Schmigadoon!

I discovered this last night, after urgings from son Ben (not a particular music theatre fan) and conversations with several music theatre students in recent weeks.

It is an American musical comedy TV series of 6 episodes created by Cinco Paul and Ken Daurio. It premiered on Apple TV+ on 16th July this year.

Broadly, it is a parody of the Golden Age musical, Brigadoon, but it goes much further in also parodying famous musicals of the 1940s and 1950s – Oklahoma, The Sound of Music, The Music Man, Finian’s Rainbow, Carousel, and many more. (You can play the game ‘spot the reference’).

The cast line-up is stellar- Kristin Chenoweth, Alan Cumming, Martin Short, Aaron Tveit, Ariana DeBose – to name only a few. It’s as if all these stars wanted to fill their downtime during Covid – if so, lucky us!

At all levels it tries to parody the Technicolor palette from the golden years of Hollywood, while using a contemporary sensibility. It is firmly tongue in cheek.

It would be an interesting classroom challenge for music theatre students to identify, not just the sources, but also the cliches and habits of music theatre writers. 

Sidenote – will they ever parody Sondheim?


Music Monday - Holiday time

The Easter weekend is ending, and in most Australian states, schools are in the holiday break between terms. After a short term of only 9 weeks here in Western Australia – which was then shortened further by a one -week Covid lockdown at the start – I am surprised by how tired I am at the end of this term. My teacher colleagues and friends (in all age groups) have echoed this sentiment. Perhaps we all over-compensated for the short teaching term by trying to reach targets meant for a normal term length?

Anyway, this post has no discussion of teaching approaches or anything at all serious.

Instead, I have been thinking of a birthday card I received from a friend a couple of years ago. The front read “Things Musicals Taught Me” and then there were a bunch of song references, including:

It’s a hard knock life

Give ‘em the old razzle dazzle

There’s a place for us

There are 525,600 minutes in a year

All you’ve got to do is dream

You can’t stop the beat

You can love the life you’re living; you can live the life you’d like

You’re never fully dressed without a smile

Can you add to the list? Post in the comments below.

And enjoy your holidays!


Music Monday - International Women's Day

On this International Women’s Day, I have been reflecting on gender differences in the various aspects of music and teaching activity I am involved in.

As a registered teacher, I am firmly part of a majority. In 2017-18 the ratio of female to male teachers in Australian government schools was 76% to 24%. ( www.abs.gov.au)

As a registered music teacher, the ratio of females increases further to around 82% female to 18% male. 

And in the world of singing teaching and our professional association in Australia, ANATS, the female members significantly outnumber the males. (www.anats.org.au)

Yet when we look at the statistics on singing performance in Australia, males dominate the scene. In radio, for example, solo female artists tend to make up about 28% of the top 100 most-played songs. This kind of statistic is reflected across all aspects of the industry – festival line-ups, board representation, awards, grants. 

How do we redress this imbalance? Certainly, there is much being achieved by passionate young musicians of all genders, but there is still a very long road ahead.

Finally, in a post that offers no solutions, I would like to commemorate the composer generally acknowledged to be one of the first female composers – Hildegard of Bingen (12th century).

Check out her biography on www.classicfm.com

Happy International Women’s Day!


From splendid to surreal: reflections of a weekend at an online national singing conference

From last Friday evening until late Sunday afternoon, I was online on my laptop, attending the 2020 ANATS National Conference. This conference of Australian singing teachers was originally planned for Adelaide, but after Covid-19 rendered a face to face conference out of the question, the planning shifted to a virtual conference. I was part of the organising committee and therefore experienced the weekend both as a delegate and organiser.

Conferences are certainly not new to me; over my 30+ years of singing teaching I have attended many, both nationally and internationally. I have assisted in the planning and running of several. But this was my first fully online conference.

It was refreshingly relaxing not to have to pack a suitcase and race to the airport after teaching classes up to the last moment. But I missed the flying and the opportunity those few hours in the air give to separate oneself from work at home and into conference mode. For the same reason, I missed the whole hotel experience – the catchups with colleagues over breakfast, late night drinks in the bar while going over the next day’s schedule and so on.

We did have a welcome reception on Friday evening. When planning for a conference in Adelaide, the Beatles famous appearance there in the 1960s, provided a theme. One venue which was considered in the early stages of planning was the Adelaide Town Hall, on the balcony of which the Beatles famously appeared on June 1964, to the largest crowd of fans of their Australian tour. Thus, the conference title “Come Together” was born and even when the conference planning moved towards an online format, the title and theme remained. 

At the welcome reception, delegates changed their computer screen backgrounds to Beatles themes, dressed in Beatles and / or 1960s inspired costumes and poured their own drinks at home. The inimitable Pat Wilson wrote and performed (with a little help from music theatre students at Elder Conservatorium) a song welcoming us all to the conference and showing us what we were missing in Adelaide. Delegates turned off their mics and sang along to “Come Together”. Random break-out rooms were created twice during the reception so that delegates could chat in small groups. This was a very popular activity. Vocalocity – Amelia Nell’s singing ensemble from the Blue Mountains, sang for us and provided a link between the previous conference and this one. Another link was provided by a video of the song composed by Di Hughes for, and recorded at, the previous conference in 2018.

