UNFORGETTABLE PERFORMANCES BLOG

This blog site is going to undergo a major renovation. In the past I’ve brought you coverage and reviews on films, television and theater. However, from this point forward, it’s going to focus exclusively on actors, and their great performances in those mediums. In a simple, daily blog setting, I’ll take you through some of the most legendary (and some of my personal favorite) performances of all time.

Today, we’ll start with one of my very favorite performances, and one close to my heart- Steve Carell’s legendary 7-season run on the American version of “The Office”. As Michael Scott, the manager of Dunder Mifflin Paper Company, Carell managed to strike a blissful balance between ignorance, innocence and delusion. (The fact that he never received an Emmy Award for the role is not only criminal, it’s upsetting)

A character with zero self awareness, Scott had little to no self- censorship, and frequently behaved in an outrageous and offensive manner. In the hands of a lesser actor, this character would not only have been unfunny, but would have turned people away from the show entirely. But Carell,-the canny actor that he is- imbued Scott with humanity and love from the very beginning. When he says idiotic things, behaves childishly, or makes comments that are beyond politically incorrect, the actor is so good- he allows us to see completely through these attributes-instead giving us a glimpse of a tragic man-child, desperate to fit in, but completely unaware how. Due to the wonderful writing, and Carell’s performance, the audience begins to understand that Michael Scott really isn’t a bad guy- just a naïve, and socially maladjusted one. And, though he often makes a complete and utter fool of himself, Scott occasionally has moments of insight and clarity.

Let’s take a look at some highlights:

In the episode “The Injury” Michael Scott has an unfortunate incident- watch how brilliantly Carell plays this out. This is a beautiful example of absurdity played for complete and utter truth.

A second season episode entitled “Booze Cruise” involved the office going on a trip around the harbor as part of a team-building exercise. Michael Scott becomes extraordinarily jealous of the host of the cruise, and tries to upstage him at every moment, resulting in a painful and humiliating experience for everyone on board. For fellow co-worker Jim, the trip is even worse, as amidst all of Scott’s antics, he witnesses the love of his life get proposed to. After the events of the evening have transpired, in a surprising moment, Michael Scott provides some lucid and completely moving advice for Jim. Carell nails it here- as we see some real humanity after all of the silliness.

Carell also had the ability to be devastatingly tragic and hilarious all at once. Take this moment from season 3, where after being dumped by his short-term girlfriend, he spills his heart to the cameras. At once endearing and horribly offensive, this moment exemplifies Michael Scott. It takes a great actor to make an absurd moment like this believable, let alone lend it actual gravitas. He somehow does both.

Let’s take a listen to Steve Carell talking about his character from the Paley Center discussion:

As the show went on, Carell’s character became more and more human, and over 7 seasons, we watched him grow (well as much as Michael Scott could grow). We say goodbye to him on a touching, and bittersweet note, and are truly happy to see good things happen to him- a real testament to Carell when you think about the absurd, and often incomprehensible things that he has put his co-workers (and the audience) through.

Because of his commitment to the reality of the character, and a knack for finding truth even in the most ridiculous of situations, Steve Carell gives an UNFORGETTABLE PERFORMANCE.

I’ll leave you with one more.

Master Class and Intensive: Don’t Just Sing, Say Something!

Led by Brandon Alpert and Broadway’s Danny Gurwin
A Six Week Musical Theater Workshop Presented by The Alpert Studio for ages 12-25

September 26th – November 7th, 2011

Six Monday nights from 6:30 – 8:30 p.m. and a cabaret performance on Saturday November 12th at 7:00pm.

(Non mandatory class on Halloween)

What’s the magic ingredient that will unlock your talent, rivet your audience and get you the part?

It’s the heart of the audition season, and acting is now the single most important factor in booking jobs, winning competitions, and getting the parts you want in musical theater.

In the past, performers could get work based on sheer vocal quality, but those times have come to an end. In the contemporary theater world, the interpretation of the song comes first and foremost. To succeed in today, you must not only be believable, but able to act and communicate your song in a way that is clear, and specific, yet layered.

In this class you will do just that, plus have the opportunity to show off what you learned in an intimate evening performance.

Participation is limited – Enroll Now to Reserve Your Spot.

This class is open to the general public, as well as friends and families of the Alpert Studio, so tell your friends!

Tuition: $160 per student, $100 per additional student (siblings)

TO ENROLL CLICK HERE:

http://www.thealpertstudio.com/

Or call (909) 754-5792

For more information, contact me at brandonalpert@gmail.com

Who Should Attend:

This intensive is aimed at the serious student, who is looking to be a part of the competitive, but rewarding world of musical theater. It will prepare you for your musical theater audition, and give you all the tools (and songs) you need to book the job, and get the part.

