Saturday, December 13, 2008
CHICAGO: CHICAGO HOLIDAY: CELEBRATING THE SEASON
CCP (Chicago Cabaret Professionals) and DRURY LANE WATER TOWER PLACE (175 East Chestnut Street, Chicago, IL - 312-642-2000) announces the last of five new Musical Mondays concerts, held monthly through December. On Monday December 15th at 7:30 pm the show is "CHICAGO HOLIDAY: Celebrating the Season", with a wonderfully diverse group of cabaret artists, we present to you a delightful variety of classic holiday hits and memorable moments. The show will feature Elizabeth Doyle, Rob Dorn, John Eskola, Tim Hairston, KT McCammond, Alma Mendoza, Sami Scott, Carolyn Wehner and Carol Weston. Musical direction by Joshua Stephen Kartes. Directed by Rob Dorn. Tickets are $25 and are on sale now by calling the Box Office at 312-642-2000 or visiting http://www.ticketmaster.com/ .
Friday, December 12, 2008
NEW ON THE WEBSITE - today!
I got such a cute holiday card today I decided to share it - and decided to add any more clever/cute/inspirational/appropriate cards to the page if and as they come in (jpg or gif via e-mail). Check it out!
These are a few of my favorite cards .... of 2009!
HUGS
STU
These are a few of my favorite cards .... of 2009!
HUGS
STU
COMMENTS ON THE CURRENT STATE OF CABARET
I have been getting a lot of responses to my article in the newsletter and on the website a few weeks ago regarding the current state of cabaret and the need for action on the part of all to support this art form.
One person reminded me of the time when live entertainment venues were closing all over town, with the owners converting their clubs to discos - even THE DUPLEX was converted to a disco for a few years. Fortunately that period was short lived, but the number of live entertainment venues never recovered to its former numbers. Then there was the "comedy club conversion" - venue owners discovered that they could do away with a lot of staff and expense by simply setting a mic in front of a brick wall and a simple spotlight, and get the comic-want-to-be's to fill their rooms by requiring them to bring a minimum number of paying guests in order to get a chance to perform. A lot of this still goes on today - ever notice the kids in the Times Square area handing out discount fliers for this comedy club or that one? The fliers are marked with the comic's code and he is credited with how many actually show up and pay the cover. CAROLINES started out as a cabaret room!
Another e-mail writer blames the clubs and club owners for allowing anyone - good or bad - to present a show as long as they can fill the room. Folks attending a cabaret show for the first time are "turned off" to cabaret when they get suckered into these events by their friends and family.
Or take this one: The so-called major clubs have become dominated by big names from TV, film or Broadway (many of whom are not even known as vocalists), and there is no longer an incentive for cabaret performers to strive to "move up" since they feel they are locked in to the middle-tier rooms. So they get discouraged and drop out of the cabaret scene. And the whole of cabaret is left with lesser skilled and lesser experienced performers.
Here's another complaint: No one seems to set any guidelines for cover charges any more. One could usually get an indication of the skill level of a performer by the cover charge, but it seems like performers are free to charge whatever cover they wish - with debut, inexperienced performers sometimes putting on shows in the $25-$30 range. This creates some real anger and disappointment on the part of the person who feels he didn't get decent value for his cover fee, and all of cabaret gets tainted. And is a $60 to $150 cover (and usually accompanied by a $40 to $60 minimum) seem realistic for a 55 minute show?
The same could be said of the progressively higher minimums charged by the venues and the steadily increasing price of drinks. Some clubs seem to be taking their pricing cues from the "posh" celebrity clubs catering to the "stretched white Hummer" crowd.
Another complaint I have heard is the practice of clubs to cancel a show and still charge a fee if there are less than a certain number of reservations on the book (lately that number has climbed to 15 in some instances). The performer is left holding the bag - absorbing all the costs of creating, producing, advertising and staffing a show, while the venue is in a win-win situation. The musicians usually need to be paid whether there is a show or not, and the cost of arrangements, post cards, fliers, posters, is money down the drain. As one person wrote me, this means the good performer trying to build a career is frightened off, while to lesser performer with a rich benefactor/spouse and a lot of similarly wealthy friends gets the good dates. This drags down the quality of the art.
And - a little closer to home - one person felt that the cabaret reviews he found often bore no resemblance to the quality of the actual show. He felt there was a reluctance on the part of publications/websites to give a bad review of a bad show. And this, coupled with the raves of friends and relatives on the message boards and yahoo/google group mailings, often led to high expectations and total disappointment.
It is interesting to note that not one e-mail was received blaming the recent apparent drop in cabaret attendance on the economy! Maybe that was a foregone conclusion, but interesting just the same.
More comments anyone? I'm listening.
HUGS
STU
One person reminded me of the time when live entertainment venues were closing all over town, with the owners converting their clubs to discos - even THE DUPLEX was converted to a disco for a few years. Fortunately that period was short lived, but the number of live entertainment venues never recovered to its former numbers. Then there was the "comedy club conversion" - venue owners discovered that they could do away with a lot of staff and expense by simply setting a mic in front of a brick wall and a simple spotlight, and get the comic-want-to-be's to fill their rooms by requiring them to bring a minimum number of paying guests in order to get a chance to perform. A lot of this still goes on today - ever notice the kids in the Times Square area handing out discount fliers for this comedy club or that one? The fliers are marked with the comic's code and he is credited with how many actually show up and pay the cover. CAROLINES started out as a cabaret room!
