Stage One - Singing in the Park with Susan

Emma Sophie and Susan work through a song
with Stage One students chiming in.

Here at Signature Theatre, we are incredibly lucky to have so many talented performers and artists working with us on a day to day basis, both onstage and off. From the actors that perform most every night to the technicians and staff here that keep everything running smoothly. (Or at least as smooth as live theatre can ever go.) Yesterday, Stage One students got to receive advice and instruction from one of Signature Theatre's favorite performers, Susan Derry.

Stage One looks on and supports
one another during the master class.

Susan Derry is a popular performer in the DC area. Having performed in several Signature events and productions including: Sunday in the Park with George (Celeste), Sunset Boulevard (Betty Schaeffer), Saturday Night (Helen), I Capture the Castle (21/24 workshop) and Show Boat, Susan is very familiar with the comings and goings of the world of theatre. Some of Susans other performance credits include: Kennedy Center: Ragtime (Kathleen), Bernstein’s Mass (Street Chorus Soloist), Mame, Camelot, My Fair Lady. Her regional credits include: Othello (Desdemona), My Fair Lady (Eliza), Crimes of the Heart (Meg), The Importance of Being Earnest (Gwendolen), I Do! I Do! (Agnes), Brigadoon (Fiona), West Side Story (Maria), Company (Susan), Regina (Alexandra), The Merchant of Venice (Jessica.) 

Caleigh works on "If I Loved You" with Susan.

Throughout her master class, Susan worked with several Stage One students on presenting and refining audition material. Now, wherein other master classes here at Signature Theatre have focused on working 16 or 32 bar cuts of songs, Susan's class instead worked full versions of songs. Some songs that were presented and workshopped  included "If I Loved You" (Carousel), "What You'd Call A Dream" (Diamonds), "A Change in Me" (Beauty and the Beast) and "Frank Mills" (Hair).

A few particular things that were stressed throughout the workshop included specificity, clarity, and honesty. When a performer is presenting a song at an audition, whether a full song or a smaller cutting, they need to be able to present the song as a stand alone piece. The other people in the room may or may not be familiar with the song in question, but the performer needs to make the context of the song maintain itself. So, who or what is the performer singing at or about? Place the objective of the song in the room itself if possible and communicate through the song to it as actively as possible. 

Amanda sings her rendition of "Frank Mills"

Singing in musical theatre is the apex of emotion. It is all very well and good to get basic emotions and dialogue out through the delivery of lines, but it is another thing to sing what one is saying. The characters' emotions and thoughts have reached a breaking point and the only way to communicate their frustration, love, anger, confusion, determination, etc., is through the heightened emotional form of communication that is singing. Use this song to convey what you are truly feeling.

On Twitter? Follow us at #SigStageOne. More information on Stage One can be found here.

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Stage One - Vocal Technique

Lisa Carrier demonstrates proper vocal technique to
Stage One Students

 We are wrapping up the first week of Stage One here at Signature Theatre this summer and with the close of the first half of the workshop comes one more master class. Our final master class focused on proper vocal technique and presentation and was led by the incomparable Lisa Carrier Baker.

Jacob gets a few pointers from Lisa on his
prepared 16 bars.

An acclaimed vocal teacher and performer, Lisa spent three seasons as Artist in Residence with the Fletcher Opera Institute at North Carolina School of the Arts. From 2009 to 2011, Lisa served as both Director of Education at the Musical Theatre Center (now Adventure Theatre MTC) and continues as Director of Ensembles. She has performed on several national tours including La Boheme (Musetta) and The Merry Wives of Windsor (Anne). Other performance credits include: Ohio Light Opera: Christopher Columbus (Gretel – American Premiere); Lyric Theatre: Follies (Young Sally), Singin’ in the Rain (Zelda Zanders), Dames at Sea (Mona). Some of her Washington DC credits include: Kennedy Center: TThe Emperor’s New Clothes (Reyalto), several Page to Stage Festivals; American Century Theatre: Dear World (Nina); Washington Savoyards: The Mikado (Yum Yum); Toby’s Dinner Theatre: The Sound of Music (Mother Abbess); Ganymede Arts: Falsetto’s (Trina.) 

Lisa explains how to captivate an audience
and act a song.

Lisa is an adjunct professor of voice at American University and Montgomery College. Her students can be heard on Broadway stages, national tours, and are local Helen Hayes award winners and nominees. 

During her master class, Lisa observed several students cuttings of audition songs. After observing each short performances, Lisa offered up advice and exercises to help each individual student. The advice ranged from different physical exercises to directing the students' sound to visualization and association to helping find purpose and connection to the songs. 

