Page 43 - Allison's Magazine Issue #97

I recruited two other girls, practiced Home for three years now; and Dan
tight three-part harmony with them, Beckmann, who started with Letters
and taught them how to tap dance. From Home in the summer of 2018.
We started in 2010 as a local Andrews
Sisters tribute. One day, we did a show There are also several variations of the “ WE’RE ON THE ROAD A GOOD
at a VFW in Raleigh, and the national show. Sentimental Journey, our World THREE HUNDRED DAYS A YEAR,
commander was there. Afterward, he War II show, features lots of numbers AND WE AVERAGE ABOUT ONE
invited us to fly down to San Antonio from artists like Frank Sinatra, the
to perform at their national convention. Andrews Sisters, and Glenn Miller. HUNDRED SHOWS A YEAR.
That show got our name out all over the We Gotta Get Out of This Place, our
country, and we haven’t stopped Vietnam-era show, features some
touring since. amazing songs from Steppenwolf and
Creedence Clearwater Revival. Love
What are your shows like now? to Keep You Warm is an all-around fun
We do USO-style shows, as opposed classic Christmas show. Since all our
to focusing on one specific artist. Most shows are interactive and we’re always
of the Letters From Home performances coming up with new material, no two
feature myself; Courtney Groves, who’s are the same and it never gets old
been performing with Letters From to perform.

How many shows do you put on
each year? Where do you perform?
How much time goes into it?
We’re on the road a good three hundred
days a year, and we average about one
hundred shows a year. We’ve performed
on cruise ships for many years. We do
air shows, including the world’s premier
air show in Oshkosh, Wisconsin. We’ve
also performed at theaters, VFWs, and
American Legions. Some of my favorite
shows, though, are at retirement homes,
since many veterans are so excited to be
honored in their home.

We are constantly preparing for the
shows. Between time in the car singing
together, time by ourselves singing,
and coming up with, learning, and
tightening the choreography, we
probably put six to ten hours a day
into development and rehearsal. I alone
probably log sixty hours a week. It goes
back to our nomadic lifestyle—our
offices are hotels and Starbucks.

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