This is so low energy. The Dolly videos, as much as I adore her, did not help. The band is playing behind the beat and the actors, except for the woman playing Doralee, seem like they couldn’t care less. Totally missing the momentum of the number the way it was originally arranged.
God how and why did I land on this video? I am so thoroughly confused to see Dolly Parton in the opening of what appears to be a community theatre production of “9 to 5.” (Don’t get me wrong … nothing wrong with community theatre. I’m just confused as to what I’m seeing.) Considering my situational awareness here is about nil, I should mind my own business and move along but I have to lob two things out there. 1 - I love the blocking at 5:30 where three cast members crash into one another at full speed. I hope OSHA was notified of this workplace hazard. Good lord. 2 - There ought to be a law against crappy pit orchestras. The one howling in the background of this production should be the first to be abolished by the new law (I’m also envisioning complete and utter bi-partisan support for this new law). There exists a point along the musical theatre continuum (which I’ve just made up in my head) where it serves the production to dump the orchestra when it becomes clear the orchestra is going to suck. It doesn’t matter what’s happening up on stage. The law is independent from that - it applies to the orchestra only. A good orchestra isn’t going to help you if your production is a disaster. But if you have a decent show shackled to a terrible orchestra, people will hit the bar at intermission and many won’t come back. So, if your orchestra sucks, a better option is to stick with two people in the pit - • A good pianist • A good percussionist who promises to handle the AUX needs only and will put the drum sticks down. They must embrace the wood block and chimes. No trap set allowed in this configuration. None. Usually bad pit orchestras are anchored by a trumpet player turned air horn operator who is seriously over confident in their abilities … and a percussionist thrilled to have been liberated from the constraints (volume limitations) placed upon them by their band director who is now going to live out their fantasy of playing the drums for Rush (even if it’s “Kiss Me, Kate” they just think of it as Rush with a touch of Cole Porter). All you need is that good pianist and a person to hit the wood block if needed. Done. I have never seen a good pit orchestra save a terrible show - but I have seen awful orchestras sink a great show. I’ve been in some of those orchestras myself. I played in the orchestra for a production of “Into the Woods” that caused 40% of the audience to flee for their lives at intermission.
Agnes Kuzoraunye probably came with the licensing when agreed to produce the show. If I’m not mistaken the tour/UK versions (which has this Dolly) intro is the one that is being licensed regionally and amateur rights.
God how and why did I land on this video? I am so thoroughly confused to see Dolly Parton in the opening of what appears to be a community theatre production of “9 to 5.” (Don’t get me wrong … nothing wrong with community theatre. I’m just confused as to what I’m seeing.) Considering my situational awareness here is about nil, I should mind my own business and move along but I have to lob two things out there. 1 - I love the blocking at 5:30 where three cast members crash into one another at full speed. I hope OSHA was notified of this workplace hazard. Good lord. 2 - There ought to be a law against crappy pit orchestras. The one howling in the background of this production should be the first to be abolished by the new law (I’m also envisioning complete and utter bi-partisan support for this new law). There exists a point along the musical theatre continuum (which I’ve just made up in my head) where it serves the production to dump the orchestra when it becomes clear the orchestra is going to suck. It doesn’t matter what’s happening up on stage. The law is independent from that - it applies to the orchestra only. A good orchestra isn’t going to help you if your production is a disaster. But if you have a decent show shackled to a terrible orchestra, people will hit the bar at intermission and many won’t come back. So, if your orchestra sucks, a better option is to stick with two people in the pit - • A good pianist • A good percussionist who promises to handle the AUX needs only and will put the drum sticks down. They must embrace the wood block and chimes. No trap set allowed in this configuration. None. Usually bad pit orchestras are anchored by a trumpet player turned air horn operator who is seriously over confident in their abilities … and a percussionist thrilled to have been liberated from the constraints (volume limitations) placed upon them by their band director who is now going to live out their fantasy of playing the drums for Rush (even if it’s “Kiss Me, Kate” they just think of it as Rush with a touch of Cole Porter). All you need is that good pianist and a person to hit the wood block if needed. Done. I have never seen a good pit orchestra save a terrible show - but I have seen awful orchestras sink a great show. I’ve been in some of those orchestras myself. I played in the orchestra for a production of “Into the Woods” that caused 40% of the audience to flee for their lives at intermission.
AMAZING EVERYONE IS SO TALENTED those girls killed it! And what a amazing ensemble!!
This is so low energy. The Dolly videos, as much as I adore her, did not help. The band is playing behind the beat and the actors, except for the woman playing Doralee, seem like they couldn’t care less. Totally missing the momentum of the number the way it was originally arranged.
