summer boot camp

The Musical Theatre Boot Camp is a summer series of workshops, lectures, and practicums designed to give participants a chance to work quickly over a concentrated six week period. It’s also a great place to check us out before committing to our full curriculum in the fall.

What you see BELOW are the classes that were offered during the summer of 2018. The upcoming 2020 Summer Boot Camp offerings will be showing up here sometime in the early spring of 2020.

Have a look below to see what kind of classes we generally offer, and feel free to email us at admin at nmi dot org if you see something you want to make sure is offered again next year, or if you have an idea for something you don’t see here.

Hope to see you in 2019!

Courses for Musical Theatre Bookwriters, Lyricists, and Composers

THE COMPOSER / ORCHESTRATOR COLLABORATION with Ned Paul Ginsburg

THE COMPOSER / ORCHESTRATOR COLLABORATION

Instructor: Ned Paul Ginsburg

Sunday, August 5 from 2pm to 5pm

Course Fee: $50

Join composer/arranger Ned Paul Ginsburg for a close examination of the relationship between composing and orchestrating, as it relates to commercial work in musical theater, film, television and live concerts. Ned will present several “before and after” scores from Broadway and Hollywood highlighting the adjustments and enhancements that an orchestrator can bring to a songwriter’s or scoring composer’s work. Topics will include: the necessary background and training for entering the profession; writing for ensembles large and small; for drums and guitar; for background choral singers; reducing scores from one configuration to another; working from lead sheets, piano parts and/or demos; integrating synthesizers with orchestral sounds; transcription and transposition; orchestrating one’s own compositions — when does one hat go on and the other off? Modern musical theater often cannot support large orchestras. How do you best choose the instrumentation for your show if you have a limited number of players?

In the lecture the relationship between composing and orchestrating is demonstrated through examples of Ned’s work on various projects in film, television and live theater, including, for Liza Minnelli/Phil Ramone; Elliot Goldenthal (the Oscar-nominated score to the film “Michael Collins”); “Galavant” for ABC-TV (Alan Menken, composer and Executive Producer), and others projects. Also included, “Aladdin” (currently on Broadway/London), and “Wonder Pets” (Nickelodeon worldwide.). Score samples match playback audio, and are projected onto a screen.

Persons who might benefit from this information would include composers learning to orchestrate their own music; aspiring orchestrators; songwriters, lyricists, bookwriters or other musical theater folk eager to get perspective on the transformation of piano accompaniment into orchestrated accompaniment; pop songwriters in all styles.

BOOT CAMP ADDED BONUS

Engage in a mock discussion with Ned by submitting your song(s) in advance from a musical theater project, or even a stand-alone pop song. For the final hour, Ned will have chosen in advance at least two songwriters or songwriting teams to demonstrate a song or two (live or recorded) and to discuss openly the options both for demoing the show-in-question and for ultimate production. Register by July 25 to be eligible to submit up to three songs for consideration.

SUBMISSION GUIDELINES:

You can submit from one to three songs in mp3 or m4a format. Multiple songs should emanate from the same musical.
For each song submitted, include a lyric sheet. A short description of the dramatic context of each song would be useful.
Include a short, single paragraph synopsis of the show from which the songs spring.
Written music, such as lead sheets or piano/vocal scores are certainly useful but not required.
Stand-alone “pop” or “cabaret” songs are not excluded, though preference may be given to musical theater songs.
Best to submit simple demos that are not fully orchestrated. (Analyzing fully orchestrated demos belies the purpose of the seminar.)
Submit your materials by emailing admin@nmi.org (sending links to dropbox or the like is fine).
Please only submit material AFTER you have registered for the course.

