They brought a woman from the street And made her sit in the stalls By threats By bribes By flattery Obliging her to share a little of her life with actors
But I don't understand art
Sit still, they said
But I don't want to see sad things
Sit still, they said
And she listened to everything Understanding some things But not others Laughing rarely, and always without knowing why Sometimes suffering disgust Sometimes thoroughly amazed And in the light again, said
If that's art I think it is hard work It was beyond me So much beyond my actual life
But something troubled her Something gnawed her peace And she came a second time, armoured with friends
Sit still, she said
And again, she listened to everything This time understanding different things This time untroubled that some things Could not be understood Laughing rarely but now without shame Sometimes suffering disgust Sometimes thoroughly amazed And in the light again said
This is art, it is hard work And one friend said, too hard for me And the other said, if you will I will come again Because I found it hard I felt honoured
For a long time on this blog, I felt a silence come over me. It was shame. I was so terrified to admit (to others and to myself) how very ill I truly was. If I admitted it to my employers, I might lose work, and thus the insurance that would help me return to our regularly scheduled program of overworking my way to out-running self-loathing!
And if I admitted to to myself, my psyche would collapse utterly under the weight of It All, and I might never recover physically or emotionally.
But yes. If you've stuck around here long enough, you probably noticed I was doing quite the fancy thing there for a while, and now, (as a close friend so recently, dismissively? callously? maybe totally innocently? labeled me—) I am "a regional theatre actress."
For the record, nothing about that label is shameful, and of course, nothing about the quality of my work has altered. In fact, it has only deepened.
Careers are not at all the meritocracies we were promised in elementary school. They are often merely the reality of
who you know
where you geographically were
where you were in your maturity
if you had financial support
if you had emotional support
if you possessed maturity
how audacious you were
if you had representation at the just right time
the hand of luck
the hand of fate.
I had a lot of those. I didn't have others. I believe I valiantly attempted to make the most of what I had. Such is life.
I'd also add that in emerging years... I am much more than "just" an actress, as my literal tax return would point out.
But I digress.
For this friend is not wrong: I acknowledge that once upon a time, I was a big West End leading lady, a Broadway-person-in-the-making, and suddenly had a lot of fancy classical music gigs and 2 Broadway shows under my belt. And since 2017 I haven't performed in those spaces. And my health is largely responsible for that.
It's taken me years to recognize, acknowledge and metabolize what actually occurred in my body, let alone in my career, and it is one of the great griefs of my life that specifically the singing experience—once such a source of pure joy and release—has become so fraught (even though it is now, largely in my psychology...)
____
Around 2014 I started to notice a change in my body, which included a change in my singing voice. I couldn't place it. I couldn't fix it. I couldn't even totally name what was happening, but it felt like this:
after a lifetime of holding a pencil and knowing how to write with it, suddenly one day I picked up the pencil and it started to fall gracelessly out of my grip without ceremony. Nothing I did could regain the sense of "controlled-freedom" I worked so hard to enjoy in my music-making. And this was right at the moment I was the most visible on earth as "a singer."
Oy.
I now realize it was the beginnings of a terrible illness that would take much more from me than merely a effortlessly floaty passagio.
It would take momentum.
Relationships.
Years of my, and off my, life.
It would take literal organs.
It would take my fertility.
And of course, it ravaged the most sensitive part of my body to all of this: my voice.
39 failed medications. Years of physical pain in the form of body tension that still lives in my fascia to this day. And as they say of racehorses: "an injured champion never quite races the same..." I'm learning, as I heal all this that though not at all unusual, over the years mind did something horrible. It did not simply do say:
"I grieve what my instrument used to do."
or
"I grieve the life I could have had, had my instrument remained on what I felt was a promised trajectory"
But almost immediately:
"What does this mean about me as a human being?"
Those are two utterly different griefs. One is grief over a legitimate loss. The other is utter shame.
The first says:
"Something precious changed."
The second says:
"I became less worthy."
