[mmcquain]

I got the call last week to play guitar for the local theatre production of Andrew Lloyd Webber's "Joseph and the Amazing Technicolor Dreamcoat" next month. I've got Christmas productions before at church but never an entire Broadway type show. So do you guys (or gals) have any advice?

I picked up the score tonight - 82 pages with 23 total musical cues... so I have my work cut out for me as the show starts March 12 and thru the last weekend of March (performances on Friday and Saturday nights and a Sunday afternoon matinee each weekend for 3 weeks in a row). It should be a lot of fun but I'm also feeling a little out of my league!

The 2 main numbers for the guitar are a 50's style Elvis song ("Song of the King") and some nice guitar lines in a softer ballad ("One More Angel in Heaven / Hoedown"). However, there are guitar cues on every song. The score is actually written for 2 guitarists splitting electric and acoustic parts. I'll be switching between the 2 as I'm the only guitarist. The band is made up of piano, keyboards, guitar, drums, bass and a couple of horn players so obviously we'll not have the full Broadway orchestra but it should still be cool.

Obviously, I need to make sure my gear is in top working order. I'll be playing my Strat, CS-356 and Breedlove acoustic. I just got done reworking my pedalboard and my gig bag is stocked with extra strings, tubes, etc. And I'll be woodshedding over the score for the next couple of weeks. But what other advice do you all have? I'd love to hear from some of you who've played these types of shows before.

Oh, and if any of your are in the Tampa Bay area I invite you to come to the show. It's at the Tarpon Springs Performing Arts Center from March 12-28. Check out this link for details:
http://www.tarponarts.org/SpringEventstarpon.htm

[mmcquain]

So this week we really start getting down to business and next week is pretty much practices every night until opening night on Friday, March 12. Here's the gear setups I'm using.

Electric Guitar:

Fender Strat (with Gibson CS-356 as a backup)
run into my pedalboard and then into a Tech 21 Trademark 60 amp
(using amp effects loop for time-based pedals)
and going direct out of the TM 60 to FOH/monitor mixers

Acoustic Guitar:

Breedlove acoustic/electric into volume pedal then into Tech 21
Acoustic SansAmp D/I box (which feeds FOH/monitor mixers)
and then into a Behringer UltraAcoustic AT108 guitar amp

NOTE: Both of the above amps are facing me as my own personal monitors. I also have a floor monitor facing me with the rest of the band and actors/singers mixed into it.

I'm the only guitarist and switch between electric and acoustic depending on the particular song or musical cue (but most of the time I'm on electric).

I've got fresh strings on all guitar and have extra strings, picks, etc. with me in my gig bag. I even have little clip-on LED "reading lights" on both amps (down low and not viewable from the audience) so that I can see/control everything on the fly even in low light (the band is pretty much in the dark for the entire show).

So any last minute advice from you guys?

Oh, I just picked up a Zoom H2 recorder and will hopefully get some decent sound clips so I can post later and let you all hear how it turned out. The H2 has already proven to be a handy tool for recording practices, etc.

[Brian Krashpad]

Naw, you're way beyond me bubba, only comparable thing I've done is same as you-- service-long modern music Easter cantatas in church. Break a leg and good onya.

[mmcquain]

Thanks Brian... well tonight marks the half-way spot in the 9 show run and I'm getting more comfortable with each performance. I rate opening weekend (last week) a "B" but think last night and tonight were getting closer to "A" performances. The audiences have been good (probably 90% full, laughed at the right spots, gave us nice compliments after the show, said the music balance was good, etc.) so I'm feeling like my first steps into "the pit" have been good ones.

Of course, our "pit" is actually on the back part of the stage behind the curtains... thank God for good monitors or else we'd be in trouble! The musical conductor (playing piano) and I can see part of the stage but the drums, bass, and 3 woodwind/brass players can not. Of course we usually have our eyes fixed down on the score so not being able to see the action isn't all that bad (just as long as we can HEAR the vocals for cues, etc.).

