Posted on

Celebrating Moving Forward

There are few more positive things than the events that transpire around commencement: acting showcases, design showcases, awards banquets, culminations – these things pepper the final weeks before everyone moves forward.

I’ve been holding onto myself or at least my hat last week, as creative events swirled around me:

Monday – A conference of LA Stage Managers for SMA (Stage Managers Association), an association of my peers. Hosted at Center Theatre Group, in the familiar Rehearsal Room C, I met Joel Veenstra, who heads up the MFA and BFA Stage Management programs at UC Irvine and is the Western Regional Director of the SMA. The day included panels on the SMA itself, info on different avenues for stage managers to pursue with their skillsets, how to transition a show from one theatre to another, an informative and extremely sobering panel on safety and security, and a panel of stage managers discussing how they made their way through the professional maturation process. This final session I appreciated, because there were inclusive gestures from the stage about how old I was. Maybe it’s time to dye the old locks….

Wednesday marked the beginning of our portfolio review sessions with undergraduate designers and stage managers. These tabletop exercises demand that designers bring their developing pages and discuss their collaborative processes. They are informative, an iterative process, one that begins with their first one unit design assistant position, throughout to the spring, moments before the final Showcase. Over the course of four years they get quite skilled at presenting their work and defining their interests in design and stage management.

Wednesday night featured the Cabaret performance by Alexandra Billings, a fundraiser to raise money for LGBQT student scholarships. Here’s the link if you’d like to contribute. She is an amazing performer, and brought the house down that night. Another polished performance also by our by-now-beleaguered Theatre Management staff, CB Borger, Chris Paci, and Joe Shea and students who called, engineered the sound by Philip G. Allen.

Friday’s all day 2019 SDA Production/Design Showcase events began at 10:00AM in the Scene Dock Theatre with Faculty and Guest Designer critiques of all ten graduating Designers and TD. Each senior is given a table and a board and they spend about 24 hours decorating and preparing to showcase their work accumulated over four years to an array of faculty, guest designers, directors, and staff.

  • Faculty and Students at Crit
  • Lighting Designer Abby D. Light
  • Costume Designer Lingxi Zou
  • Ellie Solomon, LA Sewist
  • Interactive Designer Derek Christiansen
  • Costume and Scenic Designer Edina Hiser
  • Scenic and Costume Designer Mallory Gabbard
  • Sound Designer Ethan Zeitman
  • Sound Designer Dominic Torquato
  • Sound Designer Alicia Bermudez discusses Binaural Recording

At 11:00AM, the two graduating stage managers met with a panel of both Alumni Stage Managers (now professionals) and their professor, Scott Faris to review their resumes in the form of a job interview.

  • The Illustrious Panel
  • Senior SM Seira Murakami
  • Senior SM Sophia Pesetti

Next came our family style lunch in the Technical Theatre Lab at noon, hosted in the shop by Head of Technical Direction Duncan Mahoney and featuring about fifty of our extended family. It’s so wonderful to see alumni coming back to support and give a leg up to our graduating seniors. This year we had an all vegan Indian meal, after several years of BBQ. It’s only fair, right?

At 1:00PM, the Showcase featured a panel of guests who shared their professional journeys. They included small business owner, Madison Rhoades, whose Cross Roads Escape Rooms have become a hit in Orange County; Production Designer and Alumnus Ed Haynes, who works for numerous corporate clients as well as keeping a prominent toe in theatrical design. His work recently graced the Scene Dock via his scenic design for The Busybody. Television and Film Production Designer Michael Andrew Hynes shared stories of his voluminous work with the students, starting from his roots in theatre design, as did lighting design Alum Madigan Stehly, working with Full Flood Lighting and as a freelance lighting designer. Panelist Sarah Borger, Production and Broadcast Director for ESL- Turtle Entertainment spoke about her journey from Stage Manager to Live Gaming Production Management.

SDA Head of Production, Sibyl Wickersheimer kicks off a lively panel discussion with professional guests (three out of five alumni of the SDA Production programs).

In the spirit of the rest of the week, I overbooked myself on Friday, agreeing to attend a 7:30PM Independent Student Performance, directed by a graduating senior. I like the play, Gruesome Playground Injuries, by Rajiv Joseph, not just because it features a young man, a hockey player, prone to injuries. Hey! I have one of those! Directed by Jordan Broberg, the two-hander was performed in the Brain and Creativity Institute, a sleek, cone shaped auditorium with acoustics by the Disney Hall acoustician, Yasuhisa Toyota. Jordan’s cast members are both seniors, Ido Gal, and Cherie Carter, to whom, ironically, I had just come from awarding (in absentia) the James Pendleton Award. As I slipped into my seat, fifteen minutes late, I chuckled as I realized why Cherie had been absent from the banquet. They did a great job with the play. You could hear a pin drop in that hall, which was definitely not in my favor, 14 hours into my day and eager to squirm.

At the risk of promulgating an avalanche of back health ads, recently, I’ve been undergoing treatment for a herniated disk, via weekly chiropractic sessions, and bi-weekly massages. Aside from the fact that last week got too busy to attend to that, a few weeks ago, in the course of an hour long massage, I felt the pain melting away from all areas save for the lower back, where my back remained tightened into a rictus of resistance. The massage therapist and I discussed it at the end of the massage, and he acknowledged that we were definitely working on something there. Later that morning, my WeCroak app message seemed particularly pertinent:

Pain is always a sign that we are holding on to something – usually ourselves.

Pema Chodron (WeCroak)

My favorite gym partner, Lynn and I shared a selfie today at the Sanctuary Fitness Cinco de Mayo festivities.