We will explore the world of song interpretation in depth, with a strong focus on the fundamentals of acting a song.

And excitingly, all of the students hard work will be shown off in a cabaret performance to close the class.

We are honored to feature Broadway star Danny Gurwin who will lead a dual session master class. Performers will have the opportunity to work at every session with pianist and accompanist Janet Noll.

Brandon Alpert Bio:

Award winning actor and singer, Brandon Alpert is a graduate of the American Musical and Dramatic Academy. Brandon is a busy performer and teacher, working all over Southern California. He has appeared in over 20 productions including most recently, acclaimed productions of “RENT”, and “Urinetown”. He recently signed with Buchwald Talent Group, one of the finest agencies in the entertainment business, and was recently accepted into the world renowned acting studio of John Kirby, a coach with clients such as Jeff Bridges, Denzel Washington, among many others. Recently, he attended the “MAKING IT ON BROADWAY” Intensive, and was a part of National Teachers of Singing Conference in Salt Lake City.

“ Brandon, brings life and love to his character and also has a truly beautiful voice” alt=”" />

Danny Gurwin Bio:

A Broadway veteran for the last 12 years, learn from one of New York’s best! With shows such as Little Women, Urinetown, The Full Monty, The Scarlet Pimpernel, Kismet, A Little Night Music, Forbidden Broadway, A New Brain, and The Thing About Men to name a few, Danny Gurwin has hands-on experience working with some of the New York Theatre’s most accomplished directors, choreographers, designers, and actors.

“Danny manages to push you to places with your talent you never thought possible, in a completely safe and always encouraging environment. Ultimately, he focuses on bringing back an honesty to Musical Theatre, digging for truth in a character with every song a journey of self-realization. To put it simply, after working with Danny, I feel as if I could do anything without any restrictions or fear. I could conquer any obstacle or challenge the business has to offer.” – Kelly McCormack

Janet Noll has earned degrees from the University of Kentucky (Bachelor of Music and Master of Library Science) and the University of Montana (Master of Music). Ms. Noll’s accompanying and coaching experience spans thirty-five years, and includes work in the areas of chamber music, solo, vocal and instrumental duo work, choral ensembles, musical theatre and opera productions. She is a solo and duo pianist, harpsichordist, fortepianist, and chamber musician.

“Just think, in a hundred years, there will be all new people..”

While I have been back from New York for over a week, it’s only just now that I am finally able to process all the wonderful details of the trip. There will be many blogs to come focusing on everything from theater, to theme parks, to food, but I figure I’d start off with something closest to my heart.

You see, it turns out that Zach Braff- (actor, filmmaker and hipster-in-chief) has written a play. And it’s damn good. Not only is it warm and hilarious, but in my eyes, it could in fact very well be one of the most defining cultural and dramatic statements of the current generation.

“All New People” is the story of Charlie, a depressed thirty something, isolated in a New Jersey beach house in the dead of winter. The play opens with an indelible image- Charlie- attempting to hang himself with an extension cord. Wonderfully portrayed by Justin Bartha (The Hangover), we witness Charlie’s struggle to accomplish this deadly act. It’s as morbid as it is funny- aided by the comedic gifts of the actor. No sooner is he about to kick the bucket when he’s interrupted by an oddball British real estate agent (Krysten Ritter) who’s attempting to rent out the house to an older Jewish couple. You see, this isn’t actually Charlie’s beach house.

And here’s where things get really interesting. Much to his dismay, Charlie is soon joined by a witty firefighter (the brilliant David Wilson Barnes) , and finally, a daffy, high priced call girl (Played with sharp comedic skill by Anna Camp). Who are these people, where are they from, and why are they here? That information is revealed cleverly in a series of filmed flashbacks. The proscenium closes and transforms into a giant screen, in which we are presented the back stories of our four characters (and featuring some wonderful guest actors). Often hilarious, and occasionaly devastating, these filmed segments inform and amuse, simultaneously allowing Braff to flex his film-making muscles.

To reveal much more than that would be to spoil the play, but the plot threads and characters come together in ways that are surprising, satisfying, and remarkably moving. You see, “People” is cut from the same dramatic cloth as Braff’s “Garden State”. Similarly , we meet a main character (from New Jersey) who’s ultimately depressed, and entirely tuned out from life- reeling from a tragic act which they can’t seem to escape. But the difference here is, where “Garden State” traded (successfully) on indie absurdity and a winning soundtrack, “People” trades on its humor, heart, and wonderfully developed relationships (and performances).The laughs are plenty (Braff’s writing here is akin to an R-Rated Neil Simon)-but most impressively to me, the play manages to be complex, and incredibly touching. In a way that I haven’t seen on stage, Braff illuminates the isolation of this generation, the connections we seek, and the search for spiritual answers in a universe that seems insistent on denying them.