I will also say that I really feel for the pianist and drummer (and the bassist to some extent) as there are only 2 lines in this whole show that don't have music under them. That's 90 minutes of playing with only a 15 minute intermission in the middle. I'm playing about 75% of the songs and the horns, flutes, etc. do a lot of counting rests and then adding fills and accents on most numbers (all that keeping quiet and counting would drive me crazy! LOL)

So that's my report back to those of you who may have read this post or gave me advice. Thanks again... the tips certainly helped.

[mmcquain]

Well we've wrapped up the 3-week run of Joseph and it was a blast! Sure I made mistakes but I'm the only one who noticed most of them it seems. I learned a lot and also was able to avoid a lot of mistakes or learning the "hard way" thanks to the many tips I got my you guys on these various forums (the Internet is a great tool for this type of info sharing!). So THANK YOU to everyone!!!! And now I'll share the key points I've gathered when it comes to playing these types of theatre productions. Hopefully these tips can help somebody else when they get the chance to play one of these shows...


MUSIC TIPS:

* If you don't do this for a living (and maybe your sight reading isn't that great) then getting a copy of the CD (or download the YouTube clips, etc.) and listening to it over and over again (until you know the show by heart) will really help your comfort level when faced with playing to a long score. Of course, you want to read/learn the score but having that overall feel for the songs/show will make it much less stressful when being handed 80-100 pages of music and being told to play it!

* Make a copy of the chart (if possible) so you can write lots of notes in it. Otherwise, write your notes in pencil (lightly) since you'll probably have to erase them when you return the chart. Of course, light pencil is harder to see (especially on the fly) so having your own copy to mark up as needed is best (you can then use a Sharpie and a highlighter (great for those repeat signs you may otherwise miss)!

* Make notes on the page BEFORE regarding gear changes (e.g., switching off your distortion before you're 2 measures into the next song, a ballad that is supposed to be soft and remantic!)

* Make sure you have the dialogue (actor's lines) BEFORE each cue in the score (you'll probably need to write it in yourself) and try to get as familiar with these lines as possible. That way, if an actor skips a line you still know where it should have been and can more easily follow the leader for the next cue, etc. (Yes, actors make mistakes - your job is to be able to adapt on the fly - the show must go on!)

* Before each tune glance at the guy next to you - are you on the right tune? Always a good idea to double-check everything... it can prevent you from diving into the next song only to find out you skipped a song when you flipped the page!

* Plan to layout a little early (if possible) when making major changes (e.g., switching guitars) between songs. You'll appreciate the extra time as it goes by FAST (especially if an actor skips a line and a cue comes early!).

* Don't be afraid to write in even the simple stuff (especially if you're sight reading chops aren't up to par - this helped me a LOT). Write in "Key = E" if you can't remember if it's 3 or 4 sharps in the key signature.

* Keep it simple - many composers don't know the guitar that well and will over-write chord symbols, etc. (e.g., If the chart says to go from C7 to C6 to C7b5 all in one measure, stick to the most basic form). And don't worry about bringing out the bass notes as the bass will be doing that - so you can leave out redundant walk-downs C/b, C/a, etc.

* Trust your ears - playing with a full orchestra is different than playing with a 4 piece rock band. If you think of the overall sound as a canvas or quilt then your piece of the overall picture will be a lot smaller since you have to share the landscape with more instruments and parts. Try things like play a 2-3 string version of the chord rather than a full barre-chord. Don't "step on the toes" of the instruments (and notes) around you... learn to share the (music/sonic) road and you'll sound better overall.

* Know your parts but also know if and when it may be OK to go off the score since this can enhance the song. Also, once you work out your part, be consistent with it since the actors and/or other band members may be listening for a certain musical cue from you... don't surprise them by throwing in a new lick every show (e.g., in the Joseph song "One More Angel in Heaven" a few extra country licks can really enhance the overall song, but the trumpet part has a cue where it is supposed to pick up the melody from the guitar so make sure what you're playing fits the overall song without getting in the way of the other parts).

