News and Views from Musical Theatre International

With Valentine’s Day coming up next weekend, MTI Radio has assembled a playlist that will make your heart sing!  These songs, selected from the over 300 shows in MTI’s catalog, cover the relationship spectrum, from an artist whose relationships suffer because of his work (”Finishing the Hat” from SUNDAY IN THE PARK WITH GEORGE) to a man’s acceptance of himself (”Love Who You Love” from A MAN OF NO IMPORTANCE) to a child’s longing for her parents (”The I Love You Song” from THE 25TH ANNUAL PUTNAM COUNTY SPELLING BEE) to a celebration of life and emotion (”Seasons of Love” from RENT).

MTI Radio isn’t just for special occasions; it’s available 24 hours a day, 7 days a week.  To listen, click the “MTI Radio” button in the top righthand corner of MTI ShowSpace. The player will pop up in its own window, allowing you to sing along to your favorite musicals as you browse the web - even if you leave ShowSpace.

Want to make sure your favorite song gets radio play?  Is there someone you’d like to dedicate a song to?  Make your requests on MTI Radio’s ShowSpace page, or send an email to mtiradio@gmail.com! We’ll get your song played as soon as we can.

Happy listening!

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“Controversy should not be feared when it comes to theatrical events.

It should be embraced.”

-Jimmy Yuen

Students from Green Valley HS

When Green Valley High School chose to perform RENT and THE LARAMIE PROJECT - two shows that deal with homosexuality - free speech and artistic freedom became all too relevant for many students.   But the Las Vegas Review-Journal saw an opportunity for students in the area to voice their opinions on the issue.  The paper created a contest for high school students, asking participants to write an essay arguing that schools either should or should not ban controversial theatrical productions.  The winner would receive $250, but it was not the prize that made students eager to take on the issue.  The winner, out of many exceptional entries, was Jimmy Yuen from the Southeast Career & Technical Academy.

Here is an excerpt from his essay:

“[T]he larger problem here remains that these parents would impose a mind-set of unreasonable naivete on their teenagers. This will not only put these teenagers at higher risk for deception, but it threatens to disconnect them from reality. HIV and drug abuse are not negligible problems. Around the world, more than 30 million people are infected with HIV and more than 25 million have died since 1981… Regular illicit drug use (monthly) in the United States averaged 22 percent of all high school seniors, without considering alcohol.

Students have the right to be aware of controversial issues such as drug use and homosexuality, if only to better protect themselves and others around them. Furiously sheltered, they would be left unprepared to face the real world. When they are undoubtedly confronted with drugs or sex, it is in their best interest to be aware of the dangers. Questions of morality when they encounter homosexuality might lead to violence out of fear and lack of knowledge. When it is their turn to vote, they will be in the clutches of ignorance, incapable of realizing the suffering that exists outside their walls.”

Click here to read the full essay.  MTI applauds Jimmy and his fellow essay participants for taking a stand in defending their beliefs.

To license RENT, visit its MTI show page. Discuss RENT on its MTI ShowSpace page.

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Green Valley High School in Henderson, Nevada Honored for Pursuing Artistic Vision Despite Challenges

When Green Valley High School decided to stage a production of the Jonathan Larson Tony and Pulitzer Award winning musical RENT, the community had mixed reactions. Objecting to homosexuality in both RENT and THE LARAMIE PROJECT, which the students also planned to perform, and the presence of drugs in RENT, four parents took the school to court to halt production. The shows, however, were allowed to continue, due to the strength and determination of the students, their director Jennifer Hemme, and their principal Jeff Horn, refusing to back down - even in the face of a lawsuit.  Hemme and Horn’s belief in the power of theatre and their faith in their students was unflagging, enabling them to persevere against overwhelming obstacles.

Audiences and critics alike found the performances deeply moving, according to The Las Vegas Review-Journal.   In fact, this Las Vegas Weekly article points out that “topics that people like to pretend the students are sheltered from…helped fill the seats of Green Valley’s modest theatre.” One classmate called the actors “really brave” for depicting such controversial characters. 16-year-old Armando Ronconi’s portrayal of gay, cross-dressing Angel had a huge impact on audiences. “People walk up to me and say ‘You’ve changed my life,’” he admits.  His performance, according to Las Vegas Weekly, “garnered the loudest applause of the night with both his costumes and flamboyant dance moves.”