In promoting the play, Braff said in an interview “In theaters and film, you see either “I’m religious, or I’m an athiest. I’ve never seen to much discussion of “I believe in a higher power but I’m hesistant to reach out to him”. He’s right. The play doesn’t shy away from large questions. It’s completely refreshing to see work of art raising spiritual questions without making blanket statements or conclusive judgments.

On some level, we are all searching for God, love and human connection. In fact one could argue that to many people, they are one and the same. Braff doesn’t shy away from exploring how in the 21st century, that very search has become an arduous task. We live our lives behind computer screens, electronic displays and cellphones. So when the play reaches its denoument, its not only devastating, its life-affirming. After 90 minutes of high comedy, clever plotting, and shocking revelations- the play concludes simply with 4 people- laughing, sharing, and connecting, despite all of the pain, isolation and darkness in their respective lives. Finding and sharing love, in any capacity. Perhaps to an older generation this might seem naive or simplistic, but it resonantly spoke to mine.

The response from the audience was very kind, and the laughs were constant, but I noticed the older crowd seemed a bit more muted. Only I, and a few others of my age range launched into the spontaneous standing ovation at the finale. It’s fitting- Braff’s work has always swayed to the younger generation. But, to me, this play hit on the Generation Y paranoia, frustrations and yearnings in a way that I simply haven’t seen demonstrated. It is most definitely a companion piece to “Garden State”, but in fact, it’s an older and wiser brother. Simply put, its terrific. It appears the theatre has found a wonderful new voice, with a very vibrant soul.

At this time, Second Stage’s Production of “All New People” has closed. But there will be other productions, and potentially a film.

Until next time.

-B

“Great is the art of beginning, but greater is the art of ending.”
~Lazarus Long

On late Thursday night, millions of people, acoss the world, will be saying a singluar, arduous goodbye.

However, it is not to a parent, relative or significant other. It is a unique and solemn farewell to a fictional adolescent, his friends, and enemies, who managed to change the world in a way that non-fictional humans could only ever dream about.

My enduring love affair with Harry Potter and the distinct, unforgettable world around him began in elementary school. As a sixth grader I picked up and completed the first two books, and enjoyed them greatly, but they soon fell far behind on the pre-adolescent priority list of video games, baseball, and girls.

It wasn’t until the following summer, while on a family road trip, that the seeds of adulation, infatuation, and actual obsession with this series finally occurred. While listening to the wonderful audio books (brilliantly performed by the one-and-only Jim Dale) I realized that JK Rowling’s intricate storytelling, and incredible characters were one of a kind. My fandom was born, and the rest (as they say) is history.

I read books three and four in the course of a week. I re-read the orginal two, then proceeded to listen to all of the audio books in their entirety. I started browing the internet for clues and information about the upcoming films, and poured helplessly over the message boards, rife with speculation about where Harry and company were headed in their future adventures. It was practically a daily routine.

I saw the movies, enjoyed them greatly, but knew from the very beginning, (like the real fans do, sorry!) that the books are the only way to appreciate this series FULLY. However, the films started developing a personality of their own, and became a delightful, emotional, and intriguing visual companion to JK Rowling’s dense textual world.

Years went by. Trips to Costco to buy the books on their release dates were a bi-yearly occurrence, and so were the midnight premieres of all of the films, which became better and better, as I grew older. I also had the unique experience of being the same age as Harry Potter for nearly all of the books as I read them, which managed to make the story even more personal and involving, especially as Harry and friends managed to deal with the most mysterious magic of them all- hormones.

The years went by, and the stories grew more tragic and serious- culminating in a beautiful, emotionally satisfying conclusion, in 2007. It was hard to turn that last page, but I must say, the pain was dulled by the fact that I knew there were still THREE FILMS yet to be released, and those would give me so much more to look forward to.

And years later, finally, we’ve arrived- 2011, the last film, the last moment. And I really don’t know how, or what to feel. It’s a completely bitersweet moment for me, as well as for many people my age, and older. It’s going to be a strange world without something Potter-related occupying part of the cultural zeitgeist. Thankfully the books, and the films will live on for generations to come.

The films, incidentally, have been accomplishments in their own special way, managing to maintain quality, cast, and integrity to the source material in a way no other film series has even come close to. While I am indeed a fan of the books first, it is hard to deny the power and impact of the movies on my generation. They are an equally important part of the Potter universe, and knowing there won’t be any coming in the forseeable future is disheartening, and sort of melancholy.

