My friends, I'm doing some research, and I was wondering if you could all help? I'll be posting this same question over on the "Squire's Tavern" section, so here, I'd prefer if only performers answered (that means performers who actually are part of the Pub Sing, how ever it manifests)
What do you expect from a Pubsing?
I have recently become aware that even though I'm using the same term, having moved to a new home faire, they have a very different attitude as to what it's actually meant to be...So I want to know what your baseline thoughts are: Do you expect everyone to join in? Or is it simply another show, and the performers do all the work? Should it be rehearsed, or is it meant to be spontaneous? Should there be an MC? Should it be the same folks or change from week to week? Does it need to be in a Pub? Does it need a stage? Which one have you attended that you like the best?Least? Should the final song be the same every week, or should it change? Maybe to fit the theme? Should that song be a performance, or should it be a community sing? Do you like having other acts join in, like comedians, bits from acrobats, or magic workers? What part should the monarch(s) be taking? Do you like having a procession to the gates?
Please note, I'm asking for opinions here, and no doubt there'll be lots of contrasts...but I hope we can stay civil.
Majesty,
You will, no doubt, get many different responces to your question. There is not a written rule book for such things and if there were, people would still use their own interpretation. To further complicate matters, the final pub sing tradition even changes from year to year at the same faire.
My experience is taken from the faires I have worked as a stage act and those I have visited as a paytron. My understanding of the traditional pub sing is where all the musical acts and others such as improv comedy acts, story tellers, dancers (both period and middle eastern), magicians and jesters come together on one stage to perform favorite pieces. Everyone can sing or play along where appropriate and the songs that are presented are usually ones that the audience can join in as well. Not all stage acts at a faire will want to participate but I have always considered it an honor to be asked and have even served as MC for some. It is a finale to the day that is so enjoyable that many patrons who would have otherwise left the faire in the middle of the afternoon will stay just for pub sing. I don't think it started as a faire tradition as many Irish festivals have always ended the day with all the musicians coming together for a final "sing song". The Milwaukee Irish festival is one example and it was lead for many, many years by the legendary Tommy Makem until his demise a couple of years ago with the last song always being "Wild Mountain Tyme". It also serves as a reason to lead the assembled company to the gate and past all the vendors one last time and then get them out so the grounds can be properly struck and the final cannon sounded. Not to mention the opportunity to sell a great quantity of libation one more time for the day.
The thing that has always amazed me about pub sing is the attitude of some of the owners. Since the joust is their biggest expense and the jousting shows have to be spread out through the day, they often schedule the final joust at the same time as pub sing. They do not understand the benefits to pub sing nor the fact that, many times, it is the favorite time of the day for patrons.
One of the best I have seen had the King end the session by leading a song and then announcing the procession to the gate. It should appear to be spontaneous but scheduled by the MC to fit the time allotted without running over the final cannon.
-Thank ye, lad, that's precisely the type of answer I'm looking for.
I come from a tradition of giving the choruses (in written form) to the newbies so they can join in, and am now in a place where it's expected that all the acts are performers, and singing along is an affront!
So it seems that there are different trads all over. I'm working on a book (currently titled) " An Insiders Guide to Renaissance Faires"
Ta for the help!
I've performed in many pub sings done in many different ways. I've done ones that were scripted to within an inch of their lives, including the "random wackiness" between songs. I've done ones where groups of performers sang with complex harmonies and it was difficult to sing along. I've done ones where it's just decided "you lead this song, I'll lead that song" with an order being made up as we go. I even did one where the entertainment director shoved a song book in my hand and told me I was the entirety of pub sing (could have told me that sometime during the rehearsal period!)
I've had pub sings where song books are handed out to the patrons, I've had pub sings where everyone's just expected to follow along, I've had pub sings where the song books are handed out, but we don't necessarily sing songs from the book, or even follow the lyrics that are in the book.
I've done events where the King and Queen are the central attraction of pub sing, with them requesting songs. I've done ones where the royalty show up half way through and we make a big fuss over them as they come in, then they don't do anything but sing along until the end when they say it's time to go. I've done events where the royalty is there, but they're there to have a drink with everyone else at the end of the day, just like anyone else. I've done ones where the royalty couldn't be bothered to come to the pub sing, but those royals couldn't be bothered to do anything for the rest of the day anyway.
