Exploring Life in the Pit - Nov 2015
AFM International Musician November 2015
Cover Story by: Cherie Yurko
Cover Photo by: Jay Mallin
Exploring Life in the Pit
The job of pit musicians is unique in many ways. Eric J. Stockton (guitar), Nick Williams (keyboard/associate conductor), and Shannon Ford (percussionist) of Local 802 (New York City) are touring with Beautiful: The Carole King Story.
Eric J. Stockton
Eric Stockton’s first theater experience was subbing for a dinner theater production of Big River in Phoenix, Arizona. He relocated to New York City in 2011, where he subbed for Big Apple Circus, and then the Broadway revival of Godspell. Eventually he was offered a chair on the national tour of Flashdance, then the Broadway show Soul Doctor and Rocky at the Winter Garden Theater. When Rocky closed, he asked a friend how to keep the party going. He said, “Tell the contractors you’ll tour.” Stockton worked on Kinky Boots’ first national tour before touring with Beautiful.
Q. What attracts you to this work?
It’s show business, so it’s a fun scene. You get to work with musicians of the highest caliber in the pits in New York City. Plus, there’s a union contract, so there are benefits and rules for time off, etc. On the road it becomes a little harder because you can’t sub out as easily, but still, the touring bands, and many of the local musicians, are excellent at their craft and it’s fun to belong to a group of traveling gypsies.
Q. How do you keep your playing fresh and energetic when performing the same tunes night after night?
The show keeps evolving in ever so subtle ways. On the Beautiful tour the songs are so great that playing them doesn’t ever get stale. I don’t necessarily play the same thing all the time. On other shows that’s more important. I’m not necessarily improvising, but as a rhythm section player, there’s room to change it up.
Q. How has AFM membership helped you?
I get health insurance, if I work enough union contracts. The pension will help me in retirement. I purchase affordable instrument insurance through the union. Beyond that, it’s a network of players who, like myself, wish to make a living playing my instrument.
Q. What tips do you have for young musicians interested in working in a musical theater pit?
Try to find what inspires you musically and work on that. Broadway is a good gig, but I think it should only be a part of your career portfolio. My heroes are Bob Dylan, Eddie Van Halen, Frank Zappa, and Miles Davis—I don’t think they ever played in a pit. Maybe Zappa did, once.
Q. What aspect of playing for musical theater might surprise other musicians?
There is a ton of work involved in learning to play a book the way it should be played, whether subbing or on your own chair. This should not be taken lightly.
Q. Do you have any side projects?
While on the road, a lot of my side projects fall by the wayside. In October I went to New York City to record with a songwriter friend. Also, my partner in crime, Dillon Kondor [of Local 802], has a new record coming out that I played on. I hope to play more live gigs with his band, Kondor. There’s a recording of my tunes called Roots on iTunes and at ericstockton.net.
Q. What gear would you never leave home without?
Fingernail clippers for sure, and I just bought a very sweet Fender Custom Shop Nocaster that I am loving dearly on the road with Beautiful!
Nick Williams
Nick Williams has played the piano for musical theater for 27 years. He studied acting in college, but started arranging and music directing on the side. Soon after graduation he realized music was his passion. He took on as many projects as possible, working his way up to play and conduct off-Broadway, as well as for nine national tours.
Q. What attracts you to this work?
Musical theater can encompass such a broad range of musical styles. We still have the traditional Broadway sound, but people are finding fantastic new ways to tell stories through all kinds of styles. Touring is such a unique experience— taking a show across the country and seeing different audiences enjoying it.
Q. How do you keep your playing fresh and energetic when performing the same tunes night after night?
That’s never been an obstacle, although maybe I’ve been lucky to work on shows with music I love. There are always things to work on and discover in the scores. Beautiful has such satisfying, groovy music and profound lyrics—both have huge cultural resonance. The arrangements make the show a blast to play, so it’s not hard to enjoy this music every night. Not to mention, the rest of the traveling gang (Sue, Shannon, and Eric) are great fun and terrific musicians.
Q. How has AFM membership helped you?
Having a union that protects the musicians’ best interests is essential to doing what we do, especially when you throw in the variable of traveling. The AFM agreements, and knowing they’re there for us, provide the security and support to be able to do our jobs even better.
Q. What tips would you have for young musicians interested in working in a musical theater pit?
Get yourself out there. Do festivals, do readings, play for cabarets, see shows, and meet people. Be familiar with many styles, be open to learning from others, stay up on the technology of your instrument, and above all: be kind, proactive, and responsible.
Q. What aspect of playing for musical theater might surprise other musicians?
It surprises even me how many patrons come down to the pit to tell us how much they loved the orchestra. It’s easy to forget that there is almost always a musician in the audience, professional or not, who plays your instrument, hears exactly what you’re playing, and appreciates it.
Q. Do you have any side projects?
Lately, my focus has been on Beautiful, I do transcriptions, audition/vocal coaching, etc., while on the road. You can find information about my recent undertakings at: www. katonkeyz.com. I’m always looking for fun side projects.
Q. What gear would you never leave home without?
I travel with an Axiom 49 key controller with an interface, along with lots of sample libraries. My road MacBook Pros are loaded with Ableton, Logic, Mainstage, and other fun audio stuff. I’ve also got a Bluebird cardioid condenser mic in my trunk for recording.
Shannon Ford
Shannon Ford moved to New York City in 1992 and began subbing for Broadway and off-Broadway shows. His first show was The Who’s Tommy, which he describes as “one of the scariest experiences of my life.” Ford continued to network within the community, taking advantage of every workshop, he could find.
Q. What attracts you to this work?
I like the discipline and high standards of the people in this community. Playing shows has improved my focus and consistency as a musician. Pension and health insurance aren’t bad things to have, either!
Q. How do you keep your playing fresh and energetic when performing the same tunes night after night?
I don’t find it difficult playing the same songs nightly. Sometimes it’s a challenge to stay focused, but I try to remember what it feels like to be the guy that just played the biggest clam of the night. It’s about that and being true to your work ethic in the first place.
Q. How has AFM membership helped you?
The union has established guidelines that allow me to earn and protect a living wage as a musician. Thanks, you guys!
Q. What tips would you have for young musicians interested in working in a musical theater pit?
As a rhythm section player, I encourage young musicians to spend time in a real band. There is a social dynamic and style of performance that I believe you can only get from that experience, and it is useful in a pit. Learn as many styles as you can, and make peace with the give and take required to work effectively with a conductor. Drummers, learn to make up a part while sight-reading a 26-page piano/vocal score. (Bring scotch tape and some white-out.) You’ll thank me later! Also, get familiar with how a musical theater company is run. It’s taken me forever to figure out who does what in which department!
Q. What aspect of playing for musical theater might surprise other musicians?
I tend to get hired by good relationships with musical directors and composers, as well as by contractors. Establish them and maintain them. They are a bigger part of the equation than many realize.
Q. Do you have any side projects?
Since I’m touring, my days are generally freer than they have been in a while, so I’m practicing more and improving my production and composition skills.
Q. What are a few pieces of gear that you would never leave home without?
My Nespresso espresso machine! Can I get an endorsement?
