The O-town Scene

Casual Chit Chat: Conductor Paul Masse Each week, we have a casual conversation with a member of the community. This week, Cassandra Miller chit chats with Broadway Conductor Paul Masse Masse is music director of Orpheus The- atre’s concert production of “Sweeney Todd” at the Oneonta Theatre on Saturday. The Broadway show you were the conductor for, “The Scottsboro Boys,” has been nominated for 12 Tony awards, which will be broadcast Sunday. How did you get involved with the show, and how was this show different from the almost 20 other Broadway shows you’ve been involved with? I was involved with this show from the very first reading, before we had actors. I had worked on “Curtains” and “The Visit” for John Kander (compos- er), and he wanted me on board with “The Scotts- boro Boys.” We had a table-read that was just the creative team sitting at a table reading the different parts. I remember when we finished, we had no idea what a room full of African-American actors would think of it. It is a very bold show about a horrible case of racial injustice. We had our first rehearsal for the first reading with actors the day after Obama was elected to office in 2008. The transformation from what was on paper that day to what ended up onstage was remarkable. Susan Stroman, our director and choreographer, allowed everyone to be a collaborative part of the process. I’ve never worked on a show where the actors were so emotionally and personally integral to the creation of it. We had the most talented group of actors. And it sounds corny, but our whole team is one big family. We had some incredibly deep moments together, and I think we created something moving and important, yet entertaining. We had many young guys in the cast, and Stro took care to point out to them many times, “It’s not always like this.” of “The Lion King” that said something to the effect of: “Yeah, times are tough; lots of veteran musicians are out of work, too. Good luck.” I’m paraphrasing. I learned early on that being kind plays a huge role in being continually hired on Broad- way, and I have noticed a striking difference in the careers of these two music directors. You’re the music director of Orpheus Theatre’s concert version of “Sweeney Todd” this Saturday at the Oneonta Theatre. Have you worked with Orpheus before? What drew you back for this production? I worked with Orpheus as an actor from the time I was 6 years old until I graduated high school. My stepfather, Steve Markuson, is playing the lead in “Sweeney Todd,” You graduated from Oneonta High School; were you in- volved in musical theater there, and what shows did you do? I did three musicals and two plays at OHS. I was in “Sugar,” “Singin’ In The Rain,” “Guys and Dolls,” “The Matchmaker” and “The Crucible.” Have you seen the Oneonta Theatre since it’s been reno- vated as a concert and event venue? No, but I will have seen it by the time this goes to print, and I can’t wait. It’s the first stage I ever performed on! What do you do with your non- musical theater time? I spend a lot of time with my dog, Os- car, and I’m also an avid reader. I’m read- ing David Foster Wallace’s “Infinite Jest” right now. It’s 1,100 pages long, with footnotes. I’m on Page 260, and I’m still not really sure what it is about. Otherwise, I love food and wine, so I go out to eat a lot. What’s your dream job on Broadway? What show/part/role? Tough one. In many ways, “Scottsboro” was a dream job. I was conducting a new Kander and Ebb musical on Broad- way, and it was a musical that we all felt intensely passionate about. We were saying something Contributed Paul Masse (right) poses with American musical composer John Kander during a rehearsal of “The Scottsboro Boys,” for which Kander is nomi- nated for a 2011 Tony Award for Best Original Score. How did you first break onto the Broadway scene? What was your first show? It happened very quickly. I went to NYU, and right away, I sent my resume (which didn’t have a whole lot on it) to every Broadway music director, and I got called practically the next day to sub as a pianist in the orchestra at the Broadway revival of “42nd Street,” in a theater that is literally ON 42nd Street. It was shortly after 9/11, and in the same week I got the “42nd Street” call, I also got an e-mail from the conductor which he has been wanting to do in Oneonta since I can remember. He texted me that Charles Schneider, who was on board to conduct, was not going to be able to do it, and asked if I would. I am humbled to replace Maestro Schneider; I watched him conduct the symphony when I was just a little boy. Are you going to be a part of Sunday’s Tony awards? Yes, I will be conducting the number we are performing from the show. Everyone should watch! This Sunday, CBS, 8 p.m.! important to every single person who came in the door every day. In commercial theater, that is so rare. These days, a lot of important, artistic theater work happens Off-Broadway or in nonprofit regional theaters. Unfortunately, it is so expensive to live in New York City, so I guess my dream job would be to have written “Wicked” so I could collect royalty payments and afford to only do work that I truly love, regardless of the pay scale. Who are your five favorite musicians/bands? Only five? Chopin, Jacques Brel, Cyndi Lauper, Counting Crows, Ben Folds ... I’m corny. And I hate Lady Gaga. What was the best part about growing up in Oneonta? Oneonta has an amazing arts community, and it is full of smart people who really nurtured me along the way. Aside from the embarrassment of Sen. Seward voting against mar- riage equality and for bigotry, I am proud to have grown up there. Hopefully someday soon, that blemish can be erased, as well. June 9, 2011 O-Town Scene 7

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