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BIO: Ned Paul Ginsburg

Born in New York and raised and educated in Los Angeles, Jerusalem, Paris, and Rochester, Ned Paul Ginsburg made his public debut as a composer on the radio program “First Applause” at age sixteen. He has received awards or recognition from The National Endowment for the Arts, N.A.R.A.S., Songwriters Guild of America, International Association of Jazz Educators, and Downbeat Magazine. Commissioned theater pieces as composer include THEY CHOSE ME for TADA, A TALMUD TALE for Maqom, and ARNIE!, THE TV MUSICAL for Silver Burdett Ginn. His musical WELCOME TO THE CLUB, co-written with filmmaker Susan Seidelman and lyricists Michael Colby and Cornelia Ravenal debuted in 2017 and will be produced again in 2019. TV & Film: “Northern Lights” (ABC), “On The Edge” (ABC), “Kathie Lee Christmas” (CBS), Rosie O’Donnell (ABC), “Beyond The Pale” (independent film), and a number of other songs and scores for multiple media outlets.

Orchestrations: ALADDIN (Broadway and West End), BEAUTY AND THE BEAST, LIZA AT THE PALACE, MINNELLI ON MINNELLI, GALAVANT (ABC-TV), THE ACADEMY AWARDS SHOW, LITTLE MERMAID, WONDER PETS (Nickelodeon & worldwide), SAMMY (The Old Globe), PAPER MOON, INSIDE OUT, A LETTER TO HARVEY MILK, THE NEW YORK SPRING SPECTACULAR, THE TIMES, CASPER, SWEENEY TODD, S’WONDERFUL, RADIO CITY EASTER SHOW, NIGHT OF 1000 STARS, SUNDAY NIGHT AT THE PALLADIUM, THE NEW YORK POPS, THE BROADWAY KIDS cd series, several Warner Bros. films (including the Oscar-nominated score of MICHAEL COLLINS), and for many composers and entertainers, including: Alan Menken, Elliot Goldenthal, Bobby Lopez, Leslie Bricusse, Jason Robert Brown, Jerry Bock & Sheldon Harnick, Glen Roven, Bernadette Peters, Liza Minnelli, Diahann Carroll, Lea Salonga, Kathie Lee Gifford, Elaine Stritch, Isabelle Leonard, Faith Prince, Tony Danza, Rebecca Luker, and many others.

PARTICIPATING INSTITUTIONS – The Composer/Orchestrator Collaboration

Ned Paul Ginsburg

The University of Hawaii, Manoa Campus, Oahu, Hawaii
Tainan University of the Arts, Tainan, Taiwan
University of South Florida, Tampa, Florida
Jazz Education Network, Annual Conference, Louisville, Kentucky
The University of Miami, Graduate Studio Writing Program
The University of Besançon, Besançon, France
Conservatoire d’Ivry, Ivry, France
The American Film Institute, Hollywood, California
(through: Screen Composers & Lyricists Guild)
New York University, Graduate Program in Musical Theater, New York
The Dramatists Guild 2nd National Conference, Chicago, Illinois
The Dramatists Guild, New York office, New York, N.Y.

Upcoming:

Hochshule fur Musik, Freiburg, Germany, October 2018

PITCH Boot Camp

PITCH BOOT CAMP

Instructor: Scott Guy

SIX 30 to 60 minute online sessions - scheduled around YOUR schedule

(five sessions PRIOR to the July 29 BIZ OF THE BIZ Conference Pitch Panel; one follow-up session 2-3 months after the conference)

Course Fee: $595 (OR save $100 if also registering for the BIZ OF THE BIZ Conference)

You’ve written a great musical….now what? How do you get producers to give your musical a look? What do you need before you’re ready to approach producers and theatres?

This six-session Boot Camp is designed to get you up and running in about a month and a half. (One session a week.) You can complete the Boot Camp faster if you like…but not slower. You can start any time you like, but once you do start, there’s no procrastinating. New Musicals Inc.’s Executive Director Scott Guy will put your feet to the fire as you complete and polish the following, all of which you’ll want:

One-sentence elevator pitch
One-minute pique pitch
Five-minute hook pitch
logline
100 word synopsis
half-page synopsis
Madison Avenue paragraph pitch
song-synopsis (“record jacket”)
demographic description
query letter
authors’ bio

You’ll also get all the knowledge and materials you need to prepare:

a successful demo (how many songs? how well produced?)
logo/artwork
website to present your musical
legal protection/copyright
a targeted list of producers and theatres to approach
secondary targets: festivals, workshops, contests
a timetable of your next steps

Here’s how it will work:

Session One: Planning Ahead
This session is all online. A pre-taped lecture, introducing you to the syllabus, the worksheets, and a list of things to do/write before your next session.

