The Magic Show Experience

Hello, Trevor writing. Here is another little perk of working backstage: sometimes you get to be in the show! The other day I was helping out with Popcorn Theater during Magic week. On that day, a local magician named Justin Holbrook came in and was setting up. He came over to the tech crew and asked if any of us would like to be in the show today. And, because I am an actor, I agreed to lend him my service. Justin then proceeded to pull out from behind his back a poncho, an umbrella hat, a big red nose, and a huge pair of sunglasses. I started to second guess volunteering myself.

Justin presented to me my costume and told me that I would be a part of a comic act. He explained it to me as such, “A girl will be selected from the audience and participate in a guess-which-hand-it’s-in-trick with some toilet paper balls. Before the girl guesses which hand, the toilet paper ball will be thrown over her head, onto the ground. You will be behind the curtain and pick up the balls of TP without the participant knowing; however, the audience will know full well of what is going on. Then, after a few tries, I will offer the girl the chance to find out how I did the trick and continue to do the trick in slow motion. At that moment, you will hear music and, in slow motion, gallop on this stick horse across stage, taking the toilet paper ball from my hand and continue off stage. Don’t worry! You’ll do great.” I thought this was pretty clever. He explained to me that the slow motion portion of the trick was to show the participant how the trick really worked. So in a very round-a-bout way of saying it, this trick was the “Lightning Fast Clown Trick.”

Justin walked away and continued his rushed pre-show tech rehearsal. I looked at the ridiculous clown costume in my hands and started getting nervous. I started thinking, what if I ruin the trick and make Justin look bad? What if the girl sees me removing the paper balls behind her? I shook off the doubt in my head and remembered that it was a kids’ show. Most kids appreciate corny humor and are easily amused. Even if I had messed up, it probably would have been funnier to them. So, when it came to be my minute of fame, I performed as goofily as I could, and the kids loved it.

Behind the Scenes

Trevor Tracy here, giving you all the inside scoop of what goes on behind the scenes at Tibbits. Thanks to Michigan Works, I got the wonderful opportunity to work with the tech crew, and I must say that I had a wonderful time doing so. Since I am a theater major at Spring Arbor University, this job-shadow opportunity was a perfect way to spend my last few weeks of the summer. I was immensely involved in theater during high school, and actually had the privilege to perform at Tibbits a few times, so I was already familiar to the backstage portion of the Opera House. Having been involved more in the acting side to theater productions, I was eager to learn more about what it takes to operate the technical parts of the theater and to be the man behind the curtain.

When I arrived at Tibbits, the Summer Theater program was putting on its final show for the summer, The 25th Annual Putnam County Spelling Bee. The Technical Director, Chris Aler, was gracious enough to take on the role of teacher and supervisor for me. Chris was already busy with all his duties during production week, so I appreciated that he would take his time to show me around. He showed me all sorts of cool stuff.

On my first day, I was given a tour of the theater. I had seen most of these areas before, but Chris wanted to make sure that I got the whole backstage crew experience. We were making our way around, and ended up in the lighting booth located up in the balcony. Chris showed me the spot lights and the light board, the key ingredients to producing a great looking show. I knew what spot lights did and all, but I never knew how to operate one. There are several knobs and switches that collectively change the color and shape of the beam of light. I thought this was fascinating, and this explanation heightened my appreciation for the operators of the machine.

After my brief tour of the facility, I was immediately put to work. Chris brought me to Tibbits workshop to work on some stage notes that were given to him by the stage managers. It was Chris’ job as Technical Director to make sure that the stage the Set Designer had designed looked and operated the way it was intended. Even though the set for this particular show was simple, there were still quite a bit of notes to take care of throughout the week. Chairs had to be mounted to the stage, curtains had to be flown in and out, the stage needed painting, breaks were needed on platforms, etc. All week we were working on these little things that potentially made a huge difference in the way the actors utilized the set.

Intermittently, I would get a history lesson. One of the greatest experiences during this job-shadow was climbing up to the pin rail balcony of the grid, which is the skeleton of the curtain fly system, and experiencing how the system was run back in the times when Tibbits was founded. Up near the grid there is a section of dead-hung rope. This simply means that the ropes that are fastened tightly up there do not have the new-and-improved weighted pulley system that is provided in the newer harbor fly system, so it takes incredible strength to pull the curtains up and down. It actually took three of us to make some changes requested by the Set Designer. Oh, and I forgot to mention that it was about fifteen degrees warmer up there, so we were drenched in sweat after moving a curtain two inches. It was rough!

