Posted by Brent Herhold on September 04, 2003 at 14:28:24:
Having recently finished the three-week, 24-performance, San Francisco run of Chicago the Musical I thought I’d check in with a few comments and observations regarding the engagement.
I got the call, from the contractor, about a month before the opening date, and, since we didn’t get the parts until a week before the opening, there was ample time to listen to the CD of the ’96 revival. This tour started the first week of June and will run through the end of the year; at each destination the librarian (who also is the second piano player) collects the practice books and sends them off to the next location. Once I got the book I practiced using a portable CD player and headphones; I find this a good way to practice as the recorded tuba part “disappears” when I’m playing and the rest of the instrumentation fills my head, so to speak.
Our one rehearsal was the morning of the opening, from 10 to 2 in the lobby of the theater (Golden Gate) as the set was being constructed on stage. The show travels with a conductor, two piano players, both of whom play during the show; one doubles on accordion and is also the assistant conductor (a sub is used when he is conducting,) and a drummer (who tells me he has played the show 1200 times!) We had a sound check at 6 p.m. (all instruments are miked;) this was our only opportunity to familiarize ourselves with the set. For me it meant adjusting to a music stand that came up to my knees; this demanded that I play with the horn in a sideways fashion. Additionally I needed to use a stand extender as many of the parts are tri-folds and need to be completely open as there is no time for page turns (actually there are times when segues demand that parts simply be dropped on the floor when finished.) Finally, the stand light is unable to sufficiently illuminate a 3-page part, and quite often this is the only light available.
We played through the Overture, as the cast milled around the stage; they gave us a great reception as we finished and indicated their appreciation of the band’s quality. We hit a couple of sections for two of the leads, and that was it! We would not play another note until the curtain at 8 and, like the audience, that was the first time we got to “see” the show. (As an aside, Kevin Richardson, of the Backstreet Boys performed the Billy Flynn role, for this engagement only. He had done the role on Broadway, earlier this year, and will be in London, this month, to reprise the role. He did a first-rate job.)
Typically, each of the selections goes through a number of modulations and visits keys in which we don’t usually play, so you have to really be on your toes as you go from one flat to six sharps, to six flats, etc. Additionally, the part is often quite exposed; there really is no room for error. Interestingly, I found maintaining concentration to be quite a challenge; as I was playing my mind would race to unrelated thoughts, and I wonder if other performers experience this phenomena. I did have an interesting conversation with one of our trumpet players regarding pre-performance apprehensiveness. Note that this is a man who spent five years on the road with CATS and is a first-call player in the Bay Area, and indicates that he still gets jittery before each gig; he further notes that it comes in two stages: First is concern of getting to the site, finding parking, having time to warm-up, etc. Second is the anticipation of the downbeat and the show itself.
I used a Gronitz PCM and a Wharburton Arnold Jacobs MP; the horn responded beautifully. The intonation is wonderful on this horn, thank God, as there is no way to hang on to your ax and be pulling slides at the same time. (The selection Mr. Cellophane Man requires playing a repeated C# [below the staff,] and it was comforting not having to worry about pitch.) Also, a big plus is the fact the horn can be emptied (2 water keys) without moving the horn off your lap; the demands of the production and the limited space make “horn contortions” impossible.
Trust me when I tell you this was one rewarding playing experience: Great cast, great band, great support staff and, I can assure you after playing the show 24 times, one great musical. As a matter of fact, I will be in New York in October and plan on seeing the show from the front!
Brent Herhold