Day Six - PhotoBOMB

A bomb of photos. An EXPLOSION of photos.

ALL THE PHOTOS.

Downing Cless (Chair of the Drama Dept.) gives Cole some advice on a tough scene.

Marisa makes costume labels.

Cast gets notes in Aidekman 75.

Michelle makes makeup diagrams. You can never have too many, you know.

A totally not-staged-at-all-seriously-they-are-acting-totally-natural picture of our producers, Thomas and Emily.

Late night, post-rehearsal pstaff meeting. (Notice ALL THE STUFF on the stage?)

Eric surrounded by Jeffs in the booth.

Jeff in the natural light, looking totally awesome in all his headset and cue-book glory.

Jeff R. with the light board.

Lizzie (wo-)manning the sound board.

The stage by the end of the show.

My script and notes in the blue light of backstage.

Theresa fixes a lamp!

Almost but not quite a photobomb?

Tucker: I actually wear this outfit myself on a pretty normal basis...

Day Six - Standby Lights and Sound... Lights and Sound GO! (Cue to Cue)

Cue-to-cue. Boring, repetitive, and tiring? Mostly. Important? EXTREMELY SO.

Cue-to-cue is what makes a show flow. It is when all the elements of the show are finally added together. In this part of the production, the actors get into full costume, the stage management/props/set team sets up the props and set backstage, and the show is run with all the lights and sound cues added in. What is a light or a sound cue, you ask? Pretty much anything. A sound cue can be a sound effect, like a car honking. Or it can be music starting, or stopping. Same with lights. Different parts of the stage are lit in different ways at different times. The light cues help organize this process. These cues, created by the lights and sound team, are then given to the stage manager at a lovely thing called Paper Tech. It is the stage manager's job to call cues during the show, so it is very important for the stage manager and the light and sound crew to be on the same page (literally AND figuratively) at the same time.

Cue-to-cue is designed to allow all the tech designers and operators to tweak their plans, depending on the action on stage. For example, if the blocking for a scene uses more space than the lighting designer thought it would, the light cue for that scene needs to be changed so that the actors can be lit appropriately.

Tonight's cue-to-cue was very helpful for everyone. The sound and lights people changed a lot of cues to fit the blocking, and even practiced a few complicated cues just to be sure to get them right.

But hey, what does an ASM do during cue-to-cue? I was stationed at Dog with my script and my notes, and I wore a headset that let me communicate with Jeff (in the lights/sound booth upstairs). Aside from listening to Jeff call cues and discuss things with designers, my task was mainly props. I needed to keep track of which props went on, when they went on, and from where they came. This is so that I know where to pre-set them for the show. The last thing you want is an actor running around backstage frantically looking for a prop that is in the wrong place... Tomorrow I will make prop tables, where each prop gets its own little labeled space to avoid that problem. By the end of the rehearsal my note sheet was FULL of scribbles and arrows and crossed out words.

The other thing that I focused on tonight was transitions. During the transitions, the set changes, props change, and costumes change. Therefore, lots of stuff is being moved around in a short period of time. Theresa, Kyle P., Jeff and I worked together to make sure that everything went as smoothly as possible.

After our pstaff meeting, I put away all the props (of which there are SO MANY) and then learned how to "fly-in" the chandelier that we will be using in the last scene. Eric showed me how to tie a special knot and lower the rope smoothly so that the chandelier looks nice when it comes down. It was cool.

Funny randoms from tonight:

• People on the com system with headsets: Jeff, Jeff, Abbie, Abby and Lizzie. Confusing? YES.
• Redonkydonk is twice as redonk as redonk.
• Apparently Cole can tell the difference between heels and wedges in women's shoes. And so can Eric. Everyone is impressed.
• The Across the Universe music is great, but the Beatles originals are of course better. JUST SAYIN'
• Eric talks about cutting stockings to cover pregnant suits. Everyone is impressed.
• Kyle P. attacks everyone with the pillows.
• Jeff loses his coffee and freaks out.
• Jeff and Cole run around a column looking for each other.
• Cast draws funny things on the blackboard behind Dog, then look at me and giggle. I am confused.
• I eat a whole container of sour cream and onion Pringles. Yay for tech dinners!

All in all it was a good run. We are as prepared as we can be going into tomorrow's dress rehearsal. All thanks to our wonderful tech and design crew. After all, without technical and design crew, the actors would just be pantomiming naked in the dark.

Day Six - A bromance is a brewin'?

Nadav (Director of the TTII show) and Cole. O-Show bromance? Or is it an O-mance?

Check out the TTII blog here.

Day Six - Sound Design!

Lizzie, our sound designer, sounds off on what it is like to enhance the show with awesome music and sound effects.

How did you get involved in this show? Have you worked with sound design before?

