Friday, April 6th
OK, I’ll answer some of the questions associated with how we take a Broadway show, pack it up and ease it down the road to another city for a performance 46 hours after the curtain rang down. For those of you with theatrical experience, a bunch of this stuff might be old news, but I’ve tried to explain it (as best I can) from the ground up. There are sure to be mistakes all over, point them out if you notice them. Please feel free, also, to ask about anything that I may have left out or could explain more. Here we go…
Packing it up:
Trunks. Everyone on the tour is entitled to a trunk. (Currently we're travelling 62 trunks.) In addition to our luggage (which we travel with us on the plane or bus) the show travels a trunk for each of us. The trunks travel on the trucks with the scenery, props and costumes. You can have your trunk left at the theatre (like these) or delivered to the hotel. Before we move to a new city, there’s a sign-up on the call board for where you’d like your trunk delivered. Company Management then generates a label for your trunk with your name, phone number and where the trunk should be delivered in the next city. You stick the label to the top of the trunk and the prop department takes care of the rest. At the end of the tour, the trunk is yours (if you’d like it); so many people decorate their trunk with stickers from their travels. The one above is mine…
The scenery and props all have to be packed to travel. Most everything travels in some sort of box, crate or hamper. The boxes in the top photo mostly contain the rigging components of our flown scenery. The hampers in the lower photo are used to travel all sorts of stuff. Stage Management travels two hampers containing (among other things): the cots required for the dressing rooms, corkboards for our office, first aid and office supplies. The Company Managers travel a copy machine in one of theirs. Many of the larger props travel in hampers as do the soft drops. The squares on the lids of the hampers have circles cut out so we can stack the hampers in the truck.
The hard, flat scenery pieces travel on dollies like these. They can stand up (leaned against the bar in the middle) and be ratchet strapped onto the carts.
The default container from traveling stuff is the roadbox. A roadbox can roughly be roughly described as a wooden box 4’ wide, 5’ tall and 2’ deep on big swivel casters with two doors encompassing one of the long sides. The guts of the box vary wildly depending on their function. Stage Management travels two roadboxes. The first has several file drawers and storage space for all our office supplies. The second box is our “stuffer box” and primarily contains all of the program inserts we use when understudies or swings perform. (The stuffer is the paper that reads something like: The role of the Monk will be played by Nigel Columbus.) We travel 25 versions of stuffers (generally 6,000 individual stuffers of each variation). We run up a substantial bill at the Kinkos in each city…
Many of the smaller props travel in roadboxes. A couple of these boxes end up on stage (one on either side) and serve as the drop off and pick up point for the hand props during the show. In addition to sitting on shelves, the props hang on hooks on both doors, sit on top, and lean behind the box. They’re carefully laid out the same way in every city so an actor can find their prop in a hurry. They’re also fitted with lights on the inside. The prop boxes are locked up each night so none of our props go missing between shows…
Most every member of the crew travels a personal roadbox. These function as their office & workstation in each city. Some are very utilitarian and look like giant toolboxes. Others are much more customized. Below are a couple of pictures of Mike (one of our electricians) box. He has dimmable lighting, a stereo and a pull out desk for his computer in addition to his tools. His box also features a mount for a moving light so he can hang them up and do maintenance on them right at his box.
The wardrobe travels in roadboxes and in similar containers called gondolas. The gondolas are roughly the same size, but have no doors. One of the long sides has a removable soft cover instead. They have a rod for hanging costumes inside and most are fitted with lights. They’re giant closets on wheels. Some end up in the dressing rooms or the wardrobe room, but many end up in the quick-change locations on stage (like this one).
We also travel all manner of odd boxes built specially to contain things like the prams, a piano, lobby signs, keyboards and concessions.
Unpacking it:
The show travels in eight 53’ trucks. Each truck is packed the same way for every move. For example, one truck is called the “castle truck” because the main things in that truck are the parts of our major scenic unit: the castle. Of course, all sorts of other stuff travels in that truck as well. The stuffer box, for example always travels in the castle truck. This allows for the careful planning of the load-in and out; ensuring that things arrive in the order they’re needed on stage. It also allows our Head Carpenter to provide a manifest to customs officials for exactly what is in each truck when we travel internationally.
To load and unload those trucks, we employ 8 truck loaders (teamsters) for load-in and load-out. (The stage hands push the stuff to the truck. The teamsters push it onto the truck.) We also employ a bunch of extra stagehands for load-in and out:
38 are required (16 Carpenters, 16 Electricians, 6 Prop People). The load-in takes roughly 22 hours (over two days). It begins with a four hour “spotting call”. During that call, our Head Carpenter (Keith) makes sure that the fly lines at the theatre are spaced correctly for our show. He also hangs the 40 chain motors that support such things as our lighting trusses. After the spotting call, the next big priority is to get our show deck laid down.
