This month I’m going to explore The Last Five Years from the perspective of the music director. This is the first in a long-running series focusing on repertoire musicals from the viewpoint of the person behind the piano, providing context, casting tips, advice, and general knowledge for future music directors of these shows (or for those that are just curious). Let’s dive right in!
This month we’re going to take a short look at the difference between Music Directors and Music Supervisors. The two terms often get thrown around by the uninitiated and the initiated alike as synonyms, but the reality if a bit more divided than that, and each has very specific and important roles to perform.
This month we’re going to take a look at the ever-frustrating and political casting of musicals, and more specifically we’ll be looking at doing so in an educational environment. This post is meant mostly to apply to high school and middle school, though feel free to adapt the ideas to your specific situation. Let’s dive right in!
This month we’re going to take a look at the relationship between the composer and music director of a new musical. We’ll examine the dynamic from both sides of the table: when is it appropriate for the music director to offer input on the score, and when is it appropriate for the composer to offer input during the rehearsal process? What is the give and take between these two artists like, and how much does each contribute? Let’s dive right in!
Last month’s blog post took a high level look at Concert Productions: what are they, when should we produce them, and why should we produce them? This month, I’m going to take a look at the more technical and nuanced process of actually music directing a concert production. We’ll examine rehearsals and how they differ from typical musical rehearsals, and the dynamic of a concert performance.