So, what does a musical coordinator do?

If you google for a musical coordinator, you will find many pages telling you what a musical coordinator does. None of them are really in agreement, and none of them really describe what a musical coordinator really do. So, here is my take on what a musical coordinator does.

In summary, a musical coordinates all the aspects relating to the music in the production of a musical theatre show. A musical coordinator's job is to do everything that nobody else does.

The tasks listed here are usually the responsibilities of the musical director, but the musical coordinator does not report to the musical director. If he does, he would be called an 'assistant to the musical director'. He would still do all the same tasks. The only difference is, if you report to the musical director, you do what the musical director tells you to do, but if you report to the producer, then you have to take the initiative, check for everything that needs be done, and do it - or find somebody to do it.

In our show, I am performing the role of the musical coordinator. As the production developed, I invented this job myself, and are making up the job description as I go along. Your job description will be different from show to show and in many cases, some of these tasks are not relevant. Just for the sake of completeness, I will add some tasks which I do not perform in this show, but which may normally form part of your task.

1. Song writing

This will depend on the show. The director may ask you to write some songs if he can not find an appropriate song to fill a specific gap. You have to write a song 'to spec'. The director will tell you what mood and feel is needed, and sometimes what the lyrics of song is about. This is not your chance to showcase your personal favorite from your own past catalog. Write a new song according to what the director want. If you can not write your own songs, coordinate with a songwriter. If the show is for a non-profit organization, chances are that you will not get paid for it. Just make sure that you sign a songwriting agreement and retain all the rights to the songs you write. That way you might be able to use the song again in another show or demo reel.

2. Music licensing

If the director makes use of pre existing hit songs, make sure that you obtain permission to use that music from the local music rights organization (SAMRO, BMI, ASCAP, etc.). This may require you to do some research to determine who the rights holders are and fill in the forms, or at least assist the producer in these tasks.

3. Music budget

Ok, in this case, I have no responsibility regarding the budget, but in many instances, the producer may give you a maximum budget within which you have to hire musicians, musical directors and pianists, etc. At least, if the director handles the full budget himself, you may have to make sure that you are compensated for all your own expenses,

4. Hiring

This is a difficult one. It is the responsibility of the show director to hire a musical director. The musical director must be responsible to the director. If the director ask for your assistance in this regards, make sure that everybody understands that you are only acting on behalf of the director. The musical director may ask you to hire a rehearsal pianist. It would be ideal to have the show pianist and the rehearsal pianist as the same person, but it is not always possible. If you have a large orchestra, you also may need to hire a conductor.

5. Musicians

The musical director may abdicate her responsibility regarding the band to you. Check with the director and musical director what kind of sound they want, and put a band together according to their needs. In the average non-profit show you may end up with a 4 or 5 piece band (drums, bass, piano, guitar, saxophone). In the average Broadway show you may have a 9 to 24 piece orchestra.

The director may have made commitments to some people or friends to include in the band. Make sure you adhere to his wishes. Where there are gaps, get somebody. It may even mean that you fill in a seat yourself - just leave your ego at home. This is not a time for you to showcase your talents as lead guitarist, but rather an opportunity to demonstrate how well you can make things happen 'behind the scenes'.

6. Band practice

You must make sure that the band know the songs. Draw up a schedule and agree the schedule with the director, musical director, choreographer, producer, and band members. It is very unlikely that you will get all those people in one place at one time, so you will be required to do a lot of walking and phoning around. The normal schedule would include:

• Singers training and rehearsals. This is almost always the job of the musical director. Attend the sessions to understand what keys they sing in, what verses gets dropped, and what tempo songs are done in. Record the singers and play it to the band. Keep on recording the songs at each rehearsal and always keep the latest and best version.
• Band practice. Give the band enough time to get to know the songs before they rehearse with the singers. First just practice the songs until all band members know the music, the chords, and the tempo, etc. The songs don't have to be practiced in any specific order. Spend as much time on each song as may be needed. More difficult songs may need more time.
• Band rehearsals. When all band members know all the songs, rehearse the whole show from start to finish. At this stage each musician must be on the instrument he or she will use during the show. It is fine for the pianist to use an electronic keyboard during practice, or the guitarist using an acoustic guitar. In rehearsals the pianist must use a real piano if that is what she will use in the show, and the guitarist must switch to the electric guitar if the show needs it.

