Opera Grand Rapids Production Manager

Summer Vacation?

2010-05-22T06:56:00.001-07:00

The Opera Grand Rapids 2009-2010 Season has officially drawn to a close. Three opera productions, 6 performances, 12 rehearsals with the Grand Rapids Symphony, 27 chorus music rehearsals, 38 staging rehearsals, 3 rehearsal venues, 1 dropped piano and the birth of the Betty Van Andel Opera Center have made for one amazing little arts organization.

With our move to the (beautiful!) new office/rehearsal/costume shop space life has improved dramatically for pretty much everyone who is involved with Opera Grand Rapids. The planning of this space took three years of nonstop work, some reality checks, more than one reexamination of policies and procedures and a giant leap of faith. In the end we have a building that is elegant in its simplicity and located in a great neighborhood near Aquinas College on the near east side of the city.

For the past 43 seasons the opera has rehearsed in a variety of good and bad locations. Since I joined the company in 2007 I have been extremely lucky in finding places that were large enough to accommodate the floor plan of the DeVos Hall stage, had enough parking for everyone, working bathrooms and a door large enough to roll a piano through. Of course because I often paid the low, low rental rate of “gratitude” for each production we would move props, equipment and furniture into the space 24 hours before the first rehearsal and would move everything out when we went to DeVos Hall for tech and dress rehearsals and performances.

For the 2007-08 season we were able to rehearse all three productions in an empty storefront in the Grand Central Plaza on 28th Street just west of Breton Rd. This place was just barely big enough and sported only 8’ ceilings and just one bathroom. This made work on Carmen (cast of 14, chorus of 40, 12 children and 8 members of the GR Ballet) interesting. As the lovely ladies of the ballet were being lifted through the air their hands (and in some cases heads) brushed the ceiling. The line for the bathroom was lengthy during breaks in rehearsals. This location is now a Rent-A-Center.

During the 2008-09 season we were extremely lucky to work in the former Dunhams/Pet Warehouse adjacent to Best Buy at 28th Street and Beltline for all three productions. This place was HUGE! The chorus had plenty of space to set their lawn chairs—yes, the opera only owned 12 folding chairs so for rehearsals it was BYOChair. The Tosca chorus of 44, cast of 9, 12 children and 8 supers had access to real bathrooms—after I played the role of plumber and fixed the women’s room sink and the men’s room urinal. Unfortunately the lighting in the building, while being nice and bright, hummed at a constant E-flat. This would not even be noticed by shoppers in a store but was deadly annoying for music rehearsals. This location is now a resale/antiques shop.

This past season we began at the former Classic Stereo location (thank you, NAI West Michigan!) at 28th Street and Radcliff which was so great that it was leased out to a golf store within days of our departure. Then we went to the former Frank’s Nursery and Crafts at 28th and Breton Rd (thank you Dick Jasinski at Wisinski & Co.) where we have worked on and off for many years. The Frank’s building had been empty just long enough for a family of raccoons to have taken up residence in the women’s bathroom. After repairing the gap in the back door, therefore cutting off the wild animal access, I called the plumber and the furnace fixers and went to work cleaning the place up for Pagliacci rehearsals. Knowing that we were moving directly to our new building at the conclusion of Pagliacci production my mantra during the raccoon refuse removal was “never again, never again, never again, never again…”

There were only 14 days between the final performance of Pagliacci and the first chorus music rehearsal for Porgy and Bess, so we had to move FAST! Telephones, computers, office equipment, files and all the other garnishes that accompany our offices needed to be moved from our former home in the Waters Building downtown. The staff needed to adjust to working in a new office. We needed to take delivery of at least one piano. Knowing this was the plan I had settled in with a marathon-like work pace at the beginning of Pagliacci rehearsals and just kept going through Porgy and Bess production to the completion annual Gala on May 8th.

And now as I am writing this I am listening to a rehearsal for a choir performance tonight. A choral group has rented the building for the day for their end of season performance. There are some very familiar faces out in the rehearsal hall—parents and teachers who are regular members of our chorus, students who have been members of the children’s chorus, volunteers, season ticket subscribers. I am very glad to have crossed the finish line at the end of this marathon of a season. I am very glad that Opera GR now has a home where we can host music and foster the love of opera.

