You're in luck. You still have time to get your tickets to Haviland Stillwell's SPARK album release show tonight at Rockwell Table & Stage (Bonus: Harbor Party is after!) I was lucky enough to sit in on the band rehearsal Sunday evening and everyone was really just picking up what she was puttin' down. Even songs they had never run before sounded great and everyone looked like they were having so so much fun. I know I was. There will be rapping, there will be ascendence, there will be rock fists. There will even be Ashley Reed having the time of her effing life on the cajon. She's got cajones, ladies and gents!
Check out Haviland and these fine musicians TONIGHT at 8PM
1714 Vermont Ave
Anthony Starble, keys+vocals
Ashley Reed, vocals+cajon
Tim Young, guitar
Tim moose, bass
Greg Sadler, drums
Jack of Co. Z - fierce flows
Recently, Haviland took me to see Tune-yards (sorry, I won't do all that wacky styling of their name) at my favorite theatre in LA, The Fonda. Opening was a North Carolina duo whose album had only been released a few weeks beforehand. By the end of their 45 minute set, Amelia Meath and Nick Sanborn of Sylvan Esso, had become one of my new favorite bands. I went home and bought that album immediately. Electronic duos can have some trouble when it comes to creating a visually interesting presence on stage, but Nick and Amelia were having so much fun with each other, they succeeded in ways a lot of electronic groups don't. Maybe that's because they both have pretty extensive performance backgrounds in non-electronic music. Amelia was an accapela folk singer in a group called Mountain Man-- and that vocal background brings a nice rich folksy texture to Sylvan Esso stuff. Nick, meanwhile, was the bass player in another band I love, Megafaun. The past fews weeks have been a crazy flurry of rushing from place to place, but I'm glad I've had this soundtrack to keep me happy. Favorites include "Coffee" (below), "HSKT" "Play It Right" and especially "Could I Be." I had originally planned this post for last week, then Monday, then Tuesday, then yesterday. I was grouchy for being so busy, but now I'm glad I held off until today so I could also link you to this great NPR full concert from Washington, DC. They're getting nearly universal praise and I can see why. Sylvan Esso, you are officially my flavor of June--- and perhaps a lot, lot longer.
Yesterday, I was moonlighting as a music video art director for uber-pal, Haviland on her upcoming single "Muse." In case you missed it, she released a fierce/catchy/inspired dance album called Spark a lil bit ago. I'm a privileged bitch, so it's been on my ipod for about a year now (at least pieces of it) but now it's available on itunes and whatnot.
For the video, she wanted to keep it simple and easy to do. Just the idea of a modern muse. We used water (because we had it) and lights and Hav's natural je ne sais quoi.
Haviland had been raving about the photographer who did her most recent set of headshots, Elliot London, and I was excited a finally got to meet him on this shoot. I quickly learned he's just my kind of creative dude: casual, innovative, and creative as hell. Just jimmy-rig it until it works. That's my motto. And the stuff he got was SO beautiful! Doesn't Hav look so preeeeety? I can't wait to see how it turns out!!
I can't really tell you how proud I am of her for this album and all the work she put into it. She's a mover!
Hey everyone! So part of why I haven't been around as much these days is that I've been working on some other projects that are similar, but far more lucrative and have way more readers. (Props to you, core group of awesome ones, though.) And one of those things launches TODAY! The inaugural issue of Giada, a digital weekly is available for FREE for your ipad in the itunes store. It's coming soon to other digital platforms. But for now, if you have an ipad, please give it a try. There's tons of amazingly delicious Giada recipes, music playlists, style and beauty tips, and tons and tons of travel stories so you too can live the good life. I've tasted these recipes, I've seen these tips in action, and I can tell you... WORTH YOUR TIME. I want to be Giada when I grow up and this emag will make you want to as well. Super thanks to everyone involved for the opportunity to be a part of this. (Especially you, Ashley Reed!) Launching things, being there when it all starts is my most favorite part of life and especially of any sort of artistic/professional experience. With all your help, this can be the start of something really fun and special. We'll keep working hard; you keep reading.
So pretty. In every way. It might be my favorite yet! Hope you're having an awesome Monday! I am still decompressing from last night. More on that to come. In the meantime, We Fly with Haviland. The story behind this song is so touching. In her own words:
A year ago today, my wonderful friend, artistic collaborator, and "spiritual advisor" as I called her, Janet Carroll, passed on. You all may know her from playing "every handsome movie star's mom," - including my fave, the crystal egg obsessed Mom of Tom Cruise in "Risky Business." My new song "We Fly" is very much inspired by her and how her light helped me to see myself. Honoring her today, and always.
