Spotlight on Success: Dr. Mary Jo Lodge, Lafayette College

Welcome to the second post in my "Spotlight of Success" series!  I received overwhelming encouragement with the first post on singer/songwriter Leslie Powell and am so excited to be able to offer another interview with an entertainment professional.

I met Dr. Mary Jo Lodge when she was the head of the musical theatre program at Central Michigan University and I had the pleasure of being one of her students.  I wanted to interview Dr. Lodge to provide my students (and readers) with expertise from an academic standpoint.  Musical Theatre BFA programs are popular and acceptance is competitive so I was thrilled to get the opinion of someone who is truly, 'in the room where it happens' when it comes to college & university auditions.  

JD: Tell a little about yourself: name, age, current city of residence, current occupation.

     ML: Dr. Mary Jo Lodge, Easton PA, professor at Lafayette College and Director of Professional and College musicals and plays. 

JD: You are currently an Associate Professor of Theatre at Lafayette College specializing in musical theatre, when did you decide on a career path in teaching in higher education?  Why musical theatre?

Dr. Mary Jo Lodge

     ML:  I wanted to be a performer initially, and got a Bachelor of Music in Musical Theater in College.  I tried NYC for a bit, but kept getting told I looked young for roles.  I had directed a little in College, too.  I went to grad school really because I wanted to get a little more training and experience (and look older), but I found I really liked academia, especially in programs where there was also an active production program.  My MA in Theater from Villanova convinced me to try for PhD in Theater.  I liked that I could have the stability of a steady paycheck and doing what I love, and college teaching also leaves room for professional work outside of the college (and it’s typically encouraged), and the steady paycheck also helps see me through times when outside gigs are scarce.  As an added bonus, I found I LOVE teaching, and really enjoy the research and writing part of my life (especially because it is all about musical theater)!  Musicals have been my passion since I was a child and I am glad I have found a way to make them my life’s work.

JD: Did you study musical theatre performance in college?  If so, how did that prepare you for your current career?  If not, what did you study?  How did that help prepare you?

     ML: I did - in the highly rated musical theater program at Catholic University in DC.  It made me a well rounded, triple threat performer, which helps me to be a generalist in my current job.  I also minored in English, and wound up getting tenured through an English Department!  

JD: What do you think it takes to “make it" in musical theatre today? 

    ML: I think solid training, particularly in voice and dance, are needed.  While I think actors make the best performers (even if they aren’t the best singers!), I think developing the technique for voice and dance takes much longer.  I also think you need to be driven, but still a nice person.  (As a professional director, I won’t hire people who don’t bring a positive energy into the room.)  I also think you need a VERY thick skin because there is a lot of rejection.  Direct a bit, if you can, because you will discover very quickly that decisions where you didn’t get the job weren’t because you weren’t talented, but were because of some minor thing that made you not right for the role, which a director might agonize over!  

JD: Rank the musical theatre "triple threat" elements in order of importance in terms of 1) a high school student being accepted into a musical theatre program 2) a graduating college student booking jobs.  Why did you choose the order your chose?

    ML: I used to run a  BFA musical theater program, and there, we wanted students who could sing, first, then act, then dance.  Dance is great and makes you valuable, but definitely ranked third.  When you graduate, you want two of your skills to be VERY good and the third to be at least adequate.  The people I know who work the most are true triple threats, but if you are a great singer/actor who moves well, I think you can still get roles.  (Also, KNOW your type.)  If you are a great dancer, but have a quirky character look or body, you probably won’t use that dance skill as often.  

JD: Talk a little bit about the importance of "type" and "brand" in the musical theatre industry today.  How important is it for a new performer to fit an established type? 

     ML:I think that, as I said above, type IS important, but people are breaking barriers all the time in terms of type on Broadway.  I think talent, drive and good attitude are more important than type, but understanding your type will save you a lot of disappointment.  I’m 5’3 - I was never going to be a Rockette, and it made sense to come to terms with that sooner rather than later.  I think if you can’t imagine any roles you would be right for, a director will have a hard time doing that too.  Still, if you play a convincing but unconventional character from a classic show in your audition song, it would make me take note.  I think brand because important once you get more established.  Having enough Twitter followers, etc. today really is a thing in the industry, but it won’t matter for your first job.

JD: Talk a little bit about the importance of professionalism and networking in the musical theatre industry today.  How have the relationships you’ve made benefited your career path? 

    ML: Professionalism is KEY.  I can’t tell you how many people I haven’t hired (or have fired) because of a lack of professionalism - even in school productions.  Also, the theater community is VERY small - don’t burn any bridges, because you may need those people in the future.  Any directing I’ve done in NYC has been entirely because of who I knew and networking - those jobs were never advertised.  Also, I like to work with people who are talented and professional and that I connect with on many productions - I bring back people again and again because I know I will get good, consistent work, and we’ll have a good time doing it.