I am looking forward to summer vacation and a bit of a break, but before I drag the boat out of storage and find my sun block there is one more production to plan. We will be holding the official Grand Opening of the Betty Van Andel Opera Center on June 16th. There will be music and food and champagne. For me there will be sound systems and lighting systems, volunteers to coordinate and music to rehearse. One more to go!

2009 Resolutions

2009-01-07T11:09:00.000-08:00

We are 1 week into the new year and about two weeks away from the start of staging rehearsals for The Elixir of Love. My resolutions for 2009 include being better about filing paperwork instead of storing it in my "in" box until the end of a production, going to see even more local live entertainment and updating this blog more often. Oh yes, dear readers, you will be subjected to even more of my musings this year!

You may notice that I am a follower of Joanne Roehm's blog. She works in fundraising for nonprofit arts (at last a job that is more difficult than producing nonprofit arts!) and her ramblings are always interesting to me. I will pause to admit that I spent a few years working in fundraising for pediatric healthcare. Thus I have great sympathy for Joanne, OGR's new Executive Director and all others tasked with finding people who are passionate about art and possess deep pockets. It is relatively easy to raise money for pediatric healthcare. The need is obvious, huge and crosses all socio-economic boundaries. While I think the need for art is also huge and universal, it is not such an obvious one. Put a child with cancer next
to an opera singer and see who gets the last $5 bill in most people's wallets. That is a no-brainer.

The thing I discovered in my years of working around children who have some pretty staggering health issues is that they need more than medicine and surgery to make them well again. Kids need art. And, unlike adults, they know that they need art. The things that kids want the most when they are in the hospital are books, music and drawing supplies. Video games rank way up there, too, but given a choice between spending another hour alone in a room playing with a Nintendo DS or going to hang with other people and make something, they will pick the art project almost every time. Between watching TV or a DVD and going to see a musician or a play, the kids choose live entertainment. Kids know that art is good for them.

Adults seem to forget this.

My point? I suppose it is to encourage people to resolve to consume more art this year. Whatever your particular favorite happens to be, go get some. You will feel better because of it. Strapped for cash? Buy the cheap seat. You will find that most tickets in greater GR are only a dollar or two more than the price of a movie ticket. And if there happens to be a $5 bill in your wallet with no other destination, drop it off at the arts orgaization that is nearest and dearest to your heart. Yes, it is only five bucks, but times are tough and the power of many small things cannot be underestimated. Also you will get to walk around for the rest of the day knowing that you did something good. That alone is worth the price of admission.

Happy New Year!

The Opera Family Holiday Card

2008-12-19T13:27:00.000-08:00

It has been a few weeks since my last posting and for that I apologize. Like so many of us I’ve been wondering how to fit all of the things that I need to do into only 24 hours each day with the clock ticking down to 2009 with seemingly increasing rapidity. Between the opera and friends and family this is quite a hectic time of year.

I sat down to write this posting and realized that it sounded very much like the year-end, sum-it-all-up family newsletters that I get with some of my personal holiday mail. That started me thinking about how much this organization is like a family to me—a strange one to be sure, but a family nonetheless. So please pardon me as I extend the metaphor.

There is a new member to welcome to the opera family. Michael Havlicek has joined us as our new Executive Director. We are all extremely pleased to have him with us in the office. He doesn’t know very much about opera, but the staff is more than happy to expand his musical horizons. Michael comes to us from many years of work in the field of development (that’s fundraising for you non-industry types) and staff management. He dropped in on our first chorus rehearsal for The Elixir of Love and stayed to listen last Monday evening. I forget sometimes that not everyone is used to having 25 to 50 people singing to them on a weekly basis. It is a mighty powerful thing at close proximity and a good part of the reason why I love what I do for a living. Judging from his reaction, I think Michael is going to love it, too.

With Michael’s arrival we are bidding a fond farewell to Juanita Sharpe, who has been our Interim Executive Director since August. She isn’t going far, though, as she has joined the Opera’s Board of Directors. See, I told you this opera stuff is addictive!

