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• Special Section on Costumes and Masks!<br />
• How to Care for Your Exotic<br />
(and Not So Exotic) Costumes<br />
• Bringing the Acting Out from Behind the Mask<br />
www.stage-directions.com<br />
JANUARY 2008<br />
Lighting on a Dime<br />
The Balboa Theatre<br />
Explores New<br />
Territory<br />
New Gear<br />
for the New Year<br />
Alan<br />
Menken Talks<br />
Mermaids and Musicals
Table Of Contents<br />
January 2008<br />
Features<br />
12 Tools of the Trade<br />
Tools visits Orlando to give you the freshest picks from LDI.<br />
20 The Sopranos of Theatre<br />
We travel to SUNY Purchase, where they expect you to act<br />
like a professional, even as they prep you for the family<br />
business. By Amy Slingerland<br />
22 Bridging the Gap<br />
Our Theatre Spotlight returns with a look at Teatro Vista, a<br />
company founded on the idea of bridging the gap between<br />
cultures. By John Bliss<br />
24 Exploring New Territory<br />
The Balboa Theatre in San Diego has waited years for a<br />
renovation like this. By Evan Henerson<br />
Special Section:<br />
Costumes & Masks<br />
26 Getting Behind Masks<br />
They may be inflexible, but masks can bring a greater<br />
range to your own acting. Here’s some tips to open up<br />
your physical side. By Ellen Seiden<br />
30 Quick Change, Long-Lasting<br />
Costume designs only go so far — How do they keep a<br />
French peasant’s tattered rags going strong show after<br />
show? By Katja Andreiev<br />
34 Get Your Head Straight<br />
Want to make your own mask? Here’s a step-by-step guide<br />
for one, with materials and techniques that will take you as<br />
far as your vision. By Tan Huaixiang<br />
24
30<br />
Carol rosegg<br />
Departments<br />
9 Letters<br />
Hanging a star curtain, plus HSM credits.<br />
10 In the Greenroom<br />
IATSE and the League reach agreement, American<br />
Girl actors vote for Equity, the Old Globe changes its<br />
artistic leadership and more. By Jacob Coakley<br />
14 Light on the Subject<br />
Sure, not everyone can afford moving lights, but what<br />
if you’re having a hard time affording, well, lights?<br />
By M.C. Friedrich<br />
16 Sound Design<br />
Alan Menken blasted to fame with The Little Mermaid.<br />
In this interview he talks about why this fish should be<br />
perfectly at home on Broadway. By Bryan Reesman<br />
44 Answer Box<br />
The designer wanted a gold-plated Spitfire air battle —<br />
Here’s how a production team got it done.<br />
By Thomas H. Freeman<br />
Columns<br />
7 Ed Note<br />
Costumes as inspiration and teacher.<br />
By Jacob Coakley<br />
38 Show Biz<br />
Show Biz returns with a brand new writer. This month:<br />
How to tap the power of Internet ticketing.<br />
By Tim Cusack<br />
39 TD Talk<br />
You may think you’re in charge, but it’s not magical<br />
elves who get the work done. By Dave McGinnis<br />
40 Off the Shelf<br />
Everybody’s got something to learn. Here’s some<br />
books that will teach you. By Stephen Peithman<br />
41 The Play’s the Thing<br />
Dark tales for the dark winter months.<br />
By Stephen Peithman<br />
20<br />
Courtesy of suny purchase<br />
ON OUR COVER: Sierra Boggs as Ariel and the cast in The Little Mermaid.<br />
PHOTOGRAPHY BY: Joan Marcus
Dan Hernandez<br />
Editor’s Note<br />
Working Outside-In<br />
The most involved costume I ever<br />
wore was as a noble in the court<br />
of Louis XIV. My work-study job<br />
through the department of theatre and<br />
dance was to help a professor with her<br />
research of courtly dance in the Baroque<br />
period. Practically, this meant dancing.<br />
After about six months of learning and<br />
rehearsing the steps, practicing how to<br />
hold my body and arch my arm perfectly,<br />
and drilling the rise, pause, step and fall of the forms, I was told<br />
that we would be dancing for a conference of scholars on the<br />
Baroque period, and that meant a costume.<br />
Now, I had started in theatre as an actor, and was convinced<br />
that was what I would spend my life doing, so I’d<br />
been in costume shops before, and had fittings, and this<br />
time was no different. What was different, though, was<br />
what happened when the costume was finished. The costume<br />
illuminated the dance to me in a way that months of<br />
rehearsal hadn’t. The fit of the jacket helped my posture<br />
and bearing, while the different cut on the armholes of the<br />
sleeves made it clear exactly how my arms had to be held<br />
to retain perfect form. The open front of the jacket and the<br />
way it fell on me pulled my center through the forms in a<br />
way that a T-shirt during rehearsal just had no way to compete<br />
with. I won’t say the costume made me a great dancer<br />
(there’s not enough costumes in the world for that), but it<br />
made me a much better one, and helped this style of dance<br />
come to life.<br />
It also changed how I felt about my own acting. Rather<br />
than working from a very inside-out type of acting — what<br />
is this character feeling right now — I started to use costumes<br />
to let me get a completely different view of my character<br />
and the audience’s experience of it. How would other<br />
people see this character? How is this character presented<br />
to the audience, and how does the costume inflect how this<br />
character moves or holds himself? I started paying much<br />
more attention to costume designers’ sketches, even after<br />
I stopped acting. When I was working on Web sites for theatres,<br />
I always tried to include costumers’ design sketches.<br />
I’m currently working on a new script that is heavily<br />
influenced by Steampunk, primarily because of the insanely<br />
detailed and layered costumes that I have found on the<br />
Web. Each piece is such a unique blend of styles and design<br />
elements that the characters they create beg to be written<br />
about and explored. I have collected pics of some incredible<br />
design work, and they are printed out and tacked to my<br />
idea board, goading me forward, letting me imagine all the<br />
possibilities.<br />
Jacob Coakley<br />
Editor<br />
<strong>Stage</strong> <strong>Directions</strong><br />
jcoakley@stage-directions.com
www.stage-directions.com<br />
Publisher Terry Lowe<br />
tlowe@stage-directions.com<br />
Editor Jacob Coakley<br />
Editorial Director Bill Evans<br />
jcoakley@stage-directions.com<br />
bevans@fohonline.com<br />
Audio Editor Jason Pritchard<br />
jpritchard@stage-directions.com<br />
Lighting & Staging Editor Richard Cadena<br />
rcadena@plsn.com<br />
New York Editor Bryan Reesman<br />
Managing Editor Geri Jeter<br />
bryan@stage-directions.com<br />
gjeter@stage-directions.com<br />
Associate Editor Breanne George<br />
bg@stage-directions.com<br />
Contributing Writers Katja Andreiev, John Bliss,<br />
Tim Cusack, MC Friedrich,<br />
Evan Henerson, Tan Huaixiang,<br />
Dave McGinnis, Ellen Seiden,<br />
Amy Slingerland<br />
Consulting Editor Stephen Peithman<br />
ART<br />
Art Director Garret Petrov<br />
Graphic Designers Crystal Franklin, David Alan<br />
Production<br />
Production Manager Linda Evans<br />
levans@stage-directions.com<br />
WEB<br />
Web Designer Josh Harris<br />
ADVERTISING<br />
Advertising Director Greg Gallardo<br />
gregg@stage-directions.com<br />
National Sales Manager James Leasing<br />
jleasing@stage-directions.com<br />
Audio Advertising Manager Dan Hernandez<br />
dh@stage-directions.com<br />
OPERATIONS<br />
General Manager William Vanyo<br />
wvanyo@stage-directions.com<br />
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<strong>Stage</strong> <strong>Directions</strong> (ISSN: 1047-1901) Volume 21, Number 1 Published monthly by Timeless Communications<br />
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OTHER TIMELESS COMMUNICATIONS PUBLICATIONS<br />
Advisory Board<br />
Joshua Alemany<br />
Rosco<br />
Julie Angelo<br />
American Association of<br />
Community Theatre<br />
Robert Barber<br />
BMI Supply<br />
Ken Billington<br />
Lighting Designer<br />
Roger claman<br />
Rose Brand<br />
Patrick Finelli, PhD<br />
University of<br />
South Florida<br />
Gene Flaharty<br />
Mehron Inc.<br />
Cathy Hutchison<br />
Acoustic Dimensions<br />
Keith Kankovsky<br />
Apollo Design<br />
Becky Kaufman<br />
Period Corsets<br />
Todd Koeppl<br />
Chicago Spotlight Inc.<br />
Kimberly Messer<br />
Lillenas Drama Resources<br />
John Meyer<br />
Meyer Sound<br />
John Muszynski<br />
Theater Director<br />
Maine South High School<br />
Scott Parker<br />
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Ron Ranson<br />
Theatre Arts<br />
Video Library<br />
David Rosenberg<br />
I. Weiss & Sons Inc.<br />
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Ann Sachs<br />
Sachs Morgan Studio<br />
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Sapsis Rigging<br />
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Franklin Pierce College
Letters<br />
In addition to the ability to post comments on any story<br />
we post online at www.stage-directions.com, the SD forums<br />
(www.stage-directions.com/forum) are a good place to start<br />
a conversation with other theatre folk about gear, directing or<br />
any production problem. This past month saw the following<br />
post:<br />
Hi, I need a way to hide a star cloth on the rig, drop one<br />
side so it is visible and then drop the whole thing to the floor<br />
after. I know this is normally done by boxes and a controller,<br />
but I am on a very tight budget and wondered what ways<br />
you have done in the past or seen done, etc.<br />
Thanks,<br />
Mike<br />
We sent this post along to Brent Stainer, who, after his fire<br />
safety article a few months back, is writing an article about how<br />
to create a star cloth of your very own, which you’ll see in an<br />
upcoming issue. Here’s what Brent thought might work.<br />
It’s a little difficult without knowing more details. How<br />
wide is the star cloth? How heavy is it? Is there a ground row<br />
it can drop behind? Is a fly system available? Or a fixed grid?<br />
Without knowing many of these details, I can still suggest<br />
an idea: Attach the top of the star drop to a box truss. Hang<br />
the box truss from the ends by rated block and tackle so the<br />
pick lines are behind legs. Your drop can trip into the scene<br />
as needed; then, the box truss can be lowered via the block<br />
and tackle down to the floor.<br />
This would be a fairly difficult fly — make sure your actors<br />
and crew have good discipline to stay safe.<br />
Hope this helps.<br />
Brent<br />
Got a better idea? Or questions of your own? To follow<br />
this conversation, or start your own, head on over to<br />
www.stage-directions.com/forum.<br />
Corrections:<br />
In the photo spread of High School Musical productions<br />
in the December 2007 issue, the above picture was<br />
incorrectly captioned. This version of the song “Bop to the<br />
Top” is from the Phoenix Production version, presented<br />
in June 2007 at the Count Basie Theatre in Red Bank,<br />
N.J. The costumes were originally designed by Phoenix’s<br />
Linda Erickson, sets by Bill Motyka, lighting by Zephan<br />
Ellenbogen, directed by Tom Frascatore, and produced by<br />
John Onorato. SD regrets the error.
