Hello and welcome to the Providence College podcast. I'm your host, Liz Kay, and I'm joined by producer Chris Jones of the Class of 2005. Here in the Providence College podcast, we bring you interesting stories from the Frier family.

This week, we're talking with Dr Christian Oberoi, assistant professor of music and director of collectivities, and Patrick Saunders, a member of the Class of 2013 and a visiting assistant professor of theater. The pair were recently awarded a grant from the college's Office of Sponsored Research and Compliance to workshop in original musical in New York City.

Thank you both for joining us.

Thank you for having us. It's our pleasure.

Yes, glad to be here.

So could you tell us a little bit about the genesis of this project that Dr. O'Berry, how did you get started writing this?

Definitely, yeah. So this is a project that I've been working on for about a year and a half now. It's an original musical and an original concept that I had in the summer of I guess it was the summer of 2019 that it first came to me.

And then it was about eight months later that I actually started writing it. But basically what happened is my wife's mom, my mother in law had recently passed away and we were taking a road trip. And we were we had this book of questions.

It was like a hundred questions, conversation starters or something like that. And we were just kind of going through that because we're on this long trip. And one of the questions was, if you could go back in time and fix one relationship, what would you do?

And I thought, wow, that would be a really cool concept for a musical. And I think it was because, you know, her her mom had just passed away. And I was kind of thinking about, you know, what was left unsaid with that relationship between her and her mom and just different people that I had known in the

past where maybe I didn't leave things the way I wanted to leave them. And this idea of writing a musical that's really sort of plays with sci fi, but it's not a back to the future style musical. It's more about regret and the relationships in your life and how they really shaped your whole trajectory.

I thought that would be a really cool thing to explore. So that was the genesis to sort of the piece. It wasn't till about nine months later that I started working on it. And shortly after I did, the pandemic hit.

And so I had a lot of time to really think about and to work on the piece a bit more. And then as we were starting to come out of that, that's when I met Patrick. And that was about a little more than well, about a year ago that we met.

And about nine months ago, we started working together. And so Patrick's been a really influential piece of this puzzle as well.

So, Patrick, how we learned how you got involved and did you talk a little bit about how you've been involved?

Yeah, absolutely. So I originally started working with Christian. For the choir, Frier Choir is concert for this spring, we were looking for something a bit more theatrical to kind of give opportunity during Covid that felt a bit more a bit more lively, right.

Something since we couldn't give a live performance. What could we do instead? And so that's how we were introduced to each other in terms of how I started working on the musical well through this working relationship. She shared with me that he started working on this original material.

My specialty as an actor and director, I like to think one of my forte, specifically a script analysis. So he was kind enough to let me take a look at some of his early work, some of the material he had already composed and the story.

And so I kind of came along not writing the script or the book, per se, but offering insight in terms of the plot and the story arc.

So kind of like editing to the writing, like Christian's writing.

For theater, we might say it's more dramaturgical work right where you're. It's more about the shaping of the story.

So now the two of you been awarded this collaborative grant for your interdisciplinary project. How will it help you with your vision?

Yeah, so one of the steps that we're really excited about taking is being able to get some live work done with actors on the actual material. Eventually, of course, we're aiming for live performances, but that's still a ways off because we haven't finished writing the piece yet.

I think it's probably about 60 to 70 percent done, but there are some big missing pieces of it. But just having a date, knowing that we're going to be doing live work is a really great milestone to be reaching for next semester.

So there's a director in New York City named Eric Tucker, and he runs a group called Bettel Theater, which really specializes in doing sort of interesting. Off the wall type productions. And I've known Eric for many years. And actually it was sort of through conversations with him that I decided I wanted to write a musical because he

was telling me that he he'd be very interested in producing a musical that's more sort of philosophical and deals with like the big questions of existence. So as I've been working on this, I've been in touch with him.

And then finally the past couple of months, we sort of successfully pitched him, I guess you could say, on on helping out with this show. So he agreed to help us facilitate this workshop in collaboration with Bedlam Theater in New York City in the spring.

