By: Lynne Shankel
By: Lynne Shankel
We sat down with Britta to discuss the development of Life After and how her creation process varies from project to project.
By: Robert McQueen
When Britta Johnson contacted me in December of 2015 to say that she had been awarded the Toronto Fringe Festival’s Paul O’Sullivan Award for her new musical Life After I was, of course, thrilled for her. I had first heard Britta’s theatre composition a year earlier when she participated in our annual Noteworthy session, and immediately I had became an ardent admirer of her work; so, when shortly after our first conversation, she rang me again and asked if I would direct the Fringe production, I was thrilled. More
Kevin the Intern and Britta Johnson, in Reminiscent Conversation
On the heels of this year’s NoteWorthy program, I dragged in my pal and fellow NoteWorthy 2014 alumnus, Britta Johnson to reminisce with me in my latest blog entry!
Many people know Acting Up Stage from the musical productions we stage every year – which is something we happen to enjoy very much. But another part of what we do at Acting Up Stage goes beyond promoting the art of musical theatre as it is today, and instead looks at the musical theatre creators of the future – especially those in Canada. It’s a void we’ve noticed in today’s artistic landscape, and one we’re very excited to help fill.
Our major initiative in this area is our annual NoteWorthy program, which has taught and trained 25 emerging composers and lyricists/book writers from across the country in its history. The focus of NoteWorthy is to allow possible partnerships to form between composers and lyricists, or as Mitchell Marcus explained to a crowd of Acting Up Stage friends and supporters on Monday, June 1, “for Rodgers to find his Hammerstein.” More