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10 QUESTIONS WITH IAN EISENDRATH |
 10 Questions is pleased to present Ian Eisendrath, resident music director of the 5th Avenue Theatre.
10 QUESTIONS with IAN EISENDRATH
Ian Eisendrath is the Resident Musical Director and Music Coordinator at Seattle’s 5th Avenue Theatre. He holds a degree in conducting musical theatre from the University of Michigan. Past projects include: MISS SAIGON, YANKEE DOODLE DANDY, SMOKEY JOE'S CAFE, and A FUNNY THING...FORUM at the 5th Avenue, THE SECRET GARDEN at Village Theatre, CATS, ANNIE, JESUS CHRIST SUPERSTAR, THE ROCKY HORROR SHOW, and CABARET at the Barn Theatre, multiple projects for the Festival of New Works in Ann Arbor, TITANIC at the University of Michigan, and THE PRODUCERS in Toronto. He is married to Anne and enjoys living in Seattle.
1.) Was there a show that made you want to pursue theatre? Were you onstage or in the audience?
When I was ten, I heard that a youth theatre company in town was going to produce
42nd STREET. I immediately began tap lessons and dreamed of being a great dancer. I auditioned for 42nd STREET, and was cast as a chorus member in that show and as Ko-Ko in their other summer production, THE MIKADO. That summer was my first taste of theatre, and I was instantly hooked.
For the next six or seven years, I was immersed in all of the productions and opportunities offered by Jeff Kingsbury at Capital Playhouse, and had many opportunities on stage and off stage as an accompanist, musical director, etc… There is a top-notch musical director at Capital Playhouse, Troy Fisher, who was my voice teacher and inspiration. I wanted to do exactly what he did, and treasured every chance I had to take a lesson with him or work with him. Many of his techniques and philosophies penetrate my work today.
When I was 16, I was offered the opportunity to musically direct several shows for Harlequin Productions, a semi-professional theatre in Olympia that was doing very adventurous and artistically stimulating work. At Harlequin, I was given the generous opportunities to musically direct and conduct PIPPIN, ASSASSINS, PUMP BOYS AND DINETTES, THE MYSTERY OF EDWIN DROOD, and a wonderful 1940’s review. My time at Harlequin taught me much about theatre as a whole, collaboration, and the concept of scene inspiring song. Linda and Scott Whitney went way out on a limb, trusting a 16 year old with all of this material, and I will be forever grateful to them for their support, kindness, and example.
2.) You're beginning your second season as Resident Music Director for the 5th Avenue Theatre. What exactly does a resident music director do? What is it about music directing that you enjoy most?
My job responsibilities at the 5th Avenue include: musically directing as least one mainstage show per season; musically directing several of our outreach events, such as Adventure Musical Theatre, Spotlight Nights, and the Season Preview Party; hiring and managing the orchestras and music staff; and accompanying/attending general auditions and call-backs. I also try to see as much theatre in town as possible to stay up on the musical talent.
My favorite thing about musically directing a show is looking at the words and music to figure out the clearest way to use the music to tell the story. In rehearsal, I absolutely love working with singers—either coaching the principals or rehearsing the ensemble. In performance, it is a thrill to be in the center of the sound coming from the orchestra and on stage.
3.) You're in rehearsals for SWEENEY TODD at the 5th Avenue Theatre. What is your experience with Sondheim shows? Do his shows provide any unique challenges for a music director?
Sondheim is one of my heroes—every one of his scores is very interesting to me. SWEENEY TODD will be the second Sondheim show that I have musically directed, ASSASSINS being the first. It has been an honor to work on this material with such a talented group of singers. We added the orchestra on Sunday night, and I can say it was thrilling.
4.) You're a graduate of the University of Michigan. What was unique about your experience there?
The University of Michigan was the only school I applied to. I don’t know why, but I just knew that was the right place for me to go.
On the first day of school, I met my future wife, Anne. (She ignored me for a few months, but finally gave in and went to see a production of THE TEMPEST with me).
I had many wonderful teachers at Michigan, whom I could have studied with for the rest of my life. My mentor is and was Jerry Blackstone, who is chair of the conducting program. He is the most inspiring musician and conductor I have met, and my weekly lessons with him shaped everything I do today.
My sophomore year of school, I was fortunate to take part in program that allowed two to three School of Music students of to develop and earn a degree in a unique discipline. This allowed me to create my own curriculum (under the guidance of my professors) for a degree in "conducting choral and musical theatre repertoire". I took mostly private lessons in piano, voice, conducting, theory, musical theatre performance, orchestration, directing, choral music, etc…
5.) After growing up in Olympia, you left the Northwest for school. What made you decide to return to Seattle?
I returned to Seattle to work with the 5 th Avenue Theatre. The summer before I came to Seattle, I was working on a production of THE ROCKY HORROR SHOW. In the midst of those performances, I received a phone call from Bill Berry, associate artistic director and casting director at the
5th Avenue, inquiring about the vocal arrangements for THE ROCKY HORROR SHOW. I asked Bill about work opportunities for musical directors and vocal coaches in town, and he told me to send in my resume. Later that summer, I visited my parents in Olympia, and had an interview with Bill and David. I really liked their philosophies, objectives, and was very impressed with their production of THE ROCKY HORROR SHOW. Several months later, I received a call from Bill offering me the opportunity to assist Joel Fram on their production of A FUNNY THING HAPPENED ON THE WAY TO THE FORUM. I accepted and have been in Seattle since.
I worked with Patrick Brady, the musical supervisor. Mostly, I just watched him work, asked him a million questions, and tried to glean as much as possible from the talent in the room. I also marked the orchestra parts, played a few rehearsals, made recordings for the actors, helped facilitate the orchestra rehearsals, and took a lot of notes.
7.) Do you have any dream shows?
SWEENEY TODD has always been one of my dream shows. I honestly love any show I get the chance to work on…no matter what the material is, it is always a pleasure to learn a new score. My favorite shows to conduct usually involve a lot of choral music, interesting orchestrations, and definite challenge of some sort. 8.) What show have you seen recently that inspired you?
When I went to New York City last summer, I was able to sit on stage with the FIDDLER ON THE ROOF orchestra and watch Kevin Stites conduct. I think he is a brilliant conductor, and I was thoroughly inspired.
9.) What CD is currently in high rotation on your iPod/Car CD Player/Music Listening Device of Choice?
Every possible version of SWEENEY TODD that has ever been recorded...after spending time playing through the score myself, I always like to hear what everybody else has done with the material, to see what ideas I can glean.
10.) If you were sent to a deserted island, what four items would you bring?
A hot tub... A really great restaurant… A very comfortable bed… She’s not an object, but my wife, Anne…
SWEENEY TODD plays at the 5 th Avenue Theatre October 25-November 13, 2005. For more information, visit www.5thavenuetheatre.org.
JIM PATRICK
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