Special Section on Consultants and Architects - Raúl Esparza talks training, triple-threats and the temptations of revivals Anne Hathaway reveals ...
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Special Section on Consultants and Architects
www.stage-directions.com AUGUST 2009
Raúl Esparza talks training,
triple-threats and the
temptations of revivals
Anne Hathaway reveals
her inner Bohemian
Table Of Contents A u g u s t 2 0 0 9
Courtesy of Westlake Reed Leskosky
14 19
Features 4 Letters
8 When the Dollar Can’t Do It Makeup help on TheatreFace.com
Some may wonder how they could subsist on a woeful budget,
but many do it every day. By Dave McGinnis
5 In the Greenroom
Skylight Opera Theatre encounters backlash over elimination of
10 Inhabiting the Role their A.D., Ultratetc spins off, and more.
Raúl Esparza gets into character, talking triple-threats and
retaining your special edge. By Bryan Reesman
7 Tools of the Trade
Tools to keep you inside the theatre, where its cool.
12 The Maturing of Anne Hathaway
Growing up in New Jersey, Anne Hathaway dreamed of being an
actress—reality has been much better than her Bohemian dreams. 28 Answer Box
By Bret Love Supporting a “Pay What You Want” financial model. By Jacob
Coakley
Special Section: Consultants
and Architects Columns
25 TD Talk
14 In the Pipeline Texas H.B. 2649 has come and gone, but not without its lessons to
How has the economic downturn affected the ranks of upcoming learn. By Dave McGinnis
projects for consultants and architects? By Jacob Coakley
26 Off the Shelf
19 It’s the Way That You Use It A mixed bag of new books, CD’s and DVD’s. By Stephen Peithman
Whether making a temporary commitment, or completely revamp-
ing the building, unusual spaces show opportunity for creativity. Special Section on Consultants and Architects
By Kevin M. Mitchell
www.stage-directions.com AUGUST 2009
Departments ON OUR COVER: Raúl Esparza and Anne
Hathaway in Twelfth Night at the Public
4 Editor’s Note
Raúl Esparza talks training,
triple-threats and the
temptations of revivals Theater’s Shakespeare in the Park.
Anne Hathaway reveals
Contrary to popular opinion, theatre people do get some sun in her inner Bohemian
the summer. By Jacob Coakley PHOTOGRAPHY BY: Joan Marcus
Publisher Terry Lowe
tlowe@stage-directions.com
Editor Jacob Coakley
jcoakley@stage-directions.com
Audio Editor Jason Pritchard
jpritchard@stage-directions.com
Lighting & Staging Editor Richard Cadena
rcadena@plsn.com
New York Editor Bryan Reesman
bryan@stage-directions.com
Editorial Assistant Victoria Laabs
vl@plsn.com
Contributing Writers Bret Love, Dave McGinnis,
Kevin M. Mitchell, Stephen Peithman,
Bryan Reesman
Consulting Editor Stephen Peithman
ART
Art Director Garret Petrov
Production
Production Manager Linda Evans
levans@stage-directions.com
WEB
Web Designer Josh Harris
ADVERTISING
Advertising Director Greg Gallardo
gregg@stage-directions.com
National Sales Manager James Leasing
jleasing@stage-directions.com
Audio Advertising Manager Dan Hernandez
dh@stage-directions.com
OPERATIONS
General Manager William Vanyo
wvanyo@stage-directions.com
CIRCULATION
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Advisory Board
Joshua Alemany, Rosco; Julie Angelo, American Association of Community
Theatre; Robert Barber, BMI Supply; Ken Billington, Lighting Designer; Roger
claman, Rose Brand; Patrick Finelli, PhD, University of South Florida; Gene
Flaharty, Mehron Inc.; Cathy Hutchison, Acoustic Dimensions; Keith Kankovsky,
Apollo Design; Becky Kaufman, Period Corsets; Keith Kevan, KKO Network; Todd
Koeppl, Chicago Spotlight Inc.; Kimberly Messer, Lillenas Drama Resources; John
Meyer, Meyer Sound; John Muszynski, Theater Director Maine South High School;
Scott C. Parker, Johnny Carson School of Theatre and Film; Ron Ranson, Theatre
Arts Video Library; David Rosenberg, I. Weiss & Sons Inc.; Karen Rugerio, Dr.
Phillips High School; Ann Sachs, Sachs Morgan Studio; Bill Sapsis, Sapsis Rigging;
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Stage Directions (ISSN: 1047-1901) Volume 22, Number 8 Published monthly by Timeless Com-
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BR
EL E AT
C
IN
SD
20 OTHER TI ME LE S S C OM M UN IC AT ION S P UB LIC AT ION S
G
Y S
YEARS
OF SERVICE TO THEATRE
Editor’s Note Letters
Celebrate Summer I Need Help:
Beauty and the Beast
Dan Hernandez
Maybe it’s because we normally In the TheatreFace.com Makeup Group, Christa
spend all of our time in a dark, window- Whittaker wrote in asking for help for her production
less room, but theatre folk really seem of Disney’s Beauty and the Beast.
to like their outdoor summer theatres.
The big ones have been around for
much longer than I had ever expected Our Cogsworth and Lumière are both dark-skinned
(St. Louis Muny started in 1916) and black men. My assistant and I are experimenting with
during that time the people making theatre at them had looks that will give the right effect with the costume,
to deal with bigger problems than just mosquioes, or even but won't make them look like rejects from a minstrel
rain. Although when Muny built its first theatre in 40-some show or a tin man. Does anyone have any hints or
days waiting on rain was not an inconsequential delay. Up suggestions?
until the ‘80s actors and crew at the Black Hills Playhouse in
South Dakota lived in cabins constructed in the ‘30s, all with Patricia A. Cheney (among others) replied. . .
the original plumbing. Or, in some, with the lack of original
plumbing. Head over to www.theatreface.com/summerfest Working with dark skin tones for fantasy charac-
and tell me about the festivals you’ve worked at and share ters can always be a challenge. What costumes are
some of your stories from behind the scenes. you using? If rented and similar to many, gold or
mellow yellow or special yellow work much better
on dark skin tones. I do not recommend using the
white [base that another person suggested]. I gener-
ally avoid the white on black skin. Yes, you can use it,
Jacob Coakley powder and then colorize, but we have found these
jcoakley@stage-directions.com other venues work better unless you are looking
for clown—and on black skin, I would go Auguste.