Those are not the same emotion. But trauma often fuses them together until they feel indissoluble.
This was not a change I could understand. For someone whose nervous system learned that understanding equals safety, that is an almost unbearable request.
For the record:
I no longer feel that my voice is broken or damaged. But it is not remotely what it was in 2013. Partly because I haven't been able to "get the reps in." But the soaring has returned! When I am asked to soar. Which is a gift I have to re-earn on those big stages, and I am, of course, willing to re-prove myself. And, of course, it means even more to soar when one has learned what it means to fall out of the sky.
And lately, life has been teaching me to challenge a lifelong strategy.
My instinct has always been to "make meaning" of events. I am compelled to make
meaning, to analyze, to build a coherent narrative before I even fully feel
the emotion. A self protection, of course. And not a sustainable one.
This year has not allowed that.
This year of expansion is asking me to relinquish Certainty. Perfection.
And replace it with curiosity. Space. Wonder. Awe.
To relish all I do know now, throw my head back, and laugh at all I have yet to learn and do and become.
It with profound sorrow that I join the world in mourning the loss of a once-in-generation musician, Michael Tilson Thomas.
I
have many memories, (and some shall always remain privately ‘mine’),
but what I can say is that MTT gave me was so much more than “a shot”
when he selected me—a total nobody— to sing *his* Maria. He also gave me
the gift of contributing to the legacy of West Side Story and to
crossover music history, happily preserved for all time on our glorious
recording.
But above all, MTT unsentimentally taught me how to
believe in myself, and the lesson that sometimes? that is a slow
process. The story that captures this:
One day, during our week
leading up to ‘West Side Story’ rehearsal he brought me in to his
office. I truly believed I was being fired. The imposter syndrome was
real. But that is not what happened. “You’re singing sharp when you get
nervous,” he said. “I know. That does happen when I get nervous I’ll fix
it,” I replied, horrified. “Singing sharp often happens when people try
too hard,” MTT continued, “They overshoot the note trying to be more
than they are. I don’t need you to be more than you are. You are ‘Ein
großer Künstler’ Alexandra. A great artist. Be exactly what you are,
fully, don’t shrink, don’t puff, and you’ll be perfection.”
I was staggered. I almost cried.
“So I’m not fired?” “Absolutely not.” “But… I don’t know if I can trust myself like that.” “Then
trust ME. I’m Michael Tilson Thomas and I know what I’m doing! I chose you. And I don’t regret it. Trust ME until you trust yourself. Sometimes
belief can be collaborative. Nothing wrong with that.”
There were postponements, and too-many-jobs, and travels, and health battles won for two of our team! And in the end? What a joy to gather together once more and celebrate at 54 Below. I feel so especially grateful to gather together in health and wellness in the presence of Drew Wutke post-liver-transplant-miracle-man, and post-4th-bowel-surgery me. We are here!
This was our 10th I Wish (since the first one in 2018), and I struggled a little with what to sing. So many of my "wish" moments have been realized—in true productions, or within this glorious series. I had to think outside-the-box. And that often requires me to dig a little deeper...
*
In truth, what's been on my mind lately has been personal (and I hate that it currently feels political as well...).
I don't discuss it here.
At least I never have.
The subject feels like a phantom, a shadow of sorrow too tender to give credence to.
Giving it shape in words feels dangerous, unwieldy; too fully formed for a phantom.
Best let it haunt me.
I've left it not unexplored, but certainly un-uttered.
And what is this? Well. It is the fact that I will possibly never raise children, and certainly not give birth to them, biologically.
It's been on my mind since roughly 2015, when I was first diagnosed with UC. At the time I was just 32, chronically-sick-as-a-dog with no solutions in sight, not dating anyone seriously, and honestly I was so preoccupied with every kind of surviving that I honestly hadn't even thought about kids. I was never one of those women that had always dreamed of pregnancy or of parenting; I presumed the thoughts and sensations would present themselves organically...
