1. Always Get to Rehearsal Early

This can be difficult when you have a crazy schedule, but it’s very important to show up early to rehearsals. You need time to get everything set up and ready so that you’re not in a rush when everyone else gets there. If you forget something or feel unprepared, you’ll feel stressed, and that will put more stress on your stage manager run crew and cast.

2. Teach Your Crew to Work Together

While you may not be able to get your crew to love each other, you can get them to work well together by arming them with all the knowledge they need to get through the show successfully. Before each show, go to each crew member and make sure they know their cues, scene changes and all other duties. Ensure everyone has their cue sheets and always have an extra one on hand, to be safe—someone will inevitably forget theirs.

You should also have everyone run their scene changes before the show starts and keep a checklist for yourself so you know you’ve accomplished all your tasks. Your stage manager can also weigh in on whether there’s anything else that needs to be taken care of.

3. Stay Organized

It’s very important to stay organized and keep up with all rehearsal and show reports. You don’t have to print them out the way that a stage manager does, but it’s a good practice to keep them in a file on your computer in case your stage manager forgets one and you need to help him or her out. You should also keep an eye on the stage manager kit to make sure everything is fully stocked and in its place. It’s a nice way to stay organized and keep from running out of anything you might need.

4. Bring Snacks

You don’t have to do this all the time, but it can help the cast and crew’s morale if you bring in snacks such as fruit, cookies or candy every once in a while. Technicians especially tend to skip meals during tech week, so it helps to bring in something small for them. And even if you don’t bring enough for everyone, be sure to always have a snack in your bag in case of an emergency.

Being on a show crow can be stressful, but if you do these small things, it will help take some of the stress off of you and the rest of your crew.

Any tips for assistant stage managers? Post them in the comments below!

The post Tips For Being The Best Assistant Stage Manager You Can Be appeared first on Theatre Nerds.

1. What Is a Scenic Carpenter?

Well, that is fairly simple. It’s a person who builds the sets for shows. We are given construction drawings from the technical director, and we build whatever needs to be built. You need a bunch of 22×7-foot walls? We build those walls exactly to the specifications of the set designer and technical director.

2. What Types of Skills Do You Have as a Scenic Carpenter?

I have many different skills. I am very skilled at woodworking and can build pretty much anything you want, just like so many other carpenters out there. Most are also trained in welding, foam carving and paper-mâché and have the ability to use a vast number of power tools. We are also very skilled at solving problems on the fly, since we often encounter tricky issues and have to think fast to solve them in a quick, efficient manner.

3. So, If You Have All These Marketable Skills, Why Use Them for Theatre?

I cannot tell you how many times I have been asked this question. We chose theatre for the same reason a lot of other people have chosen their careers: because we love what we do. We love theatre, even if it is a lot of hard work. Yes, we know our skills could have gotten us a lot of other jobs, but if we wanted those jobs, we would have gotten them. We didn’t choose theatre as a last resort — it’s what we love and what we’re good at.

4. Can You Even Get a Job in That Field?

This is another question I get a lot (along with everyone else who works in theatre). The answer is yes. There is a high demand for carpenters in the theatre space, though sometimes you have to travel a long way from home to get one of these jobs.

5. So, You Started Off as an Actor. Why Didn’t You Stick With That?

Let me just clear one thing up for anyone who has ever asked this question of any theatre technician. We are not failed actors. In fact, a lot of us who started off acting were very good at acting but realized we enjoyed another side of theatre even more. Some of the best carpenters I have worked with have been really good actors, but they chose to do carpentry because they enjoyed creating shows instead of being in them.

6. Doesn’t It Bother You That Your Creations Only Last for a Short Time Before They’re Torn Down?

Sometimes, yes. I’ve had situations where it would take me months to build a set for a show that was only going to run for three days and would get torn down immediately after it closed. It can be a bit frustrating, but at the same time, I like to look at it like it’s my way of creating art that changes people’s lives. A show’s run might be short, but when people come to see it, they get to escape reality for a bit, and I know I played a part in helping them do so.

Thanks for reading! Have any questions that you get asked a lot about your theatre work? Have any other questions about scenic carpenters? Let us know in the comments below…

The post A Guide To The Life And Work Of Scenic Carpenters appeared first on Theatre Nerds.

Use these four tips to get through this crazy week:

1. Schedule Time to Study

Tech week during school can be especially difficult, since you have classes to attend, tests to study for and perhaps a side job you have to show up to. All of these things can be hard to keep up with, and tech week only adds more nuttiness to the mix.

