what do we learn about maggie's musical education

Maggie: A New Musical is a tuneful tribute to country star Johnny Reid’s Scottish granny, but loses the plot

This article was published more than 1 year ago. Some information may no longer be current.

what do we learn about maggie's musical education

William Lincoln as Tommy, Aidan Burke as Wee Jimmy, Dharma Bizier as Maggie, Lawrence Libor as Shug in Maggie. Dahlia Katz/Supplied

Title: Maggie: A New Musical
Music by: Johnny Reid, Matt Murray and Bob Foster
Book and lyrics by: Johnny Reid and Matt Murray
Director: Mary Francis Moore
Actors: Dharma Bizier, Lawrence Libor, William Lincoln, Aidan Burke
Company: Theatre Aquarius
City: Hamilton, Ont.
Year: Runs to May 7; then at the Charlottetown Festival from June 21 to Sept. 2, 2023

Maggie , a new musical currently having its world premiere at Hamilton’s Theatre Aquarius with backing from producer Michael Rubinoff ( Come from Away ), is a splendid showcase of Scottish-Canadian country musician Johnny Reid’s songwriting skills.

Featuring a dozen original Reid songs (co-written with Bob Foster and Matt Murray), the show is a paean to his real-life Scottish grandmother, a cleaner who raised three boys alone after the death of her husband in his early 20s, in shrinking, hardscrabble Lanark, Scotland.

From the sole perspective of score, it doesn’t disappoint, with a mix of tart toe-tappers for the townspeople and emotional ballads for the luminous lead Dharma Bizier.

But Maggie – for which Reid also shares credit for script and lyrics with Murray ( Grow ) – has a number of problems in its decades-spanning plot that need to be solved if it hopes to spread far beyond Reid’s fanbase.

Some are wee and can be worked out ahead of a summer run at the Charlottetown Festival in PEI. Some are not.

After a brief introduction to a heavily pregnant Maggie (Bizier) and her husband, Jimmy, very much in love, Maggie gets the proper, rousing opening number it deserves: Friday Night in Lanark.

This sees the Lanarkshire ladies lined up outside of a pub, rocking prams and smoking cigarettes, preparing to stop their miner husbands on the way in. As one named Betty (the excellent Nicola-Dawn Brook) sings: “So he won’t spend his hard-earned pounds / inside that stinkin’ zoo / on liquor, ponies, buyin’ rounds / pissed right down the loo.”

Michelle Bardach as Jean, Liam Crober-Best (ensemble), Jay Davis (ensemble, also plays Jimmy and Constable), Jeremy Legat as Uncle Charles, Alyssa LeClair (ensemble), Dharma Bizier as Maggie, Nicola-Dawn Brook as Betty, and Aaron Reid Ryder (ensemble) in Maggie. Dahlia Katz/Supplied

The harsh realities of this community are immediately clear, as is the sharp sense of humour that helps the women endure. (It’s also clear that it’s 1954, because Betty also sings: “It’s 1954, I tell ya/ I am bloody through.”)

Maggie eventually arrives on the scene for a more romantic refrain about waiting – but as husband after husband appears, hers doesn’t.

The impact of this is diluted by the fact we barely knew Jimmy, by Maggie melodramatically going into labour, and by the strangeness of the staging in which none of the men who just passed by let on that they had lost a colleague.

Never mind: After a jump in time of 14 years, Maggie restarts, all that initial scene setting essentially scotched. Now, with the help of her female friends, the single mother is raising three teenagers: Shug (Lawrence Libor), 19, aiming for a musical career; Tommy (William Lincoln), 17. a soccer whiz; and “wee” Jimmy (Aidan Burke), 14, the brains of the bunch.

Uncle Charles (Jeremy Legat), the window-dresser brother to Maggie’s late husband, is part of the family too, his homosexuality over-signalled by having him sashay on stage in a stylish outfit with a bloody lip and tell Betty that she needs a new hairdo because: “Darling, it’s 1968.” (Another script/staging disconnect: Charles’s injury is ignored so long that I started to think it was makeup mishap.)

The remainder of Maggie ’s first act, however, finds its groove amid the three sons trying to imagine a future in a town with limited options.

Those whose history of British mining is based entirely on Billy Elliot: The Musical , set in the 1980s, may be thrown off by hearing complaints about the closure of coal pits by Labour Prime Minister Harold Wilson. But, indeed, his tenure saw more shuttered than Margaret Thatcher’s.

The attraction of blaming others for decline is strong – and Shug, in particular, is seduced by sectarian violence. (He and the other main characters are Protestant; the local Catholics are the scapegoats.)

Dharma Bizier as Maggie and Jamie McRoberts as Sadie, in Maggie. Dahlia Katz/Supplied

Maggie tries to warn him away from this path. “Walk away,” she advises in one song, but Shug tells her to “Look around … Yer country is dyin’ in front of yer eyes.”

This is a compelling confrontation but, unfortunately, one of only a few rare moments where we see the relationship between Maggie and her children properly dramatized.

Most of the time, Maggie is a busy but not active protagonist. She works non-stop scrubbing floors – getting on her hands and knees in the middle of her solos to do so, inadvertently showing the music’s disconnect from the story under Mary Francis Moore’s direction.

Time passes and things happen and Maggie’s songs vaguely express her emotional state rather than illuminate an inner life – telling us about her wants and needs. Her first big ballad, in which she declares she is “unbreakable,” doesn’t give much of a place for the character to go.

She, too, floats above the scenes at the “Steamie” – a communal laundry area – where the other under-drawn women talk about their frustrations, fears, ambitions and what year we are in now.

After a dramatic climax and revelation at the end of the first act, Reid and Murray don’t know where to take the story. There are more time jumps – and the rest plays out over a series of gatherings and parties that blend together.

Ultimately, Reid’s portrait of his grandmother is hagiography. The men in his musical are much more compelling than the women because they have, well, flaws.

I’d suggest the writers either pick one period and stick to it – or invent a narrator to suck up all the exposition and provide context to this flip through the family photo album. And if the current writers don’t have anything to say beyond the jokey and cliché about women’s history in the second half of the 20th century, bring in another.

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Review: MAGGIE

by Lynn on April 27, 2023

in The Passionate Playgoer

Live and in person at Theatre Aquarius in Hamilton, Ont. playing until May 6, 2023.

www.theatreaquarius.org

Music by Johnny Reid, Matt Murray and Bob Foster

Book and lyrics by Johnny Reid and Matt Murray

Directed by Mary Francis Moore

Choreography/movement by Yasmine Lee

Music supervisor, Bob Foster

Set by Ken MacDonald

Costumes by Samantha McCue

Lighting by Kimberly Purtell

Sound by Josh Liebert

Cast: Michelle Bardach

Dharma Bizier

Nicole-Dawn Brook

Liam Crober-Best

Alyssa LeClair

Jeremy Legat

Lawrence Libor

William Lincoln

Sweeney MacArthur

Clea McCaffrey

Andrew McAllister

Jamie McRoberts

Kaitlyn Post

Aaron Reid Ryder

Julius Sermonia

Adam Stevenson

MUSICIANS: Bob Foster

Peter Bleakney

Chris Corrigan

Ethan Deppe

Trevor William Grant

Evan Hammell

Andrew Murray

Spencer Kagain Murray

Rachel O’Brien

A lively, buoyant celebration of family, community and resilience. A beguiling score, but the book needs attention to flesh out the story and fill in the holes in the plot.

