And In That Universe, You'd Be Everything: An Interview with Heidi Heilig and Mike Pettry

Heidi Heilig and Mike Pettry's full-length musical, The Time Travelers Convention, debuted as a podcast about a month ago, bringing the story of three friends looking for answers through time travel straight to your living room via Youtube and iTunes. With a wonderful cast starring Nick Blaemire, Lorinda Lisitza, Jeff Essex, Stephanie Spano, Phoebe Strole, and even Mike Pettry himself, this radio play way of experiencing a new show boasts a lot of talent and fun presentation. Luckily for us, Heidi and Mike offered to answer a few questions about the process of recording a podcast, fusing nerd and musical theatre culture, and everything in between:

(First part of Youtube podcast of The Time Traveler's Convention)

Me: The big party in The Time Travelers Convention is based on a real event organized by MIT students. How did you decide to turn the idea into a musical?

Heidi: In the summer of 2005, Mike and I were looking for an idea for our thesis musical for the Graduate Musical Theatre Writing Program at NYU, and my mother, who is a musical theatre writer herself, sent me an article she’d seen in the New York Times about these wacky young science nerds at MIT and the party they were holding to try to attract visitors from the future. She sent it in an email with just the heading “Time traveler convention – GREAT IDEA FOR A MUSICAL.” I’m not joking, that’s how I decided – an all caps email heading from my mother.

Although I don’t do everything she suggests to me in all caps. (If I did I may have tried for a more lucrative career than ‘bookwriter/lyricist.’) And I had to convince Mike, too, but that wasn’t too hard because the idea really grabbed me and I can be really pushy when an idea takes hold.

Mike: It didn’t take much to convince me – I was excited by the idea of writing music from the perspective of nerdy high-schoolers. Before, I had been writing more cerebral art-song stuff, and was getting very tired of that. The Time Travelers Convention was a great opportunity to dive into more pop-rock styles, although the score ultimately found a balance between both worlds (like if Stephen Sondheim were to start an Arcade Fire cover band).

My favorite part of our first meeting about the show was that Heidi had pitched it to another collaborator first, who wasn’t that excited about it. He was like, “Time travel? Enh,” but I was like “BEST IDEA FOR A MUSICAL EVER.”

Heidi: What really sung to me about the whole story was that Amal Dorai (the organizer) and others were asking for things from the potential time traveler – cold fusion reactors, cures for AIDS, solutions to mathematical mysteries – and I thought, well, what would I ask for, if a time traveler showed up?

And the answer that came back in my head was “I’d want the time machine.”

I think a lot of people feel that they have turning points in their lives that they look back on and say “If only I’d—" or “I wish I could have–" or “I never should have–" and they end that sentence with “because then everything would be okay.” I know I have. (And I would sing about it, too.) And for me, characters are formed quite easily out of a mixture of dreams and regrets.

Séance on a Wet Afternoon

I should probably preface this post by saying that I don't really have any experience with opera. In fact, I've been extremely lucky to have gone to my first opera a couple of months ago, seeing Lucia di Lammermoor at The Met. Even having seen musicals since a young age, seeing an opera felt like a much different experience -- though much of it could have also been the experience of processing the supertitles.

Recently, I had the opportunity to see Stephen Schwartz's opera, Séance on a Wet Afternoon, and I was excited for two reasons: a) this is Schwartz's first opera; and b) it would be my first American opera experience.

Stephen Schwartz isn't exactly an "emerging" artist, having collaborated on the scores for iconic Disney movies and Broadway hits. But the idea of a songwriter tackling another genre was really exciting, and I was really interested in seeing how his musical theatre style translated into this form.

The show is based on the novel by Mark McShane and the film by Bryan Forbes, both of which tell the story of medium Myra and her devoted husband Bill. Myra's ability to communicate with the dead comes through her ability to speak to her and Bill's deceased son, Arthur. Wanting more recognition for her abilities, Myra, at the suggestion of Arthur, hatches a plan to kidnap a wealthy industrialist's daughter and hold her for ransom, giving Myra the opportunity to offer her services and heroically find the girl.