The people behind the scenes, I feel, go underappreciated. Many actors take for granted the things that are provided for them through the technical crew. Now that I have had this experience, I definitely have a greater appreciation and understanding of how difficult the backstage work is in a theater production.

Costume Shop

Okay, it’s Alexandra, now it’s time to take you into the costume shop. In my exploration of Tibbits Summer Theatre, understanding where the lovely costumes come from strikes me as another interesting topic to give you a fuller understanding of what you see on stage.

I had no idea what to expect the first time I went to help in the costume shop, it turns out the department has two of the sweetest people I’ve ever met. The sincere and hard working designers making the costumes this summer are Erin Tucker and Theresa Hartman. They are both crazy busy with work this summer. Normally, two designers split the main stage shows and one person gets the children’s theater. This year there are two people for all of the shows.

As I looked about the basement full of clothes, I wondered if they make all of the costumes new for the shows. Theresa said most of the costumes come from existing things that are altered and just a few are made from scratch. Theresa happened to be making a red dress from scratch that day. She said it all depends upon what’s needed and the time they’re given.

With all this work to do, I asked what kind of hours Theresa and Erin work. Generally they work a 9-5 job, but sometimes they come back and work between 7-10 pm. After watching them perform a fitting or two, they were ready to assign me a job. My first job was to sweep the floors. I swept along and every few feet, bent over to pick up the endless amount of dropped pins. I quickly realized even the simplest task wasn’t going to be easy.

Job number two was taking the pile of clothes off the floor and putting them all on hangers. It was actually very enjoyable; it was neat to see all of the different items which inhabit the costume shop. My last job was organizing the wall of purses, clutches and jewelry. This was awesome. I’ve never seen such an array of bags and jewelry. I was up and down off of a folding chair and smiling every minute. My respect for Erin and Theresa grew with every up down on the folding chair.

These two work extra hard during the summer, then go back to school and study for the rest of the year. I had fun in the costume shop and it has been a joy sharing my experiences with you.

ErinTucker, Costume designer for Crazy for You and The 25th Annual Putnam County Spelling Bee, provided the basic steps to creating costumes for a show:
1. Script reading (understanding the show, the characters, their costume needs)
2. Meeting with the director (learning the director’s vision for the show)
3. Historical research and renderings (understanding and creating a visual base for the costumes)
4. Pulling and building (using the costumes in the shop as a base for creating the costumes and fitting them for each character)

5. Dress rehearsals (Seeing how the costumes work for each character, how they play together on stage, and making minor adjustments)

Shown above: Rendering of the chorus girls’ costumes for Crazy for You - Erin’s unique design featured reversible bodices which allowed for quick changes and multiple looks.

Rehearsal

Hi, it’s Alexandra again. This time I’m delving into the rehearsal process. I feel learning a little bit more about the process will help everyone appreciate the shows even more. So I attended a rehearsal of The 25th Annual Putnam County Spelling Bee.

I wasn’t sure what to expect from the rehearsals. It turned out to be a different but wonderful experience. When I walked into the gym at Pansophia Academy, the cast was hard at work blocking the day’s scenes. Blocking is the creation and practicing of the movement that is going to happen on stage. As I began to watch their rehearsal, I was quickly surprised by how collaborative the process was. The actors clearly felt free to put in their ideas and usually they would try the ideas out. Erin Tucker, the show’s costumer, was filling in as Stage Manager; she said the rehearsal process doesn’t normally have as much collaboration. She elaborated, saying since there's less dancing in the show Ray Gabica, the director, allows a lot of collaboration.

The blocking seemed to be going at a break- neck pace. Erin said it always goes quickly but it seemed to be going extra fast with this show. The actors and actresses picked up on the blocking in no time. It seemed every time they ran a song, the bold acting choices became bigger and better. Each time they would find a new facial expression or body movement to make their character even more full and rich. Their concentration levels were very high but at the same time they all looked as if they were having fun. I noticed that even when somebody would mess up, the director would just turn and say, “That’s what rehearsals are for, to screw up so you don’t do it in a performance.”

As the rehearsal progressed, I began to wonder when musical director Cheryl Vanduzen receives her music. I was surprised when she said she receives it only about a week before rehearsals start. She spends the first day and half working with the performers on musical notes in their songs. She doesn’t have her first practice with the pit orchestra until Saturday, the end of the rehearsal week. She rehearses with the pit again on Sunday. Finally on Monday, Cheryl will have her first rehearsal with both the pit orchestra and the performers. The cast and crew will continue to work the show for the rest of the week, until the Thursday afternoon opening. Only with the audience in their seats, is the show finally complete.

