A Search for Purpose

Michael joins Anthony Robbins, Wayne Dyer and others in this highly inspirational book about living your dream This is another best seller in the Wake Up…Live the Life You Love series.

BackStage: Taking Your Voice on the Road

By Michael Goodrich
Singers and actors are expected to be at peak vocal performance every day, regardless of their punishing eight-show-a-week schedule. It’s hard enough when you’re playing the same theatre in the same city. But what happens when you take the show on the road? Whether in a musical or a play, vocal challenges on tour are greatly multiplied. Performers must contend with everything from climate changes to jet lag. Extra rehearsals, moving in and out of theatres, and ever-changing living situations all create their own problems.

Taylor Sternberg is a young actor with one of the toughest jobs in the business: He’s a swing in the first national tour of Jersey Boys, still one of Broadway’s hottest tickets. A swing is required to know multiple roles and be prepared to perform each one at a moment’s notice. Sternberg is swinging four roles, including Frankie Valli, one of the show’s leads, which he has performed many times. I asked him about the vocal challenges he’s encountered on the road. “I’d say the biggest thing is going from climate to climate,” he says. “Singing in Arizona is going to be different than singing in Florida. In Florida you walk outside and it’s a personal humidifier 24/7, whereas you go to Arizona and it’s very dry; you have to stay hydrated all the time. You’ve got to be protective of your voice and your health. You only get a certain number of sick days. You’re a product, and you’ve got to take care of that product. I travel with a humidifier, and I’ve been really liking the saline nasal sprays.”

Being a swing on the road also carries with it a whole new perspective. “One of the biggest things for me, especially because I don’t do eight shows a week, is the stamina training,” Sternberg says. “That really keeps me there, so that I can be on the same level as people who do eight shows a week. I keep my heart rate up in case when I have to go on, I’m not dragging everybody else down — I’m hitting the ground running.” Approaching his 500th show, Sternberg still exercises diligently by running and working out: “Finding a gym in each city can be a task in itself. How do you maintain your body for 500 shows? You’ve got to be in shape.”

Maintaining a solid vocal technique can be more challenging on the road. Performers who take regular voice lessons are often far from their teacher. Sternberg’s solution is to “take phone lessons from my teacher in Los Angeles, because he knows my voice and I trust his judgment.” The actor views himself as “any athlete that needs to keep himself in shape.”

Bus and Truckered Out

Gil Darnell, an actor who performed for nine months throughout the U.K. in The Real Monty, a play by Michael Rattigan based on the film The Full Monty, had another challenge. “We were playing to houses that varied in size from 450 to 2,500 people, which is quite large for a straight play,” Darnell says, “and most of the time without sound enhancement. The real problem was projecting over 2,500 women screaming, ‘Get your gear off!’” He often found himself staying in a bed-and-breakfast on the coast of England. It sounds luxurious but was not without its challenges: “I would go back to the B-and-B after the show to rest, but my roommate would go out and party and come back at 1 in the morning and open the window. It was freezing. I’d need my warm lemon water in the morning just to get my voice going.”

The length of time a show spends in a single theatre varies. Jersey Boys has had some three-week runs and a six-month run. Non-Equity stays are usually shorter, and some tours move quickly from place to place, leaving little time to settle in. Darnell says his U.K. tour was “in a different place every week, sometimes two a week.”

Nonunion tours pose additional issues. With the tour having less money to spend, the accommodations can take some getting used to, as well as the lengthy bus rides. The environment changes with each location; not only is the city different, but the quality of the theatre and the housing can vary greatly. Air conditioning can play a big part in drying out the voice and creating problems, and allergies can act up in response to dusty theatres or new environmental conditions.

And unless your per diem allows you to stay in an apartment, condo, or nice hotel, you’re pretty much relegated to eating in the local restaurants, whose cuisine varies from place to place. Strange foods can have a negative effect on the voice, says Jen Talton, currently playing Mimi in the non-Equity national tour of Rent: “I have acid reflux, which is really hard, especially when you can’t have a consistent diet.” When you eat is also a problem, she says: “You’re trying not to eat late at night, but you’re getting out of a show and you’re starving, so you do — and that affects your voice.”

Indeed, Talton thinks “the worst thing about tours is you’re never on the same schedule, especially on a non-Equity tour.” But that’s not all. “You’re constantly around people, so you’re always talking — your voice doesn’t really ever get any rest. Buses are dry and cold and dusty, and if you have any allergies, of course that’s going to affect your voice. You’re going to old theatres, which are dusty, dry. The temperature is always different in every theatre — either way too hot or way too cold. You have no one to teach you, so when your voice starts to get tired — I know for me, I have to make sure old habits don’t kick in. You don’t have anybody to keep you in check.”

The most important thing when on tour is to take good care of yourself physically and mentally. As Sternberg says, “I feel that your soul very much affects how your voice is going to do. If you’re a happy camper, you’re going to sing better than if you’re miserable.”