And that was sort of the angle that we took as we applied for the Spark grant. Knowing that we were going to be doing this workshop, we began sort of evaluating the cost of actors, the cost of renting a space for a few days, and all the production costs, even though it's only going to be up a

couple of days, that we'll be doing it. It's still pretty expensive undertaking. And so that was a big part of this. Funding is really a big part of us being able to do this.

And I think something that's really intriguing about your projects is that students will be involved. Can you tell me how they'll be able to participate

beginning the end of the semester, the beginning of this next semester? Will be meeting with a small group of select students. Well, there will be open applications for any students who are interested. And essentially what we'll be doing with them is we will be introducing them to the work that we currently have for the workshop.

They'll be able to respond to it as dramaturgs, as as critics and analysts of the work, as the story stands right now. Help offer some initial feedback beyond the two of us, and it'll also be helping us to prepare this work so that we feel.

We feel that much more prepared and better suited when we walk into the workshop. In terms of what we really want to tackle with these actors and that's the other exciting thing, is that these these students are going to be able to sit in and observe a workshop process.

So often when we're working with our students, they're working on set repertoire, you know, pieces that even when they're contemporary pieces. Right. They've already been set. They've already been published. And so here they get to witness something that's really still in its developmental processes and see how things can change in the work room.

It's so fascinating to hear you talk about this, how the student involvement will go, because I know students in theater, dance and film get experience and all the things you mentioned, especially that critical piece you mentioned. And so this is just another opportunity for them to exercise those skills, right?

Absolutely. And it's an opportunity for them to weigh in in a way that feels like it could ultimately actually affect the final piece, like when we weigh in on Shakespeare. It might it might sway our interpretation for a particular production, but it's not affecting that final text that's pretty much been set.

Not so for this project.

I think we've heard about some of your next steps and taken this to the process. But right now, what's on your plate now? What's next on your agenda for this project?

So it is still a piece that's in development that we're still writing. And as Patrick mentioned at the beginning of the conversation, Patrick isn't actually writing the script of the show. He's more, as he said, working in a dramaturgical capacity.

So we've been looking for someone to actually write the dialog that we envision happening in this piece, which I don't think is going to be a huge part of the piece, because a lot of it is sung and I'm writing the lyrics, but we still really haven't identified who that mystery partner is going to be that is

going to help us bring it to completion by providing that the dialog in between the numbers, the musical numbers, and again, there probably is going to be a ton of dialog, but what dialog there is going to need to be really convincing.

So we've gone through a number of interviews. We've had people apply and try to sort of try out and try their hand at writing some passages. And we just haven't really found the right fit yet. We've had some really fantastic playwrights that have tried their hand at it, but just haven't quite nailed the tone that we're looking

for. So that's still a process that's ongoing and where we've decided to sort of take a step back now, focus a little bit more on this workshop and see where things go from there, because there may be things that come out in the workshop that will illuminate how we're going to use the dialog.

And that might help us to kind of refine our search going forward.

I just think the topic of the the musical is just in this period of time, as we're still like slogging through pandemic life, it just feels like it's going to be very contemporary and it hit home for a lot of people.

It just seems like a very topic we're all pondering ourselves in in various ways. Right. You know, the different aspects of. Of pandemic life for sure, and the choices that we make.

Yeah, absolutely, absolutely.

So, Dr. Abbott, you joined the music faculty in time for the fall 2020 semester, and that is a pretty tough time for the students who were starting classes that year. Can you tell us about some of the things you have done with the choral groups, a PC?

And what are your plans and visions now that things are hopefully a little less restrictive?

Yeah, last year, of course, for everybody, but everybody was very challenging. And obviously for someone that deals primarily with singers and vocal music, it was especially so because, you know, if you teach math, you can teach math on zoom.

And it's yeah. It's not the same as being air in the room with people, but it's sort of the same. You're still imparting the information. You can't really have a successful choral rehearsal on Zoome. You can still do stuff.

