Comments on the Broadway Theatre Project

College Majors Musical Theater Majors
1

<p>I recently found a “summer programs” thread on college confidential in which someone suggested Broadway Theatre Project as a strong option for summer study. I know that the program has an excellent reputation, and I feel it necessary to share the disappointment I felt when I attended BTP this past summer. It is the only theatre education program that I regret being a part of.</p>

<p>I have to explain where I am coming from: I am an actor/ singer who has studied dance, but it is not my focus. I did think that the dance classes were excellent. In this discipline (alone) I believe that I improved at BTP.</p>

<p>In acting class, we played the improv games that I played in my middle school drama club. While we were asked to bring monologues, only two students in my group got to work on them in class, and I found the instruction to be very poor (there were 30-40 students in each class). There were two excellent acting teachers, but I had each of them only once, for an hour, in the entire three-week period. </p>

<p>BTP puts together a show for the final day, but claims that the true focus is on the class work. I did not find this to be true. Students were constantly pulled out of their classes to rehearse for numbers that they did not ask to perform in. In both numbers that I was cast in, the directors threatened all of us with being cut from the number numerous times. We were urged to push and to compete.</p>

<p>I am a junior at one the “top” musical theatre schools, where the training is considered intense. I have participated in classical acting intensives, and I am an Equity actor and have worked professionally since a young age. I did not find BTP to be more intense than other programs I have done, but I did find it to be more cruel. The problem with the intensity was that, rather than being inspiring, it was needless: why did the schedule permit us 6 hours of sleep at the most, and no practice time, when we would be far more able to improve if we were healthy? Why did we see each teacher only once, prohibiting the formation of any sort of relationship? Why was weight such a focus, when eating disorders were already rampant? Why were we constantly threatened, when growth as an artist cannot be pushed?</p>

<p>On the second to last day of the program, 6 students fainted. Many of the advanced dancers, one of whom had a professional job coming up after the program, hurt their legs significantly. The morning before the show, the director Debra McWaters (whom I never had a class with) came to speak to all of the students. I expected this to be something supportive—the customary before-show speech. Instead, she said that she’d heard some students complaining about the program, and threatened that if we said anything negative about BTP she would tell every casting agent and director she knows. Many of the younger students were terrified. I was torn between rage and finding the entire situation hilarious.</p>

<p>I want to be an artist because I want to help people connect. I felt that BTP did the opposite, by creating an atmosphere of distrust and anger, undermining rather than building confidence, and discouraging rather that encouraging-- the opposite of what I expected a program with this fine a reputation to be.</p>

2

<p>I am so sorry you had such a negative experience at BTP. My D attended last summer as well and came away with quite a different view. While I believe she would agree that the greatest strength of the program is in its dance instruction, she believes that the program instilled an incredible work ethic in her (which has been noted this year by her current director) and toughened her up for the realities of the business she hopes to pursue. Indeed, some girls in her rehearsal classes were reduced to tears by the frank assessments of their efforts and abilities during early rehearsals. Several were cut from performances. I don’t think anyone would consider BTP to be one of the more “nurturing” programs out there, but I do believe one receives both a sense of what the business is really like and candid feedback. Moreover, she found the master classes with the likes of Patrick Wilson, Terrence Mann, et al., to be incredibly inspiring.</p>

<p>As for never seeing an instructor more than once, on the contrary, my D was able to have 3 private voice lessons over the course of the session. One could also sign up for additional classes with the the superb acting instructor to whom I am sure you are referring. I was pleased my D showed the initiative to request these additional lessons (which were at no additional charge) to take best advantage of opportunities afforded her at BTP. While she is exploring other opportunities for this summer, she would definitely consider returning to BTP in the future.</p>

3

<p>I am glad to know that your daughter got a lot out of the program, Anne1224. I know that there are a lot of varying opinions on BTP, and while it wasn’t right for me, I’m sure it was for some students. There are many excellent aspects of BTP, which is why I was so disappointed/ surprised to have such a negative experience.
Immediately after I left the program, I felt an increased work ethic as well. It actually didn’t occur to me until about a month ago that the program wasn’t right for me, and that I disagree with the philosophy. I’ve had many teachers discuss “the way it is” and the need to be tough in the business. They’re right: this is such a difficult thing to pursue. But I’ve seen too many actors grovel and “take it,” when what they are doing should be treated with respect. Honest feedback is very important. But I think that is much more effective when it is given in a respectful way, not through screams and threats. The most professional projects I’ve worked on have also been the projects on which I was treated the most kindly. The business is hard, statistically. So I don’t think we need to work to make it any harder.
I think I came to BTP at the wrong time, as well. Most of my teachers tell me that I work “too hard”-- I push things when I need to relax, let go, and the work will be there. So on a personal level, BTP fed a tendency that I’ve been working to rid myself of.
I am glad that your daughter was inspired by the program-- she is clearly committed to her training and will do very well. I’m glad she had constructive private lessons, as well. I received three privates, but was encouraged to stop signing up after I’d had one lesson with each voice teacher— I felt that seeing each teacher only once limited my growth. My roommate went to class one hour early every day to try and get a private lesson with the acting teacher we’re speaking of, but never received one. Obviosly, he inspired many students at the program. I think he’s a good example of an excellent resource at BTP that would be even more valuable if the schedule permitted more students an opportunity to work with him. Smaller classes may be the solution.</p>