Then one day, after a few failed attempted medical solutions, I was presented with an option: a very intense drug that worked for many people in helping quell ulcerative colitis. It worked for many, but was essentially chemotherapy in pill form. It could be magic bullet. It works for thousands of people, they said. But: it would forever compromise my fertility. I needed to give it some thought.
I did. My thoughts were that my options were slim and growing slimmer.
I did my due diligence and explored every corner of why people have children, what pregnancy meant or didn't mean to me, what mothering, parenting, legacy, biology... In the modern day, we truly have children for so many reasons. I figured none of these thoughts were going to do me or a child any good if I wasn't here, or well enough to care for either of us.
I went for it.
And in the end? The drug did not work for me.
. . .
I'm not usually lost for words, but the sense of loss was palpable.
Yet, this was one of the countless things I didn't (couldn't?) manage to cry tears about. Something about it felt self-indulgent. I went about with the regular unhinged programming of shoving it ever-downward in to my already sabotaged viscera! Keeping medical secrets from a Broadway company and presenting myself as Healthy Al. Nothing to see here. I haven't eaten solids or slept in weeks, I am on more steroids than a Soviet dead lifter, but everything is fine. I gave no further meaningful thought that year to the children I'd never have—Who had the time? After all, they were a figment, a not-to-be-hoped-for addition. And I was focusing on the "lucky-to-be-alive" part. At the time I had no partner to raise them with (something I insisted upon, when my imaginative musings drifted toward parenting), a chaotic schedule as an actor, with a volatile income, distant family infrastructure geographically far away. None of it seemed reasonable. Possible. Or above all: like something I was even "allowed to want."
By 2021 my surgery further solidified the story of a life without biological children. The scar tissue from the surgery would settle around my reproductive organs, and would mean IVF was the only option for pregnancy with anyone's eggs.
My surgeon was compassionate.
All his fellow associates and nurses too.
I signed 100 consent forms.
They checked and asked me over and over again—including moments just before the surgery itself—if I was "sure."
And when I said I was, my wonderful, taciturn-but-compassionate surgeon took a vulnerable leap and in a near-whisper, reminded me of a personal truth: that I had grown up with a sick parent.
He was right.
He reminded me that not merely my father's death, but my father's illness had been a source of tremendous pain. He wanted me to know that, for the record: he felt the choice I was making right now—to get well—set me up to be the best person I could for everyone I currently served in my life. And that was also true for anyone I welcome in to my family, in any manner, going forward.
I knew he was right.
Still. I went from an "I Don't Know If I Want" to a "Can't Have," within hours. The sense of grief has been unutterable. What began as a vibration became a whisper which became a roar, and over time it has only grown louder. So many of my close friends elected to have children and I delight in their happiness and expansion as human beings. But yes, it aches.
Over the years the feelings have evolved. I met Alec—younger than I and likely not even courting the concept of children when we started dating. The greatest tragedy feels like robbing him of being a father, biologically so, without a lot of say in the matter. But we both understood what we were walking in to as we continued to commit to one another.
Then JD V*ance started going on and on (and on) about "childless cat ladies." About "biological responsibility" and the selfishness of a woman who does not physically bear her own children for the generations to come. Again, there just weren't words to describe the experience of hearing that from an elected official, after everything.
I don't know that I'll ever have the words.
*
So with all this at the top of my mind in recent days, I turn to the best discussion of grief, parents and children and healing I know: The Secret Garden.
The story is about a family ravaged by illness and grief, that discover the ultimate healing exists within nature—all symbolized by a near-dead garden returning to life.
It’s also a story about parents and children…
In this song, Archibald Craven— unable to parent his son Colin because of the enormity of his grief, visits him as he sleeps and tells him an ongoing, bedtime fairy-story.
I know a lot about the themes of this story. (I once wrote about them, here) In so many ways I identify with the children— growing up with parents, lost— to death and to grief. But as I age I come to see myself in the adults too. And as so many parents are quick to remind me— I am not a parent. Yes, believe it or not, I am keenly aware that I don’t have first hand experience with raising children because I don’t have any of my own.