One of the main points that Lisa helped get across to the students was finding relatability and connection to a song. A person might be singing about the biggest and saddest moment of their life in the context of the show, and that is all very well and good but not everyone has had that same giant, sad moment in their life. For instance, in Show Boat, the song "Make Believe" is about falling in love and admitting one's feelings for another person. Not everyone has had colossal conflicting feelings like this before. So, perhaps instead of using the image and idea of admitting love for another person use something you do love. Does the performer love pizza and peanut butter? Then sing about admitting your love for pizza and peanut butter. Keep the lyrics but alter your connection to the feelings expressed in the song.

Bryan sings a cut of "Santa Fe" from Newsies after receiving
a bit of direction from Lisa.

On Twitter? Follow Stage One at #SigStageOne

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Overtures - The Casting Session

Ryan looks on as Allison audition.

People get nervous. This is a regular part of life. Day in and day out, people the world over fret and stress over a variety of things both of worth and of inconsequential value. It should be no surprise then that performers get nervous as well. 

Overtures students support one another
throughout the casting session.

Auditions can be terrifying. As a performer myself I know the stress and anxiety that goes into the preparation and over-analyzation of an audition and all it entails. There is just so much to think about and let yourself get caught up in. Am I prepared? Am I dressed appropriately? Do I have all of my headshots, resumes, and paperwork in order? Am I on time and in the right place? Are my monologues and songs memorized and in perfect order? Is my music binder neat and organized? Did the casting director like me? Was I too engaging? Did I not talk enough? Etc, etc, etc till you make yourself sick with worry.

Signature's Walter Ware II looks on
throughout the casting session.

Ashley receives a bit of feedback from
the casting panel.

The Overtures students got to experience a casting session yesterday and dealt with some of these minor worries and woes. (And made it through the session with smiles on their faces and knowledge to use in future auditions.) The session itself was made up of casting directors and producers from the DC area that included Alan Paul from The Shakespeare Theatre Company, Amelia Powell from Arena Stage, Danisha Crosby from Round House Theatre and our very own Walter Ware III.

Each and every Overtures student presented two 32 bar pieces and a short monologue to the casting panel and then received feedback on their performance, composure and how they presented themselves both on the stage and on paper. The advice was far ranging from student to student, but the lessons learned were invaluable. These talented young men and women essentially went before a, albeit supportive, firing squad of casting directors. They all presented themselves brilliantly and I am proud to have them represent Overtures this year.

This Saturday, June 28th is the final day of Overtures. With this final day comes the Overtures Showcase, where these 19 amazing people show off all of the training they have been through over the past two weeks. The performance begins at 11:00 AM in the MAX Theatre at Signature Theatre. Doors open at 10:30 AM. There will be a brief reception following the performance. The event is unticketed and free.

By Matt Strote

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Overtures - Eric Schaeffer

Eric looks on as Neil presents "Try Me" (She Loves Me)

Yesterday, the one, the only, the Artistic Director of Signature Theatre, Eric Schaeffer joined the Overtures students for the second of two master classes on musical theatre performance. We were so very lucky to have Eric with us as he has so much information and experience to pass on to these young performers as they start their careers.

Joe sings a cut of "I Could Be
In Love With Someone Like You"
(The Last Five Years)

Underneath Eric's leadership, Signature Theatre has won 90 Helen Hayes Awards and received 340 nominations for artistic excellence in theatre. Over the course of his career, Eric has directed over 80 productions at Signature and received 6 Helen Hayes Awards for Outstanding Direction and 28 nominations. Eric has directed over 80 productions at Signature Theatre and served as the Artistic Director of the Sondheim Celebration at The John F. Kennedy Center for the Performing Arts, where he directed Sunday in the Park with George, and Passion. He also directed Mame, First You Dream: the Music of Kander and Ebb, and Follies at the Kennedy Center. On Broadway, his productions include Putting it Together starring Carol Burnett, Glory Days, Million Dollar Quartet and the Tony-nominated Follies. In the West End/London, he directed The Witches of Eastwick and Million Dollar Quartet. He has also directed at the Mark Taper Forum, Goodman Theatre, Arena Stage and Disneyland. He currently has productions of Million Dollar Quartet in Chicago, Las Vegas and on national tour. 

Leah presents "Passover" (Elegies)

This second master class with Eric was a relaxed and enjoyable experience for all. As the students presented cuts of songs they would be performing for an upcoming casting session, Eric interspersed words of wisdom and suggestions. Some of the most potent adjustments included things such as emotional vocal variation throughout a piece, visualization of whom you want to be singing a song to, and contextualizing an audition song. To Eric and other theatre heads around the DC metro area, one of the most important skills a performer can demonstrate is the ability to remain versatile throughout a performance / audition. As Eric stated, when you are auditioning for someone for the first time it is likely the first time they are seeing you. "The first time someone meets you is the only first impression you'll get to make on them." Therefore, it is best to leave a solid impression on those behind the casting table in regards to you. You want to be seen as flexible, supportive, and most importantly easy to work with.  

