Re: [Harp-L] How Musical Theater differs from Blues gigs and jams



It's been mentioned that Roger Miller wrote the music for Big River. They're not your typical show tunes. They're songs. American songs. Country, gospel, ragtime, etc. and one of the songs verges on rock 'n' roll (Muddy Water). 

I heard from inside sources that at the time Roger was approached to write the songs for the show in the early 80's he had an issue with certain recreational pharmaceuticals, which was a roadblock for getting the project completed. What I was told is his wife and the producer locked him in a room until he wrote the songs. Of course I can't substantiate that.

The way a Big River show went for me is that three minutes before the show started 'Places' came over the backstage speaker. That meant that in three minutes I would walk on stage followed by the fiddler and guitarist and begin the overture. The cast would enter when we were done. When Big River played at the University of New Mexico in Albuquerque I was standing at the edge of the curtain stage left ready to go on when we got word that we were on hold because Roger Miller hadn't arrived yet from Santa Fe. For me, it's like a thoroughbred in the gate. I was frothing at the bit to start the show but was put on hold. Back in those days, that's when I would have butterflies flutter. About 15 minutes later Roger Miller came in backstage boisterous and drunk. He had front row seats and when our piano player abused his song When The Sun Goes Down In The South he jumped up out his seat and yelled, "What is that piano player doing to my song!?"

After the show I met him  and he was very gracious. He told me the first song he wrote for that show was Hand For The Hog.

Rob P. was right about Don Brooks contribution to that show. He might not have been the best player but he had the insight to play the right licks and make the show dependent on harmonica for texture if nothing else. Kudos to Don Brooks, R.I.P.

On Apr 7, 2014, at 2:13 PM, tacopescado@xxxxxxxxxxx wrote:

> I did the 'B' National tour of that show. After the 'A' tour, which played places like the Schubert Theatre in Chicago and LA, etc., a 'B' tour was put together to play places like the Civic Center in Cheyenne. We did 275 shows in 45 states in a year. I had a blast! The harp, guitar and fiddle were on stage in original Broadway costumes.
> 
> We spent three months putting the show together before going on the road. There was a lot of rehearsal at the beginning but after a month or so musicians were no longer required to attend. I didn't have to do a lot of sight reading as I was able to cop Don Brooks parts from the original recording. After about 50 shows I gave the book back because I had the show memorized and didn't want to be responsible for it.
> 
> For me that show opened a lot of doors. It led to a Hohner endorsement deal and the following five years I was in an acoustic duo that played ski resorts and National Park lodges throughout the Rockies. 
> 
> I gave up a very good engineering job to do it all and wouldn't change a thing.
> 
> 
> On Apr 6, 2014, at 2:03 AM, Robert Hale <robert@xxxxxxxxxxxxxx> wrote:
> 
>> Working Harmonica this month in a  Mesa, Arizona (Phoenix) production of
>> "Big River, the story of Huckleberry Finn" (11 songs by Roger Miller - Dang
>> me)
>> 
>>  1. Lotsa rehearsal! Three 3-hour weekly rehearsals preceding show open,
>>  plus tech-week run throughs with full cast and dialog
>>  2. Lots of sitting quietly and waiting for your cues. Lots.
>>  3. Helps to be a treble clef reader (Gotta count those measures when
>>  laying out!)
>>  4. Read it, play it correctly, and do it every night
>>  5. Try not to sneeze or cough (we are not in an orchestra pit, but
>>  visible to the audience throughout, and mic'd)
>>  6. Be agreeable to frequent changes right before each show -  "play
>>  more, play less, improvise" where there is no score to read
>>  7. Bring sticky tabs and pencils - Directors will add repeats or cut
>>  sections out of your book. Then you must erase it all when you return the
>>  rental books
>>  8. Sight read and sing tenor to a four part hymn, reinforcing the
>>  on-stage singers (finger-in-ear to keep the pitch - no monitors)
>>  9. Buy a Trump (jew's harp) in the right key, although no one else
>>  thinks that would matter
>>  10. Bring all your diatonics, because they may ask you play on a tune
>>  that did NOT call for harp in your score, or change the key for a singer
>> 
>> So yes, it's all very different, and still very fun and  challenging.
>> Meet lots of great new friends in cast, crew, and band/orchestra.
>> In Mesa theater, the pay is not stunning when looking at your hourly rate,
>> but you get to update your resume and and website.
>> 
>> If you get the opportunity, do it!
>> I would love to hear what others have encountered in Musical Theater.
>> 
>> Robert Hale
>> Spiral Advocate (Fanatic!)
>> Learn Harmonica by Webcam
>> Low Rates, High Success
>> http://www.youtube.com/DUKEofWAIL
>> http://www.dukeofwail.com
>> https://www.facebook.com/DUKEofWAIL
> 
> 




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