Farewell, Marian Paroo and The Music Man in Chicago.
The most glorious part: creating a new Marian Paroo in tandem with my "whyfe" Katie Spelman-- my favorite contemporary artistic collaborator. It has been a dream, a career highlight, and the definition of platonic
intimacy. Katie, along with our peerless female-led creative team Kim Hudman + Laura Rook, not to mention 37 world-class performers. The
professionalism of every contributor has made this one of the great
artistic experiences of my career, and I’m so proud of what we all made
together.
It must be mentioned that sharing the journey of Marian and Harold opposite KJ Hippensteel's
Harold Hill— the best I’ve ever seen in the role for reasons I’ve
expressed now countless times.
KJ, our creation is a work of art, and
I’m proud that it has deepened and enriched over the weeks in ways
actors can only dream of. In addition, we’ve never wavered from our
shared commitment to telling it honestly, no matter what; a testament to
our shared professionalism and love of the work. Thank you. It’s been
an honor to tell this story together.
I’ve
made some lifelong friends and theatrical chosen family, I’ve
conquered so many of my singing demons and felt in my cellsonce again
what I thought was the lost sensation of truly soaring on stage in a
musical again. I flew— and it was even more precious because after the
last decade or so, I know what it means to fall.
Almost everything has been a total dream.
Yet,
being honest, there have been parts of this experience that have been
both socially and physically agonizing. I won't go in to detail here, first of all because I am a lady (I have never used this space for idle muckraking), and second because none of the thoughts and feelings are fully identified or organized, and I have learned to only offer reflections in a vaguely public space such as this once experiences are truly processed. Suffice it to say: I’m grateful for the
lessons and look forward to ever-more calming of my nervous system.
For although I passionately love this role, adore so many in this company, and revere this gorgeous work of art we all created, I am ready to return home. I look forward to returning to an environment
where I feel fully understood, where what I offer as a friend, colleague and human being is deeply valued, respected, and above all: the goodness of my intentions are never doubted or maligned. I know I shall never scramble to prove my worth again, for if we find ourselves trying to prove our worth to others who do not see or value it? We have already forgotten our own value.
Marian and this contract have taught me:
- communicate. - don’t make assumptions. - trust. - love abundantly— without apology. - and tell people what they mean to you—for our trip on earth is brief.
On the first day of tech [for The Music Man,] I crumbled inside myself, gripped to the core by a wave of echoing grief and awakening emotion.
Historically, I have always been someone who gets reamed by emotional tidal waves tardily: days, weeks, months, years after the event. Like a shipwreck survivor who only experiences the intensity of what they went through once they are standing on the shore. Except for me? I've been standing on the shore for a few weeks...or years, completely unaware that I haven't processed the shipwreck. Like at all. And I wonder why I'm having this panic response in the middle of a grocery store, on the subway, as someone is telling me a perfectly innocuous story... or, ya know: on stage.
Apparently this "shipwrecking" response is not uncommon. At the height of adversity I am razor-sharp, hyper-lucid, totally focused on nothing but getting through the storm. I think my hyper-vigilance just never quite turns off... and then I get caught unaware.
Or have a panic attack.
Or, I give myself an auto-immune disease.
Or D: ALL OF THE ABOVE!
Fun.
On this particular evening I was filled to the brim with memories of my voice not showing up for me. Bursting with recollections of my many
counted inadequacies over the last decade of struggle. Once upon a time, I loved to sing. Singing was my great outlet, my greatest joy; a place of total honesty and freedom. Oh, how I had become just yet another loss. Another grief to grieve.
That night, I felt so small and diminished beside KJ [Hippensteel]’s panache and
glitter. But I mostly felt like such a fool. My inner critic was in full force:
"Who are you to be here?"
"Who are you to try again?"
"Who are you to think you could do this anymore?"
