Design

The Fake Food Cookbook

BY JAY DUCKWORTH via www.stage-directions.com We are at that time of gift- giving, when we give things to people that we hope they will need and use. One ofthe gifts I received this summer and have used [Really, I did, see this month’s Answer Box] was a book thatTammy Honesty brought out to NYC on her last visit. The Fake Food Cookbook: Props You Can’t Eat for Theatre, Film, and TV created by Karestin Harrison and Tamara L. Honesty from Focal Press is a great new resource. I spoke with the authors to learn how the book came into existence. Turns out when Karestin was the props person on the musical Spitfire Grill, and as the title suggests it takes place in a small restaurant she had a lot of breakfast food to make. Despite the many challenges that fake food poses she fell in love with the...

Working in the Theatre: Makeup

via www.stage-directions.com This episode of Working in the Theatre: Makeup features make-up artists Brian Strumwasser and Thelma Pollard speaking about their craft and the paths they took to get to Broadway. A character on stage is shaped by many factors. An important, and often under-examined aspect to the creation of a character and achievement of a production is created by the magnificent makeup artists on and off-Broadway. But, what does it take to achieve the prefect show-ready look 8 times a week? Makeup Artists Brian Strumwasser and Thelma Pollard share their journey on the creation and maintenance of a character in this episode. Through Brian’s work on A Gentleman’s Guide to Love and Murder, we delve into the detail and dedication needed for one actor to change their look 17...

A Commedia Mask Makers Materials

BY JONATHAN BECKER via www.theatre-masks.com Sculpting in Clay I was recently interviewed about mask making materials associated with Commedia dell’Arte Masks.  I thought I’d share this mask makers response here. Question posed: I know you’ve worked (fabulously) with neoprene and other synthetic materials.  What would you say to the traditionalists who believe that a mask needs to “breathe” or be made of “organic” materials in order to have life on stage?  How about those hard-core people who say Commedia masks were and always should be leather? My Response: What makes a mask play is connected to the level of sophistication as concerns the rhythmic expressive form of the sculpture itself. The material the mask is made out of does not affect the ability of the mask to play. It is the skill ...

The Marvelous 1950s Costumes of Marvelous Mrs Maisel

via www.thecostumerag.com Amy Sherman-Palladino’s Marvelous Mrs Maisel  is about a Jewish mother who explores her passions by becoming a comedian. The show uses 1950s fashion throughout the plot using colours and patterns to express both the glamour and austerity found in the post-war period. The 1950s costumes create an authentic portrayal of this time period, and illustrates Midge’s emotional journey as well. Costume designer Donna Zakowska told Mashable how important Midge’s wardrobe “was [as] an attempt to optimistically capture the spirit of a woman, who in spite of unfortunate events continues to assert her spirit to remain on her feet. Her love of clothes, detail and color would become tools for expressing her strength and identity. [We’re] re-examining the strength and complexity o...

Want my job? Set & Costume Design with Khadija Raza

BY TOM INNISS via www.voicemag.uk Linbury Prize winner Khadija Raza talks to Voice about the excitement and variation her job as a set and costume designer offers her. Could you first introduce yourself to the reader? My name is Khadija Raza and I’m a set and costume designer working in theatre. What does your job involve? Give us the typical outline of a day? My job has a lot of varied roles/responsibilities. As a designer I read and analyse the script/text that I’m starting with – in collaboration with a director – and design the world of the play through sketches, scale models and technical drawings. I also have to help realise the production, working alongside production managers and stage managers. Depending on the scale/ budget of the production, the realising...

2019 OTA Audition & Interview Registration NOW OPEN!

The 2019 North Central Regional Auditions and Interviews will take place January 19 & 20 on the campus of California University of Pennsylvania, located in California, PA. ACTOR/SINGER/DANCER REGISTRATION FORM Audition slots will be filled on a first-come, first-served basis.  This year’s audition forms MUST BE OPENED IN ADOBE READER TO BE FILLED OUT: OTA-Acting-Form-2019     TECHNICAL REGISTRATION  FORM OTA Tech Form 2019 EVENT INFORMATION 2019 Ohio Theatre Alliance Auditions 2019 Ohio Theatre Alliance Technical Interview

What Do Broadway’s Best Lighting Designers Actually Do?