Another e-mail writer blames the clubs and club owners for allowing anyone - good or bad - to present a show as long as they can fill the room. Folks attending a cabaret show for the first time are "turned off" to cabaret when they get suckered into these events by their friends and family.
Or take this one: The so-called major clubs have become dominated by big names from TV, film or Broadway (many of whom are not even known as vocalists), and there is no longer an incentive for cabaret performers to strive to "move up" since they feel they are locked in to the middle-tier rooms. So they get discouraged and drop out of the cabaret scene. And the whole of cabaret is left with lesser skilled and lesser experienced performers.
Here's another complaint: No one seems to set any guidelines for cover charges any more. One could usually get an indication of the skill level of a performer by the cover charge, but it seems like performers are free to charge whatever cover they wish - with debut, inexperienced performers sometimes putting on shows in the $25-$30 range. This creates some real anger and disappointment on the part of the person who feels he didn't get decent value for his cover fee, and all of cabaret gets tainted. And is a $60 to $150 cover (and usually accompanied by a $40 to $60 minimum) seem realistic for a 55 minute show?
The same could be said of the progressively higher minimums charged by the venues and the steadily increasing price of drinks. Some clubs seem to be taking their pricing cues from the "posh" celebrity clubs catering to the "stretched white Hummer" crowd.
Another complaint I have heard is the practice of clubs to cancel a show and still charge a fee if there are less than a certain number of reservations on the book (lately that number has climbed to 15 in some instances). The performer is left holding the bag - absorbing all the costs of creating, producing, advertising and staffing a show, while the venue is in a win-win situation. The musicians usually need to be paid whether there is a show or not, and the cost of arrangements, post cards, fliers, posters, is money down the drain. As one person wrote me, this means the good performer trying to build a career is frightened off, while to lesser performer with a rich benefactor/spouse and a lot of similarly wealthy friends gets the good dates. This drags down the quality of the art.
And - a little closer to home - one person felt that the cabaret reviews he found often bore no resemblance to the quality of the actual show. He felt there was a reluctance on the part of publications/websites to give a bad review of a bad show. And this, coupled with the raves of friends and relatives on the message boards and yahoo/google group mailings, often led to high expectations and total disappointment.
It is interesting to note that not one e-mail was received blaming the recent apparent drop in cabaret attendance on the economy! Maybe that was a foregone conclusion, but interesting just the same.
More comments anyone? I'm listening.
HUGS
STU
ON RADIO: "EVERYTHING OLD IS NEW": FRANK & FUNDRAISING
On Sunday, December 7th, EVERYTHING OLD IS NEW AGAIN, on the Radio over WBAI 99.5 FM and on the Internet at http://www.2600.com/offthehook/hot2.ram, usually heard from 9:00 to 11:00 pm and hosted by David Kenney, will feature of music of Frank Sinatra at Reprise Records. Some of the songs that will be played: "It Was A Very Good Year", "Send In The Clowns", "My Way", "Strangers In The Night", "Summer Wind", "Fly Me To The Moon", "I Love My Wife", "Mack The Knife", "Something Stupid", "How Insensitive", "Me & My Shadow", "That's Life", "Here's To The Band", "Theme from New York, New York", "The Last Dance " and More.
HELP SUPPORT WBAI-FM & EVERYTHING OLD IS NEW AGAIN ! Call 212-209-2950 with your pledge during this broadcast. For your pledge of $50 David will send you: KENNEY'S KHRISTMAS GRAB BAG which includes 2 CDs (great stocking stuffers) and a one year membership to WBAI.
Each week David presents the usual blend of big-band jazz, swing, standards, showtunes, contemporary cabaret and celebrity interviews plus MEGA-MEDLEY MADNESS. For more information contact: oldisnew@earthlink.net. You are also invited to e-mail your comments and suggestions for future shows. You can listen to past shows at any time by going to the WBAI Archives. For more information, see http://www.oldisnew.org/ .
WBAI is a listener supported radio station - commercial free. Which means it can broadcast viewpoints from all over without fear of sponsor censorship. David's show plays "our kind of music" - and there aren't many stations doing that anymore, especially in the NYC area. The continuation of this show depends totally on the support of people who enjoy big-band, jazz, swing, standards, showtunes, contemporary cabaret and celebrity interviews. That's your cue to phone in with your pledge.
HELP SUPPORT WBAI-FM & EVERYTHING OLD IS NEW AGAIN ! Call 212-209-2950 with your pledge during this broadcast. For your pledge of $50 David will send you: KENNEY'S KHRISTMAS GRAB BAG which includes 2 CDs (great stocking stuffers) and a one year membership to WBAI.
Each week David presents the usual blend of big-band jazz, swing, standards, showtunes, contemporary cabaret and celebrity interviews plus MEGA-MEDLEY MADNESS. For more information contact: oldisnew@earthlink.net. You are also invited to e-mail your comments and suggestions for future shows. You can listen to past shows at any time by going to the WBAI Archives. For more information, see http://www.oldisnew.org/ .
WBAI is a listener supported radio station - commercial free. Which means it can broadcast viewpoints from all over without fear of sponsor censorship. David's show plays "our kind of music" - and there aren't many stations doing that anymore, especially in the NYC area. The continuation of this show depends totally on the support of people who enjoy big-band, jazz, swing, standards, showtunes, contemporary cabaret and celebrity interviews. That's your cue to phone in with your pledge.
Thursday, December 11, 2008
NYC: AFTER PARTY FRIDAY WITH GUEST JONATHAN GROFF
At THE WEST BANK CAFE/LAURIE BEECHMAN THEATER (407 West 42nd Street, NYC - 212-695-6909 on Fridays at 10:30 pm, Brandon Cutrell & Alysha Umphress host AFTER PARTY, a free-wheeling open-mic with guest stars from Broadway and Cabaret, Ray Fellman at the piano and others serving up drinks and taking turns at the mic. Guest performers from Broadway, off-Broadway and cabaret drop by each week to sing, chat and join in the fun. No cover, no minimum. Singer/dancers invited at all times - you can hang out at the bar, at a table or even on stage. On Friday, December 12th THE AFTER PARTY will feature performances by Tony Award Nominee & Prayer For My Enemy's Jonathan Groff; TV's Third Watch's & Prayer For My Enemy's Skipp Sudduth; Hairspray's Charlotte Crossleyand the Larry King Orchestra's Larry King. Also in attendance will be the cast of Prayer For My Enemy including Tony Award Winner Victoria Clark Tony Award Winner Michelle Pawk Theatre Award Winner Cassie Beck and Zachary Booth - with Avenue Q's Mark Hartmann at the piano.
NYC: CHRISTMAS CABARET AND TOY DRIVE FOR COPA
New York's only Singing Santa & Mrs. Claus are doing a Charity Cabaret at UNCLE CHARLIE'S (139 East 45th Street 2nd Floor, NYC - 212-661-9097) 8:00 pm tonight, December 11th. Paul Vincentt, a professional Santa for over 15 years, and Beth Sacks, a professional Mrs Claus who has worked for several harities, are performing in a show called "Claus with a Cause" at the regular Thursday night no cover "Cabaret Fever" show, hosted each week by singer/pianist David Pellegrene.
Its a toydrive and fund raiser for CHILDREN OF PARENTS WITH AIDS a wonderful charity thyat deserves all of our support. So often, families affected or infected with HIV spend so much on medical care and medicine for those infected that the children go without. No child should ever wake up on Christmas day with nothing from Santa. Bring a new unwrapped toy to Uncle Charlies and see a fun cabaret with the Clauses, Afterwards you will have a chance to take a picture with the jolly Elves. All proceeds go to CHILDREN OF PARENTS WITH AIDS.
HUGS
STU
Its a toydrive and fund raiser for CHILDREN OF PARENTS WITH AIDS a wonderful charity thyat deserves all of our support. So often, families affected or infected with HIV spend so much on medical care and medicine for those infected that the children go without. No child should ever wake up on Christmas day with nothing from Santa. Bring a new unwrapped toy to Uncle Charlies and see a fun cabaret with the Clauses, Afterwards you will have a chance to take a picture with the jolly Elves. All proceeds go to CHILDREN OF PARENTS WITH AIDS.
HUGS
STU
Wednesday, December 10, 2008
NO ALGONQUIN SALON SUNDAY DECEMBER 14TH
Salon Secretary Peter Napolitano reports that there will be NO SALON this SUNDAY, DECEMBER 14th. But be of good cheer! He also reports that THE ALGONQUIN SALON, hosted by Mark Janas in the lobby of the historic Algonquin Hotel, will return on SUNDAY, DECEMBER 21st, from 7 to 10PM, as they put their own special twist on the Holiday season with "MERRY SOLSTICE!", in honor of the fact that the Winter Solstice falls on that date. Of course, the Salon will also be celebrating Christmas, Hannukah, Kwanzaa, Festivus and any other holiday you want to sing about. Special co-hosts on the 21st will be The Definitely Dickens Holiday Carolers, a wonderful a capella quartet mostly comprised of Salon regulars. You are invited to join them for an evening of yuletide words and music with our warm, welcoming Salon family. No cover.
NYC: WEDNESDAY JAZZ AT NOON TODAY WITH JACKSON & PALTER
Jazz at Noon continues on Wednesdays at ST. PETER'S CHURCH - LIVING ROOM (Lexington Avenue at 54th Street, NYC). This long-running series was created by Edmund Anderson and is now produced by Ronny Whyte. Next show is on Wednesday, December 10th at 1:00 pm with Boston's Lynne Jackson & Mike Palter performing a Birthday Tribute to Hoagy Carmichael. Performances are at 1:00 pm, $7 admission.
Tuesday, December 9, 2008
NYC: SETH'S CHATTERBOX: GUEST HAYDN GWYNNE
2007 MAC BOD AWARD WINNER Seth Rudetsky's BROADWAY CHATTERBOX at DON'T TELL MAMA (343 West 46th Street, NYC - 212-757-0788 ) is usually presented on Thursdays at 6:00 pm. The show for Thursday, December 11th will feature as guest Haydn Gwynne, currently appearing in BILLY ELLIOT on Broadway. Seth's weekly interview show always features stars, soon-to-be stars and folks behind the scenes of the musical theater stage - for just a $10 cover - 2-drink minimum. Best of all, all proceeds from the cover go to BROADWAY CARES/EQUITY FIGHTS AIDS.
NYC CABARET BULLETIN SERVICE AVAILABLE
I haven't mentioned this of late, but there are a few more services we offer for free at CABARET HOTLINE ONLINE and one is our NYC CABARET BULLETIN SERVICE - you can sign up with your e-mail address (about 300 are signed up right now) and get e-mail notification of any last minute show schedule changes and/or cancellations in the NYC area, or other late-breaking cabaret news. Just click on the SUBSCRIBE FREE button at the top of every page and then on the NYC BULLETIN button on that page (The NYC PICKS service has been discontinued - I have to update the page).
HUGS
STU
HUGS
STU
NOTES ON BUILDING YOUR AUDIENCE
Building a cabaret audience beyond family & friends is difficult and the real trick is to create more friends! Every show you present should, as a side goal, be an effort to know everyone in your audience personally. Instead of rushing off to the "dressing room" right after the show, make it a point to meet and greet every single member of the audience - and if they have been to a previous show, greet them by name and thank them for coming back. Takes some memory skills, but it is truly an effective technique.
And invest some time (and as it turns out, very little money) by getting involved with some of the open-mic and socializing opportunities. I'm not talking about piano bars - I mean events in your community where cabaret lovers and performers hang out. Here in NYC you can find and create new friends at such places as Trudi Mann's weekly Sunday Brunch at Butterfield 8, Mark Janus' weekly Salon at the Algonquin, Jennifer Wren's twice-monthly Big Night Out at Broadway Baby, Jim Caruso's Cast Party at Birdland, Brandon Cutrell's After Party at The Laurie Beechman, Joe Bachana's MetroJam at the Metropolitan Room - and I'm sure I left out several more. Boston's BACA used to have monthly open-mic nights (I'm no longer on their mailing list so I'm not sure if they continue), and Washington DCs DCCN has monthly open-mic as well.
Don't have such events in your community? Why not get together with some others and start one? Most of them are cover-free or have a small cover charge, and all of them give you an opportunity to network.
HUGS
STU
And invest some time (and as it turns out, very little money) by getting involved with some of the open-mic and socializing opportunities. I'm not talking about piano bars - I mean events in your community where cabaret lovers and performers hang out. Here in NYC you can find and create new friends at such places as Trudi Mann's weekly Sunday Brunch at Butterfield 8, Mark Janus' weekly Salon at the Algonquin, Jennifer Wren's twice-monthly Big Night Out at Broadway Baby, Jim Caruso's Cast Party at Birdland, Brandon Cutrell's After Party at The Laurie Beechman, Joe Bachana's MetroJam at the Metropolitan Room - and I'm sure I left out several more. Boston's BACA used to have monthly open-mic nights (I'm no longer on their mailing list so I'm not sure if they continue), and Washington DCs DCCN has monthly open-mic as well.
Don't have such events in your community? Why not get together with some others and start one? Most of them are cover-free or have a small cover charge, and all of them give you an opportunity to network.
HUGS
STU
WEST COAST PROMOTION/NEWS SERVICE
Cabaret fans in the west can catch up on the latest cabaret news - especially in the Los Angeles area, by subscribing to Les Michaels' "Life is a Cabaret" promotion list. I get some of my West Coast news items from Les - he handles promotional services and publicity too, with over 2000 on his mailing list. Check it out.
RECESSION BUSTING DISCOUNTS ON CDs
LML MUSIC is doing its part in the recession-busting business: a SPECIAL HOLIDAY SALE! For the rest of 2008 all CDs purchased on our website will be sold at a 40% discount!!! Just enter Promo Code DEC2008 upon check-out and you'll receive your discount.
NOMINATIONS NOW BEING ACCEPTED FOR MEMBERS' CHOICE PERFORMERS OF THE YEAR 2008
Its time for another MEMBERS' CHOICE POLL, and this time we are inviting all 2008-2009 members to nominate their choices for the best performances/performers during the past year - from December 1, 2007 through November 30th, 2008. This is an INTERNATIONAL poll - not limited to the USA - not limited to the NYC club scene. The only rules are that the performance/performer be nominated by a current member and the nominating member must have attended the show of the performer nominated. The performer nominated does not need to be a 2008-2009 member of CABARET HOTLINE ONLINE (but, of course, that would be nice).
There are only 5 categories - Female & Male Vocalist, Female & Male Debut, and Musical and/or Comedy Duo or Group. These categories may be sub-divided if we receive a large number of nominees in a certain category (i.e. Female/Male Jazz, Female/Male Major, etc.)
There is a link to the Nominations Rules page on the home (index) page of the CABARET HOTLINE ONLINE website, and nominations need to be entered on the nominations form to be admissible. Nominations will be accepted until midnight, December 31st - the balloting will take place in January - the winners announced in February. REMEMBER: You must be a member to nominate and vote in this poll.
The MALE & FEMALE DEBUT winners will be invited to perform at our MARCH IS CABARET MONTH show on March 10th at THE LAURIE BEECHMAN THEATER.
ALL WINNERS WILL RECEIVE A FREE 2-WEEK RUN OF A SUPERSIZE BANNER ON THE CABARET HOTLINE ONLINE WEBSITE - banner must run before December 1, 2009.
More details on the CABARET HOTLINE ONLINE website.
HUGS
STU
There are only 5 categories - Female & Male Vocalist, Female & Male Debut, and Musical and/or Comedy Duo or Group. These categories may be sub-divided if we receive a large number of nominees in a certain category (i.e. Female/Male Jazz, Female/Male Major, etc.)
There is a link to the Nominations Rules page on the home (index) page of the CABARET HOTLINE ONLINE website, and nominations need to be entered on the nominations form to be admissible. Nominations will be accepted until midnight, December 31st - the balloting will take place in January - the winners announced in February. REMEMBER: You must be a member to nominate and vote in this poll.
The MALE & FEMALE DEBUT winners will be invited to perform at our MARCH IS CABARET MONTH show on March 10th at THE LAURIE BEECHMAN THEATER.
ALL WINNERS WILL RECEIVE A FREE 2-WEEK RUN OF A SUPERSIZE BANNER ON THE CABARET HOTLINE ONLINE WEBSITE - banner must run before December 1, 2009.
More details on the CABARET HOTLINE ONLINE website.
HUGS
STU
EVERYTHING OLD IS NEW AGAIN - SORT OF
Suddenly everyone seems to be talking about TV Variety Shows. First there was something called "Americas Got Talent" - I'm not sure if the title is grammatically correct but it is sort of catchy. I watch very little TV (except Law & Order reruns, and now something called NCIS) so I never actually watched the show. I missed Rosie O'Donnel's recent foray into the variety show scene, and quite honestly I have never actually figured out the appeal of "Ellen" - who, I see from the show plugs, has a variety-type show too. Now, this morning comes the announcement that Jay Leno - soon to be forced by contract to give up his late night "Tonight" show is signing a 10-year contract for a nightly Variety-style show on NBC for 10:00 pm. Not that it means he can now get to bed earlier - everything is on tape these days, and produced in the afternoon for broadcast later at night.
Will this "old-new" format work? Only time will tell. I hope so, because the old variety shows (Ed Sullivan, Red Buttons, Steve Allen, Carol Burnett, Sid Caeser, etc.) not only were very popular, they also catapulted to fame many of the cabaret performers of that era - a number who were playing in the DUPLEX, UPSTAIRS DOWNSTAIRS, RENO SWEENEY and other clubs. In those days, producers were out and about night after night at the nightclubs, supper clubs and cabarets, hunting for talent to people the stages of these many (at that time NYC based) variety productions. And the crowds followed to the clubs, hoping to be able to proudly say later "I knew her when ...." about folks like Streisand, Rivers, Newhart, and more.
Here's hoping.
HUGS
STU
Will this "old-new" format work? Only time will tell. I hope so, because the old variety shows (Ed Sullivan, Red Buttons, Steve Allen, Carol Burnett, Sid Caeser, etc.) not only were very popular, they also catapulted to fame many of the cabaret performers of that era - a number who were playing in the DUPLEX, UPSTAIRS DOWNSTAIRS, RENO SWEENEY and other clubs. In those days, producers were out and about night after night at the nightclubs, supper clubs and cabarets, hunting for talent to people the stages of these many (at that time NYC based) variety productions. And the crowds followed to the clubs, hoping to be able to proudly say later "I knew her when ...." about folks like Streisand, Rivers, Newhart, and more.
Here's hoping.
HUGS
STU
Monday, December 8, 2008
I CAN'T BELIEVE I DID THAT!
Yesterday was December 7th - Pearl Harbor Day - and I forgot all about it! This is the first time in all my years (69 and counting) that I didn't commemorate this date in some way or other! I was only 2 years old when Pearl Harbor was attacked, but the event was very much a part of my childhood - remembered each year much as September 11 is remembered these days.
HUGS
STU
HUGS
STU
A NOTE ON SAYING THANK YOU (RANT)
I had the most curious thing happen again this past week. Curious, but not unusual. In fact, I am quite accustomed to it.
The twice-weekly newsletters have been running a bit long lately as I attempt to get all the news items about holiday shows included so that I can send out a set of listings tomorrow. So a few stories were postponed (I include 99% of the items received if they are "on topic.") I try to get all items into the newsletters and on the website at least 2 weeks - and most times three weeks - before the event date.
If you are running an ad, of course your item runs every issue, and if you are offering a discount it runs at least in every Thursday issue. And cabaret organization events and legitimate benefits that are cabaret related run every issue as well. And members get their item chosen as soon as space is available, usually right away. Then the others are added. I thinks this is about as fair of placement as possible. But nearly everything gets used (if you send a press release with missing information or that is so confusing it needs extensive rewriting it gets put in a "hold" file until I have time - and sometimes I simply don't have time). Oh yes, my new mantra: A FLIER IS NOT A PRESS RELEASE.
That all being said, I got two complaints after two issues in a row from a person who is not a member, not an advertiser, not offering a discount to members, not promoting an organization event, and not having a legitimate benefit, that a particular item hadn't run. I explained the system (as above) and promised it would be in the next issue - and it was.
I know he saw the item because no complaint came in - but it would have been nice if a little appreciation was shown in the form of a thank-you. But this is not the first time this has happened and won't be the last time either. I include dozens of news items in every issue and I get more "thank you's" from just regular readers than from performers when I include their releases. Curious.
I had to share.
HUGS
STU
The twice-weekly newsletters have been running a bit long lately as I attempt to get all the news items about holiday shows included so that I can send out a set of listings tomorrow. So a few stories were postponed (I include 99% of the items received if they are "on topic.") I try to get all items into the newsletters and on the website at least 2 weeks - and most times three weeks - before the event date.
If you are running an ad, of course your item runs every issue, and if you are offering a discount it runs at least in every Thursday issue. And cabaret organization events and legitimate benefits that are cabaret related run every issue as well. And members get their item chosen as soon as space is available, usually right away. Then the others are added. I thinks this is about as fair of placement as possible. But nearly everything gets used (if you send a press release with missing information or that is so confusing it needs extensive rewriting it gets put in a "hold" file until I have time - and sometimes I simply don't have time). Oh yes, my new mantra: A FLIER IS NOT A PRESS RELEASE.
That all being said, I got two complaints after two issues in a row from a person who is not a member, not an advertiser, not offering a discount to members, not promoting an organization event, and not having a legitimate benefit, that a particular item hadn't run. I explained the system (as above) and promised it would be in the next issue - and it was.
I know he saw the item because no complaint came in - but it would have been nice if a little appreciation was shown in the form of a thank-you. But this is not the first time this has happened and won't be the last time either. I include dozens of news items in every issue and I get more "thank you's" from just regular readers than from performers when I include their releases. Curious.
I had to share.
HUGS
STU
Sunday, December 7, 2008
I HOPE YOU WILL TAKE THE TIME TO POST A COMMENT
This blog is for your comments, thoughts and ideas - not just mine. Under each of my postings is the word COMMENT and if you click on that line a box opens up where you can post your reaction and thoughts on the post it is connected to. Now, I realize that to some degree I pick the subjects, but if you have a particular thought to express (like the posting below that quotes an e-mail I received about the state of cabaret) just send it in and if I deem it important (after all, I have to do something to entitle me to the role of editor), I will post it here for others to comment on.
There are a few postings on this blog already that I would love to hear your thoughts on.
HUGS
STU
There are a few postings on this blog already that I would love to hear your thoughts on.
HUGS
STU
WOW - SOME SHOWS DO SELL OUT! (SORT OF)
I had an interesting experience last night - turned away at the door of a cabaret show! The performer promised to put me "on the list" but there apparently was a mixup somewhere. The line was out the door when I got there, and I patiently waited in line until I got to the host station only to be told that the show was completely sold out with a waiting list! My reservation was no where to be found. So, rather than pull a "diva act" and end up taking the seat of someone on the waiting list, I apologized to the rather harried reservations' gal and went back home.
So, maybe cabaret is not in such dire straits after all - or was I watching another phenomena take place? There appeared to be several people in the line in front of mr with what looked like one of those familiar "free pass" or "special discount" printouts clutched in their hands. Were ready-to-pay-full-cover customers but who hadn't made reservations placed on the waiting list while free-bees were being seated? No one would answer that question. And no one would even confirm that seats were offered on AE, TDF, or other organizations that help performers fill empty seats.
I always feel sorry for folks that pay the full cover to see their friends perform, who get seated next to folks who get a free ride and oft times have no interest in either the artist or the art. Could this practice be a turn-off to regular cabaret-goers? Can this be the reason many cabaret fans are abandoning the clubs and performers? I'm going to dig some more on this.
Unfortunately, this particular show only has one more performance left this year - and is on a night when I am already promised elsewhere. But if the performer can attract this big a crowd (even the deadbeats who won't pay a cover) I am sure the performer will be rebooked at a later date.
HUGS
STU
So, maybe cabaret is not in such dire straits after all - or was I watching another phenomena take place? There appeared to be several people in the line in front of mr with what looked like one of those familiar "free pass" or "special discount" printouts clutched in their hands. Were ready-to-pay-full-cover customers but who hadn't made reservations placed on the waiting list while free-bees were being seated? No one would answer that question. And no one would even confirm that seats were offered on AE, TDF, or other organizations that help performers fill empty seats.
I always feel sorry for folks that pay the full cover to see their friends perform, who get seated next to folks who get a free ride and oft times have no interest in either the artist or the art. Could this practice be a turn-off to regular cabaret-goers? Can this be the reason many cabaret fans are abandoning the clubs and performers? I'm going to dig some more on this.
Unfortunately, this particular show only has one more performance left this year - and is on a night when I am already promised elsewhere. But if the performer can attract this big a crowd (even the deadbeats who won't pay a cover) I am sure the performer will be rebooked at a later date.
HUGS
STU
Saturday, December 6, 2008
FOR PERFORMERS: HOW MUCH DID IT COST YOU TO PRODUCE YOUR LAST SHOW?
There is a short poll in the right column near the bottom, but your comments would be helpful as well. Asking someone to produce a cabaret show is almost like asking someone to go into debt - our CABARET HOTLINE ONLINE November CD show broke even, thanks to some folks who made sponsorship donations - but if you deduct that amount it was a loss. What has been your experiences (and read the post below this one and feel free to comment there as well).
HUGS
STU
HUGS
STU
SOME THOUGHTS ON CABARET FROM A PERFORMER/SUBSCRIBER/MEMBER
RECEIVED THIS MORNING FROM A MEMBER OF CABARET HOTLINE ONLINE
Hi, I appreciate your faith in the music we do. But, alas, even as I appreciate your extraordinary and generous efforts to promote cabaret, I understand why your levels of donations are dropping. The number of shows is dropping. It is very hard to start singing and try to improve and to make an artistic life in the cabaret world in NYC as it currently exists.
What I don't see here in your words (although I know you know) is the acknowledgment of the huge expense it takes to mount a show. One show. One show with a group of instrumentalists, not "just" a pianist. Additionally, at shows I attend, I am bombarded with printed materials advertising the singer's activities elsewhere (a perfectly reasonable thing to do) as well as a printed program, cards to leave e-mail addresses, etc) - again, perfectly reasonable things to do but very costly. The expense of putting on a show without much in return is a labor of love that I and others have enjoyed doing, but without much of a return, with essentially just breaking even (which is considered a success), we have the world going round with the same people who have the means to put on a show, the same people doing those second tier shows, and the same people going to them.
