Influence: Alan Menken, King of Melodies

In 1991, I got the soundtrack for Disney's Beauty & the Beast on cassette tape before I had even seen the movie. What I heard on that tape was epic. The opening number "Belle" in particular blew my mind completely with its layered vocals and bright melody. When I finally saw the movie at the theater, I remember getting so excited that "Belle" was beginning that I shouted out "Bonjour! Bonjour!" right along with the 2-D French people on the screen. My mom and sisters had to shush me and tell me that it was not polite to blurt out the words. My love for this film was further solidified when the VHS came out on October 30th the following year, and I opted to skip trick-or-treating just so I could watch Belle, Beast, Gaston, et al three times in a row on Halloween.

I couldn't have told you then what it was about the score for Beauty & the Beast  that I was so taken by. I know now, though, that it was a combination of lyricist Howard Ashman's fantastic use of the English language, and composer Alan Menken's uncanny ability to make melodies that whisk you away into the story. Ashman, unfortunately, was taken from the world way too soon. But Menken continued on to create the memorable scores for Aladdin, Pocahontas, The Hunchback of Notre Dame, and Hercules. Each new Menken-Disney project offered musical compositions that were unique from those of previous films (compare Pocahontas  to Hercules , for example). And yet, they all brought the storytelling power that came to be expected of 90's Disney films. This is why, even as a kid, I was sorely disappointed with the music in The Lion King.  This is not to harp on Elton John's amazing pop sensibilities. But there's just something about a Menken melody that grabs you and says "Listen! Something very important to the story is being sung here!"

Why do Menken's melodies work so well? Two answers. First, I think it's because he knows when to surprise us. Take my favorite Menken tune "Out There" from Hunchback.  The structure is pretty standard for an "I want..." ballad. There isn't anything particularly tricky about the meter or structure or form. But the main melody of the chorus starts off with a descending minor 7th. For those who are less musically inclined, all you need to know is that a descending minor 7th is very rare in songs. Menken harmonizes it so well that you don't realize it's so different, but the subconscious impact remains. This big jump in the melody sounds fresh and expansive, and gives the song its particular character.

Second, Menken's not afraid to keep things simple. The song "Beauty & the Beast" is essentially a series of varying five-note patterns, some of which are overtly scales going up or down (think "Barely even friends / Then somebody bends"). But he chooses his five notes carefully each time, and the little surprises that arise give the song its emotion (think of the difference between "Tale as old as time" and "Song as old as rhyme." Rhyme is the surprise note.) What I also think is so compelling about the song, is that it never overstates itself. Even the climax happens right in the middle, rather than towards the end, where many Broadway numbers like to build. The music stays simple, and doesn't let itself get in its own way. It allows the audience to just take in what's happening - Belle and Beast are falling in love.

While I am forever indebted to Mr. Menken for his musical influence in my life, I will probably never be able to capture the exact quality of a Menken melody. I'll be happy if my songs have a sort of "Min-ken" quality about them. And maybe someday, a parent will have to shush their kid in the audience of one of my shows because the little one just couldn't help but sing along.

"That's what keeps me going" - An Interview with Ryan Cairel

Ryan Cairel, who plays Death in The Song of the Nightingale, started performing at color guard competitions in middle and high school. In the summer of 2005, he was a member of the Concord Blue Devils Drum & Bugle Corps. I first met Ryan while music directing Tri-Valley Repertory Theatre’s production of Cinderella, and I’m so fortunate to have him as a cast member for The Song of the Nightingale. Below, Ryan shares a bit of his performance background, and also tells us about an event that is very near to his heart: Roanne’s Race – a 5k/10k run/walk set up in memory of his sister Roanne Cairel.

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MIN: So, what have you been up to performance-wise between Cinderella and The Song of the Nightingale?

