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January 1, 2010

Halfway

I call this: On the Road Again,theatre — Posted by KP @ 5:32 pm

Today marks the halfway point in our stay in Minneapolis. We arrived here December 1st, and we depart on January 31st, for our next performance in Moorhead, MN (right next to Fargo, apparently), on February 1st.

As one would assume, we are about to go into tech. Nick, Ashley and I will pack up the rehearsal room on Saturday night, and all of our stuff will be moved up to the theatre on Sunday morning. Sunday is a regular rehearsal day, but instead of being in our rehearsal studio, we will be on stage. Our local carpenters, Craig and Sarah, will be there with us for the first time, where they will begin learning the show, and becoming familiar with the props. I’m sure they already know the set better than us since they put it up.

Sunday’s rehearsal is about spacing, getting used to the ins and outs of the set, and troubleshooting any problems we discover in the course of that.

We have Monday off, during which the crew will complete everything that remains to be done before tech, and then on Tuesday morning we have our first day of tech.

My Team

Although being away from our company’s base of operations has its challenges, one of the things that has helped me stay reasonably sane is that I have a stage management team I trust. At this point Nick and I have been working together long enough that we often think of things at exactly the same time. This year we are taking part in the Guthrie system of using Google Talk to communicate in the rehearsal room and between departments and other shows. Usually at least once a day, Nick and I will type the same thing into Google Talk and send it to each other simultaneously. Yesterday I caught us both letting out an exasperated sigh at exactly the same time and duration. That being said, instead of always thinking of the same thing at the same time, we also often think of things the other has forgotten, which is far more useful than two people thinking the same thing.

Nick

I am a big believer in delegation in a stage management team. I believe the ASM should be an independent entity, and not just a someone who does the PSM’s bidding. I think the biggest part of that is not just to assign certain duties to the ASM, but to empower them to be in charge of certain aspects of the production. That might mean maintaining certain paperwork, or keeping track of certain aspects of the production (usually props).

In our production, I do most of the paperwork, because almost all of it is generated by the database I designed, so any changes to its function go through me, but once I get something working, a lot of the data is Nick’s domain.

Nick is also in charge of props, costumes (mostly because last year’s Henry V was so complicated that costume pieces had to be tracked like props), and I have put him in all the fight rehearsals because he likes it, and he was the fight captain for The Spy last year, so he’s got a good eye for fight choreography and weapons maintenance. When we get to the theatre, he will be the one who knows how things are backstage. I know he’s been watching the entire process with an eye towards backstage traffic, prop tracking, where costume changes happen and so forth, and in his head he has a much better picture of what things will be like backstage.

I have been more focused on what happens in front of the audience — blocking, light cues, sound cues, etc. Chances are we will finish the tour with neither of us ever fully understanding what happens in the other’s world, but that’s why we are a team.

Ashley

Ashley, the Guthrie’s stage management intern, is our liason to all things Guthrie. She knows the people in most departments, and knows who we have to talk to about what. Although this is the second time working here for me and Nick, we have a grasp of the way things are done, but we aren’t fully integrated into this well-oiled machine. Ashley has been with numerous productions here, and can keep us on track with what’s expected of us throughout the process, while freeing us from having to personally interact with all the little details of operations in such a large organization.

She is the keeper of the official Guthrie computer (largely because Nick and I prefer to use our own computers, and they don’t allow outside computers access to the network). Aside from the strangeness of switching computers, email systems, and document formats in the middle of our tour — I mean come on, why would we stop using Macbooks to use a Dell?

When emails go out on the G’s system, they go to Ashley and if it’s anything I need to know, she’ll tell me about it or forward it to me.

As we make the schedule every night, I create it in our database, which arranges it in a vertical format (which I’m not really happy with, but it’s the best I could design before we started rehearsal). The best I can say about it is that no one has ever missed a call because they didn’t read the schedule properly, in fact I can’t remember anyone even asking for clarification, even on the craziest days, which may be the best track record of any schedule format I’ve ever created.

Anyway, Ashley looks at my schedule as I’m making it, and copies it into the Guthrie’s format, which is more horizontal, and shows things going on in different rooms side-by-side, which is definitely a more natural way to conceive of it. The fact that we simultaneously create and then proof-read the schedule in two different orientations allows us to catch problems more reliably, and Nick can also watch my schedule from his computer, as we share access to the database over our network. So between the three of us checking our work, we have never made a scheduling conflict.

Ashley also has access to the magical document that shows who is using what rooms in the entire building. On days when we have multiple rehearsals, fight choreography, movement and voice work going, this can be very important. We also now have Macbeth in rehearsal next door, which is the big show in town and requires more space, but we have been very successful in sharing rooms with them, and coordinating our schedules so we can have time with members of our creative team who are working on both shows. Knowing what rooms are available the following day is essential when scheduling things outside the main room, which also affects what gets scheduled in the main room and when.

Honorable Mention: Corey

Corey is not a member of the stage management team. He is the company’s staff repertory director. If you’re wondering what the hell that means, he functions more-or-less like an assistant director in the rehearsal process, and like a resident director once the show opens. He tours with the company, and maintains the artistic integrity of the show. Which I kind of like, because it means I don’t have to do it! While I would enjoy the challenge, it would be very hard in this situation because I don’t travel with the cast, and rarely get to see them outside of performances. Also, with a two-person stage management team, I can’t swing out to watch the show from the audience, which is often vastly different than watching from a booth. Ian and I worked closely last year and would sometimes confer on things, or even watch and discuss the show together if the booth was comfortable and afforded a good view, but ultimately it’s the staff director who evaluates the performance and keeps up the original direction. Since I’m advancing the show with the crew while the actors are just waking up and boarding their bus in the previous city, I maintain the technical integrity of the show, while Corey will have time with the actors on the bus to give any notes he feels are necessary.

