Welcome Message

As you may know, this blog started life as a resource aimed at the members and Alumni of Birmingham University's Guild Musical Theatre Group.















Since then, I have realised that a great many artists I know could use a serious resource for discussion and debate of the major issues.















So, I open this network to any and all arts professionals who would like to use it. Over the years, I have seen some awe inspiring performances and productions by a great many talented and high ranking individuals, whose knowledge would be an asset to the artistic community. I invite these individuals and others to come forward, so that their achievements may be celebrated.






If you would like to write articles or make comments on this blog, please let me know. My contact email is on the link. Membership is free, and there are no obligations. Existing members are free to write as and when they want.








Its is also easy to forget, that we don't often have a chance to discuss or to think about the most serious issues affecting the arts. Despite all the progress made by online networks like Facebook and Twitter, there still needs to be a place where opinions can be viewed, and I hope that this will be such a place: a neutral ground, where all are welcome, and where knowledge can be shared.















Artists of all disciplines, I hope that this will assist your development and further networking. May this resource serve you well.















Best Regards,















James Megarry















Founder















Sunday 30 December 2012

Rebuild the Theatres: How to Fund Refurbishment


 The Case for Refurbishment

While doing voluntary work for a regional drama committee, I noticed that the biggest issue facing most performers is the buildings they have to use. Again and again, it was the same story. In community after community, the theatre I visited would be tucked round a back street, far from the centre of town, in a building that was built 30-40 years ago. When they were first built of course, these theatres were at the cutting edge of the architecture, of the 1960’s and 70’s. But audience expectations have changed in the last few decades. To serve any community, its members must now have a venue for all the arts. Many of these older buildings were designed primarily to be theatres only; and they need to be adapted.

The best example of a modern multi-purpose building is The Midlands Arts Centre. Barely two years old, has it stood like a powerhouse, on the horizon. A lot of investment went into it, and in military terms, it is like a fortress that was completed just in time for the onslaught of the Recession. And it caters for many different artists, and arts enthusiast alike.

Walk inside and you can guarantee that at any one time, every square inch of the building is being used for the visual or performing arts: if not for rehearsals, then for exhibitions, galleries, cinema, crafts…the list is endless. This is how 21st  a century arts venue should operate.

Preservation vs. Renovation

It is true that some Listed Buildings must be preserved in their original form, as pieces of history. The Barber Institute of Fine Arts is a classic example. I would say, that the older ventilation system still makes it difficult to perform on stage without getting too warm: especially when your costume is a three piece suit under full lighting (trust me, having sung at the music festival some years ago I would know)! Nevertheless, it’s bright, marble facades, and interiors are of the highest quality, and I see the argument for keeping them the way they are.

But for buildings that are not listed, and were built more than 20 years ago, at least some are in need of renovation. They need to be kept ventilated, sunlit, and attractive to visitors. And let’s not forget, that these venues are somebody’s place of work.  Paid technicians, front of house staff, and professional performers also make use of them. Would you want to work in a claustrophobic, dusty building with systems that are out of date? I think most people wouldn’t.

What’s worse: I have heard that even some venues at the West End still do not have enough seats or toilet facilities in their foyers, for all patrons. Clearly, one of the epicentres of the entertainment industry must have the latest facilities and technology if it is to deliver effectively: in all of its theatres.

One such example of refurbishment, closer to home, is Malvern Theatres’ main building.  The original theatre has now been opened out, to leave a wonderful hallway that leads to the Victorian Winter Gardens. This again, was an investment, but it is interesting, that a great many professional actors have come to use the theatre it in droves, prior to the West End.

A Solution

I say that any building that is used for the arts should be available for all forms of art: just as a stadium exists to provide a community with many different kind of sport. If a theatre was built more than 30 years ago, and is not a Listed Building, then it should be renovated, to become an arts centre: and provide rehearsal space, art galleries, halls for functions and so on. By modernising our arts venues, we can change the industry itself. You can’t do good work in a bad office. The artists, of the 21st century and their offstage crews, should have access to the best venues, and the best equipment, to inspire them and to inspire others.

This means a lot of investment, which is the biggest deterrent, of course. So what I suggest, is a 5-10 year plan. Each community spend that length of time planning and raising money for a new venue, or the renovation of an existing one. The resident theatre company should lead the project, in collaboration with other arts groups. If one does not exist, then all existing arts societies in the area could form a lobbying group to organise this. They could agree on a design for a venue to cater for all their art forms, and who is to run it, once it has been built.

The venue should be located as close to the city/town centre as possible, or be placed strategically, at a point accessible to a wide catchment area. It should be made multi-purpose, so that all visual and performing arts can take place there. Dance studios can become rehearsal space for actors and singers; lobbies and foyers can become display areas for art galleries. Every square inch should be available for use at any one point in time: this will recoup the investment in the building, which will certainly be steep.

This seems impossible in such troubled times, where funding for the arts is all but gone. Then again, perhaps that is the point. If the government has cut arts funding, then local communities need to take action, to rebuild and maintain their arts venues, and keep the industry alive. The suggestions I have made are based in part, on the efforts of the hundreds of volunteers, to build Number 8 Community Arts Centre: 10 years of work that finally paid off, with a venue that now pioneers everything from dance workshops to digital 3D live streaming. It’s a hard job, but it can be done.

Conclusion

Every profession and industry has been hit in the past few years: and to survive, we need to rebuild. The most obvious place to start is with the buildings that we use. If the roof over your head is the best it could be, you know you can put on a great show. For all local performers reading this, I hope you will consider it.

Saturday 29 December 2012

The Hits That Never Were

You know, it’s surprising that while there are many classic shows in the musical theatre repertoire, there are some that never made it, despite being popular choices for performers. There are at least 2 musicals I could name, whose songs are performed all the time at concerts, and used in auditions the world over: namely, Cy Coleman’s City of Angels and Andre Lippa’s version of The Wild Party. Yet these are not considered classics, alongside your usual medley of Jesus Christ Superstar, The Sound of Music, Oliver!; whose songs the audience expect to hear.

One concert I saw recently was good to break the mould. The singers did indeed perform timeless songs, such as Somewhere Over the Rainbow, and Some Enchanted Evening; but this time, there was also a selection of more modern hits, like Defying Gravity from Wicked, and songs from Love Never Dies, as well as the underrated, but brilliant You’re Nothing Without Me, from City of Angels.

It was a great concert, and the audience got to hear a selection of great works, that showcased the singers’ range perfectly.

I think we should promote underrated hits more, because audiences just don’t know what they’re missing. Performers would agree, the songs from the 2 musicals I have just mentioned are still good choices for them: even if an audience is not sentimental enough to appreciate them. We should do our best to use great songs of today, so that they become the classics of tomorrow.

Thursday 20 December 2012

Ever Wanted to Do a New Show?


I'd like to try something new.

Have you ever wanted to make a new musical? Or a new dance show, a play? A new concept?

Then if you have a new idea about something, or your friends do, I invite you to bring them here to talk about it. Let's make this a show factory of new ideas!

You can post comments for free and we can all discuss.

If you're interested, spread the word!


Best Wishes,

James McGarry

Founder

Tuesday 18 December 2012

Performing to a Standard

One thing I like about live performance is that it sets a universal standard for others to follow. There are no two ways about it. We may brag about our past achievements, or who we know, but ultimately, performance speaks for itself. You either do it or you don’t.

Once that standard has been set, others can aspire to it, and the world arts are the best, because they maintain a constant, global standard, that others must meet; and by ensuring we deliver it to the highest standards, the audience will always get what they came for.

Thursday 13 December 2012

To Join This Blog

To all arts professionals and aspiring artists who have viewed the blog so far, I thank you.

If you would like to contribute to articles on this blog, please contact me on the email link supplied, or reply to this post. (Comments are free, and can be left by anyone.)

Please remember that this blog is live to the world: it can be read by literally anyone online, who is using Google, and will give you free exposure, should you choose to write on it.

If a few from each of the groups I have contacted would now join the Contributors Team, the blog would gain considerable strength, so if you know any arts professionals or aspiring artists with something to say, please put them in touch with me.

