The Details

District 13 presents Catching Fire: The Musical by Mark Vandenberg. In this hilarious pop culture parody sequel to last year’s smash hit Hunger Games: The Musical, Katniss Everdeen continues to defy the Capitol, play with Peeta’s heart and belt out songs in the style of Miley Cyrus and Ariana Grande.

Along with skewering the plot, character and themes from the original story, the musical is packed with upbeat mainstream pop songs with new creative lyrics. We have assembled almost the entire cast back for another go around.

Produced, Written & Directed by Mark Vandenberg.

Co-Produced by Frank Nickel.

Musical Direction by Rick Colhoun and Oker Chen.

Choreography by Rebecca Piplica and Andrea Loewen.

Production Design by Zac Shymka.

Stage Management by Julia Lank.

Featuring: Jennifer Pielak, Riley Qualtieri, Richard Meen, Morgan Churla, Matthew Simmons, Rebecca Piplica, Ryan Scramstad, Cecilia Rahoerason, Lisa Penz, Amy Dauer, Munish Sharma and Oker Chen.

Catching Fire: The Musical is now on at Studio 1398 (1398 Cartwright Street, Granville Island) until October 1st. Tickets are available through BrownPaperTickets.com.

Recommended Reading The Perfect Stage Crew
2nd Edition Click a cover for more details Empire of the Son Ignite: Illuminating Theatre
For Young People Recommended Reading The Perfect Stage Crew
2nd Edition Click a cover for more details Empire of the Son Ignite: Illuminating Theatre
For Young People

The post “Catching Fire: The Musical” at Studio 1398 appeared first on Biz Books.

We had to know more about what goes into creating an improvised musical, so we tracked down three members of the show – Sam Mitchell, Byron Abando, and Jamieson McCormack – to tell us more about the process and share some of their improv expertise and insights with our audience.

________________________________

What is your involvement with Love Musically and how did that get started?

Sam Mitchell: I’ve been in Off Key Improv ever since the group emerged out of a weekly practice night where we would get together and improvise songs.  When the idea for this show was proposed, I jumped at the opportunity because there just aren’t that many two-act musical improv shows to be a part of in Vancouver.

Byron Abando: I am one of the band members. I provide rhythm, percussion and sound effects. I got invited to play one of Off Key Improv shows and I got hooked.

Jamieson McCormack: Personally, I am a main stage payer as well as Off Key Improv’s Social Media Manager.

We got started 4 years ago, under Jennifer Pielak’s initiative, to challenge our comedy skills and workshop something new. However we all fell in love with building shows like Love Musically and now here we are, 4 years later and still together. Life is just a little better when you’re Off Key!

Love Musically is an improvised musical based on the film Love Actually. Can you explain how that works?

Sam Mitchell: The show will start with our host casting parts for each of the eight principal cast members based on who our audience is that night.  The audience members choose what information to give us, and they spark the direction for the show to go.  The improvisers play those roles for the entire show, exploring the stories that emerge between them without ever leaving the stage.  There is no plan, so as for what happens next, your guess is as good as mine.

Byron Abando: We are taking the core concept of Love Actually which is connection and relationships between people as our main driving plot. Love Actually is beloved because people can relate to those characters and see bits of themselves in the difference roles.

Jamieson McCormack: The way we improvise is very unstructured – we like to let the energy of the night, our audience and their suggestions inspire how our characters and story develop. For Love Musically, the movie Love Actually will kind of be like an unseen player, always on stage with us giving us direction to play off of. If you’ve seen the movie, you’ll know it is all about the relationships, so we will be gathering real relationships from our audiences and improvising with truth on how hard, rewarding, silly and insane love can really be.

What are the creative challenges and rewards associated with creating an improvised musical?

Sam Mitchell: There are a lot of people in this show, and so coordinating that many minds when there’s no plan can be a challenge.  But, somehow that challenge makes it all the more rewarding in the end.  When you’re in the audience watching and something surprises or delights you, you can bet that we are surprised and delighted too.  We’ve never seen the show either.