I got asked to do this show because of my previous sound design work. This is my second O-show and 7th Tufts student production to sound design: Torn Ticket's 2009 O-show You're a Good Man, Charlie Brown and Little Shop of Horrors, my first year show Ring Round the Moon (which was the first show I had ever tech'd for let alone sound designed,) and for 3P's The Illusion, subUrbia, and Yerma. Like I said I knew nothing about sound design before I got roped into my First Year show, in high school I did musical theater, choir, and some other drama productions, but never tech. I'm now a senior and one of the most experienced sound designers here, which is kind of weird to me...

What is special about the O-Show, sound-wise?

The only interaction you get with your director and other designers before the week before the show goes up is usually one pstaff meeting at the end of the previous year and through email. That's not how the typical show works. Usually I get a lot of time to through around ideas, have the director listen to them and get opinions. For the O-show I try to have more of my decisions narrowed down or made before my first sit down meeting with the director. Everything has to move super quickly from there.

What is your sound design concept for the show?

My design is really pretty simple, I chose timeless or classic songs that work in any time period for whatever stage of life or friendship. This show has Fats Domino, Bruce Springsteen, Pink Floyd, the Doors and others - artists who's songs have withstood decades. Its not very often that I get to use such a wide genre pool, usually shows are very time period or genre specific. This time I've given it a general theme and everyone seems to like the universally recognizable tunes along with the universally recognizable characters.

Each scene for this show is almost a mini play so the transition music in between scenes helps create ambience while the set is being transformed to the next scene's set. The music gets to serve as a bridge while this is happening. A special part of this show is that I got to use other people's involvement in my design. I asked cast and pstaff to send me a song that reminds them of friends or is sentimental in some way and I incorporated those songs into the pre/post show music.

What is the most difficult thing about sound designing an O-Show?

Honestly its assessing the state of the sound equipment in the booth. Sound designer is also in charge of the communication system for running rehearsals in the arena and after a long summer the systems are never running quite like the were before. We waste a good amount of time getting everything to work well enough for us to communicate with each other back stage and to make sure that sound is actually coming out of the speakers.

What is the most fun thing about sound-designing an O-Show?

Being here for orientation week is awesome. All the reunions that happen while you're working on the show or when you're walking around campus the week before school actually starts are really fun. While the O-show is work its not the same as class work by any means so you get to enjoy your friends while putting together a great performance for the first years.

What are you most looking forward to this week?

I look forward to seeing two shows in one space in one week actually get pulled off. Its pretty incredible when you think about it, almost insane, that it actually gets done by a bunch of dedicated college kids!

What do you think of the play?

I liked reading it but I love how Cole is directing it and the actors are acting it. Its funny, totally relatable, sentimental and a great show for the first year students to see in order to get a taste of Tufts theater.

Is it difficult to sound design for the arena?

It is an acoustically unique space but since I've never designed anywhere else I wouldn't really know if its more difficult than another.

Any advice for freshmen interested in sound design?

Come talk to me! I'll share with you anything I can. There isn't a class at Tufts that can teach you this stuff, you just have to be mentored and learn on your own, but its a pretty cool job and you can get a hang of the basics quickly.

A little more about Lizzie:

In addition to sound designing I'm also in a sorority, was a Peer Health Exchange educator, worked at the 2010 World Cup, went abroad to Ghana last fall, and worked with a non-profit in Washington DC this summer so really feel free to come find me or email me about anything!

Day Six - Set Design!

Kyle P. takes center stage (if he can find it under all the random stuff...) and answers your questions about set design for Fables for Friends!

How did you get involved in this show? Have you worked with set design before?

I really enjoyed working on the last O-Show I designed, so I was excited about the chance to rock out another one my final year here at Tufts. Last year I designed Torn Ticket II's Fall Major,Assassins, and I've also designed the sets for a couple of different minor and workshop productions.

What is special about the O-Show in terms of set design?

There are pretty serious constraints on what you can create on stage, both because of the time frame and the limits on budgets that all the designers are forced to work with. While those factors can be daunting, simply trying to create an interesting design that isn't just the furniture that's required to be on stage is an exciting challenge.

What is your concept for the set of this show?

I think one of the most interesting themes of the show are the ways in which the nature of our friendships change and develop over the course of our lives. A big part of that development has to do with accumulation-- of experiences, of people we've known, of special objects we've acquired. I aim to reflect that development in the way the scenery changes throughout the show.

What is the most difficult thing about set designing an O-Show?

Knowing that you need to create a successful design using (pretty much) nothing but what we have in stock here at Tufts and a budget of only a hundred dollars.

What is the most fun thing about set designing an O-Show?

I love that you can just throw yourself into oshows--you don't have any classes or really any other obligations that require attention, so the moment a problem comes up, you can address it and see the results immediately. Kids get crazy up in here this week, and it's a blast to contribute to that energy.

What are you most looking forward to this week?

Watching all y'alls little jaws drop watching the show on Opening Night.

What do you think of the play?

I like it. I really prefer shows like this to those that have a more linear plot, so getting to work on this play rather than a more straight forward drama or sit-com type play was a real treat.

Is set designing for an arena stage difficult?

