(From: The DART Shaw Intern Blog, May 9, 2019 | By: Mae Smith)
This week, I’m in the prop shop almost every day for at least a couple hours. I’m back to pumping out high volume items which is satisfying once you start filling up boxes and boxes. No one in the shop passes up an opportunity to make a joke about taking all the fake money and running away.
On Tuesday, my lack of skill in sewing becomes painfully obvious as I’m tasked with hemming napkins for Getting Married. I can’t keep the hem even or straight – it’s just a mess. I’m quite embarrassed to say the least as I’ve thrown a bit of a wrench in the productivity. Later, I confide in Kimberley Rampersad, Intern Artistic Director at the Shaw, about how I feel and she’s able to help me see it as not a wholly negative thing. See, my experience working with props previously has been mostly painting, hot gluing, and carving styrofoam. I hadn’t considered sewing at all part of that because I hadn’t been exposed to it in this context. Now, at least I know it’s something that I need to work on for props building and not something I can just forever put to the side. In the mean time, I’ll return to making stacks of fake money.
When I’m not in the prop shop, I’m all around the main building.
I pop into the design studio a couple times to go through the lighting design bibles from previous seasons. Scanning through the paper work is a little overwhelming at first. I have a very basic familiarity with Vectorworks and Lightwright so there’s a lot of documents that I’ve never seen or heard of. It takes me a good 15 minutes of staring at the paper to figure out what’s going on in the focus charts because there are so many lines overlapping. Luckily, Mikael Kangas is around to answer my questions and explain how the paperwork useful in the grand scheme and in specific situations.
I have my first visit to the Jackie Maxwell Studio Theatre of my internship to observe the SPASM for The Glass Menagerie. SPASM stands for “Set & Props with Assistant Stage Manager.” This is where the crew of the theatre meet with the assistant stage manager to see where all set pieces, props, and dressing need to go on the set. Stage manager Kate Hennigar shares a copy of the paperwork detailing where everything is set with me so that I can follow along with Joe and Jeff (the change-over crew for the studio theatre). I help them move furniture from the rehearsal hall, upstairs to the theatre and unload it on stage.
As we work, everyone shares a bit of their insight with me and happily explains the process. I’m glad to be engaged and helpful in the process but I’m careful to step back to make sure I’m not doing the work Joe and Jeff need to do so that they know their tracks for setting the show.
I also attend the tech rehearsal and invited dress rehearsals for Brigadoon. I find that every time I see the show, I love it more and more. The show is so much about love, as director Glynis Leyshon makes clear in her introduction before the dress rehearsal begins, and I’m head over heels for every romance in the show. I smile ear to ear watching the characters fall in love each time.
To my eye, the show’s lighting looks perfect; however, Kevin Lamotte and Mikael Kangas are continuously working and making changes to cues. I listen in over the com to hear what they’re changing. This helps me learn what to pay attention to when I’m designing. It’s also encouraging to know that not everything is figured out with the plot and focus. There’s always things changing and you’ll always be adapting.
Later, I move further into the Historical Old Town of N.O.T.L.
I get to visit the Courthouse theatre for a The Ladykillers rehearsal again, which is just such a joy. The show is so funny and both the cast and creative team present in rehearsal bring such a great energy that you can’t help but enjoy.
On my last day of the week, I spend my time in the Royal George Theatre, attending the tech dress for Getting Married and then a preview of Rope.
I personally love the George as it is a much smaller space than the Festival Theatre but maintains such a grand elegance about it. The house of the theatre is a luxurious red which is rich but comforting at the same time.
When I arrive at the theatre in the morning, the lighting operator, Mel, takes me on a full backstage tour of the theatre while completing pre-show duties at the same time. Mel is quite in depth with their explanations and I’m grateful for all the details. The assistant lighting designer, Nick Andison, tells me about how the lighting grid is planned and divided between shows in theatre. It helps answer that part of me that’s constantly looking at the shows and asking “But how do you start?!”
Nick explains some of the design to me. The intent and focus of the lighting design is quite different for Getting Married than it is for the huge musical that is Brigadoon. It’s interesting to note the difference and speak to Nick about what to look for and what they’re trying to do.
When I get to Rope in the evening I’m a little taken aback at the change-over of the set. It’s incredible how much the space transforms. I was really captivated by the set design, which featured scrim walls and a window with an incredible rain effect. I’m not here to review the show, but if I was, I don’t think I’d have a bad thing to say. I’m going to end on that note. This week made me very excited about how I get to work in theatre and reminded me that there’s so much about it to love.