Child Wrangler Felicia Velasco is the guardian for a show's young cast members while they're at the theatre for performances and rehearsals. As a combined authority figure and assistant, she ensures the child actors are prepared, are kept safe, and helps to manage their downtime. Seen here working with the girls at "The People in the Picture", she compares it to previous wrangling assignments, and finds the upsides to a career as a child wrangler.
Associate Lighting Designer Caroline Chao takes care of all the details for a lighting designer, including handling the production schedule, helping to draft the lighting plot, and keeping track of notes, follow spots, and the cue list. She takes us through her role in the production process, and points out the advantages of being a lighting associate and assistant. Chao has worked on multiple shows at once with lighting designer Don Holder, and is seen here teching "Spider-Man: Turn Off The Dar...
Theatrical Sculptor Nino Novellino specializes in creating sculpture and costume armor for theatre, ballet, opera, and film. Costume armor was first developed for the original production of "Man of La Mancha". Novellino talks about his work on the set of "Cats", "Sunset Boulevard", and the Green Goblin costume in "Spider-Man: Turn Off The Dark". From the sculpting shop, he explains the different processes used to recreate items in plastic for use onstage.
Special Effects Designer Gregory Meeh uses a vast array of technologies to build illusions for live stage productions. He has created pyrotechnic explosions and atmospheric effects such as rain, fire, and fog for "Spamalot", "Women on the Verge", and "110 in the Shade" on Broadway. A special effect event like "The Phantom of the Opera" chandelier is comprised of many elements. Seen here are "Treasure Island"'s simple yet creative effects, as well as Meeh's expertise with firearms ("Les Miserable...
Director of Community Engagement Anita Maynard-Losh leads all education and outreach programs at Arena Stage in Washington D.C. Her extensive background in arts education began with acting, directing, then teaching at American Conservatory Theater in San Francisco, and throughout Alaska. As director, her job is not only administrative and hands-on education, it's an important part of Arena's artistic strategy and mission to enrich their community through theatre. Voices of Now and the DC Ticket ...
Costume Shop Manager Carol Hammond works closely with the costume designer, and deals with all of the logistics of costuming. She oversees costumes being shopped and built, fittings, budgeting, and hiring and managing an extensive staff. At Atlanta's Alliance Theatre, Hammond and her core staff work on multiple shows at once during their annual season of ten productions. Hammond gives a tour of the Alliance Theatre's costume shop, craftshop, wardrobe, wig area, and storage.
Technical Director Mike Cristaldi supervises the installation and engineering of the physical production of a show. At Philadelphia Theatre Company, he coordinates all the technical elements, such as scenery, lighting, sound, wardrobe, props, and video, between each of PTC's departments and a show's designers. He talks about how the new Suzanne Roberts Theatre space increases PTC's technical capabilities, and how it has broadened his role as well.
Theatrical Milliner Lynne Mackey makes customized hats for stage productions. Theatrical hats are created for a specific show, character, and costume design, fitted for each individual actor including their wig and microphone pack. Mackey must make adjustments for the needs of the sound designer, lighting designer, and choreographer to not impede their work. Seen here are dozens of hats, including large handmade ones from Mackey's favorite show "The Color Purple".
Prop Manager Desiree Maurer scouts for props, as one of her many responsibilities in furnishing and filling a play's set. At Playwrights Horizons, Maurer manages the timeline prior to rehearsals, working with a show's designers, formulating a budget, shopping for props, ordering materials, reupholstering furniture and repurposing items.
Ticket Sales Manager Cinda Barbuto oversees all aspects of ticketing including the box office, group sales, and telemarketing. She worked her way up from the box office at Goodspeed Musicals where she now programs the computerized ticketing system which handles individual tickets as well as 14,000 subscriptions. Barbuto cultivates audiences of repeat visitors by personally greeting patrons, which assists Goodspeed in being a destination theatre in New England.
Cast Album Producer Kurt Deutsch, co-founder of Sh-K-Boom Records, preserves musical theatre history by overseeing entire production of cast recordings, including hiring the engineer, directing the cast in day-long studio sessions, and giving the composer the final word. Each recording has a unique vibe, as seen here in the fusion of music styles for "In The Heights". Deutsch also describes how he captured the live, organic feel of "Hair" and the sense of community amongst the cast tribe.
Sound Engineer Carin Ford ensures the sound design of a production is transparent to audiences while effecting the mood and feel of a show. Ford traces her career from her early interest in music, to meeting and working with Lily Tomlin, to numerous Broadway productions. Ford explains how mixing a new show requires observing rehearsals before adjustments can be made during run-throughs, incorporating notes from the director, designers, and music team. Ford walks us through her daily routine at "...
Model Builder Steven Kemp explains how a model is the main communication tool in visualizing and building a show's set. Kemp works with scenic designer David Gallo in turning his design sketches into perfectly scaled models. Kemp highlights the advantages of a physical three-dimensional model as well as a digital model easily viewed by computer.
Production Manager Ruth Sternberg is the primary facilitator in executing a stage production within its given financial parameters. She discusses with the director and designers what they want to achieve and provides staffing and resources for each play. After 10 years at Trinity Rep with Oskar Eustis, they both moved to the Public Theater where they work on 6 stages, "Shakespeare in the Park" at the Delacorte Theater, and off-site productions such as "Passing Strange", "Hair", "Bloody Bloody An...
