As their show “graduates” from Southern California to New York City, Mary Marie bookwriter and lyricist Chana Wise sweetly reflects on how it felt to be greeted by a fresh new group of
actors and singers who will breathe new life into their musical.
So, we’ve made it into the NAMT Festival. We’ve got an amazing director and musical director, we’ve sweated over cutting our piece to the required 45-minutes, and now—casting!
Truth be told, almost from the first moment I put fingertips to keyboard in the creation of Mary Marie I was able to hear the voices of the characters coming from the mouths of specific actors; friends who had agreed to help us develop the show. They got us through the teething, crawling, first steps, dare I say potty training, and eventually the adolescent stage of the show, and we have been so fortunate that these actors stayed with us through the whole development process, which included five or six staged readings. Not only had they become entrenched in the work, but we all
Showing posts with label Mary Marie. Show all posts
Showing posts with label Mary Marie. Show all posts
Tuesday, October 21, 2014
Wednesday, October 1, 2014
FESTIVAL COUNTDOWN: Preparing Orchestrations and Arrangements
As we get closer to the Festival, Mary Marie composer Carl Johnson reflects on the daunting task of preparing musical arrangements for his Festival presentation, as
well as the challenges and great rewards of live performance.
I’ve been working on orchestrating the music for our show Mary Marie for the Festival, and have been pondering the differences between writing for live theater and writing for film and television. It seems almost as if it’s the difference between planning for a worst-case or a best-case scenario!
In studio recording you plan for a best-case scenario in terms of the performance you get out of the musicians. The recording studio is temperature-controlled, the lighting is optimized for reading, there are a variety of microphones set up around the instruments so that every nuance of their playing can be captured without the musician having to overplay or hold back. Even the catering and bathroom-break schedule is designed to put the players in the best frame of mind to play perfectly.
In a live situation, you never know what the players are going to encounter! Even the best-
well as the challenges and great rewards of live performance.
I’ve been working on orchestrating the music for our show Mary Marie for the Festival, and have been pondering the differences between writing for live theater and writing for film and television. It seems almost as if it’s the difference between planning for a worst-case or a best-case scenario!
In studio recording you plan for a best-case scenario in terms of the performance you get out of the musicians. The recording studio is temperature-controlled, the lighting is optimized for reading, there are a variety of microphones set up around the instruments so that every nuance of their playing can be captured without the musician having to overplay or hold back. Even the catering and bathroom-break schedule is designed to put the players in the best frame of mind to play perfectly.
In a live situation, you never know what the players are going to encounter! Even the best-
Labels:
2014 Festival,
Carl Johnson,
Festival Countdown,
Mary Marie
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