Plenty of musical variety is easily built in when you accompany a group that enjoys the “potpourri” approach, a la Joseph and the Amazing Technicolor Dreamcoat. This is a wonderful opportunity to be thematic, and cleverly introduce stability to the crazy array of styles.
In Musical Improv Comedy I once wrote:
“Theme, Thematic, Thematicism. These terms refer to anything that becomes memorable as a result of repetition. It doesn’t have to be brilliant, it just has to happen more than once. Or even more effectively: again and again and again and again.”
That’s it. My thematic strategy consists of playing several, simple musical ideas a bunch of times throughout a performance. These ideas find their way into underscore, into melodic accompaniments and into the songs themselves. The actors usually pick up on them without being aware that they’re doing it. As a result, even the most multi-stylistic presentation can contain musical touches that subtly hold it all together. The simpler they are, the better I’m able to remember and re-introduce them here, there and everywhere.
Naturally I do the same thing when accompanying a musical that does have an overall style, like Brecht, Rodgers & Hammerstein, Sondheim, et al.
In addition to this thematic encouragement, I must provide the actors with a fun, effective palette of tempos and musical feels. This is a sensitive operation – not a formulaic sequence of events, but a job of “riding the show.” I’ve grown out of any former need to preconceive some series of song treatments, like fast, slow, medium, fast, fast…blah blah blah. My real job is to help pace the show compellingly – scene by scene, song by song. The more shows you have under your belt, the more confident you’ll become at following your heart instead of thinking, “What’s expected of me now?”
While it’s fine to be conventional – after all, we’re essentially parodying a “real musical” – I’ve had success experimenting with choices that aren’t typical. An opening number doesn’t have to be “fast” every day of the week. If you’re moved to make it slow and sultry, do it! The antagonist’s big solo (“I Was Born Evil”) could just as easily be a joyous romp, as a dark tango. A love duet can be in a minor setting. I’m sure you see my point.
In short: incorporate melodic thematicism, use tempos to help the overall show move interestingly through time, and seize every chance to surprise the audience.
Related posts:
I love the idea that one progresses from playing “What’s expected of me now?” to having the confidence to play something more abstract, more unplanned. It helps when you know there are repeat audience members who will start to figure out your habits if you don’t break them
It is pleasing to play what was expected, then see the guys on stage sync up with it, and knowing you “did the right thing”… but it’s nothing compared to the absolute joy of deciding to go somewhere the actors weren’t expecting you to go, only to have them accept your offer and take it even further than you’d imagined. Those are the sorts of moments that keep me buzzing for days after a show
Right on. I’m having fun doing these very things right now with a new group, “All Skate.” They have everything going for them as a carefully-selected cast: skill with comedy improv, vocals, movement, and excellent musical “ears” across the board. I think they may well sustain themselves as a troupe and make a mark. Appreciate your astute comments – you really get this stuff.