However, for these characters, I do not think it is
required. I have done Beast now twice in the past 8
months.
When working with dark skinned actors and still
trying to stay in the venue of these specific charac-
ters …
Cogsworth is a clock—use reverse tones. I would
use the human characteristics for his being slightly
older. Use gold numbers for the clock face numbers
and a white or golden tone moustache for the clock
hands—you can spray a ventilated moustache to
match the gold.
If you are using base tone to match actors, make
sure you are using powder to match skin tone. Ben
Nye has a neutral which works well with both.
[For Lumière, use] Ben Nye Lumière line or Kryolan
Aquacolors Metallics. I would avoid the white or sil-
ver effect for Lumière and go to a golden tone.
You can purchase products from various cos-
tume houses, including Broadway Costumes Chicago
which ships nationwide. I also used some iridescent
face glitter for both characters, which worked quite
well when we did the show in March.
Patt Cheney
Oak Park, IL
Get your answers at www.TheatreFace.com!
4 August 2009 • www.stage-directions.com
In the Greenroom
Skylight Opera Offers to Reinstate Eliminated A.D., A.D. Refuses
theatre buzz
In June, Milwaukee’s Skylight Theatre eliminated the position take complete control of the theatre financially and artistically.
of Artistic Director, along with several others in a move the theatre As the weeks went on, community outrage never lessened.
characterized as cost-cutting and meant to bring stability to a Two Skylight board members resigned in protest. Many in the
worsening fiscal situation. After several weeks of persistent com- community have called for Dillner to resign, citing his handling
munity protest, including demonstrations outside the theatre, of this as proof of his incompetence, and accusing him of mak-
Skylight's board decided on Thursday July 9 to reverse course ing it impossible for the Skylight to meet donation goals.
and reinstate the position of Artistic Director, offering the posi- Dillner rejected this idea, saying that he had the support
tion to former A.D. Bill Theisen, who was let go as a result of the of a large contingent in the artistic community in Milwaukee,
elimination. On the afternoon of Friday, July 10, Skylight released a despite them not being as vocal as the protestors.
statement saying that Theisen had decided not to accept the offer “I have had more than twice as many positive comments
and will not return as Artistic Director. Theisen will still direct four directed at me as I have the negative comments,” Dillner said.
shows in the 50th Anniversary season. “And the positive comments are coming from our high-level
Theisen was associated in various capacities with Skylight donors, our patrons and our ticket-buyers, applauding us for
for 30 years and had been artistic director for the past five. taking care of the financial situation of the company.”
He was the face of the theatre and his abrupt dismissal took In order to allay any fears Skylight’s supporters may have,
the community by surprise. Further exacerbating the anger and to cast some light on why Skylight has made these moves,
over this move was the consolidation of all the artistic direc- Dillner has started a small campaign among the artistic com-
tor duties under Managing Director Eric Dillner, who had only munity, both meeting individually with artists invested at the
been with the company for a year and a half. Many in the com- Skylight, and with small groups made up of a cross-section
munity took this consolidation as proof that Dillner’s ultimate of artists, patrons and advocates. It’s a quieter approach than
goal since joining the theatre was to eliminate Theisen and protests, but Dillner hopes it will pay off.
www.stage-directions.com • August 2009 5
Ultratec Special Effects Rebrands Polly Carl to Join
Chicago’s Steppenwolf
industry news
changing roles
Adrian Segeren, president, and Marnie Styles, vice president, announced that their
company, Le Maitre Special Effects, has changed its name to Ultratec Special Effects, Theatre Company
part of a strategy to differentiate the company in global markets. Segeren and Styles Polly Carl,
noted that the name is changing but the company is not, and added that Ultratec will Producing
retain its “commitment to listening to our customers and developing products that A r t i s t i c
are current and relative to the marketplace.” Director of the
The company will no longer be distributing any Le Maitre UK manufactured prod- Playwrights’
ucts, but will continue to sell off the remaining inventory. Its ProStage & Pyroflash Center, will
products can still be accessed from the company’s Web site, now at www.ultratecfx. join the staff of
com. Chicago-based
Steppenwolf Polly Carl
T h e a t r e
Company in September 2009 in the newly
created position of Director of Artistic
Development. Carl will continue to serve as
Producing Artistic Director through the end
of August. In making the announcement,
Carl said, “My job at the Playwrights’ Center
has been challenging, energizing, and enor-
mously rewarding. I feel so incredibly lucky to
have had the opportunity for so many years
to talk about plays, promote new work, and
be an advocate for so many talented voices.
Champelli Poised
to Join ZFX as
General Manager
ZFX Flying
Effects has
hired Joe
Champelli
as General
Manager.
Champelli
will head up
operations
Joe Champelli
and lead the
development and implementation of new
technology and products.
Joe’s career began in Las Vegas in the
design department for the Pirate Battle in
Buccaneer Bay at TI. From there he joined
the automation department at The Siegfried
and Roy Show where he designed machin-
ery for new illusions and mechanical effects.
Joe freelanced as a mechanical designer
and consultant for a variety of clients includ-
ing Flying by Foy. Joe’s knowledge of auto-
mation and machinery design ultimately
led to him becoming a founding member
of Fisher Technical Services, Inc, where he
spearheaded hoist product design devel-
opment and business development for 11
years.