"You are too old, too ugly and your singing voice is a disaster."
"You are so unworthy"
"Everyone is laughing at you."
"You are such a foolish old woman,
doing this role."
It was a deep deep thing… I think I am having a lot of echoes of
post-colitis awakenings during this because it is showing me quite
deliberately how much time I really "lost”
I think yes. it’s the time, it’s the stories, it’s the experiences… it’s lost time. Un-reclaim-able.
I am holding two conflicting thoughts about colitis:
1.
I am so grateful to be here, and to have found a solution to colitis
that appears to be really working for me! My life has been restored and I
feel good and healthy and I’m so glad to have a new lease on life.
but also…
2.
I feel sorrowful about all the time that I missed. About a kind of 'loss' around my
30s, my "prime," my years to "be in full bloom," and a kind of female and adult expansion being “taken”
from me by so much illness and (literal) unutterable pain. But an almost
constant sensation that I was literally “disgusting” by the depths of
loneliness and isolation and the certainty that no one would ever love
me or find me attractive or be willing to deal with my illness and the
“disgust.”
After the run I panicked horribly. I wept-- not for the "job" I had just done on stage, but for all of it. For all the loss and all the fear and all the pain and all the horrors. I released all the uncried tears. And then I did something out of character: I called friends. I let loved ones in to this experience of humiliation and loss and pain. I called friends whom I knew would understand, who loved me fiercely, who I know would hold me in this base and demoralizing moment; and uplift, validate and support wherever I "was."
It worked. We are not meant to bear it all alone. I am humbled.
So.
Onward. Onward, still. Just like this photograph of me in song-- however clumsy or imperfect: in a position of surrender and of flight, simultaneously. Eye closed in a kind of faith, heart open to the possibilities of all that life holds, arms outstretched ready to welcome it. Welcome it all.
Onwards with courage and integrity.
Resilience is distinct
from mere survival, and more than mere endurance. Resilience is often
endurance with direction. Share this Quote
Eric Greitens Read more at https://www.brainyquote.com/topics/endurance-quotes
Resilience is distinct
from mere survival, and more than mere endurance. Resilience is often
endurance with direction. Share this Quote
Eric Greitens Read more at https://www.brainyquote.com/topics/endurance-quotes
Resilience is distinct
from mere survival, and more than mere endurance. Resilience is often
endurance with direction. Share this Quote
Eric Greitens Read more at https://www.brainyquote.com/topics/endurance-quotes
"Resilience is distinct from mere survival, and more than mere endurance.
Wrong. It’s not only deepest winter, it is February, there’s a pandemic, and in walks the weirdest “holiday” of them all: Valentine's Day. Who wouldn’t want to grab a drugstore box of chocolates and scream-cry in their sweatpants?
NOT THIS YEAR.
You don’t need a significant other to snuggle up to your cocktail and spend an intimate evening with the Grammy Award nominee Alexandra Silber as she celebrates, makes fun of, mourns, and idealizes all things romance. With songs. And jokes. And special guests. And maybe even a QUIZ…with prizes.
Join Alexandra February 14th and experience a unique and intimate performance that combines Silber’s signature mixture of depth, wit and musicality.
And who knows? Maybe you’ll even score your very own box of chocolates.
With musical direction by Ben Moss and Zack Zaromatidis on guitar featuring Alec Silver
It’s here. Yom Kippur 2020 and whoa boy do we all have a lot to atone for, personally and as a society at large.
The first communal prayer service of Yom Kippur actually takes place immediately prior to sunset on the evening of Yom Kippur. This service is called Kol Nidre (“All Vows”). These are the first words of a special legal document that is recited at the beginning of this service and is traditionally chanted, recited or sung, three times. (The singing of a legal vow-based legal document? Sounds kinda like a medieval “One Hand One Heart.”)
