"The job is more fun than being in any other kind of show.'' So says James Burn of his post as musical director of the forthcoming pantomime Aladdin, which opens at City Hall theatre under the auspices of the Bermuda Musical & Dramatic Society (BMDS) on December 7.
The reason, the talented musician says, is because he gets "to be creative with all the material director Jonathan Owen is giving me. He has chosen the songs, and it's up to me to make them work best for the cast in terms of key, band arrangements, introductions to dance breaks, et cetera.'' The fact that the Director may decide to do one thing one day and change his mind the next gives Mr. Burn's assignment an extra kick.
"It really stretches you,'' he enthuses.
No stranger to Bermuda's artistic circles, the British-born Paris resident's local resume m includes teaching at the Bermuda Conservatory of Music for five years; being musical director of the BMDS pantomime `Mother Hubbard,' and associate musical director of the Gilbert & Sullivan Society production of `Les Miserables.' "Through doing those shows I found I really loved musical directing,'' Mr.
Burn says. "It is like teaching, because you have enthusiastic people who want to look good so they are willing to work hard.'' In addition, the chance to work with Mark Dorrell, celebrated musical director of the Royal National Theatre in London, England (now resident in Bermuda and teaching at the Bermuda Conservatory of Music), who was also musical director of `Les Miserables' was a bonus he will never forget.
"To be able to work with someone like Mark for a couple of months was fantastic. I learned so much from him,'' he says.
The Oxford graduate also wrote the music for the 1994 premiere at Daylesford Theatre of `Joan of Arc,' whose script was written by fellow Oxford graduate and Bermudian law firm partner, Warren Cabral.
"That was an amazing experience,'' Mr. Burn remembers.
Of Aladdin, Mr. Burn is confident it will be a resounding success given the talent and enthusiasm being put into it.
"The two leads -- Samantha Tavares as the Princess, and Devaune Ratteray as Aladdin, have the real emotion in the show,'' he explains. "They have a story to tell, and they have to fall in love, so when they have their music you must feel they are really together and singing well. Both have lovely voices, and all of the legitimate music -- the love element -- is safe in their hands. We are very lucky to have them.'' Noting that all of the other principals have comedy numbers, Mr. Burn says that puts a different spin on his role as musical director.
"It is all about tempo and comedy hits, rather than the lyrical stuff that the boy and girl have to do.'' Unlike musicals, Mr. Burn explains that in panto songs are drawn from many quarters, and Aladdin is no exception.
"You can pick and mix in panto, and the director has included music from all kinds of sources, including Miss Saigon, Gypsy and SClub7. I think he has chosen really well. It's a nice, varied score.'' As for the all-important musicmakers in the pit, Mr. Burn has no doubt that his choice of Doug Frith, Tim Rhodes, Liz Tremblay and Peter Profit, who are all highly experienced professionals, will do the score proud.
Overall, the musical director is delighted to be back on the Island, where he says "theatre standards seem to be getting better and better, and people really do work hard to achieve those standards''.
"Here it's all or nothing, and that's what we all do. Everybody involved gives so much time, energy and enthusiasm to the production that they really do achieve excellent results,'' he says.
No doubt, the charming Mr. Burn's approach is a contributing factor, for he does not believe that histrionics or temper tantrums are the way to achieve results.
"I always find the way to get people to do their best work is to be enthusiastic and smiling,'' he explains. "If they are having fun and enjoying themselves while they work -- and it is work -- you can achieve so much more.
You can't bully people; they will just resent you for it and then disappear.'' Instantly approachable and genuinely friendly, Mr. Burn is not only enthusiastic about Aladdin, but pantomime in general.
"Pantomime is wonderful in so many ways,'' he begins. "It introduces children to the theatre; when they come with their parents both get into it and cross boundaries. For spectators, performers and technical assistants it introduces them to so many aspects of theatre.
"Pantomime is not rocket science. It's not going to solve the human condition, but it is a really good thing to do. It's a lot of fun, and I enjoy it. Believe it or not, I always laugh at the jokes every time I hear them -- even after the 17th performance -- if they are told well.'' Born in England, Mr. Burn says that from age six he knew he wanted to play the piano, and far from his parents regarding it as a childish whim, they were very supportive and bought him his first instrument.
"It was in some ungodly key, but my parents never had to nag me to practice,'' he relates. "However, I remember I did have to be bribed to take my Grade V exam by my mother, but I don't recall she ever paid me for doing so! '' The youngster happily continued with his studies until he entered his teens and developed an inclination to rebel. Luckily, he had a "fantastic'' music teacher who knew what made the young man tick, and kept him from going off the rails.
"I had 90-minute lessons and sometimes we never touched the piano but talked instead about a piece of music I had heard,'' Mr. Burn recalls. "We would spend all our time listening to a score, and in a way that was exactly what I needed.'' Recognising a very gifted student, the teacher actively encouraged him to read music at Oxford University.
"He fired me up and said I would meet more interesting people there than at a school of music, and sure enough I did,'' Mr. Burn remembers. "Oxford was a wonderful experience (socially), although the music side was very dry and academic, and probably not the best place for me to have gone in retrospect.'' Recalling his syllabus, he says: "Oxford offers lots of music history, theory and composition, and techniques. We had to write fugues in the style of Bach once a week, and orchestral works in the style of Debussy, and we had to do it all by hand. Those were the parts I really enjoyed.'' The end result was that Mr. Burn graduated with a Bachelor of Music (Honours) degree.
Today, he lives in Paris, where he is not only the pianist for an American singer whose one-woman act was included in this year's Edinburgh Festival, but also for the past three years has been composing the music for a musical based on the life of Lady Jane Gray, who was Queen of England for just nine days.
"I am working with Joel Froomkin, who has done the book and the main body of lyrics,'' Mr. Burn explains. "Since we work in different countries, there is a lot of to-ing and fro-ing by e-mail.'' A demo tape is currently in progress after which it is hoped to bring together a "wonderful group of actors'' for a reading or workshop.
"It's a long, long road, and you just have to be patient,'' Mr. Burn explains, "but we are in a good place because with Mark Dorrell's support we know we have a fantastic show.'' Indeed, if the song, `The Secret Me,' which he happily played and sang at his interview, is any indication, he is surely heading for a winner.
Of theatre life in Paris, Mr. Burn says it is very much a mixed bag in terms of quality.
"There are hundreds of theatres, but some are not bigger than a phone booth, and except for the National theatres, the standards are strangely low, which made me realise just how much people achieve in Bermuda.'' Aladdin will be performed at City Hall theatre from December 7 through 16.
Evening performances ($20) will begin at 7.30 p.m. and matinees ($15) at 3 p.m. Tickets will be sold at Daylesford Theatre from November 25-December 6 between 5.30 p.m. and 7.30 p.m. weekdays, and on Saturdays from 12 noon to 2 p.m. They will also be sold at City Hall box office from December 7-16 prior to performances. For further information 295-2828.
