TheatreFace Chat Interviews Discussions - TheatreFace

Keny Whitright, President, Wybron Inc. - June 22, 2011

2011-06-20T03:42:28.251Z

Chat interviews return to TheatreFace.com this week with Keny Whitright, president of Wybron Inc. Wybron invented the scrolling color changer in 1980, and continue to innovate up to today with their new Cygnus Incite 375 Profile LED fixture. Keny will join us to talk about his history, effectively using color on stage, and innovations in lighting design.

Join us Wednesday, June 22 at 3:30 EDT/12:30 PDT to talk to Keny!

Here are a few of the questions I'll be starting out with. Feel free to add your own if you can't make the chat, and I'll be sure and ask them!

1 - Color scrollers vs. LEDs. What are the advantages of each for theatres?

2 - LEDs generate color differently than incandescents and filters interacting. How did moving into LED fixtures change how you as a company had to think about color?

3 - Color is a fickle thing -- how do you ensure a consistency in color across your color changers and LED products? I.e., batch 1 of gel has the same properties as batch 2,349.

Add your own, and I'll see you on Wednesday!

And here's a little bit more about Wybron:

For over 30 years, Wybron has been a market leader in lighting innovation, dedicated to creating, manufacturing and marketing products that advance the art of lighting. Wybron invests heavily in engineering, research and development to remain on the cutting-edge of entertainment, church and architectural lighting, providing solutions to stay ahead of the rapidly changing needs and demands of the industry.

Sean Dane, Props Foreman at the Kansas City Repertory Theatre - February 9, 2011

2011-02-08T20:58:27.533Z

We’re very pleased to welcome Sean Dane into the TheatreFace.com chat room this week! Sean is a generous and skilled props artisan, the props foreman at Kansas City Rep and a grad student “guide” at the University of Missouri Kansas City. (His full bio is below.) We got in touch with Sean for a piece we did on props in the February issue, but we wanted to continue the discussion with him and you. So join us Wednesday, February 8, at 2 p.m. EST/11 a.m. PST to ask Sean any questions you have about props, grad school, dinner theatre, or anything else! The questions I’m starting with are below—feel free to add your in the comments, or swing on by Wednesday!

1 - UMKC is partnered with the Kansas City Repertory Theatre. How does that affect your job? Is it different teaching and developing props for a college and a rep theatre simultaneously?
2 - How do you train for props? Is it set design? Carpentry? Both?
3 - At what point do you decide to rent instead of build?
4 - What's the hardest prop you've ever had to build? The hardest show you ever had to supply props for?

SEAN DANE BIO:
Sean’s love for the theatre started at Lee’s Summit High School where Sean did everything in theatre but act. This love was put on hold as he entered a career in the mortgage and real estate world. After deciding to leave his real estate career he looked for a job in theatre once again. Sean is now the Props Foreman at the Kansas City Repertory Theatre where he has been for the past 6 years. In addition to overseeing the prop shop, Sean guides the graduate design students the University of Missouri Kansas City while they do GTA prop time. Sean is also a freelance Prop Master and has done more than 10 shows for The New Theatre Restaurant, which is consistently one of the top dinner theatres in the country. He has worked for the Unicorn Theatre in Kansas City and The 5th Ave. Theatre in Seattle. Sean has worked closely with some of the top designers and directors in American theatre including Moises Kaufmann, Gary Griffin, David Cromer, Jack Magaw, Walt Spangler, Narelle Sissons, Vicki Smith, Neil Patel, David Potts. Sean is also the website committee chair for the Society of Prop Artisan Managers(S*P*A*M)

Chris Jaehnig, Director, Production & Design Studio at NYU Tisch School of the Arts - Dec. 15, 2010

2010-12-13T17:39:31.218Z

Live Chat returns with special guest Chris Jaehnig, a really great guy with a really intimidating title: Associate Professor and Director of Production and the Design Studio at NYU Tisch School of the Arts. Want to know how intimidating that title is? Make an acronym of it: APDPDSNYUTSOA. It's like some Eastern European country had an affair with Hawaii and that's what they named their child.

