They Don’t Call it the Pit for Nothing
“Musicians must protect [themselves] and [evaluate their] own calculated risk.”
— Bryan Perri, Music Director of Jagged Little Pill, Wicked, Resident Music Supervisor: ACT of Connecticut
Bryan said to meet him at the Gershwin stage door.
It blends in with the surrounding black wall on 51st street but it’s embellished with a small green stage light. He approached gripping his cup of tea. It was 7pm. Being the music director and conductor of Wicked requires that need for caffeine at that hour. “I’m sorry I’m late, getting here was terrible. I don’t want to go into it.” He went into it. I was happy to catch up with him again though. He swung the back the door and we walked into the underbelly of one of the most lucrative Broadway shows in history.
They don’t call it the pit for nothing. Musicians on Broadway, especially in Wicked, are crammed into this sunken space below the front of most stages. This crammed space poses a huge problem- Coronavirus will thrive. People will be breathing in common air and touching similar objects, heightening the risk for transmission. I talked with Caleb Hoyer, one of the orchestra members for Anastasia, about his thoughts on the matter. Caleb told me that if there was a vaccine or an effective treatment, he would not be worried returning to work. I trust Caleb’s word. He’s one of the best up-and-comer musicians on Broadway.
He’d also return if there was aggressive testing and tracing available. “[I’m] overall excited because financially, [but mostly for the] joy of making music with people [again].” The major issues for most musicians is proximity. People are too close together. But, what about woodwinds and brass? They’re spreading their own air around the closed space. “That poses a huge problem” he said.
Caleb also brought to light an issue a conductor can face. “You’re standing at the foot of the stage getting spat on [by actors] all night. If there’s a virus going around, then you’re a prime target.” I asked Bryan his thoughts. He informed me that people need to get back to work and musicians needs to “protect [themselves] and [evaluate their] own calculated risk.”
Wicked is a highly oiled machine. Think of each Broadway show as their own LLC (most of them are). With that small company, there are aspects that need to be checked every day, people to be briefed, parts replaced, ect. Wicked has gotten to that well-oiled point due to its efficient cost structure, marketing, and high-ticket demand. I don’t want to sound crass, but before Covid-19, the show printed money. It’s known that many of the creative team members have been able to buy second and third homes with the money the show has been brought in.
Wicked ran like clock work as I walked the halls with Bryan to the orchestra pit. Actors and stagehands were zooming along delicately placed arrows on the floor. We suddenly made a hard left backstage and ducked under an awning into the pit. The pit was packed with musicians catching each other up on their days, checking social media, and writing emails. Bryan weaved through the rows of musicians, greeting them and giving them quick notes about the run ahead. He pointed me to a small stool next to one of the three keyboards as he got up to the conductor’s stand to start the show.
When I talked with Bryan for my research recently, he seemed very eager to return to work. His major issue was making sure that musicians stayed safe and that they stayed abreast on virus updates. Not only is currently Music Director of Jagged Little Pill on Broadway, but he also is Resident Music Supervisor at ACT of Connecticut. At ACT, they’re working on ways to reopen as well, including keeping patrons current with online content staring Broadway celebrities. Every artist is able to find away to make this situation work, and I’m sure that Bryan, his team at ACT, and Jagged Little Pill are working diligently to get us back in the theater. I don’t know if you all know this, but Bryan Perri is the real deal. He’s a musician’s musician and one of Broadway’s best. I’m very grateful my career and his have intercepted.
Solving the pit issue is easier than we think, so don’t feel discouraged. Like all issues during this time, we need to think creatively with what we already have. Fortunately for us, the pit is stationary and has very little moving parts. I have a feeling you’ll like what I’ve cooked up in the “Creative Recommendations” section regarding the matter.
“You’re standing at the foot of the stage getting spat on [by actors] all night. If there’s a virus going around, then you’re a prime target.”
— Caleb Hoyer, Anastasia
It’s Time to Talk about Hamilton
I wanted to go about this project without talking about it, but I can’t. As I write this, Hamilton is being streamed to every home in America via Disney+. There is no way not to address it.
I’m not a huge Facebook post fan. I think anyone now-a-days can post something on Facebook or Instagram, make it eye catching, and call it “real” news with “correct” information. I’m a skeptic of self proclaimed “experts.” But, this post stood out to me- I knew it was true. Check it out here on my Facebook page:
https://www.facebook.com/michael.hajjar1
To paraphrase, the post wanted to educate readers on how although we see Hamilton on Disney+, that success doesn’t reflect the industry as a whole. The post went on to describe how multiple coffee shops, wig shops, designers, other creatives, you name it are suffering because of the closures. In my conversation with Bryan Perri, Hamilton was a mirky issue. At one point, it’s showing the world what theater can do, but “people still need to come to New York and see the experience of what we do.”
One can argue that Hamilton on TV can generate more buzz about Broadway. Maybe when theater opens back up, there will be new theater fans wanting to see shows? Maybe the trickle-down effect can work on Broadway? But I worry that it will cast a false perception of Broadway. Bryan, in our interview, reiterated my concerns- “most people around the country will say ‘hi, [I] can just do that and I’ll pay $6.99 on Disney+.’” Let’s also remember, the deal Lin-Manuel Miranda struck with Disney to get Hamilton on the streaming platform made a lot of money. Miranda sold the rights to Disney for $75,000,000. Who benefits? Lin and Hamilton. Not the theatre.
I’m remaining a cockeyed optimist. Maybe Hamilton on Disney+ will encourage more shows to do the same, creating another revenue stream for future productions. Maybe it can mean shorter recoup times for producers? And, hopefully good marketing for the on-stage show. But, theater people and its supporters need to reiterate to casual fans and laypeople that theater will always be around, but it needs their financial and emotion support. Standing in-front of a live audience and performing is a part of the human experience. Creatives, in turn, are essential workers. Hopefully the aftermath of Hamilton can help theater more than it hurts it.