Friends of Edwin Drood

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