Playbill.com’s new feature series Booking It asks leading industry members to share professional insights, need-to-know tips and essential tricks of the trade for up-and-coming and established theatre artists. This week we speak with composer, lyricist, music director and educator Georgia Stitt. Read More…
As we enter the last month of a year that seems to have raced by even faster that the years before it, I inevitably find myself taking stock. It’s the nature of the impending rollover into the new year. We all do it. We ask: did I accomplish enough? Am I where I wanted to be by now? Do I still have time to finish what I set out to do?
A friend of mine who had recently turned 40 made a huge life change and when I asked him where he got the courage, he said, “You only get so many chances to reinvent yourself.” That statement smacked me in the face and I find myself coming back to it over and over again. He reminded me that the things on your long-term to-do list don’t get easier as you get older. You don’t suddenly have more time available to you or more energy to devote to your projects. It’s precisely because days become busier and shorter that we get more and more selective about how we spend them. That’s the beauty of stopping to take stock. At the end of the year, it’s not so much about what you’ve accomplished or failed to accomplish; it’s about making sure the thing you’re killing yourself to pursue is still the thing you want. Read the full post on newmusicaltheatre.com.
I’m not sure there’s any torture greater than listening to your child practice the piano. Well, maybe violin. I’ll admit that listening to a child practice violin could be worse. I mean, at least our piano is in tune. (Mostly.) My daughter is eight years old and she has been studying the piano for four years. She’s getting there. This year she played her first Bach minuet, and she’s learning her scales and cadences. I don’t have any idea whether or not she will be interested in pursuing music in her adult life, but I’m a big believer in the idea that learning music teaches you how to think. Given that her dad and I are both professional musicians, we figured it was important to make music a part of our kids’ lives from the very beginning. (Our younger daughter is four and will start lessons in January. Oh God.)
My husband and I came to music in very different ways. READ MORE….
You may be surprised to learn that in addition to writing for the musical theater, I have had a bit of success as a choral music composer, too. For me, ensemble singing (and writing and conducting) taps into the part of me that really does prefer to be making music with other people as opposed to sitting alone in a room with a piano, a notepad, and a computer loaded with Finale. I love using music to tell stories, as musical theater folks do, but I also really like using music just to make music, and I start to feel atrophy when I get too far away from it. I was a classical musician before I was a part of the Broadway community, and sometimes I forget how much I depend on the fuel that classical music provides. Little me was the girl at the piano after school, practicing Bach and Rachmaninoff and Tcherepnin over and over again until her fingers were vibrating with the kind of energy and exhaustion you feel after a hard workout. The changing of the seasons was marked by marching band, holiday concerts, wind ensemble, Easter music, spring piano recitals and summer music camp. READ MORE…
Last year I was contacted by Erin Guinup, a musician/teacher in the Seattle area who was preparing a lecture and paper on female musical theatre composers and wanted to include my work alongside the music of Kay Swift, Mary Rodgers, and Jeanine Tesori. In addition to showcasing some of my songs, she asked me to respond to the following quote by Rachel Crothers in 1912.
“Drama is drama…what difference does it make whether women or men are working on it?”
I thought about it for days. Initially, I thought maybe I actually agreed with the statement. If we’re talking about equality in the workplace, isn’t the goal to be gender-blind? But no, we can’t be gender-blind when it comes to the creative arts. Nor can we be colorblind or age blind or nationality blind. A person’s voice is a reflection of who he/she is, and we are not all the same. READ MORE…