In the Greenroom<br />
theatre buzz<br />
IATSE, Producers, Come to Broadway Agreement<br />
Late Wednesday, Nov. 28, IATSE Local One, which represents<br />
Broadway stagehands, and the League of American<br />
Theaters, whose members own the majority of Broadway<br />
theatres, came to an agreement for a new contract governing<br />
stagehand labor on Broadway. Both sides declared<br />
the contract a success, with important gains for both the<br />
stagehands and producers. All shows were up and running<br />
for curtain on the evening of Thursday, Nov. 29, and the<br />
union ratified the contract on Dec. 9.<br />
Coming in to negotiations, the producers were seeking<br />
to make massive changes to the contract terms that<br />
govern how many stagehands need to be hired during<br />
the load-in process, which the producers have repeatedly<br />
termed “lengthy,” and govern work rules during the<br />
run of the show, in which the producers have accused<br />
the union of “featherbedding.” By some estimates, the<br />
producers were looking for a 38% cut in jobs and wages.<br />
Furthermore, although the producers seemed shocked<br />
that the Union would strike, they had been quietly building<br />
up a $20 million defense fund by directing to the fund<br />
a few cents from each ticket sold.<br />
So, on Nov. 10, 2007, for the first time in its 121-year history,<br />
Local One went on strike. The union struck after months<br />
of working with no contract (the former contract expired on<br />
July 31) — when it was clear that the League was not willing<br />
to negotiate a new contract in good faith. On Sunday, Nov. 18,<br />
after a weekend of failed talks, the League cancelled shows<br />
through the Thanksgiving weekend — one of the most lucrative<br />
periods of the year for Broadway.<br />
Talks between the Union and the League resumed on Nov.<br />
25, and after several days of marathon sessions, an agreement<br />
was reached late on Wednesday, Nov. 28.<br />
American Girls Place Actors Vote to Unionize with Equity<br />
On Saturday, Dec. 1, actors and assistant<br />
stage managers at American Girls Place<br />
theatre in New York voted 9–6 to unionize,<br />
a second attempt to have the Actor’s Equity<br />
Association negotiate their contracts.<br />
The first attempt was held in November<br />
2006 after a tumultuous summer where<br />
14 of the toy store’s 18 actors went on a<br />
two-day strike. Although the actors voted<br />
7–5 for Equity representation, American<br />
Girls Place officials disputed the deal,<br />
believing voters had been persuaded to<br />
become members prior to the election.<br />
“After 18 months of campaigning, two<br />
petitions (one verified by an independent<br />
arbitrator), one Unfair Labor Practice<br />
strike, one letter from the Actors signed<br />
by name, and two elections, the Actors<br />
and Assistant <strong>Stage</strong> Managers have chosen<br />
Equity again,” said Flora Stamatiades,<br />
national director of Equity’s Organizing &<br />
Special Projects. “We are looking forward<br />
to sitting down at the bargaining table<br />
and swiftly completing our negotiations.”<br />
changing roles<br />
The Old Globe Reorgs Artistic Leadership<br />
Old Globe CEO/Executive Producer Louis Spisto (center), with<br />
Co-Artistic Directors Darko Tresnjak (left) and Jerry Patch<br />
Jack O’Brien, artistic director of the<br />
Old Globe Theatre in San Diego for<br />
the past 26 years, has resigned from<br />
that position, effective Jan. 1, 2008. For<br />
the past several years, the demands of<br />
O’Brien’s schedule have made it difficult<br />
for a full-time presence at the<br />
Globe, and it was his decision to step<br />
down. O’Brien began his association<br />
with the Globe in the late ‘60s.<br />
The Board and Executive Director<br />
Lou Spisto, with O’Brien, agreed<br />
that the Globe would be best served<br />
by slightly reorganizing the team<br />
already in place. Spisto will continue<br />
as CEO/Executive Producer. Jerry<br />
Patch, a nationally respected dramaturge,<br />
who was brought to the<br />
Globe in 2005 to oversee day-today<br />
artistic operations and increase<br />
the theatre’s new play development,<br />
will become co-artistic director with<br />
Darko Tresnjak, who will expand<br />
his role from the oversight of the<br />
Shakespeare Festival.<br />
“I consider myself truly blessed to<br />
have been able to enjoy such a full and<br />
varied career at the Globe,” O’Brien<br />
commented. “These last few years, the<br />
Globe has been generous about allowing<br />
me to work nationally, and even<br />
internationally, but after 25 amazing<br />
years, it’s now both time and appropriate<br />
for me to step back from my duties<br />
as full-time artistic director and encourage<br />
the new generation of creators<br />
waiting to have their chance.”<br />
10 January 2008 • www.stage-directions.com
industry news<br />
Les Miz B r i n g s R e v o l u t i o n t o S w i s s<br />
ThunerSeespiele<br />
Theatre Company<br />
at Lake Thun<br />
in Switzerland<br />
recently performed<br />
Les Misérables on the<br />
company’s outdoor<br />
stage — actually built<br />
on Lake Thun near<br />
Les Miz on Lake Thun in Switzerland<br />
the town of the same<br />
name — with a DiGiCo D1 console making its debut on FOH<br />
and monitors. Since every production is outdoors, they require<br />
sound reinforcement. Basel-based contractor Audiopool was<br />
chosen to supply the sound infrastructure to the production.<br />
FOH engineers on the production were brothers Markus and<br />
Peter Luginbuehl, who had a P.A. comprising L-C-R clusters of<br />
d&b cabinets, with d&b subs on the left/right clusters, Kling &<br />
Freitag subs on the center cluster and a pair of K&F delays.<br />
“Technically, Les Misérables is very complicated,” says<br />
Audiopool’s Thomas Strebel. “We needed a console with the<br />
ability to handle a range of different functions, and we found<br />
that with the D1. Because of the number of actor and orchestra<br />
microphones, we were using every possible input — 56 from the<br />
stage rack, plus eight from the local rack — and every output.”<br />
As well as handling FOH duties, the D1 provided six-way<br />
monitor mixes for the entire orchestra via a network of onstage<br />
Kling & Freitag loudspeakers. No outboard processing was<br />
used, just the D1’s internal compressors and reverbs.<br />
“The outstanding sonic performance of the DiGiCo D1 really<br />
helped to produce the desired result — clear, controlled audio<br />
which sounded extremely natural,” says Thomas. “That’s what<br />
we counted on, and we are very pleased with it.”<br />
Young Vic Takes New ETC Eos Console<br />
Two U.K. theatres are set to take<br />
delivery of ETC’s Eos lighting control<br />
systems: the refurbished Young Vic<br />
in central London and the brandnew<br />
Rose Theatre in Kingston,<br />
southwest London.<br />
The Young Vic closed for a refurbishment<br />
in 2004 and reopened in<br />
October 2006 after installing over 120<br />
ETC Source Four fixtures, including<br />
the latest 70º and 90º field angles, as<br />
well as Source Four Revolution moving<br />
lights and ETC Sensor+ dimming. At<br />
the time, however, Head of Lighting<br />
Graham Parker could not find a new<br />
control system that suited them, so<br />
they continued using their old desk.<br />
Graham says: “We tried<br />
out an Eos for two weeks<br />
and found that it offered a<br />
good user interface, with<br />
the touchscreens and faders<br />
well laid out. It also provides<br />
excellent moving-light control<br />
and tracking.”<br />
Meanwhile, the Rose Theatre,<br />
Kingston, will use an Eos and<br />
ETC Net3Radio Focus Remote,<br />
as well as 11 36-way Sensor+ dimming<br />
racks and over 100 Source<br />
Four fixtures. The theatre will also<br />
employ an ETC Unison architectural<br />
system for control of house<br />
lighting.<br />
The Rose Theatre in Kingston under construction<br />
Lighting consultant John Tapster,<br />
who worked with Lighting Designer<br />
Peter Mumford, says, “Jonathan Porter<br />
Goff at <strong>Stage</strong> Electrics brought us an<br />
Eos to try out, and we were impressed<br />
with how well it worked for us.”<br />
Karen Wood Named Laguna<br />
Playhouse Managing Director<br />
The Laguna Playhouse has named<br />
Karen Wood managing director. Wood,<br />
who previously was managing director<br />
of the San Diego Repertory Theatre for<br />
seven years, will assume her duties at The<br />
Laguna Playhouse on Feb. 4, 2008. She<br />
succeeds Richard Stein, who resigned as<br />
Karen Wood<br />
executive director in June 2007. Andrew<br />
Donchak, president of The Laguna Playhouse board of directors,<br />
made the announcement.<br />
“I am delighted to be joining in the leadership of The Laguna<br />
Playhouse,” said Wood. “Andy Barnicle’s depth of experience<br />
and strong creative spirit, coupled with the board of directors’<br />
scope of knowledge and passion for The Playhouse, are inspiring.<br />
In this new collaboration, it will be my heartfelt desire and<br />
joy to help build on the heritage of this cultural treasure. “<br />
ACT Gets New Managing Director<br />
A Contemporary Theatre (ACT) in Seattle has appointed<br />
Kevin M. Hughes as its new managing director. Hughes,<br />
who has led his own public affairs firm since 1998, has<br />
represented businesses, government jurisdictions, grassroots<br />
efforts and nonprofit organizations, including many<br />
cultural organizations, for 22 years. Hughes began his<br />
new position Dec. 1, 2007.<br />
“I couldn’t ask for a better partner,” said ACT Artistic<br />
Director Kurt Beattie. “Kevin understands the challenges of<br />
today’s arts organization; that, combined with his passion<br />
for the art form and for ACT, will strengthen our ability to<br />
generate revenue that supports the mission of this theatre.”<br />
“I am thrilled to be returning to the theatre and, specifically,<br />
to ACT,” said Hughes. “Kurt Beattie is an extraordinary<br />
artist, the staff is equally talented and ACT’s multifaceted<br />
building is one of the best arts facilities in our region.”<br />
www.stage-directions.com • January 2008 11
Tools of the Trade<br />
By Jacob Coakley<br />
LDI took place Nov. 16–18. Here’s some of the hot new products<br />
that companies showed off this year.<br />
A l t m a n L i g h t i n g<br />
(www.altmanltg.com)<br />
showed off its LEDs with<br />
the SpectraCyc — a bar<br />
of RGBA LEDs designed<br />
for cyc wash duties. These<br />
are available in 1-, 3- and<br />
6-foot lengths, and they<br />
all offer point source LEDs,<br />
but reflect that light off a<br />
The Altman SpectraCyc, the 1-foot model<br />
surface. By the time it hits<br />
your cyc, it’s already mixed, and you don’t get as much<br />
“dotting” of the colors. Another cool thing is Altman’s line<br />
of Smart Theatricals for its Smart Track lighting system. It<br />
allows you to hang the company’s smaller theatre lights<br />
(3.5Q Ellipsoidal series, Fresnels or the Star Par) off of what<br />
is essentially track lighting strips that also pass DMX. This is<br />
really great for pocket-sized theatre spaces or multipurpose<br />
rooms. The company doesn’t advertise its Smart Theatricals,<br />
but Altman is happy to talk to you about this.<br />
Apollo (www.internetapollo.com) debuted some new<br />
gel products: The MXR is a<br />
two-string gel color mixer<br />
with a color selection and<br />
frame sequence designed<br />
to maximize useful colors.<br />
The company’s Gel Miser is<br />
designed to filter infrared<br />
energy off of gel to extend<br />
the life of color filters. Apollo<br />
had two lights hung from<br />
the truss in its booth, one<br />
with the Gel Miser, one without,<br />
so visitors could watch<br />
The Apollo MXR two-string gel mixer<br />
the burn out in the unprotected gel.<br />
Chauvet (www.<br />
c h a u v e t l i g h t i n g . c o m )<br />
showed off a bunch of new<br />
products, including new<br />
additions to its Colorado<br />
line: the Colorado Batten<br />
80i, the Colorado 6 (which<br />
more than doubles the<br />
output of the Colorado 3),<br />
the Colorado Panel wedge<br />
wash light and the Q-Wash<br />
LED 36 (which has the output<br />
of a Colorado 1 in a<br />
yoke configuration). Those<br />
in the market for something<br />
even more powerful<br />
The Chauvet MiN Spot<br />
will appreciate the release<br />
of the Legend Wash. Chauvet’s booth was decorated with<br />
panels of its new MiN Spot, an LED-fitted spot yoke, which<br />
features one 14-watt RGB LED and nine gobos.<br />
The City Theatrical Show DMX system<br />
C i t y T h e a t r i c a l ( w w w . c i t y t h e a t r i c a l . c o m )<br />
gave a new twist to wireless DMX with its new<br />
Show DMX system. It’s a frequency-hopping,<br />
spread-spectrum DMX transmitter, receiver and<br />
dimmer system with selectable power and frequency<br />
— so you can choose which channels you<br />
want to transmit on, helping eliminate wireless<br />
congestion. Moreover, the wireless DMX is sent<br />
redundantly, and a full packet is sent over one frequency,<br />
so there’s no break in the packets when<br />
the frequency hops to another one. Each packet<br />
is verified at the receiver and output at the same<br />
refresh rate as the original console output.<br />
The ETC SmartfaderML<br />
ETC (www.etcconnect.com) gave tours on its<br />
two new consoles. The first is the high-powered<br />
Ion, designed to control conventionals, moving<br />
lights, multimedia and LEDs. The second is the<br />
SmartfaderML, designed for conventionals and moving<br />
lights, but also meant to work as a primer on<br />
programming moving lights, thanks to a series of<br />
feedback tools that guide the programmer through<br />
the web of settings that can be changed on highertech<br />
lights.<br />
Visitors to the Harlequin booth (www.harlequinfloors.com)<br />
walked on the company’s<br />
new Liberty Clip<br />
Sprung Panel floor, a<br />
transportable, easily<br />
installed sprung floor<br />
system that doesn’t<br />
need to be secured<br />
to the sub floor with<br />
nails, screws or damaging<br />
fixtures. The trick is<br />
The Harlequin Liberty Clip Sprung Panel floor<br />
Harlequin’s new patent-pending clip system to hold the<br />
panels together so they don’t pull apart.<br />
12 January 2008 • www.stage-directions.com
The Leviton 8700 Series<br />
Leviton (www.leviton.com) also had some new boards:<br />
the 8700 series, comprised of three boards: the GS, GX and GL<br />
models. The GL has 24 submasters, while the GS and GX can<br />
have up to 48 submasters, and the GX provides an integrated<br />
touch screen. Each model can handle up to 20,000 cues and<br />
has the ability to have nine parts in a cue, supporting jumps,<br />
loops, follows and other parameters.<br />
The Lex-Loc in its open and closed positions<br />
Lex Products (www.lexproducts.com) was getting some<br />
good buzz thanks to its new Lex-Loc device. It’s a cage clamp<br />
for a NEMA-style plug. Instead of using screws to keep the<br />
wires in place, spring-pressure cam levers make the terminations,<br />
and the housing of the plug screws on to add more<br />
pressure to keep the cams closed and locked down. Lex was<br />
running a challenge to see how quickly participants could<br />
wire up a working plug at a desk in the booth — the winning<br />
time was 8.5 seconds, by Marcus D’Amelio, the technical<br />
director of Central Florida Community College in Ocala, Fla.<br />
The experts reinforced the buzz on the show floor when the<br />
Lex-Loc won the award for ESTA Product of the Year in the<br />
Expendable category.<br />