That really depends. For a show like this, I think it's actually a lot more forgiving. The space is so intimate, that you can really evoke a setting with just a couple pieces. When you're designing a show that requires more defined scenery, though, it can be quite a challenge. Unless you're a thug like me, of course.

Any advice for freshmen interested in set design?

Don't be too intimidated! It takes a lot of dedication to learn all the skills you need to be a good set designer (drafting, modeling, design theory, scenic painting, and so on), but if you're open to taking the time to learn, I think it can be the most rewarding design discipline. Nothing quite compares to the feeling of seeing a full show come together that started out as little sketches in your notebook.

In the immortal words of TLC: 'Scrub, I don't want no scrub, scrub is a guy who can't get no love from me. Hanging out the side of his best friend's ride, trying to holla at me.'

Wiggity wiggity WAM

Day Six - Hair and Makeup!

As promised, here are Michelle's answers to your questions about her experience with this show and with hair and makeup in general!

How did you get involved in this show? Have you worked with hair and makeup before?

I first learned how to do theatrical hair and makeup when I got hired to work at a costume rental and theatrical supply shop owned by a family friend for a summer job. I started doing the hair and makeup for the high school plays and when I came to Tufts, I volunteered to do the hair and makeup for the opera, Our Town, my freshman year. Later that semester I got tapped to design for The Pillowman, and the rest is history.

What is special about hair and makeup for the O-Show?

Well...I've actually never done hair and makeup for an O-Show before. I worked as an actor on one my sophomore year, and the pace is definitely unique. Working on an O-show is like being on a roller coaster, minus the g-forces and the screaming. Well, there's a little screaming.

What is the most difficult thing about working on an O-Show?

That timing thing I was talking about. You always wish that you had more time, more resources. And when you're working on a budget of $15 and one full dress rehearsal, then you REALLY find yourself wishing.

What is the most fun thing about working on an O-Show?

It's really fun to see the results of your work come to life so quickly. Its sort of like instant gratification. You get to use your imagination, pull your materials, and put your work on the actors all in a few days. There's a lot of improvisation and creativity and that part is really fun.

What are you most looking forward to this week?

Seeing everything under the lights. And sleeping in on Sunday morning. Definitely sleeping in.

What do you think of the play?

I applaud Cole for his excellent synopsis reading skills. When he had to come up with a new show to put on in just a few weeks this summer, I think he found a show with a lot of humor and entertainment that is really relevant for our new freshman class. The themes of friendship and growing up are so appropriate for this time in their lives, and also present challenges to the actors (and designers...9 separate design schemes?!) who go from hilarious to poignant and back again.

Any advice for freshmen interested in hair and makeup?

OMG DO IT! Doing hair and makeup design is a great way to get to know both actors and techies. We are hoping to get some new faces designing this year and it doesn't matter if you have tons of experience, no experience, or just think this sounds weird and cool. Get in touch!

And finally...

"There's nothing like the smell of Aquanet and Ben Nye in the morning."

Day Six - Dresses and sweaters and robes OH MY!

IT'S COSTUME FITTING TIME!!

Every actor will be sent down to the dressing rooms at some point to try on bits and pieces of their costumes and be inspected by our costume queens, Linda and Marisa. With the sounds of the Torn Ticket show rehearsing onstage coming in over the speakers, I set up shop in the dressing room and watched as different outfits were put together and scrutinized.

First up was Nora, and her outfit for scene two. Apparently, having nude underwear is VERY important in the theatre world. The jacket she will be wearing has yet to arrive, though, and will need some special attention before it is ready.

Next was the costumes for scenes three and four. In both of them she will be wearing pajamas, which is helpful. So really the only thing that needs to change is her bathrobe. Linda and Nora both agreed that the white robe should be for the college scene because a. you can see the nightgown more (and the nightgown is referenced in the script), and b. her character is a little ditzy, and thus would wear something like that. That is one thing that is really important about costume design: not only do you have to make the actors look good, but you have to make sure you stay faithful to any mentions of clothing in the script and the personalities of the characters themselves.

Last was the wedding dress! Woo! It has a zipper!! It is very exciting and pretty. Not only that but her shoes are easy to remove quickly, which is important for the scene.

Next up were Kyle and Tucker. Both men are play married characters by the end of the show, and thus need to have wedding bands. Tucker actually got one stuck on his finger, and needed to use soap to get it off. Whoops. The guys tried on different shirts and sweaters, and even shoes, using a mix of their own clothing and clothing that Linda and Marisa provided for them. Age was also a consideration in each costume design. By the end of the show all the characters are between 30 and 50 years old, so they have to dress that way.

Fun moments in the dressing room:

• The throwing of the pants! (My idea, btw...)
• Which panty is more elastic?
• Would Mr. Party wear nice shoes?
• I look like a blueberry.
• Why are diddy bags called diddy bags anyway? (Diddy bags are where actors put all their small costume pieces like jewelry, watches or scarves.)