I've done songs that are call backs, songs where you join in on the chorus or other "hook", songs where everybody sings, songs where everyone- including the audience members- does their own verse (Roll Your Leg Over or All for Me Grog come to mind), songs where everyone just hushes up and listens to the pretty singing.
I've done pub sings that are lead by a particular performing group who have a set list planned, I've done pub sings that are lead by the in-house cast- I've even attended one where a song was lead by a guy who often performs but had just come for fun that day. He wasn't even in a costume or anything, the entertainment director just threw him up on stage.
The way it works isn't even a regional thing. I've only performed in Southern Ontario, and mostly with the same people from event to event. Sometimes there's variations in how a pub sing has worked from year to year at one event.
I've got a feeling the only unity you're going to find between pub sings everywhere is that singing occurs in a pub.
QuoteI've got a feeling the only unity you're going to find between pub sings everywhere is that singing occurs in a pub.
Nope, not even that. KCRF's pub sing is held at the Three Lions Stage. ;-)
Quote from: Aniroaldawen on August 10, 2010, 10:05:32 PM
QuoteI've got a feeling the only unity you're going to find between pub sings everywhere is that singing occurs in a pub.
Nope, not even that. KCRF's pub sing is held at the Three Lions Stage. ;-)
NYRF's "pub sing" is held on the Pageant Wagon Stage which is open air and not a pub. It allows those younger than 21 to be a part of the fun so I think it's great!
To me, a Pub sing should be Cast and audience participation and those are the ones I enjoy the most, where patrons would learn a song they've heard throughout the day and then be able to participate later on.
Sterling Ren. Faire would have several "pub sings" throughout the day...A Court Pub sing where you'd learn songs like "The Keeper" and "Will you go, Lassie go" or Sea Shanties like "Bonny Ship the Diamond" and "High Barbary"...then there would be the Rogue's Pub sing (held either at the Graveyard or down by the Thieves Camp) where you'd learn bawdier songs like "Roll your leg over" and "Mad Tom of Bedlam" and "Companion" and such. All of these elements would be put together at the Final Pub Sing (at the Bankside Stage) where you'd have elements of both Court and Rogues and finally ending with "Auld Lang Syne"...of course, I'm remembering this from when Baj was Queen and it's been almost...4 years since I've been to Sterling so I'm sure it's changed but those kind of pub sings are my "standard" for any other pub sing I attend and I'm glad I have the CD "Together Forever" because that is the exact mixture of songs that I enjoy! ;)
To clarify:
I'm not particularly looking for unity... I'm looking to find out what people like: what they want it to do. I have been to pubsings all around the country, mostly as a performer, though not usually as a PS participant: I'm an actor. And I was wondering about the different perceptions from the performers and the audience's viewpoints. (For instance I know an awful lot of people that consider the Pubsing at MDRF to be a spontaneous event that just happened to grow up over the years from the sing sing at the end of the day it started as... but I know very well, that lines are scripted, jokes are worked and the line up of acts is carefully considered as is the set list. But audience members still sometimes insist that it is all just a spur of the moment thing)
And I'd love it if people would cite specific faires when they tell me what they think.
Quote from: Queen Maggie on August 09, 2010, 10:01:38 PM
giving the choruses (in written form) to the newbies so they can join in,
Just to clarify one point: It's lovely when the audience sings along. Even better when all the musicians on stage play and sing along. That's why familiar songs are usually used. However, anything resembling a set list is poor form. That is a prescribed list of songs that the musicians choose from and they are forbiden to vary from that list. That kind of micro-management by the "powers that be" takes much of the spirit out of an otherwise good pub sing.
Quote from: Terry Griffith on August 11, 2010, 07:08:03 PM
Quote from: Queen Maggie on August 09, 2010, 10:01:38 PM
giving the choruses (in written form) to the newbies so they can join in,
Just to clarify one point: It's lovely when the audience sings along. Even better when all the musicians on stage play and sing along. That's why familiar songs are usually used. However, anything resembling a set list is poor form. That is a prescribed list of songs that the musicians choose from and they are forbiden to vary from that list. That kind of micro-management by the "powers that be" takes much of the spirit out of an otherwise good pub sing.
