ATW - In The Wings

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.

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".

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.

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").

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.

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.

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.

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".

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.

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.

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.

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.

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.

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".

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.

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".

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.

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.

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.

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.

Theatrical dialect coach Stephen Gabis talks about his craft and how he started by listening to his Irish-Lithuanian family and early television; why he describes "The 39 Steps" as "an aerobic dialect event"; Gabis works with actor Eric Hissom on multiple characters; and how a knowledge of phonetics provides a basis for individual styles of speech.

Greg Graham, Dance Captain of "Billy Elliot", talks about the ongoing task of maintaining the choreography of the show; how one becomes a dance captain; the mix of civilian movement and tradition dance styles in this production. He is seen here teaching a tricky tap routine to new cast member David Hibbard.

Make Up Designer Angelina Avallone outlines her design process; the research that goes into a design; how desinging the "no-make up" look can be much more of a challenge than chaacter make up - we see some of her designs from "Rock of Ages", "Little Mermaid" and "How the Grinch Stole Christmas", as well as her work with actors Constantine Maroulis and James Carpinello from "Rock of Ages" and Rogelio Douglas, Jr. from "Little Mermaid".

Lighting Supervisor Dan Montano facilitates the lighting designs created for productions at Two River Theater Company. Previously an actor, Montano took a 10-day job as a carpenter, then stayed to learn as much as possible about the equipment. He works with many of the same designers, executing lighting plots, and working long hours during the tech process. He takes pride in being constantly challenged by this job and successfully problem solving with creative ideas.

Scenic Charge Artist Jason Edwards paints walls, backdrops, and props to create the visual surface details of a show's set. At the Woolly Mammoth Theatre Company, Edwards works with each production's scenic designer and interprets their vision, using paint and a variety of materials. Each project brings unique challenges which he solves with a simple trial-and-error approach by creating samples. Here Edwards shows how he created a cinderblock surface.

Puppet Designer Emily DeCola of The Puppet Kitchen has been designing and building puppets in New York for 7 years. She explains the wide scope of creating characters, sculpting puppets from a variety of materials, and both the possibilities and limitations in performing using puppets. She shares how her puppeteering career began and has led to partnering with Michael Schupbach and Eric Wright at their own puppetry studio. DeCola shows how the puppets were developed and designed for "John Tartaglia's ImaginOcean".

Voice Teacher Linda Benanti shows performers how to develop their voice to make their singing sound easy and natural. Singing requires both athletic and mental abilities, along with dedication and hard work. Benanti walks us through the parts of a voice lesson; recounts being asked to work with notable performers; traces her performing career that led to teaching; and shares what it's like teaching her daughter, Tony Award winner Laura Benanti.

Tony Award winning Sound Designer Robert Kaplowitz is responsible for the sound system and sound content of a production. In a play, that content includes both music and sound effects. His primary skills are listening and the ability to understand a play and help an audience connect to the text. Kaplowitz demonstrates creating sound effects and score. In a musical such as "Fela!", he brings the existing music to the audience to create an immersive aural environment. Kaplowitz shares how he began his career and why he loves being a sound designer.

Casting Director Tara Rubin talks about the casting process, working with the director and creative team; her career beginnings at Johnson & Liff casting the original company of "Les Miserables", and seen here holding auditions for its 25th anniversary tour; the excitement of casting a variety of shows; and how the biggest challenge is replacing celebrities.

Scenic designer Riccardo Hernandez creates sets built from the text of a production, creating an honest space for actors and ideas to work within. Hernandez knew he wanted a career designing opera sets by age 10, went on to study at Yale with Ming Cho Lee, and later broadened his work to theatre. At Yale Repertory Theatre, he displays the simple yet aggressive set of "Battle of Black and Dogs" that reflects a cold inhuman world. Also shown is the seemingly collapsing set for the Atlantic Theater Company's "Gabriel" during the most important part of the production process - the technical rehearsal.

House Manager Brian Gaynair handles the day-to-day operations of the Shubert Theatre, is the primary liasion between the production and the theatre owner, and coordinates between all the front of house departments. His career path started in security and brought him to the Shubert Theatre where he has been house manager since March 1995 during the run of "Crazy For You". Over the years he has handled challenging situations such as emergency evacuations and the First Family's recent visit to "Memphis". Gaynair shares how audiences evolve over the run of a show, and the most interesting part about being a Broadway house manager.

Sign Language Interpreter Alan Champion combines his performing skills with his sign language background to interpret live theatre. He stresses the importance of being a good listener, and concentrating on the immediate performance rather than the original script. He explains the unique circumstances in interpretting the new revival of "The Miracle Worker". Champion discusses how his career developed, and the personal and professional significance of the 1980 Tony Award winning play "Children of a Lesser God".