Hey! What a busy week! Here's my latest video for Shaping Sound. This one is extra fun since it features the hot dance track by Haviland, "MKE: Maximum Energy." Check it out and don't forget to get your tickets!
So... I'm not quite sure I realized how personal these lyrics were when I wrote them. Sure, I don't have a sick child-- I don't know what that's like. But at its core, this is a song about anxiety. The way life feels under the oppression of it; the threat of it... as compared to how it feels to be free of it; not afraid of it. Haviland is one of my friends who is most privy to my struggles with anxiety and so in addition to being a beautiful singer of this tune, she has a super insight into whatever deep well I pulled these lyrics from. I remember when I finally emailed these off to Steven, he wrote back soon after, "Where the hell did that come from!?" I wasn't conscious of it then, but I am now. Not only did Haviland lay the smack down on this song, she put that concert on lock down. One of her best vocal performances I've ever heard. More of night like those please, Miss Stillwell, thankyouverymuch. And even though this is Alix's song in Nic & Alix, I sure wouldn't mind seeing Hav as Tatiana... a regal and enchanting Grand Duchess she shares a striking resemblance to. Not to mention, I can hear her all over Livadia. Until the next step...
An exciting night awaits me -- and all who care to join me!-- at Rockwell TONIGHT for the latest concert from the lush and luxurious Haviland Stillwell. All of Haviland's concerts are a treat as far as I'm concerned, but tonight will be extra special since Haviland is singing one of our new songs from Nicholas & Alexandra, "Release Me." (AKA my anxiety anthem. For a preview, here's the first time it was ever sung in public. Did I mention that was at Lincoln Center? I blush.)
You can also rock out to Haviland's new singles. Both songs are written by Haviland Stillwell and produced by Mike Schlosser, with cover design by Heather J. Weiss and photos by Sabrina Bringuier. Buy them on iTunes ("MKE"; "Infinity") or stream them on Spotify ("MKE"; "Infinity") and pump yourself up pre-show. I know I will be!
Get your tickets now if you don't already have them and hope to see you tonight! McC and I will be clapping loudly and gettin' rowdy in the front. Shoes will be thrown.
Haviland Stillwell & Amir Levi perform live at Rockwell: Table & Stage, 1714 N. Vermont Ave., Los Angeles, CA on Tuesday, April 23 at 8pm (Amir Levi) and 9pm (Haviland Stillwell). Haviland and Amir will be performing with Anthony Starble (piano), Alex Vega (drums), Kristy Hanson (guitars and vocals), Ed Goodman (guitar), Julia Davis (vocals) and Lauren Lograsso (vocals). Tickets are $12 and can be purchased on Rockwell's ticketing site.This is the Facebook invitation.
And here's a little ditty we wrote just for her awhile back. With my signature lyric!
Greetings from gross and rainy NYC! When I was here this exact time last year-- much like this year, to celebrate my birthday as well as a career milestone-- it was GORGEOUS. It made me wonder why I had ever left NYC in the first place while back in London it was raining for months and months. Now, I'm quite thankful I reside in Los Angeles. Spring time forever! I am quite excited to celebrate another year with my core NYC people, however. New Yorkers! Head on down to Lillie's Union Square tonight for some libations with me. Also to premiere Nicholas & Alexandra to an extremely select group of folks on Monday. Yep, that's right. FINALLY. More on that to come. Off to finish up the details of the reading. Here are your links. - This rad hotel in Mexico - VERY happy for the good Matilda reviews. LOVE. THIS. SHOW. - What to do when someone you love likes music you hate. - New music from Boy, "Little Numbers." - Cute new home goods line. - On the recommendation of Claire Vaye Watkins: post-feminist life in arts & letters - I want to EAT THIS! - Drop Dead Gorgeous + Disney Princesses, woot.
Friend/Performer/Mover/Shaker-Extraordinaire Haviland Stillwell has been working on a new dance album since I got to LA. I remember listening to some early tracks in her prius my first week here and loving the super different direction she was going in. I mean, afterall, she's a legit soprano, not to mention the first person to ever sing VOTE! besides yours truly. Well, this is nothing like musical theatre, but it has drama and theatricality to spare! Not to mention, enlightened ideas and a beat that made me instantly download and add to my hiking/running/cardio onslaught playlist. Also, I've heard the concept for the impending video and I cannot wait to see it fully realized. I'm even thinking about lobbying for a cameo. Maybe not. I don't know about my intergalactic dance moves... Get your very own copy right here on itunes!