BY DARRYN KING via www.forbes.com ‘King Kong,’ under the lights of lighting designer Peter MumfordJOAN MARCUS No one applauds the lighting designer. Theater audiences are regularly dazzled by the costumes and sets, stirred by a writer’s words, an actor’s sweat and tears, enthralled by a director’s coup de théâtre. They may be moved by a piece of music or moment of sound design. But it’s the nature of lighting design that few audience members consciously notice it, let alone admire it, or leave the theater with a lasting impression of it. And yet, its role is crucial. “Lighting is in many ways the last creative act of the totally collaborative process that we call theatre,” says Peter Mumford, the lighting designer behind two shows this season, “King Kong” and “The Ferryman.” Si...

USITT19 CONFERENCE REGISTRATION – NOW OPEN!

Registration Info More than 300 exhibitors will span across 43,000 square feet of Stage Expo floor demonstrating new products, speaking with attendees, and displaying the industry’s latest and greatest. Four days of technical theatre and live entertainment innovation under one roof makes for an technical theatre industry lover’s dream 5,000 + attendees will take part in over 200 sessions and educational opportunities providing credits, knowledge, and new tips and tricks USITT Conference We’ve been waiting for you! USITT19 is an extravaganza of technical theatre wonder. The industry’s top companies collide with attendees providing a hub for innovation, new technology, education, and networking. The Stage Expo floor delivers a show like no other while over 200 educational sessions and hands-...

A Look at the Masks and the Puppets in The Lion King

via www.stage-directions.com It was this week 21 years ago, Oct. 15, 1997 to be precise, that The Lion King played its first preview and audiences first saw the beautiful and intricate costumes, masks and puppetry so central to the narrative and to the unique experience of the production. Adam Savage and the team at Tested went backstage at The Lion King during its run in San Francisco in this video visit to the musical’s puppet shop, where puppet supervisor Michael Reilly walked them through the numerous intricate and varied puppets and masks used in the performance and showed how they’re maintained in their traveling workshop. The production and design credits for the show when it opened at the New Amsterdam Theatre were: Scenic Design by Richard Hudson Costume Design by Juli...

Broadway’s Biggest Debut: King Kong

BY MICHAEL PAULSON  via www.nytimes.com He’s 20 feet tall and weighs 2,000 pounds. He’s monstrous, but, his creators hope, also moving. And he’s coming to Broadway this fall. King Kong arrives next month as the title character, and the one constant, in a $35 million musical which has been in development for nearly a decade, churning through scripts, songs and creative teams as the producers try to shape a show worthy of their title character. He’s being brought to life by an animatronic ape unlike any puppet Broadway has seen before — a moving sculpture, with sad eyes and a fearsome roar, requiring 14 performers, as well as 16 microprocessors, to operate. The massive marionette is in some ways as naturalistic as his co-stars — he does not burst into song or break into dance, but instead kn...

Webinar Registration: WHAT’S NEW IN VECTORWORKS 2019

WHAT’S NEW IN VECTORWORKS 2019 FOR THE ENTERTAINMENT INDUSTRY Tuesday, September 18 | 2:00 – 3:00 PM ET Vectorworks®  software is the industry-standard for entertainment design, production, and documentation. With the latest release of Spotlight, Vision, and Braceworks™, you can design, document, analyze, and pre-visualize your project in a seamless workflow that enables you to outpace the competition and impress your clients. Whether you work in the A/V industry or in lighting, scenic, film, event, or rigging design, you won’t want to miss our one-hour webinar with Frank Brault, as he explores the newest versions of Vectorworks Spotlight, Vision, and Braceworks. Attendees Will: Explore the many new improvements to Braceworks, including bridle calculations. Learn about major sp...

Candidate registration for the 2019 URTAs is now open!

MFA training in theatre begins with URTA! At the URTAs, you can audition and interview with our 43 member universities all in one place, on a single day. Why navigate dozens of different applications, fees, appointments, and travel when you can get it all done at the URTAs? Choose your city—New York, Chicago, or San Francisco—and register to be seen by our recruiters in either acting, design, directing, stage management, or arts leadership. Our nationally ranked member schools boast professional faculty, a commitment to the highest standards in professional, graduate training, and are peer-reviewed on a continuing basis. Most also offer various forms of financial assistance. Graduates of URTA programs are working on Broadway, in top theatres across the country, in film, television, and bey...

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