All I Want For Christmas

Holiday shopping is always a stressful exercise, but during a time when it's the thought that counts, why not use this as an opportunity to share new music and writers with your friends and family?

Like last year, the go-to gift for any lyricist/composer/librettist in your life was Sondheim's first book, and this year its companion, Look, I Made a Hat, is hitting the shelves again just in time for the holidays. You can even get the "Hat Box" with both books -- if your musical theatre enthusiast hasn't already beaten you to the punch.

When it comes to recordings, there are a few go-tos that are topping my personal wish list and are becoming staples on my gift list for others. For stocking stuffers, look no further than Shaina Taub's EP, What Otters Do, which will be sure to charm any folksy, jazzy fans for only $3.99 a pop. Today also marks the official release of The Burnt Part Boys cast recording, a gorgeous little show that I loved at Playwrights Horizon last year (What are the chances for a recording of The Shaggs come next year? Now that would be a Chrismakkuh miracle). And if you or anyone you know doesn't have a copy of Kooman & Dimond's Out of Our Heads or Georgia Stitt's My Lifelong Love, you should get on that ASAP.

For a more creative gift that also supports new artists, try taking part in some crowd funding projects. Right now, Ryan Scott Oliver and Matthew Murphy are raising money through Kickstarter for a recording and performance of their show 35MM, the project that gave birth to favorite songs like "Hemming and Hawing," "The Ballad of Sara Berry," and, yes, "Crazytown." Depending on your donation level, you can score swag like the finished cast recording, signed posters, and even a limited edition photo print. You can also support the Steampunk musical, Futurity, by band The Lisps as they work to produce a cast recording of their show. Use the Kickstarter campaign to pre-order the album for loved ones, and follow it up with tickets to their Joe's Pub concert on December 16th.

If you would rather treat your friends to some quality time, drinking in the holiday spirit, there are many winter concerts on the horizon. My New York Christmas tradition involves Joe Iconis and family debauchery at Ars Nova for the Joe Iconis Christmas Spectacular. Strapped for cash? Check out free concerts from a ton of new musical theatre writers as a part of the Broadway's Future at Lincoln Center and at the NYTB D-Lounge on December 11 and 12.

As the year winds down, it's nice to remember what the holidays are all about: family, friendship, love, and good will. How can music not make its way into that equation?

NYMF/ASCAP Foundation Songwriters Showcase

I have to admit that I am still feeling the aftershocks of awe after attending last night's NYMF/ASCAP Foundation Songwriters Showcase.

As I've been attending these NYMF shows, I've been going to most performances alone, which is something that I appreciate but sometimes makes me miss having a companion, mostly because I love exposing my friends to musical works they normally wouldn't go out of their way to see. However, last night was one of the few nights I was truly happy to be experiencing alone; because though I would have loved to expose someone else to the sheer talent of some of these writers in a such a warm environment, I reveled in the fact that I got to just let the music and the discussion sink in, not having to worry about whether or not someone else was enjoying it as much as I was--just engaging in the whole experience uninterrupted.

The showcase was hosted by Stephen Schwartz and featured songwriting teams Kooman and Dimond, Valerie Vigoda and Brendan Milburn (also known as 2/3 of band GrooveLily), and Pasek and Paul. I was aware of these writers' work before this evening, but there was something about getting to see an event focused entirely on their music -- where it comes from, what the process of writing is, how collaboration crystallizes into a final product -- that was absolutely magical. Not to mention getting to see these wonderful writers really appreciating one another was so moving in its own way. Here are some highlights (at least in my opinion) from the discussion:

• Though the panelists were all songwriting teams and had the common thread of meeting in college, I loved how varied they were in their approaches to their writing. Kooman and Dimond began their work together writing music for Carnegie Mellon students. Valerie Vigoda and Brendan Milburn are married. Pasek and Paul apparently fight a lot throughout the writing process. It was nice to see everyone's dynamic with his or her partner.

• Most of the writers did not actually go to school for musical theatre writing. Pasek and Paul got their start as musical theatre performers at UMich, Valerie Vigoda was a singer/songwriter (Sarah McLachlan with a violin, she joked), and Michael Kooman was originally in the school of music (not theatre) at Carnegie Mellon.

• Stephen Schwartz apparently thought of having a CD called "Murdered Darlings," which would be comprised of cut songs. There was a lot of talk about murdered darlings last night, in fact, hitting home the idea of theatre being a process of revision and seeing what works and letting go of what doesn't.

• When Kooman and Dimond start a show, Christopher usually writes the book first, and then they work on the music. As a playwright, I thought this was a fascinating approach.

• Valerie Vigoda is going to have a one-woman show that is going to rock your socks off. She performed the opening number, and I just had my mouth hanging open by the time it was done. Also, note to self, if you learn an instrument, let it be the electric violin.

• There are some major A Christmas Story fans out there; granted, many audience members were associated with the show, but any mention of Pasek and Paul's musical adaptation garnered loud cheers.

