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Beetlejuice - Joshua Mark Samuels

Joshua Mark Samuels' percussion setup for the Broadway production of Beetlejuice at the Winter Garden Theatre.

Joshua's write-up below photos.

Joshua Mark Samuels' percussion setup for the 2109-2020 Broadway production of Beetlejuice at the Winter Garden Theatre.Joshua Mark Samuels' percussion setup for the 2109-2020 Broadway production of Beetlejuice at the Winter Garden Theatre.Joshua Mark Samuels' percussion setup for the 2109-2020 Broadway production of Beetlejuice at the Winter Garden Theatre.Joshua Mark Samuels' percussion setup for the 2109-2020 Broadway production of Beetlejuice at the Winter Garden Theatre.Joshua Mark Samuels' percussion setup for the 2109-2020 Broadway production of Beetlejuice at the Winter Garden Theatre.Joshua Mark Samuels' percussion setup for the 2109-2020 Broadway production of Beetlejuice at the Winter Garden Theatre.Joshua Mark Samuels' percussion setup for the 2109-2020 Broadway production of Beetlejuice at the Winter Garden Theatre.Joshua Mark Samuels' percussion setup for the 2109-2020 Broadway production of Beetlejuice at the Winter Garden Theatre.Joshua Mark Samuels' percussion setup for the 2109-2020 Broadway production of Beetlejuice at the Winter Garden Theatre.Joshua Mark Samuels' percussion setup for the 2109-2020 Broadway production of Beetlejuice at the Winter Garden Theatre.

"Beetlejuice is one of the best percussion scores I've been blessed to develop and play on Broadway. There are five of us (drums, percussion, bass, and two guitars) in the back room at the Winter Garden Theatre, with the rest of the musicians in the actual pit. This setup really lends itself to a very complete sounding rhythm section, as we are not split up throughout the theatre. The crew put clear glass panels up so everyone could see each other, which really helped 'gel' our sound. As you can see from some of the pictures, I had a lot of fun decorating the room.

Kris Kukul, who orchestrated the show, really wanted to embrace the strange, weird, and kooky emotions that emulated Beetlejuice, both the character and the show. This came out in a score full of bizarre and eclectic sounds, which added to the creepy atmosphere, comedy, and fun, in the world of the dead. Kris wrote some really challenging and non-stop percussion parts, which included fun toys like a waterphone, boxing bell, and flexatone, just to name a few. Some changes from xylo to timp were so fast that I couldn't switch mallets. My solution was to put mole skin on one side of a hard xylo mallet so I could quickly turn the mallet to the 'softer side' for timp hits and rolls. I also used many different types of 'swizzle' sticks. In addition to these stick 'tricks', I've added a foot cowbell and foot tambourine to play multiple parts simultaneously.

One thing that I was very pleased with, although not my original idea, was to use two finger cymbals and two Miller Finger Cymbal Machines together. I think this is the best method when you want to get a pure 'ching' that sounds like you are actually hitting two finger cymbals together. I put the two Machines in a 'V' shape with the beater sides spreading out. I then put two finger cymbals on the ends so when you hit the Machines together both beaters lift to strike both finger cymbals. I also use a third Miller Machine for a triangle.

Another cool addition to the set-up is Peter Saleh's Switchboard. This is a great trap table designed by Pete, who also subbed for me at Beetlejuice. This table has many great features and allows me the ability to condense a bunch of sticks/toys/whistles onto one table. It really saves me space and time when running from instrument to instrument!

Check it out, it has so many cool features!"

Joshua Mark Samuels is a proud endorser of Vic Firth Sticks, Sabian Cymbals, MalletKat (Alternate Mode), and TreeHouse Drums.

www.joshuamarksamuels.com

Beetlejuice - Broadway - Joshua Mark Samuels
April 2019 thru January 2023

Joshua Mark Samuels' percussion setup for the 2109-2020 Broadway production of Beetlejuice at the Winter Garden Theatre.

"Conducting a National Tour is incredibly challenging, but so rewarding. Stepping on to the podium with a new orchestra every few weeks really keeps you on your toes. Every player responds differently so you are constantly adjusting to get the desired result. I would compare it to playing a multi-percussion piece where the instruments are constantly moving."
"After a grueling four years at SUNY I still had one theory class left to finish. I was really depressed. A classmate of mine recommended me for a tour of a Broadway show. This completely changed the course of my life."
"When I first got the call to start working on Ain’t Too Proud - The Life And Times Of The Temptations, I was curious about which era the show was going to focus on. Their career began in the early 1960’s and they’re still releasing albums today."

Ron Grassi's drum set setup for Mean Girls at Archbishop Performing Arts, in Warminster, Pennsylvania.

"The main challenge that I found with this show was the very quick instrument and stick changes. Having a good pair of swizzle sticks is necessary to go from tambourine to timpani and sometimes rolls on the concert bass drum."
"The real impetus of this book is the timpani. It is definitely the driving force for the percussion inBack to the Future and it requires a big articulate sound and once again Yamaha with the Evans Orchestral White Opaque Heads just deliver."

Gene Krupa's drum solo from "Gene's Blues" from the album Gene Krupa and Buddy Rich released November 1955.

Steve Jordan's drum solo from the title track of the album Casa Loco.
Robbie Ameen's drum solo from the track "Spring Fling".

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