RYAN: I participated in my friend's dance thesis and performed in her modern dance at Mills College early this year. I danced and choreographed for the Las Positas Dance Production for several years in different genres such as lyrical, modern, jazz, hip hop, contemporary, swing, and waltz. My favorites are contemporary and lyrical. I auditioned for So You Think You Can Dance in 2010 or 2011, and made it to callbacks. I was cut after that, but it was still an awesome experience. My only TV time was in the background of the news and running into the theater!

M: What has the experience of being in Song of the Nightingale been like for you?

R: Being part of the Nightingale cast has been a huge learning experience. I didn't think I could sing until this show (thanks to you, Min). It's been fun acting as well. I'm not used to saying lines because, as a dancer, I act without saying a word, but I'm getting comfortable with it. Playing Death is, actually, really fun for me. This role has me playing the complete opposite of who I am, but I love the feeling I get when in character. The whole cast and crew is great to be around. Since day one, everyone has been so nice, welcoming, and helpful. They are all so talented and hilarious! So much laughter, inside jokes, and good times.

M: How did you get into performing/dancing?

R: I got into performing after watching Roanne, my older sister by 11 months, on our middle school color guard team. I would stay during their rehearsals and, sometimes, watch her practice at home. She would teach me tricks on rifle and flag in our front yard. The next school year, she suggested I audition for the team with her. I was a little hesitant at first, but she convinced me to try out. After making the team, I had a blast at rehearsals and competitions and that's when I knew I wanted to be a performer. I joined the color guard team every year and did it all through high school. After high school, color guard performances were over for me. Roanne was taking dance classes at Las Positas College, so I followed her route and enrolled into the dance production class that has dance concerts at the end of every semester. I danced alongside my sister my first semester. She was diagnosed with colon cancer the next semester and didn't dance. I didn't want to do the production without her, so I took more technique classes, like ballet and jazz, to better my dancing. Roanne enrolled back into the production class the next semester because she missed dancing and performing on stage. I joined again because she did. We were in the class together for a few more semesters. She even danced in some of the dances I choreographed; it was pretty awesome. Dealing with cancer and chemo treatments, Roanne had to stop taking the class. I didn't follow her and stop dancing. Instead, I kept going because I loved it and because I knew she would want me to. She would stop by and learn some of the movement, even when her chemo tube was hanging out of her shirt. Everyone loved it when she stopped by because you can just see how badly she wanted to keep dancing. She came to all of my performances. I feel like she lived her "dance life" vicariously through me when she couldn't dance anymore. I guess that's what keeps me going.

M: Tell us a little bit about Roanne's Race and what it has meant to you.

R: Roanne's Race is a 5k/10k run/walk. Roanne came up with the idea to help support colon cancer research. After her passing, our best friends (yes, we share best friends), her boyfriend, and our families decided to start the race in her honor. All of the proceeds are donated to support the research of colon cancer, specifically among young people. Last year for our inaugural race we supported Colon Cancer Alliance’s Diagnosed Under-50 Research Initiative and donated $8,500 to their research. This year we will be repeating our support of the Colon Cancer Alliance and their research. This race means everything to me. My sister didn't want to be forgotten and have her life just end. With this race, she's being introduced to so many people. We set up booths at festivals, hold fundraisers, and do whatever we can to spread the word and, every time, there's an indescribable feeling I get after seeing how many people are interested in our event. It's amazing how much support we've been getting! 

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Roanne’s Race 2013 is happening this weekend, Nov 2nd. Click the link for more information. It's too late to register in advance, but there will be a few spots available on a first-come-first-serve basis on the day of the run. And if you can’t make it to the event, you can still donate to this lovely cause at the Roanne’s Race website!

My 'second act' career - An Interview with Miyoko Sakatani

It is such an honor to have Miyoko Sakatani  as a cast member in The Song of the Nightingale.  Her spirit and determination are a force to be reckoned with, and as I've now watched the show several times, she certainly grabs the audience's attention when she performs! Below, she shares her performance background and then some.

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MIN: Please tell me how you got into performing.