I've got to disagree with that. Before I started attending faire these kind of songs were NOT familiar. Most people know the words to songs they hear regularly, and if they don't listen to folk music (which is most people) they don't know the words to sing along. Also, song books are a great way of showing it's okay to join in. If you want to sing something that's not in the book, a quick "This song is not in your songbooks, but feel free to join in on the chorus" is good enough.
To clarify my clarification: Song books were not what I was warning against but a predetermined set list by the ED. I worked a faire (which I won't mention) where we were forbidden to play "Health To The Company". That song was a tradition at pub sing at that faire long before the new owner took over and to forbid it was bordering on blasphemy. The outrage of the patrons was enough to ruin the spirit. Song books with words to songs that are "usually" done at a typical pub sing, although seeming a little tacky, wouldn't restrict the variety of the musicians taking part.
I remember one faire, The Great Lakes Medieval Faire in Ohio, where it was pouring rain during pub sing on the last day of the run. Rather than take an instrument into the downpour, when my turn came I stepped out of the covered stage and sang an acapella song that had no chorus and no opportunity for anyone to sing along. Given the circumstances, it was an appropriate thing to do and delighted the gathering. With a prescribed set list, that would not have been possible. At other times like a dedication to a departed long time Rennie or a new bride and groom, etc. the company should have the option to perform whatever is appropriate for the audience.
...
Why would anyone ban 'Health to the company?"
The only answer we ever got was that it made people sad and the owner wanted people to leave happy. A complete lack of understanding of the patron's wants and needs. Only one of the many reasons I'll never work there again.
BTW, search YouTube for "Peeved Paradise" and you will get some idea of the situation. On the same YouTube channel you can see the pub sing where we did it anyway.
Quote from: Terry Griffith on August 12, 2010, 02:18:46 PM
To clarify my clarification: Song books were not what I was warning against but a predetermined set list by the ED. I worked a faire (which I won't mention) where we were forbidden to play "Health To The Company". That song was a tradition at pub sing at that faire long before the new owner took over and to forbid it was bordering on blasphemy. The outrage of the patrons was enough to ruin the spirit. Song books with words to songs that are "usually" done at a typical pub sing, although seeming a little tacky, wouldn't restrict the variety of the musicians taking part.
I remember one faire, The Great Lakes Medieval Faire in Ohio, where it was pouring rain during pub sing on the last day of the run. Rather than take an instrument into the downpour, when my turn came I stepped out of the covered stage and sang an acapella song that had no chorus and no opportunity for anyone to sing along. Given the circumstances, it was an appropriate thing to do and delighted the gathering. With a prescribed set list, that would not have been possible. At other times like a dedication to a departed long time Rennie or a new bride and groom, etc. the company should have the option to perform whatever is appropriate for the audience.
Regardless of how you feel about a scripted versus an improvised pub sing, neither of these examples are arguments against a set list. In the first case, your beef is with the entertainment director (or the owner, whoever was responsible), not the set list. Having no set list wouldn't have affected the restriction on Health to the Company. Even though I can understand the argument of not wanting to end on a "downer", however, any visible outrage by the patrons should be enough to cause the ED to reconsider the decision. This particular disagreement seems to be a perfect example of why this thread was started in the first place; a "new" person comes to an established faire with a certain notion of what a pub sing should be, which turns out to be radically different from the established tradition. In the case of this thread, however, Maggie is (correctly) asking around first.
The case of the rain affected pub sing is an argument against an
inflexible set list, which I've never seen implemented in practice. I've seen pub sing MCs who use set lists make changes all the time, usually in response to time constraints. Somebody has to leave early for an emergency, and either a different act is brought in, or the act before or after is asked to sing a longer song to fill in the time. Similarly, if somebody runs long, another act might be asked to do something short or be bumped entirely. MCs do this all the time, and if they don't, it's not the fault of the piece of paper with the set list on it.
