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February 15, 2009

Glenn Ellyn, IL

I call this: On the Road Again,theatre — Posted by KP @ 11:50 am

Another post? Must be a load-in day!

Last night we loaded out from St. Louis, which took about four hours. It was a rather rough stop for us — we had to do both shows, and the path from the truck to the stage was rather long and convoluted, so load-in took approximately forever (13 hours just to get the set up, with the entire traveling crew working as carpenters), and load out was about an hour and a half longer than it has been at venues with a more direct path to the truck.  Also, the campus folks wouldn’t let us park the crew bus, so we spent the entire 3 days there without our kitchen/office/bedroom available to us, which led to an endless list of problems and inconveniences.

One thing I will say about the fact that we were shorthanded, in a hurry, and without the bus is that I learned a whole lot about these shows we’re dragging around the country.  I participated in parts of the truck pack and unpacking that I had never seen before, and pretty much built the Henry set bolt-by-bolt, so instead of having just a theoretical understanding of how it’s assembled, I literally know every action that has to be taken to make it go up, and I feel much more informed about the rather complicated structure we play on.  We’re still experimenting with the truck pack, and I was in the thick of it the entire night, so I now feel more qualified to help direct the process.  We accidentally did some things differently this time, but our truck driver, Mike, said this morning that the trailer felt really smooth on the drive up, so we must have done something right.

Last night into this morning was the first true one-night move we’ve had.  We had a changeover yesterday morning starting at 8AM, did The Spy, and left the theatre in St. Louis shortly before 3AM, and arrived at the theatre in Glenn Ellyn, IL (a suburb of Chicago) at 7:30AM. Until this point we’ve never had to load out a show and load it in the next morning to play a show that night. The delays in St. Louis were a big concern for us, especially so because it’s a 7PM curtain here tonight, but we were thrilled to discover when we stepped out of the bus this morning that our truck was backed up to an honest-to-goodness loading dock, which lead in a pretty much straight line to the stage, maybe 30 feet away.  And there to unload the truck were a large bunch of stagehand-looking adult men and women, who made quick work of our truck, and had the deck and part of the gallery up before Nick and I even finished putting up signage.  We only had to unload Henry, which is also a blessing. I am told the lights were all properly hung, colored and patched when we arrived as well, so we are all a little bit in awe of Glenn Ellyn right now.

The bus is parked just a few dozen feet up the slope from the loading dock (as it’s sort of in a trench between buildings, they didn’t want the fumes from the generator getting sucked indoors all day), and Nick and I are properly able to conduct our load-in day routine of updating signage and then sleeping and playing on the internet. Nick’s next project is probably going to be laying down carpet on the gallery (which gets skipped if we’re pressed for time, but I don’t think he’ll be so lucky with this speedy crew), and my next appointment is with Daniel, our lighting supervisor, who tells me around 4:00 he’ll be ready to do cueing, which is theoretically when we sit out front and step through all the cues and make sure they look right, but in the last couple venues has been more about reprogramming the show to somehow make it look like what it’s supposed to, while cringing at lights wrongly focused, substitute gel colors that look nothing like the original, and occasionally saying, “What the hell is that??”when something completely inexplicable pops up, like last night when we had a single solitary house light come up in one cue! Of course this is also the most important thing I personally do during load-in, as catching these things avoids much embarrassment and danger to the cast, and results in a show that mimics as much as possible the designer’s intention. I think we will find the process much easier here.

