Harold Wheeler
It is with immense sadness, and a profound sense of loss that we mourn the passing of our dear friend and colleague, Harold Wheeler. Composer, arranger, conductor, orchestrator, and musical director, Harold’s musical artistry shaped Broadway, television, recording studios and concert stages for more than five decades. He was a “musician’s musician” and was adored by all who had the pleasure of working with him.
After graduating from Howard University, Harold earned his master’s degree from the Manhattan School of Music, and broke barriers early in his career as the musical director for Burt Bacharach, becoming one of the first African Americans to fill that role for a major pop artist. He went on to collaborate with performers as diverse as Nina Simone, Tony Orlando, Lena Horne, and Bruce Springsteen.
Harold was a first-time Broadway dance arranger for Promises, Promises, and when the original conductor was fired during the out-of-town tryouts, legendary Broadway impresario David Merrick offered Harold the job, despite his lack of conducting experience. Similarly, the show’s orchestrator, Jonathan Tunick, offered Harold an incidental 24-bar introduction to “Christmas Party,” and so began his long career as a first-call Broadway orchestrator.
Harold’s orchestrations and musical supervision became synonymous with excellence. His work enriched landmark productions including The Wiz, Dreamgirls, The Full Monty, Hairspray, Dirty Rotten Scoundrels, and Ain’t Too Proud. He earned seven Tony Award nominations, and in 2019 he received the Special Tony Award for Lifetime Achievement in the Theatre — an honor recognizing not just his extraordinary accomplishments, but the profound influence he had on generations of theatre artists.
As the original musical director for Dancing with the Stars, Harold led a live orchestra for the show’s first 17 seasons and brought elegance, energy, and indelible musical sophistication to television, and in turn millions of viewers. He also served as musical director and arranger for several Academy Awards, Emmy Awards, and numerous televised special events, including conducting the opening and closing ceremonies of the 1996 Olympic Games in Atlanta.
Those of us who worked with Harold remember so much more than his impeccable musicianship. His grace, generosity, humility, and unwavering professionalism were just a few of the qualities that endeared him to his players. I remember one occasion on an Oscar show when a member of the string section breached the Academy’s stringent security protocols by posting her crew credentials on social media — a blatant contravention of the Academy’s directive. She was understandably detained and taken to “Oscar jail.” Harold was informed she would be taking no further part in the show, and instructed to call a replacement. Not being one to desert a member of his “flock” and take the easy alternative, Harold went to great pains to explain to those in charge that the show simply could not continue without this uniquely talented musician, and ultimately secured her release.
Harold had the rare ability to elevate everyone’s confidence, whether leading the orchestra, mentoring younger musicians and arrangers, or quietly solving the countless musical challenges that producers and audiences never knew existed. His presence on the podium was an inspiration to performers and musicians alike.
To have had the honor of working with you over the years, Harold, will always be a highlight of my musical life, but I’ll cherish the dinners, the stories, and the laughter we shared just as much, if not more. The curtain has come down, but the music you gave the world will continue forever. Rest in peace, my friend.
Ashley Irwin
SCL President