It seemed crazy to me how actors and actresses could learn a show so quickly. Why, wouldn’t they need an unending amount of practice time? I asked how long each day the cast practices and was very surprised by the answer. The rehearsal day goes from 10 am -1 pm, lunch break 1-2, rehearsal 2-5, dinner break 5-7, and rehearsal 7-10pm. They literally practice all day and are ready in 11 days. It pays off with outstanding performances.

I hope you’ve enjoyed learning about the crazy fast pace of rehearsal. You can think about it when you come to see The 25th Annual Putnam County Spelling Bee. Next time we’ll give you the insight into the quick sewing designers in the costume shop.

Who doesn't need a good laugh?

Christine here.

Wow! The first week of "Run for Your Wife" is over and the buzz around town is great. Everyone is enjoying this show. Actually they're all complaining...about their faces hurting and their sides aching. Isn't that great!

The reviews have been equally glowing. Donald Calamia from Encore Michigan said "I probably laughed more during my two-hour visit...than I have in quite some time!"
You can read his complete review at Encore Michigan

Christopher Tower, Battle Creek Enquirer wrote, "It's very, very funny. If you haven't had a laugh that made your sides hurt in a long time, then "Run For Your Wife" delivers what you need." He concluded his review with [Director Charles] "Burr's genius eye for comic detail and progession make the most of each cast member to create not only the hit of the season, but one of the best shows ever to hit the Tibbits stage." You can read his complete review at The Enquirer

So grab some friends and come to Tibbits. Run!

Run for Your Wife

This is Charles.  We are having a roitous time with the rehearsals for Run For Your Wife.  We put it on stage this afternoon.  I can't wait to hear all the doors slamming as the cast hits high gear!

This is the director's note I wrote for the program:

Ray Cooney is the best current writer of farce in England. He is author or co-author of Move Over Mrs. Markham, Not Now Darling, Two Into One, Out of Order, Funny Money, Caught in the Net and a host of other gleefully low-brow, but tremendously funny productions. His plays have been so successful, that he owns his runs his own theatre in London. Wikipedia--the ubiquitous source now for everything on line--defines his plays perfectly (and I quote): “Cooney's farces combine a traditional British bawdiness with structural complication, as characters leap to assumptions, are forced to pretend to be things that they aren't, and often talk at cross-purposes to hilarious effect.” I agree. He uses all sorts of stereotypes for his own ever spiraling purposes--never letting political correctness stand in the way of a funny joke. Lucky for us we have a superb company of comedians and designers who think "funny." Rehearsals have been filled with laughter--and all of us together can’t wait to bring you: Run For Your Wife.

Set Designer Andy Broomell

Hey, it’s Alexandra again. This time I interviewed Andy Broomell, the scenic designer for Tibbits’ main stage season whose work can be seen all season long. [“On Broadway” is tonight and tomorrow night.] Andy & I met in the production office underneath the Tibbits stage, with the sound of nonstop drills from the set build going on above us, and a malfunctioning tape recorder at my side. Through the whirr of theatre activity I learned about Andy…

He’s from Central Wisconsin and pursuing a BFA in Theatrical Design and Technology at the University of Wisconsin-Stevens Point, where he is a senior. He has been creating sets as a career for the past three years. When most people think of theatre jobs they list things like actor, director, etc., not the jobs behind the scenes. Andy knew in high school he either wanted to pursue music or theatre. Luckily for us he chose theatre. He became interested in scenic design participating in stage crew during high school where he and a group of students did all the lighting, tech, and set design. They were given a lot of freedom and control over what happened in those areas. Andy said they were given that opportunity because the school size was small and the teachers had confidence in the students.

Andy’s favorite part of set design is how completely collaborative it is. He likes how all the departments work together so the final product is cohesive. We also discussed how he designs a set when the story doesn’t take place in a specific location such as New York. Andy explained how he uses outside sources for ideas and gave examples from the current production of “On Broadway.” He said the design process usually starts by discussing with the director what he or she envisions for the show. Trinity Bird, the director for “On Broadway,” mentioned wanting to incorporate show posters into the set. While listening to music Andy found inspiration in the album artwork that popped up on his iPod. He took the show poster idea and modernized it by using the CD cover artwork from each of the shows represented in the revue. He also incorporated the exposed light trusses used at concerts. His main goal was to create a versatile set that worked for the multiple songs in the show. When he’s designing he has little involvement with the cast, but he does have to keep their needs in mind.

