<p>The warnings about canned music on Broadway have been around for over a decade. The reality is that the actual number of shows that have been produced without a live pit orchestra is very small. For some shows, it makes sense. For most, it doesn’t. The issue of minimums is a real one, and as with other cost-saving measures in this very expensive industry, the need for compromise is ever present.</p>
<p>Yes, it’s been around, but the last few years have demonstrated an alarming increase in attempts to loose the pit. My contention is that the need to compromise does not always lay in the laps of the performers and their audience. IMHO live musical theater is not live musical theater without live musicians. I do not attend shows with canned music. Swimming against the tide, but it keeps me fit.</p>
<p>musica, my comment about compromise was in relation to minimums, not canned music. And that compromise definitely lies in the laps of everyone involved in the theatre industry. With the inability of so many shows to recoup their investment these days, the future of MT depends on reaching reasonable compromise on this type of issue.</p>
<p>South Pacific is not my favorite musical, but a few years ago we saw the revival at Lincoln Center, complete with 30 piece orchestra…the orchestra was a highlight and the audience really showed its appreciation.</p>
<p>I know a 19 year old very interested in MT, mostly set design and lighting, So far he is working, not doing classes even at CC. The family’s research has indicated that college education will not necessarily help him with theater pursuits. Over time he may pick a different path and just do theater as a hobby on the side.</p>
<p>missypie, that production of South Pacific with full orchestra was incredible! But the economic realities are such that producers have to save money where they can. And it’s not limited to Broadway. I was innocently telling my son how much I liked all the strings in “Call Me Maybe”, and how nice it was to know that musicians playing stringed instruments could be employed that way. He snorted and told me that it was all produced on synthesizers. If I had a better ear, I would have realized that–but it made me sad. It seems as if opportunities for those who play traditional musical instruments are shrinking all the time.</p>
<p>My D knows the importance of being versatile. One of her friends was on tour for a musical as a drummer and the piece also had a timpanist. During the tour the director called them both in and made them both re-audition on all instruments. It was decided they needed to let one go and keep the one who could play both instruments equally well. Luckily my D’s friend had studyied both and won that audition. In the last Musical my D was in they could not find another percussionist so my D used her acoustic drum set and incorporated her electronic drums into it. I wish I had a picture as she was surronded by equipment. She could them do 90% of the parts without getting off of her throne. Quite impressive actually as she had set some of the E-set to be timpanies, gong etc. The director praised her and actually commented at the end of each show about how she took on all percussion parts by herself. I can see them requesting versatility among the pit in order to keep some costs down. Unfotunate but I guess it is a reality of today, I love live theatre and hope it never goes the way of canned music.</p>
<p>I’m guessing that the folks who build sets are encountering a similar issue. We saw *Bring it On *while it was touring pre-Broadway. It was astounding what they could do - set wise - with projected digital images. Great for a touring company, but on Broadway I would hope to see actual sets.</p>
<p>My daughter didn’t want to rely on lousy jobs while waiting for a big break. She decided to minor in theater, majoring in journalism. She wants a job that is connected to Broadway, but not on stage. She is far too aware that only a lucky few ever really make enough to live on.</p>