The Story. It’s 1954 in Lanark, Scotland, a mining town. Everybody knows everybody. The women are hardworking mainly tending their families. The men seem to be hard drinking after a day working in the mines.

Maggie is a young widow raising three young sons herself. The story chronicles her journey as well as those of her sons. Each character has their issues, some more serious than others.

The Production. Designer Ken MacDonald has created a set of two large apartment buildings, each with many windows. Presumably, this is where the citizens of this community live. There is a clothes line with towels on it, hooked to one of the buildings and is attached to a pole down from it. To show the passage of time from scene-to-scene lighting designer Kimberly Purtell illuminates various windows in both buildings to show people are there. The illuminated windows are not always the same from scene to scene.

In quick succession we are introduced to a pregnant Maggie (Dharma Bizier) and her loving husband Big Jimmy (Jay Davis), a musician with a guitar. (Do we know they also have two other sons?) He sings her a song “I Love a Lassie” and never appears again. I’m not sure if it’s that day or soon after, but it’s the end of the shift at the coal mine for the week. Women, many with baby carriages, wait for their men to appear and give them their pay packets. The men go off to the pub. The women go home. Maggie is the last in line waiting for Big Jimmy. A man rushes up to say that there has been an accident and Big Jimmy didn’t make it. Maggie goes into instant labour and passes out.

Fast forward about 14 years. Maggie has eked out a living doing mending, cleaning etc. Her boys are: Wee Jimmy (Aidan Burke), a young scholar, Tommy (William Lincoln), has hopes of being a soccer star and Shug (Lawrence Libor) who inherited his father’s guitar and hopes to go to California and be a singing star. Tommy and Wee Jimmy keep their heads down and devote their time to their passions. Shug gets involved with a political group of rowdies who loath Catholics and try and make trouble any chance they get. Maggie frets about Shug. There is trouble and dreams are shattered.

I loved how Costume Designer, Samantha McCue suggests that Wee Jimmy’s clothes are hand-me-downs: the pants are too short for him (falling just above his ankles), and there are patches on the legs. With a change in wigs, facial hair and clothes, we get a sense of time passing as the boys mature.

The direction by Mary Francis Moore moves the action of the large cast seamlessly. She does not give in to sentimentality when one of the sons leaves home, tempting though it might be. I thought that was impressive.

Yasmine Lee’s choreography is simple and evocative for this group of hard-working people who we can believe are not dancers, but are connected to suggest there is a close relationship with each other.

The cast is very strong with first rate singers. Leading the group is Dharma Bizier as Maggie. We get a clear idea of the strength of character Maggie has, from Dharma Bizier’s commanding performance. She is a belter who conveys the heart and soul of her songs; the anguish when her sons are troubled; the joy when they succeed. “Unbreakable” sung a bit into Act I establishes the moral fiber of Maggie. It’s a powerhouse rendering.

For much of Maggie the focus seemed to be on Maggie and her three friends Betty (Nicola-Dawn Brook), Sadie (Jamie McRoberts) and Jean (Michelle Bardach), rather than just Maggie, as they sang songs of resilience, frustration and tenacity: (“Friday Night in Lanark,” “Everyone’s Gone,” or “Queen for a Day”). Each one, but especially “Everyone’s Gone,” is like an angry anthem. The music by Johnny Reid, Matt Murray and Bob Foster is compelling and catchy. One wants to hear the music again. The lyrics by Johnny Reid and Matt Murray further the story and flesh out character, providing an urgency to the drama.

But the book, also by Johnny Reid and Matt Murray, needs serious attention. The relationship between Big Jimmy and Maggie should be fleshed out so we can learn who Big Jimmy is and how solid his and Maggie’s relationship is before he earns his song that begins the show (“I Love A Lassie”). We need to get more than a glimpse of Big Jimmy in Maggie’s life to have a stake in her pain and suffering at his sudden loss. Another scene that fleshes out their relationship will put his death in perspective.

Further attention is needed to hone in on whose story this is. Each friend has a story. One woman is ‘secretly’ beaten by her bully husband until he’s challenged by the group of feisty women. Another wonders if she will ever marry, etc. Are the friends a chorus or individual stories that splinter the narrative? A decision should be made.

There is a deadly skirmish in which both Tommy and Shug are involved with thugs who are itching for a fight. It’s unclear who is responsible for the death although one goes to prison. Does that mean one brother took the fall for the other? That should be clarified.

Shug, a consistently brooding Lawrence Libor with a powerful voice, has been tightly involved with a group of bullies who pick fights with the Catholics. And yet at the end of the story he leaves for America. Why? How did he make this decision and why? What does he plan on doing there if he has sold his father’s guitar (and how much was that worth if it paid for Shug’s passage?) So many questions that need to be clarified. Some characters such as ‘randy’ Geordie Parven (Sweeney MacArthur), who aggressively comes on to Maggie and Charles (Jeremy Legat), Maggie’s gay brother, seem like caricatures. They need developing. At times the story feels like it’s just a sketch rather than a fully developed journey of these characters.

Comment. Maggie is based on Johnny Reid’s grandmother. It’s a story of a woman who would not back down, was resourceful and resilient. The music and songs are rousing and seductive. The show needs a strong book to match. The present effort needs to be ruthlessly revised and rewritten.

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Runs until May 6, 2023.

Running time: 2 hours 20 minutes (1 intermission)

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REVIEW: Maggie at Theatre Aquarius

I’ve often wondered what it was like to see the earliest draft of Come From Away — what was the energy in the room? How has the blockbuster musical evolved since that first outing? Did that audience know how special that piece of theatre would become?

Someday, I think critics and historians might wonder the same about Maggie , now playing in its world premiere at Theatre Aquarius in Hamilton.

With music, book, lyrics, and real-life inspiration from country singer Johnny Reid (with help from Matt Murray and Bob Foster), Maggie is a love letter to working-class Scotland, a tribute to Reid’s grandmother, and a wrenching tale of perseverance and love. Though set in Lanark, a small, industrial town between Glasgow and Edinburgh, the musical speaks to a much larger geography, asking sharp questions about what happens when people migrate from their hometowns, as well as what happens when they stay there. As a product of Sheridan College’s late mamented Canadian Music Theatre Project, you can be sure there’s a Canadian reference or two in there, as well.

It’s 1954 in Lanark, and our heroine Maggie (a wickedly talented Dharma Bizier) is pregnant and in love with her husband. That’s more than most of the women of Lanark can say — at best they seem to tolerate the men in their lives — but immediately it’s clear Maggie has a strong community of lasses ready to support her through her journey into motherhood.

She’ll need that support, it turns out. We meet her husband for only a moment, and he never gets to parent his three boys: Shug, Tommy, and Jimmy (the well cast, highly compelling Lawrence Libor, William Lincoln, and Aidan Burke, respectively).

