What Comes Next?

Hi reader!
Isn’t that the million dollar question? What comes next for schools? For our health? For what we consider “normal?”
I surely don’t have those answers myself, as much as I wish I did. It’s been an interesting year for sure. A year in which I think I’ve seen some of the best performances of my life. A year in which I learned how to do speech therapy virtually, became closer with my colleagues and students. A year that has certainly been all over the place in ways I can’t even begin to describe. Here is what I do know: it has been a pleasure and labor of love writing this blog. As bittersweet as it is, this will be my last post.

I have had so many unforgettable experiences with this blog. I’ve met with and spoken to my heroes, connected families to resources, connected my students to the arts, and fulfilled my every theatre-lover’s wish. I have made lifelong friends and connection I know I will keep forever, discovered new work, and become inspired by the works of other professionals. This has truly been a magical experience.

With that said, you may be wondering why I’m choosing to stop now. At the moment, my students and my job require my full attention. Aside from that, this passion project of mine has started to feel more like work and less like a connection to the arts or between communities of people, and that was not my intention. The little blog that could accomplished a lot during its three year season. Maybe I’ll be able to bring it back sometime in the future, but I’m not looking that far ahead yet. I’m focusing on what’s next for me, my students, and my family and friends. I will continue to support the arts, the artists who have been generous with their time and words with this blog, and continue to teach speech therapy and connectivity through the arts and theatre

For the artists and makers and dreamers who have let me interview them and helped support Speech To Stage, I thank you from the bottom of my heart.

For my readers, I wish you happiness and connection always. Should you ever need anything from me or from one another, feel free to reach out by email at slplayswithwords@gmail.com. I miss you all already.

Keep playing with words and see what your message creates!
–Stef the StageSLP

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I’ll Make You Proud of Everything I Know: A Conversation with Kyle Scatliffe

It’s Speechie Sunday and I have been looking forward to sharing this conversation for a while. At the beginning of the year, I heard Kyle Scatliffe on an episode of The Hamilcast.I had already been following his career while he toured with the Philip company of Hamilton, and became even more interested as he joined the cast of Harper Lee’s To Kill A Mockingbird. Many of my students are reading this book for school, and Kyle kept mentioning how much of his job he learned as he worked. The first thing that popped into my mind was that he could really share some of the ins and outs of being an actor, tour life, what it’s like to perform on Broadway…he had so much to share on so many topics. During one of his three Hamilcast episodes, he also discussed anxiety and vocal health, and I couldn’t imagine anyone relating to my students as well as he could. I am so glad that when I reached out, Kyle was happy to participate in this interview. We talked about so much and covered a lot of ground, I hope you enjoy this conversation as much as I do.

Stef: How did you become interested in theatre as an activity? As a career path?

Kyle Scatliffe: When I was fifteen I was feeling a bit aimless because I had fallen out of love with trying to pursue basketball as a career. I just knew that I enjoyed it but the actual profession of it wasn’t for me. I had an elective theatre class that year (9th grade), and my teacher Donna Bialkin suggested that I try theatre after I performed a scene in class. I told her that I would have to think about it. I thought about it for the entire year, but ultimately decided that I should try it. I fell in love with it and haven’t looked back since.

S: One look at your Playbill biography, and anyone can see that many of the roles you’ve played are pretty heavy ones. How do you get into or out of character and keep the role separated from your personality?

KS: I don’t treat every character the same way, and because of that my way of getting into character changes with each one. For Tom Robinson, I listen to a specific playlist of songs that were about the Jim Crow era, and for Hamilton it was accent work for Lafayette and trying to be as full of myself as possible for Jefferson.

S: Many of my students are experiencing anxiety and have developed their own strategies for giving presentations and getting involved in new social situations. As someone who is pretty vocal about anxiety and being an introvert, how did you become comfortable putting yourself out there in auditions and in performing?

KS: When it comes to auditioning and anxiety, what helped me the most was being so prepared that any misstep wouldn’t throw me off. My anxiousness tends to flare up because I’m a perfectionist in some ways and a realist in others, and those two sides are at war with each other. So, preparation always helped me. Another thing that helps is knowing that the people in the room have more pressure on themselves than you do. They are the ones on the hook if they can’t find someone to fill in a part. You’re just there to help them.

S: You’ve learned a lot about vocal health over the course of your career. Now that this is sort of becoming a more discussed topic among actors, what do you do to keep your voice healthy?

KS: Steam. Steam. And Steam. Steaming is the best thing for your voice. When you wake up and right before bed. I also don’t drink at all because it can dry you out. It’s all about taking care of yourself as an individual and knowing your responsibilities. Friday night is a cute night to go out but it’s not when you have two shows the next day. I also have a voice teacher that I see regularly. And whenever you are sick, apple cider vinegar is your best friend. It’s gross…but it’s your best friend…and garlic. Haha.

S: You’ve had the opportunity to perform with Disney Cruise lines. I have older students who are interested in pursuing careers in both theme park/ cruise line entertainment and acting in stage productions. Are auditions for an opportunity like this different from auditions for theatre productions?

KS: Hilariously enough…no. They are structured the same way. They may have open calls for the shows or agent submissions and you have to prepare something from your book or something from the shows you are auditioning for. It’s basically the same.

S: You get to play really charismatic historical figures in Hamilton. My students are curious about whether or not this made you want to learn more about our country’s history aside from this production?

KS: History was actually my favorite subject in high school, so my general curiosity towards what has happened, what could have happened, and how we don’t repeat the bad that’s happened has helped me immensely throughout my career. So, coming into Hamilton I knew a lot of tidbits about the founding fathers and their relationships and what they did. I just had to fill in the details.

S: You are currently playing Tom Robinson in To Kill A Mockingbird on Broadway. Many of my students have read or are currently reading this book. What is it like to portray a character so many are familiar with through other genres?

KS:  Because it’s a new version of the show and a new version of the script, I tend to not think about that too much. Everyone has come into the show thinking about the characters as if they’ve never been portrayed before because of the agency of the characters in this particular version. Every once and I while I do have to speak on it though and that’s when I’m reminded. Luckily, this version of Tom isn’t extremely dissimilar to the book or the movie. But he has more of a decision in the events that happen on stage.

Photo: Brian Hester

S: What are the best parts about doing a role on tour versus a sit-down production?

KS: The traveling! I got to see and experience a lot of American cities that I’ve always wanted to go to. The nice thing about not being on tour is the fact that I have a fiancée and two dogs at home. You get homesick after a while and that’s what brought me back.

S: What do you think aspiring actors need to learn before working that they may not learn in school?