This right before she shared with me a new podcast, the brainchild of Nora McIlnerny, author and notable widow, entitled Terrible, Thanks for Asking. You should definitely check it out. Here’s a link to her TED Talk. Especially if you are in the business of grieving. And not just to use a phrase of hers, “grief-adjacent.” She is very clever and speaks the truth about loss in an immediate and uplifting way, if you can imagine that combination of incongruities. And after this week of looking forward through the eyes of our talented students, I can indeed imagine the uplifting part.

Posted on

Getting Into College without the Strings and Tutorial 2.0

There are things that are predictable in the cycle of a university year, which is distinctly seasonal. In the late fall, High School seniors create their applications, visit the campus to see a production, determine whether they will throw their hat in the ring. Months pass, and with the advent of spring, the acceptance and rejection letters go out.

Today at the Open House, I had the privilege of meeting many prospective students, who have been accepted to USC School of Dramatic Arts where I work as Head of Production. They visited the campus to participate in workshops in acting and production, and to meet the faculty they may study with over the next four years. As I looked around the room this morning at my colleagues on the Production/Design Faculty, and at the freshly scrubbed faces of stage managers, technical directors, and scenic designers, I flashed on the hours of collaborative work we’ve engaged in this year with our current students. How quickly we traverse the distance from this pre-matriculation meeting to the next workshop I hosted, the portfolio presentations by the designers of the Spring Musical, all seniors this year. The years fly by.

Those of us who are involved even peripherally in college admissions these days are sensitive – one could say feeling bruised by the admissions scandal. As the miscreants parade across our news feeds, those of us who go through the sincere process of reviewing, assessing, encouraging applicants to our programs feel like we’ve been sucker punched. We forge ahead because we know the rewards at the end of the rainbow.

The most heartbreaking thing for me about the big tacky admissions scandal is the lack of faith in their children these parents demonstrated. It’s clear that not everyone is cut out for college or needs it to succeed. My son eschewed the college experience. When I began working at USC, he was fourteen, and I had high hopes of taking advantage of the tuition remission. While I was initially heartbroken that he wouldn’t follow in my footsteps by going to college, I knew that the route he’d chosen would be hard but that he’d be okay. He worked for several years as a commercial fisherman. The only strings I was able to pull there were asking my brother to help him get work in that field. He embraced the work. I was humbled by his commitment and hard work and what he learned during those years of backbreaking work.

The parents today at lunch bemoaned the entire process of the admissions process. How much more complicated the process seems than when I’d gone through it! I applied to two colleges, one early admissions, and one back up school. How different my life might have been had I ended up there. It’s not unusual for our current students to have applied to more than a dozen colleges, made multiple college visits with their beleaguered parents, who want the best for them.

We have some extraordinary senior designers and stage managers and technical directors who are exiting our programs with their degrees in about a month. They are scenic designers, sound designers, lighting and projection designers, stage managers, costume designers, and budding production managers/TDs, a self-proclaimed costume designer and sewist.

Listening to them recount their design and stage manager processes to the incoming students today made me feel as proud as the parents who’d accompanied our guests to campus today. These students have worked hard to earn their degrees and build professional portfolios. Through their diligence they have also assumed the roles of ambassadors to our next freshman production/design cohort.

USC School of Dramatic Arts performance of “Sunday in the Park with George” on Mar. 27, 2019, in Los Angeles, California. (Photo by Nicholas Gingold/Capture Imaging)

Recently when I posted the picture of the bracelet I bought to keep f***ing going, Chris reminded me of my “warm and fuzzy” response to him when he called me once during his fishing days.

13 stitches in my leg, in the middle of the ocean complaining about shushing 2 tons of ice to you (to which you said) “You’re either a winner or a whiner? Which one are you?”

We hung up shortly after and I didn’t go to bed until the job was done.

While there was a time when we lost a lot of sleep about how our son would turn out and considered concerted intervention in the trajectory of his life, I no longer worry about the choices he makes. He’s the head coach of a prestigious elite hockey prep team and demonstrates daily to his players about the importance of life choices and the skills and practice they continue to refine under his and his colleagues coaching. He utilizes discoveries he’s made finding his path as a powerful teaching tool. Just as our college designers do. Strengthening their practice through self-examination, sometime failure and recovery and building collaborative relationships.

As I make my way in this new single life I’ve been thinking a lot about the closed circle that is a marriage. Often to the withering of long standing friendships. Add to that working in the theatre where the hours are already a severe deterrent to having a social life. Married couples tend to socialize with other married couples who are similarly distanced by their own bubbles of connubial bliss. What happens when a marriage ends, either through divorce, or the death of one’s partner? How do you re-enter the world? Re-activate relationships that were important to you? How do those people respond to your attempts to re-activate? Is this a healthy exercise? Too nostalgic? Should one be looking forward to forming new relationships instead? Is it fair to expect that people will be willing to re-activate long dormant relationships?

These are some of the topics I’m considering. They coincide with my increasing nausea about social media. This week I’m convinced it’s a matter of days before I unplug. I’ve already removed the book of Face from my phone as an initial step.

Then, there’s the Tutorial reboot.

I had what I thought was the brilliant idea to reach out to reconnect with a group of my high school friends, who shared a very special moment in time and mentorship with our Theatre Professor from 1977 – more than forty years ago. We called them our Tutorials, weekly gatherings where we sipped our tea, listened to the radio and talked about the problems of the world before trundling off to chapel.

Utilizing the old fashioned medium of email, some internet sleuthing and the promise of revisiting a special and formative time in our young lives, I invited the group to have a zoom tutorial. Scheduling this online group chat was one of the more challenging scheduling problems I’ve tackled (even as a life-long stage manager). All was set for tomorrow morning at 6:10AM PDT, 9:10AM EST when the participants started dropping like flies. The excuses were among the more creative ones I’ve ever encountered.

The yoga class that I teach with incarcerated men has been changed to Sunday morning.

And I’m thinking I can’t even bend at the waist any more….

I’ll be in the Louvre at the time of our call and will try to make it work.

