Dancers, actors, and musicians work hard to be able to perform effortlessly onstage. Many suffer injuries, endure grueling rehearsals, and put their blood, sweat, and tears into their craft. But what happens when a performer has to overcome another set of challenges? Breaking into performing arts industries is difficult enough, but physical disabilities create a completely different set of obstacles. Often times, performers with disabilities are discouraged from doing what they love. Though stigmas against those with physical disabilities have decreased in our society, producers are often hesitant to cast someone with a disability or hire them to arrange music. But why? If someone has the talent, drive, and ability to create or perform, the accommodations they require should not matter. Alex Lacamoire began playing piano at the age of four and fell in love with music. He took inspiration from the performers he saw on MTV and loved how much fun they were having while playing their music. Flash forward, Lacamoire has worked as the Music Director on several productions, such as Wicked, High Fidelity, the 2001 tour of Godspell: Stephen Schwartz's Captain Louie, In the Heights, and Hamilton. He was the Music Supervisor for Dear Evan Hansen and the Executive Music Producer for The Greatest Showman. Lacamoire is a three time Tony winner: in 2008 for his work on In the Heights, and again in 2016 and 2017 for his work in Hamilton and Dear Evan Hansen, respectively. He also has four Grammy Awards, three Drama Desk Awards, and an Olivier Award. Most recently, Lacamoire was honored at the Kennedy Center Honors alongside his Hamilton colleagues. Mr. Lacamoire was kind enough to answer a few questions about his success and how he overcame his particular struggles to get where he is today. “I consider myself very lucky because I have worked very hard to get where I am today,” says Lacamoire. Because he has a long list of credentials and achievements, many are unaware of Alex Lacamoire’s hearing loss. His mother first noticed her son sitting closely to the TV in order to hear and follow the characters on-screen. He began wearing hearing aids and eventually took classes in school that incorporated sign language. There are times when he is embarrassed by this disability, but Lacamoire tends to focus on the positive. “My love for music and my passion for what I do made me not really think about it.” “My love for music and my passion for what I do made me not really think about it,” said Lacamoire when asked about how he overcame his hearing loss. He takes inspiration from his father, who suffered a stroke in his late thirties. The right side of his body was paralyzed and doctors told him that he would not be able to walk again, let alone wear normal shoes or drive a car. Lacamoire’s father overcame this; he walks, wears normal shoes, and drives using personalized pedals. Much like his father, Lacamoire did not let an impairment stop him from doing the things he wanted to do. This drive serves as an inspiration to young artists, encouraging them to push past their struggles and just keep going. Alex Lacamoire is not an outlier among artists with disabilities. Though he has years of experience behind his long list of accomplishments, a young dancer has also overcome her odds to continue performing. “I fight everyday,” says seven-year-old Tessa Puma. Tessa is a dancer who performed various genres of dance, such as jazz and hip-hop, at dance competitions. She began experiencing flu-like symptoms and contracted strep throat. After further testing, doctors diagnosed Tessa with a rare disease that required emergency surgery. The infection from the disease forced doctors to amputate the young dancer’s leg. Her parents were hoping she would recover from the surgery but never expected her to walk, let alone dance. Tessa was fitted for various prosthetic legs and went to dance camp with a walker after she found the artificial leg that fit her best. About one year later, she performed onstage at a dance competition and the crowd loved the enthusiasm, drive, and talent of the young dancer. Tessa is yet another example of a performer whose passion for the arts motivated her to fight through a physical disability to shine onstage. Actors with disabilities often feel discriminated against or left out, both on Broadway and in Hollywood. Able-bodied actors often portray characters with disabilities because of the stigmas against those who need to use a wheelchair or hearing aids. All disabilities, ranging from physical challenges to visual and hearing impairments are challenging to overcome, but it's possible. One young actress pushed past all obstacles for her love of theatre. Much like Tessa Puma, Ali Stroker is a young performer who has not let her physical disability stop her from shining onstage. She is most well-known for being the first person in a wheelchair to perform on Broadway, but she worked very hard to get where she is today. Stroker, a New Jersey native, suffered a spinal injury in a car accident at the age of two and was paralyzed from the chest down, requiring her to use a wheelchair. After seeing her first Broadway production at seven-years-old, she became infatuated with performing and began training to become an actress. After years of hard work, she