| NOTES FROM THE RECORDING STUDIO
by Jason Loewith on 4/08/2008 02:45:00 PM
As reported on Playbill.com and in the Chicago Tribune, Adding Machine: A Musical is getting recorded for posterity!
PS Classics, a relatively young label with a mighty catalog, is producing the CD, which will be recorded on April 14 in New York with the off-Broadway cast. Tommy Krasker, head of the label, hopes to release it in early June.
This whole recording thing is new to me, and I've been fascinated to see how Tommy puts it together. And it's big business, too. Even the smallest of recordings, recorded in a single day like Adding Machine, takes many tens of thousands of dollars to pay performers, studio fees, post-production costs, and production... and then there's marketing. It's an unbelievable outlay in a world where people spend less and less on physical CDs and more and more on iTunes.
Since the deal was inked barely a week ago, Josh and I have been collaborating at lightning speed with Tommy on the contours of the album. Things I don't think about any more - the way, for example, our brilliant director David Cromer melded one scene into the next - are actually problems for the recording, so Josh and I have to reconsider the beginnings and endings of scenes. And what about the spoken dialogue? To cut or not to cut, that's been the question all week.
Happily, I think that Tommy, Josh and I have come to some excellent conclusions about how to trim what's unhelpful to an auditor but retain the musical's essential story. You can bet we'll be selling copies of the CD at Next!Labels: Adding Machine
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ADDING MACHINE LEADS THE PACK AT THE LUCILLE LORTEL AWARDS!
by Jason Loewith on 4/01/2008 12:23:00 PM
It is with great pleasure that we announce ADDING MACHINE: A MUSICAL leads the pack with six nominations for the Lucille Lortel Awards, honoring achievement off-Broadway! The nominations are:
OUTSTANDING MUSICAL - Jason & Josh/Producers Scott Morfee, Tom Wirtshafter & Margaret Cotter
OUTSTANDING DIRECTOR - David Cromer
OUTSTANDING ACTOR - Joel Hatch
OUTSTANDING SUPPORTING ACTRESS - Amy Warren
OUTSTANDING COSTUME DESIGN - Kristine Knanishu
OUTSTANDING LIGHTING DESIGN - Keith Parham
(We should all take some pride in knowing that all those receiving nominations were with the original production at Next!)
Read more about the Awards - and our competition, in this Playbill article, and at the official Lortel Awards website.
The awards ceremony - where the show will have a musical number! - take place in New York on Monday, May 5 at the Union Square Theater... here in Chicago, we'll be opening 9 PARTS OF DESIRE at the MCA - so it'll be one heckuva night for Next Theatre!Labels: Adding Machine
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THE BEST MUSICAL OF 2008????
by Jason Loewith on 2/27/2008 03:38:00 PM
"Is it too early to declare ADDING MACHINE the best new musical of 2008? Perhaps, but I'm going to do so anyhow, and if something better comes along, it will be a great year for musicals indeed." - TIME OUT NEW YORK, 2/28/08
Next Theatre takes New York by storm!
Joel Hatch and Amy Warren in the New York production
Director David Cromer, me, and composer Josh Schmidt
Stars Amy Warren, Joel Hatch and Cyrilla Baer
Some pictures from our fabulous opening night of ADDING MACHINE in New York! The press has been overwhelmingly positive - read the Times, Variety, John Simon in Bloomberg News, the Star-Ledger, the Sun... you name it! We're bursting our buttons. Thanks to everyone in the Next Theatre family for making this POSSIBLE!Labels: Adding Machine
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On the Differences between ADDING MACHINE: Chicago and ADDING MACHINE: NYC... (Just a Few)
by Josh Schmidt on 1/09/2008 01:35:00 PM
When all this talk about ADDING MACHINE transferring to NYC started to materialized, of course we were all excited - but what was this exactly gonna mean? To date, I have never, ever worked on a project that was not the child of some manifestation of a not-for-profit organization (with the exception of the bar bands I played in that drank away the profits). One thing all interested parties should know - the difference could not be more pronounced...
When I put my workload together for the upcoming season, I start the process usually in February, finish flushing it out usually by May or June, and am usually good for gigs until the following summer (essentially one year in advance). This works through the comfort that non-for-profit companies and colleges know the what, when, with who, and how regarding a particular project even before they sign me on, and there is a reasonable calendar of events I can construct with gaps in between for surprises and opportunities. It is the reality of how not-for-profit companies work that make this possible.