Byron Abando: The challenge is that it is somewhat like a high wire circus act without the net to catch you if you fall. On a scripted show you are not creating a new work, you are following another person’s creation. You can memorize your part, develop a muscle memory of sorts, and perform the show. But you did not create the show. The reward is the freedom of not being restricted by a script. It challenges your own knowledge of character and plot development. We all contribute to not only performing the show but creating it as well.

Jamieson McCormack: Creating improvised musicals still makes my palms sweaty and my heart race. I have been waiting for this to get easy for 4 whole years, and I have come to the realization it just never will. Improv has no safety net, so the challenges come when you’re doubting yourself or if you doubt another one of your fellow players. That energy breeds uncertainty and disconnects you from the moment you are in.

This being said, there is no bigger reward than getting over this doubt and learning to trust the process. When you get on stage with another player and you feel so connected, it’s like you both know where things are going without really knowing at all. It’s like magic… I have no other way of describing what it feels like. That’s why improvisors walk onto empty stages with nothing but a word of inspiration. For the raw, prickling, set-your-soul-on-fire, magic. 

What can audiences expect when they see it?

Sam Mitchell: Since it’s all improvised you can expect to see an entirely new show every night.  What remains the same is that you’ll see a cast improvising scenes and songs, supported by an incredible four-piece band, creating a musical before your eyes.  If you love the spirit of the season, the fond memories and traditions, the challenges and emotions,  you’ll see it all in this show.

Byron Abando: They can expect something new every night. It is the beauty of the show because it is never the same show. As it is a musical there will be singing, dancing, and dramatic moments. But how they will be presented will be new for every show. Be prepared to laugh and to cry.

Jamieson McCormack: With Love Musically you have to expect the unexpected. We are comedy improvisors, however above this we play to the truth. If a moment calls for something serious we will honour it. So much so that you could be laughing one moment and then crying in the next. The best jokes happen when we least expect them. When you’re with your family or best friends and something random happens that just splits your sides! These are always the funny moments we remember. Playing to the truth allows us to create these memorable moments naturally.

What are three things that every improv production needs in order to be successful?

Sam Mitchell: The desire to do an improv show,fearlessness, and an audience. I joke, but it’s true.  You really don’t need all that much.

Byron Abando: Creativity, Knowledge, Practice.

Jamieson McCormack: Trust, a humble attitude and maybe one chair… though if you don’t have a chair you can always improvise one!

Why does the world need musicals and improv (and both together)?

Sam Mitchell: For musicals: to see the world as a more magical place. For improv: to realize that everything we do in our daily lives is actually improvised. Together: to experience the joy of spontaneously created music.

Byron Abando: Musicals and improv provide joy and art to the world. When Winston Churchill was asked to cut arts funding in favour of the war effort, he simply replied “then what are we fighting for?” Why not put both together? Musical improv bridges multiple skills together and allows it’s players to showcase all of them including their own creative mind.

Jamieson McCormack: We are always looking to connect. Especially in this day and age, where some of our most intimate relationships are with a screen of some sort! People go to the theatre to feel something, be it laughter, sadness, joy… our emotions are what make us so human and connection to others is what nourishes these emotions. Music is audible emotion, and musicals are an expression of the overflow of these feelings.

Improv is created within every moment, and relies on connection, to both the players and the audience, to thrive. When you bring the two together what you get is a crashing of raw emotion channeled through undoubted connection. The world needs this to remember that it is possible. That hope, love and magic do exist. Not trying to wax poetics about a comedy show or anything, though if you come join our audience you’ll get what I’m talking about.

What are some of your favourite musicals?

Sam Mitchell: The Book of Mormon, The Last Five Years, Title of Show

Byron Abando: Once, Les Miserables, Hamilton

Jamieson McCormack: Two of my favourite screen musicals are both Joss Whedon creations: Once More With Feeling (The Buffy Musical) and Dr. Horrible’s Sing-Along Blog. They’re both a little bit goofy, however Joss just gets it. Whatever “it” is, he gets.

For stage it would have to be Once: The Musical. It will stop your heart (*not literally).

What are your favourite holiday movies – besides Love Actually?

Sam Mitchell: I’m a big fan of A Charlie Brown Christmas.

Byron Abando: Miracle on 34th Street and The Holiday.

