"The Extraordinary Ordinary" Opens at the Clurman

"The Extraordinary Ordinary," a new musical by Scott Burkell and Paul Loesel, opened on Dec. 1st at the Clurman Theatre on Theatre Row. The show follows a group of six close friends (Karen, Kate, Sam, Joey, Bev, and Zach) as they navigate the ups and downs of life in New York. I was recently able to chat for a bit with Scott Burkell (book and lyrics), Pamela Bob (Kate), and Patrick Oliver Jones (Zach) about the show. The best part of the process for Burkell was watching the actors, "infuse the characters with life," he says, "I love watching actors work." And apparently he has written some very "infusible" characters. Jones and Bob both see plenty of themselves in their characters. "Kate loves unconditionally and exudes positivity," Bob says, but adds that playing Kate also brings out flaws that she sees in herself. "It's rather interesting," Jones agrees, "that a lot of Zach's story is my own, even down to the whistling and it annoying some people." The show is brought home though, by the kinship and admiration of the cast for each other, and the whole production team. "Scott and Paul are wonderful people who deserve so much and I wish them continued and greater success with EXTRAORDINARY and any other show they produce in the future," says Jones, "Also, the cast of people are beautiful in each of their roles and we are truly a family/team up there, supporting and loving one another each night through rehearsals on into the run on the show," Bob sums it up, "These are some of the finest people I've ever worked with." Now, when all of you go and see the show, what exactly are you supposed to walk away with? For Burkell, the show is about "being conscious of finding your ordinary life extraordinary." He describes friends in his life so focused on big goals, that they almost don't seem present in day to day life. "The message is tough, and not entirely original, but it's important." When the question was posed to Jones, he was ready to philosophize. "So many times we gloss over what someone says or an event in our life or community and just focus on ourselves. That's when we miss out on the beauty of sharing life and relating to others." He continues, "There's God, friends, family, community, country, work, etc. that can help us through rough patches and celebrate with us in times of blessing. To ignore them is to miss out on life's true joy." And for all that, "The story is…ordinary. It's entirely relatable," says Bob, "I think [the audience] will have an enjoyable evening at the theatre." "The Extraordinary Ordinary" is set to run through December 18th. And after that, who knows? Loesel in our past interview, mentioned a possible transfer to Off-Broadway, which is still possible if not probable, but Burkell dreams bigger. "There's been a trend of smaller shows, like Next to Normal (the Tony Award winning rock musical, playing at the Booth theatre until January), moving to Broadway, so who knows?" For now, though, the cast and crew are ensconced at the Clurman, and happily so. For tickets to this uplifting show, visit its website: http://www.dreamlighttheatre.org/ExOrd/ Also check out Burkell and Loesel's website: http://www.scottandpaul.com/ Bob's website: www.pamelabob.com And Jones' website: http://www.patrickoliverjones.com/ Annnd Till Latah, Jess