Art Director Gail Anderson of advertising agency SpotCo brings her passion for graphic design to create visual identities for theatrical works. Anderson traces her career from the School of Visual Arts to the Boston Globe to Rolling Stone and now Broadway. She explains how many designs are created in the limited time leading up to a production, sometimes before the show is fully formed. Examples shown include "Come Fly Away", "A Behanding in Spokane", the revival of "Hair", and the new revival of "La Cage Aux Folles". A show's poster artwork is spun off into many mediums including print ads, marquees, billboards, bus ads, and television commercials.

Theatrical Photographer T. Charles Erickson captures two-dimensional representations that become the historical record of live stage productions. Erickson grew up with a camera always by his side, from childhood through "Woodstock" to his first photography job at Yale University. At a Yale Repertory Theatre rehearsal for "Master Harold...and the Boys" he encountered playwright Athol Fugard who encouraged him. Erickson went on to photograph shows at the Long Wharf Theatre, Hartford Stage, Lincoln Center Theater, and many more; and is shown here at a dress rehearsal of "American Buffalo" at Princeton's McCarter Theatre.

Theatre Design Specialist Roger Morgan talks about how his education in scenic and lighting design and backstage experience helped determine his focus in the field of architecture. He works on new designs as well as restorations, fully evaluating the existing damage and work required. For the Nederlander Theatre, left in "grungy" condition that suited the long-running musical "Rent" which closed in 2008, Morgan referred back to historical records and photos. Morgan paid close attention to the original architectural details and interior lighting, and gave the theatre a fresh exterior highlighting the arches and original brick as well as a new marquee.

Stage Automation Engineer Chuck Adomanis designs the modern automated system for moving theatrical scenery. He demonstrates the control system on the new set built for the "Billy Elliot" tour. His designs created on computer are executed by many craftsmen on the shop floor. Notable designs using Hudson Scenic Automation are "The Lion King"'s Pride Rock, "Chitty Chitty Bang Bang"'s flying car, and the large video screens used by the current "Dreamgirls" tour. Adomanis shares the origins of his interest in stagecraft, his career path, and what continues to motivate his work.

The aerial choreographer, Paul Rubin, creates flying sequences for the stage from start to finish. During a rehearsal of a new production of "Joseph and the Amazing Technicolor Dreamcoat", Rubin shows the equipment used. He also talks about his background as a magician/illusionist, and the highlights of his experience working on "Peter Pan" with Cathy Rigby, "Wicked", and "Curtains" with David Hyde Pierce.

Textile Artisan Gene Mignola works closely with costume designers, taking patterns and creating fabric that ultimately conveys their vision. He explains how printing fabric has evolved over the years from designs done by hand on paper to computer-aided drawings, and from using single-color silkscreens to digital printers. He also talks about how his interest in fabrics began in childhood, the foundation for his work experience, and why he loves his job.

Costume Designer Carrie Robbins details the process of costume design from the phone call to the sketch to the construction of the costume; relates the story of finding the perfect fabric for the "Sisters" dresses in "White Christmas" and not being able to purchase enough for all three productions - and then how the fabric was created on a computer; explains the costume designers "bible" (used to hold all infor mation about the designs for a production) and the effort and detail that goes into it; and discusses the differences between costumes and clothes; what happens at fittings.

William Berloni, theatrical Animal Trainer, discusses the interaction between human and actors and their animal co-stars; how the animals learn cues and what they do if they misunderstand; how the animals adapt and learn one step at a time from Bill's backyard to an applause-filled theatre; how much to expect from animals that are onstage eight times a week; the story of how the original "Sandy" was found and trained for the first production of "Annie";and why he uses likes to use animals that have been rescued from shelters.

Projection Designer, Jeff Sugg, details the process of creating the artwork used for projections, how to get it into the computer and finally out on the stage; the technical advances in the past years; the mysticism of projections; the cohesion of the "33 Variations" design team; how projections can be visceral; his work on "Accidental Nostalgia" which recently played the Edinburugh Fringe Festival; and the various expertise needed to be a successful designer.

Martha Donaldson, Stage Manager, discusses her role as a conduit for the director, cast and designers; assisting the director with getting their vision on to the stage and maintaining the director's vision after she leaves the production; how putting together a production is like putting together a puzzle. We see her at work in the rehearsal room, at technical rehearsal in Central Park and on Opening Night of The Public's "The Bacchae" as the show starts.