Best Regards,

James Megarry

Founder

Monday 10 December 2012

Changes to The Blog

I had intended this blog to be exclusively for the development of Guild Musical Theatre Group members and Alumni. Fortunately, developments on the Facebook networks, as well as opportuunities given by Laura Fairbanks under the Cicles of Influence Campaign, should ensure good development and networking of members and Alumni.  Fairly soon, therefore, I plan to extend this blog for the use of all artists.

There are a geat many artists I have known, with a lot to talk about. Therefore, I will deveise a new version of this blog at some point in the near future, to accommodate all artists and their fields of performance. Guild Musical Theatre Group members will also be welcome to make use of this resource.

Monday 29 October 2012

The Three E's

In any art form, I'd say artists can be divided into 3 main types. These are: the Eccentrics, the Energetics and the Egotisticals. Every artistic group has them, and yes, some of us are a mixture of all three.

They make up the dynamic of most groups on earth, for every artistic and sporting discipline.

These types can be defined as follows:

1) The Eccentrics

  They are either eccentric because they are clever, or vice versa. They many be zany, weird and wonderful, odd, or just shy. Some may seem like hippes, (and probably are); others look like professors (and also probably are). But all are either very quirky, and/or very clever. Wit is their nature. I've known many softly spoken characters who are as quiet as mice before the performance. But come curtain up, they are electrifying.

2) The Energetics

Why would someone want to perform in public? Well, usually because they've got lots of ENERGY! Yes, another big group of artists I know are the most outgoing, full of life people you could imagine. They don't say hello, they say HI THERE!, and they don't just walk to a space - they jump at it! This boundless energy pretty much translates into the performance, as the Energetics usually have a very loud voice, and you are forced to be heard over them. But they usually have a heart of gold, and make good friends: even if they do give very strong handshakes.

3) The Egotisticals

Speaks for itself really. Those who think they are Gods gift to the people; they who think they are the greatest dancers, and are not. They who think they can sing brilliantly, and for the sake of people's ringing ears, need reminding otherwise. And they who think they only have to leap on stage for the audience to erupt with praise...keep dreaming. Yes, many of us have been on this trip. (Me in a few musicals to be sure.) In fact, when there are ten of us in a show, who all think we are brilliant, we should record our backstage antics, and keep them as a memento: for the entertainment of others later in life.


These are The Three E's. They can be found in all performance groups worldwide. If you're in one now, talk amongt yourselves and find out which one you are...

Saturday 20 October 2012

GMTG Rendezvous

To all members and Alumni of Guild Musical Theatre Group (or GMTG Birmingham,) who are reading this. A rendezvous of sorts will take place this Dect 1st, as GMTG present their showcase. All Alumni are welcome to meet, and after we see the showcase, we can discuss plans for the main event (a reunion next year)! Reach me on Skype if you can't come in person.

Spread the word!

Monday 15 October 2012

Rocky - The Musical!

Now there's a good idea. I've not yet heard this one done. The's even been a musical version of The Evil Dead (complete with foul language and all)! In fact there seems to be a musical version of everything. Well, how about Rocky?

The only downside would be, of course, that every song would begin and end with one word: ADRIENNE!, ADRIEEEENNNNEEE!! ADRIEEEEEEEEEEEEEEEEEENNNNNNNNNEEEEEEEE!!! On the plus side, at least the dance routines would be intersting (dancers pounding meat, and running up and down the steps of somewhere very famous...)

Anyway, it's food for thought. I wonder if anyone'll come up with it?

And of course, there's one song that'll definitely be in the repertoire. Cue the inspirational music...





Sunday 14 October 2012

Both Sides of the Story


Sometimes even one of the greatest musicals of all time can have its flaws. And in West Side Story's case, the flaw comes at the end of Act 1. For some strange reason, the creative team seemed to want to end Act 1 after the Rumble, when both Riff and Bernado are dead.

Clearly, this is an anti-climax. Were it not for the brilliant dance sequences and music, the audience would be thoughougly turned off by such an ending. Surely common sense says, that Act 1 should end with the iconic emsemble number Tonight, in which the Jets, Sharks, Tony and Maria are all invovled. It is the perfect cliff hanger to suspend audiences' disbelief. Who will win the rumble? Will Tony stop the fight? Will he and Maria find happiness? The audience is left to wonder.

Then Act II can begin with the Rumble. It adds perfect suspense to the situation, and when this has been done in some versions of West Side I know of, it has worked very well indeed.

I still can't figure out why Bernstein, Sondheim, and Laurents could allow Act I to end where it did. As someone did say, who wants to see a show where the audience are left with two dead bodies on stage at the end of the act? I forget who said that, but the point is well made.


Saturday 13 October 2012

Innovation

The Way to Stay Ahead

Something I'd like to comment on. Ok, so this is more about the entertainment industry, than a musical theatre one, but I'd like to put it out there ayway. I've been listening to quite a few tracks from the UK's chart, and you know what? There's one reason why our music industry seems to do so well.

It isn't just that we're aggressive in marketing it to the world - which we are. Nor is it the fact that our producers have many good deals with foreign distributors to guarantee a steady flow of hits. No. The reason our industry's got staying power is a simple fact: because the music is different from anything heard elsewhere.

This may sound obvious, but there's a special element to UK chart hits that I don't hear in other music industries. It's amazing how diverse our pop tunes are. Sample the top 20 tunes, and you'll find urban, reggae, disco and hip-hop, blended with funk, soul jazz funk and even blues. Granted most other industries are just as eclectic - after all, artists like Usher and Beyonce Knowles were born to make hits, and they certainly come out with some groundbreaking new tunes, but there's a magical 'it' factor in our industry at the moment, that sets it apart from the rest.

I may be biased, but play the top 20 chart hits right now, and I think you'll see there's something to this argument. After all, I notice that all over Europe, it is British and American tunes that always seem to be on the ariplay, no matter what the country or the language.

My point is this. It takes a lot of courage to be different, but if you come out with something genuinely original, you can lead the way. Jamiroquai did it in the 1990's. At first, no one really understood a group who played jazz, funk and soul as dance music, in the middle of all the techno, rave and other styles at the time. But as disco came back in fashion, they took off with a vengeance, and the whole music scene became laced with funky grooves, many artists mixing the old school with the new.

So it pays to be different, and in art, you have to innovate. It's not just about taking risks. You have to come out with something in a new way. That's how to stay ahead.

For inspiration, just check out this little number...






Tuesday 2 October 2012

NOT Martin Guerre

The Pitfalls of a Rewrite

Something I've been meaning to say for a while. To quote a speech from Hey Mr Producer, great musicals "are not written: they are rewritten." The show in question was Martin Guerre and, no, I disagree. Great shows should sometimes be left as they are, with minor adjustments.

They should not be torn apart and reassembled, to leave a show that's nothing like the original. I say this, because I had the misfortune to perform one of the revamped versions of Martin Guerre for National Operatics' Summer School, and I think the original release was still the best.

In 2005, there was yet another version of the show coming out, and not only had lyrics and themes been changed, but even the plot had been altered. Among the various overhauls the musical has had over the years, Guillaume (the villain) and a gang were put in at the end, which just seemed an anti-climax to the original three hander between the leading characters. Then the most crucial change: the iconic, (and very important) number, Live With Somebody You Love was changed to a duet between Martin and his wife Bertrande. But in the original version, it was depicted on the battlefield as a duet between Martin and best friend Arnaud, who will steal his name. The signifigance of the song was lost in a way, we agreed.

Don't get me wrong. Martin Guerre is a brilliant musical, and the revised version still made for a powerful workshop, that tested us all to the limit. But my issue is with rewrites. The Land of the Fathers, for example, was one of the best choral pieces my choir has performed, and it really does justice to the story, as an understated final number. But it was not included in revised versions of the show, which is a real shame.
If it ain't broke, as the saying goes, don't fix it. Yes, the original Martin Guerre was a flop, but this was because of 2 basic flaws.

Number one: it was too serious. As my Summer School instructor pointed out, all other Boublil-Schonberg and Mackintosh' musical collaborations till then had worked, because the musical always had some humour or entertainment in it, to lighten the intense drama. In Les Miserables, the character of Thenardier, and raucous numbers like Master of the House provided great comic relief: allbeit with serious undertones to the events. Likewise, in Miss Saigon, the character of the Engineer, provided the audience with some great one liners, and funny culture clashes, that lighten the mood of what is otherwise a very serious story. But Martin Guerre, as I remember, did not have enough comedy to lighten the drama, and I'm not the first one to say this.

