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Interview with Leigh Barrett
Leigh Barrett is one of Boston’s busiest singing actresses. A veteran of acclaimed productions at Lyric Stage, SpeakEasy, New Rep, and Gloucester Stage among others, Leigh is a two-time Elliot Norton award winner. The Boston Globe has said “Leigh Barrett always finds the emotional center of a song and the result for the audience is never anything less than exhilarating.”
Leigh will be the BGMC’s special guest vocalist for Divas.
You are now a very busy actress and singer in the local theatre scene. How did you break into the scene and was there a "breakout" role for you?
Hmmm, breakout? Mostly I just went to audition after audition. I thought for a while that I might write a cabaret and call it "Hey! Didn't you audition for that?" But it really just takes one person to see something in you-to see you and to take a chance. I would say people took notice when I did a little show called Isabella at the Isabella Stewart Gardner museum. It's the first time I felt my own personal exploration of character and voice find a union. Something shifted for me in that performance and then Paul Daigneault of Speakeasy Stage cast me as Fosca in Passion. That was the most amazing experience and I guess that show put me on the musical theatre map.
What have been a couple of your favorite productions and roles?
Well, I've had the great privilege and gift of playing some amazing women. I loved Little Edie in Grey Gardens-loved that! And Florence Foster Jenkins in Souvenir-oddly enough in both of those shows I played opposite my very good friend Will McGarrahan. Fosca of course, Sally in Follies-I've played her twice, once opposite Len Cariou, Mother in Ragtime, and Rose in Gypsy-hello-who wouldn't love that?
One of your acclaimed roles was the anti-diva, the infamous Florence Foster Jenkins. What was it like to learn to sing badly for the role?
I love FFJ! Love her. Talk about having a passion! Imagine wanting nothing more than to sing and truly not being able to? But that didn't stop her. She sang. In terms of singing like her, it should have been harder than it was! I'd say in rehearsal to my co-star Will: "I don't know where to come in, I don't know my first note" and Will would say "does it matter?" I found that the closer I sang to the actual note the funnier it was. She did sing in tune some times but that was truly by accident.
If you could cast yourself in any role, what would it be and why?
Oh gosh I have no idea. I just want to do good work with good people. Work that touches people in some way. And the best work that I can do.
In college you were a voice performance major and studied opera. How did you transition to acting and musical theater?
Honestly, although I'm forever grateful for my classical background and it makes me a better singer, I never felt like I fit in in that world. On the advice of Broadway conductor Jack Lee, he said I should come back to Boston and get some more experience. I did my first production of Little Shop and I was hooked. I had found my home.
What do your boys think of "mom the actress"?
My boys (all 3) are the best. They allow me to breathe. It's their "normal". This is what they've always known. They love seeing me in shows, but they don't always love the shows. They've got great eyes...you know? They have a very interesting point of view about my work.They're very protective and they are incredibly understanding when I can't be somewhere, or when I'm late or if they have to sit and wait for me in the greenroom. I can take them anywhere-they are polite and respectful and funny. I'm a very very lucky mom, they make me a better performer.
Since the concert we are doing is "Divas" who are a couple of your favorite divas?
I love Madeline Kahn. Don't hate me, but I love Celine Dion. That girl can sing anything - true pipes of steel and such passion. Bette Midler. I like good singers, or singers who sing with truth, who touch you with their voice or their humor.
BGMC Donates 200 Tickets to High Schools
The BGMC has announced that it will donate up to 200 free tickets to its upcoming "We The People" concerts on March 27 and 28. GSA advisors and teachers from Massachusetts public high schools may request up to 10 free tickets per school plus accompanying adult tickets for this important program about marriage equality. "This is a natural extension of our outreach program to high schools," said executive director Steven Smith. "We hope this gives students an opportunity to hear great choral music while opening up conversation about an important civil rights challenge of our times." A ticket request form is available for download.
An Interview with “We The People” composer Mark Koval
“…those of us who don’t live in Massachusetts look to your state as a symbol of hope.”
Tell us a little about your inspiration for “We the People” and how the work took shape.
