Time and Toll, a look at Dedication

So to follow the interview I had with Destini Fleming, I have another interview with our other lead intern Corbin Pickett. He works over in Hayes as a carpenter, and I was hoping he could share a bit about his experience working with Summer Theatre. We talked last time about how being well-rounded in theatre helps you succeed, to branch off of that I thought we would look at how that concept applies to the work. So with this interview I asked Corbin about his work and how it affects him. Also I thought he could talk about what he does to make it through all the chaos that at times surrounds the world of theatre. My comments to his questions will be in italics below. So without further ado let’s get into the interview!

Q1. To start why don't you introduce yourself, and talk about your LMST internship and how its lead to being a head intern.

A1. Hello, my name is Corbin Lee Pickett. I am a head intern for the Lees-McRae Summer Theatre program for the summer of 2013. During the 2013 spring school semester I applied to be an intern for the LMST program and in the process was offered a lead position over all the other interns, during the work day specifically those interns that were assigned to work in Hayes Auditorium.


Q2. Can you talk about the work that you do, and how long your usual work day is?

A2. During the start of a show our work day starts at 8am and lasts until around 5 or 6pm, but as we get further into the process and our deadlines start to loom even closer and closer over head, the time that we are released will gradually start getting pushed back. The time that our work call ends at more than halfway through a show process is usually 11pm, but it goes also to 12am, sometimes going as far into the early morning as 3am, because there are deadlines we must meet and cannot push back any further than what they are set at.

Interns are required Monday through Friday to be at aerobics every morning at 8am, then from there Hayes Auditorium interns are called into work at 9am Sunday through Saturday from there we work until our shop foreman releases us for the day. At the start of building for a show it’s like building a human, we have to start building the set from the ground up (literally) starting with the framing and structure of the set (or the skeleton), from there we move onto how it will function, or move around, or any tricks it needs to do, we have to figure them out then build them (the organs/nerves system), after that we have to face everything that we do not want an audience member to see (the skin), finally we paint the finish product and put set dressing on it (clothes and makeup).

I think it’s interesting that he would describe the creation of the set like that of creating a human. Just like with any work with variance, the set is a living thing. It will shape and change by the hands of the builders to meet the design requirements. That’s makes it no small feat to insure that it is up to the standards that have been set when working in such a small amount of time. If anything, the complexity of the human body is a great example for how detailed we have to be, and just how hard the process can be on us when we are trying to finish a job.


Q3. Do you think that this amount of work helps or hinders you?

A3. I believe that this type of work atmosphere and schedule helps a great deal, since it will prepare me for the work load and stress that will come from future jobs in the theatre. Some cons of being an intern is that we are “required” to work more hours than someone who is hired full time. A pro to this internship is not only are we paid for it and have free room and board but we are also getting great hands on experience and knowledge of our field of work that we wish to pursue in the near future.

I don’t think I could have said it better, though it can wear down your body, and make you stressed this is something that adds to your well-rounded experience. Having a change to get some hands on training in our line of work and the many different aspects of theatre is a gold mine. The wealth of knowledge greatly outweighs the strain, but we do have to be careful to make sure that the strain doesn’t win out in the end.


Q4. What are things that keep you going when you are having to work so long?

A4. Even though every person in the entire world is different and we all have our limits, when a deadline needs to be met, you have to grit your teeth, buckle up, and just push through. That is the fundamental theory behind the drive you need to work 15 plus hour work days continuously for a period of time. If you tack on eating right and trying to stay healthy, you still need to just push through the exhaustion until the finish product and the deadline finally meet. Each person needs to look in themselves, no matter how deep it may be and find that basic drive to go on.

I think what he says here is important and very true for the world of theatre. Buckling up for a hard long ride of sweat and hard work is what is needed at times to see that the job gets done. I also think he speaks very true to what is needed in order to do that. You have to find it within yourself. That something that will keep you going no matter what: Internal determination. That is something that is powerful enough to push you through anything. It may be different from person to person but the concept holds true for everyone.

Q5. To end this what are your closing thoughts on the time and toll this job takes on you?

A5. Dig deep in yourself for your personal drive, eat healthy, stay healthy whenever possible. Second only to finding that drive, stay positive, whatever you do, think and be positive; this is the only way you’re going to make it in your field that you’ve chosen for yourself with a good outlook on the life you’ve picked.

Well said, I wouldn’t put it any other way.

In Closing:

I think that what we find here is that being open to what is given to you, and pushing yourself through the good and the bad are what make the greats of theatre great. Through these interviews I hope that you have gained something that helps to shine some light in just how wonderful the craft can be. We have to be careful of ourselves when dealing with such an art because it takes a lot of time, dedication and heart to see that what we do is the best it can be. We have to stay healthy not only physically but also mentally to see that when it’s all said and done, we have found the success that we all hope to achieve. 