In the rehearsal process Corey and I don’t have all that much direct interaction, but sometimes after rehearsal we check in and discuss how things are going, or things we need to plan for in the future. In my experience from last year, I think that relationship is one of the most important for the success of the tour, because it keeps the physical production and the artistic side of the production working in harmony, which keeps the show’s quality consistent.

In Conclusion

So all in all, having a great team in the room with me has made the rehearsal process incredibly smooth, which has left me more time to deal with all the things that need to be coordinated out of the rehearsal room.

I’m very relieved that the hardest part of our process is basically over, or soon to be, and I’m excited to see what comes out on the other end of tech, which will become the show that we will bring to audiences in Minneapolis and all over the country.


December 31, 2009

Getting Close to Tech

I call this: On the Road Again,theatre — Posted by KP @ 7:21 pm

We’re in our last couple days in the rehearsal room. This morning Nick, Ashley and I went up to the theatre before rehearsal. The tech tables are already out. That’s mine closest to the stage in the center.

We’ve had some really complicated schedules as we try to squeeze every moment out of our rehearsal time, and finish all the haircuts, costume fittings and wig fittings. Yesterday the day was crazy. In the first 4 hours of rehearsal, we had 24 individual calls scheduled. Some of them were only 15 minutes long. So to keep track of where everyone needed to be, and to make sure they all got required breaks, I had to map out everyone’s day individually, at least prior to lunch. It was insane, but the chart was actually really helpful.

And finally, we used this time to take a portrait of Nick and I on the set. This is the “hobbit hole”: a small doorway tucked under the balcony stairs, used primarily as the entrance to Friar Laurence’s cell. In this photo, I demonstrate how there is absolutely nothing tight or uncomfortable about the size of this doorway. Nick does not seem convinced.


December 28, 2009

Fittings and Haircuts

I call this: On the Road Again,theatre — Posted by KP @ 6:12 pm

One of the things I hate most about my job is coordinating costume fittings, wig fittings, and haircuts. The schedules and needs of the director and costume designer, drapers, wig designers and hairdressers often conflict, and negotiating the actors through a very tight schedule without screwing anybody’s plans up can be very difficult, and usually gets screwed up by things you can’t control (a.k.a. Friar Laurence Syndrome).

With a ton of fittings and haircuts to be accomplished in a short span of time this week, each with their own particular criteria of when they could be accomplished, I felt that any method of organization short of moving solid objects around on a physical representation of the week would fall short or be prone to error. I literally cut up a cardboard box and made a calendar and individual pieces for each fitting that needed to happen, and taped them in order on the appropriate day.

It’s actually working quite well for us.

This was the schedule from yesterday.


December 14, 2009

Rehearsal Update

I call this: On the Road Again,theatre — Posted by KP @ 12:13 am

I know I haven’t blogged much this week. Believe me, with the Guthrie’s most famous blogger sitting next to me 8 hours a day, I get reminded when I’m slacking.

The Meet & Greet

This week we began with our Meet & Greet. Traditionally this would be done on the first day, but it was postponed to allow for a date when the artistic directors of the Guthrie and The Acting Company — Joe Dowling and Margot Harley — could both be present to speak at the ceremonial beginning of the rehearsal process. They both spoke of the great collaboration between the two companies that was started with last year’s Henry V, and how they were looking forward to keeping up the partnership with this production and others to come. Joe introduced our actors individually, who stood for applause from those Guthrie staff members gathered. They then introduced our director, Penny Metropulos, who introduced the production team (myself, Nick, our choreographer Marcela Lorca, and our voice and text consultants, Andrew Wade and Sara Phillips). Penny gave a basic overview of the concept for the show, the set and costume design, and the period the show is set in (roughly 1912), and why these choices were made. She gave a very moving talk about why the show is important and timeless to audiences.

Week Sort-Of-1 (Staging)

Once these festivities were done, we took a five, and crossed the doorway back into our usual rehearsal room, where we began staging from the top of the show. Now that the week is over, we are staged up to the first part of Act V, Scene 1 (Benvolio comes to tell Romeo that Juliet is “dead”). I think it would be safe to say we are about 4/5ths of the way through the show. We also spent the end of today’s rehearsal doing a stumble-through of Part I (i.e. the part of the show before intermission). We have also run other large chunks of the show, which provides a good perspective on how the whole thing fits together. There is still much that needs to be worked in more detail, so we are far from done, but we have a solid structure after little more than a week. Our cast is off book for a surprising amount of the show, and I think we’re all pretty pleased with how much we’ve accomplished so far.

Outside of Rehearsal Room 2, we have had costume measurements, some costume fittings, and a consultation for facial hair provided by the Guthrie’s hair department. Next week we have more fittings, and we begin sessions with our actors and voice/text consultants, where they will get one-on-one work on the text.

