When considering the roles of the arranger, orchestrator and music supervisor, Simon Hale thinks it’s useful to explain a little bit about what those three jobs entail. An arranger, he informs us, takes an existing piece of music, a song in this case, and adapts it for another purpose. That can be a pretty radical alteration, or it can be quite gentle. It really depends on the circumstance.

However, it will have obvious building-block components like the key, the rhythm, the structure and instrumentation. All those blocks that make up a song or a piece of music can be completely changed. Obviously, you wouldn’t change any lyrics in a song—though you might change the order of verses, perhaps—but that’s the only thing.

You can change chords if you are going to rearrange something. You can add countermelodies. You can be really radical, actually, and make something sound completely different from how it did originally. But it is still the same song, just in a very, very different expression.

Imagine that we take a picture frame as an example. If you’re an arranger, you’ve got the chance to say, you know what? I’m going to put that picture right on the opposite wall. And oh, it’s not going to be square. It’s going to be 3 feet by 4 feet. And it’s going to be slightly off-center; it’s going to be slightly skewed. And it’s got a kind of gnarly bit up on upper right-hand side. This all sounds a little bit crass, but an orchestrator takes what an arranger or someone else has done and then shapes that into their own design.

For example, as an orchestrator, you’ll be given the picture frame. And it already has a load of information in it—the key, the structure, the shape, all those kinds of things. You have to think, OK, I want this to have a bit of yellow up in the top, around the corner, and a bit of sharp imagery down here. You’re filling in detail and coloring as well as deciding what the essence of it is.

But you’re not deciding major things like the key and the structure. They’ve already been done. That’s what the arranger does. An arranger decides on the shape of the music in a very, very powerful way. The orchestrator takes the music that’s been chosen and designs the specific detailed elements for the boundary. The music supervisor will then look at the overall music department. They could potentially be choosing an orchestrator or an arranger. Those roles could be filled by the same person.

The music supervisor is looking at the overall musical context, making sure that everything is the way it should be, liaising with unions, liaising with the director, with producers, with GMs, all those kinds of things. They’re also, monitoring the show on an ongoing basis to make sure that it stays in the shape everyone wants it to and remains the way it was from opening night.

Relationships with other people as part of a theatrical production are an interesting thing to think about.

If you’d like to pursue a performing arts education and learn more about the various specific roles you might play in the performing arts, the traditional approach isn’t the only avenue open to you. You might find it much more accessible and convenient to engage in an online performing arts education.

“When I said, ‘Will you be a presenter?’ They all said, ‘What’s a presenter?’ And I said, ‘It’s like a producer, but you don’t put any money in. You’re just a presenter’. And when they didn’t have to put money in, it was even more enticing for them,” says Robert Galinsky.

“So now I got a team with A-list Hollywood actors, hard-core working actors that are respected both in theater and in film. Matter of fact, Barry Shabaka Henley starred in “Jitney,” August Wilson’s “Jitney.” So now I got solid people with great reputations. So now I could go to the investor.”

Galinsky had another mentor in the performing arts, Mark Schoenfeld, who wrote the musical “Brooklyn,” which ran on Broadway. Schoenfeld taught Galinsky that a lot of interesting people have resources, and it’s time to start asking about them, which can only help in performing arts education.

Galinsky says, “So here’s a point I want everybody to get. Change your mind about when you ask somebody for something. When you ask somebody for something, you’re not a burden. That’s a compliment. It’s a compliment. So refrain. Don’t go in asking. I didn’t go to my investor going, ‘Could you, could you give me the money, could you?’ No, I went into my investor going, ‘You’re the man. You make things happen. I want you to make it happen with me. With me, not for me.'”

So the take away from Galinsky’s main point, it’s really important to go in there knowing what you want, and take this as a great lesson in online performing arts education. Because he’s going to go, “Wow.” No matter what question you ask of anybody. “Wow, they thought that much of me to ask me to come in on this?” This doesn’t mean they’re going to say yes immediately. They’re going to examine everything and all the variables, like who’s on the team, what is the script, what is the history of the work, who is this person, and do I want to be associated with them? However, you’ve got to get over the hurdle of asking. You’ve just got to ask. You have to ask people for help.