4

<p>Hi Pepper122 -
I was also there last summer and I remember the specific incidents you’re referring to. I think it was just hard to swallow, seeing as most of us never interacted one-on-one with Deb M. So a total stranger coming down on us with such negativity was really hard to justify. BUT from her perspective, there were some apprentices that were really out of line, and I think you know that. She was addressing problems that her faculty were bringing to her.
Anyway, I LOVE BTP, but from a dance and acting perspective. And, I guess, the two days Joan Ladder is there. BTP fills its faculty with tons of totally random Speech-Level-Singing teachers! There’s nothing WRONG with SLS, but it’s only a small piece of what the voice is capable of. SLS will NEVER prepare you for a career of 8-shows a week of DEMANDING vocal work. Every one of my lessons or classes with Mary, Adrien, or Randy were ONLY about changing my vowels to keep my larynx low. People could no longer understand the words I was singing! and the INABILITY to produce a belt or anything like it. But in the short TWO DAYS that Joan Ladder was there, she demonstrated with students over and over again that you CAN produce a healthy belt and you CAN keep your vowels relatively unchanged. I think it’s really interesting that you will never find an SLS teacher in any of the top MT programs in the country. Carnegie Mellon, Elon, Michigan, CCM, UNC, nowhere! But at BTP you’d think it was the only way to train! Anyway, those were my issues with BTP!</p>

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<p>Just curious. On what do you base your statement that “you will never find an SLS teacher in any of the top MT schools …?”</p>

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<p>During D’s freshman year at CAP21 they do in fact have a Voice & Speech class. I am not sure why anyone would say that you will never find an SLS teacher in any of the top MT schools. Like there are different methods for acting, there are different methods for singing. </p>

<p>My D had a really good experience at BTP. She really liked that everyone had to work hard. No one really gets lots of “warm and fuzzies”. However, it is not really a camp, but an intensive training program. Everyone more or less pulls “double duty”, because there are also rehearsals for the showcase at the end of the program. She also did the summer training program at CAP21 and found that program very useful as well. She would say that BTP was definitely more intense, and you have to be prepared for that. You will find that you need to look out for yourself more. Then again, remember it is not a pre-college type program either.</p>

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<p>SLS is controversial among teachers. For every person who says is it wonderful, there is one who swears it will ruin the voice. Not all SLS teachers are created equally either. It is at least something to be aware of and investigate to decide if you want voice instruction that relies heavily upon it.</p>

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<p>NTgrlsmom, I may be mistaken but what these folks are talking about is NOT what is offered at CAP21. They are talking about Speech Level Singing which is an approach to singing (that kind of voice lesson). The Voice and Speech classes in CAP21 are for actors and not for singing. These are two different things. I believe, also that the voice/speech classes at CAP (which again are NOT for singing but for acting) use the Linklater method.</p>

<p>My own daughter, a CAP21 grad, has never studied Speech Level Singing. I don’t know much about it but have heard of it as I have had two students mention that they have taken voice (singing lessons) with someone who used that approach.</p>

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<p>Soozie- hm, my D did take SLS before she left for CAP, because she was curious what it was all about. A good friend of her, who coincidentally is heading to CCM this upcoming Fall swore by it. D then mentioned that in one of her classes this year CAP incorporated some SLS techniques, because she recognized them as such. It may indeed not have been Voice & Speech then, but something else. They do not call it SLS, that I know for sure. CAP was experimenting with some “new things” this year, and also incorporated yoga & pilates, and so perhaps this was new as well.</p>

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<p>Perhaps CAP used some of these techniques, and i truly don’t know. But I was just saying that the Voice/Speech class at CAP is for acting. All the acting studios at Tisch offer voice/speech. I assumed the SLS stuff being discussed here was talking about voice/singing classes and not voice/speech for acting. And I do believe the Voice/Speech classes (for acting) at CAP teach Linklater. Maybe the voice (singing) classes incorporated this other stuff being talked about here?</p>

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<p>Speech Level Singing is a very specific technique used for teaching voice. I believe it was started by Seth Riggs who packaged it and started classes to certify teachers. Many famous singers have used the technique but some will argue that their voices suffered from it. I’m sure it is just like every other technique - it works for some and not for others.</p>

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<p>I have no comments on BTP directly. But Mary Walkley (Music director for BTP) is my voice teacher and she is one of the kindest and most nurturing teachers I have ever worked with and she knows her stuff. That’s not to say that when you are slacking off or not giving enough that she won’t snap you into shape, but that proves a good teacher. On the topic of SLS, many do not like it because it is a longer process, but in the end it helps so much and you can belt just as high and perform all week, etc. SLS the way she teaches it is just a very healthy way of mixing to where many think you are belting but you are not. </p>