The first thing you need to do is explain to your teachers what is going on. Many will work with you to make things easier, especially if they are part of the theatre department. Some may let you turn in assignments earlier or give you a little extra time. Even if they don’t make accommodations, at least let them know what is happening so they’ll understand if you seem a little out of it.

Another problem is getting your assignments done. You’ll always have something due during tech week. If you’re a member of run crew and have some downtime during the show, bring your work with you and use that time to your advantage. If you’re a stage manager, this can be far more difficult, since you’ll only have time to study when you’re on your breaks. Time management is key here, so if you can get started on your assignments a few weeks before tech week hits, you’ll be in far better shape later on.

2. Get Some Sleep

Between late rehearsals and early days in the shop, sleep is a hot commodity during tech week. With all the stress, you may feel like you have to push yourself to keep going even when your body is begging you to get some shut eye. However, if you don’t take care of yourself now, you could be worse off by wearing yourself out before the show premieres. Even squeezing in a quick, 30-minute nap where you can get it can help you feel better.

3. Eat Healthy

People tend to live off coffee and snacks during tech week, since it can be hard to eat right when you’re running around trying to get all your tasks done. If you only have the chance to munch on small snacks, try getting healthy ones such as fruit, granola bars, protein bars, mixed nuts and fruit juice instead of soda. Yes, you want caffeine to keep you awake, but protein is vital to getting the energy you need to keep going.

Drink lots of water, too. You don’t want to wind up dehydrated in the hospital because you didn’t take the time to drink enough. One good way to remind yourself to eat and drink is to set a reminder on your phone from time to time. This will ensure you take care of yourself.

4. Rest When It’s Over

Once you get through tech week in one piece, give yourself some time to wind down. You’ve gone through a successful show run and need to take a breath before launching into your next project. Get some extra sleep, talk to friends who haven’t heard from you in a while and celebrate — you survived tech!

Have any tips for surviving tech week? Share them in the comments below!

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Having worked in summer stock myself, I’m here to pass on some wisdom to make it easier for those who are just starting out in this field. Here’s my advice:

1. Research Where You Are Going

This is very important. Not only do you need to know about the theatre you’ll be working for, but you also need to know about the city or town you’ll be living in. You won’t have a lot of time to explore once you get there, so it’s nice to research where you can hang out and get groceries ahead of time.

Also, check on what kind of weather you’ll be dealing with. How hot does the area get? Is it a different altitude than you’re used to? Does it see any extreme weather? If it’s a new area, you could be facing a lot of crazy changes.

You should also look into the theatre you’ll be working at to see the styles and sizes of the shows it typically produces. You never want to be blindsided by these things. For example, I was used to doing smaller shows in a black-box theatre, but my first summer stock theatre produced very large musicals on a stage at least twice the size as the biggest one I’d ever worked on. Had I not researched its past shows and theatre space, I would have been in for a huge shock.

2. Make Friends

One of the best things you can do is make friends with the people you work with. Summer stock can get lonely, and it’s always nice to have at least one person you can hang out with outside of work so you can blow off steam. Also, it’s always a good idea to network in the small world of theatre. You never know who is going to end up where, and it’s always good to make connections in your field.

For example, the people I worked with in Georgia had connections with the people I worked with in both Oklahoma and Michigan. These places are thousands of miles apart, but these people had still worked together in the past. The more connections you make, the more jobs you’re likely to get in the future.

3. Be Comfortable

When you’re working long hours, it’s always important to wear comfortable clothes. There’s nothing worse than dealing with tight clothes, itchy tags or being pinched mid-show.

Before starting your summer stock position, find a comfortable work wardrobe. Shoes are especially important. It’s best to get something with steel toes so that you don’t hurt yourself if you drop something or a piece of scenery rolls over your feet.

Also, try to get something with thick or hard soles, especially if you’re working in a scene shop. Stepping on nails, staples or screws is something that happens way too often, and getting a tetanus shot is never fun.

4. Stay Clean

We’re all friends here, so I’ll be straightforward with you: It’s “summer” stock. That means hot weather, a lot of sweat and a lot of smells. There are some good ways to handle this, though. Keep an extra stick of deodorant on hand and use it whenever you’re on break. It’s not weird, trust me — I do this every summer. Also, keep an extra shirt with you. If you find you’re getting too sweaty, just change.

Another thing you should always do is keep up with your laundry and avoid wearing anything that hasn’t been washed. You don’t want to be that guy who avoids doing laundry the entire summer — it’s not good for anyone. Follow the rules, and your colleagues will thank you.

