A Really Big Shew – Tribute Performers Ed Sullivan, Liza Minelli, Neil Diamond, Little Richard and more

edleft.jpgI got the chance to see “A Really Big Shew” at the Tulalip Casino this past Sunday. I thought it was fantastic. The show is hosted by Jerry Hoban who portrays Ed Sullivan. He is FANTASTIC! If you remember the Pulp Fiction scene where they are at the restaurant and Ed Sullivan MC’s the show, that was Jerry Hoban. Visit the Really Big Shew website.

I’m a little bummed because I had the chance to hang out with Jerry Hoban on Saturday but didn’t, after seeing his show I just wanted to talk with him for hours. The show ran for several years in Laughlin, Nevada and switches out it’s acts depending on the venue.

My good friend Gailyn Addis was doing Liza Minelli the night I saw the show, and will be doing Olivia Newton-John later in the week. She was AWESOME as Liza Minelli, really incredible. Gailyn and I did a tour of Japan about 10 years ago when I was musical director for Ron Stein’s Hollywood Superstars. We had a troupe of background singers, musicians, dancers and tribute performers for Elvis, Buddy Holly, Tina Turner, John Lennon and Marilyn Monroe. When I worked with Gailyn Addis she was dong the Marilyn Monroe tribute. She also does Judy Garland and Madonna.

So you’ll notice some posts lately on my site with information about Liberace impersonators, and details of JS Bach’s face. After hanging out with Gailyn while she was up here, I kind of got the bug to do an impersonation bit. It just sounds like fun. Gailyn is THE MASTER at studying characters, and I don’t have any dreams of being as good as she is, but I think I could do a fun Liberace, Elton John and JS Bach. JS BACH? WHO DOES JS BACH IMPERSONATIONS? No one, it’s just crazy enough for me to do. I would like a JS Bach impersonator, so maybe someone else will too. So far I’ve ordered the wigs for Liberace and JS Bach, have a costume designer looking into creating a Liberace outfit, and I’ve ordered an Elton John costume and glasses. So we’ll see what happens.

THE REALLY BIG SHEW – was very fun. Murray the magician performed a unique act using palming techniques with compact discs, a very interesting and captivating cabaret act. I got to speak with him for a bit at dinner after the show. He’s currently working at the MGM in Vegas with his own show, and is getting ready to go to Greece and other far away places with his act. He said what I saw was his scaled-down cabaret act, in Vegas he does the full show. He reminded me very much of Johnny Depp, an ultra cool personality and ultra hip. Best wishes to you Murray as your career continues to build.

The show also had a spinning plate act. On tv this act might have seemed corny, but performed live it was great. You just don’t see acts like that anymore. It was a classic performance, and rumor has it the act ACTUALLY PERFORMED ON THE ED SULLIVAN SHOW. That made it very cool.

There was also tribute performances to Little Richard, James Brown, Neil Diamond – a puppet act and many inuendo jokes by Ed Sullivan, which were very funny (he writes the jokes himself).

So congrat to a Really Big Shew, may your run last longer than M*A*S*H – Jerry Hoban, you are awesome, nice job!

Conrad

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Music Tribute Acts Available for Really Big Shew:

Ann-Margret
The Beatles
James Brown
Johnny Cash
Ray Charles
Chubby Checker
Cher
Petula Clark
Patsy Cline
Bobby Darin
Sammy Davis, Jr.
Neil Diamond
The Doors
Bob Dylan
The Everly Bros
The Four Tops
Aretha Franklin
Judy Garland
Buddy Holly
Janis Joplin
Tom Jones
Jerry Lee Lewis
Liberace
Little Richard
Dean Martin
Johnny Mathis
Bette Midler
Liza Minnelli
Marilyn Monroe
Rick Nelson
Roy Orbison
Elvis Presley
The Rolling Stones
Frank Sinatra
Nancy Sinatra
Barbra Streisand
The Supremes
The Temptations
Tina Turner
Ritchie Valens
Frankie Vallie
Hank Williams
Jackie Wilson
Stevie Wonder
The Young Americans

Specialty and Novelty Acts:

Akrobatic
Adagio
Komedi Kontortions
Ed Alonzo Magic & Comedy
Yogi Baird Fiddle Playing Contortionist
Jim Barber & Seville Comedy Ventriloquist
Jack Benny Comedy Tribute
Dan Birch Illusionist
The Bizzarros Body Balancing Team
Bouncin’ Dan The Paddleball Man
Circus Boy Bobby Hunt
Rider of the World’s Smallest Stunt Cycle
Brad Cummings Ventriloquist
The Dancing Gouchos Specialty Dance and Drums
Jeff DeHart Emmy Award Winning Impressionist
El Gleno Grande A Man and His Zebra Sasha
Fedorchev Aerialist Extraordinaire
Janice Hart Comedianne Impressionist
The Hamners Grande Illusionists
The Hartzells Death Defying Crossbow Team
Hillel – Mr. Balloon Man
TM Jesse and James Country Comedy
Bob Moore’s Amazing Mutts Comedy Canine Troup
Murray The Guy with the CD’s
Magically Musical Illusions
Pete Michaels Ventriloquist
John Parks
The Funny Plate Spinning
Waiter Johnny Peer’s Muttsville Comix Going to the Dogs
Price & McCoy Acrobatic Team
Mark Nizer The Bad Boy of Juggling
Rice & Renee Comedy Rope Trick Team
Kip Reynolds Juggling Comedian
Almost Joan Rivers Comedy Tribute
Red Skelton Comedy Tribute
Cameron South Magical Comedy
James and Kathy Taylor Comedy & Adagio Dance
Leslie Tipton Contortionist
The Great Tomsoni & Company
The Wizard of Warsaw Jimmy Travis
Comedian Dario Vaquez Speed
Juggling Sensation Waldo & Woodhead
The Masters of Mayhem … and more!

Fly By Foy – Theatre Flight Magic

jpps.jpgHow does Peter Pan fly through the air during live theatre shows? Find out at flybyfoy.com – one of the originators for stage flight, and one of the earliest pro theatre flight crews to work on Peter Pan.

Skagit County’s Theatre Arts Guild has hired Fly By Foy to provide all flight fx for their November 2006 performances of Peter Pan at McIntyre Hall, Mount Vernon, WA.

Currently they have large touring, medium professional, church and community theatre projects going on throughout the United States. Checkout their website for more info at flybyfoy.com

In talking to other people about Foy, it would seem they are recognized as the only company in America providing special fly effects for theatre – specifically for Peter Pan and the Wizard of Oz. For the Wizard of Oz they have a dedicated ballon basket that rises up for the final scene.

peterl.jpgThe company was started by Peter Foy. Here’s an excerpt on his background:
In 1950, a young Englishman named Peter Foy sailed from London’s West End to stage the flying for a Broadway production of Peter Pan, starring Jean Arthur and Boris Karloff. Foy’s services and the flying equipment were provided by Kirby’s Flying Ballets, a British company hired by the show’s producers after they discovered that virtually no theatrical flying had been performed in the United States for more than two decades.

Past well known Peter Pan lead actresses include:

Sandy Duncan

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Mary Martin

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Jean Arthur

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Cathy Rigby

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Skye Dahlstrom – Choreographer and Singer

skye.jpgI have the honor of working with Skye Dahlstrom on the META Production of SEUSSICAL which will run at McIntyre Hall, Mount Vernon, WA the first two weeks of November 2006. Skye is the choreographer and has a great imagination for choreography and working with kids.

I first saw her work this last summer in Guys and Dolls which performed in Stanwood and the Kirkland Performance Center. She was choreographer for that show and also a lead dancer in the Havana cabaret scene. A real standout for that show was the choreography she did for the “Luck Be a Lady” dance sequence.

We all know Skye is going to do great things.

🙂

Conrad

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Info on Skye from the web:

Skye has been dancing since she was 2 years old, when she first saw Michael Jackson on TV. She began dancing formally at age 6 and continued to study Ballet and Jazz until she was 12. Skye has been choreographing for 6 years, beginning with routines for her cheer team at age 11.

Since then, she has choreographed for competitive cheerleading, talent shows, and school productions (2004 Stanwood High School’s Grease). She has previously taught hip hop dance at the Stanwood Sports Club, and is currently an instructor for Kid Stage in Everett.

Skye has won many awards, including 1st place at nationals in the dance division, and 1st place for choreography of her cheer team. At age 12, she took first place at the Stanwood-Camano fair lip sync impersonating Michael Jackson. Skye is currently a back up dancer for Raz B from B2k. They have performed at half time shows in Sacramento and toured of Europe in 2006.