Coree Davis and Armando Ronconi are lovers Tom Collins and Angel Schunard

This past weekend,  Music Theatre International (MTI) presented director and drama teacher Jennifer Hemme and Green Valley High School principal Jeff Horn, with the MTI Courage in Theatre Award.  Founded in 2007, the Award is not given annually; instead, it is presented when an arts organization has “confronted challenges that threaten their ability to explore or express their artistic vision in positive ways, even if it means taking an unpopular stance.”  Other high schools in the area were present to witness the ceremony, allowing all to share in a moment of unity and support.

Meagan Smith's Mimi and Sam La's Roger flirt during "Light My Candle"

MTI’s Senior Operations Officer, John Prignano was fortunate enough to watch Green Valley High’s performance of RENT, and to present the MTI Courage in Theatre Award.  During his heartfelt remarks, Prignano praised the school’s boldness:

“This is the first time,  that we are aware of,  that a school has tackled not one, but two edgy works in a season.  This is also the first time that we are aware of,  that opposition to such an artistic exploration at the secondary school level has resulted in an actual legal hearing. Because Jennifer Hemme knows that the artistic exploration of ideas and thoughts, though clearly out of the ‘comfort zone’ for some, is essential to the basic idea of education, she chose to confront the naysayers, and stand her ground.  Thankfully she was supported in this effort by Principal Horn and the administration of Green Valley High.  For these reasons, MTI is proud to present Ms. Hemme and Principal Horn with this award…[T]hey know that theatre is not just about singing and dancing, or saying lines…[I]t exposes us to other worlds and other lives, so that we can learn from those characters that are so different from us, yet sharing our world.”

It is people like Jennifer Hemme, Jeff Horn, and the students of Green Valley High School who keep theatre relevant and alive - and we thank them for their courage.

John Prignano presents Jennifer Hemme and Jeff Horn with MTI's Courage In Theatre Award--photo by Jeff Speer

To license RENT, visit its MTI show page. To discuss RENT and view production photos, check out its MTI ShowSpace page.

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In 2006, NPR interviewed Frank Loesser’s widow, Jo Sullivan Loesser, who he met during THE MOST HAPPY FELLA.  Tirelessly championing his work for the past forty years, Jo Sullivan Loesser has performed in concerts and on recordings to ensure Frank Loesser’s legacy will live on.

To listen to the article, click here.

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This is the third of a weekly series analyzing Sondheim musicals.  The first and second, on happiness and wealth in SATURDAY NIGHT and the optimistic message of MERRILY WE ROLL ALONG can be read here and here.

Musical theatre songs are complicated things.  They must be character specific while expressing general enough emotions for everyone in the audience to connect to.  They must further the story, but not be mechanical.  They must have smart, vivid lyrics and thrilling music, but one can’t overpower the other.  They must seem completely natural and effortless…but they involve an immense amount of work.  And when they aren’t right for the show - no matter how beautiful, no matter how many hours they took to write - they have to go.

The cut and lesser known songs of Sondheim’s could fill an entire show.  In fact, they fill five: SIDE BY SIDE BY SONDHEIM, MARRY ME A LITTLE, YOU’RE GONNA LOVE TOMORROW, PUTTING IT TOGETHER, and the upcoming SONDHEIM ON SONDHEIM.  By taking songs from the vast Sondheim canon and putting them in entirely different contexts, these revues demonstrate the strength of his music and lyrics and the talents of his collaborators - while enabling audiences to interpret them in new ways.

SIDE BY SIDE BY SONDHEIM
This first Sondheim revue was first seen in London’s West End in 1976, moving to Broadway in 1977.  Unlike PUTTING IT TOGETHER and MARRY ME A LITTLE, which tell a story unrelated to the ones their songs come from, SIDE BY SIDE BY SONDHEIM uses Sondheim’s work to reveal information about the composer/lyricist’s life, as well as background about the individual songs.  SONDHEIM ON SONDHEIM, which starts Broadway performances in late March, takes a similar approach.  Well-known shows like COMPANY and A LITTLE NIGHT MUSIC are represented alongside more obscure ones, such as the film THE SEVEN PERCENT SOLUTION and the television musical EVENING PRIMROSE.  SIDE BY SIDE BY SONDHEIM features a non-singing narrator role, and can be done with a small cast.