Hav is supported by a whole bunch of other cool people I love too. So let's give them their due for some stellar (see what I did there, intergalactic friends) work on this!
When Haviland and I first became friends, she was still performing in Les Miserables on Broadway, covering Fantine. She sings a helluva "I Dreamed a Dream," I can tell you that much. And I'm so excited to tune in later tonight to watch her singing again with The Miz on the Oscars. It's a Les Miz buffet of talent past and present. There's cast members from the Broadway revival, the West End, Hollywood Bowl concert, and of course the film. While I doubt Les Mis/z will be taking home many trophies tonight, I'm just happy to see that gathering of people. Congrats, Havi! Break a leg!
As a musical theatre lover of the first order, I have to
tell you, though I’m always in eager anticipation of the next show-to-movie
musical adaptation, I’ve never come out of one and not been a little
disappointed. Basically, when you’ve been that close up to musicals, it makes
it hard to enjoy-- seeing the places where their seams show. (And they all have seams.
Even the classics. Sometimes especially.)
The close up of film normally removes the immediacy of
singing. And something is lost. Tom Hooper was essentially always asking for a
world of dilemma by taking on one of the world’s most beloved musicals—a show
that has always walked a fine line between gut-wrenching and melodrama. (Or as
Steven might say, “High, high retro drama. Get ready for it.”) When I saw the revival on Broadway, though I much loved it, and met some of my best friends from that show, I felt it lost something in a smaller house. The barricade didn't intimidate me. It was just a set piece. I was simply too close to believe.
My personal
attachment to the show, coupled with my long standing reservations about it, made my viewing of Les Miserables full of anxiety. (“Almost NO Broadway
people. Only Aaron. All London people. On principle, this felt like another
snobby British moment. And would it prove to be too stunt cast-y? Remember that minute when Taylor Swift was almost going to be Eponine? Yeah.)
But Tom Hooper—who pointed out in conversation after the
film that this was technically ‘low budget’-- made several huge, game-changing,
instinct-driven decisions. First is the much-discussed live singing. I won’t go
into that in much detail, because everyone else has, but I will say this. We
should never make movie musicals any other way ever again. Ever.
Second-- and in some ways, I think this one might be more
important-- is a decision about perspective. The camera is always somewhere I
didn’t expect it to be. It holds longer than you’d think. It never cuts when you think it will. It zooms in and stays
there. This movie is unflinching.
Tom Hooper chose to shoot all the solos in extreme close up.
Anne Hathaway’s rendition of “I Dreamed a Dream,” plays without cuts, and in a single
take. You’ve probably heard whispers or grumblings of this, but it’s true:
throw everything you’ve ever thought about Anne Hathaway out the window. She’s
fine-to-good in everything leading up that song—one of the best in musical
theatre history. But, while no vocal power house, I assure you, you will not
care. It’s the rawest thing I’ve
ever seen filmed.
A close second is “Look Down.” The images of that opener are
still with me. And it’s where Hugh Jackman won me over completely which helped
as the movie went on. Because, for me, Jackman gets less compelling as the film
goes on, until his death scene. (Spoiler. Jean Valjean dies.) The biggest let down of the film for me was his "Bring Him Home."
But the Hugh Jackman of “Look Down” is arresting. All bloodshot
eyes and soaking wet and patchy hair with visible scalp scars. From that song into the convent section
where he experiences a redemption at the mercy of the priest and prays at the alter
to his own transformation, it's a juggernaut. And then, the scene is immediately transformed in the way that
shows Jean Valjean’s vision of the world and his place in it. When he leaves
the convent--a place we had previously a bleak, tight scope on-- to reveal the full
world, and Valjean casts his ripped up convict papers and scatters them to the
wind... that shot is…. Magnificent.
And here's the real and deeply satisfying revelation of choosing to shoot the film this way. Not only does it trust the actor to tell the story plainly, it trusts the song. Just typing those words, I well up a little, because isn't that the point? Isn't that what every musical theatre writer hopes for? A trust that the song is enough. That the song is the ultimate expression. And I smile, thanking Tom Hooper for knowing that it is.
My only concerns with the film are the concerns I have about
Les Mis as a stage show as well. Namely, its pacing in the second act and the
very nature of a sung through show. For the record, I think that device works
better in a film adaptation than a stage show. In the medium of the close up, it’s harder to justify the
intense emotion that necessitates only one method of release: song. That’s why
they sing on the stage. But in film, you have the close up. That much emotion
close up…. it can be overwhelming. It can backfire and make you uncomfortable.
My issue with an entirely sung through show—particularly
this show—is that it becomes too sing-song, that it feels naked and not in a
good way, was largely washed away when I heard director Tom Hooper explain it.