Session Two: Taking Stock
A one-on-one session with Scott (one hour via teleconference), going over your preliminary pitches and half-page synopsis. Discussion about demographic and spin. Goals and timetable for demo, website, launch of pitch campaign.

Session Three: Polishing Materials
Teleconference (half hour) with Scott, discussing your 100-word synopsis, Madison Avenue synopsis, elevator pitch. Review/reiterate your theme and demographic.

Session Four: Practice Pitch
Pitch to Scott. Tips, tricks, feedback. The query letter. Half-hour teleconference.

Session Five: Marketing Campaign
One hour teleconference with Scott, reviewing timetable and targeted producers/theatres. Realistic goals and next steps. Final practice pitch.

Session Six: Follow-Up
2-3 months after you’ve launched your campaign, you’ll have a follow-up half-hour teleconference with Scott to determine what’s working and what’s not; how are producers responding to you and your musical…what steps of your campaign warrant revising?

$595; includes all six sessions, five teleconferences, handouts, worksheets and pre-taped lectures.

CORE COMPOSER WARM UP

Instructor: Angela Parrish

Four Monday evenings from 7pm to 10pm

July 9, 16, 23, 30

Course Fee: $300

Are you a songwriter interested in composing for musical theatre, but the notation and chart-making process is holding you back? Do you play and write by ear, but have no idea how to translate the music in your mind to the page? Are you a musical theatre composer who wants to take your notation skills to the next level? “Core Composer Warm-Up” will prepare you to enter NMI’s Core programs with notation confidence. You’ll learn how to use GarageBand and Logic in conjunction with Finale or Sibelius to up your composer game and prepare written charts for musical theatre and beyond!

Angela Parrish is an LA-based singer-songwriter, session vocalist, and pianist. She earned her bachelor’s degrees in Jazz Piano and Music Education from Wichita State University (KS) and her master’s in Jazz Piano from the University of Northern Colorado. Her voice can be heard opening the 2016 film ‘La La Land,” singing “Another Day of Sun.” She has also recorded with Florence +The Machine and performed live with Paul Williams and Ben Folds. Angela writes music in a range of genres from Americana to musical theatre. She is a 2016 John Lennon Songwriting Award winner and currently developing projects under the guidance of Elise and Scott at NMI.

OUTLINING LAB

OUTLINING LAB

Instructor: Elise Dewsberry

Six Wednesday evenings from 7pm to 10pm

July 11, 18, 25, and August 1, 8, and 15

Course Fee: $395 (discounted from the regular online fee of $595)

The Outlining Lab is available in-person OR online (or a combination of the two!) Video lectures, exercises, handouts, and tests are all available online. Attend the live sessions for feedback on your homework assignments - or submit your work online if you can’t make the sessions.

An outline can be an invaluable writer’s tool for clarifying the structure and story arc of a musical idea. It can then serve as a blueprint for the rough draft that the collaborators will use to develop the new musical. Writers who skip this important step in the development process are likely to find themselves bogged down with a partially written new show that is riddled with logical inconsistencies, and does not compellingly deliver the intentions of the creative team.

In the Outlining Lab, you will be lead step-by-step through the process of developing a musical idea from concept through to a working outline, with detailed constructive feedback along the way. By the end of this ten-unit course, you should have a well-developed and detailed outline that will solidly prepare you for the collaborative task of writing your new musical.

Along with the basic six steps to an outline, other topics dealt with will include:
Types of Conflict
20 Questions for your Outline
Language of an Outline
Dealing with Feedback
Pitch and Synopsis
One-Liner and Logline

Don’t start writing until your outline is rock solid!

