Skagit County Tulip Festival 2023 in Mount Vernon, WA USA. Many people say this is the most beautiful time of the year in my hometown of Mount Vernon, WA. Truly breathtaking views of our tulip fields and local agriculture in Skagit County, WA.

Most photos taken with Sony A7 iv camera and Sony GM 14mm lens (I love this new lens for landscape photography!)

My upcoming musical theater opera, “Romeo and Juliet” was written with an Akai LPK25 two-octave USB keyboard. What? Muahaha, yes! In retrospect kind of hard to fathom, but there she is. I did all the music composition and beginning orchestration sketches in the Officer’s Bar of a cruise ship on my off time. The Akai LPK25 keyboard has convenient octave switching buttons on the side so I was able to easily navigate through bass and treble parts for fairly effortless composing. It was only a little tedious when doing soprano vocal lines; that’s when I really wish I had that extra octave. But hey, writing an opera on a two octave keyboard that fits in my computer bag – I’ll take that! Thank you Akai for an awesome product!

As in the photo, I use a MacBook Pro with three USB ports. I use each port for a mouse, external keypad, and the Akai keyboard. The music keyboard sits nicely on the front of the laptop. For notation I use Sibelius software because frankly, when I use Sibelius it feels like paper and I totally forget I’m at a computer. I can focus on my work.

Am I doing the whole Romeo and Juliet opera on the LPK25? Well, no. My initial sketch is over 100 minutes of music with over 3,200 measures of music. So the LPK25 was great for the grueling sketch. But for finishing orchestrations at my home studio it’s much more fluid to use a keyboard with five or more octaves.

The best part about this configuration is that once I opened my computer bag I was able to set everything up in under a minute. What a great portable workstation.

For those that want to follow the progress of my Romeo and Juliet opera scheduled to open October 17, 2014 visit Romeo and Juliet the musical (http://www.RJmusical.com).

EVERMORE – a new science fiction rock musical with stage play by Mike Rostron and songs by Mike Rostron, Jim Nelson and Lesley Rostron. Directed by Christopher Key and inspired by the novel “Engine Summer” by John Crowley.

SYNOPSIS:

A thousand years in the future, small bands of people live in the ruins of a forgotten civilization.Rush That Speaks, a young man of Little Belaire, falls in love with a girl of Dr. Boot’s List, but the call of clan identity is stronger than love and Once A Day returns to her own people. Rush meets a messenger from The City In The Sky who offers him a compelling gift.

I attended the dress rehearsal on May 8, 2013 at the Lincoln Theater in Mount Vernon, WA. Official opening is May 9.

The band was a four piece: two guitars, bass and drums. I enjoyed the live sound of the band. I thought it was full, edgy and added a lot of energy to the show. I would place a fair bet that the musicians were rock and/or club musicians, not musical theater folk. And that was a real benefit in this case because the music is edgy and leans more towards concert rock than traditional “Sondheim” style musical theater.

After the show people asked me what it was like and my best reference that came to mind was the musical “HAIR”. The similarity would be that there were set pieces of dialogue exposition and then it would turn to a lengthy rock song that reflected on the previous dialogue. Often times the pieces were accompanied with cast members dancing on stage either in a rock or interpretive style. So that’s what led me to the “Hair” comparison. Even though it’s a sci-fi musical, the feel of the music had freedom and expression to it that had, to my ears and eyes, a 60’s freedom sort of vibe.

The male character named “Rush That Speaks” had a wonderful clear tone in the high baritone range. Not piercing, not too forced. He had great control and knew when to let the flood gates open with his bravado. The female character “Once a Day” had a commanding, slightly ingenue, presence on stage coupled also with clear and focused vocal technique. I had read somewhere that there was a “Romeo and Juliet” element to their relationship and indeed there is. It was interesting to think of the Capulets and Montagues during certain scenes, but I don’t want to give any spoilers.

The “Angel” character had a surprisingly beautiful voice as did many others, and I have to apologize that I don’t have everyone’s names because there were no programs for dress rehearsal. But you know who you are!

It is no small feat to bring original productions to the stage. It takes bravery and the tenacity of a bulldog on a postman’s leg. Without the creation of new works theater is dead. So congratulations to the cast and crew of Evermore of bringing a new musical theater production to the stage.

Free Key Productions Present:

A Science Fiction Rock Musical

Stage Play by Mike Rostron

Songs by Mike Rostron, Jim Nelson & Lesley Rostron

Inspired by the novel Engine Summer by John Crowley

Directed by Christopher Key

Music Direction by John French

For more info visit http://freekeyproductions.com

The Producers at McIntyre Hall in Mount Vernon, WA from April 6-20, 2013. Presented by Theater Arts Guild of Skagit County, WA. A musical theater comedy by Mel Brooks following the antics and schemes of a broadway producer.

