In the heart of creating a musical, the collaborative journey from script to stage is a dynamic dance between imagination and reality. In a new exclusive interview with the visionary director and gifted playwright behind the upcoming musical sensation, Angela Hall, we delve into the intricacies of bringing the narrative to life - sharing the transformative moments, the trials, and the triumphs that have shaped their creation into a living, breathing masterpiece.
THE AUDITIONS
Interviewer: Tell me about the audition process. What were you looking for when you were first auditioning applicants?
Director, Angela Hall: I was definitely looking for raw, unabashed gospel musical talent who could also act. One of the things that is important to me (and I have said throughout this entire rehearsal process) is that the church depicted in this musical should not look like a fake church. It drives me crazy going to see a gospel show or going to see a musical with gospel elements in it and it's not authentic.
So one of the primary things I was looking for were actors who could really sang gospel. You can sing gospel music but people that know gospel music from the experience of it can sang it. And there's a difference between singing and sanging!
I was also looking for people that were hungry.
Interviewer: Were there any unexpected surprises during the auditions? Unexpected choices made by actors or discoveries about characters as lines were brought to life?
Hall: There was one auditioner in particular who had a unique interpretation of a song I wrote that I've been singing for years entitled "Glorify His Name". [Oh, I love that song] She came to the audition prepared to sing "Glorify His Name" for the callback. It seemed like she successfully learned the song but that the song was a little bit too fast in tempo. What very few people know is that I had originally written "Glorify His Name" as a ballad. So I asked my musical director to half the tempo and let her sing it as a ballad. She killed it! And because of her success with the material, I had the first part of the song rearranged as a ballad for the show and I cast her (Isabella Fory) in the show!
Interviewer: How did the energy and dynamics of the auditions shape your expectations for the rehearsals?
Hall: As the people started to enter the audition room, I felt hopeful about what the production could be. As I heard them reading the lines and singing the music from the show, it made things start to come to life and made me feel like the show could really be a great success. It's hard to explain. When you hear people sing your music when you've only ever sang it it's like getting an epiphany. "Oh my gosh did I write that? You really made that sound so great!"
[Because it takes a different shape right?]
Hall: Right! And so when other people are singing your music and reading your lines and you're hearing their interpretation, it also gives you an "Aha". It's almost like commentary on whether or not what you wrote works!
As a result of hearing people read the lines, I understood the part of the writing that did not work - the lines that did not make any sense. Then in other instances, it was like, "Okay they're reading that line but perhaps they do not quite understand how to deliver it just yet." And the whole process points its fingers back at you. We are auditioning them and at the same time their interpretation and their interaction with the piece almost makes it feel like they're auditioning you.
Interviewer: I see what you mean!
Hall: It makes you think…Does this work stand? Does this work hold value? Does this work make sense in the context with which I am trying to make it make sense? So the audition process became synergistic. We were working off each other to bring the piece to life even at that stage of the process. It's pretty exciting actually!
Interviewer: The way all these parts are working together, the production sounds very alive! Do you foresee there will still be a lot of revisions for the script in the future? I know auditions have been over for some time now and the group has been rehearsing in preparation for the public staged reading coming up on February 24th.
Hall: Absolutely. I've been revising the script the entire process. As a matter of fact, I'm giving out a revised version of the script this week.
THE REHEARSALS
Interviewer: Have there been any particularly memorable or transformative rehearsal moments?
Hall: We were teaching the song “Is There Room at the Cross?”. I call the song "The power trio" song because three of the key characters sing the song during a pivotal point in the musical and it exposes secrets and thoughts needed to forward the plot. I worked with the background singers separately when teaching the music. The first time Zoe Gordon (Valerie), Sheldon Ray (Germaine), and Ashley Stephen sang that song together blew our minds. The background singers couldn't even sing their parts because it was so vocally mesmerizing. I was stunned too. I remember the general expression in the room was that of a dropped jaw. Yes, all of our jaws were hanging. Even the MD Stephen Hall said, “Wait, what is happening right now?” It was one of those, Patty LaBelle/Jennifer Hudson, “I'm gonna throw my shoe at you from across the room” moments! The singing was just that phenomenal.
That moment inspired me to want to invite every friend, casting agent, and producer to behold the talent coming on February 24 because everybody has to be witness to this, even if it is at the foundational stages. Based on that moment, in rehearsal, I felt affirmed in my casting choices.
Interviewer: So I hear the music is definitely resonating with the cast and crew! What about the themes/messages of the play seem to impact the performers? Have you gotten any notes on how the cast and crew may be receiving it?
Hall: As we go through the rehearsal process, the comments and reactions to the piece make it evident that the cast connects with the themes. There have been times in rehearsal where discussion ensues about our responsibility as "The church". The discussion included how important it is be more empathetic about what people must endure in their lives. It is important to not judge a situation without having all the information.
Interviewer: What other impactful moments or themes in the show do you believe will resonate deeply with your audience?
Hall: Well, there are themes of how to deal with suicidal ideation, homelessness, feeling stuck, being misunderstood, dreams deferred, and lack of compassion. There is so much more the modern day church can do to support laypersons and church leadership alike. Did you know that church leaders need just as much attention and love as everybody else? Leaders keep the church running and maintain daily operations. They take all the hits. What are we really doing to help those leaders when they fall or make a public mistake? Do we shun them and say they should have known better? Or do we show them the same compassion we would to a child? I think that the average person coming to see the show, whether black, white, Christian, or Jewish, will understand that forgiveness is universal. We want it and we need to give it, right? But do we do that?
Interviewer: Come to the show, let's talk, right? That's the idea.
Hall: Exactly!
Interviewer: Is there anything else that we have touched on that you'd like to emphasize for our viewers?
Hall: This musical means so much to me because it is a compilation of musical works written and composed by me and my family members Stephen Hall, Samantha Hall, Bobby Hall the 3rd, Jonathan Hall, Daniel Hall and Kenneth Hall. My brother Kenneth Hall (who is now deceased) wrote the titular song “Got to Tell It”. So, this “Got to Tell It” musical holds very dear to my heart. The cast members hear the songs and say things like, “These songs are fire”. They love the musical score and I'm hoping the audience hears the music has the same reaction.
Interviewer: They won’t have a choice. The music is kind of awesome.
Hall: That’s how I feel too. “To God be the glory!”
CONCLUSION
Amidst the riveting insights, it's evident that this musical is poised to be groundbreaking. The themes, as hinted by the creators, promise to be fresh and ripe for discussion, challenging conventional norms and sparking conversations that extend beyond the confines of the stage. The music, described as a harmonious blend of contemporary and churchy tones, is teased to be nothing short of spectacular. Brace yourself for an auditory feast that will not only complement the narrative but also leave you yearning for the soundtrack – an unforgettable masterpiece in its own right.
The show is currently sold out, but check back for updates regarding our next public showing. In the meantime, check out the gallery for behind the scenes looks at how the production is going!
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