Broadway Junior Productions. I can't help wondering what age group are they really designed for? They must be defining "juniors" as those young actors who are under age 18 but old enough to perform the songs in the original keys. I get it that directors want to introduce their young actors to Broadway, but why choose shows that do little to showcase the students themselves?
This weekend I saw two Broadway Jr productions, one done by a Middle School (7th and 8th graders) and one done by an upper Elementary School (5th and 6th graders). The Middle School production was pretty good. (Love scenes are always awkward for young actors...) The kids were young, but as singers they could at least manage the songs in the original keys. The Elementary School show was very difficult to watch and listen to because the singers, especially the boys, could not sing the songs in the original keys.
The music in both shows was extremely sophisticated. Even though the material was shortened, the songs and dances still needed a lot of skill to pull off successfully. Both shows had beautifully produced backing tracks that would have worked great for mature enough voices that could really sing the tunes. Where the 7th and 8th graders had boys whose voices had mostly dropped, the 5th and 6th graders were still very much all in treble clef. For the audiences, hearing (or not hearing because the singers were forced to try to sing out of their ranges) the poorly performed songs was rather painful, indeed.
This weekend I saw two Broadway Jr productions, one done by a Middle School (7th and 8th graders) and one done by an upper Elementary School (5th and 6th graders). The Middle School production was pretty good. (Love scenes are always awkward for young actors...) The kids were young, but as singers they could at least manage the songs in the original keys. The Elementary School show was very difficult to watch and listen to because the singers, especially the boys, could not sing the songs in the original keys.
The music in both shows was extremely sophisticated. Even though the material was shortened, the songs and dances still needed a lot of skill to pull off successfully. Both shows had beautifully produced backing tracks that would have worked great for mature enough voices that could really sing the tunes. Where the 7th and 8th graders had boys whose voices had mostly dropped, the 5th and 6th graders were still very much all in treble clef. For the audiences, hearing (or not hearing because the singers were forced to try to sing out of their ranges) the poorly performed songs was rather painful, indeed.
The trouble seems to be that the Broadway shows, great as they are, may not be the best material for Elementary Schoolers.
Problem #1 is that most boys ages 11-13 have very limited vocal ranges --- sometimes only about 5 notes right around Middle C. Having them try to sing songs that have ranges of an octave and a 5th or more is ludicrous.
Problem #2 --- most Broadway shows have love scenes and songs. Kids these ages shouldn't have to deal with sustained singing while looking longingly at someone and then kissing. (The Middle School show tried to hide the kisses by blocking the couple behind a small tree, but it was still awkward.)
Problem #3 --- "tour de force" songs are great for actors with stage presence and the right vocal chops, but attempted by light immature voices that cannot hit the notes, that is right painful for an audience.
Problem #4 --- not having the budget to appropriately costume the actors or provide believable sets and props. For example, a show that is set in the Renaissance should not have girls wearing miniskirts. The look of the show, even if done simply, should at least attempt to have costumes that reflect the time and cultural setting of the story.
Problem #5 --- If the songs and libretto are chocked full of historic references and jokes that depend on the audience understanding those references, the charm of the show is lost on the kids. And if the kids can't understand and deliver the nuances, the audience doesn't get the references either.
Perhaps, if the teachers wish to introduce their students to Broadway, they should do a Revue of selected songs and scenes that match the talents and abilities of their students.
Problem #1 is that most boys ages 11-13 have very limited vocal ranges --- sometimes only about 5 notes right around Middle C. Having them try to sing songs that have ranges of an octave and a 5th or more is ludicrous.
Problem #2 --- most Broadway shows have love scenes and songs. Kids these ages shouldn't have to deal with sustained singing while looking longingly at someone and then kissing. (The Middle School show tried to hide the kisses by blocking the couple behind a small tree, but it was still awkward.)
Problem #3 --- "tour de force" songs are great for actors with stage presence and the right vocal chops, but attempted by light immature voices that cannot hit the notes, that is right painful for an audience.
Problem #4 --- not having the budget to appropriately costume the actors or provide believable sets and props. For example, a show that is set in the Renaissance should not have girls wearing miniskirts. The look of the show, even if done simply, should at least attempt to have costumes that reflect the time and cultural setting of the story.
Problem #5 --- If the songs and libretto are chocked full of historic references and jokes that depend on the audience understanding those references, the charm of the show is lost on the kids. And if the kids can't understand and deliver the nuances, the audience doesn't get the references either.
Perhaps, if the teachers wish to introduce their students to Broadway, they should do a Revue of selected songs and scenes that match the talents and abilities of their students.
For Elementary School Musicals, try using material specifically written for Elementary School-aged children. They work a lot better and showcase the kids' talents instead of making the audiences cringe.
To the list of age-appropriate material out there, may I add some of my own:
The Adventures of Dick Whittington, Never Cry Wolf, Parizade's Quest, A Successor to the Throne, Momotaro, The Frog Prince, and No Time for Monkey Business.
"Over the Briny Sea" was specifically written for a 6th grade boy who could sing well, but whose voice was teetering on dropping. He really only had a few notes he could count on. The sailor ensemble behind him was made up of younger boys and a few disguised girls who all still sang in treble clef. Together they had a rollicking good time singing and dancing this number and the audience loved it!
To the list of age-appropriate material out there, may I add some of my own:
The Adventures of Dick Whittington, Never Cry Wolf, Parizade's Quest, A Successor to the Throne, Momotaro, The Frog Prince, and No Time for Monkey Business.
"Over the Briny Sea" was specifically written for a 6th grade boy who could sing well, but whose voice was teetering on dropping. He really only had a few notes he could count on. The sailor ensemble behind him was made up of younger boys and a few disguised girls who all still sang in treble clef. Together they had a rollicking good time singing and dancing this number and the audience loved it!
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