Outside of rehearsal hours, we had two conference calls this week. Navigating the schedules of about 20 people in three time zones, and trying to get all of them in the presence of a telephone at the same time has had my head close to exploding for much of the week, but we managed to get a lot hashed out. We had a small call on Wednesday between our set designer, lighting designer, director, staff director, and stage management team. Our designers (one in New York, one in San Francisco) only had 15 minutes each before they had to go to appointments for other shows they’re doing, so we very quickly went through the most pressing questions — new dimensions for our infamous platform (named Fred), and clarification of how the masking allows traffic on and off stage, and access behind the set. Our real production meeting involved a larger selection of Guthrie and Acting Company staff, where we checked in on a number of issues, and I accomplished my main goal of getting everyone to agree to a schedule for the actors’ call times for tech/preview week.

The Database

In technology news, our stage management database has really come into its own this week. I know I always talk about it and never actually explain it in depth. It’s still very much in development so the idea of stopping to blog in depth about it always seems premature. Features get added to it sometimes in the middle of rehearsal when the need for them is discovered.

With Nick and I on the same network, I open the FileMaker file on my computer, and create a local server. Nick opens FileMaker and loads the file that my computer is serving, so we’re both working on the same copy of the database. As long as we’re not trying to work on the same record simultaneously, we can each make independent changes at the same time, which has proven to be very helpful.

The database has a lot of different parts, but the one we’re using most in the context of blocking rehearsals is what I call “tracking.” It’s a chronological log of basically everything that happens in the show: entrances, exits, prop moves, sound cues, costume changes, etc. Initially, it was just filled with entrances and exits based on what is indicated in the script. As we have been rehearsing, that gets filled out and altered to reflect the actual staging, as well as provided with details like where a character enters from. Nick, like most ASMs, is in charge of props, so he primarily deals with adding props to the tracking sheet, as well as to a related sheet which is more for the purposes of prop shopping — it notes whether we have the prop (a rehearsal version, the final show version, something that might become the show version, or none at all), and if we have it, where it came from (so we know who it belongs to when we’re done with it), as well as any design notes, and the date the prop was added to the show (that part came from my good friend Josh, who likes recording dates, and helped me develop and test this part of the database while working on Inventing Avi Off-Broadway this fall).

So since I’m taking blocking, and Nick is tracking props, a lot of the time I fill in the entries related to entrances and exits, and he fills in the props. But sometimes one of us is busy working on something else, so we cross over a lot. And sometimes we neglect to whisper to each other “I got that,” and then we both create a record for the same thing, or both try to edit the same record. But it’s really cool to see the tracking table get filled out by both of us at once.

My favorite part of the database right now is a new one, that didn’t exist at all during Avi: the daily schedule and rehearsal report. The daily schedule has some fun features that inform you of conflicts for the date in question, does some basic math to stop you from breaking the basic Equity rules, and allows for the construction of a work list for the day that then automatically is added to the rehearsal report. The report is basically a bunch of text boxes, but it tells me with color if I’ve left something blank that can’t be left blank, or if I’ve marked it with my customary “(?)” sign, indicating that I need to come back and review something.

The true beauty of the report is what happens after it’s done: I press one button, labled “email,” and it creates a PDF of the rehearsal report, attached to an email addressed to the distribution list (determined by a checkbox on each person’s contact file). It also includes in the body of the email a plain text version of the report — not an exact copy of what’s in the PDF, but a bunch of code that includes exactly what I want, in the format I want. At the same time it creates a PDF of the daily schedule, and a plain text version, addressed to the cast. Filemaker could send these emails with no interaction if I wanted it to, but I prefer to use this opportunity to proof them before hitting “send.” The new little trick I added a few days ago reminds me to update the company Google calendar with the upcoming day’s schedule. It doesn’t do anything automatically, it just prevents me from forgetting by opening Safari to the calendar address. So far I’ve had that step in the script for two days, and both times I would have otherwise forgotten, so I’m very excited about that feature!

Moving On

The rehearsal process is interesting, but I also can’t wait to get to tech. I find rehearsal far more stressful, especially in this coast-to-coast environment. With the parties all spread out, I have to be the switchboard for everyone else on the production, making sure that everyone is in possession of all the knowledge they should have. That’s true in any production, but it’s easier when everyone is in one building, one city, or one time zone. Once we get to tech, we start to have more of the people we need on the scene in real time. We won’t have everyone in Minneapolis with us at once, but the collaboration becomes more and more in-person, until finally the show is frozen and we, the traveling company, will have everything and everyone we need to make the show happen each night, wherever we go. I am excited for all aspects of the process, but I’m trying not to get too much ahead of myself. First we still have a bit of staging and a couple more weeks of exploration to get through!


December 7, 2009

End of Mini-Week 1

I call this: On the Road Again,theatre — Posted by KP @ 1:34 am

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After three days, our first half-week of rehearsal is done.

I told you about Day 1. Day 2 and 3 featured a continuation of table work. Basically after the initial read-through and some general discussion of the play and production as a whole, we began back at the top, working slowly through each scene, discussing plot points, character development, and any other insights people have. It’s also the time for actors to ask questions about meaning or pronunciation, which sometimes has no right answer, but we can decide to standardize — for instance today featured a debate on whether we should use the written “corse” or the more contemporary “corpse” to make it clearer for our audiences.