What does a scenic designer do? “Well, I am essentially in charge of all of the visual elements that you see in the theater,” says Giannis Downs. “That can be what the curtains look like, what the props look like, what the architecture is painted like, and even how the actors come in and out of the space. My work tends to influence the costume designer and the lighting designer as well.”

Often, the performing arts scenic designer is brought in earlier than some of the other designers because the number of architectural elements involved tend to require more time to work on. I often work about six to eight months in advance of a production. So the scenic designer will be contacted by a director or a producer early on. When hired, they will start meeting with the directors. Sometimes, they will be in different parts of the country and have video chats or phone conversations. They’ll get to know each other and do some visual research. Then, they’ll start to develop visual clues as to what the design might look like.

As we develop the design a little more, the scenic designer will start doing some renderings, which could be pencil sketches, which a performing arts education would recommend. But nowadays, they’re more often crafted as digital illustrations. That will help the production team determine what the overall look will be. As that develops further, scenic designers make 3-D models and photograph them to forward to the others. Sometimes, the scenic designer sends the model itself to the director for approval.

“We’ll then take that model and do draftings of each element that will appear in the show,” says Downs. “So that could be large walls, as well as architectural details and individual props.” Online performing arts education models can be helpful at this stage. The scenic designer will create a large package of draftings of everything that they can think of along with lists and references for all of the elements that will be involved.

The next step is to take the model and paint it in Photoshop or other digital programs, and that will provide color notes for the director to choose from. The lighting designer and costume designer can also base their ideas on these renderings. Those will become the basis for the painters to colorize the show. When the production team is actually in the theater, much of the scenic designer’s work is done.

With Module 5, “Managing the House and Beyond,” we’re going to take a look at the much larger ecosystem of people and professions that are involved in making live performances happen.

The performing arts experience for most of us involves simply showing up, receiving a program and watching a live performance. Yet, the reality of the performance involves so much more than the audience experience. There is an entire community, an ecosystem, and a long history of people from any number of different fields, including artistic, managerial and critical, that all come together to produce more than just the play or performance that you see on any given night. These people are in a conversation about live performance with a full, rich history throughout time and all over the world.

Performing Arts Education

As you can guess, we’re excited to share with you a tiny bit of insight into the many, many different kinds of professions that make up this exciting world of live performance. An online performing arts education can open doors you never might have imagined to a wide range of careers in dance, drama, music and various other performance-related fields.

Why join or not join a union? If you join a union, whether it’s Equity or SAG-AFTRA, you are guaranteed a certain amount of money per week. You have rights as an actor, and actors always need to look for places where they have rights because we are easily preyed upon. I don’t just mean things related to the MeToo movement. It can even be something like a director deciding to keep the actors past the allotted eight hours.

We need to work on actors’ knowledge of this during online performing arts education. For example, when you’re told to stay late, you can say, “I’m in Equity, I’m out,” and no harm should come to you. The same goes for SAG-AFTRA members.

When you’re in a union, the pay scale is different, and you have rights. You can be called to set, but you need a 12-hour turnaround time. They have to give you 12 hours from the time you get the call to the time you have to show up. That’s not always the case if you work non-union.

In a union, you have the possibility of health benefits if you work a certain amount. Also, the union automatically has a retirement fund for you.

On the other hand, anyone in performing arts education should also be aware of the disadvantages of being in a union. You can’t do non-union work if you are in a union. In markets like LA and New York, that’s less of an issue because there’s a lot of union work in those places. In off markets, it could be more of a problem.

For example, I came across this in Seattle quite often because I was in AFTRA. There were things that I could not do. There was a fair amount of performing arts work there that I just couldn’t take because I was in the union, and I wasn’t willing to give up that status for it. I was not willing to work non-union and change my face and name just to get work. That’s crossing lines, and I don’t believe in that. I think unions are an amazing thing.

The question about whether or not you should join is a very personal one. If you are comfortable doing work that is non-union, and you are working a fair amount or fairly often, then there’s no need for you to join. If you want to get into a larger market and do the bigger work, then you should join the union.

I think that would be my advice. Also, if you’re in, you can decide to defer or leave and then do non-union work, but it’s a bit of a steep thing to get into. Not everybody is very interested or curious about trying to get out of it.

