Talking Scenic Design and Music for Asolo Rep's The Sound of Music

Scenic Designer Paul Tate dePoo III, Dramaturg &Literary Manager James Monaghan & Music Supervisor Sinai Tabak

"The Sound of Music? Really?" thought scenic designer Paul Tate dePoo III when Michael Donald Edwards, Asolo Rep's Producing Artistic Director, called him about the gig. Despite his lack of immediate enthusiasm, he signed on for the project. Josh Rhodes was going to be directing after all, and their prior collaborations for Evita and Josephine had been both successful and creatively satisfying.

Having made this confession, it meant much more when dePoo told the Designer Brunch attendees, "I can't remember when I've been this excited about a production -- maybe never." In fact, he's so enthused that his mother is flying down from Boston to see the musical.

The wedding scene for Asolo Rep's The Sound of Music -- scenic design by Paul Tate dePoo III

DePoo says Rhodes' vision for the show was to make it "different from what people expect without reinventing it." The pre-design discussions included a lot of talk about Maria being "over the walls of the abbey." DePoo built on that concept in his design, which features an ambiguous fresco wall that serves as the backdrop for the church, the abbey, the interior of the von Trapp home and the landscape. Coincidentally, dePoo has been studying Austrian architecture and design in advance of a project there next year. He said he appreciates the country's "more is more" approach. You might see a bit of that in The Sound of Music's scenic design.

When asked about projection design, dePoo shared that he had an "aha" moment when working at Asolo Rep on Josephine and video was laid over his set. His tool kit now includes this 21st century skill, which he calls an additional way to "render all these worlds." He considered the incorporation of projections for The Sound of Music but ultimately decided it wasn't necessary to create his artistic vision. To see more of dePoo's work, which includes a design for a Lady Gaga concert, click here.

Sinai Tabak

The designer brunch was a two-fer and also featured Music Supervisor Sinai Tabak. (Yes, he's very young looking. When I commented on it, he jokingly said he's understudying for the role of Gretl.)

Like dePoo, Tabak has worked on several productions at Asolo Rep, including Evita and Guys and Dolls. But he's previously been in the role of Music Director. We learned that's an entirely different job from serving as Music Supervisor.

A show's Music Director plays the piano, conducts the orchestra and teaches the musicians their parts. The director is on site from the first day of rehearsal to closing night.

As Music Supervisor for The Sound of Music, Tabak had the Herculean task of converting the orchestration from a work for a 30 piece orchestra to one containing a mere 10 members. As I understood it, this involves going through the music and identifying each note that each instrument plays. Tabak said -- with a smile -- that it took him eight-ten hours to arrange the 45 second "dance break" in "Sixteen Going on Seventeen." Wow.

Tabak explained that music directors often rely heavily on synthesizers when creating new arrangements. One keyboard might "play" as many as ten string instruments. But Tabak decided to go with a more acoustic approach for The Sound of Music. The audience will hear more guitar than usual as well as the piano, an instrument not in the original orchestration.

I couldn't resist including this picture of the adorable  Cora Jane Messner (Gretl) and Allie McLaughlin (Marta).

In sharp contrast to when serving as Music Director, Tabak's only time spent "in the room" for the show had been a couple of weeks earlier to rehearse with the orchestra. At that point, he made some changes to make the music consistent with the way he heard it in his head. Having sat in on the run-through the prior evening -- the first in which the orchestra joined the actors -- he was full of excitement.

"I'm always inspired by seeing what Josh Rhodes does," he said. Some tweaks were, however, required. He noted one moment during which he was struck by the way Maria looks at Captain von Trapp. A violin solo was clearly required. The change was incorporated in time for opening night.

I have to admit my initial reaction when learning The Sound of Music would open Asolo Rep's season was not unlike that of dePoo. But having heard dePoo and Tabak talk about the show -- and meeting some of the cast and crew at the Guild's potluck dinner -- I can't wait. The musical runs through December 28. It's a perfect show for the holiday season. Click here for more information and tickets. And if you want to get your behind-the-scenes info directly, join me at the Designer Brunch for Murder on the Orient Express on January 8. Click here for more info.