I have not posted since my dad passed. Sorry, I just have not made time for it. But I am starting back up for my niece Molly! 🙂
I always wanted my nieces Molly and Maggie to experience things I didn’t get to at their age. So far we’ve enjoyed Walt Disney World, Universal Studios, Hollywood and Los Angeles! Now….it’s just Molly. So, since Chris and I live in NYC, Molly and my sister Diane get to – for the first time – experience The Big Apple! I’m SO excited!!
Hamilton is the HOTTEST ticket in town and not since Rent has a show made such an impact on the future of Broadway! Molly needs to see this show!
Being an Actors’ Equity member, grants you access to even more discounts with TKTS with their program TDF. TDF gets off-off Broadway tickets for as low as $11 and Broadway shows for $49. There is a yearly fee of $40, however right now (Winter 2020) join for just $35! That’s a small price to pay for a big discount. They usually don’t have tickets for new shows, but there is a lot of variety and the Broadway shows they DO have are great!
NOW, did you know that teachers, full-time students, members of the armed forces, retirees and clergy can ALSO join TDF? Yep! Just check out their site! The “catch” is that you have to mail or fax in your information to be approved. So, a few months before your big NYC trip, just send in the info and you’ll get a letter from them with your membership.
My favorite app is still TodayTix! I saw this app online back in 2013 – a while ago, but didn’t use it until a friend told me about the amazing deals! Ever since then, it’s been my go-to ticket finder!
How does it work? You only get a two-week availability window. So, two weeks before you want to see a show, you log in, pick the show, date and time, purchase and get an email confirmation. Then, on the day of, TodayTix tells you a designated spot for pick up in front of the theatre (45 minutes before the show) and a nice representative in a red shirt will have your tickets in an envelope. It’s THAT simple! **Oh and if you buy NOW, you can get a $10 discount on your first purchase with this code: TRAXR(you’re welcome!) 😉
Now, when you are in town, you can always go straight to the theatre and ask about their offers. In my experience, Playbill has to most update information!
Ok! For those of you who want the most bang for your buck to get REALLY inexpensive tickets are rush tickets, (SRO) standing-room-only, and Lottery Rush tickets. How to Lottery tickets work? Well, you get up early in the morning – the day of a show, go to the theatre of the show you want to see and enter to win! The tickets are usually between $10-$40! You aren’t guaranteed a win, of course, but you could see some cool street acts from Broadway performers! Most Broadway shows have changed to online lottos and shows like Hamilton now have an app because so many people were showing up that it was causing a public disturbance! G_d bless theatre fans! NYCTix.com has the most up-to-date lottery list I could find but each theatre has its own rules so check out Playbill or Broadway Direct for the best updates. BroadwayBox.com also does a lotto for some shows!
Do check out Playbill, it has a FREE membership of its own where you can get discount tickets.
One last bit of info, the less demanding times for seeing shows are January, February, September, and October (yay for me!) So if you can plan your trip around these months, you’ll have the BEST prices EVER!!! During these times NYC.go has a 2 for 1 Broadway Week to encourage ticket sales! Uh…yeah, it’s AWESOME! In the slow season, Off-Broadway offers 20 at 20. These shows offer 20 shows for $20 20 minutes before the show. SO…20 for $20 at 20…(Eeeek!!) 🙂
FOR KIDS! The Broadway League does a really cool Kid’s Night. Here’s how this works (directly from their site): “Adults purchasing a full-priced ticket will receive one free ticket for a child age 18 and under to the same show.” Now, they are only on certain nights and usually an off night like a Tuesday or a Thursday, but what a wonderful way to introduce your child to Broadway!
Well, I hope you’ve found all this info useful and that it GREATLY improves your NYC Broadway experience! If you have any insiders tips for getting great NYC theatre seats at a discount price, I’d LOVE to know! So, please share in the comments!