But what's even more impressive is his knowledge and generosity. Chris has a B.A. from the University of Wisconsin and an MFA from Yale and is an associate professor at NYU -- but in addition to that he has consulted for several Off-Off-Broadway theatres and is a freelance production manager in NYC and Brooklyn. He also worked freelance at Macy's Parade Studio for their Thanksgiving Day Parade and Fourth of July fireworks displays. He works hard to make sure his students -- and anyone who's a student of the art -- has the knowledge and skills they need to succeed.

This Wednesday we'll be chatting about what it takes to succeed in the design world of theatre, what skills you need, and what focus you need to keep. So join us this Wednesday, December 15 at 2 p.m. EST/11 a.m. PST!

Here's a few of the questions I'll be leading off with:

1 - What is the bigger picture of studying theatre design and production? Theatre training is more than just a trade school -- what about it do you need to keep in focus while learning all these tools?

2 - Having said that, what are the essential skills designers need to learn?

3 - You work in a large school, with a lot of different spaces, some of which you have more control over than others. What are the challenges of managing your smaller spaces along with large ancillary spaces like the Skirball Center?

And depending on whether or not this is a third-rail topic, I'll also be asking him about the Provincetown Playhouse. I'm not sure how much involvement Jaehnig had on the construction of the space, or, for that matter, how much involvement he'll have in the space now that it's built. But I'll at least bring it up, b/c it might be useful to talk about how to deal with large university decisions that affect you, but you don't necessarily have any say in...And that's it! Hope you can join us on Wednesday, December 15!

Melissa Hillman - November 10, 2010

2010-11-08T17:37:27.783Z

An old friend of mine joining us in the TheatreFace.com chat room this week - Melissa Hillman, artistic director of Impact Theatre in Berkeley, Calif. Their mission statement says their "primary mission is to directly contribute to the future of
American theatre through focusing on new plays by emerging playwrights." And the list of playwrights whom they've produced early in their careers is impressive: Steve Yockey, Roberto Aguirre-Sacasa, Sheila Callaghan and more.

But as dedicated as they are to new work, Impact also prides itself on being a launching pad for younger actors to come to light in the Bay Area. And it's in this capacity that I'm bringing Melissa Hillman around on Wednesday, November 10 -- to talk about auditioning, and putting yourself out there. Melissa has seen hundreds of actors in her time as Artistic Director at Impact Theatre, teacher at Cal State University, East Bay, and as a teacher at the Berkeley Repertory Theatre School of Theatre. She's auditioned for plays, for troupe membership, and at general auditions with several auditors beside her. She know what looks good, and what doesn't--and on Wednesday she'll share it all with you.

Here's some questions I'll be putting to Melissa...

1 - What's the Number One Thing all auditioners should know?
2 - What's the Number One Thing all auditioners should NEVER do?
3 - What's the best way to find material?
4 - What's the best way to rehearse your audition piece? Should you rehears the actual audition process?

And, of course, the floor will be open to all of your questions. So - if you want to improve your auditioning skills (and who doesn't?) come by on Wednesday!

The Puppet Kitchen - November 3, 2010

2010-10-11T16:48:44.962Z

WOW! I am always excited to host the live chat interviews here on TheatreFace.com, but I am SUPER PSYCHED this week that we have The Puppet Kitchen coming by! The Puppet Kitchen is a theatrical puppet-making collective based in New York City whose members have worked with The Public Theater, Berkeley Repertory Theatre, HERE Arts Center, Disney, PBS, Ensemble Studio Theater and more. The three members Emily DeCola, Michael Schupbach and Eric Wright all have impressive resumes, and they'll be online to talk about making puppets, integrating them into your show and the art of making them come alive. Their full bios can be found online at The Puppet Kitchen website here. While you're there check out some of their galleries as well, and be prepared to be amazed.