Perhaps the problem is the definition of "set list". At the faires I've witnessed, a set list is more or less a script for the pub sing; who's performing when, and what they're performing. Occasionally they're be restrictions by name on what somebody
can't perform (a song that is too dirty, usually), but usually the restrictions are more like "suggestions" (something baudy, something squeaky clean, something upbeat because the guy before you just sang a dirge, something slow because you're doing the last song and we need to calm down the crowd so they're not chanting for encores till 10PM, something short because we need to make time for three acts after you and they're only here for this weekend). Generally the MC does not have an encyclopedic knowledge of every act available, so they're generally open to suggestions about the particular song or act, as long as they're not too long or short or otherwise inappropriate (dropping the F bomb, a serious rendition of a kiddie song for a group of rowdy drunks, etc). This kind of set list allows the MC to pace the show and have some control over time management. It also gives the acts some idea of when they'll be asked to perform. I would describe your example of not singing Health to the Company as a list of prohibited songs (a list of one in this case).
Will, points well taken. To further define what I mean by a "Prescribed" set list: A list of songs that the performers must choose from. No other songs can be performed. That is radically different from the list the MC makes just before (or sometimes during) the pub sing. It must be controlled for obvious reasons like timing or appropriateness but to have a list of songs that the ED picks and the performers cannot stray from is what I'm calling bad form.
Quote from: Terry Griffith on August 16, 2010, 11:00:46 AM
Will, points well taken. To further define what I mean by a "Prescribed" set list: A list of songs that the performers must choose from. No other songs can be performed. That is radically different from the list the MC makes just before (or sometimes during) the pub sing. It must be controlled for obvious reasons like timing or appropriateness but to have a list of songs that the ED picks and the performers cannot stray from is what I'm calling bad form.
As much as I appreciate letting Entertainment Directors "direct", that sounds like a recipe for Pub Sing to turn into a snooze fest by the end of the third week or so.
Quote from: will paisley on August 16, 2010, 11:35:06 AM
Quote from: Terry Griffith on August 16, 2010, 11:00:46 AM
Will, points well taken. To further define what I mean by a "Prescribed" set list: A list of songs that the performers must choose from. No other songs can be performed. That is radically different from the list the MC makes just before (or sometimes during) the pub sing. It must be controlled for obvious reasons like timing or appropriateness but to have a list of songs that the ED picks and the performers cannot stray from is what I'm calling bad form.
As much as I appreciate letting Entertainment Directors "direct", that sounds like a recipe for Pub Sing to turn into a snooze fest by the end of the third week or so.
Actually, it can work really well. I've only done a couple of multi-week events, but both of them had basically a list of songs that we sing. They were the songs we would sing because they were the songs we knew and they songs we had rehearsed. Same thing every day for a seven weekend run. Even at the faires I do now, where we only go for one weekend, we do the same thing each day.
If the performers are into the songs enough and are, themselves, having a ball, it's FUN!
Maybe it's because I'm more of an actor than a musician, but since I've started performing at faires I've looked at pub sings I perform at as "The Show in Which I Sing These Songs," as opposed to "The Show in Which I Pretend to Hit These People" or "The Show in Which I Say That Speech." I do my best to sing the song the same every time, with the same rhythms, the same key, the same gestures, the same jokes. Because that's how the show goes. That's the stuff we do at this time of day.
Until this thread, I'd never even thought of it as a restriction! It's just what we do.
Quote from: GirlChris on August 16, 2010, 10:30:26 PM
Quote from: will paisley on August 16, 2010, 11:35:06 AM
Quote from: Terry Griffith on August 16, 2010, 11:00:46 AM
Will, points well taken. To further define what I mean by a "Prescribed" set list: A list of songs that the performers must choose from. No other songs can be performed. That is radically different from the list the MC makes just before (or sometimes during) the pub sing. It must be controlled for obvious reasons like timing or appropriateness but to have a list of songs that the ED picks and the performers cannot stray from is what I'm calling bad form.
As much as I appreciate letting Entertainment Directors "direct", that sounds like a recipe for Pub Sing to turn into a snooze fest by the end of the third week or so.
Actually, it can work really well. I've only done a couple of multi-week events, but both of them had basically a list of songs that we sing. They were the songs we would sing because they were the songs we knew and they songs we had rehearsed. Same thing every day for a seven weekend run. Even at the faires I do now, where we only go for one weekend, we do the same thing each day.
To me, it would depend on the number of songs (not to mention the length of the pub sing).