A wee time-jump later, it’s 1968, and the boys are nearly grown, exploring different interests and wondering what their futures might look like. The world around them is suffocatingly small, and they all have dreams far larger than Lanark, but they also understand the life-and-death stakes of the divide between Catholics and Protestants. That schism, in fact, dominates their everyday lives: one can hardly buy a drink or play a game of football without the religious and cultural looming over their heads.

So goes Maggie. As the matriarch ages, so do her sons, and so does the splintering, hotly political world around them. As time goes on, Maggie suffers unimaginable loss, having to reckon with just how far a mother’s love can stretch — both emotionally and geographically. Throughout it all, though, Maggie has that rock-solid community of women around her, mothers and friends who put the kettle on for her when she needs it most. Sadie (a funny and strongly voiced Jamie McRoberts) leads the chorus of women as they come to grips with themselves and their place in the world, rallying around Maggie, yes, but equally coming together to ensure a more equitable future for their small town.

The Theatre Aquarius run is a first outing for Maggie . It shows. There’s much to be wowed by in the production — an ensemble of actors who have nailed a tricky accent, and Mary Francis Moore’s sensible, well paced direction — but there are structural bumps to iron out before Maggie heads off to Prince Edward Island this summer (and perhaps down Mirvish Way after that; it’s a fair guess, given the musical’s feel-good glow). Maggie is ably sung and often smartly composed, but the rhythm of the book stumbles a few times. Our lovely, commanding protagonist has a few confessional songs, one of which appears oddly early on in the show. While “Unbreakable” is a tight, powerful ballad, it’s also unearned so early in the narrative thrust of the story — we’ve not yet learned that Maggie is unbreakable, so it seems the song might be better placed later on, once we’ve had the chance to see that strength for ourselves. It seems “Unbreakable” was a late addition, sometime after the creation of the show’s cast recording — there’s time yet to find a more impactful place for it in the show.

Generally, as well, Reid’s uptempo songs are more memorable than the ballads and the musical connective tissue between them. “Friday Night In Lanark” and “Queen For a Day” are very, very good, the former as captivating an opening number as Come From Away’s “Welcome to the Rock.” As well, Maggie’s emotional songs tend to pack more of a punch than those written for her sons. There’s room, too, for more underscoring between musical numbers, making for a more cohesive, less stop-and-start show.

Technically, Maggie ’s in tip-top shape, from Ken MacDonald’s inventive set, which perfectly captures the rowhomes of working-class Scotland, to Samantha McCue’s bang-on costumes, which suggest time and place so well one wonders if a few of the time-stamping references in the book might not be necessary. Kimberly Purtell’s lights, too, are original and effective, drawing focus to imagined places onstage without distracting from MacDonald’s set.

With a few tweaks, Maggie could be well on its way to becoming Canada’s next musical theatre phenomenon. It’s got the cast, it’s got the aesthetics, and it’s got the heart — already I can confidently say it’s the show in the GTA you should take your mom to if you can. With just a few snips, additions, and rearrangements in the book, Maggie will be a real force to reckon with once it hits bigger stages in bigger cities — and Bizier might just be seeing herself on a Broadway marquee in a few years’ time.

Maggie runs at Theatre Aquarius until May 6. Tickets are available here .

Aisling Murphy

Aisling is Intermission's senior editor and an award-winning arts journalist with bylines including the Toronto Star, Globe & Mail, CBC Arts, CTV News Toronto, and Maclean's. She likes British playwright Sarah Kane, most songs by Taylor Swift, and her cats, Fig and June. She was a 2024 fellow at the National Critics Institute in Waterford, CT.

Musical Information

Musical Type: Post-Golden Age (1968)

Cast Size: 20+

Genre: Drama

Setting: 1860s / USA ( NYC )

Creative Team

Music/Lyrics/Book: Hugo Peretti, Luigi Creatore, George David Weiss

Book: Morton DaCosta

Cast Albums

Original Broadway Cast (1968)➝

Licensing: Concord Theatricals➝

1960s , Child Roles , Dramatic , Historical , True Story , War

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The Real Meaning Behind Maggie's Song By Chris Stapleton

There's no doubt that Chris Stapleton is one of the most talented artists in the world of country music. Not only does the singer belt out his own hits, but he also happens to be one of the best songwriters in the industry as well. The multi-talented artist has penned hits for several big names but you may not have even realized it. According to The Boot , the country crooner wrote Adele's "If It Hadn't Been for Love," Joss Stone's "Don't Start Lying to Me Now," and "Homesick," by Sheryl Crow featuring the Zac Brown Band. He's also written plenty of other tunes but the list would be far too long if we named them all.

In an interview with the San Diego Union-Tribune , Stapleton opened up about his songwriting process and how he's gotten so good at it. "I don't like to waste words in songs is the best way I can put it. If you can say something with three words that puts the point across — and leaves room for the listener to put themselves into the song," he revealed. "There's no need to use 10 words. I don't ever remember not wanting to do that. I've always wanted to say things as simply as I could." Stapleton also shared that one of the greatest things that comes from music is that it allows you to be part of the song. Well said ! That knack comes out especially clearly in "Maggie's Song."

Chris Stapleton's "Maggie's Song" is a touching tribute

Almost everyone can relate to losing a pet, and Chris Stapleton is no exception. The singer/ songwriter wrote his track "Maggie's Song" as an ode to his lab-terrier mutt. If you haven't grabbed a box of tissues, you may want to do that. According to the Tennessean , Stapleton wrote the song shortly after the dog died. Maggie was a member of the Stapleton family for 14 years, and it's safe to say that she had a significant impact on the singer. The song details Maggie's life on the farm and how she helped protect his children , among other things.

"Let me tell you a story / About an old friend of mine / Somebody left her in a shopping cart / In a parking lot for us to find," the first few lines of the song read, per AZ Lyrics . Toward the conclusion of the song, Stapleton detailed the end of Maggie's life, and by now, we're all crying like we did in Marley & Me . "It was raining on a Monday / The day that Maggie died / She woke up and couldn't use her legs / So I laid down by her side." Fittingly, the chorus says, "Run, Maggie run," presumably about Maggie's experience over the rainbow bridge. "Every word and every stitch of that song is real things," Stapleton told the Tennessean . "She was a member of the family, and she deserved a song." And now we're uncontrollably sobbing.

37 Facts About Maggie Rogers

Written by Lynnette Desrosiers

Modified & Updated: 01 Jun 2024

Reviewed by Sherman Smith

When it comes to talented musicians who have made their mark in the industry, one name that should definitely be on your radar is Maggie Rogers. With her unique sound and compelling lyrics, Rogers has captivated audiences around the world. From her breakthrough moment during a college master class to collaborating with industry icons, Rogers has shown that she is a force to be reckoned with.