Sometime before this happens I take a few minutes with our sound supervisor, Tim, to talk about comm, which is one of my favorite topics. First of all, since without comm everything I do during a performance would just be me sitting alone in a room talking to myself, it’s a matter of some interest to me. Especially on this tour I like to know whether we’re using elements of the house system or entirely our own, because we have a crappy old base station which doesn’t like my personal headset, and the company-supplied headsets are ridiculously uncomfortable. So sometimes it’s all our stuff, and sometimes all the venue’s, and sometimes we add our wireless headsets into their wired system. Often Tim presents me with a couple options to choose from — naturally I prefer the one that gives us the greatest reliability and allows me to use my headset. So sometime in the middle of the day I grab the script(s) of the show(s) I’ll be calling in the venue, and Tim and I go visit the booth or other locales where I have the option to call the show, to figure out where I’ll be calling from and make sure that I have comm and monitors where I need them. I also check out the lighting in the area to see if I have enough light to read my script, and in many cases to decide if the venue’s usual stage manager lighting is too bright. I prefer a very dark place to call shows from, especially these shows, as the lighting design is very dark. I tend not to want any light source higher above my script than is necessary to light it. The stage management workbox is supplied with its own LittleLite, which I try to avoid using because I’m always afraid I’ll leave it behind somewhere, but with the exception of the Guthrie, I think I’ve ended up using it in every venue, once because there was no light for me, once because the light supplied was too bright, and once because the booth was lit by dim-able overhead lights, which I hate because they have to illuminate an entire room when all I need lit is one page. I haven’t checked out the situation here yet.  That’s what I’m up to so far today!


February 14, 2009

My Inner Monologue in Weather Widgets

I call this: mac,On the Road Again — Posted by KP @ 9:56 am

Our wardrobe supervisor has nicknamed this tour “The Big Thaw” as we are (theoretically) moving from one of the coldest places national tours go, in the middle of winter, to the warmer climates of the US as we get towards summer. After two months in Minneapolis, we are all a little bit obsessed with the weather. It’s a constant topic of discussion among both cast and crew. What is the weather like tomorrow? Will it rain on load-out day? What’s the forecast in our next city for the day we arrive? What did your mom/brother/spouse/roommate tell you on the phone this morning about the weather in New York?

I currently keep four weather widgets running on my dashboard at all times, which usually have to be updated every day or two as we travel. Below is an example of a current screenshot, and the purpose that each of them serves. Bear in mind when looking at these that a week ago the crew was in Nashville on our day off, wearing tee shirts and eating outdoors at a restaurant when it was 73 degrees.


February 11, 2009

St. Louis Day Off

I call this: On the Road Again,theatre — Posted by KP @ 12:07 pm


Bus.  And truck.

We left Poplar Bluff last night around 1:30AM.  Load out was a little rough due to the fact that the theatre doesn’t have a loading dock, and getting heavy carts up a ramp to the truck (in the rain) is a lot harder than getting them down (in the not-rain).  We also broke a castor on our plywood cart, which holds all the pieces of our floor. So after the cart was all packed and strapped down, we had to take it all off and load it by hand.  Our pipe cart, which is the heaviest, scariest piece to move even on a level surface, was never even attempted to be loaded in one piece.  The cart, and the metal box built into it that holds our cheeseboroughs, was loaded first, and then every piece of pipe loaded by hand.  It was quite comical when a backlog was reached, and we had a line of about 12 people stretching from the truck to the door of the theatre with these pipes.   I was about halfway back in the line and took this picture.

After load out we went to a Huddle House nearby for dinner.  Some of us didn’t get anything to eat before the show because we were rushing to get ready.  I know Daniel and I didn’t.  He had to adapt the lighting design for a venue with less than half of the instruments the plot requires.  In each city, once everything is focused, the two of us sit down and flip through all the cues on stage and make sure they look like what they’re supposed to, and reprogram them as necessary.  We were doing that right up through fight call, and then continued to make changes during fight call. There’s one bit of fight choreography which involves almost the entire cast running around with swords and poles and jumping on things in near-darkness followed by strobe lights, and I wanted to make sure they had a chance to do it in the cues we had built, to make sure we had given them enough light — of course we hadn’t, so good to know.  This was our first true one-nighter, and it was exhausting, but kind of freeing in the sense that there was no time to get tired of being someplace.  If there’s something not to like about the venue or the situation — the stage right door is dragging on the floor, the dressing room paging system isn’t great —  who cares, we’ll be gone tomorrow!  Two things basically made it hard in Poplar Bluff: the performance which had been contracted for 8pm ended up being at 7pm, which we found out the night before.  If we’d had that extra hour it would have been perfectly relaxing.  Also, if we’d had enough instruments (and interestingly, cable) to do the usual light plot, much less time would have been wasted redesigning the show as opposed to just putting it up like it always is.