JD: For you, as a director and choreographer, what makes a great audition?  As a college professor looking for new MT majors? 

     ML: A great audition shows me right away what you can do.  I only need to see 30 seconds.  I want to trust you’ll be able to sing anything - and that you can act while doing it.  (And you won’t go to pieces if the accompanist plays a wrong note.)  I, of course, look for charisma, but I want people who are pleasant and interesting.  Theater actors are ALWAYS replaceable - I want to WANT to work with you.  The same is really true for MT majors, but I judge them more on potential.  In a professional audition, I want to know what you can do right now, not four years from now.  

JD: There is a shift, particularly in the vocal world, from only teaching "legit/classical" singing in MT programs to teaching contemporary vocal styles, including Pop/Rock.  What are your thoughts on this?  Do you think the shift is necessary?  (I do. ;) 

    ML: There simply isn’t enough legit material being doing in musical theater.  This current Broadway season has far more pop, rock, country and rap than classical singing.  While legit training provides a good foundation (AND EVERYONE MUST READ MUSIC!!!!), it’s not enough to master the stylistic demands of modern musical theater.

JD: What advice would you give aspiring MT performers and/or high school students debating studying musical theatre in college?

     ML: This is a GREAT time to be studying musical theater.  To quote “Hamilton" - “how lucky we are to be alive right now!”.  I think we might be coming in to another golden age!  Learn all you can, push yourself to grow, and get ready for a great career.

I would have to agree.  Thank you!! 

Spotlight on Success: Nashville Singer/Songwriter Leslie Powell

"Spotlight on Success" is my new blog series featuring interviews with successful entertainment industry professionals.   Over the next few weeks this, "Mission Inspire" will feature singers, actors, choreographers, producers, and educators who have worked on Broadway, won Tony's, and are chasing their dreams daily.  It is my hope that this blog series will inspire and educate my students (and readers) that it is a big, big world out there and chasing your dreams is possible.  

I, almost weekly, get asked "How do I get started in the music industry?"  and to be honest, I don't always have the answers.  So I decided to ask someone who does.  I had the pleasure of meeting singer/songwriter Leslie Powell when a DVS student did a recording session at Off the Row Studios in Nashville.  I asked Leslie if she would be interested in being part of my interview series, and she graciously accepted.  Her answers and insight are below. 

Leslie Powell

JD: Tell us a little about yourself.

LP: My name is Leslie Powell. I am a singer songwriter/ artist from Austin, Texas. I spent my college years going back and forth to Nashville writing music and performing in order to lay a foundation before I moved there permanently. I am a die hard Texan and family gal. 

JD: When did you decide you wanted to be a singer/songwriter? 

 

LP: I realized I could write music during my senior year of high school when I took a creative writing class. My love began and I started writing with as many people as I could in order to learn and get better. I would try to take away at least 2 things from each session that would improve my writing or singing. 

JD: Did you study music or singing in college?  If so, was it helpful?  If not, why not?

 

LP: I didn't study singing in school because I didn't want it to be mandatory. I was scared that I would lose my drive and love of music if it became a chore to me. I studied film and intertwined the two during college. I took all sorts of entertainment law and music courses to be informed, but thought it was best to learn through real world experience. 

JD: What made you decide to move to Nashville?  How old were you?

 

LP: I think once music is in your blood, it's in there to stay. I knew I wanted to write and be a musician in high school, but I really decided to pursue it fully my sophomore year of college. I studied hard and traveled back and forth between Austin and Nashville meeting as many people as I could and getting in different writers circles. 

 

JD: How did you get started in Nashville?  Did you have contacts or an "in" before moving?

LP: When I got to Nashville, I went to every event I could find, like writers rounds or shows. I would suck up the fact that I didn't know anyone and walk up and start conversations with people. The industry is based primarily on relationships. I started making friends and writing with everyone I could. Some were great and some were horrible... It's like dating. You have to go through some terrible ones to find the ones you love!! I was ALWAYS prepared and pulled my weight in sessions. If you pull your weight, they will want to write again and/ or introduce you to their friends that they think you'd work well with. That's the ultimate goal, making sure you do your best and giving it 100% always. 

JD: How did you begin to market your music?

 

LP: Internet presence is a MUST. Build a website or have someone design one for you. Instagram, Twitter, Facebook..... Do it all and create fans. Everything is run through social media now... Labels and publishers look at that like crazy. 

 

JD:  Do you have an agent or manager?  Would you recommend someone starting out get one? 