We also lost a member of the opera family. Dawn Wilson, half of the dynamic duo who gather and create the props for Opera Grand Rapids and for many, many other performing arts companies in West Michigan, lost her fight with cancer last month. Some of you may remember Dawn and her husband Michael from the profile article in the program for Carmen last fall. She was far too young to leave us and will be missed by many people for a long time to come.

The staff sat down today to sign, seal and stamp the Opera’s holiday cards. It is a festive occasion where we bring treats to share, play some seasonal music and enjoy ourselves for a while. When you work in nonprofit arts, this is as close to a company holiday party as it gets. It is more like a small family gathering, but I don’t think I’d trade it for a fancy catered affair. Our staff sports some pretty good cooks!

The Opera offices will be closed from December 23rd until January 5th so that we can all spend time with our real families. We will stop in occasionally to get the mail and check on the computers, but don’t expect anyone to answer the phone until next year. I hope that everyone has a happy, safe and healthy holiday season—whatever form or flavor you celebrate—and that 2009 brings music into your life.

Facilitating The Artistic Genius

2008-11-18T09:00:00.000-08:00

My job at varying times is to lead, follow and get out of the way.

People who are new to the performing arts are always startled when I tell them that I am paid not to have an artistic agenda. My job is to leave the art up to the Artistic Director, the Staging Director, the Music Director and any number of the Designers whom I hire and assist. I take their ideas and desires and analyze them, deconstruct them and then report my findings. My goal is to make the scope of my advice to these people purely economic and logistic—Choice X costs less than Choice Y. We cannot afford Choice Z at all. Choice A will not fit into DeVos Hall as it is designed, but if we make these changes it will. Choice B is not available during our production period—and so forth. Don’t get me wrong; I have some fairly strong artistic opinions, but it is not my job to express them. My job is to facilitate. I have worked on some operas that I have disliked intensely, but they were successful in that the final product was exactly what the directors and designers wanted and envisioned. My taste has absolutely nothing to do with the process. They lead, I follow.

This week begins the work in earnest on the Elixir of Love. While I was busy with Tosca, the Artistic Director, Staging Director and Scenic Designer were collaborating (excellent!) and have been kicking around the idea of setting the opera in a different time period than the one for which it was written. On the whole, I’m a big fan of being surprised when the curtain goes up, but then I consume so much more theatre than the average person sitting in the audience that I’ve seen the “standard” production of just about everything. I like it when things get mixed up! So all of a sudden I am working on putting together information for a not-so-standard production of The Elixir of Love. There is some time for them to continue brainstorming and exploring their options before we have to make financial commitments, so for the time being, I will get out of their way and let them think this through.

In the meantime, the music is not going to change and the chorus must be cast and begin rehearsing in short order. We have an enormous pool of local talent from which to choose. To become a member of the OGR chorus you must audition for the Chorus Master. Local auditions are held each spring and we refresh our ranks with many talented singers of all ages shapes and sizes. Then, before each opera, I send out a mass mailing to the entire bunch—about 150 people right now. This mailing gives them the basic information on the upcoming opera such as rehearsal dates, the size of the chorus, who is directing, etc. The members of the chorus then send back their replies. Either they are interested and available for the rehearsals or they are uninterested or unavailable. From the list of interested chorus members the Chorus Master, Assistant Chorus Master and Chorus Coordinator cast the opera. Unfortunately not everyone who wants to be in the chorus is cast in each opera. There are always a few highly talented and wonderful people who we just can’t use. The Elixir chorus will number only 24, so I fear we will be turning away more people than usual. I hate that, but at the same time it would look and sound extremely silly if we had 65 sopranos on the stage with only a dozen or so of the other voices (yes, we are a bit soprano heavy). We will begin chorus music rehearsals back at the Central Reformed Church in early December.

In eight short weeks we will begin staging rehearsals for The Elixir of Love, so I am leading the charge onward. Chorus letters are in the mail. I am working on housing and travel for the visiting artists. A few contracts need to be written. I have to find a place to rehearse. There is always some work to be done on the planning of the Betty Van Andel Opera Center. There are still some things to finish from Tosca. There are some things to begin planning for Faust and we are already discussing options for next season. So I am taking turns leading, following and getting out of the way. As usual.