The Good Years: A Chat With Kait Kerrigan

Kait Kerrigan is a busy woman. Just after four on Thursday, the time scheduled for our chat, she has just gotten in and has to throw some things in the refrigerator before talking to me. So. What keeps Kerrigan so busy? Among other things: teaching a class at Primary Stages, working on several theatrical projects with writing partner Brian Lowdermilk, working on an upcoming CD featuring their music, having one of her plays produced at the Hapgood Theatre this season (click here for more information) , and generally being fabulous. If you know of Kerrigan, it is probably in the context "Kerrigan and Lowdermilk." How did "Kerrigan and Lowdermilk" happen? "Brian and I first met when he was in a production of LOST IN YONKERS that my dad directed at the local community theater. He was about ten years old and played Artie. I was twelve. We were not friends. We met a second time at summer camp doing LITTLE SHOP OF HORRORS. He was Seymour and I was Audrey. I was 16. He was 14. Again. We were not friends." But third time's the charm, no? "Then we met when I was in college after he'd started writing musicals and I'd started writing plays." Within a few weeks they were collaborating on their first musical. "We didn't really know any better," says Kerrigan, "We just started writing a show. There's something fantastic about not knowing anything. You make terrible mistakes, but you also trip over amazing, happy accidents". Now in the opposite position, Kerrigan shares her accumulated knowledge with students in her two libretto writing classes at Primary Stages (Libretto Writing I and Advanced Libretto Writing.) After doing several readings at Primary Stages and developing relationships there, she was asked to teach the course, originally five weeks, now lengthened to ten. "The pace is extremely fast and I kind of kick their asses," she says. But that's what they're paying for, right? "That's what I tell them when they groan." Lowdermilk also teaches at Primary Stages: a Composition course. For more information about all of the classes offered at Primary Stages, visit their website: http://www.primarystages.org/writing#musicaltheater. While it's hard to pick favorites when it comes to Kerrigan-Lowdermilk tunes, the song cycle TALES FROM THE BAD YEARS probably tops my list. If you're not acquainted, listen here to the haunting beauty of my favorite song from the show, "Two Strangers." "We were actually asked by a company to write a song cycle and we were really reluctant to do so. We thought about it for a while and tried to figure out what we could bring to that genre that would make it feel fresh," Kerrigan explains, "What we realized was that we were interested in talking about [the "twenty-something"] generation that doesn't quite know what to do with themselves and that seem to be waiting for something to happen to them." Freed of a traditional plot, Kerrigan and Lowdermilk realized that they could focus more on the story telling and musical journey of the piece. "That became the mission." Unfortunately, the company that had originally requested the song cycle ran into financial problems and was unable to move forward on it. "But by that point, we were interested, so we kept working on it. It's been a really nice project to have happening in the background." As of now, nothing is planned for the show, but I advise you to either head to Kerrigan and Lowdermilk's website or their Youtube channel to hear more of its beautiful music. One show not happening in the background is THE UNAUTHORIZED AUTOBIOGRAPHY OF SAMANTHA BROWN: It is dawn. Samantha Brown, a high school valedictorian, is supposed to leave for college today but daydreams about driving into the unknown. She sits in her car with her bags packed, but she can't turn the key in the ignition. She is filled with doubts. As the defining moments of her senior year flash through her mind, Samantha has to come to terms with her parents' expectations, her first love, and a lost friendship before she can turn the key and make the first decision of her adult life. The show has just received a new website, which according to Kerrigan will be outfitted with lots of interactive features soon. "Apparently, the road is going to move," she says, "It's crazy." Stay tuned for upcoming information about the show's future. Finally, for any of you confused by Kerrigan's ambiguous tweets last week, such as, "So - I don't "kiss and tell" but we're not not recording with someone remarkably talented/famous today. & we're not not making an album... –k" They actually ARE making an album. Which I suppose was somewhat ruined by the opening paragraph of this blog. Apologies. More information about the album, along with a pre-sale and fundraising campaign, will be released in the next month or so. "We are incredibly lucky to have the collaborators we're working with and I can tell you that the tracks that have been mixed are crazy good." And we cannot wait to hear! For more information on Kerrigan and Lowdermilk see: Official Website: http://www.kerrigan-lowdermilk.com/ Youtube Page: http://www.youtube.com/kerriganlowdermilk Till Latah, Jess

haven't written on here in a while...oh and I'll talk about theatre, too

Hey there!
So I haven't really been able to post on here in a while. About to start my second theatre-filled year at college (GO EAGLES) and I've caught up with that and summer's professions. Saying this, I will now tell Jess how much I love her for keeping the blog afloat without me. I'd be lost without you!

Anyway, back to theatre. This article will be a theatre review of a national outdoor drama that I hope some of you have seen to share in how in awe I was the entire time. I am talking about the show, Lost Colony. The show is about the "Lost Colony" of Roanoke and how they got there, etc.