<p>Singergal- I have to disagree that studying SLS as a vocalist will limit you doing 8 shows a week. Mandy Gonzalez (In The Heights, Aida, Lennon, Dracula) and Sierra Boggess (Little Mermaid, Phantom) both studied SLS with Mary, the voice teacher at BTP and they perform 8 shows a week fine. Take a listen to In The Heights and hear how wonderful Mandy’s voice is, that was through SLS. Also, those who just belt their 8 shows a week really do not have much of a voice left and cannot perform consistently. Take a look at Laura Bell Bundy after Legally Blonde and Idina Menzel after Wicked. Their voices needed tons of rest so that they could perform after their runs were done in these shows. Towards the end of LBB’s run in Legally Blonde you could see the wear and tear it made on her voice. If you take a listen to Becky Gulsvig (the tour Elle) she mixes almost everything, and although her belt isn’t as crazy as LBB’s she is still consistent and sounds great through the entire show.</p>

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<p>One of the most beautiful young voices I have heard studied SLS. She sounds exactly like all that is written about SLS - there is no falsetto, no transition, just a beautiful consistency up and down the scale without a break plus when she sings or belts it looks effortless. </p>

<p>A couple times now I have watched professionals singing on youtube - this happened just the other day although I can’t recall who it was - and saw this same thing where their voice was the same on low notes as high and they looked as taxed as if they were merely speaking. I googled their bios and they had studied under SLS teachers. So I have to think there is something about SLS especially if it is true that it is vocally a healthier way to sing. </p>

<p>I don’t know how it works though on a short exposure like at BTP. When you learn any new technique whether golf lessons or whatever it seems you would need more than just a few lessons to really be doing it right. The people I’m talking about studied SLS for years.</p>

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<p>Sorry to start a debate! But seriously guys… any SLS people on here… tell me if I’m wrong… what is there to SLS besides just vowel modification. NOTHING. It’s vowel modification for the sake of a low larynx. I remember a girl at BTP (thoroughly SLS trained) singing “Havana” in the final show. And you could not understand ONE word she sang in her passaggio. And the voice was weak and thin where Eder’s was belty and full.</p>

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<p>Oh. And BTW, Sierra B. is a great friend of mine. And she may have studied with Mary briefly, but she credits a teacher in Denver with teaching her to ACTUALLY sing in a marketable way. In fact, one of the casting agents AT BTP told me: “I love SLS students. They sing nicely. But I can’t hire them. They can’t produce marketable sounds within such a narrow viewpoint.”</p>

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<p>I don’t think anyone is debating, everyone is just sharing opinions, and that is a good thing in my opinion.</p>

<p>From what I have gathered SLS is just “another way of learning how to sing”, much like how there are different approaches to acting, to dancing, and even to other skills you learn in life. Certain ways work for some, and other ways for others. </p>

<p>At the end of the day, I guess it is all about what brings out the best in you. I only posted because the OP had an opinion about BTP that my D’s differed with, and I have found it to be really good to hear different takes on things :D.</p>

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<p>Singergal- Have you studied with an SLS teacher other than the few lessons or classes you received at BTP. If you have not studied with one for a good amount of time, then I do not think you can really talk about it not working for anyone. Also, it is a lot more than a low larynx. My first few lessons doing SLS were rough but after continually practicing and going to lessons weekly it really helped me, it is just a different process and may take a little longer, and like mtgirlsmom said, it is just like a different technique that some love and some don’t. But if you haven’t really studied this I don’t really think you can speak about how it doesn’t work and is useless. I agree that you need to learn other aspects of vocal techniques but many schools teach SLS as well and it helps greatly. That is just my opinion through actually studying SLS for more than 3 weeks.</p>

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<p>Bird - that was my take on it. From speaking to someone that has trained for years in SLS I wondered how much you could get out of a mere exposure to SLS in 3 weeks. Don’t they have 1 voice lesson a day at most during BTP? That doesn’t give the time required to work with the new technique and get the kinks out so to speak. From what I’ve read you can’t learn SLS in 3 weeks so what they would get is just an exposure to a few of the techniques maybe enough to figure out if it was something you wanted to pursue. They also say there is a difference between the different levels of teachers. SLS certifies at levels 1-5. </p>

<p>My view of SLS is as I said mere observation. Maybe what I heard was coincidental in liking someone’s voice and them being an SLS student. On the other hand Kelly Clarkson as well as over 120 Grammy winners use SLS - so I don’t think you can say they aren’t marketable. Here is a list: [Speech</a> Level Singing International :: Clients of the SLS Method](<a href=“http://www.speechlevelsinging.com/client_list.html]Speech”>http://www.speechlevelsinging.com/client_list.html)</p>

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<p>HoosierMom- I completely agree and thanks for posting that link! It’s really interesting to see who actually uses SLS!</p>

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<p>You know how, in politics, candidates and “camps” set up such distinct and separate positions. You know how each camp claims they are right and the other guys are wrong. You know how people tell half-truths and/or outright lies and slander on each other. You know how these camps then create “true-believer” followers who cannot distinguish the truth for their desperate need to believe in one course or another? This is what I have come to observe in discussions on voice and technique with all too many voice teachers and their students. I advise all to take these statements with a grain of salt - and relish the rare open minded opinion that could possibly lead you to the most effective voice training for what you are and aspire to be.</p>