TESS The Musical

In conversation with Jessie-Mae Thomas

9/5/2019

In another d’Blog special feature, Jessie-Mae Thomas – the first stage Tess, and the first person to record a commercially available song from the show – talks to Tess administrator Scott Collins.

What attracted her to the role? Who else would she like to play?

And is the future in her hand...?

Tell us a little about yourself - ‘cos we’re nosey like that.

I’ve adored musical theatre for as long as I can remember, however I started performing with amateur companies in my local area when I was 10 years old. I’ve since studied singing privately and also performing arts at Stratford-Upon-Avon College, as well as participating in a variety of other amateur performances and workshops.

What attracted you to the role of Tess?

One of the main things was how complex she is as a character and as a role. The journey Tess goes on throughout the show is huge, taking her from a naïve girl to a fully experienced, strong woman. Furthermore, I feel the vocal range and variety of acting skills required for Tess is particularly attractive as she is a huge role in terms of ability, which I felt was an exciting challenge.

Jessie-Mae Thomas, Tess The Musical, Night Project Theatre, David Fawbert Photography

In the Night Project Theatre workshop of TESS

Jessie-Mae Thomas, Tess The Musical, David Fawbert Photography, Night Project Theatre, Phil John, Tess of the d'Urbervilles

With Phil John as Alec d'Urberville

If you hadn’t played Tess, which character would you like to have played?

Of all the other characters, Alec is probably my favourite as I feel he is the other character who massively develops throughout the musical – as well as having some of my favourite songs! However, realistically, and due to some obvious difficulties, I could never play Alec, so I’d

have to say one of the dairymaids as they’re just hilarious! I have a real soft spot for Marian in particular as she’s such good fun.

What was the challenge of recording “The Wrong Side Of The Door” – now available to buy at tessthemusical.com/store (just sayin’) – compared to performing it live on stage?

On stage it was very easy to get caught up in the acting and emotions as there was a live audience reacting to me, so once I was confident and comfortable with the vocals I could really do what I felt would work (within reason!) with the acting. Recording in the studio was a great experience as I not only got to focus on making the singing sound good, but I also got to work with the writers on how they wanted it performed, which was incredible.

What’s your favourite song in the show?

Both to listen to and perform, it has to be Quartet. I’m absolutely obsessed with harmony and always have been, so when I first heard it I was hugely excited to get started. I’m also a major perfectionist, which made it so much more rewarding when we got the piece perfectly as it really felt we were doing justice to the gorgeous music.

What’s next for you? Is the future ‘in your hand’…? You see what I did there.

I’m currently looking at courses to begin studying musical theatre this September in order to (hopefully) continue my career in the industry. I’m hoping to study a BA Hons degree at university and then a Masters at a drama school, but I shall have to see!

Jessie-Mae Thomas, Tess The Musical, recording studio

Recording 'The Wrong Side Of The Door'

As Tess is asked in the show, so I’ll ask you. Have you ever put your head against a cow’s behind?

Unfortunately in the time since Tess has finished I haven’t had chance to get to that yet! Could be a potential fun day trip with the dairymaids though.

Jessie-Mae Thomas was in conversation with Tess administrator Scott Collins.

Thank you for reading and following the progress of TESS.
Feel free to leave a comment. We'd love to hear from you.

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Interview with an album producer: how was it for you?

14/11/2017

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Album producer Sunim Koria lifts the lid on the production of the concept album of new British musical Tess.

In this candid interview, he talks exclusively about his reasons for taking on such a huge project and the challenges he faced along the way as well as spilling the beans on some rather scandalous studio activity.

What made you take on the Tess concept album project?

I must confess it took a great deal of convincing for me to take it on. I believe it was about the fifth time Michael Blore asked me that I finally said “Yes”. It was by no means due to any kind of disinterest. I just didn’t feel confident that I would have the time, or even the know-how, to do the material justice. But then it dawned on me: exactly how often do people get approached to produce a concept album for a new through-composed musical?

Not often, I’m guessing?

Not to mention being allowed a wealth of creative freedom and an opportunity to work alongside some big names in the industry. From there, I romanticised the idea of producing something that could rival my all-time favourites in the musical theatre concept album form – the original recordings of Jesus Christ Superstar and Chess. And thus, it was safe to say I was hooked.

What’s your favourite track to listen to?

This is actually quite a difficult question – it probably changes upon every listen! I recall playing several early mixes to my girlfriend who exclaimed that I was prefacing every number with the comment “This one’s one of my favourites!” Even now, quite possibly having spent literally hundreds of hours listening to the album, I’d probably say the same.

So, sorry to go all Jeremy Paxman on you, but your favourite track is…?

Sunim Koria with cellist and Tess administrator
Isabella Worrall

If I really had to choose, I’d maybe pick the Quartet in Act 2 – a genius moment that is dark and tortured yet, at the same time, consoling and beautiful. Not only does it showcase the brilliance and complexity of the Michaels’ writing, but also the expressive vocal performances of four of our marvellous leads. I also love the dramatic shift and change in mood as it seamless follows on from the contrastingly upbeat and quirky Society Ladies. Another one of my favourites!