Originally there were plans in the outer banks area of North Carolina to create a movie based on this mysterious tale. A movie was made in 1921 using members from all over the community of Roanoke Island. Later, the movie idea was transformed into a pageant in 1925, and finally in 1937, Paul Green (Pullitzer Prize winner) was asked to write a play concerning the story. The end result was a riveting "Symphonic Drama" of love, loss, war, and peace. It began in 1937 and has been up for practically every summer since.

I learned about the show when my friend from college got a job as a costumer/stitcher backstage and I finally got the chance myself to see it. By the end, I was amazed. The show was flawlessly performed with a Renaissance-style, meaning the actors were the stagehands and moved around the set pieces during the show. The singing was clear and brilliant, and the costumes were meticulous enough that every actor's costume (well, many costumes) was unique to themselves. Flawless design job by non other than the tony-award winning William Ivey Long! Bravo to you!

As for the acting, I loved every moment. The actors were alive so vibrantly that they could easily take anyone into this world they were in and this story they were telling. Some characters that stuck out to me were Sir Walter Raleigh, Old Tom, and the Queen of England herself. Sir Raleigh, played by Nathan Bennett, served as the narrator moving in and out of the action of the show from time to time. Great job at that, and the costume change used to emphasize that was very nice. He brought the drama to the show, and was balanced with the comic relief that was Old Tom, played by Ira David Wood IV. Wood did a great job with his character, creating this sweet lighthearted drunk that you fell in love with in the beginning. What made him interesting the transition of him becoming more confident as the town grew more in despair. His heroic grandeur by the end lifted your own spirits for the townsfolk, as you learned of their challenges to stay alive right along with them. These challenges brought along by the stubbornness of the Queen of England! Her majesty, played by Rhonda Karson, was ferocious to the end, making you hate her more and more. And if Karson can portray the Queen so well at only 19, I'm ready to see what she will do in years to come.

All in all, a spectacular performance from the cast and crew. This is a show that I actually hope to audition to be in myself. I took the backstage tour and marveled at what it takes to run this show at such a professional level (i.e. equal parts of water and vodka make for a mixture better than frebreeze. Amazing!). I hope I can experience this, myself.

Oh! I saw Wood's family came to see the show tonight, including his sister, Evan Rachel Wood. She was.......a tad short of fabulous. But I'll just let you keep your opinion in your minds. With that, I leave you! Goodbye!

