Emerging Musical Theatre: Michael Arden

Wednesday, February 9, 2011

Channel Surfing

I'm pretty sure that if I went to every new musical theatre show/concert coming up in the next couple of months, I would not only be exhausted but incredibly poor. Not that it wouldn't be worth it -- because there are a ton of great shows coming up (like this one and this one... also, this one... and this one). But while I've been seeing a lot of live theater lately, I also thought it would make for good conversation to point out some other sources for experiencing some new music, whether or not you're in the city.

Many writers have their own Youtube channel, and it's one of the best ways to keep up on their latest works and hear new songs. But there are also a lot of other Youtube channels out there that feature new musical theatre songs sung by incredibly talented people with new interpretations. I thought for this post, I would just share a few of my favorites:

Contemporary Classics is a theatre company that develops and produces contemporary musical theatre. They also post videos on their Youtube channel from their New Voices concerts, which are full of fantastic performers going to town on songs from a slew of new writers. I've posted a few videos on here before, but here are some other great performances:

Keely Avery singing Jonathan Reid Gealt's "No Reason At All":

Christian Duhamel & Jenny Shotwell singing Michael Mahler's "Couldn't You Stay":

Aside from Contemporary Classics, I easily lose all track of time watching videos from New York Theatre Barn, whose videos are the hugest treat if you're looking for fresh new songs. Their Youtube channel is regularly updated with their monthly shows from their D-Lounge. A few worth checking out (though if you want to get sucked in, check out their channel and watch them all):

Alex Brightman singing Kirsten Guenther and Gaby Alter's "Hit Song":

Amy Linden singing Eric March's "Weekend Away":

I've also been a longtime fan of the Urintown Youtube channel, which features performances from UMich's Musical Theatre program. While now there's a lot of varying content on the channel from Andrew Keenan Bolger's blog to episodes of The Battery's Down (which are also worth taking a look at), there are still some great gems from many benefits/concerts, especially The Girly Shows. Oldies but goodies:

Ricki Foss singing Marc Smollin and Kelly Dupuis' "Eduardo":

Cortney Wolfson singing Miller & Tysen's "I Could Go Back":

My last Youtube channel to check out is a recent discovery, but one that's been putting a smile on my face for the past couple of weeks. Alex Newkirk lends his effortless voice to showtune staples, as well as a bunch of newer composers on his Youtube channel.

Here's Alex singing Michael Arden's "Not Afraid":

And here is him singing Sean Grennan and Leah Okimoto's "The Lucky One":

There are, of course, tons of other resources out there. I'll continue to try to blog about them and post them here, but always feel free to share your sources for new music! It's always great to see new talent tackling new material!

Tuesday, January 12, 2010

the leaves start to turn, it’s fall now

Kait Kerrigan and Brian Lowdermilk are a musical match made in heaven. Their songs are rich in nostalgia, self-awareness, and seem to adapt to their subject matter like a glove conforming to the contours of a hand. Their work, from original musical The Unauthorized Biography of Samantha Brown to song cycle Tales from the Bad Years to their adaptation of popular children’s book Henry and Mudge, ranges in audience and style, but their ability to communicate emotion and perspective is something that always seems to remain constant.

Recently, Kerrigan and Lowdermilk announced on their website that they will begin licensing Party Worth Crashing, a “do-it-yourself concert” in which performance companies can put on a custom-made song set of Kerrigan and Lowdermilk songs for a simple licensing fee. This marks a first in many ways: this is the only kind of show with Kerrigan and Lowdermilk music currently on the market for licensing (as far as I know), this is the first time I’ve heard of where a concert set up of a composer’s music is available for licensing as a complete show, and this is the first opportunity to hand pick the story arc and specs of a performance.

A common complaint of many people who don’t care for musicals is that they feel like musicals are just plays in which people “randomly burst into song.” Where big production numbers and spectacle used to play a huge role in the musical theatre experience, I think the videos and performances featured in this blog alone shows a trend against that impulse (even though this is still a philosophy going on strong on Broadway). Up-and-coming musical theatre works can be just as insular as they are performative on the exterior. They are more personal, able to even stand alone out of context, and they communicate universal themes in small windows of opportunity where a character can pour their heart out, rail against the man, or tell a story that reflects the truths of his or her experience. Kerrigan and Lowdermilk’s Party Worth Crashing is our first glimpse into the possibilities created by this movement, and depending on the success of this project, could become an option offered by many composers, widening the range of what exactly constitutes as “musical theatre.”

In any case, I am very curious and excited about this and can’t wait to see people starting to take advantage of the offer. To check out the information for licensing Party Worth Crashing, take a look at their page here. For the licensing fee, a company has a pick of any song in the Kerrigan and Lowdermilk songbook. So, to end out this blog entry, as well as give some audio/video clips to be entranced by, here are some videos of the songs I would have to have in my set if I was assembling a performance of Party Worth Crashing:

"Run Away With Me" sung passionately by Michael Arden