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2015-2016 Season

Behind the Scenes At Beauty and the Beast

by Kasey Kopp, dramaturg

This week we take a look at all the work that goes on backstage in order to create a magical night for audience members. As we come to the end of our successful (and sold out!) run, we would like to take you behind the scenes to see just what exactly goes into creating the magic you see onstage!

On the nights of a performance, actors and crew members begin arriving around 5:30 pm. With a cast of over 30 people, the time that people are scheduled to arrive (“call time”) is staggered, allowing those that do not have wigs or extensive makeup to arrive a little later. Regardless, it can become quite crowded backstage!

After signing the attendance role in the green room below the stage, actors begin applying their makeup and getting into costume. Members of the hair and makeup team will supervise and assist with the wigs and any problems that arise with applying makeup. Probably one of their greatest challenges is helping the actresses playing Mrs. Potts and Chip to get into wigs and costumes in under 7 minutes during the show!

Cast members getting into makeup backstage. Photo credit: Nathalie van Empel
Cast members getting into makeup backstage. Photo credit: Nathalie van Empel
Cast members getting into makeup backstage. Photo credit: Nathalie van Empel

Once they are in costume and makeup, actors will attach their microphone and go upstairs for a mic check with a member of the sound team. Every member in the company wears a microphone and completes a sound check prior to every show. If any problems arise during the run of a show, a member of the sound crew is in the green room, below the stage, ready to replace batteries or swap out a defective mic.

Actors are also responsible for placing the props that they need on the set and for setting costume pieces that they will need for quick changes. There are numerous quick changes that take place during the show….many take place within the first few minutes of the show and (some) must be completed in under a minute! While some of these changes occur on stage and in full view of the audience, others are completed with the assistance of dressers, working in the wings, to help company members make their cues. For many cast and crew members, these quick changes are the most stressful part of the show.

Once all props and costumes are set, assistant stage managers and stage operations crew sweep through, mopping the stage and doing a final check backstage before giving stage manager, Lindsi Neilson, the all clear. Once everything is in place, the “house will be open” and the audience will be invited to enter the space, usually a half hour before showtime.

The set, as seen from backstage.
The set, as seen from backstage.

As the audience arrives, down in the green room, stage manager Lindsi Neilson will lead company meeting, going over notes and announcements before the actors will do a vocal warm up at the piano and take their places for the top of the show. Once Lindsi has returned to her booth at the back of the theater (from which she calls all of the light, sound, and music cues totaling well over 100), she will call “places” and confirm with her backstage crew that everything is ready for performance. Ideally, within a few minutes, the lights will dim and the magic begins!

Tune in next time when we sit down with some of the talented actors to learn about their take on these iconic roles, the most challenging aspect of bringing this musical to the stage, and their favorite moments in the show!

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Simple is Best

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Simple is Best [caption id="" align="aligncenter" width="640"] Indeed.[/caption] by Adam White, dramaturg I write this blog post on the day of final dress rehearsal, on the eve of opening night! Everyone involved in this production of A Man for All Seasons has done marvelous work; the set and costuming and make up are all beautiful, and the cast is eager to put their performance in front of a live audience. I guess one could wonder if a dramaturg would give anything but a glowing report of their play that's about to go up, but quite truthfully: I'm eager for you to see this play! On the subject of wanting you to see our production of A Man For All Seasons, I want to relay to you an interesting experience I had just two day ago. Every BYUarts theatre production gets a promotional video, and I was asked by the video makers in charge of the promotional video to be interviewed for the piece on A Man for All Seasons. I accepted, and when I was in the interview, they had two questions for me: 1.) What is A Man for All Seasons about? 2.) Why should people go see A Man for All Seasons? As a dramaturg, I had a great answer for number one. Summarizing the events of this play in an interesting way was no problem. But that second question? That question gave me the hardest time! In the interview moment I was so flustered by my lack of an a concise answer. I quickly babbled out some gibberish to the camera man, after which I apologized and told him if he needed something more intelligible he shouldn't hesitate to call me back. Needless to say I was pretty embarrassed after the experience. Here's the thing: I'm the dramaturgy for this show. I should have some insight as to why people should go see this play (and I do). As I've thought about this experience and about my work as a dramaturg, I've come to the realize that in this situation what I needed was simplicity. Simple is best. See, during that brief interview with the promotional video guys, I was trying to make up a reason for people to see this show that sounded meaningful, or at least scholarly. That wasn't the right attitude for me at all because it meant that I was reaching beyond the play, maybe for selfish reasons, to lend what I deemed to be credibility to a piece of art that, maybe, doesn't need to be legitimized at all. I was being long-winded and downright silly. What the play really needed was for me to speak its simple 'truth.' To redeem myself a little bit and to put my new motto for dramaturgy into practice, I will tell you why I think people should see A Man for All Seasons. I firmly believe, in the words of Oscar Wilde, that "Life imitates art far more than art imitates Life." This play, this conflict between Thomas More, his family, and King Henry VIII, informs our understanding of what it means to have a conscience. Bolt challenges us to explore what it means to have an integrity and what having integrity means in our most intimate relationships. Also revealed in this play is the corrupting influence of political power. I think that every person grapples with these themes, experiences, and issues.A Man for All Seasons is an important play for people to see. The promotional video guys didn't end up using my interview for the promotional video. Frankly, I feel so relieved; it was awful. May you forego the trappings of intelligent-sounding language the next time you are in an interview. Enjoy the show!
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Some Pig: Final Thoughts with Wilbur

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by Jessa Cunningham, dramaturg After the show wrapped up and people went their separate ways, Garret Rushforth, who played Wilbur, and I chatted and I asked him some questions about his experience with the play. What better way to gain insight about the show than from the actor who was in the thick of things from the very beginning? Here is what Garret had to say about this unique opportunity: Me: How was this experience of playing Wilbur? What was your Favorite aspect of it all? Garret: I loved playing Wilbur. My favorite aspect was discovering the character more and more each performance. I never really felt that I had learned all that the character had to offer. Me: What were some challenges that you faced while preparing for the show? Garret: A few of the challenges that I faced had to do primarily with transportation. My car tried to die a couple of times during the run. As far as developing the show goes, I found that the difficulties were mostly in finding the lines. Not simply reciting them, but discovering what was beneath them, motivating them and making them come to life. Me: What lessons have you learned from playing this part, or just from the play in general? Garret: I've learned that there is an amazing opportunity to find out about yourself from the character discovery process. I also learned how much a family the cast can become if given the opportunity. Me: What is your favorite part of this story? Garret: I love when Wilbur and Charlotte talk about Charlotte's death and Wilbur is so devastated. It showed how deep Wilbur's reliance on Charlotte was as well as his desire to help her too. Me: As you leave this production, what will stay with you? Garret: The friendships I've made and the things that I've learned about myself because of the show. Me: What aspects of your character did you love/latch onto from the beginning? Garret: I latched onto the loneliness aspect of Wilbur's life. For all his life, he'd not been given much of a chance, Fern and Charlotte being the exceptions. He was written off by nearly everyone until Charlotte pointed out how special he is. Me: Any final thoughts you would like to share with those who came to the show? Garret: Charlotte's a web was a show that offered a unique view of friendship and family. It doesn't matter what someone looks like or where they're from, friendship and family can transcend all differences.
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