P
C

Paul Loesel: "Wicked" Keyboarist and "Up and Coming" Composer

I was recently able to talk for a bit with Paul Loesel, keyboardist of "Wicked," and half of the composing team Burkell and Loesel who are planning the opening of a show Off-Off-Broadway and the release of their first CD this November. Here is the result, for you, my lovely followers… Loesel started his college career majoring as an organ player. He grew up playing it in church, knew he loved music, and decided the life of an organist was for him. This changed when one night, taking a break from his practice room at Western Michigan's school of music, his attention was caught by some choral music down the hall. "I stuck my ear to the door and looked in, and it was the theatre department rehearsing the school's production of Sweeny Todd… There was a woman down there playing piano, and I'm like, 'I wanna do that!'" He immediately switched his major to piano performance, set on becoming a pit musician. And a pit musician he became, starting with Off Broadway and smaller shows, working up to substituting for keyboardists on Broadway shows such as "The Lion King", and finally landing the position of keyboardist for the smash hit "Wicked." "Wicked is my first full time, when I have my own chair," he says of the show he's played for from its opening, "It's the best gig in the world!" Loesel has also found time, when not delighting audiences of one show or another with his keyboard skillz, to write several shows and even more hilarious cabaret songs with his writing partner Scott Burkell. They met doing summer stock at the Barn Theatre in Michigan. "…towards the end of the season, [Scott] just randomly said, 'Have you ever written a song? A theatre song?' And I said, 'No.' He said, 'Do you want to?' And I said, 'sure.'" And thus the partnership was born. The two have collaborated on two musicals, "The Extraordinary Ordinary" (originally "Six of One") and "Ella Minnow Pea." "The Extraordinary Ordinary" is set for an Off-Off-Broadway opening in November at the Clurman Theatre in Theatre Row, and a transfer to Off-Broadway after its limited three week run is in the works. According to Burkell and Loesel's website (www.ScottandPaul.com), "This contemporary musical follows a year in the life of six close friends. The characters, most in their early thirties, question everything: careers, friends, marriages, and even sexuality. This optimistic musical comedy examines the fact that one's life is mostly lived in small day-to-day ways, sitting with a friend and talking about the weather, but in that very smallness is where one often finds the most extraordinary things." The show has had several readings and workshops at Cap 21 and ASCAP and was produced in full at the Philadelphia Fringe Festival. It was then set on a shelf for awhile until a representative from Dreamlight Theatre Company approached Burkell and Loesel about the show. "(He) wondered what was going on with the piece and wondered if we were interested in looking at it again. And we thought, 'Well sure, why not?' … In the past year we've really improved the show. We've ripped it to shreds," says Loesel. Five songs were replaced with other songs, new scenes were written, and two new readings have put them to the test. Opening night is set for November 30th at the Clurman. "We're very pleased with where the show is now; very excited to get into our production!" Along with their upcoming show, Burkell and Loesel are planning the release of the first CD of their work. "It's just a collection. We'll say it's the songbook of Burkell and Loesel," Loesel said when asked what material would be included, "We're going to have 13 tracks. Three of those 13 are from 'The Extraordinary Ordinary.'... The other ten songs are cabaret songs we've written over the years: both old, from 12, 13 years ago, and new that we just wrote in the last year or two." The two have a myriad of Broadway friends lined up to take part in the CD: Marin Mazzie, Jason Danieley, Stephanie J. Block, Kate Baldwin, Christopher Fitzgerald, Liz Callaway, Brian D'Arcy James, Jennifer Laura Thompson, Lisa Howard, etc. How were these stars amassed? "[Marin and Jason] actually did our very first reading of 'Six of One.' They were friends of both Scott and I from the Barn Theatre (and)…. I met Stephanie doing Wicked… It's just a matter of Scott and I getting our name out there as new, 'up and coming' composers. That phrase 'up and coming composers' is strange because we've been writing together for 18 years, but still, we're 'up and coming.' " The CD will be released sometime in November, and will most likely be accompanied by a Birdland concert to recreate it live. Loesel's advice for aspiring composers? "Take classes, study with someone, but once you leave college and you're off on your own, feel free to explore and break the rules that you learned. You have to follow your own ear and what you're drawn to musically, whether someone says that's right or wrong, because that will lead to a new sound." And we can't wait to hear the new sounds Burkell and Loesel will be treating us to this November! For more information about the duo and to hear music from their musicals and cabaret shows, visit www.scottandpaul.com. Till latah, Jess

Broadway Dreams

Epic. In a word, Sunday I witnessed the most epic spectacle of my life thus far: The Broadway Dreams Foundation's "Don't Stop Believing Concert" at the Cobb Center for the Performing Arts in Atlanta.

Broadway Dreams is an organization that brings together the brightest Broadway stars plus casting directors, agents, and all sorts of lovely, helpful people such as these from The Big Apple to put on a week long summer intenstive for kids considering pursuing musical theatre. Several intensives, as well as day clinics and other events are put on throughout the year by the foundation. Find the schedule and more information about the organization here: http://www.mybroadwaydreams.com/.

What I saw was the end of the week show put of by the students and faculty. Basically, "Mom, I swear I got something out of the $900 or so you spent on camp..." Let me also clarify something. By "faculty" I mean: Nikki Snelson, Nicole Parker, Megan Hilty, Paul Canaan, and Stephanie J. Block (among others.)