God how and why did I land on this video?
I am so thoroughly confused to see Dolly Parton in the opening of what appears to be a community theatre production of “9 to 5.”
(Don’t get me wrong … nothing wrong with community theatre. I’m just confused as to what I’m seeing.)
Considering my situational awareness here is about nil, I should mind my own business and move along but I have to lob two things out there.
1 - I love the blocking at 5:30 where three cast members crash into one another at full speed. I hope OSHA was notified of this workplace hazard. Good lord.
2 - There ought to be a law against crappy pit orchestras.
The one howling in the background of this production should be the first to be abolished by the new law (I’m also envisioning complete and utter bi-partisan support for this new law).
There exists a point along the musical theatre continuum (which I’ve just made up in my head) where it serves the production to dump the orchestra when it becomes clear the orchestra is going to suck.
It doesn’t matter what’s happening up on stage. The law is independent from that - it applies to the orchestra only.
A good orchestra isn’t going to help you if your production is a disaster.
But if you have a decent show shackled to a terrible orchestra, people will hit the bar at intermission and many won’t come back.
So, if your orchestra sucks, a better option is to stick with two people in the pit -
• A good pianist
• A good percussionist who promises
to handle the AUX needs only and will
put the drum sticks down.
They must embrace the wood block
and chimes.
No trap set allowed in this
configuration. None.
Usually bad pit orchestras are anchored by a trumpet player turned air horn operator who is seriously over confident in their abilities …
and
a percussionist thrilled to have been liberated from the constraints (volume limitations) placed upon them by their band director who is now going to live out their fantasy of playing the drums for Rush (even if it’s “Kiss Me, Kate” they just think of it as Rush with a touch of Cole Porter).
All you need is that good pianist and a person to hit the wood block if needed. Done.
I have never seen a good pit orchestra save a terrible show - but I have seen awful orchestras sink a great show. I’ve been in some of those orchestras myself.
I played in the orchestra for a production of “Into the Woods” that caused 40% of the audience to flee for their lives at intermission.
Where's the Energy ? Voices are Beautiful !
Where did u get the video dolly
Agnes Kuzoraunye probably came with the licensing when agreed to produce the show. If I’m not mistaken the tour/UK versions (which has this Dolly) intro is the one that is being licensed regionally and amateur rights.
Amazing!
where do they those dolly videos? I've been trying to find them for months now
Is the entire show available to watch any where on line?
No. Not through our station. The Art Center may have a complete copy.
Of dolly
God how and why did I land on this video?
I am so thoroughly confused to see Dolly Parton in the opening of what appears to be a community theatre production of “9 to 5.”
(Don’t get me wrong … nothing wrong with community theatre. I’m just confused as to what I’m seeing.)
Considering my situational awareness here is about nil, I should mind my own business and move along but I have to lob two things out there.
1 - I love the blocking at 5:30 where three cast members crash into one another at full speed. I hope OSHA was notified of this workplace hazard. Good lord.
2 - There ought to be a law against crappy pit orchestras.
The one howling in the background of this production should be the first to be abolished by the new law (I’m also envisioning complete and utter bi-partisan support for this new law).
There exists a point along the musical theatre continuum (which I’ve just made up in my head) where it serves the production to dump the orchestra when it becomes clear the orchestra is going to suck.
It doesn’t matter what’s happening up on stage. The law is independent from that - it applies to the orchestra only.
A good orchestra isn’t going to help you if your production is a disaster.
But if you have a decent show shackled to a terrible orchestra, people will hit the bar at intermission and many won’t come back.
So, if your orchestra sucks, a better option is to stick with two people in the pit -
• A good pianist
• A good percussionist who promises
to handle the AUX needs only and will
put the drum sticks down.
They must embrace the wood block
and chimes.
No trap set allowed in this
configuration. None.
Usually bad pit orchestras are anchored by a trumpet player turned air horn operator who is seriously over confident in their abilities …
and
a percussionist thrilled to have been liberated from the constraints (volume limitations) placed upon them by their band director who is now going to live out their fantasy of playing the drums for Rush (even if it’s “Kiss Me, Kate” they just think of it as Rush with a touch of Cole Porter).
All you need is that good pianist and a person to hit the wood block if needed. Done.
I have never seen a good pit orchestra save a terrible show - but I have seen awful orchestras sink a great show. I’ve been in some of those orchestras myself.
I played in the orchestra for a production of “Into the Woods” that caused 40% of the audience to flee for their lives at intermission.