KS: Every actor has a completely different path. Don’t look left and right and think you are failing because other people are doing better than you or are involved in work you want to be involved in. Everyone’s path is different. And that you are never not an actor as long as you truly believe you are one and put in the work to be one. Outside validation is great, but when it’s not there, what are you?

S: How does your relationships with cast members impact your onstage performance, if at all?

KS: It helps deeply with chemistry. You should be able to have chemistry with people even if you don’t like them, of course, but it helps to be friends with those you work with because it makes the job easier. I had a teacher tell me once that he couldn’t stand one of his coworkers and he was not only supposed to be with her in the show, he was supposed to be married to her. So, he just found something about her he liked and would remind himself of that. It just so happened to be her jawline, ha-ha.

S: Every week I challenge my students to do something outside of their comfort zone. What would you challenge my students and/or readers to do?

KS: To live and to experience. Experiencing life and understanding life as it is and as it could be is an actor’s best tool. Regardless of what style of acting you use. We are on stage emulating life, but you have to understand it first before you can do that. And most importantly of all is to understand both sides of an argument regardless of what you actually believe. Try to understand how and why someone got to where they are not just judge them for where they are now.

 

I can’t thank Kyle enough for answering the variety of questions my students and I asked. When I shared all of his responses with my students, they really agreed with the notion that comparing themselves to other actors didn’t do them any good, and most had not thought about needing to know both sides of any and every argument. They’re learning how much space there is between the beliefs of “right” and “wrong” in daily life, but hadn’t thought to apply it to acting. They felt like if Kyle had been a classmate of theirs, that they’d be great friends, and now have another actor’s perspective on how the business works.  My most anxious students had not considered the folks casting could possibly as nervous if not more than they were, and this really resonated with my students.

 My students are now coming back to me with “lessons learned” from experiences, and I’d like to challenge my readers to do the same. In comments, share what you’ve learned from looking at another side of a topic. What were your lessons learned? To hear the interview from The Hamilcast, check out Kyle’s first episode here, and to keep up with Kyle Scatliffe, you can follow him on Instagram here. If you can, go see his performance in To Kill A Mockingbird—that whole production is powerful in every sense of the word.

Keep playing with words and see what your message creates!

–Stef the StageSLP

If I Could Tell Her: An Open Letter to My Students

Dear Students,
Monday was SpeechToStage.com’s third birthday. As much as I’ve learned from this blog over those three years, I’ve learned even more from you. This letter is everything I want to tell you given the current state of events.

I’m sitting at home and wondering how you’re doing, and if you’re missing our speech sessions as much as I am. I’m wondering how you like learning online, and how I can best help you. Over the past three years on this site along with many years of practice as an SLP, you’ve always taught me to look at the world in perspectives I have yet to consider. I want to tell you that when I get to see you again, I will likely cry tears of joy, because you are more than my students, you are my kids.

I want to tell you that this is weird for all of us. Online learning is new for your teachers and parents and we’ve never done this before. We’re as frustrated as you. We know it’s hard. We want to help you through it, but we don’t have all the answers. We’re all doing the best we can. I want to tell you to share your thoughts and ideas and this time with your family. You won’t get this time back, and as someone who is in a house alone, make lasting memories with those around you.

I want to tell you the other side of this will be quite something. It may not be how we left things. It will cause us all to keep learning, as challenging as that is. Sometimes the rules change when you least expect it. I am learning to roll with it, since I can’t control much. Follow directions, and do what feels right to you. I have had some great days and some days when I’ve felt sad. I’ve had days when I felt a lot of feelings all at once. I want to tell you to do the best you can, and that’s all any of us can do.

I want to tell you to keep in communication with your friends. Email, text, Zoom, call–staying at home doesn’t mean staying silent. I’ve been leaning on my friends a lot to keep me sane. Find the funny. Find the silver lining. Find the moments of joy in your day. Remember the times you laughed so hard with your friends that you cried. Remember birthday celebrations, and celebrate the little things too. Find your people. Keep them close. Love them hard.

I want to tell you that I am here. I am here however I can be, circumstances permitting. I want to tell you you’re in my heart and my head all the time. I want to thank you for being you, and that my memories made with you are bringing me laughter and comfort even when I can’t see you. I want you to know that this will end eventually, and when it does, I will be waiting for you.

Keep playing with words and see what your message creates!
Stef the StageSLP

Everybody’s Got A Dream: A Conversation With Matthew Scott Creative Education Director of Broadway Dreams

If you had asked me what my dream was when I was younger, my answer would have been to perform—a total no-brainer. I was hooked on performing for others and bringing smiles to their faces with something I could do. I found a way to channel that into the helping profession of speech pathology. For my students, the answer is very similar. Almost all of them want to perform in some capacity, they’re just not sure how to get there. While some are interested in doing school productions or youth theatre organizations local to us, others want more than that. Enter Broadway Dreams, a not-for-profit organization that specializes in holding masterclasses in singing, dancing, and acting. I got to talk to their Creative Education Director, Matthew Scott, to learn more about his love for performing and arts education, this organization, and how it all works. Scott has worked on Broadway and touring productions of An American In Paris, Jersey Boys, Sondheim on Sondheim, and First You Dream.

Stef: What got you interested in performing?

Matthew Scott: I grew up just outside of NYC and started seeing shows and concerts when I was a kid. My mom always played music in the house and I started taking voice lessons around the time I was 11.

S: What is Broadway Dreams?

M: We are a not-for-profit Arts Organization that provides training and mentorship. We are currently active in ten cities in the US and six partner countries. We specialize in weeklong intensives and performance opportunities. We bring Broadway professionals (directors, choreographers, musical directors, actors) to your city, teach master classes and at the end of the week, we write and perform a show.

S: How did it get started?

M: Fourteen years ago, Annette Tanner, the executive director and founder of Broadway Dreams started the organization with one weeklong program in Atlanta, GA. It grew from there.

S: What are the different programs within the organization?

M: Aside from our weeklong intensive programming which takes place predominantly in the summertime, we offer additional programming throughout the year in the form of Triple Threat Extremes, College Prep Classes, and Broadway Boosts. More info can be found on our website www.broadwaydreams.org

S: Are there age restrictions at Broadway Dreams?

M: The wonderful thing about Broadway Dreams is we do not have an age cap. You are never too old to dream!

S: How do students get involved?

M: They often find information online or by following our talented faculty on social media. But word of mouth is a big part of it too, and we have students who have been with us for over a decade now.

S: What sort of students get involved with the programs? Is it for students who are thinking of musical theatre as a profession, or can classes be taken for fun?

