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Underscoring in Children's Theater

3/29/2018

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The theory of using UNDERSCORING in film and theater is to "heighten the action" or "reveal the feelings" of the actors.  We have all been affected by the use of underscoring -- especially in film.  Imagine what it was like watching those early silent films without words or background music.  No wonder organists were hired to play in the the movie houses all around the country to help sell the new movie industry.  Composers quickly took note, and soon theatrical scores were created to go along with the movies.  New stylized techniques were invented and utilized by various instruments to create those eerie and exciting sound effects. And then came the advent of SOUND in movies. By all accounts, the movies are immeasurably enhanced by underscoring.

Well, what about theater? On stage, contemporary shows are using more and more pre-recorded scores -- including underscoring throughout the show.  And this is not just for Musicals.  As a musician, I am a bit dismayed at how so many professional theaters are no longer employing pit orchestras of any size.  But I am even more dismayed at the use of underscoring throughout the entire show.  When used by professionals (sound boards and engineers and lavalier mics on all of the actors), the through-underscoring is effective.  However, in the less endowed productions, the underscoring can be a DISTRACTION OF EPIC PROPORTIONS!

I recently went to see two middle school Musicals "Into the Woods Junior" and "Once on This Island Junior."  Both had pre-recorded Soundtracks with underscoring throughout -- that means that all of the narration and most of the dialogue was delivered over the soundtrack.  Where this is an enhancement when adult cast members have sufficient personality and talent and skill to project and emote past the footlights, the little 10-13 year-olds with little experience couldn't compete.  

​Imagine yourself as the grandparent who dutifully comes to see the grandchild in the school musical.  You have had no exposure to the music or story of the show.  You have no idea about how to distinguish one character from another because the costumes are not too helpful and the kids all look and sound juvenile.  The acting, singing, dancing and staging are only as good as the kids' emerging talents allow.  The school has a tight budget, so sets, sound, lighting, and backstage communications are dismal at best.  The auditorium is noisy with bad acoustics, noisy babies crying, and rustling of people and chairs.  Then add to the mix CONSTANT MUSIC and SOUND EFFECTS on a pre-recorded track.  You really have no hope of understanding, let alone enjoying, this production at all!!!!!

My advice to directors that want to use pre-recorded soundtracks with underscoring throughout every scene --- CUT THE UNDERSCORING!  There is usually a clause in the contract that states that you may discreetly CUT material from the show as necessary to accommodate your particular situation. That usually means that you may cut or adjust lines when they are too difficult or you have to change the blocking or delete names because you don't have enough characters, and stuff like that. But you can also just NOT PLAY the underscoring throughout every scene.  

       It will help your audience understand the show so much better!


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The Secret to Writing Memorable Songs

3/9/2018

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     Last night, I went to the "Alan Menken - A Whole New Word" concert at BYU.  Alan Menken is the composer of "The Little Mermaid," "Beauty and the Beast," "Aladdin," and many other great shows.  I was going by myself and thought I would be very lonely sitting way up in the back of the hall.  But just before the concert started, I saw a friend sitting down front all by herself with many open seats around her.  I went down to talk with her, and she coaxed me to come sit by her.  Her people couldn't come, so I got to sit up front with a perfect view of the stage.  Wow!  I got a great seat to watch one of my idols!
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      Alan Menken came out on stage to thunderous applause and proceeded to tell the story of his life punctuated with playing and singing songs from all of his hit shows.  He told about growing up in a family of dentists.  His father was a dentist and so were his uncles and most of his cousins.  It was assumed that he would also grow up to become a dentist.  He said he was ADHD and did not have the patience for studying or even practicing piano.  He loved music, but just didn't want to practice other composer's music.  He spent his practice time making up his own songs.  He went to New York City as a Pre-Med student, but quickly realized that he needed to do something else.  He wondered if he could make a career out of writing songs.

      So he did whatever he could with music to make a living - accompanying for dance classes, singers, nightclub acts, etc. - all while writing songs and trying to figure out how to get them heard. He had some success writing jingles for TV and radio.  He got the chance to write some songs for "Sesame Street."  Fortunately, he connected with lyricist Howard Ashman and together they wrote a few off-Broadway shows.  After "Little Shop of Horrors" got some notice, Ashman contacted Disney about writing the songs for "The Little Mermaid."  We all know what happened next - the trajectory of Musical Theater changed!

     During the late 1960's through the 1970's, Broadway was dying.  There were very few box office successes on Broadway.  Many of the theaters were closing due to lack of business and the businesses were turning into seedy bars and tattoo shops.  Once Disney decided to buy a theater on Broadway and start producing shows there, the future for Broadway perked up.  Other mighty shows such as "Les Miserables" and "Phantom of the Opera" also came in and improved the landscape on 42 Street.  Alan Menken has had many shows featuring his music on Broadway.  Many of his movies (his "babies"), even the ones that were declared box office flops, got a second life on the Broadway stage.  "Beauty and the Beast," "The Hunchback of Notre Dame," "The Little Mermaid," "Aladdin," "Newsies," and others all started as movies, and are now full-fledged theatrical pieces.  They are performed live all over the world by professional companies, community theaters, and even school and children's theater groups.

      He said that he is often asked "What is the secret to writing memorable songs?"

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     "Well," as he pointed to a youthful picture of himself up on the screen behind him, "It's the aviator glasses."

       Where can I get me some of those?

    Alan 
Menken is such an inspiration to me!  I love his music and enjoyed immensely getting to know a little more about him at the concert.
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    Author

    My name is Betsy Bailey.  I have sung, written and taught music all of my life.  I enjoy writing and directing Children's Theater shows.  This blog will be directed to topics on creating the magic of Children's Theater.  I would love to hear your comments!

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