Izzy: How did you become a Musical Theatre player (Pit Musician)?
Martin: I moved to London from Manchester after my studies at the Royal Northern College of Music. Luckily, a colleague recommended me to play for "Cabaret" at the Chichester Festival Theatre. This was the first show that I ever played for a London show fixer. Musicians are booked for West End and touring productions by a small number of specialist orchestral fixers/contractors.
I: Did you always want to be a pit musician?
M: No, it happened by accident! After graduating I pursued a career performing and recording with my saxophone quartet, and playing both the saxophone and clarinet with orchestras. I was also in a professional Big Band. My show career came much later. Having moved to London, I was introduced to fellow show players and I managed to build a reputation as a woodwind tripler.
I: What is the highlight of the job?
M: I think the highlight of being a professional musician is the variety of styles - one minute you could be playing Motown songs in Dreamgirls and the next Disney music in Aladdin! West End shows have a wide variety of technically very demanding music, which you have to be able to play in any style. This is in addition to performing with orchestras and Big Bands, and also playing for recording sessions.
I: What was your favourite show to play in and why?
M: “West Side Story” - Bernstein/Sondheim is my all time favourite show. It’s challenging and stunning music. Other shows I have really enjoyed are “The Producers” by Mel Brooks - it's a terrific Big Band score and plenty to play. More recently “Big, the Musical” from the 1988 Tom Hanks film was very enjoyable - the orchestral score was a great combination of Big Band numbers and classical writing at it’s best.
I: How much do you have to rehearse?
M: When starting a new show, you usually all turn up on the first day and sight-read it. As you can imagine, this can be very challenging. Typically, there are 2-3 days of intensive band calls and then we are joined by the cast. The first of these sessions is called a sitzprobe ("seated rehearsal" in German) - everyone loves these as it's the very first time that the cast get to hear the band in full. The sound is immense compared to the solo piano that the cast have been rehearsing with up to that point.
I: Do you have to travel a lot?
M: I have travelled all over the world with my musical career. I am very lucky to have visited countries such as Japan, China, Russia, USA, Dubai and have travelled extensively throughout Europe as a performer. I have also worked on many UK touring productions in the past - however, most of my work now is in the West End.
I: How many instruments do you play?
M: Being a woodwind “tripler” , one is expected to be able to play anything from piccolo to bass clarinet or soprano to bass saxophones. My instrument collection includes: piccolo, flute, Alto flute, Eb clarinet, Bb & A clarinet, bass Clarinet, soprano, alto, tenor and baritone saxophones and even a bassoon!
I: Which ones do you play in the pit?
M: All of the above instruments in various combinations depending on which show I am working on, although I am known for specialising in the lower instruments. (I play the tenor and baritone saxophones along with the bass clarinet - It’s great fun playing the low instruments)
I: Does a musical ever get boring after a while?
M: Every part can become too familiar if you play it often enough! The longest show I have worked on is “Chicago, the Musical” - for about three years. It's possible for musicians to take time off and "dep out" the show to fellow colleagues (also if players want to take time off for other concerts or projects).
I: What can we watch out for you in in the near future?
M: My most recent project was "Big, the Musical” which is scheduled to go into the West End at some point soon! Currently I do cover work on a number of West End shows including Aladdin, Dream Girls and 42nd Street, and I will be depping on The Wind and The Willows over the summer.
I: What happens when you do cover work ("Dep") on a show?
M: Deps have to play their first show almost perfectly the first time they perform it. You have to learn the music without any extra rehearsal with the orchestra or the cast. Instead, you are given the music and a recording of the show and you learn the music by practicing at home. You also have to “sit in” - sit next to the regular player whilst they perform the show that you are about to cover, and watch what they do and how they do it!
Playing a new show for the first time is always a challenging experience! It usually takes at least 4-6 play- throughs of a show before one feels comfortable, familiar and relaxed. Once you get to know a show - and cover several other shows as well - depping can be very enjoyable because you can get to play such a wide variety of music, which makes it really interesting.
I: How can musicians get into playing in shows?
M: Studying at a Conservatoire will always involve tuition on a second or related instruments as well as your main instrument, and Amateur Dramatic Societies or student productions are good ways into learn your trade in the show world. These are usually less pressurised than the West End and a more relaxed environment.
I: Just out of interest, has anything or anyone ever fallen into the pit?
M: Luckily I have never seen anyone fall from the stage - however it has happened!! The technical theatre staff take this very seriously and clearly mark on the stage how far the cast can go to the front without risk. I have been working in stage pits where props have regularly fallen in. An orchestral pit is usually covered with meshing so that any props which unexpectedly fall can be caught before they hit any players or damage their instruments.