Seussical Cast List 08/06

Seussical Cast List

Jojo-Ireland Woods

Cat in the Hat-Mike Marlin

Horton-Matt Olsen

Mayor-Nate Young

Mrs. Mayor-Paige Woods

General Genghis Khan Schmitz-Cody Thompson

Gertrude-Bianca Campbell

Mayzie-Ashley Henning

Bird Girls:

Zoey Kypuros

Mary Witt

Lynette Cole

Corinn Holberg

Savanna Woods

Lydia Randall

McKenzie Willis

The Sour Kangaroo-Falon Calderon

The Grinch-Jayme Craig

Vlad Vladikoff (the Eagle)-Kaylah Golub

Yertle the Turtle-Sam Mitchell

The Wickershams:

Karina Grech

JessieJo Huizinga

Trevor Hansen

Michael Giles

Tiffany Richardson

Kayla Watson

Anna Oomen

Citizens of Whoville-

Katie Arthur

Selena Tibert

Brittany Schmidt

Sela Shepard

Nathaniel Voth

Robert Summers

Mariah Schmidt

Adelle Clark

Jackson Dillard

Olivia Pedrosa

Zoe Whidden

Elle England

Anissa Burke

Cadets-

Faith Shepard

Seth Lawrence

Tatum Sprouse

Jahldi Merritt

Whitney Lindquist

Jungle of Nool Dance Captains-

Lauren Riley

Makenzie Fox

Citizens of the Jungle of Nool/Circus Characters/and more…

(specific creature identities to be announced)

Courtney Bunnell

Devon Fair

Kiara Landi

Taryn Aldridge

Drew Evlandson

Magdalena McGuire

Blakelee Clay-McBee

Bailey Hodges

Elena Olefke

Nicole Trepus

Cydney McFarland

Emma Johnson

Emily Watilo

Katie Keck

Sarah Bamba

Chamidae Ford

Angela Uptain

Susie Pollino

Jensen Weynandas-Mains

Miranda Uptain

Summer Sanders

Paris Sanders

For more information visit the META Performing Arts WebsiteÂÂ

Theatre: Know Who You Are – Or Get Off The Stage

I was having dinner with a couple directors tonight and we started talking about character motivation and how to teach that to young actors. They said their acting coach taught them “If you don’t know what you want – get off the stage” or “If you don’t know why you’re on stage, get off.”

I love that. It’s so simple. If you don’t understand your character’s motivation, then you cannot adequately add to the movement or motivation of the play. The last play I worked on, the director would say “Don’t move unless you know why you’re moving” – another great way of relaying a similiar thought.

If you brush your hair, why are you doing it? I see often times actors that don’t know what to do with themselves – they will often just thrust their hands around while they talk. We usually don’t naturally do that too much (well…..maybe if you’re Italian!)

The reason I brought up motivation with them, is that as a young actor I didn’t understand motivation. Music is my thing, so usually I have a reason for every note. I had great music instructors. In composition my teacher used to pick random notes on my score and ask “why is that there”? If I couldn’t answer that question, I had to erase it. I think this kind of methodical training is fantastic when starting out. Always remember – you have to learn the rules before you can break them. But when it came to acting I didn’t draw the parallel.
For me as a young actor (and I feel funny writing that, because I am certainly no actor, but was in many plays as a child, including a paid professional musical), I knew who my character was, but I never really connected it in my head to integrate that background into my own, and to also use my own personality as development for how I would react to things. I mistakenly thought that if I didn’t have lines, my job was to be unnoticed until my lines came. I moved where the directors told me to, without really understanding the depth of my character.

So know who you are, know why are you doing what you are doing, and understand your character’s past as if it was your own – easier yet: pull from your own experience so your character becomes real.

Just what you needed, acting advice from a non-actor.
🙂

Peter Pan Auditions – Theater Arts Guild 2006

PP-Poster-small.pngMount Vernon, Washington – Auditions for Peter Pan will be held on Wednesday, Sept. 6th & Thursday, Sept. 7th at 6 pm, 7 pm, and 8 pm both nights.
Callbacks will held on Saturday, September 9th.
Rehearsals begin September 11th.
This is the non-musical version.

PERFORMANCE DATES, McIntyre Hall 2006:

Nov. 17, 18 (2 shows), 19, 22, 24 (2), 25 (2), 26

AUDITION APPOINTMENTS

Visit http://theaterartsguild.org for audition contact info.
AUDITION LOCATION: 124 S.12th St., Mount Vernon (1/2 block south of Division Street, near Skagit Valley Hospital)

(NOTE: Actors auditioning for Peter, Wendy, John and Michael must be in good physical condition and be unafraid of heights.)

REMEMBER …
Peter Pan will run for two weekends only, November 17th through 26th, 2006, at McIntyre Hall in Mount Vernon.