Karmyn Tyler is a member of Actors’ Equity as well as many other talent memberships. Please visit her website, www.karmyntyler.com for more information. First posted Jun 8, 2013 1:34 PM EST – 1st Update March 1, 2016 8:57 AM EST – 2nd update February 24th 2020 7:58 PM EST
John Stark is the articles editor ofNext Avenue. Follow John on Twitter @jrstark.
Those of us who grew up in the 1950s and ’60s got to constantly hear — on radio, TV and vinyl — the Great American Songbook sung by the likes of Bobby Darin, Tony Bennett, Frank Sinatra, Mel Tormé, Rosemary Clooney, Ella Fitzgerald, Doris Day, Sarah Vaughan. … The list goes on. These were singers who belonged to our parents more than to us. Still, they set a high bar for crooners, even if we didn’t fully appreciate it when we were kids. Besides having intonation, perfect pitch and beautiful voices, these artists respected a song, its melody and lyrics.
They made singing sound easy, which it isn’t.
My favorite singer as of this week is Harry Connick Jr., but not for his vocal talent. As a guest mentor on Wednesday’s American Idol, he did something I’d never seen done on that show — and it was long overdue. He made it clear why, despite the impressive vocal abilities of the four finalists — Candice Glover, Angie Miller, Amber Holcomb and Kree Harrison — they probably will never be truly great singers in the mode of those who came before, like Dinah Washington, Peggy Lee, Vic Damone and Billy Eckstine. Again, the list goes on.
Idol‘s theme on Wednesday was “Then and Now.” Each contestant was asked in the first hour of the show to perform a current hit song. They chose newly released tunes by Pink, Bruno Mars, Rihanna and Carrie Underwood, who won American Idol in 2005. In the second half, they were asked to sing a classic from the Great American Songbook.
During the mentoring sessions, Connick would listen to the singers perform the songs they had chosen and advise them how to do it better. He was a kindly coach throughout the “Now” portion of the show, teasing, praising and hugging the contestants. But when it came to the “Then” segment, the joking stopped. His demeanor changed.
Songs of the past are an essential part of Connick’s repertoire. He loves, respects and understands their exquisite craftsmanship. He knows how to make them sound “now” without losing what they were “then.”
As Amber started to sing Rodgers & Hart’s “My Funny Valentine,” Connick stopped her. He asked her what the song is about. “What does it mean, ‘Your looks are laughable?'” he asked her, or “‘Is your figure less than Greek?'” Amber looked blank — she had no idea. She struggled for words. He told her to go do some research on the lyricist, Lorenz Hart, a physically diminutive, closeted homosexual who died of alcoholism at age 48. Before singing the song, Connick sternly told Amber, you need to understand what Hart was writing about.
Kree also got stopped shortly after she launched into Harold Arlen’s “Stormy Weather.” She was singing in a loose, bluesy manner, like she said she’d heard Etta James do the song. But for Kree to do those fancy runs, Connick said, were diluting the meaning of the lyrics. The woman in this song, he explained, is sad and depressed; she’s lost her man. “You don’t sound depressed,” Connick observed. He wanted Kree to do it more like Lena Horne, who introduced the song in 1940. No frills needed.
Not one of the contestants took Connick’s “Then” advice when they got on stage. Substance was thrown out the window for pyrotechnic vocal tricks. Angie sang Gershwin’s “Someone to Watch Over Me,” an ode to vulnerability, in full-power voice. She hardly came off as “a little lamb who’s lost in the wood,” as the lyric says. More like a John Deere tree cutter.
The judges loved Candice’s version of Billie Holiday’s “You’ve Changed,” giving her a standing O. Not Connick, whose tip to “Keep it simple” went completely over her head. “One of the worst things that can happen in a relationship is when the other person starts to drift away from you,” Connick told Candice. She needed to express that feeling. Her blaring version had no poignancy.
Connick squirmed in his front-row seat during the “Then” performances. I haven’t seen such facial contortions since Linda Blair got anointed with holy water in The Exorcist.
