Hot Bench: Errick Mah (‘27)

“Ah - ah - ah -AHH - ahhhh -ah - aHhHhhHH!”  

SING OUT, I need more SOPRANO!!— 

Hey, Errick. Sorry to interrupt vocal warmups—do you have a minute for a Hot Bench? 

—Singers, think more “AHH,” less “EHH”!!—Oh . . . sure, happy to. 

You’re the Band Director of the Law School’s 118th Libel Show. We had Opening Night last night. How are you doing today?  

I'm in a much better place than I was two nights ago. My blood pressure is a lot lower now that we've cleared one full night. It was fantastic getting to hear the audience’s reactions. 

What is your favorite Libel memory?  

That's a hard question because there are so many fantastic things that we do in Libel. I think it's the first time [during] Tech Week that I get to meet everyone and see everyone in the same room for the first time: our full cast, crew, and band. Even as stressful as it can be, reality sets in: Oh, my God, we're really making a show. 

Do you have a favorite Libel tradition?  

The writers’ room in the fall. You get to see all these minds come together and write the whole show from scratch. People might not realize how much work and time goes into writing the show, all of our really fun original content, parodies and songs. It taps into people's instincts about what law school culture is like. 

What is your favorite song from Libel this year? 

Genuinely, there are so many wonderful songs this year, in large part due to Cayleigh Soderholm’s ’26 contributions to the band arrangements. It's hard to just pick one song. I’ll say “1L Dirtbag”. This semester, I tried to make it to rehearsals for a lot of songs. I wanted to coordinate with the vocalists and their vision for their song. Having Matt [Nino] ’28 play guitar on stage was so integral. When Matt auditioned, he blew us all away. I thought: I want him in this sketch, and I want him to play guitar on stage. The fact that we have been able to execute the vision so well is one of my favorite parts about this year's show.  

What is the best part about being the Band Director of Libel, and why is the answer “being the best-dressed person in Caplin Auditorium three nights in a row”?  

Well, if you ask some of my friends, I do tend to overdress for pretty much everything. (Exhibits A and B are probably the PILA Auction and Barristers’.) I mean, honestly, I just like to play around with it. There's something great about the glitz and glamour. I mean, we're putting on a show, and why not go all the way, right? The joke motto that I always tell people is that I commit to the bit. And I think that’ll come through when I overdress every night this weekend. 

Can you tell us a little bit more about your background in music, specifically in conducting, and what draws you to continue to do that?  

I'm a classical pianist by training. I started when I was five. I also played the violin for eight-ish years. Conducting was something that I kind of fell into. I was interested in orchestration, but I didn't know how to go about doing it. In middle school, I had the opportunity to help out with some of our string chamber ensembles, and that's kind of where I got my start in conducting. I've just kept practicing it ever since. Whether it's conducting a small ensemble or getting to direct the First Year Players here at UVA, it's something that I find to be a really magical experience. It's one thing to recognize—when you play in an ensemble—that you are one part of the bigger puzzle. I think directing a band is just . . . a different perspective. It's that bird’s eye view: how do all the pieces fit together? I really love doing it, and hopefully, I'll do it again next year.  

You’re integral to the whole Libel process. The music is seamlessly integrated as part of the vision because you've been building that bridge between the music and the script since the fall. 

During the first read through of the script, one of the things that I'm thinking about is, can we do music here? Is there a sting? Is there an incidental piece of music? Like Coughlin's entrance in “ExamScroll4”, or the “Town Crier” fanfare. What is that going to sound like? How much time do we want to devote to that? All the tiny musical aspects of the show that I think would be great additions. Being able to submerge myself in all aspects of the process has been helpful in guiding the way I approach directing our band. 

You’re a double Hoo. What is your favorite UVA tradition?  

Oh, it's got to be the Lighting of the Lawn, right at the start of December. The whole school congregates on the Lawn. There's a light show, performances by the acapella groups and dance teams, and all these student organizations involved. One of the great things about UVA is our community. I think that the fact that we have such a vibrant student organization culture speaks to that. And I think the Libel Show speaks to that, too. Where else in the T-14 do you get to see a show where we make fun of ourselves? And our professors? And the professors attend to watch themselves get laughed at. It's something about not just the Law School, but UVA generally. It's our beautiful community. 

You were an electrical engineering major. So tell me, as an expert, which has less resistance, an exposed wire, or a Libeler who has a meme to send in the GroupMe?  

Mm, what's your definition of resistance?  

Um . . . “The ability to . . . restrain one’s activity at all.” 

Oh, it's gotta be the Libeler. Because if an exposed copper wire has zero resistance, which, I mean, we assume it does, for circuit analysis reasons— 

Right, obviously, of course.  

—A Libeler's got negative resistance. Nothing is stopping a Libeler from sending an unhinged meme. I speak from experience, having sent a couple myself.  

It's time for a little glazing. Even before all your law school accomplishments, you won a very prestigious award at UVA as an undergrad for your standout work in the engineering program. You were a teaching assistant, a research assistant, and you were on the advisory board, shaping the trajectory of the engineering curriculum at UVA. AND you did ALL of that while being the orchestra director of Legally Blonde. Tell us, how do you do it???  

What, like it's hard?