Actor / Writer / Idealist
I believe a good story has the power to change the way people feel, think, and act. I'm a storyteller with a passion for changing the world and leaving it better than I found it.
Consistent writing with consistent quality requires consistent habit. There are always a lot of variables when you’re writing something new – new characters, new circumstances, new voices, new points of view. Given that there will always be lots of new unknowns, when it comes to your process you don’t want to have to always be reinventing the wheel.
When I’m writing a new song for a musical, I start by asking myself a series of questions. The order of the series is not important, and I will usually stop at whichever point I feel I’ve answered enough to begin writing the song. (I am taking for granted that at this point I’ve created a musical language for the world of the piece as well as the individual characters.)
1. What is the EVENT of the scene/moment? This is often but not always coupled with the second question on the list (What is the conflict of the scene/moment?) This question allows me to identify what the major dramatic event is. The story in a musical is communicated and moves forward via song, therefore Continue reading How to Write a Song for the Musical Theatre
The term isn’t mine, but the problem is one that lots of writers fall into. The Donut Problem describes what happens when your main character is nowhere near as interesting or as active as all the characters that surround her.
Her thank you speech last night was…surprising, I think. While many actors take those opportunities to speak broadly for what they feel their career has meant to them or other people, Meryl took an interestingly more political, and potentially divisive tack. She (quite brilliantly) dissected the phrase ‘Hollywood Foreign Press’ into the people that have been and will doubtless continue to be some of the most vilified people in our current President-Elect’s playbook. Continue reading Streep. Agree or Disagree?
Established in 2009 with a gift from the Cole Porter Musical and Literary Trusts, The ASCAP Foundation Cole Porter Award is presented annually to an ASCAP or unaffiliated member who writes music and lyrics, whose work shows promise, and who has participated in the ASCAP Foundation Musical Theatre Workshop.
Past recipients include Peter Mills, Sam Willmott, and Daniel Maté.
The awards will be distributed at the 2016 ASCAP Foundation Honors, to be held on Wednesday, December 14. This invitation-only event takes place at the Appel Room and Ertegun Atrium in Jazz at Lincoln Center’s Frederick P. Rose Hall.
About a year ago now, I wrote an article on my blog called Race and the New Generation of Musical Theatre Writers. In the article, I called out to my white colleagues to ‘stretch’ their worldview to a point where they were able to see that our communities are not just populated by white people; to step outside of our unconscious biases and take an active part in truly ‘holding up the mirror.’
I have always been a worrier when it comes to money. Blame it on my practical Midwestern upbringing. Or my Father. Or the fact that I’ve chosen writing musicals as my ironclad fall-back career in case acting doesn’t work out.
Thankfully, I’ve been extremely lucky to make my living as an artist. I say “artist” because it encompasses the various roles that I play in my work. Sometimes I’m an actor, sometimes I’m a writer, sometimes I’m a musician or a teacher. But it all stems from my passion for and abilities as an artist.
It’s only been recently, though, that I’ve had to actually sit down and think about what to do with the money I’ve made.
Shortly after college, I found myself with a big chunk of credit card debt. And because of the piecemeal nature of making money as an artist, I had no real system to keep track of how much I was making and how much I was spending. Never mind saving or investing!