Besides waving a stick, I asked Jason Howland, musical director for B’way’s Tony-nominated “Beautiful,” what’s an orchestra conductor do?
“How many musicians depends on a show’s budget or size. We have trumpet, trombone, drummer, percussionist, two sax, two guitars, bass, three keyboard — one piano, two electric. In an orchestra pit, you can’t witness mishaps, slow-ups or problems onstage. Lynchpin for what’s happening, the leader sees all, guides everything, directs the tempo.
“A finale’s great money note, the famous ‘11 o’clock number,’ should cause chills up your arm. Suppose there’s phlegm or a possible clinker, everybody muscles through. Lower the key. Forget A-flat, do it in G. Take the ending faster. Go down half a step. Adjust.
“Storytelling with music has low points and high points. The craft starts with an idea. ‘Beautiful’ began with the lady at a piano [Tony winner Jessie Mueller]. Then built. How does she sing, what’s it sound like, when’s the whole band come in. Make sure the key is comfortable. Work with a star’s voice. Some can’t sustain a high note.
“A production’s style dictates the orchestral placement. In some shows, the illusion was heightened by seeing the musicians. Thus, they were physically onstage. We tell a story. We’re in the pit. A conductor does six weeks advance then works with the cast then puts it all together. Rehearsals go four to six weeks plus two weeks of tech.
“Listen, 5,000 things can go wrong. I was musical conductor for ‘Les Miz,’ which involved a turntable set change. One day an understudy headed the wrong way and knocked into a chair which rolled smack onto my head . . . yes, things can go wrong.”
Odds & ends
Grateful it’s been canceled, Leon Klinghoffer’s family was very very very upset about a proposed Met opera and TVcast of the disabled wheelchair-bound 69-year-old’s 1985 terrorist murder.
Despite anti-Semitism fear, thrown overboard was not entertainment they wanted replayed . . . Tyne Daly, kinfolk and friends at Williamsburg restaurant Bamonte’s . . . Ann Moore, Time Inc. former boss, opened a Chelsea art gallery . . . Philly Da Seth Williams, contacted about Tony Goldwyn’s new TV project “The Divide,” says: “I figured someone’s bulls - - ting me. I get crazy e-mails everyday.
Then I thought, ‘Maybe I’ll get to meet Kerry Washington!’” . . . Tennis’ Chris Evert, now a TV commentator, admits she still swipes Wimbledon’s coveted towels.
View drama to heat up
The view of “The View.” Rosie’s a done deal. Funny, talented, opinionated, she’s difficult. The lone commonality with Whoopi, whose ongoing pay or play two-year contract stipulates she’s “The Moderator,” is that both are more liberal than Michelle. Will they butt heads? Sure. Both bark to be top dog?
Yeah. ABC knows. Doesn’t care. Their show is already lame. With its exec producer Bill Geddie, who held his head during Rosie’s time, about to go ta-ta (though ABC brass have denied it), the view of “The View” is let there be blood. It’ll grab viewers.
Pay attention
Romney thinks B.O.’s descent into oblivion might help him win next time. Romney wants to go again. You’ll think I’ve gone daft, but I’m saying what his group’s saying . . . As my very own self predicted, 17 possible NY casino bidders crapped out. Foxwoods even withdrew its $400 mil upstate bid maybe because Grossinger’s got too dilapidated. Sullivan County’s Concord and Ulster County’s Nevele remain in the game.
All this Airbnb stuff? Brooklynites humph, “Yanks run AC all day and sneak extra bananas, yogurts, apples from breakfast to save on buying lunch. Foreigners, don’t. Housing Europeans is cheaper.”
Only in New York, kids, only in New York.