became the first actress in a wheelchair to earn a Bachelor in Fine Arts from New York University Tisch Drama Department. Ali Stroker was cast in a guest-starring role on “Glee” in 2013 and then became the first woman in a wheelchair to be cast in a role on Broadway. After her Broadway debut in Spring Awakening, she has been cast in several roles since, and now thirty one-years-old, she continues to inspire other actors and performers who push through disabilities. “I don’t want to be cast because of my wheelchair… so you hope you are really seen in an audition room and you hope you are given opportunities because of what you’re bringing,” says Stroker. She is a demonstration of pushing past challenges in pursuit of a dream. She is an inspiration to other performers who may feel discouraged because of an impairment, and she continues to advocate for equal treatment for disabled performers. There are countless examples of performers and creators who have proven they are more than their impairments. If so many individuals have proven time and time again that they should not be defined by a disability, why are there still stigmas around working with disabled artists? Moving forward, everyone in the theatre community must keep an open mind and understand that someone with an impairment is capable of performing beautifully. These artists have worked hard to continue doing what they love, which is something that should be celebrated and appreciated, rather than overlooked.
0 Comments
Taking an idea and turning it into a Broadway showEveryone knows the important role of a director: helping actors in character development, largely controlling the day to day operations of a rehearsal space, and acting as a leader and mentor for everyone in the production. Choreographers are responsible for giving performers movements, and those performers are responsible for conveying the story. Even those who are not involved in the arts can understand the importance of these roles, but how do all of these artists and creators have the opportunity to produce a Broadway show? What steps need to be taken to create the finished production? Daniel Rakowski has worked on the production of several shows for the past ten years, including the revival of On the Town and Natasha and Pierre and the Great Comet of 1812. His introduction into the world of theater is similar to many others: he saw a play when he was in kindergarten and though he didn’t know how, he knew he wanted to be a part of theater. After graduating college, he became a touring actor but quickly learned that the behind-the-scenes jobs were calling him instead. He has had a great deal of experience with producing shows and shared insight about the details the average person would not think about when producing a show. The Idea
A show first begins as an idea. The idea is presented to a producer and is either turned away or moved into the next stage called workshopping. Workshopping allows the creative team, meaning the director, choreographer, and others who help stage the production to see the skeleton of the show. It also allows potential investors to see the production. Some workshops may have props in a regional theater, while others may have only a few actors and props. Though the whole process sounds challenging and tedious, Daniel Rakowski says the most difficult part of his job is finding an idea that could translate well onstage. “Finding an idea for a show that is genuinely compelling. In hindsight, it's super easy to see what concept is amazing and what is a flop, but it's enormously tough to understand and envision that in the earliest stages.” Funding Assuming investors and other producers are interested from workshops and proposals, funds are then needed to make the score and dialogue come to life. Technology, paychecks, and the cost of union requirements are all covered by the money raised. These funds are collected through investors who each agree to contribute a certain amount of money. They can also be collected through gala events where other investors have an opportunity to support the project. Auditions and Rehearsals Once the creative team has the necessary funds to carry out the show, auditions are held to find the perfect performers to bring the show to life. Callbacks are held after to finalize the cast list and rehearsals will follow. Rehearsals begin with a table read of the script, discussion of the set and costumes, and listening to the score. The choreographer and director mold their performers to create their art within a few weeks of rehearsal. “Producing a show means to create the superstructure for artistic expression to happen. That includes the funding, the matchmaking of the creative team to the content, and finding the intersection of art and commerce. If a show is a ship, the producer is the builder and the director is the captain,” according to Rakowski. The production team has worked to build the show, and the creative team has the power to artistically guide everyone. Previews Soon after, previews of the show begin, meaning audiences and critics can view the show. Though this means the show is under scrutiny of critics, it allows the public to view the show for the first time, creating a buzz. Running and closing From previews, the show moves to opening night, which