Rose Brand (www.rosebrand.com) won the award for<br />
Best Product Presentation<br />
at LDI this year, thanks in<br />
part to the company’s starshaped<br />
fixtures showing off<br />
Rose Brand’s new fabrics.<br />
Domino is a 100% polyester<br />
flame retardant fabric with<br />
black or white warp embellished<br />
with metallic face<br />
threads railroaded on the<br />
surface. Knitted and slinky,<br />
Rose Brand’s new Domino fabric<br />
it gives the illusion of depth and texture. With a soft hand,<br />
this fabric is reversible. Spider Stretch is a flame retardant<br />
Nylon/Spandex blend, which makes it a true fabric, unlike<br />
many textured scenic materials. Spider Stretch is woven in<br />
a pattern that appears random, making it ideal for lighting<br />
and shadow effects. Also, because of the random pattern and<br />
texture, seams are not noticeable when serged.<br />
www.stage-directions.com • January 2008 13
Light on the Subject<br />
By M.C. Friedrich<br />
Create a Light Plot<br />
on a Dime<br />
“No lights” doesn’t mean<br />
no lighting. . .<br />
Figure 1<br />
When beginning a lighting design, there can<br />
be any number of reasons the designer is<br />
working “on a dime.” This month and next, I’ll<br />
list some of the most common issues I have faced and<br />
their resolutions — and how these were accomplished<br />
on painfully limited budgets. The solutions assume<br />
that renting or borrowing what is needed is out of the<br />
budget/question, and that high-tech miracles won’t<br />
happen.<br />
Challenge #1: Not enough lighting instruments or,<br />
worse, no lighting instruments<br />
If you do have some instrumentation, you could<br />
try to work with what you have and just go with<br />
general lighting areas. It’s not very interesting, but<br />
it is illumination. The more dramatic solution is to<br />
give up on washes and have carefully placed specials<br />
(Figure 1). For this to be effective, you will, of course,<br />
have to work closely with your director’s blocking and<br />
rely heavily on the actors’ abilities to find their light<br />
(think spike tape). If possible, you may choose to do<br />
some refocus of lower boom-mounted instruments at<br />
intermission.<br />
No lighting instruments? Run to the nearest hardware<br />
store and buy PARs: lamp, reflector and lens all<br />
in one neat, inexpensive package. The necessary sockets<br />
will be right beside them on the shelf and require<br />
minimal wiring to attach connectors. With just sockets<br />
and PARs, I’ve made booms that looked, and worked,<br />
like stadium lights. I’ve also worked with clip-on work<br />
lights from the hardware store for very short throws. If<br />
you do go this route, be sure to hide them on the set.<br />
Challenge #2: Dimmer shortage or no dimmers<br />
If you’re short some dimmers, it is possible to<br />
slightly overload the dimmers you have with instruments<br />
that do not need to run at full intensity. Make<br />
sure your math is good, or you’ll be tripping breakers.<br />
Divide the dimmer wattage by the instrument wattage<br />
to get the maximum percentage at which you<br />
can set the dimmer. For example, if you load a 2.4 K<br />
dimmer with three instruments lamped to 1,000 watts<br />
each, then 80% is the maximum level for that dimmer<br />
(2,400/3,000 = .80).<br />
If full intensity is required, repatching is still an<br />
option, even in these days of dimmer-per-circuit. For<br />
the youngsters out there, I’m not talking about softpatching<br />
a dimmer into a channel. In the old days,<br />
when theatres had far more circuits than dimmers,<br />
patch panels and hard-patching circuits into dimmers<br />
were part of the setup, allowing the patch operator to<br />
unpatch (unplug) one circuit from a dimmer and patch<br />
Figure 2<br />
14 January 2008 • www.stage-directions.com
With just sockets<br />
and PARs, I’ve made<br />
booms that looked,<br />
and worked, like<br />
stadium lights.<br />
Figure 3<br />
another circuit into the same place.<br />
To do this with dimmer-per-circuit systems,<br />
you will be plugging and unplugging<br />
instruments into shared circuits.<br />
The most efficient way is with carefully<br />
labeled cable runs to a moderately convenient<br />
location (away from the audience)<br />
for repatching into the circuit to<br />
be shared with the various instruments<br />
to be patched into it.<br />
No dimmers? There are still some<br />
options. If your lighting needs are modest,<br />
any competent electrician can configure<br />
household rheostats into makeshift<br />
dimmers (Figure 2). Just watch<br />
your load. This also becomes your<br />
control console. Another no-dimmer<br />
option is to adapt your instrumentation<br />
and have the appearance of intensity<br />
control with varied wattage lamps on<br />
one look. Key light would be higher<br />
wattage; fill would be lower. There’s<br />
little flexibility, but there will be some<br />
hint of definition on the stage.<br />
For a lack of dimmers, there are gel<br />
solutions. Brown color filters will give a<br />
higher-wattage instrument the appearance<br />
of being dimmed down, amber<br />
shift included. Gel colors identified as<br />
gray will make a higher-wattage instrument<br />
appear to be lower wattage.<br />
Last, but not least, just don’t dim.<br />
During a dimmer crisis in a production<br />
of Cabaret, we had to save the dimmers<br />
for critical instruments. Others<br />
were just on non-dims or plugged<br />
directly into the wall outlets. For one<br />
effect, in which the lighted Cabaret<br />
sign bulbs burned out a few at a time,<br />
the little 7.5-watt bulbs were grouped<br />
into four circuits that plugged into the<br />
wall. Within scene changes, they were<br />
unplugged one at a time to give a<br />
gradual worn-down, seedy look to the<br />
sign (Figure 3).<br />
Next month, we’ll take a look at<br />
what to do if you don’t have enough<br />
power, or even no console.<br />
www.stage-directions.com • January 2008 15
Sound Design<br />
By Bryan Reesman<br />
The Art ofJuggling<br />
One of his first hits is hitting<br />
Broadway, but the work is<br />
never over for Alan Menken.<br />
All photography by Joan Marcus<br />
Fans of musical<br />
theatre undeniably<br />
know the name<br />
Alan Menken. The eight-time<br />
Oscar-winning composer and songwriter<br />
penned the off-Broadway rendition of Little Shop Of Horrors<br />
with the late lyricist Howard Ashman before the duo revitalized<br />
Disney’s fortunes by bringing pop and musical theatre sensibilities<br />
to the animated films The Little Mermaid, Beauty and the Beast<br />
and Aladdin. Like The Lion King, Beast became a hit in its Broadway<br />
incarnation and then started playing in theatres across the globe,<br />
while Mermaid arrives on the Great White Way this month.<br />
Menken remains quite active, juggling multiple projects.<br />
Aside from Mermaid’s Broadway bow, which features 10 new<br />
songs, the semi-animated film Enchanted, in which a cartoon<br />
princess escapes to the real world of New York and is followed<br />
by her suitor and an evil queen, recently opened in movie<br />
theatres nationwide. Additionally, the composer is working<br />
on Sister Act and Leap of Faith, both adaptations of Whoopi<br />
Goldberg and Steve Martin movies, respectively, which he<br />
hopes will be on Broadway by spring 2009. All these productions,<br />
with the exception of Mermaid’s original movie songs,<br />
feature lyrics by Glenn Slater.<br />
The ever-energetic Menken spoke to <strong>Stage</strong> <strong>Directions</strong> about<br />
his long career, balancing multiple projects and the art of<br />
writing musicals. In Manhattan, a week after his interview,<br />
the weary composer performed while sick with a cold for a<br />
press preview of new Mermaid songs. At the preview, he introduced<br />
the show’s lead, the unknown-but-soon-to-be-a-star<br />
Sierra Boggess. Soldiering on during his performance, Menken<br />
proved that he is a die-hard trooper.<br />
<strong>Stage</strong> <strong>Directions</strong>: You brought pop and musical theatre sensibilities<br />
into Disney animated films. How does that serve<br />
you now, bringing this whole process back full circle with<br />
The Little Mermaid on Broadway?<br />
Alan Menken: I think the pop sensibility has always been an<br />
essential color to what I do, and I think it’s one of the reasons I’ve<br />
been able to have the musical theatre career and the film career<br />
that I’ve had. I’m able to blend a pretty good understanding of<br />
musical theatre with working in diverse musical styles and giving<br />
it a pop veneer where appropriate. On Little Mermaid, Howard<br />
Ashman and I never achieved the single, the liftable song. We<br />
really weren’t quite “pop enough” as far as the pop charts, but<br />
Sierra Boggess as Ariel in<br />
The Little Mermaid.<br />
we brought a musical<br />
theatre sensibility to the<br />
animated picture in a way that<br />
the whole industry responded to,<br />
and I think that’s why we swept the awards for<br />
score and song. I think, especially in Hollywood, they respond<br />
to material that’s written specifically for a story in a film and<br />
not written with the secondary purpose of having a single. It<br />
was only with Beauty and the Beast that we gave ourselves the<br />
assignment of writing a song that could function within the<br />
picture and also exist as a single, and that, of course, became<br />
part of the tradition.<br />
How did that sensibility play into working on Enchanted?<br />
When I write these songs, I don’t think about pop charts<br />
— especially now. The pop charts are in a different place than<br />
they were even eight or 10 years ago. In the case of Enchanted,<br />
I created a score that evolves from the world of Snow White to<br />
contemporary New York and everything in between.<br />
Enchanted seems to have a very self-reflexive sense of<br />
humor. Do you think that the film speaks to where the<br />
musical is in terms of mainstream consciousness?<br />
I think, in general, musicals must have a self-awareness of<br />
what they are in our culture and how they are perceived; however,<br />
there are always exceptions to that rule. There’s always<br />
that musical that will carry its heart on its sleeve, and there are<br />
musical projects that are completely about an inside sensibility<br />
and a wink. Enchanted really exists in both worlds. It has a lot of<br />
winks, but it does wear its heart on its sleeve.<br />
Obviously, musicals now have amplified sound and stereo<br />
mixes. How does all this technology that’s seeping<br />
into Broadway productions affect and influence your job<br />
as a composer?<br />
It doesn’t affect me in the room as I’m writing, but sometimes<br />
I’ll get into the theatre and think, “What was I thinking? I was really<br />
thinking a record sensibility on this song, and what is coming<br />
from the pit is sounding too legit. What do we do about that?”<br />
Sometimes you have to address balancing a traditional orchestra<br />
against a more sophisticated, contemporary pop sound. If<br />
you create something that has too much pop veneer to it in the<br />
theatre, you’re going to distance an audience from responding<br />
in a very live sense. You want them to have a sense that there is<br />
16 January 2008 • www.stage-directions.com
a pit, that there is an orchestra, that they’re in live theatre. At the<br />
same time, because we write with a more pop sensibility, with<br />
amplification and hearing vocals sung in a certain way — we<br />
don’t have an Ethel Merman any more, someone who can simply<br />
belt to the back of the house without amplification. We have a<br />
lot of really wonderful performers now who sing in a much more<br />
contemporary way, so you’ve got to figure out how you hide<br />
those mics and balance that sound. The soundman has obviously<br />
evolved to one of the prime design positions, along with<br />
the set designer, costume designer and lighting designer.<br />
How much are you involved with the<br />
sound designer on a show like Little<br />
Mermaid or Sister Act?<br />
I’m very involved — sometimes directly,<br />
and sometimes through my music supervisor.<br />
In my experience, the poor sound<br />
designer often is the last one given the time<br />
to really do his or her work in the theatre.<br />
The sound and lighting designers seems to<br />
be the ones who are always fighting to have<br />
time to hone what they’re doing. You’re<br />
already well into previews, if not even past<br />
your opening, and the sound designer is still<br />
needing to do the work — all the honing of<br />
riding the vocals and riding the orchestra<br />
and placing the speakers.<br />
Sherie Rene Scott as Ursula<br />
What work did you do with the sound<br />
designer on Little Mermaid?<br />
I have to say that the sound designer,<br />
John Shivers, was really successful on Little<br />
Mermaid. It’s just been the normal process<br />
of hearing more of this vocal, the orchestra’s<br />
a little bit down here…. You’re still going<br />
to balance the needs of the dramaturgical<br />
against the musical. The musical might want<br />
to hear big sweeps of an orchestra, and<br />
the sound is overwhelming you. Then the<br />
director and the book writer will say they<br />
really need to hear the words. That sounds<br />
very basic, but that often becomes a very<br />
common debate. How far forward do you<br />
need the vocals to be without diminishing<br />
the power of the orchestra? Some of that<br />
has to be dealt with through panning —<br />
placing the orchestra in speakers where<br />
you don’t have the vocals so they’re distinguished<br />
from each other. That’s not my area<br />
of expertise. I’m the one who will go back<br />
and whine at the sound designer, or praise<br />
the sound designer, and they will have to<br />
figure out how to proceed.<br />
My sound designer on Sister Act and<br />
Leap of Faith is Carl Casella, whom I’ve<br />
known forever. I knew him back when<br />
he was an engineer. He’s worked on live<br />
shows, and he helped me put together<br />
my screening room. He’s a pal and has<br />
become a top sound designer.<br />
www.stage-directions.com • January 2008 17
Sound Design<br />
Prince Eric (Sean Palmer) and Ariel (Sierra Boggess) afloat in Disney’s The Little Mermaid<br />
How are Sister Act and Leap of Faith progressing?<br />
They’re progressing very well. Sister Act opened in Pasadena<br />
and in Atlanta, and we received very good reviews. We learned<br />
a lot from audiences and the reviews and from our own reactions.<br />
After Atlanta, we went back to the drawing board and<br />
have been rebalancing the story; it’s involved rewriting or<br />
replacing nine songs. There are a lot of changes on a score<br />
that I absolutely love; however, sometimes you have to go in<br />
and get rid of things that you love and put in new things that,<br />
hopefully, you will love as much. And even if you don’t love<br />
it as much, in some cases, if it dramaturgically takes the story<br />
where it needs to go, it’s worth the trade-off.<br />
Is it painful to go through that process?<br />
It’s painful. It gets a little easier as you get older and more<br />
experienced in musical theatre. Sometimes, you yourself end<br />
up being the impetus for that change over other people’s objections.<br />
Sometimes, people have fallen in love with your songs,<br />
but you need to throw some out. It’s depressing to think that,<br />
despite how great it was before, most people won’t even register<br />
that much of a difference. Your job is to just deliver the message<br />