With another masterclass under their belts, the Overture students are one step closer to the Showcase this Saturday at 11:00 AM. We would love to extend an invitation to you, to see these brilliantly talented young men and women perform on the MAX Theatre stage. The performance is free and unticketed. Doors open at 10:30 AM.

Emily gets into her performance of "How 'Bout a Dance?" (Bonnie and Clyde)

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Overtures - NBC's Dean McFlicker

Dean McFlicker leads the Overtures
students in a camera performance exercise.

Yesterday, the Overtures students had the pleasure of getting to work with Dean McFlicker. Dean comes to Signature Theatre's Overtures Musical Theatre Institute from California where he is Vice President and Creative Director of NBC Entertainment Marketing. An award winning producer, director, and choreographer of countless productions, Dean has worked on and created campaigns for some of the most successful shows on television, including The Voice, America's Got Talent, ER, Law and Order, Smash, Heroes, The Apprentice, The West Wing, The Biggest Loser, and The Sound of Music. 

Dean McFlicker works with Allison
and Christina.

Having such a talented and valued member of the Hollywood executive scene join us here in Arlington was a delight for all involved. Throughout the day, Dean helped explain and explore the world of film and television, how it differs from the world of theatre, and how to best adapt one's skills to new platforms. This was one of the initial takeaways from Dean's time spent with us. 

Performers must be able to adapt and translate their skills to new mediums and avenues, particularly in this day and age where options are so varied and plentiful. The lines of entertainment are blurring and performers need to be ready to take the stage in whatever form it appears, whether it is a television show, movie, short film, web series, play, musical, one act, music video, awards show, television special, live event, etc.

After an in depth primer on the do's and don'ts of auditions in the world of film and television, Dean flipped a complete 180 and taught a brief dance routine to the students. After learning the steps the students were then taught how to play out for multiple cameras in a space. As they kicked, shimmied, and moved around to the music, Dean called out and changed their areas of focus quickly to different cameras, always keeping them on their toes. Keeping in time, focus and rhythm with several cameras around you is incredibly difficult, but if you can conquer that as a performer you can do anything.

Dean's time spent with the Overtures students was fantastic and we were so lucky to have him. Be sure to check Dean out on his Twitter and Instagram.

• Twitter: https://twitter.com/DeanMcFlicker
• Instagram: http://instagram.com/deanmcflicker

Half of the Overtures students strike their first pose in Dean's dance sequence.

We hope to see you at the Overtures Student Showcase, this Saturday, the 28th at 11 AM in the MAX Theatre. The event is free and unticketed. The doors open at 10:30 AM.

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Overtures - Singing with Tracy Lynn Olivera

Tracy Lynn Olivera demonstrates good vocal technique.

Private vocal sessions are a wonderful and necessary thing to have and receive as a student studying musical theatre and performance. This one-on-one time with a vocal instructor gives the student the chance to ask questions and focus on problem areas that they might not otherwise be noticing on their own. Here at Overtures, in addition to a litany of other classes, workshops and master classes, the students each receives several private voice sessions with Tracy Lynn Olivera. Tracy is a singer, actress and teacher based in the Washington, DC metro area and has appeared on the Signature Theatre stages in Gypsy, Crossing, Company, Brother Russia, The Best Little Whorehouse in Texas, Les Miserables, Merrily We Roll Along,The Happy Time and Allegro. 

Adrianna presents "An English
Teacher" (Bye Bye Birdie) to Tracy and others.

Tracy comments on
students' performances.

We are thrilled to have Tracy teach with us at Overtures. With a long list of teaching experience and venues that include Catholic University, Theatre Lab, Adventure Theatre-MTC, Imagination Stage, and her very own basement (for private coaching), Tracy brings a plethora of experience to the students here at Signature. In both her private sessions and group vocal sessions, Tracy is a constant delight. Her relaxed attitude and knowledgeable musical mind make the students at ease and realize they are in the best hands when it comes to vocal educators.

In one of her most recent group vocal sessions, Tracy put the students through a gauntlet of exercises as they presented their showcase songs. Tracy's side coaching throughout their performances as well as her suggestions on song presetatin helped amazingly. Whether it was a simple physical adjustment or vocal intonation change, the suggestions and adjustments she made increased their performances greatly. 

Edward Simon listens as Tracy offers advice on his
performance of "You and Me (But Mostly Me)" (The Book of Mormon.)