The thing about Shakespeare is that there isn’t just one script. Often there are multiple versions of the dialogue based on various texts from the period, so companies are free to mix and match text that makes the most sense to them. Also, due to time constraints, most productions cut quite a bit of text. We are using a version of the script prepared specifically for this production by Dakin Matthews, in collaboration with our director. This is the text that the cast began rehearsal with. Over the course of our table work, as we pass through each scene, the actors, director, staff director, and vocal/text coaches are free to call attention to cuts or alternate text that they would like to consider including in the show. Many of our actors are familiar with other versions either because they have done the show before, or from their own research prior to rehearsal. There are also a number of different reference books on the table with notes on the various known versions of R&J for the group to use to clarify questions. After discussing the matter, we then decide whether to change the text. We have made a lot of small alterations of words here and there, put a few lines back in, taken a few lines out, or traded one couplet for another. As the changes get made, I have been marking them and flagging pages in my script while Nick is making changes in our Word document. We will then cross-check them to make sure we got everything, and send out the revised script to the team. In one case we reprinted a page for an actor who had a pretty sizable chunk of text changed.

After we finished working through the show we took our meal break and cleared the tables. When we reconvened, I led the cast on a two-dimensional tour through our set taped out on the floor (with the detachable staircase from the model in my hand, because the pillars are kind of hard to explain in two dimensions). The speed with which that was able to be accomplished was a good sign. I was surprised when I quickly ran out of things to say — I guess the set is simpler than most I’ve worked on, though that’s not to say it isn’t big. Just not a lot of doors, tricks, or nooks and crannies.

The purpose of all this was to prepare the cast for our next exercise. They were immediately turned lose on another read-through, with instructions to get on their feet and use the space however they saw fit — not to worry about what proper blocking would be for the stage, just to focus on relating to the other characters.

It was a lot of fun. Our cast continues to impress me with their talent, inventiveness and sense of humor. Sonny and Laura gave a great early view of Romeo and Juliet’s romantic scenes. I can only imagine what an audience of a thousand 9th graders is going to think about all the smooching! Well you can’t say it’s not accessible! In all seriousness, this cast is already developing a sense as an ensemble of the line where heightened language meets the relaxed way that people speak in real life, while at the same time coming off as honest, rather than intentionally “modern”. I think it will be a real eye-opener for the kids (and adults!) who have never seen Shakespeare acted well, to realize that the words in those dusty old books actually do say the same things that we would say today, they just use slightly different words or syntax.

Tomorrow is our first day off, concluding our short week. On Tuesday we will have our official meet & greet, which would normally be held on the first day, but was pushed back to allow the artistic directors of The Acting Company and the Guthrie — Margot Harley and Joe Dowling — to lead the festivities. That will kick off the day, and once the invited guests have departed, it will be back to work for us!


December 4, 2009

First Day of Rehearsal

I call this: On the Road Again,theatre — Posted by KP @ 11:06 pm

4159527044_5fdba1ff4b_bWe began our day with the Equity meeting. Nick and I had met most of the cast the day before, when they happened to arrive from the airport at the time we were working in the rehearsal studio. At the meeting we introduced ourselves to everyone else and talked very briefly about the basic structure of the company before launching into the four votes we needed to take about rehearsal hours. We have a relatively large number of new or almost-new Equity members on this show, which is kind of fun. I actually did some paraphrasing of the spiel that we’re supposed to give about the deputy election, and the duties and importance of the Equity deputy. I was still bumbling through the conclusion of this speech, wondering if by mentioning what it entailed, I was discouraging anyone from doing it, when we suddenly had a volunteer! Everyone quickly consented, and thus concluded our Equity business.

Once we opened our secret chamber, we were joined by our director, Penny, our vocal coaches Andrew and Sara, and our prop master, Scotty, who was bearing some boxes of things vaguely weapon-looking. We spent about an hour doing basic introductions, going around the table giving our name, role, and something interesting about ourselves, and quickly got to know each other and build up a rapport.

We then began our first read-through, which was also attended by our sound designer and composer. On this show I really wanted to be caught up on everything to be free to pay attention to the table work, just for my own interest because I love table work. I had to respond to a couple emails and arrange a last-minute costume meeting before our designer left for the airport, but for the most part I was able to sit and just listen and take the occasional note when something interesting was said.

There are very few shows other than R&J which could begin with the type of table work that we did today — maybe no other. Once the read-through was complete and we reconvened after lunch, Penny began by asking everyone in the room — everyone, not just the actors — a group of questions:
1. How many productions of R&J have you worked on? (answers varied from none to eight)
2. What was your first experience of the play ever? (most people credited their 9th grade English teachers)
3. What are your feelings about the play itself? (everything, ranging from cynicism about love to it being the reason that people wanted to do theatre).

I can’t imagine another work where you could ask a room of 20 people these questions, and be sure that every one of them would have some prior experience to work with. In some ways it’s even more interesting, because this play is so well known that any production has to deal with the fact that both artists and audience will have their preconceived notions of how it should be done, and what they think of it, before they ever set foot in the theatre. We also discussed how we, as a company who will often be performing for students, have the pleasure of maybe being the first live production — or the first experience of the play ever — for some of these kids.

We continued to discuss the play, characters, and period until the end of our day, and I could tell everybody is eager for tomorrow to continue the discussion we had going.

After rehearsal, the Guthrie had arranged a reception for us at the bar, which was a great way to celebrate the end of our first day. We have a really great company — very talented, and it seems like a good group of personalities, which is especially important given how closely we will be living and working together for the next five months. I always appreciate a process that actually makes me look forward to getting out of bed in the morning, to go to work, no less!

And in meteorological news, the honeymoon is over here in Minneapolis. When we arrived (four days ago) it was in the 40s with a wind chill in the 30s. Today it was in the teens with a wind chill in the negative numbers, and snowing lightly but steadily all day. Which is already a lot milder than it was last year, for which I am grateful.