When studying performing arts education or online performing arts education, it’s important to study the patterns and the history of how modern theater came to be and how it was influenced by its predecessors.

Back in 1925, W.E.B. Du Bois created his own performing arts script theater company called the Krigwa Players. What that theater company did was propose the idea that the African-American community needed to create new works. They couldn’t rely upon any sort of theater that existed from the previous century because it was all stereotypical.

The creation of a new Blacks dramaturgy was championed with the emergence of new playwrights. Before the theater came along Angelina Weld Grimke began to write the play “Rachel,” which was a lynching play. You also began to see the early mentorship of people such as Langston Hughes, who came along and became much more of a force by the late 1930s and early 1940s.

You have non-black artists like George Gershwin, who loved opera and was inspired by Black African-American culture. He wanted to do something there. He came along and he created Porgy and Bess. It became a classic, grand, comical opera.

By the time you get into the 1930s, you have the emergence of a dynamic and more authentic African-American experience. Then what occurred during the Great Depression was the Federal Theater Project in which the government pumped money into different industries to give people a chance. They wanted to give people an opportunity to earn an honest dollar.

As part of that, artists were employed. There was a Black unit of the Federal Theater Project. It’s through that when you begin to get a number of theater companies that popped up here and there, supported by the government. There was a generation of professional Black actors who were given a chance because of support by local governments and by the federal government at large.

That propelled the future of American theater. You can almost say that every 20 years a generation passes the torch to the next generation. It’s the Negro theater unit of the Federal Theater Project that then passed the torch to those who then were the youngsters in the 1960s. This influenced people like Amiri Baraka and Lorraine Hansberry.

What do we mean when we say the word “Broadway?” First of all, we mean that Broadway is a certain way of telling stories and understanding how to tell stories with music. Broadway doesn’t have to be a book musical necessarily. It’s this other kind of thing altogether, and there’s a vitality, a connection, and an energy from within that will never die.

There’s something about shows-topping numbers, there’s something about the spectacle, and there’s something about the flash of Broadway. Combined, we begin to see this hybrid thing that allows for other things to happen. Often, new or unexpected things. When we think about shows like “Oklahoma,” we can recognize these traits.

Performing Arts Done By Musicians

“Tommy” was a musical by The Who. The band wanted to tell a story, but they were also rock musicians, so they combined the two for one ultimate experience. There are other music-heavy shows like this, too. Stew and Heidi did a show called “Passing Strange,” and then there’s the famous show “Hair.” There is a story happening in all of these shows, but you are experiencing them in different ways — often in a way that is closer to a concert.

British Invasion

Americans started to have a greater appreciation for some of the British Broadway shows, including “Phantom of the Opera,” written and produced by Andrew Lloyd Webber. Another favorite was “Miss Saigon,” produced by Cameron Mackintosh. Mackintosh was making large shows that revolved around the spectacle of the theater. His performances were all about singing, dancing, and movement. Of course, they were also about the story, but the spectacle was equally as important.

Music Is Key

There’s both a connection and a separation between the music that folks are listening to on the street and the music in a Broadway musical that takes years to develop. Music is popular because people are listening to it right now, and it’s providing them with something at that moment. When people hear music from Broadway shows like “Tommy” outside of the theater, they question it. “What’s that sound? Where is it coming from? I’m not in the theater right now. I want to see the stories that are told with this sound.”

Because of this, you see many people trying to understand the global power of music. Lin-Manuel Miranda was able to pull all of that together in a way. He has this encyclopedic understanding of the hip-hop and rap phenomenon, and he also has a deep knowledge of the history of American musical theater.

Lin-Manual Miranda put his knowledge of music and history together in a wildly successful story about the founding figures of the United States and the American Revolution. The twist was that the cast was primarily made of people of color. This show was popping because it showed multiple forms and multiple ways to use them. Broadway can hold all kinds of stuff.

When starting a performing arts project from the very beginning, it’s important to understand exactly what kind of production you have. It’s very different to produce a piece that needs a very affluent audience, for example, than it is to produce a piece that would be perfectly happy downtown in one of these warehouses. An example might be when I first saw “Little Shop of Horrors” when it was done off Broadway, more like off off Broadway.