I asked what a typical day is like. Andy said at Tibbits he doesn’t have set hours, but instead works by deadlines. If he starts working on a show that requires knowledge of a time or place to create the set, he will spend his work day researching. He will then start sketching his set designs and eventually create groundplans, renderings, and other detailed drawings. Andy enjoys working all day because he is passionate about his job.

Of his work to date, Andy’s favorite show has been “Rent” because he had a close connection with his design and the cast. He loved the fact the production team had a specific vision of where the show was going. “Rent” takes place in New York during the early 90’s so he immersed himself in the lifestyle and atmosphere of the characters in order to create a world for them to inhabit onstage. As far as challenges, Andy said one of the most difficult shows he has worked on is Tibbits’ upcoming production “Crazy for You.” He said it isn’t so much the complexity of the set pieces but rather the number of different locations and fitting the set pieces into Tibbits’ limited wing space. He said coming up with creative solutions is difficult but fun.

In 2009 Andy received a Special Judges’ Award for Outstanding Projections Design at the Region III Kennedy Center American College Theatre Festival. He was only a sophomore in college and it was his first time working with projections. Since there was no specific category for projections, he entered his work into the scenic design category. The judges really liked his work, but they wanted to give the award to a scenic designer so they created a special award for his work.

With his experience and recognition, I asked what advice he would give to someone pursuing a career in scenic design. He said “go beyond what the professor tells them to do.” He recommended researching professional scenic designers online to see what they have done and learn from them. He also suggested reading about new shows, keeping up with the ever-changing styles on Broadway.

I hope you have enjoyed taking a closer look at the talented set designer Andy Broomell. More of his work can be seen at http://www.andybroomell.com. It was a joy to share this with you. When you go to see “On Broadway” and “Crazy for You” take some time to soak in the interesting set, and feel privileged in knowing just a little bit more about the man behind it. Goodbye until next time. With smiles,
Alexandra Lyon

Charles Burr Interview

Last week Encore Michigan ran a nice interview with Charles Burr.

A FEW MINUTES WITH: Charles Burr, artistic director of Tibbits Summer Theatre
By Donald V. Calamia

For many Michiganders, the summer is not complete without a visit to Coldwater and Tibbits Summer Theatre. Begun in 1964, the company performs in the Tibbits Opera House, which opened in 1882 and is one of the few remaining facilities of its kind in the United States. Long-time artistic director Charles Burr talked recently to EncoreMichigan.com about his popular theater and the new musical revue he co-created that will open the 2010 summer season June 24.


Tibbits Summer Theatre is about to open its 47th season, and you've been associated with the company for 28 of those years in one capacity or another. What first brought you to Tibbits?


In the summer of 1981 I was performing in Fiddler on the Roof just up the street from Tibbits at the old True Grist Dinner Theatre in Homer. It was a 10-week run and I really needed to be seeing other shows. Well, my long time partner and collaborator, Bobb James, was performing at the Tibbits that summer. I fell in love with the theater. I auditioned for the next season and wound up playing Moonface Martin in Anything Goes.


Not to forget my stunning portrayal of Henry Higgin's butler...I came back as an actor for each season after that. I was directing at least one show a year by 1985 and was named artistic director by 1991.

Follow link to rest of the interview: MORE

Tiffany Wiesend Interview

For my first interviews I was honored with talking to actress Tiffany Wiesend and actor/director Brian P. Sage (yesterday's blog). Both of these remarkable performers are gracing us with their talents during the run of the upcoming show, On Broadway a Modern Songbook.

Tiffany Wiesend is a Michigan girl who grew up in the Dearborn area by Detroit. Tiffany has been around music since a very young age. Her dad was a singer who had a band in the early 60’s. She has been singing since she was a little girl, “from the crib” as Tiffany said. Her parents saw her talent and enrolled her in voice lessons. As she grew up, Tiffany became involved with cheerleading which introduced her to dance. She also took a local acting class. For Tiffany, everything just fell into place with the constant support of her family.

Every show is special to the cast. I asked Tiffany what made On Broadway a Modern Songbook special for her. She said it is a great opportunity to showcase her versatility and perform as many different characters during the show.

Her favorite memory from Tibbits was her opportunity to perform in Hair last summer. It was an ensemble show and it brought the entire cast together. It was a very controversial show for a town like Coldwater, but touched the audience. Tiffany was pleased to be a part of it. She said, performing in Hair changed her life and is an experience she’ll never forget.

