Five of my Webster University voice students are in The Drowsy Chaperone at the Webster University Conservatory of Theatre Arts. I saw the show again Friday night, and will it again on Sunday. Tonight I sat with the parents of my senior Jacob Scott; visited with the parents of my senior Chase Thomaston; and finally met the parents of my sophomore Jacob Flekier. Caroline Adams’ parents were also in the house, although I did not get a chance to say hello.
Yesterday I posted a photo of me with Chase. Today’s photos are with the Jacob the Elder and Jacob the Younger (top photo).
And here are some production photos with my five students in them:
The Drowsy Chaperone runs this weekend at the Webster University Conservatory of Theatre Arts.
Man In Chair is played by my graduating senior voice student Chase Thomaston, who is inordinately effective, hugely entertaining, utterly believable, and ultimately deeply moving in his last WebCo role.
My listening list this past weekend included NPR (of course), and the cast albums too
BIG, the Musical
Sweet Smell of Success
Half A Sixpence (2016)
Plus, some sacred choral music from All Saints, Beverly Hills; an album of songs by the Sherman Brothers (really wonderful stuff on the Fynsworth Alley label); and a duet CD by Aflie Boe and Michael Ball (pretty dreckish, but on a major label).
Thanks to my friend Nicholas Brown (who works in the music collection at the Library of Congress), I had some time with some treasures on Friday at the Library of Congress.
Nick had loaded a cart with things to show me (and inadvertently launched some research ideas for me).
We started off with a fragment of a manuscript by Mozart. In other words, I held in my hands a piece of music in Mozart’s own hand!
Nick then brought out a large box labeled “The Sound of Music,” and for the next few minutes I traced part of the song-writing process for the song ‘My favorite things,’ holding in my hands page after page of Oscar Hammerstein II revisions of lyrics.
Before we were done, I’d held in my hands hand-written letters from Jackie Kennedy to Leonard Bernstein; the original fair copy of a Bernstein symphony (with the first page in his own hand); the fair copy of the Brahms violin concerto (with revisions in Brahms’ own hand); and Jerome Kern’s original piano score to Showboat (see photo).
The LOC musical theatre specialist brought over lyric files from Jonathan Larson’s Rent. I held the very sheet on which Larson did the math that led to the lyric “five hundred twenty-five thousand six hundred minutes.” He had done the math down to the seconds.