Working In The Pit

[Armie3]

Posted: 6/18/18 at 7:47am

What is it like for the musicians who work in the orchestra?

Do they get bored playing the same music eight times a week or what? Does the conductor vary from night to night and switch it up or do they play it exactly the same way every time? Is this their main job or do they work somewhere else during the day? What's it like being stuck in the ground with very little contact with or appreciation from the audience?

The main question I'm asking is this : is it a fun job or no?

[g.d.e.l.g.i.]

Posted: 6/18/18 at 8:00am

These interviews with a West End cellist, a Broadway pit pianist (may need to highlight portions of the text at that site to read it) and music director, and a trumpeter in Chicago (the location, not the musical) may help give you some insight.

[dramamama611]

Posted: 6/18/18 at 8:10am

Well, they NEED to play it the same way (most of the time, anyway) because of the actors.  I'm sure some do get bored, but not unlike actors it's part of their job to make sure it doesn't come thru in their actual performance.  

As to other jobs, many do - but often because of the time they have on their hands.  They give lessons, play in studios.  You never know how long a gig will last, so most take jobs along the way to be financially responsible.

You don't become a pit instrumentalist because you want the limelight.  I'm sure they are perfectly fine getting the recognition they do. 

[Armie3]

Posted: 6/18/18 at 9:04am

Hey thanks, gdelgi, they seem like interesting reads.

I always applaud when the orchestra finish their exit music, I'm not the only one, but most people are either gone or don't care by that time. I feel bad that they don't get due recognition apart from maybe the cast pointing to the conductor or whatever.

[dramamama611]

Posted: 6/18/18 at 9:10am

I'm with you on the applause at the end, I also stay and watch credits at movies....but when they play after the curtain calls, it is usually referred to AS exit music, the very purpose is to accompany the audience out.  There is always a part of the curtain calls for the orch, I'm not sure what else you think should happen.  I have, however, noticed that people seem more in tune with the orchestra than they used to be.

[programticket]

Posted: 6/18/18 at 10:23am

I was fortunate enough to be able to interview pit percussionist Adam Wolfe on my "Your Program Is Your Ticket" podcast last year. Some of his most recent jobs include "Bandstand" and recent Off-Broadway hit "Jerry Springer: The Opera". He gives an incredibly insightful interview on his career as a musician working in theater. Here are the links:

Itunes:

https://itunes.apple.com/us/podcast/your-program-is-your-ticket-ep019-drummer-percussionist/id1204483146?i=1000389950376&mt=2

Soundcloud:

https://soundcloud.com/user-363664536/your-program-is-your-ticket-ep019-drummerpercussionist-adam-wolfe

 

 

[LuminousBeing]

Posted: 6/18/18 at 8:48pm

dramamama611 said: "I'm with you on the applause at the end, I also stay and watch credits at movies....but when they play after the curtain calls, it is usually referred to AS exit music, the very purpose is to accompany the audience out. There is always a part of the curtain calls for the orch, I'm not sure what else you think should happen. I have, however, noticed that people seem more in tune with the orchestra than they used to be."

I totally agree that people seem to be more aware that there are HUMANS in the pit playing for them. This post took me back to LCT's "South Pacific" when that lush, glorious orchestra was revealed and got a big hand from the audience before even playing a note.

[Platypus]

Posted: 6/18/18 at 8:59pm

I have no idea how accurate it is since it is fiction, but Seth Rudetsky's book Broadway Nights is about a pit musician and can give you an idea about what it's like. Even if it's not a reflection of reality, I remember being entertained when I listened to the audiobook (narrated by Seth) back when it first came out: https://www.amazon.com/Broadway-Nights-Romp-Musical-Theatre/dp/1522698221

[whatdoesntkillme]

Posted: 6/18/18 at 9:18pm

Broadway musicians are allowed to take a certain number of performances off for other gigs in order to avoid monotony. Doing so allows them to keep the steady Broadway paycheck while still fulfilling themselves artistically. If you're close with a contractor, you can leave one show and get placed on another new one so that you've still got a job on Broadway but you're playing new material. Many of them also do chamber and orchestra jobs during the day and then do their Broadway show at night. Usually, they have their own little community backstage, just like the actors do. 

[morosco]

Posted: 6/18/18 at 9:34pm

Imagine coming to New York City and looking for your first job as a professional musician. Ah, playing in a Broadway pit! That would be a great gig. But soon reality sets in: first, you’ve got to pay your dues by subbing.

[NoName3]

Posted: 6/18/18 at 11:27pm

Here's a great NY Times article about being a Broadway pit substitute that is quite revealing about what life in the pit is like.

I really appreciate the contributions of the boys and girls in the band.  Over 20 years ago, I saw the last Carol Channing revival of Dolly multiple times and one night I ended up in a box seat overlooking the orchestra.  As they played the exit music, I stayed and I think I was the sole audience member remaining as they finished.  I stood and applauded loudly.  I think I shouted "Bravo, Bravo!" Some of them laughed but they all smiled and the conductor turned and gave me a smiling nod.  They are essential members of the production and deserve to be acknowledged.

Broadway's Musical Chairs

 

Updated On: 6/18/18 at 11:27 PM

[Armie3]

Posted: 6/19/18 at 7:56am

Thanks for all the great links, guys.