OUTLINE TO ROUGH DRAFT

OUTLINE TO ROUGH DRAFT

Instructor: John Sparks

Six Tuesday evenings from 7pm to 10pm

July 10, 17, 24, 31 and August 7 and 14

Course Fee: $295 (per team)

Writing teams of two or more will be involved in this 6 week immersive experience designed to give each team a rough draft of a new musical. The first two weeks consist of detailed analyses of the characters, the plots and themes of the proposed shows. Each subsequent week requires the submission of 10 to 25 pages of dialogue, culminating in the rough draft (usually 60 – 90 pages), ready for song-spotting and the subsequent revisions that will occur as the scores develop after the workshop ends.

Each team should submit at least a sketchy outline of the proposed work prior to the first session. At a minimum the outline must clearly state the beginning, middle and end of the story, identify the central character and important supporting characters, and have the general agreement of the writing team which must consist of two or more people. There should be a brief discussion of the planned style of the show (rock opera, contemporary musical with notes on the musical genre(s) in mind – but the outline SHOULD NOT attempt to title or otherwise identify any songs the team plans prior to the workshop.

All team members must attend every session. The enrollment fee covers the whole team regardless of how many writers are involved.

GENRES AND STYLES for COMPOSERS

GENRES & STYLES for COMPOSERS

Instructor: Jake Anthony

Two Wednesday evenings from 7pm to 10:00pm

July 18 & 25

Course Fee: $150

How do I write a waltz as “waltz-y” as Rodger’s “Carousel Waltz”? What’s the difference between a tango, a rhumba, and salsa? More importantly, how can I get my piano writing for up-tempos to sound different from my writing for ballads?

The answer to all these questions is…SPECIFICITY! In our first session, we’ll discuss the specific musical characteristics of common musical theater genres (“Show 2,” latin dances, swing and jazz forms,etc) and explore examples from the repertoire (West Side Story, The Producers, The Full Monty, Hamilton), noting the qualities of melody and orchestral/piano writing that really “nail” a genre or style. In the second session, we’ll play/sing through some of your 16-bar examples of the genres that you’ve written during the week. Let’s make really evocative, SPECIFIC music!

A SUBJECTIVE HISTORY OF MUSICAL THEATRE

A SUBJECTIVE HISTORY OF MUSICAL THEATRE
with Noel Katz
A lecture in two parts.

In a brisk, emotional and entertaining talk punctuated with vocal and piano performances, theatre historian Noel Katz tells the story of how musical theatre came to be, how it evolved, and what it’s become. Learn how a composer’s gambling addiction led to a whole new genre. Laugh at what Hammerstein was wearing when he first met Rodgers. Cry at how the most talented lyricist of all thought himself too unattractive to be loved and turned to the bottle. Discover how musicals now running on Broadway comment upon or subvert classic shows. Legends, fables, opinions and jokes make this two-part history far more fun than any educational experience anywhere.

The author of more than a dozen musicals produced in New York, Noel Katz taught for more than twenty years at Broadway’s Circle in the Square Theatre School, thirteen years at Fairleigh-Dickinson University and taught a generation to improvise songs at Second City, Artistic New Directions and the People’s Improv Theatre. Awards include the Talkin’ Broadway Citation, the NYMF award, the Brick Prize for Playwriting and, for an industrial musical comedy video, the Telly. He was the youngest member of both the BMI and ASCAP writing workshops. His Murder at the Savoy (or, Pulley of the Yard) sold out at the 50th Edinburgh Festival, got five stars from The Scotsman, and has been produced five times in Great Britain. His other shows include Such Good Friends, Area 51, The Christmas Bride, On the Brink, The Pirate Captains, and The Heavenly Theatre but, most famously, his 2003 wedding to casting director Joy Dewing was a musical in which everyone from parents of the bride to preacher to 4-year-old flower girl sang an original song.