One thing I want to share about our lighting situation for educational purposes: the lack of cable actually presented a greater obstacle than the lack of instruments.  We don’t travel with a full lighting package, but we do carry some strips and broad cycs.  Unfortunately, due to the short cable supply at the venue, we couldn’t use them.  The Henry design depends a lot on powerful silhouette images of blue and red created on our RP screen/black scrim combo, and we needed a way to preserve that.  When I saw the solution I couldn’t believe what I was seeing: three par cans, hung side by side dead center upstage of the RP.  One blue, one red, one no-color, or something similar.  Behind the RP was hung the house’s cyc, to use as a bounce.  I thought, “we can’t seriously expect this to work!”  Well let me tell you, it worked!  It wasn’t beautiful.  It would make a lighting designer cringe.  But it told the story just as well as the full design does, and if you weren’t a lighting designer, you’d never know or care that the coverage wasn’t quite as even as it should be.   For all the effort designers put into lighting cycs — fighting for the right number of strips, and just the right angles, we lit the damn thing with one instrument!  It may not be elegant, but when your plot requires 132 instruments and you’ve got 60-something (40 channels), it’s nothing short of a miracle.  Towards the end of the show I actually forgot I was calling something we had just thrown together a half hour before the house opened.  It really did look close enough to the real thing, and Daniel set up a bunch of submasters so he could fill in gaps when our thrown-together design needed a little extra something.  As he was right next to me, I knew he was using them a lot, but most of the time I couldn’t even tell by looking at the stage.  He said it was like running a 2-scene preset board.  One of the interesting things about this tour is that there’s an understanding that we will play venues that can’t satisfy the technical needs of the production.  It’s part of the deal of bringing professional theatre to communities that don’t normally get it.  Our bosses back in New York understand that we will have to cut corners some places, and me, Joel, Ian and the supervisors are expected to make any changes needed to do the best show we can with what we’ve got in each venue.  This was the first time we’ve really had to think on our feet, and I think we did a really good job.

This was our first audience that seemed to be made up of people who don’t get much exposure to Shakespeare.  They were a very quiet audience, but they livened up a bit in the second act, and were very appreciative at the end.  A number of people seemed to have left at intermission, which we assumed meant they didn’t like it, but one of the local guys believed they may not have known the show was over.  It’s really fun to perform for an audience that’s familiar with the show and follows it easily, but really the mission of the Acting Company is to perform for audiences like those we had last night.  If we’re the most professional theatre performance that comes through that venue, then we’ve accomplished our goal, and hopefully they got something educational and enjoyable out of seeing Shakespeare performed live by professional actors.

Nick and the cast stayed behind and performed the 1-hour Henry this morning for about 500 students, which apparently went well according to his report, except that the door on their bus broke in the morning and they had to take cabs!  It’s fixed now, and they are currently en route to join us in St. Louis.

As for me and the crew, after eating at Huddle House in a downpour and tornado warning, we got back on the bus and hit the road for the 2-hour drive to St. Louis.  I don’t know how long it actually took because I was exhausted and malnourished and damp and disgusting and went immediately to bed.  The drive was pretty scary.  The rain was ridiculous, first of all, but I could feel the wind pushing the bus to and fro, drifting all over the place.  It felt like we were going really fast, but I think that may have simply been the fact that we were driving into the wind so it felt like more resistance.  Not being able to see anything from the bunk, it’s sort of like a trust exercise.  You lie down in the dark and close your eyes, and no matter what you feel or hear, just trust that Bart’s not going to drive us into a tree or off a cliff, or get us sucked up into a tornado.  I don’t spend that much time in tornado country, and I’ve never seen one, but the idea of a tornado warning at night is very scary to me.  I mean, seeing a tornado is bad.  I figure not being able to see a tornado is worse!