For more info visit http://theaterartsguild.org

ABOUT THE PRODUCTION

The classic story of Peter Pan, the boy who would not grow up, has delighted audiences for 100 years. First written by J.M. Barrie as a stage play, then adapted by Barrie as a book, then the animated film by Disney, then morphed into the popular musical, the story is familiar to almost everyone. Actors auditioning for this play are urged to read the play or the book prior to auditions. Several movies have portrayed Peter Pan, including the Disney animated film, “Hook” with Dustin Hoffman in that role, “Peter Pan’ a 2001 adaptation, and “Finding Neverland”.

The TAG production is the non-musical play, and the cast will have between 40 and 60 people. The production will include special effects enough to give our cast members advanced training in theater technology, including a Tinkerbell laser, fog, Peter’s dancing shadow, a sinking Tiger Lily, pixie dust, sword fights, and, of course, flying.

For the part of Peter and the Lost Boys, we will audition both boys and girls; however, a boy age approximately 12 to 13 is preferred for Peter. We will not cast a small woman in the part of Peter as is normally done in the musical version. The Mermaids will be girls between the ages of 13 and 25 (or so). Pirates will be actors of all ages, including women as pirate wenches. Actors auditioning for pirates should leave their inhibitions at home.

Actors need to prepare a monologue or poem no more than 2 minutes in length. Callbacks will be Saturday, September 9th, and rehearsals start Monday, September 11th. Rehearsals will be from 6 pm to 9 pm Monday through Thursday with some Saturday rehearsals for Peter and his Shadow. For one or two days the week prior to opening (November 13th to 17th) the actors playing Peter, Wendy, John, and Michael may need to be excused from school early to perfect their flying, since this effect requires practice with a professional crew in order for everyone to be comfortable and safe. The flying effects are being produced by the company Flying by Foy.

CAST

The cast of speaking parts is as follows: (in order of appearance)

Nana (a dog played by a child)
Michael Darling
Mrs. Darling
John Darling
Wendy Darling
Mr. Darling
Liza the maid for the Darlings
Peter Pan
Peter Pan’s shadow
Tinker Bell (played by a laser)
Fairies
Lost Boys
Slightly
Tootles
Nibs
Curly
First and Second Twins
Captain Hook
Pirates
Cecco
Bill Jukes
Cookson
Gentleman Starkey
Skylights
Noodles
Smee
Crocodile
Tiger Lily
Panther
And little fairies, pirates, Indians, mermaids, birds, and animals
We may also use some child actors to be in the audience for Pirates to drag up on stage!

For more info visit http://theaterartsguild.org

Open Call for Pit Musicians – Seussical, McIntyre Hall 11/06

August 10th, 2006

Open call for pit musicians for Seussical the Musical to be performed at McIntyre Hall, Mount Vernon Washington in November 2006. Positions will close fairly quickly so please contact me ASAP if interested.

MUSICIANS – CLICK HERE FOR SEUSSICAL SHOW DETAILS

We will have a full orchestra for this production. 🙂

PIT MUSICIAN SPOTS STILL OPEN AS OF 08/10/06

Guitar 1 Acoustic Guitar and Electric Guitar

Guitar 2 Acoutic Guitar, Banjo, Electric Guitar

Keyboard 1 Breathy-bell Synth, Pno+Perc.E.P., Cowbell + Calliope, Pno/Rhodes, Pop Piano, Piano, Elec. Pno, Calliope, Kazoo, Cheap-sounding Piano, metal Clav, MetalClav + Calliope, Poly Synth, Stackoid, Tack Piano, Glittery Synth, Buzzy Xylo, Mysterious E.P., Sweet E.P., XyloGlock, Voices, Theremin, Shimmery Stuff, Many Flutes, Rock Piano, Clarinet

Keyboard 2 Breathy Pad, Bell Synth, Harpsichord, B-3, Cricket Synth, Elephant, Orch Hit, “Doing�, Psycho Strings, Tinkly Voices, Door Slam, Kalimba, Mallet Synth, Bell/Harpsi Synth, Pedal, Log Synth, Percussive B-3, Rok B-3, Calliope, Reedy Synth, Hank-y Synth, Nose Flute, Kazoo, Birdie Whistle, Tiny Synth Voice, Horn, Pig Synth, Animal Brss, Many Tubas, Bird Honk, Bird Fart, Hard Bottle Blow, AirRaid Siren, Spooky E.P., Warm E.P., Warm Voices, Celesta, Ethereal Choir, Spooky Voices, Dark Choir, Glittery Bell Synth, D-50 Stack, 80s Pad, Breathy Bell, Toy Piano, Cathedral Organ, Squishy Bass, Small Pipe Organ, Marimba, D-50 Heaven, Mello Organ, Rock Synth, Metal Clav, Hooty Synth, Clock Sound, Icy-cold Synth, Accordian, Ravenborg, Roller Rink Organ, Kazoo Brass, Cimbalum, Funky Horn, Pizzicato Strings, Sitar, Many Trombones & Horns, Buzz Brass

