so…if you’re reading this, you either clicked on it on purpose (bless you.) or by accident (sorry, my friend.) either way, if you keep reading you’ll be in on the scoop of what’s happening. a lot of people have asked, “why you spendin’ a month in nyc?” well, simply: to be the boss.
when i first moved in nyc, i came with a dream. (didn’t we all.) i wanted to perform on broadway. i wanted to be on somebody’s stage in somebody’s theatre in somebody’s musical singin’ songs and kickin’ my face. after countless “thank yous” and few “almosts,” i kinda started feeling dejected. i watched my friends click into production contracts and find their ways, but even through that dejection i didn’t settle, and I continued to pursue my pink contract. (for those of you that don’t know, a pink contract is an ensemble contract on bway. we’ll get to that in a sec…) meanwhile, i’d always wanted to write. about three years into my nyc process, i mentioned this to someone and they said, “no. you don’t wanna do that. people are gonna get confused about who you are.” i listened to them. and THAT’S when i started to settle, squelched some desires, and just “did what wouldn’t confuse people.” then i came across CHICAGO the musical.
i’ve been touring with that show on and off since 2007 and while i was in the “pink contract” position of the show, the way it’s crafted, the ensemble each has his or her chance to shine and do his or her thing. it’s like 13 mini white contracts. (the white contracts are for principals.) in fact, CHICAGO to my knowledge is the only show where each member of the ensemble gets his/her own bow with his/her name called. #spoiled. while relishing in the honor and extreme privilege of doing that show, i realized that corey wright didn’t have the voice to be a lead in a mt show. (i’ve made peace with the fact that when i walk into a room i’m expected to riff for the blood of jesus and i….can’t.) i also realized though that i want to contribute more to the process…like a principal. i was in japan a few years ago (with CHICAGO no less) and steven sofia — dance captain at the time — said to me, “things are changing in musical theatre. you can either go along with it or help shape it. neither is bad, you just have to choose which you wanna be a part of.”
guess which one i’m choosing.
i’m coming back to new york for month to step behind the table and help shape it. i’m coming not as a performer (although i still enjoy performing and will definitely still do so). i’m coming as a writer. a director. a choreographer. and i’m so proud to be able to say that. not only of the work, but just the fact that i’ve stuffed a sock into the mouth of the person who gave me that awful advice. (i’m sure he meant well.) “just what is it?” you ask.
give this a click to find out: Lou Invite Only
a condensed version of what it is, is a good bunch of people sayin’, “y’know, c. wright? i believe in this part of you.” you can witness it if you wanna (and i hope you wanna!)
will i ever get my white contract? i absolutely plan to. but maybe in a play. for now though, i’m content with comin’ in town as the boss. and, look…
i’m not gonna lie, it’s a little scary. unchartered waters. it’s different. even more vulnerable and usually these things are, but at some point we have to wade through those waters. i say “we” because i’m including you. and i want to encourage you: if there are places where you’ve been feeling that thing inside of you, do yourself a favor and don’t be a miserable cow and step out and see how you can be the boss. 🙂 (disclaimer: i just told you i’m scared outta my mind…but it’s like the kid who’s afraid and if he can get enough of his friends to do it too he’ll be alright. HA!)
love all y’all. see you in a few hours, nyc.