Sarah Motes Ashley

I wrote a play a long time ago, and now it's being produced again. Except it's completely different, I rewrote the whole damn thing and it's much better. I'd love to post the songs but the demos are too rough. On big numbers I am singing every single part because I recorded it all myself in my dungeon studio. Do you know what it sounds like when I sing 12 different parts? It kinda sounds like Satan after a while. So, no. No songs for you. When the show goes up I'll get a cast recording, Playwriting is insane. And wonderful. I have to give up a lot of control and sometimes it's a huge thrill to see them do something different, but better, with the words I chose. Sometimes I want to run away and change my name because what I thought was so funny is just a bore, and it's my fault. Usually it's somewhere in between those two. It's made me write songs on a deadline. It's made me write: a typical theatre song, a poppy theatre song, a couple of touc

Last year I found a wonderful country singer and then in the fall I found a wonderful pop singer. Her name is Sydni and you would never, ever guess that she was 13 years old when she sang these songs for me. Obviously she has a bright future and I find myself writing with her voice in my head. Here are three of her songs that I have so far. I am finishing a fourth one tomorrow, and can't wait to hear her on it too. Don't Miss Out Feel This Way Not This Time Again When I was a cabaret singer in Chicago, I sang with a cool, elegant singer/actress named McKinley Carter who has a golden voice and a wicked sense of humor. When we needed songs for our group the Blondes, McKinley always liked the "swanky" ones; sophisticated, in control, silky songs you could curl up in. Sydni's songs are like that - I'm leaning into the swank factor for her. The Stevie Wonder groove, the ukelele love song, even the middle-of-the-night heartbreak song - when Syd sings them