Shellen Lubin is a veteran of both the cabaret and theatre worlds as a director, songwriter, performer, and voice and acting teacher/coach; she has directed the Bistro Awards for the last eight years. She is currently director/dramaturg in development with projects by Lanie Robertson, Stuart Warmflash, Amy Oestreicher, and more. Proud member of SDC and most unions and guilds in the theatre industry; Co-President, League of Professional Theatre Women; Past President, Women in the Arts & Media Coalition; Chair of the National Theatre Conference's Women Playwrights Initiative. She writes a weekly think piece read by thousands called "Monday Morning Quote." www.shellenlubin.com, www.mondaymorningquotes.com, @shlubin
Article #12 in The New Cabaret Artist’s Handbook. Part Two of Shellen’s Lubin’s discussion on the importance of directors in cabaret. I hope you’ve figured out from the “shopping list” of directorial tools and qualities that I noted in Part One of this article that each director brings their own skill set and perspectives to the […]
The New Cabaret Artist’s Handbook Article #11 in this continuing series. Most likely there have been times when you’ve asked yourself this question: “Do I really need a director for my cabaret show? After all, I have a theme and ideas, plus I’m working with my longtime musical director who is smart and savvy and […]
Article #10 in this running series. For this half of our focus on musical directors (just in case you missed Part One: read it here), I posed some challenging questions to a number of them along with a few singers. We’ll begin with Daryl Kojak, who has been the musical director for most of the Bistro Awards […]
Article #9 in this running series. Your musical director is probably your first and most primary connection as a cabaret artist. In fact, if you don’t have a director and/or writers with whom you’re working (both of which we will be addressing in future pieces), they may very well be your only collaborator in the […]
Article #8 in this running series. “I’ve learned how special the audience is, the feeling that you get from people being right in front of you, becoming part of your act. You hear every word, cough, and sneeze. They tell you if they’re amused or moved by your interpretation and how they perceive you and […]
Article #7 in this running series. Let’s say you’ve been in love with Judy Garland and the songs she made famous for years, and you want to do a tribute to her in your next cabaret show. Or, you think Janis Ian is an underrated songwriter and you want to do a night of all […]
Article #6 in this running series. Patter is such a seemingly trivial term for the talk between songs in a cabaret act. However, the multiple definitions of the word are not all as superficial as the word itself might seem. Patter in the dictionary is 1) the talk with which an entertainer accompanies a routine; […]
Article #5 in this running series. A key factor to creating a successful cabaret act or revue is to give the show an emotional throughline underpinning it. The classic notion of choosing a bunch of songs that you like, and then alternating uptempos with ballads, can create a haphazard and unfocused experience, even if it […]
Interpretation, not imitation! Article #4 in this running series. Most of the time and, in most performance situations—particularly in cabaret, you’ll want to give every song you perform your own stamp. Why? If you’re trying to find your own voice as a performer and an interpretive artist, the last thing you want to do is […]
Article #3 in this running series. What draws you to a song and why does it matter? If you like a song, shouldn’t you just go ahead and sing it? Yes, it does matter. And depending on why you fall in love with a song, it may or may not be right for you. Songs […]