Listen all, Artists near and far!
The Application window is yet ajar.
We’ve extended the Deadline to the 25th of July
In the hopes, for those scrambling, not to cry.
But thrive in knowing that there’s still a chance
To take a leap and with their career, advance.
In management, production, education, design
Within these halls you too will learn to rhyme.
Now go forth and write, revise, till day’s end.
For all our well wishes, we do here, send.
As I am getting more comfortable here, I am noticing the different ways people act with one another. While I imagined my first time in a business setting to be very cut throat and strict, I am happy to say that this is not the case at all. It is a joy to sit at the end of the hall and listen all day to the muffled voices behind office doors that more than often end in laughter. It is clear to me that these people here live in a very special culture where work is not work. It is life. This does not mean they all overwork so much that they have no life (although I am constantly impressed by how much people here put in the extra effort to be great) but rather they do not come to “work” as much as they come to just another part of their life.
The sense of community here is much greater than other theatre settings I have found myself in. I have been in many environments where everybody is there to build themselves up and eventually surpass their colleagues. OSF stands apart from these places in the fact that no one is trying to outdo each other. They all work together to strive for the same overall goals. Someone working here can take comfort in the fact that no one is waiting for them to make the wrong move and can therefore work in peace and reach their highest level of excellence. I hope I can always be in this type of environment.
This last week has been full of new things. Scenic art is full of so many tricks and techniques to achieve the faux finishes and textures we create onstage. To recreate the texture and sheen of a rod iron fence, we mixed graphite with black paint and applied the gloppy mixture onto the wooden cutout. Once dry, you’d sand away and most of the graphite remains giving that sheen. A coat of sealer is needed unless you want the graphite to rub off on everyone’s hands and costumes.
Next with my final design for the Juneteenth Banner getting approved on Friday, we started to mix colors and put them into air powered paint spray guns. I only worked with a spray gun once last summer at Cal Shakes, but I will say that I hardly remember anything. There are a lot of bits and pieces to keep track of when assembling the gun and a few knobs that control the amount of air being used, the amount of paint, and the nozzle. It will definitely take practice. Next we learned out to square a drop on the paint frame – also a new tool and method. Because the banner is long, but narrow, we got a feel for how to spray on paint evenly on the excess muslin underneath the final. However, even before we started on the final we had to learn how to drive the lifts. Having not driven a car in nine months it was hard to get back into it with no help from the joystick controls. Once we were lined up though, I will say I was more comfortable spraying than driving.
This project is on hold until I return after this week. For the main season set pieces, the paint shop has not been overwhelmed the last couple weeks and my charge, Gabriel, has set me up with Rick Anderson in the Scenic Design Studio to help him with some model boxes. I also haven’t built any model boxes in about eight-nine months so I was nervous. I was expecting him to say this is how I want you to build a ¼” model of the Bowmer, but instead he gave me the printouts and two already built, yet slightly different older boxes to compare with. I was free to go about it however I wanted and that is liberating, yet also nerve wracking. It took some getting used to being in a different space without the tools I’m familiar with. I did discover, however, that the larger shell of the theater is fairly similar to the proscenium stage we have back at Ithaca College, minus the proscenium part obviously. Today I will probably be working on making the clouds above the stage and the walls with boxes for lighting on the sides of the theater. It’s really neat to look around at Richard Hay’s immense collection of art, history, theater, and design books filling up the shelves around me while I hold some glued pieces together to dry. Let’s hope I’m keeping up a good pace!
Though I am writing my first blog entry on my fifth day of living here in Ashland, I already know that when my Assistantship is over, I won’t feel as though I’ve had enough time here at the Oregon Shakespeare Festival. I am struck and moved by OSF’s diversity and inclusion mission because, while many organizations claim commitment to diversity, it seems to me that OSF actually walks the walk. Throughout show introductions, the campus tour, and the season kickoff party, I noticed again and again that the wide range of faces and voices I encountered at our first FAIR meeting is reflected throughout the staff.
Despite the diversity of the company, I have noticed that the common thread which ties the OSF organization together is a shared passion for the work that is produced here. From Artistic Director Bill Rauch’s tears during his season kickoff speech, to the Director’s presentation for Comedy of Errors made by Kent Gash, to my own HOD James Dean’s automation creation genius, it is apparent that the people who work at OSF are extraordinarily ambitious, dedicated, and take pride in the work that is done here.
My passion for theatre technology and desire to learn as I work make me feel right at home here; I have already learned a ton working with Tim “Gizmo” Hannon to install the lift for The Tempest. I will expand upon this week’s work next week as I build and assemble a smaller lift that will also be used in The Tempest. I will admit, because everyone in the automation department is SO good, I am a bit intimidated, but I continue to remind myself that I am here to learn and improve my skills while I contribute to each show and the department as a whole. Needless to say, I am thoroughly excited to be here.
Of all the lessons OSF has taught me about art and life, perhaps the biggest is the importance of snacks. Sweet or savory, homemade or store-bought, full of sugar or full of protein, snacking is a big deal at OSF. Maybe it’s because we tend to work long, odd hours and sometimes you just need that 11pm pick-me-up; maybe it’s because of the wonderfully high population of fantastic bakers in the company. Or maybe it’s the community spirit of sharing food, gathering around the snack table on a rehearsal break or passing muffins around the meeting table. There’s no better icebreaker than chatting about food and comparing favorite recipes and combinations.
