The month of July has definitely been a complete whirlwind for me, and as I begin typing this blog, I am finding it difficult to process all of the artistic breakthroughs it has yielded. The month started with a wonderful vocal convention in Utah, and continued on with the once in a lifetime “Making It On Broadway Intensive” in LA. Needless to say, both of these events managed to leave major imprints on me, and my artistic perspective.

First off, the NATS (National Association of Teachers of Singing) convention in Salt Lake City, was truly remarkable. It featured countless workshops and lectures, all of which were fascinating, but the highlights for me were the ones led by Florence Birdwell, a master teacher from Oklahoma City University, (who’s students include Kristin Chenoweth and Kelli O’Hara). She spoke mainly on the power of words, and stressed the crucial importance of interpretation of song. She recited poetry, told stories, and shared funny anecdotes. Long story short, it moved, and inspired us in equal measure. Seeing a true master of teaching speak from a place of emotion and not technique was refreshing, and personally satisfying to someone like me who values what comes from the heart over technical perfection.

Aside from the many highlights of the conference, including a wonderful recital by Ms. O’Hara herself, and a searing speech by Simon Estes to close the conference, the trip also provided me with my finest theatrical memory as of yet- witnessing Audra McDonald reprise her Tony nominated role in “110 in The Shade”, in a tiny theater in Orem, Utah. Literally less than a foot away from her, I can safely say that I was changed forever by what I experienced that night. Of course, as we all know, Audra has a voice from heaven- but it was her emotion, her connection, and interpretation that is what stayed with me, and completely transcended that tiny circular stage. For those two hours, I had a direct gateway into a human soul. I saw a woman’s joys, and pains, her successes and failures, her love, and heartbreak, right there, all a foot in front of me. I saw her sing through tears streaming down her face, but also through smiles big enough to fill the Met. And as the heavenly rain poured down on the stage, I realized that what I was seeing was beyond description, and frankly, just a moment to cherish. I sat there with tears streaming down my face, just trying to soak in the beauty of what was happening before me.

With this amazing performance fresh in my mind, I headed back home, and ventured, with my girlfriend to the “Making It On Broadway” intensive. Together, we had one of the finest weeks that we can remember. Led by Jodie Langel, a broadway vet, we worked with some of the finest people in the theater industry. From renowned music director Todd Schroeder to “Glee’”s pianist Brad Ellis, the one of a kind Sam Harris, to Susan Egan, and wonderful scene work with Joel Bishoff ( original director of I Love You, You’re Perfect, Now Change) among many others, we emerged from the week with many new songs, insights, and wonderful connections to some of the most talented and successful folks in the business.

I would recommend this program to any performer, because the information, and personal attention you receive is truly one of a kind. You receive tons of workshop time, not to mention hours dedicated to building a complete audition book that will go a long way to ensuring that you book the job. Going from 10-6 every day, we worked our asses off, but it paid off in a myriad of ways. By the end of the program, we had final auditions in front of a complete industry panel, with directors and actors and agents, and lets just say all that work, effort and time put in proved to be well worth it. I won’t say more than that, but I can definitely say I am very excited about some new opportunities in the near future.

So, after all these crazy weeks, I’m finally able to relax and reflect for a bit. And, looking back on this amazing time, I realized that there was a common thread amongst every bit of it. When I analyze all of the performances, classes, and workshops of the past month, the phrase that sticks out to me would be Ms. Birdwell’s refrain- “Don’t Just Sing, Say Something”. If I took anything from all of these teachers and students, it would be that the best performances, and the ones worth remembering are the most truthful. The best performers are the ones that truly communicate, and open the channel directly from their hearts to the world. The greatest performers are able to access every emotion, and allow you to feel it with them, even if that is pain. This goes hand in hand with honesty, and frankly, if you aren’t real, or believable, why should anyone watch you? You can only really say something, as Ms. Birdwell says, if you are being TRUTHFUL. And I have noticed, that there is, (especially locally) a complete LACK of substance, honesty, and emotion in the musical theater.

There is a truly unfortunate amount of bad theater, (and even worse teaching) spreading throughout Southern California. I see so many bad habits, and worse, constant self congratulation amongst actors, directors and casts, who seem to think that their work is Broadway quality. Many of these actors in particular, are talented, but have very far to go, and it is disturbing to me seeing people in the local theatre community pass themselves off as arrogant done deals, when even the best performers consider themselves works in progress. Learning is a lifelong process, and to think otherwise is plain ignorance. Watching Ms. Birdwell work with some singers really made me wish I could send some people I know to her boot camp.

Somewhere along the line, many teachers and performers decided that musical theatre should be about fun, fluffy frills and Jerry Herman-esque dance numbers. This leads not only to lackluster, soulless productions, but also to the creation, and training of performers who lack emotion, and intelligence, and knowledge of their art form. Dance numbers and lavish sets have replaced authentic emotion, and when that occurs, you are essentially murdering this great art form. Its not to say that musicals can’t be silly and fun, but if there isn’t an ounce of truth or craft under them, they just become theme park attractions, or a place to bus nursing homes out to see on the weekends.

But maybe thats just where the theater is heading, unfortunately.

But not if we young people let it.

I will hold out hope for the true artists, and the people who care about doing art that MATTERS.

So next time you open up a music book, Don’t just sing, say something!

Ms. Birdwell, and Ms. McDonald will thank you.

And so will I.