Piano/Conductor .... Judy Rauch
Flute/Piccolo .... Beth Morris
Oboe/English Horn .... Anna Nekola
Clarinet/Bass Clarinet .... Sean Bradley
Trumpet .... Billy Edwards
French Horn .... Rachel Truex
Violin I .... Johann Bast
Violin II .... Todd Sothen
Cello .... Cathy Wagner
Cello .... Bryn Wilkin
Bass .... Ryan Ettenhoffer
Keyboard .... Bruce Piper
Percussion .... Jason Schurtz
Director .... Matthew Trombetta
Choreographer .... Erika Twining
Musical Director .... Judy Rauch
Stage Manager .... Kelsey Rudiger
Sound Designer .... Tony Tambasco
Scenic Designer .... Adam Liston
Costume Designer .... Tory Depew
Lighting Designer .... Jennifer Sansfacon
Properties Manager .... Meghan Chandler
After reading the book and listening to the original cast recording of The Secret Garden, I wasn't a huge fan, but the first time I heard the cast in rehearsal, it became my favorite show of the season. The Weathervane Cast brought the score to life in a way that I felt the original cast didn't, and something about their performance, even their early performance, of the text brought the show home for me. Also, after bemoaning the quality of Weathervane's microphones all season, Matthew Trombetta, who in addition to directing The Secret Garden was Weathervane's Managing Artistic Director, convinced the board to procure some new ones that made the orchestra come alive; as Matthew himself said when he first heard the mix, it was the beginning of a new era of quality of orchestration at the Weathervane Playhouse.
My increased ability to put the orchestra through the system with a higher degree of quality and specificity meant that Lucy Simon's music could bring the world of the spirits and the magic of the garden to life on the Weathervane Stage. Matthew and I worked closely to develop a mix that variously drew upon the strings and winds especially, depending on the moment in the songs that we wished to highlight. The wonderful choral numbers also provided opportunities to mix a wide rnge of voices on a grand scale, and their interactions with the storms and the accompanying music made for some moments that sent a chill down my spine even as I mixed them.
Review by Krista Threadgill for TheatreVault.com: I normally don't comment on reviews, but I take particular exception to Threadgill's assertion that I wasn't doing my job. She is free to like or not like my work as she sees fit, but I resent her implication that I had failed to check my equipment. Every piece of equipment I am responsible for gets checked before the show. Always. The malfunctions had more to do with the late July/early August heat and humidity of central Ohio, as well as a non-climate controlled space, than anything else, a fact which would be established by their comparitively smooth operation in the 2010 season after the Weathervane Playhouse became an enclosed, climate controlled facility.
Radio Spot: this is my recording of the back-track for the Radio Spot, featuring Samantha Mastrian as Lily leading the company in a portion of the finale.
Sound Plan: since my intern designed Cheaper by the Dozen, and I had all those new mics I mentioned above and a larger orchestra in play, I prepared a draft of the orchestra layout and the existing hang plot to ensure I was making the most of my new equipment.