The Well-Rounded Approach

To Begin:

One of the things about being a LMST Intern is that you get a dynamic experience of the theatre. You have the chance to participate in many different avenues and gain a well-rounded respect for all aspects of theatre. As I said in my last blog we here at Lees-McRae are a family, and as a family we work together to see that things get done the way that they should. We are all working hard to see that these productions, not only entertain, but live up to the standards we have for our theatre program.

Now to branch off of that we have a few in our “intern family” that keep an eye on us to see that we are doing alright. These two people are known as head interns and they are Destini Fleming, and Corbin Pickett. I will be writing an interview blog for each one of these fine interns show casing some of the themes that they feel are important to express or ones that they wish to share. I also feel it’s a good chance to hear from those who have “done it” before and who continue to do so. To start I will be interviewing Destini Fleming. We will be discussing her ideas of why it’s good to be well-rounded in the theatre. My Comments to Destini answers will be in Italics below.

Q1. To start why don't you introduce yourself, and talk about your LMST internship and how its lead to being a head intern.

A1.  My name is Destini Nichol Fleming, and I am a rising senior at Lees-McRae College. Well, it will be my first senior year, since I have to stay an extra year to get my theatre arts education double major and English minor. This is my second summer working as an intern for LMST, and it has been a very rewarding experience both times. Last year I worked in all the areas- as an ASM, a props assistant, the management intern, in the box office, and in the front of house. I had to pull off the magic ability to be everywhere at once. This year, my areas of work have been narrowed down a bit- I am the Lead Management Intern and Box Office Staff this year. No matter where one is placed at LMST though, there will always be plenty of work to be done. It takes every member of this company to make these productions a reality. For me, summer theatre represents a place of learning and growing within my craft and as a person. After my first summer here, I became much more confident in what I am doing, what I want to do, and who I am. I think that is the most important thing that can be gained from being an LMST intern.

So as you can the magic of theatre at times calls you to places you may not have expected, and pushes you to do things that maybe you were unsure of. However, as you have stated it is something that has helped you grow confidence, in not only your work, but who you are. This leads me to my next question:

Q2. So would you say being able to do many different things in the theatre helped you succeed and if so could you talk about that?

A2. Doing many different things and wearing multiple hats happens all the time in theatre; therefore, it is definitely helpful to have that experience. I do not know if that has helped me succeed in a particular way, other than increasing my confidence. I guess that depends on how one measures success- if it is being evaluated based on something that is completed and over with, then no, I have not succeeded at anything, because I am not done. Being able to do many different things is definitely a pivotal part of my learning experience at LMST, though.

I would say that it has helped, in the sense that if your confidence has grown, then as you stated, you realize that you have, just like all of us in theatre, still so much to learn. I think being open to that is what will help you succeed. In fact I think being open to many things is what will aid the Theatre Artist in their endeavors. Which leads me to my next question: 

Q3. Do you think it’s necessary to be willing, and able to do many things in Theatre in order to make it as a career?

A3. Absolutely!!! That is one of my favorite things about LMC. Our theatre programs focus on being well-rounded in this craft. Though everything may not become one’s focus, it is crazy beneficial to have experienced and know how to work in multiple areas in this field. Have multiple abilities opens up job opportunities for that individual, and also creates an understanding and appreciation for all aspects in theatre, and not just one’s own concentration. It helps one realize that it takes multiple puzzle pieces to put together a show and every area’s work is equally important.

I could not agree more. We all work together in theatre to see that these productions come to reality and are the best that they can be. However, if I may play devil’s advocate, what about being too narrow, with a specialty degree and not being able to get that well-rounded experience? This concept leads me to my next question:

Q4. Is there anything wrong with having a specialty degree in theatre? I know as interns we get a taste of everything the theatre has to offer, do you think if you keep on a straight and narrow it might hurt you?

A4. There is absolutely nothing “wrong” with getting a specialty degree at all. My degree is technically a specialty degree since it is a double major in theatre and education. I don’t think one should let the specialty of their degree limit what he does. As long as you keep an open mind and are willing to experience and learn about everything in this field, I think you’ll be set as a well-rounded theatre student.

Those are my thoughts as well, the willingness to learn and to be open to the experience is pivotal in ones’ own growth. If you have a passion and you want to pursue it, then do it! Don’t let anything hold you back in your own desires. Have confidence in who you are and what you are doing. Just don’t shut the door on a wealth of knowledge that could make you grow even more. 

