Finger Cymbal

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Seussical - Benjamin Barham-Wiese

Benjamin Barham-Wiese’s setup for Seussical at a Community Theater in New York City.

Benjamin's write-up and gear list below photos.

Benjamin Barham-Wiese’s setup for Seussical at a Community Theater in New York City.Benjamin Barham-Wiese’s setup for Seussical at a Community Theater in New York City.Benjamin Barham-Wiese’s setup for Seussical at a Community Theater in New York City.Benjamin Barham-Wiese’s setup for Seussical at a Community Theater in New York City.Benjamin Barham-Wiese’s setup for Seussical at a Community Theater in New York City.

"Over the past year, I have had the opportunity to play/sub in the pit for many musicals in small community theatre, youth theatre and church musicals. I have recently played or subbed for The Sound of Music, Spring Awakening, Annie, The Addams Family, and now Seussical!

I am a 15 year old high school student in New York City so it has been a lot of work going to school during the day and playing at night, but it’s truly a great time! I love collaborating and I love theatre so it works out well!

Often, I get a theatre gig 1-2 months in advance and have a few weeks to read the book, practice, and get all the gear I might need. However, this show opened on a Saturday and I did not find out I was doing it until the Thursday night before. The original player had dropped out and I’ve played other musicals at this theatre so they asked me if I could do it. I had no time to rent the gear and simply had to use what I/the theatre owned. They have a five piece Ludwig kit which I used (I brought my own snare), and I brought my own cymbals, accessories, hand percussion, and hardware. Luckily, for this show, since I was in a room behind the stage, space was not a concern, I even had a window!

Like I said, I was combining the drum set and percussion books so I took out the mallet parts, timpani, and congas (I covered congas on djembe). Unfortunately I had to take out vibraslap, chimes, flexatone, bell tree, and ratchet because I did not own these instruments and there was no time to buy, rent, or electronically program these sounds. The Miller Machine (not shown in the photos) was great for this show especially during the minute long triangle roll during 'Amazing Gertrude'.

The greatest part of this show is that it is essentially sung through so you get lots of playing time with lots of different styles ranging from jazz, rock, funk, and samba!"

Drums: Ludwig Five Piece Drum Set

  • Rack Toms 9" and 7”
  • Snare Drum 14”
  • Floor Tom 16”


  • Ludwig LAS22SS Atlas Standard Snare Stand (one for snare, one for 2nd Rack Tom)
  • Dixon PP-9290 Bass Drum Pedal
  • Ludwig Atlas Standard Hi-Hat Stand
  • Ludwig L426CS 400 Cymbal Stand
  • Gibraltar 6716 Double Brace Bongo Stand
  • Ludwig L347TH Custom Double Braced Drum Throne
  • Manhasset Model #48 Sheet Music Stand


  • Sabian 14" Medium Hi-Hat Cymbals
  • Sabian 18" Pure Brass Crash/Ride Cymbal
  • Sabian 20" SBr Ride Cymbal
  • Wuhan 12” China Cymbal


  • Alan Abel 4” Triangle mounted on a Miller Machine (not shown)
  • Remo 14" Mondo Djembe Drum - Earth
  • Latin Percussion AW LP City Wood Bongos - Natural
  • Latin Percussion Black Mambo Cowbell

Sticks and Mallets:

  • Vic Firth 5A Dual Tone Drumsticks
  • Vic Firth Rute 606 Hot Rods
  • Vic Firth Steve Gadd Wire Brushes
  • Vic Firth American Custom Keyboard Mallets
  • Mike Balter Pro Vibe B23B Mallets

Seussical - Regional - Benjamin Barham-Wiese
January 2020

Benjamin Barham-Wiese’s setup for Seussical at a Community Theater in New York City.

"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."
"The timpani tunings are the real challenge of The Little Mermaid. Changing pitches must be done by feel, that was my biggest challenge. Memorizing the mallet parts was also very necessary."
"As you can see in the pictures, I prefer to have as much 'stuff' right in front of me, as close as possible. Because there are so many instruments close in, I have mounted a music stand off of the tom mount.
"Different from the tour, the original Broadway production had acoustic drums, an acoustic set of timbales, and an acoustic tambourine - the tambourine is now programmed in the SPD-SX."
  • 2 min read

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".