PART ONE
Wednesday, August 1 (7:30pm to 9:30pm)
OR
Saturday, August 4 (10:00am to 12:00pm)

PART TWO
Thursday, August 2 (7:30pm to 9:30pm)
OR
Saturday, August 4 (1:00pm to 3:00pm)

Course Fee: $25 per part (OR purchase Part One AND Part Two for $40)

Basic, REALLY Basic, Fundamentals of Music for Lyricists and Scriptwriters of Musical Theater

Basic, REALLY Basic, Fundamentals of Music for Lyricists and Scriptwriters of Musical Theater
with Mark Saltzman

Thursday, July 12 from 7:00 to 10:00pm

Course Fee: $90

It can seem like a foreign language, with that talk of tempo and rhythm (are they different?) and altos and mezzos (are THEY different?)

Here’s the safe place you’ve craved, fellow writers — the non-judgmental room where you can ask all your questions about music that you thought were too un-cool to ever articulate. But if you weren’t in a garage band or marching band , chances are you haven’t learned the basics, since musical education has been absent in American public education. But you want to - you ARE - writing musicals. Here’s the place to fill in the gaps in your learning.

Not just about what those strange spots on the lined page mean. (Tip: The more ink on a note, the faster it gets played.) But you’ll feel free to finally learn the difference between a tenor and a baritone and a….bari-tenor! And why the word “harmony” seems to shift meaning every time the composer speaks of it. And what exactly is an arrangement? Is it like an orchestration? Bring your own questions that you always felt too shy to ask. Nothing is too basic.

Apart from the fundamentals of music, we’ll move on to specifics of musical theater writing: How to find the perfect place in the story to put a song, and the perfect song for that place, remembering at all times you are writing a score, not just a song; How to avoid the trap of too many passive songs in which characters do nothing but reflect on previous plot events; How to decide when a song and dialogue is the right solution, or if it’s better to musicalize an entire scene.

ABOUT THE INSTRUCTOR

Mark Saltzman is a multiple Emmy-winning television writer and songwriter, a Hollywood screenwriter, and a New York produced playwright.

He began his career in New York with Jim Henson, writing for the Muppets. His Sesame Street sketches and songs (including “Caribbean Amphibian” and “New Way to Walk”) earned him seven Emmy Awards. But behind Kermit’s back, Mark was writing cabaret shows and musicals that played at The Ballroom, Soho Rep, 13th Street Theater, and the Village Gate, where he co-wrote the long-running revue A, My Name is Alice.

For network television, Mark wrote Mrs. Santa Claus, the CBS holiday musical starring Angela Lansbury with songs by Jerry Herman. For the movies, he wrote The Adventures of Milo and Otis and Three Ninjas Kick Back and has written screenplays for SONY, Universal, and Disney. His TV movie, The Red Sneakers, directed by and starring Gregory Hines, aired on Showtime and was nominated for a Writers Guild Award. In 2007, Mark served as writer-producer of the Disney Channel TV show< Johnny and the Sprites.

Mark’s musical play, The Tin Pan Alley Rag opened at the Pasadena Playhouse in 1997 and was nominated for five Los Angeles Ovation Awards, including Best Musical. Tin Pan Alley Rag made its New York debut at the Roundabout Theater where it was nominated for an Outer Critics Award.

Mark’s musical comedy, Romeo and Bernadette, played at the Coconut Grove Playhouse in Miami, where it won a Carbonell Award, and New Jersey’s Paper Mill Playhouse. His play, Mr. Shaw Goes to Hollywood, based on the 1933 visit of George Bernard Shaw to the MGM studio, premiered at the Laguna Playhouse in April 2003 and has been optioned for a film. Complete bio and credits at MSaltzman.com. His newest musical, Another Roll of the Dice, based on Damon Runyon stories with songs by Frank Loesser will have its world premiere at North Coast Rep in 2019.

Mark is a graduate of Cornell University. He serves as president of the Arnold Glassman Fund, a charitable foundation that provides grants for documentary film projects.

BOOK LAB

BOOK LAB

Instructor: Elise Dewsberry

Six Monday evenings from 7pm to 10pm

July 9, 16, 23, 30, and August 6, and 13

Course Fee: $395 (discounted from the regular online fee of $595)

The Book Lab is designed as an introduction to writing the book of a musical while also outlining the collaborative steps involved in creating a new musical with the whole team. The book of a musical is not just the spoken words, but encompasses the entire story of the musical. The Bookwriter is officially responsible for the writing of the book, but the entire writing team needs to collaborate on the story. The collaborative process is explored through six units including:

THE IDEA
THE OUTLINE
THE ROUGH DRAFT
ADDING SONGS
REVISIONS
FINISHING TOUCHES.