And we did you know, we did some reasonably successful online rehearsals, but any in-person singing we did last year was we were really spread out distance from each other pretty significantly. We had Marsan we were outside much of the time, so we didn't really have a proper choral experience last year.

And but one of the silver linings last year was that we did have a chance to work with Patrick for the entire spring semester. And so we did a really fun and interesting, creative, collaborative project last last spring with Patrick.

And I guess I'll let you talk about that, because that was that was really I mean, that was a really a highlight for a lot of the students.

Sure. ABSs. So for the spring, we went through a couple different ideas. Initially, it was perhaps going to be a full production of an operetta. And then we, through discussion, figured something original would give everyone a bit more a bit more room to grow and a bit more more opportunities to really like express and create something new

. And so instead, what we did was we took a classic tale. We took the tale of Peter Pan. We set. A number of different diverse musical works to it and kind of created our own take on like the journey to Neverland.

With a bit of tax, but mostly through song.

I was going to say so, yeah, anyone that's interested in checking that out, it's on the college's YouTube channel. It's sort of the Lost the Lost Paradise songs of the second star is the full title of it. We went through a few different titles, I guess.

At a moment, I couldn't remember which one we landed on, but that was the full title of it.

And I'm pretty sure we shared that on the college's social media channels so that folks who follow us may have seen it, but if not, we can share it with them with the sounds so that people can check it out and see.

Definitely. And then just, you know, to answer the second part of your question less about what we're doing now. I've already noticed just a completely different energy this year. I think people are feeling much more optimistic. And we are rehearsing outside for the time being so that we can sing without masks.

But we have a wonderful rehearsal space in the Smith Pavilion. So that's an outdoor rehearsal space that's really been great for our group. And we kind of have to wait and see what happens when it gets too cold to be out there.

But right now, it's working out really well. I know folks are really happy just to be singing together and seeing each other's faces and whatnot.

It's it seems kind of intriguing, like the collaboration you do last spring on that production, because, I mean, you normally wouldn't be doing that with the choral groups, right? They wouldn't be doing this type of theatrical production.

Right. Exactly. And, you know, we might in even in normal times, do some sort of crossover, but it wouldn't be a full semester project like that. And really what we wanted to do is we wanted to give people an opportunity, even if they were fully remote.

We had a number of fully remote students last year where they could kind of film their own parts, whether it be a few lines that they had in between musical numbers or a solo that they had. And we'd sort of layer that on top of the choir after the fact.

So we did a lot of that kind of stuff. We get really creative with the technology, and I think it was a fun project to work on in the absence of a choral concert.

And just for folks, I mean, I think we've all gotten so accustomed to zoom and might even just take it for granted. Could you explain kind of the technical reason why you couldn't have a rehearsal, a choir rehearsal on Zoom?

I mean, basically, like the audio wouldn't necessarily sync up to everyone, right? Right.

Exactly. I mean, there's. And I think last year, you know, everyone was trying to find the holy grail of totally synchronous online platforms where you could do. And I know a number of people were trying to, you know, work on that technology.

As far as I know, that never came to fruition. And there's no 100 percent synchronous online platform that you can use, because I don't know of anyone in my profession that had a synchronous choral rehearsal, just because you'd have to have, you know, 20, 30 different cameras and audio going and perfect synchronization if even if it's off

by half a second. It's completely disruptive. So that's yeah. I mean, choral rehearsals become pretty impossible in that way.

I mean, I feel like we got so used to and again, we probably all just took it for granted. We saw these beautifully produced performances from various sources. And I don't think most people really understood how much work it took, probably to sink all that audio.

Yeah. Or they actually sounded good. Right. Patrick, you have returned to Providence College. You returned to Frier Town to serve as a professor. Can you tell us what you did after graduation and about your path back to campus?

Absolutely. I've returned a couple of times, so I graduated in the spring of 2013 in the fall of thirteen. I started working with the music department as a guest artist for there to direct the music theater workshop. And I did that for three years.

I then while I was doing that, I was working as a as a teacher in and around Rhode Island, mostly East Providence. I was the theater director for East Providence High School. I was also doing some local acting with companies like the Wilbur Group and Ocean State Theater Company.