Can you stand in front of the Mona Lisa to prove this outrageous claim?

I’ll be in Sydney and it will be 11:10PM and I may need to get to sleep.

For crying out loud! We have four time zones to coordinate here.

Clearly these are interesting and worthwhile connections to resuscitate; it may take olympic level scheduling skills work out the next chat. That and the willingness of the others to re-boot these friendships.

Posted on

The Black Hole of Parenting

Nestled in the cradle between Mother’s and Father’s Day, I find myself thinking incessantly about what it takes to help our children grow up into people whom we can be proud of. I am constantly reminded of the perilous journey from teen to grown-up. Our paths are all so different. Both as humans and specifically as parents.

My “high school” class just celebrated its 40th reunion. Without me. Sometimes our life journeys are complicated. Mine involves the latter years of living with a partner 33 years older than myself. Trips are not in the mix right now – at least airplane trips, and my “high school” is located in Concord, New Hampshire.

What is that annoying “” about? My High School was a prep school, one you’ve undoubtedly heard of and not in favorable terms recently as it’s been in the news way too often. But that aside, on Monday, post-reunion, I received a photo of my classmates. After magnifying it to a ridiculous and 40th-anniversary-appropriate-degree, I peered at my classmates’ faces; some of those fourteen-year-olds jumped right out at me; others, I had to scrutinize their name tags to recognize. There were still others whom I’m embarrassed to say I can’t find in my memory. And it was a small class, so shame on me.

I was on a path at that point in my life that my parents shaped for me – a bookish, introspective child, I excelled in school, and my parents sent me to prep school, then an ivy league college, a path paved in privilege. Sure, there were bumps along the way, a messy divorce during which time I relished the distance being in New Hampshire afforded me from my grieving mother. In prep school, I met many teachers who shaped my growth as an adult and participant in the arts. My teenage angst was deterred in a college-like, edenic campus with insane resources. I was buoyed by an intellectual rising tide of students and faculty. I flourished amongst young people for whom the goals were clear and foundational. We all paddled in the same direction, literally, in many of our cases, in beautiful, sleek crafts which we shifted from water to shoulder to rack, a physical manifestation of our parents’ dreams for a better future. Our runs toimg_0658

the boat house every afternoon conditioned us to press on in the face of adversity or exhaustion. Our studies and extra curricular events trained us in debate, performance, student government, leadership, kindness and contribution. I was oblivious to my good fortune. I was seventeen. What did I know?

In spite of the rising tide of affluence which surrounded me in high school and college, in typical teenage rebellion, I resisted, becoming a stage manager in the theatre. My parents forgave my “squandering my expensive education” (my quotation). They ultimately understood how much passion mattered in a life, and how much I loved the work I’d chosen. They appreciated that the job kept me invigorated and alive. It gave me access to creative collaborators that were life and world-affirming, and they always supported my choices. That’s what good parents do.

My path as a parent was different. I think, or hope anyway, our son will forgive my saying that it didn’t always look so clear that he would survive and become someone we would be as proud of as we are today. I alluded to in my Mother’s Day post, that he was adopted and didn’t find his birth mother until he was in his late 20s.

We endeavored, as my parents had done for me, to provide him with the best education possible. I was always uncomfortably aware of how different his learning needs were from mine, and we struggled in the middle and high school years to provide the resources to support his learning. And from the age of about five on, we gave him the sport of ice hockey, a sport which engulfed our family and which provided a structure and mentoring influences which raised the tide of Chris’ boat. Especially influential were the hockey coaches during his middle and high school years, strong men who spent their work hours as police officers and fire fighters, and their weeknights and weekends drilling our sons into skilled hockey players and collaborative teams.

Nevertheless, strong parenting and influential mentors aside, there are crazy forces at play in young men’s and women’s lives. Pressures from peers, puberty, easy access to drugs and alcohol – we all know what they are. All these things impinge on the patterns that we develop as adolescents, for better or for worse. I’ve decided it’s almost as much luck as it is money or education that we give our children. And we operate in the dark a lot of the time, not really knowing the shadowy forces at play in our children’s lives. I tend to be optimistic about how things are going and for many years for our son, they weren’t going in a way that should have made me optimistic.

I hurry to say I don’t want to pick on my kid as the only one. I’ve talked with numerous parents and friends with children this age who are in what I can now safely and with the relief afforded by healthy hindsight, call the “Black hole of Parenting.”

I think (and can confirm from conversations with him) that at a certain point, Chris, provided only limited information, pre-natal exposure to drugs, and the resulting difficulties in learning that that presented, struggled with the pubescent urge to resist his adoptive parents and become who he thought he was destined to become. That’s a powerful stew. Chris made a beeline towards a target which was self-destructive and painful and certainly was not the path of privilege we’d tried to set down for him.

This was a painful period for us as parents. I remember thinking when he was about sixteen or seventeen that he might not survive. And again in his early twenties. But I think all parents go through that. Jimmie and I clung to the belief that there was something special and unique about Chris that would help him to survive and become a magnificent human, even though, at times, it was difficult to see that that was what he wanted.