Tips for your Voice and Well-Being When You’re On the Road

Stay hydrated—especially when traveling by plane.

If you have special dietary concerns, check ahead of time for markets and restaurants in the area that will have the types of foods you need to stay healthy.

Find a gym if you’re going to be in an area for an extended time.

Take regular phone or webcam lessons with your voice teacher back home.

Always warm up your voice properly.

Keep the partying to a minimum.

Be aware of time zone changes and the potential challenges associated with them.

Get the proper amount of rest.

BackStage: Creating a Cabaret Act

By Michael Goodrich

Cabaret is the experience of being private in public. Andrea Marcovicci defines it as “an intensely personal evening of song and stories, delivered in a simple, honest way in an intimate space that shatters the fourth wall. The audience participates in a direct, emotional conversation with the artist and leaves feeling contacted and personally touched.”

You have no character to hide behind, no sets, and, more often than not, no props. It’s just you, a piano (sometimes a guitar or a combo), and the audience, often in a venue small enough to feel like someone’s living room. It’s a chance for an audience to get to know you in a way that makes them feel as if they just made a new friend. This type of intimacy can be unnerving for even the most seasoned performer, but the results can be greatly rewarding.

Cabaret can also be a way to put yourself in business. You assemble a creative team, choose the music, find a venue, pack the house, and showcase your talent, possibly establishing a second career alongside your work as an actor. This is not to say that cabaret is a get-rich-and-famous-quick scheme. Like any part of the entertainment business, it takes talent, commitment, and dedication. The performers who have successful cabaret careers are all of the above. Learn the craft, be dedicated, and enjoy the process; the rewards can be much more than monetary.

Putting It Together

I know what you’re thinking: “I can’t do this” or “No one will come” or “I can’t afford it.” Well, first of all, if you can sing and act, you can do this. Second, your initial audience will be your warm market; however, if you’re talented and you do things right, you can build a following. And last, producing your own cabaret show doesn’t have to cost a fortune, although it will certainly require an investment. Creating promotional material on your computer can be a big savings these days, and if you use a piano accompanist, there is no need to spend a lot on charts; sheet music will suffice. Do not, however, skimp on your pianist. He or she is the backbone of your act; the support of an accomplished accompanist is invaluable. Usually your accompanist will also wear the hat of musical director. Make sure you find one with a good stage personality — someone experienced in this genre. It’s great to have a colleague to play off of during your show.

Of course, the good ones don’t come cheap, so get referrals and start negotiating. The same goes for your director. A good director will bring out the best in you, and you’ll be assured a polished and professional-looking show. Hire one with cabaret experience and be willing to make the investment. If you’re going to do this, do it right.

Most acts have a theme, a thread that ties all the songs together. The theme can be a personal idea or a tribute to a composer or lyricist, such as the songs of Johnny Mercer or Joni Mitchell. There must be an honest communication between performer and audience during which you reveal your truth through the music and patter.

The structure of a show can vary, but the length is usually about an hour. During that time you will probably have anywhere from 12 to 15 beats. A beat is a song or the patter between songs. Patter is not to be taken lightly. Too much can be annoying to an audience, and too little leaves them feeling as if they haven’t gotten to know you. It must complement the songs and be relevant to moving the act forward.

Your show needs to be balanced and have an easy, natural flow. There must be ups and downs in the energy, as well as humor and sentiment. Don’t succumb to the temptation to make it one-dimensional, either always funny or ballad-heavy. For some excellent in-depth guidance on the ins and outs of putting your act together, try The Cabaret Artist’s Handbook by Bob Harrington (published by Back Stage Books, a corporate sibling of Back Stage).

Finding Support

Open mikes abound in Los Angeles and New York, and they are a great place to try out new material, work in front of an audience, and polish your act. They are also a good place to meet other cabaret enthusiasts and build an audience. Most cabaret folks are very supportive of their colleagues.

The New York cabaret scene is very well known, but cabaret is also thriving in many cities across the country. Los Angeles and San Francisco have vibrant cabaret scenes, due largely to the efforts of Cabaret West, an organization dedicated to cabaret and its artists. There’s a monthly newsletter that will run your bio and info on your upcoming show at no charge; it also contains a calendar of events, including a complete list of open-mike and performance venues in Los Angeles and San Francisco. Plus, you’ll have access to the organization’s mailing list when you’re promoting your show. Membership is $25 per year.

On the East Coast, there is the Manhattan Association of Cabarets & Clubs, or MAC. Its members also have use of the organization’s mailing list for promotional purposes, and free or reduced-admission seminars covering art- and business-related topics are sometimes offered for members. Membership is $50 a year. Two New York City websites are Stu Hamstra’s Cabaret Hotline Online and the Cabaret Exchange, which was started by booker Scott Barbarino. Both offer calendars of what’s on and where, news, reviews, interviews, and a message board, among other things.