6 August 2009 • www.stage-directions.com
Tools of the Trade
Coemar StageLite LED pressed wood for durability. Premium-grade veneers, stains and
The Coemar upholstery are designed to ensure years of good looks. Special lift-
StageLite LED is a digi- ing mechanism makes the seat bottom’s automatic self-rise quiet
tal cyclorama expressly and fast. Designs are ADA-compliant and available in widths from
created for theatres and 19”-23” (48.2cm-58.4cm). Options include donor plates, seat and
live events, with a brand aisle number plates and aisle lighting. www.wengercorp.com
new optical system (an
exclusive Coemar pat- Thern Stage Equipment Power Clew Systems
ent that allows the verti- Thern Stage Equipment, a
cal beam to zoom from manufacturer of theatre rigging
11° to 34° and be focused from +56° to -52°), powerful LEDs equipment and a fully owned
and RGBW color mixing system. Three unbound rotating bars and operated division of Thern,
allow symmetric and/or asymmetric light output, with linear Inc., is now manufacturing
adjustment of incidence angle via DMX. It is equipped with 96, complete power clew winch
high-output 2-watt LED's. The RGBW LED interaction provides systems. The TSE power clew
not only bright colors, but a full white you would expect from winch systems improve upon
a conventional light source. www.coemar.com TSE’s manual clew winches sys-
tems and are built around the power clew winch from TSE. They
Wenger Fixed Audience Seating can handle loads up to 1100 lbs. Available in single and three
Wenger Corp. now offers fixed phase motor configurations and manufactured with precision
audience seating in three designs, engineered components, TSE power clew winches feature large
with finish options to fit a variety of diameter, double-compartment, grooved drums, welded steel
décors and budgets. Each seat fea- frames and large shaft bearings for smooth, quiet, long lasting
tures handcrafted, ergonomic styl- operation. In addition, systems come complete with clew plates,
ing with thick cushions and lumbar head and loft blocks and mounting hardware specifically engi-
support designed for long-lasting neered to work with the power clew winch as a single system.
comfort. Seat bottoms, backs and TSE also offers a wide range of system control options for user
end panels are constructed of 11-ply convenience. www.thernstage.com.
www.stage-directions.com • August 2009 7
Light on the Subject
| By Dave McGinnis
When the Dollar
Can't Do It
www.theatreface.com/color
ONLINE BONUS!
Head over to
www.theatreface.com/color
for a quick primer
on lighting gel Some may wonder how they could subsist on a
mixing!
woeful budget, but many do it every day.
I
n the contemporary live theatre, every dollar counts—and green filters into a gobo holder, and inserted that in the gobo
that was even true before our recent turn of economic events. slot. The three primary-color filters blocked all light, but the “full
Regardless of artistic merit, finances determine the production spectrum stop” was close enough to the source to melt through,
of a play or continuation of an existing production more than any allowing light to hit the blood stream template, and the color to
other single factor. be revealed.
In tech world, this often means that we have to challenge Describing the tactic’s success, Criswell said:
ourselves to find creative and inexpensive solutions to problems “At first it didn't work precisely…as (of course) the color
at which other—larger—companies might simply throw money. burned from the center out. After some experimenting we offset
This often means fabricating our own solution to an existing the lamp to the top of the field and altered the gobo slot color
problem or locating the right equipment to solve such problems complement so that there was less saturation at the top and
as onstage flame—often outlawed—without actually igniting a more at the bottom to alter the speed of the burn, and allow the
fire. Creative solutions can include anything from mixing lighting ‘blood’ to trickle from top to bottom.”
color filters for a specific effect to building one’s own homemade Of course, some readers likely cringed at the notion of placing
lighting console. color filters in the gobo slot. Criswell simply said, “Would I recom-
mend this? Depends upon how often you want to clean your
Color Filtration units, and if (likely) you don't mind voiding your warranty.”
Always a great place for the budding lighting designer to Such a process seems to define in-production experimenta-
start playing, color filters provide a low-cost—and, thus, low- tion, but there are resources online to guide inquisitive design-
risk—way to experiment. One can also test outcomes early with ers. For a quick primer on color mixing with multiple gels,
equipment ranging from expensive pre-visualization software head over to www.theatreface.com/color for some content we
to simple flashlights aimed at the set model. Best of all, filters couldn’t fit into print. After you make yourself comfortable there,
directly control color, one of the primary elements of design, download GAMProducts SplitGel Map, available on their Web
meaning that a designer can change the entire meaning behind site (www.gamonline.com), which provides tips regarding vari-
a play, scene or moment by simply changing the color scheme. ous techniques with which one might combine color filters for a
Numerous methods exist for designers to experiment with specific desired effect, such as those outlined above.
inexpensive and creative ways to use color filtration. I have
personally used scraps of Rosco Flame and Lavender to cre- The Muscle System
ate a visual effect for an explosion using only a pair of six-inch Many theatres have enough personnel to solve such conun-
Fresnels. drums, but not the money.
R. Brad Criswell, of Criswell Design, offered an example of In order to stretch the power budget at a theatre where he
one such solution concocted by himself and a student of his recently hosted a show, freelance techie Jason Rhodes—a tech
who needed the walls to bleed for a production of Medea. The for numerous Central Florida companies—told SD how the show
set for the play was made entirely of fabric panels, so nothing required numerous fixture assignments while the theatre itself
could be physically attached to the “walls.” When the student still uses the old hard patch system—a.k.a. the “switchboard”—
LD was stumped for an answer, they got creative. They took an to deliver power to individual circuits. The classic intermission
ETC Source Four unit—although any unit with both a gobo and repatch would simply not work.
iris slot would have worked—and made a homemade “blood “Forget repatching during intermission. During the middle of
stream” template from a pie plate. They placed the template scenes I was running under the set, unplugging and replugging.
in iris slot, and colored it with a deep red gel (Rosco 27, for And this wasn't a one-time thing; I had a set path I was following . .
example). They then placed primary red/primary blue/primary . doing this several times . . . while still running set and props. The
Courtesy of Rob Wood of GAM.
One possible effect of gel/filter combination, through a gobo in this A simple two-scene or hybrid console, such as this Leprecon 612, can The GAM TwinSpin.
case. Note the various hues present through one fixture as a result of fit easily within most budgets and still execute most of the lighting
filter color combination. effects small theatre companies require.