Rather than make a deal with the audience that asks us to
forgive or understand why sometimes the characters sing and sometimes they
speak, (sometimes a contradiction that’s easy to forgive and sometimes not) or
a trope like fantasy (Chicago) or the confines of a performative group of
people (Dream Girls) instead you create an alternate reality where singing is
essentially the only way that people communicate.
Other takeaways for me: Eddie Redmayne was exactly what
Marius should be (though watch out, they’ve cut the instrum intro to ‘Empty
Chairs.’) but nevertheless, Enjolras is the more compelling character, and I
think Aaron steals the scenes away from Eddie a lot. Maybe I’m bias. Samantha Barks
was just okay. BLESS Anne Dudley and Stephen Metcalfe for giving us a Les Mis with red-blooded orchestrations. I need never hear those synths again. Gavroche has always been the coolest kid to ever run Paris, but this Gavroche is so blued-eyed and vivid and alive that he's almost too real. Sacha Baron Cohen & Helena Bonham Carter as the Thenardiers seemed like they were from another movie, but I nevvvvver cared.Bonus points for Colm Wilkinson's cameo.
The packed theatre was audibly sobbing at multiple moments.
Even the men. Normally, when I recommend a movie musical, I do so for the
people who don’t love musicals, thinking: oh, this is removed enough. Maybe it
will give them a way in. But it is with pleasure that today I say, I’m not sure
what non musical theatre people will think of this movie and I don’t care. But
we geeky musis of the world, this is a film for us. And a film we can be proud of. Go see it. Though I know I
don’t have to tell you that.
Wow, I love today. It's days like this that make me wonder why I ever left NYC. I mean, I know why, but it sure is great to be able to soak up everything I love about the city I love the most. Perhaps I should enumerate.
1. The sun is shining 2. But it's not too hot 3. Iced Coffee. It exists here. 4. I talked about writing all morning with an amazing friend 5. I saw my old co-workers, the people who essentially named this blog. The only people who call me Fergie. 6. Hope looms large on the paid writing/employment landscape 7. MOST importantly: tonight will be a massive musical celebration. Pretty much everyone who gave me and Steven a start in this business will be there. Not to mention, the people who sustained us and inspired us in the fat times and the lean times (of which, there have been many.)
It's kind of amazing to hear songs that are technically new-- in that, no one besides me and Steven have ever heard them-- but that are two years old, or even just a few months old. They always seem channeled from another part of myself. Or another world entirely.
I'll tell you why that's a comfort. I'm a bit of a control freak. I like things a certain way. I get hung up on people being a certain way. I'm easily disappointed. In other people. In myself. In my work. But if you stay attached to that stuff, you'll spend most of your life being disappointed.
If you let it go-- and know that pretty much everything is just being transmitted, that we're just conduits-- then you're pretty much invincible. Which is the best feeling in the world. And that's why this is song for today. See you guys at Lincoln Center for some good singin'. 6PM. 65th & Amsterdam. Lincoln Center Performing Arts Library.
I swear! You leave the United States for just a few years and you miss important cultural touchstones such as the Juicy Fruit Serenading Unicorn. Sigh. I first learned of its brilliance from my Hav-ster (Who I get to see TODAY!) who posted the birthday version on my wall last week. But some of the other choice selections include, "Please Take That Post Down," "Sorry You Lost Your Phone" (very Weezer-esque) and "I See You Are Single Again." You're welcome. It's almost Friday! I'm in New York City!
One nice present for turning 30 is that we're having a big concert at Lincoln Center, featuring songs from three of Steven and my musicals! It's extra exciting because at least 5 of these songs are brand new-- as in, no one's heard them before-- and a few have never been heard in NYC.
Add to the amazing venue (Lincoln Center!?) a first rate cast of the best in the biz and our very good friends, and this is shaping up to be the place to be next Monday. Here's just some of the folks set to sing: Katie Rose Clarke, Janet Dacal,Chelsea Morgan Stock, Autumn Hurlbert, Rachelle Rak, Haviland Stillwell, Kyle Dean Massey, Marie-France Arcilla, Anthea Neri, Katie Thompson, Jason Michael Snow, Tim Dolan, Sam Tedaldi and Nikki Kimbrough with Jaygee Macapugy, Britt Bonney, Andy Geary, Anne Karner, Lauren Blackman, Ashley Klinger, Bobby Hubner, Beverley Simpson, Daniel Robinson, Christine Schisano, Eric Deibolt and Adam Shorsten.
It's even free! But there's only 200 seats, so get there early to make sure you get one.
