TubeNet

I've been approached to do the Broadway show Chicago. 4 hr rehearsal then next day sound check and full dress followed by a show then a show the next night. So two days of rehearsals and 2 shows. upright bass and tuba double. What is expected pay on something like this?

Question 2:
how fast are the changes from one instrument to the other? I'm worried about the safety of my instruments. 10,000 tuba & 15,000 bass.
I don't really want to buy a stand.

Any thoughts from those experienced in this sort of thing.

Bets regards,
Tim

then hoping you might answer question #2!

I did a few dates on the tour last year. Its easier to put your bass in the corner behind you then it is to put it onto a stand. I brought a big old tuba stand and ended up putting the tuba down on the bell the second night just because the stand took up more room than the horn. One of those low to the ground stands would work, but I didn't have one. As far as pay, every place is different, I've done that show for a lot of different amounts of money in my life. Figure what you're comfortable with and say yes or no based on that.

I played the show in 1984, don't know about the changes but it was easy to put the horn up and down. Having said that, I will say that the accommodations in a theatre range from wonderful to (expletives). You won't know until you show. If your instruments are compact you have an edge.

As far as stands: I've seen that here before, but in my experience, space is severely limited in the official bandstand setups, and the tuba/bassist is on the stand stage left in a tiny area. I found the best way for me was to lean the bass in the corner behind me to the right when not using it (couldn't do left, which I preferred, but the actresses were sliding down the banister on that side), and the tuba on the bell to the front of me and left.

There are no quick changes, unless you count the possible switch after the intro in "All I Care About," but it's not exactly specified, but everything is in the staff and above, so it's either meant to be a fast switch, or the tuba part is written in the wrong octave. Most of the professional recordings I've heard assume the latter, though the original cast recording has the tuba playing the written range, and I've heard a couple make the switch.

Also, depending on the demands just before Amos says, "my exit music, please!", you might be asked to not move until Amos leaves the stage, which makes the switch (can't remember which two numbers it happens between) a bit more difficult.

As for pay, I call my local union and ask for the rates regarding the parameters of the gig, and then respond to the client as such: "union rates are $X for the performance, $X for the double, $X for the cartage, and $X for mileage (if it's out of town). I think that's a fair rate and I'll stick with that." For professional gigs, which I assume is the official show that's just about to start a tour, they won't have a problem.