The Days of ‘98 Show with Soapy Smith
Produced by Gold Rush Productions and F.O.E. #25, Skagway, AK
Directed by Meredith Schmidt
Choreography by Hali Duran
Music Direction by Robert Lewis
Background
I was originally supposed to work with Gold Rush Productions in the summer of 2020 between school years at Shenandoah University (where I earned a Master of Music degree in Music Direction). Unfortunately, the COVID-19 pandemic outbreak made that impossible. Instead, after completing my degree and beginning a career as a full-time musician, I was able to finally come to Skagway in the summer of 2022.
About the Show
The Days of ‘98 Show with Soapy Smith is a Skagway tradition since 1923, playing almost continuously (on a seasonal basis) since then. The show narrates the final days of notorious gangster and con man Jefferson Randolph “Soapy” Smith, who spent his final days in Skagway during the Klondike Gold Rush of the late 1890s. Interspersed with popular songs of the era, Soapy looks back on his life and reenacts his final days leading to the fatal shootout with Frank Reid which led to his death. The pianist is onstage singing and playing, and they interact with dance-hall girls Belle Davenport and Squirrel-Tooth Alice (both real names).
My Work
First and foremost, my responsibilities were teaching the score, performing my role, and ensuring consistent quality of performance. The first was fairly simple, as the score arrangements are mostly in unison or simple harmony (with the exception of a hymn arrangement of the Alaska Flag Song). The act of performing and remaining consistent across nearly 6 months of run was a challenge, but one I met.
This season of The Days of ‘98 Show with Soapy Smith had a slightly different format than usual, with one character being cut and the show significantly rearranged. The score has been accreted over the years, and was my starting off point. In addition to teaching the score, I had the responsibility of making sure the new versions of the music matched the version of the script we used (rewritten by producer/director Meredith Schmidt).
This new version of the script required several large composition and arranging projects:
Finding an appropriate cut of Scott Joplin’s Maple Leaf Rag to function as a staged overture. This was done in collaboration with pianist Aaron Thompson.
Using pianist Aaron Thompson’s setting of the classic song “Ta-ra-ra Boom-de-ay” as a jumping off point for an altered version.
Completely rearranging the “Can-can” section of the show to remove segments that were not used.
Creating a fuller arrangement of “A Bird in a Gilded Cage” by Harry von Tilzer and Albert Lamb. This work, interpolated last season, needed a level of dramatic weight to it to function as a dramatic climax for the character of Belle Davenport.
Writing various small fanfares and incidental music.