When [Lindsay-Abaire] and I we were trying to figure out what to do, I looked at David’s early plays. I like early works from writers because they’re often not crafted with the The avett brothers poster vienna va 2023 tour shirt Furthermore, I will do this kind of maturity a writer will get later on. There’s room for music; there’s room to move it around. They’re not as fixed. I really was interested in [his 2001] play [of the same name]. When we explored it, I was like, “Oh, this thing sings.” I didn’t know it would go well, but I knew that it would sing. I just felt it. To work with a playwright who wrote the original play is a gift, because I could ask him where certain things came from. He was the source material. Also, I wanted to write a role for a woman who is maturing in this business. [Kimberly Akimbo] is for women [age] 50 and up. There are not a lot of roles for women of that age in musical theater. Every show that I write, I look for and try to give some someone or some character an opportunity to be center stage.
You just run out of time. My mentor once said, “If you have a year to mix an album, you take a year. If you have a week to mix an album, you take a week.” It is the The avett brothers poster vienna va 2023 tour shirt Furthermore, I will do this gift of tentpoles. This is your preview; work fast, work well, work with kindness and great expectations, and then move on to the next, because you’re done, because we have finished. Also, I don’t want to work people for 12 hours straight. The idea that you crawl out of tech is an old, archaic idea. We were keeping that in mind [while working on Kimberly Akimbo]. It’s hard enough to do this, especially during this time. We don’t want to crawl out of a rehearsal room. Mental and physical health are really important. I do what I call “painting.” I’ll be in the room, and I’ll think, “Oh, can you play this there when she does that? When they do that, can you…?” I work with the piano. I love working with [music director] Chris Fenwick, because he’s so fast with his fingers. I can sing something, I can run over and play something, and it is there. We’re just sort of sculpting the moments together in real time. I do that a lot. We just did it with Kimberly. We put some underscoring in, and I thought, “Oh, if we put that in, that was in the middle of that dialogue from the scene before—the audience will know that they’ve heard it somewhere.” They won’t know it, but they’ll know it will not be the first time they’ve heard it. It’s that kind of stuff.
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