On Saturday, we contacted the Company Manager, Michael Orsino, and asked if a small group (Alex, Edwin, myself, Christine and two guests) could see the backstage. He was very agreeable, and asked us to come to the stage door after the Matinee performance on Sunday. All of the Sacramento group had tickets for the Sunday Night showing, so we were happy to do so.
On Sunday, Alex and Edwin and I toured downtown and Old Town in cos-play. Alex and Edwin received a lot of compliments on their costumes while I was their unofficial photographer and “spotter.” After returning to the theatre and talking to some of the cast members, Michael arrived and had us step in.
The route to the stage was very direct, having only a short hallway between the door and the stage area, and we soon found ourselves in backstage right. For this tour, he asked us to not go out onto the stage, and not to displace anything (such as props and costumes). What really pleased us was that he would allow us to take pictures as long as we did not abuse the privilege, which up until now was a luxury I have not had… The hampers (carrying cases) were stacked off to the sides all around the backstage, and Michael led us to the backstage right makeup table first. All around us were props that would be taken out and placed (as if the cats were going out and grabbing stuff). On this table, Bustopher Jones’ wig was ready to be placed on Christopher Sidoli’s head. To the stage right of the table, the dresser’s chairs and costumes waited. Michael explained the system -- the performer had a number, and they would take the chair with their number on it. The dresser (often a local worker) would find the appropriate costume under that number. Toward the curtain, they had a set of monitors for the Stage Manager. From the stage right side, we were able to get up close to the inflatable set, which is put together much like an air mattress. Individual panels were sewn into shape and then were constantly fed with a steady stream of air from the hidden fans. Michael indicated that none of the inflatable panels had failed (knock on wood…). Even the black backing “panels” were constructed in this manner.
Going toward the stage left side, we passed the upstage left makeup table. Hanging on the upstage right supports, MJ & RT’s swag socks hung. The inflatable set uses aluminum support pipes, and a lot of wiring can be seen for the various lights and fans. The interesting bit of stage work is the upstage left entrance. Performers can either come over the top of the Old Car’s trunk, or the can hide behind it and slide around the broken edge of it. On the far left, the orchestra looked like they had a fairly good-sized are to set up in. Again, more costumes, props and the like were here at the stage left side.
Several prop items sat on hampers all around the backstage and offstage left places. One of the most notable was the “shoe” used in the Jellicle Songs. Pieces of the train and a couple of the large bicycle rims were back here as well. Costuming was popular with Christine and Alex so Michael took us back to the Wardrobe room located just off the short hallway near the stage door. Laundered costumes are hung up here for the performers as well as costume pieces waiting for repair. Every performer and swing has three costume sets -- one to wear, one in the laundry and one in reserve just in case of repair needs. Also evident, the tables in the back had the dance shoes that required painting. Most notable are the “mismatched” shoes for Rumpelteazer and Mungojerrie.
The tour ended there, but I managed to ask a few questions about the set, the load-in/out, and technical schedules. The tour has four 53-foot semi-truck/trailers, of which only ONE has the Troika picture and logo on it. The cast and crew travel on two motorcoaches. Load-In time takes about eight hours. Approximately five hours are taken to install the lights, the stage floor, and then the “walls” of the inflatable set. Then, two hours are used to focus the lights. Approximately 30 minutes is required to inflate the set. The breakdown or Load-Out is remarkably fast -- a little under three hours. The set is deflated and can actually fit into a doublewide hamper and a regular one. The light truss, the stage floor and the set supports are what take up the space… Once the lighting and the set are in place, the tech crew takes up to an hour to fine tune the light focus and iron out any problems that were noted in the last performance. Michael indicated that the inflatable set still uses the same footprint as the hard set, and has the same height, but is faster to put up and take down.
Of the set pieces, the tire and the “pod” are the only automated pieces. The tire is on a magnetic track to a target place in the floor. Crew on the set during the show: two lighting, sound, two wardrobe, two hair/wigs and property.
The show also uses a number of “intelligent” lighting instruments. When you see the show, the I-Lights are the bright spots above the stage as well as the two that sit on the floor downstage right and left corners. The wonderful thing about these lights is that they can be programmed on the light board to move independently. The opening cue that the downstage right I-Light does is swing around and creates a pair of headlights to catch Demeter in the open. I-Lights contain a number of circuit boards and gears to change a full set of gobos (shaped openings in steel plates to simulate shapes likes stars, circles, spirals, etc.) and RGB colors. Below the light, the control box has the gears for the pivoting base. Without touching the instrument, the lighting technician can aim the light, change its color and insert a gobo. The new computerized light board can even simulate a sunset without human intervention once programmed. (And yes… the board’s computer has a backup…).
About thirty minutes are required to set the stage for a performance. This includes repair or exchange of equipment, priming the ribbon cannons for Misto’s magic act, props setup, costuming changes and the like.
We thanked Michael for the tour, and told him we truly appreciated the ability to take pictures of the set.
Respectfully submitted
Dennis C. Callin (Rumblepurr)
SOME TRAILER PHOTOS...
Left - the stage door at Sacramento Community Theatre. Right - Company Manager Michael Orsino shows us a Macavity mask.
Left - Upstage Left Makeup Table. Right - Upstage Right Makeup Table.
Left - the Backstage Right with dresser chairs and Costumes. Right - Stage Right from stage left tunnel.
Left - the infamous "Shoe". Right - MJ & RT's Swag Socks.
Left - A Costume hamper with instructions and dresser number. Center - Stage Left from stage right main tunnel. Right - The band (placed offstage left).
Left - Backstage Props and Props Repair shop. Right - Details of the inflatable set.
Left - The Wardrobe workroom
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