Laura Freeman Sings!

So yesterday I watched a man and woman leave the set with the woman struggling to get her arm through her coat. I went up to the couple and explained that during the 60’s, a man would never let a woman put on a coat by herself, he would have helped her. Did he know how to help her put on a coat? He said, with a rolling eye, that he did…but that his hands were full (with his coat, hat and drink…for some reason he was leaving a club, stealing their glass…but, that is another story). I informed him that men used to be able to do 2 things at once and that juggling all these things was, in fact, possible. As I should him how to do it, he mumbled that men used to do a lot for women, insinuating that we couldn’t do things for ourselves. I laughed and patted his arm and said, “Well, that was before we all emasculated you. I get it. You don’t know what to do. But, trust me…women like it!”

It used to be called manners. Putting the whole struggle for equal pay, equal respect aside…I miss those niceties. If I see anyone struggling, I ask if I can help. Is it so wrong to hold a door? Carry a heavy load? Not cuss like a sailor every time something doesn’t go your way?

The First Annual Midwest Cabaret Convention was this weekend. Taught by Lina Koutrakos, Sally Mayes, Rick Jensen and Beckie Menzie, it was an intense week! 8 students came from DC, St. Louis and NYC to join the 8 Chicago locals for workshops, performances and fellowship.

What was great to see was how far the participants came. There were all levels of performers at the conference and even those jaded performers, like me, got great feedback and new tasks to make us better actors and musicians. I love opportunities like that. I love honing my skills. Truth be told, one of the things I miss most about being on the theatrical stage are the rehearsals! I love trying new things, having an outside eye give me direction, working with others on the creative process.

Cabaret can be a very lonely art form. It’s just you up there. Unless, you are blessed to have more than a jobber back you up…which I am. I have one the premier musical directors in the city sit at the piano, almost every time I perform. I’m even lucky enough to have 2 or 3 pianists that I also work with, who are more than just there for a paycheck. We make music.

So, I’ve been performing  Sentimental Journey…the music of Doris Day for about 2 years. Last night, I did my last show of it for awhile, not counting a library gig in Morton Grove I’ve yet to do. I don’t have it on the books next year…yet. It has been a wonderful journey. It took about 4 months of preparation. Most of that time was spent reading two wonderful books, watching numerous films of hers and trying to whittle down the 600 songs she recorded down to about 40 of them that I just had to sing. That was probably the hardest part. Oh and writing the patter.

It was my first solo show, so I wanted it to be really special. Looking back, my years of musical theatre helped me construct it. I knew it had to have an arc; it needed an opening number, closers for both acts, an eleven o’clock ballad. I knew my patter was my script and it would take me to the songs. The tunes wouldn’t be just randomly grouped together by what year they came out, or if the beat was similar. No my patter was my plot. I find it much easier that way. Most of the time I work from the patter first, but that’s just me. I think most people choose the songs and then find something to say about them. Certainly, it’s that way if you come at a cabaret show from a jazz perspective. There you pick the songs and the patter is just a way of introducing them…what label, what year, who sang it etc. Just the facts, although sometimes they give you a story about the way a song was written or for what or for whom. But, it’s never the plot of the show. And rarely is there a personal anecdote.

OMG! After 7 years here in Chicago…I’ve finally gotten cast in my first show! Ok sure, I’m very busy doing the cabaret/concert thing...and I love it! But, this is the first time I’m putting my Equity card to use since I arrived in 2003, not counting the mock trial thingy. And what better show to be cast in than the ensemble of Annie Get Your Gun, staring Patti Lupone, George Hearn and Patrick Cassidy. 

Could you just? Plus, Paul Gemignani and Lonnie Price?!? Have I died and gone to theatre heaven?

Now, the show might as well be Camelot, as little as we are on stage, but I’m having a blast getting to know some of the other actors in town and watching them work. I had forgotten how wonderful watching someone else’s process is for me. I love seeing people try new things and suddenly a character develops in front of my eyes. I mean, I love doing that kind of work too! But, this time it’s observing others ply their craft and I am loving it. I could sit and soak up rehearsals all day. So much fun.