University of Idaho - Gem of the Mountains Yearbook (Moscow, ID)

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The early stages. Mary Jo Blumenshenin and John Morgan rehearse their parts for “The Elephant Man.” The early rehearsal was before any stage props or backgrounds had been built. (photo by M. Touhey) = atte y pt. i= efore the curtain rises There’s more to a drama production than what meets the eye riters often claim that they W are slaves to their profes- sion; so do artists, business executives, and engineers. But, af- ter watching the stage crew and actors prepare for the opening per- formance of “The Elephant Man,” I learned what it means to be a slave to a profession. Unless an individual has been directly involved with a theatrical production, he would not realize the numerous people involved in and the hours devoted to directing and producing a play. To guarantee a production's suc- cess the director must not only select the “right” cast, but he also must gather a group of talented and trusted technicians who design, build, care for, and nurse the performance’s less obvious aspects: lighting, sound, sets, costumes, props and music. Each of these individuals then selects other people to help him fulfill his func- tion. So, even though the audience sees only the actors, most produc- tions have an additional twenty or forty people who have worked, or are working, behind the set. Few people even think about the hours the actors devote to memorizing their lines, developing their characters’ personalities, rehearsing with the rest of the cast, and agonizing over the production. Even less consider the other mem- bers of the production who work behind the set. How many times does an onlooker consider how many people or how many hours it took to build the set? Or, design it and make the costumes? Or hang up the lights? And, the more complicated the play, the larger the crew. For example, at least twenty additional people, not including the actors, devoted much of their time to working behind the curtain of “The Elephant Man.” If the audience realized this, they would probably appreciate even a bad production. Naturally, when an audience ap- preciates a good production and demonstrates, through applause, this appreciation, they at least sub- conciously thank the hardworking, dedicated backstage crew as well as the actors. But, since the actors are onstage, they stand face-to- face with the audience, and feel this appreciation more than those backstage. What then, makes a person willing to give so much of himself without receiving any ap- parent rewards? Wendy Fountain, a senior in Costume Design, claims that she decided to major in costuming because she loves the theater and designing. “At one time,” she claimed, “I wanted to go into fashion design, but I also wanted and needed a place in the theater. So, I combined the two and found an area that interests me and gives me something I need. Something which combines research and fact with my interests, I don’t really care that the people on the street don't recognize me, because that's not what I'm after. What does mat- ter is that my ideas help people on- stage to work well in their parts and the audience to remember them. Many people who work backstage do so because they know they are important to the production and because they like continued Drama—Behind the Scenes 25

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Lighting the way. Susan Klatt, a member of the lighting crew, checks to make sure that the lights are set just right. This procedure is repeated before each performance. (photo by M. Touhey) The finishing touches. Charles Shoemaker, who played the role of Ross, patiently waits while make-up ar- tist Angie Wheeler finishes the job. (photo by M. Touhey) 24 Drama—Behind the Scenes On the job. Stage manager Dave Bell mans the light and sound board during a performance of “The Elephant Man”. (photo by M. Touhey) Green room call. Director Roy Fluhrer calls together the ac- tors and stage crew before the opening per- formance of the play. (photo by M. Touhey)

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Sea Here we are waiting for what you’ve worked so hard for to begin. If you can’t take pride in this production, if this doesn’t make your heart pound — your blood flow — if you don't feel this, then you don’t belong here. Do this for yourself, all of you ... I love you. ai - = Making-up. The make-up room is as important to an ac- tor as shoulder pads are to a football player. Before a performance actors spent several hours putting on their stage make- up. (photo by M. Touhey) Behind the curtain. Dancers as well as actors needed to reherse for their parts. However dancers like Mindy Lyons also had to spend time stretching out before they could begin their rehersal. (photo by M. Touhey) A cosmetic transformation. Before the curtain rises on the opening night. Sandy Hoffenber begins the process of changing herself from a young to an old woman. (photo by M. Touhey) 26 Drama — Behind the Scenes