Jamieson McCormack: It’s A Wonderful Life for its sweet nostalgia and hopeful optimism and Rudolph the Red Nosed Reindeer, the stop motion version, for allowing me to feel okay with being a weirdo misfit growing up. I feel like the island of misfit toys may very well be where improvisers come from! 

Who are your improv influences?

Sam Mitchell: Before I started doing improv I watched a lot of improv.  And every week my friends and I would go watch a group called Table 23 at a coffee shop—they did a great show, and their audiences were frequently at capacity.  That group happened to feature Jennifer Pielak, who is now our director now in Off Key Improv, and Graham Myers, who later came to be the artistic director of Second Storey Theatre.  I joined Graham’s theatre in 2011, performing in the resident cast in weekly shows.  Those years formed the core of my experience as an improviser.

Byron Abando: The Second City and Second Storey Theatre.

Jamieson McCormack: Doug Widick from North Coast (NYC) and Kory Mathewson from Rapid Fire Theatre (Edmonton). I’ve taken workshops from both of them and have watched them in shows. They’re incredibly talented humans and good people.

What’s the most important lesson you have learned so far in your career?

Sam Mitchell: Surround yourself with creative people.  There is nothing better than hearing new, exciting ideas from your friends and just being able to say: Yes, let’s do that.

Byron Abando: To keep learning and take educated risks.

Jamieson McCormack: When you want to do something, you have to commit to it. You will get no where doing things half a**. You’ve got to go all in, FULL A**!

What books and authors have been influential to you?

Sam Mitchell: There is a wealth of literature on improv, so I’ll mention only a few.

Improvisation for the Theatre by Viola Spolin – because you can’t go wrong with reading foundational texts.

Impro by Keith Johnstone – because of the impact he has had on improv in Canada

Process by Mary Scruggs and Michael Gellman – for their ingenuity in pursuing a similar improv form to what we are pursuing.

Homo Ludens by Johan Huizing – for his trailblazing anthropological study of play (after all, improv is primarily an expression of play).

The Boy Who Would Be a Helicopter by Vivian Paley – for her insight into how play develops in the child and how teachers ought to support that development.

Byron Abando: A Case of Need by Michael Crichton. The Curious Incident of the Dog in the Night-Time by Mark Haddon.

Jamieson McCormack: The Harry Potter series is responsible for re-sparking my childish belief in magic, and I will always come back to it when I feel myself growing up too much for a dose of fantastical faith.

What other projects do you have in the works and where can we find out more about you?

Sam Mitchell: Aside from this work with Off Key Improv, I teach improv at two Coquitlam high schools.  I also occasionally perform with Second Storey Theatre in Port Coquitlam.

Byron Abando: offkeyimprov.com

Jamieson McCormack: When I’m not with Off Key, I work in Social Media Marketing and I am also a Registered Holistic Nutritionist. You can follow me on Twitter and Instagram under @JamiesonEileen if you like food photos or 140 characters or less of random thoughts.

________________________________

Our thanks to Sam Mitchell, Byron Abando, and Jamieson McCormack for speaking with us!

Love Musically plays December 16th to 20th at Studio 1398 on Granville Island (1398 Cartwright Street). Shows are 8pm Wednesday to Sunday with 2pm matinees on Saturday and Sunday. Tickets are $18 and are available at lovemusically.brownpapertickets.com.

For more information about Off Key Improv, please visit OffKeyImprov.com.

The post The Biz Interview: Love Musically Spotlight appeared first on Biz Books.

What inspired you to take on this production?

Alison Chisholm: I’ve been wanting to write a musical for a while now but I put that dream aside once I came to the conclusion that I had no ability to pull it off on my own. But when I started doing musical improv with Jen and Peter I realized that there was a chance for that dream to come true after all. So after one of our workshops I threw the idea out to them, and like any good improvisers they accepted the offer and we went from there.

Peter Abando: When Alison suggested we create and present an original musical, it was exactly the sort of wild and crazy idea that gets us musicians and improvisors excited. While I have composed for musicals before, the chance to write a new work with Jennifer Pielak and Alison Chisholm isn’t something that comes along every day.