Q5. So to end this, what are your closing thoughts on being well rounded in the theatre, and the benefits of it?

A5. Experiencing as much as possible makes a theatre practitioner more understanding of all aspects in theatre and can help him in any area he desires to work. So, doing a little of all the things can go a long way.

In Closing:

I could not have said it better myself. Theatre is something where understanding its many aspects helps the artist grow in ways they may have not foreseen. This however is part of the learning experience that theatre has to offer.  If you are open, willing, and able, you will find all of the tools necessary for you to absorb this knowledge and at the end of it all become a well-rounded part of a theatre family yourself. 

Introductions, Productions, and Perceptions

Introduction

To start, I just want to say welcome to the first of a series of blogs that I will be writing for Lees-McRae Summer Theatre. I will be talking about the different shows going up this season as well as intern life here at the college, and what it means to be a Lees-McRae Summer Theatre (LMST), intern. I will be keeping these very casual all the while shedding some light at the current happenings on the campus. If you wish to learn more about what is going on check out our face book page at: 

https://www.facebook.com/LeesMcraeSummerTheatre?ref=hl. 

Now on to the blog!

To say that working in theatre is a tiring job is an understatement. It has been only two weeks since we have started and rehearsals are underway, the set is being built, meetings are taking place, costumes are being pulled. To say the least, it has been quite the whirlwind of activity at the college.

I have been involved with productions at Lees-McRae College during the academic year taking on roles, hanging lights, building sets, trying to have a well-rounded sense of what the theatre actually was and is about. Now that being said, if you can imagine that type of atmosphere and speed it up tenfold then you have some concept of what it’s like!

I was asked if I could finish the Dramaturgy work for Chicago in 3-4 days after our initial meeting. I was just a tad worried to say the least. That is just one piece of the puzzle in terms of how much effort, we as interns and those hired to work on the shows, put into what we do. It is a never ending process it seems at times where something always has to get done. So in order to shine a little light onto those you may not think about, I am going to break this blog up into sections in order to give attention to the different fields working hard in order to see the shows come together. I can assure you, the method remains the same for each and every performance we put on, now let’s get into it.

As the hammers rise the drills roar

Pic. Dustin Gibson

I would say one of the hardest working bunch in the entire production is the set crew. Having to build sets for our shows in a matter of weeks if only a weeks’ time. That to me is just incredible. They are working from 9:00-6:00 if not later nearly every day trying to see that the directors’ vision is realized all the while making sure it’s safe for the actor. 

They are the ones that put in the hard labor for us to enjoy what we see.

They are the ones that bring the vision to life and are an integral part in the process of seeing that these shows succeed. I cannot say enough, how grateful one is when seeing the amazing space that has been built for you. They take that canvas for which the art of theatre can be put onto and morph the stage through the designers’ vision, into something which one would think impossible.

I give full credit to them and their work. They deserve every bit of thanks and appreciation when it comes to getting the job done. So when you see how amazing that set is or how interesting that piece moves, just know, that was a concept, a vision, a plan, a job and then a masterpiece all created by the efforts of those who build the magic.

Let’s “Illuminate” a bit more on the Situation

Pic. Casey Duke and Megan Konyndyk

So I said I would “shed some light” on the situation of what goes on during a production and I thought what better way to do that then to actually talk about those fellow interns involved in lighting! Prepare for puns. So the Lighting Ladies as they shall be called work very hard with the help of Lighting Designer Todd Teagarden, to make sure that things run smoothly when it comes to all things lights.

You may ask what does being a lighting intern entail, and as you can see from the above photo it means getting into some really high places moving some very heavy equipment. Then they place that heavy equipment in such a way that it can then be focused to get the desired effect.

Lighting is one of those special arts that some people don’t even realize what type of an effect it could be having. This is one of the few arts where the mood or ambiance on stage can be changed merely by a color or hue or perhaps effect being used such as a scroller or Gobo.

They paint their own atmosphere over the stage which allows the actors to breathe in the type of effect it gives off. It sets a mood and feeling like few other things on the stage. There is a reason why a show comes together from many different aspects of design. Lighting design is one of those arts that “illuminates” the body, shining through a lens, to bring to light a vision that glows deeply on the stage. See there they are.

A "Stitch" in time

So, now that we move out of Hayes, let’s have a look into another very interesting part of the production process: Costuming. “AHHHHHHHHHH”, when asked how the costuming process goes during the summer, this is the response I received from Dr. Mike Hannah. Things have been running smoothly thus far but that has hardly been the case.