There are several melodies and versions used, but here is my humble attempt at the “Fromm” version (which is my favorite), up a step from the original key because, soprano. Also, because it is traditional to wear a white garment for the whole of the holiday I’m giving you several all-white garment *lewks* Just call me The Woman in White. LOL.
The Kol Nidre legal ritual is believed to have developed in early medieval times because at various times in history Jews were forced to convert to upon pain of death, and make vows to another faith. Vows in those days were very different than they are now— they were lifelong and permanent.
However, after the danger had passed, many forced converts wanted to return to their Jewish communities, but because of the seriousness with which the Jewish tradition views verbal promises (remember the *draaaama* of “They gave each other a ‘pledge’ from 'Fiddler On The Roof!'), the Kol Nidrei legal formula was developed precisely in order to enable those forced converts to return to the Jewish community, absolving them of the vows that they made under mortal duress.
Thus “All Vows” was created and remains a crucial part of the ceremony to this day.
It’s an interesting time to think on vows we have made under duress. On broken promises and an affirmation to do and be better.
Wishing you all every possible grasped-at joy during these dark days, and May we all *vow* to be better in the days to come.
Many special thanks are due that made this video possible — - Rabbi Matthew Green of Brooklyn Jews for inviting me to participate in HIGH RESOLUTION - Rabbi Samantha Frank for teaching me alllll about Kol Nidre. - Alec for allowing me to drag him to the east river to film this - And last but not least Cantor extraordinaire and very dear old friend Marla Aviva Beider for the sheet music and supportive guidance.
- Leaving a Pittsfield Mass Walgreen and seeing a man with a baby stroller buying 27 cans of Fruit Punch flavored Arizona ice tea… and in the baby stroller was not a baby? But a CAGED SQUIRREL
- Talking with Alec about expanding buying a car! (An adorable vintage 1985 BMW 528e we are named Brunhilde thankyouverymuch)
- Hearing the story of Alexandra and Etai getting engaged (eeeeee)
- The appointment of Kamala Harris as Joe Biden's 2020 running-mate. (HERSTORY!)
- SINGING IN A REHEARSAL ROOM FOR THE FIRST TIME SINCE MARCH 13 2020 and having absolutely zero words to describe the 10,000 sensations.
One second it’s:
“OH MY GOD THE THEATRE!!!!”
The next:
“This isn’t the same... will it EVER be the same?”
The next:
“But I’m HERE!”
The next:
“Will I DIE?! Is this safe?"
- COVID-negative approved HUGS
- The extremely grouchy man at the wonderful Round Tuit
- Face-timing with Katie and Alan and Tom
- Drinks and deep talks with Alysha and Storm (defining the very special joys of out-of-town theatre)
- Socially-distant visits with friends I haven't seen in what feels like years!
- Making art. However cautiously.
- Bringing my vocal chords together to make music. Incredibly emotionally.
- Parting from Alec for the first time in 145 days (and when we parted, weeping like a toddler being dropped off on the first ever day of school)
It was such an honor (not to mention such a source of healing) to speak with One Detroit's own Christy McDonald, sending my unconditional love and support yo my hometown of Detroit Michigan.
"Do art and music help you connect with your emotions?
Author and Broadway performer Alexandra Silber talks with One Detroit's Christy McDonald about what it's like to live in "the city that never sleeps" during the COVID-19 pandemic, as well as how the arts affect performers and observers, and the healing power of music.
NEWS FLASH:
#OneDetroit is now on Detroit Public Television TWICE weekly - with two new shows every week! Tune in this Monday, April 13 at 7:30p ET for the debut of our new Monday show, featuring a special performance by Alexandra Silber."
I have started a concert series, and it is a miracle of hope and celebratory energy.
"I Wish: The Roles that Could've Been" is a chance for performers to live out their dreams-- the roles that passed them by, the roles that never will be, but TONIGHT: here we are.
Playing the role in living color at Broadway's supper club, 54 Below.
The first concert was an impromptu endeavor on June 2, the week before the Tony Awards. It was such a huge success that 54 Below agreed to make it a serial.