The expense of making and producing recordings, of publicity, of trying to move your show and the audience to another, more creative level than just the "Songs of Somebody Famous and Dead" - of celebrating the Great American Songbook as something other than dead leaves from the past but as very very alive and real in the present and future - is an expensive and often disheartening and scary proposition in this city, especially when most of us doing this are doing something else to make a living, which also demands our attentions and can often ruin our voices.
And the people who follow us around, even with discounts and all that, spend enormous amounts of money to support us - but again, it's the same people. And it is sad sometimes to watch a very well promoted singer, who is only so so, but who does have the money for putting on shows, making recordings, doing the publicity, and studying with someone who keeps insisting they are good ... and getting nominations and awards ... and singing off pitch ... but even they, with the contacts and the "audience" pulls about half a room on a good night.
The loss of Danny's is huge for those of us who were more or less regulars there. No room has replaced it in quality or congeniality for singers and audience. Also, those of us who take the time to go to open mics find ourselves spending money and waiting through singers who love to sing and have been singing, off key, for dozens of years. Well, who could deny them their fun? It's an open mic, after all. But it's hours lost of precious "free" time, even if it is good experience for a few minutes, not to mention the money spent for the obligatory food and drink.
These are all concerns and fears that most of us have as we wonder "what's the point of all this?". You haven't addressed them. I understand that you think that keeping Cabaret Hotline Online going will help us in some way. I appreciate and admire your efforts, but I think we need something in addition - something of a larger vision of all of us because cabaret for artists at all levels is a stumbling, self-contained, and expensive habit and passion.
Even the big, first tier rooms pull audience members in the single digits. Unless some larger vision takes us to a newer level here, all the banner ads and promotions in the world won't help, and the second tier of cabaret performers will only consist of vanity singers, whose husbands have retired wealthy or those who have made a killing in real estate at a fortuitous moment, only to "discover singing" and who, as Stanislavsky once said, "love themselves in the art, not the art in themselves."
Most of them probably don't know there is a difference.
PLEASE LET US HAVE YOUR COMMENTS ON THIS - CLICK ON COMMENTS LINK BELOW
Hi, I appreciate your faith in the music we do. But, alas, even as I appreciate your extraordinary and generous efforts to promote cabaret, I understand why your levels of donations are dropping. The number of shows is dropping. It is very hard to start singing and try to improve and to make an artistic life in the cabaret world in NYC as it currently exists.
What I don't see here in your words (although I know you know) is the acknowledgment of the huge expense it takes to mount a show. One show. One show with a group of instrumentalists, not "just" a pianist. Additionally, at shows I attend, I am bombarded with printed materials advertising the singer's activities elsewhere (a perfectly reasonable thing to do) as well as a printed program, cards to leave e-mail addresses, etc) - again, perfectly reasonable things to do but very costly. The expense of putting on a show without much in return is a labor of love that I and others have enjoyed doing, but without much of a return, with essentially just breaking even (which is considered a success), we have the world going round with the same people who have the means to put on a show, the same people doing those second tier shows, and the same people going to them.
The expense of making and producing recordings, of publicity, of trying to move your show and the audience to another, more creative level than just the "Songs of Somebody Famous and Dead" - of celebrating the Great American Songbook as something other than dead leaves from the past but as very very alive and real in the present and future - is an expensive and often disheartening and scary proposition in this city, especially when most of us doing this are doing something else to make a living, which also demands our attentions and can often ruin our voices.
And the people who follow us around, even with discounts and all that, spend enormous amounts of money to support us - but again, it's the same people. And it is sad sometimes to watch a very well promoted singer, who is only so so, but who does have the money for putting on shows, making recordings, doing the publicity, and studying with someone who keeps insisting they are good ... and getting nominations and awards ... and singing off pitch ... but even they, with the contacts and the "audience" pulls about half a room on a good night.
The loss of Danny's is huge for those of us who were more or less regulars there. No room has replaced it in quality or congeniality for singers and audience. Also, those of us who take the time to go to open mics find ourselves spending money and waiting through singers who love to sing and have been singing, off key, for dozens of years. Well, who could deny them their fun? It's an open mic, after all. But it's hours lost of precious "free" time, even if it is good experience for a few minutes, not to mention the money spent for the obligatory food and drink.
These are all concerns and fears that most of us have as we wonder "what's the point of all this?". You haven't addressed them. I understand that you think that keeping Cabaret Hotline Online going will help us in some way. I appreciate and admire your efforts, but I think we need something in addition - something of a larger vision of all of us because cabaret for artists at all levels is a stumbling, self-contained, and expensive habit and passion.
Even the big, first tier rooms pull audience members in the single digits. Unless some larger vision takes us to a newer level here, all the banner ads and promotions in the world won't help, and the second tier of cabaret performers will only consist of vanity singers, whose husbands have retired wealthy or those who have made a killing in real estate at a fortuitous moment, only to "discover singing" and who, as Stanislavsky once said, "love themselves in the art, not the art in themselves."
Most of them probably don't know there is a difference.
