Production Team Spotlight: Ian Gude
We caught up with Musical Director, Ian Gude to discuss musical theatre, his inspirations, and his work with Doncaster Stage Productions.
Ian Gude bio:
Ageing musical director, arranger, orchestrator, keyboard player and general musical theatre font of knowledge who’s MD’d over a hundred productions, been involved with countless more, and wishes he could remember doing them.
Find Ian online: Ian Gude on Facebook, iangude@mac.com
Can you give us a brief summary of your musical theatre career?
After leaving school, started out playing keyboards and piano for societies in Rotherham. Formed my own society in 1988 which lasted 7 years and presented The Hunting of The Snark at Sheffield Crucible in 1995. I’m probably best known for my work with Manor Operatic Society in Sheffield, who I was with from 1987 to 2005, working with the great Brian Platts, who was, and is, my inspiration. I MD’d the National Tour of Magic Of The Musicals in 2016, working with the likes of Kerry Ellis, Julie Atherton and Aled Jones. I’m also a keen orchestrator and arranger, and also am assistant to the Musical Director for the Olivier Awards.
When was your first show with DSP (formally DAOS), what was it, and how were you involved?
My first show with DAOS was playing keyboards, and doing arrangements for ‘Hollywood To Broadway’ in 2001. I joined as MD for The King & I in 2011, and was invited back as MD when DAOS moved to Cast in 2014 for The Sound Of Music.
Tell us about a memorable moment from your time with DSP.
I have 2 favourite days in the whole production process – audition day and band call day (or, as it usually ends up, sitzprobe). I think the auditions for Legally Blonde and the Band Call for Sister Act are probably my most memorable.
What has been your favourite production with DSP?
They have all had their moments, and things I’m proud of. I’m proud of Hairspray, as I directed and MD’d it, but musically I think Legally Blonde is probably the one that stands out.
What’s the biggest career lesson you’ve learned so far?
Trust your gut. Have confidence in your decisions, but also be ready to rethink them.
What’s your favourite show?
Far too many to list! City Of Angels, Come From Away, In The Heights, Ragtime…
What’s your dream show that you’d love to be a part of?
I was lucky enough to MD a school’s production of Les Miserables a few years ago, but I would love to do the full version one day (with the full orchestra).
Tell us about your process.
Different, depending on the show. Usually my first step is to learn the score, and what’s needed from a performer, orchestra and technical view point. Then work out ranges for characters and company, and work through each piece individually – what are the challenges, what are the options etc. Decide on audition pieces. Check the rehearsal tracks match in terms of both structure and key – and if not, fix. Work out a rehearsal schedule for the music roughly. Decide on the orchestration needed (and / or desired – different things sometimes) and book the players. Plan the click tracks – what’s been clicked, how and where. Rehearse!
Who are your inspirations?
Brian Platts as mentioned above for his vision, and also being the biggest influence on me in my early years as an MD. As a MD and orchestrator now, Larry Blank. Larry is a Tony nominated orchestrator, and Broadway MD who has unofficially mentored me, and put up with me shadowing him for the past decade.
What are you listening to at the moment?
At this moment, nothing! I’ve been listening to Hunchback of Notre Dame obviously, and I’ve also been listening to some vocalist CDs – mainly the likes of Liz Callaway and Jane Monheit.
What’s the first show you saw?
The first professional show was Starlight Express in London in 1985. I was taken to lots of local things as a child, especially panto and Summer Season, but this is the first ‘big’ show I remember.
What tickets do you have booked right now and what show are you seeing next?
Nothing – I need to! Come From Away (for the 3rd time) and Amelie are top of the list.
Tell us about a standout performance you’ve seen in an amateur production.
The best amateur production I’ve ever seen was Harlequin Player’s Follies in Sheffield in the 1990’s. Featured the best in Sheffield’s talent, and sadly some of them are no longer with us. Judy Streeter (Johnson-Hart) in this, and then Gypsy, will always be up there.
Tell us about a standout performance you’ve seen in a professional production.
A tough one. Probably a tie between Julie Atherton in Avenue Q, and Idina Menzel in Wicked on Broadway. With John Barr in A Class Act and Ragtime at the Landor a close second.
Do you have a favourite line from a show?
I like the alto line in Brigadoon. No?
Which show do you think is overrated?
All personal opinion I know, and others love it, but I have yet to understand the appeal of Six. Sorry!
Which show do you think doesn’t get the credit it deserves?
In The Heights is far better than Hamilton. So shoot me!
What is your most treasured piece of memorabilia?
I have two. I’ve been lucky enough to meet Richard Sherman (of the Sherman Brothers – responsible for Mary Poppins, Chitty Chitty Bang Bang amongst many others) on several occasions, and as well as lots of signed things, I have a hand written music quote by him on a postcard. I also have a signed A Chorus Line CD by the composer, Marvin Hamlisch.