There was a wonderful comedy number, that was called Sleeping on Our Own, I think, in which the village's women folk vent their sexual frustration, in a hilarious, deadpan style, that puts a smile on audience members' faces. This too, keeps being taken out and put back in various versions of the show.

The second reason for the Martin Guerre's flop (no pun intended) was, I think, a much simpler one.
It was the end of an era. By the mid 1990's, we'd had our share of large scale musicals, and perhaps Martin Guerre was one too many. While I agree strongly, that musical theatre should focus on serious drama, as part of its DNA, I still concede, that audiences need to be entertained. They need comedy, and a few lighthearted moments, to lift the drama, and relieve the onlooker. Remember Jesus Christ Superstar? Herod's Song lightened the mood perfectly. And who could forget [Gee] Officer Krupke, a tongue in cheek send up, right in the middle of West Side Story's darkest moments. There's a lesson to be learned here.

So, although Martin Guerre's time as a hit musical has passed, I still think that it can be saved as a performance piece by two very simple changes:
  • Take the show back to its original 1990's form. Lyrics, plot, characters, dialogue, the works.
  • The ONLY rewriting needed is to add comedy. All comic numbers and characters tried in the various rewrites should be kept. The music and the drama are perfectly moving as they were: they just need comedy to add spice, and give the audience an all round musical experience.

That's the kind of rewrite I'd recommend.

James Mcgarry

aka The Secretary

Wednesday 12 September 2012

Modern Musicals: The case for Something New

Modern Musicals

The Case For Something New

James McGarry
(aka The Secretary)

Not long ago, a friend of mine told me how hard it is to perform new songs with his rock band. Covers of all the hits play to sell out audiences, but a night featuring new songs seems to leave a fairly sparse pub or bar.

It’s funny because in many ways, musical theatre is the same. Time and again, audiences only seem to want the classic song and dance routine, with well known hits, and a happy ending. From The Sound of Music, to Chitty Chitty Bang Bang, these musicals seem destined to dominate the market, both here in the West Midlands, and in the West End of London. Even supposedly new shows like Dirty Dancing and Mamma Mia are based on classic films or classic hits.

Now maybe I’m biased here, but the wonderful genre of musical theatre is not just entertainment, but an art form. It has covered every subject and topic imaginable; from the story of Jesus (Jesus Christ Superstar), to the British mineworkers strike (Billy Elliot); from a social commentary issues of race and class (Ragtime), to the issues of modern relationships (Company). The list goes on, but suffice to say, that musical theatre has explored virtually every type of drama: after all, many plays have been adapted into musicals. The potential of the musical is limitless, and we should be willing to take it in new directions with new developments.

Yet far too often, people seem afraid to put on modern musicals. Time and again, if you look at the fixtures list for amateur shows in the region, the same classic 10-15 well known musicals are well in the lead. Of course, budget constraints’ have to be considered. It costs a lot of money to put on a show, and I can understand producers’ desire to see that money is returned through ‘bums on seats’ shows, that are proven to get a big audience.

But we need to remember, that like any art form, musical theatre must not be defined by ticket sales alone. At the festivals I have volunteered at so far, the companies involved have all put on very avante garde shows that are unlike anything on the conventional stage.

With this in mind, most people would point me in the direction of the Edinburgh Fringe Festival, which is certainly the epicentre of new developments. New musicals and shows can be tried and tested before a festival audience, and the money spinners let loose on the mainstream theatre goers at the National and/or the West End (remember Jerry Springer the Opera?) But I still say that the UK as a whole needs to be more open minded to new kinds of shows. How receptive might a mainstream audience be to something new?

The most obvious issue here is the entertainment factor: the average person on the street goes to the theatre to be entertained, not so much informed or challenged. I know this from many years of performance, and from working behind the scenes. It is true that audiences don’t always take to a new idea. Musicals with dark, adult themes can certainly discourage people. A performance of Jeckyll and Hyde I went to see was attended by only a select crowd of locals, despite the talent and energy of its performers. Also, serious dramatists, students, and collectors of art may wish for something deeper, but that doesn’t appeal to the masses. Or does it?

I have to wonder, because the most iconic musicals of all time include some of the most thought provoking. West Side Story, and Showboat, for example, deal with many complex issues of race, and rivalry, that are far beyond Broadway’s classic formula of frivolous entertainment. Likewise, some of the most famous musicals actually broke the mould at the time they came out. Guys and Dolls defied convention, by beginning with the instrumental Runyonland, whose movement sequence was a departure from the traditional opening chorus number. Oklahoma also traded a chorus opening in favour of a three handed first scene; and used dance to tell the story during Laurie’s dream sequence.

These classics were the modern musicals of their day, and the development of new ideas must continue if we are to have classics for the future. It can be done. Consider the groundbreaking success of Wicked. Not only has this musical taken the West End and Broadway by storm, but it has inspired a whole new generation of performers. I remember the songbooks for Wicked and Avenue Q lining the shelves of my music teacher’s room. Young students couldn’t get enough of this new musical.

Yet I worry that too many producers, companies and societies (both paid and unpaid) are playing it safe. The next Andrew Lloyd Webber, and Stephen Sondheim, and Steven Schwartz need to step forward. We need more groundbreaking, cutting edge modern musicals, that will take the industry in new directions. And above all, we should not be afraid to try new ideas. Production of any musical always involves taking a risk. And a brilliantly original idea; that could make a future classic, is a risk worth the taking.

Friday 24 August 2012

Et Tu Caesar?



What a birthday it was! When for a present, I was taken to see a production of Julius Caesar at the newly refurbished RSC, it took my expectations to a new level. The powerful play translates perfectly into a conflict set in modern Africa: no doubt inspired by Nelson Mandela's quotations from its most poignant passages. 

The political repercussions of a country in turmoil from the death of a dictator are all the more relevant today, with the deaths of Muammar al-Gaddaffi, Saddam Hussein; and even Osama Bin Laden, fresh in our minds. When Caesar’s statue falls, the cross reference to the iconic felling of Saddam’s statue couldn’t be clearer. Considering the many revolutions in countries throughout the world in the past few years, Shakespeare’s themes of national pride, identity, have lost none of their significance.

Yet it isn’t just the staging and production that made the play for me. The energy and passion of the performances made the characters as raw and timeless as they ever were. I hate to name names, but Paterson Joseph made an excellent Brutus.  He pretty much stole show for me.

Above all, it was great to have seen the play at last. World class performances were given by all. And Brutus was indeed an honourable man.

Monday 9 July 2012

A Call To Arms


A Call to Arms







I'd like to bring you up to date with future plans for this blog, as well as the challenges and solutions in the months ahead.

There are indeed many challenges to be faced. I look around and see a lot of broken morale at the moment. People are worried about the future and with good reason. No matter how tough or self-sufficient we fancy ourselves to be, our future depends on the opportunities others give to us. At some point, we will need a break to make it, and people around me are wondering if that break will ever come. They are in good company!

Lack of opportunity is an old story. I've heard it before as I'm sure you have in the 1980's, the 1990's. Even in the 00's, it was a hard fight to secure a place at a good company on graduation. That may be how life goes, but too many of the people I know are unhappy precisely because they missed a vital opportunity sometime in the past, or because they never felt they did anything with their life. We are all in danger of making this mistake.

The problem is that we are all focused on the wrong thing. Technology is the focus of our development: how sophisticated iphones can be, how fast we can make our broadband, how many features or apps can we enable on Facebook? And so on. It is easy to think that because of Facebook, Twitter and other social media, we are all interconnected, but people thought that with the invention of the telephone. We are forgetting that technology is only as good as the people who are using it.

If used to assist a well connected group of individuals, technology forms the icing on the cake. But as on stage, something has to be there in the fist place for the microphones, the costumes, the lighting and the make up to modify. We should remember, that despite all the progress of our technology, there is still unemployment, unequal development, and great social tensions to cure.

The challenge I believe lies not in connecting people: as this has already been made possible by our social media. No, the challenge will be to rebuild members and Alumni's awareness that they can make a difference. So many know more about performance and production than I have learned in a lifetime, and yet so many I speak to are doubtful that they have anything of value to offer.

This isn't modesty, but a fallout of the recession. Funding has been slashed, jobs destroyed, and industry crippled. In a world that's falling apart, it seems harder and harder to believe you can change anything. People must be able to rebuild their self-esteem first and it is my hope, that by being taken seriously, they can at last gain recognition for their achievements: something that is lost all too easily in the turbulent world of the workplace.

At this very moment, someone is filling out job application forms by the dozen, hoping they'll get a yes. Someone else is at a function, smiling through gritted teeth and shaking hands, hoping to make that vital networking connection. And finally, a third person is sitting at home, retired, or perhaps less active than most, with a world of knowledge in their head.

While I don't claim to have all the answers, one solution seems to be: invite all these people round the same table and let's discuss the issues. Countless fellow bloggers have done the same in other industries, so for our part, let us unlock the knowledge of all parties involved, and tap into 25 years of experience. This may not create jobs outright, but will lead to new ways of thinking, which in turn, will mean new developments. Information is a very effective tool, not to be underestimated. My former employer, Shop Direct Home Shopping Ltd., have studied and used vast amounts of it, through customers' opinions and feedback from media from blogs and networks like this, to create billions of dollars in revenue.

If all 600 or so GMTGers, past and present, came together now to discuss and debate the issues, the results would be amazing. This isn't something that can happen sometime in the near future. It is happening, even as I write. The ground swell for change is indicated by the massive growth in GMTG Birmingham's Facebook networks; in the groundbreaking community projects they are involved in, and the careers that Alumni have made for themselves. The blog is for the discussion stage of the process. Eventually, some kind of formal apprenticeship programme will come into being. The society is moving in this direction even now. At the very least, if members and Alumni were to network at a professional level, this will make people's lives easier and allow a few the chance to live their dream.

Once again, I remind members and Alumni reading this, that this is no chat room. The blog is, in effect, like an online magazine of sorts, and should be treated as such. In time, it will need a dedicted team of Alumni and currrent members to run it. The posts on this blog are scrutinised by a global audience of fellow academics, and businesspeople, looking for potential ideas and investments. You can and will be taken seriously here. Make your mark and the world will see it.

Work for the business sector has shown me that you need to be decisive and have a long term plan (or 'strategy' as it is often called), and I have therefore a plan of sorts to put into action in the coming months. But, it is equally important for us to think, as well as do. We need to reflect on ideas and consider different ways of thinking. Academics I've known have spent a long time debating the issues in many topics. Business professionals often undertake development projects to the same end. Whatever their methods, I invite both Alumni and current members to contribute to this process. 

In the coming months, I will build and expand upon the Alumni contingent of the blog, in readiness for the University's new semester. When this arrives, I will then extend invites to current members, and together, we should reach a consensus on the rules of due process for the network. It will take time for them to realise how this blog differs from other social media, but let's remember who the members and Alumni of this society are. They are all highly competent, self-motivated individuals, who are on the look out for networking opportunities like this one. To quote a principle of my former employer, Worcestershire County Council, 'the people are the best assets.' They know what they're doing and it is their experience and skill that will make this network something far more.  A great many are involved in projects of their own, and as a resource, this blog will serve them well.

There are certain key moments in life where we have the chance to make a difference.

This is one of them.

Let us make this moment count, for one and for all.




James Mcgarry,
(aka 'The Secretary')

Founder and Alumnus

Wednesday 20 June 2012

Staging - An Amphitheatre in Action



Staging is an integral part of any show, and a very good example is Wings of Desire. Based on the film of the same name (which also inspired City of Angels, the Nicholas Cage movie), it tells the story of how an angel falls to earth. What impressed me about this show, was not only the great performances, and superb technical effects, but most importantly: the use of the surrounding facades to tell the story. Angels float from the roofs of real buildings, and the sheer scale of the event (through use of both the Town Hall and Council Building) makes Victoria Square into a kind of Greek amphitheatre. The fact that dancers and actors invovled all make use of the facades, (thanks to a clever system of pulleys of course)! this makes the event far more dramatic than an onstage perfromance would have been. (Although to be fair, there were some pretty spectacular moves onstage as well.) As the grand finale of  International Dance Festival 2012, it was the dramatic and authentic staging that made the show.

Sunday 17 June 2012

On Pit Musicians and Amateur Theatre

OK, so as The Secretary was kind enough to invite me to post on this blog, I thought it'd be only fair to contribute something.

Now I've not done a great deal of am-dram in the past. There was one production of 'The Hired Man' with Leicester Youth Arts in Edinburgh back in 1999 (my first musical and one of the greatest experiences of my life so far; having just turned 18 and being let loose in the 'Burgh during Festival time). The rest have been GMTG productions, a GMTG spin-off (Tristan Baker Productions' 'Little Shop', Northampton, 2000) and another GMTG spin-off (Through the Window's 'Assassins', Edinburgh 2008). And then there were the three Birmingham Uni Summer Festival Operas (only one of which, 'The Rake's Progress' involved my participation on the night, as a waiter in the brothel scene (dropped trousers and all) and as stage manager/repetiteur/assistant MD).

In none of the above did anyone actually get paid. Fair enough; why would you pay a bunch of school kids taking advantage of a slightly creaky but admirable youth theatre group or, subsidise the frankly terrifying alcohol/nicotine/cocaine (it happened) habits of Birmingham Uni students?

This is where things get a little cloudy for me (nothing to do with the above paragraph I might add). I have no experience of your stereotypical, G&S butchering am-dram-op societies (save for a single performance of 'Madama Butterfly' by a Midlands-based society in which the titular 'teenage' heroin towered over her suiter, was of 'advanced' age and wore some kind of over-sized hat box on her head, a production saved by the ardent singing and acting of my then boss at the Birmingham School of Acting. But then I would say that). As far as I'm aware, no-one in that production got paid either. How could you afford a Puccini-sized orchestra if you are an amateur company?

Do any 'traditional' am-dram-op societies pay their musicians?

I ask this firstly because I really have no idea. But more importantly I have had the privilege to work with a Birmingham based 'amateur' theatre group, named after the theatre in which they are housed, for four years and a total of eleven productions from Sondheim to 'Acorn Antiques' via 'Boogie Nights', 'The Full Monty' and, erm, 'Dad's Army' (an on-stage appearance in which I, thankfully, did not have to drop my trousers and simulate a threesome with two prostitutes). No member of the company gets paid. Not the creative team, or the committe, or the box office staff, the technical crew, the cast. As part of their committment to the company, each member is expected to do occaisonal shifts on the bar. And they have to pay a membership fee.

The band however is paid.

Is this fair? I can see the logic; with only a total of four rehearsals (band call with the cast, band tech with the cast in the auditorium, two dress rehearsals) it is surely wise to 'buy-in' crack players who could sight read their way out of an MC Escher creation and still accompany the cast with great sensitivity and flexibility. And these types of musicians are busy; they teach, they gig. It is their career. Everyone else is indulging their hobby; those who want to use the experience to further career are generally students in limbo between generalised university/college courses and postgraduate study elsewhere. And they rehearse for months at a time, several times a week. Try finding musicians of the calibre necessary who would be willing to devote all that time for free. When I MD'd 'Guys and Dolls' for GMTG back in 2002, I had a whopping 56 hours of rehearsal with my band. But those guys were not being paid. The results spoke for themselves but I think it highly unlikely that any professional producing theatre would be able to run to actually paying 26 musicians a decent fee for 56 hours (before dress/tech/performances), let alone an amateur one.

So four rehearsals for a properly trained, 'professional' band of eight working for £35 per call seems like quite a good deal to me. And I have been known to 'help' behind the bar. Usually on last-night parties.

So, should band members be paid by amateur companies? Is it really fair that those who put in the months of hard work that make a show have to pay for the privilege whilst their 'in-one-day-out-the-next' band members manage to earn just enough to cover a week's drinking,smoking and curryage?

I know what I think but, then again, I'm slightly biased.

Owen

Saturday 16 June 2012

Blog Admin Team

Just to announce that as the first respondants to my invitations, the current Authors of this blog are hereby promoted to Admins. They will have authority to post what they want as before, but also, will be able run the blog itself, and make the necessary changes. All are highly qualified and connected, and their expertise will help this network in many ways.

