In my last year of teaching and directing at Encinal [1], I decided to close my theater career there with A Chorus Line. It was my first Broadway show, the one where I played Zach for ACLO, and the one I cried to each time I heard the song, “What I Did for Love.” It seemed the perfect love letter to my many actors and students. But there was one major problem. I didn’t/don’t sing and the folks on the line auditioning for supporting roles in the show were dancers who do. Luckily, I had Marjorie Ortiz as choreographer, and island vocal legend Eileen Meredith as musical director. Day after day I got to sit and watch Ms. Meredith work her magic—taking young, eager crooners and fine-tuning their voices for performance. The acting was solid, the dancing strong, but because the singing was so good, the show was too. For that, and for years of operatic splendor with Island City Opera, we asked her to please take a bow with her replies to 5Q4: Eileen Meredith.
[2]At what moment did you discover that you wanted to be an artist?
When I first sang an opera aria—by Puccini, my favorite—for an audience. It takes many lessons to get the voice to come out smooth, as if out of nowhere or everywhere, and I felt I did that for the first time. In fact, one of my friends wrote me a note that day saying I should be a professional! Shortly after that, I auditioned for the San Francisco Symphony Chorus and got the job. I never looked back. Becoming a true artist and interpreting music is a wonderful challenge, and I’ve had the good fortune to sing with great artists and conductors from around the world in venues from the Alameda Elks Lodge to the War Memorial Opera House.
[3]Who was the most influential person who helped you achieve your goal?
Voice teacher Eric Howe, my first private instructor. I worked with him for four years, and through careful listening and lots of exercises, he taught me a solid vocal technique so that I could learn to sing the arias and songs I had fallen in love with. He introduced me to appropriate repertoire as well. The other person is my husband. I couldn’t have done it without him. He cheered me on from the start and didn’t mind watching our two kids many evenings and weekends. And he joined forces with me to form Island City Opera. He brought business, computer, marketing, graphic arts, and management skills to ICO. And he sang in our shows, including Lucia, Rigoletto, La Boheme, Don Quixote, and La Sonnambula.
Tell us about the best—or a best—experience you had as a performer?
My best times as a performer are usually when I’m working with others, which is true even when I’m performing as a soloist. A singer depends on the conductor, the orchestra players, other singers, the lighting person, and the audience. When I feel that support I can ride that beautiful wave. And the music itself thrills me every time!
Conversely, tell us about a pretty bad experience?
Getting the stomach and intestinal flu on the night of the opening of a new (in 1996) opera, The Dreamers. I was in the ensemble, and I had to wander into the wings a few times that night to use the facilities. Ugh!
[4]Any advice to folks out there hoping to pursue a life in the arts?
If you love it, you’re good at it, and you can’t imagine doing anything else, then go for it. It isn’t always easy but it is life enriching.
Gene Kahane is the founder of the Foodbank Players [5], a lifelong teacher, and former Poet Laureate for the City of Alameda. Reach him at [email protected] [6]. His writing is collected at AlamedaPost.com/Gene-Kahane [7].