 We are only five days away from the Overtures Showcase in the MAX here at Signature Theatre. (June 28th at 11 AM) The students still have several oppurtunities to squeeze as much information and knowledge out of Tracy as they can. You do not want to miss this performance this coming Saturday. 

The Overtures Showcase is free and open to the public. Doors open at 10:30AM. 

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Overtures - Darius Smith

Darius Smith gracefully conducts and plays off of
the Overtures students.

We are entering the period in Overtures when it's time to start really buckling down. In a little over a week, the Overtures students will show off all they have learned in a showcase in Signature's MAX Theatre. The showcase will naturally feature solos from the roster of students but will also feature a slew of group numbers featuring the entire Overtures company. One of the most exciting aspects for the students is getting to work with Darius Smith in preparing these group numbers.

Adrianna and Christina run
through Next Story.

Darius Smith is the music director of Overtures and has premiered several different original works in the DC area.Some of these include The Snowy Day at Adventure Theatre and U.G.L.Y. at The Kennedy Center. Not new to the area and Signature, Darius has worked on both Dreamgirls and Defying Gravity at Signature. In addition to directing music around the DC metro area, Darius is also an educator and currently coordinates the musical theatre program at Howard University. 

This is Darius's second year as the music director of Overtures and he couldn't be more excited to work with all of the talented students that this year brings to the table. I recently sat down with Darius and the students as they ran through the three group numbers for the showcase. The songs include "Magic to Do" from Pippin, "Put On Your Sunday Clothes" from Hello, Dolly!, and "My Next Story" from Glory Days. This eclectic mix of massive group songs was a pleasure to watch in rehearsal as Darius instructed the students on the intricacies of each song. We are halfway through Overtures and the songs / performers / sequences are only going to get better as times goes on!

The Overtures Tenor and Bass section hard at work.

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Overtures - Workshop with Erika Shannon and Jen DeRosa

Jen DeRosa looks on as Erika Shannon
give physical adjustment suggestions
to students.

Yesterday, the Overtures students had the pleasure of spending a large portion of their day participating in a workshop with Erika Shannon and Jen DeRosa. What started out in the early part of the day as one of the most intense physical warm-ups any had experienced eventually led to a more relaxed and far less sweaty vocal workshop in the afternoon. As one student described the morning warm up / workout, "It was the most intense workout I've ever had. Definitely a lot more exhausting than any class or personal training session I have done at any gym before." Another student cried, "Why didn't you tell us to bring a spare shirt to move in? I didn't think I was going to be sweating this much today." All sweatiness and exhaustion aside, the morning warm-up session ended with tired smiles and energized bodies, exactly what Jen and Erika needed for the work they would do later that afternoon with the students. 

Allison takes note and adjusts her performance
of "You've Got Possiblities"

After a well deserved lunch break and stretching session, the Overtures students were back in the rehearsal room with Jen and Erika to focus on the performance side of things; both vocally and physically. Each student presented a short cut of one of their assigned songs to the instructors and was then given individual feedback. Some may think that only seeing 32 bars of a song is not enough to offer advice to improve ones performance. Those people would be wrong! For every student that presented a piece for the class, Jen and Erika had eclectic and useful advice to adjust physically and vocally to make their songs truly their own. Suggestions and adjustments varied greatly from barnyard animal noises, vocal centers, physical pressence / blocking, to even throwing words and objects around the room. No student was forgotten and none of the students will likely forget this unique workshop session.

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Overtures - Beginning With a Bang

Cristina is getting her steps down.

Signature Theatre's Musical Theatre Institute, Overtures got underway yesterday and is off to at stellar start. The program, dedicated to nurturing and training emerging musical theatre artists, will be running for the next two weeks. Over the course of the intensive the students will go through classes and special masterclasses in singing, dancing, acting and finding their place in the professional world of modern theatre.

Lawrence takes flight in dance class.

Our first day got off to an exciting and slightly nerve racking start as each student auditioned before their peers with selected songs by the faculty. After seeing and hearing some of these students for the first time during this "audition" let me just say that this is one of the most talented groups Overtures has had in a long while. (I am very excited to see where they end up following their two weeks here.) Once that initial hurdle of nerves and first impressions was over and past, the students got to enjoy a quick tour and info session with the dashingly handsome, talented, and intelligent Education Department at Signature. Rounding out the day the students were put through the ringer with a dance class with the talented Karma and Brianne Camp as well as a group music rehearsal with Darius Smith.

In the coming days we will be updating the blog to feature moments, classes, and quotes from the program that we found particularly interesting and fun. We hope to have you join us on June 28th, when the Overtures students will take the stage in the Max Theatre at 11 am to perform in a free final showcase, highlighting all of the work they have done over the past two weeks.

Ian's getting into it towards the end of class.

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