SIDE BY SIDE BY SONDHEIM in Brazil

To license SIDE BY SIDE BY SONDHEIM, visit its MTI show page. Discuss SIDE BY SIDE BY SONDHEIM on its MTI ShowSpace page.

MARRY ME A LITTLE
Originally staged off-off Broadway in 1980, MARRY ME A LITTLE draws from more well-known shows and creates a story of unrequited love and missed connections.  This revue, entirely sung-through, consists of only a man and a woman who live in the same apartment building, one floor apart.  While they have similar dreams and desires, they tragically never meet - but somehow still manage to connect.  The show, taking its name from a song that was first cut and then put back into COMPANY, uses cut songs from FOLLIES, A LITTLE NIGHT MUSIC, ANYONE CAN WHISTLE, and A FUNNY THING HAPPENED ON THE WAY TO THE FORUM.

Mike Dalager and Jennifer Hubilla in East West Players' recent production of MARRY ME A LITTLE--from broadwayworld.com

To license MARRY ME A LITTLE, visit its MTI show page. Discuss MARRY ME A LITTLE on its MTI ShowSpace page.

YOU’RE GONNA LOVE TOMORROW
While other revues give discarded songs new life, 1983’s YOU’RE GONNA LOVE TOMORROW celebrates the craft of Sondheim with songs that made the cut.  With the exception of three cut songs from A FUNNY THING HAPPENED ON THE WAY TO THE FORUM, these well-loved songs take the audience through the first few decades of Sondheim’s career, from SATURDAY NIGHT to MERRILY WE ROLL ALONG.  At minimum, YOU’RE GONNA LOVE TOMORROW requires a cast of two men and two women.

To license YOU’RE GONNA LOVE TOMORROW, visit its MTI show page. Discuss YOU’RE GONNA LOVE TOMORROW on its MTI ShowSpace page.

PUTTING IT TOGETHER
From England in 1992 to its Broadway revival in 1999, PUTTING IT TOGETHER underwent a few story changes, resulting in a fancy dinner party filled with infidelity, regret, excitement, optimism, and forgiveness - and everything else in between.  An older couple, a younger couple, and a narrator use songs from SUNDAY IN THE PARK WITH GEORGE, FOLLIES, A LITTLE NIGHT MUSIC, SWEENEY TODD, COMPANY, ASSASSINS, ANYONE CAN WHISTLE, and DICK TRACY to how just how much can happen over the course of one evening.

South Coast Rep's PUTTING IT TOGETHER

To license PUTTING IT TOGETHER, visit its MTI show page. Discuss PUTTING IT TOGETHER on its MTI ShowSpace page.

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Norm Lewis, last seen on Broadway as King Triton in DISNEY’S THE LITTLE MERMAID and returning in the upcoming SONDHEIM ON SONDHEIM, will be performing with the Princeton Symphony Orchestra Saturday, January 30 at 8 pm. Lewis’ warm, rich tones have brought many Broadway scores to life, including THE WHO’S TOMMY, MISS SAIGON, LES MISERABLES (where he starred as Javert in the recent Broadway revival), BABY, and DESSA ROSE. In this nj.com article, the Broadway regular discusses his solo album, the freedom of a concert performance, and how he found his way to New York from Eatonville, Florida.

Norm Lewis with Rachel York and LaChanze in Ahrens & Flaherty's DESSA ROSE

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This Vanity Fair article examines how the new hit TV show GLEE has built on the legacy and success of DISNEY’S HIGH SCHOOL MUSICAL.  Like HIGH SCHOOL MUSICAL, GLEE challenges conventional high school stereotypes through song and dance - but in a style and tone all its own.

GLEE recently won a Golden Globe for Best Comedy Series and received nominations for stars Matthew Morrison (HAIRSPRAY), Lea Michele (SPRING AWAKENING), and Jane Lynch, best known for her roles in the Christopher Guest movies BEST IN SHOW and A MIGHTY WIND.

The cast of GLEE

Visit GLEE’s official website for more information about the show. To license HIGH SCHOOL MUSICAL, check out its MTI ShowSpace page.