After three years, I applied for graduate school. I went away to the University of Essex, so just outside London. And I did a two year MFA in acting graduate program there, which was amazing. And then from old England, I came back to New England and I graduated in the spring of twenty eighteen, the fall of twenty eighteen

. I started initially. I was just going to be directing for the mainstage season here at P.S. and I directed a production with John Garraty of the Lord of the Flies. And while I was preparing to direct, an opportunity came up for me to start as an adjunct teaching into the acting.

And so I did that for three years. And now this fall, I'll be serving as a visiting assistant.

Fantastic. And I don't want to be like the fact I mean, theater, dance and film did amazing things last year to keep students engaged and to help people achieve their goals for their theater education. If you could tell us a little bit about some of the work.

Yeah, no, absolutely. It was it was certainly a difficult year. I was not intending to direct last year. I end up I ended up directing a production, the first production in the fall, and that certainly brought with it a whole set of logistics.

Initially, I started the summer considering a project that allowed for masking and spatial distancing, which is really difficult because when we're talking about acting right, we're talking about like a mode of expression. And when half of your face is covered, you have to find ways to physicalize that.

Other than your face, which is what we rely on so often, by the time we were about to get started and the way things were looking, I pivoted to a fully ZOOME recorded production, which with the way that the fall turned out, was the way to go, at least for my slot, because we would have missed a

heavy chunk of the bulk of our rehearsal because we wouldn't have been able to have met in person. And it was great. I think the other important thing to remember about TDF work this past season was in addition to trying to make things happen remotely and virtually and through the TDF department also had a mission statement for

their season and that our season was really going to dedicate itself to centering black voices and telling black stories. And it's work that is ongoing. But I think last year was a a healthy first step in the right direction in terms of really diversifying the stories that we're telling and making sure that we're getting as as wide

and comprehensive an understanding of the human condition as we can.

Could you tell us about the work that you co-director, because it might speak to that theme?

Absolutely. So I ended up directing what became a radio play and because we wanted other people to be able to watch it. The other thing that's hard with this is so much of this area is copyrighted, right? When you have to pay for performance rights, you pay for publishing rights.

And so initially it was just going to be like stories of isolation that we could get from the public domain. And so I initially I was imagining things like Nathaniel Hawthorne, Edgar Allan Poe. And shortly after I started conceiving of this production, that's when our theater and Ted TFX mission statement came to fruition.

And so we pivoted. And so instead, we focused on can we find short stories by black and African-American authors that we can focus on that would that would similarly illuminate these stories, but specifically through the experience of being black in America?

Well, like you said, I'm sure that experience, you know, and that sort of very intense focus for the last year is going to continue to color some of the thoughts planning for future productions going forward.

Certainly this year has a similar focus. Recognizing that it's the fiftieth anniversary of women joining the the student population.

And when we talk about the productions of theater, dance and film, their student work, that also fits these themes. Right, because students will do their senior capstone projects and some of them will produce a production of some sort, either a monologue or a full stage production.

Right.

Absolutely. So those capstones can take a myriad of different forms. So some will approach it as a director. They will look for a play that's already in existence and publish it and publish it, perform it, produce it with other students.

Some are writers and some are creating original work. Some are curating a like a cabaret night and they'll look at for musical theater selections and vocal selections that they can sing. So there's really there's a wide variety of ways that students fulfill that capstone

and they can fulfill it and draw upon all the skills that they've developed through their years. Exactly. In the department. That's great. Back. Dr. Oberoi. Patrick, thank you so much for joining us on the podcast today.

Thank you so much. It was a pleasure.

Our pleasure. Thanks for having us.

Well, we're going to ask everyone to keep listening and we'll include the track that you finished, Krishan, for your your piece. Could you tell us a little bit about it?

Absolutely. So the track that is out now is the opening sequence to the show, which starts begins by introducing the two main characters in a sort of unknown time and place, and then immediately transitions to New Year's Eve 1999, which is when they actually meet.