5. Stay Hydrated

I have never worked in a shop for the summer that had air-conditioning. Even in the extreme heat in Oklahoma City, we only had a few fans placed around the shop. So, keep a water bottle with you at all times and make sure to drink plenty of water throughout the day. This even goes for people who are working indoors in air-conditioning.

Odds are, whether you’re inside or outside, you’ll be on the go for most of the day and can easily get dehydrated. I know that as technicians we tend to get busy and forget to take care of ourselves, but remember that the show needs you to be alive and well.

6. Stay Aware of Your Surroundings

Onstage work is fast-paced and can be dangerous if you’re not careful. During summer stock shows, everything can move faster than you’re used to. You may be working long hours and not getting as much sleep as you’d like. No matter what is going on, you always need to take time to keep an eye on your surroundings. Keep an eye out for anything dangerous, such as cords or rope in the grid, tools left on top of ladders or moving pipes.

7. Make a Summer Survival Kit

Every year, I like to put together a few things that will make my summer easier and help me relax in my downtime. My survival kit generally includes some things for work, including a water bottle, a multi-tool, lots of hair ties and extra deodorant, along with things for my downtime, such as a map of the area, sunscreen, insect repellent and my favorite books.

What you put in your kit may depend on the area you’re in as well — for instance, it rains a lot in the summer in Michigan, so I’d always keep an umbrella or poncho with me. On the other hand, Oklahoma was very dry, so I always kept lotion and chap-stick with me. It’s always nice to be prepared.

8. Enjoy Yourself

So, cards on the table, summer stock can be tough, but you can also have an amazing time. Go in with a good attitude and expect a challenge. Gain theatre experience and allow yourself to grow as a professional. This is a chance to really experience theatre in a whole new way. You get to meet lots of new people from all over the country who are just as passionate about theatre as you are.

And let’s face it, you get some of the best stories from summer stock. Don’t go in assuming you know everything, but be open to learning new things. So, be careful, be confident and take care of yourself, and you’ll nail it.

What advice would you give someone doing summer stock? Let us know in the comments below…

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1. Format

Theatre resumes should only be one page long, with nothing on the back. Begin crafting your resume by putting your header at the top. It should look like this:

Below this should be your experience in this specific area:

Once you’ve added all your experience in that area, add in your other experiences, such as carpentry, welding or costuming. Whatever your experience is, add it in using the same format.

Next, add in your education level:

Then, add in awards and honors in the same format and your other skills in their own column:

At the very bottom of your resume should be the names and contact information for your three references.

2. Cover Letter

Most theatres ask you to send a cover letter with your resume when you apply for a job. A cover letter is just an overview of your skills and a little bit about why the theatre should hire you specifically. The first thing to remember is that you need to modify the letter for each position, because different theatres are asking for different things. This may sound like a crazy, impossible task, but there’s a secret to it. Write the base for the letter, then fill in the specifics for each job as you go along. It will save you a ton of time.

3. Portfolio

The first thing you need to remember when it comes to building your portfolio is that you need to take pictures of what you’re working on. Take pictures of props as you build them, take process shots of the set you’re working on or take pictures of the lighting effects on the set. You get the idea. However, if you’re a stage manager, you will need to have different excerpts of your call scripts, blocking scripts and research.

An easy way to make a portfolio is to just make a PowerPoint with all your pictures. Just make sure to put titles on each page so that the person reading it will know what’s being shown. You need to add in the show name and what the piece is in each picture.

It’s also a good idea generally to separate out the shows. Have one piece per page and group pieces from specific shows together. This shows you’re organized and that you have a well-thought-out portfolio.

4. Get an Outside Opinion

It’s always good to get someone else to look at your resume, cover letter and portfolio before you submit them to anyone. Good choices include professors or someone who has written up resumes like this before. If nothing else, have a friend look it over. After writing so much, you may miss some small mistakes that could easily be spotted by someone who hasn’t been staring at it for a long time.

Writing resumes and applying for jobs doesn’t have to be complicated. If you have any tips for resumes, cover letters or portfolios, let us know in the comments below…

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Learn more about ‘Junk’ HERE

Follow Ben on Instagram or visit his website HERE

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Laundry Person

While you may easily do your laundry at home, doing the laundry for a Broadway show is quite the task. Shows with large casts produce lots of dirty laundry, and doing all of it can be a full-day ordeal. If costumes have beadwork, special dyes or delicate stitching, they need special care when being washed.