In this article, we will delve into 37 fascinating facts about Maggie Rogers , shedding light on her journey, accomplishments, and the ins and outs of her life as a celebrated musician. From her early beginnings in rural Maryland to her rise to stardom, we will explore the various facets of Rogers’ life that have shaped her into the artist she is today. Whether you’re a devoted fan or just discovering her music, get ready to dive into the world of Maggie Rogers and discover what makes her such a beloved and respected figure in the music industry.

Key Takeaways:

Maggie Rogers’ musical journey began in a small town, but her unique sound and powerful storytelling have taken the world by storm, inspiring authenticity and self-expression in her fans.
From playing for Pharrell Williams to topping the charts, Maggie Rogers’ music resonates with listeners worldwide, creating emotional connections and empowering a generation seeking authenticity.

The Early Years

Maggie Rogers was born on April 25, 1994, in Easton, Maryland.

Musical Roots

She grew up in a musical family, with her mother being a former choir director and her father playing the bass in a local band.

Discovering Her Passion

Maggie Rogers discovered her love for music at a young age, picking up the harp and guitar when she was just a teenager.

College Days

She attended the prestigious Berklee College of Music in Boston, where she honed her songwriting skills and developed her unique sound.

The Pharrell Williams Encounter

In 2016, Maggie Rogers had a life-changing moment when she played her song “Alaska” for Pharrell Williams during a masterclass at NYU, going viral overnight.

Influences and Inspiration

Maggie Rogers draws inspiration from a variety of genres, including folk, pop, and electronic music .

Her debut EP titled “Now That the Light is Fading” was released in 2017 and received critical acclaim for its introspective lyrics and catchy melodies.

Touring with Mumford & Sons

In 2019, Maggie Rogers joined Mumford & Sons as the opening act for their “Delta Tour,” gaining exposure to a wider audience.

Collaborations

Maggie Rogers has collaborated with several artists, including Khalid , Rostam, and Sam Gellaitry.

Major Festival Performances

She has graced the stages of renowned music festivals such as Coachella, Bonnaroo , and Glastonbury.

A Worldwide Phenomenon

Maggie Rogers’ music has resonated with listeners worldwide, earning her a dedicated fan base in countries like the United States, Canada, and the United Kingdom.

Award Nominations

She has been nominated for various awards, including the Grammy Awards and the MTV Video Music Awards.

Social Activism

Maggie Rogers is passionate about social activism, using her platform to raise awareness about important issues such as climate change and racial inequality.

Environmental Advocate

She has partnered with organizations like REVERB to promote sustainable touring practices and reduce her carbon footprint.

Fashion Icon

Maggie Rogers has become known for her unique fashion sense, often sporting eclectic and vibrant outfits.

Chart Success

Her debut studio album, “Heard It in a Past Life,” peaked at number two on the Billboard 200 chart.

Musical Prowess

Aside from singing, Maggie Rogers is skilled in playing various instruments, including the guitar, harp, piano, and banjo .

The Power of Vulnerability

Her music often explores themes of self-discovery, vulnerability, and personal growth.

Musical Evolution

Maggie Rogers’ sound has evolved over the years, incorporating elements of pop, electronic, and indie folk into her music.

Songwriting Masterclass

She has been invited to conduct songwriting masterclasses at prestigious institutions like Harvard University and NYU .

Nonconformist Approach

Maggie Rogers embraces her individuality and encourages others to express themselves authentically.

Philanthropic Endeavors

She actively supports various charitable organizations, including Planned Parenthood and the American Civil Liberties Union.

Musical Inspirations

Maggie Rogers cites Joni Mitchell , Fleetwood Mac, and Björk as some of her musical inspirations.

Musical Moments

Her live performances are known for their captivating energy and emotionally charged moments.

Songs with Meaning

Many of Maggie Rogers’ songs have deep personal meanings and reflect her own experiences and emotions.

Cultural Impact

Her music has resonated beyond the charts, becoming anthems for self-empowerment and personal growth.

The Power of Music Education

Maggie Rogers is a strong advocate for music education, recognizing its ability to inspire creativity and self-expression.

Musical Collaborations

She has collaborated with artists from various genres, including indie pop artist HAIM and electronic music producer SG Lewis.

Emotional Connection

Maggie Rogers’ music often elicits a strong emotional connection with her listeners, drawing them into her world.

The Voice of a Generation

Her lyrics and messages have connected with a generation seeking authenticity, meaning, and self-discovery.

Unforgettable Performances

Her live performances have been praised for their authenticity, vulnerability, and captivating stage presence.

Global Reach

Maggie Rogers’ music has transcended boundaries and reached fans from all corners of the world.

Musical Innovator

She pushes the boundaries of genre, blending folk, pop, and electronic elements to create her own unique sonic landscape.

Mental Health Advocate

Maggie Rogers openly discusses her own struggles with anxiety and mental health, aiming to reduce stigma and promote dialogue.

Music for the Soul

Maggie Rogers’ music has the power to evoke strong emotions and create a sense of connection and introspection.

Trailblazing Success

She has paved the way for a new wave of singer-songwriters, inspiring aspiring musicians to embrace their authentic selves.

Enduring Legacy

Maggie Rogers is poised to leave a lasting impact on the music industry with her unique sound and powerful storytelling.

These 37 facts about Maggie Rogers highlight her incredible journey as a musician and the impact she has had on both the music industry and her fans. From her early musical roots to her chart-topping success, Maggie Rogers continues to captivate audiences around the world with her talent and authenticity. Whether through her powerful performances or her advocacy for important social causes, Maggie Rogers is a force to be reckoned with in the music world.

In conclusion, Maggie Rogers is an incredibly talented and unique artist who has captivated fans around the world with her mesmerizing music. From her humble beginnings in rural Maryland to her meteoric rise to fame, Rogers has proven herself to be a force to be reckoned with in the music industry. Her genuine and soulful lyrics, coupled with her infectious melodies and breathtaking vocals, have made her a favorite amongst fans and critics alike.Through her music, Rogers has been able to connect with listeners on a deep and personal level, tackling themes of self-discovery, empowerment, and love. Her authenticity and passion shine through in every song, allowing her to forge a deep connection with her audience.As Maggie Rogers continues to evolve as an artist, we can only expect great things from her in the future. Whether it’s through her captivating live performances or her thought-provoking albums, she will undoubtedly leave a lasting impact on the music world.

Q: When did Maggie Rogers release her first album?

A: Maggie Rogers released her debut studio album, “Heard It in a Past Life,” on January 18, 2019.

Q: What is Maggie Rogers’ most popular song?

A: Maggie Rogers’ breakout hit is “Alaska,” which gained widespread attention after a video of Pharrell Williams listening to the song went viral.

Q: Has Maggie Rogers won any awards?

A: Yes, Maggie Rogers has received several nominations and awards, including a Grammy nomination for Best New Artist in 2020.

Q: Does Maggie Rogers write her own songs?

A: Yes, Maggie Rogers is known for writing her own songs. She often draws inspiration from her own life experiences and personal journey.

Q: Has Maggie Rogers toured internationally?

A: Yes, Maggie Rogers has toured extensively both in the United States and internationally, captivating audiences with her electrifying live performances.

Q: What genre of music does Maggie Rogers perform?