So we first meet them at some point, we're assuming in the future, and then we get pulled out of the future and thrust immediately back into New Year's Eve 1999. And then the action sort of begins to unfold from there.

Well, everybody, keep on listening. Subscribe to the Providence College podcast and all the usual places, including iTunes, SoundCloud, Stitcher, Google Play and Spotify, as well as your smart speaker, if you like what you hear. Please review and share with others.

Keep listening to hear the first track

of the musical go fryer's. And this is the end.

I don't remember how it began. If there was ever a map or a plan or something to guide my way from decades ago when I was younger and didn't know what I'd be gone or if I could throw all my mistakes away.

They but TV comes night. And as that anarchy collapses the light. I've gone too far to ever put rides and events

that all went wrong. Now they're gone and I'm on. Zain. The feeling. Sheep.

History has been gone.

Collapsing my COVID-19.

It's taking best, and when it stops succeeds, you find yourself that's

on the move to retrace your steps, 120 steps. Freed from constraint,

St. Mary's Samira's is to

be a Semisonic

year wait and then John.

Still, Nancy,

first has to mention just five, so. One last projection when events was set in action by Sandy. The force of attraction rolling all rose to one intersection, and as my clock is counting down, ten, nine, eight, seven, six, five.

Three, two.

This lipstick hold still look. God, I hate wearing contacts. Is this too tight? No, it's just right. And anyway, you've got that boyfriend of yours down on all fours, girl. You already look that up just to you to know.

He'll want at least a little peace not to get too explicit. And I'm good to go. But wouldn't, you know, just got my monthly visit from Dharamsala who read below, at least I didn't miss it.

That would shock him. All rock. Right, John, and you have got a good thing going.

Would it be weird if I dated his friend?

I don't get it. Service is cute, but you don't know him well, I don't mind having to be patient. Don't be. There's better guys once you realize the fine line between boys and men. Hit me.

I thought you said you were going to come out tonight. I am, I'm almost done. Just have one more paragraph to write. Ladies and gents, would you believe he's working on New Year's Eve and got to make up for lost time?

This is the year, I swear that my novel finally gets done. OK, not a bad goal to have for the coming millennium. They say no one can change their life. But I'm going to start tonight. Got to make up for lost time.

And so in that case, you run nine, do you think anyone will mind if I'm fashionably late? Let him wait. I'm writing the great American novel and it's almost dead. Have you seen my safety razor

in hand, you lose that blazer, you've been wearing it for days. Our tasters don't agree. Sorry, but you'll have to man up if you want to impress Anna. I'm not going to show my hand. Oh, let her come to me.

I'll find you something more flattering if we're gonna host a gathering, gotta look the part I do. Come on, don't be that guy. It's only a matter of time before they realize

that I'm the one who's going to blow the dream sky. Lindsay. Say.

Are we on time starts at 9:00. It's going to be humungous speaking a size, some of the guys say Jackal's not as long as he likes to claim. In fact, they named him Tiny. I confess it's on the small side.

Oh, you've heard the part. How back in March he did this stripper routine wearing a thong. That's just wrong. That stupid nickname. That's why I like the quiet type. Let's talking Strader shooting Arbat, his friends.

No slouch. You want to take sidelights? Go right ahead.

I don't suppose it could really hurt. That's what I'm saying. But, you know, I guess he's terrible in bed. Well, I don't mind doing

all of those. That's not surprising. What if I went fuck? The first guys. First, I can't be late, you kill me.

Why do you wait until the 11th hour? I got to go tell Maggie that I said hello.

Guess who just got off of a plane? Her friend from L.A., your. Crystal, Melissa,

Marissa, the same I tell you, my friend, I love living in this metropolis, you know, where it's going to be an unforgettable night. And on top of this, I don't care either. We say that the Y2K bug, because the apocalypse.

So we got to something else.

Go we can. See you there. Yeah, me, too.

I get to meet my new pricing target,

so Kanako, we've got a full 20. Here we go. Your job? To take. And St.