December 3, 2009

Groundplan Stickers

I call this: On the Road Again,theatre — Posted by KP @ 9:43 pm

Everybody’s got their own thing when it comes to how they set up their script for blocking, especially as it pertains to having a shortcut for drawing blocking on top of a premade groundplan of the set.

I don’t generally bother with having big pages with a large groundplan on them once or twice. I have a template for that in the database, and will print some out because I know our lighting designer likes them, and in case I need to draw a really big stage picture for some reason, but the way I handle my groundplan drawing needs is with stickers.

I buy some label paper (Avery 5164 usually, although it doesn’t have to be), and print a bunch of mini groundplans on it. With the paper I use, there are six stickers per page. I fit two groundplans on each sticker and then cut them up, so I get a total of 12 per page. But that’s totally up to your preference for how big you want or need them to be. The really low-maintenance way is to pick a label size that’s exactly how big you want your picture to be, but I stick to this size because it gives me the flexibility to make bigger ones if I want.

I like to keep most of my facing page of the script free for blocking, and then have a tiny diagram only where I need it. This way I don’t have to bother printing lots of sheets with groundplans on them for every page. When I come across some complicated blocking that requires a picture, I peel off a sticker and place it exactly where in the script I want it.

Depending on what kind of show you’re doing, the amount of work and expense to make all the stickers might be worse than just printing the groundplan a couple times on all the back pages of your script, but I find it very flexible. I can have no groundplans on a page or 10, and they can be wherever I want to indicate exactly where in the text they relate to.


December 2, 2009

Day 1 of Preproduction at the “G”

I call this: On the Road Again,theatre — Posted by KP @ 7:18 pm

Checking In

First day of work at the Guthrie (yesterday). We arrived a little before our announced arrival time of 11am, to get our security badges, and hopefully have our pictures retaken, because we arrived last year unaware that there would be pictures, and coming off our travel, looked a little rough. Well of course in typical Guthrie efficiency, they just typed in our names and reprinted our badges from last year. So so much for that. I didn’t really mind. I’ve taken worse pictures, it might not have been worth the gamble. Nick also discovered when they couldn’t find him in the computer, that his name was misspelled on his badge all last year. That was pretty funny.

The important thing about the badge is that there are electronic sensors all over the building, and without one you won’t get very far before a door or an elevator blocks your passage to the non-public parts of the building. So with our access granted, we then proceeded upstairs to the 2nd floor production office.

In the Office

We were there to see Russell, who is the Guthrie’s PSM, and our direct liaison to our host theatre. Russell had stepped out, but in poking our heads into his office, we were noticed by Trevor, the Assistant Production Director, who was also very helpful to us going into our tech last year.

We learned a lot last year about the challenges of creating a show with creative and production people sprawled out between New York and Minneapolis. The collaboration begun last year between The Acting Company and the Guthrie was very successful, but behind the scenes there is also a lot of planning that goes into figuring out how the two sets of personnel work together and where the handoff of responsibility occurs for each of the countless tasks that have to be accomplished to put on a show. This year my goal, and I assume everyone’s, is to use what we learned last year to build a tighter, more efficient collaboration between the two companies. I, for one, feel so much more prepared, knowing how things work here, and how to integrate our process into it smoothly.

So with that in mind, we immediately went into Trevor’s office and began looking over calendars, schedules, and ground plans, and shared as much information as we had, until Russell arrived. Then we hopped over to his office, and met our new intern (absolute best thing about working here — a 3-person stage management team is actually not 1.5 times better than a 2-person team, it’s like a billion times better, believe me, I’ve done the math!). We were very glad to learn we would have the help of this year’s stage management intern, after our fantastic experience with Meghan last year. This year we have Ashley, who is also fantastic! And the only thing better than an extra person on your team is an extra highly qualified person on your team! While waiting for our flight the day before, we had been exchanging emails with Russell and Ashley, so we had made our introductions, and had asked for her help to set up the rehearsal room on our first day.

But before that, we sat in Russell’s office for a while having some really productive discussions. I can’t even remember all that was said, but we covered a variety of topics, from our plans for rehearsal hours, to the availability of other studios, to how the new production of A Christmas Carol was doing. We also made plans to see Faith Healer together, which inhabits our future theatre until the end of this week, so that we could get a feel for the space as an audience member, and to see Artistic Director Joe Dowling live on stage! Having just returned from that outing, it was a very helpful experience, and a great show to boot!

The Theatre

Anyway, after our meeting I was most of all anxious to get an opportunity to tour our theatre. I knew a little bit about the backstage layout of the main stages, but had never been in either theatre, mostly because last year was so jam-packed with shows, there was always a show performing or in tech. So Russell, Trevor and Ashley took us to the theatre, where we walked around the cavernous wingspace, and spent a long time on stage. We had some discussions about the orchestra pit, whether it would be raised or lowered, or used as a playing space or not. This brought up some lingering questions, and by morning things had been bounced around between all the parties and a new drawing was waiting for us when we got in today. So that alone was a productive visit.

I asked if there was a possibility of calling from backstage. I’m not convinced I want to, just because once we get on the road it will be my responsibility to make sure the show looks the same in each venue as it does here. Staring at the show every night for a month will lock that in. If I call from backstage, I will be working only from dim memories of the tech process, and whatever it looks like on a video monitor. Later in the tour it would be fun to call from backstage (which I did get to do last year in New York), but our goal as a touring company, from a technical perspective, is that every audience should see the show exactly as it will be set by our designers here, to the best of our ability given the time, equipment, and facilities available at each venue. And although I won’t have to hang a light, lay down the show deck, or play a sound cue, I’m the one who’s supposed to know when it’s right, and I’d like to be as familiar with it as possible.