A: Maggie Rogers’ music can be classified as indie pop, with influences from folk, electronic, and alternative genres. She seamlessly blends different styles to create a unique sound.

Q: Is Maggie Rogers involved in any philanthropic work?

A: Yes, Maggie Rogers is an advocate for environmental and social causes. She has partnered with organizations such as the National Resources Defense Council and the American Civil Liberties Union to raise awareness and funds for various issues.

If you enjoyed learning about Maggie Rogers' incredible journey, don't miss our other captivating articles. Discover the remarkable story of singer-songwriter Dolly Parton, whose career has spanned decades. Dive into the world of indie pop with 12 intriguing facts about Alana Haim, a rising star in the music industry. For music lovers seeking a deeper understanding of the genre, our article on folk music concerts is a must-read, offering 18 fascinating insights into this beloved musical tradition. Explore these engaging stories and expand your knowledge of the diverse and talented artists shaping today's music scene.

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A New Musical

Hear the studio cast recording of maggie out now on all digital platforms.

You can now hear the music of MAGGIE! Stream or download MAGGIE (Studio Cast Recording) today on all digital platforms. Click here to listen .

The Studio Cast of MAGGIE is: Dharma Bizier, Will Lincoln-Gouett, Liam Crober-Best, Aidan Burke, Juliette Jones, Mikayla Stradiotto, Megan Dallan, Kirsten Kwong, Aaron Ryder, Alex Wierzbicki, Ben Page, Bethany Monaghan, Brittany King, Daniel Allain, Emily McKin, Griffin Hewitt, Gunho Kwak, Kati Pearson, Lia Luz, Maya Jenkins, Olivia Shad, Teresa Tucci, Thomas Killip, Zach Colangelo

Music by Johnny Reid, Matt Murray and Bob Foster

Book & Lyrics by Johnny Reid and Matt Murray

Cast Recording produced by Johnny Reid, Bob Foster and Matt Murray

Music Supervision, Orchestrations & Arrangements by Bob Foster

Additional music by Tony Harrell, David William Balfe, Peter Green, Harry Lauder, Gerald Grafton

Michael Spriggs (Guitars), Pat McGrath (Guitars), Blair Masters (Piano, Keyboard, Accordion), Tommy Harden (Drums), Jimmy Lee Sloas (bass), Eamon Dillon (Pipes, Whistles), Brian Handlon (Percussion)

Recorded at Soultrain Sound Studios (Nashville, TN) and The Canterbury Music Company (Toronto, ON) / Overdubs mixed at Soultrain Sound Studios (Nashville, TN) / Recording Engineers: Justin Cortelyou, Jeremy Darby, Julian Decorte / Mastered by Andrew Darby (1,5-14) and Andrew Mendelson (2,3,4) at Georgetown Mastering (Nashville, TN).

Direction & Dramaturgy by Mary Francis Moore

Executive Produced by Johnny Reid, Halo Entertainment, Michael Rubinoff

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Maggie (Studio Cast Recording)

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The schools that made Maggie Rogers, singer-songwriter and Grammy nominee

When it comes to the eclectic tunes of folk-pop, it’s impossible to overlook the formidable Maggie Rogers. A Grammy nominee with over million listeners on Spotify, Rogers has established herself as one of the most innovative new singer-songwriters working today, bringing forth a sound that blends two genres that, in theory, shouldn’t work, but do.

Before that, though, she was a university student with a dream to share her music with the world. Her big break came in the form of a 2016 NYU masterclass, in which she had the opportunity to showcase her song ‘Alaska’ to Pharell Williams, leaving him visibly speechless. The video of their encounter went viral that summer, pushing her into the spotlight at 22 years old.

Maggie Rogers: From student to Grammy nominee

Since then, she’s released a debut album that has been positively regarded by critics, performed at various festivals including Coachella and the Glastonbury Festival, opened for pop band HAIM and singer Kacey Musgraves, and headlined her own world tour — and no signs point towards her slowing down. She’s set to release her second album, “Surrender”, later this year.

In the meantime, she’s continuing to challenge herself academically as a graduate student at Harvard.

Here’s a look into the schools that made Maggie Rogers, and how education has shaped her musical journey to success.

Maggie Rogers performing at Coachella in 2022. Source: Kevin Winter/AFP

Berklee College of Music

Maggie Rogers’ roots, when compared to some of the most successful artists out there today, are distinctly unconventional. She had a deep love for classical music and later, folk songs, learning to play the harp, piano, guitar, and banjo.

This led her to enrol in a summer programme at Berklee College of Music . Based in Boston, Massachusetts and with additional campuses in New York City and Valencia, Spain, Berklee is the largest independent college of contemporary music in the world. It’s consistently ranked among the top institutions to study the performing arts , placing among the top 10 globally by respected publications such as Billboard, The Hollywood Reporter, and Forbes.

Berklee offers a range of programmes across undergraduate and postgraduate levels that focus on all aspects of performance, including dance, music, and theatre. Its Bachelor of Music programme, for example, is offered in 14 majors , covering a wide range of industry areas from performance and composition to entrepreneurship and production. The range of innovative courses has created some of the most notable names in music, from John Mayer to Alan Silvestri.

The college offers a number of specialised summer programmes that run for as short as two days to weeks-long sessions. Rogers participated in a five-week programme, where she took part in a songwriting contest that she eventually won. “That gave me a boost of confidence to start writing more,” she said of her experience .

New York University

Following her stint at Berklee, Rogers knew she wanted to pursue an education in music and worked tirelessly toward that goal. “My senior I turned a broom closet into a little recording booth and recorded an album,” she recalls.

She sent the early drafts of that album to the Clive Davis Institute of Recorded Music at New York University . As the first and only school to offer a programme bridging professional business and artistic training towards a BFA in Recorded Music, Clive aims to equip students with the skills they need to succeed in the global music industry. This extends to studies of current music phenomenona, including the likes of Taylor Swift .

More than that, Clive’s holistic curriculum encompasses musicianship and performance, liberal arts, music production, and writing, history, and emergent media. It places a special emphasis on experiential learning, offering a study abroad option for its students. Rogers has frequently cited her study abroad experience in Berlin that introduced her to another genre — “it changed everything,” she told Rolling Stone .

Interspersed between this are regular workshops with visiting guest artists, many of whom are prominent in the music scene. This is how Rogers eventually met and showcased her music to Williams. “We got word that there would be a masterclass, which isn’t abnormal,” Rogers said of the career-defining moment. “Everyone from the Advanced Production course was invited to submit songs, and so I turned mine in.”

Harvard University

studying the spirituality of public gatherings and the ethics of power in pop culture and yes, music is coming 🕊 — Maggie Rogers (@maggierogers) September 15, 2021

Maggie Rogers has been noticeably silent since her last album release, but for good reason: she’s currently a graduate student at Harvard University .

Harvard needs no introduction. For years, it’s kept its place among the top three universities in the world; this year, it reached the top spot in US News and World Report’s Best Global Universities list. Most graduates from Harvard are highly successful in the sciences, business, or politics . Famous alumni include John F. Kennedy, Mark Zuckerberg, Barack Obama, and Natalie Portman.