in a way that can be digested. I face that a lot, where people<br />
would see the show with a great number, then come back and<br />
see the show without it and not even notice it was gone.<br />
How is Leap of Faith doing?<br />
Leap of Faith is in very solid shape. We’re writing one more<br />
new song at this point. It’s been hard over the summer to do<br />
work on either Sister Act or Leap of Faith while working on Little<br />
Mermaid and completing work on Enchanted, including the<br />
artwork for the soundtrack of the album. We’ll do a workshop in<br />
the spring, where Director Taylor Hackford will really get to put<br />
the show on its feet and see it in a rehearsal space. Then we’re<br />
going do an out-of-town preview a little over a year from now.<br />
We’re seeing a lot of adaptations coming to Broadway;<br />
shows derived from film, television and books. There seem<br />
to be less original works being done for Broadway.<br />
Now I’m going to quibble with your question. You are wrong!<br />
I defy you to tell me names of original musicals that have been<br />
on Broadway. Broadway is a highly adaptation-oriented medium.<br />
The exceptions tend to come under the category of revues.<br />
A Chorus Line is really kind of a revue. It’s either an adaptation or<br />
songs based on some sort of a concept, and there are very few<br />
exceptions to that.<br />
Wicked was inspired by the Wizard of Oz. Avenue Q was<br />
inspired by Sesame Street….<br />
Wicked was based on a book by Gregory Maguire. His book<br />
was original. But it’s very hard to write an original musical.<br />
Why do you think that is?<br />
In a musical, it really needs to be about the songs and about<br />
the music. It really helps when an audience comes in with<br />
some solid ground under them in order to take the leap into<br />
allowing the songs to transport them, and it’s more particular<br />
to theatre than film. Look at something like Falsettos. Is that<br />
an adaptation? It’s really autobiographical on the part of composer/playwright<br />
Bill Finn. It’s about his life.<br />
Broadway tends to be confined to very specific source material,<br />
and it also allows the writer to make a stylistic choice that’s<br />
very broad and have the audience not question that. In other<br />
words, for an audience to be in on what you’re doing — in on<br />
the conceit — it’s very important that the central spine of that<br />
concept is very clear, either in an adaptation or something that<br />
can be expressed beforehand, so you know what you’re in for. I<br />
don’t mean to be dogmatic about it, but bitter experience has<br />
shown me that this is generally the rule. So what’s happening<br />
now is not unusual. What is unusual is just the amount of activity<br />
on Broadway. It’s enormous — the number of people who are<br />
working on theatrical adaptations.<br />
Given all your years of experience as a composer and<br />
songwriter, what advice would you give to young, up-andcoming<br />
composers trying to make it on Broadway?<br />
On a basic level, I say that if you want to pursue it, and it is<br />
something you want to do every day of your life, then do it.<br />
This has to be something you want to do because it’s a passion.<br />
If it’s based on “I’ve got to achieve this result,” you’re likely to<br />
be frustrated and not be able to really sustain your drive for<br />
an entire career. It’s really about doing it for the love of it, and<br />
then if the money comes, the money comes.<br />
When writers are actually looking at projects, my advice is to<br />
get out of your own way. Don’t think that your imprint is what<br />
this is about. What it’s about is you as a composer finding a stylistic<br />
voice for the score and then allowing that to come through,<br />
through your expertise as a composer and your ability to capture<br />
the essence of that style. But it’s not about having a theme<br />
sitting in a trunk for 20 years, then using that song for the score.<br />
You’ve got to serve the piece and serve the characters.<br />
We all struggle with staying in touch with our inner compass<br />
and being open to someone telling us that we’re completely<br />
wrong about something. The essence of that is when<br />
you’re out of town with a musical, and everyone is screaming<br />
at you, “Change this! Fix this! Look at this!” It’s always that balance<br />
of listening to your inner voice and being open to other<br />
voices. It can be very difficult.<br />
Bryan Reesman is the New York editor of <strong>Stage</strong> <strong>Directions</strong>.<br />
Ursula (Sherie Rene Scott) puts the hard sell on Ariel (Sierra Boggess) with the help of<br />
Jetsam (Derrick Baskin) and Flotsam (Tyler Maynard).<br />
18 January 2008 • www.stage-directions.com
School Spotlight<br />
By Amy Slingerland<br />
The Sopranos of Theatre<br />
SUNY Purchase Prepares Students for a Lifetime of Collaboration.<br />
Set on 500 acres of former farmland 35 minutes north<br />
of New York City, SUNY Purchase was founded in 1967<br />
by Governor Nelson A. Rockefeller to bring together<br />
conservatory arts training and liberal arts studies on one<br />
campus. Purchase College is home to four arts academies: the<br />
Conservatory of Music, Conservatory of Dance, Conservatory<br />
of Theatre Arts and Film, and the School of Art and Design.<br />
The Conservatory of Theatre Arts and Film offers programs in<br />
acting, film, dramatic writing and design/technology. Within<br />
design/technology are concentrations in scenic, costume<br />
and lighting design, costume technology, stage management<br />
and technical direction.<br />
What sets Purchase apart from other theatre and arts<br />
schools is its faculty of award-winning working professionals<br />
until 11:00 p.m. Students are treated like professionals from<br />
the beginning.<br />
“Which, when you’re 18 years old, for some people can be<br />
really daunting,” says Mike Zaleski, a 2006 stage management<br />
graduate. “But if you want to step out into the world and<br />
start working immediately on an Off-Broadway, Broadway<br />
or professional event level, that’s what the program trains<br />
you for.”<br />
Getting In<br />
In addition to submitting the usual high school transcripts<br />
and SAT scores, prospective design/technology students<br />
must undergo an interview and portfolio review. David<br />
Bassuk, a 1981 Purchase graduate and current professor of<br />
All photography Courtesy of SUNY Purchase<br />
The Purchase production of Light Up the Sky by Moss Hart<br />
Sean Kane and Jennifer Rathbone<br />
discuss costumes.<br />
“We try to expose students to every situation they would get into via<br />
regional theatre or commercial theatre.” — David Grill<br />
and its selectivity and intensive professional training combined<br />
with affordability. Associate Professor of Film and Interim Dean<br />
of the Conservatory of Theatre Arts and Film Gregory Taylor<br />
says, “We offer similar training and quality to Juilliard, but we’re<br />
a state school. Our mission has always been to provide a highquality,<br />
top-notch conservatory education and professional<br />
training in these fields to the public — something that is usually<br />
only available at elite private institutions.” The tuition may<br />
not be elite, but competition for acceptance is.<br />
The arts programs at Purchase are highly selective, rigorous<br />
and demanding. For instance, the program has a total<br />
enrollment of around 70 students. From as many as 1,400<br />
applicants, only approximately 35 are accepted each year,<br />
and that number dwindles as students decide to leave or are<br />
not invited back for the following year. In addition to at least<br />
90 program credits, a student must also complete 30 liberal<br />
arts credits in order to graduate. A typical day starts with<br />
classes at 8:30 a.m., and rehearsals or performances can last<br />
theatre arts, says he looks for acting students who “can<br />
talk intelligently about their choices and the scripts they’re<br />
presenting, can talk about the theatre, what they’ve seen<br />
and what they like; they’ve got some degree of a developed<br />
aesthetic, an interest in the best that culture has to<br />
offer.” For design students, David Grill, an Emmy Awardwinner,<br />
and co-chair of the design/technology program,<br />
emphasizes verbal skills and visual skills. “They have to<br />
come in with some knowledge of composition, whether<br />
it’s learned or subconscious.” says Grill. “I look at someone<br />
who has some experience, and who has a drive and a<br />
desire and an energy about themselves.”<br />
When Zaleski discussed colleges with the sound and lighting<br />
designers he knew, they mentioned Purchase as the first<br />
place to look. Zaleski says, “I went down there, and I remember<br />
basically deciding on the spot that it was the perfect<br />
place because it was so close to the city, the facilities were<br />
amazing, and everyone whom I met was great.”<br />
20 January 2008 • www.stage-directions.com
“I went down there, and I remember basically deciding on the spot that<br />
it was the perfect place, because it was so close to the city, the facilities<br />
were amazing, and everyone whom I met was great.” — Mike Zaleski<br />
The Work’s the Thing<br />
In addition to classwork, students can work on Purchase<br />
Repertory Theatre productions in the Performing Arts<br />
Center, which are acted, designed, stage managed and<br />
technical directed by students,<br />
“Freshmen act as general crew members, and they<br />
go through a rotation,” explains Grill. “They spend<br />
half a semester in the lighting shop, half in the carpentry<br />
shop, half in paint and half in costumes. As<br />
they advance into the sophomore year, they generally<br />
become crew heads. In your junior year, you become<br />
the assistant-level person, and senior year is basically<br />
the design position.”<br />
Although this hierarchy is followed, everyone shares<br />
the grunt work of load-ins, load-outs, hanging and focusing<br />
lights, and the like.<br />
“Folks like Jason Lyons, Brian and me continually come<br />
back and circulate through the college to keep the education<br />
at its high level, as well as to afford the people who<br />
are in school the opportunity to solicit comments from<br />
that level of professional, plus potential internships and<br />
jobs after they get out of college,” Grill says. Students<br />
learn practical, situational knowledge from current working<br />
professionals — not just from textbook examples.<br />
“Narda Alcorn, my stage management teacher, was on The<br />
Lion King and A Raisin in the Sun on Broadway, Zaleski recalls.<br />
“So she was telling us stories from the night before that were<br />
immediately relevant to what we were discussing in class.”<br />
Working’s the Thing<br />
If a school can be judged by its graduates, the Purchase<br />
results speak for themselves: Over 85% of design/technology<br />
David Grill, cochair of the design/technology program,<br />
is an Emmy Award-winning LD. Marjan Neshat John Yuille and Ariel Kubbie work on a set model.<br />
The Performing Arts Center comprises four theatres, providing<br />
students with state-of-the-art “laboratories” in which<br />
to experiment and perfect their crafts.<br />
“We try to expose students to every situation they<br />
would get into via regional theatre or commercial theatre,”<br />
Grill says. The 500-seat black-box Repertory Theatre<br />
provides great flexibility in configuration with portable<br />
platform units, movable catwalks and a hydraulic lift. The<br />
600-seat Recital Hall, engineered for chamber music and<br />
dance, has a sprung floor, rear-screen projection bay, portable<br />
acoustic orchestra shell and a downstage hydraulic<br />
lift. The PepsiCo Theatre, designed by Ming Cho Lee, holds<br />
over 700 and has a rear-screen projection bay, hanamichi<br />
platforms along the sides and two downstage hydraulic<br />
lifts. The three-tiered Concert Hall, which has a capacity of<br />
over 1,300, has two downstage hydraulic lifts and a portable<br />
acoustic orchestra shell.<br />
Also invaluable is the professional experience brought to<br />
the classroom by award-winning graduates of Purchase who<br />
now teach there, including Brian MacDevitt, 2007 Tony Award<br />
winner for lighting The Coast of Utopia (with Kenneth Posner,<br />
another Purchase alum), and Grill himself, a 1986 alumnus.<br />
grads are working in their field, many are members of the<br />
major theatrical unions, and alumni include Tony, Emmy,<br />
Obie and Drama Desk award winners. Acting graduates<br />
include Stanley Tucci, Edie Falco and Parker Posey.<br />
Although the standards are extremely high and the<br />
programs can be grueling, “It was a wonderful school<br />
for me, and it really was a perfect fit,” Zaleski says.<br />
“What was great was the faculty and the one-on-one<br />
learning experience, plus a group of alumni who keep<br />
in touch.”<br />
At the time of this interview, Zaleski was stage managing<br />
the Joe Torre Safe at Home Foundation gala. “I<br />
showed up at this gig, and the lighting designer graduated<br />
from Purchase, this other stage manager is from<br />
Purchase. Almost every gig I do, there’s somebody<br />
from Purchase.”<br />
Grill agrees. “The best student is the student who feels<br />
at home. If you can identify those people and get those<br />
people in so that in their four years of college they form<br />
a bond, you’re going to see those people until the day<br />
you die. I still work with people I graduated with. It’s the<br />
Sopranos of theatre.”<br />
www.stage-directions.com • January 2008 21
Theatre Spotlight<br />
By John Bliss<br />
Teatro VistaCelebrating Latino Culture<br />
For more than 15 years, Teatro Vista: Theatre With a View<br />
(www.teatrovista.org) has shared the work of Latino writers<br />
and performers with Chicago audiences of all backgrounds.<br />
The theatre seeks to bridge the gap between cultures,<br />
focusing not on our differences, but on our similarities.<br />
Name: Edward Torres<br />
Role: Artistic director and cofounder<br />
Other company members: Cofounder Henry Godinez;<br />
Associate Artistic Director Sandra Delgado; Resident Director<br />
Cecilie Keenan.<br />
Mission: “To develop the voice of the Latino writer in the<br />
U.S.; to bring our point of view to other cultures; to provide<br />
opportunities to artists of color.”<br />
Recent productions: A Park in Our House by Nilo Cruz;<br />
Massacre (Sing to Your Children) by José Rivera; Another Part<br />
of the House by Migdalia Cruz.<br />
Latin culture is: “World culture. It’s African, European and<br />
indigenous cultures. It’s not just one thing.”<br />
The biggest misconception about Latino theatre: “It’s not<br />
always magic realism!”<br />
I knew that Teatro Vista was<br />
a success… “when other companies<br />
started doing plays by<br />
writers we had introduced.”<br />
The benefit of success:<br />
“Writers are coming to us with<br />
their work. And established<br />
writers like Octavio Solis and<br />
Migdalia Cruz are coming to<br />
Chicago to work with us.”<br />
The drawback of success:<br />
“Our ensemble members have<br />
started leaving Chicago to<br />
work in L.A. and New York.”<br />
The most important thing is…<br />
“Don’t give up.”<br />
The writer I’m excited about:<br />
“Quiara Alegría Hudes. We<br />
did a production of her play,<br />
Elliot, A Soldier’s Fugue with<br />
Rivendell Theatre Ensemble at<br />
Teatro Vista coproduced A Park in Our House<br />
with Victory Gardens.<br />
Steppenwolf. She recently wrote the book for the musical In<br />
the Heights.”<br />
Courtesy of Victory Gardens<br />