LP:  I wouldn't try for an agent or manager at the beginning. You want to get all of your ducks in a row by yourself before you bring other people in. Figure out who you are as an artist/ writer and THEN figure out who in town will fight for you and be your champion.  The biggest lesson I have learned in the industry is to NOT RUSH. Patience is key. You only get one chance at a first impression and you don't want to pull the trigger when you're not ready.
 

JD: What is a normal day like for you? 

 

LP:  I write at least 5-6 hours a day, usually more, then the rest of my work hours are spent working on guitar and piano. It is CRUCIAL that you can play an instrument so you can accompany yourself at shows AND because you're way more valuable in a writing room. 

I co-write everyday and then play shows every month or so. Writing by yourself is very valuable because you're building skills to help you in co-writes... But co-writing is how you get known around town. I would suggest doing it. 

JD: Any other words of advice to aspiring singer/songwriters?
 

LP: DONT GIVE UP!!!  It is a 7 year town. It took me 3 years to lay my foundation and 4 years to feel like I really made a splash. It's a long long road, but the best road EVER!!!! 

 

JD: Wise words, thank you so much and best of luck! 

Check out Leslie's website: www.lesliepowellmusic.com 

                      

 'Chasing Maybe':

 

Your Brain on Practice

We all know the old adage, "Practice makes perfect," teachers (myself included) expect their students to practice everyday between lessons: 15 minutes, 30 minutes, an hour a day or more but rarely is the "how" of practice discussed.  In my studio we're currently preparing for our spring recital with the expectation that each singer be fully performance prepared and memorized, so needless to say, there have been tears, frustrated shouts of, "This doesn't make sense to my brain," "I can't do this," and my personal favorite, "I hate this song."  (Fyi..each student chose his/her own song to sing).

The conversation following these emotional moments usually goes something like this:

Me: Did you practice?
Student: Yes
Me: How much did you practice?
Student: Probably not as much as I should have.
Me: What did you do when you practiced?
Student: I listened through the song and/or sang along...I've been really busy...I'm always exhausted.

And here in lies the problem, one I take partial responsibility for.  No, the student didn't spend enough time on task, but I also failed to give them clear guidelines in what to do.  What should those guidelines be?  How can we best prepare our brains for practice success?

Well, I'm about to tell you.  You may say "Who are you to tell me how my brain works, you're a vocal coach, it's not like you have one of the leading researchers in cognitive neuroscience in the country in your back pocket," and I would answer politely, yet with feeling, "Oh contraire."

The following information is from The New Science of Learning: How to Learn in Harmony with Your Brain by Terry Doyle (see what I did there) and Todd Zakrajsek.  I'll put a link to the book (and highly recommend purchasing it) at the end of this post, but for now, let me just say that this book was a finalist in the USA Best Book Awards in 2013 in the category of Education/Academics and gives a clear, concise, and student friendly view of learning and the brain.

So here we go....

Establishing a connection is like blazing a train, which is a great deal of work, but every time the trail is used it becomes more established and easier to follow. 

 Neuroresearchers have shown that when you learn something new, there is a physical change in your brain.  You have approximately 86 BILLION brain cells and when you learn something new, some of those brain cells make connections to other brain cells and form new networks of cells, these new networks = learning.  Every time you practice the newly learned information or skill, the connections between the brain cells get stronger and recalling that information becomes easier. 

I should point out here that this idea of "practice" isn't solely about learning new music, it's also (and maybe mainly) about retraining the voice to find its new home base: free of constriction, clear vowels, balanced registers, volume control.  All those tongue stretches, and jaw massages, and wine corks, and straws won't do you ANY GOOD if the only time you use them is during lessons.

 BLAZE THE TRAIL, RINSE, REPEAT.

The important message for all learners is that new learning requires a considerable amount of practice and a meaningful connection to other information in order to become a more permanent part of memory.

The more ways you engage with something that you are learning (and I'll focus these on singing) - listening, watching, reading, repeating the exercises, exploring new exercises - the stronger the connections in your brain become and the more likely the new learning will become a more permanent memory.  Your teacher doesn't know everything.  Now, don't get me wrong, I have a great tool box, but is every single tool in that box?  Nope.  Should you explore other tools on your own?  Always.  Will I be upset if you find something that works better for your voice?  Never.  Will I add it to my tool box? Absolutely.  Take ownership of your goals.

THE ONE WHO DOES THE WORK DOES THE LEARNING. 

Practice typically needs to happen over extended periods.  Think how ridiculous it would be to cram in a long weight lifting session the night before a strength training competition.  Would you expect to be stronger?  Or to start training for a marathon the day before the race.  If you really wanted to become stronger or faster you would practice a little bit each day over a certain period.  To build strong areas of knowledge, distributed practice is important.  