An important aspect of any conference is the networking that happens during meal breaks and various social activities. The Beatles theme provided some opportunity to engage in asocial way despite being online; for example there was a photo competition for the best photo referencing to a Beatles song. Delegates were very creative with their photo submissions.

The conference took place over a conference app – Whova – with Zoom used for larger sessions. Delegates engaged easily with the app and were able to send messages to presenters and other delegates during sessions and throughout the conference. Similarly, the Chat function on Zoom was used both for personal messages and professional questions. Most of the keynotes were delivered live but papers and other presentations tended to be pre-recorded.

The 3 keynote speakers came from the USA, UK and Australia and during their sessions I felt a strong sense of being at the conference. But at the morning tea, lunch and afternoon tea breaks, it felt surreal to duck out and into my own kitchen to boil the kettle. I missed the chat with conference friends and colleagues. 

On the Saturday afternoon (we were 2 hours behind in WA) delegates from WA gathered at a bar in South Perth for a conference get-together. That was fun and a chance to chat with colleagues. Interestingly, many had not yet watched any of the conference. With the conference app, all sessions will be available for one month after the conference. The upside of that is that, unlike face to face conferences when one has to choose between concurrent sessions, with this one, all sessions can be watched eventually. 

Overnight on Saturday, some Australian states moved into daylight saving time. That meant that in my state of WA the Sunday 9.30am session started at 6.30am. Differing time zones is certainly an issue to be considered in virtual conferences.

This conference attracted around 300 delegates which is big for an ANATS conference. We had delegates from New Zealand and the USA – again unusual. Management of large groups online can be challenging; for example in the special interest group which I chaired, there were 4 screens of participants and I found it quite stressful to constantly scroll across screens to spot delegates with hands raised to speak, while at the same time focussing on the discussion.

In a post - Covid world there is likely to be an appetite for more online conferences – or at least  an online option or component in future conferences. Just as teachers have upskilled in online teaching this year, I am sure we will all become better at engaging in the virtual conference world.

Music Monday - Thinking about friends and colleagues in Melbourne and Victoria

Of all aspects of my teaching and arts practice, vocal coaching is the one that gives me the greatest satisfaction – the biggest buzz. Over many years I think I have got better at it; mainly due to working with some outstanding singing teachers in my own training and also being lucky enough to work alongside a number of stellar speaking voice teachers in my tertiary teaching. There is nothing quite like the buzz of being part of a team putting on a show.

For the past weeks since being allowed to return onto campuses in Western Australia, I have relished being back in the rehearsal room for a performing arts high school production of Chicago. Our director was herself in the West End show for 5 years, so our lucky music theatre students are getting a genuine experience of Bob Fosse’s style as well as invaluable personal insights into Kander’s intentions. I have tried to replicate the precision of the Fosse choreography in the vocal calls and have been impressed by the performers’ willingness to engage in very detailed work on the music. These are specialist and highly motivated kids but some of their focus this time seems to come from our shared relief to be back in the rehearsal room.

And so this Monday, as Melbourne goes back to a stage 4 lockdown and regional Victoria faces stage 3 restrictions as well as mandatory mask wearing, I am musing on how easily our return to normal could backfire here in the West. 

In Australia we have been lucky that government responses to the pandemic have been based on expert medical advice, rather than politicised. However, in all communities across the world there exist minority groups of science deniers, conspiracy theorists and humans who believe that their own rights and immediate convenience surpasses the common good. Victoria was unlucky enough to cop a rise in Covid-19 cases as a result of selfishness or ignorance, but it could so easily be any other state of Australia. 

As our family, friends and colleagues in Victoria tough it out for the next 6 weeks for the greater good of the rest of Australia, please let arts teachers and practitioners across the country go to work with even greater resolve it order to make it all worth their while.

Victoria – we stand for you and with you.

Music Monday - COVID 19 + Singing

This report was brought to my attention a few days ago. It is definitely worth a read. (NATS is the highly respected professional association of singing teachers in the USA; the American equivalent of ANATS in Australia.)

Now while it must be remembered that the viral load is very much larger in the USA than here in Australia, the report gives us much food for thought:

Adequate spacing and distancing between singers in any ensemble, choir, class or individual voice lesson will be the only safe way to teach and rehearse for the foreseeable future.

Some of our traditional singing warmup practices of touching our faces and feeling for vibration will be only possible within the most stringent of hygienic practice.

We singing teachers need to be vigilant in watching for and calling out students touching mouths, noses and eyes during our lessons.

As Australia moves towards easing the Covid-19 restrictions over the coming months, we face a challenging time ahead as we all work together to find ways to continue making music safely and with artistic integrity.