Feature Friday with Eric Kang
By Jenna Pastuszek
We're back with our exciting new series today called Feature Fridays where we'll be interviewing Industry Peeps and sharing insider info, tips, and tricks! If you have anyone that you'd like us to interview, please let us know!
Our next interview is with Eric Kang (Instagram: @ericwjkang), associate conductor/Keyboard 3 at LOVE NEVER DIES National Tour, pianist/librarian at A GENTLEMAN’S GUIDE TO LOVE AND MURDER 1st National Tour
1. What draws you to an auditioner? Who they are, in total — and the folks behind the table really get to see that through the dual lenses of the auditioner’s understanding of the material and their empowerment to live in that material.
2. What’s something you wish actors knew not to do in an audition? Oh gosh. Not to think about the “do-not”s? Think of the “do”s — be you, tell the story, leave the rest to the ether.
3. What would you rather watch: vocal acrobatics or compelling storytelling? Compelling storytelling, every time. The former means nothing to me when it’s not grounded and fueled by the latter. (That being said, I do want to hear your skill in using your voice to tell that story.)
4. What’s “belting” mean to you? It’s a specific vocalism that’s part of an actor-singer’s storytelling arsenal. It’s a powerful color or a flavor that is arresting when added to taste.
5. Tell us one fun fact! Yikes! Ummm... well the only time I've ever acted onstage in a musical (in high school, as the Major General in Pirates of Penzance), I went up on the words mid-song and yelled a choice expletive in front of a roomful of children. I've stuck to being behind the keyboard since.
6. What would you say to a singer experiencing fatigue during vocal rehearsals? Vocal rehearsals are often the most concentrated amount of singing with lots of repetition, while the voice is wrapping itself around the material, so the risk of fatigue can be greater; pacing oneself and taking care of your instrument during that process is critical. It is also the time during which we "set" the show vocally — while things can and often do change later, the demands we put on ourselves at that time will be the baseline for further work down the line. So vocal rehearsals are the time for both singer and music director to check in, listen, and speak openly, to ensure that what is being worked on in the room can eventually be performed consistently, safely, and beautifully eight times a week.
7. What’s a lasting piece of advice you’ve heard from a Voice teacher or music director? At the end of the day — after all the studying and exploring and practicing — just sing the music.