Dealing With Vocal Demands

The nice thing about cabaret is that it’s your show. You choose the songs, the theme, the length, and the patter. You can choose to make it as vocally challenging as you’d like, but keep in mind what you will be doing in addition to your act. If you’re currently in a musical or play, your cabaret nights will be restricted to your nights off or late shows after your curtain comes down, and the vocal demands of your job will inevitably impact your cabaret performance. If you have a 9-to-5 job where you’re required to speak most of the day, you’ll also have to deal with vocal fatigue. Still, if you’re speaking and singing correctly, your voice can take a lot of performing. As I’ve said before, the best way to avoid hurting your voice is to have a solid vocal technique.

Remember that cabaret is not about what a terrific singer you are — even though you may be a terrific singer. If you make your show about your amazing voice, you’ll lose your audience. Select songs that are consistent with what you wish to say as an artist; don’t just pick a song because you sing it well. Cabaret is not about stringing a bunch of 11 o’clock numbers together and showing off your vocal prowess. It’s about connecting with the material in an authentic way and then communicating that to your audience. Do that and you’re likely to learn a tremendous amount about yourself as a performer and a person.

BackStage: Performing Sick

By Michael Goodrich

It has probably already happened to you. You have a performance, recording date, or big audition and find yourself with a cold or some other ailment affecting your voice. Your mind begins to race with concerns: Oh God, they’re going to think I really sound like this. Will I hurt my voice if I sing? Is there anything I can do? Yes, there are things you can do — and sometimes they work.

If the annoyance in question is just a simple cold, you can often sing through it without too much trouble, particularly if it isn’t affecting your throat. The normal symptoms of a cold shouldn’t affect the voice enough to render singing impossible or dangerous. The vocal cords may be a bit swollen due to a slight cough or postnasal drip, but unless those symptoms are severe, they shouldn’t be a problem. If your throat is sore and the soreness is up behind the soft palette, you should still be able to sing pretty well. It’s very important in these instances to know your voice well enough that you have a baseline for what’s normal for you. If your voice feels fairly normal, then it’s fairly safe to assume you’ll be fine.

If, however, your voice feels sluggish or hoarse, if it hurts when you sing or speak, or if you suddenly find that your range is limited, you should proceed with caution. This is often the case when the soreness is low in the throat — around the Adam’s apple of a man’s throat. This is where the vocal cords are located, and soreness in this area can indicate the cords are swollen and irritated more than just a little.

Some Things to Do for a Cold

The following suggestions will often provide enough temporary relief to assist you in a performance, allowing you to go on without showing signs of being off your game.

1. Stay hydrated. This will help flush your system of toxins. Drink plenty of water, fresh juice, and Emergen-C, which provides vitamins, minerals, and electrolytes.

2. Inhale steam. It can be soothing and loosen phlegm. Be careful not to burn yourself.

3. Take herbs. Echinacea and/or Source Naturals’ Wellness Formula can be used at the beginning stages of a cold. The Wellness Herbal Throat Spray produces great results. Goldenseal reduces mucous membrane inflammation. Osha root loosens mucus. Slippery elm soothes sore throats. Wild cherry bark is a good expectorant. Collinsonia reduces irritation in the upper throat. Licorice root is also good for sore throats and has mild antihistamine properties. Astragalus root helps prevent colds. Thayers (www.thayers.com) makes a wide variety of excellent products for singers, including slippery elm throat lozenges and sprays. The Tea Garden & Herbal Emporium in West Hollywood, Calif. (www.teagarden.com), makes a wonderful ancient herbal blend called Silver Voice. It comes in capsules and helps to heal irritated and damaged vocal cords. Many of my students have had very positive results with it.

4. Warm up slowly and easily. Vocalizing is very important. Take it slowly and allow extra time due to your condition. Work with your vocal coach to get a good warm-up CD designed specifically for warming up with a cold.

If your voice doesn’t respond to the above ministrations, then not singing is probably a good idea.

More-Serious Problems

If you’re unsure what to do, consult an ear, nose, and throat doctor whose practice is devoted in large part to singers. Get referrals from other singers and get a feel for the doctor’s experience before making an appointment. There can be a huge difference between an ENT who deals primarily with singers and one who sees a singer only once in a while. You want the best. Unfortunately, sometimes the best is very expensive and may not take your insurance, but it’s worth the investment. You only have one voice.

If your voice is acting as if you have a cold — sluggish, hoarse, raspy — yet you have no other cold symptoms, you may have a mild case of acid reflux. This is when stomach acid comes up the esophagus and irritates the vocal cords. Potential causes are going to bed soon after eating, stress, and certain substances (spicy foods, alcohol, caffeine). Usually the condition is temporary and can be remedied with slight lifestyle changes. An ENT can identify the problem.

Allergies are also a problem for some singers. The typical allergy medicine can dry out your vocal cords, which is not conducive to good singing. If possible, find the cause of your allergy and eliminate it. Avoid relying on over-the-counter medications; research other solutions instead.

