Broadway show percussion or the role of the Broadway show percussionist is quite unique.  While other members of a typical Broadway show orchestra play just one instrument the Broadway show percussionist is expected to play many different instruments.  It’s not uncommon for a Broadway show percussionist to have as many as 50 or more instruments in a set up.  These percussion instruments can range from tuned percussion instruments such as orchestra bells, xylophone, marimba, chimes and tympani to non-tuned percussion such as drumset, hand cymbals, concert bass drum, triangle, wood block and cowbell.  In addition, ethnic percussion instruments such as congas, bongos, cajon, djembe, dumbek, and afuche are used often.

       Why are Broadway show composers so drawn to using percussion?  First, for the same reason percussion has become such an important component of  20th century orchestral music.  Percussion gives a composer an infinite choice of colors and timbre to accent the music.  From the very highest sounds which might come from a small metallic percussion instrument such as a crotale or energy chime (ex. Sondheim’s Sunday in the Park with George) to the lowest deepest sounds in the orchestra such as an odiako drum or tam tam (ex. Schonberg’s Miss Saigon).  This gives the orchestra an expanded and really unlimited range.  An orchestra without percussion would be like playing a piano and only using the middle 4 octaves of keys.

      The second reason percussion has become important to Broadway show composers is because usually just one or two percussionists are needed to cover a large variety of instruments.  In a Broadway pit space is limited and the number of musicians who can be hired is limited. Using a percussionist makes a lot of sense because the percussionist can produce so many sounds acoustically. Acoustically is the key word.  There really is no greater listening pleasure than to hear a group of acoustic instruments played together.  All composers, musicians and seasoned musical theatre patrons will agree a recorded or synthesized version of the same music is no comparison.

      Something which is not well known is watching a Broadway show percussionist perform can be a show in itself.  The set up often surrounds and towers over the percussionist.  Sitting in the pit to watch a percussionist play can be a real treat but is often limited to just other percussionist learning the show.  I think if this could be sold as a special behind the scenes ticket by itself many would be amazed.

       The alternative is a show in which the orchestra can easily be seen from the house.  An example of this is the Phantom Of The Opera production scheduled to open at the Players Theatre in New York City in April 2010.  The orchestra consists of 2 percussionists and cello. The cello has a very big range and its classical somber timbre is a perfect blend for this show.  All the music including the singing is acoustic.  This really allows a full range of intimate musical interaction between the musicians and vocalist.  In a traditional classical music concert musicians and singers are never amplified. The interaction is pure and truly live.  In the production of the Phantom Of The Opera by Michael Sgouros and Brenda Bell this is the musical experience.  New York musical theater which is intimate, authentic, visual and dynamic.