Along the way, other topics are incorporated including:

Unwavering want
Character Diction
Adaptation
Action Loops
Dialogue
Incorporating Songs
Conflict
Song Spotting
Dealing with Feedback
Story Structure
Language of an Outline
Collaboration Agreements
Character Worksheets
Project Pitches
Exposition
Public Domain Ideas
and much more.

This course qualifies as the Book Lab element of the Academy for New Musical Theatre’s Core Curriculum.

Courses for Musical Theatre Performers

GETTING YOUR ACT TOGETHER - a cabaret workshop for musical theatre performers

GETTING YOUR ACT TOGETHER

Instructors: Joshua Finkel and Jake Anthony

Five Monday evenings from 7pm to 10:30pm

July 9, 16, 23, 30, and August 6
plus one 30 minute private session at Joshua’s Studio between weeks 4-5

Course Fee: $450

Maximum participants: 7

BUILD AND PERFORM YOUR OWN CABARET SET

A five session class where each singer learns every skill necessary to build your own cabaret act. Learn how to build excellent and truthful patter that really shares your individuality, learn 3 different exercises to craft excellent personal specialty material for Cabaret. Learn microphone technique and also learn how to craft your Cabaret Music Book so you can bring the act you create to any open mic or pianist and have it all show up in the room from underscoring to customized material.

The final session (August 6) will be a performance of your Cabaret Set at New Musicals Inc. - and you’ll get a video of your set sent via private link on YouTube.

PREP: Watch some introductory videos Joshua provides prior to the workshop, and on day 1, come in with 3 short true stories which complement 3 short song choices. Using the video examples, 3 short 16 bar (30-45 second long songs) in each instructed style. We will elaborate and refine these exercises as we craft your brand new Cabaret set! Please bring your music in a binder, prepped in your key, cut to length and ready for the pianist to play.

MASTERING SINGING IN DIFFERENT GENRES AND STYLES (Legit, Pop, Jazz, and Country)

MASTERING SINGING IN DIFFERENT GENRES AND STYLES (Legit, Pop, Jazz, and Country)

Instructor: Joshua Finkel

Tuesday, July 10 from 7:00 to 10:00pm

Course Fee: $100

Maximum participants: 8

Building your Style and Versatility: Learning to shift your style and sound between the 4 main genres of Musical Theatre (Legit, Jazz, Pop/Rock, Country) and be ready for any kind of audition that is coming your way!

Have you ever been scared to audition for a certain project because you feel you can’t sing in that style? Learn specific performance techniques to adapt your sound and style to easily shift your song into any of the above genres and land a job in any genre.

You will learn to discern and recognize the stylistic differences between the different musical genres, and then sing the same cut of a song in 4 different ways.

PREP: Using an online link, you will choose and practice the song of your choice in one of the keys offered and be ready to work on that in the master class.

NAILING THE CALLBACK

NAILING THE CALLBACK

Instructors: Joshua Finkel and Jake Anthony

Tuesday, July 17 from 7:00 to 10:00pm

Course Fee: $100

Maximum participants: 8

This class will replicate an ‘on the fly callback’ where casting asks you to stay and try some things in the room. Using current sides auditioning in Musical Theatre, you will learn how to quickly break down and nail sides from those shows, thereby learning invaluable strong cold reading skills for callbacks.

Plus using an actual 16 bar cut from a song currently auditioning in the industry, you will quickly learn a short cut actual audition callback song.

You will learn some sight singing skills which can help you quickly learn the music and then how to break it down quickly and make some strong acting choices to instantly sell that callback song in the audition room.

PREP: Send Joshua your picture, resume and any performance video links 1 week prior to the class, so Joshua can choose callback material appropriate for you.