M: It is for anyone who has a dream. Many of our students go on to be professional performers, but many others pursue parallel careers in the arts, or become teachers, or stage managers. No matter what, they leave our program with a better sense of self. I will say this, our students are FIERCE, talented, and yes competitive. This is a serious program and a great opportunity for those who are serious about a career in the arts.

S: How does a school or organization connect with Broadway Dreams?

M: They can reach out on our website.

S: Why do you think the arts are an important component of education?

M: It’s all about teaching empathy, acceptance, tolerance, and music and theater do that. It is healing and all children should be able to express themselves through art.

S: Some of my students feel it’s easier to play a character than it is to be themself. Do you find this to be true for you?

M: There is much truth in that statement. And yet, what your students may not realize…just yet, is that they will always bring a part of themselves to any character they play. Even the characters who are not redeemable, and do not deserve the sympathy of the audience deserve the sympathy of the actors who play them. Therefore, you must always seek to find redemption in any character you play. And often times, that means looking inward and bringing your own personal experiences to the role.

S: How do you select the teachers for your classes?

M: Often times I just reach out to my exceptionally talented friends, people I’ve worked with or long admired. The criteria for our faculty are that they be a great teacher and successful in their field. Also, they have to be a good person.

S: During your career, is there advice you’ve received that has changed how you perform? Is there any advice you’d share with kids/teens who are currently performing in school?

M: Keep going. Keep singing, and dancing. See as much as you can. Read. Go to the theatre. Listen to cast albums. Be informed and start to figure out who you really are. It’s like a moving target that is constantly changing, so keep pursuing your goals and it will reveal itself to you.

S: Every week I challenge my students to do something outside of their comfort zone, what would you challenge them to do? 

M: If you are not a dancer, go to dance class. Not a singer, go do Karaoke, and take voice lessons. Write. Create. Dream.
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I can’t thank Matt enough for his time and insight into Broadway Dreams. I have been aware of them since I attended BroadwayCon 2017, and can’t believe it took me this long to dig deeper into their philosophies and programs. I strongly encourage all of my readers to go explore their website and see if they find anything that suits them, I know some of my students have already started exploring. You can find more information at BroadwayDreams.org, @Bway_dreams on Twitter, and @mybroadwaydreams on Instagram. You can follow Matthew Scott at @thematt_scott on Twitter and @fattymattyfresh on Instagram.

 

Keep playing with words and see what your message creates!
–Stef the StageSLP

What Does It Cost To Be Kind: World Kindness Day

Those who know me well know that I value kindness above all in anyone I meet and any task I undertake. It is something I aim to instill in my students and have hopefully been successful. World Kindness Day is November 13th, and I decided to brainstorm with my students on how to observe this day. These are the pearls of wisdom my students came up with to recognize the day.

• “Hold the door open for people who need it and smile at them.”
• “Help someone with their locker–the new ones stick a little.”
• “Bring the groceries in with mom and dad.”
• “Buckle my little sister into the car.”
• “Watch television/play a game that someone else chooses without pouting. You might even enjoy it.”
• “Listen to the adults the first time.”

Now, these seem pretty straightforward for kids my students’ age. We all know how easy it is to be do some of these task. We may even do them ourselves without thinking about whether or not it was a kind gesture. And then there were the things I didn’t think my students would open up about…

• “I’ll tell myself I’m smart.”
• “I’ll be proud of who I am, regardless of what other people think.”
• “I’ll stop being jealous of my friends.”
• “I’ll say nice things to myself.”
• “I’ll be proud of my work.”
• “I’ll believe that I am enough.”

Not only did this give me incredible insight into my students and help me relate to them as people, but it got me thinking about how unkind we can be to ourselves. And when we are, it’s so, so hard to escape the negativity we cause ourselves resulting in a vicious cycle. If there is anything every human being needs, it is kindness and care. Not only on World Kindness Day, but every day. To my students and my readers: I see you, I am here for you, and I believe in you.

Your challenge for the week is to find a way to be kind to yourself and a way to be kind to others. Leave it in comments so we can all learn from one another.

Keep playing with words and see what your message creates!
–Stef the StageSLP

You’ve Got to Be Loud: A Conversation with Lesli Margherita

It is no secret that I am a “quote” person. As someone who works with language, I am always seeking words that fit my current situation, whatever it may be. And when I don’t have the words I want, I’m very honest about it with my students. I’m not afraid of “I don’t know.” I’m not of the mindset that the adult in the room has to have all the answers, or that the adult has to act like an adult. If I’m not being as silly as my students, I must be having an off day. When I discovered Lesli Margherita on Twitter through her performance in Matilda on Broadway, my immediate thought was, “Oh! She gets it! It’s okay to be human, and positive, and to own who you are.” I immediately took her messages of being yourself and ruling your kingdom straight to the speech room. Over the years, my students have designed their own kingdoms, discovered what makes them unique, and learned about themselves. When I started this blog, I knew I had to talk to Queen Lesli, if only to thank her for all she has done for my many students over the years, and for myself. We talk about embracing who you are, performing, and what collaboration looks like for her.
Stef the StageSLP: How did you get into performing?

Lesli Margherita: I started dance when I was about 4. My Mom was a dancer, and I was so hyper the doctor thought it would be good for me to expend some energy. Dance was always my first love, and my ballet teacher was choreographing a production of Oliver, an asked me to audition not knowing if I sang or not. I didn’t either. I sang “Happy Birthday,” and was already a belter, ha.

S: You gave me life-changing advice by answering my question on your first episode of Theater People with Patrick Hinds. I am now the Supreme Ruler of my Speech Room. Frequently my students change their personalities to fit in with others, thinking that they’re too much. How did you come to adopt the position of being yourself?

L: It’s taken a really long time to accept who I am. I think that’s the case with most people. I have always acted like I was okay with who I was, even before I believed it- which I honestly think helped. Fake it ‘til you make it. It didn’t take until I was much older, and not caring so much to believe it. In my business, I’m constantly judged, so I had to learn to accept myself in order to be able to move forward with anything.

S: What inspired you to write Blu!? I’ve used that story so many times in my speech lessons.

L: I have always been interested in the underdog stories, the comebacks. I came across an article (I’m a proud nerd) about rare blue lobsters. It just clicked. I thought, “People think a blue lobster is odd, but it’s COOL”.

S: Congratulations on all three of your TV series. What have you learned from acting on both TV and stage that you can apply to your daily life?

L: To not be self-conscious. Especially in tv. The camera picks up everything, so I have to put it all out there, because if I don’t, the performance doesn’t ring true.

