On Becoming

The period of the 1950-60s ushered in a new global paradigm in both theatrical and musical performance. Specifically, over 400 years of using the human voice in a specific (Bel Canto) manner – ‘emphatic voice use’ (Clarke, 2016), traditional European compositional and orchestration techniques came to an end. These changes have dramatically affected how communities practice and relate to music and commercial musical theatre around the world. My earlier life was dedicated to the arts and a greatly changed music and theatrical landscape. I now find myself challenging the current paradigm that we find ourselves in.

The above statement reflects my intention to look at the last 8 years of specific Public Works and activities I have undertaken, and in so doing, unpack my professional experiences, responses, insights, and learnings as I step away from the ‘status quo’ and merge traditional artistic orthodoxy with refined modern sensibilities. Inasmuch as the auto-ethnographical approach to this paper is specific to my experience, it also shines a broader light on aspects of artistry within our commercial musical theatre communities, on organizational development and leadership, and on the purpose and importance of civic associations (as well as our own place and purpose within them).