Free Father’s Day Performance in Quincy, MA

Free Father’s Day Performance in Quincy, MA

A Distant Love:
Songs of John and Abigail Adams

Robert Aaron Taylor as John Adams
Victoria Tralongo as Abigail Adams

Presented by:
Chelsea Opera and the Adams National Historical Park
June 21, 2015
Adams Carriage House – 135 Adams St., Quincy, MA
More Info at


This performance is FREE and open to the public.

Reservations not required, but seating is limited.

Doors will close at the start of the performance – plan accordingly.

Street parking available on Adams St.

Light refreshments and ‘meet the singers’ following the performance.

Why any company would be lucky to hire a Performing Artist

Robert Aaron Taylor &
Michelle Kei Ishuu Taylor

We’re some of the most determined people you’ll ever meet
Artists are accustomed to rejection. We put ourselves out there every day in an attempt to get gigs. That’s how we pay the bills. We are the product we’re selling, so every rejection is personal. Yet we persevere! We get back on the horse and keep trying until we get a “yes” and then we go out and try some more.

We’re highly educated
Performing artists are Renaissance (Wo)Men. In order to understand and communicate the plights of the characters we play on stage, we must do copious amounts of research on the various details of many cultures and periods in history. We often speak multiple languages. We build our own websites and do our own taxes. We read… a LOT! Usually it’s literature but we also keep up with current events. We like to stay on top of trends and new technologies and we talk to each other about ways we might adapt them to improve our performances.

We value tradition, but embrace innovation
Most artistic traditions have stood the test of time for centuries, but that’s no excuse to let things stagnate. We happily embace innovations that work in harmony with and improve the quality of our performance. Every performer is on at least one social media platform and we all have videos that we’ve uploaded to the web. If we can reach a broader audience by using an iPad as a prop instead of a quill and parchment, then why not use the iPad?

Creativity is our business
Thinking outside the box comes naturally to us. No artist is ever satisfied with the explanation, “because that’s the way we’ve always done it.” If there’s a way to improve a concept or process, we’ll find it. Oftentimes, the moment of inspiration hits us when we’re in front of an audience and we’re able to seamlessly adapt it into our well-rehearsed performance. Your colleagues think you’re a genius and those in charge make it a permanent part of the show. It’s just another day at the office for us creative types.

We work well under pressure
You know that horrible feeling you get right before you step out to talk to a big group of people? It’s like your stomach is turning summersaults and there’s a voice inside your head screaming at you to run away as fast as possible. Well, that’s where we artists shine! We’ve learned to put that nervous energy to good use. Pressure is just another part of the process, and it helps us do some of our most inspiring work.

We thrive in the spotlight, but don’t pull focus when it’s someone else’s time to shine
A good performer knows how to own a room. When we turn it on, you just can’t look away. Luckily, we have an intensity adjustment for our charisma, so when it’s a colleague’s turn to take center stage we can fade gracefully into the background. We’re still there to give them our full support because this is, after all, a team effort. We all have to cross the finish line together.

We save the drama for the stage
Most people think that artists are moody and dramatic all the time, but that’s just not true. We get our fill of death, deception and melodrama on the stage. We don’t need any of that in our daily lives. You’d be hard-pressed to spot an incognito performing artist out in public. “Why is that?” you ask. It’s because we’re just normal, witty, unpretentious people who like having fun with friends and who do our best to have a positive impact on the world. We portray villains and their helpless victims too often to not want to be a force for good in our own communities. If you give us a chance to show you what we can do, you’ll truly understand why performing artists make the best employees!


This list is by no means exhaustive. Have something to add? Leave it in the comments section below.


About the Authors:


Robert Aaron Taylor is a Performer and Business Owner who is transitioning into the corporate world. A creative and confident Problem Solver and Strategist, he offers a natural ability to dive deep and craft innovative solutions to complex problems. Connect with him on LinkedIn or email him at .


Michelle Kei Ishuu Taylor, a charismatic leading lady on the stage and in the office, is in great demand for her contagious positivity and her ability to organize, energize and mobilize. If you’re looking for someone to help reinvigorate a stagnant work environment, you can connect with her on LinkedIn.

Coming up – “A Distant Love”

A Distant Love: Songs of John and Abigail Adams

At the historic Old Stone House in Park Slope, Brooklyn

Saturday evening, October 25th

(The Adams’ 250th wedding anniversary!)

Baritone – Robert Aaron Taylor

Soprano – Elizabeth Dabney


I’m very excited to be a part of this project! The piece has only had a few performances, but this one will take place on the 250th wedding anniversary of John and Abigail Adams!

I recently met with the composer, Gary Fagin, and sang through a short section of the music with him. It’s always exciting to work directly with the composer, and it’s a rare treat for someone who specializes in opera. The composition is modern, but very approachable. The vocal line has a shape and lyrical flow that reminds me of Ralph Vaughan Williams.

I’m looking forward to meeting with the librettist, Terry Quinn, this coming week to discuss the inner workings of the characters as he has envisioned them through his poetic setting of their letters. I suggest you read his notes on Channeling John and Abigail, but I’ll paste a few of my favorite phrases for those who don’t click the links (I hope he will forgive the hack-job I’ve done to condense his process):

…all sorts of minor details necessarily change in the process of adaptation … due to the exigencies of meter and euphony. However, what needs to survive at all costs is John and Abigail’s unshakable spirit…

…you begin with six to eight months of research. You read every available letter John sent to Abigail and vice versa, all the while annotating those you find particularly compelling…

While one has only to read a handful of the full letters to sense the depth of John and Abigail’s devotion to one another, the implied heat is seldom permitted to rise to the surface. In the realm of music theater writing, this is a distinct problem…

And so, at critical points in your libretto you write ballads. Where you can, you fold in snatches of direct quotes, but you go beyond them … You trust that you’ve lived long enough with these two astonishing personalities that you can now, in a sense, channel them.

I’ll also find out more about his plan for this particular production. They call it a “Dramatic Song Cycle.” My guess is that it will be semi-staged, possibly with period costume, but with the intimacy of a salon recital. At least I hope so… that sounds like fun!

The portion of A Distant Love titled “John Adams in Amsterdam: A Song for Abigail” was commissioned as a separate work, in 2004, by the John Adams Institute. It received its premiere performance at Amsterdam’s Concertgebouw on April 13, 2005, with Queen Beatrice of the Netherlands in attendance.


The 1780s were breakthrough years for the string quartet. Thus, it seemed appropriate to accompany John Adams in Amsterdam with a string quartet.

The score is predominantly lyrical, almost romantic, befitting John Adams’ heartfelt affection for his Abigail, though at times the music is infused with an American folksiness reflecting his rustic and forthright nature.

As Abigail was struggling to survive in the midst of an active conflict, her life was more fraught with drama than was John’s life in Europe. Thus, for Abigail, the music has more contrast, ranging from militaristic rhythms to intensely personal lyricism.