S: Many of my students and I got to see you in Matilda. As a former dancer and a current speech pathologist, I’m curious about how you took care of your voice and body for such a vocally and physically demanding role? 

L: That was a tough one. Loud remains the most difficult number I’ve ever had to do, stamina wise. I had to figure it out vocally first, really working on how to hit those crazy notes without hurting myself. It went for Mrs. Wormwood’s speaking voice as well. I had to learn how to do it without strain. After that, it went out the window once we learned the choreography, because I was just gasping for air. Our speech team had us get our stamina up, then went back to figure out how to support when I needed it. Off stage, I had to continue to do cardio and of course rest when I could. I was always tired!

S: Based on your social media presence, you seem to find the comedic timing in every situation. Did you always have that skill, and how would you encourage my students to do the same?

L: One of my favorite actresses Carrie Fisher always said “find the funny”. You have to. The alternative is awful. I always did, even as a kid. You have to laugh- so I guess it just comes from seeing the light side in every situation.

S: Collaboration is a school-wide goal where I work. As someone who is always collaborating with the community that comes together to form a theatrical piece, television show, or cabaret act, what would you recommend my students do to become effective collaborators?

L: I have had the same group of friends as my collaborators for 15 years. That doesn’t mean it’s always easy. I think you have to remain open to everything, and really listen to other people’s suggestions, even if you think you don’t like them. You never know, just remain open.

S: How much of your characters are written on the page, and how much of your characters come from your own personality? How do you strike a balance between the material and yourself?

L: Part of me is in every character, but part of the fun is becoming someone else. I have to go from the page, that is the most important. I also never look at how someone else played a character before. It’s not important. That’s what makes a character mine.

S: Every week I challenge my students and readers to do something outside of their comfort zone. What would you challenge them to do?

L: I don’t like change. It’s my downfall. I have to challenge myself to get out of my comfort zone every day. The only way I can do that is to say “why not?” If someone else doesn’t like you, or what you are saying- they aren’t your people. Also, who cares? I think it’s more about not caring so much about others opinions of you. Your opinion of yourself is the most important.
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As much as I love words, and however many I claim to know, I will never have enough to thank Lesli Margherita for everything she has shared with me. Be it through this interview, any of her performances, or this post she shared that I totally taped inside of a notebook in my speech room, I always learn so much from her. While editing, I listened to her solo album Rule Your Kingdom, because I am the Supreme Ruler of My Speech Room. My students are already familiar with the power of the word, “yet.” I can’t wait to see what they do with the phrase, “why not?” Even more, I’m looking forward to seeing what that phrase does for my readers and even myself. If you need more Lesli Margherita in your life, you can find her @QueenLesli across social media platforms.

Keep playing with words and see what your message creates!
–Stef the StageSLP

 

Mama Will Provide

Happy Mother’s Day! This post is dedicated to all the gifts that mothers give that I’m not certain a child can ever repay. I’m not a parent, so I don’t know if it’s possible. My mother is the most amazing and intelligent and funny woman you’ll ever meet. She’s beautiful and confident and loving. I am fortunate enough to say that she has given me everything I have ever needed and wanted, while teaching me the meaning of the word, “no.” Here are some of the gifts and memories I hold in my heart forever.

• The gift of gab.
  My mother was never silent around me as a kid. She was always talking. She spoke to me when I was babbling as if it were a true conversation. She took me around our house teaching me the names of everyday objects. As I got older, she taught me how to speak up for myself, and I only asked her for help if I felt I couldn’t handle a situation on my own. Though those instances were present, my mom always taught me to solve my own problems first. She taught me that my words were powerful and so were hers, and for the most part, I always listened to her directions 😉
  I speak for myself now because she taught me to. I speak for a living because she enabled me to do so.
• The value of a girls’ day.
  There is nothing like a day with your mother to make you happy and feel true joy. Getting her undivided attention during our favorite activities was incredible. Whether we were shopping and getting our nails done or sitting at home with ice cream and a movie, being treated as my mother’s equal was and is the best feeling in the world.
• The ability to get creative.
  My mother took me to my first show at three years of age. I was on the edge of my seat for the entire show. I was enrolled in dance lessons around the same time, as well as day camps and sleep-away camps where I could dance and act and figure skate. She let me be creative, which I learned from her. How many other moms, in an effort to get children to come in from playing in the snow, actually scoop up snow in metal mixing bowls and tell us to come in so we could decorate them with food coloring? Her kids didn’t miss the chance to play outside OR get sick from being outside for too long–all thanks to her creativity. I hope it carries into my speech therapy activities.
• Simple comfort.
  I have a very special memory of my mother and I, snuggled together in my twin-size canopy bed. I was around five or six, and we had both had a tough day. In order to make us both feel better, my mom came into my room and slept with me in my bed that night. She sang to me, and read to me, and held me close. Only now can I fully appreciate that night. Now, when I’m upset, I still want those times back when my mom let me crawl into her bed. Nothing mattered beyond the confines of the bed, just the comfort in that space.
• Life lessons.
  I still tell my mom she “doesn’t get it,” to this day. And I am still wrong. She has lived through this part of her life already and she is always right. She’s taught me so much about so much, and her life lessons always prove true. Trust yourself, do what you know is the right thing, and so many more.
• Unconditional love.
  My mom loved me through every high and low of my life. She still does. She listens to me cry and stress and laugh and celebrate everything as it happens now. This was just as true when I was under her roof. We fought like all mothers and daughters fight. We’re far from perfect, but we’re perfectly us. And we have always loved each other, and we always will.

My challenge to you is to make a list of your favorite memories with your mother. See what you each remember and value, and take that walk down memory lane. It’s amazing what you’ll unearth as you’re talking.

Keep playing with words and see what your message creates!
–Stef the StageSLP

Make Them Hear You: A Conversation With Lynn Ahrens and Stephen Flaherty

Growing up dancing, an integral part of my life was music. When I knew I needed to get emotion out or truly dig down deep and express myself, music was what let me find myself through dance. Stories got told and feelings were freed–joy, sorrow, what have you–through no better musical style than that of musical theatre. There are many great writer-composer duos, but there are truly none that have struck a chord in me such that Lynn Ahrens and Stephen Flaherty have over the years.

Ragtime has such a grip on my heart that I know it will never let me go, Anastasia fills me with such joy and wonder that I never want to leave that world, and Little Dancer, which was shown at the Kennedy Center in Washington D.C., is a show that truly needs to reach more audiences. It is the music of theirs I relate to most–once a dancer always a dancer.

