Sandy brings something...

Sandy really struck a chord with me. Not a good one necessarily, but a chord. 

Snap. 

There was something bitter-sweet about this storm:

I couldn’t - can’t - get anything done. Transportation is out. It's hard to get a hold of people. Storm’s pressure still floats in air, tense. 

But last night I fell asleep at 9:30 and didn’t wake up till 8 this morning. Eyes glued themselves, stitched. 

There was nothing to do but let my inability to do anything take over. And it did, in sleep.

The past weeks have been... They’ve been like... Well... 

It’s been a spans of weeks where you feel like everything was just a bit off; nothing went exactly as how you planned, but close to. Not horribly off, more similar to a nagging itch. Or an eye twitch. It’s actually more like an eye twitch when I think about it. A big one.

There’s so much going on, and I haven’t shared it here at all. Sure, I could spout some guilt about how I haven’t updated in a long time, but whatever that’s meant for just doesn’t make sense for me. Here and now at least. 

So, I’ll start writing about what I’ve been doing and thinking of as I’m stuck here in my apartment. And for whoever reads, for whatever reason you read, I hope it brings something. Just something. That’s all I ask: have something appear to you. 

Stay tuned. More to come in the next few days.

Sandy... You’re a bitch, but thank you for making me sit down and truly see, or is it see something true?

End and Death.

Endings are always a jolt for me.  

News of a death never seems real.

It takes days,

an intricate weave of events,

to see what has happened.

Form of denial?

Probably. 

Most likely.

As I thaw in days passing,

a decompression

of some sorts,

truths suddenly sparkle within.

Always known,

never seen -  

Well...

Acknowledged.

An end is a kind of death.

A death is a kind of end.

Both finite feeling.

A blunt edge. 

A steep-dropping cliff.

A fog-ridden grove.

So, when an end and a death met me last Saturday night

I moved on, 

unable to see, 

unable to want to see.

How can I put

everything I saw,

everything I wanted,

everything I learned,

everything I felt, 

here

for you

to read

and residually feel?

I can’t,

and I won’t try.

It’s not because I don’t want you to know,

to be a part,

to see my experience...

It’s just impossible.

Well, as impossible as that finite feeling...

Ends and deaths are never finite,

on a larger scale

that is.

We always move forward from both,

taking what we saw,

what we wanted,

what we learned,

what we felt.

My time at CLOC was a blessing.

My Gramps was the strongest man.

My memories of both will throw me forward.

A future awaits.

Opening up to so many possibilities. 

Chipping through the fear to do just this,

to be brave enough,

to let down guards,

to glimpse toward unseen futures.

Past those cliffs.

Through the groves.

There are gonna be a lot of changes soon.

So I’m gonna keep thawing,

letting the natural times un-clamp my being.

+++++

Thank you to the absolutely wonderful staff, cast, and crew of the College Light Opera Company’s 2012 season for opening my eyes to a whole new world. You are all family now. 

Thank you to my amazing Gramps, the “Cranky Yankee” filled with the softest and most huggable marshmallow fluff under his tough gruff. Thank you for showing me what it means to be Beeman.

Contemporary Love Of Classics

There’s something truly necessary for a classic musical, a Golden-Age theatre moment, to read for our contemporary eyes, ears, and minds: 

BELIEF. 

If you don’t believe, the story will never soar. Truly, this goes for all theatre, but having worked on many classics this summer, I’m seeing how important this dedication is for this specific vein of theatrics. 

“It’s just a fairytale cliche,” many say. You can’t fall in love in one day; that’s such a stupid disguise that would never fly; IT NEVER WORKS OUT THAT WAY IN THE REAL WORLD! 

And how do I respond to that?

You’re absolutely right. It’s a flippin’ musical for goodness’ sake...

How do you make these instances become significant? How, in the blink of an eye, do you separate your audience from the outside - that lingering dread and worry of getting the laundry done and hoping someone let the dog out - as to bring them into a world unlike their own? 