But alas, I still have Thursday night to enjoy. My one last evening with Harry. I will most likely be pouring over those memories, as well as all of my Potter recollections, for many years to come.

And oh, how many memories there are. From tears shed over the loss of Sirius Black, to my midnight rush to buy the final book before it was spoiled, and finally, and most recently, my embarassing encounter with Emma Watson (I never get starstruck, yet the sight of Hermione, a few feet away from caused me to resort to hiding and giggling like an infant), these memories aren’t only beautiful and enduring, they exemplify the splendid gift that JK Rowling has given to the world. A story well told, with characters so beautifully drawn, that those who spent time with them, will never once forget a single moment in their company.

Goodbye Harry, hope to see you soon. Thanks, for all of it.

-Brandon

This blog has sat dormant for quite some time, but I’m excited to report it’s going to be coming back, with all sorts of fun content.

In the coming weeks, here’s some of what will be posted:

“Media”- I’ll be singing, and performing some new material and posting it on here.

“Film/TV/Theater Reviews”- I’ll be giving my two cents on current entertainment.

“Opinion Essays”- Thoughts on all sorts of different topics, from politics to sports.

“Restaurant Reviews”-Food for thought on Southern California cuisine.

“Local Theater Promotion”-What’s going on in the local theater scene.

“Podcasting”- A podcast featuring any number of topics.

“Travel Blogging”- a day by day chronicle of my upcoming Florida and NYC Trip.

“Recommendations”- What I think you should check out in music, film etc….

“Interviews with Professionals”- Find out tips and advice from those who’ve made it.

“Studio Promotion”- All the latest Alpert studio news and information.

“Websites to check out”- See what’s new and interesting around the web.

“Comedy”- Something to make you laugh.

All this and more- here on my blog.

Don’t be a stranger, check it out!

-Brandon

Master Class and Intensive: Don’t Just Sing, Say Something!
Posted by billalpert on October 2nd, 2010
Led by Brandon Alpert and Broadway’s Danny Gurwin
A Six Week Musical Theater Workshop Presented by The Alpert Studio for ages 13-25

November 1 – December 6, 2010
Six Monday nights from 6:30 – 8:30 p.m.

What’s the magic ingredient that will unlock your talent, rivet your audience and get you the part?

Acting is now the single most important factor in booking jobs in musical theater.

In the past, performers could book jobs based on sheer vocal quality, but those times have come to an end. In the contemporary theater world, the interpretation of the song comes first and foremost. To succeed in today, you must not only be believable, but able to act and communicate your song in a way that is clear, and specific, yet layered.
Participation is limited – Enroll Now to Reserve Your Spot.

This class is open to the general public, as well as friends and families of the Alpert Studio, so tell your friends!
Tuition: $150 per student, $100 per additional student (siblings)

TO ENROLL CLICK HERE:

http://www.thealpertstudio.com/sing/

Who Should Attend:
This intensive is aimed at the serious student, who is looking to be a part of the competitive, but rewarding world of musical theater. It will prepare you for your musical theater audition, and give you all the tools (and songs) you need to book the job.

We will explore the world of song interpretation in depth, with a strong focus on the fundamentals of acting a song.

We are honored to feature Broadway star Danny Gurwin who will lead a dual session master class. Performers will have the opportunity to work at every session with pianist and accompanist Janet Noll.

Finding your song (by Brandon Alpert)

The shortest path to successfully acting a song, is finding the right material. In fact, you must have an audition songbook, with multiple pieces of varying styles, to winningly showcase your talent.

Before I understood this process, I often fell into the trap (as many young singers do) of choosing songs that simply sounded pretty. Songs that simply showed off my voice. I wasn’t getting the results I desired at auditions. I eventually learned, from people like Danny Gurwin, how to find songs that not only showed off my voice, but also told a personal story. I learned that the right material naturally builds a connection between singer, song and audience.
Once I built up my new collection of songs, people took notice and I began to book more jobs than ever before. All I needed was some guidance, feedback and a bit of inspiration. That’s exactly what you’ll get here.

“Acting is not about being someone different. It’s finding the similarity in what is apparently different, then finding myself in there.”
- Meryl Streep

There is no specific set of rules to successfully acting a song, but to truly understand and communicate your material, you must start with the lyrics. By performing your song as a monologue, you’ll better comprehend the writer’s intentions, and begin the journey toward creating an authentic experience. Therefore, you aren’t just singing, you’re saying something. And here, we’ll work hard to discover what that actually means.