I write this not to expose his weaknesses as a young adult, but to tell you and any parent out there who currently finds himself or herself in the black hole of parenting. Here are just a few things I know, having emerged from the black hole of parenting:

  1. Not every child needs to go to college to succeed.
  2. Your child’s decision not to go to college is not a reflection of your failure as a parent.
  3. Young men grow up at about age 26. Work your hardest to keep them alive until then.  Make it okay for them to share their failures as well as their successes with you. Keep the channels of communication open. The car is a particularly successful incubator for these discussions.
  4. Sports are crucial to developing the skills and endurance one needs to survive in this world. The gift of loving a particular sport is the greatest gift a parent can provide. The gift, in our son’s case, that keeps on giving, now that he’s a hockey coach. Choose a rink fairly far away so you have lots of incubator time (see 3)
  5. Every traumatic event that occurs along the way through the growth process will influence your child’s life story, both in devastating and healing ways. Chris is such a good coach to young men now because he knows where each pitfall lies and has a keen sense of when someone is close to making that mistake. He can now help them to see it and hopefully make a better choice.
  6. Be grateful every day. Make positive choices for yourself in your own life. You have no idea how impressionable your child is and how much he or she is absorbing your experience. Deal with negative circumstances openly, and with as much integrity and forward positive energy you can muster. That is what your children see and eventually learn to model themselves.
  7. No matter how beautiful every other family’s parenting looks like, yes, even they occasionally feel the presence of  the black hole. I remember getting an insane Christmas letter one year from some parents whose children were all heading quickly to being recipients of the MacArthur Genius Award. I responded by writing a satiric yet primarily factual response about what Chris was doing at that same timeframe. In other words, I found a creative and humorous outlet for my despair. (obviously, I didn’t send it to anyone). Later I sent it to Chris as a benchmark for what we’d experienced. We shared a good laugh about it.
  8. Laugh about it, even if through your tears. It’s analogous to picking up your toddler when they fall down hard and brushing them off.

As I said before, I’m an optimist. I’m also aware that not everyone is able to survive this dangerous phase of adolescence. We are reminded of that every day in the news and when we learn about personal tragedies of parents everywhere. The pain of loss is unfathomable and makes my relief all the greater.

When I look at Chris now, and I look at him in those baby pictures from so many years ago, I can see the same joyful inquisitive intelligence he brought to us as a toddler. We just did our best to keep that alive. You parents in the black hole, keep reminding yourself that “this too, shall pass.”

 

Posted on

Don’t Go

The image above is one of those perfectly encapsulated generational images. On the left, our son, age 2 and 3 months, poised in his dandy finery next to the knob on Thanksgiving, impish smile as he reached for the doorknob, his favorite talisman of the terrible twos. On the right, a photo of his daughter, age 2 and 4 months, hand extended in an eerily familiar manifestation of her DNA. Both photos say “Don’t go.” But in the one on the left, it was we who were saying “Don’t go” and on the right, it is our granddaughter who wears the universal mien of the child who wants her parent to stay. I haven’t asked Chris who took the shot, but I’m assuming from his Instagram post that he evoked this tragic look of loss on her little face.

April has been a month rich with visits, starting with a spring break visit from our son and his wife and daughter, three days full of flurried energy. Our guest bedroom isn’t the comfiest spot for a family of three, but we’ve hungered for connection, so it was great to have them here.  This last visit was taxing because unbeknownst to me, Jimmie was becoming dangerously anemic.

Our second visit was from our dear friend Susan, who resides in South Africa. Her trips are about the clearest demonstration of a friend’s love that I’ve ever witnessed. Two legs of travel, the first 10 hours, the second 16. Each way. I don’t know how she does it, but she manages to stay awake while here to visit, and to watch baseball with Jimmie while I head off to work. The last day of our visit was cut short, when I drove Jimmie to Hotel Good Samaritan to find out why he was so exhausted. Susan, ever gracious, had cleaned the house and left us flowers reminiscent of those she left 34 years ago in our honeymoon suite after executing the Maid of Honor duties for our wedding.

The third visit was Jimmie’s niece, Martha, come to support me through the last weekend of productions in the spring semester. I called her on Wednesday, she arrived Thursday evening and began taking care of us selflessly, as she has done so many times before. She cooked for us, spent time with Jimmie, and still managed to make discoveries around downtown LA, checking in on the progress of the mural in Pershing Square.  She discovered a new dangerous french bakery/cafe opposite Pershing Square, where she picked up the best blueberry scones I’ve had ever. Martha has an enormous zest for life and such style that I am constantly finding myself wanting to emulate her. She was as ever, a good sport, when I cajoled her into participating in one of the spring productions at USC, entitled Don’t Go.

Don’t Go was a devised, exploration in collaboration with the Sojourn Theatre Company, under the auspices of USC’s Arts Initiative, “Visions and Voices” of what happens when strangers meet, form a relationship, then discuss a topic that they may not see through the same lens. For a year, we’ve been planning this artist residency, and for the past four months or so, we’ve cast the seven student actors, and then the Strangers. The rehearsal period and performances were the culmination of this phase of the project, which I suspect will have a future life in the capable hands of the Sojourn Theatre.

Jono Eiland facilitates a discussion between cast member Stephanie and her Stranger
Stephanie and her Stranger talk through Aubree Lynn’s set piece
Jono Eiland and Michael Rohd set the stage

I’ve come to appreciate the kindness of Strangers. Both at work and at home. Yes, capital S because the Strangers I met at work this month were many, curated from the USC campus and from among friends, family and neighbors within the larger Los Angeles area. The play demanded participation of seven of these curated souls each night, and finding them initially seemed impossible given the constraints of our other productions and the fact that each day only had 24 hours. Guided by the directors of the piece, Nikki Zaleski and Rebecca Martinez, we reached out to create bridges across the campus and with other theatrical institutions, such as The Pasadena Playhouse, which yielded willing participants to this theatrical and social experiment. Potential Strangers were asked to fill out a brief survey, indicating their availability for specific dates and performances or rehearsals, and some brief questions to unearth issues that they might feel strongly about. Meanwhile, the directors were building a structure for the conversations to take place while guest scenic designer and artist Aubree Lynn simultaneously designed a habitat. Student Costume and Projection Designer Mallory Gabbard worked to create clear instructional projections and a curated wardrobe to support the desired environment.

Student Lighting Designer Abby Light created a flexible plot which could both color and provide movement around the space for the conversations to unfold. Student Sound Designers Jacob Magnin and Noah Donner Klein grappled with the physics of reinforcing sound in unpredictable places throughout the theatre.