is exciting for everyone involved. But the work does not stop there. “Once a show is up and on its feet, producing shifts to supervision of the operations,” Rakowski says. The production team is now responsible for maintaining the show and possibly turning a profit. The typical run of a new musical is shorter in comparison to productions that received more funding and positive reviews. The whole process, from the original idea pitch to the opening night of the show span roughly from 3-5 years, then the show runs for a certain amount of time before it closes. The production team works with everyone to ensure the show succeeds. They truly build the ship and allow the creative team to sail it in the direction of their choice. Without the help of these people, hit Broadway shows would be nothing more than an idea. “The importance of theater education is to make the world better because it makes more self reliant, more empathic, more encouraged, more well rounded people”. Corinna Sowers Adler in the Importance of Theater Education:The voices of children singing classic musical theater song echo through the halls of Oakeside Bloomfield Cultural Center. The mansion, constructed in 1895, is decorated with patterned carpets and natural light glimmering from the multitude of windows, showing the facility’s age and adding to the beauty of the architecture and the garden outside. The smells of the aged wood panelling and sheet music work in tandem with the melodic voices of children to create an atmosphere that feels alive. A stronger voice, with more experience, knowledge, and maturity rises an octave higher than the rest, encouraging them and making corrections when necessary. This is the voice of Corinna Sowers Adler. Corinna Sowers Adler is a cabaret performer, vocal coach, and director. In 2009, she held the position of Director of Theater at Wilkes University Conservatory, and the Artistic Director of Children’s Theater at the Historic Pocono and Bucks County Playhouses. Corinna is also the cofounder of Nicori Studios & Productions, alongside her husband, where she has provided vocal instruction for over 15 years. She has performed in a wide variety of locations in the past decade; most notably, 54 Below, Stage 72 at the Triad, and several Annual Cabaret Conventions. She was nominated for the 2012 MAC Award, as well as the 2012, 2015, and 2016 BroadwayWorld Cabaret Awards in Best female Vocalist and Best Host of a Variety Show. This incredibly extensive and impressive resume is completed by her four Tony Award nominations in for Excellence in Theater Education. Despite all of these accomplishments, Corinna is a humble person who strives to help her students grow as performers. I was nervous when sitting down to interview Corinna because of her notable success and her boisterous personality that commands the attention of anyone in the room. These views changed during the interview however, because I was able to see the more vulnerable side of my director and mentor. She always reminds her students to refrain from using “kind of” and “like” when speaking; however, the confident performer was stuttering over her words from time to time in attempt to find the perfect way to describe the craft she loves so much. “My motto is Educate. Inspire. Entertain, and it does all these things for me too,” says Corinna when asked what teaching young performers means to her. The production company she began with her husband works towards inspiring students using the aforementioned motto. Corinna talked about several of her student over the years, one of which seems to hold a special place in her heart. This student first came to Corinna as a nervous 8-year old who was a timid singer and actress, but her talent began to shine through as she gained more confidence. Several years later, this student is a prominent member of Nicori Studios & Productions who is unafraid to voice her opinion and step into the spotlight. The growth seen in this student and countless others shows that Corinna truly loves helping her student grow into better performers and more confident people. “The importance of theater education is to make the world better because it makes more self reliant, more empathic, more encouraged, more well rounded people”, says Corinna when asked about the importance of theater education. She is also never hesitant to thank and acknowledge the people who help her when directing. She responds that her favorite thing about her job in theater education is the people she gets to work with: both students and those behind the scenes. Throughout the entire interview she gave credit to her students, saying they motivate her to work hard and always have a positive attitude when stepping into a studio. She learns from them as much as they learn from her, creating better people both onstage and behind the scenes. The voices ricocheting off the wood panels and the smiles glowing under the chandeliers slowly faded as the Wednesday night rehearsal came to a close. The students left the mansion for the night and I had reached the last of my questions for Corinna. “What is the best part about your job?”: “When someone asks me what the best part about my job is, I never say I’m going to work… I always say I’m going to rehearsal or I’m going to teach.” |
Details
Archives |