I'm not shy in saying that Steven is a very lucky dude. Not just because he gets to work with yours truly. If I had to pick collaborators, I'd also pick Kirsten Guenther, Sara Patterson, Morgan Karr, Krystin Crain Johnson and Mayzie Drake.
Put this in you calendars right now! Broadway's Future April 16th 6PM The New York Library for the Performing Arts at Lincoln Center 111 Amsterdam Ave & 65th Street
You leave the United States for ONE YEAR and you miss something like this! In commemoration of the 75th Anniversary of the greatest novel ever written, Georgia Public Broadcasting made this feature on the life of my dear, esteemed Margaret Munnerlin Mitchell Upshaw Marsh. Sigh. Who DVR'ed this? Help me!
Annoyingly, the site won't let me embed these videos, except the one "newsreel"y one below. But (aside from some not-very-well-written voice-over copy on them) they're pretty good and worth watching. Especially this one.
Oh, girl. Ever since I was about ten years old, I've just felt like I understood her. In fact, for several long tracts of my adolescent years, I was thought I might be the reincarnation of the GWTW author. (I was very precocious. Obviously.) "Very volatile. Emotionally and psychologically." Ha.
If you're like me and must feed your obsession (McCleskey. Dena.) you can check out the press kit too.
Listen, even after watching this video, I still have pretty much no idea what the deal is with the "ho bag" OR what this actual product is going to be about, or be like, but I do know this: if Ashley Reed and Haviland Stillwell are involved, I'm pretty sure I want to watch it. And I agree with them that there should be a webseries about something "other than frat boys and girls who want to talk about purses."
And I know this! It premieres next week. So check it out. And sidenote.... if I were to ever get a tattoo (let's be real, I won't, but if I did) I would want Ashley's NYC skyline tat. Love it!
My NYC girls are here in Edinburgh, so we're off to explore. Hope you're having a great day!
My favorite Southern Belle, Miss Haviland Stillwell was recently featured in The South Magazine. I mean, seriously-- after becoming instant besties like five years ago, I still look at pics of my pal and think, " SCARLETT O'HARA!." (And you know how I feel about her.)
Read the article here. And the pictures, by photographer Tim Johnson and styled by Mitchell Hall, are a super great mix all the fun flirty things about the Hav. Part Circus, Part NYC street chic, part antebellum femininity with the curls and corsets and velvet.
And in case that's not enough Haviland for you, check her out on CSI: NY here! She's a geisha! Also this. This is hot.
Americans, tune in today/tonight on TMC for the premiere of the lovely and treasured Miss Haviland's new film, Below the Beltway, with hotties, Tate Donovan and Noah Wylie. (I am having major crush flash-backs to my pre-teen years.)
It's been blowing up the scene at like a million film festivals and now it's headed all the way to those beacons of quality programming at the Showtime family. I mean, they're the network of Dexter. Need I say more?
I've seen a lot of Hav's scenes and she has a really cushy part as Tate Donovan's assistant and looks radiant on film-- as always. Check it out if you have TMC. Starts at 5:50PM Pacific/ 8:50 Eastern.
I'll be in class most of this Thanksgiving, since it's obviously not a European holiday. Yesterday, I heard a bunch of American undergrads lamenting four years of no Thanksgiving. But even though I'd say the holiday and the sentiments behind it are probably my favorite, I've just never been overly attached to holidays. It's like the one thing I'm not super sentimental about.
Maybe it was my odd upbringing. When I think of family, I think of Georgia or I think of Emily's family. And most of my best holidays, looking back have been with them or with friends-- like that Thanksgiving with Schumann in Connecticut, and the one with the Stillwells and Big Bad Blackwell (even if he did give our really nice desserts from Black Hound Bakery away to the crackheads in Washington Square Park).
So instead of gorging on turkey, I'll be workshopping my new short story and Gretchen's story, and listening to Meaghan Delahunt discuss the psyche in writing. And that, amazingly enough, is the number one thing I am thankful for this year.
I'm thankful to all the people who supported me in my journey here (so many people, but most especially my dad, Emily, and Steven-- who trusted that we'd still be able to get work done together with me in a foreign country). And those who've supported me since I've gotten here (overwhelming!)
Because yep, I'm most thankful that I have been able to engineer a life for myself where writing is at the center of it. And I can spend most of my day writing. It took a lot to build that. And I am thankful for every minute of it.
Just because there's no Thanksgiving in Scotland, doesn't mean good old Robert Burns doesn't have something to say about it:
discuss the psyche in writing. And that, amazingly enough, is the number one thing I am thankful for this year. 