Tosca has leapt to her demise for the last time.

2008-11-08T18:00:00.000-08:00

It seems like we just opened Tosca and now it is already time to close. The fact that we only do two performances might have something to do with that. When I first came to work at OGR it struck me as very strange that we do all this work for only two performances, but then when you compare the number of seats in DeVos Hall to some of the other venues in which I’ve worked, the math comes out the same. When you only have 900 seats, you have to do twice as many performances to sell the same number of tickets as when you have 1800 seats. I believe that DeVos Hall holds over 2,000. Twice is enough for now. I’d like to have enough ticket buyers to require additional performances. Maybe someday...

Strike is my least favorite part of the opera. Not only is it a little sad because it is over, but it is also a heckuva lotta work! As soon as the final curtain falls the stage will be a veritable beehive of activity. The truck that will deliver the scenery back to Opera Omaha will already be in the loading dock. My rental truck has been there since I arrived before show time. My crew of loaders will undo everything that we did just a week ago. All the costumes will come off the performers, be sorted by the costume staff and be loaded back into their shipping containers to be returned to Utah. All the costume shop equipment—sewing machines, ironing boards, steamers, boxes of notions and threads—will be loaded into two piles. One pile is destined for the warehouse, the other will go back to the home of our costume coordinator to be stored in a more environmentally controlled and secure location.

Props will be sorted into two piles as well. One pile will be returned to Omaha with the set, the other will go back to our warehouse or to other warehouses across town belonging to other theatre companies. Thanks to Circle Theatre for the loan of the crates and table! My goal is to take no more than 3 hours to strike this opera. That would have my crew (and me) done by 1 AM. Since there are not too many props and not a whole ton of scenery, I think this is a very attainable goal.

I am very pleased with the way Tosca has turned out. I’ve been working on this opera for almost a year and it is nice to be proud of the final product. I spent the dress rehearsals dividing my time between backstage and the front of the house. I especially made a point of watching the end of Act I from the audience as often as possible. Not only is that music sublime, but the lighting and staging in that scene was gorgeous--definitely a feast for the senses. The first time I heard the music with our orchestra on Tuesday it nearly brought tears to my eyes. The piano reduction we have been working with for the past six weeks does the score no justice at all.

Of course watching that from backstage was a completely different experience. To say that the wings were full is a vast understatement. The whole chorus and all the supers all mob together off stage before entering for the procession and the big bass drum that serves as the cannon fire was positioned practically in the stage manager’s lap. Add several music stands, some chairs and a harp for the Act II banda (that is a small group of musicians who play backstage, separate from the rest of the orchestra in the pit) and there was barely room for a few props and three dressers to help with a costume quick change. We cleverly recycled Scarpia’s henchmen in the processional by quickly throwing choir robes over their heads. Thanks to the Grand Rapids Choir of Men and Boys for the loan of 18 choir robes!

And now it is over. Tosca has leapt to her demise for the last time. All that is left are the programs, a few bits and pieces to return, the bills to pay and the fading sound of music in my ears. I will wander around for at least a week hearing bits of the score in my head constantly. I will hum it to myself as I drive or file or open the huge stack of mail that awaits me at home, but I don’t mind. There are far worse things to have wandering around in one’s brain.

And now it is high time that I turn my attention to The Elixir of Love.

Opening Night Butterflies

2008-11-07T17:00:00.000-08:00

We get 1 week in DeVos Hall for each opera; seven days from the time we unload the first truck until it all has to be back out the door again. Sometimes that seems like an appallingly small amount of time. For Tosca, though, a week has been just about enough. The scenery is not complex or difficult to move. The lighting effects have all worked out beautifully. Aside from adding gold braid to the chaise in Act II, the props all seem to be ready. Costumes have been great the whole way through—even though some of the singers were less than thrilled with theirs in the beginning.

Last Saturday my loading crew and I got everything from the rehearsal hall and costume shop. We took some things back to our warehouse, where they will live until it is time to begin work on The Elixir of Love in January. The rest of it stayed on the truck overnight so that at 8:00 AM on Sunday morning I could back into the loading dock at DeVos Hall and drop it off. The union crews at DeVos are fast to unload a truck and helped me get everything where it was going for the week.