The show travels our own “show deck”. It is the flooring of our set and contains the mechanics that make our automation work. The show deck is about 4” high and comes mostly in 4’X8’ sections that lock together. It contains 3 automation tracks. Two of the tracks run left to right across the stage. These are double tracks; meaning there are two tracks about 6” apart run on the same winch. There is also one track that runs upstage to downstage. This one is a single track. In each track, there is one “dog”. The dog is a U shaped piece of steel that travels in the track. The dog is attached to a length of aircraft cable that is, in turn, attached to a winch. The piece of scenery to be moved has a bracket attached, through which a “knife” is inserted into the open portion of the dog. (The cable runs from the winch, along the track, to the dog, on to a single pulley, and back to the winch. In the case of the double tracks, there is a second dog on the return leg of the journey.) Some pictures of the set up follow:
One of the winches
One of the L/R double tracks
A close-up on one of the tracks. The dog is near the pink tape.
This is the back of the “mud castle”. The knife is in the downstage track; it’s the thing with the loop on top.
One of the reed palettes. The knife would go through the hole in the bracket.
All the cable has to be restrung in each city. The decking over the tracks is removable, allowing the carpenters access to the tracks.
The show deck also contains some LED lights along the downstage edge. These lights are guideposts for the actors. They help them maintain their spacing during dance numbers and also help them hit their marks for lighting. Many shows use numbers painted on the stage, we use LEDs.
The castle unit itself also contains some automation. The winches drive it upstage/downstage and right/left (depending on which track the castle is knifed into), but the castle can also rotate. Inside the castle, there’s a motor that can rotate the piece around the knife. This is controlled wirelessly from the automation console.
The “brains” inside the castle.
The automation console also controls two flown pieces. The #3 and #4 sets of clouds are flown up and down by automation. (#1 is stationary & #2 is flown manually.) The winches for these pieces are in trusses hung along-side our lighting package.
All of our on-stage lighting package travels in trusses. The trusses are hung from the theatre’s grid on chain motors. This way, there’s no need to re-hang the individual lighting instruments at each theatre. Just assemble and hoist up the truss, then touch up the focus. The front of house electrics, however, have to be adapted to each theatre. We utilize whatever positions the theatre has available. We have to be a bit flexible.
One of our side-light trusses.
The sound towers travel in a similar way. We have two columns of speakers (one on either side) that travel in their own framework. The frames break apart into manageable pieces, and bolt back together. We also travel front fill speakers and a center cluster. We travel an entire sound system.
Side view of one of the sound towers. It also contains a video monitor so the cast can see the conductor. The upstage side is also a lighting position.
The lighting and sound boards occupy a space at the back of the house. We generally have to remove some seats to make room for them.
The lighting console(s).
The portals are hard framed pieces of scenery. They’re also constructed of more manageable small pieces that bolt together. All the pieces are clearly labeled on the back to make putting them together easier.
Many props live behind the portals. They’re the sorts of things that need to be grabbed quickly. Things that an actor couldn’t go all the way to a prop box for.
The back of the first portal. Prop books, swords, etc.
Dressing them up:
We travel with 3 wardrobe people and 3 hair people. We pick up a crew of an additional 9 wardrobe people and 1 hair person for each show (12 people help load-in the wardrobe). These folks help dress our actors backstage and in their dressing rooms. To help them learn the show, our crew has created very detailed notes for them. Each of them gets a small notebook that hangs around their neck with step-by-step instructions and pictures of each of their changes. Often, the notes include a picture of what the actor should look like after his change.
Jaki modeling one of the wardrobe notebooks
Since the actors often do not have time to go back to their rooms to make changes, we build quick-change booths on stage. These little rooms have hooks and racks for costumes, chairs for the actors, lighting and are made private with portable walls.
Francesca and Jaki outside the SR quick-change booth. The actors enter between the white arrows.
The ensemble men wear tights underneath everything, so need less privacy. Here, all their changes are laid out, in order, on their chairs.
The men’s make-up station. Their make-up lives inside the colored boxes and their wigs hang on the white hooks. Make-up removing wipes, etc are on the shelf below.
The hair staff also provides and travels every one's specialty make-up. Each actor has a plastic tote that contains their hair and make-up supplies. As we prepare to leave each city, the actors return the tote to the hair room and it is packed into one of the hair department's hampers.
We travel 5 musicians (Conductor, 2 Keyboards, Trumpet & Drums). We pick up an additional 11 musicians in each city (2 Reeds, French Horn, 2nd Trumpet, Trombone, Percussion, Bass, Guitar, Violin, 3rd Keyboard, and a sub Keyboard). We send advance copies of each of the musician’s books for the local musicians to study. The day of the first performance, Ben (our maestro) has a 6 hour rehearsal with the full orchestra. We also have a 1 hour soundcheck rehearsal with the orchestra and the cast so the sound crew can work out the kinks and get a feel for the sound of the new theatre.
Stage Management:
The call desk also travels with us. It breaks apart into two pieces. The top piece contains all of the electrics, audio and other gadgets. It’s a big box that both the front and back comes off. It contains our clear-com (headsets that allow us to talk to the crew), cue lights (to signal cues), video monitors (we have 5 video cameras: conductor, front black & white, front color, overhead and a side view), sound monitors, dressing room page system and an announce mic. The lower section is the desk portion. It contains storage for our calling scripts, valuables, first aid, etc. It also doubles a prop table: the backside has room for a few props.
