Strategies for success in musical theatre : a guide for music directors in school, college, and community theatre

289 Pages·2016·10 MB·English

by  Marshall

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Strategies for Success in Musical Theatre
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Strategies for Success
in Musical Theatre
A Guide for Music Directors in School,
College, and Community Theatre
Herbert D. Marshall
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Library of Congress Cataloging- in- Publication Data
Names: Marshall, Herbert D. author.
Title: Strategies for success in musical theatre : a guide for music
directors in school, college, and community theatre / Herbert D. Marshall.
Description: New York, NY : Oxford University Press, [2016] |
Includes bibliographical references and index.
Identifiers: LCCN 2016000393| ISBN 9780190222192 (cloth : alk. paper) |
ISBN 9780190222208 (pbk. : alk. paper)
Subjects: LCSH: Musicals—Production and direction.
Classification: LCC MT955 .M36 2016 | DDC 792.602/33—dc23
LC record available at http://lccn.loc.gov/2016000393
9 8 7 6 5 4 3 2 1
Paperback printed by WebCom, Inc., Canada
Hardback printed by Bridgeport National Bindery, Inc., United States of America
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I was fortunate to grow up in a family and community that valued the arts.
When I was still a toddler, my parents took me to see my babysitter play
Gertie in Port Byron High School’s production of Oklahoma! They found me
a piano, drove me to music lessons, supported band and choir, and patiently
endured my quitting baseball, wrestling, and football as music consumed me.
My grandmothers and aunts praised my singing and piano playing, bought
me cast albums, and took me to concerts and musicals. They phoned to tell
me about something on television that I had to hear and they supported my
plan to major in music. Such is the power of our mentors and loved ones to
say the right words at the right time to impact the course of our lives.
Thank you for agreeing to take on this role of musical mentor, whether in
your biological family, theatre family, or both. I dedicate this guide to the
wonderful people who nurtured this talent for music and theatre in me, and
to all mentors who recognize imagination, appreciation, or talent and invest
their time and energy to nurture nascent artistry in others.
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CONTENTS
Foreword by Bill Rudman ix
Acknowledgments xi
1. No Knot Unties Itself: Introduction 1
2. Brazen Overtures: Let’s Start at the Very Beginning 9
3. Prepare Ye! Designing the Musical Elements— Scores, Forces,
and Logistics 41
4. Show Me! The Teaching and Learning Process of Recruitment,
Auditions, and Casting 89
5. If You Become a Teacher, by Your Pupils You’ll Be Taught: The Teaching
and Learning Process of Rehearsals 125
6. Putting It Together: Integrating the Elements, Polishing, Technical
Rehearsals, and Dress Rehearsals 167
7. We Tell the Story: Opening, Performing, and Closing 205
8. Exit Music 235
Appendices 237
References 263
Index of Shows 265
Index of Terms and Persons 269
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FOREWORD
Rodgers and Hammerstein used to say that assembling a musical for pro-
duction is akin to preparing for battle, or words to that effect. As anyone
who has been charged with leading the assembling knows, their metaphor
is perfect. Endless planning and strategic thinking, plus a mastery of the
most seemingly insignificant logistical details— these are the 24/7 preoc-
cupations of all great generals.
In the musical theatre, we know a lot about the great Broadway director-
generals: the George Abbotts and Hal Princes of our world. We know far less
about their right- hand men in the pit: Hal Hastings and Paul Gemignani,
to name just two. But the women and men who conduct the orchestra and
chorus are faced with as much “preparing for battle” (in some ways, more)
as their so- called superiors. It is daunting. You’ve got to be good with a
stick, of course, but in some ways that’s the least of it. And if you can’t
multitask, don’t even bother showing up for work.
What’s fascinating to those of us who can’t get enough of this art form
is that whether you’re working on Broadway, in a community theater in
Chicago, or on a high school stage in Toledo, the music director’s job is
essentially the same. But it’s grossly misunderstood and underestimated,
which is why the book you’ve just opened is something of a revelation.
Herbert Marshall has analyzed the rigors of his profession to a fare- thee-
well. He has offered what amounts to a year’s tutorial in methods that are
eminently useful, whether your next production is Cabaret or Thoroughly
Modern Millie and whether you’re working with teenagers or retirees.
Process, process, process. Craft, craft, craft. It’s all within these pages
… from pulling together a production team through rehearsals to opening
night (and beyond) and— he dares say it!— “preparing for minor disasters.”
It’s a guide, to be sure, but I prefer an old- fashioned term: It’s a handbook,
one that you’re going to want to carry with you all day and put under your
pillow at night.