Jennifer Pielak: I’m crazy? Writing an original musical has always been a dream of mine. I’ve been doing musical improv for the past 5 years, and knew that the timing was right to use the skills I’ve learned to put toward writing. Combine that with the musical genius of Peter Abando and the messed up comedic writing style of Alison Chisholm and I knew we’d have a stellar team.

Recommended Reading The Perfect Stage Crew
2nd Edition Click a cover for more details Empire of the Son Ignite: Illuminating Theatre
For Young People Recommended Reading The Perfect Stage Crew
2nd Edition Click a cover for more details Empire of the Son Ignite: Illuminating Theatre
For Young People

Can you briefly walk us through your creative process for this production, from the early stages all the way to opening night?

Alison: It began with weekly meetings to discuss what kind of a show we wanted to do. We knew we wanted it to be a more character-based project but we thought it would take the form of a song-cycle. But after we started talking about ideas our theme of connections came all the more clear and around the time we started meeting a lot of articles were coming out that were saying that Vancouver was a lonely city and that people lacked connection. So we took that idea and some of the other quirky ideas we came up with and the general story of Connected: The Musical was born. We knew as soon the story was created that we wanted to bring on fellow improvisers and castmates Richard Meen and Brad Rossington, and fortunately they said yes. Then we pulled the rest of the creative team together and since having everyone together its been so great to have this be a true collaborative process. The three writers may have come up with the basic story and songs, but we’ve made a lot of edits since our first read through and those edits have been at the suggestions of the collective. It’s pretty great knowing that on opening we won’t just be putting up the show that Jen, Peter, and I wrote, but something that we created collectively. That’s a pretty awesome feeling!

Peter: We started simply by brainstorming ideas based on the idea of connection, and all that may imply. Once we had some concepts down, Alison created a story structure, which we used as a base for improvisation to create scenes and song sketches. I created musical motifs for characters and based song ideas on their drives and emotions at particular plot points. Then it was catering the songs to our cast and fleshing out arrangements with the musicians. There was lots of editing to be done, with changes in script and character development, but it was a fantastic process.

Jennifer: It all started one day after a musical improv workshop that Peter, Alison and I are a part of. Alison came up to Peter and I and asked if we’d like to write a musical, and we simply said, “Yes”. So we started meeting weekly at 8am on Friday mornings to brainstorm ideas. We originally thought it would be more of a comedic song cycle featuring a variety of characters. But as we continued brainstorming we ended up finding a deeper story that we felt people could relate to today in a city like Vancouver. We used a variety of techniques, sometimes we would individually take the script and work with it for a little while and bring it back to the group. Other times we would write or work scenes and songs together. We used improv a lot to hash out ideas and made new discoveries through musical improvisation and free association. In May we brought in the two other actors in the show (Brad Rossington and Richard Meen) and put the scenes on their feet to see if they played out well. We also brought in Chris Lam our director to do some dramaturgy so we could get the best story possible. As many know, a work may never ever be finished, and so we have been re-writing and adding things to the script even up to today, and it’s a week before opening night! As of June, we have a great production team now. Our stage manager, set designer, choreographer, lighting designer, director, musical director, musicians – all including the actors are putting their stamp into this show. This is the first time it’s going up, so everyone is responsible for a piece of it in a way. It’s has been collaborative from the start, and I feel very lucky that it’s been with such an amazing team.

What can audiences expect from Connected: The Musical that will make for a unique stage experience?

Alison: I think the best thing about this show is that our improv backgrounds really shine through in the story-telling. It’s a fun quirky show, featuring some highly relatable characters who can be both over-the-top and extremely grounded all in the same scene. And that’s where this show lives. It’s silly, serious, sexy with songs that will break your heart and make you want to get up and dance.

Peter: It’s a show that people will be able to relate to, given how we explore relationships and their issues in many ways. The music isn’t fixed to a specific genre, and there’s both touching and ridiculous moments, often in the same scene. Maybe a little like looking through a series of similar profiles on an online dating site – things you know, with a twist of things you didn’t expect to find there.

Jennifer: It’s relatable. It’s comedic with some very poignant moments. Without giving too much away, there is a little bit of everything in this musical – love, sass, fights, comedy and awesome songs. Plus the cast is super sexy.