• Rehearsals with singers and dancers. Somebody invented the name 'sitzprobe' for this. I have no idea what it means, but it sounds epic. It is your job to make sure that the band knows all the songs by heart by this time. There may be some surprises as you may need to adjust some songs in tempo or key at this stage. During rehearsals songs may be done in whatever order is convenient. Coordinate with the band, directors, and singers to draw up a schedule. You do not want singers to sit around wasting their time while waiting for their songs to be rehearsed. However, when you rehearse a song, it can be a waste of time if the right singers are not present. That includes the chorus ensemble. During this time, take special care to balance the volume between the instruments and the singers.
• Dress rehearsals. The last week before a show is usually set aside for dress rehearsals. This time, the whole show is rehearsed from top to finish, in the order that the show runs. This is like running the show without an audience. The first dress rehearsal may be stopped and started as needed. The director would want to have at least two dress rehearsals running all the way through without interruptions, before the show opens. As musical coordinator, you must leave proceedings in the hands of the director. Do not interfere, comment, or interrupt. Make sure that no interruptions are caused by the band. If needed, make notes and discuss with the band after the rehearsal. The sound engineer must be present at dress rehearsals to make sure that sound levels are appropriate.
• Opening night. Calculate your schedule by starting with this date. This is the date you can not miss. Determine how much time is needed for each task and work backwards from here to calculate a start and end time for each step listed above.

7. Coordinating between band, musical director and choreographer

It is your job to make sure everybody has a copy of all the music. Make up a folder for each musician in the band, choreographer, musical director and rehearsal pianist. The 'flip files' work best for this (a file book containing 30 or 50 see-through plastic pockets). Inside each musician's file, place a copy of the chord tabs of each song. Keep the songs in the order in which they will be done in the show. Do not print songs double sided. If a song spills over to a second page, place it such that the song starts on the left side and continue on the right. This will avoid musicians having to turn pages during a song.

Pianists do not like chord tabs. Print out complete scores for the pianists. Again, print on single sided paper. Pianists like to tape the score together to enable them to open it out on one long stream to place it on the piano music shelf. Brass and wind players also need a score printed, but for them you need their dynamic parts, i.e. the music notes containing only the parts they play, with no piano or vocal parts. Take heed of special tuning requirements for brass players.

Each file must also contain a CD of all the songs. This CD must be replaced every week. In the beginning each CD will have only original artist recordings. Replace these recordings with the singers and rehearsal pianist recordings.

8. Other music consumables and needs

You may need to check that all musicians have all they need. Each band member needs a music stand and music lights. Guitarists must put on fresh strings before the show. Pianos may need tuning. Everybody will however have to bring their own toilet paper.

This list is by no means complete. There may be many other tasks added here. Feel free to add anything you feel belongs here in the comments below.

 

Why do we see so few new musicals?

It seems pointless to some extend to ask such question, but maybe, that is why I am asking it. I have to do to find the answer to this question is to check out the list of musicals on the circuit at this time.

The problem is that the answer is not the one I was hoping for.

On Broadway, once you look past the revivals, there are not many original musicals. On the local circiut, the situation seems to be much worse. They are almost hundred percent revivals of ex Broadway shows. On Broadway, the few new musicals, are based on fairytales or on movies. There are a fair number of very successful ones based on classic books. The number of original ideas are very, very scarce.

On the local scene, I am getting a bit confused with the vast number of musicals with absolutely no originality in them. How many more versions of Beauty and the beast can we handle? The little creativity we have is limited to the fairy tales catagory. People are getting very creative with slightly rewriting the stories and adding new popular songs to old stories. Only once every two or three years do we get really new musicals.

I do not want to bash the creativity that people are putting into rewriting stories. It is just that I was hoping to see more. There are some people getting very creative with it and making easy money from it.

That is the problem here. There are more money to be made by rehashing old stories and using old songs.

The reason why a production company would choose Aladdin or Phantom for their next musical is simple. Those shows are low risk and sure to make money. You do not have to do much advertising for your show, as everybody knows the story. They know the songs. People will come back to hear your version of those songs. If you are trying to put up a show like The Wonkie brothers or The devil in Paris, nobody know what to expect. They do not know your story and they do not know your songs. People are much less likely to come watch your show if they do not know the show.

And this is where this whole post is leading towards.

In marketing you have have two tasks. Firstly informing people about the existance og your show, and secondly winning them over to come and watch it.

Putting up a show like The phantom is easy for your marketing department. You only have to tell people that you have the show and the people will come. If you have a new original you have to do so much more to draw your crowds. It is not good enough to tell people that you have a show going. You also have to convince them that the show is good enough for them to come and watch it.

In short putting up a new musical is a high risk business and requires much more effort.

But, all that extra effort is what makes it fun!

 

What is a concept album?

Let's kick off our discussion about the making of a concept album with a short discussion about what a concept album is.

Well, actually, it is not that difficult to figure out what it is from the name. It however get a bit confusing when you start to look at all the many options, so let's look at all those funny names given to these albums.

If you'd google any musical's name, with the word 'recording', you may find a wide variety of albums. Musicals tend to be recorded and re-recorded many times. It is not so simple as other musical works for which usually only one or two versions exist. Try it out. Go into your local shop and ask for the recording of Phantom of the opera. You are likely to just get a blank stare from your shop attendant, but let's assume for this argument that your shop attendant knows a lot about musicals and musical recordings. If she does, she might reply with "Right away sir. Which album would you like?".

Unless you know a little bit about recordings of musicals and specifically the musical you might be interested in, your shop attendant will at this point be met with a blank stare. Upon such situation, your shop attendant is most likely to hand you the latest available recording, which just might happen to be the 25 year anniversary concert album. Failing that, she would likely give you the original London cast recording.

For most musicals, the most popular and best known recording would be the original cast recording. That is usually either a Broadway or a London cast recording, but might be anywhere else in the worlds as well. This all depends on where the world primiere for your musical was held. The important word to look out for here is 'original'. The album is usually assgned the status of 'original cast recording' and a year, indicating that this is the recording of the cast of singers and actors who initially did the Broadway or London primiere show. Most often, this is the album that may contain the version of the recording of the songs that made it to the hit parade.

But not always.

Sometimes the song that you have heard on the radio comes from any of the other possible recordings. Sometimes you might be looking for the 'studio cast recording'. These are albums often recorded after the premiere is over and the composers never bothered with the original cast recording. Often the popularity of the show exceeded expectations and the composers decided that an album might be a good idea to make extra money, so they got a bunch of session musicians together to record the songs. But not always.

Often the studio cast recordings are done before the premiere and is done with the purpose of creating interest in the show. This is where the concept album often comes in. Jesus Christ Superstar is a great example of this. ALW recorded the songs from the musical with well known musicians to spread the word. The concept album would very often be followed by an original cast album, but not always. The songs on the concept album might often not be exactly the same as the songs in the cast albums. That is the whole idea of a concept album. It gives the composer the chance to check things out and change it to his liking.

Often you will get a demo album recording in the place of the concept album. Often the quality of a demo recording would not be as good as a concept album recording, but again, this is not always so. With recording technology more affordable and in the hands of the average man, quality of demo recordings are pretty good nowdays. The difference between demo albums and concept albums have become blurred and these names are now used interchangebly. Demo albums are usually not available commercially.

We've already talked about the original cast recordings, but there can be any number of cast recordings. If a musical is very popular, you may find that every producer anywhere in the world may want to make a recording of his cast. These albums would usually be indicated with some town and a year.

When a movie is made of the musical, you may find a soundtrack album. In many cases these albums would have the movie actors singing the songs, but not always. It use to be common practise to have session musicians sing the songs and the movie actors just lip sync in the movie.

Another popular option is the concert album recordings. These are when a number of great performing singers perform the songs in a live show. You would most often hear the crowd clapping in the background and between songs. Many Stephen Sondheim shows have very good concert albums available.

There are many other options as well. The songs from.. albums are very popular. These albums often mix a number of musicals from the same composer. You may even find a greatest hits album or often a popular singer sings albums. Barbara Steisand made a number of great recordings singing her favourite songs from her favourite musicals. Often these recordings make it to the hit parades and are more popular than the cast recordings.

Then there are many more variations for fun and commercial gain. There are dream cast recordings, symphonic recordings, highlights from albums, film score albums, karaoke albums, and the list goes on and on.

From this short discussion, you might get some idea of all the variations on the theme available. Have a look at some of the links provided above just to get a feelng. The thirty two pages with 373 recordings of Les Mis on Amazon would seem a bit extreme, but at least, I hope I helped a little bit to help you make some sense of it.

