May Issue - Stage Directions Magazine

Courtesy of Michael McGarty
Getting Out, by the Broomfield School Drama Society; Michael McGarty acted as director.
recommended. “In this case, a large
musical too often becomes a vehicle
to showcase the musical talent of
the actors, with the acting taking a
back seat,” says McGarty. “The proof
comes during the production week,
when the musical director adds in an
orchestra and stage technicians in
addition to the actors, and can’t figure
out why all the elements won’t magically
come together. The only time
I see this type of situation working
is with small, intimate musicals, like
Little Shop of Horrors and Nunsense,
or revues, where a musical director
and chor
e o g r a -
pher work
together
to create
the
piece.”
parts of a production that I can collaborate
easily on, and other parts
of a production where I’d prefer the
musical director takes a back seat.
There has to be a good balance of acting,
music and dance for the show to
be successful. If the director, musical
director or choreographer try to make
the show more about their specific
area rather than the whole, the entire
show will suffer.”
Even the most collaborative directors
may feel amrmers make invaluable
gains from the work, improving
the production as a result.
“It can only work if the
director is somewhat superhuman, and
frankly, not many of us are.”
—Michael McGarty
The Dream Team
A smart director sees his/her work
with a musical director as an equal
partnership from the get-go. “You
need to know your staff,” advises
Vrattos. “Meet them ahead of time.
Ideally, be responsible for hiring so
you can really choose who you want
to work with.”
Make sure you mesh personalitywise
as well. “Getting along with a
musical director can be the biggest
challenge of the show,” says McGarty.
“I always have a long discussion with
any new musical director well in
advance to set the ground rules for
who will play what role. There are
“Understand that you can’t do it all
by yourself,” says Kelly Ford, a musical
director/producer/engineer whose
theatre experience also includes her
position as artistic director of the
Medieval Manor Theater Restaurant
in Boston. “Divide and conquer when
possible. Often in a musical production,
there will be times when I need
to work with a soloist or a small group
of kids on something specific. That
leaves the rest of the group to sit
quietly and watch — good luck with
that! Kids like having your attention,
especially when they aren’t the center
of it.” Ford suggests putting the
other young performers to work on
www.stage-directions.com • May 2007 37