CHANGING KEYS WHEN A NEW PERFORMER TAKES A LEADING ROLE

[MusicalDirector109]

Posted: 7/3/04 at 12:36pm

I saw "Hairspray" last weekend and it seemed that some of the musical arrangements were different to accommodate the new leads. Is this process done often because some parts of the score sounded like in was in the same key; but then seemed to modulate in another section, and then, in some cases, seemed to return to the original key. Also, in a similiar vain, the score to "Hello, Dolly!"- the way that its written- Carol Channing could never sing up there. When you take it down an octave it becomes too low. Any thoughts and opinions are welcome!

[Marc Shaiman]

Posted: 7/3/04 at 1:07pm

interesting question...we did not make changes to HAIRSPRAY...I tried for the tour to make Edna's "60's" verse higher, but it just sounded too odd getting back to the original keys afterwards...and every performer to tackle the role has not been troubled...some simply take a few lines up the octave

I DO remember seeing a production of HELLO DOLLY in Community Theatre where the poor lady was trying to sing in the LOW LOW Carol Channing keys the vocal score replicates...now, since stars who sang in more "normal" female range did it on Broadway after CC, it would be nice if TAMS-WITMARK (or whoever rents it these days) could offer those arrangments, no?

[MargoChanning]

Posted: 7/3/04 at 4:31pm

I know that the key for "The Music and The Mirror" was altered at various times to suit different Cassies during the original run of "A Chorus Line" (Michael Bennett was also known to adapt the choreography of the number to the strengths of the performer -- Ann Reinking, for one, sang the number in a lower key than McKechnie and to slightly different choreography). Bennett also tinkered with the choreography and arrangements of "Dreamgirls" throughout the run (I saw at least four completely different versions of the Act II opener, for instance).

I think altering keys is not unusual in the case when a star takes over a role -- for instance, I cannot imagine Channing, Bailey, Rogers and Merman etc... all sang Dolly's music in the same keys. I know adjustments were made when Jennifer Holliday came in as Teen Angel in "Grease" and as "Momma Morton" in "Chicago" to take advantage of all of the vocal fireworks she could bring to those roles. I know they've altered Roxie's keys in the Chicago revival since Reinking left. Did Minnelli sing Roxie in the same keys as Verdon when she filled in for her during the original run?

[ponine24601]

Posted: 7/3/04 at 6:32pm

didn't they have to change the keys for Toni Braxton when she was in AIDA?

[broadwayguy2]

Posted: 7/3/04 at 6:34pm

yes.

[Albin]

Posted: 7/3/04 at 6:52pm

Listen to Lupone version of Sunset Boulevard and then compare it to Glenn Close. Many changes were made to suit Close's range or lack there of.

[MargoChanning]

Posted: 7/3/04 at 6:54pm

Same with the Lupone Evita and "what's-her-name" who tried to sing the role in the film version.

[BroadwayGirl107]

Posted: 7/3/04 at 6:57pm

lol....o yes...that whats her name would not have been able to handle it the way Lupone sang it.

[SuperSchubert]

Posted: 7/3/04 at 8:56pm

I recently saw a professional production of Gypsy that used synthesized, canned music in place of a live orchestra. Therefore, a few of Rose's songs (as well as some stuff for Herbie) were modulated quite a bit to fit the performer's ranges. Quite handy if you have a limited budget. Though, I would have preferred live music...transposed or not.

When I conducted the show in college, we had a live orchestra, and attempted to lower some keys during the Farmboys sequences since all the Farmboys were baritones, except for our Tulsa--who was the only Tenor. When we realized that changing the key was too time-consuming for the orchestra and that the key change was very confusing for most of the guys, we just kept it in the original key, and let all but Tulsa sing it an octave lower...and we made sure Tulsa was the only miked farmboy...

-SuperSchubert

[Dollypop]

Posted: 7/3/04 at 9:03pm

The first time I was really aware of key changes with cast replacements was when the Pearl Baily cast of TWHM took over. I have absolutely no idea what key Charles Nelson Reilly sang "Sunday Clothes" in, but when Jack Crowder opened his mouth to sing, the most beautiful baritone voice came out. Now, I had seen other Corneliuses in the interim, but Crowder was the best singer in the bunch. He was surely singing in a different key than Reilly because he had the vocal chops to do so.

[Jamie Hat]

Posted: 7/4/04 at 12:39pm

John Schiappa's music in ASSASSINS (the Proprietor) was bumped up slightly after Marc Kudisch left. Sounds better in his voice.