What were your reasons for getting involved with acting, writing, and producing/directing?

Alison: I realized at fairly young age that theatre is what I wanted to do. I started off as an improviser and then took a break from improv as I pursued my BFA in Theatre. I realized through my degree that I actually really enjoyed the behind-the-scenes work in putting up a show which is why I pursued a career in theatre administration. But I do get the urge to do those things like write, act and improvise. I love being behind the desk, but it means a lot to me to be able to get back up on stage.

Peter: I got into theatre after high school, as a rehearsal and performance pianist. I began composing music shortly after that, when working with youth on play building, crafting original musical theatre productions.

Jennifer: This creative field chose me. I don’t feel like I have a choice. I have to do it or I will not be whole. It is my way to connect with people in the strongest way possible. Ha ha, see what I did?

Are there any books or specific authors that have been influential to you so far in your creative journey?

Alison: There are a number of playwrights who inspire me including Christopher Durang, and local playwright Morris Panych. Their knack for comedy even in dark situations is something I really appreciate and look up to.

Peter: There were definitely composers who have been influential over the years. Stephen Sondheim, Jonathan Larson, Jason Robert Brown, Igor Stravinsky, Marvin Hamlisch, Robert Lopez, Duncan Sheik, Marc Shaiman, John Kander and Fred Ebb… the list could keep going!

Jennifer: The Power of Myth by Joseph Campbell. Kierkegaard. Keith Johnstone, Del Close and Charna Halpern. Musical Improv Comedy by Michael Pollock.

What were the biggest challenges for you in your respective roles in developing this production and how did you deal with them?

Alison: The biggest challenge has been balancing a full-time job, with the various roles I’ve taken on in this production, including writer, performer, producer, production manager, and others. There have been a lot of long days at Pacific Theatre, but fortunately I can’t think of anywhere else I’d want to spend so much time. Especially when I’m surrounded by an amazing group of people every time I’m there. If it wasn’t for the people I’ve had the privilege to work with, this process would have been a whole lot harder.

Peter: Toughest part? Getting all the music written and scored in time for the actors and musicians to learn and perform it. So, I managed to find a few days when no one could interrupt me, and focused in on writing and composing – some much needed alone time.

Jennifer: Having to wear multiple hats – writer, producer and actor and keep a balance without going crazy. I am dealing with it by breathing and taking things day by day and enjoying the moment. Eating. Sleeping. Exercise. Listening to myself. It’s stressful, but in the best possible way!

What advice do you have for other performers who want to develop or act in their own musical?

Alison: Do it. Don’t let your doubts or insecurities get in the way. There were a number of opportunities for us when it might have been easier to give up, but we got through it and now we have a show we can all be proud of. I’d say surround yourself with people you trust who will encourage you and hold you accountable, but who will also understand that life gets in the way and that sometimes deadlines need to shift and that’s okay. If it’s something you really want, you’ll find a way to make it work.

Peter: Don’t give up on your idea, and schedule time to work, even if you’re not feeling up to it. Jennifer, Alison, and I are all very busy people individually, let alone as a team, but we met regularly to discuss ideas and try things out.

Jennifer: Just jump into the deep end. Don’t think about it. Be open to possibility. Take everything as an opportunity. Stick to a regular schedule, and you’ll be surprised with how much you can get done. Alison, Peter and I are some of the busiest people, and we managed to write a musical in a year, just because we met up every week no matter what.

What can you share about any future projects that are in development?

Alison: Well fortunately our regular improv shows at Second Storey Theatre and our Off Key Musical Improv shows are ongoing. It’s a relief knowing that I’ll still be creating with Jen and Peter on a regular basis. But as for another project of this scale – time will tell. All I can say is that I look forward to more.

Peter: Future projects? Is someone planning a sequel? We might be too busy with improvised musicals, teaching, and other theatrical commitments at the moment. But who knows?

Jennifer: We have created a monster. There will be more. Muah ha!

Connected: The Musical is now on at Pacific Theatre. For tickets, please visit BrownPaperTickets.com.

The post The Biz Interview: Alison Chisholm, Peter Abando, and Jennifer Pielak of “Connected: The Musical” appeared first on Biz Books.