I had a lot of fun playing keyboards in the pit for this show, lots of fun sound effects and synth parts to play. Thank you to TAG and Dave Cross for inviting me to be part of this production. A truly stellar cast.

Wikipedia: The Producers play synopsis

CREW:

• Director – Trey Hatch
• Producers – Andrew Azure and Ria Peth Vanderpool
• Choreographers – Chris Tuohy and Rebecca Launius-Brown
• Music Director – Lynette McCormack
• Orchestra Conductor – Dave Cross
• Stage Manager – Lauren Hedlin
• Assistante Stage Manager – Sarah Bates
• Scenic Designer – Tim Brown
• Set Artist – Don Smith
• Set Painters – Vicky Fishbach, Tim Brown, Rebecca Launius-Brow, Blake Begin
• Sign Creation – Malcolm and Paula Taylor
• Costumer – Cally Holden
• Costume Assistants – Clarence Holden, Gale Cline, Melissa McPhaden, Nancy High, Kathy Gildness, Gussie and Gerties, Rebecca Launius-Brown, Char McRae
• Lighting Designer – Michael Nicholson
• Lighting Technician – Mike Stephens
• Sound Technician – Kyle Blevins
• Rehearsal Pianists – Ruth Backland, Lynn Rittenhouse
• Poster Design – Andrew Azure
• Program Design – Melinda Elliott
• Ad Sales – Susan Watson
• Reader Boards – Susan Watson
• Head Shot Photographer – Lindsey Bowen
• Hair – Tanya Larsen, Hortensia Zepeda, Katie Tully
• Construction Lead – Robin Begin
• Construction Crew – Tim Brown, Heath Bailey
• Spot Crew – Cameron Craig, Nick Patterson
• Fly Rail Captain – Roger Ragusa
• Fly Crew – Glenn Huschka, Leif Barem, Jason Leander, Alex Hollingsworth
• Properties Manager – Carol Garman
• Prop Team – Carole Lindberry, Amanda Curtis, Ria Vanderpool, Jerome Chandler

CAST

• The Usherettes – Diana Becerra and Susie Pollino
• Max Bialystock – Mike Jenkins
• Leo Bloom – Jeff Bradley
• Hold-me Touch-me – Carolyn Travis
• Mr. Marks – Lonny Graff
• Franz Liebkind – Ron Wohl
• Carmen Ghia – Peter Grace
• Roger De Bris – Trey Hatch
• Bryan – Keiran Faley
• Kevin – John Roberson
• Scott – Mike Latham
• Shirley – Nancy High
• Ulla – Rebecca Launius Brown
• Lick-me Bite-me – Kelly Bohon
• Kiss-me Feel-me – Jane Skinner
• Jack Lepidus – August Wolff
• Donal Dinsmore – Patriq Holahan
• Jason Green – Brian Ault
• Lead Tenor – Kieran Faley
• Sergeant – Scott Andrews
• O’Riley – Patriq Holahan
• O’Houlihan – Mike Antoine
• Guard – Lonny Graff
• Bailiff – Lonny Graff
• Judge – Steve Denzel
• Foreman of Jury – Scott Andrews

ORCHESTRA

• Piccolo, Flute – Gena Campbell
• Eb Clarinet, Clarinet, Bass Clarinet – Michelle Hanna
• Clarinet – Elizabeth Brooks
• Flute, Clarinet, Sax – Christian Volkman
• Oboe, English Horn – Chris Dirth
• Bassoon, Sax, Clarinet – Jerry Schreuder
• French Horn – Amanda McDaniel
• Trumpet 1 – Cindy Luna
• Trumpet 2 – Stan Relyea
• Trombone 1 – Bob Harper
• Trombone 2 – Zack Smith
• Trombone 3 – John Boblett
• Drums – Mary Ellen Hodges
• Percussion – Pam Moser
• Keyboard – Conrad Askland
• Violin 1 – Jenny Bergeron
• Violin 2 – Corey Henderson
• Violin 2 – Noam Moore
• Cello – Laura Henderson
• Bass – Kelly Siebecke

Steel Magnolias, the 1987 stage play by Robert Harling. Presented by ACT Theater in Anacortes, WA January 25 thru February 16, 2013.

A great presentation by ACT Theater of Anacortes. They gave fair warning to grab tissues at intermission in preparation for Act Two. Many around me were, as promised, “crying and then laughing through tears”.

All of the actresses were phenomenal in their respective dramatic and comedic moments. Carolyn Travis as M’Lynn had the juicy script lines to create the “laughter through tears” and the cast was very strong in supporting those moments.