What was your favourite track to mix?

That would easily have to be I Always Get My Way. I think I even managed to get the kitchen sink into that one there’s so much going on! However, at one point early on in the mixing phase this song would temporarily become my biggest bane.

Oo, do tell. It is an interview.

We had already recorded a version of I Always Get My Way for the demo we’d put together in 2015 and I had done everything to get that sounding as tremendous as possible.

Fast-forward exactly two years and I was now faced with trying to top the work that I had produced before on that very same song. However, due to impending deadlines for the completion of post-production, paired with working on Tess late into the night on top of working 14-hour days, the results of the first mix to my ears were absolutely disastrous!

Crumbs…

2015 recording of 'I Always Get My Way'

The energy of the demo version just wasn’t there, the instruments were stepping all over each other and I simply hadn’t done any justice to Tam Mutu’s electrifying performance. It was the one time that I truly felt defeated. I felt I had no choice but to begin again and mix the entire album from scratch, which at that point was already about two-thirds complete. Thankfully, the Michaels were gracious enough to give me the time that I needed to rethink my mixing “game plan”. For the next album mix I started with
I Always Get My Way first and did not even think about moving on to anything else until I was completely satisfied. The song ended up becoming my benchmark for the entire album thereafter.

Can you give us the scoop on any gossip?

Ooh, there’s far too much to tell! But I shall save the Michaels any embarrassment and further damage to their already deplorable reputation –

Shame.

And focus on myself for this one.

I’m all ears.

As can sometimes happen when recording a multitude of vocal parts for a project as colossal as Tess, I discovered during the early stages of post-production that a few lines in some of the inner parts for the female chorus were completely missing here and there in a couple of numbers.

Very rock 'n' roll - celebrating the end of production
with the 2 Michaels.

As the absence of these was relatively inconsequential to the overall sound, the Michaels and I debated if it was worth scheduling the respective vocalists to return to the studio to record the missing material. Sensing an opportunity to shoehorn myself into yet another performance on the album, I suggested “plugging the gaps” in the female choral sound by using my own most beautiful and soaring (vastly poor and untrained) countertenor voice. I can’t recall the Michaels overtly giving me permission to do this, but I went ahead and did it anyway - scandalous, I know!

Outrageous!

Most people probably wouldn’t even be able to spot those moments, but they are there. I can certainly hear my voice a mile off.

We should listen now and play “Spot the Prod”!

[He doesn't respond.]

Perhaps another time. What were your technical challenges?

Where do I start?! For me, the greatest challenge was probably making an incalculable number of vocal and instrumental performances (well, 1,306 to be precise!) sound like they were all recorded “as one” in the same room and within the duration of a couple of hours even though they were captured over a period of nine months and across five studios. I probably used every trick in the book to achieve this – and even made up some of my own!

Furthermore, our audio engineers, Conor Manning and Richard Watson, and I had vastly dissimilar studio setups and so a lot of time was spent in pre-production ensuring we had a fail-proof system to make all recording sessions run efficiently with minimal technical fuss. Being blessed with the highly skilled and diligent team we had, working through any difficulties as they occurred was an absolute breeze. I certainly never felt we hit any technical “brick walls” at any point during production.

With Richard Watson (left), Conor Manning (second left)
and those 2 Michaels again

So, killer question, would you do it all again?

I’d love to… but maybe after a decent couple of years’ break at least! As much as I’ve loved dedicating most of my musical focus on Tess it’s definitely nice to be getting more than three hours sleep every night once again.

Three hours sleep? And you still look so young?

[He smiles.]

Moving on. What’s next for you?

In terms of projects, I have my own album of material that I have been constantly putting on the back burner since 2010, so really I should be getting on with that if I want it to be completed any time before 2040!

Working on Tess for all this time has also really inspired me to make a return to composing concert music: for orchestras, chamber ensembles and soloists, and collaborating with a diverse mix of musicians – something which I adored revelling in when I had the opportunity to do so. I may even compose a musical of my very own… who knows!

I see it now. TESS 2 - T2 - Revenge of the Tessth!

Can I go now?

Sunim Koria was in conversation with Tess administrator Scott Collins.

Thank you for reading and following the progress of Tess. Please feel free to leave a comment. We'd love to hear from you.

Read again

How to make a musical: From page to concept album - whatsonstage
5* review of Tess concept album - Londontheatre1
Tim Rice backs new British musical - carnstheatrepassion

Next time on d'Blog... We bring you more news on the Tess journey from score to stage via the radio.

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Interview with a composer

13/2/2017

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Welcome back and thank you for clicking over to our latest d'Blog.

Though technically speaking this one ain't a blog. It's an interview. Or is that a d'Interview? With TESS composer Michael Blore.

From the first recordings last June we catch up on how the album project is progressing and hear about some plans for the future.

And just who is Prodzilla?

So how’s it all going?