PLEASE LET US HAVE YOUR COMMENTS ON THIS - CLICK ON COMMENTS LINK BELOW
RECESSION BUSTER DOUBLE DISCOUNTS
See a cabaret show or two this week, if you can. Many performers are offering CABARET HOTLINE ONLINE DISCOUNTS and two shows today - Saturday - are giving a DOUBLE DISCOUNT - both at the METROPOLITAN ROOM (Miles Phillips & Karen Oberlin at 5:00 pm and Julie Reyburn at 7:30 pm - both at THE METROPOLITAN ROOM).
I will announce any new DOUBLE DISCOUNT shows on the website and on this blog as I hear about them.
HUGS
STU
I will announce any new DOUBLE DISCOUNT shows on the website and on this blog as I hear about them.
HUGS
STU
GET THAT HOLIDAY/NEW YEAR'S SHOW PRESS RELEASE IN
A press release will be sent to all the cabaret press e-mail addresses we have on file, urging these writers to mention the dozens of special HOLIDAY CABARET EVENTS that are going on this month all over the USA, UK and AUSTRALIA. The letter will include a link to both our HOLIDAY page and our NEW YEAR'S EVE page on the website - and it will go out on Tuesday, the 9th of December.
If you have a holiday or New Year's Eve event and you have not yet sent in your press release (REMEMBER: A FLIER IS NOT A PRESS RELEASE) please do so this weekend (via e-mail). And if you have the e-mail address of a web or print cabaret writer/editor, please send it in.
The Monday issue of the CABARET HOTLINE ONLINE newsletter will include all the HOLIDAY event listings left in my event bin (only 4 remain) as well as all the NEW YEAR'S EVE events (I have received only 6) so please don't delay.
A follow-up e-mail will be sent to the same list of writers and editors after Christmas with special New Year's wishes to the writers, another link to our New Year's Eve page and a preview of our MARCH IS CABARET MONTH activities.
HUGS
STU
If you have a holiday or New Year's Eve event and you have not yet sent in your press release (REMEMBER: A FLIER IS NOT A PRESS RELEASE) please do so this weekend (via e-mail). And if you have the e-mail address of a web or print cabaret writer/editor, please send it in.
The Monday issue of the CABARET HOTLINE ONLINE newsletter will include all the HOLIDAY event listings left in my event bin (only 4 remain) as well as all the NEW YEAR'S EVE events (I have received only 6) so please don't delay.
A follow-up e-mail will be sent to the same list of writers and editors after Christmas with special New Year's wishes to the writers, another link to our New Year's Eve page and a preview of our MARCH IS CABARET MONTH activities.
HUGS
STU
GETTING BACK IN THE GROOVE
I made it to one show last night - PAT & BOOTH at THE DUPLEX - and it was "just what the doctor ordered": plenty of good times. I'll be including a review of this show in Monday's issue of the newsletter. From my house it is easy to get to THE DUPLEX - I take the #8 bus that stops on the corner of Avenue D and 10th Street (just a few steps from my front door) and go cross town on 10th to Avenue A where it makes a turn at Tompkins Square Park and then turns on 9th Street straight across to Sixth Ave where it makes an angle turn down Christopher Street and I get off at the corner of Waverly Street, 1/2 block from the club. This is the only regular cabaret club in town I can get to without a transfer - and can get to (traffic permitting) in less than 1/2 hour. And the ride is like being on a tour bus - right through the East Village, the "Middle Village" and the West Village (it goes all the way from river to river practically). Best of all, as a senior it only costs me a buck! Sad news is that the MTA is considering discontinuing this line - forcing me to take the #14 bus crosstown on 14th Street and then transferring downtown at 6th (F train) or 7th (#1 train or a bus) to Christopher Street. But that will be a ways off.
Tonight I want to catch 2 shows if I can - the first one still to be decided and the second one at THE METROPOLITAN ROOM - the new vocal group The Delivery Girls at 9:45 pm. I heard these gals twice already, both times at Grace Cosgrove's GRACE NOTES shows at DON'T TELL MAMA - its about time we get a swinging all-gal pop group in town! Tracy Stark does all the arrangements with her usual pizzaz, and sings along too. I'll let you know tomorrow if I make it to the show.
HUGS
STU
Tonight I want to catch 2 shows if I can - the first one still to be decided and the second one at THE METROPOLITAN ROOM - the new vocal group The Delivery Girls at 9:45 pm. I heard these gals twice already, both times at Grace Cosgrove's GRACE NOTES shows at DON'T TELL MAMA - its about time we get a swinging all-gal pop group in town! Tracy Stark does all the arrangements with her usual pizzaz, and sings along too. I'll let you know tomorrow if I make it to the show.
HUGS
STU
Friday, December 5, 2008
WE'RE ON A ROLL
I miss those cabaret shows - and I've missed some really great ones so far this week, but as soon as some funds start coming in we will be out and about again - I hope to make it to BOOTH & PAT at the DUPLEX at 7:00 pm and maybe even get over to the METROPOLITAN ROOM at 10:00 for METROJAM. Fingers are crossed.
But staying home isn't all bad - I got so much work done this week I am now racking my brain to see what remains to be done. Today I plan to update all the MEMBERSHIP lists - I have 35 names to add (new members that signed on in the last 30 days) and then I have to get to adding all the CDs for sale that have come in.
Stay Tuned!
HUGS
STU
But staying home isn't all bad - I got so much work done this week I am now racking my brain to see what remains to be done. Today I plan to update all the MEMBERSHIP lists - I have 35 names to add (new members that signed on in the last 30 days) and then I have to get to adding all the CDs for sale that have come in.
Stay Tuned!
HUGS
STU
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