CAST

• Anelle – Tiana Smith
• Truvy – Carla Hurst
• Clairee – Karen McCallum
• Shelby – Chloe Roberts
• M’Lynn – Carolyn Travis
• Ouiser – Valerie Thomas
• Cameo Cross Overs: Judy Crane, Willow McLaughlin, Melissa Bridges and Marilyn Pinquoch

CREW

• Director – Judy Hendrix
• Assistant Director – Susan Myers Buszta
• Production/Stage Manager – Mary Settera Hendrix
• Set Design/Construction Leader – Billy Hendrix
• Set Dressing – Jackie Anderson
• Set Painting – Malcolm Taylor, Nate Taylor, Jackie Anderson, Lora Haversack, Chris Nickerson, Russ Haversack, Raido McComas
• Set Construction – Billy Hendrix, Bruce Rolfe, Bud Anderson, Tim Brown
• Poster – Breanna Savage
• Costumes/Props – Cast and Crew
• Light Design – Tim Brown
• Light Technician – Nikolas Patterson
• Photography – Paula Taylor, Malcolm Taylor
• Sound Effects – Willow McLaughlin
• Front of House – Barbara Gully
• Dinner Theater – Sandy Childs, Rick Sohn, Vic Childs, Carol Lee Olsen, Les Olsen, Darla Pyke, Cheryl Reid

Wikipedia – Steel Magnolias

Auditions for “Witches! the Musical” June 5-6, 2012 at the Historic Lincoln Theater in Mount Vernon, WA.  Show dates will be Oct. 19-Nov. 3 at the Lincoln Theater. This is a world premiere show about the Salem Witch Trials of 1692. For more info and audition signups visit http://www.WitchesMusical.com.

Produced by TAG – the Theater Arts Guild of Skagit County.
http://www.theaterartsguild.org

Upper Keyboard 1

Vibes
Horn 8vb
Bishop’s Organ (Marked “Clarinet”)
Gentle Woodwinds (Marked “Clarinet”)
Harsh Strings 8vb
Gentle Organ/Strings
Long Strings
Mellow Sustain (Marked “Strings”)
Hard Piano (Almost “Jangle”)
Low Resonant Electric Piano 8vb (Marked “Acc Piano”)
Piano/Xylo (Marked “Piano)
Low Resonant Electric Piano Loco (Marked “Acc Piano”)
“Sparkle” Electric Piano
Slow Low Growl (Marked “Strings”)
Touch Sensitive Strings 8vb
Heavy Electric Piano 8vb
Recorder
Flute
Thick Phased Electric Piano 8vb
Clavinet/’Hard’
Mellow Brass
Gentle Electric Piano (Guitar-Like)
Guitar Short Attack (+ Sustain Harmonices 8va)
Block (Mallet Sound)
Mellow Harp (Use 1/5 Mod Wheel)
Harp
Muted Bells
Sharp Brass
Electric Piano/Gentle ‘edge’
Low Quasi Brass 8vb
Voice
Low Resonant Brass 8vb

Lower Keyboard 1

String Sound (1A5)
Thunder
Low Brass 8vb
Slow Strings (2A8)
Close-Up Strings
Low Slow Strings 8vb
“Orchestra” (1A7)
Fairly Slow Strings
Harsh ‘Wah’ Strings
Harpsichord (Single Manual)
Fender Piano (1A11)
Sharp Piano
Sitar (1B22)
Glockenspiel (2A22)
Deep Dense Piano 8vb
Reedy Sustain (Marked “Strings”)
Hard Edge guitar
Clavinet 8vb
Acoustic Guitar/Plectrum
‘Clang’ Guitar
“Leadharp” (Harp/Guitar)
Warm piano
Finger Style Guitar (Use 1/5 Mod Wheel)
Xylo 8va (2A24)
Fairly Sharp Brass
Tubular Bells (1A26)
Low Sustain 8vb (Marked “Strings”)
Harp (Use 1/6 Mod Wheel) (1B30)
Sharper Harp (Use 1/6 Mod Wheel) (1B29)
‘Clang’ Bass 16vb
Thick Brass 8vb (2A12)
Organ/Strings 8vb

Upper Keyboard 2

Vibes
Horn 8vb
Bishop’s Organ (Marked “Clarinet”)
Gentle Woodwinds (Marked “Clarinet”)
Harsh Strings 8vb
Gentle Organ/Strings
Long Strings
Mellow Sustain (Marked “Strings”)
Harsh Strings Loco
Low Resonant Electric Piano 8vb (Marked “Acc Piano”)
Piano/Xylo (Marked “Piano)
Low Resonant Electric Piano Loco (Marked “Acc Piano”)
Syn-Orchestra (Organ-Like)
Slow Low Growl (Marked “Strings”)
Touch Sensitive Strings 8vb
Electric Piano ‘Roar’ 8vb
Recorder
Flute
Thick Phased Electric Piano 8vb
Clavinet/’Hard’
Mellow Brass
Gentle Electric Piano (Guitar-Like)
Ringing Guitar
Block (Mallet Sound)
Mellow Harp (Use 1/5 Mod Wheel)
High Bells 8va
Lower Bells
Sharp Brass
“Pluk” (Hit Hard & Release)
Low Quasi Brass 8vb
Voice
Low Resonant Brass 8vb

