A friend of mine called me recently and said, “Hey, I might be doing a workshop for a new production of Dreamgirls. What should I expect?” That question got me thinking. A lot of drummers have never done a Broadway workshop before. If that’s you, this post is something you might want to read.
Workshop vs. Reading
First, let’s clear something up: a workshop is not the same as a 29-hour reading. They’re completely different. A reading is about getting the words and music in front of people. A workshop is deeper, more creative, and more demanding.
When you’re hired for a workshop, you’re stepping into the early stages of a show’s development. You’re not in a theater pit yet—you’re in a rehearsal studio like Open Jar, New 42, or Ripley-Grier in Midtown Manhattan.
The schedule is typically 10 AM to 6 PM, Monday through Saturday, with a one-hour lunch break. You’ll work closely with the music director and pianist, but you’ll also be in the same room as the director, choreographer, and full cast.
What the Work Feels Like
Workshops are about collaboration. You’ll often play for choreography rehearsals, which means repetition, dealing with lots of changes in the music, and sudden adjustments. Even if the show already exists, don’t expect to open the drum book and play it straight. New choreography usually means new arrangements, cuts, and even new songs.
Your job is to make those transitions work and give the dancers what they need. Sometimes, that means improvising on the spot or finding ways to adapt to evolving arrangements. It’s exciting work if you’re ready for it.