MIYOKO: In 2008, after a 40 year career as a critical care nurse and health educator, I heard about the Stagebridge Theatre Company in Oakland. Within months of enrolling in a singing class, I auditioned for their musical comedy troupe Never Too Late, and got cast. I never seriously considered pursuing anything theatrical, so this was quite a surprise to me and my family. But now, I guess you could say I've entered into my “second act” career!

Over the last 5 years at Stagebridge, I have had the great opportunity to be cast in several of their premiere musical productions. But the shows that I am most proud of are the multicultural, inter-generational musicals offered annually to the Oakland Unified School District. The one that was most significant for me was “Grandfather's Journey,” based on Allen Say's wonderful children's book recounting his own personal story about his Japanese immigrant parents, their cultural and family struggles and their experience during WWII. A story very near and dear to my heart with my own family history. I was thrilled to dress in a traditional kimono and honored that “Grandfather,” wore a kimono that belonged to my father. I also incorporated a beautiful kimono that my mother wore as a child. It was a very emotional experience for me.

After getting some courage and stage experience from Stagebridge, I began to audition for some of the Bay Area theatre companies and was very fortunate to be cast in several plays and musicals. I also felt the disappointments of traditional casting. Then last year, by a chance encounter, I was cast in a supporting role for an independent feature film called “East Side Sushi.”

But, despite all this good fortune over the last 5 years, I must say that the most fulfilling part of what I do is performing regularly for the elderly in Bay Area senior care facilities with Never Too Late and with a little ukulele band I belong to. So much love and appreciation given and received.

MIN: Are you still working right now? Tell me some more about your work in medicine.

MIYOKO: Since leaving the hospital, I continue to work as an independent nurse consultant. But my real passion is and always has been in integrative medicine. While continuing my work in critical care, I began to pursue a degree in naturopathy in 1985. I shifted from teaching critical care nursing, to offering workshops on holistic health with my husband Richard, who is also an RN. I realized early on how vital it was to bring these healing practices into the hospital and apply them at the bedside. Richard currently works at SF General Hospital and gives Reiki treatments and massage to his patients with phenomenal results.

MIN: What drew you to audition for The Song of the Nightingale?

MIYOKO: I was attracted and inspired to audition for the show on many levels. First, the characters were all Asians and inter-generational. Next, it takes place in Asia (China), and finally, there were roles for “older females of all ethnicities.” This is always a good incentive to audition! While I was waiting and hoping for a call back, I began to read more about you and your process of writing this musical, and viewing the 2010 workshop videos. I thought to myself, “OMG, I have to be a part of this show, any part!” And now imagine, all these years later, as a young girl being profoundly impacted by seeing Nancy Kwan in the Flower Drum Song, to be given this opportunity to sing and dance in equisitely choreographed production numbers. A dream come true. Thank you to Christina Lazo [director]. You're the best! And yes, I really do “enjoy being a girl!”

MIN: What are some mottos you live by?

MIYOKO: I would say my Buddhist roots run deep within me, so I try to bring peace and understanding into every situation. I also try to live by the practices of the Four Agreements (don Miguel Ruiz).

MIN: Anything else you'd like to add?

MIYOKO: I'm feeling I'm a part of something so rare and beautiful and inspirational with The Song of the Nightingale, and incidentally, I am feeling the same about my mother just turning 100 years old. She is one of the last of Issei (first) generation surviving a lifetime of hardships and I am humbled and so deeply grateful.

Miyoko Sakatani (left) with fellow cast members from L to R: Isabel Anne To, Ted Bigornia, Chris Juan, Lindsay Hirata, Ji-Yun Kim and Deedra Wong.

Up-and-Coming - An Interview with Alec Zhang

Alec is the youngest member of the Nightingale cast. I thought it'd be fun to interview him about his experience in the show. You'll find his 13 year-old responses charmingly astute and insightful.

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MIN: How long have you been doing theatre?

ALEC: I have been doing theatre for about 2 years now, ever since I was in 6th grade.

M:   What do you love about it? 

A: I really love the rush of excitement you get when you're about to go onstage. To me, it's kind of like a drug. Well, a good drug, I guess. It really keeps me up on my beat and ready to act! I also love the reactions you get while the audience watches the show. It always exhilarates me when the audience reacts the "right" way to a scene or line. The whole experience bonds you with others that share your love for theatre with.

M: What has it been like to work on The Song of the Nightingale? What was your favorite part? What has been the most challenging part? 

A: Working with everyone on The Song of the Nightingale has been very exciting and interesting, especially because I was the only child. It seemed awkward at first, but after getting to know everyone, I made plenty of friends, and felt like we were just friends, not cast members. My favorite part was when we all got to know each other and ran through for the first time. It gave everyone a chance to see how the show basically ran, and I got the grasp of what kind of person my character was. The hardest part was probably trying to find a good balance between school work and this. You guys did try to help a lot (and thank you for that!), but it was just those few days where I didn't quite get all my homework finished and I would be exhausted. But hey! It all worked out in the end!

Alec Zhang (Tai Yun) being harassed by co-star Lindsay Hirata (Mei Lin).  

M: Are you striving to be an actor when you get older, or do you have other path(s) in mind?

A: Acting is something that I would like to try later on in life, and I may take it professionally, depending on my skill level by then. It's not a clear decision, however. I may strive to become an artist, an entrepreneur, or even a lawyer someday.

I'm still young. I've got time.

The Mundane Path

Recently I was re-introduced to the story of Naaman - a man in the Bible who was seeking healing for his leprosy. Naaman goes to see Elisha, the prophet of the day, who tells him to wash seven times in the Jordan to be healed. Naaman responds with anger, saying "Behold, I thought, ‘He will surely come out to me and stand and call on the name of the Lord his God, and wave his hand over the place and cure the leper.’" He also proceeds to complain about the chosen body of water. Naaman's servants plead with him saying “My father, had the prophet told you to do some great thing, would you not have done it? How much more then, when he says to you, ‘Wash, and be clean’?”

While is passage is specifically about healing, I garnered two observations that were applicable to any process of change or growth.

Often times, the process is not what we expect it will be.  We may have an exact image in our minds of what a certain path in our lives is meant to look like, only to find that we prepared ourselves for the wrong thing. And like Naaman, we can get mad and resist this different process. Or, like Naaman's servants, we can choose to accept this unexpected path. I mean, if the end result is going to be the same - if I am going to be healed or changed or matured using the unexpected path, what's the use in getting angry that it's not happening the way I thought it would?

We often desire a path that is more spectacular than the reality.  Naaman wanted the prophet to wave his hand and make magic happen. But the actual path was less exciting. It involved doing something very mundane, and it would not be instantaneous. Now, I know well that there are spectacular stories happening all over the world! These are the stories that get into papers, shared virally, talked about. But I would guess that for every spectacular story, there are at least one million mundane, everyday life events - again, this is just a guess. Unfortunately, the spectacles get our imaginations flowing and whet our appetite, so we desire life to always be spectacular. But it isn't. Life, growth, healing, change - these things are often achieved through repetitive, day-to-day tasks.

Still, while life isn't always spectacular, I do believe life can always be awe-inspiring - just not in the whiz-bang-pow! way we want it to be. As a storyteller, I often try to convey those spectacular life moments in my work. However, the act of crafting those stories exists in the realm of the repetitive and mundane. Sure, I could wait for that hand of God, that muse, that spark of inspiration to flood my soul and almost coerce me to write. But what are the chances of that? And if the end result could still be that I tell a great story, why get angry that the instant spark doesn't occur? Usually, it's me in front of my laptop or my keyboard, with the laundry in the wash, and the realization that I still have yet to shower that day. Thankfully, I'm not required to bathe seven times like Naaman.