Here are some questions I'll start out with:

1 – Why puppets? As individual artists, what drew you to them, and then…
2 – How do they affect the storytelling in theatre? How do they change the game?
3 – What should actors and directors know when working with puppets? How do they have to change the way they work?

Again, go online to www.puppetkitchen.com to check out Emily, Michael and Eric’s full bios, and a gallery of their work. Meanwhile, here’s one last shot to leave you with, it’s a pic from their Hamlet album, and feature the players show of the murder of Gonzago.

Mark Wethington, Assistant Professor, Scenic and Lighting Design - Oct. 6, 2010

2010-10-04T17:01:38.220Z

This week in the TheatreFace.com Chat Room we’re joined by Mark Wethington. Mark is an assistant professor of scenic and lighting design, and technical theatre at University of Nebraska, Kearney. His work has won special recognition from the Kennedy Center American College Theatre Festival, Region V for Outstanding Scenic and Lightning Design for The Night of the Iguana. I met him at the Seven Devils Playwrights Conference where he was working to create the sets and props for 6 plays in two weeks. And yes, the sets and props are basic, but that’s still a lot of work.

Join us on Wednesday, October 6 at 2 p.m. EDT/11 a.m. PDT where we’ll talk workflow, design tricks, and doing your best under pressure.

Here’s a few of the questions I’ll be starting off with:

1 – You teach design and technical theatre – how much is design bound by technology? Are there principles behind design that can be enacted no matter what tech you’re using?

2 – At Seven Devils you had a lot to get done in a short amount of time – as in any production, and especially one at school where you’re juggling the production with other considerations (like classes). How do you manage workflow to ensure it all gets done?

3 – How much education do you think a designer needs? At what point do you consider a designer “ready” to go out into world?

And here’s Mark’s full bio from the University of Nebraska website:

Mark Wethington is in his fourth year with the University Theatre at Kearney and UNK. In 2008, he won special recognition from the Kennedy Center American College Theatre Festival- Region V for Outstanding Scenic and Lightning Design for The Night of the Iguana. Mark has his Master of Fine Arts degree from Florida State University. He has designed scenery or lighting for the Delaware Theatre Company, Contemporary American Theatre Festival (CATCO), New Venture Theatre, Bigfork Summer Playhouse, Columbus Children’s Theatre, Florida State University, Florida State Opera, and Bowling Green State University.

Cameron Jackson, Producing Artistic Director, Theatre School at Fla. State - Sept. 29, 2010

2010-09-27T16:38:48.664Z

Live Chat returns this week with Cameron Jackson, Executive Director and Producing Artistic Director at the School of Theatre at Florida State University. In addition to his acting and work as artistic director, Cameron is also a highly experienced stage manager and acts as a mentor in USITT’s Stage Management Mentor Project. His official bio is below. While he’s here we’ll talk about undergrad training for a theatre career, the traits of a successful stage manager, and how to get involved with programs like the USITT SMMP.

To accommodate Cameron’s very packed schedule, we’re running the chat a little later than usual this time around. It will take place at 3:30 p.m .EDT/12:30 p.m. PDT. See you then!

Here are the questions I'll be leading with:

1 - As producing director, you've got a lot of responsibility for the direction of training at your school. What do you try to make sure each undergrad receives in their time at Florida State?

2 - What are the qualities of a successful stage manager? Not just in terms of each show, but in terms of a career. What does it take to survive in such a demanding job?

3 - What is the USITT Stage Management Mentor Program? How can students get involved?

Can’t make the chat? Leave a question below and I’ll be sure to ask it during the chat!

Professor Jackson, who serves as the Florida State School of Theatre's Executive Director and Producing Artistic Director, holds a BFA in Acting from New York University and an MFA in Stage Management from University of Alabama. Cameron has taught at Mars Hill College, University of Tennessee, Arizona State University and most recently was a founding Director of the Clarice Smith Performing Arts Center at the University of Maryland. Cameron has worked at the Virginia Stage Company, the Pennsylvania Shakespeare Festival, the Southern Appalachian Repertory Theatre, the Folger Shakespeare Library, The Promenade Theatre, the Alabama Shakespeare Festival, Manhattan Theatre Club, the Clarence Brown Theatre, LaMaMa ETC, the Performing Arts Center at SUNY Purchase, the Minetta Lane, the Clurman, the Lion, Circle Rep., the Beckett, New York Theater Workshop, Riverside Players, City Hall, Ruth Eckerd Hall, Sun Valley Rep, and the Perry Street Theatre.