We started the company in… “Gustavo Mellado’s kitchen.<br />
We would all get together and make dinner. Then we’d<br />
read a play. To this day, whenever we do anything, we always<br />
have food!”<br />
If you want to start a theatre company… “Be honest with<br />
the people you’re working with. Let them know what’s going<br />
on. Even when it isn’t pretty.”<br />
Career low point: “Working as an intern at the ‘actors of<br />
color’ auditions at the League of Chicago Theaters — back<br />
when we had separate auditions!”<br />
Courtesy of Victory Gardens<br />
High school students appear onstage with professional actors when Teatro Vista partners with<br />
Little Village Lawndale High School and Little Village Development Corp. each year. This year’s<br />
show is La Posada Magica.<br />
Courtesy of Teatro Vista<br />
Courtesy of Teatro Vista<br />
From A Park in Our House<br />
22 January 2008 • www.stage-directions.com<br />
Another moment from La Posada Magica
Theatre Space<br />
By Evan Henerson<br />
Exploring<br />
New<br />
Territory<br />
San Diego’s Balboa Theatre<br />
is ready to shine once again<br />
after its renovation.<br />
When it shut its doors in the mid-1980s, the Balboa<br />
Theatre in the heart of downtown San Diego<br />
had enjoyed a career as a cinema and vaudeville<br />
house, playing everything from Spanish language films to<br />
action flicks.<br />
Escaping several brushes with the wrecking ball, the<br />
Balboa — designated as both a local and national historical<br />
landmark — saw the Westfield Horton Plaza mall develop<br />
around it. The stately Spanish Revival-styled Balboa sat<br />
waiting for the funds and the vision to bring it back to life.<br />
“It’s a wonderful building,” says Bob Mather, associate<br />
principal project director at Westlake Reed Leskosky, the<br />
architectural firm charged with the Balboa’s restoration.<br />
“We’ve talked to people who have been in there and<br />
remember their first kiss, and people who had families<br />
The stage of the Balboa theatre during construction<br />
Take Your Time<br />
Spanning more than four years from design to its upcoming<br />
late January 2008 reopening, the three-phase renovation and<br />
restoration effort covered the entire building: retrofitting, mural<br />
restoration and the sprucing up of both stage and auditorium<br />
lighting systems. The project’s nearly $27 million price tag is<br />
funded entirely by the San Diego Redevelopment Agency.<br />
The stage is flanked by two large working waterfalls, rehabilitated<br />
and usable — although most likely for precurtain spectacle<br />
rather than during any performance. The New York-based<br />
firm EverGreene Painting Studios reestablished the Balboa’s<br />
original lobby and auditorium color scheme. Decorative plaster<br />
and the refurbishment of second floor murals — dulled and<br />
yellowed from years of nicotine — should have people talking<br />
during intermissions.<br />
“Now they have the ability to do almost anything the depth of<br />
the stage allows.” — Darrell Ziegler<br />
involved in the construction. Of everyone I’ve ever talked<br />
to, no one has ever said, ‘Just tear that thing down.’ ”<br />
Now, after the theatre has sat dormant for more than<br />
two decades, it’s curtain up on a multiple use venue that<br />
will house theatre, lectures, dance, live music, comedy and<br />
the occasional convention.<br />
“One of the goals was to make the facility flexible to<br />
accommodate as much as possible,” says Don Telford,<br />
president and COO of San Diego Theatres, which will program<br />
and run the Balboa and its downtown neighbor, the<br />
San Diego Civic Theatre.<br />
“That was a lot of the cost of the project,” he continues.<br />
“There’s a significant amount of infrastructure for rigging,<br />
lighting and sound. It’s a well-equipped venue, and part of<br />
the goal is to make it as affordable and accessible to local<br />
nonprofits as possible. The less they have to go out and<br />
rent, the better.”<br />
“It’s one of those magical old-time movie house feels,”<br />
said Telford. “Very grand, very ornate, incredibly colorful.<br />
Within the auditorium, there are 22 different colors. It’s one<br />
of those places where, as we’ve toured people through the<br />
building and walked them into the house, the immediate<br />
reaction is just ’Wow!’ ”<br />
Project workers have installed an ETC Ion console at<br />
the rear of the orchestra, with a wireless remote focus<br />
controlling stage lighting dimmers. Some 244 2.4 kW<br />
stage lighting dimmers, five 6.0 kW dimmers and 24<br />
2.4 kW house lighting dimmers are now available for use<br />
with an Ethernet-based control system that provides<br />
DMX data distribution from the lighting control console<br />
to the dimmer racks and control tapes and nodes<br />
located at the stage lighting positions.<br />
“Originally, there was no front of house lighting, no<br />
lighting on the balcony rail,“ says Darrell Ziegler, project<br />
24 January 2008 • www.stage-directions.com
A view of the Balboa house. The photo was taken during the construction period, and the acoustic<br />
drapery shown is being hung to stretch before being stored.<br />
A shot onstage of the Balboa, showing the orchestra shell walls<br />
architect of Westlake Reed Leskosky and the designer<br />
of the Balboa’s lighting system. “Now they have the<br />
ability to do almost anything the depth of the stage<br />
allows.”<br />
They also have the height, thanks to J.R. Clancy’s<br />
new rigging systems, installed by L.A. ProPoint.<br />
Onstage, there’s a new J.R. Clancy manual counterweight<br />
system with 33 new battens, not including the<br />
house curtain and fire curtain.<br />
Structuring the Sound<br />
Sound-wise, the theatre already had good “bones”<br />
for classical music, according to David Conant, principal<br />
acoustician for McKay Conant Hoover. Even<br />
considering this was a vaudeville house built in 1924,<br />
“there was very little we needed to change to make it<br />
sound really good,” Conant says.<br />
Given that, with a pit that can hold up to 27 musicians,<br />
variable acoustics can and will come into play.<br />
To help with that, the Balboa now features highly<br />
absorbent sound banners that lower from slots in the<br />
ceiling and arch along the sidewalls, installed by L.A.<br />
ProPoint. The company used eight of J.R. Clancy’s<br />
Variable Acoustic banner curtain systems, including<br />
motors and banner drums weighing in at over 1,000<br />
pounds, which were installed via a small attic space.<br />
These are controlled with a custom push-button control<br />
system. An orchestra shell consisting of two rows of<br />
overhead ceiling panels and eight 14-foot rolling towers<br />
will be used for symphonic performances.<br />
“If you put a pretty good-sized orchestra into a<br />
fully enclosed shell, the overall loudness of the sound<br />
can often bother the musicians,” says Conant. “But<br />
that loudness won’t happen in this room, particularly<br />
because of the sound defusing towers.” Conant adds<br />
that the addition of a portable acoustical eyebrow<br />
hanging over the orchestra pit has been recommended<br />
for the future.<br />
EAW fill speakers mounted at the ceilings cover<br />
the balcony, while Meyer speakers at the front of the<br />
stage apron cover the orchestra. Given the space and<br />
budget limitations, the Balboa’s sound system needs<br />
to be unobtrusive, as well as powerful enough to do<br />
the job.<br />
“We chose this series of loudspeakers due, in part,<br />
to the fact that they sound wonderful, have been<br />
known for their clarity and because we can tight pack<br />
these devices,” says Randal Willis, supervisory consultant<br />
and manager of media systems.<br />
The house console, a Yamaha PM5D mixer with 48<br />
channels, can be removed to accommodate a touring<br />
sound console or for additional lighting capacity.<br />
According to Willis, the sidewalls were equipped to<br />
accommodate surround sound should theatre operators<br />
decide to go that route in the years to come.<br />
Take to the Ground<br />
Situated along bustling 4th Street in downtown San<br />
Diego, the Balboa didn’t offer up much space for the<br />
storage of heating, cooling and electrical equipment.<br />
“There was very little staging area where the contractor<br />
could store equipment,” says Ziegler. “The<br />
theatre was previously ventilated, not air conditioned.<br />
We needed space for the equipment and duct work to<br />
cool the auditorium.”<br />
The project team was fortunate. Instead of using<br />
overhead circular air ducts that pipe heating from<br />
above, the Balboa was designed to have air come out<br />
of holes in the floor below the seats in the orchestra<br />
level. When upgrading the facility to include air conditioning,<br />
this method of air circulation provided an<br />
atmosphere that was both quieter and energy efficient,<br />
according to Conant.<br />
“That’s the way they used to do it,” says Conant. “In<br />
conventional designs these days, they do it in reverse<br />
direction which is more problematic acoustically.”<br />
This ingenuity reflects the whole of the Balboa<br />
project, where the legacy of the theatre’s past is celebrated,<br />
restored and upgraded to a new space that<br />
dynamically serves the San Diego community.<br />
www.stage-directions.com • January 2008 25
Special Section: Costumes & Masks<br />
Getting<br />
Behind<br />
Masks<br />
They may hide the face, but<br />
masks can reveal a lot about<br />
a performance.<br />
By Ellen Seiden<br />
Karl Lipke<br />
Alyssa Ravenwood<br />
designed masks for<br />
Radiant Theatre<br />
Company’s production<br />
of Scapin.<br />
Masks can enhance productions by bringing a<br />
physicality to performances that helps lead to<br />
heightened drama, humor and audience<br />
camaraderie. But in replacing the human face, masked<br />
actors need specific training to give genuine and heartfelt<br />
performances. Los Angeles mask designer and physical<br />
theatre expert Alyssa Ravenwood creates expressive masks<br />
and individualized workshops for theatre companies and<br />
schools. In her classes, performers learn to enact characters<br />
with movements and emotions that embody their masks.<br />
“My focus,” Ravenwood says, “is teaching actors practical<br />
techniques in order to give the best performance possible.”<br />
Ravenwood studied the art of mask, clown, mime, melodrama,<br />
performance creation and commedia dell’arte (bawdy<br />
Italian street theatre featuring mostly masked stock characters,<br />
familiar plots and improvisation; highly popular with 16th- and<br />
17th-century audiences) at the Dell’Arte School of Physical<br />
Theatre in Blue Lake, Calif., among other intensive workshops.<br />
Crafting centuries of theatrical and artistic tradition into her<br />
masks, as an actor and director, Ravenwood also developed<br />
effective methods to enliven the characters behind them.<br />
“People think that a mask is a way to hide,” says<br />
Ravenwood. “But I think masks are a way to reveal those<br />
parts of yourself that are hidden by your everyday face.”<br />
In my conversation with her, she gave me some pointers<br />
for actors and directors on mastering your mask, as<br />
well as some mask performance exercises and tips for<br />
overcoming some technical difficulties with them. We<br />
only have room here to talk about her pointers for actors,<br />
but her other tips and exercises can be found online at<br />
www.stage-directions.com/tipsformasks/.<br />
1) Know Your Mask<br />
As an exercise, Ravenwood directs her students to get<br />
a partner and wear each other’s masks. “Go through every<br />
angle the mask makes,” directs Ravenwood. “Match the<br />
body to the character and to the emotions of the mask.<br />
It’s best to see your mask worn by a fellow actor and watch<br />
them tilt it and perform in it.”<br />
Darleen Totten, theatre arts teacher and troupe director<br />
at Alice High School in Alice, Texas, runs a mask-centered<br />
drama program, using mask projects tied to performances<br />
as icebreakers at the start of each year, and has had success<br />
with this exercise.<br />
“It’s a lot of hard work for the kids to get used to the<br />
masks,” she says, “To enunciate properly behind them, to<br />
speak louder, to tell the story with the body without facial<br />
expressions so the audience gets it.” Theatrical masks that<br />
show different emotions tilted at angles provide “a whole<br />
new tool for nonverbal communication with added body<br />
motion. It frees kids up. The masks transform who they are.”<br />
2) One Thing At a Time<br />
“Understand the technique that one thing happens at a<br />
time, and that you must share this with an audience,” says<br />
Ravenwood. “There’s action and reaction to everything.”<br />
She notes that the expression on a mask cannot be read if<br />
the mask is moving, so every important moment of discovery,<br />
reaction, emotional change and decision-making must<br />
be marked with stillness so that the audience can read it<br />
and follow the emotions of the story. The expression of loss,<br />
for example, should show on the body, with the mask held<br />
still, facing forward to the audience.<br />
Christopher Pryor, who performed masked as Leander<br />
in Molière’s Scapin at the Radiant Theatre in Portland, Ore.,<br />
uses the stillness to build rapport with the audience.<br />
“I personally enjoy the connection a masked actor has<br />
with the audience,” Pryor says. “There is no fourth wall<br />
when a mask is involved. An actor in a mask can face the<br />
audience and deliver lines directly to them. This creates<br />
a wonderful air of mischief and camaraderie between the<br />
actors and the audience.”<br />
26 January 2008 • www.stage-directions.com
Left to right: Elizabeth Dowd as Ariel and Alisa Sickora as Rabble in the Bloomsburg Theatre<br />
Ensemble’s production of The Tempest<br />
Karl Lipke<br />
Alyssa Ravenwood<br />
Two different moods<br />
can be evoked from<br />
one mask, as evidenced<br />
in these pictures of the<br />
mask for the dell’arte<br />
character Sylvia.<br />
Left to Right: Megan Marut, Michael<br />
Nazar and Melanie Coakley wear masks<br />
in BTE’s production of Shakespeare’s<br />
The Tempest.<br />
3) Be Genuine in Your Emotion<br />
According to Ravenwood, when<br />
playing a heightened style, you must<br />
use your method acting techniques<br />
more, not less.<br />
“Everything is life and death to these<br />
characters,” says Ravenwood. “You have<br />
to really mean it. If you fake it, it shows.<br />
You must feel the emotion, raw and<br />
exposed. It’s a mistake to play masks<br />
loud, exaggerated or insincere.”<br />
Gerard Stropnicky is the ensemble<br />
director at the The Bloomsburg Theatre<br />
Ensemble in Bloomsburg, Penn. BTE<br />
hosts an annual Noh (Japanese masks)<br />
training project, and he has run into<br />
this particular problem.<br />
“Using masks is a very powerful spice<br />
to add to the recipe,” Stropnicky says.<br />
“If you use it where it isn’t needed or<br />
wanted, it can overwhelm. When used<br />
properly, it can do great stuff.” He likes<br />
the physicality that masks demand of a<br />
performance and the alternate ways of<br />
acting that are required. “Masks add a<br />
layer of subtlety because they force it.”<br />
4) Use Your Chest Voice<br />
Ravenwood recommends using your<br />
chest voice instead of your head voice.<br />
If you’re not sure what that means, try<br />
to hum and feel the vibrations in your<br />
chest, not in your cheeks and forehead.<br />