Most impressive to me was the ingenuity of the Stage Management team, students Lexi Hettick and Domenica Diaz, who communicated throughout the process with our Props Manager, Hannah Burnham, as the tasks to foster relationships evolved. In tech and performance, Lexi created an improvised tracking system to call lighting, sound and projections as determined by Sojourn artists, Jono Eiland and Michael Rohd, who took us all on the journey each night. It was different each night, because the topics selected were different. Lexi’s and Domenica’s focus in tech was laser clear and sound, live mixed by Noah was integral to the audience’s ability to follow the show.

The take away for me from the month of April is the blessing of generosity in the people around us all the time were we only to be aware. As negative as the current news cycle is, it is sometimes easy to think we are surrounded by danger all the time. My personal visits at home and the circumstances of the Sojourn piece allowed me to appreciate that we can easily share our common humanity with a complete stranger over the course of anywhere from 10 to 90 minutes of getting to know them. We may present ourselves to the world in a way which may be very different from what is in our hearts.

Yesterday, a new visiting nurse came to check up on Jimmie, post-hospital stay. She and I had been playing phone tag a bit, and we were expecting her between 6 and 7pm. Starving, Jimmie and I downed a bowl of potato chips, and I went to see what of Martha’s magical leftovers were in the refrigerator, not intending to prepare them until the nurse left. She arrived, a young woman in her early to mid-twenties, clad in blue scrub pants, a gray t-shirt, and sneakers, a bounce in her stride that jostled her braids. Within the ten minutes of our meeting, she knew that I taught theatre (which surprised her), and we knew that she lived in the neighborhood and had a four year old with brain trauma. How do we know these things? Because we allow ourselves to be interested in each other. To take advantage of the most cursory and peripheral engagements to be curious about who they are. What do they think about this? That?

With our hands on the doorknob, poised for flight, we have the opportunity to say to each other, Don’t Go. Stay a while. Let’s share our common humanity.

 

Posted on

The Invisible Life of a College Professor

Lately I’ve become obsessed with what I’ve started calling the “invisible work.” All the non-evident administrative tasks that are needed to the move processes forward. Lest you think this is going to be one big whinge-a-thon, you can relax. I’m gonna peel back the curtain and let you see some of what we college professors really do. Disclaimer: I love my job so those of you sniffing around the edges for a potential job opening, it’s not here. I hopefully have many more years of happy invisibility. But, having said that, it riles me to hear someone say,

You professors have really cushy jobs.

IMG_0053
Disclaimer: Quite old photo of this college professor at her desk and at her target weight.

Continue reading “The Invisible Life of a College Professor”

Posted on

What I did on my summer vacation

Over the last two weeks, I spent an intensive 25 hours of training with forty-three other USC employees to become certified members of the USC Community Emergency Response Team.

I’ve wanted to become a CERT member for several years but haven’t been able to schedule it. I’ve wanted to brush up on my fire hose and fire extinguisher skills, dust the cobwebs off my search and rescue and triage skills, revisit how to bandage someone with a pen in their forearm and a gash on their head. You never know when you might need these skills.

I’m dead serious. We live in Los Angeles, where we are way overdue for a major earth mantle mastication, AKA earthquake. When you think hard about what you would do in the event of a 6.8 earthquake, and it’s aftermath, it doesn’t take long to realize you aren’t ready.

I was not alone in this realization; forty-seven of us gathered Monday a week ago in Ground Zero, on the USC University Park Campus. We’d all signed up for the training, offered free to USC employees by the Department of Fire and Safety at USC.

FS&EP2
Our fearless leaders at USC Fire Safety and Emergency Planning

As the Head of Production at the School of Dramatic Arts, I’ve worked with these wonderful people, clearing through them the use of e-cigarettes and random issues of egress that have arisen in the course of over 240 theatrical productions over the last twelve years. Aside from knowing their subjects (fire and safety) well, they are quick to respond to emails. After attending this training, I can see why. They’re focussed on teaching us all how to stay safe in our work environments. It’s their mission and they’re good at it. If this training was any indication, they all seem to have a good time doing it.

On day one, we introduced ourselves to the group. We came from a broad array of different programs across the university. There were representatives from the School of Social Work, Hazmat and Lab Inspectors, the Engemann Health Center, the Language Institute, The Glorya Kaufman School of Dance, the Department of Grants and Contracts and the School of Dramatic Arts. And that was just our group, one of five.  From SDA, Chris Paci, an Assistant Theatre Manager and I did the training. When I’m on campus weekends to tech our shows I’m very aware how important it is to know how to safely evacuate a theatre. This training will help us be more efficient and helpful if there is a catastrophic event.

Angela was the master of ceremonies throughout the week, providing us with lesson plans and instructions about what to bring for each session and taught us the segment on First Aid. Five hours each, the sessions lasted five days, culminating today with a live simulation of the skills we had learned during the training. We were geared up with bright green vests and helmets with headlamps, a red backpack emblazoned with USC CERT loaded with all sorts of goodies – heavy goggles, kneepads, first aid supplies, a flashlight, gloves, glow sticks, triage cards, packets of water, and a whistle. Daily, we printed out handouts to learn the following topics:

  • First Aid
  • Search and Rescue,
  • Triage/RPM (Respiration, Perfusion and Mental State)
  • Cribbing and Backboarding
  • Fire suppression and Fire Hose management

Each day, we had a lecture and then hands on training of the day’s material. It was well-organized and we learned a huge amount of information about all the areas listed above. After the drills today, Angela provided us with CERT certificates and cards and bright red CERT T-shirts, as well as lunch.

Best summer camp ever.

At today’s final exercises, an officer from the LA Fire Department who observed the drills told us that 70,000-75,000 people have been CERT-ified in Los Angeles County. This seemed like a huge number until I remembered that there are over 10.12 million souls in Los Angeles County. USC trains up about 30-45 people each year. It is an impressive program.  I’m very happy to have been trained at USC.

