Troy Mearkle

Tell us about your background in music. Where did your interest start and when did you start playing piano? 

My grandmother Pauline wanted one of her grandkids to learn the piano. I was the second to last kid she asked and I was the only one that said yes. I think I wanted to find my own path different from my three older brothers. I always loved anything musical since I was quite young. She got my first piano for me and I never learned another instrument. I wanted to take up saxophone in the school band but the director had enough saxophones and needed someone for the trombone. I said, "No thanks." I had four incredible piano teachers over the years and also had vocal training on the college level. 

 

How did your music background transition to theater? 

The summer between my college piano senior recital and student teaching I was looking for a summer job in Lynchburg. A friend of mine who was involved in local theater told me about a position for piano accompanist for a musical at the old Lynchburg Fine Arts Center for the musical Barnum. Up until then, I had only ever played classical and was nervous about doing a musical even though I loved musicals. However, I loved everything about the experience and was completely hooked! 

 

Tell us about your first exposure to theater.

When I was in 8th grade, I was cast as "Mr. Grump" in my school musical; I don't even remember the name of the musical, but it wasn't a Broadway musical or anything that good - haha! My first Broadway album that I ever bought was Joseph and the Amazing Technicolor Dreamcoat. My first time playing piano for a show was Barnum and my first time music directing was Once on This Island at the LFAC.

 

Where have you been involved in theatrical shows over the years?

In my 30+ years of doing theater, I have been involved in over a hundred productions! I have done shows with the Lynchburg Fine Arts Center, Lynchburg College/University of Lynchburg, Sweet Briar, Cherry Tree, Renaissance Theater, Wolfbane Productions, Academy Center of the Arts and Commerce Street Theater. While most of my experience is as music director or accompanist, I have ventured on stage a couple of times over my theatrical career. In 1996, I was in Cherry Tree's 1776 as the delegate from Maryland. In 2000, I also ended up as Young Joe Hardy (i.e. the lead) in Damn Yankees when the original guy cast had to drop out. That being said, I am much more comfortable behind the scenes than in the spotlight! 

 

Do you have a favorite show you've worked on? 

The final production at the Lynchburg Fine Arts Center of Fiddler on the Roof  was such a beautiful and bittersweet production as the LFAC was demolished soon after. Many of my friends, including Mark Foreman as Tevye, were involved in that last production which makes it more special for all of us. In addition, Rent with Renaissance Theatre, Chicago at the Academy of Fine Arts, and Rocky Horror Picture Show with Wolfbane Productions are all highlights for me.

 

Explain your process as a music director for musicals.

As music director, I work very closely with the director during auditions to pick people who are capable of singing the songs in relation to range and musicality. I have group rehearsals with the cast to learn all the group numbers in a musical. I will have individual rehearsals for solos, duets, difficult numbers, etc. Obviously, they have to learn the correct notes to the songs, but then we want to make it more musical by paying attention to dynamics, diction, emotions and phrasing. I also work closely with the choreographer to make sure the music and dance match up. One of the key aspects of musical preparation is helping the cast to sing while dancing and moving. Breath control is key!

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Depending on the musical there might be an orchestra/band or a small combo of instruments. As music director, it's my job to make sure the musicians have their music and any cuts and notes. I will usually schedule additional rehearsals with just the musicians, after which I will then bring the cast and musicians together to make the "magic" happen! During performances, I will be playing the piano and conducting the pit with my talented bopping head since my hands are busy with the keys! I have had the honor and privilege to work with some truly amazing musicians over the years. I've needed extremely talented and attentive musicians to follow my unorthodox conducting style.

*SIDE NOTE FROM INTERVIEWER* It's true. Watch Troy next time you see a musical where he is music directing and his head bobbing form of conducting is a mesmerizing art form.

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What's your dream show to work on musically?

Bridges of Madison County, Hamilton and Hadestown would be great shows to accompany and music direct.

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Tell us your most embarrassing stage story

I forgot to transpose back to the original key for the opening number of Nunsense at Cherry Tree Players. We started in a higher key and it continued to get higher and higher with each key change within the song. At the final key change, the cast would've been singing in the stratosphere. Instead, the band and I jumped back to the original key which made all five actresses who were singing like Minnie Mouse to suddenly sounding like deep basses. The transposition key of a keyboard is an arch enemy of mine.   

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Is there any advice you would give other musical directors?

Expose yourself to a variety of musical styles and eras. Musicals have such a wide variety and you need to be proficient with them all. Always be willing to step out of your comfort zone and try something new. Most importantly, treat everyone with kindness and respect. You never know who you might have to work with again and you don't want bad blood between you and them.  

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What advice would you give actors who are auditioning or performing in musicals?

Always pick songs that you are very comfortable with and you know very well, something that will show off your range and personality. Try to pick songs that haven't been done three million times. Help the directors remember you by being different and authentic. 

 

What is special about community theater?

Community theater brings people together of all walks of life, beliefs, ages, genders, races and experiences to create something that can touch the hearts and souls of each audience member and the cast and crew as well. I've met some of my very best friends and people that I call family through community theater. It brings out the best in everyone. It's a beautiful and magical experience unlike any other.