 

Will you forever sleep

Last year (2012) James Fraser (on vocals) and I recorded a song from one of my musicals-in-progress for halloween.

You can isten to this recording on soundcloud.

This song is from the opening scene for the musical, Wake not the dead (a working title). It is a horror musical, based on the work with the same title by Johann Ludwig Tieck.

The first scene in act 1 starts with Walter bemoaning the death of his childhood lover. Brunhilda has been dead for about ten years. After her death, Walter married Swanhilda, with whom he has two wonderful little kiddies, but Walter is not happily married. Every night, he is crying and moaning next to the grave of Brunhilda.

We will not yet give the whole story away. For a teaser, you can find the original story by using google. What I can tell you now, is that this stage play will scare the wits out of most. For our musical, many small changes will be made to the plot to keep it more interesting.

The idea of horror musicals is nothing new. Probably the most famous one is Richard O'Brien's Rocky horror picture show, which became much more than just a cult classic. More recently, Stephen Sondheim had a huge success with Sweeney Todd, The Demon Barber of Fleet Street. Both these musicals have really, really great scores to carry them. While Rocky Horror is a hit for its bizare and amusing, Sweeney Todd is mixed with a fair amount of humor, as illustrated in the great performance of Angela Lansbury and George Hearn in the clip below.

 

Off course, Phantom of the opera can also be regarded as a horror, but most fans will rather put it in the drame / romance bin. I am sure you will be able to name many, many more, like e.g. Dracula that made it to the Broadway stages, and probably a few thousand more lurking in theaters all over. Then there are some more direct-to-movie horrors, like Hard rock zombies. Some would put Mama Mia also in this group, but now we are just confusing horror musicals with horrible musicals.

 

News from Broadway - Evita fails to show a profit

The Lost Angeles Times ran a story this week about Andrew Lloyd-Webber's hit show, Evita, closing its doors. This is interesting news for all of us and there are much we can learn from it, even if we are not playing in the same league. This revival of Evita has it all. Ricky Martin and Elena Roger as the stars, Lloyd-Webber's music, a movie to remember, and an advertising budget like never before. Yes, if any show had potential, that must be it.

In contrast, Lloyd-Webber's Phantom of the opera celebrated its 25th year in London last year and this same week, the 25th year on Broadway. Hope you have seen the show when it came to a theater near you. I was in second heaven when I saw it at the Teatro last year. If you do not have the celebration concert DVD, shame on you - you must get it.

What we can take out from this is important. Big budgets does not make a success - at least not always. The $11 million made sure that the show would be of greatest quality. Just remember, if you want to spend big budgets, you have to earn even more to pay it back.

Big names does not always make for big profits. The times reports in the story quoted above that shows staring Ricky Martin showed better ticket sales. What it does not say, but can be assumed, is that the bigger names also insist on bigger salaries. If you want to splash out on big stars, you will have to make sure that they can bring in more than what you spend on them. That is a most basic budget principle.

The story above also reports that the show ran for 46 weeks on Broadway, but it needed 63 weeks to recoup the costs. We can safely assume that the budgeting team did not make such simple mistake. What most likely went wrong is that the attendance was lower than expected. Mmmm. Looking at the gross figures as reported on The Broadway League for the previous week, this show ran to a crowd of close to 80% capacity. Mmmmm. Make me wonder. If the budget team made the assumption that they needed to contract their stars for 46 weeks only, and 80% attendance was not enough to make it, then what on earth did the budget team assume for attendance? A lesson to be learned, which I have learned in grade one of finance 101, is that you never budget  to sell at 100% capacity. Always make sure that you have some margin. I read on the internet and in learned books that a 60% attendance on Broadway is about average. In budgeting basics you learn that, when you draw up your budget, starts with a likely scenario (say 60%), contract your expenses to make sure you break even at a pessimistic scenario (say 50%), and then make sure your product quality and appeal aims for an optimistic scenario (say 80%). With this simple budgeting model you make sure that you will make big profits when your show hits it big. Yeah I know I am selling cars by daylight and musical theater on Broadway is something very different, but we are talking basic business principles here.

So much for complicated budgeting stuff for now. Until next time, and oh yes, I wish Ken Davenport all the best with his production of Macbeth on Broadway. There is one producer who will not make any such mistakes when drawing up a budget.