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Dan Callaway Studio

Public β€’ 72 β€’ Free

6 contributions to Dan Callaway Studio
Real quick -- Can you help me?
Do you find this Skool space helpful? Is it beneficial having this community here as opposed to a Facebook group where you'd see notifications pop up when there's a new post, course, or event? What's most helpful for you? Please add any specifics you need in the comments. Thanks
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11 members have voted
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New comment 4d ago
2 likes β€’ 11d
I just want this to exist. Whether it's through skool or Facebook is largely immaterial to me. The downside of Facebook is that it requires a Facebook account and logging into Facebook, with all the negatives that brings. Also with this, I get email notifications I can quickly peruse. With Facebook, I either need to manually visit the group or I'm at the mercy of whatever the algorithm thinks is notification-worthy. If there are advantages to a Facebook group, I will happily join that.
So professional
Just uploaded a new video to the YouTubes -- How to go pro as a musical theatre performer. This progression and these principles apply to any performer at any stage of their career. The trap we fall into when we get further down the road is we assume we're doing things that help when we're not doing things that help. Watch or save this, and see if any of these ideas help you out. ***AND*** if there's a question you wish you could type into the YouTube search re: musical theatre career and there'd be a clear answer, ask me. I'll make you a video, or I'll interview somebody who has that answer.
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New comment Jun 20
So professional
3 likes β€’ Jun 11
The whole "deciding you want to do this and why" thing is so important. I'll share a story. When I was a sophomore at BU they had a celebrity master class series. They brought in Renee Fleming, Denyce Graves, and others. The most impactful one for me though was Jerry Hadley. He was regarded as the American Pavarotti. Had a decent Broadway career and an extraordinary opera career. Had the most memorable class of them all IMO, got the most out of his teaching. At the end of it he sang for us, the only one to do so. He sang Without a Song. And it was really bad. Like I kinda look back with regret at that moment because I just stared at him with this look of disappointed surprise and I remember him locking eyes with me and seeing. I later learned he was having medical issues and he basically couldn't sing. His wife was divorcing him, he had severe financial issues. Several months later he died a slow agonizing death, having attempted suicide with an air rifle to the head that mortally wounded him but didn't kill him immediately. I remember thinking that this was a man who achieved everything I ever hoped - an incredible career in opera and musical theatre, and when his body failed him, he was depressed and destroyed to the point of suicide. One of the things he said in that master class was "If you can imagine yourself doing anything other than this, you should do that thing, because this career is hard and unforgiving." Clearly he meant it. And that was when I decided that as badly as I wanted to be a singer, I should not put all of my eggs in that basket. Becoming a great performer is one of the most important things to me, but I've tried to make sure my whole life doesn't hinge on it, because I have so little control over its success. Hope that anecdote is helpful to someone.
🀬😭😩?
I'm curious -- Has anything frustrated, angered, or hurt you in your voice training experience? Or what's been tough as you looked for good guidance as a singer? Does anything drive you bonkers about the way voice (or any other artist) training is typically delivered/offered?
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New comment Jun 18
0 likes β€’ Jun 3
I mean, at BU, I legitimately struggled with ear training and learning music. The ear training program they were teaching at the time (which used "fixed do" and had the unusual requirement of making every variation of C "do," every variation of D "re," etc., so "Do Re" could be anything ranging from a tritone (Cbb to D##) to a unison) did me no favors in learning solfege or intervals, and I wasn't really in a position to know what a better approach would be. The head of the voice department at the time, Jerrold Pope, maintained I was "musically retarded" and my pitch issues were "unresolvable." He advocated kicking me out of the voice performance program, but my grades were too good. Still made my life hell while I was there though. This was part of what motivated my transfer to the University of Connecticut to finish my degree, and why I was so depressed and anxious to sing for years after graduating. Took years of therapy to get the courage to sing again.
Hooray for Howie
I want to shout out @Howie Reith who I've gotten to work with here in Boston this year. Howie's been working his ass off -- he tries everything I throw at him, comes back, and I'm like dayummm, you practiced. (I'm still amazed at how well practicing works.) He's got a clear plan and repertoire dream when he walks in the door, his and his music binders in a pleasing sea foam green, and he's kind. He goes there, makes alien sounds, opens up parts of his psyche and soul and is brave. He's also been working closely with a terrific Boston area acting teacher, Ashleigh Reade who was at BoCo and is full time over at BU now. Today was his first day of school for his first regional gig here in Boston -- Reagle Music Theatre's production of South Pacific -- covering Emile and swinging most of the Seabees. Huge responsibility --talk about a cannon shot for your first time out. Proud of you, Howie -- you're going to do great in this company, and they're lucky to have you. I get so excited to see the tools working for you all and moving you in the direction you want to go. πŸ™
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New comment May 29
2 likes β€’ May 29
Thank you Dan. Settling in after my first rehearsal. The leads are mostly Equity folks, and they're good. The ensemble is mostly BoCo grads and are generally really good too. This was the most nervous I've been for a long time. But I got through it. And dare I say I don't think I was unworthy of being in that group. Also I'm now understudying both Emile AND Captain Brackett. Sooo many lines to learn. Anyway, keeping going. Goddamn. If I survive this I'm going to be a different man on the other side. Thanks again for the shoutout.
This is why you don't practice (me too)
I have a soloist job coming up next weekend, and I've had the music over a month. I started practicing in earnest yesterday. I've procrastinated worse in the past -- showed up for jobs not quite knowing that descending interval or feeling wonky about an entrance. Or there was the time the conductor had to feed me the lyrics to "Never Had a Friend Like Me" at an orchestra concert in Temecula. Joops. I made myself go downstairs to the in-transition studio today -- needs a new floor now after a furnace leak :/. I got going on the material, and I was like, "Oh, this is totally doable. I just need to do like 25 minutes a day." I don't know why I'm such an avid practice procrastinator -- this is one huge reason why I have to put my ass on the line, though. If I don't have to show up in front of people, I don't get to work as well. But practicing technique, I think, can be even harder. Number one, the outcome seems questionable -- will I ever get this coordination or make the sound I'm wanting to make? Not sure. Might as well not practice rather than confront the pain of never getting there. But if we have tools that we know will yield results, that's a different thing. It sucks, and you have to trust that if you do x for y amount of days or weeks, your body and mind will map new pathways, and you'll do it. But it's the TIME. And the TRUST! Hard to to. I've found success with saying -- FINE! I'll do 3 minutes. That's it. 3 minutes. Here. FINE. I start, and usually, flow takes over. What are some things you're procrastinating or avoiding? And if you could find the microwave fix for it, what would that look like? Share it! I may have a straightforward plan or system I can give you for your solution.
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New comment May 29
1 like β€’ May 25
My techniques to deal with procrastination: - Reverse "surf the urge" - taken from the technique used to deal with diet temptations. Like you just said, negotiate with yourself for a smaller commitment. "I will do this for 5 minutes. If I want to stop after that, I can." And honor that promise. - Make it selfish. A lot of procrastination is a sort of passive-aggressive resistance to the "have tos" in life. If you can reframe a "have to" into a "want to so I can get what I want," that helps. "I want to practice so I can sing this song as beautifully as I aspire to be able to sing it." - Use fear. Think about the "I do not want" that's at the other side of procrastinating. "I do not want to make an ass of myself at this audition/rehearsal." "I do not want to humiliate myself in front of my friends." The fear of that often motivates me to put tremendous effort into whatever I'm procrastinating.
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@howie-reith-9310
Actor/Singer based out of Boston/New York

Active 11d ago
Joined May 25, 2024
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