You should try and base your voice<br />
there. This avoids echoing in a 1/2 mask,<br />
and muffling in a 3/4 mask that hooks<br />
onto the upper lip. You will need to<br />
enunciate and speak louder.<br />
But you’re not divorcing yourself<br />
entirely from your face — you should<br />
use your mouth and chin as part of the<br />
character when wearing a 1/2 mask (as<br />
in commedia style masks). The lower lip<br />
and teeth become part of the expression<br />
you create in a 3/4 mask. Luckily,<br />
you don’t generally talk in a full mask.<br />
“Mask work is demanding technically,<br />
as the actor’s voice must not get<br />
lost in the mask,” says Myra Donnelley,<br />
an L.A.-based program coordinator for<br />
the Mentor Artists Playwrights Project,<br />
which independently produced the<br />
show Dangerous <strong>Stage</strong>s in Portland,<br />
Ore., using masks. “A different set of<br />
facial expressions (or contortions really)<br />
and physical body gestures are required<br />
to animate the emotions.”<br />
To help emphasize those facial<br />
contortions, spend some time in front<br />
of a mirror practicing large expressions<br />
— huge Os, frowns, exaggerated<br />
grins — and combine those<br />
with posture and texture to convey<br />
emotional states. Use black eyeliner<br />
to emphasize your eyes behind the<br />
mask, and match your lipstick to the<br />
color of the upper-lip in a 3/4 mask.<br />
Ravenwood also directs her students<br />
to keep their shoulders away from<br />
their ears, tuck in their chin and to not<br />
extend their neck. And before you go<br />
overboard with the physical contortions,<br />
she warns, “You need to be in<br />
character for a time, so be comfortable<br />
in the body you create.”<br />
5) Never “Show the Elastic”<br />
You’ve worked hard to create a character<br />
for the audience — don’t break<br />
it! Turning full profile or back to the<br />
28 January 2008 • www.stage-directions.com
A moment from Scapin, produced<br />
by the Radiant Theatre Company in<br />
Portland, Ore.<br />
Alyssa Ravenwood<br />
The actors at a Commedia boot camp workshop at<br />
Oakridge School, Oakridge, Texas.<br />
audience will allow them to see the<br />
elastic and break the illusion; turning<br />
more than one quarter away, the mask<br />
disappears entirely. Actors should stand<br />
angled toward each other, rather than<br />
in full profile, so that it appears they<br />
are looking at each other, but the audience<br />
can still see the front of the mask.<br />
And, of course, avoid touching your<br />
mask with your hands during the performance,<br />
since it emphasizes the difference<br />
between flesh and mask, also<br />
breaking the illusion.<br />
According to all mask enthusiasts<br />
interviewed, the benefits of having performed<br />
in mask are body awareness and<br />
body freedom. Training in effectively<br />
communicating emotion and action<br />
with the body gives actors another<br />
tool to use besides the voice and face.<br />
Getting behind masks becomes an<br />
added dimension in visual awe for your<br />
theatrical performances.<br />
ONLINE RESOURCES<br />
More tips and exercises from Alyssa<br />
Ravenwood can be found online at:<br />
www.stage-directions.com/tipsformasks<br />
Alyssa Ravenwood’s Web site:<br />
www.alyssaravenwood.com<br />
An online community of mask makers<br />
and enthusiasts can be found at:<br />
www.maskmakersweb.org<br />
Dell’Arte School in Blue Lake, Calif.:<br />
www.dellarte.com<br />
The Clown Conservatory in San Francisco:<br />
www.clownconservatory.org<br />
www.stage-directions.com • January 2008 29
Special Section: Costumes & Masks<br />
Quick-Change, Long-Lasting<br />
Designing outlandish costumes is one<br />
thing — keeping them show-worthy<br />
day after day is quite another.<br />
By Katja Andreiev<br />
A moment from Cirque du Soleil’s Zumanity<br />
Today, the variety of theatre experiences offers any<br />
number of intriguing mysteries, and chances are, the<br />
creators of each little mystery do so with the hopes<br />
of eliciting that coveted response: How did they do that?<br />
Costume mysteries, on the whole, tend to be subtle, raising<br />
questions like: “What happens if a costume that appears<br />
to be a single seamless piece of shiny rubber gets ripped?”<br />
or “How do those costumes that look like filthy rags get<br />
cleaned and worn night after night without falling to<br />
pieces?” However, that subtlety is part of the point. When<br />
it comes to costumes, the mystery lies in the details, and<br />
the details are what wardrobe technicians, craftspeople and<br />
designers attend to with care and artistry. That way the mystery<br />
never distracts from the presentation of the costumes<br />
themselves or, indeed, the performance as a whole.<br />
Where the Rubber Meets. . .<br />
Just as technology progresses in other aspects of theatre,<br />
new developments in fabric and fiber technology have<br />
predicated new techniques in costumes. Some of that very<br />
technology is showcased in Zumanity, the adult-themed<br />
Cirque du Soleil show playing at the New York New York<br />
Hotel and Casino in Las Vegas.<br />
“It’s sort of like patching a bike tire. There’s a special<br />
glue, like rubber cement,” explains Jack Ricks about the<br />
repair of a costume — specifically, one of several latex suits,<br />
some of them airbrushed with body parts for a trompe<br />
l’oiel effect. Ricks, a 15-year veteran of the alternative circus<br />
powerhouse, is the head of wardrobe for Zumanity, currently<br />
in its fifth year and billed as “the sensual side of Cirque<br />
du Soleil.” Zumanity’s costume designer, Thierry Mugler, a<br />
high fashion innovator of the ‘80s and ‘90s, has created a<br />
look inspired by haute couture and fetish wear, as well as his<br />
own unique take on iconic Las Vegas showgirls. Ricks, along<br />
with 20 wardrobe professionals, and a smaller wig and hair<br />
team under Roger Stricker, are wardens of 350 garments<br />
and over 100 theatrical hair pieces — an exotic milieu of<br />
tissue-foiled leather, feathers, spandex, Lycra, power mesh<br />
and, yes, latex.<br />
In the cleaning and repairs integral to the 10-show-aweek<br />
schedule, Ricks and his crew have had to get creative.<br />
Part of the initial challenge was getting guaranties — finding<br />
a dry cleaner to commit to a three-day turn around for<br />
leather was a particular challenge. The crew members use<br />
their own delicate cycle industrial washing machines for<br />
a few of the other pieces, but the majority of laundry for<br />
Zumanity is done daily, by hand. Even the jewelry, designed<br />
for Mugler by Robert Sorrell, is hand-washed with distilled<br />
water and steam to prevent rhinestone discoloration from<br />
perfume, lotion and makeup.<br />
“It’s sort of like patching a bike tire.”<br />
— Jack Ricks<br />
As for wear and tear, the Zumanity wardrobe crew studied<br />
fetish-wear to learn to prep and repair the various synthetic<br />
materials. The latex bodysuit interiors are powdered<br />
to prep them before each performance, and there is an<br />
elaborate patching process should they tear.<br />
Ultimately, although the costumes enhance the Zumanity<br />
experience, Ricks says, “The only way the show looks beautiful<br />
is through the efforts of the entire team.” There is a sense<br />
that the entire team puts in so much effort that the result<br />
appears effortless.<br />
Two Classes, Two Costumes<br />
David Zinn, costume designer for the new Broadwaybound<br />
musical A Tale of Two Cities, which just closed at the<br />
Asolo Repertory Theatre in Sarasota, Fla., is also inspired<br />
by avant-garde fashion; it was Belgian deconstructionist<br />
couture that informed his design for the distressed clothes<br />
of the French Revolutionary peasants. Given the pacing and<br />
scope of a musical, and to distinguish the impoverished<br />
30 January 2008 • www.stage-directions.com
Courtesy of Thierry Mugler<br />
French citizenry from the<br />
gentry on the necessary<br />
scale, the craftspeople at<br />
the Asolo shop brought<br />
a sense of asymmetry,<br />
messiness and disrepair<br />
to their construction<br />
and distressing of the<br />
garments. They went<br />
for a look Zinn jokingly<br />
describes as “deconstructed<br />
Commes des Garçons bought at the 18th-century<br />
Thierry Mugler’s sketch for the character of Antonio<br />
Salvation Army.” Costume pieces were built inside out,<br />
with seams and stitching or even the wrong side of the<br />
fabric exposed, and patterns and stripes were deliberately<br />
Antonio preens in his sexy duds.<br />
mismatched, setting costumes apart on a structural level.<br />
That way, even if later dye and painting were to fade, there<br />
would be an intrinsic visual cue conveying class in the social<br />
structure of the play world. Zinn lists Vivian Westwood, Jimi<br />
www.stage-directions.com • January 2008 31
Special Section: Costumes & Masks<br />
Courtesy of David Zinn<br />
Hendrix and the New Romantic fashion of the early 1980s<br />
as influences, but states that his goal is for the costumes to<br />
help humanize the characters and “feature the starving face<br />
of the actor.”<br />
When it comes to Broadway, where shows often have<br />
open-ended runs, costume professionals anticipate the<br />
extra stress of a long performance schedule. Costume<br />
houses construct all pieces, distressed and otherwise,<br />
to be as durable as possible. Certain pieces that have<br />
deceptively delicate silk or sheer exteriors may be completely<br />
backed, or flat-lined, with a sturdy muslin or<br />
synthetic. Other fabrics, linen in particular, are favored<br />
for distressed pieces because they tend to wrinkle very<br />
easily, making the garment look like it has been worn<br />
for some time even when it is freshly built or laundered.<br />
In this way, there is less need for an artificial “breaking<br />
down” of the fabric to convey a distressed look. By painting,<br />
dyeing and heat-setting multiple colors and textures<br />
into fabric in particular, artisans can convey a sense of<br />
extreme age or filth without adding a single hole or<br />
David Zinn’s costume sketch of Madame Defarge<br />
shredding a seam. In general, though the distress process<br />
creates the appearance of age, dirt, stains and even<br />
seemingly natural tears and holes, the techniques are<br />
available to do so without compromising durability.<br />
32 January 2008 • www.stage-directions.com
Carol Rosegg<br />
Distressed pieces generally<br />
look “better,” that is, worse,<br />
when left to wrinkle.<br />
The realized costume for Madame Defarge (Natalie Toro), with appropriate distressing<br />
Minimize the Holes<br />
Despite the finest construction, there is an enormous<br />
amount of stress on costumes in long-running shows,<br />
and the wardrobe crew is responsible for upkeep and<br />
replacement. Holly Nissen, a wardrobe<br />
union member working as a<br />
full-time swing on a Broadway show<br />
explains that, sometimes, when standard<br />
costumes wear out and need to<br />
be replaced, the old, worn-looking<br />
costume can be cycled into the distressed<br />
sections of the show.<br />
The wardrobe crew is also essential<br />
in alerting the costume designer<br />
and costume shops as to which<br />
pieces are wearing out too quickly.<br />
Nissen recalls a principal woman’s<br />
flowered dress originally made of<br />
embroidered silk that could not<br />
stand up to the stress of a musical<br />
number, warranting too much<br />
time on repairs. At the advice of the<br />
wardrobe crew, later versions of the<br />
dress were made in cotton that was<br />
custom printed with the exact same<br />
pattern as the original embroidery,<br />
saving time in repairs and money in<br />
replacement costume costs.<br />
In fact, when it comes to saving<br />
time, wardrobe crews catch a break<br />
when it comes to distressed costumes,<br />
because like some of the synthetic<br />
pieces in Zumanity, distressed<br />
pieces require less traditional maintenance,<br />
such as ironing and needle<br />
and thread mending. Distressed<br />
pieces generally look “better,” that is, worse, when left<br />
to wrinkle. Some are even deliberately twisted tightly<br />
after washing and tied into a knot to create a primitivepleat<br />
or crinkle effect. As to just how much repair sewing<br />
a distressed garment warrants, as Nissen puts it, “It’s<br />
when the holes start to run into each other.”<br />
Whether it means making sure filthy-looking rags<br />
stay clean, keeping the French peasantry looking like<br />
rock stars or putting the polish on the “human zoo,”<br />
the people responsible for designing, building and caring<br />
for costumes continually expand their repertoire<br />
of skills to create and maintain garments for today’s<br />
panoply of performance experiences. In doing so, they<br />
maintain the subtle mystery that keeps the audience<br />
questioning, but not too much.<br />
Katja Andreiev designs costumes and works for the Theatre<br />
Development Fund in New York City.<br />
www.stage-directions.com • January 2008 33
Special Section: Costumes & Masks<br />
Get Your<br />
Head Straight<br />
One designer walks you through how to<br />
make a mask with unconventional materials.<br />
Photos and text by Tan Huaixiang<br />
Alien mask design<br />
I<br />
discuss several mask-making methods and materials in<br />
my book Costume Craftwork on a Budget – Clothing, 3-D<br />
Makeup, Wigs, Millinery & Accessories, including masks<br />
made of Latex, Varaform, Wonderflex, buckram, papiermâché<br />
and fabrics and using positive and negative molds.<br />
The advantage of creating a mask over a wearer’s life-casting<br />
mold is that it will better fit the wearer’s face. Of course, this<br />
involves more steps and requires more time to complete;<br />
plus, using an existing face mold to make a mask also can<br />
result in a good general fit for most wearers.<br />
In this article, I will share my experiments on building<br />
masks over a Styrofoam head with Fosshape and foam. A<br />
Styrofoam head, used to support or display wigs or hats,<br />
can be used as a mold or foundation for making a full or<br />
half mask. It has the basic human face structure, it is cheap,<br />
every costume shop has one, and unlike plaster face molds,<br />
you can place pins in it. You can build up desired features<br />
with oil-based clay over a Styrofoam head and then make<br />
a mask with papier-mâché, buckram or fabric. Because the<br />
Styrofoam head is not accurate to the proportion of a human<br />
face, you may have to make little adjustments in order to get<br />
a better fit over a wearer’s face.<br />
Let’s start right in with an alien mask.<br />
What You’ll Need<br />
• Styrofoam head<br />
• Fosshape<br />
• Foam backer rod<br />
• Foam Armacell<br />
• Straight pins<br />
• Steamer or steamer iron<br />
• Scissors<br />
• Spray paints<br />
• Acrylic paints<br />
• Brushes and markers<br />
• Fabric-Tac glue<br />
• Needle and thread<br />
• Two empty clear water bottles<br />
(a) Backer Rod; (b) Armaflex; (c) Fosshape<br />
Backer Rod is a foam material that provides support for<br />
building sealants and comes in ½-inch, 5 /8-inch or ¾-inch<br />
thicknesses.<br />
Armaflex is pipe insulation used to retard heat gain and<br />
control condensation drip from chilled water and refrigeration<br />
systems.<br />
Fosshape is a unique nonwoven, soft, pliable, heatactivated<br />
fabric. It can be formed and shaped into fantastic<br />
permanent objects when exposed to steam heat or<br />
dry heat. It can be worked with a steam iron or costume<br />
