As you all head into tonight’s music rehearsal, what better time to share this recent interview I caught in a recent issue of Stage Directions (a technical theater magazine) with a B’Way sound designer turned producer Tony Meola. It seemed particularly relevant to what you’ve been hearing the artistic team saying about projection vs. amplification and the embrace of a grittier sound from a previous era of performance. Especially these sections:
Q: There’s a lot more technology on Broadway these days, even since the time we first spoke back in 2004. What do you think about the changes that are going on sonically? Are you worried about shows getting too loud, and do you worry that sound is becoming too noticeable in some cases?
A: I’ve always been a critic of shows that make it sound like a CD or a recording because that’s not what excites me in the theatre. When you walk down the streets of New York and there’s a flutist playing on the corner with a case open, you have a visceral reaction that makes you turn to hear that live moment. When you have a record store that has a speaker hung outside the door, you don’t have the same reaction as you do in the theatre. I think when we forget that, when we completely cover up an orchestra pit or take a violin and put it in another room, I think we’re doing a disservice because we need to hear that stuff and to hear it as it’s heard. […] I think we need to stay near that natural stuff as much as we can.
[…]
I haven’t done a play in 100 years that I haven’t been asked to amplify. […] We had regular microphones with us for huge theatres, and they ended up using them at the Shubert, which was the second stop in Chicago, simply because [the actor in a two-character play] didn’t project. It’s a very simple thing: If an actor projects you don’t need amplification, in many old theatres especially.I’m not sure many young actors are learning that skill [projection]. I’m sure they’re not. Many years ago I did Picnic at the Roundabout Theatre, and the older actors in the show were absolutely brilliant. Anne Pitoniak and Debra Monk did an intimate scene that was absolutely brilliant, and you could hear every word everywhere in the theatre. Then every time we would ask Ashley Judd and Tate Donovan to speak up, they would feel like they were shouting. You always wanted to say, “Act like you’re not shouting.” That’s what is not being taught anymore.
I have to say that the creative team’s decision to not mic the actors at all is something that worries me. While I’m confident that this cast is certainly going to do their best to project and fill Reynolds with as much sound as possible, there are several things that I am concerned about. First of all, the pit orchestra’s sheer immensity of sound may simply be too loud for us to sing over. Also, there are small groups at various points during the show that sing very different, conflicting parts; without at least some area amplification, there’s a possibility that these beautiful lines could never be heard by the audience. There’s also the issue of large company numbers like “Till We Reach That Day,” where the leads sing conflicting parts *over* the ensemble (Mother and Emma Goldman, for example). I worry that these sorts of parts will be lost and never heard by the audience due to the leads not being able to overpower the full company. Finally, there’s the issue of our lead actors overextending themselves by singing in an unhealthy way to achieve the proper volume. This is a very vocally demanding show, and I would hate for anyone to injure their voice (especially without the presence of understudies) as a result of trying to belt to the back of Reynolds.
David —
I completely understand your concerns. My first musical theater gig was in an outdoor amphitheater. I was fifteen had only been taking voice lessons for about a year and was terrified about just being heard against the soundscape of outdoor noise, let alone the 65-year-old patrons in the back row. Now I’ve got some natural projection ability (Really Jules? Yes.) but it still took a lot of work ourside of rehearsals to lean the difference between projection and belting. I posted this article to show that this is an issue being discussed in the larger profession and part of Meola’s point is that these are skills that aren’t being taught. What better place to teach them then in the context of a university production!
That said, and Jeff and Anthony please weigh in here too, let me offer some food for thought. 1) Anthony is working with the orchestra in anticipation of carefully balancing instrumentalists and vocalists. It’s not like they’re off somewhere in a vacuum, working separately from the plans for an overall sound for the show. 2) Area mics will be hung throughout the space to assist those moments of harmony and dissonance to which you refer as possibly being lost to the audience. 3) If folks (principals or chorus) are worried about unhealthy habits and want to strengthen their voices, conversations with Jeff, and/or Dr. Linnartz and Anthony about lessons/practice are in order ASAP. Without some support of vocal technique, I agree that it is a daunting task to think about singing “over” such a large ensemble. That is one reason the Music Department made vocal clinics available in the fall and, if I’m remembering correctly, gave the option of musical lessons for more specific coaching.
All of that to say, it is not that amplification isn’t still in the mix of discussion; none of us want performers to hurt their voices or feel frustrated and worried about the experience of singing in this show. However, I think the emphasis in the immediate is on getting folks to commit their effort to developing their sound and good vocal strength/habits in anticipation of NOT having it rather than having it. Again, if folks want to know how to do this or how the prod. team can provide this support, please ask!
–Jules
I would like to apologize in advance for what could be read as a somewhat aggressive comment. I can assure you that is in no way meant to attack anyone involved with Ragtime, but is a very real expression of a frustration that I believe much of the cast shares.
This aspect of my experience with Ragtime has been the most consistently frustrating to me. Frankly, I have been very upset for some weeks now that the production team has neither asked nor cared for the opinions of the cast. There has been this constant assumption that all we need to do is project, as if it is possible for all of us to turn up a knob that suddenly changes our voice. While it may be possible to fill Reynolds, our cast of amateur performers (myself included) simply does not have the skills necessary to achieve the appropriate level of sound. This claim has been countered by saying that the music department has done all it can to provide training, but the simple truth is that these are skills that take years of work to achieve. I personally already feel the strain of forcing myself to sing more loudly than I normally would, though I have taken advantage of multiple private voice sessions with Dr. Linnartz. This issue summarizes in many ways the failures of Ragtime as a dialogue and collaboration between students and faculty.
I would like to emphasize the fact that untrained voices simply will not be able to compete with a full orchestra. I could provide a dozen reasons why I believe this is true, but I know that I would merely be repeating things that have already been said by others. I am positive that the show will be the worse without amplification to manage blending, lessen strain, and allow for subtly in spoken and sung acting. While my opinions may not represent the exact ideas of every person in the cast, I can assure you that this sentiment is widely shared. Though I am young and a student I am a veteran of many musicals with both professional and amateur casts and production teams, please do not discount my experience or opinion.