I can't even describe what the concert was like. Suffice it to say: Nicole Parker singing "Do Re Mi" as every person she has ever portrayed on Madtv (with seven children copying her exactly); Nikki Snelson leading the opening number tap in 42nd Street, the feet-only curtain-raise in the beginning and all; For Good, Megan and Stephanie (we moved up at intermission to front row, dead center seats... this happened ten feet from my face. Megan was crying, I started crying...); and all the over 100 kids piling on stage with all the faculty belting out "Don't Stop Believing" Glee style. The concert was almost 4 hours long, but didn't feel like it at all.

We went into the lobby afterwards (we being me, my father, one of our friends, and her four year old little boy who is completely in love with both Megan and especially Stephanie.) Nicole came out and headed for the door (the vast majority of people there were simply waiting for their children, who had been with the stars all week, so there was no buzz when they came out.) I stopped her and asked her to sign my Wicked key chain. She asked my name, and seeing the key chain was too small to write it, she signed that and then signed my playbill with my name on it. She is so sweet/talented/hysterical. I want to be her when I grow up. Great. Now, whoever filmed this video is a TERRIBLEAWFUL person and you should NEVERNEVER do it, but this performance has to be shared. It has to be. Go to *secret magic online movie site* and type in "Nicole Parker Broadway Dreams." Or you will be eaten by a squirrel.

Next, Stephanie came out. The little boy we were with gave her some M&Ms that he had been saving for her. She opened them, gave him his favorite color, and sat on the ground eating them with him. This is why I'd be cool with her ruling the world. Anyway. It was all very casual. Again, no one really mobbed her, so she stayed and talked to us for about twenty minutes. It was odd- her not fielding a barricade or line of fans that all wanted an autograph or picture. Just her, chillin in a ball cap, playing with the most adorable four year old ever and making faces at him when he wanted to take a picture. She talked about the "Covenant House" organization she had recently done a benefit for *take another trip to said magic movie site, type in "Stephanie J. Block Covenant House", watch the best Defying Gravity you've seen in your life.* She said she'd like to be involved with them in some way- sitting on the board or something. She also talked about Glee- how her agent had told her that they were looking to incorporate Lea's mother into the show, how she'd been excited about the prospect of doing it until she turned on the television and found Idina already cast and filmed. Oops. "I'm always one step behind Dee." But cha. It was fantastic. She left after a good twenty minute chat to watch the Tonys with a friend in Atlanta.

Megan never came out (that we saw) although Stephanie kindly left room for her on the Wicked key chain by signing "SJB." (The key chain was really only for Nicole to sign, but I didn't really object when Stephanie signed it... as well as my picture with her... and playbill... :))

Anywayz. The show was mind blowing- the talent of the children at the clinic was INCREDIBLE. And the faculty wasn't shabby. We had an awesome trip. I think we got enough Broadway in our systems to hold us for... another week or so.

Till then folks.
<3 Jess

St. Louis Muny Announces Summer Season

The St. Louis Muny's website reads as follows: "Although many stars have appeared on stage at The Muny, one essential truth has remained about the nation's oldest and largest outdoor theatre; its story is the story of St. Louis - and of St. Louisans. It is about the countless individuals who have contributed their time, money, and talent to make this magical place a truly unique American experience." "Muny" is short for the Municipal Opera Association of St. Louis, founded in 1914. It is the largest, outdoor ampitheatre in the country (seating 11,000 people). It produces seven shows each summer (prepared by a crew of 12 throughout the year.) Each show is given eleven days of rehearsal and a tech run before opening Monday and running through Sunday. This season shapes up as follows: Beauty and the Beast (June 21-27, additional performances through the 30) Titanic (July5-11) Damn Yankees (July 12-18) Cats (July 19-25) The Sound of Music (July 26-August 1) Footloose (August 2-8) Showboat (August 8-15) As an example of the star power on hand, Disney's Beauty and the Beast will be lead by James Clow (Assasins, Company, Wonderful Town) and Sarah Darling (Jersey Boys Nat. Tour), with Ken Page (Cats, Guys and Dolls, The Wiz) as Maurice, Leslie Denniston (Happy New Year, To Grandmother's House We Go) as Mrs. Potts, and Jeb Brown (Grease, Romantic Poetry) as Cogsworth. It's a dream season for a Pirate Queen fan as three members of that cast: Jeff McCarthy (as Rev. Moore in Footloose), William Youmans (as J. Bruce Ismay in Titanic), and Stephanie J. Block (as Grizabella in Cats) make Muny appearances. For a complete list of the announced casts, visit Playbill.com: http://www.playbill.com/news/article/138681-EXCLUSIVE-Muny-Season-to-Feature-Brown-Block-Hewitt-McCarthy-Hoty-Bell-Beach-Page And for tickets, the official website of the Muny: www.muny.com Jess