We always take over a large room in the basement of the theatre to use as a temporary costume shop. Repairs and final adjustments are made there and pieces that need to be cleaned are dealt with on the premises as much as possible. Unfortunately the washer and dryer are located right outside the orchestra pit doors, so cycles have to be strategically timed with the music or even the end of the rehearsal.

Up at stage level, the DeVos Hall scene shop is a large space fitted with giant overhead doors that lead to the stage. This is where we set up the props headquarters for the week. Folding tables are put up and tools arrive along with a small fridge and microwave. Yes, we do use those to keep the production staff snacks in, but there is also food to be consumed during the opera. The chicken is a prop. The chips and salsa are mine.

The opera owns a double-wide chaise that has figured prominently on our stage more than once. It is getting reupholstered once again for use in Tosca. All other furniture arrived with the set, but not a chaise. We all scratched our heads and wondered if Scarpia tried to have his wicked way with her on the floor when this was originally produced in Omaha. There was a lot for the Prop Master to deal with, so I volunteered to redo the chaise to help lighten his load. I know how to upholster things the right way, but of course I thought I’d take a shortcut and it would still look fine. Note to self: it is always faster to do it the right way the first time. It is never faster to have to start over.

Now it is 5 PM on opening night. It is time for me to leave my office and stroll calmly across the street to DeVos Hall. I have enormous confidence in the production staff, the union stagehands, the artists, the box office and the ushers. I know it will all go well, but I still have those little butterflies in my stomach from time to time. They are the reminder that we are about to attempt something incredibly difficult in front of a live audience.

I love those butterflies. I hope they never go away.

TOSCA is alive . . .

2008-11-06T14:07:00.001-08:00

The student dress rehearsal was a wonderful success last night. Here are some pictures I snapped during the rehearsal.

Student Painters Tackle Themes in Tosca

2008-11-05T14:00:00.000-08:00

For the past four seasons, Opera Grand Rapids has worked with Square One Design and local artists to create original pieces of artwork to market its operas. For the past two years local illustrator and painter, Yolanda Gonzalez has created paintings that capture the spirit of each show, and tell to story of the opera.

Inspired by this unique connection between visual art and opera, East Kentwood High School’s AP Art Class embarked on a special project. After learning about the opera TOSCA, which opens the Opera Grand Rapids season on Nov. 7 & 8, the class created visual images inspired by the opera’s story.

The class’ work was then brought to the Opera Grand Rapids office where staff and board members voted on the piece they felt best captured the spirit of Puccini’s tragic tale.

The winner of the contest was junior Taryn Jaglowski. For her first place prize, Jaglowski received tickets to the opening night performance of TOSCA on Nov. 7, a cash prize of $100 and a page displaying her work in the opera program.

The work of the entire class will be on display in the Keeler lobby of DeVos Hall during the student dress rehearsal on Nov. 5 and during the performances of TOSCA on Nov. 7 & 8.

TOSCA a far cry from "Park & Bark"

2008-10-29T13:51:00.000-07:00

Rehearsal Week 2

Things are beginning to take shape. Costumes have all been tried on and adjustments are being made. What we do at Opera Grand Rapids is what a number of other companies do. We rent costumes from a large company—whether that company is strictly a costume house or a larger opera company that has built and kept another production of this opera. OGR just doesn’t have the time, money or manpower to build our own costumes at this stage in time. I have taken everyone’s measurements--visiting artists’ agents send theirs along—and compiled them into a large spreadsheet. I then e-mail that massive list to the rental company. They go through their production and pull out the costumes that we need and make the basic adjustments to them so that they will fit our cast. In the case of the chorus we often fit the singer to the costume, but for comprimario and principal singers we always fit the costume to the singer. For Tosca it is especially challenging because not only is there a large chorus, but there are also supers—people who neither speak nor sing, but are present as characters in the drama—all of whom need more than one costume each. I received 6 shipping crates of costumes on October 10th and my costume staff has been sewing their brains out ever since. Thanks ladies! Everything looks great!