At least one person is usually dedicated to doing the laundry every day. This includes, but is not limited to, washing and drying (whether in a machine or by hand), sorting the clean laundry and putting it away in the appropriate place.

Here is an inside look at all the jobs of a dresser when “Mary Poppins” was on Broadway, with a special glimpse into the laundry room.

Beader

If a show has costumes with intricate beadwork or even sequins, a beader is usually on staff to repair these specific costumes during non-performance hours (otherwise known as doing “daywork”). Beading is certainly a learned specialized skill and requires patience.

This video from “Wicked” gives you an inside look at the beading skills and prep work that went into creating the costumes, as well as an idea of the dresser skills it would take to do upkeep during a beading daywork call.

Dayworker

In addition to a bead worker, other dressers are employed to do daywork in order to prepare and check the costumes before a performance. They ensure they look as pristine as they did on opening night.

Ironing, steaming and minor repairs are all allowed. The costumes are meticulously checked for any damage and are repaired onsite. Anyone who wants to be employed as a dayworker needs to have at least basic sewing skills and be able to sew small rips and buttons, among other things.

Stitcher

A stitcher is also onsite during daywork and sometimes during showtimes. This is a dresser who is a whiz with a sewing machine. It’s also helpful if this person can do pattern-making, use a serger and operate other applicable instruments. Stitchers will repair more difficult and larger rips and holes in costumes. They may also do alterations to costumes if a new actor or swing/understudy is going in the show.

Shoe Person

During daywork, a dresser who knows how to repair and keep shoes looking like new is also employed. Shoes take a beating from everyday wear and tear and hardcore dancing, so the shoe person can give shoes a fresh coat of paint/polish, check for repairs, replace or fix any rubber or hardware and/or take the shoes to a local cobbler for a more involved fix.

Wardrobes Supervisor

The wardrobe supervisor is in charge of all the dressers and oversees all the jobs listed here. The supervisor usually was once a dresser and has moved up the ranks to become someone who is now in charge.

Due to union rules, the supervisor doesn’t usually dress. Instead, he or she works with the creative team to ensure costumes come onstage and offstage accordingly, schedules and hires the dressers and is the go-between for management, actors and the costume designer.

Assistant Wardrobe Supervisor

This person does exactly as the title implies. He or she assists the supervisor with managerial work and sometimes dresses actors. It takes a special kind of person to be able to assist the supervisor in everyday tasks but also take the lead when the supervisor is out of the building. In addition, an assistant can serve as an extra hand during quick changes and fill in for dressers who call out sick at the last-minute when a swing isn’t available.

Here is a great backstage tour and inside scoop from wardrobe supervisor Irene Bunis when “Mamma Mia” was running on Broadway.

Dresser

This great video from the National Theatre gives you a tour of the daily routine of a wardrobe dresser.

There are two specialized dresser positions that also can exist during the run of a show beyond a regular dressing track of ensemble or principal actors: swing dressers and star dressers.

Swing dressers fill in for the regular dressers when they are out sick or on vacation. Theatres will typically spend some time training a swing for this type of episode, but not always. Swings need to be quick on their feet and meld in easily with the daily show routines of the dresser they are taking over for.

Check out this video from the former company of “Billy Elliot” in London, which showcases swing dresser Lauren Adams.

Star dressers do exactly as this title implies: dresses the names/stars of the show. Pictured below is star dresser Jennifer Hohn with Lin-Manuel Miranda backstage at “Hamilton.”

These tracks usually require extra-special care, and star dressers will sometimes act as a special assistant, guest greeter and more in addition to helping carry out the costume changes with his or her actress. Many times, a star of a show will take their star dresser with them from show to show, since they are familiar with their work and have a good rapport. If you are meticulous and a people-person, this is a great job for you!

Have you worked or do you want to work in any of these areas? Share in the comments below

The post Beyond The Quick Change: The Many Jobs Of A Broadway Dresser appeared first on Theatre Nerds.

1. Teamwork Makes the Dream Work

Theatre is a collaborative art form, and it takes a cast of thousands onstage and offstage working together as a team to make a show go off without a hitch.

Life Lesson: Be sure to include teamwork in your real life, whether it’s in another career endeavor, playing a sport, relationships, family or even achieving life goals. There’s no need to go it alone. So much can be achieved with a little help from a friend, colleague or mentor.

2. Problem-Solving

If you can’t problem-solve, you certainly can’t work backstage. You must not be afraid to fix an issue quickly when sets, costumes and props break or something else goes amiss.

