I have often found that good design decisions can always be dissected after the fact, but seldom before. Development of the act 2 fly cues is a case in point.
Act 2 of John Conklin’s La Boheme is unique. He designed 7 flying scrims and doors and 2 sets of hanging lamps. These flying pieces work with a large rolling unit up stage right (Café Momus) and 2 free standing posters. The total effect is a collage of Toulouse-Latrec posters plastered on a wall that matches the joy and diversity of the bohemians.
The scene can be set in many different ways. I was fortunate to be able to watch a piano tech of act 2 without lights. Garnett Bruce, our director, turned to me right before the rehearsal started and asked me if I would think about the fly cues. He turned around and we started the rehearsal. The tech started with just about all of the pieces in view, at their low trim. My first jolt was that I was not looking at a night scene, as written by Puccini, but at the Bohemian’s world of art, joy, and laughter, mixed in with a little jealousy and heartache. My next thought was that the Bohemians bring this world with them.
My scheme started with the Café Momus. The 2 free standing posters and the Paris street scene on the scrim backdrop alone, made for a beautiful night scene. As I watched the rehearsal I started to make notes about which scrim should fly in and when. All of these cueing moments were based on action on stage such as Schaunard’s entrance, Colline and the coat, Mimì and the hat. We found later that these moments were also spot on musical. Dispel the night and bring on the light!
Au vista fly cues have to be handled with exact timing and a skillful fly crew. My hat is off to Pat, our head flyman. We provided the timing. My hat is off to us, too, for that matter. We were finally completed by the time the Bohemians entered the Café. We were no longer in a Paris night, but in a world of light – the Bohemians world.
Magic time in the theater. We set the cues in a lighting rehearsal and then ran them while listening to a CD I asked that each of the fly cues be slow. It was better than I ever imagined, smiles all around. At one point while setting these cues we heard somebody practicing on a piano in the lobby. They were working on act 2, about 10 measures behind us. This situation could have been very confusing, but I suddenly understood that the cueing, slower than the music, could not quite catch up to the musical world of the Bohemians. Nothing could catch up to them that night.
I, like the Bohemians, had a blast!
- Number of hours spent in the Milwaukee airport on the way to Omaha from New York: 6.5 (I missed my connection. Oops.)
- Number of times I cried while we rehearsed the last part of act 4: 2 (okay okay, 3)
- Number of times we somehow ended up in Iowa: 2 (Incidentally, Ross – our Schaunard – was driving on both occasions)
- Favorite prop in the show: Schaunard’s coins (after forgetting them in my pocket at nearly every rehearsal, I’ve managed to assemble quite a nice collection of them at home)
- Favorite sign in Omaha: ‘Gizzards Are Back!’ (at Popeye’s Chicken near our house)
- Number of glasses broken in rehearsal before we switched to plastic: 2 (pretty sure that was Ross’ fault too)
- Number of wonderful shows I saw in Omaha in the last week: 3 (a fantastic production of West Side Story at Creighton, an Omaha Symphony concert featuring the astounding Edgar Meyer, and a rockin’ performance by Omaha’s own folk/country/bluegrass band, The Black Squirrels!)
- Amount of wine I attempt to drink in the last minute of act 2: ~2 bottles
- Character trait that separates this Colline from other performances of La Bohème: Kleptomania (keep an eye out!)
All of us involved in Bohème greatly enjoyed our time here – we hope to see you at the opera next week!
The character I am playing is Schaunard, the musician. He is the bread winner in this group of struggling artists. When he makes his entrance in the first act he has a very interesting story to tell his friends.
A little side note: Schaunard can be a tricky role in terms of the stage “business”. I make my entrance with bread, wine, cigars, gold coins, newspapers, and all types of food. In the period of 3 or 4 minutes, I explain how I came to get all of that stuff – and get rid of it so that I can also focus on singing in time with Maestro France and the orchestra!
Well, the story about how I got all this stuff is that I was hired by this rich old English man who wanted me to play my violin to kill his parrot!! Unbelievable, right? Well the violin playing didn’t work…I had to do something else, but you are going to have to see the show to see how it all turned out.
You will be sorry if you miss this performance, because you will hear how great it was from everyone who comes! Get your tickets today before it’s sold out!
I play the dual roles of Benoit and Alcindoro. Benoit is the cranky landlord in the first act who arrives demanding the overdue rent. Alcindoro is the wealthy sugar-daddy woo-ing Musetta with a night on the town in the second act, until her buddies, Rodolfo, Schaunard and Colline conspire with her to get Marcello and her back together again. I am left with nothing but the check!
It is my first time in Omaha and I am enjoying it greatly. I spent my day today schmoozing with stage management while my colleagues worked. Did you know that every opera has at least two stage managers to keep things running smoothly?
Kate Williams is our Stage Manager and her Assistant Stage Manager is RaShelle Bradley – both of Omaha. They give us our cues, make sure our props are ready to go on stage and answer questions about the production. They make sure the coffee pot is brewing, offer us advice on where to get a manicure or a good sandwich, and they become our friends. I worked with RaShelle at Opera New Jersey in February on a production of Die Fledermaus – she helped me do a costume change backstage and was always ready with a smile and a hug. In fact, I start each rehearsal day here with a hug from RaShelle. The stage management folks are our link to the outside world! Best of all, when they aren’t busy, and you are bored in the wings, they are great sources of back stage gossip. Trust me on that one.
Stage managers keep lots of lists: props, costume pieces, entrance cues, and timings, which make our work so much easier. In Bohème, I have to deal with plates, bottles, glasses, flowers, packages, and the Stage Management team knows where every prop is, who has it now, who had it last and who gets it next. Life savers! Only the truly organized can be stage managers. And a good stage manager can make or break a show. This Bohème will definitely be MADE!
I hope you’ll join us at the Orpheum – this production is just lovely and the singers are wonderful. At our first sing-through with Maestro France, Rodolfo’s aria had me in tears because it was so beautiful and heart-felt. And I have heard this aria sung hundreds of times. I can say the rest of the cast makes the same impact on me. There won’t be a dry eye in the house come the end of the opera.
We look forward to seeing you there!
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