steamer, with or without molds. The level of stiffness is<br />
achieved by adjusting heat, time and pressure. Fosshape<br />
is a replacement for buckram. It is lightweight, resilient,<br />
water-resistant, has superior strength and flexibility, and<br />
is easily painted and decorated with a variety of artisan<br />
coatings and paints. Fosshape comes in 300-lightweight<br />
and 600-heavyweight and can be sewn by hand or<br />
machine or cut with knife or scissors. It bonds to itself<br />
and can be glued or stapled together or to other materials<br />
such as paper, foam or fabrics to produce headpieces,<br />
masks, props, etc.<br />
Step One<br />
• Cut a piece of Fosshape material large enough for<br />
the mask. Temporarily pin the Fosshape over the Styrofoam<br />
head, mark the eye, nose and mouth positions and cut out.<br />
(Figure 1) Precutting the opening of the eyes and mouth<br />
will aid in fitting the Fosshape over the deep indentation<br />
areas of the mold/Styrofoam.<br />
34 January 2008 • www.stage-directions.com
Figure 1 — (a) Locate eye and mouth positions; (b) Cut out eye and<br />
mouth openings.<br />
Figure 2 — (a) Cut Fosshape from the bottom of the chin to nose;<br />
(b) Overlap the cut edges to fit over the mold.<br />
• Pin the Fosshape back to the<br />
head form. Start from the center of<br />
the face out; make a cut (clip) from<br />
the bottom of the chin to the bottom<br />
of the nose and overlap the cut<br />
edges to reduce unnecessary fullness<br />
and create a curved shape for the<br />
chin. (Figure 2)<br />
www.stage-directions.com • January 2008 35
Special Section: Costumes & Masks<br />
Figure 3 — (a) Pin the Fosshape in place; (b) Steam the Fosshape until it<br />
becomes a hard shell.<br />
• Make sure the material<br />
is anchored to any indentation<br />
areas such as the eye sockets,<br />
nostrils and mouth. Manipulate<br />
the Fosshape material around<br />
the Styrofoam mold and place as<br />
many straight pins as needed until<br />
all the wrinkles disappear around<br />
the mask area. (Pins are necessary<br />
for holding the Fosshape in places<br />
and keeping the Fosshape close<br />
to the mold because Fosshape<br />
can shrink during the steaming<br />
process.) I pin the Fosshape piece below the chin of the Styrofoam head to increase the<br />
size of the mask for a better fit (in general, the Styrofoam head face is smaller than an<br />
adult’s face). (Figure 3a)<br />
• Steam the Fosshape<br />
with a steamer, start from the<br />
top down or the center out.<br />
Fosshape is heat-activated<br />
fabric; it will form and shape<br />
to the mold underneath it and<br />
become shell-like. (Figure 3b)<br />
• Outline the mask. The<br />
demo here is a full alien<br />
mask; however, I outlined<br />
the shape of two more halfmasks<br />
on the Fosshape as<br />
samples to show that a mask<br />
Figure 4 — (a) Outline samples of half masks (# 1 and # 2) and full mask (# 3)<br />
created over a Styrofoam head can be a full or half mask. (Figure 4)<br />
Step Two<br />
• Follow the outline and cut out the mask.<br />
This is going to be the base of the alien mask.<br />
• Spray the Fosshape mask black with shoe<br />
spray or craft spray. (Figure 5a)<br />
• With scissors, cut the opening portion of<br />
two empty water bottles to create the alien’s<br />
eyes (about two inches from the bottle opening).<br />
Shape the bottom of each eye to fit over the eye<br />
socket areas on the mask base. (Figure 6)<br />
• Use permanent colored markers to draw<br />
some blood vessels on the inside of the bottle.<br />
Then paint a layer of opaque white on top of the<br />
drawing lines for the white of the eyes. Attach<br />
the eyes to the mask base by hand-sewing<br />
stitches. (Figure 5b)<br />
• Cut Armaflex/foam roll to a nose shape<br />
with scissors; three foam nose sections are used<br />
for this mask. Each nose section is glued on top of<br />
the other and staggered to create the alien nose.<br />
• Cut a few pieces (in different ring thicknesses)<br />
of the Armaflex/foam roll. These rings will<br />
be put over a piece of foam rod to create alien<br />
antennas. (Figure 7)<br />
• Attach the antennas to the mask base at the<br />
center top by hand-sewing stitches. (Figure 8a)<br />
• Glue a strip of foam along the edge of the<br />
base to frame the mask. Taper the two ends of<br />
the foam strip with scissors to get a smooth look<br />
at the joint. Overlap the ends at the root of the<br />
antennas. (Figures 8b and 8c)<br />
Figure 5 — (a) Fosshape mask base is sprayed in black; (b) Eyes are<br />
sewn on by hand.<br />
Figure 6 — (a) Two eyes are cut from empty drinking bottles, and<br />
one of the eyes has blood vessels drawn on it; (b) Both eyes are<br />
painted with liquid acrylic paint.<br />
36 January 2008 • www.stage-directions.com
Figure 7: (a) and (b) Foam pieces cut to create<br />
the alien look.<br />
• Cut a few pieces of foam backer<br />
rods to the necessary length to<br />
create eyebrows and antennas to<br />
achieve an “alien look.” Foam is my<br />
favorite material for creating craftwork;<br />
it is lightweight, has body<br />
volume and is relatively durable.<br />
(Figure 7)<br />
• Attach all the foam pieces<br />
to the mask base at desired locations<br />
with clear fabric tac glue.<br />
A few straight pins may be used<br />
for stabilizing the foam before it<br />
completely dries.<br />
• Highlight the mask with paint<br />
as necessary.<br />
Figure 8: (a) Antennas are sewn on by hand, and the mouth is glued to the base; (b) Shows a piece of<br />
foam strip glued along the edge of the mask and shows the tapered ends of the foam strip; (c) Two<br />
tapered ends of the foam strip overlapped and glued together; eyebrows are glued in place.<br />
You can go to www.stage-directions.com/alienmask for<br />
another mask how-to, where I walk you through the making<br />
of a mask based on the Star Trek “Borg” and used for<br />
the Technical Wizard character in the modern version of<br />
Alice Experiments in Wonderland — a cooperative university<br />
production project (University of Central Florida, Bradley<br />
University and University of Waterloo). In conclusion, always<br />
remember that you can make anything happen — unless<br />
you stop imagining.<br />
Tan Huaixiang is associate professor of costume design/<br />
makeup at the University of Central Florida.<br />
Figure 9 — Views of the completed alien mask.<br />
www.stage-directions.com • January 2008 37
Show Biz<br />
By Tim Cusack<br />
Butts in (Virtual) Seats<br />
Hi, my name is Tim, and I’m a theatre geek. Wow, it feels<br />
so exhilarating to state that in the very first sentence<br />
of my very first column for <strong>Stage</strong> <strong>Directions</strong>! In this<br />
column I will be focusing on the challenges facing fledgling<br />
theatre producers and hope to be able to uncover helpful<br />
tips, pass on best practices from established professionals<br />
and share some of my own experiences in the trenches of<br />
New York’s independent downtown theatre scene.<br />
As co-artistic director of Theatre Askew, I’ve had my share of<br />
whacky conundrums to solve, like what do you do when one of<br />
your actors disappears on what you suspect is a cocaine bender<br />
during the two days before the final dress rehearsal of your inaugural<br />
production, which will be attended by a journalist who will<br />
be writing the first magazine profile ever of your company.<br />
This month, though, we’re talking about something far<br />
more glamorous than illicit drugs: online ticketing services.<br />
To get the scoop on what’s hot for hooking up your potential<br />
audience with your theatrical product, I turned to my good friend<br />
and colleague John Issendorf. (Full disclosure: John is the managing<br />
director of Askew, but in his day job, he’s a senior account<br />
executive for Theater Mania’s online ticketing service, Ovation<br />
Tix.) I asked John what he would identify as the major trends in<br />
ticketing over the past five years, and what the future holds for<br />
this aspect of the business. Not surprisingly, theatrical ticket sales<br />
on the Internet have exploded since the turn of the millennium.<br />
Data from The League of American Theatres and Producers offers<br />
support for this. According to its 2007 report on audience demographics,<br />
online ticket sales for Broadway shows have increased<br />
nearly four-fold since 1999, making this, for the second year in a<br />
row, the preferred method for purchasing tickets.<br />
But behind this megatrend lies another factor. Since 9/11,<br />
there has been reluctance on the part of audiences to purchase<br />
tickets in advance. Data from The League shows that<br />
more than a quarter of tickets sold for Broadway shows were<br />
purchased on the day of the performance. I’ve found this to<br />
be equally true at the other end of the economic theatrical<br />
spectrum: The majority of tickets to an Askew show are sold<br />
the day of the performance. “Theatres need to become more<br />
flexible and recognize that our sales are now being driven by<br />
an Internet culture that’s all about impulse buying,” John says.<br />
An online ticketing presence can help meet these changing<br />
needs. Two other major players in the online market are<br />
SmartTix and TicketWeb, which is affiliated with Ticketmaster.<br />
For the small producer, Ovation and SmartTix are, in my opinion,<br />
the better choices, and both offer similar features. Both services<br />
are free to set up, and both provide you with an account<br />
rep who will help you customize your ticketing interface. They<br />
make their money by charging a fee for every ticket sold.<br />
At SmartTix, it’s $1.50 minimum to a $5.00 maximum, based<br />
on the cost of the ticket. Ovation’s fee structure is similar. Both<br />
services allow you to choose how much of that cost you want to<br />
pass on to the customer. Both offer you the option to go into the<br />
system and change how many comp tickets you are holding on<br />
the day of the performance. Ovation’s Premium service gives the<br />
option of either providing a seating chart, so patrons can choose<br />
their own seats, or letting the system automatically decide, shifting<br />
seating as necessary to accommodate audience needs.<br />
Both services generate reports that “slice and dice” patron<br />
information in a variety of ways. You get detailed lists of audience<br />
names, addresses and e-mails, which prove invaluable<br />
come fundraising time and allow you to build your audience<br />
for future productions. They also provide phone operators<br />
who will take ticket orders for patrons who don’t have computers<br />
or don’t want to give out credit card information online.<br />
One feature of Ovation that we at Askew have found particularly<br />
valuable is the option it gives patrons to make a donation<br />
along with their ticket purchase. Through this service, we not<br />
only gain a little extra money, but also essential data about<br />
which specific projects are motivating patron support.<br />
You may consider setting up a PayPal account as an easy,<br />
cheap option for selling tickets, but if you are committed to<br />
growing your theatre as an institution, I wouldn’t recommend<br />
this. The customer (and potential donor!) experience begins at<br />
the point of purchase. You want an online ticketing service that<br />
helps you create the impression of institutional seriousness.<br />
Tim Cusack is the co-artistic director of Theatre Askew in New York<br />
City and can be reached at tc@stage-directions.com.<br />
38 January 2008 • www.stage-directions.com
TD Talk<br />
By Dave McGinnis<br />
Elves Unseen<br />
Without hands to do the work, all the brains in the world accomplish nothing.<br />
Every day in tech world subjects a TD to the requests,<br />
demands and implications of everyone from the lone<br />
spectator who thinks the air conditioning is set too cold<br />
to the donor who swears up and down that they should have a<br />
special seat set aside for them whether they show up or not.<br />
The adage holds true — $*@&+ rolls downhill. Our gear<br />
breaks down when it’s most necessary, and every structural<br />
issue, from leaks to fires, creeps into our house at the most<br />
inopportune moments. So why do we do it? Why don’t we<br />
take the easy way out and — I don’t know — take on new<br />
careers as forest rangers in the Rockies? I don’t know about<br />
you, but in those moments when the aspirin runs out and the<br />
director asks for a new 18-foot-high weight-bearing platform<br />
with two days to go, I find my sanity in my crew.<br />
Yes, you heard correctly. Those very folk whom I constantly<br />
find myself badgering to “get it done yesterday” and<br />
to “remember that nothing gets done on break” keep me<br />
sane when all else crumbles. No, it’s not always peace and<br />
harmony and, yes, my vocal chords do still receive their occasional<br />
workout, but I take great pride in my service to them.<br />
When the chips are down, their hands are doing the work,<br />
and they’re the ones keeping the saw blades turning.<br />
This month, I would like to give credit where credit is due.<br />
For the show that we just closed, I had crew in house on<br />
weekends, weekdays and weeknights. Whether I came in or<br />
not, the work kept getting done. And guess what. It didn’t<br />
happen all because of me, and it didn’t happen at the hands<br />
of gnomes who crawled out in the night to magically get sets<br />
built and lighting set. It happened because my crew put in<br />
the hours and effort.<br />
I have to admit that I appreciated it when my colleagues<br />
and superiors took the time to let me know how great a job<br />
they thought I did. It always feels great to receive that validation,<br />
but I also take the time to remind them that I did very<br />
little — we did everything.<br />
Every month — if you’re the diehard <strong>Stage</strong> <strong>Directions</strong><br />
reader you should be — you hear me ranting about my rabid<br />
belief in my crew and the work they do with their own hands.<br />
Hopefully for you, you’ve seen the reasons in action in your<br />
own house. If, however, you don’t work in tech, and you’re<br />
flipping back here more out of curiosity than necessity, then<br />
let me share with you where the statement, “I won’t ask my<br />
crew to do that!” comes from.<br />
For this last show, the build itself took very little time. I<br />
actually overestimated my man-hours — always a nice surprise<br />
— but a new design element got introduced a third of<br />
the way into rehearsals that involved tea staining hundreds,<br />
maybe thousands, of sheets of paper with which to paper the<br />
walls. This process takes a lot of time, especially considering<br />
that my shop already has limited space and virtually none for<br />
this kind of work.<br />
One of my crew — Cassie — took it upon herself to get<br />
this done. I never asked her, and she never asked me. She<br />
just did it. Many nights I left to the sounds of Cassie in the<br />
back dipping typed-out sheets of white paper into a sink full<br />
of the stoutest tea she could muster. Every night ended with<br />
the same conversation, too.<br />
“You sure you don’t need a hand?”<br />
“No, I got it. Don’t worry. I’ll get the lights on my way out.”<br />
After every version of this conversation, I would make my<br />
way to the parking lot with the knowledge that everything<br />
would be all right. I could have been worried that she might<br />
forget to lock the door. I could have panicked and thought<br />
that she might not stain enough. I could have done a lot of<br />
