Back In The Theater Again

Two days ago the Gluck/Berlioz cast and staff finished up their final rehearsal in a small wrestling gym in Richfield Springs. We move into the theater this afternoon. The production week countdown has officially begun.

This will be a smoother transition into the theater simply because we've been here before. Glimmerglass is unique in that they lump a chunk of piano stagings smack dab in the middle of your staging rehearsal process. There are advantages and disadvantages to this process. The advantages are the fact that we get to see immediately where staging ideas won't work.

The rehearsal room is notorious for giving directors (and singers) a false sense of ability. Stairs exist as mere tape lines on the floor, rehearsal chairs/tables/etc. are often chunkier and smoother than the real thing, and flying set pieces exist only in the imagination. Therefore, 5 foot mock-ups of 13-foot-tall puppets roll easily over the waxy-smooth surface of the wrestling gym and don't have to worry about stone overhangs and straw-covered arms that fly loose from their tiny bases. Tiny entrances wherein chorus members and dancers pop in from side doorways and quickly disappear are unencumbered by grievous sight lines. This is when we thank god for the early on-stage time to show us the error of our ways so that we can descend back into the studio and fix all of our misconceptions.

The disadvantage lies in the fact that any momentum and continuity gained in a dramatic sense is somewhat stymied at an earlier time than usual. We lose a bit of chorus time and dramatic discoveries are often prematurely knocked out because we have a truer sense of what will play in our own little stage space...

That being said, our little show is fully staged and ready. Most of the issues come down to pure technicality at this point, and so moving into the theater involves less nervous energy from the singers as well as the production staff. We have two rehearsals today. My hopes are that we will get through Act I this afternoon and finish up in the evening.

This afternoon may prove to be difficult simply because we are teching a major wig/makeup/costume change for all 21 of our chorus members. Everyone has galloped through the previous stagings in most of their costume, but this is the first time they will be dealing with makeup - a huge change especially because the Furies are such a drastic move away from the basic townsperson look they will be quick-changing out of. Just as I foresaw issue with our huge, beautiful effigies at our first tech, I foresee issues in this change.

As Harry Silverstein, the director who got me into opera, always says, "That's why we call it REhearsal and not simply HEARSAL." (And of course Lillian all reminded us one day, when we were repeating one little section for the 13th time, that the word for "rehearsal" in French is "Repetition").

So here I am, sitting in the Stage Management office in the Wardrobe House on the Glimmerglass campus. One of the few rooms with a/c, I'll be here until we begin, personalizing chorus notes and making sure I have a complete list of fixes before we step out on stage and start the freight train running...

In related news, I found the Glimmerglass Blog today. Check it out. It's a log of all four of the operas and their progress through the season. Everything begins in a week and a half.

Time is the Enemy

So I've been looking back on my meager posts lately.

They all seem a little disgruntled. A little rushed. A little mournful.

And perhaps that does sum up where I'm at, but I'm noticing that they don't particularly capture what I was hoping to capture when I started this blog a year and a half ago. I wanted to really explore what this life was, what it was to live and work in the performing arts, what it was to be in this rootless job, the intricacies of putting up a show and dealing with a life that is dictated almost entirely by what you do.

It's hard to talk about all of these things without detail, and perhaps my life would have been made infinitely easier had I started this blog as an anonymous writer. But then again, my goal was never to (as my documentarian husband says) "expose the seedy underbelly of the opera business," it was to document process in all of its joys and difficulties. Because, truly, the process is the only thing that makes art worth DOING . . . for me that is.

I've become somewhat nervous to talk about difficult projects which really defeats the purpose of this blog. You can take as much from the difficult moments as you can from the joyous ones, sometimes more. Suffice to say, "Samson et Dalila" has been a difficult process, and for the same reason that most operas will claim when they are struggling to open well:

TIME.

Opera production suffers from a quickening disease. The productions are huge and lavish but the rehearsal time is painfully small. Big budgets conflicting with meager cash flow dictate that rehearsal and technical schedules be reduced to their absolute minimum. It's a frustrating truth that looms darkly over many, many productions, and it is felt in every company I've ever worked for.

Most productions go up in three weeks or less. A month of prep/rehearsal time is luxurious. This is not so in straight or musical theater. Directors who come to opera from that tradition are shocked and dismayed to get their first production calendar. Dancers work months on a ten-minute piece, musical theater gets an extensive preview period wherein they can tweak a piece until it's been drilled to near perfection. Opera starts on a Tuesday morning , and three weeks or less later the critics are there with their light pens and tiny notebooks, ready to judge.
The trick as a director/maestro/lighting designer etc, is to organize your time so effectively that you can fit everything in. Some people would say you can't be a perfectionist in this business, which I don't really agree with. I think that perfectionism works here as long as its always coupled with a severe organization (this is where my OCD ends up working for me). Everyone working on an opera has to walk in the door knowing exactly what they want and exactly what they're doing or frustrations will ensue and multiply.

For "Samson," it was tech time that was fighting. This is a difficult technical show with collapsing temples, pyro effects and a two-minute scene change that defies belief. We're finally getting there, but I am constantly amazed at how much has to be achieved in so little time.

It's the time factor that will keep most opera from ever truly achieving the slickness that we see in Broadway shows (and I'm not sure that opera should really ever go there even if it could). Don't get me wrong, to be granted more time is a luxury that any of us in the business would grab at and clamp onto like an alligator's jaws should it ever be held out towards us, but I have to say that I thrive on the race. I love that feeling after a meet-and-greet or first production meeting, as if we've all set ourselves down on a giant toboggan and then pushed ourselves over the side of an impossibly high, icy mountain. There's no stopping it once it starts. We're going to hit every tree and rock on the way down, and we're only going to get faster and faster and faster as we go. But if we reach the bottom without capsizing, then the rush, the adrenalin, the cold in our faces is the most exhilirating feeling I know.

The moment that orchestra tune rises out of the pit on opening night, no matter how many times I've banged my head against the wall, walked out of a rehearsal searching blindly for a scotch rocks, buried my head in my hands as a tech rehearsal grinds to a halt for one reason or other, I know the curtain will rise and a show (our show) will be on the other side.

It's the reason I can't even fathom doing anything else.