New Musical

This morning, I took part in a rehearsal for an exciting project. Next month, Act3 Productions will present an original musical called By Wheel and By Wing. The script and music have been written by members of the Act3 family – mostly teens. By Wheel and By Wing is based on the true story of how one family endured, escaped, and survived World War II and the Holocaust.

Today's rehearsal was an initial read-through of the music with the full pit orchestra. Normally, the full orchestra begins rehearsing a week or two before opening night. Because this is a brand new musical, we needed to get together for an early rehearsal to work out any problems.

It was a long rehearsal. I won't attempt to recap the full rehearsal. Instead, here are some random thoughts and observations from the guitar player's point of view.

1. For this show, I only need an acoustic guitar and an amp. For the most part, we're mimicking a Gypsy family band. I'm thankful for a simple set-up…no pedals or special effects to worry about. As a matter of fact, I may not even use a pick.
2. It'll be interesting to see how (or if) we all fit into the pit. The last show was pretty tight, with two keyboards, guitar, bass, and drums. This time we have two keyboards, guitar, upright bass, drums, violin, a woodwind player, and a conductor. Should be interesting. Good thing I'm keeping my weight down. We'll need all the room we can get.
3. The guitar part was obviously written by a keyboard player. There are some sections where the notes are written out, but no chord symbols are given. This would freeze many guitar players in their tracks, or at least cause them to turn their volume down. This is a good example of why guitar players should learn to read traditional notation. There are other sections that could easily be played on, say, a piano, but are impossible on guitar, with unplayable voicings or long, extended harmonized runs. The orchestrator admitted up front that he wrote it on a keyboard. He even added the words "play something similar to" in certain sections, leaving it up to me to come up with my own interpretation. As long as I match the intent of the music, I have the freedom to play what I want. If I have the time, I may write out what I'm playing so that future guitarists will have a more guitar-friendly book to read.
4. Two of the numbers call for ukelele, which I don't know how to play. A friend let me borrow her uke, and I'll be busy learning the instrument over the next few weeks. Actually, I won't really be learning the instrument. I'll be learning the specific chords I need to know for this musical. I only brought my guitar to this rehearsal. I told the conductor that it was my "big ukelele."
5. I don't play on nearly half of the musical numbers. The musical term for this is "tacet." If you see a title followed by the word "tacet," you don't play that number. It's weird. Musicians love to play their instruments, but at the same time, there is a certain amount of joy in seeing tacet marked in your music. The orchestrator asked me if I was okay with the tacets. I told him that yes, I can do tacets. It allows me time for an extra bathroom break, and I can check my emails and text messages. While I was sitting through a few numbers, a chipmunk on the other side of the glass door offered some entertainment.
6. There is some very pretty writing in this music, and there are a few places where I get to shine playing delicate solo accompaniments, which is one of my strengths. Most musicals stretch me in new directions. I enjoy the challenge of learning new styles, but it's also kind of nice to play a book that seems tailor made for my style of playing.
7. My biggest concern was some missing guitar music. When we got to #11 in the book, it looked like I was missing at least one page of music. It turned out that I was only missing the last measure, which I didn't play. Crisis averted. On with the show.
8. One of the things I like about Act3 Productions is the mixing of generations. The pit orchestra is made of talented teens and old farts like the drummer and me. Okay, at the ripe old age of 45, I don't exactly qualify as an old fart, but I'm old enough to be the father of over 50% of the pit orchestra. It's refreshing to work with some highly talented youngsters.

Overall, I'm impressed with the music. I'm looking forward to rehearsing again after everyone has had the chance to woodshed their part, and I can't wait to see how it all works in the context of a stage production. I've been proud of every Act3 Productions show that I've played, and I think this is going to be extra special.

Performances are June 21, 22, 23, 24, 29, 30 and July 1, 6, and 7. Please visit www.act3productions.com for ticketing information.

Passing One Up

I've been diligently learning the 1st Guitar book for Rent with Act3 Productions, and I'm quite pleased with my progress. I'm able to play nearly everything up to tempo, and I'll be comfortable with the most difficult sections in another week or two. After that, it'll just be a matter of consistent review and practicing with the soundtrack to develop a sense of how my part fits with the rest of the ensemble.

Today I had to reluctantly pass up a good gig because it conflicted with Rent. It would have paid nearly twice as much with a slightly smaller time commitment. It was another musical, too. I love playing musicals. I'm happy to be the regular guitarist for Act3, but it would have been nice to "diversify" and get my foot in the door somewhere else.

There are some musicians who would have taken the more lucrative gig, but I'm not wired that way. If you constantly go to the highest bidder without regard for the people who already hired you, you may get some good gigs at first, but you'll eventually find yourself with a bad reputation as you burn your bridges. That's not to say you should never jump to another gig, but you should have a really good reason. While I won't earn as much money playing Rent, I'll be playing for an organization of terrific people who have been very good to me, and who have let me know that I'm their first call guitarist for the foreseeable future. If I had taken the new gig, I could have jeopardized my future with Act3 for what might well have been a one time gig…not a smart tradeoff.

Each situation is different, but here are some factors I take into consideration when I'm lucky enough to be contacted for a gig that conflicts with one already on the calendar.