Percussion Crotales, Congas, Djembe, Siren Whistle, Shaker, Vibraslap, Tambourine, Bell Tree, Triangle, Finger Cymbals, Piatti, Sleigh Bells, Vibraphone, Suspended Cymbal, Mark Tree, Cork Pop, Samba Whistle, Ratchet, Bongos, Cowbell, Scraper, Rainstick,

Reed 1 Soprano Saxophone, Alto Saxophone, Clarinet,

Reed 3 Baritone Saxophone, Bassoon, Clarinet, Flute

Reed 5 Flute, Piccolo

Trombone

Trumpet 1

Trumpet 2

Violin 1 (At least 3 players)

Violin 2 (At least 3 players)

Viola (At least 3 players)

Cello (At least 2 players)

Audition Tips for a Musical

Recently ran auditions for a musical and thought it might be useful to post some tips. I am a music director, and we were auditioning for a Broadway style musical – so what I look for may be different than what other people look for in other situations.

IF YOU WANT A SPECIFIC PART – DO YOUR HOMEWORK
You can tell who’s done their homework and who wants a specific part. DO NOT sing a song from the musical you are auditioning for. It comes across pushy – let the directors use their imagination, or THINK they are using their imagination. Gently lead them to the realization – “AHA, this person would be PERFECT for this part” – when that was your intention the whole time. Do this by auditioning with a song that’s similiar in style to the part you want in the current production. Example: If the part is for Mary Magdalene in Jesus Christ Superstar, then sing a ballad similiar to “I Don’t Know How To Love Him”. If you’re trying out for Judas, then do a rock power piece in a high register. This process takes a bit of work, but it’s what will give you the edge if you truly want a specific part. It will also show the directors that you are serious about learning a part and will be willing to put in the time. If you are auditioning for the part of Annie in the musical “Annie” – do not sing the song “Tomorrow”, but instead sing something that will let you project the same brassy tone as the song “Tomorrow”.

MONOLOGUE
I am a music director – so when listening to the artist’s monologue I’m just looking primarily for projection and enunciation first, then for three dimensional acting. I want to hear a nice full voice and be able to understand every single word. Also looking for acting that is not flat or one dimensional. I’m usually writing notes during the monologue and just listening to the consonants and vowels, and will peek up every now and then just to see what the acting looks like. From my viewpoint – the directors will work on the acting, but I need a certain starting point to bring the vocals and music full circle. I have absolutely no interest in the content, but I did notice that people that did Shakespeare caught my ear – I think it’s because they could fully enunciate with a full voice, and that’s what I’m looking for.

ON THE SPOT INSTRUCTIONS
If one of the directors ask you to do something in auditions – like a certain dance movement, sing part of a song, etc. – make sure you ask anything you need to know to do it – and then jump right on it. When I ask for a certain song I may be looking for a variety of things: Pitch, feel for a certain music style, on the spot interpretation or just how well someone can follow quick instructions. This is NOT the time to be shy. If you’re asked to do something additional in an audition – it means the director is looking at you for a specific part, or checking as a possible cut. Well, that’s what I’m doing – so that little bit could be what gets you a callback or not. NOTE: If you are asked to do something specific, that short 15 seconds or so is probably the most important part of the audition – you are being considered for something. This would be a very bad time to roll your eyes like “OMG why would they ask me to do that, it’s so stupid”.

DANCE LESSONS
Anyone serious about theatre could use a little bit of dance lessons. Recently we had someone we were considering for a lead, but they had no movement skills. With one run of ballet lessons I would guess they could improve their movement and get lead roles. People that have had no dance instruction at all can really stick out at an audition, give yourself the edge and take a class if you haven’t already.

FOLLOW INSTRUCTIONS
Listen very carefully during auditions – directors do not want leads that do not quickly absorb instructions. Even if it seems silly, just do it.

DAVE SAYS
My friend Dave says DO NOT SING THE STAR SPANGLED BANNER IN AUDITIONS! Barely anybody sings it well, the range is hideous and all you do is make people cringe for the last note……which you probably won’t get to anyway during auditions.

That’s all I have to add right now and I hope that helps people preparing for auditions.