Life Lesson: Bring this type of problem-solving into your real life. Take initiative to act quickly to fix things when they go wrong, whether it be at home, at school or at a job.

3. Multitasking

Who says you can’t do two things at once? How about three or four? How about doing a quick change with an actor while presetting another change for a different actor and safety-pinning a rip in a third actor’s costume? Think this hasn’t happened? Think again!

Life Lesson: Multitasking not just backstage can help you achieve goals faster, use your time more wisely and get so many things done. Even your parents will be impressed!

4. Trust Your Instincts

Trusting your instincts while you are problem-solving backstage is imperative when you only have 30 seconds for a quick change or a very short blackout. The show won’t stop to fix a mishap!

Life Lesson: Remembering to listen to your inner voice will always be the right choice, whether you’re choosing the right audition song, picking your future college/university or aiming to make a big life decision.

5. Be Nice to Everyone

Doing theatre means working closely with everyone onstage and backstage for long hours. Creating a positive working environment is a must and is the direct result of everyone being nice to one another despite individual idiosyncrasies.

Life Lesson: Remembering to be nice to everyone no matter your environment will bring you many friends, supportive teachers, mentors and colleagues who will help guide and support you throughout your life journey.

6. No One’s Job Is Easy

Looking at the other guy hooking up a microphone while you’re handling a costume emergency may make you think he has the easiest job in the world. Think again! What if that mic goes out or is positioned in such a way that the sound doesn’t work correctly?

Life Lesson: No one’s job is easy. Reminding yourself that everyone has challenges and obstacles to overcome can help you when you’re struggling. You are not alone.

7. Rest

Theatre is exhausting, and rest is imperative to ensure you are at your best so the show can go off smoothly.

Life Lesson: If you don’t get enough sleep before that big test, upcoming audition or even a vacation, you won’t have as much fun or be able to fully enjoy the experience or carry it out with vigor. Take your time to treat yourself kindly and get some zzz’s to recharge your battery.

What life lessons have you learned from working backstage? Let us know in the comments below

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Learn Your Trade and Get Work Experience

Perhaps you have just graduated high school and are entering college. Perhaps you are changing your career to pursue your first love of being a backstage technician. Either way, you may be wondering how to build a resume and get experience if no one will hire you without it.

The answer is simple. If you are in school, work in the theatre department. Delve into any and all aspects you can. That work experience counts, since everyone has to start somewhere. Also, take the time to ask your teachers and professors about their lives in the theatre, what they enjoy about it and how they have built up their resumes.

If you aren’t in school or your school doesn’t offer theatre education, seek out local theatres in your area. Many need volunteers or have internships, apprentice/mentorship programs or production assistants. All of these are geared toward those with little to no experience. Show your interest through an application phone call or written inquiry. Then, get in there and start working. Those entry-level positions and internships could lead to a very lucrative career with that theatre if they like you and your work. Who knows, a paid position may open up and you might be able to put yourself in the running for it.

Also, remember many theatres bring in artists and designers from across the country you can work directly with. It’s possible you may start to develop a successful working relationship with one or more of them. In turn, this newfound connection may allow you to be put in the mix for when a job opens up at another theatre company they are affiliated with. You just never know! If nothing else, you build up your resume, network and overall skill set to apply for bigger jobs.

Get Those Resumes Out

Is your skill set up to the professional level? Do you have the hands-on experience and theatre credits to book regular backstage work?

Your next step is to format a clean, concise and clear resume listing all your experience. Get someone to help you if you don’t know how, or find sample resumes online with your similar skill sets and copy their formatting. Once your resume is complete and you have a professional cover letter stating your interests, it’s time to start applying for paid jobs.

Watch notices daily on Backstage and Playbill. These two sites are the go-to spots for backstage theatre job postings throughout the country. Be bold and brave and see which theatres bite once you send out your resume.

Connect With Your Local Unions

Have the skill set and resume and are working in your local performing arts scene? The next step in the career ladder of a backstage artist eventually moving toward Broadway is to consider joining your applicable IATSE union.

Wardrobe, sound, stagehands, hair, makeup, etc., all have union locals in cities nationwide. Joining is a great stepping stone to a lifetime in the theatre as a backstage professional. Not only is being a union member a must for working on Broadway, but it can be your opening to higher-paying work, as well as protection against workplace mistreatment/injury and great long-term benefits such as health insurance and money for retirement.