Behold the opening number (with lyrics co-written by genius, Brian Nash):
Once Upon a Time …
I wish
In a far off kingdom…
more than HANNIGAN
More than THE LIFE
of Metro Detroit…
More than TupTim
Lived a young maiden
More than THE LIFE
With totally delusional casting dreams
MORE THAN EPONINE!
More than TiMoune!
YOU WISH
I wish to play Mama Rose and Scar
I wish to play Mama Rose and Scar
George Serat!
The guests are gifted.
The evening is pure positivity and light.
It feels like a great big celebration of actualized possibilities.
A party.
A catharsis.
The wonderful October cast
my incredible producer Jen Sandler!
To view the ever-expanding playlist (all captured by Famous in NY) click here.
In action!
As I say at the conclusion of the concert:
Octavia Spencer was told she was weird-looking and “not for Hollywood.” Suck it haters: she now has an Oscar.
Samuel L. Jackson recovered from a crippling addiction to cocaine and heroin before landing Pulp Fiction at 46.
And even though Angela Lansbury was nominated for an Oscar at 18, a Goldwyn girl, a movie and gigantic Broadway star, she wasn’t a household name until she starred on Murder, She Wrote which she began at the age of 60.
Not to mention Ariana Huffington starting The Huffington post at age 54.
Or Charles Darwin, who was 50 years old before he published On the Origin of the Species in 1859.
Or Julia Child who published her first cookbook at 39; and made her television debut at age 51.
PROOF that dreams DO happen, and it is never too late for ANYTHING
Tonight you have watched people live their dreams, and I hope YOU remember why you are pursuing YOURS.
I WISH: THE ROLES THAT COULD HAVE BEEN
June 2, 2019 - Live at Feinstein's/54 Below
Music Directed by Brian Nash
Conceived by Alexandra Silber
Produced by Jen Sandler
Filmed & Edited by FAMOUS IN NY - http://famousinny.com
I realized recently that so many of my "Ask Al" questions come either from curious laymen, or artists who are either in training or embarking upon their careers. In other words—not from working professionals who are asking their colleague for support or insight. I exchange texts and emails (both asking and answering) with my friends and colleagues all the time, and I thought it might be interesting to hear about the cares and concerns of high-flying professionals and what concerns them on a daily basis.
In this instance, a friend in a Broadway musical reached out about missing performances due to illness. Many performers are flooded with guilt and shame, as well as fear and insecurity. What my friend and I worked through was a crucial part of self-love and acceptance, as well and, I believe, applicable to all professions.
Enjoy.
* * *
Dear P(al),
I have the fate of laryngitis from this all-over-the-place weather. As a result, I’m missing shows and feel totally defeated and unworthy and just plain gutted. The shame of being given the enormous honor of leading a company, only to let down that company, the producers and the audience is a level of guilt I can't bear! Yet, without my voice, I can't do the job I have been tasked to. Can you tell me it’s ok to be sick? I feel as though these thoughts are keeping me from truly healing! Love you, "Them"
*
Oh, my friend.
First things first— you are anything BUT unworthy. You are a beast of a performer, spirit, athlete, and artist. Illness happens to all of us for any number of reasons. It is not an indication of weakness or lack of commitment in any way. You’re sick. It’s not your fault. It’s not a crime.
Second— missing shows is always hard because you’ve been tasked with a high honor that I know you revere. But if it is any help for a “re-frame” — I always like to think of the CHARACTER and what they need. Taking the pressure off of myself.
Ask:
“What does this character need from me to get her story told today?”
And:
“Am I the best person to tell her story today?”
— if the answer is no, then say:
"I should step aside and allow someone else to take care of her story until I can return."
Because that outlook has the wisdom, maturity and ego-less energy of recognizing that this isn't about you and your fame or glory, it is ultimately about putting the character first, and that is the thinking of one's highest self.