The story has a lot of twists that keep things interesting, though the parts that really resonated with me were the relationships between the characters and the effects their actions had on the ties that bound them together. The most powerful moments in the show were the moments that explored the relationships between parents and children and the way the parents in the show clung to hope and gave in to the supernatural because of their inexpressible love for their offspring. To see the moments of clarity when Myra sung to or about Arthur juxtaposed with the murkier communication with her husband really set up a compelling story that went far beyond the plot twists and turns.

Overall, I found this show to be accessible and genuinely spooky and heart wrenching at times. One of the most fascinating things to observe, especially not knowing much about opera, was the subtlety of the form and the intertwining relationship between musical theatre and opera throughout. It was interesting to see a show that really communicated Schwartz's music, while being a separate entity in many ways.

The show will be playing until May 1st at Lincoln Center, so be sure to go if you want to experience something a little outside of the musical theatre box!

Also, if you are interested in emerging songwriters and contemporary opera, go out and see some work from Vox 2011, which will feature 12 new, unproduced shows from an amazing host of writers on 5/14 and 5/15.

Listen Up: Musical Theatre Talk with Trish Causey

For the past couple of weeks, I have been obsessed with listening to the Musical Theatre Talk interviews with Trish Causey. Coming from a musical theatre writing/performing background herself, Trish makes a great host, interviewing everyone from vocal training professionals to performers to writers involved with musical theatre. A few weeks ago was Larson week, which featured awesome composers mentioned on this blog: Kerrigan and Lowdermilk, Joe Iconis, Ryan Scott Oliver, Mark Allen, and Lance Horne. It's fascinating to hear different takes on songwriting, approaches to the industry, and general philosophies about having a career in musical theatre.

From what computer music programs people are using to filling out grant/award applications, all these podcasts are fantastic resources for anyone hoping to get into musical theatre, and if you listen to the broadcasts in realtime, you can even call in/chat questions to the guest. Listen to replays of the podcasts here, and be on the lookout for future shows!

Tomorrow Morning and beyond

Laurence Mark Wythe is a British musical theatre writer whose work has been featured with Perfect Pitch in the West End and is currently running in New York. Tomorrow Morning, which is playing at The York Theatre until April 23rd, tells the story of two couples, both on the brink of pivotal points in their relationships. One couple is about to take the next step in their relationship; the other is about to end theirs. Through their connected stories, Tomorrow Morning explores the possibility and complexity of relationships, especially when examined through major, defining moments in time.

One thing I love about Wythe's music is the way, especially his group numbers, it seems to melodically piece out individual stories and then converge again to form a greater whole. His other works, The Lost Christmas and Through the Door, are contemporary pieces that also explore modern relationships, finding connections through rhythm and rhyme. Here are a few videos to check out his music for yourself:

Stuart Matthew Price singing "Goodnight Kiss":

The opening number from Through the Door from the 2008 Perfect Pitch showcase:

Rehearsal footage from the Chicago production of Tomorrow Morning, featuring Charissa Armon, Jonathan Rayson, Emily Thompson, and, lo and behold, Michael Mahler:

If you want to check out Tomorrow Morning during its current run, The York Theatre Company is offering a special discount off tickets to remaining performances. You can get tickets for $47.00 (regularly $67.50) by mentioning the code HHCMORNING at either YorkTheatre.org or calling (212) 935-5820.

A New Girl in Town

Hey all! So I have a cool announcement: as of this week, there are new additions to the cast of Ryan Scott Oliver's Crazytown Blog -- and starting today, I will be joining them as a secondary contributor! My first post on the divas of my childhood can be found here.

I'll be blogging every Thursday for the next three months on Crazytown, talking playwriting, finding inspiration from everyday things, and navigating the theatre/art world, with the occasional nod to the musical theatre artists who we talk about here. So if you're interested in more theatre talk with a slightly more personal twist and a glimpse into my own writing, then be sure to check in every Thursday (And everyday, really. There are some great writers on there!).