Pulling costumes, buying fabric and costume pieces, making alterations, the list goes on in terms of all the things that may need to be done in order to get the desired effect or look on stage. This is a process of design that works close with all other designers so they know what to look out for. You may think that’s a nice shade of blue but put it on stage with an interesting colored light, and suddenly you have a completely different color!

Though Chicago has been a mostly “back in black” type of feel, making sure everything runs efficiently down at the shop takes a lot of work and management in order to see that things come out the way that they need to. Organization has been key as well as the hard working intern and workers down at the shop.

Costuming is one of the few arts that instead of per say molding around the stage, molds to the actors’ body creating the exterior of a character. This is allowing the actor to feel as if they are someone or somewhere else. It is a visual and also mood altering aesthetic that lets you be a character in a different way, all the while being functional and tough enough to stand up to an actors abuse. 

A look into the “Windy City”

 

Pic. The cast of Chicago getting ready with Dir. Dr. Mike Hannah

Being an actor myself I understand the amount of work, time, and dedication it takes to “get it right”. I have discussed how much work goes into a production using many different fields as an example, and being an LMST performer is no exception.

You will find that through the day that rehearsals will be taking place, whether its singing, dancing or running lines, the work never ends for these dedicated workers of the arts. As far as a schedule goes, it all depends on how things are going that day. I have heard everything from going in for a 9:00 am call to working till 10:00 at night! To say the least it is a job where the love these actors have for the arts can shine.

That’s the interesting concept in terms of being an actor: you become the embodiment of the message, concept, and vision of the show on stage. You perform that character becoming part of it, and showing the work that has led you this way. You are given that stage from all of the efforts of the designers, workers and director, and you bring all of that together in your person.

That is the gift that you have to cherish as an actor, the gift of being able to be a physical body that inhabits that wonderful stage, and give it life. It is something that cannot be done alone, but through your technique, the designers, the director and everyone involved in the production. It’s where we find that all the pieces of the puzzle are necessary in order to perform the show the way it was meant to be. Nothing can be done alone in the art of theatre it is a collaborative process that lets us do what we do.

Oh and one other side note when it comes to acting, we are only as good as those that help keep us in line. So I would like to say a big THANK YOU to our lovely Stage Manager DJ VanHoy and our Assistant Stage Manager Mary Wildsmith. These wonderful ladies are amazing and deserve every bit of thanks for their hard work in managing the shows. They are unsung heroes of a production and help the cast meet the goal they are trying to achieve: the success of the show. They are wonderful and what they do is so important that it’s hard to put into words.

Putting the “Rits” in LauRITSen”

Now moving a bit away from the show itself, I have to give a special part to a few of the wonderful people that keep us all in line. There is nothing like being an Intern, and having a wonderful boss to keep you from going headfirst in a downward spiral.

To start I wanted to talk about some Lovely Ladies that keep us busy. The first person up is our fantastic Operations Manager, Pam Joslin! You know those little things that keep a production running: phone calls, Box Office, Publicity, and Budgeting. You name it Pam helps to see that everything runs as smoothly as possible. She is a very important part behind the scenes of LMST and deserves thanks for her effort in making sure everything is running like clockwork.

Next up we have the magnificent Intern Coordinator, Danielle Curtis! She is the one keeping us in line so to speak, and is not afraid to kick us into gear and motivate us to see we do our jobs. She is a wonderful coordinator and even though I have given her many a wide eye look in terms of what is asked of me, she always reassures me that “You can do it, get it done”. I cannot tell you how many times this has gotten me right back where I needed to be, and for that I can’t thank her enough.

The last person up is the marvelous Erin Wallace, LMST Managing Director! I cannot even begin to try and lay out a schedule for Erin or a job list. It would seem that her list of things do is only growing each day. She is literally at times all over the place trying to keep things in order to make sure that things don’t fall through the floor. She even has the time to let me know that I’m doing ok, and for that she deserves every bit of thanks.

In short these three ladies are some more of the unsung heroes of a production, and are all very important when it comes to making sure we don’t mess things up. They deserve a big thank you as I have said many times; I hope that we as interns don’t give them too much trouble.

In Closing

As you can see there is more than meets the eye when it comes to a production here at Lees-McRae, It something that is a collaborative effort from all areas of theatre. All of which are trying to see that these shows are some of the best that they can be. The process leading to our production of Chicago has shown that as a family here at Lees-McRae we can get anything done, no matter how stressful or hard it may seem.

I would like to think that, that is one of the benefits of coming to these mountains and seeing that the beauty of this place is not only in the scenery but its people. That you will find something here that is more than just a show but a show casing of Art and the hearts and souls of everyone involved.

So with that this concludes your look: