Tag: Britta Johnson


The Role of a Supervisor, Arranger & Orchestrator on a New Musical

By: Lynne Shankel

I got an email this spring from two lovely women who were co-producing a new show called Life After.  They were looking for a music supervisor/arranger/orchestrator and I had been recommended to them by a colleague of mine. First off, you’re probably wondering “What the heck does all that mean? Supervisor? Arranger? Orchestrator?” Welcome to my weird, wonderful world. 
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In Conversation with Britta Johnson

Life After opens this Saturday! Do you have your tickets yet? Don’t miss this exciting new Canadian musical by our inaugural Crescendo Artist, Britta Johnson.

We sat down with Britta to discuss the development of Life After and how her creation process varies from project to project.

 

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The Role of a Director on a New Musical

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


Musical Musings: 525,600 Minutes with Kevin Wong

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!

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An Evening with the NoteWorthy Program

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