Every pub sing I've ever been to has "favorites", songs they could do every night and people would still yell for them the next night. Others don't bear repetition quite so well. Even for those that do, there can be a strong tendency for the cast to get tired of them. There's a reason that Wild Mountain Thyme often gets an "F" embedded in its acronym, or why The Wild Rover has a parody about "never sing(ing) the Wild Rover no more". What I've seen happen at vairous faires is for some songs to get "popular", while others get retired for a few years and get brought back just as everybody gets tired of the popular ones, sort of like a Disney Vault for folk songs.
Still, it's virtually impossible to sing along (as an audience) to a new song. I have seen instances where a pub sing will try to introduce a new (to pub sing) song that they suspect people will already know from other sources, and watched it fall flat on its face. The best method I've witnessed for introducing new songs to the audience is as either as serious performance piece or as a comic piece. It can often take several weeks (or even seasons) to catch on, by which time it's not really "new". The best and most recent example of this I've seen was a parody of the Mingulay Boat Song, which encapsulates the entire dilemma. It worked as a comic piece, based on how tired performers get of singing Mingulay all the time. It was successful by virtue of being simultaneously an old, familiar song and by being "new" (and making fun of the tedium of singing an old, familiar song). It started off as a comic piece people listened to and laughed over, but by the end of the run, everybody was singing along, as it had become a "new" old, familiar song (making fun of having to sing an old, familiar song).
Quote from: GirlChris on August 16, 2010, 10:30:26 PM
Maybe it's because I'm more of an actor than a musician, but since I've started performing at faires I've looked at pub sings I perform at as "The Show in Which I Sing These Songs," as opposed to "The Show in Which I Pretend to Hit These People" or "The Show in Which I Say That Speech." I do my best to sing the song the same every time, with the same rhythms, the same key, the same gestures, the same jokes. Because that's how the show goes. That's the stuff we do at this time of day.
Until this thread, I'd never even thought of it as a restriction! It's just what we do.
And THIS is the reason I started the thread in the first place: The assumption that This Is The Way Things Are Done. I know I have been to a lot of faires, and travelled and performed East, West, North and South ... but what I didn't know was what the assumptions were. So I'm listening to hear what people say, and from those whom I know, and know which faires they're dissecting.... I'm getting even more info!
Thanks!
As a performer, I expect that pub sing, should I chose to attend, will be a time when I can let my hair down a little. I expect everyone will stay in character, but I do expect that I'll be able to mingle with patrons in a less formal way than on the streets.
On a more general note, a successful pub sing, should feel like the gathering of a village at the end of the day. Some of the people are best friends, some are enemies, some are lovers, some have never met, but everyone is in the same place to rest from our hard day's work. Sing-along songs are perfect for this, provided the audience is taught the words to the chorus prior to the song being sung.
I think pub sing should feel spontaneous. I look at it like long-form improv, which is basically what it is: there are rules (never deny, never hurt anyone), there are guidelines (you may be THIS bawdy and no more, no stupid parodies), there is a theme and characters and a basic semblance of plot (we open with this song, we close with this one, we do toasts and whatnot in between), and beyond that, things happen naturally. A strong pair (trio, whatever) of leaders is essential. I think acts should be allowed to perform more or less whatever they like (within the rules/guidelines/theme, obviously), with the catchy sing-alongs interspersed so everyone feels included. Managed variety, I think is the term, or perhaps organized chaos.
Quote from: Queen Maggie on August 18, 2010, 10:14:10 AM
Quote from: GirlChris on August 16, 2010, 10:30:26 PM
Maybe it's because I'm more of an actor than a musician, but since I've started performing at faires I've looked at pub sings I perform at as "The Show in Which I Sing These Songs," as opposed to "The Show in Which I Pretend to Hit These People" or "The Show in Which I Say That Speech." I do my best to sing the song the same every time, with the same rhythms, the same key, the same gestures, the same jokes. Because that's how the show goes. That's the stuff we do at this time of day.
Until this thread, I'd never even thought of it as a restriction! It's just what we do.
And THIS is the reason I started the thread in the first place: The assumption that This Is The Way Things Are Done. I know I have been to a lot of faires, and travelled and performed East, West, North and South ... but what I didn't know was what the assumptions were. So I'm listening to hear what people say, and from those whom I know, and know which faires they're dissecting.... I'm getting even more info!