8 August 2009 • www.stage-directions.comASMs were running ‘spots,’ which were just regular lekos—19s I occurrence.
believe—from the booth, another cheap fix. Some dimmers had “I went to Roger Morgan,” Tawill says. “I said, ‘What do you
three instruments that were switched out during the show.” need?’ He said, ‘I need a blue with red in it.’ I had a lot of blues
Never underestimate the power of hands-on work and allow- but there were none on the market with red in them. We came
ing on-hand crew to contribute with good old staff power. This up with Congo Blue.”
solution can assist with numerous solutions to problems, such as Specialized gear may carry what at first seems like a prohibitive
refocusing in-show (so that one standard fixture can serve as two price point, but that cost can be offset by consideration of the
or more specials), scene changes (to reduce automation costs) or time (and money) required to design the necessary effect in the
special effects (such as mounting a clear water dish in front of a shop and the safety issues that can arise whenever one attempts
sharp-focused fixture for a water effect). to construct electrical devices.
For example, many productions require moving gobos in
Is the Gear You Need Already Out There? the contemporary theatre, but many theatre companies simply
In some instances, it turns out that the gear we need already cannot afford the cost associated with moving head—or even
exists on the market, even for issues we might otherwise consider mirror-reliant—fixtures, especially if they only require the gobo
impossible to solve without in-house design. While price points movement. Under these circumstances, products such as the
can sometimes make a piece of gear seem out of reach, compar- GAMProducts SX4 or the TwinSpin can perform the necessary task
ing the price of construction and implementation to the purchase while still maintaining a price point under $2,000 new (for the SX4)
price of the right tool can often reveal the benefits of shopping for and $1,000 new (for the TwinSpin).
extant solutions. In the end, of course, how these solutions work or not comes
More importantly, many companies already offer products down to how well the design and tech team can research and
designed—by techs on productions—to solve exactly the kinds implement appropriate solutions. While some of these possi-
of issues addressed thus far. bilities might seem expensive on paper, it helps to compare those
“Every good idea comes from the field,” says Joe Tawill, presi- costs—including tools, parts and time—with the costs of the right
dent of GAMProducts, and inventor of the ubiquitous BlackWrap. gear to solve the problem as simply as possible. That number will
For instance, Congo Blue, the notable color filter that produces usually tell the tale.
a blue while still incorporating red, came from precisely such anFeature
| By Bryan Reesman
Joan Marcus
Inhabiting
www.stage-directions.com/esparza
ONLINE BONUS!
For even more from Raúl Esparza—
including his take on Jeremy
the Role
Piven’s departure from their Broadway
production of Mamet’s Speed-the-Plow,
head over to
Raúl Esparza (left) as Orsino and Anne
www.stage-directions.com/esparza
Hathaway (right) as Viola in Twelfth Night
at the Delacorte Theatre as part of the Public
Theater’s Shakespeare in the Park. Raúl Esparza Gets Into Character
R
aúl Esparza is one of Broadway’s brightest major stars. The have a template you can go off of, and I kind of like that because
39 year-old Miami native started in community theatre in it's a little bit like having a cookbook. You know the way the recipe
his Florida hometown before studying at NYU. He then should turn out, but you're going to make some adjustments.
migrated to Chicago, where he worked with the Steppenwolf That's comforting. It’s the closest you can come to feeling any sort
Theatre Company, and later joined the national tour of Evita in of structure in the way you might create a show. But then you also
1999 before landing at the Great White Way. He soon was snar- have to throw that all away because the other side of it is that the
ing choice parts, including leads in Sunday in the Park with George only good revivals are the ones that make you feel like you’re see-
and Merrily We Roll Along (at the Kennedy Center’s Sondheim ing something that’s never been done before.
Celebration), along with starring roles in Taboo, Chitty Chitty Bang In the case of something like Chitty, which I guess was an
Bang, Company, The Homecoming and Speed-the-Plow. He also original role that I created here for the New York stage, I was very
recently co-starred with Anne Hathaway in Twelfth Night as part of aware of Dick Van Dyke because it was the one element for me
the Public Theater’s Shakespeare in Central Park. that was most missing from the stage production. There’s that
Esparza likes to inhabit his characters and take on new chal- kind of great, old vaudeville-style exuberance, that kind of classic
lenges. For the closing number in Company, “Being Alive,” he performance quality that Dick Van Dyke embodies for me. He's a
learned to play the piano. However, when playwright/composer real showman. There are skills that certain people have that were
Stephen Sondheim saw him get too comfortable on the ivories, nurtured in the mid 20th-century that disappeared from the stage
he rewrote the parts to make the actor struggle more to maintain in New York. Dick Van Dyke started on stage. What it really means
the tentativeness and fear his character feels at the show’s climax. to be a triple threat, and we have very few of them, to be able to
Undaunted, Esparza relished overcoming this new obstacle. Stage sing and act and dance, is very rare and is just not required of you
Directions sat down with Esparza over a three-hour Italian dinner anymore.
in Manhattan and learned how perseverance and hard work like
this has powerfully enriched Esparza’s artistic evolution. Except when you're doing Company or Sweeney Todd.
Then you have to be a quadruple threat. Knowing how Dick
You've done a lot of roles in famous shows—Rocky Horror, Van Dyke played it I wanted to bring some of that to Chitty, and I
Company, Chitty Chitty Bang Bang. How do you tackle all of wanted to live up to that kind of performance. I don't think I suc-
those things? ceeded in that show. Those are skills I had to learn. I tried to learn
Raúl Esparza: Revivals in a way are safe but also more chal- them, we tried to incorporate them into the show, but it wasn't
lenging. They’re safe because it’s been done before so you know ultimately what ended up onstage. Our team decided to go a
the show works, otherwise they wouldn't be doing it again. You different direction, to be politic about it, so they threw out a lot
“It was embarrassing and also humbling in that it made me realize
that I was hanging my expectations on something without
even admitting it to myself.” — Raúl Esparza
10 August 2009 • www.stage-directions.comFeature
of stuff that originally I was led to believe what
Robert J. Saferstein
the show would be. I took it really hoping that
I could kick some of those elements up in the
way it was done, and I tried. I danced my heart
out and tried to do all that stuff. Ultimately the
show is what the show is, and people were
interested in the car, but I tried to live up to
someone like Dick Van Dyke.
