Below are projects where I was a singer.
It was the first week of March in 2020 and we are rehearsing “Merrily We Roll Along,” my first musical at Villanova University, the last show in Villanova Theatre’s previous home, Vasey Hall. Little did we know that 2 weeks later the world would change forever. We never got to do this show, and Vasey Hall would close with little fanfare. 4 years later and I just closed my second musical as an alumni last week! I’m so glad I have been able to come back and perform on the Villanova stage. …
I just finished playing the role of Eugene Fodor as an alumni in Villanova Theatre’s production of “Crazy for You.” Fodor, was a real life travel writer who also happened to be a spy for what would eventually become the CIA. In “Crazy for You” he is a Brit who travels to Deadrock, Nevada with his wife to write a travel book, “hoping to do a series of them,” which he eventually did in real life.
This musical features the song “Stiff Upper Lip” which inspired me to write this article about “Sayings Songs.”
This was an amazing opportunity to be a part of a huge production full of spectacle and excitement. Many heartfelt thanks to the numerous folks making up the cast and crew! We couldn’t have done it without you! Below are some of the photos by Paola Nogueras!
This is a term that I hope to coin having done extremely limited research. While many songs and lyrics generate common sayings, like, “You can’t always get what you want” or “See you later alligator,” to name a couple well known sayings, “Sayings Songs” are songs where the lyrics come from common sayings.
The most famous and expertly crafted example I can think of is from the Gilbert and Sullivan Operetta, “Iolanthe.” “If You Go In You’re Sure to Win” looks like any song with a verse chorus structure with the third verse sung by the Lord Chancellor taking on a different melody, both to set him aside as the one who is making the big decision during this song, but the “verse” is actually the bridge in the classic AAB structure. Also, each chorus, starts with the same first two lines and followed by 4 unique lines each round, repeating the final stanza. By doing so, W. S. Gilbert has crammed in 4 unique sayings per chorus, forcing our performers to learn different lyrics for each chorus, in three part harmony, no less. Here’s a recording, featuring my favorite Gilbert and Sullivan singer, John Reed!
A contemporary example of a sayings song that immediately comes to mind is Rose Garden by Lynn Anderson. It contains many wise sayings such as, “still waters run deep” and “live and let live.” It’s a catchy tune, that may sound familiar. It was also sampled in the 90’s by Kon Kan in the song, “I Beg Your Pardon.” Give the original Lynn Anderson song a listen below!
Returning to musical theatre, I was just in a production of Kander and Ebb’s “Curtains” a couple years ago and there was a song called, “In the Same Boat,” while not a great example of a “Sayings Song” since it’s really only one or two sayings, extrapolated, to some extent. It’s also a quodlibet, taking several songs and layering them together to create one big song as explained at the beginning of this track. Take a quick listen below.
My final example comes from the show I am currently working on, “Stiff Upper Lip” from “Crazy for You.” I play the role of Eugene Fodor who actually introduces the song with the line, “But in our part of the world, we have a few sayings about this sort of thing. Stiff upper lip!” literally setting us up for a list song of sayings, simply, this time, they are all British! If you want to know how this song goes, you’ll have to come out and see me in Crazy for You at Villanova Theatre or look it up on your own.
However, what’s interesting about these examples of “Sayings Songs” from musical theatre and operetta, in a story telling capacity, is that they come at a time of ponderance or decision making. In “Iolanthe,” the Lord Chancellor is trying to make a decision about the fate of his ward, Phyllis, and if he should allow her to marry or simply marry her himself. In “Curtains,” the locked-in cast of a show, subjected to a murder investigation, attempt to recreate the conditions of a murder, while workshopping a troublesome number. Lastly, “Stiff Upper” lip comes at a time when the cast of another “show within a show” are deciding if their show should go on given a nonexistent audience and pending foreclosure of the theater. In all instances a moment of clarity comes shortly after this song with the characters making decisions that ultimately determine their fates. Even thinking about “Rose Garden” by Lynn Anderson, these sayings are all advice of some sort, often given at times of reflection.
As I continue working in musical theatre, I will be keeping a keen eye out for other examples of what I hope to coin as “sayings songs” and add to the list and examine their similarities and differences, perhaps updating here as I go. Reach out to me if you have any thoughts on this or have any other songs to add to the list.
Also an AS in Computer Science along the way.
After high school I started college at West Chester University. I actually entered the university as an undeclared student, meaning, I hadn’t picked a major. Without knowing it at the time, this kind of put me behind the other students, who actually knew what they wanted to be studying, by about a semester. I knew that I wanted to be part of the music program, but I didn’t really understand the application and audition process and since neither of my parents had attended college, let alone for the arts, they were no help at all.
After one semester, I finally made my way into the music program as a Music Composition Major with Voice as my instrument. I managed to get a couple semesters under my belt as a music major before I had to switch schools.
I wasn’t taking my undergrad education very seriously and needed to withdraw from a couple courses to avoid ruining my GPA. My music education was suffering as well. I didn’t understand how much more commitment these courses would require than regular academic college courses, which remains true to this day. Arts courses often have labs or out of class time required. Think about choir performances for college choirs. The performance itself must be a significant part of one’s grade. So, it made sense to change my major to something else I was good at, I.T.
For whatever reason, understanding technology is somewhat of a gift. First, before pursuing IT as a major, I had to switch schools. I registered at the local community college in order to knock out as many required courses in my new major as possible before transferring to a new school or back to West Chester to complete the degree. This was a major cost cutting measure since, essentially the first two years of my college education were a wash with the exception of being able to declare a music minor.