That said, even when you have learned something, if you don't practice what you have learned the information fades.  This REALLY applies to singing.  Singing is athletic: it requires energy and stamina.  You can spend six months building up to belting the end of that hot new Adele tune, and in far less time lose all your progress by not keeping your voice in elite shape.  The muscles fade. 

USE IT OR LOSE IT. 

 

 One of the more important new insights into how the human brain learns is that it needs to be prepped for learning if it is to work at its best.

The human brain uses 25-30% of the body's energy (in the form of glucose) everyday.  This means if you do not eat a healthy, balanced diet and eat before you begin new learning you are STARVING your brain of the energy it needs to function properly and causing your brain to work much less efficiently.  A brain starved of glucose is not a brain ready to learn.

I can speak from total experience on this one.  A few years ago I was teching a show and also simultaneously trying to lose weight by eating only chicken and fat free Greek yogurt.  You did that one too?  Great, isn't it?  While I managed to pee off two or three pounds I also found myself forgetting my entrances "Was I supposed to be in 2 stage right..or..." Yeah, not great.  It makes sense now that my poor brain was starved of the very thing it needed to work properly: carbs.  And I'm not talking donuts and gummy bears (though they are delicious) I'm talking complex carbs, literally BRAIN FOOD: fruits, whole grains, and veggies. 

Your brain also needs water.  Now, I talk A LOT with my students about the importance of hydration in singing, but it's not just the voice that needs to be hydrated - it's also your brain.  Neurons (brain cells) store water in tiny balloon-like structures called vacuoles (there will be a test at the end of this blog).  Water is essential for optimal brain health and function. Water is needed for the brain's production of hormones and neurotransmitters, the KEY PLAYERS in the brain's communication system which is the HEART of LEARNING.  And no, the sugar free iced hazelnut americano I saw you guzzling pre-lesson doesn't count.  Yes, I saw you.  I have eyes everywhere.

EAT, DRINK, & BE A ROCKSTAR!

Exercise and Sleep may be the most important activities you can take part in to improve your learning. 

These are my final points.  They're so important that my dad and Todd devoted two whole chapters of their book to them.   

SLEEP

 When you're asleep you are shifting memories to more efficient storage regions within the brain.  Consequently, when you wake up, memory tasks can be performed both more quickly and accurately and with less stress and anxiety.  You can't short change your brain of sleep and still learn effectively.  Naps count.  YES!  An excellent way to consolidate memories is to take a brief 20-30 minute nap.  During this nap new learning becomes more stable and will be better available to you in its original form when you go to practice it in the future.  If you come to your lesson exhausted neither your high notes, nor your brain are going to function to their full potential.  Make getting your beauty sleep a priority. 

EXERCISE

Getting exercise is the best thing you can do to improve your learning.  30 minutes of Aerobic exercise five days a week is the gold standard for improving learning.  However, all movement is good for learning.  Walking, sitting on a balance ball instead of a chair (see I don't just think it's funny to watch you sing while bouncing), or pedaling a mini-stationary bike while studying all help learning.  When I'm learning a new show I like to take my script to the gym, get on the treadmill, and talk to myself.  Yes, I may look like a crazy lady, but I get off book faster.   

To get a little science-y on you...exercise causes brain cells to produce a protein called Brain-Derived Neurotrophic Factor or BDNF.  BDNF is literally, "Miracle-Gro" for your brain. When BDNF is present in your brain in greater amounts, your brain is better able to make connections between brain cells (those networks I talked about earlier) that are the physical representation of what you have learned.  I'll say it again: BDNF makes learning easier.  Did you get that?  

I LIKE TO MOVE IT MOVE IT.

My point is this: you (or your gracious parents) are spending a lot of time and hard earned cash on your voice lessons, so why not maximize your learning potential?  I know you each have goals with your singing, why not reach them faster?  Why not spend less time in your lesson with me plunking melody notes (please sweet baby Jesus lets spend less time doing this) and more time exploring your vocal potential and working on fun, challenging rep?

I know you're busy.  I spent the last 9 months commuting 3+hours a day, going to grad school full time with a GA-ship, teaching 20+ hours a week, and running this here studio, so I get it. But, lets be honest.  How hard is it to eat an apple or a banana or a PB &J before your lesson?  How hard is it to take a water bottle with you throughout the day to make sure you're hydrated?  How hard is it to turn off the Netflix and get to sleep at night...ok I know that's really damn tough.  And, again, if you're going to lay down the money for voice lessons, you owe it to yourself to carve out an hour or so a day to do your exercises, sing your songs, watch youtube videos of the pro's, or check out singing blogs (Somaticvoicework.com and Musicaltheatreresources.com are both great places to start).   It will pay off.  Trust me.

-Jessica


Here's a link to purchase the book, check it out!
http://www.amazon.com/New-Science-Learning-Learn-Harmony/dp/1620360098