If I am feeling musical and I pick up the guitar, usually something will eventually come out and I'll see where it goes.
Every year I used to write a musical inspired by John Waters, and I would get all my friends together and put on this perverse, emotional, tragic musical.
To be in a beast of a musical (I mean it's huge!) gave me a sense of I don't want to say "a sense of confidence" because you already have a sense of that to get out on stage. But I think I just have a better sense of myself. It was a learning process, I really had to conquer a lot of fears and my own little struggles. I feel a little self-empowered, like "bring it on!" Bring on the next thing because if I can conquer this, I can conquer that.
But the stuff that I do is more like all the comic roles like in The Merry Widow and Die Fledermaus and I just did this Offenbach operetta at the LA Opera. I love it. I just love it. For me, it's like a great mesh of musical theatre and my classical oboe background to be standing on these huge stages with a full orchestra and all the opulence. I'm a complete sucker for the over-the-topness.
My parents say it all began with my role of Percy the Polar Bear back in nursery school! I began dance classes at the age of five (you would never guess though) and then I went on to join my local theatre group, Glantawe Players, at the age of eight and then Swansea Amateur Dramatics Society. I then joined the National Youth Music Theatre, so I really can't remember a time when I wasn't interested in Musical Theatre!
It's very much a character-based play. Conor's writing is almost musical and paints pictures at the same time. It's a joy as an actor to be able to say the words. It's very conversational but at the same time, tells a story.
But if you get a kick out of "The Jerry Springer Show," you're going to love it! The idea of hearing these lyrics and profanities - like the chorus at the top of the show - the idea that we're going to hear it in Carnegie Hall is just genius. It's been written with real care! It's not some crappy little musical that somehow found its way off-Broadway with vulgar-intentions. This is really beautiful, operatic music. It has a place in Carnegie Hall.
I want to get a handle on the music. There's only so much you can do alone. I want everyone else there. I can't wait until we feel we've got it down and we can really figure out what it's all about! I can't wait to meet Harvey Keitel, too! I'm so used to working with musical theatre people... I'm really curious how he works. He's the only one that doesn't sing in the show - he acts and weaves himself through the show as the ring-master. I hope I learn something from him.
For a long time in the 1970s, I was experimenting to build musical instruments and use them. I did a lot of ethnic music studies and other things, like electronic music. Making homemade musical instruments and performing was my major activity from the time.
I don't feel bound by the ebbs and flows of musical trends, or what's happening with new music in general.
As long as there are a few people there, I can lose myself, which is the ultimate goal. And that's happening more and more; the non-musical world is becoming less and less interesting to me.
I'm somebody who grew up listening to a lot of musical theater, so getting to finally write musical theater songs and songs that sound that way - the emphasis being on the storytelling, but the arrangements and the orchestrations can be really varied - I found that to be, actually, a really joyful discovery.
I've always been more visual-based. I've kept my musical tendencies kind of in the closet.
I will say, the performers in the musical are some of the most super-talented people I've ever seen.
I've done quite a few records now, and I look back and think of them as documents of my musical journey.
I've been in contact with music since I was four or five years old through my father, because of the interest he had in music and all his musical skills. I finally managed to make that my profession.
The term "black metal" has become a lot looser, or can include a larger range of sounds and extra-musical aesthetics, not just Satan and power chords.
I met a lot of amazing people whose lives were changed (for the better) by the power of music. Music gave them strength to get out of abusive relationships or to just pick up a musical instrument and learn to play.
Here's the thing with lyrics: Words are just another musical instrument.
There is indeed a level of improvisation where we can distort and shuffle the music patterns, samples, and loops in each phase of the show within fixed cue points, but at the same time there is a constant result that we are trying to achieve each night while performing and operating our system - quite similar in spirit to a broadway show for example: If you go see a musical two nights in a row, the performances are different yet similar.
I started out in theatre and I definitely have wanted to add extra musical elements to my music with both imagery and text.
I'm not musically trained and I'm not all these other things. I'm creative with a keyboard and a drum machine, but I can't really make these perfect minimal musical executions - all the things that would be nice with all these refined poems.
Hip-hop can be a very closed-off community. Sometimes these barriers are demographic but it can be musical, too.
On a musical level, I do find it rewarding. It's not like I want to blow my brains out while I'm playing these songs from so long ago. I am still surprised by the way the songs are constructed - note choices, the way the arrangements are made, the way these songs are assembled. I'm still amazed at times.
I started thinking, my gosh, all this sophisticated software for measuring how Yo-Yo plays, and how he moves and this technique of the bow, I should be able to use similar techniques for measuring the way anybody moves, and so somebody who is not a professional or a trained musician, I should be able to make a musical environment for them.
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