Just before I worked up the nerve to ask for this interview, a dear friend of mine and I started texting the lyrics to School House Rock back and forth because Lynn Ahrens wrote them! That’s right, the same material I use to create therapy lessons for my students are the ones that help my friends and me remember facts we learned in school. This interaction is one I’ll not soon forget, and I hope you enjoy it as much as I do.

Stage SLP: What got you interested in theatre?

Lynn Ahrens: The first Broadway show I saw was Fiddler on the Roof, and it made me very interested in the art of telling stories in song. Years later I took a musical theater workshop, and the idea of actually writing for the theater took hold.

Stephen Flaherty: I’d been playing the piano since I was seven but what really got me interested in music for the theater was when I saw a touring production of the musical Godspell when I was twelve. I knew I had to be a part of that magic. That same year I wrote my first music for the theater: additional underscoring for my school’s production of Peter Pan.

S: For my students, editing can be really tough. So can finding the main idea or summarizing. Many of my students are working on these skills in speech and wanted to know how this translates into writing lyrics?

A: Lyric writing is all about editing, and each song needs to be concise. The classic song form is AABA—which means A) set up a premise or idea, A2) expand on that same idea, B) Develop the idea in a different direction and then A3) wrap up the idea. Not every song has this form, but it’s a good place to start, and a good way to think about organizing ideas. Maybe the simple AABA format will be of help to your students in organizing and building on their ideas. And of course, every word needs to count and be as clear and colorful as possible.

S: Do you have any advice for how to get beyond frustration when you’re brainstorming or get stuck?

A: Your mind is always busy solving problems. Sometimes you just need to take a break from what you’re trying to solve, and give your brain some breathing space to sort it out. Go to the library. Talk a walk. Take a nap. Let you mind wander. Do not go to your iPhone or Computer.

F: Yes. “Change the channel”: Take a walk (WITHOUT your cell phone), go to a park, go to a museum. Any of these may spark something or help you look at what you are working on with new eyes. And always carry what you need to capture your ideas when they do come, so you can quickly record it and remember that spark of inspiration.

S: You have written the lyrics to so many wonderful shows. Some of the most powerful lyrics I’ve ever heard, are those of yours in Ragtime. This is one of the shows I firmly believe had a hand in molding my upbringing. Can you talk about what that process and experience was like for you?

A: This would take a book to describe. Suffice to say, it was a wonderful collaborative experience, and once we sorted out how the many story strands could be organized, the writing came quickly. I think the first draft was done in about 6 months. The novel is written in a very declarative style, without a lot of dialogue, but I found the lyrics “in between the lines” –in other words, in what the characters didn’t say.

S: I have seen Anastasia twice now and another visit to the Broadhurst is certainly not out of the question. Why did you feel the need to come back to this particular work and add to it?

A: We always thought we could expand and deepen the story if we were given the chance, and when producers came to us to adapt the film for the stage we leaped at the chance. We’ve been able to make the story more adult, more complex, we’ve eliminated a couple of the most cartoony characters and have created a more realistic antagonist. The show is more historically accurate than the animated movie, too, and we got to write a slew of terrific new songs for characters who never really got to sing in the original.

F: There was a deeper story to tell. In an animated film you can only go so far and so deep. With film, you’re not the captain of the ship; the producer is. We knew there was more to discover about our characters and had a strong desire to bring the story back to its original historical roots. Luckily, the film company agreed, and we were able to go forward. It’s certainly been a journey!

S: I was extremely fortunate to get to see Little Dancer at The Kennedy Center. I found theatre through dance, and this show is my favorite of the nearly eighty I’ve seen so far. What drew you to this project?

A:I had always admired Degas’ Little Dancer sculpture, but for some reason I suddenly began to wonder about the girl who posed for it—who was she? What was her story? I did some research and found out the few known facts about her and her family, and then decided to weave those facts into a fiction, set in the colorful backstage world of the French ballet.

F: Thank you! As a composer I wanted to write more for the dance world, and we both wanted to work with Susan Stroman, who was central to the creation of this piece. Lynn came up with the central idea: The story of this young ballerina who would inspire a great work of art becoming, in many ways, the most famous dancer in the world. We are still working on the show, focusing the story and deepening the central relationship between Marie and Degas.

S: You also wrote the book for Little Dancer. For those who may not know, what is the difference between writing the book and the lyrics?

A: Lyrics are the words that are sung in a musical. Book is the scene by scene structure of the musical, and all the spoken words in those scenes.

S: Is there a future for Little Dancer so more people can be as amazed by it as I was and continue to be?

F: There is a future. We are in discussions currently about another regional production with its sights on Broadway. So…fingers crossed!

A: We hope it will come to Broadway at some point in the next year and a half.

S: What inspires you to write?

A: Life, literature, music…the world at large.

F: Many things inspire me to write. I tend to be curious by nature. I think you need that quality to be a writer or composer. Inspiration is everywhere, you just need to open your eyes, ears, and heart and dare to look.

S: We have a school-wide goal of collaboration, and you two are well known for your partnership together. What is it like working consistently with the same partner?

A: It takes patience, kindness, a sense of humor and a willingness to forgive. We are also very honest with one another.

F: Over time, you change as both individuals and writing partners. That’s one of the things that makes it all interesting. We both cultivate our own interests, and that allows us to bring new things to our collaborative process. You have to develop trust and know that you can pursue and try any idea without the fear of it not being “good enough,” without fear of failure. Once you have that freedom with a partner you are able to really fly.

S: Do you have any advice for my students on how to be a productive partner in collaborative work?

A: Keep an open mind, listen to their ideas, and rather than saying “I don’t like that idea, try saying: “Maybe not that, but that gives me another idea. How about this?” Try to build on each other’s ideas.

F: Yes. It’s all about trust, support, and honesty. And knowing that criticism, when it is good criticism, making your piece and yourself the best it—and you—can be. Honesty coupled with kindness is key.

S: You got to write for School House Rock, and I can tell you that I use your lyrics with my students in grammar lessons frequently. What is it like to have lyrics that have such a life of their own that adults who heard them as kids still quote your lyrics?

A: It’s very gratifying and also very weird.

S:  Once On This Island is being revived this season! What is it like to see new casts bring new life to your work?

A: It’s very exciting to see your work sung by new actors, and interpreted differently by new directors. Theater is a live medium, so it’s never the same twice. That’s what keeps it interesting.

F:  New casts bring new ideas and takes on characters. Everyone is different and unique. In this revival, we have adapted some of the material to fit these actors and their voices perfectly. We’re tailoring the music to fit them the way a tailor would fit someone with a new suit. It’s thrilling to see this production take on a whole new life, and I’m excited about bringing the show to a whole new generation of theatre-goers.