Friday 15 June 2012

Welcome Visitors!

All GMTGers reading this now: if you want to join this blog, all I need from you is a contact email address to send the info to. You can find me on Facebook to send it, if you'd like.

This blog has had views from around the world. If you want to be listened to and taken seriously, you will be here.

If you know any fellow GMTGers and/or Alumni who'd like to join, just let me know. They should have easy access, if they have a Youtube or Google+ account already. Spread the word!

James Megarry

Blog Administrator

Thursday 14 June 2012

House Rules


Guidelines for the Blog



 
  • Any person wishing to become an Author or Administrator of this blog should contact the current Administrator, and supply a contact email to be sent the necessary information. At this time, Author and Admin posts are reserved for members and Alumni of GMTG Birmingham only, but third parties may comment on posts made without restriction. They may also be appointed as Contributors, if both GMTG current and Alumni users consent to this.


  • The Authors and Administrators of this blog should be a deliberate cross section of current members and Alumni of GMTG Birmingham. Fair representation of both sides must be maintained, to guarantee an ongoing process of knowledge transfer and networking.

  • Therefore, current members should ensure that they invite new members to join the blog, when they themselves become Alumni. Administrators to the blog should oversee this process, to make sure it continues effectively.

  • As Alumni users may represent many different institutions and companies, some of which are in competition; and current member users may come from many different departments of Birmingham University; there may be the potential for conflicts of interest. To prepare for this, the Admin team should be as diverse as possible, to ensure all parties are represented, and can agree on solutions, should such a situation arise. Users can avoid conflict effectively, by remaining focussed on issues common to all institutions and departments. For example, joint discussions on funding issues, long term employment, licensing laws and so forth should heal most divisions that arise.

  • For the purposes of good relations, special representation may be given to either society members, or members chosen from the Alumni network, should the need arise. Special representatives could be offered a permanent seat on either the Authors or Admin teams, at the behest of GMTG Birmingham’s committee, and/or representatives of the Alumi network. Full co-operation will be given by the blog Administrators in either case.

  • The Administrators of this blog are in effect, its executive committee. The blog should be administered as a full time business, and in the spirit of GMTG the society. It shall be, therefore, the Admin Team’s responsibility to ensure the smooth running of the blog, and to uphold its rules and agreements. As such, they may designate roles to themselves (secretary, finance etc); set conditions for election/selection of other admins; and the appointment of a Chief Administrator to act as the blog’s president and manager. Rules and procedures agreed upon may be considered binding to all users of the blog, until such time as they are altered and/or reppealed.

  • The Admin Team and Chief Administrator collectively, may form the legal, administrative and executive body of the blog. They may represent the blog to other parties and make administrative/executive decisions by majority vote where necessary. Any issue affecting the blog or its users should be addressed in this way.

  • Procedures may be put in place by the Admin Team for such an event. Should none exist to deal with a problem as yet unprecedented, then a solution may be reached via general consensus between the Admins and Authors of the blog.

  • It may also be necessary to decide admin roles by vote. In which case, the Poll function on this blog will be a good way to determine the most popular candidate(s). This voting process can also be used when an issue is in disopute and no clear solution can be agreed upon.

  • While this blog is made officially to benefit GMTG Birmingham, third party commentators may be invited to comment on all posts made, to ensure the widest possible range of different viewpoints.
  • The blog may be used to advertise the businesses and Google Ad Sense related products, relevant to the performing arts, but although profit may be made if desired, the defining purpose of this blog must always remain that of a network to bridge the academic and professional sectors, through members and Alumni of GMTG Birmingham.

  • All users of this blog should respect the rules for online use. The blog should not, in any way, be used to undermine GMTG the society, its Alumni network, nor any other third party whatsoever. While debates on certain topics may become heated, criticisms should not be made as personal attacks, or derogatory remarks. Please remember, Google is watching, and all messages can and will be traced to their senders.

Monday 11 June 2012

Comments and How to Make them

If you'd like to comment on any of the posts made on this blog, you can simply click on the comments icon beneath each post, and as long as you have a Youtube or Google+ account, you can comment right away at any time. Be aware though, that Google can track your comments, so it goes without saying, please respect the rules of online use!

Saturday 9 June 2012

Making Posts on this Blog - Info for Authors

If you want to become an Author on this blog, you will need to be a current member or Alumni of GMTG Birmingham, and I will need a contact email to send an invite to. No personal or other info is needed. Please get in touch with me and forward one. I'm on Facebook if you can't contact me here.

To all Authors of this blog. If and when you want to make posts or write articles, simply sign on, then click the 'Design' button at the top right of the main page. This will take you to a menu. The option to 'Post' should be one of the options on the left hand side.

If there are any difficultues, just let me know.

Best Regards,

James Mcgarry

Administrator

Friday 8 June 2012

Paranoia: Only in the Theatre?

One trap performers can fall into, I reckon, is a kind of paranoid mistrust of others, and it's something to be wary of. Outsiders may laugh at the neurotic, insecure behaviour of stage performers, but that is because they fail to understand the effects of a turbulent, unpredictable environment on the people within it.

Perhaps I'm not the best authority to comment on this: but it's something that has come up again and again with shows I've been invovled with. I'd like to hear the views of full time performers on this one, but I suspect they probably would agree.

Wednesday 6 June 2012

Costume Changes - Backstage at Utopia

Something I noticed about backstage. While working behind the scenes for the show, Utopia for Dance Fest 2010. I'd always thought dance shows were a different world to musical theatre, but at long last, a myth was disspelled. Backstage is backstage, whether at a dance show, a musical or a play. There are the same costume issues, dressing space, props, and make up.

You'd never know what style of performance it was, apart from the visible sweat of the dancers which gives it away. That was a great experience, because it showed me that a show is a show, and that we really are part of the same thing.

Sunday 3 June 2012

Good Direction and Vocal Skills - David Guetta's Example

It's funny how good direction can make such a difference to any performer. A very good example at the moment can be found i the music industry. You have to admit, David Guetta can bring out the best in every pop star's voice he works with. Yes the recording arstists have a massive studio full of technology to remix their voices and add backing, unlike the live stage. But all the same, Guetta has managed to bring out a range from every singer, from Usher to Jessi J, that you never knew they had.

I would argue the same is possible on a stage. A talented performer can still be let down by poor direction and vocal coaching. The audience doesn't get to see the best of them, their strengths that is. Leadership counts for a lot, and David Guetta's work in the music industry right now is a perfect example.

Friday 1 June 2012

Authors Info

A reminder to all persons who are or will be Authors on this blog. You will need to be a current member or Alumnus of GMTG Birmingham, and I will need a contact email to send you the info. There are no fees or obligations when you sign on. Nor are there any time limits. You are free to post whenever you want, about anything to do with performance and or production.  This could be about musical theatre, but also can be topics and or issues to do with performing arts in general. You're also free to comment at any time, on all posts that people have made so far.

What this will do, is to allow a steady build up of knowledge on the major issues and topics concerning musical theatre as an art form. Because your fellow Authors should be a delibarate mix of current members and Alumni from GMTG Birmingham, knowledge transfer should take place, allbeit on a small scale, between the academic and professional sectors.

Of course, there are Facebook and Twitter to connect people on both sides already, but these networks, while excellent for worldwide social networking, were not designed for business, or for GMTG style meetings for that matter! If Facebook and Twitter are the pubs, clubs and bars of the social net, then this blog would be the committee room and/or the boardroom.

Here, you may hold serious academic debates and business discussions concerning the major issues of musical theatre: and this blog is deliberately an independant network, to allow both academic and professional members a meeting place. So far, it has had views from Russia, Malaysia, the United States and the Philippines, and this is only the beginning. Here is a place for you to make your mark. I would therefore, remind Authors that the posts and discussions held on this blog are intended to compliment and assist the work of GMTG Birmingham, The University of Birmingham, and the Alumni network. They should not in any way, be used to undermine or conflict with these organisations or networks.

In time, if Authors wish to take a more active role in running this blog, I will make them Administrators, and leave them the important task of maintaining a permanent bridge, between members and Alumni, to allow ongoing knowledge transfer for the benefit of all. Given the calibre of GMTG's members and Alumni (many of whom are now members of prominent arts institutions and organisations, or whose projects and innovations grow in strength with each generation), I really do believe that your expertise will make this network a place for current members to use as a stepping stone into arts professions, and for Alumni to benefit from the groundbreaking projects and innovations of current members.