Continuing on, we left the stage and got another tour through the backstage hallways. We saw most of this on the grand tour of the building on the day we arrived last year, but back then it was more in the context of, “And over here are the dressing rooms where the grown-ups put on plays.” This year we’re all grown up and now we’re being asked to think about how we want to assign those dressing rooms.

My favorite part of this tour was visiting the third floor star dressing rooms. As we walked, Russell told us that they only hold four, but if we really needed the extra space we might be able to use them. So he opens one of them, and we step into the largest four-person dressing room I’ve ever seen. I said, “Yeah, see we would call this a 10.” Seriously. If that’s their four, I can only imagine that the six-person room we didn’t get to see probably would hold all 10 of our guys! I don’t think we’ll have any problems!

On our travels we passed the wardrobe and hair area, which has giant windows overlooking the main entrance. We ran into our old friend Susan, who’s the wardrobe supervisor for the theatre, and was instrumental in making sense of the wardrobe tracks as they wrangled the amazing zipping, transforming costumes we had last year in Henry V. Susan explained that this is the area where everybody hangs out at half hour. I said, “I know, I used to see them when I’d pass by here before a show or at intermission, on my way to slink back to the 9th floor. They always had candy.” That area in a theatre, wherever it may be, where everybody hangs out is always a magical place. I must admit I was a little jealous of not being a part of that camaraderie last year. It will be very nice to be in the middle of the action this time!

Anyway, our tour was pretty much at an end, so we returned to the production office to pick up the dilapidated box of our supplies that had made its way from New York (and from the looks of it, might have traveled around the world a few times underneath a FedEx truck!). We carted the box down to our rehearsal room, where we were happy to discover that nothing was broken, not even our printer/scanner.

Setting up the Room

We set about getting some tables up, approximating where the director and staff director would sit, with the director’s chair on the centerline, and then made a very long table for us. My spot, across the aisle from the director, followed by Nick, and then closest to the door, Ashley will have the second table, which holds the printer and I anticipate will be used for displaying things for the actors to pick up (new paperwork, for instance) or to put a plate of cookies somebody’s grandmother sent. We distributed basic supplies across the tables — pencils, staplers, tissues and sanitizer.

Then we really got down to business and flattened out our groundplan on one of the tables. I took the measurements on it before we left New York, so I had a basic idea of how we would tape the floor. We took our time choosing where we would mark the edge of the stage, because the last thing I wanted was to decide after we were done that it should have moved a little bit. So we made some careful measurements and considerations of how we might use the space, and then placed our downstage center mark. It didn’t take all that long to tape out the set, at least not considering that there are quite a few stairs. Stairs are the worst!

Here’s a picture of our room with the floor taped out. It’s a panorama, so the perspective is a little weird. I assure you the walls are flat!

photo

We spent the remaining time making a list of supplies we still needed, which Ashley was able to procure from the Guthrie’s supply, and then Ashley took my reformatted script file and went to make 25 copies for our first rehearsal scripts. By default they bind them with these nice simple black covers, which we liked a lot, and once they were done, proceeded to decorate them as we did last year. This was Nick’s idea, and very successful, I think — we took our postcard and with black gaff tape, affixed one to the cover of each script, and then wrote the actors’ name on it with silver pen. We actually packed a handful of postcards in our hapless box before we left the office just for that purpose.

We selected a wall of the studio to use to display design images. We put up the ground plan and another drawing showing the main wall of the set. I printed the photograph of the set model, and hung that up as well. Before the first rehearsal we’ll also be getting costume sketches to go up there.

While we were doing that, Scott Edwards, our sound designer, came in to set up some instruments that will be used by our composer, Victor Zupanc, to explore what kind of music will go into the show. Last year I had a great time seeing how Victor works — I had never been part of a process where the composer was truly a member of the everyday rehearsal team. He was there all the time, playing with various instruments and improvised items, accompanying each time we worked a scene, and I think it was evident in the final product how closely tied he was to the rehearsal process. I got a lot of questions from people who saw the show wanting to know how the sound was developed, because it really stood out for feeling like an integral part of the show. From my perspective, it was also really fun to call the show, because Victor had such a crystal-clear idea of how each sound reflected the action of the play, so the bar was set very high for me, to translate that into telling a guy to push the spacebar on a laptop, and to hopefully get exactly the artistic impact that the composer and designer intended. I’ve met lots of great collaborators here, so I’m very excited to get to continue working with them.

That pretty much concluded our first day. We accomplished basically everything we needed to do in the studio before the first rehearsal. We will need to set up the tables for the first read-through, but I want to talk to Penny about how she would prefer them to be arranged.

Homework

Besides the on-site stuff, the number of emails and phone calls has been increasing this week. I’m working with our costume designer, Matt Lefebvre, to find time in the schedule for actors’ measurements to be taken and for a flurry of costume fittings for our ladies. The costumes are being built by a shop in Pittsburg this year, not at the Guthrie, so the scheduling will need to be a bit tighter to accommodate people coming in from out of town.

I am still very much at work on our new stage management database, which should make our lives much easier, after it’s done keeping me up all night! Nick and I are planning to have a working dinner and/or drinks tonight with our prop master, Scotty, who has just arrived in town. It will be great to see him again, too!