S: What is the difference between writing from the perspective of pure fiction, as is the case in Seussical, a period piece as in Ragtime, or a mixture of both like Anastasia? Does one genre come more easily to you than another?

A: I’m inspired by stories, worlds, and the characters who live in those worlds. It doesn’t matter to me whether it’s fictional or not, as long as it feels like it wants to leap into song. That means that whatever the project, it needs to have built-in emotions and drama. I try never to repeat place or time in my shows.

F: No, although I had to do much more research both musically and historically for Anastasia and Ragtime. Seussical, for me, was about play and the love of language and sound. I got to become a kid again, which was great fun, especially since I was turning 40 at the time!

S: What should audiences know about the work that goes into writing the lyrics for a show that they may not realize?

A: Every song has about a million decisions per square inch. What is the rhyme scheme going to be? What is the idea? What does the character sound like—are they educated? Do they have an accent? Where are they from? What are the details of their life? Is the lyric going to be dense and heavily rhymed or simple and direct? That long note is going to require an open vowel sound. The actor is going to need to take a breath somewhere. I could go on and on. And if you think about all the details in one song, think about all the details in a whole show, from lights to costumes to sets to wigs to makeup to sound…. It’s mind boggling.

F: I consider myself a dramatist first and tell stories through music. Story, character, and inner emotional life of that character always dictates the music, its tone, rhythm, and tempo. Once I can fully visualize and understand the character in that moment I can begin to write music.

S: Every week I challenge my students and readers to do something outside of their comfort zone. What would you challenge them to do?

F: Exactly that: Go to the place that excites you without necessarily knowing how you will pull it off. Being scared is not a negative and can lead you to wonderful things. Oh, the thinks you can think!

A: Get together, find a story—could be a fairytale, a personal story, someone’s favorite book, anything—and try writing a musical together.
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“Oh the thinks you can think!” indeed! If you had asked me if I ever thought I’d get to learn about some of my favorite pieces of art from those who gave them life, I would have laughed. I grew up listening to, feeling, and poorly singing the work of this dynamic duo, and am happy to say that, though some things change with age, that’s not one of them! This interview is one of my most insightful to date. I love hearing the creative perspective that, all too often, goes untold. Through this process, I’ve been challenged to look at my own writing differently, as well as viewing my students’ perspectives through a different lens. I am very excited to see what my students and I will create from theses challenges and the wisdom Lynn Ahrens and Stephen Flaherty so generously shared, and look forward to hearing your takes on the challenges in comments.

Keep playing with words and see what your message creates!
–Stef the StageSLP

 

Somebody’s Got Your Back: A Conversation With Chad Beguelin

Since I was small, Aladdin has always been my favorite Disney movie. This remains true to this day. So much so that whenever my father sees something with Princess Jasmine on it, he buys it for his adult daughter. There may or may not be a box of Princess Jasmine cereal in my pantry. When Aladdin was announced as a stage musical, my dad and I could not buy tickets fast enough. Like anyone else who loves something, I was protective of the material I loved, but equally excited to see how this work would be adapted for the stage and the theatrical changes made. Many of my students have come back to me to tell me they’ve seen the show, and wanted to know what I knew about “all the things that weren’t in the movie.” It only made sense for me to reach out to Chad Beguelin, who wrote the book and lyrics of the stage musical. Here’s our conversation!

S: What got you interested in theatre?

C: My parents took me to see a community theater production of “Oliver!” when I was a kid. I was immediately transported and knew right then that I wanted to be involved with live theater. I had no idea that you could actually make a career out of it at that point, I just knew I wanted to be around the magic of theater.

S: What drew you into writing for theatre versus performing?

C: I originally went to NYU as an actor. I quickly realized that I wasn’t that good. There were so many talented actors in my class and I just wasn’t one of them. In high school, I had written skits for our annual variety show. I decided at NYU to take a class in playwriting. I was encouraged by my professor to pursue a double major in Drama and Dramatic Writing. I enjoyed it so much that I stayed on and got my Masters in Dramatic Writing at NYU.

S: For my students, editing can be really tough. So can finding the main idea or summarizing. Many of my students are working on these skills in speech and wanted to know how this translates into writing lyrics?

C: When you’re writing words to music, you are limited to how many syllables you can use. This means that you have to pack as much meaning into each word as you can. It forces you to edit the writing down to the bare essence. There is a duet for Aladdin and Jasmine in Act One where they dream of escaping their lives. An earlier version of the song was called “Just A Dream Away”. I quickly realized that it was too vague. What does that mean? I rewrote the song and it became “A Million Miles Away”. That was something much more tangible for an audience to understand. Aladdin and Jasmine literally want to run “a million miles away” from their day-to-day lives. This became a theme that I could build upon throughout the song. “We’ll join a caravan tonight!” or “Maybe we’ll journey on the sea!” So finding a main idea is crucial in lyric writing, as is editing thoughts down to their essence. I’m constantly asking myself, “What is the point of this song?” Finding the main idea makes it easier to elaborate.

S: What is the difference between writing the book of a show and writing lyrics?

C: The book of the show is the script or all of the spoken words. The lyrics are all of the words that are sung. There is a lot of freedom when you’re writing the book because you aren’t limited to words that fit a musical phrase. However, the goal of writing lyrics or a line of dialogue are the same. Everything said or sung should either advance the plot or reveal character – or in the best-case scenario, do both!

 

S: Do you have any advice for how to get beyond frustration when you’re brainstorming or get stuck?

C: If it’s possible, I always find it’s helpful to talk it out with another person. It’s great to bounce ideas off of someone else. If I’m by myself, I will actually talk to myself as I pace the room. “Why isn’t this working? If there another angle that I’m missing?” It sounds crazy, but I need to pace and talk out loud.

S: You’ve gotten to work on both The Wedding Singer, Elf, and Aladdin, all of which were adapted from film. What is the most exciting and challenging part of contributing to projects that may already have a strong fan base?

C: It’s important to give the audience the big moments from the movie that they are expecting. However, it would do no good to just put a carbon copy of the movie onstage. People would just watch the movie if they wanted a straightforward adaptation. So there’s always a tricky line that has to be negotiated. The key is to create something that honors the movie, but is its own creation.

S: What inspires you to write?

C: As a professional writer, I’m given deadlines by producers and have to honor them. This means that even if I’m not entirely inspired to write, I have to find a way to become inspired. Thankfully, writing musicals is a collaborative process. I usually get inspired while talking to my co-writers or the director of a project. We spend a lot of time as a group discussing song ideas or how scenes should build. This makes it much easier when it’s time to sit down and do the actual writing.