Anyway, we apparently made it without tornado interference, as when I woke up we were in the parking lot of our hotel in St. Louis.  We arrived sometime overnight and Bart went to his room to sleep and left the rest of us sleeping in the bus, to check in whenever we felt like waking up.  I was desperate for a shower so I got up around 11AM, dressed and ran around in the rain trying to figure out which cargo bay my luggage wound up in.  Then I checked in and took the best shower ever.  Any shower would have been the best shower ever, but the water pressure was especially good, too.  I unpacked a bit, gathered up my dirty laundry to do tonight, bought a Mountain Dew from the vending machine, but having not bothered to bring my computer bag from the bus, eventually ran out of things to do, so I have returned.

By the time I got back, Daniel was up and at the desk in the front lounge, no doubt working on a light plot for some venue in the future.  That’s basically all he does.  I feel like at this point in the tour, there are many people whose jobs suck more than mine.  I’m not really used to that.  Anyway, I counted the number of closed curtains in the bunks (not counting Nick, who is traveling with the actors on this trip, and whose job also currently sucks more than mine), and determined that the back lounge would be unoccupied.  I was very pleased to find that the case, so here I sit, feet up on the leather couch.  The wind is still blowing the bus side to side.   Now people are starting to wake up and come visit me.  Our plan for the day is that when Bart has had enough sleep, he will come back to the bus and take us to see the St. Louis arch.  I’ve never been here, so I’m excited about that, because it’s pretty much the only thing I know about St. Louis.   Our plan to go go-carting has been squashed by the fact that the track we planned to visit has apparently shut down!  We were so excited, we even invited the cast to come with us tomorrow, and they were really looking forward to it, too.

Our schedule here is kind of nice.  We have the day off today, then load in at 8AM tomorrow (for Henry), but then have no show or anything else at night.  Friday Nick and the cast have a 1-hour Henry, which I suppose I’ll drag myself out of bed for if there’s no reason not to,  and then we do Big Henry at night.  Then Saturday at 8AM is the changeover to The Spy, and a performance that night, then we hit the road for Glenn Ellyn, IL.


February 10, 2009

TOUR STOP 3: Poplar Bluff, MO

I call this: On the Road Again,theatre — Posted by KP @ 3:05 pm

After several days of hanging out and slowly making our way west, we have arrived and loaded in in Poplar Bluff, MO.   I have yet to figure out what there is here, except for a Holiday Inn that beats the pants off the one we stayed at in Lafayette (for the first time in months, I had a good enough internet connection for uninterrupted online gaming). Unfortunately we were only there for one night. We are playing Henry V tonight at Three Rivers Community College, which seems like a nice place. The theatre is a single-level proscenium, I’d guess maybe 600 seats, but then I suck at estimating capacity. Everything is clean and spacious, and close together (we didn’t even bother putting up directional signage).

Nick and I made new laminated name signs for the dressing room mirrors, using some of the parchment paper used in the show (we have a colonial-era theme in our signage, utilizing still images from our favorite YouTube video). Now that we had the time to make them laminated and nice-looking, they will be reusable, which has been a goal of mine for a while. We set up our stuff in the dressing rooms — signs on the doors indicating men and women and the names of the actors inside, valuables bags, and the names over the mirrors (sometimes assigned at random, sometimes located at the request of our wardrobe supervisor).

Our crew breakfast, which is required in our rider for load-in day, was delicious, and everyone here has been very nice. We are in the last hours of load-in. The small electrics stock of the theatre has made it a difficult show to light, but I just went inside to check in with Dan and he thinks we’ll be ok with only a tiny bit of restaging for one moment.

When I was in there it looked like the set was almost assembled, there were a bunch of ladders up on the gallery. Nick and I spend about the first hour of load-in working, and then sit around trying to be useful for about five hours, waiting for the set to be done and the ladders to get off the gallery so we can lay the sound-dampening carpet. Nick also replaces the pipe insulation that protects the actors from whacking their heads on low-hanging scaffolding supports. Some of it travels intact, but some can’t, and then there are tiny pieces that cover the bolts once they are assembled, to keep the actors from snagging their costumes on protruding bolts.

Looks like it’s time to go help with focusing lights. See ya later!


February 9, 2009

Slice of Life in Transit

I call this: On the Road Again — Posted by KP @ 7:32 pm

The crew bus rolls along a narrow deserted highway somewhere between Kentucky and Missouri.  The drive has become so boring that many of us have gone to our bunks because there’s nothing else to do.