Good luck everyone. Let's make this happen!

Best Regards,

James Mcgarry

Alumnus and Administrator

Monday 28 May 2012

Les Miserables - School Edition

Not long ago, I went to see a youth production of Les Miserables, School Edition performed by my old group, the Pershore Operatic and Dramatic Youth Section (or P.O.D.Y.'s). Now this may sound exaggerated, but it was, hands down, one of the best performenaces I have ever seen in my life. And I say this as someone who has had the honour of seeing and being part of a world premiere, Choir of the Year competition and Dance Fest International, and had the honour to perform before the Duke of Edinburgh.

Each and every principal performed their character brilliantly. Their vocal range,  and dramatic interpretation were superb, and it is right that the show was nominted for a regional award. I wish members of my singing group and a great many others could have seen this. Professional doesn't even come close to describing it. They all deserved the standing ovation they got.

It is work like this that inspires me to make sure that talented people like they are given the chance to use that talent.

I hope that they pursue a musical career.

James Mcgarry

Wednesday 23 May 2012

Jerry Springer The Opera

Just been listening to Jerry Springer The Opera. You know, it's a darn shame that it had to be satire, because the singers are absolutely brillant. Their dynamic, diction and control are perfect. I just can't imagine them having to rehearse singing swear words in full gospel harmony! Take away the offensive lyrics and the music is wonderful. It's a proper rock opera-cum-jazz/gospel megamix. If only Richard Thomas could write a serious version of it. And then of course, there's the controversy invovling Act 2's rather blasphemous content. Well, ok, it's hard to know where to draw the line. I just know that the music is excellent, and I really wish they'd write more modern operas this way (minus the offensive lyrics, of course).

Thursday 17 May 2012

Followers of this Blog

Ok, a reminder to anyone following this blog, if you'd like to become an 'Author', please send me a contact email (go to 'Administrator' and send the email to mine) and I'll send you an invite to confirm.

Monday 14 May 2012

Tuesday 8 May 2012

Song Lists/Repertoire

There are of course, many classic musical numbers to put on a stage, but here are some tried and tested pieces that I think are good for any show:

Solos
  • ‘Anthem’ (from Chess)
  • ‘Maybe This Time’ (Cabaret)
  • ‘Bring Him Home’ (Les Miserables)
  • ‘The Wizard and I’ (Wicked)
  • ‘Mr Cellophane’ (Chicago)
  • 'One By One' (We Will Rock You)
  • 'If I Ruled the World (Pickwick)
  • ‘Colours of the Wind’ (Pocahontas)
  •  ‘This Is the Moment’ (Jekyll and Hyde)
  • Gethsemane’ (Jesus Christ Superstar)
  • 'Being Alive' (Company)
  • ‘The Sun and I’ (The Hot Mikado)
  • 'Defying Gravity' (Wicked)
  • 'Joanna' (Sweeney Todd)
  • ‘Nobody’s Side’ (Chess)
  • 'Man Wanted' (Copacobana)
  • ‘I Won’t Send Roses’ (Mack and Mabel)
  • ‘Nothing’ (A Chorus Line)
  • ‘Sunset Boulevard’ (Sunset Boulevard)
  • 'Tomorrow' (Annie)
  • 'Think' (Blues Brothers) [stage show]
  • 'Nothing's Gonna Harm You' (Sweeney Todd)
  • 'Losing My Mind' (Follies)
  • ‘No Good Deed’ (Wicked)
  • 'The Ladies Who Lunch' (Company)
  • ‘I Am What I Am’ (La Cage Aux Folles) [original version]
  • ‘The Life of the Party’ (The Wild Party)
  • ‘Happiness’ (Scrooge)
  • ‘I’m Not Alone’ (Carrie The Musical)
  • ‘If You Want to Die In Bed’ (Miss Saigon)
  • ‘Wishing You Were Somehow Here Again’ (Phantom of the Opera)
  • ‘Not a Day Goes By’ (Merrily We Roll Along)
  • ‘Make them Hear You’ (Ragtime)
Duets/Trios

  • ‘Sweet Home Chicago’ (Blues Brothers)
  • ‘All I Ask of You’ (Phantom)
  • 'Love is an Open Door' (Frozen)
  • ‘Everybody’ (Blues Brothers)
  • ‘My Own Best Friend’ (Chicago)
  • ‘Last Night of the World’ (Miss Saigon)
  • ‘I Still Believe’ (Miss Saigon)
  • 'The I Love You Song' (Putnam Spelling Bee)
  • ‘Brush Up Your Shakespeare’ (Kiss Me Kate)
  • ‘The Company Way' (How to Succeed In Business Without Really Trying
  • ‘Masculinity’ (La Cage Aux Folles)
  • 'Easy Street' (Annie)
  • ‘All for the Best’ (Godspell)
  • ‘Sorry, Grateful’ (Company)
  • 'The Song That Goes Like This' (Spamalot)
  • 'Make Him Mine' (Witches of Eastwick)
  • ‘You’re Nothing Without Me’ (City of Angels)
  • ‘I Wish I could Go Back to College’ (Avenue Q)
  • ‘Quarter to Nine’ (42nd Street)
  • ‘Gotta Get A Gimmick’ (Gypsy)
  •  ‘Wheels of a Dream’ (Ragtime)
  • ‘For Good’ (Wicked)
  • ‘Two of a Kind’ (The Wild Party)
  • ‘Who Wants to Live Forever?’ (We Will Rock You)

Ensemble Pieces

  • ‘One Day More’ (Les Miserables
  • ‘Tonight’ (West Side Story)
  • ‘All that Jazz’ (Chicago)
  • 'No Day But Today' (Rent)
  • 'I Believe' (Spring Awakening)
  • ‘Seasons of Love,’ (Rent)
  • ‘Climb Every Mountain’ (The Sound of Music)
  •  ‘Sit Down You’re Rocking the Boat’ (Guys and Dolls)
  • ‘Oh, What A Circus’ (Evita)
  • ‘Mamma Mia’ (Mamma Mia)
  • 'Side by Side' (Company)
  • 'The Circle of Life' (The Lion King)
  • ‘Blow Gabriel Blow,’ (Anything Goes)
  •  ‘Born to Hand Jive’ (Grease)
  • ' I Got Rhythm' (Crazy for You)
  • ‘Springtime for Hitler’ (The Producers)
  • ‘Lullaby of Broadway’ (42nd Street)
  • 'No One Is Alone' (Into the Woods)
  • ‘Be Our Guest’ (Beauty and the Beast)
  • 'God Help the Outcasts' (The Hunchback of Notre Dame)
  • 'The Grasslands Song' (Lion King)
  • 'Bring on Tomorrow' (Fame)
  • ‘Suddenly Seymour’ (Little Shop of Horrors)
  • ‘Hello Dolly’ (Hello Dolly)
  • ‘What I did for Love’ (A Chorus Line)
  • 'Rhythm of Life' (Sweet Charity)
  • ‘Bui Doi’ (Miss Saigon)
  • 'Stars Look Down' (Billy Elliott)
  • ‘Coffee In a Cardboard Cup’ (70 Girls 70)
  • 'Only for Now' (Avenue Q)
  • ‘Sun In the Morning’ (Annie Get Your Gun)
  • ‘I Know Where I’ve Been’ (Hairspray)
  • 'Shadowlands' (The Lion King)
  •  Bethlehem’ (Martin Guerre)
  • 'One Short Day' (Wicked)
  • ‘The Land of the Fathers’ (Martin Guerre)
  • ‘Jesus Christ Superstar’ (Jesus Christ Superstar)
  • ‘Come What May’ (Moulin Rouge)
  •  ‘Till We Reach That Day’ (Ragtime)
  •  ‘Into the West’ (Lord of the Rings)
  •  ‘In the Beginning’ (Children of Eden)
  •  ‘Back in Business’ (Side by Side By Sondheim)
  •  ‘We Are the Champions’ (We Will Rock You)
  • ’We Will Rock You’ (We Will Rock You)
  •  ‘Let Me Drown’ (The Wild Party)
  • ‘A Wild Party’ (The Wild Party)
  •  ‘Dirty Laundry’ (Witches of Eastwick)
  • ‘Light at the End of the Tunnel’ (Starlight Express)
FEEL FREE TO ADD MORE!