Lower Keyboard 2

String Sound (1A5)
Breathy Brass 8vb (1A3)
Low Brass 8vb
Slow Strings (2A8)
Close-Up Strings
Low Slow Strings 8vb
“Orchestra” (1A7)
Fairly Slow Strings
Harsh ‘Wah’ Strings
Harpsichord (Single Manual)
Fender Piano (1A11)
Sharp Piano
Sitar (1B22)
Glockenspiel (2A22)
Deep Dense Piano 8vb
Reedy Sustain (Marked “Strings”)
Hard Edge guitar
Clavinet 8vb
Acoustic Guitar/Plectrum
‘Clang’ Guitar
Medium Attack Strings
Warm piano
Finger Style Guitar (Use 1/5 Mod Wheel)
Xylo 8va (2A24)
Fairly Sharp Brass
Tubular Bells (1A26)
Low Sustain 8vb (Marked “Strings”)
Harp (Use 1/6 Mod Wheel) (1B30)
Sharper Harp (Use 1/6 Mod Wheel) (1B29)
‘Clang’ Bass 16vb
Thick Brass 8vb (2A12)
DX-Intro (Long Growing Evil ‘Growl’)

In the documentary Broadway: The Golden Age, Rex Reed names the performance of Kim Stanley in the film The Goddess as the best performance ever in film. Recommended viewing for anyone interested in the “Golden Age” of film and Broadway.

1958 Columbia Pictures drama film starring Kim Stanley and Lloyd Bridges. Others in the cast include Steven Hill, Betty Lou Holland, Joan Copeland, Patty Duke, and Elizabeth Wilson. The movie was nominated for an Academy Award for Best Original Screenplay.

In her movie debut, Kim Stanley gives a heart-rending performance in one of the very few films to show what effect Hollywood or show business, in general, can have on a single person. She captures the character’s restless misery, fragile turmoil and neurosis, brought about by the rejection and unhappiness of childhood.

Many of the artists interviewed  have died since and the film is a little sad as they recognize the memories of Broadway’s golden heyday. Some of the artists who got their start on Broadway might surprise you like Alec Baldwin, Tom Bosley and Marlon Brando.

The movie ends with them saying that somewhere in some remote part of the world there is someone who is downloading music, reading scripts and immersing themselves in the genre to create the next Broadway hit. They infer there will be a new Golden Age and there are people we don’t know now who will be the movers and shakers of the theatre world to come. And that made me smile…

Broadway: The Golden Age

Broadway: The Golden Age is a 2004 documentary by Rick McKay, telling the story of the “golden age” of Broadway by the oral history of the legendary actors of the 40s and 50s, incorporating rare lost footage of actual performances and never-before-seen personal home movies and photos.

The film, being the first installment of a trilogy, played in extended runs in theatres in over 135 cities in the summer of 2004, and was on 18 critics Top Ten Films of 2004 by year’s end , including Leonard Maltin of Entertainment Tonight, Rex Reed, Peter Travers of Rolling Stone, Jeffrey Lyons of NBC and critics all over the country.

Video: Short Version of Chapeaugraphy-Act Tabarin – Chapeau.

Have you ever heard of Chapeaugraphy? It’s the comedy act of taking a single piece of circular felt and twisting it to make many different types of hats. The roots go back to the streets of Paris, France almost 400 years ago.

The video above will give you a feel for the essence of the act.

History of Chapeaugraphy

Chapeaugraphy, occasionally chapography, is a panhandling trick in which a ring-shaped piece of felt is manipulated to look like various types of hats. The act originated in 1618 with Parisian street performer Tabarin, the most famous of the charlatans who combined a French version of commedia dell’arte with a quack medicine show. Monsieur Fusier, revived the act and managed 15 hat-twisting styles in his act. Although rarely seen today, it was featured in an episode of Saturday Night Live in 1985, as performed by magician Harry Anderson.

Types of hat that can be created:

• baseball cap
• American and British army hats from the Revolutionary War
• pirate’s hat
• naval captain’s hat
• Mickey Mouse ears
• Ushanka (a Russian fur hat)
• mortarboard (a graduation cap)
• Catholic nun’s headgear
• derby hat

and several inventive others.

Some know chapeaugraphers are:

• Tabarin, a French comdian
• Monsieur Fusier, another French comedian who revived the act,
• Paul Wildbaum, a Canadian (?) Magician, and
• Sir Richard, a New Zealander event host