In the commercial world - ADDING MACHINE: NYC literally did not materialize into physical focus until 3.5 months ago, when space luckily became available. We were extremely lucky in this as space in broadway and off-broadway commercial venues is booked on a primary/secondary/tertiary basis so that a measure of activity is always maintained. Yes, there had been negotiation and discussion in the form of an option (with details down to the hundredth of a percentile) for a few months beforehand - but the context of that option only revealed a window of dates, nothing specific. Capital had to be raised just as quickly. Schedule and Budgets to my knowledge evolve daily, all in tune with the aforementioned flow of capital. Casting was done all within the last month, as were designer hires. There is always an assumption that timing of events might be moved one way or another. The possibility always existed that what is occurring now would have happened one year from now, earlier, or maybe never. We were given a narrow window of opportunity, and we had to jump on it with all the brute force we can muster. Security, compared to the not-for-profit producing experience, does not exist. Everyone operates from a position of good faith until everything actually happens and things are inked on the dotted line.
When I talk to my colleagues in NYC who work almost exclusively in the commercial theatre realm - they often do not know what is happening three months out, let alone a year in advance...it is an entirely different working experience.
Scary? Yes I am scared. Exciting? Yes, exciting. Risky? When we considered all options placed before us keeping in mid what was best for the show - we made our decision with this thought in mind: The greater the risk, the greater the potential for reward. This time, the financial risk is real - we have investors, not grants. This show is funded by people's own money who believe that it will (through its NYC run and subsequent potential in regional markets) pay dividends. And we are moving toward our objective at lightspeed - consider the fact it often takes YEARS for shows to reach NYC. Musicals + plays often have tryouts in several other cities and venues before reaching the big city. We as a team felt we needed to capitalize on the momentum established in Chicago - so here we go...and we're off!
In Scott Morfee (along with his partners Tom Wirtshafter and Margaret Cotter), we have been blessed with a producing team that has the ultimate confidence in and enthusiasm for the show, our working methods, and our desire to improve upon the whole experience while still maintaining our commitment to a economically feasible, produceable entity. They have allowed us time and freedom to explore improving aspects of the show we wanted to address. In all regards, we have been treated with the greatest of respect and confidence - I am most grateful. Such luck in this department is so difficult to come by.
And as of 1/3/08, rehearsals have commenced. All I can tell you is that it is progressing splendidly.
Note: I would be remiss in not saying how grateful I am to Jeremy Ramey (music director), Ethan Deppe (percussion), Ian Westerfer (Shrdlu), our amazing chorus (Rosalind Hurwitz, Toni Inzeo, Steve Welsh, Kevin Mayes, and Jon Landvick), Michael Vieau (The boss) Matt York (set), Jeff Dublinske (sound) and Richard Lundy and Erin Diener (stage management) - all of whom due to the financial realities of transferring the show outside our control were not able join us in NYC. It is the great sadness and reality of the business that the whole family could not have been reunited. Let me just say from the heart I miss you all and cannot wait to work with you all again on future projects.
All best and more later,
JLabels: Adding Machine
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On Awards, Top Ten Lists, Critics Picks, and the Blogosphere...
by Josh Schmidt on 1/09/2008 01:29:00 PM
Greetings to you all from the American Airlines terminal at LaGuardia Airport. Its ~3:30 AM and I am waiting for security to open (how glamorous can life get!) and I have just read an email from Chelsea reminding me to contribute to the blog (she gives me little assigments, and I comply). Things have been so busy I have been remiss in my duties - many apologies! Here's wishing Happy New Year to you and yours...
Along with the ol' Happy New Year comes a slew of published newspaper columns titled along the lines of "Theatre Year in Review", "Top 10 Shows of 2007" etc. etc. I had been made aware that ADDING MACHINE has been listed in many of them - and in some instances was placed at the top or near the top of some lists. Of course, I felt deeply gratified as many of my colleagues who worked on that production also feel. I am especially happy for Next Theatre, Jason, the Next Theatre Staff, and the Next Theatre Board of Directors who, in commissioning and producing that show went way WAY out on a limb in almost every respect - technical and personnel infrastructure, expenses, etc. Regardless of what anyone's personal opinions on the show were, one consensus statement (at least from the reviews and published articles about the piece I read) was that Next's production was a courageous endeavor in every aspect and that in itself commands respect. And I was glad that such risk was rewarded by amazingly strong attendance - especially considering that many of the audience members in attendance were new to the Next Theatre experience. To all this I say BRAVO - recognition well deserved!
And what all this attention means to me...
Well, I cut my teeth in the business in Milwaukee WI, where the greater metropolitan area is something like 1/10th the size of Chicago's (I'm sure this is inaccurate). The arts community there, while quite large for a city its size (and along with that very active and diverse) is still small in comparison to that of Chicago. There is one major news publication, and in that respect the town has essentially one marquee critic for each of the artistic disciplines. What this means - there is one critical opinion all productions in the area become dependent on. There is a "year in review" article published regarding theatrical productions, but it often becomes comprehensive of all theatre in the entire state (Milwaukee, American Players in Spring Green, Madison, Door County, etc.) I feel it is correctly assumed that due to the size of the theatre community in Milwaukee, something akin to the Jeff Awards is not necessary. In fact, the anecdote I tell people when asked about this subject (it is pure fabrication) is that if someone thinks you did a good job on a show, they buy you a beer. If they feel your work wasn't up to snuff, you consequently buy them a beer. As this exchange of awards unfolds over any given time period, enough beer is consumed that individual recognition is either significantly impaired or forgotten in the celebration that everyone involved is fortunate to be active and productive in the pursuit of their artistic craft, and in doing so improves the cultural, social, and (I believe this to be true) economic heartbeat of the community they live in. These are the aspects in my opinion that make the whole endeavor worth while - not so much the individual achievement. And none of this has ever really affected me much because I am not big beer drinker. So I guess on "Milwaukee Awards Night" I either end up cleaned outta cash OR I become the designated driver.
What is so great to me about Chicago - the Jeff Awards, and the multiple publications pitting "Top Ten" or "Year in Review" articles against each other - is that so much activity off-loop in every kind of producing venue possible gets attention - through publication, awards - you name it. For those who come from a place that does not have that kind of media support (regardless if you think its fair or not), the ferventness of the Chicago media coverage of theatre is wonderful. This is the kind of attention that in my opinion fuels activity within a community - I tend to believe the impact is more positive than negative. Does the act of anointing 10 shows out of the hundreds of productions that take place each year leave some feeling snubbed - I am sure. Yes, I have read the "top ten" lists and yes, I have read all the postings in response to these articles passionately defending those endeavors given the critical cold shoulder. I love it all - I am so thrilled that people here get so passionate about the productions they saw and support. I love the debate, the discussion, the lines in the sand...everything! From my perspective - at least there is a community of people ENERGIZED about what they have left the comfort of the couch to see and willing to recognize it. Regardless of what people thought about ADDING MACHINE (love it or hate it), I am here telling you I felt glad to be a part of a scene where THE SPARROW, ASSASSINS, TEAPOT SCANDALS, LADY, JOE TURNER'S COME AND GONE, THE WOODEN BREEKS...(the list goes on and on) were all up at the same time last winter. How great! In many ways, there is some part of me that wished the response toward ADDING MACHINE would have been even more polarizing just to make the discussion even juicier....
No matter - to all those who loved, hated, top-rated, berated, awarded, or avoided ADDING MACHINE - I love you all! To date, life has seldom been more exciting!
All best,
JLabels: Adding Machine, Awards
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From my point of view, awards and top ten lists are good for marketing and fundraising, and that's IT! Though I appreciate Josh's perspective coming from a smaller theater community... recognition IS nice. When I moved here from NYC, I told my friends back there that the press here was unbelievably attentive - you could issue a press release about taking a SH*T, and you'd get coverage.
Of all the advice I got about press here, the best piece was and still is: If you believe everything good they write about you, you better believe everything BAD, too. I work on that every year!
Gearing Up for Adding Machine NYC
by Josh Schmidt on 12/13/2007 12:39:00 PM
Within a few weeks, rehearsals will commence for ADDING MACHINE in New York City. This is an extremely exciting time for many of us involved, as I personally have never been through an experience of this magnitude involving something I had a hand in writing. I also think this is an important step for Next Theatre as things go FROM being Off-Broadway to Chicago TO being Chicago to Off-Broadway. I am fortunate to be involved and thankful to all who had a part in making it happen. As we go through the process, I'll check in on this blog with my thoughts on the experience and keep you all in the loop regarding this exciting event.
Happy Holidays and talk to you soon!
Josh Schmidt Composer - ADDING MACHINE Labels: Adding Machine
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Go, ADDING MACHINE, go! Congrats to you Josh for your amazing score!
CHICAGO'S OTHER AWARDS
by Jason Loewith on 10/09/2007 03:30:00 PM
Last night, I was proud and humbled to be part of the other big award show in town, the AFTER DARK AWARDS, at the Lakeshore Theater in Lakeview as a benefit for Season of Concern, the theater community's response to HIV/AIDS. Hosted annually by GayChicago Magazine, the After Darks honor achievement in theater of all sorts (professional and nonprofessional, conventional and the farthest fringe) as well as cabaret. It's a raucous, wild party, as nearly 80 individuals and theaters are honored with awards in numerous categories... and it comes without the competition that other award shows have. Modelled after the OBIE Awards in New York, the After Darks salute outstanding achievement, and in any given category there may be two, three, four, or (as in the case Outstanding Ensemble last night) nine winners.
Last season's production of THE ADDING MACHINE: A CHAMBER MUSICAL was honored with two awards - one for Outstanding Song Score, and the other to Keith Parham for Outstanding Lighting Design.