I asked Tiffany why someone should come see On Broadway. She said “because the cast is super talented.” They have come together to show the audience an array of music from a broad range of musicals.

Actors keep a very hectic schedule. When asked about how she keeps motivated, Tiffany said when she was in New York, she came to realize, if you’re doing what you love, being tired doesn’t really matter anymore. It is the goal you’re trying to achieve, and reaching it helps you deal with the hardships. She also said, she is truly passionate about what she does and it helps her get through the tough times.

My last question for Tiffany was what it is like to act for a living? She said it is testing at times and has created difficulties in seeing her family, but it is also an adventure. Tiffany enjoys living life as a constant set of adventures. For her, it is difficult to not see her family as often as she’d like. This has made her truly cherish the time she does have with them.

Until my next blog, I hope you have enjoyed taking a closer look at Brian P. Sage and Tiffany Wiesend. They are two amazingly talented people, who were a joy to interview. I wish all who come to the show a great experience and the entire cast/crew an amazing show. “Break a leg!”
With smiles,
Alexandra Lyon, Summer Intern

Brian Sage Interview

Alexandra Lyon is a student at Quincy High School. She’ll be interning with Tibbits this summer to learn more about the world of theatre. One of the tasks we’ve set before her is to interview some of the company members. When we’re in the middle of another season, it’s easy to take what we do for granted. We thought it would be refreshing to hear from someone for whom the world of summer stock is a new experience.

Alexandra Lyon here:
During the summertime, Tibbits is truly a hub for all things theatre. There are many talented people who call Tibbits their home away from home during this wonderful time. Without all the actors, actresses, directors and tech crews none of these great performances would ever be possible. I have always wanted to know more about the people who make it happen. So join me as I share the information from my interviews with these special folks.

For my first entry I was honored with talking to actor/director Brian P. Sage, gracing us with his talents during the run of the upcoming show, “On Broadway a Modern Songbook.” Brian will be in all of the main shows this summer and even directing “The Emperor’s New Clothes.” Brian completed his Master of Fine Arts in acting at Wayne State University. He also studied at Moscow Art Theatre School in Russia. When asked about his experience in Russia, Brian’s first word to describe it was, “Different.” During his few months there he studied what would be the equivalent of the first year of training in the United States. Brian says in Russia, young adults are picked at age 18 to go and study acting as a career. This is what they will devote themselves to for the rest of their working lives. Unlike in the US, theater in Russia is nationally funded. I was surprised to learn most of what American actors know about theatre came from Russia.
About this summer, Brian said the truly special part about “On Broadway a Modern Songbook” is the ability to play so many different roles in one production. He also said this show gives him the opportunity to put his own personality into the characters.

Many crazy things can happen during rehearsals and performances. Brian’s favorite Tibbits memory is from a matinee performance of the show, “A Funny Thing Happened on the Way to the Forum,” many years ago. An actress who was supposed to perform forgot about the matinee and could not be contacted. Charles Burr, the artistic director of Tibbits went on in her place creating one of the funniest moments ever on the Tibbits stage.

I believe that everyone at some point in their life is inspired to go into their future line of work. Brian was inspired by his high school theatre director Gloria Logan. She is also an actress for Tibbits summer theatre, who Brian has enjoyed working with after his school years. She is also the person who introduced him to Charles Burr.

Not only has Brian been an actor he has tried his hand at directing. He feels directing is a form of teaching, and he would like to teach acting in the future. Brian also enjoys collaborating with the actors and tech crews. He believes directing helps the actors during the rehearsal process.

My last question for Brian was on how he gets into character before the show. For him, getting into character isn’t about doing a crazy dance or chant. It is about relaxing, stretching, vocalizing, and engaging with your scene partner. He says the actor just needs to get into a performing state of mind and then live in the moment while on stage.

Tomorrow we’ll add an interview with Tiffany Wiesend.

2010 Summer Theatre Season opens today

Christine Delaney here, executive director of Tibbits Opera House, the 47th season of Tibbits professional summer stock theatre opens today with a new revue..."On Broadway: A Modern Songbook." Energy is high and there's great anticipation for the season ahead. We have a great company, enthusiastic and talented; all we need is the audience. (And hopefully plenty of it!)

After a long hiatus, we're rejuvenating this blog. Look for some fun interviews with members of the company and insight on the season from a fresh set of eyes. Probably some input from the veterans as well.