Working in the Theatre: Orchestrations
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- Опубликовано: 15 янв 2019
- If the score of a musical is the soul of the show, the orchestrations are the heart, swelling and circulating emotion throughout your body so you can feel every note, understand every lyric. Orchestrations create the sound of the show and for that we are thankful. Watch as two of the most prominent orchestrators Larry Blank (Holiday Inn, Mary Poppins Returns) and Alex Lacamoire (Hamilton, Dear Evan Hansen) share their storied careers and their recent work on Broadway and beyond.
American Theatre Wing’s Working in the Theatre documentary series features the most fascinating people on the stage, behind the scenes, and in the audience. From Tony Awards® and Obie Awards® winning artists to the next generation of theatre makers, we capture theatre’s inner-workings, industry luminaries, and unique stories that surround important work.
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I really appreciate the fact that they go into depth on how much of a difference is made when the orchestra is 28 people compared to 12. The amount of work a conductor would have to put in just to make it match is amazing
I wish I could give this multiple thumbs up, especially for the nod to sound designers. Like orchestrators, people have no idea what we do, but the collaboration is vital, especially now that so much coming from the pit is electric/digital and not acoustic. Mixing the orchestra and voice...live...nightly...is a truly rewarding (and sometimes exasperating) experience. It takes many crafts to create the magic of theater. Sound designer and lighting designer? Maybe. Sound designer and orchestrator? Always.
As a musician and an actor, I love how you point out orchestrating around the actor's voices. Also, thank you for explaining the differences between arrangers, composers, and orchestrators because a lot of people (myself included) can get them confused!
It was really nice seeing how technology has helped the Orchestra be better and learn music and even make the music with a perfect more personal touch from the jump.
Larry talking about the reductions in Orchestra sizes reminds me of Cinematography which has been steadily diminishing since the turn of the millennium with the introduction of the Digital Intermediate and the new digital cameras they use to shoot movies
Have taken my own daughter to many musicals now... she has cats at the age of 7 (front row) singing in the rain (front row) My fair lady (front row) the wizard of Oz (front row) and she adores both the music and the musicians!!!! Bravo for your hard work and dedication and for being so inspiring in your profession
Thank you so much for these videos! They are so wonderful. I love seeing the other artists that create theater.
What a beautiful way to live a life. Wish I could.
Would have been so cool to hear them talk to each other
I've been waiting for this! So excited
Great video, thank you!
Amazing video!!!!! I love both guys and how they even say new things for a pro musician. Thank you for sharing!!
So insightful... helps me put into perspective my orchestration and how to better attack it
Wonderful insight. Thank you!
great and very useful video
Gosh, I looooove this video
I love this. You are very clean shaved and hair cut. Interviewed in your home makes it even more fun!
Shaun Dillehay who??
Sweet, he's got a KeyRig 49, that was my first MIDI controller to note entry.
It's interesting to see how technology has influenced the size and style of theatre orchestras.
22:49 word!
What's the final version of the practice song at 7:30 called?
"To Break in a Glove" from Dear Evan Hansen, from when Evan and Larry first sing "The Right Way" together, to when Larry sings "Or you're just trying to do what's best For a kid who's lost control".
This is my dream job but my music theory sucks
I love my gorgeous Ben platt
Is that a humidifier right next to the piano?! What?!
Lacamoire over estimates his abilities. He’s more of producer and band arranger than a genuine orchestrator.
An interesting opinion considering he has won 3 Tonys for Best Orchestrations, more than anyone else (besides Doug Besterman who also has 3). Perhaps everyone overestimates him? ;)
I wouldn't say he has no knack for orchestrations(I think he and Bill Sherman nailed the mixing of Spanish brass with hip-hop for In the Heights), but I couldn't help but notice that Dear Evan Hansen's orchestrations are a near carbon copy of that of Spring Awakening's (both have 1 Piano/Keyboard, 1 Drums/Percussion, 1 Violin, 1 Viola, 1 Cello, 1 Bass, and 1 Guitar) with just an added guitar in the mix.
I still think it's a great arrangement, firmly developed from a dramatic standpoint, but I kinda wish they'd featured Dave Malloy's orchestrations from Great Comet for this instead. Those are THE masterful, and more original I might add, orchestrations that are able to cover various genres AND utilize each sound to match or even create the atmosphere and tone of each scene in the show, AND effectively illustrate each individual character under a 10 musician band.
And, of course, I STILL wish that the Tonys granted SOMETHING for Dave's accomplishments(even if they had Pasek, Paul, and Alex share their Tonys with Dave as a tie, like when Billy Eliot and Next to Normal both won the Tony Award for Best Orchestrations in 2009)!
Don't usually comment on these things....but I was interviewed for this when I worked on HOLIDAY INN and Alex when he was doing DEAR EVAN HANSEN. We happened to be working together on FOSSE/VERDON when this was put together and released online. All of us who do this know each other and have history together. I worked with Doug Besterman on PRODUCERS and the film of CHICAGO among other things. Larry Hochman was my assistant on a show in 1978. We all have our talents. The Tony's are very commercial and it generally goes to the winning musical (most of the time) I thought that August Eriksmoen did a great job on BRIGHT STAR and COME FROM AWAY....no prize. And when I started conducting on Broadway...we never had less that 24-26 musicians in the pit. Now ...9-12 is a giant band. HOLIDAY INN had 13 in the band including a 2nd kybd who was associate conductor. Someone commented that I didn't use any strings. With 13 musicians for a show with a lot of dance numbers....that would be ONE STRING...and a synth. I received a lot of nice compliments for the YIDDISH FIDDLER. However...the original was Don Walker and it was 26. I just reduced it for a smaller orchestra. Don Walker was one of the great. Alex Lacamoire is a very talented guy with a lot of abilities and is very capable of orchestrating for large and small orchestras.