In this interview, Studio Theatre’s Stage Management Apprentice Rachel Zucker chats with Associate Literary Director Lauren Halvorsen about the backstage world of Torch Song Trilogy, working with Michael Kahn, and why the crew nicknamed one tricky scene transition after a Harry Potter character.
What is your role at Studio?
My role at Studio is that of the Stage Management Apprentice. As the Stage Management Apprentice, I work with the resident stage manager (the fabulous John Hall) on all five of the subscription shows, helping to run rehearsals, performances, and anything else that may pop up. For each show, we rehearse six days a week for 4 - 5 weeks and then settle into an exhausting yet highly rewarding eight-show week of performances for at least a month. During performances, I assume the role of Floor Manager, where I, along with the help of my crew, am entrusted to make sure that the backstage operates and runs smoothly each and every night.
What are your responsibilities on Torch Song Trilogy?
What isn't my responsibility on Torch Song Trilogy? Just kidding…kind of. Torch Song is a big show that comes with a lot of various responsibilities for me, ranging from making a tofu-egg scramble for the actors to eat in Act III (smells terrible but actually tastes pretty good) to doing laundry to setting and checking props to flying a projection screen in and out and a whole lot more. Our run book (list of what the crew and I do) for this show, not even including what we do pre- and post-show, is currently 13 pages long. I would say my main responsibility for this show specifically is making sure scene changes happen as gracefully and efficiently as possible, especially in Act 1 since there are so many, and the intermission shifts because they are so difficult. By doing this, we make sure everything is where it needs to be for the actors, help the show to run smoothly and provide a well-rounded and magical experience for our patrons.
You work alongside John Hall, Studio’s Resident Stage Manager. How do you two begin the process for a production?
John and I begin the process for a production by getting what is called a "prep week" in our world. During this time, we help facilitate the creative process by making sure everything is prepared for the start of rehearsals. We gather, buy, obtain, and make props and costumes; prepare our rehearsal space by setting up hospitality for the actors and director, taping out the floor (we outline the set for the actors in what we call "spike tape" so that they get used to working in what the actual set will be like); creating calendars, schedules, and paperwork; printing out scripts; checking in with the actors to make sure they are up to speed; and do whatever else the director may ask of us. This week is typically crazy busy for us and we wear a lot of different hats, but being prepared and organized is something very important to John and me so we would not have it any other way.
Torch Song Trilogy has a distinct set for each of the three acts—accommodating live musicians, a giant bed, and full-scale apartment—and only ten minutes between acts to changeover. The crew has often received applause for the impressive transition into Act III. How do you make it happen?
One word: adrenaline. Some coffee or Gatorade is an added bonus as well because, let me tell you, this set comes with some pretty heavy and bulky elements. The transition into Act III that you just mentioned is colloquially called "Voldemort" because it is "the scene change that should not be named." We do a lot of difficult maneuvers in, on average, eight minutes or less, and it requires the utmost concentration and ability to adapt to unforeseen circumstances. While we have specific tracks (tasks to complete during the changeover), it is never the same twice. It's insane, yet oddly exhilarating. Above all else, we accomplish Voldemort through a ridiculous amount of teamwork. If you have yet to see the show or are coming again, I highly suggest you stay to watch it. I promise that you won't be disappointed.
You’ve been running the show for several weeks. Have there been any particularly memorable moments or mishaps?
Tons and tons, but as to not give away all of our secrets, I'll give you the most notable memorable moment and mishap in my book. The most notable moment for me was when we did Voldemort (the Act II to Act III changeover) in seven minutes, which is INSANE if you think about it because the first time we tried it? It took us a solid 45 minutes.
My most memorable mishap actually happened during our final dress rehearsal when the top of Act II sequence was not finalized (who was doing what, timing, hardware, etc.) and we were still figuring out how to operate everything smoothly. This sequence is the one that involves us pushing the very giant and heavy bed with four actors on it on stage in total darkness. On the night of dress rehearsal, the bed got off its track when we pushed it forward and when the scene started, it was about a foot off from where it needed to be. This meant TERRIBLE things for lighting focus and the actors, since the bed was not locked down and thus wobbly and unsafe. Hiding behind the bed and staying very still and quiet, we had to hold the bed in place with our body weight and brainstorm a solution. I told John that we could get it into place if I had Madison's help to push it back on its track—she's by far our strongest crew member—so we worked it out that we would push it into position and lock it down when the fugue sound cues were playing as to make it safe for the actors and that the noise we were making was covered. Two sound cues and a whole lot of force later, we got it into position and locked with only a few people noticing the mishap. The very next day we changed around a few things in the sequence as to help make sure something like this never happens again, because while it's fun to reflect on now, it was extremely stressful in the moment.
What are your interactions with the artists like? How was it working with director Michael Kahn?
My interactions with the artists have been absolutely spectacular. I feel so honored to work with such a talented and genuine group of people and look forward to seeing them each and every day. We all respect and care for one another and it makes for such an excellent work environment. I also feel so honored to have had the opportunity to work with Michael. I won't lie, I was nervous at first because, I mean, come on, it's Michael Kahn; who wouldn't be? But the experience was amazing. He's brilliant, witty, self-confident, and very gracious. I remember more than once being in awe of his work with our group of actors and laughing so hard I was crying because of something he said or did. I am extremely happy that I was able to be a part of something that very clearly means so much to him.
What kind of training do you have? What drew you to stage management?
I just recently graduated from the University of Virginia in Charlottesville, VA with a B.A. in Drama & Psychology, and that is where I received the bulk of my training for my craft. I did, however, have quite a bit of training before college, since I've been stage managing since the age of 15 and have been involved with theatre all of my life (my mother's an actress and got me involved in this wonderful and crazy world at a very small age), but I really solidified my training over the course of the last 3 years. I was so fortunate to have had a wonderful mentor at school named Caitlin McLeod. Without her, I would not be who or where I am today and I am forever grateful for everything she helped me accomplish; she is absolutely incredible and I feel so honored to be able to call her my friend. I was originally drawn to stage management because I really like being in charge. Silly, but I've never been very good at having people tell me what to do, just ask my parents. I also was drawn to it because being a stage manager involves a lot of responsibility and I'm always looking for new challenges to face and conquer.