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KING OF BRANSON
PAGE 9 of 12
| "She's the one [who] insisted we have a gorgeous bathroom you cannot see anywhere else." |
Over the years Tabuchi has slowly come into regognition from the country music establishment. The Ozark Music Awards named him Instrumentalist of the Year in 1984, 1985, 1986 and 1987. On a national level, in 1991 and 1992 TNN/Music City News Country Music Awards nominated Tabuchi, along with better known country music greats, as Instrumentalist of the Year. The nomination was based on votes by fans. A 1991 60 Minutes segment on Branson, which devoted several minutes to Tabuchi's show, gave a big boost to the traffic flowing into the Shoji Tabuchi Theater. "People started just getting into their cars and driving here in February, without even checking to see if the theaters were open," says Norm Jewell. In 1992 Tabuchi appeared on several TV programs including Lifestyles of the Rich and Famous, The Today Show and Inside Editiion, all of which encouraged his ambition of attaining national fame. Tabuchi has yet to ascend to the ranks of country music greats in large part because his success is based exclusively on performing other peoples' music rather than writing his own. With the exception of one record on the ABC/DOT label, his recordings of covers and videos have been produced privately, mostly for sale in his theater gift shop.
Tabuchi readily acknowledges the role Dorothy has played in turning him into a genuine star. Her lushly feminine touch is very much evident on every facet of the theater, from the violet and hot-pink wallpaper to the sweet fragrance that permeates the air. She creates show concepts and reviews production ideas, music, sets and costumes. The glitter and glamour that has become a Tabuchi trademark reflects her love of Broadway musicals. One would be hard-pressed to find anywhere but on Broadway the kinds of sets featured in the Tabuchi Christimas show, for example. Dorothy has helped Tabuchi transform himself from a successful country fiddler into the star of a Broadway-styled show with a country accent.
"She sets up everything except my part," says Tabuchi. "I have my own ideas, you know, but I respect her opinion. I take my songs, all the songs I want to do, and she will work from there. She's the one who puts together the whole production. People take her too lightly. I don't. [You] don't know how much work is involved in every detail. She's very very perfectionistic -- she doesn't let anything get by her, which is great. She's the one [who] insisted we have a gorgeous bathroom you cannot see anywhere else. Or red carpet treatment for the buses."
Asked whether some people might not be tempted to see her as the creative force and him as merely the violin player, Tabuchi shrugs. After a moment he says, "It's pretty good if someone else can run it for you."
"She's probably the one who takes the blame for [things]. People can get by with me easier than [with her]. Say one of the dancers is a little off, she will correct them. I won't let it slide, but she's more [of a] perfectionist than I am." Dorothy is the one who generally calls daily meetings to iron out difficulties in the show. Tabuchi makes it clear that he himself has rather high standards. "Bad is bad -- they won't get by with me either." Tabuchi's keen ear can detect a sour note hit by one of a dozen musicians and he can be exacting enough to irritate members of his orchestra. Each evening at seven, between the matinee and evening performances, he holds a meeting with his music director, who doubles as the steel guitar player, to point out areas needing work.
Perhaps even more than the music itself Tabuchi enjoys the interaction with his audience. That joy comes through in the wholesome good feelings he projects when he is on stage. The success of his theater is a natural outgrowth of his love for performing, unlike the theaters that house some other big names.
"Most of the artists who come here to Branson have partners, backers. There are very few, like the Bald Knobbers -- they are a family operation. Presleys -- a family operation. Older, established groups are family operations, but most of the big names coming in [don't] own [their] theaters.
"I'm trying to do customer service," says Tabuchi of his business philosophy. "In the long run I think it's going to come back to me." It's been coming back to him practically since the theater opened. He isn't willing to name figures, but doesn't dispute an estimated $12 million annual box office gross $3-4 million in profits. "Yeah, I guess," he says, his eyes searching for a way to avoid being pinned to precise figures. "You done figured it out! Well, you know, I have a big outgo."
The single biggest expense are Shoji Entertainment's 140 employees.
"I've told Shoji we can do with maybe a third fewer employees," says Jewell, "but he doesn't want to skimp on service. He wants everything to be first class."
Another big expense is the lavish sets and costumes. "Christmas show alone, we invested..." Stopping himself, Tabuchi asks, "How much do you think the Christmas show cost?" About $800,000? "That's just about right [on]," says Tabuchi, looking a little surprised. He points ourt that the Christmas show lasts only from Thanksgiving through December 20, hardly time to recoup the investment. PAGE 10
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