The essential concept that flavors all the work at the Young Performers' Workshop is that: Musical Theatre, at its best, has the ability and scope to offer the most paramount theatre experience.
Many have tried to define theatre. "Theatre is the greatest weapon for peace," renounced, Aristole and Stalin stated, "Theatre is the greatest weapon for war". However, Shakespeare's metaphor, "All the world's a stage" wins us over because, if the world is a stage, then the stage is the world and every action that takes place on that stage speakes to us about the human condition.
Working in the theatre requires total commitment of our values, vision and character. It is necessary to use all that we are as human beings and all that we've ever learned as we go about our work on the stage. The fundamental process of life is sharing these qualities with others. So when we are creating theatre we are creating life.
The Musical Theatre demands the most of its artists because it has the potential to provide the ultimate theatre experience or "life experience".
THE ACTOR
There are two things necessary for making theatre. The Actor and the Audience. What qualities must each of these entities have to realize the musical theatre's total potential?
The fundamental duty of the Audience is to "show up". Once they are in their seats they have lived up to their end of the bargain. The rest of the evening and what happens is entirely up to the actor.
"The Musical Theatre actor must be able to dance in a variety of styles (ballet, tap, jazz, modern) must sing nicely, must be a musician, quick-change artists, must watch the conductor, concentrate on the dramatic situation, be a magician, gymnast and at times is asked to juggle and/or roller skate. In no other art form are the total technical demands so great. This super human must have the technical excellence of an Olympic athlete and the soul of a poet.
The complete use of one's self is basically what sets Opera apart from Musical Theatre. In Opera, different people perform the different jobs of singing and dancing. Opera Performers are experts in only one technical discipline. In Musical Theatre the plot is moved forward by one person doing different things rather than by different people doing one thing.
THE MUSIC
The importance of music in Musical Theatre is frequently underlined by the comment, "Why do you think they call it a musical?" It has long been established that music is a catalyst in creating emotion. This is evident by another Shakespearean quote, "Music hath power to soothe the savage beast."
Music in a musical differs from symphonic music in that shyphonic music is create by a musician playing an instrument. In Musical Theatre the instrument and the musician are one in the same.
Prompting emotion and conveying the plot in a musical is a monumental efort. In musicals the music is usually coupled with lyrics or words causing a fusion of intellect and emotion, or rather "right brain" and "left brain" harmony. If the lyrics and melody are created by different people, and they usually are, there must be a shared vision.
THE DIRECTOR
The number of artists required to create a musical is riveting. They include: the compser, the lyricists, the book-writer, or librettist, director, choreographer, musical arranger, orchestrator, set, costume and lighting designers, musicians, sound designers and obviously, 20 - 30 super human Actors. In addition, each department head has many assistants, technicians and crews working underneath them. Once the musical reaches the production stage, the list of "creators" goes on to hundreds of others including marketing executives, ticket takers and ushers who all must share the same vision. The Director of the modern musical most often offers this shared vision.
The conception, creation and birth of the musical starts with its authors. The actor expresses the work. Metaphorically speaking, the Director is not only the mid-wife, but mom and pop too. An effective Director sees that the infinite needs of both are met and further seeks to infuse the work of both actor and author with his unique values and viewpoint. Vision, diplomacy and poficient communication skills are just a few of the qualities that make up the Director. The most critical skill the Director needs is the ability to create an atmosphere where all of these various artists are compelled to do their best work. This is the only way a truly great piece of theatrical art is created and performed effectively.
STORYTELLING
CEO of Herman Miller, mark DeFree, expresses, "Every family, every college, every corporation, every institution needs tribal story tellers. The penalty for failing to listen is to lose one's history, one's historical context, one's binding values. Without the continuity brought by custom, any group of people will bbegin to forget what they are."
Who are our tribal storytellers today? The makers of musicals fill this awesome responsibility. Our strongest weapon for human enlightenment lies in the musical and the performing arts. If its artists can create the correct combination, guided by one viewpoint and expressed through the vehicle of the super human actor, the prose of the librettist, the dance of the choreographer, the synergism of lyrics and melody, and the fine arts of the scenic artists, it holds the capacity to continually offer the most potent and edifying emotional experiences.
"After enlightenment, the laundry", states the famous Zen proverb. Are our current tribal storytellers, or musical makers, living up to their full potential? Do we have super human actors to bring life to and express the knowledge and experience of the musical makers of the new millennium? Do our modern day directors realize they must not dictate to the authors and performers of Musical Theatre but rather lead, avail, nurture and encourage them. Shamefully, no.
Of all the arts, the Young Performer's Workshop feels the performing arts demand the most of its artists. Likewise, our greatest chance for a consistent offering of the most potent and supreme emotional experience, or "life experience" lies in our Musical theatre. Therefore, the Young Performer's Workshop offers a comprehensive, long-term program that develops artists with the capacity to cause or bring into being the utmost and truly paramount theatre experience.
The goal behind the Young Performers' Workshop is to uncover the new realm of musical theatre art. To uncover a fresher, newer plane in Musical Theatre Art we must have disciplined and trained actors and authors, as well as culturally diverse, visionary directors plus educated, and present audiences.
The Young Peformers' Workshop begins with our most important commodity, young people. We must mold their values and principles, encourage an honor and regard for tradition, and kindle in them a dream of what musical theatre can be. Acquiring the skills necessary to execute the craft of the art form are so demanding that only a deep-rooted, intense love for the art will carry them on their path toward perfecting their art. The Young Performers' Workshop is the beginning of their path.
These goals are already being met by several elements of the Young Performers' Workshop like:
- Regular Program features production
of three-four full scale musicals and one straight play
- Accelerated Workshops: have featured classes, covering the study of the "Hero's Journey", based on the work of mythologist and stroyteller, Joseph Campbell. Dance company participation, original works, and Profesional Seminars with Talent Agents and Broadway's Tony Winning Director, Vivian Matalon
- One-Act Playhouse: features production of several one-acts plays directed by carefully selected students. This program also utulizes an all-student cast and crew and produced by a rising senior Intern.
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Special Performances: have included performing stints on live radio, readings, participation in Centenary Stage Company's profesional Equity productions, Concerts at New Jersey Performing Arts Center and participation in their state-wide Theatre Academy program
- School Performances: Fall and Spring sessions each feature six performances for public school children who are bussed in from all over the state