Thanks!
And my mindset of This Is What Pub Sing Is is so strong I completely missed (or misunderstood) GirlChris' point in that paragraph. The idea of Pub Sing being one show that is always different, every performance, is so ingrained in me that describing a Pub Sing in terms of a standard show (which is the same every day) is like trying to explain air to a fish. This is very similar to how PARF approaches their Finale In Song (which I always describe as Pub Sing by Stephen Spielberg); they start off with the same introduction, have guest acts at the same spots, always have the same (huge) production number somewhere towards the end, and finish with the same grand singalong (and confetti fireworks). A tremendous show and spectacle, but not something I would watch every single weekend (not that that's their goal).
Complementing (or perhaps contrasting) what GirlChris said, I've been a part of shows where we have the same reactions and say the same things in exactly the same way because that's how the show goes, and had no trouble with it. Until her (and Maggie's) post, I'd never thought of Pub Sing being this kind of performance.
I think the reason for this thread is that Queen Maggie would like to know the answers to exactly what we are debating. It seems that the two capacities of musicians and actors will have a different slant on what a pub sing should be. I was wishing more musicians besides Will and I would contribute their ideas but the ultimate definition should lie with the patron. What would the patron like to see at the end of the day. The trouble with that being that each patron is biased according to what their home faire does. I have seen pub sing as both working musician and patron. By having been a participant as musician, my opinion is, naturally, the same while being a patron but the pub sings that I have enjoyed the most are those that appear to be spontaneous. Songs lead by musicians where everyone sings and plays along with a final and meaningful song to wrap up the day.
This past weekend I attended the Great Lakes Medieval Faire in Ohio and, imho, it is one of the best. Each musician that performed during the day got a featured number and did a song that the rest of the musicians could play along with and the audience could sing on the chorus. The final song, "Health to the Company" was lead by Owen Fife. He gives the words to the chorus before singing the song. During each chorus, the assembled crowd moves around and clinks glasses with both friends and strangers. This has a special meaning to the audience and serves as a "fairwell" to friends. Especially on the last day where hugs are often given along with the clink and sometimes tears are shed because the faire is over for another year. Yes, it leaves on a sad note but one that will be remembered and cherished until they can come back again. With the "Disney-like" approach that some faires have taken it is refreshing to experience a bit of emotion between dear friends. "Mickey and Mini" can wave goodbye at the gate but people will remember the camaraderie of pub sing more.
Terry, that's very similar to how the Georgia does pub sing. A local musician wrote a song for the festival some time ago, "Old Newcastle Town," and that's the closing number more often than not.
I see two sides to this. One, the performers play the same thing every week and the regular audience gets a chance to learn some songs and sing along by the third weeekend. The other, performers play something different all the time and the audience gets excited to hear what is gonna be thrown out there each week. At the Michigan Renaissance Festival, the first seems to the the preferred method. My old show strayed once or twice from Johnny Jump Up and you would have thought we'd overthrown the queen! ;) Our pub sing is very laid back...whoever wants to come and sing will sing, in no particular order.
Pub Sing formats generally follow the wishes of the "hosts" and the E.D. I do agree the ones that are less presentational and more a gathering of the villagers are generally better because they invite the audience "in". Songs that everyone can catch on to quickly with a memorable chorus get everyone singing that much quicker. Ultimately, it should be about the fellowship and the music. Variety acts add a special element if they become part of the village rather than the central focus. A monarch should be acknowledged and make a request but again, not be the central focus. Pacing is really important. Too much down time with scenes and lines really breaks up the bonding with the audience. It creates that famous Fourth Wall of theater which makes the audience observers rather than participants. Sometimes lyric books are fine and other times they slow everything down. Those who want to sing, will try their best while others who want to be part of the gathering can be without the pressure of performing. One thing that absolutely works is scattering some cast members throughout the crowd to interact and be a touchstone to the event. Songs that have gestures, like "O Ho the Rattlin' Bog" unify folks too. I've lead pub sings where the audience contributes verses to repetitive songs. We had signals to make sure that cast members and the audience got to contribute.