In extreme cases a doctor may prescribe cortisone, either in pill form or by injection. Cortisone doesn’t heal your affliction; it only covers it up by reducing the swelling in your vocal cords. When the swelling is gone, the cords will function more normally. This can be dangerous, however, because you’re singing with irritated vocal cords without any awareness of how impaired they are — like a football player who gets a shot of cortisone to reduce the swelling in his knee so he can remain in the game. The body is tricked into thinking all is well because there is no pain.

If you find yourself with laryngitis, cancel. There’s always another show, and often you can reschedule an audition. Nothing is worth damaging your voice. Besides, you’ll sound abysmal anyway, so let it go. If you’re in rehearsal for a show, let the powers that be know you’re under the weather and mark the rehearsal.

For Women Only

Women should be aware of some things regarding their monthly cycle and their voice. Though some women aren’t negatively affected, a number are, and the vocal changes during that time can go from barely noticeable to very obvious. Most notable is a sluggish, slightly hoarse and raspy voice. Hormonal fluctuations swell the vocal cords, which makes singing more challenging. Some very famous singers arrange their performance and recording dates as much as possible around their monthly cycle. This is a physical thing and not in a woman’s mind, which is very important for men to understand and respect.

Another thing that can affect your voice is pregnancy. Hormonal changes and additional abdominal weight can throw off your balance. The symptoms can be much like those of menstruation, and, as always, some will notice them more than others.

No Magic Formula

I wish I had a magic formula to help you through these vocal challenges, but I don’t. Nor do I have the space here to explain in detail how to navigate through them. But your vocal coach should have some good ideas. I’ll just repeat that warming up slowly, easily, and methodically is very important, helping to loosen things up so you can assess where you are vocally. Then try some of the ideas above.

Finally, I must say that I am a vocal instructor, not a healthcare professional. Nothing in this column is meant to replace the advice of your doctor. Always check with him or her if you’re unsure or concerned.

BackStage: Making a Demo

By Michael Goodrich

For singers in today’s market, a demo is like a résumé or a headshot — it’s a necessity. With karaoke tracks aplenty and studio time readily accessible, making a demo is far easier now than it was a few years ago, so serious singers are expected to have one. There are many reasons for recording a demo, and each one has specific parameters.

Why and for Whom Are You Making Your Demo?

Are you looking for a record deal? Do you want to attract writers and producers? Is your demo for an agent? Is it just for you and your family? The answers to such questions will determine the type of demo you’ll need and how elaborate to make it — for example, whether it should be fully produced or simply feature a piano, a guitar, or a karaoke track.

Usually a demo is three or four songs, each two to three minutes long, unless otherwise requested. Put your best foot forward and sing songs that make you stand out. Don’t use studio tricks; never put anything on a demo that you can’t reproduce in person. Just as a headshot should look like you, a demo should sound like you — the real you. Your demo is your elevator speech: a succinct representation of you, your talent, and your image.

If you’re going for a record deal, a demo may not be the best way. Most record companies these days are not too interested in developing artists. They’re looking for a product that’s packaged and ready to sell. It’s more common for them to sign someone who’s already producing results — playing live, selling CDs, building a fan base. So get serious about your career and put yourself in business. MySpace is a great way to gather a following and attract interest from industry people. Consider recording five or six songs. They must be original tunes with a production quality equal to what you hear on the radio.

If attracting writers and producers is your goal, be sure to stay consistent in your style choices. If your songs run too wide a gamut, a writer won’t get a feel for who you are and may be confused about how to write for you. If the production quality varies greatly from song to song, a producer won’t have a clue what you want.

Think of the artists you admire and what makes them unique. Often it’s the production (the overall sound) of the song. The band U2 is easily identified — usually before Bono has sung a note — simply because its sound is so distinctive. This is true of most superstars. You don’t want to be a cookie-cutter artist; break the mold and be fresh. But most important, be very clear about who you are as a performer. You must reveal the real you to people who can help advance your career. If you’re not clear about who you are, nobody else will be.

Never sing another artist’s signature song, such as “Beautiful” by Christina Aguilera or any hit by Whitney Houston, Mariah Carey, Celine Dion, or Barbra Streisand. For men, Josh Groban, Stevie Wonder — you get the idea. Your demo can include a song by one of these artists as long as it wasn’t a hit. With a hit, it’s too much of a challenge for the listener to forget the original version, which is probably better than yours.

A good idea is to do a unique arrangement of a song originally performed by someone of the opposite sex. You can also slow down an uptempo song or speed up a slow ballad — anything to make the song your own. The point is to be original and clear about who you are and what you want.

Beware of any producer who promises you a hit record while charging you a lot of money. No one can guarantee a hit — even someone who has produced them before. Have confidence in yourself and your talent: Deal from strength and don’t be impressed by someone who simply wants to work with you for a fee. If a producer has confidence in your talent and in his or her material, that producer should be willing to put time and energy into developing you. Think twice about investing in any producer who is unwilling to invest in you.