October 10, 2009

Learning to Call

I call this: theatre — Posted by KP @ 2:03 am

Today we had another 2-hour rehearsal before the show. Rehearsing during previews has been getting tedious, but today ended up being very productive, perhaps for me most of all. When I arrived Josh told me that Mark planned to use the time for a speed-through of the whole show. I commented about what a shame it was that I hadn’t begun learning to call, since it would be a good opportunity to take a crack at calling.

Josh responded kind of positively to that, and I said, “well, how self-explanatory is it?” I had not even looked at the calling script yet. He thought maybe I could do it. So we got Mark’s blessing, and I worked out with the PAs how they would cover my deck track (without costumes it’s possible for the three tracks to be done by two people). Mickey will be doing my track when I call (the ASM will do his track), and he took the opportunity to practice, including a couple of the costume things, just so he could get the hang of it.

While Mark gave notes from last night, I looked at Josh’s script for the first time, and quickly read through as much of it as I could, trying to picture everything as I went. I asked Josh a couple questions for clarification. I got about halfway through Act II before Mark was done with his notes and we prepared for the run.

Calling the show went much better than I thought. I only screwed up a couple things, mostly due to wrongly anticipating a couple of the bumps on the repetitive but not-exactly-the-same scene change music. Mark was very happy with how I did, and he and Josh agreed that I would do fine if I had to call a performance in an emergency now. I’m scheduled to call both shows on Halloween, and maybe a few earlier, so we still have some time for me to practice.

I’m just so glad for the opportunity to have done it. Under normal circumstances, my only training would be working with Josh in an empty theatre and trying to picture the actual show going on. Then I would have to train my sub on the deck, so that I could go up to the booth to watch Josh call a performance, then call the show a couple times with Josh watching, before being able to sub for him. It’s not the most comfortable way to learn anything, and it creates disruption by pulling me off the deck for three or more shows. This way, I got a rare opportunity to actually practice calling the show with the cast doing a full run-through (and the fact that it was a speed-through added to the challenge). Generally the only time you get to do it with the cast is when there are paying butts in the seats, so there’s no room for mistakes.

Calling the entire show before even beginning to train removed any anxiety I had about learning the show. It also shortens our training time immensely because instead of having to take up several performances to learn the show I can just work with Josh privately and then do the show once with him watching to make sure everything goes well.

For the show itself, it was great to get to see it again. During rehearsals in previews I’ve sometimes sat in the house and seen the final product, but I haven’t seen many parts since we were in the rehearsal studio. The show was also very fun to call. One thing that I think helped me is that it’s mostly audio-based. Most cues are called on words or music, which helps me because although I can’t see the show, I can hear it, so I’m familiar with the music and the actors’ delivery. The stuff that’s visual I’ve been lucky enough to get to see from the house or watching the video monitor in the green room.

Knowing from the time I was hired that Josh had days off scheduled had me watching the whole process keeping in mind that I would probably have to call the show. We weren’t completely sure until recently, because we wanted to decide whether it would be easier to teach someone my deck track or to call the show. As the show evolved in tech, my track got about twice as easy, and the show became more complicated to call, so the decision became clear that I would call. The plan for Mickey to do my track came about because of all the quickchanges I do. He’s there every day to observe what I do, and the cast is already very comfortable with him, which I think is especially important because most of the actors I change are women. His track has gotten much easier lately and involves mostly “pull this,” “push that,” “be tall here” and “catch this prop, ” which will take much less time to teach to someone new than which pair of glasses Stanley should be wearing for which line of dialogue or how the clasp on Alix’s suit jacket works.

Today may have been our last day of rehearsal, unless we do a few hours on opening night, which I hope will not happen. It will be very nice to be in full show mode!


September 3, 2009

Thoughts on the Deck

I call this: theatre — Posted by KP @ 2:16 am

Late this afternoon I was doing some crap on my computer when the phone rang. My reaction was something like, “Oh what now?” for about 2 seconds until I actually looked at the phone and saw the happy little mask and text saying “Phantom SM Office.” Cautiously optimistic, I answered. At 4:00 I was put on hold for possibly doing the show tonight. I immediately started getting ready because I haven’t called the show in six months, and haven’t done the deck in probably a year, and had no idea where I might find black pants, black shoes, flashlights, deck notes, etc. A half hour later I got the confirmation call that I would be going in, though no specifics if I would be decking or calling. I decided to assume that I would be decking, as I felt more prepared to call.

I spent the remaining time at home walking through the deck track in my head (while I review periodically to remain ready to call at all times when I’m in town, I tend to completely ignore the deck until the day I get booked and then do a quick refresher).

I arrived at the theatre and found out I would be decking, which was good. Craig suggested I look around. I made a meandering path around the stage and trap room, saying hello to the stagehands doing their preset, making sure nothing had been moved since I’d been gone. Everything looked exactly the same. The same, but really, really clean. I don’t remember the place being a mess in the past, but I was really struck by how clean everything was. The white walls backstage were white, not white and covered in 20 years of grime. They looked like they had been washed last week. As I was mentioning how tidy everything looked to the head carp, he said they were due for a paint call on the deck soon. Now the deck has been painted every 3 months for the last 22 years. When it’s just been painted, it looks like a glossy black mirror. When it needs a painting it looks like a dull gray pitted mess, with large sweeping scrape marks showing where all the scenery gets rolled across it, where chandeliers crash on it, etc. It looked like it had been painted maybe a week or two earlier. I was very impressed.

