It Takes a Village to Make a Musical

From Rehearsal Studio to Opening Night

Every once in a while, someone comes up to me on opening night and expresses amazement that the costumes are finished, the orchestra sounds wonderful, and the actors know all their lines, music, and choreography. My reaction is usually a silent “Dear God, where have you been doing theatre where opening nights aren’t ready?” Of course, there are always bumps along the way. But at South Bay Musical Theatre, getting a production ready for its audience is not something we leave to chance. It is the result of months of planning, hard work, and extraordinary collaboration by people who do this for the love of it.

It helps to understand who makes up a community theatre company. Our actors have day jobs or are students with classes to attend. They give up their evenings and occasional weekends to rehearse for three or more hours at a time, for ten weeks, without pay. Our designers, technicians, musicians, and volunteers have their own commitments, too. One of my most important responsibilities as Artistic Director is to make sure that this experience is rewarding for everyone involved. That doesn’t mean avoiding hard work or difficult challenges. It means respecting the time people give us and creating an environment where they can do their best work. At auditions, we are upfront about the commitment involved, and we try to cast performers who have both the talent and the time to meet the production’s demands.

It’s a long journey from first rehearsal to closing bows.

That commitment begins well before the first rehearsal. I work closely with our Production Manager, Emily Tao, to oversee the planning that enables a ten-week rehearsal schedule. The director, choreographer, and music director must envision the production and prepare their material in advance. Although these creative staff members are paid an hourly wage, their compensation doesn’t come close to covering all the hours they spend preparing at home. We owe it to our performers to be ready when they walk into that first rehearsal. The stage manager, who oversees schedules, communication, and the smooth running of rehearsals, is essential to making that happen. Everyone needs to know what is expected, where to be, and what we are trying to accomplish. We cannot afford to waste the time of people who are giving us so much of their own.

Then the actual rehearsals begin, and the pieces have to fit together. Usually, music comes first. Our vocal director works to get the songs into the performers’ bodies before choreography and staging are added. But anyone who has worked in musical theatre knows that singing beautifully while standing still is one thing; singing beautifully while dancing is quite another. The choreographer and vocal director must work in tandem so that the demands of movement don’t undermine the music. The director then begins building the staging, blocking, and transitions that turn individual scenes and songs into a coherent story.

Meanwhile, the scenery is being built, props are being designed, and rehearsal versions of essential items must be supplied. An actor needs to become accustomed to handling a sword, a typewriter, or a wallet long before the finished prop arrives. Costume designers and choreographers must also plan together so that the clothing allows performers to move freely. Rehearsal skirts help dancers get used to the length and movement of their eventual costumes, and appropriate footwear is particularly important when dancing in character shoes or period boots. Every detail matters, and rehearsal reports and notes keep the entire team informed about what has happened and what needs attention.

Three weeks before opening, we move into the theatre. By then, everyone is expected to be off book, with lines, music, and choreography learned. The transition from a rehearsal room, where the set is represented by tape on the floor, to a three-dimensional stage can be eye-opening. Suddenly, a doorway is narrower than expected, a transition doesn’t work, or a piece of scenery changes how a performer moves. We make adjustments because theatre is a living, breathing art form, and no amount of planning eliminates the need for collaboration and patience.

One of my favorite rehearsals comes when we bring in the live orchestra for the first time. It’s called the sitzprobe, and it’s thrilling to watch actors sing with the full orchestra and conductor for the first time. From there, costumes, makeup, hair, and working props are added. The number of new things performers must remember can be overwhelming, and sometimes frustration spills over into tears. A good stage manager and a supportive staff know how to smooth those ruffled feathers and help the company through the rough patches. Notes are given before and after rehearsals, and a constantly updated work list ensures that problems are addressed rather than left to chance.

When someone praised SBMT’s readiness on opening night of Once Upon a Mattress, I was delighted, of course. But I also knew how much work had gone into making that readiness possible. My job is to anticipate potential problems, catch them early, and help our creative and production teams resolve them before they become opening-night disasters. We aim to give our audiences the sparkling musical theatre experience they expect from SBMT, while remembering that the people creating it are volunteers and professionals working together around the demands of their own lives. The rewards aren’t always obvious during a difficult rehearsal, but there is tremendous satisfaction in watching all those individual contributions come together into a finished production. No single person can make that happen. It takes a village to make a musical.

So when you come to see our next production, I hope you’ll enjoy not only the performances but also the remarkable teamwork behind them. Every song, costume, lighting cue, set change, and orchestral passage represents someone’s time, skill, and commitment. Your ticket helps make this work possible, and your applause is a wonderful acknowledgment of the people who have given so much to entertain you. If you’ve ever thought about joining a community theatre, whether onstage, backstage, or as a volunteer, we’d love to hear from you. At South Bay Musical Theatre, making a musical is hard work, but making it together is what makes it worthwhile.

— Walter M. Mayes, Artistic Director