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Frank Loesser’s brilliance as a bookwriter, composer, and lyricist is enjoyed across the world in shows such as GUYS & DOLLS and HOW TO SUCCEED IN BUSINESS WITHOUT REALLY TRYING.  But did you know that the man who uses such vivid imagery in his lyrics was also an avid doodler?  Loesser’s doodling was so incessant - and his artwork itself so striking - that his daughter and biographer Susan Loesser calls him “a doodler extraordinaire.”

One of Frank Loesser's many doodles

To see more of Loesser’s artwork and to learn more about him, visit the Frank Loesser official website.

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This is the second of a twice-monthly series on musical theatre in television and movies.  The first, on the HOW I MET YOUR MOTHER musical episode, can be read here.

A few months ago, the Cartoon Network series BATMAN: THE BRAVE AND THE BOLD aired a musical episode.  Titled “Mayhem of the Music Meister,” the episode introduces the Music Meister, a character who can control people through song and whose very presence causes people to sing.  The Music Meister-voiced by HOW I MET YOUR MOTHER’’s Neil Patrick Harris-has plans to take over the world with his powers, but Batman, aided by Black Canary, manages to stop him.

Unlike the darker BATMAN: THE ANIMATED SERIES, which aired in the early to mid-1990s, BATMAN: THE BRAVE AND THE BOLD has a decidedly more lighthearted feel, with many references to the campy 1960s live-action Batman TV show.  This particular episode embraces its musical nature completely, referencing musicals from WEST SIDE STORY to THE PHANTOM OF THE OPERA to THE MUSIC MAN.  Its six musical numbers within roughly twenty minutes makes the episode packed with music - and not too far from being entirely sung-through.

Interestingly, the episode begins with the Music Meister at a conductor’s podium in the orchestra pit of a theatre.  He raises his baton; the curtain opens; the story begins.  The curtain appears periodically throughout the show, closing to indicate commercial breaks.  This simple framing device instantly alerts the show’s viewers to the episode’s theatricality and prepares them for a departure from the comic book world they’ve come to expect.  The show’s customary wackiness makes a musical episode fit perfectly within the rules of the world.  With so many crazy villains possessing a myriad of abilities, one who controls people through song fits right in.

The choice to use Black Canary in a prominent role is perfect.  Since her superpower is a sonic scream, she’s an obvious defense against a villain whose weapon is also his voice.  She and the Music Meister share a classic musical theatre duet of unrequited love; Canary sings of Batman, while the Music Meister confesses his love of Canary.  The song is reminiscent of Mary Magdalene’s ballad in JESUS CHRIST SUPERSTAR, “I Don’t Know How To Love Him.”  Other notable musical references include WEST SIDE STORY-style choreography (complete with snapping) when the Music Meister instructs heroes and villains alike to attack Batman, and the Music Meister playing an organ to an audience of cardboard cutouts in an empty opera house - a scene straight out of THE PHANTOM OF THE OPERA.  The Music Meister goes through an incredible number of costume changes the reflect a wide range of musical styles and reference musical icons like Elvis Presley and the musical HAIR.

The musical moments themselves are all smartly chosen and executed.  The opening number, “The Music Meister,” has the impressive task of introducing the Music Meister, stating his villainous aims, and ordering the heroes and villains present to stop Batman.  “Drives Us Bats,” one of the score’s highlights, is a full-fledged extended musical sequence that brings in Arkham Asylum inmates and even Batman’s teammates who are jealous of the Dark Knight’s fame.  A few of the lyrics are awkwardly worded - “Because to me you now belong” is clearly an instance of the lyricist going for the rhyme - but the kookiness of the show and the Music Meister’s absurdity make those infractions easier to excuse.  So much music in such a short amount of time could be overwhelming, but the writers have done a great job of varying musical and structural styles to help push the momentum forward.

The Music Meister, a character created specifically for BATMAN: THE BRAVE AND THE BOLD, has gained such popularity that a return appearance is not out of the question.  Hopefully, we’ll see more singing superheroes sometime soon.

Click here for more information on BATMAN: THE BRAVE AND THE BOLD.

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This is the second of a weekly series analyzing Sondheim musicals, in preparation for his 80th birthday on March 22. The first, on wealth and happiness in SATURDAY NIGHT, can be read here.