Finally — I know you (like so many of us) suffer from a mix of fierce ambition as well as imposter syndrome. I identify with that. I think moments like these can exacerbate that fear — the fear that somehow we don’t deserve these honors and opportunities we’ve fought and bled for. That somehow our luck is catching up with us and we’re going to be revealed as hacks.
That’s just your fear taking you hostage. It’s a liar.
I love you so much.
And I believe in you.
And I’m really honored you trusted me with this.
Al
*
You. Are. Yoda. I cannot thank you enough for this.
On October 28 (the Sunday after the horrible shooting of the Tree of Life Synagogue), genius musical director and performer Ben Moss and I joined Jamie Bernstein at the Center for Jewish History, to raise our voices in song as her father Leonard Bernstein so rightly said is our greatest weapon against violence:
"This will be our reply to violence: to make music more intensely, more beautifully, more devotedly than ever before."
"After Anatevka, an Audible Production at the Minetta Lane Theatre, will celebrate Alexandra Silber's novel about the characters in the musical Fiddler on the Roof.
Audible Inc., the world's largest producer and provider of downloadable audiobooks and other spoken-word entertainment is pleased to announce its production of After Anatevka, a literary and musical evening celebrating Alexandra Silber's sweeping historic novel and its upcoming release on Audible. Picking up where beloved musical Fiddler on the Roof left off (based on the original stories by Sholem Aleichem), After Anatevka centers on Tevye's daughter Hodel and the adversities she faces in her extraordinary attempt to reunite with her politically-imprisoned fiancé at a Siberian work camp. A love story set against a backdrop of some of the greatest violence in European history, After Anatevaka is a stunning conclusion to a tale that has gripped audiences around the globe for decades.
The actress turned novelist Alexandra Silber has
spent a lot of time living in Anatevka, the fictional Russian village in “Fiddler on the Roof.” Maybe not as long as Tevye and Golde’s daughters, but she has played a couple of them — Hodel, in a British production, and later Tzeitel, in the 2015 Broadway revival."
"On Monday, Aug. 13, at Minetta Lane Theater in Greenwich Village, a live event will add another couple of layers to this creative mille-feuille. The audiobook company Audible, anticipating its own release of “After Anatevka,” will host an evening combining excerpts from the novel, read by Ms. Silber, with songs written for “Fiddler” (including “Dear Sweet Sewing Machine,” which was cut from the show) and new numbers inspired by “After Anatevka.”
Performers are slated to include Samantha Massell, Matthew Scott and Kerstin Anderson; the “Fiddler” lyricist Sheldon Harnick is expected to be on hand, too. Audible will, of course, be recording the program for its audiobook."
Dearest friends. Dearest readers who have been with me since the first blog post was published in 2007.It is not at all hyperbole to declare that Monday was among the top moments of my entire life. Once upon a time I was a tiny baby actress in love with a character, who discovered she had a need to express herself in words. One word, one collection of words, one sentence, one paragraph at a time... words that became a story, that became a collection of paper pages that have now touched more than I could ever dream to have reached. To have my friends and colleagues inspired by this new chapter, for these characters to come to life, and be given a new voice in which to sing and soar; to lend my own voice to it as well?
My Bennyyyyyy.
This project is everything I do in one place, and it was captured and shall be preserved for eternity by and on Audible. This was a dream project born of my humble little mind so many years ago, an effort of heart, soul, creativity and sheer will. I say that to inspire, not to gloat: If I can do it, so can you. If you have a dream, keep going. One sentence at a time.
I am so grateful to Pegasus Books, to Audible, to my agent Joelle Delbourgo, to my editor Iris Blasi, to Carolyn Cantor for directing the evening, and to every composer, lyricist, the gloriously gifted friends who raised their voice in song.
But especially my beloved Ben Moss—that kid fresh out of Harvard I met all those years ago now, who has grown up to be my favorite pal to grab a margarita with (in any town), my greatest collaborator and favorite travel companion. There's no one else I'd rather be trapped at LaGuardia with, Benny.