things, but I didn’t need to. Every day I came back, and every<br />
day, those stacks were right where they needed to be.<br />
And she never asked, and I never said.<br />
That’s why I don’t ask my crew to do what I myself would<br />
not — because they’re willing. It may sound backward, but<br />
my crew goes to the mat for me every time that I ask. I have<br />
the hardest working crew on earth.<br />
But that’s the beauty of it — we all do, and they deserve to<br />
have somebody speaking on their behalf.<br />
Dave McGinnis is an assistant professor of theatre at St. Leo<br />
University. Let him know who you want to thank at dmcginnis@<br />
stage-directions.com.<br />
www.stage-directions.com • January 2008 39
Off the Shelf<br />
By Stephen Peithman<br />
Instructions Included<br />
How to turn a design into a drawing, ask for money, play games — and more.<br />
Successful theatre depends on acting, directing, designing<br />
and financial skills. This month’s books include recently<br />
published how-to books that cover a wide range of theatrical<br />
expertise.<br />
A theatrical designer’s ideas cannot stay locked in his or her<br />
head. At some point, it becomes necessary to communicate<br />
your visual idea effectively to others — and the best way to do<br />
that is almost always in a drawing. In Drawing & Rendering for<br />
Theatre: A Practical Course for Scenic, Costume, and Lighting<br />
Designers, Clare P. Rowe begins with the fundamentals of drawing,<br />
moves on to the various types of media and finishes with<br />
specific exercises in each section. Her approach is unusual in that<br />
she covers all areas of theatrical design, which serves to underscore<br />
how interrelated these areas really are (and how designers<br />
often end up working in more than one). Rowe explains: how to<br />
draw in one-, two-, and three-point perspective; the uses (and<br />
abuses) of color; drawing with media or digitally; and how to use<br />
these drawings to clarify and communicate your design. This<br />
handsome, full-color book includes student drawings that the<br />
author analyzes and critiques, plus renderings by professional<br />
theatrical designers. The result could serve as a textbook for<br />
design students or as self-help for working scenic, lighting and<br />
costume designers who want to improve their rendering skills.<br />
[ISBN 978-0-240-80554-2, $49.95, Focal Press]<br />
It’s enticing to think that theatrical-quality costumes, wigs<br />
and makeup can be made out of cheap materials, but the results<br />
are often less than terrific. However, author Tan Huaixiang<br />
makes a strong case for success in her new book, Costume<br />
Craftwork on a Budget: Clothing, 3-D Makeup, Wigs, Millinery<br />
& Accessories. With creativity and a solid understanding of<br />
available materials, she explains, a costume designer can create<br />
results that are practical, good-looking and durable. Writing<br />
in an easy-to-follow style — and illustrating each step with<br />
drawings and color photographs — the author shows how<br />
she has created three-dimensional makeup (including fangs)<br />
for Dracula, made a nose for Cyrano de Bergerac, built rubber<br />
masks for Once on This Island, designed the “Chrysler Building”<br />
headdress for Lend Me a Tenor, used household items to create<br />
war helmets and armor for Pippin, and many more intriguing<br />
examples. We liked it so much that we invited her to walk our<br />
readers through a process of creating a mask, which you can<br />
read in this issue on page 34. The rest of her book is filled with<br />
similar clarity and guidance. [ISBN 978-0-240-80853-6, $39.95,<br />
Focal Press]<br />
Most theatre companies need funding to enhance and<br />
expand their offerings. So, what are the secrets of prying open<br />
the pocketbooks of prospective donors? According to Barry J.<br />
McLeish’s Yours, Mine & Ours: Creating a Compelling Donor<br />
Experience, the secret is not having to pry anything open<br />
at all. It’s all about creating an environment in which donors<br />
want to give. McLeish explores donor expectations and goes<br />
beyond conventional concepts of branding and marketing. In<br />
today’s world, he emphasizes, fundraising success means being<br />
focused more on the donor’s concerns and needs than on your<br />
own. The effort must switch from “here’s what we need,” to<br />
“here’s what you need, and here’s how you’ll get it by giving<br />
to us.” That is a fundamental shift for most nonprofits, entailing<br />
a great deal of thought and planning — a game plan — that<br />
McLeish outlines carefully and concisely in this helpful how-to<br />
book. [ISBN 978-0-470-12640-0, $39.95, Jossey-Bass]<br />
And speaking of game plans, actors and acting teachers<br />
should find two new books of particular interest. Drama Games<br />
& Improvs: Games for the classroom and beyond, by Justine<br />
Jones and Mary Ann Kelley, is a semester-long curriculum guide<br />
for teaching basic dramatic skills using improv games that can<br />
be adapted to any age group. [ISBN 978-1-56608-147-4, $22.95,<br />
Meriwether Publishing]<br />
Acting Games for Individual Performers, by Gavin Levy,<br />
is targeted at college students, community theatre or professional<br />
performers who prefer to work on their own. Levy offers<br />
110 “self-discovery” acting exercises on such topics as imagination,<br />
observation, concentration, nonverbal communication,<br />
voice, body awareness, acting and reacting, understanding<br />
your objective, characterization, improvisation, props, retention<br />
and understanding, research, auditions and casting, and<br />
performance. [ISBN 978-1-56608-146-7, $17.95, Meriwether<br />
Publishing]<br />
While there are many books on how to become an actor,<br />
there are few that provide guidance for those who want to<br />
work behind the scenes. Mike Lawler’s Careers in Technical<br />
Theater helps fill that need. The book looks at theatre in<br />
the broadest sense — Broadway and regional theatre, ballet<br />
companies and vacation/resort productions onboard<br />
ship or in Las Vegas. Lawler provides specifics for careers<br />
as stage manager, lighting designer, electrician, stagehand,<br />
projection designer, scenic carpenter, production manager,<br />
prop artisan and many, many others. Information provided<br />
includes job duties, estimated earnings and recommended<br />
training institutions, plus examples of career trajectories,<br />
internships and apprenticeships, as well as a helpful list<br />
of Web resources. Throughout, Lawler makes it clear that<br />
work is more than about just making a living — that there<br />
are creative rewards and fun in technical theatre. [ISBN<br />
978-1-58115-485-6, $19.95, Allworth Press]<br />
40 January 2008 • www.stage-directions.com
The Play’s the Thing<br />
By Stephen Peithman<br />
Getting Serious<br />
Plays that look at the dark side of life<br />
There are no lighthearted comedies in this month’s roundup<br />
of newly published plays. Each one takes a serious look at<br />
life, love or politics — with results that vary from the dramatic<br />
to the darkly disturbing.<br />
An account of revolutionary Che Guevara’s imprisonment in<br />
Bolivia in late 1967, Jose Rivera’s School of the Americas is part<br />
fiction, part truth. Guevara was indeed visited in prison by an<br />
idealistic young schoolteacher only days before his death, but<br />
what went on between them is unknown. In Rivera’s play, the<br />
revolutionary trusts the teacher enough to share something<br />
about his life and philosophy in more personal terms than he did<br />
in public. The circumstances are intriguing, and the sheer theatricality<br />
of the playwright’s concept is riveting. The challenge for<br />
the director and actors is to get past the political and historical<br />
underpinnings and work on more specific development of<br />
character and motivation. Still, if handled right, School of the<br />
Americas has much to intrigue an audience. Four males, two<br />
females. [Broadway Play Publishing, ISBN 978-0-88145-336-6]<br />
Samuel French has reissued David Steen’s A Gift of Heaven,<br />
reminding us of how well-crafted a stage piece this is, even<br />
though more people are familiar with the 1994 film version.<br />
Set in a poverty-stricken shack in the hills of North Carolina,<br />
the story follows the Samuals family’s struggle to make it<br />
through their difficult daily existence. Ma Samuals is a hard<br />
woman whose pain-filled childhood has led to a twisted view<br />
of love and religion. Her son, Charlie, is a simple man with<br />
innate wisdom who yearns to break away and leave the hills.<br />
Her daughter, Messy, constantly strives to win the affections of<br />
her distant mother. Anna, the shy and innocent visiting cousin,<br />
has left her own troubled past in hopes of finding a new life<br />
filled with love and happiness. Her arrival sparks the emotional<br />
fires still smoldering from the family’s dark past, leading to the<br />
haunting final scene that sticks in the memory. Three females,<br />
one male. [Samuel French, ISBN 978-0-573-63281-5]<br />
Sometimes a play is at its most powerful after the final curtain.<br />
David Harrower’s Blackbird is a good example. It moves<br />
slowly as it builds to its provocative final scenes, and then the<br />
heated discussion begins as the audience moves to the lobby.<br />
Fifteen years before the play begins, when Una was 12, she<br />
had a sexual relationship with a 40-year-old neighbor named<br />
Ray. He was sent to prison for six years, changed his name<br />
and moved to another city. Now Una has found his picture in<br />
a trade magazine and traces him to his workplace. However,<br />
Harrower’s play does not take a simplistic view of an evil adult<br />
abuser and an innocent, victimized child. As the two talk, the<br />
anger and hurt stored up for 15 years leads to a troubling revelation<br />
and a series of unanswered questions. Is Ray remorseful<br />
or a very clever criminal? Is Una mentally unstable — and if so,<br />
how did she get that way? Is it possible that a 12-year-old girl<br />
and a 40-year-old man could fall in love — and the adult not<br />
being guilty of abuse of power? Let the lobby debates begin.<br />
[Faber & Faber, ISBN 978-0-571-23319-9]<br />
Henrik Ibsen’s An Enemy of the People was written in 1882<br />
in response to the public outcry against his play Ghosts, which<br />
had challenged the hypocrisy of Victorian morality with its veiled<br />
references to syphilis. The protagonist of Enemy is a communityminded<br />
physician who has promoted the development of public<br />
spas in order to attract tourists to his town. When he discovers<br />
that the water supply for the baths is contaminated, he attempts<br />
to publicize the problem and correct it. As a result, he and his<br />
family are all but driven from the community he was trying to<br />
help. Nicholas Rudall, who has brought a fresh perspective to<br />
his translations of the classic Greek playwrights, here turns his<br />
talents to one of Ibsen’s most darkly provocative plays. [Ivan R.<br />
Dee, ISBN 978-1-56663-727-4, $9.95,]<br />
Spring Awakening was the first play by German playwright<br />
Frank Wedekind, published in 1891. Centered on the budding<br />
sexual maturity of young people in the repressed society of<br />
the time, the play has seen new interest thanks to the Tony<br />
Award-winning musical version. It’s interesting to compare the<br />
musical to the original — and it’s now easy to do so, since the<br />
scripts for both are available in paperback. In his well-written<br />
preface to the musical’s libretto, bookwriter Steven Sater notes<br />
that the play has been “fundamentally altered,” creating “journeys<br />
for our three lead characters which do not exist in the<br />
original.” He then proceeds to explain those differences to help<br />
us understand the ways in which a musical must rework its<br />
source material. Turning from this to Jonathan Franzen’s excellent<br />
translation of the original play is instructive as well. The<br />
musical is published by Theatre Communications Group [ISBN<br />
978-1-55936-315-0]; the Franzen translation of the original by<br />
Faber and Faber [ISBN 978-0-86547-978-4].<br />
www.stage-directions.com • January 2008 41
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42 January 2008 • www.stage-directions.com
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www.stage-directions.com • January 2008 43
Answer Box<br />
By Thomas H. Freeman<br />
On<br />
a<br />
Wing<br />
and a<br />
Router<br />
Model Spitfires take flight,<br />
crash and burn onstage.<br />
The Spitfires onstage in The Fortunes of King Croesus<br />
Opera North, in Leeds, England, had something special in<br />
mind for its production of Richard Keiser’s The Fortunes<br />
of King Croesus — eight Spitfire airplanes. Scale models<br />
with a wingspan of 25.6 inches (650 mm), each of the Spitfires<br />
also needed to accommodate a small function and be constructed<br />
from a robust material that could be reengineered<br />
to add future functions. They also needed to be mounted on<br />
poles, allowing them to be “flown” on stage by performers.<br />
Additionally, three needed mini smoke machines to be mounted<br />
in their engine compartments, two needed to have snapping<br />
wings and one a breaking tail. Two also had to catch fire during<br />
the battle. And, oh yeah, the designer wanted them in gold.<br />
The bodies of the planes, carved from a block of epoxy<br />
To fill all these needs, Opera North’s prop buyer Mandy<br />
Barnett initially approached Phil Martin of Bath-based<br />
Theatrical Props. When Martin was confirmed for the project,<br />
production Set and Costume Designer Leslie Travers<br />
sent him a model Spitfire for a starting reference.<br />
After looking at all the requirements, Martin contacted<br />
Fineline, a lighting and set/prop construction company, to take<br />
advantage of the production possibilities of the company’s<br />
five-axis router. Darren Wring managed the project at Fineline,<br />
and Wring and Martin looked at various options on the materials<br />
front before deciding on a 0.77 density solid epoxy resin<br />
board. The basic elements<br />
of the planes were rough<br />
cut and shaped from epoxy<br />
model board by the CNC<br />
router. To cut the exact, correct<br />
Spitfire shapes, Fineline<br />
obtained the 3-D files from<br />
the Turbosquid Web site.<br />
The planes were produced<br />
in seven sections The finished Spitfires in the shop<br />
over three days on the router<br />
using a 6 mm and a 12 mm<br />
bull-nosed cutter. It was a difficult task for the router as the<br />
wings were so thin. The propellers also needed to be<br />
durable, so Martin brought model plane ones and filed<br />
them into the correct Spitfire shape.<br />
To have the planes catch fire, Martin custom-designed and<br />
built flame paste holders and then installed them in the engine<br />
cavities of the planes, complete with a safety cutout that automatically<br />
extinguishes the flames once the planes are placed<br />
onstage. To get the gold sheen, the planes were finished in a<br />
high-gloss gold, applied through vacuum metalization.<br />
The planes take center stage toward the end of the first<br />
act of the opera, during the battle between King Cyrus of<br />
Persia and the Lydians, of whom Croesus is king.<br />
Answer Box Needs You!<br />
Every production has its challenges. We’d like to hear<br />
how you solved them! Send your Answer Box story and<br />
pics to answerbox@stage-directions.com.<br />
44 January 2008 • www.stage-directions.com