FEATURE > BROADWAY
HEAD ONLINE
to see Hoekstra and Kessler detail
their gear in our Rig Rundown.
check the rest of the Fractal
Audio Axe-Fx-centered rig.
Then, they eat and get in
costume—including a requisite wig for Kessler (Hoekstra
already has long locks).
Despite playing a grueling
eight shows per week, both
players say the live-perfor-
mance element keeps the
show fresh. “The audience
gives us a certain energy
much like that of a live rock
show,” explains Kessler. “We
often play into some of the
jokes in the show, and of
course we bring out our
favorite style techniques and
moves from the ’80s—some-
times we can even pop up in
the theater aisles if the time
is right.”
“You have to perform
each night like it is a
brand-new show,” Kessler
says. “You want to keep
fresh and excited, because it’s
probably the first and only
time that audience will see
you, and they deserve a great
show—and that is what I
want to give them.”
Of course, sometimes
that’s easier said than done.
“It can be physically and
mentally challenging,” says
Hoekstra, though he’s quick
to add, “I am one lucky
dude. Theater gigs are great
because they keep your chops
up, pay pretty well, and
keep you actively network-
ing—and you’re able to sub
out and do other gigs, too.
It’s allowed me to keep Night
Ranger and Trans Siberian
Orchestra going the entire
time, as well.”
Hoekstra (left) joins cast member Jeremy Woodard, who plays the
fictional band’s troubled lead singer, onstage for a number. Photo by
Peter James Zielinski
106 PREMIER GUITAR JUNE 2012
Anytime a comic-book hero makes the leap to screen or
stage, you can count on plenty
of attention, both good and bad.
Add in half of one of the biggest
bands in the world, and it gets
even bigger. Such was definitely
the case with Spider-Man: Turn
off the Dark. But though it got
some flack early on, it’s now
performing to sell-out crowds
every week. The show was
scored by U2’s Bono and the
Edge, and by all accounts they
were very particular, down to
the minutest details.
“In general, you don’t have to
audition for Broadway shows,”
says guitarist Matt Beck. “The
contractor knows a bunch of
musicians and then chooses the
right person for the gig.” But it
was essential to both Bono and
the Edge to pick players who
projected the right vibe and style
for their music.
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