BELIEF. It’s a big word, I know; but this constant idea, this force, brings life and a reason for living. 

I’m not expecting that the audience will come in believing. To enter already separated from their daily grind would eliminate the very reason for musicals. It is our job as artists to communicate a pathway upon which our spectators can easily fall onto and follow forward. 

And how does that yellow-brick road appear? The artists’ BELIEF in the story they’re sharing.

You have to go there even though it may be so unbelievable to you that it sickens you. However, when you as an artist completely give yourself to the story, to the seemingly basic and platitude ideas of classic musical theatre, new ideas blossom for our contemporary souls. With this belief, the classics strip down the contemporary human condition to it’s inner oscillating dreams. Thus, when presented by contemporaries to other contemporaries, the depth and beauty of the story’s happenings are purposefully carried to and passed onto the audiences who dare to go there.

I dare you to go there. Whether you are an artist or audience member: DARE TO BELIEVE. When you do, you’ll see something beyond. I can’t tell you what you’ll see (no one really can), but I know it will be something over and above what you believe you’ll find. 

Look deeper; something is there for everyone to see.   

Caress. Learn. Observe. Company.

Where can I even start?

So much is flying at me; every moment filled with putting something together. It could be a dance sequence, a scenic exchange, and many a times it’s my own sanity. I’ve never felt such a need to fill my artistic banks in which to draw choreography from. Without this, it’s like trying singing without any breath or making a chocolate cake without chocolate. To make sure this doesn’t happen, I’ll watch dance videos on YouTube, work on a new cabaret, listen to a soundtrack of a musical opposite of the CLOC style, ANYTHING: The replenishment must be separate from the show of the moment.

Thus, as I blog, I’m listening to Mariah Carey... 

This past Friday was our second round of auditions for shows #4 and #5 (Candide and The Student Prince). We have 32 singers in our vocal company, 16 men and 16 ladies, and each  VC member is in all nine shows. Our auditions throughout the summer are to cast specific leads and other roles for the upcoming productions. I have said it before, and I’ll say it again: I’m not a very good auditioner. What’s great though is I feel I’m learning so much by being on this side of the table. I’m seeing what works, what reads, and what the great auditioners do to capture attention. 

I see these souls auditioning before me, these individuals whom I work with everyday and love as my own, wanting each of them to get that role they’ve been pining for. Then I’m a part of the process of not allowing them all to reach their dreams. In a way I’m learning that casting does truly come down to some really random reasoning: Who is the best person to play opposite this other person we cast? Does he/she look the part? EVERYTHING. 

While difficult, it’s a necessary process, and in a way it can be quite invigorating. We as the creative team are placing pieces together, setting an illustrative demonstration of musical story-telling. And in that creation, you see how important every puzzle piece is, how every soul that auditioned for that lead is essential, actually vital for the production. 

Here’s to seven more shows with these wickedly talented people; I can wait to see what’s to come. 

Creation. Layers. Ovation. Cloud.

I am in love. 

The College Light Opera Company must be Cloud 9 itself. 

I’ve been up here just over a week, but it feels like it’s been months and that I’ve known these talented individuals for years. I can’t explain it properly really, but I can try: We’re planted here and given limited time to cause art, ultimately weaving an afghan of comfort, intricacy, and security. 

Never have I ever been a part of a schedule as rigorous and adrenaline-pumping as this. How did I ever think two weeks was a short rehearsal period??? With such confinements comes a specific creative problem solving technique, one only acquired with roots in a process such as this. Thus, my choreography has been pushed to edges I’ve never witnessed, teetering on it’s daring edges, catapulting into cacophonous and juicy moments of live theatre. 

Once again, Cloud 9. 

I can’t believe I’m here till the end of August. I know the harder times will come, but it’s all in the name of art, correct? I’m so grateful to be a part of this company and to be surrounded by such geniuses of growth in grace. 

It’s truly a grand time. 

To Be Beeman

This isn’t a normal post. 