A demo for an agent is a bit different. Its goal is to help you get cast in shows, so be versatile and show off your different styles: pop, rock, R&B, musical theatre, legit, and anything else that makes you shine. Piano or guitar tracks (even karaoke) will be fine, as the most important thing is your singing. The sound quality must be first-rate, but the production need not be elaborate. Your agent may also advise you as to what would be appropriate to record.

Do You Know Your Market?

If you’re looking to get into the record business, it’s vital that you know who your audience is. What is your demographic? Will your market be adults, teenagers, young teens, children, or a combination? Is there an artist who captures a similar audience? Your demo should be entertaining to your would-be fans — something they would enjoy, even purchase. When recording a cover song, make it your own; it shouldn’t sound like a cover. Most big stars do cover tunes from time to time, and sometimes we don’t even realize the song was a hit for someone else, because it sounds so different.

If you’re a musical theatre performer, then your first audience is the people who can cast you. Get to know them and what they look for. Be honest with yourself: If you’re not right for Rent, don’t put “Take Me or Leave Me” on your demo. What shows are you right for? What could you be cast in today? Put these types of songs on your demo. Highlight your strengths in public and work on your weaknesses in private.

What’s Your Budget?

You don’t need to spend too much to get a strong demo. In some cases you can use karaoke tracks, which are relatively cheap. If you decide on piano or guitar accompaniment, shop around and listen to a prospective player’s work before you hire him or her. Good musicians are often surprisingly inexpensive. Studio time can run as little as $40 or $50 an hour — sometimes less if purchased in blocks or during slow times of day. I work with people in Los Angeles who can build a fully orchestrated track for $200 to $300, and it sounds amazing. So look around. The cost of recording a demo can be very reasonable if you do your homework.

A Final Word

You have an image that’s reflected in your headshot. That image must also be heard in your demo. And they must be consistent. Whether your demo is for a writer, producer, agent, casting director, record company, or the cashier at Whole Foods, it must convey very clearly who you are as a singer. Let your image shine.

BackStage: Those Who Can, Teach

Singing-performance teacher Carole D’Andrea shares her process.

By Michael Goodrich

Every Tuesday, from 11 a.m. to 2 p.m. at the Complex in Hollywood, magic happens. It’s facilitated by a woman who definitely doesn’t look old enough to have played Velma in the original Broadway and film productions of West Side Story, but she did. She was also in the original Broadway cast of Gypsy. Her name is Carole D’Andrea, and she’s been teaching singing-performance classes for nearly 18 years in Los Angeles. Whether she’s working with a seasoned professional or a beginner, her results are amazing. How does she do it? I had the pleasure of asking her on a Sunday in October.

Back Stage: What made you come to Los Angeles from New York?

Carole D’Andrea: I had been in New York performing, raising children, then went back to creativity through directing and choreographing, and then started teaching. And I had two daughters who moved out to L.A., and I felt that at that point in my life I just wanted a different experience than New York. But I wanted to go somewhere that I could also teach.

Back Stage: Why is your class called singing performance and not musical theatre?

D’Andrea: Because I never wanted to limit my experience with singers to just musical theatre. There are singers that are just amazing, and they do not want just to be in musical theatre; they really do want to find out how to break down a song performancewise.

Back Stage: Is it important to have an acting background to take your class?

D’Andrea: No, it’s not. If somebody doesn’t have an acting background, they certainly get a lot of tools in the singing performance class, because I always break [the song] down for them and help them with “To whom are you singing?” and “What’s your intention?” Since there are lyrics in songs, just like a monologue, there’s a character, there’s a need, there are intentions. How do you identify with that character? What is the communication that the composer wanted? What’s the story being told?

Back Stage: How do you come up with the ideas you give to your students? Is a lot of that intuition?

D’Andrea: Yes. I really believe that creative feedback must always build on the singers’ strengths. Never do I focus on the weakness, because that takes care of itself. It’s very easy to point out, “Well, you’re not vulnerable” or blah, blah, blah — it’s nonsense. A teacher’s there to empower the student. So when I get a sense of someone, I go, “Okay, I see where they’re going with this. They’re very comfortable with this kind of material; let’s go in that direction,” then give them a song: “Oh, they’re very good with comedy; they probably aren’t even aware of it, but they’re very funny. Let me give them this kind of a song and see what else is there.” The art of teaching [is] critiquing without them even realizing that they’re being critiqued.

Back Stage: Viola Spolin was an improv teacher out of Chicago, and she said, “If the environment permits it, anyone can learn whatever he chooses to learn, and if the individual permits it, the environment will teach him everything it has to teach. But the environment, it has to be safe.”