I have to say that I was captivated throughout the evening. I wanted to post video performances of every song available that was sung last night on the blog to even give the tiniest indication of what it was like. But instead, I will only post one -- as it represents a moment in the evening that I found incredibly profound and moving.

In the middle of the program, every songwriting team presented a second song, usually preceded by some kind of introduction. Kooman and Dimond explained that their next song was an intensely personal number -- one that was written in 24 hours, spurring on one of the biggest creative arguments they'd ever had, and that even made Andrew Lippa cry. Seems like a pretty big set-up for song, right?

And then Michael Kooman took to the piano and sang this song, "Lost in the Waves," which is performed below by Anderson Davis:

When it ended, I was in shock. There was something about it-- the piano, the lone voice, the crispness of lyrics in the silent Peter Norton Space. For the entirety of the song, I was transported into another place, and when it was over, realizing where I was was almost shocking. I sat there, gobsmacked, trying to adjust back to the event. And the most beautiful part of the whole thing? When Stephen Schwartz turned to Brendan Milburn so that he and Valerie could present their song, the look on Brendan's face was the exact same as mine.

I was so thankful when he took a minute to digest the performance, when he was genuinely short on words in the aftermath of that song. There was something great about seeing in other people, not to mention other terrific writers, the passion and love that I feel for these works.

NYMF is now into its second week-- what a way to begin it.

Out of Their Heads: An Interview with Kooman and Dimond

The names Michael Kooman and Christopher Dimond shouldn't be foreign to this blog -- just in my post last week, I talked about their new album Out of Our Heads (Have you gotten that yet? What are you waiting for?!) but this musical theatre writing team is also behind shows like Dani Girl, Golden Gate, and Homemade Fusion -- to name a few. With a CD release concert coming up next week at The Birdland, they were generous to take the time to answer some questions about the upcoming album, writing less traditional musical stories, and connecting with their fans:

(Todd Buonopane singing "To Excess")

Me: How did you two meet? What about your collaboration process has made you guys so successful as a team?

Michael Kooman and Christopher Dimond: We met in a lyric writing course at Carnegie Mellon University. Michael was an undergraduate studying composition, and I was in the graduate playwriting program.

It’s hard to define exactly what it is that makes us work as a team. We like to think that we complement each other pretty well. We have similar aesthetics and senses of humor, which is probably critical, and are also both drawn to clean, dynamic storytelling. At the same time, though, we’re very different people, and some of the contradicting aspects of our personalities, experiences, and worldviews probably adds an interesting element of contrast to our work.

Me: There are so many great themes of love and loss and general rationalizing/reasoning serving as a throughline in all of the songs. What was your underlying thread that you wanted to hold all these songs together?

Kooman and Dimond: When it comes down to it, we wanted the album to be a collection of our strongest songs. There wasn’t necessarily an overt thread that we were looking for to connect everything, we really tried to go about putting together a cohesive album that represented our best work.

That being said, it’s probably not a coincidence that there are a number of undercurrents running through many of the songs, particularly touching upon the themes that you mentioned. Love and loss aren’t exactly uncommon areas of exploration for songwriters, and a lot of what we set out to express can fall into one, if not both, of those categories.

Some Song Things

Hey all! Just wanted to give a little round-up of some of the things I've been loving in the emerging musical theatre world as of late.

First of all, as a little plug, I'm going to be blogging with Ryan Scott Oliver's Crazytown for another two months, so keep tuning in on Thursdays for posts from me, Ryan Bogner (who is co-producing new Mark Hollmann and Greg Kotis musical Yeast Nation playing as part of The Fringe in August), the hilarious Leah Bonnema, and Shoshana Greenberg (who provides your weekly new music fix with Rough and Ready).

Also, songwriting team Kooman and Dimond released their new album Out of Our Heads -- which, let me tell you now, is awesome. There are great voices on the recording (Heidi Blickenstaff, Kerry Butler, Natalie Weiss, Patina Miller, Anderson Davis, Matt Doyle, Phoebe Strole, Kyle Dean Massey, Chris Mann... look for an especially delightful track with Christopher Sieber), and all of the songs are beautifully recorded. There's a lot of love, pathos, and comedy in these songs, and I'm not only sure you'll be listening to them constantly but you'll want to be singing them too. You can purchase the CD from their website here and be on the lookout for their release concert at The Birdland on 7/18.

In speaking of cast recordings, if you want to help another album yet-to-be-made, support songwriting team Miller and Tysen's Kickstarter campaign to record their song cycle Fugitive Songs. Every song I've heard from this show is fantastic -- heartfelt and evocative, living up to the idea of being a fugitive in the way they just move musically. Even better? If you donate $150 or more, you get a recording of Burnt Part Boys, which is pretty good incentive, if you ask me.

Lastly, I just wanted to end with a couple of videos from recent concerts, the first being Nick Blaemire singing "Trouble" at his recent gig with band The Hustle as a part of Ars Nova's 54/10:

Then, from Good Clean Music: Another Michael R. Jackson Song Thing at The Beechman, Jeremy Morse singing "Girlfriend":

And, also from Good Clean Music, Molly Hager singing "Fairweather Friend":