Teamwork vs Leadership

In musical theatre productions, are teamwork and leadership in conflict with one another, or are they part of the same thing?

What are your thoughts?

Monday 7 May 2012

Networks: The Way Forward for the Arts?


Networks: The Way Forward for the Arts?
By James Mcgarry, LCM, LLM, LLB


Introduction

We are often told that networking is very important to get ahead in the world. To acquire the best jobs, and find a stable career, it does indeed pay to connect yourself to the right people and show them your capabilities. But the process can be harder than it looks, and networking is made harder still, if an organized recruitment operation is not in place. In a changing job market, how can we build networks to reflect the transient nature of artistic professions, and how might GMTG Birmingham be considered for an example?

The Situation

As it stands now, the job situation in the workplace is, as we all know, uncertain to say the least. The key institutions of the artistic and other professions stand like fortresses. Everyone sits defensively behind closed doors, guarding their lot. In the middle of it all, a great many of us throughout the workplace are sat there, patiently treading water, waiting for the break to come.

I liken the situation to a housing chain. Everyone is waiting for someone else to move. But if the person at the beginning of the chain doesn’t move, no one in the chain can move: because everyone is still waiting for someone else. Eventually, all will become impatient, disillusioned and give up. The same is true of society’s effect on the arts professions. Enterprise is voluntary. So is networking. For things to happen, someone has to take the first step.

This alas, is not the 1990’s. Back then, I remember that an applicant for a job, could fill out a form, and stand a good chance of being called back for interview. Jobs were what they were advertised to be. Interviews were still tough, but if you didn’t get the job, you stood a better than average chance of getting the next one you went for.

Nowadays, I am told that each person needs to fill out at least 60 applications to stand a chance of getting just one interview. Now let me be blunt here: the idea of wasting hours filling out forms for jobs that may no longer exist, or signing to agencies who always promise great vacancies, but don’t seem to deliver, is a waste of everyone’s time.

It wastes the government’s time, because the longer applicants spend filling out forms, the longer they are forced to claim benefits. It wastes resources (not the least the rainforests) because this mountain of paperwork achieves nothing. It is even a waste of the job centres and agencies’ time, because they are forced to play a number crunching game, and let’s be honest, they can’t offer what isn’t there.

The applications process is now just a number crunching maze, to disguise a very obvious fact: that the jobs simply are not there. Worst of all, the process is demoralising to the average Jo and Jane, who put in all their effort to pay their own way, only to be told time and again ‘sorry we’re not recruiting at the moment,’ when they actually need a helping hand.

This is as much a headache for resting actors as it is for other job applicants. In her play[i] Portrait of An Actress As… an acting friend of mine performs a satirical sketch that illustrates the absurdity of the applications process: which was simply not designed to consider the changing nature of artists’ professions. In many ways, our job market still has a Twentieth Century system that is now hopelessly out of date in a Twenty First Century, Globalized world.

Barack Obama himself has observed, that[ii] “we have a tendency to take our free-market system as a given, to assume it flows naturally from the laws of supply and demand and Adam Smith’s invisible hand…It’s useful to remind ourselves then, that our free market system is the result neither of natural law nor of divine providence. Rather it emerged through a painful process of trial and error, a series of difficult choices between efficiency and fairness, stability and change.” By the same logic, our jobs market as it stands now is clearly in need of a change.

This is certainly no fairytale world. We cannot simply ‘give everyone a chance’ when people need to do jobs to a certain standard. The reality is that people must take what they are given, and adapt to survive in this changing, and sometimes turbulent circumstances. But at the same time, even the toughest people on earth need support networks to fall back on and move on to the next job. Competition may be healthy, but the prize has got to be worth the fight.

Imagine an abandoned army, cut off from its supply lines with no means of communication with base. If in enemy territory, its soldiers will of course be perfectly self-sufficient, and go right into survival mode. They may fight the enemy valiantly; they may search for a rescue, and with their training, they will certainly survive a long time. But without food, water and shelter, one by one, they will all die. Artists, including performing artists, are definitely as self-sufficient, but an organized system of support networks still needs to be in place, to help them on their way.

Taking Action: Networks and Apprenticeships?

What there should be – especially in the arts industry – is a clear system of progression from education, to training right through to full time work. And that applies equally to any course and/or discipline in the performing arts. In the words of entrepreneur, Luke Johnson, (also Chairman of the Royal Society of Arts)[iii]:

“[J]obs are not a natural phenomena, invented for the general benefit of society. Jobs are a by-product of someone’s urge to build a business and create wealth for themselves.”

So therefore, if we create more arts networks, we are potentially creating more jobs.

The industry itself needs to be set up, so that when a show/project collapses, a performer can move effortlessly into the next one, as in any competitive industry. This may sound obvious, but I have read about many abandoned or collapsed arts projects, for which no contingency plan was put in place.

Looking from the outside[iv], a key fault in the arts industry, it seems to me, is that unlike sports, manufacturing or even the legal profession, there are gaps between its academic and professional sectors. In manufacturing, I am told, there has always been the possibility of on the job training, and apprenticeships. The candidates get the training, the employers get increased labour value from skilled workers, and training is given while money is earned. This kind of system is a win win for everyone. I should know: I took an apprenticeship in customer service. Performing arts is a hands on profession, in whatever discipline, and lends itself perfectly to on the job training, and hence apprenticeships: both on and off stage. In fairness, a great many leading arts institutions have made this a reality. I notice that the Liverpool Institute for Performing Arts, for example, undertakes a clear programme of knowledge transfer, with as much emphasis on production, and networking, as performance, so that graduates are fully equipped to find employment.

Sadly, this approach is not replicated throughout the whole industry. For example, in a debate about grassroots engagement by the arts that I attended at the newly refurbished Midlands Arts Centre, a great many issues of concern came up about the differences of community engagement. If grassroots organisations face challenges to engage with their communities, then surely community members face the same challenges to network into the smaller arts organisations.

Through apprenticeships, arts organisations both large and small, could all offer a clear way into the industry. This may avert the need for further networking. But first of all, there is another age old hurdle that must overcome.

Perceptions: the arts, sport and others

Perhaps the biggest burden on the performing arts as an industry, and hence the expansion of its networks, is the way its workers and the business are perceived. All too often, I have heard the arts industry dismissed under the same stereotype. Artists are all either ‘prima donnas’ or ‘it’s a cutthroat business’ or its not a ‘stable’ profession to go into. This image is used by politicians to deny funding to the arts, and to omit support for arts networks. Funnily enough, though, from time to time, I have encountered the same egos, the same insecurities, the same jealousies and even the same uncertainties in sales, retail and local government: to name but a few.

No my friends, the performing arts sector and the wider arts industry as a whole is a competitive industry like any other. Read an issue of The Stage magazine, and you will see how seriously its practitioners take their work. As to the internal conflicts and rivalries of arts organisations, I will say, politics is politics. Compare this to rivalries and fallouts within professional sports organisations, and you will see the similarities.
Yet despite all this, I can see politicians going through the motions, attending arts events, speaking up for artists etc. I sense that this is just a box ticking exercise for them, and they do not have the same heartfelt respect for the arts that they do for sport.

So how has sport come to hold such a place in so many people’s hearts that the arts industry sometimes does not? Again and again, it always seems to come back to the same old argument. Which would you rather have: a hospital, a school or a theatre? The answer is clearly a no brainer. No decent person would ever want to deprive other people of their schools and hospitals, but that is not really the point.

The same argument could be made for a sports stadium. After all, how many millions (possibly billions) spent on the 2012 Olympics could have gone towards education? How much more could have gone into healthcare, or charity? Does paying athletes a fortune give our population food? Does it put a roof over people’s heads? Does investing millions in stadiums send their children to a good school? In absolute terms, no.

What sport does do, is to inspire people. It gives careers to athletes, commentators, and technicians in the field. This in turn creates ancillary jobs: as an army of logistical support staff must work behind the scenes of every sporting event. It gives the person on the street something to see and be part of. It inspires people in their day to day lives, showing them the wonders of human achievement. The Paralympics especially, shows to anyone with a handicap, or who considers themselves less worthy than others, that they have nothing to be ashamed of: and that they are in every way, as good as their peers.