If you're not, have no fear. I will continue to update this blog regularly, bringing you the same musical theatre goodness. Either way, there are some exciting things coming down the pipeline, and I am just really happy to share it with you.

New Year, New (and Old) Shows

2011 so far has been insane -- in one of the best ways possible -- and one of the things that has blown my mind is all of the great shows I've had the privilege of seeing in this new year. Since I haven't really had time to recap them all, I just thought I would share some of the highlights from the past couple of months and some of the videos from them that are (thankfully) up on Youtube for all to enjoy.

This past weekend, Kerrigan and Lowdermilk finished their "You Made This Tour" with a final performance at (Le) Poisson Rouge. While I didn't get a chance to make it out for their last hurrah, I have been rather obsessed with the following two performances from their other "You Made This Tour" gig:

The Spring Standards singing "Berkeley":




Lewis Grosso, Aaron Bantum, and Sarah Safer singing "She's the Best"(music by Kait Kerrigan and Brian Lowdermilk, lyrics by Adnan Ahmed [age 9]):




With the recent release of his first songbook, Ryan Scott Oliver celebrated with a concert at Joe's Pub packed with old and new favorites, fun anecdotes, and a whole lot of talent. A couple great ones from that night:

New song "Agnes" sung by Alex Brightman:




Katie Thompson singing "To Do":




I know I've been talking up Joe Iconis' Things to Ruin lately, but I also loved letting loose at his Friday Night Commotion at The Laurie Beechman before the run. A lot of newer songs made an appearance, with a few that are still stuck in my head:

Krysta Rodriguez singing "Broadway, Here I Come!":




Jeremy Morse singing "Kevin":




Aside from Joe & Company, one of the most raucous nights of music I've had lately was attending a concert of The Civilians' new show, Pretty Filthy, at Joe's Pub about the porn industry (my friend even won a prize for thinking up a porn title based on Spider-Man: Turn Off the Dark, so it was the show that kept on giving). Michael Friedman's music is so astute and conversational -- it's really a joy to watch. There aren't any videos available from that evening, but here is a video of Greg Hildreth singing another song from Pretty Filthy, "Impossible Girls," which was performed at the NewMusicalTheatre.com concert that also took place recently (fair warning: Not Suitable For Work):



Also, be sure to check out some other videos from the NewMusicalTheatre.com concert at their Youtube channel because there was an awesome assortment of writers in that show. One song in particular I've always loved is Gaby Alter's "Deep in February," sung here by Catherine Brookman:




...And all of this only begins to scratch the surface. If you really want to get in on the experience of some of the new musical theatre happenings lately, you can also watch, in full, streaming concert footage from Drew Gaspirini's Joe's Pub concert here or David Henry Hwang, Kevin So, and Kevin Merritt's concert of their new musical Great Wall here.




On another note, even with all of the new concerts and shows in development, I actually saw a couple of the latest Broadway musical offerings (the first time in a while) and just have to comment on how funny it is that a lot of things out there (even the newer musicals) are so much in the traditional musical realm. I have to admit it was almost a little jarring last night seeing How to Succeed in Business Without Really Trying with so many huge dance numbers and such elaborate sets, when I had become so accustomed to minimal staging and small casts. There was something very reassuring in it, though -- to see to see how things have changed and to see how the tradition is still being carried on and paid homage to. Most of all, I was really happy to see that a musical that first was released in 1961 can still feel joyous, that satire and wit can still assert themselves in song, and perhaps most importantly (especially with How to Succeed), that talent can still find energy and passion in material years down the road. Having that as a little takeaway, I'm excited to see the future of these new writers who constantly bring their talent and passion in droves are continuing to share their music, bring houses down, and, hopefully, endure.

...Even if it means I go broke in the process of following their work.

I know I missed out on a lot of shows/concerts too. Anyone else see something awesome recently worth sharing?

