The Power of the Music of the Night

When Michigan Opera Theater moved into the newly renovated (with ongoing renovations) Detroit Opera House 25 years ago, the musicians in the orchestra found we were given a few perks which we had not previously enjoyed in our rented facilities.  The biggest difference was in the pit itself; spacious, multi-level and partially under the stage.

Another amenity was the use of a conveniently located orchestra room. Though not beautifully decorated, its utilitarian space included two small rooms that could be used for practicing or changing clothes, tables and chairs, a bulletin board, humidifier and lockers. Continuing renovations brought an additional two practice rooms on the 4^th floor with electronic keyboards and carpet.

All of these spaces were put to good use during our recent run of Phantom of the Opera. Many of us arrived early to get a good parking place, warm up in the practice rooms, go out for coffee or tacos, work on various projects or simply chat with our fellow musicians. The collegial atmosphere was especially apparent between shows on the weekends. As the show ran during January 20-21, the inauguration of president Trump and the subsequent Women’s March on Washington, you can bet that there were many heated political discussions as well.

During the week we only had single shows in the evening so there was a minimal amount of socializing before show time and during intermission but on Saturday and Sunday there were two shows a day with a break of around three hours. For some, that was enough time to go home and relax but others had different plans for their time. Trying different restaurants for dinner was usually my priority. One of the travelling musicians got carry-out and went shopping. A few people walked down to Campus Martius to go ice skating. Our local horn player, who drives around 90 miles, brings a sandwich and an air mattress and takes a nap in one of the practice rooms upstairs. One of the keyboard players who travels with the show uses every available moment to work on her jewelry. Elaine Davidson makes beautiful hand-made silver bracelets using silver wire of varying gauges, pliers and other tools, and polishes them to a bright luster. I think she must do a pretty good business while on the road - two of our musicians bought bracelets. Elaine is working on getting her website going so if you’re interested in jewelry for men or women, check back soon.

Have you ever wondered what it’s like to perform the same show eight times a week or, in the case of the star soprano, six times?  How do they keep it fresh?  One of the touring keyboard players mentioned that travelling from city to city keeps it fresh. Every new place has its own feel. He also offered that Detroit has been great – good players and a friendly, social atmosphere. We are happy to hear that! The assistant conductor/substitute keyboard player has a program called ‘Sing-Song Saturdays’ between shows on Saturdays when she plays for singers who want to get together informally and sing songs from other Broadway shows, anything NOT Phantom. In Detroit that program was turned into a Cabaret show held in Ferndale on the middle Monday to raise money for “Broadway Cares”. The group began raising money in 1988 to fight the HIV/AIDS epidemic and has expanded to provide funding for The Actor’s Fund, which administers a safety net of social services for those in the entertainment industry.

My heart warmed one day when I returned to the orchestra room after going out for dinner between shows. Three of our string players and the violinist who travels with the show were playing string quartets. It was relaxing to hear beautiful music as I sat at the table with my knitting, snacking on chocolate that someone had brought to share.  Did I mention that I love my job?

Preparing for Phantom of the Opera

My setup with monitor

If you’ve ever wondered how the musicians prepare for an upcoming show, how many rehearsals they have, and that sort of thing, read on.

Recently Phantom of the Opera came to town, a fabulous show that I have played once before at the Detroit Opera House and one in which I was looking forward to playing again. The show travels from one city to another, bringing with it four musicians and two conductors. Much of what the audience hears coming out of the pit is in the three keyboards, each with sampled sounds of instruments we don’t have live such as oboe, percussion, string section and, in the case of Phantom, the infamous organ. There is a pre-recorded actual pipe organ which is very impressive at the beginning of the show when it fills the theater with its massive sound. As for the live instruments, there are six local string players and five winds – flute, clarinet, bassoon, horn and a doubler on clarinet and flute.

The opera musicians are first call, starting with the principals. I only get to play if the principal player isn’t available and if the book only includes instruments which I play (flute, piccolo, alto flute, recorder). So, for example, if the flute book includes doubles on clarinet or saxophone, I wouldn’t be able to play.

Wind section for Phantom

We are hired usually a few months ahead and are given an advance book for practicing a few weeks before the first rehearsal. They include metronome markings so we can practice at the right tempo and ‘heads up’ indications for tricky places. In the last few years the advance book has included a DVD of the conductor in the pit conducting the show so we can follow along and get a feel for how the show runs. These tips are very helpful.

At the first rehearsal we trade in our practice books for the real thing, which remains with the show’s librarian or on our stands in the pit. They never allow the actual book to go home with the musicians.  This is the book that travels with the show and contains helpful markings by the people who have played it in previous cities. On the last page it is traditional to sign your name, date and place.  It’s fun to see who has played that particular book before, and I usually know at least one person who has signed it.

signature page

To illustrate a useful application of this practice, many years ago I was playing Peter Pan in Toledo and got sick. I noticed from the signatures at the back of the book that a friend of mine nearby had played the show a few months before so they were able to call her to sub for me. Although it worked out for me at the time, I haven’t been called for Toledo since. Unfortunately, musicians can’t afford to get sick. We don’t get paid to take sick days either. But, I digress.

Back to the pit. Or, I should say, the rehearsal room because that is where the first rehearsal is held. The stage and pit are usually still being set up for opening night so are inaccessible to us. In the case of Phantom, our first rehearsal was Tuesday evening.  We met the six travelling musicians and they learned all of our names in a flash – impressive because there were eleven of us. As the locals got to know the travelling musicians who tour with the show, new friendships developed. One of the keyboard players recognized me from the last time we did Phantom and everyone was playing the “do you know so-and-so?” game.

 The conductor was very efficient and pleasant and the time flew by. We almost made it through the whole show but luckily we had another orchestra rehearsal the next day. For some shows we only have one rehearsal on the morning of the day it opens. Then there’s the sound check which begins two hours before curtain and lasts about an hour. At the sound check the sound crew tests each musician’s microphone level on each instrument they play. This is time for us to either run through scales and doodle around or show off with fancy excerpts or a tune from the show. Then the lead singers come onstage, usually look into the pit and say ‘hello’, and we play a bit of one of their songs. That’s the first time we hear the singers. 

After the sound check we have an hour to kill before opening night. We are all on the edges of our seats, concentrating 1000% on doing everything right for the first few performances, until it becomes more comfortable. Although the conductor warned us at the rehearsal about some of the special effects, it was a shock at the opening night performance when jets of fire shot up from the stage, blinding us and searing us with the heat. It was so distracting that I missed my cue at the first couple performances. Just when we begin to feel more confident, the assistant conductor comes in to conduct a show and we get nervous all over again. With eight shows a week, the conductor needs some time off.  Luckily both conductors for Phantom were very good and gave us our cues.

There is always a camera on the conductor for back stage monitors as well as little individual monitors for anyone in the pit who doesn’t have a great view of the conductor. I used a monitor during Phantom because the podium was so high and I was so close to the conductor, I would have had a stiff neck from looking up so much every night. It’s important to look at the conductor because, even with a show that is very predictable there can be surprises. There are also a few places where the conductor has to put ear buds in his/her ears to listen for a click track to coordinate the pit and stage (and sometimes the backstage chorus) with a recording.

By the end of the first week we are confident that we know the show and are ready for a night off.  Monday is traditionally dark in a theater. It’s also a good time to catch up on things at home we’ve let slide because of the busy schedule.  I used my day off to go to a yoga class and get a massage. Did I play my flute or piccolo that day? Well, what would you have done?

Unflattering selfie with the famous chandelier