Martin: I moved to London from Manchester after my studies at the Royal Northern College of Music. Luckily, a colleague recommended me to play for "Cabaret" at the Chichester Festival Theatre. This was the first show that I ever played for a London show fixer. Musicians are booked for West End and touring productions by a small number of specialist orchestral fixers/contractors.
I: Did you always want to be a pit musician?
M: No, it happened by accident! After graduating I pursued a career performing and recording with my saxophone quartet, and playing both the saxophone and clarinet with orchestras. I was also in a professional Big Band. My show career came much later. Having moved to London, I was introduced to fellow show players and I managed to build a reputation as a woodwind tripler.
I: What is the highlight of the job?
M: I think the highlight of being a professional musician is the variety of styles - one minute you could be playing Motown songs in Dreamgirls and the next Disney music in Aladdin! West End shows have a wide variety of technically very demanding music, which you have to be able to play in any style. This is in addition to performing with orchestras and Big Bands, and also playing for recording sessions.
I: What was your favourite show to play in and why?
M: “West Side Story” - Bernstein/Sondheim is my all time favourite show. It’s challenging and stunning music. Other shows I have really enjoyed are “The Producers” by Mel Brooks - it's a terrific Big Band score and plenty to play. More recently “Big, the Musical” from the 1988 Tom Hanks film was very enjoyable - the orchestral score was a great combination of Big Band numbers and classical writing at it’s best.
I: How much do you have to rehearse?
M: When starting a new show, you usually all turn up on the first day and sight-read it. As you can imagine, this can be very challenging. Typically, there are 2-3 days of intensive band calls and then we are joined by the cast. The first of these sessions is called a sitzprobe ("seated rehearsal" in German) - everyone loves these as it's the very first time that the cast get to hear the band in full. The sound is immense compared to the solo piano that the cast have been rehearsing with up to that point.
I: Do you have to travel a lot?
M: I have travelled all over the world with my musical career. I am very lucky to have visited countries such as Japan, China, Russia, USA, Dubai and have travelled extensively throughout Europe as a performer. I have also worked on many UK touring productions in the past - however, most of my work now is in the West End.
I: How many instruments do you play?
M: Being a woodwind “tripler” , one is expected to be able to play anything from piccolo to bass clarinet or soprano to bass saxophones. My instrument collection includes: piccolo, flute, Alto flute, Eb clarinet, Bb & A clarinet, bass Clarinet, soprano, alto, tenor and baritone saxophones and even a bassoon!
I: Which ones do you play in the pit?
M: All of the above instruments in various combinations depending on which show I am working on, although I am known for specialising in the lower instruments. (I play the tenor and baritone saxophones along with the bass clarinet - It’s great fun playing the low instruments)
I: Does a musical ever get boring after a while?
M: Every part can become too familiar if you play it often enough! The longest show I have worked on is “Chicago, the Musical” - for about three years. It's possible for musicians to take time off and "dep out" the show to fellow colleagues (also if players want to take time off for other concerts or projects).
I: What can we watch out for you in in the near future?
M: My most recent project was "Big, the Musical” which is scheduled to go into the West End at some point soon! Currently I do cover work on a number of West End shows including Aladdin, Dream Girls and 42nd Street, and I will be depping on The Wind and The Willows over the summer.
I: What happens when you do cover work ("Dep") on a show?
M: Deps have to play their first show almost perfectly the first time they perform it. You have to learn the music without any extra rehearsal with the orchestra or the cast. Instead, you are given the music and a recording of the show and you learn the music by practicing at home. You also have to “sit in” - sit next to the regular player whilst they perform the show that you are about to cover, and watch what they do and how they do it!
Playing a new show for the first time is always a challenging experience! It usually takes at least 4-6 play- throughs of a show before one feels comfortable, familiar and relaxed. Once you get to know a show - and cover several other shows as well - depping can be very enjoyable because you can get to play such a wide variety of music, which makes it really interesting.
I: How can musicians get into playing in shows?
M: Studying at a Conservatoire will always involve tuition on a second or related instruments as well as your main instrument, and Amateur Dramatic Societies or student productions are good ways into learn your trade in the show world. These are usually less pressurised than the West End and a more relaxed environment.
I: Just out of interest, has anything or anyone ever fallen into the pit?
M: Luckily I have never seen anyone fall from the stage - however it has happened!! The technical theatre staff take this very seriously and clearly mark on the stage how far the cast can go to the front without risk. I have been working in stage pits where props have regularly fallen in. An orchestral pit is usually covered with meshing so that any props which unexpectedly fall can be caught before they hit any players or damage their instruments.