* If you get lost, take a breath and get your bearing before jumping back in - "When in doubt, lay OUT" (i.e., unless you're the featured instrument nobody will probably notice if you don't play for a measure or two, but they WILL notice if you play the wrong thing at the wrong time!)

* When in doubt, follow the piano... they'll probably the most important of all the instruments (at least for most shows) and everything else is just icing on the cake (albeit the drummer/bass rhythm section or the horn section adding fills/melody on top, or you the guitar player!).


GEAR and SETUP TIPS:

* If your pedal board is too big it can get in the way of the music stand's feet so you may want to just place the pedals on the floor and not use your full board.

* Use 2 music stands (no matter how tight the pit) as it's always better to lay out 4 pages across two stands than to miss a part because of a slow/or missed page turn.

* If you can make a copy of the score then tape the pages together so that each song becomes a single (wide) sheet of paper. Most songs are 3-5 pages, which will fit nicely across 2 music stands. This is great if there are repeats that would otherwise make you flip back and forth in the score. Now you can keep your hands on your guitar for the entire song and just flip between songs! Taping the pages together prevents dropping a page or them getting out of order.

* Make sure your view of the conductor is right above your music stand. Peripheral vision is key (e.g., not playing a big loud chord after a cut off, not hitting an accent or fill too early or too late, etc.).

* Get your own monitor (if possible) and point (along with your amp) at your ears so you have a great mix at your position. You're less likely to have your volume get away from you if the amp is aimed at your ears and not your butt, side, etc.

* Show up on time and allow yourself extra time for setting up, etc. If you're leaving your gear set up between show dates then "on time" means giving yourself an extra 15-30 minutes before the mandated call time. If you've got to set up then get there 45-60 minutes early (better to be there early and have some extra time to kill rather than make everyone else wait while you finish setting up, even if you were there "on time" exactly at the posted call time).

* Make sure you gear is in top working order (fresh strings, new batteries, good cables, etc.) and that you have spares of everything (tubes, amp fuse, strings, power supply, picks, etc.).

* Be sure you can get the sound/tone you want at LOW volume levels. Actors may not always be on mics and it is them the audience is there to see so you have to play at a level that supports them but doesn't overpower them.

* Have your volume settings balanced between your pedals - the sound guy has more important things to focus on (e.g., the actors' mics, etc.) than keeping your guitar levels in check.

* Use a volume pedal at the END of your chain (after delay/reverb, etc.) so you can use it as a mute/kill switch in case of a major mistake! Nothing worse than hearing "mistake, mistake, mistake" from your DD-20 (LOL)!

* Think through/walk yourself through the motions of how you'll be setup and make changes (switch instruments), etc. so that you don't draw attention to yourself (and away from the actors on stage).

* If you will be seen then dress in black or whatever manner of dress as instructed by the music director. If you're not sure what to wear then ask before the show.

* Always run a quick sound check with the entire band (and some singers if possible) to make sure you can hear yourself in the monitor - once the show starts its too late to be messing with monitor levels.

* Get a little clip-on light (Big Lots sells a battery powered 2-pak for $10) that you can put down at your feet (pedalboard) as it may be pretty dark in the pit. Just make sure you're the only one who sees the light.

* Turn off your cell phone!


AND LASTLY:

* Be polite and helpful so that everyone remembers you as a great guy to have in the next production. Making friends with the conductor/music director, the sound guy and your musicians will go a long way to ensure a smooth show and a call back (or recommendation) for future shows.

* Have FUN - how you feel will come thru in how you play!

* Remember, it's not all about you - this is a play and not a concert - you're job is to accompany the actors on stage... making them look ('er sound) good is what makes you look good.

[mmcquain]

A couple of notes about this particular show...

The theatre is in the old High School building (built back in the 30's or 40's) and it is now City Hall. The auditorium is actually used for City Council meetings, etc. and has a permanent desk thing across the entire front of the stage. This is where the mayor and council sits for public meetings, etc. so there isn't really an orchestra pit area for the band. Therefore, we were actually on stage (back corner stage right) BEHIND the rear curtain! There was a partial view of the right side of the stage from where the piano and I were located but the horns, drums and bass couldn't see the stage at all.

This setup made having a good monitor mix WITH VOCALS very important since our cues are based off the actors/singers and we need to know if they do stuff like come in early, skip a line (or verse), etc. (all of which they'll do at some point or another). We had to adapt on the fly. Luckily our musical director (playing piano) is very good at this. So I can't stress enough how important it is to USE YOUR EARS and not just your eyes looking at the score.

While being out front in "the pit" would have made it easier to see/hear the action on the stage, it was actually nice to not have to worry about being seen by the audience... we could wear what we wanted and things like bending over to switch gear, etc. weren't a big deal since nobody could see us! It's all a trade off I guess, next time I hope to play a show from a real "pit" so I have a feel for the difference that location makes.

Here's a few pics of how we were setup backstage...

[mmcquain]

Well I just finished playing the Wizard of Oz show (6 performances over 5 days). It was a joint production with the
local high school school's drama department and the elementary school where my son attends (their chorus made
up the Munchkins, Winkies and Flying Monkeys).

It's nice to get paid to have fun playing guitar while watching your son's school play... he was the flying monkey
that captures Dorothy for the Wicked Witch.

As with the last show I played, there are always unexpected things that come up that you have to adapt to on the fly.
Of course, one of the great things about having a live band (vs. CD tracks) is that we can "go with the flow" and adapt!
Over the 6 shows we had to deal with:

* No guitar score - since guitar were not part of the typical pit orchestra back in the day when this play was written
there was no guitar score. So I had to hit musicnotes.com and print off some charts once I checked the conductor's
score to see what keys we were playing the songs in. Of course, it was a test of my improve abilities (and a vote of
confidence I guess) when the band leader first called me and said "I have no score for you but you'll figure it out I'm sure."

* Missed lines/cues (this is pretty typical). Once you know the show you should still know where to come in playing
even if the actor messes up their cue line heading into the song.

* Skipped verse in song (basically the same as above)

* Wrong key for song! This one was harder to deal with but we managed. You see, for the song right before the
wrong key song, the keyboardist had used the synth's Transpose function to change Dorothy's song from Eb to C
(per Dorothy's request). Well she forgot to turn off Transpose so now the Scarecrow had to sing in A instead of C
where he was supposed to sing (he managed to hit the lower notes so it all worked out)! Of course, none of the
rest of the band knew what had happened so we started playing in C and then had to figure out what key the
leader (keyboardist) was in (hey, at least it was her and not me that screwed it up).

* Throwing apples - In the scene where the trees throw their apples at Dorothy (right before she meets the Tin Man)
we got hit a couple of times with overthrown apples... at least it wasn't rotten tomatoes because we sounded bad (LOL)!

* The typical "you need to play softer" from the FOH engineer. We did our own band mix from a mixe board in the
pit and then fed a mono mix to the FOH. Well when they first set it up they didn't take advantage of the separate
bus mixes (i.e., monitor mix is on a different bus than the master mix bus feeding FOH). So when changing levels in
the monitors it was messing with the FOH mix. Once I realized they had set it up wrong I went over and changed it
and the FOH guy was much happier. This is what you get when you have a high school kid who is still learning audio
production running sound (guess it was his first time dealing with a submix)

I did get to try out my new Egnater Tweaker amp and it sounded great with my Strat (very sweet cleans). I also
found out that you can get some really cool "Twister" and "Wizard" sound effects if you turn on your Rat, Little Big
Muff, Flanger, and Delay all at once and tap random strings/notes/pick scrapes... the sound effects really helped the
scenes out (and they are an example of playing beyond what you may find in the music score).

So another show under my belt... these are fun! Here's some pics "from the pit"...

[Brian Krashpad]

Cool pics Mike!

Also, nice that you get to see your son perform.

My daughter was in a few community theatre production things when she was younger and it was always good fun.