Producing an Alumni Musical: An Interview with Judy Roelofs


During the summer of 2014 I had the pleasure of being involved with the Unity Christian High School alumni musical production. Because the experience was so overwhelmingly positive for everyone involved, I thought to ask the direc- tor, Mrs. Judy Roelofs (choral director emerita, Unity Christian High School, Hudsonville) a few questions about the process of taking on such an ambitious project. I hope the following dia- log will serve as a starting point for those who have considered or are considering producing an alumni musical. – CN


Why did you decide to do an alumni musical?


The idea was born about 5 years ago when several alumni returned to attend the high school’s musi- cal and asked about the possibility of doing an all alumni show. After much thought and consider- ation, I realized what an opportunity this would be to showcase the many talented alumni, many of whom who had gone on to major in music in college and were now professional musicians. It was also a way to promote and demonstrate the development and level of the music program.


What musical and when and where did you do the musical?


The choice of the musical was a no-brainer. I


have ALWAYS wanted to do Les Miserables, but never wanted to tackle it with high school students.


This was the perfect group and ven-


ue to tackle this show. We chose June 2014 as the performance dates, and we performed it at the Zeeland High School auditorium in Zee- land, Michigan. We decided on 3 performances, Thursday-Saturday.


How far in advance of the proposed pro- duction dates did you begin contacting alumni about interest in the production?


31


We began working one year and a half before the performances.


Chuck Norris


What kinds of committees were formed to ensure successful fruition of the project?


Began with the steering committee, made up of former “musical parents”, three alumni, and the two directors. From the first meetings, we des- ignated the various committees needed, and they included, costumes, set building, pit, fund rais- ing, stage crew, publicity, ticket sales, food and a few smaller ones.


How was the musical financed?


Private donors and program advertisements. We intended to use patron ticket sales to fund the project, but had our expenses covered BEFORE any tickets went on sale!!!


What kind of staffing was required (costuming, pit, sets, etc.) and how did you accomplish it?


For both costumes and sets, we enlisted the help of former committee members, who were parents of musical casts.


The costume committee in-


cluded approximately seven women, and the sets committee varied from week to week, but had a core of approximately 8 guys. The pit was anoth- er matter altogether. I wanted the pit to consist of alumni, if possible. We ended up with about 80% alumni, and we hired local musicians to fill in the needed instrumentation.


Dr. Charles Norris, a


very good friend of mine, graciously volunteered to direct the pit, after a couple of alumni options fell through. His leadership and expertise were invaluable!


How did you go about casting the show?


The survey that was initially sent out to deter- mine interest, including questions concerning their interest and ability to take on either a lead role, supporting role or chorus only. We also in- cluded a question concerning vocal ranges. My hope was to cast all the lead roles with music


Choral


Page 1  |  Page 2  |  Page 3  |  Page 4  |  Page 5  |  Page 6  |  Page 7  |  Page 8  |  Page 9  |  Page 10  |  Page 11  |  Page 12  |  Page 13  |  Page 14  |  Page 15  |  Page 16  |  Page 17  |  Page 18  |  Page 19  |  Page 20  |  Page 21  |  Page 22  |  Page 23  |  Page 24  |  Page 25  |  Page 26  |  Page 27  |  Page 28  |  Page 29  |  Page 30  |  Page 31  |  Page 32  |  Page 33  |  Page 34  |  Page 35  |  Page 36  |  Page 37  |  Page 38  |  Page 39  |  Page 40