Rogers is enrolled as a graduate student at Harvard Divinity School , where she is “studying the spirituality of public gatherings and the ethics of power in pop culture”. The school itself is dedicated to religious and theological studies. It offers five degree programmes including a PhD, non-degree options, and ministry studies .

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The Importance of Music in Education

Welcome to our guide to the importance of music in education, which highlights the vital benefits children get from receiving musical instruction from an early age.

Music is arguably the most life-enriching academic subject of them all. A universal language that triggers emotional responses and kickstarts creativity like no other, music is a fundamental pillar of arts education.

This article outlines the far-reaching benefits of music that stretch way beyond the subject itself and why music is an indispensable part of any academic programme.

13 Benefits of Music in Education

Music can bring a series of important benefits to your child’s education, many of which you may not have considered before.

1. Improve language capabilities

Music and language have a deep and profound relationship. The link between musical instruction and better language development in young children has long been established.

Musical training stimulates and trains the same part of the brain that deals with understanding language. Children who have some exposure to musical education will, therefore, have a greater understanding of tone and how different segments of speech align. It can also be incredibly useful if your child is learning a second language.

2. Better cognitive abilities

Playing an instrument increases the use of your neural network. When compared to those who don’t play an instrument, there is some suggestion that musicians have a larger growth of neural activity.

A 2009 study in the New York Academy of Sciences showed how children who received musical instruction showed improved sound discrimination and fine motor tasks, with visible changes in those networks showing during brain imaging.

3. Better maths skills

Children who undertake music in education are also enhancing their maths ability. A link between music and better control of spatial-temporal tasks, as pointed out here in the Journal of Aesthetic Education , means children are better equipped to learn key mathematical skills.

One theory says that learning rhythm is responsible, as maths involves picking up patterns and how visual elements go together.

4. Better test scores

With better maths ability comes the potential for better test scores. A 2007 study from the University of Kansas found that students in primary schools with better musical programmes scored 22% higher in English and 20% higher in maths when compared to those in weaker musical programmes. This was regardless of the socioeconomic factors between the different schools.

5. Inspire creativity

Music is one of the most creatively stimulating tasks any person can undertake. If you want to spark your child’s creativity, there are few better things you can do than to encourage them to create their own unique music by picking up an instrument or engaging in their music class.

6. Refined hand-eye coordination

Learning an instrument to an elite level is no easy task. It takes considerable hand-eye coordination to learn almost any instrument. Those who master their craft are blessed with a unique skill; it’s something that can be applied to other areas of academia and general life.

Hand-eye coordination is important in many sports, especially bats or racquet sports like tennis or cricket. It can also help elsewhere in education, as writing skills and art require the hands and eyes to work together.

In adulthood, your child will find them relying on their hand-eye coordination to do any number of tasks. Practical things like DIY are easier with good coordination. Allowing your child to improve it with music will benefit them for a lifetime.

7. Better memory

Improved memory is another well-established benefit of music in education. Learning an instrument, the language of music and the notes and lyrics that make up songs all require a flexing of memory.

Music is also one of the easiest things to store in your memory, often to our frustration. Songs get stuck in our heads, sometimes for days; a perfect display of how music can stick in our minds.

8. Encourage teamwork

Music is often considered a solo effort, but it’s unlikely your child will go through their musical education alone. In class or as an extracurricular activity, music is one of the best ways to learn vital life skills like teamwork. Be it in a band or singing group, teamwork is vital to creating good music.

9. Relieve stress

School is such an important time for children and at times it can be stressful – especially during tough examination periods.

Music has become a proven remedy to relieving stress, with research from Stanford University linking this to the beat of music. At 60 beats per minute, music can cause our brain to synchronize and cause alpha brainwaves – which are present when we are relaxed. Over a period of 45 minutes or so, it can help induce sleep too.

After a long day studying, a musical session is an easy way to relieve stress and take your child’s mind off of deadlines and exams.

10. Develop social skills

As an extension of improving teamwork, music is also a great way for your child to meet new people and create lasting friendships. Music is a great way to bring people together. If they decide to take up music as an extracurricular activity, they’ll be bonding with likeminded children who share their passion.

In a time when children are increasingly interested in communicating online and focusing on digital skills, music is a refreshing return to face-to-face contact.

11. Instil perseverance

Speak to anyone who has mastered a musical instrument or played in a successful band; musical excellence is hard to come by. It requires plenty of practice and a willingness to keep going.

To continue to improve and progress requires perseverance. A child understanding they have to work hard to achieve something is incredibly powerful and something they will lean on for the rest of their lives. There are few better ways to instil perseverance than through music.

12. Bring about a sense of achievement

When your child does achieve a musical goal, they get the incredible satisfaction that comes from working hard to attain something. In that sense, music is a great confidence builder. Creating something as expressive and loved as music and seeing audiences on stage or family members at home enjoy it can be an incredibly rewarding experience.

Confidence is one of the most valuable skills a child can have and music is one of the best ways to allow it to flourish in your child.

13. Learn an enviable life skill

How many times have you met an adult who says their biggest regret is not learning a musical instrument as a child? Musical skills they didn’t learn as a child become some of the most sought after in adulthood. Help your child to develop their skills in music from an earlier age and you’ll be giving them a gift that will bring them, and others, joy for the rest of their life.

At Nord Anglia Education, we understand the importance of creative arts like music, harnessing the subject to bring benefits that span our entire academic programme. Find out more about our music curriculum, or head to our schools page to a Nord Anglia Education school near you.

Want more of the latest insights into education? Read our INSIGHTS publication here !

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Culture | Music

Maggie Rogers, interview: ‘If you’d asked me who was the one influencer I’d want to hear my music, I wouldn’t have picked Pharrell’

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Do your homework, kids. Maggie Rogers is a fine example of the good things that can happen when you turn up to class well prepared. “I moved out of my college apartment on May 31, 2016. I went viral on June 1. I signed a record deal on August 31. It was a little wild,” says the 22-year-old from rural Maryland, who is about to play her first London gigs the week after releasing her fabulous debut EP.

The reason for such fast motion was a visit from super-producer Pharrell Williams to her class at New York University in March last year. Alongside a degree in English, Rogers was studying for a second major in Recorded Music at NYU’s Clive Davis Institute — named after the music mogul who founded Arista Records. Pharrell was there to hear her class play him some of their original songs and to offer them advice. In footage that was widely shared on YouTube last summer and has now been seen almost 2.5 million times, he tapped along to Rogers’s song Alaska with increasing enthusiasm and a growing smile, and offered her no tips for improvement whatsoever.

“I have zero, zero, zero notes for that,” he said as the song’s mix of gentle tribal rhythms and sparkling electronic R&B drifted to a close. “I’ve never heard anyone like you before and I’ve never heard anything that sounds like that… That’s a drug for me.”