D’Andrea: When I first started teaching in New York, after my very first class, I will never forget thinking, Please, God, don’t let me hurt anybody; don’t ever let me hurt anybody. I’m now the teacher, and they’re entrusting their sensitivity, their choices, their creativity. Creativity is a sacred trust. You violate someone’s creativity, you’re violating their opening to you. So the next time I came back to class, I just said a prayer, and what came up for me was, “Tell the truth, Carole, and do it with love,” and to this day, 26 years later, honest to God, when I get scared, if that little fear comes back again and I think, Oh, I’m supposed to be impressing somebody, I remind myself it’s not about me; it’s about the student. [I'm] here to empower the student. I’ll get my needs met elsewhere. Never to come from fear but always to come from faith when you’re teaching or when you’re performing.

Back Stage: You emphasize that you can’t fail in your class.

D’Andrea: No, absolutely not. There’s a great quote by David Mamet. He said, “There can be no creative success without first creative failure.” So you can’t fail, because you’re only trying something new, and if it doesn’t work, what great information — try something else.

Back Stage: You’ve always had singers at different levels in your class, from celebrities to beginners. Is that a conscious decision?

D’Andrea: Yes. I intuitively did that in the acting and the singing [classes]. Everybody teaches everybody else; we’re all there to love, support, and inspire one another. I’ve learned more from beginners who come into class; they haven’t learned any bad habits yet. They’re so available and so open that you can really get in there and play with them and encourage them. So I’ve always loved having all different levels.

Back Stage: I get this question myself, so I’m going to ask you: How long until I see progress?

D’Andrea: Oh, my goodness. If you’re focused on the progress or you’re focused on the end result, you’re dead in the water. Everybody’s coming for different reasons, so if you just focus on opening up and being available to a new class or to the space, the being inside of us knows the truth. You’re going to know when you’re progressing and how you’re progressing.

Back Stage: Where did you get your technique?

D’Andrea: I think you incorporate everything you are in life and all of your beliefs. So when I started teaching in New York, I’d studied at the Actors Studio, I’d studied at Stella Adler, I had so many acting places that I had been, and also studied with Susan [Slavin] in singing performance class. Everything we’ve ever seen in our life we’ve taken a picture of. So we have all these different characters in ourselves, we have experiences — they’re right there for us to tap into it. So for me, the fun of it is going, “Oh my God, that 7-year-old in that student probably can do this song better than the 30-year-old.” You start trusting your instincts, and the next thing you know you start getting results. You have to be so present with every person.

Back Stage: How about helping with audition material?

D’Andrea: Emerson said, “Who you are speaks so loudly, I can’t hear what you’re saying.” And when you walk into an audition, who you are is very loud. An audition, monologue, scene, or a song is approximately two minutes for the auditioner to clarify who you are and how ideally to cast you. Therefore, the artist must select material that defines and reveals his individual assets, qualities, and talents.

Back Stage: What do you love about teaching?

D’Andrea: I love watching people grow into who they really are. I love watching people drop old labels about themselves, old misinformation or bad criticism. It’s humbling to watch. Viola Spolin was so smart; she said you have to create a safe environment. If they think I’m this guru or somebody who’s going to slice them down if they bring something risky in, try things till they find out what’s available for them, they’ll protect themselves. An artist is so sensitive; you have to be very respectful of that beautiful instrument. Nobody’s going to sing a song the way you do. You’re going to process it through your life experience and your own imagination. Class doesn’t happen to you, the song doesn’t happen to you — it happens through you. If we’re connected, the audience will be connected. If we’re not connected, if we’re just listening to our voice, then the audience will just observe us but they won’t experience us. Our job is to get them to have an experience, not to observe us.

BackStage: Can Style Be Learned?

By Michael Goodrich

Can a legit soprano learn to sing like Tina Turner? Can an Aretha Franklin clone sing the role of Julie Jordan in Carousel? And can they both learn to sing like Peggy Lee? Is style innate or can it be learned? In the voice business, these questions have been pondered and debated for decades. And after more than 20 years of experience teaching voice, I have come to the conclusion that the definitive answer is: sometimes.

Consider this analogy: Can a Shakespearean actor do sitcoms? Can a comic actor do dramatic roles? If you’re an accomplished actor with a solid technique, isn’t it true you can act anything that you can authentically interpret?

If we relate that to singing, we find that two key ingredients of style are: 1) the ability to authentically interpret within a particular musical genre and 2) a solid vocal technique. Since singing is really acting on pitch, the important thing when interpreting a piece of music is to get inside the character of the piece. It doesn’t matter whether it’s musical theatre, jazz, pop, rock, R&B, gospel, or classical; the conditions are the same: You’ve got to find an emotional and personal connection with the song. In a perfect singing world, the style will not compromise the technique; rather, they will support each other. When your technique is strong enough to accommodate your emotions and your stylistic choices, your performance will be compelling. If you expect to cross over into different genres, you must have a dependable vocal technique throughout your entire range.