• If the first gig is a freebie and the new gig pays, I'll take the new gig.
• Money is a consideration. I don't know what my breaking point is, but I have to be honest and admit that I can be bought. It would have to be for a LOT more money.
• Enough time to find a replacement. If I had been asked to play the new gig a month or two ago, I probably would have taken it, because it would have given Act3 plenty of time to find another guitarist. If I switched gigs now, I'd be leaving Act3 in the lurch. It would take them time to find another guitarist, and the new guitarist would have had to scramble to learn a difficult guitar book.
• Opportunity. I love playing for Act3 Productions, but if I got a call to play a show at the Fox, or if a well known touring artist wanted to hire me, that opportunity would be too good to ignore. I'd take the new gig.

I'll generally stick with the first gig, but I'll switch gigs given a certain combination of opportunity, time, and money. For the most part, though, it's going to be difficult to get me to drop one gig for another. To me, it's very important to nurture relationships with the people I play for. That means being loyal to my client, and if I do decide to switch gigs, it means helping them find a replacement. I'm not the #1 guitarist in town, but I earn big points by acting like a professional. I show up early, dressed appropriately, with my music prepared, and unless I have a really, really, really good reason to switch, I stick with the first gig and dance with who brung me.

Stages of Learning

I'm currently learning the 1st Guitar book for Rent (School Edition), which I'll be performing with Act3 Productions in early November. When I played trombone, it didn't take long to learn my parts for an opera or a musical. I could usually play the music at sight, and then it was just a matter of learning the cues so I didn't have to count hundreds of measures of rests between entrances. I've found that learning a guitar book for a musical is a lot more involved. First of all, I'm not as good a guitar player as I was a trombone player (yet!), and second, the guitar plays almost constantly, so there's a lot more music to learn. There are specific stages I go through when it's time to tackle the guitar book for another musical.

1. Disbelief. I receive the book in the mail, peruse it, and wonder how I could possibly learn that much music.
2. Despair. Playing through the book for the first time, I conclude that the music is impossible.
3. Denial. I put the book away for a few weeks.
4. Acceptance. Looking at my calendar, I realize I'm going to have to learn the book sometime, so I dig it out and start learning the part.
5. Hope. On the second reading, I realize that I can already play most of the music, and that the rest of the music is difficult but not beyond reach.
6. Enlightenment. I listen to the soundtrack for the first time and realize "Oh, so that's how it's supposed to sound."
7. Diligence. I practice the book almost every day and make steady progress.
8. Mastery. A couple weeks before the show, I can finally play everything at performance tempo and keep up with the soundtrack.
9. Panic. The first rehearsal is in three days. I redouble my efforts.
10. Arrogance. I start thinking I sound good.
11. Disillusionment. At the first rehearsal, I realize I don't sound as good as I thought I did. It's always different playing with a live orchestra.
12. Elation. I make adjustments, and I'm happy with my playing again.
13. Disappointment. The tricky section I've spent so much time practicing gets cut.
14. Panic returns. Opening night.
15. Joy. Opening night is over. It's smooth sailing from here. I kick back, enjoy the show, and repeat the pit player's mantra, "Don't mess up."
16. Relief. Closing night. The show's over, and thank goodness I don't have to play that book again for a while.

I'm currently at Stage 7: Diligence. My first rehearsal with the cast is in about 8 weeks, so I'm way ahead of the curve on this one. Opening night is November 4.

Once on This Island

In about a month, I'll be playing guitar in Once on This Island with Act3 Productions. I'm excited about this show! This will be my second show with Act3. I played All Shook Up with this company in February, and I was impressed at production level and depth of talent, so I'm really looking forward to playing Once on This Island.

The music is just plain fun, and it's a little different. I'm not sure if you can pigeonhole the music into a single genre. It has a lot of island rhythms with a touch of New Age. Most of the music has a very strong beat, which makes it deceptively difficult for the pit orchestra. While much of the music is written for dancing and sounds simple enough, the composer throws in some meter changes and asymmetrical phrasing to keep us on our toes.

While the guitar book for Once on This Island isn't nearly as frightening as the All Shook Up book, it's still a challenging part. I've been practicing the show music regularly so that I can hold up my end when we meet for our first orchestra rehearsal. If there are any high school and college students out there who are interested in playing shows, there's one main difference between playing school productions and playing professional productions. In school productions, you usually have a lot of rehearsals, and you can get away with learning the music during rehearsals. For a professional show, you have very few rehearsals – sometimes just one – so you need to learn your music before you even start the first rehearsal.

Here are a couple YouTube clips to give you a sense of Once on This Island's music.

Aside from the music, I like the story. This is not your typical Broadway musical with a fairy tale ending. It's suitable for family, but there are some serious elements that address race and class issues. If you're interested in learning more about the story, this Wikipedia article offers a good synopsis. Just don't read all the way down if you want to be surprised when you see the show!

Once on This Island is scheduled to play at Act3 Productions June 17-19 and 22-26, and I would love to see my Atlanta friends there. As far as I know, tickets are not yet on sale, but you'll want to check back at www.act3productions.org from time to time. Tickets for All Shook Up sold out quickly, and I expect the same will be true for this musical, too.