Ed: Thanks to Queensland Conservatorium final year Musical Theatre major Connor Sweeney who has road-tested a couple of popular vocal warmup apps for Greenroom. Connor has indicated the pros and cons of each in the article below. By the way, there are lots and lots out there. Check the link at the end of the article. Thanks, Connor.
A performer’s warm up should leave him or her in a focused, optimistic emotional state, with awareness of the body’s strengths and weaknesses to work on for the day. A good warmup needs to be more than a hasty throat clearing after the first cappuccino of the day. Continue reading “A Singer’s Warmup? There’s an app for that.”
Ed: Zach Denman is a young man just beginning his career in one of the most challenging of all for a performing artist – the musical theatre. Like many of those ‘triple threats’ – singer, actor, dancers – he has his eye firmly set on Broadway. Recently, he had the opportunity to get a brief taste of what that life could be like. I asked Zach if he would write a piece for Greenroom. He graciously agreed. Here he is, in his own words.
“Many say that life is all about going after what you want most in this world. However, the problem most have is that, when they finally discover what it is they really want, they think it’s far too extraordinary thus unachievable and so it remains an illusion, a dream. Well my dream was to sing, act and dance on Broadway and over the last month that dream has become a reality. Continue reading “When a dream becomes a reality – Zachary Denman (Interview 43)”
I was able to catch up with Vivien Emsworth who is appearing in The Australian Opera’s production of THE KING AND I which has just finished its Brisbane season at QPAC on the first leg of a national tour. As a first-year-out-of-drama school graduate from the Queensland Conservatorium’s Musical Theatre Program, Vivien is still coming to terms with being cast in such a big production – she is covering for the role of Tuptim and appearing in the ensemble. We did a little stocktake of her background before covering some of the questions I like to use to spark conversation with artists. We got started. Continue reading “Getting Started: Vivien Emsworth (Interview 41)”
Creating new theatre pieces can be a risky business. The enterprise can fail so badly that it leaves the impression the work was unworthy of the time and energy spent. Many a risk-taking sours in this way. Yet we know that taking risks is critical to the creation an developments of all new theatre. Whilst, arguably, the experience for the makers is a valuable one, occasionally a risk invested returns big as its reward. Creatively risky yet brilliant conceptual gems are discovered and eventually become both critical and commercial success stories. The Next Wave Festival’s The DokBoki Box, created by Park Younghee, M’ck McKeague and Nathan Stoneham is a quintessential example of how and why we need to continually innovate. Continue reading “The DokBoki Box – The New Wave Festival at Metro Arts”
Despite having theatrical friends up the wazoo and schlepping myself to every show in town, I have never actually met Naomi Price. More’s the pity, because after first seeing (and loving) her in the fabulous and successful cabaret, Rumour Has It at the Judith Wright Centre and now in her second pop diva offering – Wrecking Ball, at the Brisbane Powerhouse – I actually believe that if the universe deigned to bring us together, we would be firm friends. Can anyone say fan crush? Not only does the girl sing like the devil himself crafted her chords, she’s funny as a loon, shakes her booty like no one’s business and knocks back punter’s wine – right out of their hands. Oh my Lord, please be my friend Naomi? Continue reading “Wrecking Ball and Vinyl Viagra – the little red company at Brisbane Powerhouse”