Greenroom Conversations

Norman Carey faculty and administrator from the CUNY Graduate Center joined us in the studio to talk about his journey from pianist to theorist. He wears many hats and most identifies with his career as a pianist. After two performance degrees he pursued his Doctorate in Music Theory. We talked about; the distinction between a composer and theorist and how this was formed in the United States, the performer/theorist division and how curriculums can be more connective, the challenges of teaching an art form with traditions and understanding of why we do things, his time with Nadia Boulanger studying theory, his influence of Schenkerian analysis and the process his uses for his own compositions. His multifaceted abilities as a pianist, theorist, composer and as an administrator at the college level is what has made his career interesting. We posed a few questions for him to answer; fixed or moveable, how to teach keys and how to explain well-tempered.

Director/Choreographer Connor Gallagher. Currently, Connor's work can be seen in Roundabout's Off Broadway production of THE ROBBER BRIDEGROOM, starring Steven Pasquale, as well as in the Disney Cruise Line hit TANGLED. Connor sat down with us to chat about his path to becoming a director and choreographer, including how his time as a performer in BEAUTY AND THE BEAST really helped open doors that were solidly shut before. We also talked about how his dance teacher (who was a dance captain on Broadway) was instrumental in prepping him for what real world dance looked like outside of the classroom. Listen in to find out what makes Connor's choreography so special, and what it's like to choreograph for a cruise line with the biggest name in entertainment.

• Roundabout Theatre
• Connorgallagher.com

A photo of Connor Gallagher

Ronnie Oliver, Choral Conductor talked with us about his path to his career. Thinking he would pursue architecture in college he soon realized his love of music would be his path. Graduating college as a music education and voice major he continued his education with Dr. Ken Davis at Texas Tech University for his masters and doctorate degrees. We talked about teaching undergraduate and graduate conducting, the differences between working with professional and amateur choirs, what he listens for in auditions, importance of people skills and organizational skills, rehearsal techniques, vocal production, vocal accompanist and how to prepare a choir to perform with an orchestra

Christian Sebek. After more than 1500 performances playing Piangi in THE PHANTOM OF THE OPERA, Christian sat down to tell us his fascinating journey into the world of opera and eventually into the one musical theatre’s greatest characters. Originally on the path of technical design in theatre, Christian didn’t discover his singing voice until college. Even more interesting was his voice change that transitioned him from being a robust baritone to a tenor. Christian is a self-described “journeyman” in which he has pieced together a career that includes opera, musical theatre, voice over, a private studio, and now faculty at The Institute for American Musical Theatre. Listen in to find out how his family played an important roll in his pursuit of his dreams, as well as how he is now guiding his kids to pursue their own dreams.

• Christian's Broadway Story
• Christian's Website

Christian Sebek

Voice Teacher, Beth Roberts, faculty at the Mannes College of Music, always knew she wanted to be a teacher, she studied music education as well as vocal performance and made an effortless transition from performer to voice teacher. We discussed; her rules for teaching various voice ranges, her path to teaching voice, her performance career, apprentice performance programs, what she looks for in young singers, how to audition, the importance of being a ‘good’ colleague, her work with the Metropolitan Opera Guild, the art of giving of a Master Class, the importance of studying Art Songs, the importance of vocal health and the speaking voice and when to know at what age to start voice lessons.

Paul Alexander Nolan. Steve Martin and Edie Brickell’s BRIGHT STAR just opened on Broadway, and we had the pleasure of having Paul, who stars as Jimmy Ray Dobbs, in the studio just after previews began. Paul was great fun in this interview. His charming, down to earth style really comes through in our chat. He talks about shamefully crying on an airplane as he first read the script for BRIGHT STAR, as well as “bombing” his first audition for the show. We also talk about the struggle and joy of playing Guy in ONCE, in addition to finding the humanity of Jesus in JESUS CHRIST SUPERSTAR. Listen in to find out how he can sing a song with a biscuit in his mouth, as well as what makes him feel like he “can’t imagine a fresher hell!”

• Paulalexandernolan.com
• Bright Star

Paul Nolan[/caption]

Violinist, Daniel Andai talked with us about his pathway to his current career as concertmaster for the Miami Symphony, Dean of Music at the New World School of the Arts and Artistic Director of the Killington Music Festival. Following his instincts to follow opportunities that came his way he has created a multifaceted career. We talked about his; mentors, finding his way to conducting, his thesis “A Contemporary Approach to Orchestral Bowings for the Concertmaster”, his work with chamber music at the Killington Music Festival, collaborative approaches and how to teach them, learning conducting and how it has taught him so much about the collaborative process of the orchestra, management skills he uses in both conducting and administrative roles, the importance of the audition process, difficulty of musical training today and how the New World School is helping musicians, how he finds a balance in life between his various pursuits and the skills he improved to be efficient.

Lorin Latarro: Choreographer Lorin Latarro was 2 weeks into the rehearsal process for the highly anticipated new musical by Sara Bareilles: WAITRESS when she sat down with us in the studio. Lorin tells a great story involving Barry Weissler, and Diane Paulus and how she actually got the job to be the choreographer for the new musical. While she says she’s “lucky” to have had so many successful working collaborations, it is clear to us that talent and her great personality are the key to her “luck.” We also touch on her transition from a dancer who has 14 Broadway credits, to a choreographer. Lorin recounts her Broadway debut as a dancer in which she left her Radio City show, started rehearsal on a Monday, and by Friday night was on. A self described “work horse,” Lorin is also the Artistic Associate at Bucks County Playhouse, and teaches at her alma mater, Juilliard where she is continuing to help dancers find their voice on many levels. She is also a strong advocate for the school to develop a musical theatre program. Listen in; we are sure you will love Lorin just as much as we did.

• Lorinlatarro.com
• Waitress The Musical

Lorin Latarro

Accordionist, Carl Riehl, joined us in the studio to share his story of a dual career as a Lawyer and Musician. Composer of three off Broadway musicals and commercial jingles, he always followed his mantra to pursue any interesting opportunity that comes along that he can do or learn how to do. He talked about; his transition from classical piano to the accordion, his current instrument choice, how he landed the “An American in Paris” gig, the accordionist network in Manhattan, physical injuries caused by playing the accordion, different schools of accordion technique, diversity of repertoire with the accordion, creating performances venues-bands, adjusting as a musician from a classical background into a pop musician, how he learned to improvise, how he practices improvisation and practicing the fundamentals.

Suzzanne Douglas: Suzzanne has a long list of credits that cover film, television, opera, and the stage. She has won awards, and worked with icons such as Gregory Hines, and Sammy Davis Jr. A self proclaimed “Life long learner,” she recently graduated from Manhattan School of Music while approaching the age of 60. Her life experience and new musical tools have allowed her to open up yet another chapter as she just recently signed with a label and is now having her album produced. Listen in to find out why Suzzanne feels being a patron of the arts is so important, why “artist are special and are here to make the world a better place,” and why Paul Gemignani told her she’ll never “have to work for an asshole.” Suzzanne is a lovely, insightful human being; we are sure you’re going to enjoy this episode.

• Suzzanne's Website

Suzzanne Douglas