This year’s Hollywood Bowl‘s annual staged Broadway musical – the enduring, ever popular MAMMA MIA! – will be performed on July 28, 29 and 30. First premiered on Broadway in 1991, MAMMA MIA! (chock-full of classic ABBA songs) has been produced countless times, and in countries all over the world.
We were most lucky to get conductor David Holcenberg to spare a few minutes in the midst of his always-too-short rehearsal.
Thank you, David, for taking time off your short, crazy rehearsal schedule for this interview.
So how many sessions do you get to rehearse with your Hollywood Bowl musicians?
I have just one four-hour rehearsal with the band. I also get a Sitzprobe, which is a rehearsal with the cast and the band in a rehearsal hall singing through the show. It is the first time the cast hears the band and is always one of my most favorite days.
Do you bring in any of your own instrumentalists? Or are all your musicians members of the Hollywood Bowl Orchestra?
I brought my associate conductor (who will also play keyboards) and my drummer. We just use a rock band for this show, so I don’t believe they are regular players with the Bowl Orchestra.
How many times you get to rehearse with the performers?
It is very fast. We started full-cast rehearsals Monday July 17. However, I did some music coachings with our principal actors ahead of time.
Have you worked with any of this Hollywood Bowl cast before?
No, but they are great!
Ever previously played at the Hollywood Bowl?
No. Very excited.
Have you been able to sit out in the audience as a civilian and enjoy any Hollywood Bowl shows?
Yes. I used to go when I lived here in my early 20s, and went back this week.
You are currently the associate musical supervisor for MAMMA MIA! in North America – one of your original positions in the 2001 Broadway production (in tandem with musical arranger). Could you explain what those responsibilities encompass?
I am responsible for casting the show and making sure we have great musicians as well. Once rehearsals start, my job is to teach the music for the show to the cast and band, and work with the sound department and other departments to be sure the show sounds as exciting and clear as possible.
Has there been any major or minor musical changes from the 2001 show?
We are staying true to the 2001 show. Benny and Bjorn – the ABBA guys – are very specific about how the show sounds. They want the audience to get an exciting recreation of their original arrangements from their recordings.
That 2001 edition celebrated the 10th year anniversary of MAMMA MIA! on Broadway. What do you remember of that October 18th performance and the aftershow in Times Square?
Yes. We closed down Broadway, set up a stage on the street and performed a few numbers from the show. It was really cool.
For those of us uninformed in musical terminology, what are the duties of a ‘conductor’ vs. a ‘musical director,’ of which you are both for this production?
The conductor leads the band and cast in the performance. The music director teaches the score to the cast and works with the director, choreographer, and other designers to be sure we are presenting the best, most cohesive show we can.
I’m sure if you knew the exact ingredients of MAMMA MIA!‘s success you would bottle it yourself. But what do you see as the basis for its popularity and longevity?
Besides the amazing ABBA score, I think the worldwide success is that it is a good time. Everyone can relate to someone on the stage. Everyone is someone’s mother, father, son or daughter; and can relate to some of the relationships in the show. I have been fortunate to put together MAMMA MIA! in many countries, in many languages, and it is always well-received.
What would be the most surprising audience response you ever experienced in a MAMMA MIA! performance?
We had a few post-show wedding proposals, which were very cool. What I have always loved is when audience members dress in glitter and spandex and dance along.
Your Broadway resumé is quite impressive. Aside from some mind-blowing brand-new musical yet-to-be/soon-to-be written, what old/not-so-old chestnut would you love to tackle?
Well, I did a new version of CHESS in D.C. that I created a new orchestration for, and was really proud of, I wish that could have a life. I tend to prefer working on new shows. I’m not sure what old chestnut I’d like to tackle. I am sure there are many!
Thank you again for doing this interview, David. And, of course, thank you for your music!