Understandably, that clip was a major factor in her rise, so Rogers could be forgiven for being a little tired of telling the curious that no, she and Pharrell are not pen pals now and the 10 minutes in class was the only interaction she has ever had with him. That day, she didn’t go out to celebrate. She didn’t know that the video would end up on YouTube. “I just thought, OK, that was a really great positive endorsement and a really cool thing that happened. I didn’t know it was going to be such a big thing.” She wandered over to a friend’s place in Chinatown and wrote another tune, Better, which appears alongside Alaska, and three more warm, organic pop songs on her new EP.

“I ended up writing him a thank-you note,” she tells me. “I’m sure we will cross paths sometime and I’m really looking forward to that ‘Hello’ because I think it will be a really exciting hug. But it’s funny because, based on the music I was making before, if you’d asked me who was the one gatekeeper or influencer whom I’d want to hear my music, I don’t think Pharrell would be the first person I’d pick.”

Why should she have expected such a leap in her fortunes? In common with so many sudden internet music sensations, Rogers has been taking small, incremental steps towards this for years. At six she began learning the harp and went on to play it in a local orchestra. “I can’t believe my parents gave in! It was the most inconvenient instrument.” She had formal training in harp, piano and singing, but as a teenager also taught herself guitar, bass, drums and the banjo. At 17 she took a summer course at Boston’s prestigious Berklee College of Music, where she won a songwriting competition and performed on a large stage for the first time. When she arrived at NYU to begin learning music engineering and production, she was “the banjo girl”.

“I was moving in these bluegrass and folk circles, and you really didn’t need the internet for that,” she says. Yet as part of the marketing training that was incorporated in her music course, she had to be online. You can still find YouTube videos of old songs, including her Berklee winner, Anybody, and buy an album of hers from 2014 — Blood Ballet, which presents her as a folky singer-songwriter with a stirring, emotional voice — on the Bandcamp website.

It’s her pivot into electronic music that Pharrell agrees has given something unique to her sound. It’s the music of late nights and early mornings, filtered through the perspective of a nature-loving banjo player who grew up on a corn-and-soybean farm and spends her spare time hiking. It was a visit to a nightclub in Berlin, during a period spent studying in Paris, that ignited a belated passion for dance music. “I had never thought to listen to a nine-minute house song but I began to understand the sort of mantra and meditation behind that. I was thinking about how everybody in that club was moving in sync and how completely instinctual the rhythm is, how integral it is to the way humans experience music. I had such a light bulb go on, I felt so much joy.”

Now she has a foot in both worlds. Her EP begins with the sound of crickets and an interpretation of a campfire song she used to sing at summer camp. In two of her videos to date she’s got the jerky moves of the modern pop dance routine, but presented in the woods or by a lake with women wielding canoe paddles. “The whole goal of the project was to take pop music and make it feel as organic as possible,” she says. “I listened to birds and crickets, looking for the ways that rhythm appears most naturally in the world. I listened to the Smithsonian’s field recordings of pygmy choirs from Africa.”

Right from the beginning she had an unorthodox approach to music due to her synaesthesia, a condition which means that she experiences sounds as colours. Pharrell has the same thing, funnily enough, as does Lorde , who described Rogers’ music as a “feather-light sucker punch to the heart” on Twitter last weekend.

'When I was little my mum would take me to see the orchestra, tell me to close my eyes and think about the story the music was telling'

“It’s not like I see colours. It’s just for me an incredibly strong association between music and colour,” Rogers explains. “When I was little my mum would take me to see the orchestra, tell me to close my eyes and think about the story the music was telling. I always spoke about colours. I’d talk about how purple the oboe was. Now when I do co-production, I’ll tell the person I’m working with something like: ‘This synth needs to be more green’, and it’s the most obvious thing for me.”

Before beginning the EP, she made mood boards of the colours she wanted each song to sound like. The title, Now That the Light is Fading, is meant to describe the overall feel she was after. “Each song is a different colour but it’s that moment in the day that I was trying to capture. It’s a dark, hazy midnight blue and a dusky pink predominantly, but there are also hues of dark green and orange.”

It’s a big red thumbs-up from me. And as a far more notable fan has already established, Maggie Rogers is looking at an extremely bright 2017.

Maggie Rogers plays Omeara, SE1 (0871 220 0260, omearalondon.com ) Feb 27-28; and Electric Brixton, SW2 (020 7274 2290, electricbrixton.uk.com ) on June 21

The Now That the Light is Fading EP is out now on Polydor

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News : Maggie Shamer: A Life Set to Music

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When she was growing up in northern Baltimore County, Maggie Shamer spent many evenings listening to great show tunes from Broadway musicals. Her parents loved the theatre. That probably helps explain how at 14 and one of the youngest to try out for a part in her high school play, she won a lead role in The Music Man . She was the only girl that could sing the difficult soprano part.

Shamer, a classically trained vocalist, went on to study at Oberlin College Conservatory of Music, and has performed opera in French, German, Italian and some Spanish. She describes her voice as “very pretty, clean and accurate. You will have no problem understanding the words when I sing, a real virtue among classical singers.”

After returning home from college, she auditioned unsuccessfully for a number of roles, but was eventually asked to fill an emergency vacancy as a witch in Baltimore Opera’s performances of Verdi’s Macbeth in 1993. She only had three weeks to prepare for the opening performance, including learning the music, getting fitted for her costume and getting the staging right, all this and maintaining her day job at the School of Medicine at the University of Maryland. “The rush to get ready for the part didn’t bother me at all. After auditioning and getting rejected so many times, I felt vindicated,” she said. “Singing has taught me not to judge myself too harshly.”

Shamer stayed with the Opera Company for the next 15 years. “I sang in all the operas they performed through the ‘90s, but my favorites were the unusual ones, like Samson and Delilah , Eugene Onegin and Tannhauser . During this period, she was a soloist for concerts presented at the Meyerhoff with the Baltimore Symphony, the Choral Arts Society and the Handel Choir of Baltimore. She also was a soloist in the choir of St Mark’s Lutheran on St. Paul at North Avenue, a professional choir that is noted for its classical sacred repertoire including Bach, Mendelsohn, Brahms and others.

In 2008, the opera company folded and she then took on “gigs that offered a more relaxed pace.” She’s a regular at weekend services at the Sacred Heart of Jesus in east Baltimore where she sings Mass music and sacred pieces in Latin and Spanish.

“I used to get terribly nervous when I sang, but I’ve learned to relax because I want the audience to relax,” she said. “I have to think of what the composer was trying to convey and relate that to the audience. The words are what they want to hear. To sing with conviction, you have to get out of your own way.”

Periodically, she sings with Cadenza , a quartet that performs around town at An Die Musik, the Engineers Club, Artfest and Charlestown Retirement Community. On two occasions, the group presented concerts at Princeton University on the evolution of American patriotic, political and folk music at Princeton University. The SOE academic program administrator also does an occasional wedding where she can sing Ave Maria in “any language.”

When she’s not working on reaccreditation or helping to recruit students for the Masters in Education of the Health professions, you might find Shamer at home practicing her singing. “I have had so many wonderful life experiences as a singer. It’s very spiritual for me. I love to sing and I love to hear others sing. I still sing every day at home and play my piano, without any audience, just for myself.”