Let’s look at what style is and what elements combine to create it. Within any genre of music, there is a certain “feel.” This is inspired by the way the notes relate to each other in terms of timing, rhythm, and phrasing. For example, you could have a musical theatre piece done with an R&B feel, or even an operatic, gospel, or country feel. “Feel” is synonymous with style in these instances. Some of the elements associated with style are approach to pitch, timbre (vocal color), harmony, melody, rhythm, timing, accent, texture, and dynamics — plus the artistic and emotional qualities of the particular genre. Specific vocal quality is also a factor. You would not sing the title role in Evita with the same vocal quality you would use as Maria in West Side Story. Evita needs a pop quality and Maria takes a legit quality. Likewise, you would not sing Roger in Rent with the same quality as Ravenal in Show Boat. Roger requires a rock quality and Ravenal is legit. To make it easy, think of it like this: There are two distinct vocal qualities, legit and pop. Included in pop would be R&B, rock, gospel, country, and some musical theatre. Included in legit would be some musical theatre and opera.

Is a singer’s unique sound also part of his or her style? With a singer like Tina Turner, for example, the answer is no. Her sound is separate from her style. You could stylize like Tina (as long as you were using a pop quality) yet not sound like Tina. That’s because a singer’s individual sound is created by his or her unique vocal-cord structure, resonance, and many other factors too technical for our purposes here.

Developing Style

One way to begin developing style is through imitation. Let’s say you’re a musical theatre singer and you want to sing R&B effectively:

1. Research some great R&B singers and start listening to R&B CDs.

2. Imitate the singers and sing along with them, paying particular attention to their phrasing, timing, rhythm, and the way they pronounce words. Do not try to imitate their unique sound.

3. Note whether they use vibrato or a straight tone.

4. Listen to whether they bend their notes.

5. Pay attention to whether they pull the timing or sing on the beat.

6. Eat, sleep, and breathe R&B.

Another effective way to begin developing different styles is to find an accomplished vocal coach — not a technique instructor — who can play any song in any key and in any style. Watch how he or she can take a song such as “Memory” from Cats and play it in traditional musical theatre style, then add a rock beat, a blues vibe, a jazz rhythm, funk, reggae, R&B — you get the idea. As your coach plays the song in these different styles, it will inspire you as a singer to fall into that feel. It’s a great way to begin exploring a style — but you’ve got to have an excellent coach, someone who can play authentically in all these different styles. It’s worth the time and money.

Another approach is to become a musician, if you’re not one already. Playing a little guitar or piano goes a long way in aiding your style development. Learn from a musical perspective what makes traditional musical theatre different from rock, or jazz different from R&B.

Exposure to different genres is another great aid to interpreting multiple styles well. Andrea Bocelli grew up in Italy, the seat of opera, at a time when rock music was everywhere. He has operatic vocal physiology, technique, and equipment — but he has a rock and a pop feel as well, having grown up in that era. Listen to the song “La Luna Che Non C’e” from his album Romanza. It’s a great example of two styles within the same song. The first verse is done in the operatic style, the second with a raspy rock sound. As he moves from the pre-chorus into the chorus, he begins sustaining an F-sharp in the passaggio with a straight, raspy rock sound. While sustaining it, he moves from the rock sound into a resonant operatic tone with a beautiful vibrato and continues the phrase in the operatic voice and style. It’s not only impressive but also effective and something I’ve never heard anyone do before. He’s a wonderful example of someone who can sing rock, pop, and opera. He has the operatic equipment, but when you listen to some of his pop music, you’d never know it, and when you listen to some of his opera, you’d never know he can sing pop.

Although Bocelli was exposed to different styles when he was young, it’s been my experience that age doesn’t matter. What matters is a willingness to do what it takes. I have used the methods described to assist many singers in successfully developing new styles, regardless of their age.

BackStage: Finding Your Natural Voice

By Michael Goodrich

Recently I was contacted by a character actor in his 70s whose voice was giving out. He had just lost an acting job on a major TV show as a result of his fatigued and constantly cracking voice. When we spoke on the phone, he told me he’d never had any trouble with his voice until a bout with pneumonia left him with a lengthy cough. Even months after the cough had disappeared, his voice was still in very bad shape. When he was told it was probably due to his age, he became extremely discouraged.

When we met in person, I found him to be vital and young at heart but with his spirit a bit broken and a voice that was failing him. In situations like this, there are a few obvious things to look for: poor placement, incorrect breathing, and improper pitch. In this case, all three were evident. His voice was being pushed from the lower throat, his breathing was high and shallow, and his pitch was too low. The cough had been abusive to his vocal cords, and in an effort to take the pressure off his voice he’d changed his breathing and dropped his pitch, which only made matters worse.

His vocal problems clearly had nothing to do with his age; they were a result of incorrect speaking habits brought about by the effects of pneumonia. This was a simple case of poor vocalism that developed in response to an abnormal condition. These habits then became his normal speaking pattern long after the abnormal condition was gone.

After coordinating his breathing, finding the right pitch, and correcting his placement, there was immediate improvement. He began to recognize his natural voice. As we got to know each other, he told me that as a young man he’d been a singer. When I had him vocalize, we discovered a vibrant, solid singing voice with the quality of a man significantly younger. His sound was rich, and he had a beautiful vibrato. This delightful man was well on his way to recovering his natural voice.

