Michael O'Flaherty, resident music director at Goodspeed Musicals writes:
“It has been my pleasure to work with orchestrator Dan DeLange for the past several years, at Goodspeed Musicals and The Paper Mill Playhouse.
Dan possesses the rare ability to serve the needs of the piece, the peculiarities of the time period, the demands of the composer, the idiosyncrasies of the director, and the restrictions of the producer (making eight musicians sound like twenty-five).
His arrangements for orchestras large and small have consistently impressed me. He produces on time, and within a budget, creating thrilling work that enhances every show that he is involved with.
Dan’s obvious talent, musicianship and craft have convinced me that he will soon find his place among that small group of well-known musical theater orchestrators.”
Dan possesses the rare ability to serve the needs of the piece, the peculiarities of the time period, the demands of the composer, the idiosyncrasies of the director, and the restrictions of the producer (making eight musicians sound like twenty-five).
His arrangements for orchestras large and small have consistently impressed me. He produces on time, and within a budget, creating thrilling work that enhances every show that he is involved with.
Dan’s obvious talent, musicianship and craft have convinced me that he will soon find his place among that small group of well-known musical theater orchestrators.”
Bruce Pomahac, DIRECTOR OF MUSIC AT THE RODGERS & HAMMERSTEIN ORGANIZATION WRITES:
“Dan DeLange is an orchestrator whose work we greatly admire.
One of the key challenges to orchestration in the theatre today is devising a minimum instrumentation that can deliver a maximum sound.
This is especially true for revivals of so many of the shows that spring from the great golden era of the Broadway musical. These shows (think OKLAHOMA!, THE KING AND I, CAROUSEL, MY FAIR LADY, THE MOST HAPPY FELLA, and WEST SIDE STORY) were originally conceived with orchestras of thirty or more players.
Today, budget constraints and space requirements can limit that number to one-third the size of the originals. But Dan DeLange consistently proves himself to be up to the task.
His orchestration for scores like Goodspeed’s recent ANNIE GET YOUR GUN & SHOWBOAT hit all the right notes. And even with a limited number of players he is able to change his palette for each show.
It’s hard to believe that the wide range of musicals with which he has been associated over the last several years were all orchestrated by one man – Dan DeLange.
I would suspect that he is every producer’s, composer’s, director’s, choreographer’s and musical director’s dream."
One of the key challenges to orchestration in the theatre today is devising a minimum instrumentation that can deliver a maximum sound.
This is especially true for revivals of so many of the shows that spring from the great golden era of the Broadway musical. These shows (think OKLAHOMA!, THE KING AND I, CAROUSEL, MY FAIR LADY, THE MOST HAPPY FELLA, and WEST SIDE STORY) were originally conceived with orchestras of thirty or more players.
Today, budget constraints and space requirements can limit that number to one-third the size of the originals. But Dan DeLange consistently proves himself to be up to the task.
His orchestration for scores like Goodspeed’s recent ANNIE GET YOUR GUN & SHOWBOAT hit all the right notes. And even with a limited number of players he is able to change his palette for each show.
It’s hard to believe that the wide range of musicals with which he has been associated over the last several years were all orchestrated by one man – Dan DeLange.
I would suspect that he is every producer’s, composer’s, director’s, choreographer’s and musical director’s dream."
Ted Pappas, Producing Artistic Director at Pittsburgh Public Theater writes:
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"Over the past many theatrical season, Pittsburgh Public Theater's audiences have had the unique pleasure of experiencing some of America's greatest musicals with the lustrous support of Dan DeLange's impeccable orchestrations.
We are able to produce large-scale musical productions, without any artistic compromise whatsoever, because of DeLange's artistry, dexterity and great taste as an orchestrator and as a musical collaborator. He is simply first class." |
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STEPHEN SCHWARTZ, Lyricist and Composer:
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"Goodspeed's secret weapon..."
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Chris Herzberger, Vice President, Live Theatricals at Universal Pictures writes:
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"It was such a joy working with you on 'Holiday Inn' as your work was truly wonderful. Thank you for sharing your talent with all of us and for bringing that score to such beautiful life. Can't wait to work on many more things in the future."
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Julie Andrews, Director of "The Boyfriend" National Tour
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"Dan DeLange's orchestrations
are absolutely right" |
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Brian Henson, CEO of the Jim Henson Company
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"Dan is fabulously talented."
On Jim Henson's 'Emmet Otter's Jug-Band Christmas' |
Paul Williams, composer/lyricist writes:
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“Dan was a pleasure to work with bringing “Jim Henson’s Emmet Otter” to life. He was faithful to the spirit and content of the original arrangements and inventive in the way he translated the work to the stage. Very comfortable to work with... void of the Diva gene... Gets it done on time and with ideas that made sense.
In a word, he made my music sound like it was written by someone who knew what they were doing." |