Throughout the training, our teams learned how to work together, communicate closely about what we were seeing and hearing in each of the exercises. We planned ahead and debriefed after each drill. Each CERT trainee learned how to put a cervical collar on a patient with a back or spine injury, how to load them safely onto the backboard. Those without spinal or back injuries would be carried in the green sling stretcher, or in the Evac Chair down the stairs.

We each learned how to hook up the hose to the fire hydrant, couple it with the Y-valve to connect the 2 1/2″ hose to the 1 1/2″ hose, connect the nozzle, call for water then let it rip. All in under a minute-and-a-half. Then we learned how to empty the hoses and roll them back up.

We learned about cribbing, the practice of raising up a heavy object using a fulcrom and boxes made of 4″ x 4″s and 2″x 2″s. I felt a brief surge of pride when Jeff Pendley told the group that the School of Dramatic Arts is the first destination for wood after an earthquake.

We learned how to prioritize what type of events we CERT members were capable of assisting at, and which ones we weren’t. Safety of the CERT team members is primary, Angela taught us to think throughout the exercises what was safe to do, and how we could make it safer.  We spent a day learning about Psychological trauma and what we might expect to feel ourselves after dealing with traumatized victims.

In addition to getting prepared at work, they encouraged us to prepare at home. In the course of the week, I ordered some additional supplies to add to my home kit, including getting an Evac Chair to get Jimmie out should we need to evacuate at home.

It was an exhaustive and exhausting training and a great investment in my personal development. I highly recommend you staying tuned for future trainings and jump at the chance when it’s next offered.

 

Posted on

Summer Daze in DTLA

We’ve officially reached the shank of the summer. After the Fourth of July, just before the All-Star Game. Heat advisories in the Valley thankfully don’t seem to pertain in the downtown park where Jimmie takes his respite from the cable news talking heads before the afternoon baseball game begins, before I come home from work.

At work, the ordering of the next seasons’ plays is almost done, final strands coming together in a complex artistic and literary calculus. Design and stage management assignments formulating, the students now aware that we have bypassed our self-proclaimed deadline. Faculty are now aware that the students anxiously await the news.  A last minute delay in one title keeps us all waiting for the shared excitement that is the next season’s announcement. I anticipate the rush of questions.

When will we know our assignments, Els?

Patience is required in these summer days. Patience and presence of mind and heart.

Today on my way back from the YAS DTLA gym, Hector’s rigorous and entertaining “Fiesta Friday” workout, I passed a woman walking a black plastic milk crate on a string. From behind, she looked like any dog walker in the early morning pre-work hours. She carried herself with a regal, straight-backed air of confidence, her gait unhurried. The crate glided easily along the pavement just behind her right flank. It wasn’t too full and followed her at the companionable pace of a small dachshund. She wore black leggings and a tunic fringed with what looked like a fashionable purple sweater tied around her waist. Her hair, shoulder-length was tidy looking. Abruptly she turned, and began walking back toward me shattering the illusion. As I drew closer, I could see her dirt-smudged, tanned face, her hair in ratty unintentional dreadlocks, her eyes filled with the nervous preoccupation of one who likely hears many voices. Her black plastic crate suddenly looked less like company and more like the onus of homelessness that it was.

I suddenly felt so lucky.

I continued my walk home, passing the young sycamore tree, rescued earlier in the week by a maintenance worker at the restaurant next door. The Conservation Corps folks planted the sapling about six months ago at my request. A ranting homeless man had recently kicked away the wooden splints that held it erect. The tree, bowed from the weight of its leafy branches, bobbed over the curb into the oncoming bus traffic. When I walked by, the restaurant worker was retying the rubber stays around the trunk. I held the tree in place, two strangers collaborating on the rescue of a young life. The tree secured, I asked him what his name was, and introduced myself. This morning, he sprayed the sidewalk with soapy water and I greeted him like an old comrade in arms.

At home, in gratitude, I watered all the plants on the patio, all the orchids on hiatus from blooming, the neon-green shoots sprung from the wildflower seeds I planted in the planter late last week. The seeds, in brown packets with our names emblazoned on them had marked the seating at our son’s recent wedding. Elsbeth’s seeds are doing quite well. If they fail, you can be sure James’ seeds will be planted next.

I sat down to contemplate my good fortune. IMG_8419The early morning sunlight streamed into the living room, highlighting the carved mahogany legs of a table. A precocious orchid I had ignored,  its stem lurching out to capture the sun, is now inside, granted access for its one louche bloom. I promise myself I will pay closer attention to the other orchids to guide them straighter in their fruition. These are the things we promise ourselves in the lazy lucky days of July.IMG_8421

Today we get our car back from the body shop, newly painted hopefully with no evidence of its recent trauma on the 101. I will return the white Jeep Cherokee I’ve been driving for the past week or so, a bigger and thirstier car than I would ever choose.

We had been able to make a hellish drive to Redlands last Friday to see dear friends there in the Jeep Cherokee, a comfortable, slightly higher ride than usual. Foolishly, we drove there on the Friday before the Fourth of July weekend, leaving LA at 3:00, and arriving just after our 5:30 reservation. Our reunion was sweet, and after catching up on the last 10 years at dinner at Caprice Cafe, we walked them to the nearby Redlands Bowl where they were attending a trombone concert. Together, we posed for a snapshot near the patinated statue of William McKinley before heading home.

Audrey, our friend depicted above, is now a successful writer of children’s non-fiction. We discussed Jimmie’s recent book, A View from the Wings, a signed copy of which he delivered to her when we sat down in the restaurant, and Audrey recommended a book about writing: Dani Shapiro’s Still Writing, The Perils and Pleasures of A Creative Life.  I immediately went home and devoured it over the next two days. She has a lot to say that is extremely encouraging for the novice writer. It’s again ironic that reading books about writing is really just another procrastination from writing, but in spite of that, I felt re-energized about the process of telling my story and am grateful to Audrey for the infusion of creative energy.