His breaking point came when Randy Jackson implied that Connick’s advice had hindered Kree’s vacuous rendition of “Stormy Weather,” which none of the judges liked. He thought she should have sung it more like Etta James, as she had wanted to do. As it turned out, her rendition was neither Etta nor Lena, nor even Kree. It lacked any personality or feeling. You could see Connick about to pop his cork. That’s when Keith Urban went into the audience, took Connick by the hand and brought him to the judge’s table. Taking a seat, Connick proceeded to school a very defensive Jackson in the art of singing standards. The point Connick tried to make, which Jackson didn’t want to hear, was that the show’s contestants didn’t know these classic songs well enough to take liberties with their melodies and lyrics. In doing so, they were murdering the music.
To me this made an even bigger point. Since its debut in 2002, Idol has always put value on over-the-top vocal performances. Subtlety and intimacy gets you the boot. If minimalists likePeggy Lee or Billy Holiday were to compete on Idol today the judges would eat them alive.
I was friends with Hal Schaefer, a famous vocal coach who died last October. He’s credited withteaching Marilyn Monroe to sing. I once asked him what he thought of Barbra Streisand. “When she was a teenager she came to my apartment on Riverside Drive to see if I would give her vocal lessons,” said Schaefer, who was then living in New York. “I was blown away not just by her voice, but her knowledge. She knew who every composer and lyricist was. She knew the entire American songbook. I told her after she sang for me that I would not work with her. She didn’t need me. But I told her she had to promise me never to take vocal lessons from anyone, because what she did was completely right. Once in a while that kind of talent comes along.”
On a recent NPR interview Streisand talked about how, when interpreting a song, she never violates its melody or lyrics, even when putting her own distinct spin on it. That’s why she’s so great. And that’s why Connick got so frustrated with the Idol contestants.
He listened to them, but they wouldn’t listen to him.
I quit watching American Idol when Grammy award winning and Oscar winner Jennifer Hudson was kicked off back in 2004-05. I should not EVER have to explain that statement. I’ve consequently NOT encouraged my students to try-out. It (American Idol) isn’t about talent. Honestly….it’s NOT! So, I’m sitting here watching the female finalist of American Idol this season on Hulu. (No, we don’t have cable.) Well, if you follow my Facebook Page or Twitter, you KNOW that I teach Rachel Hale, the young artist who was voted off idol last week.
Now, I do understand that there are some FABULOUS female vocalists, BUT 70% of America thought that she (Rachel) should have continued on the show. I have nothing against the little girl she was (apparently) up against. She (Janelle Arthur) just happened to have a bad night, but she IS talented! BUT…as I mentioned before, American Idol is ALL about a story. (NOT talent!)
So, let’s talk Zoanette. Now, personality and story she has! And her charisma is addictive!! BUT, her last performance was sad. I really WANTED her to be good….GREAT in fact…because she’s such a sweet, nice girl with a great story and she’s CRAZY zany! That, said, NONE of that will alter my ears enough to think that she sounded fantastic. Honestly, I wish I could give her voice lessons FOR FREE to help her harness what she DOES have.
Unfortunately, I’m afraid, this is going to be a total embarrassment for her and SHAME on American Idol producers for not directing her and getting her to a vocal teacher NOT a vocal coach! Contestants that are top ten worthy should have their technique BEFORE hand as well as consistent pitch! (Bad performances happen….but this is NOT that situation!) Come on American Idol! Don’t crush this girl’s spirit by putting her in a place she’s not ready and not giving her the tools to sound better.
Now, back to Rachel. Randy mentioned the other night that they will have to get a wild card because the talent is so good. Fine. WHY NOT RACHEL HALE? If you have a twitter…let’s do it!
This will be my post:
@americanidol @rachelhalemusic #idolwildcard #rachelhale – WE WANT A HALE STORM!
Side note: Since I’ve not worked with someone on X-factor or America’s Got Talent, I have no idea how to compare.