Resources
Orchestration misprint/correction knowledge repositoryI envision this little niche of the web site as a place to communicate with the Actorsingers' musicians, a store of misprints (with corrections), and a running commentary of the various musicals from the view of the pit. Please drop me a line if you actually make use of the misprints, if you have misprints and corrections to add to our list, if you're an area musician interested in participating, or if you just want to let me know what you'd like to see here.
Now that I'm finally experiencing the after-show letdown, I'll reminisce a bit about the view from the Phantom pit:
In early February, I got the call requesting my presence in the pit (Yippee!!!) and shortly thereafter picked up the music. I ordered the CD and began listening to the music. At first, I was really worried. The trumpet part didn't sound too difficult -- no big, brassy dance numbers -- though it had its own unique challenges. But the vocal leads -- these parts sound really challenging -- can we really find that kind of talent locally??
All during February, March and April, I noticed that my mood was lighter. I *love* being involved in a musical. There's just something magical about it. Even though I had little to no contact with the cast, crew or other orchestra members, I was in my own little heaven listening to the music, learning the lyrics, playing along with the recording, etc.
In April, we had our first orchestra rehearsal -- a marathon that went from 2 pm to 5:30 for the orchestra, a 30 minute dinner break, then the 6-10 pm rehearsal with the combined orchestra and cast. At some point during the evening, I had to retrieve my lower jaw from the floor -- I was absolutely amazed at the quality of the voices in the cast. Pat Lawrence ("Christine") was superb -- she made everything sound effortless. Joan Storey ("Carlotta") was one of my favorites -- not only did she play a wonderfully spiteful diva (loved all those rolled Rs), but I sensed that she was enjoying every minute immensely. And never before have I experienced a cast that was so warmly supportive and appreciative of the pit orchestra: Tom Ryder ("Erik"), Jay Lawrence ("Count de Chandon") and Chuck Emmons ("Jean-Claude") merit special recognition for that.
Of the, oh 18 or so musicals that I've performed, this one was the best: the best voices, the acting talent, the effects, the friendliness of the cast. It was a wonderful, wonderful experience that I hope to repeat. Though I think I shall soon run out of superlatives if I'm associated with the group for too much longer.