, playing the piano, or just singing whatever came to mind in the moment. My pain changed in those moments; it wasn’t simply different, it was beautiful. It was positive. It was better than I’d been before. It was like removing a bandaid from some terrible wound, only to find not only the absence of a scar, but skin that is softer, younger, more even, more vibrant than you’d ever thought possible.

A few years later, my friend told me she’s doing better, that she hasn’t cut herself in a long time. I’m glad. Adding pain to pain is never the enduring solution. But adding a voice to your pain is. It is, I believe, the artist’s responsibility to voice how you feel– through whatever medium it is you choose. We do this again and again and again. We do it until the voice grows silent, and we have nothing left to say. Which is probably a Sunday night and by Tuesday we wake up no longer empty; it is the great mystery and miracle of pouring oneself out until there is no longer one more word to write, no longer one more note to sing. It seems we cannot out give the gift that was given to us; by sharing it, we only emphasize its hold on us. We are the opposite of peddlers selling snake oil; we give away for a dollar amount what cannot be bought or sold–we give away pieces of ourselves that are gained in tears and days and moments of connectedness and visceral feeling that are as valuable as they are ephemeral.

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This is what I have learned in my pain. And I am not special–no more so than any one of us, I mean. We all live through seasons; we all experience the same range of emotions. We are all called to observe life. To feel it deeply. And then to give it a voice.

Jessica Latshaw is a monthly contributor to:

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The Broadway Warm-Up: A Completely Synchronized Vocal and Dance Warm-Up that can be completed in under 30 minutes. Be Warm!

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

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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.

images1. 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.

ChorusLine3. 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.

bigstock-The-d-words-What-s-Your-Plan--241257414. 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.

my-daily-routine-2bu3bqq5. 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!

2054147. 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.vacation_965867

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