Tuesday night, the Fourth of July, Jimmie and I drove to the campus to watch the Coliseum’s fireworks from the roof of Parking Structure A. My colleague, Duncan had told me about his excellent viewing spot for years, but until this year, I had eschewed it. This year, we were in the mood to see some explosions. It was a scene. When we first arrived, Duncan and his wife sat on a utility cart facing the south wall of the Parking Structure, a stool perched on the back of the cart for higher viewing. Sheepishly, I pulled up next to them in my Jeep Cherokee and we positioned ourselves parallel to them. For the next hour and a half, through the windshield, we watched as the skyline filled with ebullient fireworks, both those sanctioned and entrepreneurial in nature. By the time we left at about 9:30PM, there were at least twenty cars, and the parking roof was chock full of families enjoying the now smoky aftermath of the display. When we got home, the new Intercontinental Hotel displayed her patriotic colors.

So that’s what we’re doing in the summer days in DTLA. You could say that we are all pulling our crate, literally and metaphorically, and I am well aware of the precious cargo in mine.

 

 

Posted on

Actually… it should be required

IMG_8059Last week Jimmie and I attended a performance of Actually, a new play by Anna Ziegler, at the Audrey Skirball Kenis Theatre at the Geffen Playhouse. A co-production with Williamstown Theatre Festival  (August 9-20, 2017) and The Manhattan Theatre Club (October 31-November 14, 2017), the play addresses the issues of consent in the context of Title IX rules at Universities. Princeton, in this case (an institution close to my heart) where, through the lens of two freshmen students we see their collision in a devastating incident that is unfortunately far too possible.

This play should be required viewing for every university freshman in the first weeks of college. 

Ziegler’s characters are well and specifically written – Amber Cohen, played by Samantha Ressler, whose rapid speech and disaffected behavior reveal the trauma she has experienced. She confides to the audience about the challenges she and others faced in the first weeks of school:

  • Away from home and relieved of parental constraints
  • Overwhelmed by a surfeit of reading homework and
  • An endless barrage of parties she feels obligated to attend
  • Looking for a sense of identity in a new community and anxious to make friends

Thomas Anthony (Jerry MacKinnon), handsome and confident, faces many of the same issues as Amber, but also, black, first generation in college attending Princeton. The stakes are high.

The play demands a lot of these two actors – complete presence in all moments with each other, as well as the ability to speak directly to the audience, dropping artifice as they plead their cases. Because we, the audience, are the Title IX review board. This is uncomfortable, and challenging in the way that we or at least I expect to be challenged when I go to the theatre.  The actors, directed by Tyne Rafaeli, achieve distinctive and personal styles in their address which illuminate their characters and their vulnerabilities.

Incoming students feel the pressures that these two thespian freshmen feel. Perhaps some are better equipped to make safer choices than others. Or, are they just luckier and don’t end up having these experiences because of some random fate or karma? Who knows? As the article by Amy Levinson, “The Letter and the Law,” in the program (available online to read)  indicates, the statistics about campus rape are staggering:

  • One in five women and one in sixteen men are sexually assaulted while in college.
  • Freshmen and sophomores are at greater risk for victimization than juniors and seniors.
  • More than 90% of sexual assault victims on college campuses do not report the assault.
  • 63.3% of men at one university who self-reported acts qualifying as rape or attempted rape admitted to committing repeat rapes.

Ziegler’s play, in addition to addressing these issues head on, is powerfully structured. Through a series of flashbacks she allows us to reexamine the events of the evening in question, each time flipping them slightly like shards of glass, refracting a dazzling new insight based on new information. People are complicated. They bring things to human encounters that aren’t apparent, but can and do profoundly impact what happens.

Tim Mackabee’s natural wood-grained box enclosure cradles the play. Its elegant simplicity disarms us into thinking the events that are coming will be tidy and well-contained. Lap Chi Chu’s lighting along with Vincent Olivieri’s sound punctuate the box with shimmering waves of aqua and teal light pulsing along with the party music to allow seamless passage between the party flashbacks and the stark conference room where we now find ourselves as the events are dissected. Elizabeth Caitlin Ward’s costumes are casual, Amber’s warm orange top and pants contrasting with Thomas’ blue jeans and soft blue top.  Tyne Rafaeli’s direction is tight, well-paced. And how lovely to see a team of strong women in charge of telling this story.

It is a riveting evening, which left me wondering how to get more people to see it. So struck was I with the piece, that I reached out the next day to the playwright, to see about how to get the script into the hands of incoming freshmen.

This play should be required reading for every university freshman in the first week of college. Can’t say it enough.

Fortunately for you, if you live in Los Angeles, you can still see the play at the Geffen Playhouse through June 11th. I urge you to take advantage of this opportunity.

Posted on

Writing with Me: Stories Just For Us

Just checking in to report that the book is underway. I’m spending a few hours each week to write (not nearly enough), and it’s unfolding as planned. I’m reading a book recommended to me by my friend Bob, entitled If You Want to Write: A Book about Art, Independence and Spirit, by Brenda Ueland. I highly recommend it, a balm for those get queasy at the thought of writing a book. So today, I’m digressing to write about things that probably won’t appear in the book, as they aren’t flattering things about my practice as a stage manager. I can see you all leaning in.

Oh good – here comes the dish….

This past Saturday, I had the privilege of Festival Supervising USC School of Dramatic Arts’ New Works Festival at the Pasadena Playhouse, two concert readings of plays written by the graduating writers from the USC School of Dramatic Arts Dramatic Writing Program. These play readings are cast with professional actors, directed by professional directors, an SDA offering in the Carrie Hamilton Theatre at the Pasadena Playhouse.