Billy Elliot in Chicago

Just got back from Chicago and had a fabulous time, even though it was raining and cold and being Chicago. I got to see Billy Elliot at the Oriental Theatre there, and heah are my adventures:

We got into the city, dropped mom at the pizza place, and dad and I set out to find a hard copy of something that Emily Skinner has recorded. Of course her duet albums with Alice Ripley were all out of print, but after an hour of running around, I miraculously found a hard copy of "Side Show." $10 at FYE. Then we had pizza and headed for the theatre.

We got mom situated at the theatre, and dad and I were going to walk over to Borders because the show wasn't starting for another 45 minutes. He goes, "Wait, Jess, we need to find the stage door." I love how trained he is. <3

The show had it's amazing points and... not so amazing points. Amazing points: Dancing. Obviously. The talent of the children in that show is incredible, as is the maturity and professionalism of them to take on and learn those roles, and to perform them everynight. Another thing I loved: the set. It's very economical. The set never changes- parts of it just twist around or exit. Very creative and it creates a world where metaphorical messages are possible through blocking. Not all space and time is literal and chronological throughout the show. Another obvious "amazing" aspect is Elton John's score. It is really beautiful music.

Not so amazing: first of all, sections were almost unintelligible because of the accents. I give the cast- especially the kids- props for being able to do it through the show, but, especially during chorus songs, it's very difficult to understand. Also- Michael, Billy's friend, is a cross dresser. At like... 12. No. And just a pointer- if you're going to make a big deal out of "expressing yourself" do it in a non-ridiculous way, say, leaving out the supersized, dancing wardrobe pieces: dresses, pants, etc.

There were touching moments, unintelligible moments, intense moments, ridiculous moments... quite a mixed bag. I was not thrilled with the ending, however. About half way through act 2 I thought, "Please don't be one of those 'we're not going to solve the problem, just sing a song about banding together and overcoming it in some vague way in the vague future' endings." Of course it was. But overall it was a thoughtful piece of theatre with enormous talent driving it. Dad summed it up: "It was ok. Didn't blow me away like anything we saw in New York." Dear Tonys, 9to5NexttoNormal whathappened? Love, Jessica.

Stage door: The set up was really casual. Most of the kids were just ducking under the "barricade" to get to their parents. Not too many fans. Two mini stories. 1) I was standing, talking with my father, waiting for Emily to come out, and Elijah Barker, who played the "little boy"- couldn't have been more than 6 or 7, came over to us. I didn't see him, so he said (politely), "Excuse me?" And held out his hands for my playbill and sharpie. SO CUTE. 2) Emily came out and totally skipped the "barricade", talking on her cell phone. Well, I had just run around Chicago to find a freaking hard copy of Side Show and was not leaving without it signed. Naturally, I followed her like a fan girl. (No one else recognized her/followed.) I asked her to sign my CD and playbill when she got off the phone. She did quickly and went, "Glad you liked the show, bye!" And ran off before I could ask for a picture. Haha- ah well. We had to get back to mother who had been kicked out of a coffee shop because apparently everything in Chicago closes at around 9 or 10?

Anyway, good trip, good show. Fun stuff.

Latah,

Jess