Notes on Musical Theatre
Musical theatre, in general, requires more money, people, time and organization. The first thing to remember is to extend the planning and rehearsal time-lines. How much? How long? This all depends on the skill of the cast and crew. If a drama is rehearsed for 80 hours, then a musical would be rehearsed for 120 hours (approximately 50% more)—provided that the musical performers are as accomplished as the actors. If there is any training involved—dancing, singing, music—then it is wise to begin the process a few months ahead, with weekly training/rehearsals in music and dance. Extra personnel with special skills will be needed—choreographers, music directors, accompanists and musicians. The stage manager will need assistants with clearly stated duties. With large groups of people, maintaining discipline and focus can sometimes be difficult. At least one of these assistant stage managers should be assigned to “crowd control.” During the run, appoint one or two chorus members to liaise with the assistant stage manager. If the chorus contains family groupings, make elder members responsible for the care of younger members.
The primary artistic personnel in musical productions are the director, the choreographer and the music director. Both the choreographer and the music director support the director’s artistic interpretation of the play while adding their special vision to their own area of expertise. This is a close working relationship. Care should be taken that communication lines are always open. This threesome is the core of the artistic team, and both the choreographer and the music director should attend any meetings attended by the director. This includes design and production meetings. There is nothing worse than having to cut a wonderful piece of choreography because the designer was unaware of the choreographer’s needs. Some set materials absorb or distort sound—these kinds of details must be discussed and settled while ideas are still in the planning stage. Costuming is another area that requires communication. Can the actors dance, move and breathe? When people are physically active, their costume needs must be clearly communicated to the designer by the choreographer. Where will body-microphones be hidden?
