Chris Tsujiuchi leads a Parade in Concert
12 Mar 2019.

by Drew Rowsome -

Chris Tsujiuchi is one of the bright lights of the Toronto theatre, musical theatre, cabaret, comedy and Christmas scenes. Branching out yet again, he is musical directing Toronto Musical Concerts' staged reading of the multi-award winning Parade. Though deep in rehearsal, Tsujiuchi graciously took the time to answer a few questions by email.

Drew Rowsome: How did you come to be mixed up with the Toronto Musical Concerts crew?

Chris Tsujiuchi: Producer/director Christopher Wilson [Two Kittens & a Kid] reached out to me; I music directed a production of The Last Five Years last summer; a musical written by the same composer as Parade, Jason Robert Brown. Christopher saw it, and thought that I would be a good fit for this show as well.

What drew you to the musical Parade?

Chris Tsujiuchi: I didn’t help select this show for TMC, but I’ve been a fan of Parade since the original cast recording was released. I received a copy as a gift for my birthday, I think. I remember listening to it and thinking how different it was in tone from all of the other musicals I had heard, and how well written and dense the score was.

What number in the show resonates with you the most? What thematic element?

Chris Tsujiuchi: The funeral sequence. It’s a very true musical representation of what grief feels like to me. The music is simple, but dissonant and perfectly supports the lyrics all the characters are singing as they mourn the loss of their friend/co-worker/child Mary. Lyrics like “it don’t make sense the way the world can let you fall. I swear it don’t make sense to me at all.” This sequence gets me every time in rehearsal.

There is a lot of talent in the cast including Michael De Rose (The Wizard of Oz, Grease, My Dinner with Casey Donovan) and Ryan Kelly (Gash!, The Normal Heart, Dancing Queen) who are also TMC veterans from Merrily We Roll Along, Company, Assassins and Into the Woods. Who else in the cast are you most exited to work with?

Chris Tsujiuchi: I’ve known Eric Craig [The Wizard of Oz] and Jenny Weisz [An Unsafe Space] for a long time, but we’ve never worked on a show together, so that excites me a lot. Jonathan Cullen [Forever Plaid] and I haven’t done a show together since we co-starred in Anything Goes like, 10 years ago at Sheridan College, so that’s exciting! I was also very excited (and nervous) to meet and work with Ma-Anne Dionisio [Cats] for the first time because she’s so fancy! Our first day in rehearsal together, I had no chill. She is very nice, and now that we’ve had a couple of rehearsals together I’ve calmed down a bit.

Excited to work with again? 

Chris Tsujiuchi: Alana Hibbert, always. She’s so talented, and giving, and consistent, and amazing to have in the room. I adore her.

Who has the biggest ego? 

Chris Tsujiuchi: Hmmm . . . Jason Robert Brown has the biggest ego in the room.

The biggest voice?

Chris Tsujiuchi: Everyone in the cast has the biggest voice at some point in the show. And when everyone sings together at the beginning, the energy is so electric!

The best dance moves?

Chris Tsujiuchi: I obviously have the best dance moves.

Many of the creatives have been involved in previous TMC productions. How long did it take you to get up to speed for your first?

Chris Tsujiuchi: I’ll have to let you know once I’ve caught up.

How much rehearsal time do you get before the performances? Is it ever enough?

Chris Tsujiuchi: It is never enough, you’re right. We get a fair amount of time for learning music in smaller groups, but rehearsals with everyone are definitely very fast moving and chaotic as we have to get through a lot and make the most of our time together.

I loved your work in both Onegin and Box 4901, will you get as much of a chance to strut your stuff with Parade?

Chris Tsujiuchi: I won’t be strutting my stuff as a performer like I did in Box 4901, but my piano chops are definitely on display in this piece, much like Onegin. I will be on stage, at the piano, driving the bus, and likely sweating a lot. This is one of the hardest scores I’ve ever had to play.