A closing song is a nice touch. Those who come back to the festival will have a memory of the day. Now, that song could rotate from among a few familiars, again according to the energy of the audience. Some days are sentimental and others are raucous. Your host(s) should have a good read on this. Those who do stick around for the pub sing will remember how welcome they felt and will want to come again.
;D
Hey all;
As the member of a troupe that hosts a few different pubsings at a few different faires; this is our take on it.
We try, as the Hosts to make it a fun, exciting, upbeat show where EVERYONE participates. We ask the cast, the stage acts, heck we've even got the jousters up one year to sing us a song.
We try to have everyone get up and do a bit, or a song, or a joke, or a toast.
We like to end it all by wrapping up the show with a finale song; like Health To the Company, or Parting Glass, or if the show has it's own Theme Song then we do that.
Ideally, we like to have ALL the cast & performers at the front for a FABU photo op at the end of the day, doin' the sway thang up on stage together.
We have a few guidelines when you do your thing and they are:
1. Short and Sweet! Keep your bit shorter than 1 min and your song shorter than 3. Theres' often a lot of people to get up to perform.
2. Remember, not everyone is hammered and so clean-ish material is preferred, although we do tend to lean to the naughty side...:)
3. Prefereably upbeat; if you must do a ballad then it MUST be under 3 mins.
We encourage mash-ups as well, for instance, bands colliding, or other performers you never knew could sing/play getting up there to do a bit.
We encourage a FRIENDLY SAFE environment so if you want to try something, no one will be mean to you.
We encourage almost a 'laugh-in' style of show, and we try to keep it fast paced.
The key when hosting is to remember this is the Finale; it is an Ensemble piece. It is not about the hosts and their pals. Include everyone, for it is everyone's end of day party.
Hope this helps, we do like hosting the pub sing. It's a lot of extra work but it's fun. And we hope the audience enjoys it as much as we do!
Bunnie
The Limeybirds
Bunnie, you've basically described my ideal pub sing (as a patron and a performer).
I can see the point about wanting people to leave Faire happy (choosing upbeat material)...On the other hand, for many people, the bittersweet flavor of "Health To The Company," is an absolute must-have. I remember when Empty Hats came to TN the first year and many people were miffed that they ended with "Beggars To God," instead of "Health To The Company." There was an impromptu singing of "Health To The Company," at the gates by most of the cast and participants that year. Now people are accustomed to Empty Hats' ending of the Pub Sing and often during the course of the Pub Sing show, "Health To The Company" will be one of the featured songs.
Most that I have seen have a short act by most of the performers of all types (very much fun to watch Washing Well Wenches join in with them and parody belly dancing acts!) and end in a singalong. Some of them switch around a bit here and there during the run and some don't.
When I first started Faire, there were no pub sings (gasp! shock! chagrin!), or at least not in that way, during patron hours. There were plenty after hours, however and silly games and such for the working rennies. The Pub Sings as they are done now are much more something that evolved over time and individually and they'll probably continue to do so. Change is inevitable over time and some will like it and others won't...You just can't please everyone all of the time!
Quote from: stonebiscuit on September 14, 2010, 10:16:16 AM
Bunnie, you've basically described my ideal pub sing (as a patron and a performer).
I agree absolutely.
Hi Maggie!
I've seen many a pub sing in the last *cough* number of years...and been involved as patron and actor. I know that in both roles I prefer the type pub sing that **APPEARS** to be spontaneous even if it isn't.
I know that some of the most spontaneous appearing pub sings are anything but....and a few I've seen that appeared to be rigorously controlled were actually off the cuff .
I love a great pubsing, and cannot wait to get to KCRF next weekend to see what is traditionally the best pubsings in all the country. Today at the Pittsburgh Renaissance Festival, saw one of the worst pubsings i have ever seen, only 2 musical acts. And althought the entire cast was somehow engaged in it, there was almost no humor at all. Think a good pubsing needs humor, naughty or not.
This is exactly why I leave PRF before the pubsing. Beat the traffic too!
Gina
Quote from: arbcoind on September 26, 2011, 11:18:26 AM
This is exactly why I leave PRF before the pubsing. Beat the traffic too!
Gina
but I will say, the pubsing was better than before. so they are working on it. it was nice to see the whole PRF cast together at the end, that was nice.