Episodi
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Child Wrangler Felicia Velasco is the guardian for a show's young cast members while they're at the theatre for performances and rehearsals. As a combined authority figure and assistant, she ensures the child actors are prepared, are kept safe, and helps to manage their downtime. Seen here working with the girls at "The People in the Picture", she compares it to previous wrangling assignments, and finds the upsides to a career as a child wrangler.
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Associate Lighting Designer Caroline Chao takes care of all the details for a lighting designer, including handling the production schedule, helping to draft the lighting plot, and keeping track of notes, follow spots, and the cue list. She takes us through her role in the production process, and points out the advantages of being a lighting associate and assistant. Chao has worked on multiple shows at once with lighting designer Don Holder, and is seen here teching "Spider-Man: Turn Off The Dark".
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Episodi mancanti?
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Theatrical Sculptor Nino Novellino specializes in creating sculpture and costume armor for theatre, ballet, opera, and film. Costume armor was first developed for the original production of "Man of La Mancha". Novellino talks about his work on the set of "Cats", "Sunset Boulevard", and the Green Goblin costume in "Spider-Man: Turn Off The Dark". From the sculpting shop, he explains the different processes used to recreate items in plastic for use onstage.
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Special Effects Designer Gregory Meeh uses a vast array of technologies to build illusions for live stage productions. He has created pyrotechnic explosions and atmospheric effects such as rain, fire, and fog for "Spamalot", "Women on the Verge", and "110 in the Shade" on Broadway. A special effect event like "The Phantom of the Opera" chandelier is comprised of many elements. Seen here are "Treasure Island"'s simple yet creative effects, as well as Meeh's expertise with firearms ("Les Miserables", "Miss Saigon").
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Director of Community Engagement Anita Maynard-Losh leads all education and outreach programs at Arena Stage in Washington D.C. Her extensive background in arts education began with acting, directing, then teaching at American Conservatory Theater in San Francisco, and throughout Alaska. As director, her job is not only administrative and hands-on education, it's an important part of Arena's artistic strategy and mission to enrich their community through theatre. Voices of Now and the DC Ticket Partnership are two of Arena Stage's programs that add to students' arts education.
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Costume Shop Manager Carol Hammond works closely with the costume designer, and deals with all of the logistics of costuming. She oversees costumes being shopped and built, fittings, budgeting, and hiring and managing an extensive staff. At Atlanta's Alliance Theatre, Hammond and her core staff work on multiple shows at once during their annual season of ten productions. Hammond gives a tour of the Alliance Theatre's costume shop, craftshop, wardrobe, wig area, and storage.
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Technical Director Mike Cristaldi supervises the installation and engineering of the physical production of a show. At Philadelphia Theatre Company, he coordinates all the technical elements, such as scenery, lighting, sound, wardrobe, props, and video, between each of PTC's departments and a show's designers. He talks about how the new Suzanne Roberts Theatre space increases PTC's technical capabilities, and how it has broadened his role as well.
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Theatrical Milliner Lynne Mackey makes customized hats for stage productions. Theatrical hats are created for a specific show, character, and costume design, fitted for each individual actor including their wig and microphone pack. Mackey must make adjustments for the needs of the sound designer, lighting designer, and choreographer to not impede their work. Seen here are dozens of hats, including large handmade ones from Mackey's favorite show "The Color Purple".
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Prop Manager Desiree Maurer scouts for props, as one of her many responsibilities in furnishing and filling a play's set. At Playwrights Horizons, Maurer manages the timeline prior to rehearsals, working with a show's designers, formulating a budget, shopping for props, ordering materials, reupholstering furniture and repurposing items.
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Ticket Sales Manager Cinda Barbuto oversees all aspects of ticketing including the box office, group sales, and telemarketing. She worked her way up from the box office at Goodspeed Musicals where she now programs the computerized ticketing system which handles individual tickets as well as 14,000 subscriptions. Barbuto cultivates audiences of repeat visitors by personally greeting patrons, which assists Goodspeed in being a destination theatre in New England.