Over at the rehearsal hall, the opera has been roughed in, so to speak. All the scenes have been visited and blocked (figure out who goes where and does what during each line). Stage Management takes extensive notes so that the director can keep track of what business is going on when and make it all work together dramatically and harmoniously. From here on out is the fine-tuning. They say that God is in the details. Oh, man are they ever right! I am fascinated by the inner workings of an opera. Not only do we spend a lot of time considering what goes on while the performers are on stage, but good directors spend time considering what the characters have been doing in the drama before they appear on the scene. And what they will do when they leave. All the inner workings of the plot and motivations have to be balanced carefully in the mix.

Opera wasn’t always this dramatically sensitive. There was a large period of time where the style of performance is what a friend of mine calls Park and Bark. The singers used to wear elaborate costumes (some of which they owned themselves!), wander out to the middle of the stage, stand there and sing. The heck with acting, it was all about the music. I’d like to think we have a better balance of acting and singing these days. This production and this director are going to be especially mindful of the acting aspect. And the singing is out of this world.

On Thursday the Lighting Designer arrives in town. He will meet up with our Technical Director and Master Carpenter and talk about how the set will work with the lights and vice-versa. They will all attend the run through Thursday night at the rehearsal hall to see how the singers will interact with both scenery and lighting. After that, Stage Management packs everything up, pulls the tape off the floor and I will come with a few strong backs to load it all up and take it to DeVos Hall.

And then the fun will REALLY begin.

Staging: As Holmes used to say to Watson, the game is afoot!

2008-10-23T17:03:00.000-07:00

The visiting artists have arrived and rehearsals have begun in earnest. Last night we bid a fond farewell to the Central Reformed Church, where we have been working with the adult and children’s choruses for the past six weeks. We won’t be back there again until we begin to work on The Elixir of Love in December. Now we are moving ahead with staging rehearsals which are being held in an empty store near Centerpointe Mall. Extra-super thanks to Visser Development for letting us use the old Dunham’s store. We love it! (And for anyone out there who is looking to lease a large retail space, the place is now sparkling clean!)

I’ve already put a few hundred miles on my car going from office to costume shop to rehearsal hall and back several times a day. Man, am I ever looking forward to a time when all three of those locations will be contained in one building. (go to the page on the Betty Van Andel Opera Center to see our future home!) I’ll gladly climb the stairs 20 times a day if it means that I no longer have to spend hours in traffic and use all of the remaining fossil fuels on the planet. (Never fear, environmentally-minded friends, I drive a hybrid!)

Today began with a production meeting. This is the first time that the Director, Stage Managers, Technical Directors, Properties Master and I all got together in the same room to talk about Tosca. It can be tedious going through the opera with a fine tooth comb to discuss props and scenery and costumes and lighting, but there really is no better way to do it than to put all the minds together and mentally go through the entire opera. Everyone asks questions and everyone has answers. Sometimes we need to discuss the pros and cons of a particular aspect or process or strategy. Sometimes these discussions lead us in directions that we would not have considered alone. This is one of my favorite parts of the opera: Collaboration! There was a combined century or two of theatrical experience sitting around one table. Together we are more than the sum of our parts, for sure!

The scenery for this opera is in no way literal. It is designed to represent not only locations, but also emotions and themes. There are several large panels onto which images will be projected. The set is less for the singers on the stage and more a guide for the audience’s benefit. The costumes and the props and furniture are all very, very literal and conventional. These things in the singers’ world are all realistic. I like the concept quite a lot and am looking forward to seeing everything together.

That event, however, is still weeks away. In the meantime, we will rehearse and bounce ideas off each other. We will make more decisions and think about things like wigs and makeup and stage blood and daggers that have retractable blades. We will figure out where to place the offstage singers and where in the world we will put all of the orchestra musicians in the limited orchestra pit at DeVos Hall. I suggested using a bit of Crisco, but no one else thought that was a good idea.

I guess that is why we collaborate!

Where to Build the Show - Searching for a Rehearsal Hall...Again

2008-10-14T16:58:00.000-07:00

Tuesday, October 14th has been one of THOSE days.

