2011 could be interesting...

Merlin

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I don't have a contract for a live musical at Stratford for 2011. There's a possibility I may end up playing in a straight play onstage, or doing prerecords again...but no pit or loft work.

So, I'm starting work on a website to promote my double reed business. My bassoon and oboe reeds are selling steadily at a couple of stores in the Toronto area. I'm hoping to add more dealers and see what I can do with my sales numbers.

Wish me luck!
 
That's unfortunate!!! Playing in a straight play would be cool at least though.

Best of luck in your endeavors!!
 
So, I've been booked for onstage musician in Twelfth Night!

I'm playing multiple woodwinds as well as guitar. That means doubling fees, pre-record fees, extra for playing in costume/makeup...etc.

But here's the really cool part - I get to be onstage with Brian Dennehy!
 
Ah. I have a good idea of which scenes music will be featured in. Are they going for period music or more contemporary?
 
No worries. It is interesting to hear one of the Shakespearian plays with period instruments and/or music.
 
I did this with a production of The Beggar's Opera back in the early 1970's. I gave up on the period bassoon (never could get it to play in tune on the forked notes, and I missed the whisper key too much), but had to suffer through a two week run wearing a costume out of the William and Mary era. Uncomfortable, and a too tight fit to boot.

Much later on, an older but not necessarily wiser T. Stibal did a production (college level) of the 3¢ Opera. This time, the horns were easier to manage (clarinet and (I think) alto - although it may have been tenor), but the clothes were even harder to endure. The duds were literally beggars' clothing, and stank to high heaven. After the lights went down, most of us in the pit 'band' shed them immediately.

When I did Barnum!, the production called for a circus band to march on stage during the entr'acte, play a ditty for a couple of choruses, and then exit stage right to the orchestra area. Here, the clothes weren't the problem (striped vest and a straw boater hat, it was the marching. Prior to that time, I had never played in a marching band in my life, and learning the blocking was a major league issue. At the time, I didn't have a clarinet that could take a lyre, so I played it on the bass, playing the horn off of my thumb alone. I color coded the bars in the music, so I knew when to take two steps this way and two steps back. All in all, it was the hardest $500.00 I ever earned whilst playing a horn.

And then there was the time that I played the on-stage tenor part for Cabaret at the same college. This time, the horn was modern (one of the last times that I played my Mark VI tenor), but the costume was even worse - 1930's era drag. Stockings, garters, a pair of very low rise heels (how do women walk in those things?), plus the requisite padding at the front. I was told that I had great legs, this by a hockey buddy of mine. I got him back a couple of months later...

Oh, how I long for the days of the traditional orchestra pit - no on-stage music, no ratty or weird clothing, just a nice place to read and play the occasional tune. Things were much less complicated then.
 
Can I get some mind bleach on aisle 2? Thanks!

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The reason I mention period music on period instruments is because they do sound different, even if you use a modern arrangement. One of my favorite recordings is of The Knight of the Burning Pestle (first performed in 1607), with music written and arranged by the (very modern) Peter Schickele and performed on renaissance instruments (linky). Hey, it was also fun listening to a concert of Civil War-era music on period instruments, too.

I can certainly understand some of the problems with playing instruments that aren't that advanced, even if they happen to be modern reproductions. Especially if you are "in costume." (I need more mind bleach ....)
 
They aren't doing a musical in Stratford this year?
 
They aren't doing a musical in Stratford this year?

They're doing two. JC Superstar and Camelot.

There's some contractual reasons I'm not doing those. They have a preferred hiring list, known as the First Right of Refusal list. It was instituted when many musicians were passing up work in Toronto to do Stratford instead. The idea was to have a kind of tenure system.

The problem is that the festival had little leeway in hiring the players they wanted for shows. They tried to have the provision removed several years back, but of course the people who were on the list were up in arms about it. They grandfathered it. If you were on the list, you got to keep those terms. Anyone who wasn't already on the list can't get on it, so there is a two-tiered hiring system.

Camelot uses straight orchestral wind books with the exception of Reed 4. JCS is using the small orchestration provided by the Really Useful Group.

In short, nothing for me.

I'm playing live incidental music on stage for Twelfth Night, because my particular talents - multiple woodwinds, guitar, percussion - were needed.
 
Just finished the first week of rehearsals with Twelfth Night.

The musicians are involved right from day one. We have scripts, participate in the dramaturgy and were actually the first ones to have any staging work done.

It's interesting getting stage directions - I'm in some scenes where I'm in effect one of the attendants in Count Orsino's court. At least with a guitar on, I don't feel naked out on the stage.

The rehearsals are long compared to orchestra sessions. 8 hour days with an hour for lunch. Musicians contracts are in 3 hour blocks; anything over 3 hours pays overtime, so I get two 3 hour calls plus an hour of overtime for every rehearsal day. Play previews in June.
 
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