The paint was peeling on the walls, the springs were coming through the bald, frayed seats. You felt like you were taking your life in your hands to get down to that part of the East Village. When Audrey sang about somewhere that’s green, you really knew she needed to get somewhere that’s green. What that showed is that the producers of that piece, the creators of that piece, had a really solid understanding of the context that would serve that piece, especially at the beginning.

It often seems that when a young playwright has a first treatment of a script, or a young group of actors comes together and talks about wanting to create a piece of theater on a certain theme, that one member of the team might have one way of describing the theme, and the second, third, and fourth members might have something that was just a little bit different. My response is, “Are you sure you all want to make the same thing?” And again, it’s not about rigidity or making everything homogeneous, but it’s being able to answer that core specific question, “What is it? What is the thing that you want to make, and who do you want to make it for?”

I’m from Los Angeles, California, and I remember there was a performing arts group that I worked with that my grandma found from “LA Weekly” magazine or whatever. It was called “Rock Theater,” and we would sing rock music and theater music. It was my training ground because I was with other students, other young people, that loved what I loved. I was no longer this oddball. I could express myself and sing “Annie” at the top of my lungs and feel like other people would sing along and know the words.

Why am I sharing this part of my life with you today? I think it’s important to have a safe place in your community where you can go to truly express yourself and find acceptance. Theater is that for so many people. I know it was definitely that place for me.

Inspiration Found in Communities

I recently saw “Hercules” at the Public Theater as part of the Public Works program. The musical had professional actors. I had friends that were in it. But, then, the production also had actors from the local community who had never been on a stage before. They had to do their pieces. They had to make this production together.

It was so inspiring. They had people of all ages in it.

I think about it, and I remember myself as a young person. I think about how incredible it would have been to have shared a stage with professionals at a young age and just watch them and learn from them. Although I think it’s so important that Broadway is one stop and one place where incredible theater happens, never forget that amazing theater experiences can happen all over.

It’s important. It’s why I believe it’s important when I do a concert. It’s one of the things that I love because some people who attend say, “I could never make it to New York, but here you are singing this for me.”

Online Performing Arts Education

While pursuing a performing arts education and after, it’s important that you give back to your community. As far as you go, it’s important to look back and also take some people with you. Don’t ever forget where you came from wherever you go in life. Don’t ever forget that the more you give back to your community, the more your community continues to thrive and give back to everyone.

I would say that Broadway, in terms of musical theater, started in the 19th century. Most histories of musical theater point to a production called “The Black Crook,” which began in 1866.

It was this extravaganza. It was a five-and-a-half hours show. But people didn’t sit and watch the whole thing. They would see part of it, and then they would go to dinner. They might come back, play cards or throw things at the stage. If you were a theater-goer in 1866, you would also talk a lot. Theater was a very raucous and public kind of activity back then. The modern equivalent would be like you playing a TV loudly in the background.

Why Is “The Black Crook” Important?

“The Black Crook” didn’t really have a plot. It had pyrotechnics. It had all kinds of lighting and stage effects. At that time, theaters kind of resembled navy battleships. The lower levels looked like engine rooms, and they had these massive machines that could change the sets very quickly and do all kinds of amazing things.

“The Black Crook” also had ballet dancers. In the production’s origin story, this troupe of ballerinas were going to perform, and, supposedly, the theater where they planned to perform burned down. Theater fires happened a lot back in those days, especially when using gas lighting in structures made of wood and decorated with fabric.

But, supposedly, this troupe of ballerinas and production were in this theater, and they decided to produce this special dance routine. In it, the ballerinas were naked. I don’t really mean “naked,” but at the time they were wearing clothes considered very, very scandalous for that era.

“The Black Crook” was a very risqué, burlesque kind of thing. And, yet, it went on and on for 474 performances. It was this phenomenon.

Online Performing Arts Education

From “The Black Crook,” we can learn, as performers and other performing arts professionals and students, a lot of interesting things about theater, productions and audiences. We discover that stage effects and taboo displays can sometimes be enough to make a show that doesn’t have much of a plot a huge success. We learn that an interesting origin story makes a production a memorable historical event. During a performing arts education course, we can also learn through historical accounts of mistakes by past theater crews more about important safety concerns.