Back in 2003, I was commissioned by the Denver Women’s Chorus to write a song about same-sex marriage. But before I began composing, I did some research by reading a few books on same-sex marriage and the Constitution. And what I learned was remarkable: I learned how little I knew about marriage equality.
Keep in mind that back then, there was a lot of fuss about using the word “marriage” and the word “gay” in the same sentence. There was even a belief among some in the gay community that civil unions were good enough, so why did we need to have ‘gay marriage’? And especially fascinating to me, was learning about the many Supreme Court decisions over the last sixty years, that have repeatedly defined marriage as a ‘fundamental right’. When you look to these precedents as a basis to justify or deny same-sex marriage, it becomes abundantly clear that the whole issue really comes down to one very simple question: How much do we as a nation believe in our own principles of equality as guaranteed by the Constitution?
I realized I had a significant opportunity with this commission to create awareness about marriage equality. So I decided to write a more expansive piece, with narration and staging, that could show audiences why marriage is of benefit to everyone. What started out as just one song blossomed into a forty-minute exploration of marriage equality.
Since you premiered the piece, there has been a lot of good and bad news regarding marriage equality – approval in Iowa, Connecticut, New Hampshire and defeats in California and Maine among others. How has the relevance of “We the People” evolved in your mind?
Actually, when I first wrote it, I didn’t think “We the People” would have a very long shelf-life because after Massachusetts legalized same-sex marriage in 2004, it seemed like the rest of the country would soon follow. Well, here it is 2010 and we’re still arguing about the definition of marriage. “We the People” has not only become more relevant, it now needs an additional movement to reflect these recent landmark events.
How do you hope “We the People” contributes to the conversation about marriage equality?
There’s been a lot of fear and misinformation coming from opponents of same-sex marriage and so often, their arguments are focused on the ways that people are different. I’ve tried to write a piece that shows how much we’re all alike. Even if we disagree about same-sex marriage, we should all try to have a fair understanding of the facts. My intention with “We The People” has always been to inform the audience (hopefully while entertaining them) so that we can have a more reasonable discussion.
The appearance of same-sex couples and families used throughout the performance is very effective. Why did you include this as part of the piece?
It’s easy to reject people when you don’t know them, because there’s no emotional connection there. The staging used in “We the People” helps to introduce the audience to real people with real families and I think that fosters a sense of empathy. When you’re looking at a loving couple, or seeing them standing there with their kids, it’s a lot tougher to deny them the same rights you reserve for yourself.
What has been the audience reaction so far?
It’s been just great! The piece has been performed in churches and synagogues as well as concert venues and the performances are always well received. There was a threat of some protests for the premiere in Denver back in 2006, but that never materialized. (The chorus was actually disappointed because it would have been great promotion for their concert!) But there’s nothing in “We the People” that’s angry or confrontational and the whole piece is built on the premise that love is all the same. Audiences really seem to resonate with this idea and all the emotion in the piece.
What’s the best audience feedback you’ve ever received about “We the People”?
I think the best audience feedback I ever got was from an older heterosexual couple that attended the Denver premier. This couple was probably in their seventies and after the concert they introduced themselves and told me how the piece had helped them to see same-sex marriage in a different way. We spoke for about ten minutes and by the end of the conversation, they were pulling out wallet photos of their kids. Their response to the performance was especially meaningful to me because, as we all know, opposition to same-sex marriage tends to be strongest among older Americans.
What’s it like to have this piece performed in the first state to legalize same-sex marriage?
It’s very, very exciting. You have to understand that those of us who don’t live in Massachusetts look to your state as a symbol of hope. Here it is nearly six years after legalizing same-sex marriage and your state seems to be functioning quite well. The trial for Prop 8 in California is taking place right now and I’ve read nearly all the court transcripts. I’m completely amazed that no one has referenced the success that Massachusetts has had in implementing true marriage equality.
Is there a particular story from the struggle for marriage equality that has especially touched or inspired you?
