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jaalaSo there's a new production of Sweeney Todd on Broadway. The show is a minimalist production. In fact, it's so minimalist that the director, John Doyle, is having the actors double as the orchestra. Now, I love this musical so I'm glad it's getting a revival. It's a neat idea too, and I have a lot of admiration for the actors who can pull it off. Sondheim even talks about how great the new orchestrations are. Nevertheless, something about the concept does raise my hackles at least a little bit.
Of course I dislike the fact that a number of musicians won't have that job available to them; it's difficult enough to make a living as a professional musician. Money isn't really the issue for me though. The actors have joined the musicians union so they are rather like a multi-disciplinary version of the musicians in an orchestra who double on more than one instrument. What I object to is the trend in musicals that underplays the importance of the orchestra.
Unless I'm extremely lucky, I will never play in a professional pit orchestra. I have played in eight amateur production, however, so I think I may have some idea of the way things are for professionals. The actors get more glory and their needs are almost always considered before the orchestra. I suppose that's how it should be in musical theatre; we're not the ones baring our souls on stage. But most of the pit musicians I've known take pride in the knowledge that they provide a unique and essential element of the show. To have the actors take over that element feels like they're treading on "our" (admittedly small) turf.
It's a turf that's already been shrinking for a number of years now. Musical theatre orchestras are getting smaller and smaller. When old shows are revived, they are usually re-orchestrated for smaller forces. Synthesizers (even programmed ones that run automatically!) are used instead of whole sections. Wicked has a huge orchestra by contemporary standards and its string section consists of of... one string quartet! (Things were beefed up for the CD, of course.) Productions like Doyle's Sweeney Todd seem to suggest that you can do away with the orchestra altogether. Producers claim that orchestras have to be small in order to save money, but there still seem to be plenty of shows (not Sweeney Todd, I know) with extravagant sets, costumes and effects. Are those things more important the music in a musical?
Additionally, there's the issue of professionalism. Pit orchestras are made up of professional musicians who (I assume) take pride in their work. As far as I know, the actors in Sweeney Todd are professional actors and not professional musicians for a reason. Naturally, their acting performance takes precedence over their instrumental performance. Is the competence of the orchestra that much less important than the competence of the actors? I do my utmost to deliver the best performances I can in pit orchestras--and I'm an amateur--so it rankles slightly to hear Patti LuPone joke about how hardly anybody notices if she makes mistakes on the tuba.
Now, why can't I muster that much interest in writing my academic essays?
Of course I dislike the fact that a number of musicians won't have that job available to them; it's difficult enough to make a living as a professional musician. Money isn't really the issue for me though. The actors have joined the musicians union so they are rather like a multi-disciplinary version of the musicians in an orchestra who double on more than one instrument. What I object to is the trend in musicals that underplays the importance of the orchestra.
Unless I'm extremely lucky, I will never play in a professional pit orchestra. I have played in eight amateur production, however, so I think I may have some idea of the way things are for professionals. The actors get more glory and their needs are almost always considered before the orchestra. I suppose that's how it should be in musical theatre; we're not the ones baring our souls on stage. But most of the pit musicians I've known take pride in the knowledge that they provide a unique and essential element of the show. To have the actors take over that element feels like they're treading on "our" (admittedly small) turf.
It's a turf that's already been shrinking for a number of years now. Musical theatre orchestras are getting smaller and smaller. When old shows are revived, they are usually re-orchestrated for smaller forces. Synthesizers (even programmed ones that run automatically!) are used instead of whole sections. Wicked has a huge orchestra by contemporary standards and its string section consists of of... one string quartet! (Things were beefed up for the CD, of course.) Productions like Doyle's Sweeney Todd seem to suggest that you can do away with the orchestra altogether. Producers claim that orchestras have to be small in order to save money, but there still seem to be plenty of shows (not Sweeney Todd, I know) with extravagant sets, costumes and effects. Are those things more important the music in a musical?
Additionally, there's the issue of professionalism. Pit orchestras are made up of professional musicians who (I assume) take pride in their work. As far as I know, the actors in Sweeney Todd are professional actors and not professional musicians for a reason. Naturally, their acting performance takes precedence over their instrumental performance. Is the competence of the orchestra that much less important than the competence of the actors? I do my utmost to deliver the best performances I can in pit orchestras--and I'm an amateur--so it rankles slightly to hear Patti LuPone joke about how hardly anybody notices if she makes mistakes on the tuba.
Now, why can't I muster that much interest in writing my academic essays?
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Date: 2005-12-06 01:46 am (UTC)That is not to say that I am not wholly sympathetic to the lack of jobs in the performing arts, particularly for musicians. And it's not even as though the electronic artists who can synthesize a larger orchestra get more credit. If the orchestra is going to tragically shrink, at least give the sound designer proper kudos.
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Date: 2005-12-06 02:18 am (UTC)Though I obviously didn't express it as eloquently as you ("It's a neat idea too,") I do find the concept artistically intriguing. And I do see how the performance could further the audience's awareness and appreciation of all types of performing artists (including instrumentalists).
who's to say that these performers are actors who picked up an instrument and not instrumentalists who developed their acting chops?
Yes, that was an assumption. I was basing the assumption mostly on information about Patti LuPone and articles that mention she had to brush up her high school instrumental skills. It's quite possible that she played in bands before she acted but she's apparently received little to no training since high school and her acting has clearly come to dominate her output.
Sondheim's comment that, "You have to think of the acting first and the instrumentation second," hardly suggests equal consideration of orchestral and acting demands to me.
no subject
Date: 2005-12-06 02:26 am (UTC)no subject
Date: 2005-12-06 02:28 am (UTC)I can't remember: were you in the pit for Kiss Me Kate? I loved that one day at rehearsal when they called a break and didn't bother to bring the pit back up, so we all had to scramble up on chairs to get out.
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Date: 2005-12-06 03:45 am (UTC)no subject
Date: 2005-12-06 04:03 am (UTC)no subject
Date: 2005-12-06 04:04 am (UTC)And to be fair, they probably DO hire actors who used to play baritone in junior high.
no subject
Date: 2005-12-06 04:05 am (UTC)Yeah, stuff like that happens. Queen's Musical Theatre is probably better in the "forgetting about the orchestra" department than Garnet & Gold, though I'm sure it varies by production team.
Interestingly (and fairly unrelated), I did get the impression from the stories that G&G orchestras have more of a history of goofing off than QMT. Mind you, I've see conductors in both organizations struggle to rein in unruly orchestra members. QMT traditions such as drinking before the closing night show have resisted stamping out by even the most diligent music director (e.g.
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Date: 2005-12-06 04:47 am (UTC)no subject
Date: 2005-12-06 05:16 am (UTC)no subject
Date: 2005-12-06 12:44 pm (UTC)no subject
Date: 2005-12-06 03:43 pm (UTC)no subject
Date: 2005-12-07 01:49 am (UTC)no subject
Date: 2005-12-08 01:36 am (UTC)--a tall, plain-faced, oddly-shaped, [retired] soprano
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Date: 2005-12-17 05:33 am (UTC)