I have the lights out and am lying down with my eyes closed but not really trying to sleep.  After about 15 minutes I feel the bus start to slow, then make a sharp turn, then another, and finally we seem to have stopped (though the ride is so smooth, at low speeds it can actually be hard to tell).  I suspect that our quest to find Mexican food for dinner has come to an end.   At the very least, I have learned that these sensations generally indicate we are stopping.

I slide my bunk curtain partially open and stick my head out, just as Bart steps into the open doorway of the driver’s compartment and exclaims, “El Bracero!”  I flip my legs out of the bunk, and immediately Nick slides his curtain open across from me and asks, “Are we somewhere?”  I say, “Yes.”  And so we all gather in the front lounge, getting shoes on and tidying ourselves, and together head out to dinner.


February 7, 2009

TOUR STOP 2: West Lafayette, IN

I call this: On the Road Again,theatre — Posted by KP @ 10:56 pm

Tonight we are leaving West Lafayette, home of Purdue University (where we performed both our shows, as well as conducted student performances and workshops ranging from 6th grade to college level.)  West Lafayette is also the home, as we learned, of Triple XXX Family Restaurant, which despite sounding like a porn shop, is actually an historic drive-in diner, the first in Indiana (opened in 1929).   The crew was HUGE fans of this place, mostly due to the fact that it’s open 24 hours, and serves great diner food and their specialty root beer floats.  In the six days we spent in West Lafayette, I think we ate there five times.  I do believe on one day we ate there twice.

The crew at Purdue was great, and the support staff very friendly and helpful.  We spent most of our time there teching The Spy, so we only did one invited dress and two performances (one each of Spy and Henry), but our audiences were large and responsive.

We have two days before we have to load in in Poplar Bluff, MO, so we are taking a slight detour to Nashville.  Part of the reason for this is that it sounds like a more interesting place to spend a day than Poplar Bluff, but also because it’s the home base of the bus company, and it will provide an opportunity for the bus to be serviced, as our water pump is broken.    We will sleep on the bus for two straight nights, chipping in on a single hotel room so we can all shower in the morning and have a place to stash our stuff during the day.   I think it will be a fun couple days to unwind after a very busy week.


February 6, 2009

Life on the Road

I call this: On the Road Again,theatre — Posted by KP @ 11:42 am

I’m still new at this, but now that we’ve been really in touring mode for about 5 days, here’s what’s going on.

Our day often consists of waking up at 6:30AM to be ready for a 7:30 bus call.  If I think my personal involvement in the insanity occurring at the theatre at 8AM will be minimal, I will bring my personal pillow from the hotel to the bus, in the hope of getting to sleep more hours on the bus than I do overnight.

Our schedule here in West Lafayette is kind of insane.  We started out re-teching The Spy, then tearing it all down to do a single performance of Henry V, then tearing that down to put the Spy set back up for our last two days.  This has been a kind of boot camp for our crew, getting to practice almost every method of changeover before we leave our first stop.  They’re getting very good at it.  Nick, being an ASM, deals a lot with props, and actor-proofing the set, so that’s basically what he helps with during load-in and changeover.  I really have nothing to do once the signage is up and I’ve put the proper calling script in the booth, so I kind of float around helping with simple tasks.  Today I packed a drum in a cardboard box and carried a few things to and from our prop road box, then I went on a cleaning spree of the stage management work box, which it desperately needed.  Then when I ran out of things to do, I went back to the bus and took a nap for about 45 minutes, before returning to help Nick set up for our 1-hour Henry performance for a student audience.

Thankfully, that performance was in the same building as our main shows are, in a small proscenium theatre, so we didn’t have to go too far with our trunk of props.  I hung out for that one and helped to set up and get the cast settled in before the show.  The 1-hour show is Nick’s baby, as there will be times when he has to stay behind to put it up in a city after the crew has left.  As far as that show goes, he functions as the PSM, and whenever I’m available I will make myself useful as his ASM.  This was the first time it’s been performed, and although it’s been rather underrehearsed due to all the work needed to remount The Spy, the cast did well and the kids seemed to enjoy it.

