Interview: Theatre Life with Mark Binns

Today’s subject Mark Binns is currently living his theatre life on the road as the Musical Director for the National Tour of Some Like it Hot. The show will be here in DC at The National Theatre beginning November 25th and continuing through December 7th.

Much of Mark’s career has been spent on the road either playing or musical directing. Past touring credits include Mrs. Doubtfire, Jesus Christ Superstar, An Officer and a Gentleman, Rent, and Motown the Musical.

Other select Musical Director credits include Les Misérables, Hairspray, Jersey Boys, Sister Act, West Side Story and the regional premieres of Memphis and The Bridges of Madison County, both at Arkansas Repertory Theatre.

Some touring shows carry the whole orchestra as what is known as self-contained. Some Like it Hot only travels with four out of the twelve musicians required so there is a routine that Mark goes through every time the show hits a new city. Read on to see what it is.

Some Like it Hot features a score by Marc Shaiman and Scott Wittman and it is by far one of the jazziest sounding to hit the stage in many years. Grab your tickets to Some Like it Hot at The National Theatre and while you are paying attention to the very talented cast onstage, sneak a peek at Mark Binns leading the orchestra in the pit and elsewhere. I guarantee it will be a great time.

Mark Binns is truly living his theatre life to the fullest.

At what age did you get interested in music?

My mom is a retired piano teacher. She asked me when I was 6 if I was interested in starting lessons. I couldn't say "YES" fast enough. I've been hooked ever since.

Where did you receive your training?

My mom taught me until high school. During high school, I enrolled in a conservatory at the University of Central Arkansas and began studying there. I continued on to study music there at a collegiate level.

What was your first professional job as a musical director?

I started playing keyboards for local theatres in Arkansas, where I grew up. My first job as a music director was for Hairspray at the Arts & Science Center in Pine Bluff, AR. Hairspray is a show written Marc Shaiman & Scott Wittman, who are also the writers of Some Like it Hot. Talk about a full circle moment!

Had you conducted/subbed on Some Like it Hot on Broadway before going out on tour with it?

I was on the road with another show when Some Like it Hot played on Broadway. However, I did get to see it on Broadway when I was in NYC rehearsing the Mrs. Doubtfire 1st National Tour. I fell in love. I said that night, "I will find a way to do this show somehow, somewhere."

How many musicians are you travelling with, how many are you picking up in each city, and how many hours do you get with each new orchestra prior to first performance?

The show travels with 4 musicians. There's myself (Conductor/Keyboard 1). We also travel with an associate music director, who also plays Keyboard 2. And then we travel with a drummer and a lead trumpet player. We pick up 8 local musicians in every city... a 2nd trumpet, two trombones, four reed doublers, and a bassist. We have a five-hour orchestra rehearsal on the first Tuesday in every city. We have a one-hour sound check, and then we open! It's fast and furious, so we send the music digitally ahead of time to the musicians in hopes that they will be prepared to knock it out in our rehearsal.

Some Like It Hot on Broadway had some of the players onstage for certain sections of the performance. Is this the case on tour or is everyone hypothetically together in the pit? (I say hypothetically because the drums always seem to be hidden nowadays.)

The set in our version of the show has been modified slightly from what was seen on Broadway. There were some musicians on an upper level of the set on Broadway. Our version of the set does not have that upper platform. The musicians on our tour are always split into two locations. The rhythm section (both keyboards, bass, and drums) are typically in the actual orchestra pit, while the 8-piece horn section is in a remote location. They are typically in a "trap room" just behind the pit, or in a large backstage green room or dressing room.

What do you consider to be the most gratifying thing about musical directing Some Like it Hot across the country?

There are so many elements of my job that bring me joy. I have always been a huge fan of jazz and swing. I was raised on the crooners and big bands, so this show is like my childhood come to life. It's a true pleasure to perform every night. But more importantly, I absolutely love the way the story from the 1959 film has been carefully and thoughtfully retooled to speak to a broader, modern audience. I think the writers have treated it in such a brilliant and effortless way that in no way disrespects or completely changes the original source material. Rather, it develops the characters in a way that makes them much more relatable to a more diverse group of people. Seeing people of all different kinds of backgrounds embrace the show for what it is is probably the most gratifying thing. And, it is truly what keeps me going strong 450 performances in. Plus, Shaiman & Wittman wrote a pretty incredible show that I never tire of performing!

Special thanks to National Theatre's Marketing Manager Abby Berman for her assistance in coordinating this interview.