ALFRED: Were you one of the crowd
who traveled to 1892 with the cast of T he Mystery of Edwin Drood last
week?
Hundreds
of people booed and hissed, laughed and chortled, clapped and whistled over the
song, dance and antics on the stage. As part of the event, a small group played
the background music to support all the Drood-tivity. May I introduce the
members of the “fully trained orchestra?”
Kyle
Merrifield, percussion, said that his favorite part of high school was playing
in pit orchestras for the annual musical. He didn’t expect that he’d be in a
musical at AU so when Dr. Foster asked him to be part of Drood’s pit, he
eagerly accepted.
Kyle
said that he’s not a singer or dancer so the pit suits him well. Drood, he
said, is a particularly fun musical for a pit member because of the interaction
between pit and actors.
Kyle
played several instruments but his grin widened when hammering away on the
tympani for the thunder storm. (I can attest to his enthusiasm because my ears were
inches away from the explosive barrage.)
Pit
members are often hidden but this pit was in front -able to see actors and
audience. Kyle enjoyed the boisterous enthusiasm of Drood’s audience and felt more
a part of this show than others.
The
most pit-experienced member was Eric Prentice, piano. He’s not certain how many pit orchestras he’s
played in - 50 to 60. Eric started playing piano in pits in Hornell while he
was still in school and is employed as an accompanist by Hornell Schools. He
has also played for every Hornell Rotary musical for the last 20 years and plays
for the Hornell Community Theater too.
In
his opinion, Drood’s musical score was challenging and was made more so by
being handwritten. Handwritten scores are onerous to read especially when pages
are sprinkled with notes, lyrics and numerous key and time changes all to be
mastered while following the conductor who follows vocalists.
The
drum set work was done by Hunter Haddad, a skilled saxophonist who took brief instruction
from Kyle about reading some specific percussion notation. “I just looked at the music and it made
sense,” he said.
Hunter
felt that the music was entertaining and that Drood was singular experience. He
particularly liked how the actors went into the audience before each act. He
felt satisfied with the performance of the pit saying, “I think we did well and
I’m glad of it.”
Similarly,
Scott DeFranco Norton never before played the upright double bass. He was
supposed to play electric bass but his instrument needed repair so thought he
might substitute his main instrument, tuba. Instead, Dr. Foster suggested that
he work out how to play the upright double bass.
The
double bass has no frets and is played with a bow which is to say, it’s not much
like an electric bass but undeterred by what might be a stressful situation for
some (most), Scott figured it out, often played by ear and just plain made it
work.
This
was also Scott’s first experience in a pit orchestra. In high school, Scott performed
on stage. Drood, he said, was the most interesting musical he’d been in or
seen. “It was exciting to be a part of it.”
Some
other first time experiences belonged to Jay Horwath (trumpet, piccolo trumpet
and flugelhorn). Jay has never before
been in a pit or played piccolo trumpet.
The
piccolo trumpet and flugelhorn have 4 values but Jay said those are for
alternate fingerings. They can all be played with trumpet fingerings.
“The
piccolo trumpet,” he said, “looks small and seems like it should be easy but
it’s not. It takes a different amount of air and has a different feel.”
Jay
found the audience participation in Drood exciting and enjoyed this first
experience working with vocalists. He especially enjoyed the facial expressions
that Darren Palmer put into the character of Bazzard.
“Bazzard
brings a lot of comic relief. While at times he seems not to fit, he gives the
show fullness.”
Peter
Metz took time from research to play trombone for Drood. This was his second
musical after doing Crazy for You in
high school. “The best way to sum up
Drood is to call it a fun show.”
While
much of the show is amusing, a few of the scenes are dramatic and serious. One
such is in the duet between the characters of Rosa and John Jasper. This was a
highlight in the production for Peter.
Brooke
Tillotson speeds through her days with band, orchestra, dance, classes and work
soshoe-horning in pit orchestra rehearsals wasn’t easy but she had a good time.
She named Moonfall/The Name of Love as
a favorite with Both Sides of the Coin
as a close second.
Chris
Foster, conductor, said that he’d never heard of The Mystery of Edwin Drood
until it was proposed for this semester. He was aware of the composer, Rupert
Holmes, as author of Escape (The Pina
Colada Song) and he came to appreciate the songs in Drood, a rollicking farce.
The audience participation made it particularly fun.
Drood
was the first musical pit experience for Jasper Wright, bassoon. Jasper hadn’t
realized how different it is to play for a musical. The score is handed out, there
are a few rehearsals and then one works with the vocalists. In almost no time,
the pit is in the production. For
Jasper, Reverend Chrisparkle’s confession was always amusing.
Make
note of these other performances at Alfred University. The Symphonic Orchestra –Friday,
April 25, 7 pm; Jazz Band -Monday, April 28. 7:30; Symphonic Band - Friday, May
2, 7:30. All are scheduled for the Miller Performing Arts Center and are free
and open to the public.
(Elaine Hardman played flute/piccolo
in the pit.)
Photo Dr. Chris Foster, Kyle
Merrifield (living dangerously), Jasper Wright, Eric Prentice, Peter Metz, Jay Horwath , Hunter Haddad,
Brooke Tillotson, Scott DeFranco-Norton