The Broadway touring shows that travel from city to city all use union stagehands who are based in the local city in which the show is playing. Many professional regional houses also use stagehands. Visit or call your local union for more information about requirements, how to join and how to apply for positions.

The Bright Lights of Broadway

You’ve built up your experience and resume to the level of a solid working paid professional and you’ve perhaps joined your city’s local union. You’ve moved to the Big Apple and are now dying to get to work in one of those beautiful theatres along 42nd Street. What do you do?

First, visit your New York City union office to join or see whether you can transfer your membership from your previous city to the New York one. Once you are a member (and in some cases, registered), you can start to look for work on the Great White Way.

Broadway job openings aren’t really announced, so you have to be smart and have some strategy when getting your resume out there. First, ask the union how to best apply for jobs in your field, since your membership may get you access to contact lists and job openings.

Second, do resume/cover letter drop-offs at the stage door of theatres addressed to the specific supervisor you want to hire you. This information can be found at the union or on the back of the Playbill you get when you see a show.

Third, ask someone in your field on Broadway to refer you. This referral may come from someone you worked with in the past or someone you’ve met while on the job hunt or even in your social life.

Fourth, keep working! The New York market offers plenty of opportunities both Off-Broadway and beyond. Keep working and meeting people. You might be surprised how many of those gigs or connections can help take you to Broadway as well.

No matter what, don’t give up. Your Broadway gig might not happen right away, but if you are professional, proactive, passionate and pervasive, it’s bound to happen one day.

How did you get your first job working backstage? Leave a comment below…

The post Here’s How To Work Backstage On Broadway appeared first on Theatre Nerds.

Read on to find out how his creative process goes from page to stage.

Theatre Nerds: What led you to scenic design?

David Gallo: I was 10 years old when the movie “Star Wars” came out, and I was blown away by the completeness of the world and the design. I just thought that it was extraordinary that people figured things out. This was made apparent because George Lucas did something that not a lot of people had done: He had released books that you could buy in the bookstore that showed all of the design. Lucas really promoted what went into making those films so you could see the evidence of the men and women who created that alternate universe. I was captivated with the design based on those books that I procured, and I started doing high school theatre, and the rest is history.

TN: How does the creative process/conceptualization of the design differ depending on the medium you are working in (i.e., Broadway, TV, film, etc.)?

DG: Honestly, when you are creating different things, the process is similar. I want to empty and free my mind and start off with a blank page, and then I develop things from there. Where “Sesame Street” was concerned, I wanted to honor the past and retain certain things but bring it toward the future, so the process was more streamlined than that. For plays, it can be a little bit different, but it is still a similar creative process.

TN: Do you have a team of people to help you with your process in creating the set design?

DG: Yes, I have quite a number of people that do all sorts of jobs, from helping with design to building the models. I do all the painting and design documentation that gets created. I then have shops creating and painting the actual sets and teams of people that load them into the theatre. There is an awful lot of people involved before the show opens onstage. I’m also in the theatre from the time the show loads in through previews.

TN: Congratulations on your Tony nomination for scenic design for “Jitney.” Can you tell us a bit about how you came to work with August Wilson?

DG: It was pretty early on in my career, and I was looking around for things that interested me, and I sort of pursued and fell into doing a lot of African-American plays. I don’t even really know how that happened, but it was something I wanted to do. One thing led to another, and I very quickly met Marion McClinton, the brilliant director, and he and I did a brilliant production together of a Lorraine Hansberry play, which was quite successful. Marion was then brought on board to direct “Jitney,” and that’s when I started working directly with August. And while “Jitney” wasn’t a new play, this production was being looked at anew to be created as a definitive production.

TN: What impact as a designer do you have on set design once you receive the confines that are created in the script?

DG: The scenic designer (with the help of the director, hopefully the writer and the rest of the creative team) establishes the style of the play. When the curtain goes up, it’s the first thing the audience sees that tells them what the play is about. If it’s an empty theatre, it’s one thing, and if it’s a stage full of scenery, it’s another. One of the tricks to being a scenic designer is that you are committing to design a certain form, tone and shape to the production very early on in the process.

TN: Do you have any advice for those who want to be a scenic designer?

DG: There are so many things that people can do in the theatre. Scenic design is a fascinating one. My advice is to learn as much as you can about it before you commit to it completely, but it is certainly a very interesting thing to explore. Scenic design also requires a level of commitment that not a lot of people are ready to make because it requires many different sets of skills. There is also a staggering artistic responsibility for getting things right well before rehearsals have even begun.

Learn more about David Gallo at davidgallo.com

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