Anyway, doing the show was a lot of fun. No one can quite remember when the last time I decked was (though we have a database to answer questions just like that, and nobody thought to look it up), but it’s possibly been over a year. Whenever it was, I haven’t decked any other show since then either, so it was kind of a weird experience.

Since then, I’ve been very used to sitting at my comfy calling desk (including at Phantom) and just watching a show happen around me. Being away so long has reminded me of the differences of doing the deck.

First of all, by intermission I was getting kind of claustrophobic. The Phantom stage management office is always crammed with way more people than it should be, but even doing the show itself, there were just so many people everywhere. Tons of stagehands, dressers, hairdressers, a decent number of actors, there are just people everywhere. Personal space is often very strictly regulated, like your track is allotted this square foot-and-a-half for this scene change and that’s where you go. People often say that the backstage traffic on the show is far more complex and exact than the onstage choreography, and it’s true. It’s the main reason I worry about doing the deck. Calling the show is kind of a solitary pursuit in some ways. You interact with other people, but basically you know what you’re trying to do, which is to put on this show, and you have all these cues to work with, and you react to what other people are doing, but basically your butt is in a chair and you make things happen with your voice and flipping some switches that turn 10-watt light bulbs on and off elsewhere in the theatre.

Doing the deck is kind of like the difference between playing a video game on your TV or computer, and playing paintball or laser tag. You are IN the game, and you’re right there, on stage, above the stage, just off stage (Monsieur Reyer pointed and screamed at me tonight, “This is a disgrace! Who is this!? She’s back!” during the chaos in Hannibal). You have to fit yourself in and out of the backstage ballet, and even if it’s been a year and you don’t know half of the people around you, you need to hit your allotted spot, not have your elbow sticking out, or be a half-step out of your track, because that’s probably somebody else’s space.

Calling the show, my focus is ultimately on what the audience sees. I feel I’m responsible for reproducing the stagecraft that people have traveled from across the world to see. I am also concerned about supporting the actors with a well-paced show, and keeping everyone safe, but ultimately all of that is a subset of calling a perfect show for the audience.

Backstage, I don’t really care what the audience sees. I mean I care that we don’t screw up, but I don’t think about it during the show. I’m not really aware of them, or of the story being told, or who cries when the Phantom is left alone. All I can see is that we are all like little hamsters in a giant machine, and I am for some reason tasked with being ultimately responsible that all the hamsters get where they are going, and nobody gets crushed by the machine, and the machine doesn’t get jammed up, and performs its functions perfectly. It’s really quite a responsibility when you step back and look at it from an outside perspective, as I have from being away so long. Just being ready to do an average performance is not that big of a deal. Having the level of comfort that I could make the right decisions in the event of a serious problem is what causes most of the stress. Everything that happens, I am thinking about the worst thing that could possibly happen and have my responses planned.

The one thing I enjoy about the deck is the idea of traveling around and seeing everyone. It’s a much more social way to do the show, especially if you’ve been gone a while. As you do your track you pass by and interact with various actors and crew, and have either a few seconds or a few minutes to say hello and catch up. Sometimes it means you meet new people. Tonight I reached the point in Hannibal that is generally “the spot where you say hello to Madame Giry.” Except we had never met. So we shook hands and introduced ourselves.

Then there are the other random things that I never thought too much about — like you’re on stage, in the dark, and five actors are about to climb down 20ft on a giant metal fence. They attach their safety cables in the dark. You check their cables — twice — in the dark, using only the sense of touch. Once a year.

The general idea of darkness is something I had lost appreciation for. The story goes that when the show was in tech Hal Prince had a policy that the stagehands were not to use any flashlights. The show is very dark, and he didn’t want any spill from offstage breaking the illusion. Nowadays flashlights are used occasionally, but the general theme remains that most of the time, people have just adapted to doing everything they need to do with very little light. I was looking around during Music of the Night, and realized, what I always knew but had never thought of — there are no running lights backstage. The prop tables have the teeniest, tiniest accent lighting (which is fairly new) highlighting just a few items, mostly the detailed ones like the letters.

The only thing that might be considered light for the purposes of seeing where you’re going are the ropelights that run up the ladders on each side of the travelator, the ropelight on the sides of the bridge that spans the traproom, allowing a crossover through the basement (which is good because the bridge has a little ramp at either end), and the ropelight on the angel bridge which is really dark, really narrow, and really high in the air. There’s a little bit of glow from other areas that are lit with normal lighting, like the hallways and the fly floor, against which you can see more things, and during much of Act II there are full-blown worklights on upstage for the big transformation from the Masquerade stairs to the mausoleum, but for much of the show, the only backstage light is spill from the stage. Some edges of things not visible from the audience are painted bright white, but even that is fairly recent.

It’s quite impressive how well everyone gets around in such a crowded environment, in the dark. Which maybe is why I tend to be incredulous when people ask for more running lights on other shows. I was brought up to learn where things are in the light, and to use that knowledge not to run into them in the dark. Anyway, I have a newfound appreciation of the special navigational skills of the Phantom cast and crew.

And P.S. watching Raoul jump in that trap when there’s so much fog that I can’t see the trap myself is always the most stomach-churning thing ever! I mean I know he won’t jump if he can’t see all the landing lights, but I always like to catch a glimpse of the hole myself and verify that it’s fully open.

Well thanks for reading. I know this post is kind of rambling, but I was filled with many random moments of discovery tonight and just wanted to share, cause if I waited to make a really carefully constructed post I would completely lose the point.


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