An all-Yamaha piano orchestra refreshes an American musical classic
How do you update a 56-year-old musical based on an 80-year-old novel, without changing a single word or note of music? Director Drew Scott Harris pondered that question when he signed on to stage an autumn production of Gentlemen Prefer Blondes at the Westchester Broadway Theatre, the longest running professional theater in New York State.
The answer came in a flash of inspiration brought to life by four Yamaha Conservatory Grand Pianos. After hearing an all-piano recording of the West Side Story Suite, it occurred to Harris that an innovative way to refresh the music, as well as the staging of this musical classic, would be to use an all-piano orchestra. He turned to Musical Director Ken Lundie to spin his idea into reality. Embracing the challenge, Lundie gathered a talented team of arrangers to distill the Jule Styne orchestral score, which included strings, horns, reeds and keyboards.
While old-fashioned, "Gentlemen Prefer Blondes" continues to charm audiences as it chronicles the adventures of two gold-digging Ziegfeld Follies chorus girls in the roaring twenties. The concept evolved throughout many formats during the twentieth century, starting as a 1925 novel which morphed into a Broadway play in 1926 and silent movie in 1928. A Broadway musical starring Carol Channing was produced in 1949. Audiences, however, are most familiar with the 1953 silver screen adaptation, which featured Jane Russell and launched the career of a then little-known actress named Marilyn Monroe.
This 21st century version features a lush orchestration performed by four pianists and a percussionist. "To my knowledge this is a unique concept that has no precedent," says Lundie, who also serves as a rehearsal pianist for the Radio City Rockettes.
While Lundie was experienced in staging all-piano musicals, this production would have its own unique set of challenges. For one thing, the stage required reinforcement before placing the pianos on it. Even so, the instruments were at first rolled out two inches at a time, as there were concerns that the stage might collapse. "It was like moving the space shuttle," Lundie quips. "The process was quite overwhelming, but it turned out quite beautifully."
Sam Varon, Vice President of Frank & Camille's, whose Hartsdale, New York store provided the pianos for the show, agrees. "The pianos performed and held up wonderfully and really helped the Westchester Broadway Theatre put its own stamp on this musical comedy classic."
"The audience hears the sound of the Yamahas and they forget that they're not listening to a full orchestra. It is so rich, full and exciting," continues Lundie. "These are incredible instruments, they are extremely well built. They also hold their tune extremely well, which is great because we played these pieces like we're chopping wood!"
"The pianos roll back and out during the beginning of the show - they are not even supposed to be moved once - and still we only tuned them once a week," marvels Lundie.
And according to Lundie, the pianos offer far more than just impressive tuning stability. "They respond well to touch. They can sound like a music box, or bells. We create this illusion by touch and attack. That is the sign of a great piano."
The piano playing in the show, as well as the placement of a Disklavier Mark III in the lobby of the theater also had an unexpected effect: it created such interest in piano lessons among the audiences that the theatre had to compile a list of local piano teachers to keep up with the inquiries.
"People are struck with the accuracy and articulation of the Disklavier," he says. "I wish I could play Chopin as well as the player piano. It sometimes makes me angry as I walk by," he says, joking. "People have just adored it."
For more information, write Yamaha Corporation of America, Piano Division, P.O. Box 6600, Buena Park, CA 90622, telephone (714) 522-9011, or e-mail infostation@yamaha.com.
 Brandi Wooten (Lorelei Lee), Blondes Musical Director Ken Lundie and Pamela Jordan (Dorothy Shaw) |
While old-fashioned, "Gentlemen Prefer Blondes" continues to charm audiences as it chronicles the adventures of two gold-digging Ziegfeld Follies chorus girls in the roaring twenties. The concept evolved throughout many formats during the twentieth century, starting as a 1925 novel which morphed into a Broadway play in 1926 and silent movie in 1928. A Broadway musical starring Carol Channing was produced in 1949. Audiences, however, are most familiar with the 1953 silver screen adaptation, which featured Jane Russell and launched the career of a then little-known actress named Marilyn Monroe.
This 21st century version features a lush orchestration performed by four pianists and a percussionist. "To my knowledge this is a unique concept that has no precedent," says Lundie, who also serves as a rehearsal pianist for the Radio City Rockettes.
While Lundie was experienced in staging all-piano musicals, this production would have its own unique set of challenges. For one thing, the stage required reinforcement before placing the pianos on it. Even so, the instruments were at first rolled out two inches at a time, as there were concerns that the stage might collapse. "It was like moving the space shuttle," Lundie quips. "The process was quite overwhelming, but it turned out quite beautifully."
Sam Varon, Vice President of Frank & Camille's, whose Hartsdale, New York store provided the pianos for the show, agrees. "The pianos performed and held up wonderfully and really helped the Westchester Broadway Theatre put its own stamp on this musical comedy classic."
"The audience hears the sound of the Yamahas and they forget that they're not listening to a full orchestra. It is so rich, full and exciting," continues Lundie. "These are incredible instruments, they are extremely well built. They also hold their tune extremely well, which is great because we played these pieces like we're chopping wood!"
"The pianos roll back and out during the beginning of the show - they are not even supposed to be moved once - and still we only tuned them once a week," marvels Lundie.
And according to Lundie, the pianos offer far more than just impressive tuning stability. "They respond well to touch. They can sound like a music box, or bells. We create this illusion by touch and attack. That is the sign of a great piano."
The piano playing in the show, as well as the placement of a Disklavier Mark III in the lobby of the theater also had an unexpected effect: it created such interest in piano lessons among the audiences that the theatre had to compile a list of local piano teachers to keep up with the inquiries.
"People are struck with the accuracy and articulation of the Disklavier," he says. "I wish I could play Chopin as well as the player piano. It sometimes makes me angry as I walk by," he says, joking. "People have just adored it."
For more information, write Yamaha Corporation of America, Piano Division, P.O. Box 6600, Buena Park, CA 90622, telephone (714) 522-9011, or e-mail infostation@yamaha.com.
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