FINDING THE FUNNY: MASTERING THE ELEMENTS OF COMEDY

FINDING THE FUNNY: MASTERING THE ELEMENTS OF COMEDY

Instructors: Joshua Finkel and Jake Anthony

Tuesday, July 24 from 7:00 to 10:00pm

Course Fee: $100

Maximum participants: 8

Learn how to craft and land a joke as well as create comic possibilities within in any context. Once you understand how to master the skills of pace, rate, surprise, truth and contrast you will master the art of making any text honestly funny using the given circumstances and your imagination.

Then use the skills you learn in your own 16 bar cut of a comedy song that you bring into class. PREP: Bring in a 16 bar comedy song with sheet music prepped in your key, cut to length and prepped in a binder for the pianist.

SAFELY SING LIKE A ROCK STAR!

SAFELY SING LIKE A ROCK STAR!

Instructors: Joshua Finkel and Jake Anthony

Tuesday, July 31 from 7:00 to 10:00pm

Course Fee: $100

Maximum participants: 8

An incredible one session master class where you will learn the vocal techniques and the performance techniques to SAFELY make the edgy and dangerous raw sounds needed for today’s Rock Song audition market. Learn to make a rock scream and not hurt your voice. Learn how to change your style, pronunciation and performance edge to compete in today’s Rock Musical era for all Broadway and Musical Film and Television Projects as well as Studio Recording.

PREP: Bring in a 16 bar Rock/Pop song prepped in your key, with sheet music cut to length and in a binder for the pianist.

SINGING FOR FILM AND TELEVISION

SINGING FOR FILM AND TELEVISION

Instructors: Joshua Finkel and Jake Anthony

Tuesday, August 7 from 7:00 to 10:00pm

Course Fee: $100

Maximum participants: 8

An on camera audition class mastering preparing actors for Musical On Camera Projects like the films of CHICAGO, LES MISERABLES, AMERICAN IDOL, THE VOICE and FEAR FACTOR. The class introduces each performer to camera angles and film audition technique used to audition in today’s on camera musical episodics, competition shows and music videos. Learn the in’s and out’s of film / tv lingo and how to craft your performance for the screen. Then how to change that technique for a filmed audition geared for Broadway or a Regional Show. Includes singing, and how to lip sync to playback on the film set. Also, learn how to craft the same audition for a large space audition (The Muny or the Hollywood Bowl) and Film/TV.

PREP: Bring in a 16 bar cut of a memorized comic audition song that shows your vocal and emotional range. Please have your sheet music already in your key, cut to length and prepped in a binder for the pianist

TUESDAYS WITH JOSH AND JAKE

TUESDAYS WITH JOSH AND JAKE

Instructors: Joshua Finkel and Jake Anthony

Five Tuesday evenings from 7:00pm to 10:00pm

July 10, 17, 24, 31, and August 7

Course Fee: $450 (a $50 savings from taking the sessions individually)

Maximum participants: 8

(See details of individual sessions under course description toggles for those sessions)

Session 1: MASTERING SINGING IN DIFFERENT GENRES AND STYLES (Legit, Pop, Jazz, and Country)

Session 2: NAILING THE CALLBACK

Session 3: MASTERING THE ELEMENTS OF COMEDY

Session 4: SAFELY SING LIKE A ROCK STAR!

Session 5: SINGING FOR FILM AND TELEVISION

OR sign up for TWO Tuesday evenings, and then receive a discount coupon for $25 to apply to your third Tuesday evening class.

A SUBJECTIVE HISTORY OF MUSICAL THEATRE

A SUBJECTIVE HISTORY OF MUSICAL THEATRE
with Noel Katz
A lecture in two parts.

PART ONE
Wednesday, August 1 (7:30pm to 9:30pm)
OR
Saturday, August 4 (10:00am to 12:00pm)

PART TWO
Thursday, August 2 (7:30pm to 9:30pm)
OR
Saturday, August 4 (1:00pm to 3:00pm)

Course Fee: $25 per part (OR purchase Part One AND Part Two for $40)