The class is called “Don’t Just Sing, Say Something” because as a performer without a message, the audience (or your audition panel) will tune you right out.
How many times have you seen a performer who simply bored you? Find out why… exactly what was missing, and the most common pitfalls to avoid.
To be a great acting singer, (and that’s our goal for the class) you must be able to fully comprehend (for every song you sing) who you are, what you are singing about, and most importantly, WHY you are singing. This class will make you reach deeper within yourself every time you step on stage.

Biographies:

Brandon Alpert
Award winning actor and singer, Brandon Alpert is a graduate of the American Musical and Dramatic Academy. Brandon is a busy performer and teacher, working all over Southern California. He has appeared in over 20 productions including most recently, acclaimed productions of “RENT”, and “Urinetown”. He recently signed with Buchwald Talent Group, one of the finest agencies in the entertainment business. This past summer, he attended the “MAKING IT ON BROADWAY” Intensive, and was a part of National Teachers of Singing Conference in Salt Lake City.

“ Brandon, brings life and love to his character and also has a truly beautiful voice” – Darcie Flanburg

Danny Gurwin

A Broadway veteran for the last 12 years, learn from one of New York’s best! With shows such as Little Women, Urinetown, The Full Monty, The Scarlet Pimpernel, Kismet, A Little Night Music, Forbidden Broadway, A New Brain, and The Thing About Men to name a few, Danny Gurwin has hands-on experience working with some of the New York Theatre’s most accomplished directors, choreographers, designers, and actors.

“Danny manages to push you to places with your talent you never thought possible, in a completely safe and always encouraging environment. Ultimately, he focuses on bringing back an honesty to Musical Theatre, digging for truth in a character with every song a journey of self-realization. To put it simply, after working with Danny, I feel as if I could do anything without any restrictions or fear. I could conquer any obstacle or challenge the business has to offer.”
- Kelly McCormack

Janet Noll, accompanist

Janet Noll has earned degrees from the University of Kentucky (Bachelor of Music and Master of Library Science) and the University of Montana (Master of Music). Ms. Noll’s accompanying and coaching experience spans thirty-five years, and includes work in the areas of chamber music, solo, vocal and instrumental duo work, choral ensembles, musical theatre and opera productions. She is a solo and duo pianist, harpsichordist, fortepianist, and chamber musician.

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.

Day 10 began with a lovely walk through Central Park, and a delicious lunch at the Loeb Boathouse on the lake. The food was lovely, and so was the view. After lunch, we got some delicious frozen custard, and continued to stroll through the park, and enjoy ourselves.

After our time in the park, we took the subway back to 42nd street to finish up some last minute shopping, and such. We then headed back to the hotel to get ready for our final show, Sherie Rene Scott’s “Everyday Rapture”. The show is a loose autobiography of her life, told in a series of songs and vignettes.

The show, was pitch-perfect. Sherie was brilliant- her voice impeccable, and her comedic timing spot on. She has a voice like honey- and a marvelous sense of hilarious deadpan. The show, as written and created by her and Dick Scanlan, is simple, funny, and surprisingly touching. Its a little jewel of a show, and Sherie, and the 3 other cast members were just wondrous. And the music selection- from U2 to Mister Rogers, was smart and terrific. Also another shout out to Tom Kitt ( Next To Normal) for his orchestrations.

After the wonderful final show of our trip, we picked up some snacks from Chipotle and the Food Emporium, and headed back to the room to watch the Laker game and organize our bags for tomorrow. It was a simple way to end this wild trip, but pretty perfect. This has been an incredible trip, and I can’t wait for the next one.

Until then-Goodnight.

Day 9 began with a late wake up, and a taxi cab over to Greenwich Village, to the world famous Katz’ Delicatessen. This is the deli seen in many films and tv shows, including most memorably, the famous “fake orgasm” scene in When Harry Met Sally. Needless to say, it was simply and completely delicious. The corned beef on rye was outrageous, along with everything else. It is a classic New York experience, and must be seen and tasted to be believed.

We walked around Greenwich some more, then headed back to the hotel for some relaxation. After that we headed over to New World Stages, and found a nearby restaurant before our evening performance of “Avenue Q”. Dinner was tasty, and then it was over to the beautiful complex which housed the show, as well as 4 other various productions.

The show, as I expected, was terrific. It has held up fantastically, and looks great in its new Off-Broadway location. The performances were all great, with the standout being Sarah Stiles, who was truly fantastic as Kate Monster. The show has such a sweet, funny book, and the songs are as tuneful and hilarious as they were when I first heard them. It is still a definite must-see, and if you have waited 6 years to see it, it is still not too late.

After the show, it was a tasty dessert at Thalia. So, on to our last day!!