Q: Can you walk us through a typical day in your life as Associate Music Director on a Broadway show like the recently Tony-nominated DEAD OUTLAW?

Each day is totally different (typical freelance life!), but a day *could* look like the following: In the afternoon, I would play a four-hour understudy rehearsal at the theatre. This would be for blocking purposes, or for music purposes, or for folding in the band, or it could be a more complex “put-in” rehearsal where the goal is to run the show in actual show conditions. Then, after and during the rehearsal, I would give notes to the understudies to make sure they’re ready to go on at any point. There’s a short break (probably ~2 hours), and then we have shows in the evenings, so if I’m conducting the 7 pm show that evening, I would get my hair done at the theatre around 6:15 pm and then put some makeup on, check in with stage management, cast, and band, and then go on stage to play the show at 7!

Q: What’s been the most creatively fulfilling aspect of working on original productions versus long-running revivals like COMPANY?

There’s nothing like working on original work. It is so difficult and satisfying in its special way; literally everything is on the table for change and updating. You could literally put in a new song during tech or during previews (has happened before to me, several times), and the questions you’re trying to answer about the story and how the audience reacts to the story are so vast and nebulous. It’s really scary work, honestly – I have no idea how composers do it, haha. But when you *do* crack the code and find something that moves the audience, or that is unexpectedly hilarious, it is immensely satisfying.

Q: How do you approach maintaining musical consistency across eight shows a week, especially with rotating cast or orchestra members?

I think the main thing to note is that the only thing you can *actually* control is your own musical consistency. As a music director, you can (and should) give notes to the cast members and musicians to maintain as best as you can, but the only thing fully in your control is how you carry yourself on the podium or at the piano, and how clear and calm you can be up there. I try to maintain that by keeping up with notes that I may receive from my higher-ups, and by staying present during and before the show.

Q: How do you collaborate with composers, directors, and choreographers when shaping the sound of a new production?

It’s generally about listening. I feel like the music director’s job is to kind of “glue” everything together; and by listening to the opinions of everyone around you, you can glean how best to move forward. Communication styles can differ between all these people and once you know *how* people like to communicate and what their style is, you can work better to make the whole vision to come together.

Q: You’ve worked with an incredible range of artists. How do you adapt your musical approach across such diverse genres and personalities?

It’s the same answer, actually, to the one above – listening is key. The first 15 minutes of working with someone are so valuable and important. You can learn so much about how someone likes to work and what their tastes are in that first rehearsal. I like to believe I can be a musical chameleon and work with lots of different people, and the reason for that is because I can adapt to various people’s different needs!

Q: What are some of the most important skills a keyboardist needs when playing in high-pressure, high-profile settings like Radio City or Lincoln Center?

There is absolutely nothing that substitutes for practice. You put in the time, and you put in the diligence, and that makes you prepared, which is the only thing that can kick in and save you when you’re super nervous (which I *always* am, before I play a show for the first few times.) You also need to make sure you practice *on* the rig itself before you actually go in!

Q: How do you balance precision and expression when accompanying major vocalists or playing in complex ensemble settings?

Precision comes from practice, and expression comes from being present in the moment. If you are prepared on the technical side, it frees you up to be present and interpret expressively once you are actually playing. It means you’re actually listening in the moment, rather than being buried in the nitty gritty of notes and rhythms.

Q: You’re also a composer—how does your work as a music director inform your original writing, and vice versa?

To be honest, I haven’t really composed in ages. It might be a product of having a bit more experience in the industry: I think composers are some of the bravest people out there because, similar to actors, they have to really be vulnerable artistically in a way that is different from what I currently do. You have to open your heart up and show it to the world (which of course, opens you up to everyone’s opinions and commentary.) I don’t know that I currently possess that kind of internal strength, although there are things that I would like to eventually write one day based on my own life. Who knows!

Q: How are you able to stay creatively inspired while also navigating the practical demands of show business?

By listening to a lot of music, especially music that has nothing to do with whatever I’m working on at the time. Consuming other forms of media (television, film, art, writing, etc.) Doing things that have nothing to do with work. It’s very important to me.

Q: What advice do you have for young musicians or conductors looking to break into the Broadway scene?

Listen to and play lots of different kinds of music. A lot of what is on Broadway is derived from existing musical tradition, and while it can be tempting to just delve into what is in the “musical theatre canon”, I think what makes you a great musician is knowledge of the greater musical world. It also makes you a more empathetic person!

Keep getting to know the other musicians around you. They’ll be recommending you for gigs one day. And of course, keep practicing. :-)