I arrived at my office at 7:30 AM, toting my makeup, curling iron and evening attire for the “P” is for Puccini event at the Public Museum tonight. At 8:00 a.m. was the meeting of the Facility Committee, on which I sit. We are working on all the details for The Betty Van Andel Opera Center. At the moment we are down to making decisions on construction materials, faucets for the bathrooms, numbers of and locations for electrical outlets, computer networks, phone systems—all the nitty-gritty nuts and bolts of the building. It is both exciting and incredibly tedious all at once. Groundbreaking will occur when we have met our capital campaign fundraising goal—and not a minute sooner! Everyone in the industry has heard about or even lived through the nightmare of an organization building a facility only to discover that they haven’t raised enough money to pay for it. Our Board of Directors has sworn not to let that happen to us!

Unfortunately just before the meeting was supposed to start, our Interim Executive Director called. She was in a fender-bender on the way to the meeting and got a pretty big knock to the head resulting in a concussion. No “P” is for Party for her tonight! To add insult to her injury, our Marketing Director is also among the walking wounded. She called to let us know she’d be working from home today, but would stagger (literally) into the event tonight to do her thing.

The rest of today has been absorbed by the search for a rehearsal hall. Still homeless with 4 days to go, I’m beginning to perspire a bit. It’s tough to find a space that is big enough, hasn’t got too many supporting columns, has heat, lights and enough bathrooms and parking for a cast of 50. I’ll be so glad when we can finally move into a facility of our own. This will save me countless hours, miles and grey hairs, not to mention making the process of creating art a whole lot more productive for everyone involved.

At 4:00 was the fastest meeting of our Executive Committee on record. Everyone was out the door by 4:45 and on the way to get changed for tonight’s event. I joked with one committee member that I’d be having breakfast and dinner with him today. It is days like these that I am most grateful for our Board volunteers. These are all people with, you know, day jobs. They don’t get paid to spend hours working for Opera Grand Rapids. They do it because they love it and because they love the community where we all live and they know that having strong, vital arts organizations makes that community better. These are the people who lend their expertise to us on an hourly basis for free. What could be better than that? Nothing, I tell you!

And now it is time for me to get down off my soap box and curl my hair. “P” is for Puccini starts in 1 hour and it would be ever so nice if I didn’t look like I’d been dragged behind a truck when I get there.

Hope springs eternal.

Creating TOSCA - The Chorus

2008-10-06T17:30:00.000-07:00

I have the best job in the world.

It is Monday evening and I am sitting outside the Tosca Chorus Rehearsal with my laptop. I must sit here and be serenaded by 35 exceptionally talented people who are rehearsing Puccini while I work. Darn! What a hardship!

As the Production Manager for Opera Grand Rapids I am in charge of getting everything and everyone that you see in an opera and getting it/them on the stage. That may sound like a tall order, and believe me, it is! This is my second season with Opera Grand Rapids and I have relaxed the death-grip on my desk ever so slightly. Oh, I’m still a bit white-knuckled, but I have already fallen into most of the pits that come with this job and while still wary, I’m getting better at dodging the new ones.

I actually began working on this season’s operas last January. Once the operas are agreed on the promotion and planning begins immediately. Scenery, costumes, props, lighting, wigs, staff, music, principal singers, chorus, orchestra—all these components must be agreed on, assembled and assigned and that takes time. Lots and lots of time.

There are some components that must wait until the last minute, though. Locating and securing a place to rehearse and a place to work on costumes is always a last-minute item. You would think something that is as vital as having a place to work would be top priority, but without a facility of our own, we must rely on finding a big, empty space with parking and bathrooms for a cast of 50 or more that can be used 24/7 for two or three weeks at a time. As some of our former cast members can attest, heat and lights are optional. Usually that takes the form of vacant retail space. Because landlords are justifiably holding out for someone to lease their space long-term and pay market-rate rent, they are reluctant to allow the opera to take over a prime location until they are absolutely certain that no one else will rent it. This certainty usually comes 7 to 14 days before I would like to move in and start using the space.

Today I signed a lease on a costume shop (extra thanks to Spatz Development, Inc. for the bargain basement rent!) with only 72 hours to go before my costumes are scheduled to arrive. Whew! I’ve still got 10 days to find a rehearsal hall. Keep your fingers crossed!

Am I sure I have the best job in the world? (pause to appreciate the music drifting into the hallway) Oh, yeah!