Unfortunately, problems like the ones this man developed are all too common, but they can usually be avoided with a little knowledge. For actors, voice artists, and musical theatre performers, having a vibrant, healthy speaking voice is essential. To handle the rigors of these professions, it’s vital that an artist find and use his or her natural voice.

Here’s What You Do

What are the hallmarks of a natural voice? It’s comfortable and easily produced, able to carry and modulate over a wide range of pitches (for expression), and centered on your optimal pitch. It has a buzz and a ring brought about by proper placement in the facial mask, and it’s well-supported by diaphragmatic breathing.

To find your natural voice, let’s start with your breathing. Here’s a good way to experience diaphragmatic breathing:

- Sit on a straight chair a little toward the front of the seat.

- Place your elbows on your knees, right on right and left on left, while resting your chin in the palms of your hands.

- Relax and breathe normally. You should be aware of your tummy coming out a bit as you inhale. You’ll also feel the sides of your lower back expand.

- Take a slow, relaxed, deep breath while relaxing your chest and shoulders.(Usually the chest and shoulders will not move during this exercise.)

Once you’ve felt this coordination, sit up straight and try to duplicate the feeling.

Don’t be too concerned with the activity in the lower back, as it’s subtle. The belly is your main focus. As you inhale, you want the belly to release and protrude a bit, and as you exhale, the belly will pull in — as if you’re panting like a dog. There shouldn’t be any pushing or pulling. This is correct breathing coordination, whether speaking or singing. And it is the only way to project the voice properly.

It is possible that your everyday voice, or what I call your habitual voice, is not your natural voice. We all learn our speech patterns through imitation. Our parents, the culture, and the people we admire all influence the way we speak. But the habits you develop may not be in your best vocal interest and may lead to an ineffective voice. Your habitual voice may be weak, unfocused, and lack personality, but your natural voice, when released, will be strong, focused, and beaming with personality. Even if your habitual voice is your natural voice, problems can arise when you’re asked to do a character voice, even for a short time: Incorrect vocal production in creating a character voice can begin to seep into your natural voice and cause difficulties.

The proper pitch and placement of your voice can often be found with energized humming. In his book Winning With Your Voice, renowned Los Angeles speech therapist Dr. Morton Cooper explains how “humming often is your vocal ‘private eye,’ your built-in radar system to help you locate your true, normal speaking voice.” He suggests humming as a quick way to feel the buzz in the mask (the area around the lips and nose). This combination of oral and nasal resonance gives the voice a vibrant ring and buzz, and the mask is the area you’ll feel when you hum. When the resonance is balanced in this way, it allows you to project with ease and power.

Dr. Cooper suggests this exercise:

- Hum the first two lines of “Happy Birthday.”

- Hum the words to yourself with your lips closed — “hum-happy-hum-birthday-hum-to-hum-you,” etc.

- Now use the same voice and just say the words aloud. You should feel a more vibrant, energized voice with a nice buzz.

Creating a Character Voice

Whether you’re engaging in everyday speech or character work, it’s important to know what to watch for. One of the most challenging and potentially damaging voices is one that’s produced in the lower throat. This husky, usually hoarse sound, although sometimes thought of as sexy, is the most abusive to the voice. The lower throat is not an effective resonator, and therefore it is impossible to project such a voice. Whether you’re using it as a natural or character voice, vocal fatigue and lack of carrying power often result, with nodules or polyps a possibility. It’s in your best interest to avoid this kind of voice whenever possible, especially on stage. Attempting to project a voice that resonates predominantly in the lower throat can be very damaging. If you must use a lower-throat voice — in voiceover work, for example — return as often as you can to your natural voice. When you do this between takes, it rebalances all the vocal elements, which can be more therapeutic than vocal silence.

Certain characters require a more nasal voice, which isn’t as abusive and usually won’t pose as many problems as a lower-throat voice. When employing a nasal voice, however, it’s still wise to apply the same principle of returning often to your natural voice during downtime. It’s also a good idea to be aware of the position of your larynx, which houses the vocal cords: When it rises too high, it strains the cords, and if the voice is forced or used for a long session or demanding role, damage can result. Ideally, the larynx should remain relaxed during normal, natural speech. Avoid either extreme (larynx too high or too low) when creating characters — or anytime, for that matter.

To recapitulate, here are the key points to be aware of when creating a character voice:

- Don’t stray too far from your optimum pitch in either direction.

- Nasal voices are less potentially damaging than lower-throat voices — but be careful of a high larynx.

- Always maintain your proper breathing.

- Return often to your natural voice.

Whether you use your voice for characters or just everyday speech, these principles should help you maintain a clear, relaxed, strong, healthy, and effective voice.

Michael Goodrich is an internationally known vocal instructor and lecturer based in Los Angeles. He works with singers and actors in all areas of the entertainment industry, including Broadway, movies, television, voiceovers, and recording.