Before I begin I have one question: How DEAD do I look in this picture?
I title this picture: "Jet Lag"
(Look how blood shot my eyes are... oye)
I usually -- don't look that... strung out in the morning. Oh, but this was taken at like 4pm this afternoon. It's sexy...
Anyway - so I have many a story about the whole musical aspect of the trip to China to share with all of you :)
Overall I thought the production went really really well. For those of you who don't know - we put on a Musical Drama with the Hubei Dance and Orchestra Company. It's titled, "The Dream of Helen" and is about Helen Foster Snow's compassion toward the Chinese people in the earlier part of the 1900s.
When we arrived it wasn't long before we started rehearsing with the dancers. Like day three. And we were set up really oddly in the pit in the theatre. So instead of the brass on the side with the percussion, it was the woodwinds. So essentially -- I had the piccolo player, and Dr. Vartan on Timpani in the same ear and in the space less than three feet away from me. It was loud - especially with the composer (Lou) wanted us to play "A-thousand forte." I've never, in my life, been asked so many times... to play louder. Ever.
To make it even more... traumatizing (?), Dr. Vartan has this particular part toward the very very end of the production where she hits these two eighth notes at the end of the measure... for a while. It's super catchy, but super loud. It was rather jolting. And the Piccolo has these obscenely high trills (like sounding two octaves over anything else that is going on) during the nightmare part of the end of the show and... that was always so wonderful to hear. It's okay though -- I laughed on this inside because she did a really good job and I feel her pain.
We moved to the really nice theatre for a dress/tech rehearsal on the Friday and Saturday before we left to come back to the States. There's something about the people of Wuhan you need to understand. It's hot and humid. To me, almost unbearably so. And they won't turn the AC on until it's time to rehearse. So, if you're like Tashina, Heather and myself and want to run through some fast passages BEFORE rehearsal -- you're going to sweat half your body weight off...
But my ultimate point is that when you've got a full orchestra in a pit and don't turn the AC on before we all cram in there... we're NEVER going to feel the air. Ever. We're just going to sweat, and blow hot air through the woodwinds and brass and then we're going to start stinking and we're going to be pissed off and we're not going to play our best. Poor brass guys and having to find partials... I was slipping on my instrument...
I've decided to get all my more depressing stories out of the way before I talk about the funny ones. The principle violist. Was a guy. And he had a really beautiful solo in one of the parts, but the composer decided to change it to a Cello solo -- for volume, richness of sound, whatever. And, something about that killed me!
There's something about his face, and his mannerism that caught me off guard a bit. He was so quiet, and he wasn't fidgety, but I could tell when he was uncomfortable because he would sort of play with his hands, or with his bow. And I would just want to cry -- and here's the weird part. He's a grown man, and he's probably just quiet and just going with the flow. This is the way the world works right? But he looked... so sad. It killed me...
And I'm just going to say this quickly - due to intense heat and another performance looming merely hours later -- we totally screwed up big time like three or four times during the Matinee performance the fourth day we were performing...
Sweat. We were like 60 sardines.
Oh -- not to mention the Stairs of Doom
One of the highlights, for me, was getting the opportunity to play the Native American Flute part on the Funeral March part of the production. I guess Helen's body guard dies, and the whole scene is just the N.A. Flute and Helen dancing and stuff like that. To keep with the symbolism of sharing our cultures, Lydia got to play a few parts on these flutes but I only played this particular one. It's sad, and depressing. It sighs but it's beautiful, too. I felt like I was milking it for all it's worth and I want to thank the other musicians from SUU who went too for their support and their compliments. I always looked forward to playing that.
On a funnier note, the Flute had to get passed from Lydia to myself in a matter of a few minutes. It went through about seven people before it would get to me and the person who handed it to me was always the first oboe player. He has a really good sense of humor. One night, he tried to hand me his oboe instead. I laughed, because I think it's very clever and funny. However, part of me panicked like "Um... give me the flute. Now."
Because I'm sort of intense like that.
And there was a night where it ended up in the Low Brass section to get passed... and they wanted to keep it. Go figure. The BRASS PEOPLE messing with me! Even in China!
There was also this one part - where the Cello's totally grooved out to their part, which was just the beat. They drove the melody and other things that were going on right there. I think it was just accented, short, quarter notes. But ... haha... they loved every single second of it!!!! It was fun to watch....
One of my favorite quotes of the trip:
"Piccolos happen." - Mike