Sport brings together families and communities. It has changed the lives of billions around the world. And I make the same argument for the arts. Yes this is a leisure activity enjoyed by the public for their entertainment and enlightenment. In absolute terms, we could live without the arts – performing or otherwise -  but would our quality of life be the same? Would we ever express ourselves, or find out so much about ourselves? I think not. Therefore, we should treat the arts: including the performing arts, as an industry that improves the quality of people’s lives. We need to build its networks, and expand its influence, so that politicians will realise the importance of its role in our lives. In this, the year of the 2012 Olympics, the Cultural Olympiad behind it should be promoted just as strongly.

One Possible Solution

Entrepreneurs will always take the initiative in setting up new companies and new business ventures. A good example I know for the arts was the City Concert Organisation, whose orchestra’s founder Adrian Jackson once told me, that the company was able to create new business, by deciding where and when to hold new concerts. But the creation of businesses alone will not guarantee new networks. The answer to this, I believe, lies elsewhere.

The best solution seems to be online social networking. It is indeed about who you know, and thanks to Facebook and Twitter, we all ‘know’ a great many people. Times are hard, and are getting harder. Nevertheless, the rise of social media (including Facebook and Twitter), is allowing people greater interaction with one another. However, I still believe that industry specific networks need to be made for the arts. Spotlight and the RSC have made many good inroads, but I also believe that smaller networks need establishing to bridge the amateur/professional, as well as the academic/professional divide.

I think something that should really be considered right now, is the development of more online blogs/forums for Alumni to talk with their academic counterparts: enthusiasts from student societies online. While this happens on Facebook and Twitter every day, I still think blogs are a useful tool, for when people need to go into more depth. That is why I hope that this network will set a good example.

One formal online network, used by both Alumni and students of an artistic society, could bridge the gap effectively between the academic and professional sectors of the arts industry. The obstacle is of course, lack of profit and lack of motivation. I believe this can be solved if both sides view information itself as the commodity to be traded. If each college or university could encourage such specific society networking, among official departments and voluntary societies, then a lot could be achieved. The professionals could trade their years of experience and connections, with the students’ innovations and initiatives. Knowledge could be traded for knowledge.

A very good example right now is The Hive at Worcester. This boasts the first library in Europe (on its website), to integrate the University’s Library with the City Council of Worcester. So the professional and academic sectors of libraries and learning are now integrated in effect: making the transition from one to the other a lot easier. Replicate this online in the arts, with multiple artistic societies, and the same can be achieved on a larger scale.

Over time, and with the Universities’ assistance, some of these informal networks could even be made official: perhaps even into apprenticeships of sorts. While all this may sound a little far fetched, lets remember that a few years ago, at one such university, a certain Mark Zuckerburg had an idea about a new social networking site called Facebook…

Such a plethora of smaller networks would provide a strong foundation for the largest ones. The addition of grassroots and smaller networks under the same formula, could form a platform for the large ones. This will strengthen and stabilize the industry in much the same way as the most basic level football academies have for sport. For some inspiration for online arts networks, here is a good example: http://www.themodernvocalist.com/.

Bridge the gaps in this way, and the industry becomes a well oiled machine, with a clear line of progression into The Business. Competition is organized, talent is used, and although there is friction, a clear line of progression will ensure that jobs are hard earned. This I believe will earn the arts – especially the performing arts – more respect.

Guild Musical Theatre Group

Of all the places to start, GMTG Birmingham would be a perfect example. GMTG Birmingham is no ordinary society. In many ways, it is a cut above the rest. As I have said before[v], the society itself has gone from strength to strength, with a constitution, community projects, new online networks, and a great many innovations unprecedented during my time in its shows. Its Alumni have made great careers for themselves: consider Rhydian Roberts on The X Factor, Hadley Fraser at the West End, and of course, The Adam Street Singers’ certain proposal on a train…to name but a few. 

Here of all places, is an opportunity to recognise this potential, on a more formal level, and a blog for GMTG Birmingham should be a good way to enhance this trend. Currently, there are two Facebook pages and Twitter that serve both current members and Alumni very well, but I am convinced that a more formal network is needed, to reflect GMTG Birmingham’s high standards. Therefore, this blog has been created, for both Alumni and current members to meet, and exchange ideas and experiences, on all aspects of performance and production.

GMTG Birmingham, of course is unique, and as a voluntary society, includes a diverse range of people, not all of whom are music and drama students: but this is exactly my point. This network should allow current members who are seriously considering a career in either to gain useful knowledge for a possible career path: whatever their field of study. For our part, we Alumni are stuck rigidly to the procedures of our professions, and adhere to a defined workplace culture. We would benefit from innovations and discoveries of current GMTG Birmingham’s members.

This resource will allow knowledge transfer between academic, professional and veteran members of GMTG Birmingham, and enable all users to adapt quickly to changes in each sector. Purists may argue that only qualified professionals can advise on serious issues, but I counter that a good range of different opinions and experiences is exactly what is needed to determine where a situation stands: which is surely the purpose of academia and business. It should help us all to broaden our horizons, as academic debates can be held on many issues. For business too, there is ample room for networking, as current members and Alumni may discuss the situation in the industry.

In the short term, this blog, and will appear to make little difference to GMTG Birmingham’s operations. After all, the current Facebook and Twitter pages are very effective networks, for day to day info. Over time, however, I predict that it will allow a steady build up of knowledge from both sides. This will facilitate changes, which were quite important. For example, a user who is putting a show together would have access to an even wider variety of sources, and different points of view to consider.

I have heard it said that such long term relations between societies and their Alumni in general, would be merely an ‘indulgence’: that the Alumni and current members now lead very different lives, and so would not have the incentive to keep meeting this way online for this kind of knowledge transfer. That is true to a point. We all now lead different lives, and since we do not all know each other, it is difficult to imagine what we would now have in common, besides a love of musical theatre.

On the other, hand, there is one universal reason, for why people should continue to talk. Because there is something that, in our busy lives, we have all forgotten about: the value of our knowledge. Search any costume room, or backstage area, and you will find a wealth of resources that people have long since left, from shows gone by. It is like a treasure trove, of untapped memories. In many ways, people’s knowledge works the same way.

When was the last time that you were listened to? It is surprising how rarely people are. Current members may have lots of ideas, but sometimes, they may not have the opportunity to use them. Alumni who have gone into the performing arts industry may not get their chance either, because, the job in hand may involve a different set of priorities. Likewise, there are a great many Alumni who I like to call ‘Veterans.’ These are ex-GMTGers, who went into other full time occupations, but who still have many years experience in the performing arts. For that reason, I believe that after 25 years of its existence, many members, and Alumni will have a lot to say about issues on and off stage.  

So if you have ever wanted to talk about something to do with performance or production: an issue on or off stage, or something to do with the industry, then here a place to do it. You are welcome, as I have said, to make posts of your own, on any topic you feel we should talk more about, and that goes for all GMTGers past and present alike.

Conclusion

The world has changed, but we have yet to change with it. And for the arts industry, new networks need to be put in place. At the present time, better, more industry specific online networks are needed; to integrate the academic and professional sectors of the arts, to allow performing arts enthusiasts access to a good career.

In my time, I have seen some awe-inspiring shows, and had the privilege to be part of a few more. I have seen ordinary people do extraordinary things, in front of thousands. But all too often, these talented individuals never get to live their dream. Let us give them that chance.






[i] Performance by Kim Charnock, Portrait of An Actress As…RoguePlay Theatre Company, 2011
[ii] Barack Obama: The Audacity of Hope, Canongate Books 2008, pg 150
[iii] Luke Johnson: Start It Up, Why Running Your Own Business is Easier than You Think, Penguin Books, The Penguin Group, 2011, Pg 205
[iv] I myself am not a full time performer, but hold an LCM qualification in Musical Theatre, and sing pro rata, with my group, Colla Voce. Most of the observations in this article come from past involvement in professional concerts and events, from full time performers I know, and from the general consensus of views held in industry specific publications.
[v] See Welcome Message, elsewhere on this blog