Never Heard Nothing: An Interview with Joe Iconis

I am thrilled to be able to share with you guys a Q&A that I had with one of my favorite songwriters out there, Joe Iconis. Even with a final performance of Things to Ruin at (Le) Poisson Rouge on Monday at 10 p.m., Joe found time to talk about his work, his Family, and his visions for new musical theatre (Uhh, guerrilla musical readings on Broadway stages? Yes, please!):

"Never Heard Nothing" from Things to Ruin at (Le) Poisson Rouge,

featuring Ben Arons, Starr Busby, Katrina Rose Dideriksen, Ian Kagey,Carrie Manolakos, Eric William Morris, Mike Pettry, Lance Rubin, Jared Weiss, Jason "Sweet Tooth" Wiliams, and Joe Iconis

Me: A friend and I were talking about how cool it is that Things to Ruin doesn’t have a traditional narrative, but it definitely tells a sort of story. How did you choose the kind of set list that would become Things to Ruin?

Joe: It began as just an evening of my songs, and then a story started to take shape. Connections between different songs started to form and we began to fill in the blanks. John Simpkins and I have been working on it from the beginning and we really found the vibe and the structure of the show together. I think the idea is to feel like you get to know a group of characters and all those characters take a journey together. Hopefully, by the end, the audience is moved in the same way they’d be at a play or a book musical, but without entirely knowing what it is they’ve just seen. I think there’s a way to connect the dots a bit more literally, I think there’s a way to really set a story in motion with a good deal of these songs… but it’s more about creating a feeling, creating a mosaic of real human beings at turning points in their lives. A good example is what we refer to as “The Sad Boy Trilogy.” It’s these three songs that are grouped together in the show -- “Son Of A Gun,” which we think of as a high school aged guy who feels a disconnect with anyone who tries to get close to him; “Dodge Ball,” which is a middle school aged guy who gets picked last in gym; and “Albuquerque Anyway,” which is a nine year old whose best friend is moving away. I think this could be the same man, which is what it would come off as if the songs played in chronological order -- but we made the choice to move backward in time. By doing this I think it makes it a lot less about: “Oh, I get why this person can’t connect with other humans -- he wasn’t picked in dodge ball and his friend moved away,” and more about the feeling, the idea. We’ve frequently referred to the show as a theatrical rock concert of an album that doesn’t exist. That’s what I think it is. Except the album exists now. So, fuck, I guess.

Me: I’ve seen you perform in a lot of different venues, from The Beechman to the Ars Nova loft. What have been some of your favorite shows/spaces, and what about them make them ideal for your work?

Joe: I like spots that feel like home and The Beechman and Ars both very much feel like home to me. The first time we ever played The Beechman, there wasn’t a whole lot of the new musical theater concerts being done there. It was more of a cabaret room and it had a bit of a Classy, New York, Showtune Palace feel. One of the reasons I was excited about playing that room was because of it didn’t feel like the sort of place you’d go to hear something new or rockin’. I loved the idea of doing a down and dirty show in a venue that felt very much at odds with that. All the people there are so wonderful and smart and talented. It’s a place I feel like I can go in and try anything and they’ll welcome me and my crew with open arms. Also the food is great and the drinks are stiff and they’ve got an incredible history of amazing artists who have played there.

Ars Nova is another place that feels like home. We did the first version of T2R there in 2006 and I haven’t left yet. I did my big Christmas show this year up in the Penthouse, and I can’t imagine any other venue in the city letting me do something like that. They gave the gang and I the freedom to completely take over the space (which is basically a very beautiful luxury apartment) and turn it into a theater. I’m always a sucker for environmental theater and this was a great swipe at that. We baked during the show and the audience got to eat some samples. How great is that? Being able to literally digest a theatrical experience? All my shows will involve food consumption from now on.

"Christmas (Baby Please Come Home)" performed as part of

The Joe Iconis Christmas Spectacular 2010 in the Ars Nova Penthouse

Me: Another thing I’ve loved about your work is that it’s usually combined with the talents of The Family, from the cast to the creative team. What makes your family so kick ass, and what do you look for most in the people you work with?

