INTRODUCTION
It would be impossible to produce a manual that would cover every aspect of the art and craft of the singer-actor, and I do not presume to have written it. This book was written for those aspiring to become complete singer-actors, and hence the title. I have always felt that talent is given too much credit for the success of a performer and that a large part of a performer’s craft can be learned. Over the course of my career as a singer, director, teacher, conductor, actor, cantor, and pianist, I have been insatiable in my efforts to acquire and implement that knowledge and those skills.
That knowledge is responsible for my frustration with the pervasive type of performing and the current methods of teaching singer-actors, and is what drove me to write this book and to provide workshops based on its content. I find nothing more dismaying than hearing a magnificent voice producing mindless content. It is sad when a singer limits their means of expression to tone quality, pitch, and dynamics. The development of these skills demonstrates many years of commitment to the vocal studio and mastering them is imperative and obvious. However, the system fails in that it leaves the singer ill-equipped to sing with meaning, to inflect the emotional and personal significance of the text or, on a larger scale, to portray a character on the stage. For all the years of vocal study, the singer is incomplete. He or she knows how to produce a beautiful tone, but has never been taught how to interpret text or music, how to include their body as part of their instrument, or how to provide a glimpse into their own soul. Instead of developing the singer’s ability to interpret and bring the written form to a living form, the singer has been programmed by their teachers and coaches with the teachers’ and coaches’ interpretation of the music. They are merely following the instructions of someone else. I am constantly disappointed by what is considered beautiful, meaningful singing. Audiences will accept the bare minimum of commitment from the singer and think it is acceptable.
Given the resources, there is no reason why singers can’t develop their art and become true singer-actors capable of creating a unique perspective on the music they perform. This book introduces and explains the elements of singing other than vocal production in an effort to complement or complete the training of the singer-actor.
I have written this book for individuals pursuing either careers in opera or careers in musical theater and purposely use the terminology interchangeably. The lessons directed to the latter are of great value to the former and vice versa. Opera singers tend to hide behind their art, the language, the vocal challenges, and the fioratura. If one plans to undertake the challenges of singing operatic repertoire, one’s technique must allow transparency – the direct communication of text and emotion. The wealth of information and musical devices provided by the composer of operatic literature are there to unlock the imagination and creativity of the singer if that singer understands how to bring them to life. Music written for the Broadway stage is more direct. While not burdened by the musical complexity or vocal demands of opera, the singer of musical theater faces the challenge of suspending the audience’s conscious awareness that the text is being conveyed by singing. While students of musical theater seem to have more exposure to acting classes than opera-voice majors, those classes are focused on the spoken word. Rarely are those skills focused on the very specific requirements of a singer-actor.
One final word of warning: the process of incorporating all the elements described in this book is not simple. We are talking about ‘art’ and producing art that will compel the listener to understand, to be emotionally moved and to be drawn inexplicably to that performer. This is not an easy feat. The techniques described in this book are not a shortcut but rather a process. They are not particularly difficult, but they require considerable effort, study and creativity. Singing in public and portraying a role requires far more than learning the words and notes, memorizing them, and then following more instructions to make it sound as if you were inhabiting that role.