With vocal editing complete and the instrumental editing nearly done things are ticking along very nicely thank you. My job at the moment is mainly one of providing notes and guidance on the whole score to our album producer, Sunim.

Oh yes, Sunim. Don’t you call him Prodzilla?

Affectionately, yes. He’s got a monster of a job and is doing it all with tremendous skill, dedication and patience.

What’s he been doing then?

What hasn’t he been doing! We recorded 21 voices in 5 different venues. From that wall of sound he’s pulled

TESS album producer Sunim Koria (l) sets to work with Michael Blore

everything together to create one beautifully harmonious 2-hour long new musical theatre extravaganza. Oh, and incorporated the recordings of 11 musicians. And begun creating sound effects, additional instrumental sounds and foley.

Foley?

The reproduction of everyday sound effects that are added to film, video and other media in post-production to enhance audio quality.

You looked that up.

Maybe…

What has been the most challenging aspect of the post-production process?

Well, I must admit to getting the jitters come vocal editing deadline day. Had we chosen the best takes? Had any adjustments we needed to make enhanced the quality of the performances or not? I felt the responsibility weigh heavily on my shoulders.

So you were making decisions alone?

Mercifully not. Sunim is a composer in his own right so I always sought his input. And Mike was very much part of the decision-making process.

Do you mean award-winning playwright and lyricist-in-chief Michael Davies?

The very same. Not only is he a formidable wordsmith, but also a top musician with an ear that can spot a musical anomaly at 20 paces.

Or even 20 decibels.

The 2 Michaels - Blore and Davies

Exactly. As we speak he’s also working on the promotional package that will accompany the CD when it is complete.

And what have you been doing?

I’m making notes!

Chorus member Janette Summerfield gets some pointers from the composer

I see. So when can we get to hear it?

Give us a few more months and we’ll be ready. We’re planning a launch party to kick things off.

Oo, do tell.

In time.

You tease.

I know.

Michael Blore was in conversation with TESS administrator Scott Collins.

Thank you for reading and following the progress of TESS. Please feel free to leave a comment. We'd love to hear from you.

Next time on d'Blog... The end is in sight for the first ever album recording of TESS as mixing kicks off.

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The 2 Michaels discuss the last 5 months

7/11/2016

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Hello again and thank you for checking out the latest d'Blog.

As work continues on the TESS album, the 2 Michaels look back on the last 5 months and completing the recording of all vocalists in the show.

5 months... Hasn't the time flown!

So take it away, Michael. And Michael.

With all vocals now recorded, how does it feel?

MB: Emotional. I always get emotional when I take time to stop and reflect. Especially on such an amazing few months for the TESS project.

MD: Rather unbelievable. When I think back to those early discussions around Michael’s kitchen table, covered in Post-It notes (the table, not us) to work out the narrative we wanted to tell, then compare it to the ever-growing project we’re now involved in, it hardly seems possible. And yet here we are, with all these fantastic vocals in the can, and ready to launch into the next phase. Pinch me, please. Ouch! That was meant to be metaphorical…

What has been the most memorable moment?

MB: That’s so difficult to answer because there have been standout moments with everyone. My overriding memory though will be of the laughter and fun.

MD: Too many to recount. It has all been memorable.

What has been the most unexpected moment?

MB: Piggy snort. We asked Nikki Cross (dairymaid Izzy) to record a flirty though comic giggle for the moment she meets the handsome Angel Clare. The piggy snort she gave us was certainly unexpected and made me laugh so much.

MD: Landing our trio of leads, quite out of the blue. Our audition pianist Barney Ashworth led us to Simon Bailey, who came in to meet us unexpectedly, which led us to Tam Mutu, which led us to Siobhan Dillon. The perfect domino chain.

How do you try to get the best out of the performers?

MB: Be patient, kind and determined. Oh, and be prepared.

Nikki Cross with TESS album producer Sunim Koria

MD: I’ve been consistently impressed at how they’ve all delivered their best unprompted. No input required from us.

From left Richard Watson, Conor Manning and Sunim Koria with the 2 Michaels

A word about your studio technicians, Conor Manning and Rich Watson.

MB: What were their names again? Kidding! I thought I was a fussy britches, but these guys have an attention to detail that makes me seem positively slapdash. I am in awe at what they can achieve.

MD: You know how you hear and read platitudes about how projects ‘couldn’t have happened without them’? Well, it’s true. Endlessly patient, relentlessly

reliable and always a joy to work with. Thank you, guys. Sorry, that’s more than one word.

What next?

MB: Bring on the instrumentalists. We hope to have them all booked and recorded in November. Can’t wait!

MD: Instrumentalists? Really? But aren’t they notoriously difficult to work with? Oh no, sorry, that’s composers, isn’t it? As you were. Can’t wait!

Thank you for reading and following the progress of TESS. Please feel free to leave a comment. We'd love to hear from you.

Next time on d'Blog... A Christmas surprise from the TESS team as the album production moves on to the next phase

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In conversation with Jessie-Mae Thomas

Interview with an album producer: how was it for you?

Interview with a composer

The 2 Michaels discuss the last 5 months

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