Now that the show is over, we are back on the bus.  Bart, our very awesome driver, needs to take the bus for an hour or so, so the call went out for anyone who intends to hang out and/or sleep on the bus to get on for the ride.  I’m not sure where we’re going.  I’m not sure where we are.  It doesn’t really matter.  I think we’re going back to the hotel for a while (where I suspect we are now), and then to a place where he can service the bus.

Tomorrow we have five final hours of rehearsal, and then we play our first performance of The Spy to a paying audience (finally!  We started rehearsals Nov. 3!), then the cast stays here for a true day off before traveling to Poplar Bluff, MO.  For the crew, we will load out the show Saturday night and immediately begin driving to Poplar Bluff, where it will be loaded in.  

I still don’t know where we are right now, but I’m pretty damn sure that’s our cast bus parked inches away ahead of us.  Either that, or there’s more than one black rockstar bus with gray swirly designs in Lafayette, IN.   I haven’t explored their bus that much.  I’ve only taken one brief ride on it.  They have 12 bunks instead of our 8, which means they stack 3-high, giving everyone less headroom.  On the plus side, the bunks are there for convenience, they don’t ever actually have to sleep overnight in them.  I heard a rumor they have a shower on their bus.  That sounds nice in theory, I guess, but I’m sure the reality is more cramped and awkward than it sounds.   Their front lounge is also smaller, which I don’t like.  On short jaunts around town, including our favorite pastime here in Lafayette, having a late-night dinner at XXX, Indiana’s oldest drive-in diner (founded in 1929), we generally all sit in the front lounge, which can comfortably hold all seven of us.  It’s a nice chance to unwind, check in about how the show went, and discuss anything we need to.  I have taken to claiming the seat at the table on the post-show trips, so I can write the report and send it before we get to XXX.

As far as the show goes, things seem to be going well.  Last night was our first performance of Henry outside of the Guthrie, where we teched it.   The adjustment to a very different space, and to a new local crew who were unfamiliar with the show, went pretty smoothly.  It felt good to try that once, to prove that we can do it.  I’m really looking forward to this week being over, and finally being done with tech and major rehearsals.  We have a couple 1- and 2-nighters next week, which will be a different experience as well.  I enjoy the travel, so I welcome the change of scenery.  If there’s one thing we’ve gotten experience with on this tour, it’s changing scenery!


February 2, 2009

On the Road, Finally!

I call this: On the Road Again,theatre — Posted by KP @ 8:13 pm

Well we finally did it!  We finished our run at the Guthrie last night, and after about 5 hours, closed the door on our tightly packed truck and hopped on our bus, where a bunch of take-out bar food in styrofoam containers awaited us.  Within a few minutes we started to roll, and finally hit the road!

We ate for a while, watched the highlights of the Super Bowl we missed during the show, and then got into our bunks exhausted.   I for one slept really well.  I’m a small person, so I don’t feel as much like I’m in a coffin as some of my colleagues.   That’s my bunk in the foreground, the lower frontmost bunk.  I found the motion of the bus was actually very soothing while trying to sleep.  We all pretty much slept until about 12:30PM when I slowly got up and wandered into the front lounge where Nick already had his computer out.  I also sat with my computer out, and had barely begun checking out Facebook when Nick pointed out the window over my shoulder and said, “Look!  There’s our truck!”  Sure enough, the Acting Company truck was waiting at an intersection as we passed it.  Moments later the front divider slid open and our driver, Bart, announced we had arrived.  We were all taken a bit by surprise, and stumbled into our shoes and out the door to meet the local crew here on the campus of Purdue University, in snowy West Lafayette, IN.

Nick and I helped direct the unloading of the truck for a while, and brought some of the small items that travel under the bus into the theatre, until our work box was off the truck.  Then we set it up in a corner and began hanging signs, assigning dressing room space, setting up the callboard, etc.  There wasn’t all that much for us to do, so a lot of our time has been spent on the bus updating paperwork, or just hanging out and watching TV.  One of the main tasks we’ve taken on is to make coffee for the crew.  We all carry walkie-talkies, and they can just radio ahead a few minutes in advance when they’re going to be wanting a coffee break, and we get a pot going on the bus and begin making their orders.  It’s not our job, but I think considering they’re in there doing heavy labor for 10 hours, and we hung some signs and printed some documents and sent some emails for a few hours, it’s a fair trade.  We also took on a project for our wardrobe supervisor, who didn’t have enough of the little plastic things that divide each actor’s clothes on the costume racks.  We got some cardboard and made a bunch more for her.

Tomorrow we begin (or re-begin) teching The Spy.  Tonight when the crew is done at 11PM Bart has offered to take us someplace to eat, and then we will go to our hotel, where everyone is going to appreciate a good shower (we were running late last night so we didn’t get to stop at the hotel in the morning, we just got up and went straight to work).  I’m having a lot of fun with this aspect of the job so far.  I think the longer multi-day trips will be really cool.  The unfortunate thing so far is that from the moment we got on the bus in the parking lot of the Guthrie, I didn’t see the outside world until we got on campus at Purdue, so “seeing the country” isn’t really happening yet.  Also, the windows on the bus are so heavily tinted that you can’t see anything at night.  A couple times through the night I used the GPS on my iPhone to find out what state we were in!


January 31, 2009

Prepping for the Road

I call this: On the Road Again,theatre — Posted by KP @ 10:00 pm

It’s Saturday night, and tomorrow we have two more shows at the Guthrie and then we’re gone. Much of my attention in these last couple days has been focused more on packing and preparing to leave than on the shows we have remaining here.

I did most of my laundry last night, and will do the last bit tonight. I cleaned my apartment last night, and tonight is my last opportunity to pack. In the morning before the matinee call we have to bring our luggage to the parking lot of the Guthrie, where the crew bus is already parked. As soon as the show is loaded out tomorrow night we hop on board and are off to West Lafayette, IN. The cast will get picked up by their bus at the company housing on Monday morning, and will arrive at West Lafayette in the evening.

Our production manager and tech director, Joel, took all of the crew, as well as our staff rep director and company manager, out to dinner tonight between shows. This was our last opportunity to talk as a group about anything that might need to be said about how things will work on the road. It was a great opportunity for all of us to get on the same page and approach our next challenges as a team. By the time we walked back to the theatre, our bus had arrived, so a bunch of us ventured to the parking lot to take a tour of the bus, and meet our driver, Bart. He has been driving the crew bus for The Acting Company for many years, and by all accounts is incredibly awesome.

Here’s Nick and one of our actors, Andy, who happened to tag along to see the bus, testing out the couches in the back lounge (pardon my flash — there are a lot of mirrored surfaces).

In the morning I plan to come in early (which Nick thinks is hysterical because lately I’m never early, and barely on time for my own duties) to clean up all of the random stage management stuff strewn around the theatre. We have a cardboard box that lives under the seats in the theatre with a bunch of stuff that needs to get thrown out, and a bunch of stuff that needs to be packed in our road box before the whole place turns into a disaster area during load-out. So I hope to have a lot of time to make order out of all our belongings so there’s as little as possible to keep track of after the shows.

We have a lot of hard work ahead of us, but everyone is very excited to start the most adventurous part of this gig.


January 27, 2009

Why Yes, We ARE a Rep Company!

I call this: On the Road Again,theatre — Posted by KP @ 5:11 pm


Despite the fact that we’ve been together for almost three months and have so far only performed Henry V for a paying audience, we are quickly coming upon the first performances of The Spy in less than two weeks in West Lafayette, IN. As soon as Henry was up and running at the Guthrie, we began “brush-up” rehearsals for The Spy, which due to unforeseen circumstances, have become more of “put-two-actors-into-the-show” rehearsals. We are also rehearsing the 1-hour version of Henry which will be performed sans set and costumes for younger school groups who aren’t up to the 3-hour real thing.

The above photo shows the Henry set with the jagged platform and two of the columns for The Spy roughly taped out on it. Yes, it has to be done anew every day. And yes, the tape does pull up the finish on the floor!


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