S: In terms of theatre, you are considered part of the creative team. Do you have any advice for my students on how to be a productive partner in collaborative work?

C: I am extremely supportive of the other people on the creative team. You have to create a safe space where people can say what they think are dumb ideas, because dumb ideas usually lead to good ones. We all try to encourage one another and we also are very respectful even when we disagree. When someone comes up with a good idea, everyone wins. It doesn’t matter who came up with what, it matters that the show is successful. So we are quick to praise one another and delicate with our criticisms. This creates an environment where we can trust one another and come up with a bunch of ideas, both bad and good.

S: You got to write for Aladdin, which is such a beloved Disney film, and my personal favorite. Was it as magical for you to help create and add to the theatrical experience as it is for the audiences to watch?

C: The development process was actually very difficult and daunting. We had two “out of town tryouts” where we performed the show outside of New York to gauge audience responses and perfect the show. The tryout right before Broadway was in Toronto and the critics trashed the show. It was very hard to figure out why they disliked the production so much. We had to rethink and rewrite almost the entire show. It was a very difficult time, but we had to dissect what wasn’t working and why. Thankfully, when the show got to Broadway the reviews were great and the audiences where cheering. But we had to do a ton of work between Toronto and Broadway.

S: For Aladdin, were you encouraged to use the movie or other source material inspiration?

C: The movie was a launching pad for the script and score of the musical. However, there were several songs that were written for the movie that got cut before it was released. The composer, Alan Menken, wanted me to incorporate as many of those cut songs into the stage version of the show. So it was my job to figure out how to make those songs work. This meant adding new characters and reshaping the story line to fit them into the show.

S: What is it like to have lyrics that have such a life of their own that adults and children can recite them?

C: It’s very exciting when we’re listening to Sirius radio in the car and a song I wrote the lyrics for comes on. That’s very surreal.

S: What should audiences know about the work that goes into writing the lyrics for a show that they may not realize?

C: Lyrics are very tricky. They have to rhyme, but the audience shouldn’t anticipate the rhyme. And when words are being sung, the writer has to make sure that the correct stress is on the right syllable.

S: My students love to be creative in their own way, which may or may not include performing. Would you encourage them to explore the creative/backstage aspect of theatre?

C: I’d encourage anyone interested in theater to get involved in any aspect of putting on a show. When I was a kid, I didn’t get cast in a community theater production of “My Fair Lady”. That didn’t stop me. I volunteered to work backstage and had a blast. I also made a bunch of new friends. It was a great experience.

S: Every week I challenge my students and readers to do something outside of their comfort zone. What would you challenge them to do?

C: I would say write something and share it with someone you trust. It’s a cliché, but the old saying “writing is rewriting” is very true. Share something you’ve written and discuss it with that person. It will make you look at what you’ve written in a whole new light.

As a theatre-goer and fan, I learned so much from this discussion, and am so grateful to Chad for agreeing to share his knowledge with me. I absolutely love everything about the stage production, especially “A Million Miles Away.” My students share my passion for this show and were so excited to get writing advice from the man who worked on a stage production that’s left them awestruck. I can’t wait for them to take on this challenge, and their classroom teachers will appreciate it too!

Keep playing with words and see what your message creates!
–Stef the StageSLP

 

Tap Your Troubles Away: A Conversation With Chris Rice

Tap was a household staple in my childhood. I was either trying to learn how to do it, watching the greats perform it in the Golden Age of film, or watching my mom and Bubby literally dance around the house. When I was dancing, my mom picked up tap again, and can still dance circles around anyone my age—triple time steps, pullbacks, wings, you name it. She got that from her mother, who was a Rockette for a year. Then there was me, who could not figure tap out for her life. I worked hard at it for seven years before moving on to other dance styles in which mistakes weren’t audible or visible, but it’s still one of my favorite styles to watch. Chris Rice, most recently in Broadway’s Book of Mormon, made tap popular again by posting a video of he and his friends dancing to “Cups” from Pitch Perfect, which only started an entire #Tappy movement! Chris has such a delightful energy when he’s performing, you can’t help but grin from ear to ear. I got to talk to him about his creative process, perspective taking, and collaborating with others. Enjoy!

Stef the StageSLP: Which came first for you, dance or theatre, and how did you discover each?

Chris Rice: When I was a kid, my older sister went to ballet every week. My mom used to take me along and try to entertain me while my sister was dancing. Eventually, I started watching her in her class and would dance around the lobby area on my own. My mom thought she could enroll me and see how I took to dancing in a class setting. I really enjoyed it. My church also presented a large, Broadway-style musical every year. I auditioned as a child dancer and was cast at a pretty young age. Dance and storytelling have gone together ever since then!

S: I got to see you perform in Book of Mormon, which is still one of the most unique theatrical experiences I’ve ever seen. What was it like to be a part of something so well-known and sought-after?

C: It was a complete dream come true. I grew up as a musical-loving kid in Oklahoma who always dreamed of performing on Broadway. It has always been my passion. Being able to look back at that wide-eyed, enthusiastic kid and say “You did it” is a pretty special thing. Being a part of such a major production for such an extended amount of time was unlike anything I have done in my career. The crowds were insane and the show never had a performance where it wasn’t sold out in my entire run with the show. That is pretty spectacular.

S: What did you learn from being a part of such a show?

C: I learned so many things from being a part of The Book of Mormon. It was my first time performing on Broadway in New York City. I learned so many things about how a show is run and maintained and also how it is the responsibility of the actor to keep the material fresh and exciting for every single audience.

My job in the show is called a “swing” which means I understudy more than one role. I covered 7 different roles in The Book of Mormon and had to be ready to go on for any one of them at a moment’s notice. This taught me self-discipline, it taught me to trust myself, and it taught me how to be prepared.

S: How do you overcome anxiety when you audition for or go onstage for a show every night?

C: I don’t usually get nervous to perform on stage anymore. It may happen occasionally, but usually when you open a stage show, you have had enough rehearsal to feel prepared.

Auditions still make me nervous for some reason. Maybe it is the fact that I don’t get to become a character and I have to be myself in the room. Don’t get me wrong; I am comfortable in my own skin. But perhaps it is easier to jump into a role because the work is done for you. The script and score of a musical lead you through the story. They set up the world of the character. In auditions, you are yourself and then you must jump into the world of a character in the middle of their journey. Something about this allows my nerves to creep in.

I think preparation is the key to eliminating or minimizing nervousness. If you have done the work and are prepared, you know you can do it. You have sung the song before and you have rehearsed the material enough so it is now in your body. Once you have done it enough, your confidence will grow and you’ll feel secure in what you are bringing to the table.