But many other Next-affiliated artists celebrated achievements from last year, including:
David Cromer (Director of THE ADDING MACHINE) for his direction of COME BACK, LITTLE SHEBA
Kevin O'Donnell (Composer for the upcoming AMERICAN DREAM SONGBOOK) for Outstanding Season
Gregory Anderson (Understudy for BUSY WORLD IS HUSHED) and Linda Gillum (Director of ACCIDENTAL DEATH OF AN ANARCHIST) for Outstanding Ensemble - THE BEST MAN
Carmen Aiello (Former Casting Associate) for Outstanding Ensemble - MARATHON '33
John Judd (Salter in A NUMBER) for Outstanding Performance - COME BACK, LITTLE SHEBA
Tommy Rapley (Choreographer for the upcoming AMERICAN DREAM SONGBOOK) for Outstanding Choreography - DORIAN
Micky York (Former webmaster) for Outstanding Musical Direction, HAPPY END
Lee Keenan (Lighting Designer for THE GOD OF HELL and THE MISANTHROPE) for Outstanding Light Design - CARAVAGGIO
Congrats to all for an astonishingly rich 06-07 season!Labels: Adding Machine, Awards
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A BIG DAY FOR NEXT THEATRE!
by Jason Loewith on 9/06/2007 06:42:00 PM
Executive Director Lisa Fulton and I are proud and thrilled to announce the following six Joseph Jefferson Award nominations for Next Theatre artists and productions in the 2007-08 season!
- THE ADDING MACHINE: A CHAMBER MUSICAL, Best New Musical
- David Cromer, Best Director of a Musical, THE ADDING MACHINE
- Joel Hatch, Best Actor in a Musical, THE ADDING MACHINE
- Amy Warren, Best Supporting Actress in a Musical, THE ADDING MACHINE
- Keith Parham, Best Lighting Design, THE ADDING MACHINE
- Toy DeIorio, Best Sound Design, FROZEN
 A full list of award nominees can be found here.
I'd like to take a quick moment also to remember some of the extraordinary work that did not get recognized by the Jeff Awards committee, including Jeff Still's remarkable Menelaus in HELEN; Linda Kimbrough's MISS WITHERSPOON; the incredible production and total design team behind all of THE ADDING MACHINE, lassoed by Production Manager Jim Davis and Resident Stage Manager Richard Lundy; Jeremy Ramey's extraordinary  Musical Direction of that show; and the courageous and knee-wobbling performances created by Laura T. Fisher, Jenny McKnight, and Joseph Wycoff in FROZEN. It was an exceptional year throughout Chicagoland theater as the award nominees suggest, and an exceptional year for us at Next.
I'd like to also take a quick moment to recognize the Artistic Associates at Next whose work was nominated elsewhere. Goes to show what a tremendously talented group of artists, staff, artisans and technicians we have working for us:
- Allen Gilmore in the Ensembles of ARGONAUTIKA and JOE TURNER'S COME AND GONE (and Featured Actor, JOE TURNER)
- David Cromer for Direction of a Play, COME BACK LITTLE SHEBA
- Michael Montenegro for Puppet Design, PUPPETMASTER OF LODZ
Thanks to all of you who have made this celebration possible. What a year it's been, and what a wonderful season lies ahead! Labels: Adding Machine, Awards, Chicago theatre, Frozen
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WHAT'S NEXT FOR THE ADDING MACHINE?
by Jason Loewith on 3/20/2007 04:08:00 PM
Many of you have written and called me to give me your feedback about The Adding Machine: A Chamber Musical, which closed its sold-out, extended run on March 4. I'm so grateful you shared our excitement about the piece (even if a few of you had criticisms), and most everyone asked, "So what’s next for The Adding Machine?" We’re talking to a number of theaters across the country about producing it, and have some exciting offers on the table. I'll update you as soon as I know where you can catch our world premiere musical next.
I can certainly tell you that composer Joshua Schmidt and I, in collaboration with director David Cromer, have a substantial amount of work we'd like to do on the final two scenes - the Elysian Fields, and the Soul Machine. Much of this work we're planning came out of feedback we received at post-show discussions, so in case you ever wonder whether you should raise your hand, now you know how valuable it is.
Labels: Adding Machine
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DOES OUR MACHINE ADD UP FOR YOU?
by Jason Loewith on 2/11/2007 02:51:00 PM
THE ADDING MACHINE: A CHAMBER MUSICAL has opened to more critical praise (and some critical drubbing) than any production in recent memory at Next. And rarely has a production of ours been so controversial. Click here to read one reviewer who said "I hated every minute of it." And click here to read one that calls it "brilliant...highly polished... sophisticated and audacious."
So what do YOU make of it? We certainly hoped to create a musical that broke the rules - in the same way Elmer Rice's play did in 1923. But did it break too many of them for you? Or not enough? Did you connect emotionally to the story? Or were you wondering more about the form?
We can't wait to hear what you think!Labels: Adding Machine
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