Once I completed as many transferrable courses as possible at community college, which actually granted me an Associated Degree, I returned to West Chester and finished my Bachelor’s in Information Technology in 2003 on my birthday.
I started taking voice lessons when I was 17. I had heard anecdotally from my high school choir teacher that singers could get paid working for churches. Since I had been in virtually every choir that was available to me since I was in 3rd grade, including being in the chorus in musicals, advanced, chamber, and district choirs, I thought this might be something I could do. I opened up the literal yellow pages to “churches” and cold called every church listed there. To my surprise, I received one call back from the very church that housed the nursery school I attended that was, at one time, my family church, St John’s in Bala Cynwyd, Pennsylvania.
I worked there for an entire season, from September until June, singing every Sunday and special church service including Christmas and Easter. I made somewhere around $35 per hour, which at the time, blew my mind despite the fact it was only 4 hours a week. Still I thought I was doing great for a 17 year old!
I also had heard that one of my favorite singers in my choir took voice lessons, so, once I had a job, singing in the church, I booked my first voice lessons. Again, I opened the yellow pages and looked up music schools. I found Bryn Mawr Conservatory of Music and I gave them a call. I started my voice lessons just a week or two later with Mrs. Kathryn Blum Barone. I stayed there until I started my Freshman year at West Chester University where I ultimately became a music major with voice as my instrument. There I was able to take 3 semesters of voice lessons.
Unfortunately, I changed my major and ended up getting a degree in IT and didn’t take voice lessons again until I attended Temple University in 2016. There I studied theatre and eventually joined the choir and got access to voice lessons. There I got one semester of voice lessons with grad student, Tyler Tejada.
Soon, I hope to return to voice lessons and I find them invaluable for building a proper singing technique which has helped me tremendously as a performer, both singing and acting, even understanding how to reproduce different sounds in accents and dialects.
Prior to starting grad school at Villanova University, I wanted to pick up some extra training in theatre. I completed the entire acting concentration which includes Acting One through Five as well as Voice for the Actor, Speech for the Actor, Advanced Speech, and Dance for the Actor. I also took Acting for Film and Television, Acting for Commercials, Unarmed Stage Combat, and Single Sword.
It was here that I was first exposed to the works of Uta Hagen and Michael Chekhov while also learning Shakespeare and about the business of being an actor. This is also where I was exposed to the vocal techniques of Pasty Rodenburg and Kristin Linklater. This is also where I learned about IPA and began independently working on Accents and Dialects. I also took the opportunity to join the University Choir and take private voice lessons.
One of the most interested classes, of course, was those taught by Ian Rose, Unarmed Stage Combat and Single Sword. Below is a picture of my certificate from when I passed my Unarmed Certification for the Society of American Fight Directors. Also, there’s a couple videos of my midterm and final performances.
In summer of 2013 I auditioned for a new community theatre, Avenue Theatre Company, for their production of “Into the Woods” my all time favorite Stephen Sondheim musical. Well, my all time favorite musical, period. This particular staging was designed to be dreamlike and use a child’s bedroom as the set. This way, we relied on the audience to use their childlike imagination to build the complicated sets in the woods, using a ladder and a feather boa to represent Rapunzel in her tower, for example. I was cast as the Wolf in Act I and then double cast as a drag Step-sister. This show is a blast and has many layers to it’s sophisticated story, that’s really for kids at all.
This is one of the three Sondheim shows I have been able to learn and participate in. The first being “Gypsy” where Sondheim is only the lyricist, yet still gives us the some unforgettable ditties. The other show was Villanova Theatre‘s production of “Merrily We Roll Along” which was ultimately cancelled as a result of the pandemic in 2020. We were returning to the theatre the next day to start tech weekend when the lockdown began.
I was introduced to Without a Cue by a board member at Beacon Theatre Productions where I had performed in Freud’s Last Session. She had needed a last minute replacement for the role of Jacques in a touring production of “Murder at the Moulin Bleu.” It was so much fun that I asked to be included in the next round of auditions.
In the fall of 2018, I was cast in three shows with Without a Cue Productions, their Bewitched, Harry Potter, and Charles Dickens parody murder mystery dinner shows. In the Bewitched show, I played Uncle Arthur, inspired by the performance of Paul Lynde! It turns out I have a wonderful Paul Lynde impression! Next, I played professor “O’Donnegal” in their Harry Potter parody show, “Henry Planter,” names changed for copyright reasons. Lastly, I played Tiny Tim, and Sherlock Holmes in “A Dickens of a Murder.”
Below are just a few pics of my time with Without a Cue! To find out more about Without a Cue check out their website, here! They’ve just recently gotten a new venue and have increased the number of shows available.
That’s right folks, Crazy For You at Villanova opens in just over a week! Go here to get your tickets!
I’ve recently fallen in love with the performances of John Reed, one of the last D’Oyly Carte Opera Company’s “patter men.” This particular patter man would go on to be the only one to have been officially recorded performing every surviving Gilbert and Sullivan operetta for the D’Oyly Carte Opera Company. He brought a unique flare and character interpretation to every role he took on. I also learned he was a gay man, living with his partner, who was also his business manager, until the day he passed away in 2010. Here’s a link to his obituary as well as a lovely tribute. I just got his book, a lovely autobiography, dictated to a friend, transcribed and published.
In my work getting my master’s in theatre, I specialized in trying to uncover the LGBTQ experiences of past performers and theatre practitioners. I look forward to researching about John Reed to try to find what particular queer influences he may have had on Gilbert and Sullivan Operetta in the mid 20th century. To get his book, “Nothing Whatever to Grumble At” go here!