Yes, definitely. Seeing Phyllis Lyon and Del Martin be married after 51 years together really moved me, although the California Supreme Court invalidated their first marriage and they had to be married again in 2008. But here’s another story that moves me – only not in a good way. Everyone should know about what happened to this couple:
Same-sex partner denied Hospital Visitation (New York Times article)
As a composer, what are some of your musical influences in this piece, and in your work in general?
When I was first conceptualizing “We the People”, I kept thinking about Aaron Copland’s “Lincoln Portrait”. I remember as a kid when I first heard it, I was so moved by the power of Lincoln’s words when they were combined with music. I used that approach as model for the narrative aspects of “We the People” although the narration in “We the People” is much more conversational. I kept the musical style fairly “pop” because I wanted the piece to be accessible to a wide variety of audiences. Critics sometimes describe “We the People” as an oratorio, but I think of it as more of a folk musical with the Narrator as our protagonist and the chorus playing the various roles of society.
You mentioned Copland’s “Lincoln Portrait”. How does “We the People” differ from more traditional choral works that use a narrator?
I guess it’s different because there’s an actual relationship between the chorus and the narrator. The narrator is taking us on this journey of discovery and the chorus is continually responding to that. Unlike more traditional narrated works, the narrator and chorus in “We the People” actually talk to one another!
You also wrote the lyrics for “We the People” and there aren’t many composers who write their own texts. Is it easier or harder to do both?
Being a composer-lyricist is really like doing the jobs of two people. Both roles are quite hard in and of themselves – at least for me – but there are advantages to doing both. Sometimes, a song will get its start from a musical idea and other times, it’s a word phrase that inspires the music. As a composer-lyricist, you have the continuous freedom to let the words and music inform each other as you go along.
Have you always been a lyricist?
Actually, when I was a kid, I always thought I would be a writer, not a composer. I used to write my tortured teenage poetry with “Adagio for Strings” playing on the stereo. It’s funny to think about that now, but from that experience, I discovered how music can enhance the emotional meaning of words. So when I began taking piano lessons at age fifteen, my sappy poems started to become songs.
In addition to your concert work, you also have made an impact as a composer for television and film and been nominated for two Emmy awards. What has been a favorite Hollywood project?
I’ve enjoyed composing for cartoons because writing music for animation really keeps you on your toes. But while I’m grateful for the variety of work I’ve been able to do, I really think my favorite project is yet to come. I’m especially interested in working on projects that reflect the life experiences of gay Americans and with the advent of the Logo channel and Here!, there are some amazing opportunities to feature the gay narrative. Right now, I’m trying to forge relationships with some of the companies that are producing this content, so that I can help out with music.
The BGMC just gave the world premiere in December of a short work you wrote, “The Story of You.” What new works are coming up for you?
“The Story of You” was written for use in the BGMC’s Community Outreach program and I am so honored to have this music be a part of that work. I grew up in a very small town and I can tell you that if a gay chorus had come to my school to perform, it would have been a life-changing event for me.
As far as new projects, I’m working on an idea for another large-scale choral work. Like “We the People”, it deals with an important GLBT issue and it will be very theatrical. And some people have suggested that “We the People” be expanded into a stage musical so I’m looking into that too. I also have a few commissions lined up to compose some chamber music.
Any final comments?
Yes. Even though I’ve worked in the entertainment industry for some time, I’ve always wanted to have a presence in GLBT music and a relationship with the ensembles that perform it. “We the People” has helped me build relationships with some of GALA’s best choruses and I’m so excited to be working with the BGMC. Reuben has been immensely supportive and it’s a thrill for me to see “We the People” performed under the direction of such a fine musician. And I’m really looking forward to meeting everyone in the chorus when I come to Boston.
BGMC Honored to Receive Stimulus Funds
The Boston Gay Men's Chorus is currently the only gay or lesbian chorus in the country to receive funding from the American Recovery and Reinvestment Act of 2009, commonly called the stimulus program. Thanks to an appropriation by the National Endowment for the Arts, the Massachusetts Cultural Council chose the BGMC as one of 28 organizations out of 143 applicants for a one-time grant of $10,000 to shore up arts organizations hit by the tough economy. Thank you to the MCC and the Obama Administration for this much needed help.