Here’s the real secret to OSF snacking: if you want to be in the room with the best snacks, work on a project with Lue Douthit. She may be the director of the literary department, but I’m convinced her real job is Provider of the Snackage. It was Lue who taught me the importance of a well-balanced snack table: savory and sweet, fruits and veggies as well as chocolate and chips, and always a gluten-free option for those who need it. And once a snack table has been established, it becomes a community project. Everyone contributes to it, and you end up with a food collage of people’s homemade recipes, impulse purchases, and sometimes even their leftovers. The snack table becomes the heart of the rehearsal room, a central topic of conversation, and the ultimate test of your self-control (today my self-control utterly failed me because KETTLE CORN).
There’s something familial about sharing food, and the OSF family has perfected the art of community snacking – an art for which I am deeply grateful.
I seem to be preoccupied with spaces – last week’s post was about the bigger, encompassing space that is Ashland. This week, I focus on rehearsal spaces. The first week of read-through happened in the Great Hall, with all of us sitting at tables and reading the script together. Those first few days, the room felt almost impersonal, a place to meet and talk but not where art was created. We quickly moved to the actual stage of the Bowmer, wandering in awe around the bright red stage that was so uniquely cushioned and carpeted. I don’t want to say that it all became ‘real’ at that moment because that space is so very surreal, like walking through a dream or a nightmare. Even in plain clothes, the actors are transformed into otherly beings and the theatre seems to narrow into a colorful and limited/limitless world.
Going back to the Great Hall was a shock, back to the basement of an administration building, neutrally painted and with a flat, white floor. But suddenly a rack of costumes appeared, designs were taped to walls, and snacks began to appear. The floor got scuffed and brightly colored tape appeared to mark out the traps and boundaries of a real stage. The focus in this space is on the actors and their every move and word, on the text and the movements. The bright red of the Bowmer stage is only here in pictures on a wall, a lonely model, and the minds of the actors. This room, under the clacking keyboards and busy people in administration, is where the nitty-gritty takes place, where one scene is hammered out to perfection. This is where the art is created.
One of my favorite things about working in the theater is creating a new family with every show you create. Whether it be company members that have worked together for years or a slew of newcomers, each show is a new experience and a new family. OSF is no different. Even though I am thousands of miles away from home, it doesn’t feel that way. From watching football, to baking cookies, to going on group runs…everyone is so inviting! This last day off, I went to a party with a ton of colleagues, in a beautiful home, with delicious food. I was even able to torch my own crème brulee! How cool is that?! I’ve welded scenery, but never food. It was a blast (pun intended).
Not to mention the camaraderie within the rehearsal room. I knew from the first company call that our room was going to be an absolute riot, in the best way. There is so much freedom of expression, there isn’t ever any tension regarding “Can I try this?” The response is always “Of course! This is rehearsal.” It’s always really fluid, and really fun. One of the more outstanding moments happened during one mammoth of a monologue. The actor was doing a really great job, but every time the lines started to slip, the cast literally started cheering him on. I love that! It was great to see everyone so supportive, showing how close and comfortable the company has become. That’s why I love theater, and that’s what keeps me doing it every day. For moments like that (let’s get sappy now), when you are engulfed with friendship and can’t possibly escape that warm feeling in your heart. Have I mentioned that I love it here? Because I do.
Everyday (or night) I enter thru the side door of the Thomas Theatre into our rehearsal space. The Comedy of Errors is fortunate because unlike the other productions in rehearsal right now, we are able to stage in our performance space. This rehearsal process is different for me. Coming from mostly academic theatre into professional, the rehearsal schedule is more intensive. Kent Gash’s directing style is very unique. He is extremely knowledgeable; not only of this play , but of theatre in general. Because he was an actor, a dancer, and now a director, he sees the stage from several viewpoints. This process allows for a well-rounded play that can be enjoyed by all.
Comedy is being set in 1929/1930 New York during the Harlem Renaissance. The majority of the actors are people of color. This new setting brings a fresh and exciting twist to an old Shakespearean play. Because this is his shortest and one of his earliest plays, most don’t view it as they would his other works. It is often thrown to the side but Kent’s direction brings new meaning and purpose. The themes of love, loss, and reunification are still relevant to this day, especially in the African-American/Black community. The unification of the family at the end of the play gives hope to families of all races. Love can truly stand the test of any time or situation. Dromio and Antipholus‘ relationship also shows that family is not defined by blood lines. Family is defined by love.
Episode 3: This week on Keep or Jot, Peter Kuo provides his tips for how to be a successful Assistant Director.
And it has begun! The first tech has started here at Oregon Shakespeare Festival for The Cocoanuts. I’m already at work helping create things for the show. The video designer for the show is Omar and I’m assisting with anything he needs. So far, I’ve made masks for the set as well as the drop. I also created a looping video of clouds in the sky. I’m currently working on animating birds and bees. The artwork is original to the set by the set designer, the only down side is having it as a flat image, however, since these aren’t photo realistic images it is very easy to fill in the gaps and make each part of the animal or bug its own image to animate.
I just finished the bee that you can see to the right. The process of making the animation was simple – I provide a complete explanation on my blog HERE.
The FAIR Experience 
