Musical Theater gig - short run -subbing?

[basss]

I've been offered a job playing for a musical. It's a college production running for 2 weeks. I'll need to sub out a couple days if I take the gig. I know subbing is a regular thing on the Broadway circuit but for shorter runs and 'less pro' situations like this what is the proper way to handle it? Should I tell the MD up front or just take the gig and worry about subs later? I definitely could use the money and would rather not pass it up. OTOH if I tell him I'll need to sub a couple days out of the 2 week run he might just find someone else.

 

[tzadik]

Um, I'd tell him straight away, "Yes, I can do the gig, and on the 2 days I can't, my trusty backup person Jon Doe has agreed that he can do it."

 

[Michael Vee]

Should I tell the MD up front or just take the gig and worry about subs later?

The music director should ALWAYS be informed of your exact schedule and availability on the front end before you are hired. Failing to do so, with a sub showing up unexpectedly one night, will be a worse consequence that not getting the gig on the front end.

M.D.s are generally very flexible about players needing a sub for some dates, as long as they know in advance that the sub will be ready for the gig when it's time. There is nothing worse than a show band getting the music down and the timing is right on throughout the performance, and then an unprepared sub comes in and blows the cues and feels. It isn't fair to the other players, the actors, and the audience.

So, be upfront about this and be mellow if you don't get the gig. I'd say it's more likely you WILL get the gig than not. Let us know.

 

[BassChuck]

+1 on honesty.

He may not like it, but at least he knows his problem (having a bass player for every show) is covered. If you don't tell him and just send a sub, he probably will label you as untrustworthy.

 

[basss]

Thanks all

I wasn't going to just have a sub show up unexpectedly. Rather I would accept the gig, do the first reheasal to ensure that I'm in, and then let him know a week in advance.

 

[bradjonesbass]

Thanks all

I wasn't going to just have a sub show up unexpectedly. Rather I would accept the gig, do the first reheasal to ensure that I'm in, and then let him know a week in advance.

Don't do that either. Just tell him your schedule up front. Make sure your sub is there for some rehearsal time too. That way he knows his timing and cues and if there are any changes from the written score.

 

[basss]

Thanks guys
Yeah I'll tell him up front.
This is what I think I would have done anyways. I wouldn't have felt right about being sneaky about it and it probably would have looked shady if I told him later. Just needed some moral support I guess. Wish me luck.

 

[bradjonesbass]

break a leg

 

[Ed Fuqua]

NOT telling him upfront is a surefire way to make sur eyou NEVER EVER work for that particular contractor and pretty much anybody he talks to EVER again. If it were me, I'd probably go ahead and just recommend somebody to do the gig and be a Big Star in two cats books (the contractor and the sub) because for a two week run subbing out a couple of nights is a lot of trouble (for the sub AND the MD). On Broadway (and Off) there are standards/rules - you can't really start subbing until you have been ON the job for a specific amount of time. Generally the guys you are subbing the job out to have already been working on the book, they've already attended rehearsals and performances of the show (in the pit). A buddy of mine subs Broadway a lot and apparently a few conductor/MDs have DVDs of them conducting the show so that potential subs working on the book with a soundtrack can actually follow all of the cues, countoffs, cuts etc. before they even get to the pit.


At any rate, a joke I heard recently-

National ballet troupe is touring the US with their orchestra and in one small town their percussionist is taken ill. They make a frantic call to the AFof M local and get a recommendation for a jazz drummer who has done a lot of vaudeville and variety shows, can read fly ****, the whole deal. They say great, downbeat's at 7. After the show, the MD calls the drummer backstage and fires him, saying that this was the worst performance he's ever heard form a professional musician. The drummer says "What's the big deal, I caught everything!?!"

 

[Norwegianwood]

Thanks for an insightful reply there, Ed.

Talking to the contracter is surely the way to go. If he´s totally cool with it and you really want the gig - take it. But if it comes off as a drag - go for Eds option. (That will probably just give you even more gigs in the long run. )

But off course this depends on your giggin situation as well as this particular job. Good luck, anyway!!

 

[basss]

I emailed the MD a couple days ago letting him know the full situation. Turns out I would only really need to sub out 1 service. I haven't heard back. I'm assuming he went to the next guy on the list. I figured that would probably happen which is why I was considering the backdoor route. I guess it wasn't meant to be. Most likely I'll have a couple things pop up between now and then and will probably end up making about the same scratch anyways. I appreciate all the replys y'all.

 

[basss]

Further update: The MD just called and I got the gig - subs and all. I guess they were deperate.

 

[alembicguy]

I did a Blues Brother run a while back for 4 weeks and the MD was cool with a sub as long as I was confident he was a capable player it was cool.

 

[bradjonesbass]

Further update: The MD just called and I got the gig - subs and all. I guess they were deperate.

and I'm sure your honesty will net you the next one too, as long as you play well during the run - and don't pick a sub who's too much better than you

 

[Baleen]

+1 on being up front about it.

Even if it's a student production that might not pay a great deal, I would try to get a sub who will/can come in to listen and watch (in the pit if feasible) so both the sub and the MD feel comfortable.

Also, letting the MD/contractor know ahead of time of preexisting conflicts can also be better as the MD/contractor might be of some help finding a sub (one they're comfortable with). It also, in some situations, leaves you less on the hook because everyone knew going in that you couldn't cover a particular night.

 

[Jeff Constantine]

Anyone know of any contacts I can start calling to see about getting involved in the theater circuit?

 

[E2daGGurl]

Anyone know of any contacts I can start calling to see about getting involved in the theater circuit?

Start with your local community colleges, universities (if any) and even high schools. Colleges and universities usually have their full directory online. Make sure your email name is your own name and that your subject line is professional and informative.

Email both the theater department faculty and the music department faculty. You may not hear back from them, but they will file your email somewhere just in case. OTOH, you may get a gig right away!

If there's local community theater, even if it's seasonal, contact any directors and production managers.

You can also go to the plays, find out who is playing and contact them for practice.

 

[ForSix]

You can probably take the gig on your terms if it's a college show, but in a pro show, you'd have to sign a contract agreeing to play the whole show and any rehearsals they deem necessary for you to attend.

Pro or amateur, though, you must tell the musical director your conflicts before you take the gig.

Show people are deadly serious about this kind of thing. It's worse than playing in church.

 

[fdeck]

+1 about being up front. Bandleaders hate surprises.