The call desk.
Close up of the electronics.
In our office, we also have video and audio monitors as well as a dressing room page system. It’s from here that we make all the announcements and calls. Anyone in the office can also listen to the clear-com system and communicate with the stage manager who’s calling the show.
When we arrive in a new theatre, one of the first things Francesca and I do is put up directional signs. When the cast arrives, many of them will never have been in the building before and they’ll need to find all the various offices, their dressing rooms, and their way to the stage.
We also set up the call board in each city. The call board is the central location for all show related information. It’s where we post notices and where the cast signs in for each performance. It’s also where the company managers post all the travel information.
Running the show:
Our traveling crew is:
2 Deck Carpenters
1 Automation Carpenter
1 Flyman
1 Lightboard Operator
1 Spot Operator
1 Deck Electrician
1 Audio Mixer
1 Deck Audio
2 Prop
3 Wardrobe
3 Hair
In each city we pick up an additional:
4 Deck Carpenter
5 Flymen
2 Spot Operators
1 Houselight Operator
1 Deck Audio
2 Prop
9 Wardrobe
1 Hair
In general, our road crew supervises the local crew. We provide them with cue sheets and instructions. In the 2 hours or so before the first curtain, our crew and Stage Managers go over the cues with the local crew and show them the moves and pieces. (In the case of wardrobe, the training starts much earlier).
The cast is called two hours before the first curtain time in each new city. While the orchestra starts the sound check, Ken (our Production Stage Manager, my boss) gives the cast an orientation. We go over the layout of the theatre, any changes to the show, the schedule and any other news. Then, the cast puts on their microphones and sings several numbers with the orchestra as a soundcheck. Once they’ve finished soundcheck, the cast meets their dressers for the first time and goes over any extremely quick-changes. As the on-stage space does not change from city to city, there is no dance or spacing rehearsal. Ten minutes before curtain time, the cast members involved in the sword fighting rehearse their fight. Five minutes before the first curtain, the ensemble boys rehearse their first (very fast) change with their dressers. Then it’s show time and we all do our best for the opening night audience!
Space is at a premium backstage, so some of our larger scenic pieces are actually stored above our heads. They fly in and out on chain motors. When we need them, the crew lowers them down; when we’re done with them they’re hoisted back out of the way!
Mt. Olympus & the Rabbit Mound
One of the Camelot tables flying in the SL wing
The stage during preset
Packing it up:
Loading-out the show goes much faster than the load-in. It generally takes about 8 hours to pack up. The load-out call is about the same as the load-in (52 local hands total). Before the final show in each city, there’s a “box call”. This is when the props department collects all the trunks and other departments gather whatever empty boxes are on the trucks and get them ready for load-out. The first of our trucks return the night before load-out (the trailers stay somewhere nearby, the truckers leave and pull other shows while we’re staying in a city) and are waiting in the dock when the show comes down. The rest of the trucks arrive throughout the night as room becomes available for them in the loading dock.
Shortly after the last truck is loaded (usually around 6 AM) the crew departs for the next city to do it all over again. (We usually close on a Sunday night and open in the next city on Tuesday evening.) Our Head Carpenter will sleep on the bus or the plane and go right to the next theatre for the spotting call that begins the load-in.
Company Management:
We have two Company Managers (Karl & Jeff) who travel with the show. They arrange all of our hotels and travel in addition to the business end of running our show. Months before we arrive in a new city, they’ve been on the phone negotiating discounts with hotels (they’ve reserved hotel rooms well into next year). About 6 weeks before we’re due in a city, they distribute the hotel offerings (greenies). We have at least two options for hotels in every city. We’re also free to arrange our own housing. We’re paid a tax free “per diem” for each night we’re on the road. We can spend it however we like, but Karl and Jeff negotiate cheaper rates with hotels near the theatre.
They are responsible for 53 people (25 actors, 5 musicians, 3 Stage Managers, 2 Company Managers, 17 Crew Members and 1 Concessionaire). They distribute pay checks, mail (our mail is forwarded from the NYC office once a week), and information on each city. They handle our local and city-to-city travel. They also handle the business end of the show. They settle with the local presenter once a week (they reconcile the show’s expenses, box office receipts, etc.). They also handle all of our house seat requests and any other hospitality.
Wrap it up:
That’s my “How we do it” blog. I hope it was interesting! As I said, please feel free to ask me anything more specific and I will do my best to answer…
JV
4 comments:
Wow. Just wow.
Jovon this entry totally ROCKED! Seriously, well done, my friend. Although I am disturbed that Jaki rated 2, not 1 but 2 photos...
Thats amazing!! Sounds like alot of work. I really enjoy reading these. Keep up the good work.
Wonderful post. Thank you for being so detailed and for all the pictures. It's cool to see all the stuff that goes into moving touring shows from place to place!
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