What was it like working with Stephen
Sondheim on Company?
He's been one of the biggest influences
in my life. The best thing about working with
Sondheim is he expects so much of himself
and won’t expect anything less from you if Raúl Esparza and William H. Macy in Speed-the-Plow on Broadway. Macy replaced
Jeremy Piven, who left the show abruptly during its Broadway run. To find out how
he believes you have the talent to deliver. His Esparza and the crew dealt with that, and for some very candid talk from Esparza
standards are ridiculously, impossibly high. He about Piven, check out www.stage-directions.com/esparza
will never be satisfied, and once you crack that,
once you figure out that it's not about getting
it right, then it starts to become really wonderful. a daily challenge and an exhilarating experience to work with his
He is very opinionated and tough. The tougher he is, the stuff every day because you always have to try to do things. You
more opinionated he is, the more you know he respects you. He know you're never really headed for a total destination. It’s really
demands so much of himself, and when he demands it from you the experience of doing it every day and seeing what you might
it's a sign of respect. He is truly one of the greatest men I’ve ever discover. Even the mistakes are useful.
met in my life, an extraordinary human being, flawed and brilliant. He is no-nonsense, and we have a very warm, witty and sarcas-
In the end I think the biggest lesson I ever got from him was you tic relationship. He's very fast and funny, and if he sees nonsense
really can never get it right. Then the converse is also true—that he will call it out, and you can call it out back. His collaborators are
means you can never get it wrong. Just keep trying. So it becomes extraordinary. He entrusted John implicitly, which is great to see,
www.stage-directions.com • August 2009 11Joan Marcus
Anne Hathaway, as Viola, disguised as Cesario, duels with Sir Andrew Aguecheek, played by Hamish Linklater.
The Maturing of Anne Hathaway
By Bret Love
Anne Hathaway’s seemingly spon- biography, “Get Happy.” The fact that
taneous song-and-dance number her life has turned out more glamor-
with Hugh Jackman garnered more ous than grunge has surprised no
buzz than many of the awards given one more than her.
away at this year’s Oscar ceremony, “When I was 14 years old and
but Hathaway’s performance was no dreaming of being an actress,” she
surprise to those who knew her when. says, “I didn't know this was possible.
Born in the New York City borough of My idea of being an actor was under-
Brooklyn, Hathaway grew up in New studying the lead in a Broadway
Jersey, singing in the U.S. High School show, having student loans, living
Honors Chorus. with five other dancers and waitress-
“I’m a middle class girl from New ing on the side. So right now I'm
Jersey who stared at the lights of existing in a stratosphere that I find
Manhattan and dreamed about being very surprising.”
on Broadway,” she recalls. “I’d go up “I thought if I could just sing on
on these hilltops and look out and Broadway I’d be a success,” Hathaway
dream I was gonna be this fantastic continues, “and I’ve actually gotten
bohemian.” to do that. But I didn’t imagine I’d
This summer the stage-trained get to tell all these great stories. It’s
26-year-old is returning to her stage cool, because right now it feels like
roots, starring as Olivia in the Public I’m getting back to the basics of the
Theater’s Shakespeare in Central Park dream, which was to tell good sto-
production of Twelfth Night (also fea- ries. That’s what I wanted as a young
turing Raul Esparza as Orsino), then girl, even if I didn’t think about it in
signing on to play the legendary Judy those terms. Now that my terms are
Garland in both stage and screen clearly defined, it’s like, OK, now I can
productions based on Gerald Clark’s begin.”
“I'd go up on these hilltops and look out and
dream I was gonna be this fantastic bohemian. ”
— Anne Hathaway
12 August 2009 • www.stage-directions.comFeature
and when he give you notes he writes from an actor's point of to make you successful is truly being who you are and expressing
view. This sounds so pathetically sycophantic, but he's the closest what you have to express and not what someone else has done
we have to Chekov or Shakespeare writing in the 20th-century, before you.
certainly in musical theatre. If Chekov introduced subtext to the
modern drama, Sondheim introduced to the musical. He put
subtext onstage in song, and he wrote ambivalence and modern
emotional life and modern intellectual life better than anyone has
ever done.
What has been the most humbling moment of your career?
That's interesting. [long pause] There was something very hum-
bling about not winning the Tony for Company.
Were you expecting to win?
I think I was. I would have lied and said that I wasn't expecting
it, and I tried to convince myself that it didn't matter. There’s a
treadmill you get on where everyone's telling you you're it, and
then you’re not. You begin to believe that the award is in some
way satisfaction for, or a reward for, the work done, and it's not. I
had won everything else. You dream of it when you work in the
theatre, that that might in some way be a validation. Ultimately
it's not. It was embarrassing and also humbling in that it made me
realize that I was hanging my expectations on something without
even admitting it to myself and thinking that if I had only won that
award that the show would have stayed open and would have
run longer. Somehow it would have made me a bigger star, better
looking, more talented, I don’t know, something that would keep Raúl Esparza received a Tony nomination for Best Performance by a Featured Actor in a Play for his performance in
the show going. I felt responsible for it because my name was the 2008 Broadway revival of Pinter’s The Homecoming
over the title. So my dream came true of
starring in a Sondheim show on Broadway
with my name over the title at the Ethel
Barrymore Theater, but no one's coming to
see it. And everybody says it's the greatest
performance they’ve ever seen of the role,
and I’ve won every award, but they don't
give me the Tony.
What advice would you give to up and
coming actors?
Be yourself. Don’t try to be what they
want or what you think they want. There’s
a lot in that. That’s easier said than done.
They’re always going to come at you with
versions of what is most popular and ask
you to be that. You can’t be anything but
who you are, and to know that is a lifetime
of figuring out. I still don’t know. But own
your faults and own your idiosyncrasies.
They may say they want a Chevette, but
you’re a Porsche or whatever you are that
you’re selling. You have to be most truly
yourself. People may hate it and some
people may like it, but it’s all you’ve got.
You have to have a lot of patience
with that, too, because you may not get
hired if you’re not exactly fitting the role
that they’re used to having people fit into.
They only want what they’ve already seen
because it’s safe and because it’s a lot of
money. You have to stick with it because
in the end the only thing that’s really going
www.stage-directions.com • August 2009 13Special Section: Renovations & Installations
In the Pipeline
By Jacob Coakley
W
e wanted to know how the downturn affected of projects in the pipeline, from the immediate (Fisher
new theatre construction and renovation, so we Dachs’ Henry Miller's Theatre for Roundabout Theatre
asked. We surveyed a group of architecture and Company, opening this September) to the more long term
theatrical consultant firms about their upcoming projects. (St. John Ravenscourt School Drama and Music Facility
While we don’t know how many projects may have been opening in December 2012). Here’s an overview of new or
halted due to fiscal risk, the firms we asked still had plenty upgraded spaces you can expect to see soon.
Artec Consultants, Inc Don Hirsch Design Studio
www.ArtecConsultants.com www.donhirschstudio.com
Civic, Cultural, Retail and Entertainment Maranacook Performing Arts Center
Hub, Singapore Architects: Design Group
Architect: Andrew Bromberg of Aedas (Hong Kong) Collaborative - Ellsworth
Budget: $900 million SGD & Portland, ME
Description: A 5500-seat auditorium, 400-seat outdoor Budget: $10 million
Amphitheatre set to open in mid-2012. The auditorium will Description: The Maranacook Performing Arts
be a part of the civic, cultural, retail and entertainment hub Center is a 28,000 square foot PAC featuring a 500-
being developed jointly by Rock Productions and CapitaLand seat extended thrust main stage theatre and a 150-
Limited. At the heart of the facility is a unique 5000-plus- seat black box space. In addition, the venue provides
seat multi-purpose auditorium designed for amplified rehearsal rooms, scenic and costume shops, meeting
popular music concerts, touring concert productions, and and office space, and front-of house amenities all
large-scale musical theatre productions. Artec is providing utilizing green and sustainable technologies.
design and planning services covering Pre-Design Phase
services, Auditorium Design, Facility Planning, Specialized
Performance Equipment Systems Design and Noise &
Vibration Control consulting for the Civic, Cultural, Retail and
Entertainment Hub.
Auerbach Pollock Friedlander
www.auerbachconsultants.com
University of Texas, Permian Basin,
Wagner-Noel Performing Arts Center
Architects: BOORA Architects
Budget: $65 million
Description: Multi-venue facility to open in 2011.
Auerbach Pollock Friedlander is providing theatre consulting
and sound, video and communications consulting for the
programming, planning and design of the 1,800-seat venue
for touring attractions and 250-seat recital hall.
14 August 2009 • www.stage-directions.comFeldman Designs LLC
www.feldmandesigns.com
The Lyric Stage Company of Boston
Budget: $1.25 million
Description: Renovate all the electrical systems in the
200-seat theatre, replace ETC Sensor dimmers, add Unison
& Paradigm house lighting system, replace all circuits with
Graham, Swift & Company, LLC
custom raceways, add DMX & Ethernet throughout the
www.theatreguys.com
theatre, add new house light fixtures, using lower wattage
University of Georgia Fine Arts Building
lamps, design an efficient rehearsal lighting system using
Architects: Lord Aeck and Sargent Architecture
CFL's, replace some stage lighting fixtures.
Budget: $3.25 million
Description: Restoration and upgrades to the
774-seat, 1938 theatre in the Fine Arts Building.
Fisher Dachs Associates Work includes historic restoration, acoustical
www.fda-online.com improvements and the integration of new lighting,
Henry Miller's Theatre an ante-proscenium hoist and a sound cockpit.
Architects: Cook+Fox
Budget: Confidential
Description: When it opens in September, the new
1055-seat Henry Miller's Theatre will be the first entirely
new Broadway theatre built in NYC in more than 20 years.
The theatre is constructed as a part of the Bank of America
Tower and replaces an earlier theatre of that same name on
this site. The new theatre is built behind the preserved and
restored neo-Georgian façade of the original 1918 structure,
the interior of which was demolished to make way for the
new Bank of America tower. The new space will be the first
green, LEED-certified Broadway performance space in New
York. The new Henry Miller’s Theatre will be operated by
Roundabout Theatre Company.
www.stage-directions.com • August 2009 15Special Section: Renovations & Installations
Landry & Bogan, Inc.
Kirkegaard Associates www.landb.com
www.kirkegaard.com Livermore Valley Performing Arts
New Hampshire Music Festival Center Regional Theatre
Architects: Misiaszek Turpin Architects: MacCracken Architects
Budget: Confidential (San Francisco)
Description: When it opens in 2011 in the Lakes Region, the New Hampshire Budget: $70.8 million
Music Festival's new Center for Music will feature a 700-seat concert hall; the Description: To be completed
renovation of Festival House, which will house social rooms, administrative in 2011, the Livermore Valley PAC
offices, and a 200-seat chamber music salon; a garden lobby, and a musicians Regional Theatre will be a 2000-seat
hamlet of renovated farm buildings. Acoustics consultants Kirkegaard regional theatre, complementing a
Associates, in collaboration with Festival constituents, Misiaszek Turpin 500-seat community theatre. The
Architects and theatre consultants, Auerbach Pollock Friedlander, combined theatre, featuring a unique, terraced
as the design team. Kirkegaard holds responsibility for room acoustics and seating layout that ensures that no
audio video design services throughout the facilities. Celebrating its 57th seat is more than 125 feet from the
Season, the Festival presents more than 160 events annually, 30+ concerts stage, is designed to host full-scale
during the summer and more than 130 year-round classroom activities in the Broadway touring productions
region's schools. along with some of the world’s most
well-known artists and performing
ensembles.
Novita
www.novita.ca
St. John Ravenscourt School
Drama and Music Facility
Architects: LM Architectural Group
Budget: $21 million Canadian
Description: This independent
school in Winnipeg is building on
their strong tradition of creative
performance by creating a new
facility for Music and Drama.
Currently in the early planning
stages, Novita is working with
the school on the development
of separate rooms for music and
drama in a new building.
Scéno Plus
www.scenoplus.com
Revel Resort & Casino
Architects: BLT Architects
Budget: $2.5 billion
Description: In addition to
the rest of the hotel, casino
and retail center, Scéno Plus is
designing the 4,500-seat event
center, a 700-seat Black Box
theatre and a show bar that can
be configured several different
ways and can house as many as
500 patrons.
16 August 2009 • www.stage-directions.comSchuler Shook Studio T+L, LLC
www.schulershook.com www.studio-tl.com
Playhouse on the Square Levoy Theatre
Architect: Morris Architects Architects: R2Architects
Budget: $10 million Budget: $7.6 million
Description: The 35-year-old Playhouse on the Square in Description: Studio T+L’s latest is the
Memphis needed a new presentation venue to overcome the rehabilitation of a 690-seat, 100-year-old Vaudeville
physical and logistical constraints imposed by their current theatre as part of the downtown revitalization of
facilities. Schuler Shook worked with the architect and the Millville, NJ. Scheduled to open in August, 2010,
theatre to plan a new 300-seat proscenium theatre, rehearsal the theatre will be equipped with new dimming
space, scene shop, and artist and patron support spaces. This and control, new double-purchase counterweight
space is designed not only to be the flagship performance rigging, orchestra pit lift, acoustic shell, stage
venue for a theatre company that currently produces 19 plays drapery etc. It will be the new home of many
each year in three other theatres, but also as a rental facility regional performing arts groups, including the Off
that serves the greater Memphis arts community, including Broad Street Players.
the Memphis symphony and ballet. The project is currently in
construction and is scheduled to open in 2010.Theatre Projects Consultants
www.theatreprojects.com
Dee and Charles Wyly Theatre,
Dallas Center for the Performing Arts
Architects: REX/OMA, Joshua Prince-Ramus
(principal in charge) and Rem Koolhaas;
Executive Architect:
Kendall/Heaton Associates
Budget: $354 million
Description: Opening in October, the
Dallas Center for the Performing Arts will
include four new venues and a public park.
Theatre Projects Consultants worked with the
architects on the 600-seat Dee and Charles
Wyly Theatre and the 2200-seat Margaret
McDermott Performance Hall. The Dee and
Charles Wyly Theatre will include a multiform
theatre that can be arranged in a variety of
configurations including proscenium, thrust,
arena, flat floor, and traverse. The Margaret
McDermott Performance Hall will feature
retractable screens, a spacious fly-tower, and
variable acoustics.
Westlake Reed Leskosky
www.wrldesign.com
Lauderhill Performing Arts
Center and Library
Architect: Paul E. Westlake, Jr., FAIA
Budget: $8.4 Million
Description: The City of Lauderhill, Florida
has retained Westlake Reed Leskosky, in
association with Baranco Gonzalez, to design
a new cultural arts center for its residents.
Opening in 2011 the Center will include a
850 to 1000 seat theatre with full stage house
and performer support, a black box theatre,
rehearsal spaces, a multi-functional lobby
for events and performance, and front-of-
house amenities. The Center will also have a
full community library. The entire complex
will be designed to LEED Silver certification.
The building character and aesthetics will
be informed by the vernacular architecture
of Florida and the Caribbean, reflecting the
diversity of City residents.
18 August 2009 • www.stage-directions.comSpecial Section: Renovations & Installations
Larry Levanti
A recent production of The Brothers
Karamozov in Mason Gross School of the Arts
at Rutgers, in their Mason Gross PAC.
It’s the Way That You Use It
Unusual Spaces Show Opportunity for Creativity By Kevin M. Mitchell
A
building is built, and it’s a perfectly good building. juice. You’ll also need to be especially careful checking your
And then someone comes along, and wants to put electrical gear, especially cables, as a problem that might be
a play on in it. When a building or a room wasn’t fine in normal situations when cables aren’t moved as much
designed for live production there are essentially two ways becomes extremely dangerous when things are getting
to approach converting it to a theatre: convert the space to a handled and stepped on much more often.
temporary theatre for each show, or transform it completely Carol Thompson, head of the Stage Management pro-
into a new theatre space. Both approaches have their draw- gram at, and general manager of, the Mason Gross School
backs, and both require work. Still, don’t underestimate the of the Arts at Rutgers, the state university of New Jersey,
rewards to be had from either approach. recalls the Little Theatre at Rutgers, which was a small pro-
scenium built as a flexible black box stage. It inspired both
Keeping the Space creativity and frustration, she says. Today Rutgers enjoys a
Frequent SD contributor Dave McGinnis, assistant profes- wonderful performing arts center that boasts an extensive
sor/director of theater of Saint Leo University, Saint Leo, Fla., season of 15 to 18 shows, but it wasn’t always that. In the
says that taking a space not made for theater and turning it early days they worked with a black box space of roughly
into one creates new challenges. “It takes technical direct- 55 feet by 80 feet. “There was no additional backstage
ing to the next level, because it’s like doing a conversion— space,” she says. For every production, a theater was cre-
for every show!” laughs McGinnis. ated from “scratch.”
When temporarily converting a space into a theatre, The advantages were that the space demanded unusu-
power and set construction become your biggest obstacles. ally creative planning. The disadvantage of the sheer labor
Portables dimmers can be brought in to provide power involved in setting up the space for every production ulti-
control, but you can’t control when someone else may need mately proved too much. “Seating has to be safe, and there
the space. Sharing a space with someone else means you’ll are requirements like railings, the number of people you
often have to set up and tear down a set throughout the can put in a row, and the need to allow for proper access to
setup and run, depending on who else needs the space, and fire exits. So all that takes work and time, and while a flex-
for what purpose. In situations like these, you have to be ible space allows for very interesting possibilities,” it was
diligent and precise, constantly checking and re-checking best for them to develop a more permanent space. Today
your set pieces as they get loaded in. Finding electrical Mason Gross Performing Arts Center has two state-of-the-
plans, or doing some simple (but exhaustive) circuit sleuth- art spaces that more than serve the program’s needs.
ing can help you find the elusive breakers you’ll need to tie “We miss the flexibility on one hand but not labor prob-
your portable dimmer packs in to so that you have enough lems,” says Thompson.
www.stage-directions.com • August 2009 19Special Section: Reonovations & Installations
Tragedy, Comedy, Justice
Courtesy of Schuler Shook
Jack Hagler ASTC, a partner at the the-
atre planning firm of Schuler Shook, took
a Texas courthouse and redesigned it so
that it could function as a theatre for sev-
eral community performing arts groups,
and could also still serve as a courtroom,
The inside of the McKinney PAC, should the court want to hold a trial there.
in a converted courthouse. Note The McKinney Performing Arts Center at
the Wurlitzer organ tucked in
the Historic Collin County Courthouse has
the back of the room.
proven to be a popular venue for local
organizations.
Hagler began by identifying potential
constituents of the new space and their
competing demands. The Texas Historic
Commission demanded the room retain
its 1920s look, while the local arts organiza-
tions wanted a full-blown performing arts
center. Custom-made portable staging
was designed by Schuler Shook to cover
the trial area and the bar. The judge’s
bench was placed on a wagon so it could
be rolled “upstage” and out of the way
when the space was used as a theatre.
Hagler, and Schuler Shook project con-
sultant Robert McVay ASTC, investigated
making portions of the ceiling retract-
able so that lighting positions could be
exposed for theatre or hidden from view
in courtroom mode, but in their site survey
they discovered that the space between
the courtroom’s ceiling and the roof of
the building was packed tight with HVAC
equipment and structure. There was no
room for lighting positions, but there
was enough room to install motorized
hoists and motorized cable reels to sus-
pend removable/stackable lighting trusses
below the ceiling. In the courtroom mode,
the trusses, along with their integral light-
ing instruments and dimmers, are removed
manually to storage. The hoist points and
SO electrical cable retract by motors into
the attic for a clean looking ceiling. Schuler
Shook mechanized as much of the “in-air”
changeover process as possible in order to
make changeovers simple and quick. This
also lowers operation costs by minimizing
the number of stagehands, and their time,
necessary to complete a changeover. That
said, the PAC is so heavily used as a theatre
that the courtroom rarely sees a trial.
Hagler feels a real key to the success
of this or any adaptive reuse project is to
manage the expectations of key parties.
“Owners need to understand that we’re
taking a space where the structure and
the infrastructure were just simply not
designed to do what we’re about to do
for performing arts use, so I think man-
aging the expectations is the biggest
20 August 2009 • www.stage-directions.comissue in adaptive design,” says Hagler. take advantage of the savings of adapt-
Courtesy Westlake, Reed, Leskosky
“Surprisingly, the easier adaptations ing, rather than building, and he points
are usually those on spaces where the to the Tax Act for the Rehabilitation of
intended new use is very different from Historic Structures from 1978 as prec-
the original use.” edent. That tax credit was passed on the
basis that renovating a building requires
Economic Sense more labor than material. A renova-
Paul Westlake, principal at Westlake, tion “creates a disproportionately high
Reed, Leskosky, believes in the economic amount of jobs to accomplish. I think
advantages of adaptive reuse as opposed you’ll see additional incentives emerge
to building new. The audience chamber of the Tennessee Theatre in Knoxville, Tenn. The redesign
to find uses for existing buildings and
was led by Westlake, Reed, Leskosky, and took advantage of state and federal tax
“If I had to take my experience on 100 discourage new construction.” credits for renovating historic buildings.
of these projects in our firm, on aver-
age,” begins Westlake, “for a very heavy
renovation, adapting a space from its
original purpose to a new purpose will
cost about 85% of the cost of the new
construction.” Furthermore, New Market
tax credits, combined with state and fed-
eral financing mechanisms available to
historic buildings, can take a further 40%
off the equity needs of a project.
“If the building is landmark status,
we’re able to use state and historic tax
credits, and because a lot of the build-
ings we work on in adaptation are in
older, urban neighborhoods they are
often in neighborhoods that meet the
criteria to qualify for New Market cred-
its,” Westlake says.
Add to that the fact that an exist-
ing building can also take advantage of
infrastructure, like roads, sidewalks and
utilities that are already in place, to pare
down costs and environmental impact.
Westlake believes reusing an existing
building is greener than making any new
building, however LEED-certified. Still,
there are problems to look out for.
Any space whose use is being
changed may find itself in a new building
code, moving from a place of business to
a place of assembly. Anyone doing this
will need a rigorous analysis of the codes
in their area, as this can lead to a lot of
unexpected costs. Secondly, older build-
ings weren’t made to accommodate the
Americans with Disabilites Act, so ret-
rofitting buildings with the appropriate
access ways can turn out to be more
involved that it’s first imagined.
Westlake’s third point dovetails neatly
with Hagler’s about expectations:
“There are some design compromises
required,” Westlake remarks. “But some-
times you get a more interesting result,
because you get a tension between the
original space and the new purpose.”
Westlake thinks that in these uncer-
tain times, with budgets as stretched as
they already are, people will be looking to
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W: www.barbizon.com P: 888-448-7890 Engineering Harmon- 48189
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2254 Nw 93rd Ave. D. L. Adams Associ- P: 416-465-3378
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F: 305-593-2331 Denver, CO 80211 harmonics.com 800 Wyman Park Dr.
W: www.barbizon.com P: 303-455-1900 Ste. 300
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