Interview: Pamela Martinez, Composer
I definitely think that having a team of Brooklyn creators and women creators working on original content for children is pretty awesome…
by Rachel Wilson
On Saturday June 23, the Brooklyn Music School’s Music Theatre Program will present the performance of “To Dream a World”. This unique performance features an original tale of how William Shakespeare imagined the characters for his works. As a boy, his dreams take him to magical worlds where he meets the characters that eventually end up in his plays.
Pamela Martinez is a voice, piano, violin, guitar, and harp instructor at Brooklyn Music School. I spoke with Pamela, who is one of the composers and lyricists for “To Dream a World,” and asked her about her work with the show and why it is unique and worth seeing.
Q: What do you think makes this production unique?
A: I definitely think that having a team of Brooklyn creators and women creators working on original content for children is pretty awesome. I feel like that can only happen in Brooklyn because there are so many creators here. Also, I think having this particular play is unique because it’s a Shakespearean focused play for children. It’s not one of his plays, so it’s not a watered-down version of his art, it’s a new piece that introduces children to the art and work of Shakespeare. Creating Will as a child so children will be interested in it, it’s a fictional biography of Will Shakespeare as a kid, which I can tell the children were connecting to.
Q: What was the inspiration behind the show/music?
A: We begin with a concept worth writing about and teaching about. We thought it was worth teaching about Shakespeare, we thought it was worth writing about the seasons. We usually base it on a myth, a fable, another opera or a character, a fictional or real life character. But we start with a teachable concept or concept we feel is worth teaching about, in this case it was William Shakespeare. In other cases, Greek or Roman mythology, or another composer we can teach about that inspired the work that we can completely recreate music for based on a character or myth.
Q: What is the overall process for putting together a show like this?
A: It’s a lot, a lot of work. Opera is the Italian word for WORK and they’re not kidding. The original intention was to create an original piece of art that was all of us together. I like working on this team, I like building a team that has like a lexicon, a library of experience to draw on. We’re growing together, it’s not 3 months at a time, it’s not a semester at a time, it’s growing over years. I’ve worked at BMS for 8 years and I’ve been writing for this project for two years.
Q: What is it like working with the students?
A: This season I didn’t work with the students directly. I have before. The best I can say is it’s best that the students work up to the task. We have professional, high level expectations. It’s not baby stuff. This is one that is pre-conservatory training, we have pretty high expectations for our performers. Not every student continues their studies but the ones that do, they flower and they blossom and they learn, so it’s the students growing as well as the writing and directing team. I’ve been writing music for like, 20 years, I started when I was a kid. I’ve mostly been seeing myself as a songwriter than a composer. I have a lot of experience recording, and I think this is the next step, taking the children into the studio, and teaching how music is passed along. I think that’s a big part of being a performer, learning how to share your work.
I have another project I work with called Whisper Lodge. It’s immersive theatre, it’s seasonal. We’ve had NY Times reviews, Buzz feed News reviews. A Netflix Documentary for the project comes out in July. That one I direct as well and work with the teens. I think there are very talented young people in Brooklyn. I mean all over, but luckily, they hear about Brooklyn Music School because we are at the heart of Brooklyn and we’ve been around for 100 years. We have a mentoring program for students who are under 18 who want to work for the school. I feel like that program has been centered towards rock students, for some reason. I would love to see more mentors brought in through the musical theater and dance programs. I don’t have a lot of harp students, there’s harp in the play and I‘m the harp instructor. I have two piano students that I’ve converted to harp, but I would love to find more harp students. I teach a lot of things but I would love more harp students!
Q: What do you think makes this show worth seeing?
A: The costumes are phenomenal! It’s worth seeing, it’s a very photographical play. Something unique about the costuming, which was done by Deborah Houston, is she used to run a Shakespeare company, so the costumes come from an authentic company. I would throw out the idea as far as parents who are looking for projects for their children. We’re studying content that is important and essential for a budding artist, studying some sort of literature or art.
Interview: Danielle Carroll, Playwright
Danielle Carroll is one of the playwrights for “To Dream a World”, and we spoke with her about what makes this show unique, the process behind it, and why you should attend the show …
by Rachel Wilson
On Saturday, June 23, the Brooklyn Music School’s Musical Theatre Program will present the performance of “To Dream a World”. This unique performance features an original, fictional tale of a young William Shakespeare and how he imagined the characters for his works. As a boy, his dreams take him to four magical worlds, which are represented by the four seasons. In these worlds, he meets the characters who will eventually end up in his famous plays.
Danielle Carroll is an actor, writer, and producer who has worked on original shows with BMS in the past. I spoke with Danielle, one of the playwrights for “To Dream a World”, and spoke with her about what makes this show unique, the process behind it, and why people should attend it.
Q: What do you think makes this production unique?
A: I think that this production is unique in that it incorporates Shakespeare’s greatest and lesser-known plays and sonnets into a cohesive tale. It is a fun look into the imagination of one of our greatest playwrights.
Q: What was the inspiration behind the show/music?
A: I remember being little and having this little pile of dirt right outside my bedroom window. I kept imagining a flower growing out of this pile. I would go to sleep looking out the window and imagine this beautiful flower. And I remember waking up one day and actually seeing a flower growing from this pile, almost as if I had willed it to happen. I still don’t know if I made it up or it was part of my dream. This image returns to me time and time again, and when we began exploring Shakespeare’s plays, I remembered this flower. I thought it would be a fun and imaginative way into Shakespeare’s worlds. The rest grew from that image.
Q: Why do you believe people should attend this show?
A: Shakespeare remains the greatest playwright because the themes he explores are timeless and his characters reflect human nature in its many forms. A Midsummer Night’s Dream is especially relevant in today’s climate, and to see something like this allows us to examine ourselves. I think we could all use the theater to guide us into worlds not so unlike our own. Sometimes our imaginations are more powerful than we know.
Q: What is the overall process for putting together a show like this?
A: Collaboration, collaboration, collaboration. It always starts with a small seed. The more you work with others, the more a concept grows and changes. Each layer adds something new to the story, and before you know it, the story has turned into something you could never have imagined. Working with Deborah on the text and her deep knowledge and love for Shakespeare was so essential in boiling down the key themes and creating this world. It comes from passion, and when you get so many talented people together who all bring something different to the table, magic can happen.
Q: What is it like working with the students?
A: Getting a group of 5-13-year-olds working on the same production is not an easy feat, but it is amazing to see the excitement and interest that they have and how they work together. Having the opportunity to introduce Shakespeare to a young group of students is so exciting and important, and these students really stepped up to take on the challenge. The language in the play isn’t easy, as a lot of it is taken straight from Shakespeare’s works, and they have done an excellent job of bringing that language to life.
Q: What was your favorite part of working on this production?
A: Seeing the students discover Shakespeare and these new worlds for the first time reminded me why I love the theater. I’m from a small town and the summer stock theater saved my life. I couldn’t believe that all of these different worlds could exist right down the street from me. This is why I moved to New York and continue to do what I do.
Q: Do you have any final thoughts or anything else you would like to add about the show?
A: I hope you enjoy it!
INTERVIEW: Nels Cline
In anticipation of his upcoming sold-out Jimi Hendrix Tribute concert at BMS on February 24, 2018, we asked Nels Cline of Wilco, a few questions about what inspired him to join BMS's Artistic Advisory Board, and what Jimi Hendrix means to him.
This past Autumn, the Brooklyn Music School (BMS) welcomed several new members to its Artistic Advisory Board. Each member of the Artistic Advisory Board brings a unique perspective, insight, and experience that is sure to support the Brooklyn Music School as it continues to grow and offer inspiring programming for music and dance students of all ages.
In anticipation of his upcoming sold-out Jimi Hendrix Tribute concert with the Brooklyn Music School on February 24, 2018, we asked Nels Cline of Wilco, a few questions about what inspired him to join BMS's Artistic Advisory Board, and what Jimi Hendrix means to him.
Here's what he had to say.
Q: What about the Brooklyn Music School Inspired you to get involved?
Nels: I was approached through the gentlemen Seth Rosner, who run the excellent jazz record label Pi Recordings, to meet the school’s administrators about being on the advisory board, and as a fairly recent resident of Brooklyn and as one who is usually out of town playing, I thought that involvement on some level would offer the opportunity to contribute to my new community in some way. When I met with everyone and got a feel for what the school is about, I immediately loved it. The aim of providing music education for people of all ages and backgrounds is a noble one. I hope I can help in some way to make people aware of what the school is doing and to keep it thriving.
Q: What perspective or experience do you look forward to sharing with the Brooklyn Music School Community?
Nels: My musical background is not particularly academic, but my age (I am now 62!) and rather diverse stylistic impulses may make me an interesting voice to add to those already on staff at the school. My personal trajectory as a late-bloomer/late “success” could be a very encouraging story for musicians of all ages. It’s very hard to “make it” in music, and my consistent message has been to persevere and to try to follow one’s inner voice and not be deterred by disappointments and/or non-artistic pressures.
Q: What inspired you to want to do a Jimi Hendrix tribute?
Nels: Well, it was really the school’s idea! It was suggested because they knew that my decision at age twelve to play guitar for the rest of my life happened when I heard Jimi back then, in 1967. I agreed to the idea right away. I sure hope I can do the music justice!
Q: What significance does Jimi Hendrix have for you in your life?
Nels: See my previous answer. Beyond that statement, Jimi still embodies the most potent, colorful, innovative, personal, exciting aspects of music - for me and, quite obviously, for millions of others the world over. The work still gets me revved up and inspires not just guitar expression/histrionics but creativity at its most electrifying. And at the core of it all: the Blues...
Q: Do you have a fun fact to share about you or your instrument?
Nels: When I was young and thrilled by music and by Jimi, I never tried to play like him at all, thinking it was A) impossible, and B) almost sacrilege - Jimi seemed like pure magic, superhuman or something. I designed to be modest, un-flashy. Now, look what’s happened!