A native Floridian, Cameron has spent several years on the road with shows like Penn & Teller "The Refrigerator Tour", Jekyll and Hyde, Dirt with Ralph Waite and over 300 performances of Harriet the Spy. Cameron has been involved in some aspect of a production in every state except Hawaii, Alaska and Washington. Highlights of his productions include, The Art of Success with Tim Curry and Mary Louise Parker at Manhattan Theater Club, A Christmas Carol with Helen Hayes, Raul Julia and Len Cariou and a New York Theatre Workshop Production of Sally's, She Left Her Name with Michael Lerner, David Canary, Cynthia Nixon and Robert Sean Leonard.

In addition to his work in academia, production management and stage management, Cameron was an actor for ten years and the Chair of the Theater Department for the Pinellas County Center for the Arts, a performing arts high school. Cameron is a member of Actor’s Equity Association, the Stage Managers Association and a mentor in the USITT's Stage Management Mentor Project.

Eric Hart, Assistant Prop Master – September 1

2010-08-30T17:11:51.635Z

This week we visit the prop shop! Eric Hart will be joining us for the TheatreFace.com live chat interview on Wednesday, September 1 at 2 pm EDT/11 am PDT. Eric is the assistant prop master at the Public Theater in New York City. He has worked as a freelance artisan and prop master for several companies and theaters, including two seasons building pieces for the holiday windows at Macy's Herald Square and Saks Fifth Avenue. Before moving to New York, Eric has spent a winter at the Actors' Theatre of Louisville and three summers at the Santa Fe Opera as a props carpenter and artisan.

In addition to his day-to-day work, he has also been writing a blog on Props for the past year and a half (www.props.eric-hart.com). He is also a member of S*P*A*M (The Society of Properties Artisan Managers).

On his blog Eric writes about the process behind making some of his props. A couple of his favorite posts are ones he did describing the progress of a dismembered head for The Bacchae (http://www.props.eric-hart.com/education/changes-ahead/) and the “lawn gnome” piece for Broke-ology (http://www.props.eric-hart.com/how-to/gnome-building/). I’ll be asking him some follow-up questions to his post on the gnome making so be sure and check that out before Wednesday. Here’s a few of the questions I’ll start with. If you can’t make the chat, please leave your questions here and I’ll be sure and ask Eric them on Wednesay!

1 – How much building vs. “finding” props do you do?
2 – Looking through the gnome process, the skills involved include: woodworking, foam sculpture, papier-mache construction, sealing, painting. Where do you start when learning to be a props artisan? What skills do you find are most important?
3 – You mention in the post that you made tools of your own for the gnome – including just glueing sandpaper onto different pieces of wood. What other tools have you had to improvise throughout your career?
4 – The resin coat is “very toxic,” you need a respirator when sanding down the foam sculpture. How do you stay safe when building props—less about immediate danger (saw safety) but longer acting, toxic materials. How do you lessen your risk?

Leave a question, and join us on Wednesday!

Dixon Reynolds, Costume Designer - August 18

2010-08-16T18:12:05.571Z

There’s more designers on TheatreFace.com this week as we welcome Costume Designer Dixon Reynolds into the Chat Room this Wednesday, August 18 at 2 pm EDT/11 am PDT.