“Dreams don’t die, so keep an eye on your dream,” urges the opening lines of the Stephen Sondheim/George Furth musical, MERRILY WE ROLL ALONG.  Originally opening in 1981 and undergoing revisions in the intervening years, the show is often perceived as a cynical look at the realities of being an artist.  Its three main characters begin the show as former best friends whose careers are nothing like the ones they once wanted, making it easy to think that - despite those opening lines - their dreams have in fact died.  But while MERRILY WE ROLL ALONG may seem pessimistic, its structure and themes make it an uplifting show.

It Started Out With A Song

MERRILY WE ROLL ALONG’s unique structure keeps the show from being heavy and cynical.  While the events in the story unfold in a straightforward, linear fashion, they occur in reverse order.  That is, the show begins at a fancy Hollywood party celebrating producer Franklin Shephard, where the audience learns that Frank is deeply unhappy.  His best friends and his son have kicked him out of their lives, he’s stopped writing music, and his current lifestyle disgusts him.  “I swear, if I could somehow be starting over with Charley, writing shows, trying to change the world, I’d give this all up like that,” he confesses to Gussie, his wife.

“Do you really not see that I’m ashamed of all this?  That I am as sick of myself as you are?  That I just try to keep acting like it all matters.  To not let people see how much I hate my life, how much I wish the God damn thing was over-”

The cast of the Signature Theatre's 2007 production of MERRILY WE ROLL ALONG

From the lowest point in Frank’s career, the story goes backwards, showing key moments in his life where his decisions took him down the wrong path.  “I’ve made only one mistake in my life,” Frank realizes.  “But I made it over and over.  That was saying ‘yes’ when I meant ‘no.’” Because Frank largely ends up the way he does due to seemingly innocent decisions instead of major factors beyond his control, his fate is one that audiences can learn from and avoid.  For example, Frank’s choice to work on a film adaptation of his and Charley’s hit musical instead of writing a new show doesn’t seem like it’ll have a huge effect on his career.  But postponing their new show yet again widens the rift between Frank and Charley, and ends up being Frank’s gateway into the movie business. Prioritizing something once over the meaningful, non-commercial show Frank and Charley have been wanting to write probably would not have had the same impact.  It’s when Frank makes this decision again and again that their dream gets further and further away.  Using this technique, Sondheim and Furth make it clear that Frank’s unhappiness stems from a series of poor decisions and a lack of perspective - things that others can look out for in themselves.

Moreover, the final image of the show is that of the three friends - young and idealistic artists all - looking up into the night sky at the satellite Sputnik.  Seeing the historic event as the beginning of an era filled with possibility, Mary, Charley, and Frank believe they can do anything; that they’re “the names in tomorrow’s papers.”  While the audience knows that their lives won’t turn out the way they planned, ending the show with an image of hope and promise is significantly more upbeat than ending with Frank’s deep unhappiness.  Such an uplifting ending reminds audience members of their own potential and encourages them to pursue their own dreams - but with the shadow of Frank’s fate as a warning.

Tend Your Dream

Another structural component of MERRILY WE ROLL ALONG that ultimately makes the show positive its prologue and transitions.  The cast - minus Frank - opens the show with the title song, which is reprised in “Transitions” that signify when the show moves further into the past.  The song and its reprises do not pass judgment on Frank or blame him for walking away from his dream of writing musicals that change the world.  Rather, the lyrics reflect Frank’s bewilderment at the turn his life has taken:

“How can you get so far off the track?
Why don’t you turn around and go back?
How does it happen?
Where is the moment?
How can you miss it?
Isn’t it clear?
How can you let it slip out of gear?…
How does it start to go?
Does it slip away slow
So you never even notice it’s happening?
How did you get to be here?
What was the moment?”

The song also acknowledges that ending up with a life you never wanted can creep up on you when everything seems to be going right:

“Pick yourself a road.
Get to know the countryside.
Soon enough you’re merrily,
Merrily
Practicing dreams.
Dreams that will explode,
Waking up the countryside,
Making you feel merrily,
Merrily,
What can go wrong
Rolling along?”

[click to continue…]

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“We have different lives and faces, but our hearts have common places.”