Maybe I should be writing about how I’m about to find dance skeletons for the upcoming shows to be choreographed, or my recent developments and ideas for cabarets and concerts. 

But nope. 

What’s on the docket then? 

Family. And I got a mighty fine one at that. 

Today is all about the Beemans. 

My father is the second of four boys, all sport-loving, kind, frugal, loving men with families all of their own. Beeman men are a special breed; while thought to be the quieter and strong supportive backbone of each off-shoot family, they actually are some of the funniest straight men I’ve encountered. Together, a raucous of laughter, caring jabs, and heartfelt moments surround all members of our large (and growing) extended Beeman family, plus all those who touch our sphere of Americana brother/sister-hood. 

As fun as our time is when we are all together, it happens to be quite rare when we can have all four Beeman Brothers’ families in the same place at the same time. There are the East-Coast Beemans, the West-Coast Beemans, the Mid-West Beemans, and the Texas Beemans: we’re all over the place. Inadvertently, reunions to let our invigorating energy simply and immediately recreate itself as if time never passed, can take years in between to come to. 

But why should it? At every get-together we say how we need to stay in better touch and get out to each others’ necks of wood. And, as it too often happens with those you love, what’s uttered, what’s planned, never happens. Schedules, money, time... They all get in the way. 

Well, I’m not letting that happen anymore. Nothing will get in my way.

It’s now been two years since I’ve graduated. I’m coming up on a quarter-lifetime-milestone and it’s time to step back and see where importance establishes itself. Roots are starting to ground themselves in New York, and I couldn’t think of a better city to have them in. NYC is where I’m supposed to be, but I’m also supposed to be with my family. 

FAMILY: a person or people related to one 

and so to be treated with a special loyalty or intimacy. 

(My Mac’s Dictionary)

This past weekend at a Beeman wedding, I saw with the arrival of my cousin’s daughter a new Beeman generation coming to and becoming a part of us: 

The Beemans. 

Through her infant eyes I was able to see what it meant to be Beeman: OMNIPRESENT LOVE. Every giggle released and snuggle given from this little angel brought us all joy, reminding us all of our true bond as a great family. With her smile, I saw how important it was for me to go and spend time with my extended family in the near future. And as I have seen in past endeavors, when a goal is for good, a job is for joy, a leap is for love, I will be provided for in so many more ways than I ever imagined.  

(Baby Clara with her Grampa, my Uncle Bob, at the rehearsal dinner.)

   

Circle Left Of Center

I think it’s finally time to share some news...

I will be joining the College Light Opera Company’s 2012 Season as their choreographer for this summer. From June through August, I’ll be up in Cape Cod, choreographing 9 different shows in 9 weeks. Yup, you read that right: a different show every week. True summer stock at its finest.

CLOC is well known for bringing in wonderful collegiate talent from all over the country’s top performance schools for a jam packed summer of operettas and musicals. This summer, we’re putting up a wonderful collection of shows, filled with fantastic music, fun times, and fabulous dancing. 

Here’s the schedule for the summer:

Gilbert and Sullivan’s “Ruddigore”: June 26th - June 30th

Meredith Wilson’s “The Music Man”: July 3rd - July 7th

Jerome Kern’s “Sally”: July 10th - July 14th

Leonard Bernstein’s “Candide”: July 17th - July 21st

Sigmund Romberg’s “The Student Prince”: July 24th - July 28th

Cole Porter’s “Anything Goes”: July 31st - August 4th

Lerner & Loewe’s “Brigadoon”: August 7th - August 11th

Rodger and Hammerstein’s “South Pacific”: August 14th - August 18th

Lambert and Morrison’s “The Drowsy Chaperone”: August 21st - August 25th

I can’t write out how blessed I feel to be offered this opportunity. I cannot wait to get up there and start creating these moving pictures!

So if you’re in the Massachusetts area, or want to come for a weekend on the Cape, join us at CLOC for a summer of great shows. 

Find out more about the company and ticket information at their website: 

http://www.collegelightoperacompany.com/