In addition to being a professional designer, Dixon is a faculty member in the Department of Theatre and Dance at SUNY Fredonia in 2008. His professional designs have been seen at Triad Stage, The Essential Theatre, Florida Repertory Theatre, American Dance Festival, Brown County Playhouse, Bloomington Playwrights Project, and New American Junk. In New York, Dixon has designed costumes for Buffalo United Artists, Shakespeare in Delaware Park, and is the resident costume designer for The Kavinoky Theatre. Dixon received his BFA in Costume Design from the University of North Carolina School of the Arts and a MFA in Costume Design from Indiana University.

Dixon has graciously shared a lot of his renderings and photos for a recent all-female production of Macbeth for Shakespeare in Delaware Park in Buffalo, NY. I've included the photos below, so in addition to talking about his training and process, we can get specific about this production. You can check out the pics attached to this post, or check out the album here.

Here are some of the questions I’ll be asking him—Be sure and stop by Wednesday to ask him your own!

1 – What research did you do to come up with the fighting garb for the female Macbeth and others when they were in “soldier” mode? Is there a tradition of soldier/fighting garb for women?

2 – You are resident costume designer at Kavinoky. Do they still have a core company of actors? The reason I ask—is it any different designing for the same actor repeatedly? Does your knowledge of how they move, or what looks good on them inform your design?

3 – What’s your dream play to design for?

Ed Baker, Assistant Professor of Technical Theatre - August 11, 2010

2010-08-09T16:40:41.634Z

This week in the TheatreFace.com chat room we are pleased to welcome Ed Baker, Assistant Professor of Technical Theatre at Wichita State University.

Ed originally trained as an actor, earning a BA in Communication-Speech/Theatre from Wichita State University in 1988 and the MFA in Theatre at Ohio University’s prestigious Professional Actor Training Program in 1991. He has also developed a diverse career as Carpenter, Project Manager and Technical Director for Spaeth Design in New York City, Production Manager for TA Millwork in Wichita, Kansas as well as a wide and varied run as a freelance technical director and carpenter Off-Broadway, off-off Broadway and around the country. Ed currently serves as Production Manager for the bi-coastal Id Theatre’s Seven Devils Playwright’s Conference, which holds an intensive two-week new play development program every June in McCall, Idaho.

That’s how I met him. We first started talking about motorcycles (he currently rides a 1979 Honda CX500 Custom) and quickly realized a common interest in “maker culture.” Ed’s current research focuses primarily on the use and re-purposing of Commercial-Off-The-Shelf hardware for application in theatre Technology. This led to his interest in maker culture and an exploration of the Internet as a 21st Century Surplus Store. His research has been deeply colored of late by Matthew B. Crawford's assembly and distillation of a great number and variety of ideas regarding Early 21st Century Culture, the Ethics of Work and Motorcycle Maintenance into some very fine articles and a great book. He’s taken this philosophy to others as well—Ed recently participated on a couple of panels at the USITT 2010 Annual Conference & Stage Expo March 31-April 3 2010 in Kansas City, Mo: "Online Course Management Tools" and "How Do I Get That for My Classroom."

Ed also has great things to say about theatre makers as entrepreneurs. He’s currently working on a comprehensive curriculum for teaching entrepreneurship specifically for theatre Designers and Technicians. As evidence of his own entrepreneurial side, he is the designer/developer of the ProDowser DMX controlled Video Projector dowser.

He hasn’t abandoned the stage, either. This summer he achieved recognition as a Society of American Fight Directors recognized Actor Combatant having tested in Sword & Sheild, Quarterstaff and Singlesword in hopes of adding to his Proficiency in Rapier & Dagger, Broadsword and Unarmed Techniques.

Whew! That’s enough to give me an inferiority complex just reading about it. Join us Wednesday to find out how he does it all, and how you can, too. Here’s some questions I’ll be asking him.

1 – In your mind, what’s the intersect between “maker culture” and theatre?

2 – What are the most important principles behind “getting something for my classroom”? How can these principles be applied to storefront or community theatres?

3 – What does it mean that theatre makers need to think more like entrepreneurs? How can we cultivate that mindset?

Stop by Wednesday to ask him your own! Can’t make it? Post a question here, and I’ll be sure to ask it on Wednesday.