(*Sorry, I couldn’t resist the title. *wink*)

This past Sunday, I had the opportunity to attend a workshop hosted by Erv Raible. Erv is the executive and artistic director of the Cabaret Conference at Yale and he was kind enough to schedule a half-day workshop with TCCAN (Twin Cities Cabaret Artists Network) while in town auditioning singers for this summer’s program.

Six of us arrived after lunch to take part in the workshop. We had stage actors, theater folks, club singers and band front people. Songs ranged from ballads to showtunes to … well story songs for lack of a better descriptor. My friend Matt Curney (a fellow McNally alum) was our pianist and the range of singers and songs was diverse. We took turns singing songs for Erv and then got to hear his feedback and insights about our performances.

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I was a little apprehensive because I hadn’t had as much time to prepare as I would have liked. I was also apprehensive about working in the cabaret genre. See, I have to admit that I didn’t really understand what cabaret is.

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Erv was brilliant and kind. While he readily admits to having no desire to perform, he knows a lot about what he wants to see on stage. He encouraged us to strip away anything that was distracting or extraneous. Introductions, gestures and melodic phrases should be there only if they help you connect with the audience — to better tell the story. Erv expected connection, intimacy and vulnerability.

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Even though I struggled at times during our four-hour session, I was grateful for the opportunity to get inside my songs and think about what I want to say with the songs I sing. The group was supportive and the practice was invaluable.

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Sunday’s workshop dovetailed nicely with a conversation Bruce Henry and I had on Friday. Bruce and I talked about how to find and choose songs. He challenged me to be more purposeful in choosing my repertoire. Over the course of this weekend’s instruction, I realized I need to find a way to connect what I know and love about singing from improv and my a cappella group to my individual performances. To incorporate connecting and community building into ALL the music I sing, not just Songtaneous.

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At the end of our time together, Erv asked us to share what we had learned. I was reminded that communicating a song is different from just singing it. I learned that I want to be more intentional about the songs I sing and how I prepare to sing them.

I learned that cabaret is about taking risks by being open and vulnerable. It’s about telling stories and sharing experiences. It’s about being present and connected and available.

And I’m all about that.

The Seussical Team: me with Director Dudley Voight (left) & Choreographer Kalie French (right)

I’m happy to report that Suessical was a success. We did three shows in two days and the kids were amazing. (And I’m not the only one who thought so. *grin*)

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Most things went smoothly, but there were some technical issues to overcome in each show. My favorite improvisational moment happened in the third and final show, when due to mic failure, Horton (the Elephant) gave a brief improvised monologue in the middle of the show while director Dudley Voight changed her wireless mic pack. (Talk about being spontaneous!)

All of the kids were so poised and they really knew the show! They remembered their lines and knew their songs and sang their little hearts out. (In other words, they made me look good. *wink*)

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Thanks to all of you who came and supported their (and my) efforts. With your help, the show had record-breaking attendance on Friday night.

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Saturday was the cast party. We cleaned up the stage, packed up the sound system and chatted about the cast’s moments of glory. All the kids said they wished they could do the show again. And quite of few them told me they would be back next year.

As I mentioned in Friday’s post, I got to hear the UK’s ambassador of singing — Howard Goodall — speak last week. He talked about how the Sing Up program in Britain began.

As part of the preparation to create and implement the Sing Up program, Goodall and his team (why did I want to type “merry band of men?” *smile*) visited many schools throughout the UK. What they found was that in schools where someone passionate about singing worked, singing happened. In the schools, where no such person worked, it didn’t.

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Goodall said, “The key issue of all was that general primary teachers, classroom teachers, felt very uncomfortable about leading singing and mostly did not want to.

The response that came back [when asked about singing] was seen through the prism of an adult’s version of singing, not a child’s version. The adults would say:

“I can’t sing.”
“I don’t sing in tune.”
“I’m embarassed.”
“I’m shy.”
“I don’t want to do this.”

“They were putting their fear, their worry about singing on to the children. Because if you’ve ever met a 6- or 7-year-old child … No 6- or 7-year-old is scared of singing. They all want to sing, it’s completely natural.

[The children’s] attitude was that they wanted to sing, but the adults were getting in the way of that.”

So … what happens?

When and how do we learn that it’s not okay to sing anymore?

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Frequently when I talk to people about Songtaneous, they tell me that they can’t (or don’t) sing. (Even some of the professional singers I know shy away from spontaneous singing, i.e. vocal improvisation).

They tell me they feel silly singing or their voice doesn’t “sound right” (whatever “right” is). If we talk a little while longer, they almost always relate a story where someone (a friend, teacher, parent, sibling, spouse, partner) has told them — directly or indirectly — that they don’t sing well. And you can see that this story, though they laugh while telling it, is still painful. That the careless comment (by that friend, choir director, etc.) still stings.

I call this singing trauma.

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Part of the problem is that we confuse singing with performing in our society. (Watch an episode of American Idol and you’ll see what I mean.)

Now, I’m a singer and a performer.

Performers do what they do, in part, for the entertainment of others. They should expect some judging of their performances. (We don’t have to like it, but we should expect it. *smile*). Critiques and feedback are part of my job.

Singers, on the other hand, are people who sing. (As Alice Walker wrote in one of her short stories: the fellow that sings is the singer.)

And just about anybody can do that. (Even people who can’t hear sing.)

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Goodall spoke about how singing is woven throughout everyday life in Africa, reminding me of what both Ysaye Maria Barnwell and Bobby McFerrin had to say about the role of singing in other parts of the world. In Africa, Goodall notes, singing is a part of every activity.

In these communities, singing is pervasive and natural, not traumatic.

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Part of my mission is to end singing trauma.

As far as I’m concerned the pros of singing, so extremely outweigh the cons that everyone should get to share in the goodies.

As Goodall said, the list of benefits from singing is pretty impressive.

Singing:

• aids the memory
• helps the brain grow and helps the rewiring of different parts of the brain
• is good for your health,
• makes you feel good,
• helps you concentrate,
• makes you feel good about yourself and helps self-esteem
• brings communities together [emphasis mine *smile*]
  

Given all the benefits, you’d be crazy not to sing.

Believe me when I tell you (yes, you!) that you have something to contribute with your voice just the way it is.