I'm Jan Kohl, one of the two swing-stage managers employed by American Heartland Theatre. My job is to come on board after Opening weekend and take over the show from Resident Stage Manager William Christie. So in a matter of a few days, I learn the mechanics of calling cues and running the light board for any given show, and I prefer fast-paced musicals which keep me very busy in the booth. This show certainly falls under that category.
And this show keeps me very busy in the booth, keeps the Sound Operator busy in Sound Bay, keeps the 3-person crew backstage very busy, and, of course, keeps the actors very, very busy.
Typically, we run with 1-or-2- person crews; rarely are our shows big and/or busy enough for 3 members. But with literally hundred of props, a turntable to keep different sets arriving and departing smoothly, and lots of costume and wig changes, we need our 3 able crew members. They set all the props and furniture, and this production walks such a fine line that everything must be set exactly right. If not (as we've discovered), one misplaced prop, just slightly misplaced, can wreak havoc. We found that a chair, almost-but-not-quite tucked under the table, can get caught in the turntable. A prop set a titch differently on the shish-kabob cart can alter the entire cart and all its props. So the crew checks and double checks, from their preshow checks until the very end of the show. We speak after each show, making sure that everything ran according to plan, and take notes on anything needing mended or changed. For this show, there are almost always postshow notes which need the attention of various people, whether the set crew, properties designer, costume designer, or all three.
It's an exciting and rewarding show.