Musical Director Carmel Dean is responsible for many different aspects in a musical production, from collaborating with the director to overseeing music rehearsals and conducting performances. Dean traces her theater career from performing in high school musicals in Australia with Heath Ledger, to attending NYU where she met adjunct faculty/composer William Finn, and went on to work with him on "Elegies" and "The 25th Annual Putnam County Spelling Bee". For "American Idiot", she's worked closely...
Theatrical Shoe Designer Phil LaDuca worked as a Broadway dancer, choreographer and dance teacher before creating LaDuca dance shoes. He has created character shoes with the needed flexibility to be danceable, as well as the support and security for singers and actors. He works with costume designers, and handles the process from sketches through manufacturing in Italy to the finished products that end up on Broadway, national tours, and films. LaDuca shows how customized shoes are created for a...
Theatrical Wig Maker Paul Huntley explains the multitude of advantages of using wigs on stage; how he started his career in theatre; his preference for a natural look; working on the long-running musical "Cats"; and his ability to be a prolific designer. Huntley demonstrates tying hair to create a new wig; and shows how a wig helps transform an actor into character.
Dramaturg Anne Cattaneo explains her primary responsibilities, and likens her job to an acquisitions editor in a publishing house. Cattaneo has developed an extensive knowledge of languages, culture, and theatre history. In-depth research is often required for productions with complex timelines such as "The Coast of Utopia" trilogy. The current production of "The Grand Manner" seen here utilized historical documents found at the New York Public Library for the Performing Arts.
Orchestrator Christopher Jahnke shares how he creates the way a show musically feels by breaking it down into individual instrumental parts; learned from his mentor William Brohn, orchestrator of "Miss Saigon" and "Wicked"; studied '50s music to give the "Grease" revival an authentic sound; and works closely with composer David Bryan on "Memphis" as music producer and supervisor at daily rehearsals and in the recording studio for the cast recording.
Fight director Rick Sordelet creates the action in "Superior Donuts" that is an integral part of the storytelling; demonstrates the visual and audible illusions of onstage fighting; breaks down the sword fighting staging in "The Royal Family"; and explains the purpose of a fight-call and the importance of safety.
Theatrical dialect coach Stephen Gabis talks about his craft and how he started by listening to his Irish-Lithuanian family and early television; why he describes "The 39 Steps" as "an aerobic dialect event"; Gabis works with actor Eric Hissom on multiple characters; and how a knowledge of phonetics provides a basis for individual styles of speech.
Greg Graham, Dance Captain of "Billy Elliot", talks about the ongoing task of maintaining the choreography of the show; how one becomes a dance captain; the mix of civilian movement and tradition dance styles in this production. He is seen here teaching a tricky tap routine to new cast member David Hibbard.
Make Up Designer Angelina Avallone outlines her design process; the research that goes into a design; how desinging the "no-make up" look can be much more of a challenge than chaacter make up - we see some of her designs from "Rock of Ages", "Little Mermaid" and "How the Grinch Stole Christmas", as well as her work with actors Constantine Maroulis and James Carpinello from "Rock of Ages" and Rogelio Douglas, Jr. from "Little Mermaid".
Lighting Supervisor Dan Montano facilitates the lighting designs created for productions at Two River Theater Company. Previously an actor, Montano took a 10-day job as a carpenter, then stayed to learn as much as possible about the equipment. He works with many of the same designers, executing lighting plots, and working long hours during the tech process. He takes pride in being constantly challenged by this job and successfully problem solving with creative ideas.
Scenic Charge Artist Jason Edwards paints walls, backdrops, and props to create the visual surface details of a show's set. At the Woolly Mammoth Theatre Company, Edwards works with each production's scenic designer and interprets their vision, using paint and a variety of materials. Each project brings unique challenges which he solves with a simple trial-and-error approach by creating samples. Here Edwards shows how he created a cinderblock surface.
Puppet Designer Emily DeCola of The Puppet Kitchen has been designing and building puppets in New York for 7 years. She explains the wide scope of creating characters, sculpting puppets from a variety of materials, and both the possibilities and limitations in performing using puppets. She shares how her puppeteering career began and has led to partnering with Michael Schupbach and Eric Wright at their own puppetry studio. DeCola shows how the puppets were developed and designed for "John Tartag...
Voice Teacher Linda Benanti shows performers how to develop their voice to make their singing sound easy and natural. Singing requires both athletic and mental abilities, along with dedication and hard work. Benanti walks us through the parts of a voice lesson; recounts being asked to work with notable performers; traces her performing career that led to teaching; and shares what it's like teaching her daughter, Tony Award winner Laura Benanti.
Tony Award winning Sound Designer Robert Kaplowitz is responsible for the sound system and sound content of a production. In a play, that content includes both music and sound effects. His primary skills are listening and the ability to understand a play and help an audience connect to the text. Kaplowitz demonstrates creating sound effects and score. In a musical such as "Fela!", he brings the existing music to the audience to create an immersive aural environment. Kaplowitz shares how he began...
Casting Director Tara Rubin talks about the casting process, working with the director and creative team; her career beginnings at Johnson & Liff casting the original company of "Les Miserables", and seen here holding auditions for its 25th anniversary tour; the excitement of casting a variety of shows; and how the biggest challenge is replacing celebrities.
Scenic designer Riccardo Hernandez creates sets built from the text of a production, creating an honest space for actors and ideas to work within. Hernandez knew he wanted a career designing opera sets by age 10, went on to study at Yale with Ming Cho Lee, and later broadened his work to theatre. At Yale Repertory Theatre, he displays the simple yet aggressive set of "Battle of Black and Dogs" that reflects a cold inhuman world. Also shown is the seemingly collapsing set for the Atlantic Theater...