Joe: I am very proud of the group of artists I’ve surrounded myself with. I would lay down on train tracks for them, as they would for me. I only want to work with people who care. I have no interest in working with actors or directors or designers or producers who are “over it.” I care passionately about musical theater and about the art that I create, and its important to me that the people I create it with care just as much. It doesn’t matter if you’re incredibly well credentialed or you’ve never been in a show before. If the passion is there, it’s there. If it’s not, go to hell. Without getting too self-important about it, I really do believe that theater has the power to change people’s lives. I know it has changed mine. To be able to be a part of something like that is an absolute gift. And if you can’t see that, go get a job working in a coal mine like a real person.

Beyond that, I like actors who look, sound, and act like humans. I don’t like musical theater affectations and I don’t care how high you can belt. Just be real.

"The Guide to Success" performed by Joe Iconis at Things to Ruin

at (Le) Poisson Rouge

Me: What do you think is one of the biggest challenges facing new musical theatre writers trying to write original musicals today?

Joe: I think it’s very hard to get shows produced that aren’t based on existing material. I think it’s very hard to get shows produced that aren’t easy to describe in one sentence. That whole thing about “you should be able to say what your show is about in one sentence” is bullshit. I think that was originally said in reference to storytelling in theater and making sure there is a reason your show exists, a driving force. But it certainly shouldn’t be a selling tool, and it feels like that’s what people want now. It’s hard to begin work on something knowing that it’s gonna be an excruciating battle getting it out into the world. That’s why places like Ars Nova are so important -- they encourage and support artists and create a safe place for them to develop new work. Without worrying about whether or not it will be commercial or if the subscription will rebel against it.

What’s exciting for new musical theater writers is that there are no rules and there never have been. For as much as we (we = I) belly ache about the current state of musical theater and how producers only wanna produce jukebox musicals or white washed movie adaptations, there are still plenty of paths we haven’t discovered yet. The internet has been an amazing tool in getting new musical theater to people. What else? I want to start doing guerrilla readings on the stages of long running shows. Imagine seeing a music stand reading of a new “unproduceable” musical about pedophiles on the stage of The Lion King? The actors would have to speed through the songs before the cops came with tear gas and billy clubs. Lindsay Mendez would be running through the fake savannah, clutching her black binder screaming: “Viva La Musical Theater!” A real musical theater revolution.

Me: Any up-and-coming musical theatre songwriter recommendations? I remember reading your Michael R. Jackson recommendation in the SPF newsletter and can’t get enough of his stuff now.

Joe: Michael R. Jackson is just getting better and better -- I can’t recommend him enough. Anyone reading this must go right now to youtube and listen to his song called “Secretly Hoping.” It’s spectacular. I really love Daniel Maté and Will Aronson whose show The Trouble With Doug was at NAMT this past year -- it’s probably my favorite new musical kicking around these days. I saw another show at NAMT that was a rock musical version of the Lizzie Borden story -- I really liked that as well.

"Find the Bastard" from Bloodsong of Love performed by Joe Iconis,

Jason "Sweet Tooth" Williams, Lance Rubin, Katrina Rose Dideriksen,

Jeremy Morse, Ian Kagey, and Brent Stranathan

Me: Any new projects on the horizon? Or any news on any of the old favorites? (I would love to see “Bloodsong” any and everywhere)

Joe: I would love to see Bloodsong of Love any and everywhere as well! On the hunt for a producer with some guts and some vision who is willing to take a chance on a show that doesn’t fit into a pre-existing mold. We learned so much from the Ars Nova run and I desperately want to make some changes to the show and unleash it on the world in a huge way. It’s amazing how hard it is to do that, though. It bums me out a little but I’m a motivated bastard. You’ll see the beast again sometime soon.

As far as new stuff goes, oh lord, I don’t know. I’ve got some projects kicking around but I’m thinking that maybe I’ll just give up writing and walk the earth. I think I’d be a good earth walker.

Before Joe earth-walks into the sunset, grab a ticket and catch him and his awesome band of performers/musicians for the last performance of Things to Ruin at (Le) Poisson Rouge (hot deal -- if you want to make an evening of it, get a ticket to Things to Ruin and If It Only Even Runs a Minute 6 for $30). Not in New York? Enjoy the music from home by downloading the album from iTunes or ordering the CD from Sh-K-Boom.