Last weekend at the sold out Junior Theater Festival, held in Atlanta, Georgia, hundreds of children, parents, and educators were brought together by their love of performance. Having such an opportunity is incredible under any circumstances, but it is a particular gift in light of the devastating tragedy that occurred in Haiti. At the conclusion of the festival, participants were encouraged to offer a small contribution to the relief efforts and the outpouring of support was so impressive that co-producers iTheatrics and Atlanta’s Theater of the Stars, as well as presenting sponsor, Music Theatre International each matched the total, combining for a grand total of $5,000.

The money collected will be donated to Food for the Poor , an organization that provides direct relief assistance to the poor. With this contribution, the charity will be able to provide over 150,000 meals to kids who have been left hungry by the earthquake’s destruction.

We at Music Theatre International believe in the incredible transformative powers of theatre. We encourage others to use their talents to make a difference, as well.

About the Junior Theater Festival
The Junior Theater Festival is the world’s largest musical theater festival dedicated to groups working with elementary and middle school students and is presented by Music Theatre International and is hosted and produced by iTheatrics and Atlanta’s Theater of the Stars.  Drawing over 1500 attendees from nearly 50 schools and educational theater groups from across the United States and Canada, the Junior Theater Festival offers an enthusiastic environment for students and teachers to interact with thousands of others who share their passion for musical theater.  Each group performs a 15-minute selection of a musical for professional adjudication by a panel of distinguished theater professionals.

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At the beginning of Frank Loesser’s sprawling masterwork, THE MOST HAPPY FELLA, two characters are getting ready to move on.  For Joe, traveling is a way of life; he’ll stay in one place for a few months, working in the fields, and then quit and go somewhere else.  Amy, however, is a waitress who isn’t satisfied with her job, but has friends and is fairly well settled in San Francisco.  Joe prepares to leave the family he currently works for in Napa Valley because he has no reason to stay, while Amy finally leaves because she now has a reason to move.

Joe describes himself as one of the wind’s “ramblin’ kin” - someone never meant to stay in one place for too long.   He explains to his employer:

“Like a perfumed woman,
The wind blows in the bunk-house…
Smellin’ of where she’s been.
Smellin’ of Oregon cherries
Or maybe Texas avocado
Or maybe Arizona sugar beet.”

The possibility of the unknown is what tempts Joe; he finds nearly impossible to sleep knowing there are areas of the country he hasn’t explored.  He can even feel the wind pulling on him, with its promises of new people and experiences.  In contrast, Joe makes very sure that there’s nothing holding him where he is.  He knows when it’s time to leave when

“the bunk I’ve been bunkin’ in
Gets to feelin’ too soft and cozy,
When the grub they’ve been cookin’ me
Gets to tastin’ too good,
When I’ve had all I want of the ladies in the neighborhood.”

Right when Joe starts to feel a part of the community - once there’s a chance he might start forming obligations to the people around him - Joe packs up and moves on.

[click to continue…]

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It’s Showtime
It was a pleasure meeting some of you and watching your theatre’s performances at the Junior Theater Festival in Atlanta. We hope that you’ve had time to recuperate from the excitement of last weekend. Then again, with all of the hard work and energy that went into each of your performances… you’ll probably need a few more weeks.

Until then, we hope you’ll join the Junior Theater Festival 2010 Group Page on MTI ShowSpace, where many of the photos and videos taken this weekend are now available for your viewing pleasure.

Tagging Your Photos
While you’re checking them out and uploading your own photos and videos from this weekend, don’t forget to use our tagging feature to help share your Festival memories with all of your fellow attendees! By tagging photos with “JTF 2010″ and including the names of the people featured in the photo, the name of the MTI show, as well as the name of your theatre group, you’re not only utilizing an organization tool, you’re also providing ideas and inspiration to others… and that’s exactly what MTI ShowSpace is all about!

Creating Your Own Group Pages
If you find that your theatre already has a Group Page created by MTI ShowSpace Host last year and you would like to take over as the owner of the Group, please contact us via the feedback link at the bottom of the page to let us know. We can help!

Thanks for the awesome memories, and we’ll see you on MTI ShowSpace!

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This article in London’s The Independent is a thoughtful look at the feminist ideas in LEGALLY BLONDE: THE MUSICAL, which recently opened in London to rave reviews.

For more information on the London production of LEGALLY BLONDE: THE MUSICAL, click here. To license LEGALLY BLONDE, visit its MTI show page. Discuss this article or the show in general on its MTI ShowSpace page.

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