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COMMENTS

About the Show
Based on a true story, MAGGIE features a soul-stirring score by award-winning recording artist Johnny Reid. A tribute to Johnny's Granny and the people of an almost forgotten generation, this exciting new musical is a celebration of family, community and the joy and laughter that can be found, even in the darkest of times.
Theater review: Goodspeed Musicals' 'Maggie' tells ...
Backfill Image. "Maggie" is a delightful, deeply moving new musical about how hard it can be to raise a family. The tales of struggle, loss and uncertainty can get downbeat, but the overall ...
Maggie (musical)
Maggie is a musical with book, music and lyrics by Michael Wild based on J.M. Barrie's play What Every Woman Knows.. After a premiere at the Forum Theatre in Billingham, the West End production opened at the Shaftesbury Theatre on 12 October 1977 and played for 42 performances. The West End production featured Anna Neagle, Peter Gale, and Anna Sharkey as Maggie. [1]
Review: Maggie: A New Musical is a tuneful tribute to country star
Maggie, a new musical currently having its world premiere at Hamilton's Theatre Aquarius with backing from producer Michael Rubinoff (Come from Away), is a splendid showcase of Scottish-Canadian ...
'Maggie' becomes a leaner, tougher and more visceral musical
"Maggie" is a musical that isn't afraid to be a musical. It doesn't pander to minimalist, contemporary tastes. Its songs are actually. hummable. It's a musical for now because it shares the hopes, fears and reality of people who search for happiness, but understand the world is a big and often frightening. place.
Announcing the American Premiere of MAGGIE
October 13, 2023. We are delighted to announce that MAGGIE will make its American premiere as part of Goodspeed Musicals ' 2024 season! Directed by Mary Francis Moore, MAGGIE will run August 23 to October 20 at The Goodspeed in East Haddam, CT. Advance season ticket packages are on sale now and single tickets will be available beginning ...
Review: MAGGIE
Review: MAGGIE. by Lynn on April 27, 2023. in The Passionate Playgoer. Live and in person at Theatre Aquarius in Hamilton, Ont. playing until May 6, 2023. www.theatreaquarius.org. Music by Johnny Reid, Matt Murray and Bob Foster. Book and lyrics by Johnny Reid and Matt Murray. Directed by Mary Francis Moore.
Maggie
A Scottish mother's unbreakable love for her three sons is tested in an inspirational new musical about family bonds and changing times. After suffering the unthinkable loss of her husband, Maggie must rely on her strength, sense of humor and fiercely loyal friends to protect her family from a harsh world. Spanning over 20 years, a ...
Maggie the Musical
A tribute to Johnny's Granny and the people of an almost forgotten generation, this exciting new musical is a celebration of family, community and the joy and laughter that can be found, even in ...
REVIEW: Maggie at Theatre Aquarius [Intermission Magazine]
Someday, I think critics and historians might wonder the same about Maggie, now playing in its world premiere at Theatre Aquarius in Hamilton. With music, book, lyrics, and real-life inspiration from country singer Johnny Reid (with help from Matt Murray and Bob Foster), Maggie is a love letter to working-class Scotland, a tribute to Reid's ...
REVIEW: Maggie at Theatre Aquarius
The Theatre Aquarius run is a first outing for Maggie. It shows. There's much to be wowed by in the production — an ensemble of actors who have nailed a tricky accent, and Mary Francis Moore's sensible, well paced direction — but there are structural bumps to iron out before Maggie heads off to Prince Edward Island this summer (and ...
Maggie's Music Academy
We offer classes Sept-May in the following: Piano Guitar Ukulele Voice Babies/Toddlers Preschoolers Musical Theatre. Click to Learn More: Maggie's Music Academy is located in the beautiful mountains of Macon County, NC at . 29 Bates Crossing, Franklin, NC. Feel free to browse our website to learn more!
Maggie's Music Academy
"Come for the fun, stay for the education." Musikgarten's sequential curriculum for birth to age 10 allows students to learn music in a fun, developmentally appropriate manner. We focus first on training the child's brain to hear, identify and create patterns in music, so that by ages 5, children are starting to read musical notation.
Maggie's Music Academy
Maggie's Music Academy - About. Meet Our Teachers: Tabitha. McCall. Pearson. Piano Teacher & Admin. Ms. Tabitha (Ms. Tabby) is our admin and piano teacher. She is a native of Western North Carolina but lived and graduated from high school in Southern California. She is happily married to her husband Matthew and they live in Franklin with their ...
Maggie Flynn: Musical Info & Synopsis
Synopsis: Maggie Flynn tells the story of Maggie, an Irish woman dedicated to running a home for Black children orphaned by the Civil War.However, Maggie's life takes a turn when her husband abandons her to join the circus. After Maggie finds love again with Colonel John Farraday, and the two become engaged, her ex-husband reappears, determined to win back his wife.
The Real Meaning Behind Maggie's Song By Chris Stapleton
The singer/ songwriter wrote his track "Maggie's Song" as an ode to his lab-terrier mutt. If you haven't grabbed a box of tissues, you may want to do that. According to the Tennessean, Stapleton ...
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The Power of Music Education. Maggie Rogers is a strong advocate for music education, recognizing its ability to inspire creativity and self-expression. Musical Collaborations. She has collaborated with artists from various genres, including indie pop artist HAIM and electronic music producer SG Lewis. Emotional Connection
A New Musical
Music Supervision, Orchestrations & Arrangements by Bob Foster Additional music by Tony Harrell, David William Balfe, Peter Green, Harry Lauder, Gerald Grafton Michael Spriggs (Guitars), Pat McGrath (Guitars), Blair Masters (Piano, Keyboard, Accordion), Tommy Harden (Drums), Jimmy Lee Sloas (bass), Eamon Dillon (Pipes, Whistles), Brian Handlon ...
Maggie Rogers: From introverted student to Grammy nominee
Berklee College of Music. Maggie Rogers' roots, when compared to some of the most successful artists out there today, are distinctly unconventional. She had a deep love for classical music and later, folk songs, learning to play the harp, piano, guitar, and banjo. This led her to enrol in a summer programme at Berklee College of Music. Based ...
The Importance of Music in Education
Music can bring a series of important benefits to your child's education, many of which you may not have considered before. 1. Improve language capabilities. Music and language have a deep and profound relationship. The link between musical instruction and better language development in young children has long been established.
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What do we learn about Maggie's musical education? She didn't have a special music talent. Что мы узнаем о музыкальном образовании Мэгги? Особых музыкальных талантов у нее не было. «But I wasn't great. I was good and I had tremendous passion.
Maggie Rogers: I want my pop music to feel as organic as possible
Do your homework, kids. Maggie Rogers is a fine example of the good things that can happen when you turn up to class well prepared. "I moved out of my college apartment on May 31, 2016.
Maggie Shamer: A Life Set to Music
Community. Published October 13, 2015. Author Jim Campbell. When she was growing up in northern Baltimore County, Maggie Shamer spent many evenings listening to great show tunes from Broadway musicals. Her parents loved the theatre. That probably helps explain how at 14 and one of the youngest to try out for a part in her high school play, she ...