Stage Managers Iman Khan and Caroline Johnson
Some of the cast of Black Super Hero Magic Mama

My participation in the past few years has been one step removed; on behalf of the school I’ve hired someone else to supervise the festivals, and due to the timing, have been unable to even attend the readings at the Playhouse. This year, I was pleased to be able to do both – supervise and attend the readings, which were highly entertaining and festive. I recommend you seek them out next year. They happen in the middle of May, this year landing on a weekend of cultural wealth in Pasadena, opposite the Lit Fest, the Directors’ Lab, an open house at JPL, two U2 Concerts at the Rose Bowl, and an AMGEN bike ride, all of which brought 200,000 visitors to spend a sweaty Saturday in Pasadena, where temperatures hovered at 92 degrees midday. I’d warrant a guess that anyone who braved the traffic to see Rebin Zangana’s Everybody’s Moving to Fiji, and Inda Craig-Galván’s award winning Black Super Hero Magic Mama was happy that they had made the trip.

I had spent about six years working on and off at the Pasadena Playhouse, back in the early nineties, and have several credits at the State Theatre of California, including a production of “On Borrowed Time” in 1992, where I met Wren Brown for the first time. You can read about that in the post linked above; the production was noteworthy for many reasons, most important of which was that I survived the opening night ride home. Other highlights included productions of “Camping with Henry and Tom” which began with a model-T Ford, entering upstage left,  rolling down a sharp incline, where it banged into a tree, the tree fell over, smoke came out of the car and the denizens of the car, Henry Ford, Warren Harding, and Thomas Edison emerged. The show had been done in New York the previous year, so our rehearsal period was fairly brief, our tech table still in the center of the house, and the house quite well-filled for an invited dress. I made the standard invited dress disclaimer over the god mic about perhaps having to stop the show then cued the top of the show. Nothing happened. The car refused to budge. We tried to start again, and still no movement from the car. From the tech table, using the god mic, I said,

Well, I think this is going rather well, don’t you?

Big laugh. Fortunately, the next attempt at the car starting went as planned, and the dress rehearsal began.

I gave a ride home the other night to two of our three junior stage managers who stage managed the readings at the Carrie Hamilton, and I told them a few stories about my time at the Playhouse back in the nineties – before they were born, I noted, wryly.

A lot of crazy things happened in those years, many that taught me how to manage crises in a live theatre situation and a few how not to handle them.

Late during the previews of A Lion in Winter, actress Carole Cook, playing Eleanor of Aquitaine to her husband Tom Troupe’s King Henry, lost her voice and arrived at the theatre willing but unable to go on. The Playhouse, a LORT B theatre, had no understudies, and I along with the director, and artistic staff, and with Carole’s rather surprising agreement, decided that rather than cancel the performance that night and send six hundred people and Ms. Cook home, I’d set up a music stand on the apron down stage right with a script, and I would read the lines while Carole acted the part. Crazy, right? But I’d been listening to her deliver the lines for the previous five weeks, and knew where she took breaths, etc. My assistant, Ando, called the show that night.

Maybe it was like watching a car accident, but I was told afterwards that no patrons went to the box office to get their money back. Audiences love that stuff, right? It’s live theatre. In this case, I am not sure where I got the gumption to perform, and I’m quite sure that it would not be considered best practice, but I received two calls the next day – one from the artistic director, Lars Hansen, thanking me for “saving the performance,” and one from the Equity Rep, letting me know that I’d be receiving an additional 1/8th pay for “going on” as Eleanor of Aquitaine. I wouldn’t recommend this as a course of action, but just as an example of thinking really far outside the box.

I stage managed “Lettice and Lovage,” a satire by Peter Shaffer, directed by David Galligan, starring Jane CarrJane Carr as the dotty and overly-inventive tour guide at a large English manor house, and Mary Jo Catlett as her officious boss. The play called for an ensemble of tourists, and the Playhouse, ever conscious of the costs of large casts, decided they would partner with the large volunteer organization, Friends of the Pasadena Playhouse, who manage the ushering needs and support the Playhouse. The idea was quickly embraced that the ten to fifteen ensemble of tourists would be played by Friends on a rotating basis. Every night, we had a different group of volunteers whom we trained to follow Jane around the stage and hear her inventive history of the house.  Logistics were tough, but my assistant, Ando and I enjoyed their great energy and their commitment to the show. There’s no doubt that they were critical to the success of the play. It helped to boost ticket sales as well, since they all lived in Pasadena and had lots of friends to invite. Win win.

Last weekend, I became reacquainted with Patrick Corbin, a current house manager, who had just begun ushering around the time of Lettice and Lovage, and he dryly noted that he met a new usher one night and the next night had seen her on stage and thought, what a meteoric rise! He had no idea about the arrangement of the Friends as ensemble.

Managing the rotating handful of volunteers was a challenge, and their attendance was sometimes sporadic. One night we were down two volunteers, and so the director, David, and I decided we would don the running suits of these two tourists and head out for the first scene, which took place at the foot of a large staircase from the top of which Jane addressed the masses. Yes, we were being extremely naughty, and unprofessional, because we didn’t tell Jane that we were going on for the tourists. Lights up, Els and David facing upstage to hide our hysterics, our shoulders shaking like jello jewels in our garishly colored track suits.

Jane entered at the top of the stairs, took one look down at us and went into kill mode. She put a bead on the two of us and addressed the entire speech down at us, never breaking for a moment with a death grip of concentration. Trust me, you don’t want to be on the receiving end of Jane’s onstage ire. The two of us were falling apart, and ashamed of our poor performance as the tourists. Jane never let us forget that one.

Those were critically important years for me in my development as a stage manager. I know that the examples cited above lead you to believe that the development was not in a positive or professional direction, but they tell the story of the types of things that stage managers deal with routinely.  Creative solutions are needed. The ones we come up with may or may not be effective. So we’ll just let these be our little secret, eh?