S: My students are working on perspective taking and point of view. How do you find your way into a character? Do you have any suggestions for my students for understanding someone else’s perspective?

C: I think some importance advice that someone gave me for this subject was that “Everyone is the hero of their own story.” What this means is that no character thinks of himself as the villain. Each character is only doing what they think is right. Jafar in Aladdin doesn’t think “I am a bad guy for wanting to become the Sultan of Agrabah” but from an audience’s perspective, there are usually “good guys” and “bad guys” and Jafar would clearly fit into the “bad guy” category. It is the job of the actor to get to a place where they can motivate the actions of every character honestly. You have to put yourself in the world of the character and think “What has this character gone through so far in their life to make them have these view points and to make them want the things they want?” This is the first step of bringing any character to life.

S: How did the #Tappy series come about?

C: I was actually sitting backstage at the Book of Mormon on Broadway and listening to the song Cups on the Pitch Perfect movie soundtrack. At the time, people were posting videos of them performing the song while creating the drum beat with cups and their hands. I wondered if anyone had done a video using tap sounds instead. I looked around online and couldn’t find anything so I was inspired to do it myself.

A few weeks later, I recorded my friends and myself performing the choreography and uploaded it on YouTube. Within 24 hours, we had 55 thousand views and within 8 days we had a million hits! The success of this video inspired me to continue choreographing and creating.

My second video was to the hit song “Happy”. We created the hashtag #Tappy and the Tappy series was born!

S: Collaborating is a district-wide goal for my students. How do you choose who you want to collaborate with in your #Tappy series? Do you have any tips for them?

C: I think the performing business is all about who you know. I started casting my videos by thinking “Who do I know that is talented and great to work with?” Life is too short for egos. You don’t want to work with someone who is going to take up the very limited rehearsal time with unnecessary drama so being a kind, collected, and respectful human being can help your career in addition to making your life more focused.

Moving on to future tap videos, I decided to “reach for the stars” and ask people who I only dreamed of performing with! Always try! I asked some big-time stars who were unable to participate due to contractual limitations, but others have said yes! I’ve had the opportunity to sing duets and to tap alongside some people who I have admired in the business for years! They could have all said no, but I asked anyway. You never know who will be willing to collaborate with you, so I say go for it!

On that note, please always be respectful of the time of your collaborators. Have a set (realistic) schedule, show up early, be prepared, and make the experience easy and great for them.

S: I’ve watched all of your videos multiple times and your joy when dancing is just contagious. Is that something you developed through dance, or are you just a genuinely enthusiastic person?

C: Without sounding like a jerk, I think I am a genuinely enthusiastic person. That said, dance elevates my joy in a way that I can’t quite describe. Dancing, and tapping specifically, brings a lot of happiness to me. I always admired dancers and definitely was not one myself. I had to work hard to even pass as a “mover”. Now, I am thankful I am in a place where I can perform while dancing and let my own personality shine through while also doing the correct steps with my feet.

S: What have you learned from acting that you can apply to your daily life?

C: Identify what you want, what your obstacles are, and make a plan of how to surpass them to arrive at your goal. That applies to a scene, a song, and to life.

S: What have you learned from dancing and choreographing that you apply to your daily life?

C: Spatial awareness is a huge lesson that the dance world has taught me. I can’t stand when I am in line for something and someone is breathing down my neck in line behind me or when someone cuts you off and is completely unaware of their body and the space you two share. Personal space is something we need to all become aware of and pay attention to in life and dancing and choreographing has helped me do so.

S: What does choreographing do for you that dancing does not, and what does dancing do for you creatively that choreographing does not?

C: If you have a performers’ heart and soul, then nothing feels better than performing a dance yourself. It amplifies the most courageous and passionate parts of yourself and allows you to escape into a higher level of being for a few moments. There is nothing like it.

Choreographing is always a fun process but it is definitely more of an intellectual one than performing. You have a vision of a final product in mind and it is your job to hammer away at all of the extra rock until you have nothing but the beautiful sculpture in front of you. It takes a lot of thought. Do I need this section? Does this help the overall number? It can be a lot of work, but also a lot of fun! It is satisfying to see the finished product.

S: When you were younger, did you know you wanted to be a performer?

C: Without a doubt, I always knew I loved performing. When I was a young kid, everyone told me I was going to be a movie star because I was so theatrical so that was my plan. I figured I would grow up and then start being in films… simple right? I did not know you could make a living as a performer on stage until my mom took me to the national tour of Disney’s Beauty and the Beast for my birthday. I was turning 13, I believe, and when I saw the magic that was happening on stage, I thought to myself “I have to do this.” I started asking questions and learned these actors made a living performing in musicals and in that moment, my plans to be a movie star were thrown out and my dream of being a performer on Broadway was born.

S: What is your most memorable experience either seeing a show or performing in a show?

C: I have been fortunate enough to see some really special productions that have challenged the way I think, inspired me, uplifted me, and moved me. It is hard to pick just one because so many of these wonderful shows have touched me in different ways.

As a teen and into my college years, whenever I would see a Broadway show or tour, I would head to the stage door to meet the actors as they exited the theatre. I have boxes of Playbills signed by the actors and pictures with them at the stage door from my years of seeing shows as a young theatre enthusiast. Some of my most special moments after performing in a show have been meeting young theatre fans at the stage door. It is so fulfilling to hear their stories and answer their questions. It is always a very “full circle” moment for me. I am happy to give back and to help inspire the next generation of performers just as the actors who I met at the stage door inspired me!

S: Every week I challenge my students and readers to do something that gets them outside of their comfort zone. What would you challenge them to do?

C: I would encourage them to spend a day (or week) attempting to listen more. Practice being a good listener. Don’t misunderstand me and think I mean you must be a mute for a week. I simply mean listen to hear and understand and don’t listen to respond. Try not cutting off others to respond and let them finish or expand upon their thoughts. You might learn something.
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I thoroughly enjoyed learning so much from Chris, and really hope my students take his challenge to heart. There’s something so powerful about listening to hear; it’s so grounding and makes you really pay attention to the words being shared with you. I’m taking this challenge on personally, and can’t wait to see how my readers do with it in comments. If you haven’t seen his #Tappy series on YouTube, please do yourself a favor and go watch it. My personal favorite is “The Boogie Woogie Candyman of Company B,” since my Bubby sang “The Boogie Woogie Bugle Boy” all the time when I was growing up, and used to teach me tap lessons in my parents’ foyer while she sang.  It will instantly brighten your day and make you grin—I’m certain it’s impossible to watch these videos without smiling.

Keep playing with words and see what your message creates!
–Stef the StageSLP