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Sweeney Todd - Sam Wisman

Sam Wisman’s combined book setup for Sweeney Todd at Kansas City Repertory Theatre.

Sam's write-up below photos.

Sam Wisman’s combined book setup for Sweeney Todd at Kansas City Repertory Theatre.Sam Wisman’s combined book setup for Sweeney Todd at Kansas City Repertory Theatre.Sam Wisman’s combined book setup for Sweeney Todd at Kansas City Repertory Theatre.Sam Wisman’s combined book setup for Sweeney Todd at Kansas City Repertory Theatre.Sam Wisman’s combined book setup for Sweeney Todd at Kansas City Repertory Theatre.Sam Wisman’s combined book setup for Sweeney Todd at Kansas City Repertory Theatre.

Sam Wisman:

"Playing Sweeney Todd presents some interesting challenges. Primarily the fact there are at least three versions of the percussion book in existence and none of them is ideal. The reduced 1-player book is full of errors and the 2-player books underestimate what one player can pull off. For this production there is an 11 piece orchestra playing the 'full' orchestration using two keyboards to support 9 live players. With that in mind, I created a hybrid book playing primarily both parts simultaneously from the most current 2-player book while stealing some parts and philosophy from the reduced 1-player book.

I am set up on stage and had to deal with the usual space limitations plus navigating some support poles. I mount as much as possible from STRONG cymbal stands and stack cymbals to save space and allow easy one handed rolls. Also, I use the chimes to mount several of my 'toys'. The vibraphone frame and bars (as long as you don’t need the notes!) are a good place to rig things as well. This all allows my footprint to become smaller.

Having a smaller drum set bass drum AND a grand cassa is pretty essential for the sound of this show. Often I hit my grand cassa using a bass drum pedal with an oversized, heavy beater.

Lastly, having some timpani mutes (in this case folded suede leather) has been very helpful achieving staccato timpani notes without much hand dampening which allows me to quickly start playing the next instrument.

And, as always, the Miller Machine is an absolute necessity and has a central spot in the set up."

Sweeney Todd - Regional - Sam Wisman
March 2018

Sam Wisman’s combined book setup for Sweeney Todd at Kansas City Repertory Theatre.

Eric Poland's drum set setup for the Broadway revival of Nice Work If You Can Get It at the Imperial Theatre.
David Thalmann’s setup for Joseph and the Amazing Technicolor Dreamcoat at the Murray Arts Guild - Murray Park Amphitheater, in Murray, Utah.
Mike Drake's set up for Side Show at the Casa Mañana Theater, in Fort Worth, Texas.
  • 3 min read
"Thursday, February 16th, 2017 was a special day. I was both excited and nervous as I stepped into SIR Studios in Manhattan to start the first orchestra rehearsal for the Broadway production of Miss Saigon."
"When preparing a percussion book for a new Broadway show, we occasionally get the music in advance. That allows us to start our “treasure hunt” early, to have the right sounds ready, and to get a jump on the setup. But often, Broadway is the first appearance of the fully orchestrated show, and we have seen very little before the first rehearsal."
  • 5 min read
"The musical experience of recording a Broadway cast album ranges from easy to difficult depending on the circumstances. I find that the two factors that contribute most to the quality of the experience are: 1) how good the band is; and 2) how soon after you started the show you record the album"
  • 5 min read
Robbie Ameen's drum solo from the track "Spring Fling".

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

Bill Stewart's drum solo from the title track of his album Snide Remarks.

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