Boston Theatre Review raves about "Boys Just Wanna Have Fun"
"I took such utter delight in this weekend’s Boston Gay Men’s Chorus Concert, a tribute to the music of the 80’s aptly titled, 'Boys Just Wanna Have Fun'... Their concerts are consistently excellent, their song choices are always timely and clever, the show-choir dances and hilarious skits reinvent themselves year after year, and what they do for the community- uniting generations across tolerance and understanding through music, is something that is truly unmatched in Boston."
Read the full article on Boston Theatre Review .
The Boston Herald reviews "extrABBAganza"
"Is it every gay man’s dream to get all dolled up and belt ABBA tunes to an eager audience?... More than 150 guys revisited the catalog of Sweden’s most profitable musical export - ABBA - in what’s being called the Boston Gay Men’s Chorus 'ExtrABBAganza'... The opening-night performance on this, the eve of Boston’s annual Pride Weekend, brimmed with spirit and enthusiasm... If singing is one of life’s most liberating experiences, then the BGMC more than earned its freedom Thursday night."
Read the full Boston Herald review.
Boston Gay Men’s Chorus Wins Award from Massachusetts Teachers Association for Community Outreach
The Boston Gay Men’s Chorus announced at its annual fundraising gala that it has received the 2008 “Creative Leadership in Human Rights Award” for its High School Outreach Program from the Massachusetts Teachers Association. In addition, the BGMC announced that it has received a $6,000 grant from the American Composers Forum to commission a new piece of music about diversity to be used in High School Outreach concerts.
The announcements were made on Saturday, May 3rd at Crescendo, the BGMC’s annual fundraising event which attracted more than 400 guests to The Roxy Ballroom to support the BGMC’s mission of creating a more tolerant society through the power of music. BGMC Executive Director Steven Smith estimated that the event raised $100,000 for BGMC programs and outreach. At the event, the BGMC also debuted a new 8 minute video documentary about its outreach efforts. The video can be viewed at www.bgmc.org.
At Crescendo, Smith announced that the BGMC had won the human rights award from the Massachusetts Teachers Association. In the award letter, Gladys Durant, chair of the MTA Human Relations Committee, stated “committee members are particularly impressed with the Chorus’s contributions and support for gay and lesbian high school students through the High School Outreach Project. Many have observed the impact the Chorus has had in reducing discriminatory behavior and stereotyping and improving the climate in high schools for gay and lesbian students in Massachusetts.” The BGMC’s High School Outreach program provides free concerts to benefit the GSA (Gay Straight Alliance) programs in area schools while bringing the Chorus’s message of diversity and tolerance to school communities.
“We are honored by the MTA’s recognition,” said Steve Smith. “For those of us that grew up and came out without the support of a GSA, it is a gift for us to be able to bring our voices and our support to the next generation of GLBT citizens. We’ve sung at seven high schools so far and at every concert we are amazed at the hard work that students and educators are doing to make schools a safer place for GLBT youth.”
In a related award, the BGMC also received the first Community Partners grant from the American Composers Forum, based in Minneapolis, MN. The Community Partners project was created specifically to support gay or lesbian choruses in expanding their audiences by engaging new voices and exploring new outreach initiatives. The $6000 grant will allow the BGMC to commission an original composition about tolerance and diversity to use in its school outreach programs. As part of the grant process, the American Composers Forum is conducting a national RFP to find a composer for the project. The work is expected to be premiered by the BGMC sometime in 2009.
BGMC Honored by Outmusic Award Nomination
The Boston Gay Men’s Chorus was honored to be a nominee for a national 2006 Outmusic Award in the “OutMusician of the Year” category. OutMusic is a national network of GLBT musicians and supporters working in all genres (www.outmusic.com). The nomination in this prestigious category was selected by an open vote of all OutMusic members and is in response to the BGMC’s historic tour of Europe in June 2005, particularly its news-making performance in Poland as the first openly gay group to ever perform in that country. BGMC was the only non-solo performer nominated in this category.