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Cast Album Producer Kurt Deutsch, co-founder of Sh-K-Boom Records, preserves musical theatre history by overseeing entire production of cast recordings, including hiring the engineer, directing the cast in day-long studio sessions, and giving the composer the final word. Each recording has a unique vibe, as seen here in the fusion of music styles for "In The Heights". Deutsch also describes how he captured the live, organic feel of "Hair" and the sense of community amongst the cast tribe.
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Sound Engineer Carin Ford ensures the sound design of a production is transparent to audiences while effecting the mood and feel of a show. Ford traces her career from her early interest in music, to meeting and working with Lily Tomlin, to numerous Broadway productions. Ford explains how mixing a new show requires observing rehearsals before adjustments can be made during run-throughs, incorporating notes from the director, designers, and music team. Ford walks us through her daily routine at "La Cage Aux Folles" to check the sound system, so she is prepared for any problems that may arise.
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Model Builder Steven Kemp explains how a model is the main communication tool in visualizing and building a show's set. Kemp works with scenic designer David Gallo in turning his design sketches into perfectly scaled models. Kemp highlights the advantages of a physical three-dimensional model as well as a digital model easily viewed by computer.
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Production Manager Ruth Sternberg is the primary facilitator in executing a stage production within its given financial parameters. She discusses with the director and designers what they want to achieve and provides staffing and resources for each play. After 10 years at Trinity Rep with Oskar Eustis, they both moved to the Public Theater where they work on 6 stages, "Shakespeare in the Park" at the Delacorte Theater, and off-site productions such as "Passing Strange", "Hair", "Bloody Bloody Andrew Jackson", and "The Merchant of Venice" on Broadway. Sternberg loves that her job always brings a new challenge, such as the one seen here for "Kicking a Dead Horse".
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Musical Director Carmel Dean is responsible for many different aspects in a musical production, from collaborating with the director to overseeing music rehearsals and conducting performances. Dean traces her theater career from performing in high school musicals in Australia with Heath Ledger, to attending NYU where she met adjunct faculty/composer William Finn, and went on to work with him on "Elegies" and "The 25th Annual Putnam County Spelling Bee". For "American Idiot", she's worked closely with music supervisor/arranger/orchestrator Tom Kitt, and is seen here running daily vocal rehearsals and in performance conducting the onstage band.
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Theatrical Shoe Designer Phil LaDuca worked as a Broadway dancer, choreographer and dance teacher before creating LaDuca dance shoes. He has created character shoes with the needed flexibility to be danceable, as well as the support and security for singers and actors. He works with costume designers, and handles the process from sketches through manufacturing in Italy to the finished products that end up on Broadway, national tours, and films. LaDuca shows how customized shoes are created for actresses such as Kristin Chenoweth in "Promises, Promises" and Bebe Neuwirth in "The Addams Family".
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Theatrical Wig Maker Paul Huntley explains the multitude of advantages of using wigs on stage; how he started his career in theatre; his preference for a natural look; working on the long-running musical "Cats"; and his ability to be a prolific designer. Huntley demonstrates tying hair to create a new wig; and shows how a wig helps transform an actor into character.
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Dramaturg Anne Cattaneo explains her primary responsibilities, and likens her job to an acquisitions editor in a publishing house. Cattaneo has developed an extensive knowledge of languages, culture, and theatre history. In-depth research is often required for productions with complex timelines such as "The Coast of Utopia" trilogy. The current production of "The Grand Manner" seen here utilized historical documents found at the New York Public Library for the Performing Arts.
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Orchestrator Christopher Jahnke shares how he creates the way a show musically feels by breaking it down into individual instrumental parts; learned from his mentor William Brohn, orchestrator of "Miss Saigon" and "Wicked"; studied '50s music to give the "Grease" revival an authentic sound; and works closely with composer David Bryan on "Memphis" as music producer and supervisor at daily rehearsals and in the recording studio for the cast recording.
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Fight director Rick Sordelet creates the action in "Superior Donuts" that is an integral part of the storytelling; demonstrates the visual and audible illusions of onstage fighting; breaks down the sword fighting staging in "The Royal Family"; and explains the purpose of a fight-call and the importance of safety.
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